Press Dossier Table of Contents

Home , Duke of Burgundy, John the Fearless, Kingdom of Burgundy

Press dossier Table of contents

Press release 3

KBR museum 5

Tour and scenography 8

The topics in the KBR museum 12

Five top pieces from the 18 Burgundian library

Special items 22

Conservation 23

Digitisation 24

Loans 25

KBR as a meeting place 27

Partners 29

Practical information 30 hour will be admitted to the 1,500 m 1,500 to the admitted be will hour per visitors 50 no more than crisis, COVID-19 to the related measures health to the Due in Brussels. centre cultural major a as itself establishing is helping to revive our cultural life and Belgium, of Library National the KBR, museum, manuscripts. With the opening of this new and fabulous its collection of 15th century years: the Library of the Dukes of Burgundy discover anational treasure hidden for 600 will open doors, inviting its the public to September 18 On the 2020, KBRmuseum release Press built up a collection of books renowned throughout throughout renowned of books up acollection built who abibliophile He was Netherlands. southern the in Age Golden the force behind driving the Fleece) was Golden of the Order of the (founder prince ambitious this arts, of the patron A rich Good. the Philip of Burgundy Duke by the created library of the volumes 900 of the athird nearly together brings which collection, exceptional this for discovering conditions perfect enjoy the will they that means This space. 2 museum museum Middle Ages are in books”. in are Ages Middle of the paintings beautiful most “the that state museum KBR of the curators the that quality high of such are These illuminations. with illustrated richly books to produce them commissioned also Good the Philip Brussels, in court Weyden, to his der van Rogier as such time, of his artists best the Attracting etc. de Pizan by Christine poems geste, de –chansons texts medieval as well as Livy, and Xenophon as such of antiquity, authors great the included and thought of fields all encompassed collection This lifetime. his Westthe during

3 these works. works. these or read decorated copied, women whowrote, and men the meeting illumination, of book art the and world of manuscripts the into century, 15th the of heart the into visitors plunge that immersions audiovisual offer rooms themed Several Brussels). of City of Bruges, Museum Groeninge Belgium, of History and of Art Museums Royal Belgium, of Arts of Fine Museums (e.g. Royal collections and museums Belgian to it by other entrusted objects and works period exhibits also museum KBR the as Particularly time. each manuscripts different discover will visitors repeat that meaning ayear, times three changed are manuscripts the reasons, For conservation cases. individual in displayed –are etc. weapons, altarpieces, prints, manuscripts, floor, – where items 160 upper on the continues visit the building, KBR modernist the into now incorporated and name same of the palace of the remnant only the Chapel, the Nassau in introduction general a After (whole) the truth. tell always do not books history that and Brussels in spotted were elephants pink of laughter, that to die are Ages Middle the that out for rabbits, watch you should why shows museum KBR the standards, museum highest the meets that arrangement ascenic In “Children’s”). and “In-depth” (“Discovery”, profiles visit three with and Spanish) and German English, Dutch, (French, languages five in were created, they which in period the and books of these story the to tell and public general to the it accessible to make decided now. has KBR until to scientists available been Chroniques et conquêtes de Charlemaine the and Hainaut de Chroniques famous the include highlights whose collection, formidable This , has only only , has Royal Museums of Art and History, inv. 0918 History, and Art of Museums Royal 1510-1520 ca. Netherlands, Southern Adrian Saint of Martyrdom altarpiece: an of Fragment Anonymous, organisation Friends of KBR. Friends organisation non-profit the and Fund Baillet-Latour the Toerisme Vlaanderen, Agency, Buildings Belgian the are museum KBR the in partners KBR’s main exhibitions. temporary to host out fitted been has building, of the part integral an also is which of Lorraine, of Charles palace former the Lastly, ramps). and lifts of several installation the (including building KBR of the accessibility the to improve works infrastructure by major accompanied was museum new of the creation The access. free with gardens and arestaurant rooms, conference and rooms reading to addition in offering, Brussels, of heart the in hub” “cultural areal becoming therefore is KBR on site. and online both public, possible widest up to the to open intends but also treasured”, is time “Where slogan in its reflected is as heritage, cultural Belgian the to preserve wants only not institution the strategy: new of KBR’s part is museum KBR of the opening The

4 enjoy these ancient treasures. ancient enjoy these to able are museum KBR to the day, visitors their in dukes Like institutions. prestigious other and KBR to belonging collections the from pieces exceptional with –depicted all –above and presented all are patrons manuscripts’ of the personality the universe, literary and artistic the context, economic and political historical, The binding. and decoration text, medium, of the secrets the reveal illustrations and Explanations amanuscript. producing in steps the discover and district our in Age Golden the about all out find can Visitors established. was it which in period the and of Burgundy Dukes to the belonging of manuscripts collection the of history the illuminates museum KBR The yearsfor 600 treasure a hiding been has Belgium museum KBR

types of visitors. of types different to suit Spanish) and German English, French, (Dutch, languages five in a tour offers KBR experience. a unique visit every it makes as for visitors, news year. Great a times three changed is exhibits of the selection a reason, on display. For this permanently be cannot manuscripts the protection, For their

5 equally historically correct. historically equally explanation each of piece shorter, is but Burgundy,of The in but anutshell. to know the about of the Dukes Library Allowing explorers to learn all they need tour Discovery explanations each for item. detailed have prepared Experts detail. their time to discover each piece in take and library Burgundian the in toopportunity savour the knowledge Giving added-value seekers the tour In-depth handsets. and appropriate touchscreens stories using activate can tour”,“In-depth visitors “Discovery tour” or “Children’s tour”. wristband, Using this selected profile: according to their activated be can which receivevisitors awristband, visit, the of beginning the At different profiles. for designed been three A tour has visit. kind of favourite their choose visitorsis whycan that Everyone and different is everyone for museum A

with agolden hourglass. should These are marked not missed. be recognise the easily can visit that pieces who onlyVisitors have time aquick for fun as grown-ups. just for is visit of kind this Secretly, explanations. friendly the Golden Age in our with child- district Giving fun-lovers the chance to discover tour Children’s

6 ceiling or whisper stories in your ear. stories in or whisper ceiling on the dance manuscripts the from Characters But that’s not all! manuscripts. enjoy exhibited of beauty the the naturally can visitors museum, KBR the In manuscripts can also be viewed online. viewed be also can manuscripts of the Many detail. of every study aclose make you to allowing desk, his at Good the Philip duke Burgundian the like just abook, through to browse able still are visitors technology, to modern thanks However, protection. ultimate for their cabinets glass in displayed therefore are and precious very are museum KBR the in manuscripts The experience Museum

used in making amanuscript. making in used materials the to feel able be will visitors museum possible: be also will touching coronavirus, the we combated have Once amanuscript. dating at or ago have skills copying their test miniature, own their design also can visitors Hands-on

7 world fame. Their tremendous diversity can be be can diversity tremendous Their world fame. boasting several including manuscripts, diverse very includes collection Their cabinet. own their in seen be can of these most and manuscripts, dukes’ on the lies focus The of Burgundy. Dukes of the library family the trove: treasure real to a treated are top floor,visitors the On formed. was collection magnificent the which in context artistic and economical historical, of the explanation an also is There artists. 15th-century of skills the discover and produced was manuscript how a learn Visitors established. was of Burgundy Dukes to the belonging of manuscripts collection the when period the century, 15th of the history the in immersed is visitor the Chapel, Nassau the as floor same the On museum. KBR of the section next the in continues dukes of these story The chapel. the in explained also is century 15th context the …The in religious Good the Bold, Fearless, Johnthe Philip the –Philip of Burgundy Dukes the museum: KBR of the story the We in stars meet the comes ashow projection. to life sound and of intimate modest light, and appears that chapel The 16th-century Nassau Chapel. the in begins museum The KBR tour of the Tour scenography Tour and

la royne Ratio royne la de et Modus roy du Livres Les called manuscript the to Areference hunting. about wolf and boar wild to adeer, rabbit, or chat of Wavrin, Master reputed by the Nevers de Gérard de Roman the in bathroom Euryant’s into apeek world, take enchanting an in them above float figures wondrous watching while sofa on acomfortable relax and sit back can visitors cocoons, the In of amanuscript. subject or decoration history, the in visitors immerse and manuscripts of several folios original the around designed are Cocoons manuscripts. the world medieval of of perspective different a “cocoons”, four providing in each discovered .

8 walking through atreasury. through walking of feeling the and of Burgundy Dukes of the time of the richness the underlines it subtly interior: the in present also is illumination manuscript medieval of the characteristic so is that leaf gold The of manuscripts. manufacture the during used colors pigment to the refer that accents color with contrast colors dark interior, the In objects. of the preciousness the accentuates lighting on display. Adapted of art works and manuscripts on the focused is attention all that so atmosphere, evoke amodest that were chosen materials durable and sober museum, of the For design the locations. unexpected some in to not mention intimate, and enchanting to interactive, and informative from Ranging ways. different very told in are stories why the is which diverse, tremendously is of Burgundy Dukes to the belonging collection The Agency. Design Bailleul the with together by KBR tackled was question This public? to the portrayed best books such in stories the but how are archives, the from manuscripts medieval to retrieve It’s one thing Scenography

motifs from 15th-century miniatures. 15th-century from motifs the with plays that covering afrivolous has inside the while KBRbuilding, the typifies that material the travertine, to appeals outside the cocoons: the in reflected strongly is scenography of the modesty The dukes. of the entourage for the green and context artistic and literary blue for the context, political for the red colors: distinctive with highlighted are the museum in presented themes different The

9 through twenty top items in the collection. the in top items twenty through browse digitally can visitors Also, detail. great in viewed be can touchscreens on the illustrations The cabinet the in manuscripts of the explanations and text provide museum the in tablets the wristband, visitor’s the with activated Once profile. visitor’s to the on according display, objects the identifying a tablet, with equipped is cabinet Each museum. KBR the in We of information plenty provide Tablets wristband and on display. of art works of the most very the make also can users wheelchair that so underneath, wheelchairs allow cabinets All widths. and heights of arange in combined, to be types cabinet six allowing system amodular created Agency Design Bailleul The manuscripts. over the switch easily to staff museum allowing flexibility, and protection both offer must cabinets the Therefore, archives. to the returning before of time, period for acertain exhibited be may manuscript Each hazard. areal are dust and humidity Light, fragile. very are However, manuscripts value. the of historical huge is museum the in piece Every Cabinets

10 museum are: museum visitors in the played to and Alamire chosen by The pieces different rooms. to music,polyphonic stories used reinforce in the Foundation selected at Alamire experts the museum, for this Especially experience. the music projections enhance and polyphony. and Stirring miniatures Primitives, splendours the Flemish of in the immersed They are Flanders. of 15th-century history discover colourful place. the Here, can visitors amazing an is museum The KBR Music

Dit Le Burguygnon Le Dit -Fanfare recording Sollazzo Ensemble – Tant mignonne est –anonymous ma pensée –(2.30’) (instrumental) Italiana Strumentale Accademia Fortuna –recording desperata –(3’) –Busnois (instrumental) Savall Jordi XX, Hespérion recording tous biensDe plaine –van Ghizeghem – –(3’) (instrumental) Schröder Young, Karl-Ernst Crawford –recording amoursAmours amours –(2.30’) –Busnois Musique de Miroir Le recording SouvenirLe de vous me tue –(4’) –Morton – Kamerkoor Nederlands recording – O Salutaris –de la Hostia Rue –(3.30’) –recording Capilla Flamenca Alleluya –(1.25’) –Busnois (instrumental) Savall Jordi XXI, Hespérion recording –Josquin Prez des 15’) – le roiVive –(1. (instrumental) Savall Jordi XXI, Hespérion recording – Sonnerie(1.26’) royale pour la fin sacre– du (instrumental) Schröder Young, Karl-Ernst Crawford –recording E qui le dira –(1.08’) –Isaac

11 death of his son Charles the Bold in 1477, in Bold followed the Charles son of his death dramatic But the court. brilliant Europe’s most West”, over of the Duke ruled “Grand the Good, the Philip Empire. Holy Roman the and France between located estates numerous acquired Bold the Charles and Good the Philip Fearless, the John Bold, the Philip inheritances, and acquisitions of marriages, apolicy to 1477,From 1384 pursuing Netherlands. to the Dijon from extended that territories from state anew to forge and France of King of the authority the from themselves free to fought of Valois, house of the were princes who of Burgundy, Dukes The state. modern and prosperous apowerful, constituted Burgundy of Dukes the changes, sweeping and by contrast characterised period, this During era. modern the and Ages Middle the between turning-point the represented century 15th the Europe, In in the 15th century Netherlands Southern and economy in the history Politics, the KBR museum The topics in

artistic legacy that is still incredibly valuable today. valuable incredibly still is that legacy artistic an left they dynasty, Burgundian of the ambitions political grand of end the the marking Despite Europe. throughout –were exported region Mosan the from metalwork gold-, silver– and and north, the in weavers from textiles and cloth woollen –including region’s products the routes, trade overland and river maritime, international major the development of to Thanks handicrafts. its and lands agricultural rich to its prosperity owed its Netherlands Southern The merchants. of foreign communities home to many and trade international for major were centres Brussels and Antwerp Bruges, of Ghent, cities The income. of their majority the with them providing Holland and Brabant economy, Flanders, with flourishing on a rely could of Burgundy Dukes The Europe. Western in regions urbanised most one of the was Netherlands Southern the century, 15th By the Spain. soon and Habsburgs of the hands the into passed duchy The plans. political Burgundians’ the destroyed of Burgundy, Mary the duchy’s heiress, of that by later five years

12 museum. KBR the in on display are sections evocative most whose of Bassine, altarpiece the including Brabant, in were created altarpieces outstanding sculpture, In background. the in hear can vistors which music, polyphonic and architecture Gothic tapestry, including flourished, also arts Other Memling. Hans and Bouts Weyden,der Dieric van Rogier Van Eyck, Jan as artists illustrious such by exemplified time, this at emerged School Netherlandish Early the as known is What arts. the all in reflected was this and history, in point aturning- was century Burgundian vibrant The time. of the men women and of the aglimpse catch museum KBR of the visitors More importantly, culture. world and era, changing a dynamically we discover literature, and of art lens the through Looking movement. avant-garde home to an also was Europe Northern Italy, in Renaissance the with Concurrent Ages. Middle dark of the image our from cry –afar renewal literary and artistic with resplendent was court Burgundian The century 15th the in Netherlands Southern the in literature and Art

translations of ancient classics. of ancient translations and of voyages accounts chronicles, historical geste, de of chansons versions prose included century 15th the in of Burgundy kingdom the in were popular that Works theatre. and law, as poetry well as philosophy, and morality science, history, ancient thought: of field every covered libraries medieval filled that works The multifaceted. was literature Fox, medieval the of Reynard fables the and Rose of the Romance to The de Pizan Christine and Villon François From it. for depicting norms artistic world and the of views ideas, their shared and models same the copied sketchbooks, exchanged They interacted. often techniques different with and backgrounds different from artists isolation: worknot in did sculptors and illuminators painters, Panel represented. was genre literary every morality, and on devotion or treatises of hours were books these of many Although of manuscripts. outpouring an created illuminators and bookbinders copyists, Writers, craftsmen. of urban hands the into passed market book The manuscripts. illuminated in reflected also is flourishing artistic This © KMKG-MRAH 3629.002.1019a inv. History, and Arts of Museums Royal 1510-1520 ca. Antwerp, Brabant, Annonciation Bassine: of altarpiece the from Fragments Anonymous,

13 in the 15th century Netherlands Southern the in Religion rekindled their devotion. their rekindled and faithful of the attention the held undoubtedly – or lurid astonishing were by turns of which details –the intervention of divine tales These faith. of their name the in hardships tremendous whoendured were role models time, of the heroines and heroes the protagonists, Their wide. and far were disseminated that versions multiple in exist stories these culture, popular from Derived examples. moral as serve saints of the lives The were on display. beauty power, where and homes, splendour private and of worship places embellished these like art Works of pieces. such commissioned Burgundy, of Dukes the as such figures, influential Highly miniaturists. by renowned were illuminated missals, and Bibles as such manuscripts, religious large Similarly, altarpieces. and sculptures paintings, of many subjects were the saints the of lives the and of Christ life the from episodes Testament, Old the from Stories of inspiration. source inexhaustible an was of imagery scope vast religion’s Christian the Ages, Middle of the artists force of law. the For carried images symbolic where legends, role of popular or the of saints worship the as such of devotion, vehicles intimate for more aneed also was there time same the At manuscripts. and paintings major period’s the in observed be can as aspect, a mystical reflected wealthy the and scholars learned nobility, the class, ruling of the religion The forms. many took devotion religious of expressions But such arts. the all in found be could dimension areligious and of society, part integral an was religion Ages, Middle the During Chapel. Nassau the in highlighted is century 15th the in context religious the museum, KBR the In

The dukes’ entourage dukes’ The and were sources of ideas and social status. social and of ideas were sources and circulated Manuscripts else. as nowhere flourished market book the influence, Under Burgundian etc. works, devotional romans, chronicles, hours, of books as such of texts, variety awide illustrate to miniaturists by commissioning sector book the to impetus were agreat elites Urban workshops. bookbinding and illuminators copyists, with orders placed and dukes the – emulated officials urban and bourgeoisie of the members clergy, the gentry, landed and aristocracy mid-ranking –including circles social highest of the Members followed. were to be styles what determined Good the by Philip established conventions aesthetic The collections. private remarkable owned all of Austria of York Margaret and Margaret of Gruuthuse, Louis of Cleves, Philip nobility. by the practiced widely were and cultivation intellectual of power and signs were both arts the patronising and books Collecting of printing. revolution for set agradual being was stage The secular. and urban democratic, more becoming to expand, began market book the time, same the At time. of the tastes and aesthetics the influenced and bibliophiles and artists attracted court ducal The Netherlands. Burgundian the with synonymous became century 15th the in manuscripts of art fine the cultivation, intellectual and of power, luxury symbols As

14 manuscript and discover the great variation and evolution different and phases. these in variation discover great and the manuscript find in about a the out producing visitors steps can four KBR themuseum, In craft. precious and unique of result It atraditional, the is creation. aunique is manuscript Each corporations. and into guilds structured and who were well-organised professions of urban hands into the passed had book century, market the 15th early By the importance. in grew universities as particularly settings, developed urban in However, copyist of monk. the image book workshops gradually hence familiar the production, centres for manuscript were abbeys important Ages, Middle the In of of anumber dedication craftspeople. and skills the required and years such To aslow so much pace attention and to detail. copy asingle create could take Today by hand. written to imagine made and entirely it hard book is was each press, printing of the audiences. Before invention mechanisation their the and with along have texts evolved and information for techniques sharing For of years, thousands manuscripts the of Creation

throughout the West. the throughout slowly spread paper prestigious, less but also parchment, than expensive Less century. 11th the world in Arab the via Europe in arrived China, in invented was of paper. Paper, made which be also can Manuscripts skins. calf 53 and 36 between needed one therefore manuscript, To this produce one skin. from cut be can 4to 6folios animals, the of size on the Depending skin. calf from made are They cm. by 22 30 measuring 218 pages) (436 folios The The used. is skin whose animals of the size on the also but manuscript, of the of folios number the and dimensions on the only not depends one needs of skins number The text. for the ready a quire, folded into and cut then It was parchment. becomes skin the on aframe, stretched while dried and treated being After or calfskin. of goat-, sheep– made were generally books of medieval pages The surface writing the Making Rijmbijbel (Rhymed Bible), for example, has has Bible), for example, (Rhymed

15 ownership and aesthetic tastes. aesthetic and ownership in of changes victims the frequently were also they but time, of ravages the suffered they all, Above us. to come have down bindings afew original Only well. as role aesthetic an played binding Sometimes to use. easy and durable book the acover to make given and sewn assembled, i.e. bound, to be had which quires, of separate aset was book the stage, this At book the Binding creatures. fantastical and monsters humour, anthropomorphic satirical with filled also are manuscripts the in margins The marginalia. the in imaginations to their rein free give could Artists it. structured initials whereas text, the to illustrate served and books, within paintings were genuine Miniatures multiple. were functions and forms Its manuscripts. ornate most for the reserved was Illumination pages the decorating and Illuminating autograph. an called it is hand, own author’s the out in written is amanuscript When text. existing an work involved copying this time, of Most the precision. with and by hand entirely executed script, the begin copyist the could then Only sharpened. pen quill the and prepared to be had ink Then, straight. text the –to keep rulings as –known lines drew copyist the writing, Before text Copying the

16 banqueting hall, and the famous Bailles Square. Square. Bailles famous the and hall, banqueting ahuge Magna, Aula the as well as chambers, private dukes’ the It contained Europe. in residences royal sumptuous most one of the was by gardens, surrounded was which palace, The Brussels. in library Palace Coudenberg the in remained but most travels, their during dukes the accompanied works Some collection. to the added Bold, the Charles son, His volumes. hundred nine no fewer than contained library ducal the Good, the of Philip time the At Aubert. David and Wauquelin Jean Miélot, Jean as such copyists by renowned request express dukes’ the at copied and French into Latin from translated been have Many of humanism. beginnings the and era feudal of end the the from are recent most the and century, 13th to the back date manuscripts oldest The Charlemagne. and Martel Charles Arthur, King Great, the Alexander as such figures including ancestry, fabulated dukes’ evoke the that treatises are present Also spirit. out of acrusading born East, Middle the in interest aclear shows collection The context. Burgundian to the related directly KBR – Print Room, S.III 24727 S.III Room, –Print KBR 1731 February on 3 fire the during Palace Coudenberg the of courtyard inner the of View Anonymous, Aristotle’s and Belle Hélène de Constantinople Rose la de Roman including literature, of medieval works major features of Burgundy Dukes of the Library The library ducal The Ethics and Ethics , Les Pèlerinages de vie humaine vie de Pèlerinages Les Politics , La Fleur des histoires des Fleur La . Other texts are are texts . Other

, La La

multi-faceted whole. multi-faceted and but diverse acoherent It forms collection. afamily is duchesses and dukes Burgundian of the library the bequests, and donations commissions, by Enriched pope. the and family Medici the England, and of France rulers of the those alongside time, of its collections book prestigious most one of the is library ducal The treasure. of this remains the discover can visitors museum, KBR the In survived. have manuscripts hundred three nearly looting, and disasters various Despite Belgium. of Library Royal core of the the became collection this before vicissitudes other many endured library The were untouched. lodge hunting the and house page the stables, the chapel, the library, the only building; the of part large a 1731 destroyed in February A fire

17 transition. The stylised and hierarchical nature of of nature hierarchical and stylised The transition. afundamental caused texts of profane distribution wider the and workshops of secular emergence the 1250, from As ... for dinner rooster, probably the Chantecler off carries Reynard mischievous Fox the Reynard famous the from taken is episode This fox neck. afowl holds by the on a display, folio the In literature. French is as however, present, also are subjects Secular Ages. Middle the in esteemed highly was that approach –atypological New Testaments Old and the from episodes to link seeks illuminations religious of the iconography The character. exceptional its enhances further ink azure of and gold use The of strokes. ends the in entwined monsters and motifs plant by anthropomorphs, populated initials with decorated is folio each initials, historiated and miniatures to full-page addition In impressive. are codex this in illuminations The illuminations. the of backgrounds the werethen thatadded to the fleurs-de-lis probably was his Joan wife the It Lame. then purchased the and book gave it to France. Xof Louis of Philip France of VI and to Clementia Hungary, of widow given was It to Pope John XXII gift. ideal an have to been appears England, at Peterborougharound 1300 Abbey in illuminated and ink azure and gold in entirely copied exceptional volume, This Psalter Peterborough library Burgundian the Five top pieces from

, in which the the which , in KBR – ms. 9961-62, folio 14r folio 9961-62, –ms. KBR century the 14th of half first England, Peterborough Psalter daily life. daily by inspired were figures male the while preferences, court highlighted repeatedly hips without forms female slender The compositions. the in realism towards were taken steps tentative and varied increasingly became scenes of the typology and iconography The aspectator. became reader The for expression. more space with miniaturist the provided page of each edge The manuscripts. of the pages the in part greater ever an played illustrations secondary These well. as pages on the appearance its made inversus”, or“mundus world down, upside The culture. by popular inspired jokes and creatures anthropomorphic monsters, animals, with populated became These borders. and initials of decoration simple the initially was to what less and less applied rules Religious imagery. Gothic in narratives for way the made art Romanesque

18 KBR – ms. 9242, folio 1r folio 9242, –ms. KBR 1447-1468 Netherlands, Southern (detail) Hainaut de Chroniques Wauquelin, Jean of Burgundy. Dukes of the patronage the under century 15th the in Netherlands Southern the in and France, in century 14th of end the the at common most is presentation Yet this period. Gothic and Romanesque the from world, and Byzantine and Greek the from works in found be also but can Ages, Middle late to the exclusive not is of presentation type The manuscripts. many in found be can and universal are scenes commissioned or miniatures representative Weyden. der These van Rogier painter to the attributed been has court of the presence the in Good the work to Philip his presenting Wauquelin depicts that frontispiece celebrated The recently annexed been by the duke. theof province which Hainaut, of had history the retraces compendium vast by the Franciscan Jacques de This Guyse. historiae illustrium principum Hannoniae French Philip for the the Good into translated Mons, in copyist and Jean Wauquelin, abookseller In 1446, texts. and depictions calculated carefully through power of Philip’s seizure legitimise to designed tool, propaganda This Hainaut. impressiveof a is book from his cousin Jacqueline, Countess Holland and which Zeeland, he took annexed Hainaut, Good Philip the 1433 In Hainaut de Chroniques

Annales Annales

the the of manuscript of this volumes three complete the to were required years twenty War. More than Trojan to the back dating of sovereigns to aline heir legitimate the as Good the Philip presenting aprologue is inclusion notable One adaptations. some with French, into text Latin original the translated he also manuscript, the copied only Hainaut de Chroniques of the manuscript the patron: his to efforts of his fruits the offering is Wauquelin Jean knee, bended On one. alasting to be aspires that of adynasty prerogative the becomes but rather individual, work of one the not power is princely clear: is here message The State. of the continuity the embodies Charles young the apparent, heir the As fifteen. about aged Bold, the Charles future the and of Charolais Count young the son, his stands duke to the Next background. the against out clearly stands duke the damask, black in power. his Dressed symbolises hammer slender the hand right his in while dagger, on his rests hand left His role. Philip’s central underscores by acanopy, topped and brocade covered in throne, of the verticality The tradition. the is as on athrone, seated than rather standing, depicted He is arrow. an as straight and expressionless composition, this of centre the at is Good the Philip remarkable. is Hainaut de the Chroniques of volume first the in scene this iconographically, and Symbolically great deal before joining the ducal library. ducal the joining before deal great a travelled folios the manuscripts, many with As project. to the he attached importance of the proof signatures, completed the reread regularly duke the addition, In Bruges. in were created illustrations the of most Mons, worked in Wauquelin Jean Although Liédet. Loyset and Vrelant Weyden,der Willem van Rogier included artists The 121 miniatures. and pages 1,700 worked on its illuminators ten than Chroniques de Hainaut de Chroniques . Four copyists and more more and . Four copyists . Jean Wauquelin not not Wauquelin . Jean

19 KBR – ms. 9631, folio 12v folio 9631, –ms. KBR 1450-1467 Netherlands, Southern (detail) Nevers de Girart de Roman Wavrin, de Jean by trickery. revealed is that spot beauty aviolet-shaped is tale of the centre the At end. the in triumphs love, which and duels dragons, adventures, wild of deception, atale It is one jealous. boastful, –one knights two and of alady story the tells Euryant and of Gérard romance The wed. are Euryant and Gérard and after ever happily ends story but the earldom, his loses Gérard love made have to Euryant. to he swears as detail intimate this he uses to court, returning When of aviolet. form the in breast her on abirthmark sees so doing in and Euryant, naked the to observe able is Liziart atrick, With to Gérard. faithful remains However, Euryant Euryant. seduce to attempt an in to Nevers goes Liziart and challenge the accepts Gérard to Liziart. earldom his relinquish must Gérard disloyalty, Euryant’s demonstrate he can If Gérard. challenges and pride great by his annoyed of is Forest, Earl the as Liziart, adoration. mutual their to demonstrate challenge any to face prepared is and love Euryant’s flaunts Gérard Euryant. and Gérard love of between the tells which de Montreuil, by Gerbert Violette la de Roman 13th-century on the based is de Nevers Gérard de Roman the told in story The drawings. to the of animation asense bringing story, the accompany they time, of the conventions with Breaking nature. singular and modernity their in astonishing are of Wavrin Master by the miniatures watercolour and ink The illustrations. more innovative with went hand-in-hand stories for new Aquest values. out-dated towards attitude ironic an with overlaid was of bygone days chivalry for the Nostalgia slowly disappeared. verse rhymed while were updated, were written they which in style and language The audiences. new and times for new were adapted texts Older prose. in written were often works these court, Burgundian of the climate cultural flourishing the In popular. very also were They tales. irreverent sometimes and amusing Nevers de Gérard de Roman the as such romances, Chivalric Nevers de Gérard Roman de , were often quite high-spirited, animated, animated, high-spirited, quite , were often

stag was also a symbol of fecundity and resurrection. and of fecundity a symbol also was stag year, the each back grow Moreover, antlers its since Ten evoked the Commandments. antlers of its points ten the interpretation, asimplistic In virtues. symbolises stag the earth, heaven and between amediator animal, asolar as well as of Christ symbol A waterfowl. of flesh white the as well as meat, deer or fallow doe stag, preferred guests dinner century, 15th Moreover, bloody, the combat. close, in in ended out and on foot were carried which hunting, or bear boar wild than savage less considered was It evil. alesser was hunting deer of hunting, forms to all opposed long been had which Church, the For respect. every it in highlighting and topic, other any over than it longer lingering hunting, deer with opens book The wildlife. tawny-coloured gentle, as Ratio Queen & Modus of King Hunt of the Book the In animal. game aroyal anoble beast, is deer the authors, For medieval most imagination. collective the in and representations symbolic in prominently figured and manuscripts in as well as art in represented frequently world was animal The proximity. close in lived humans and world, animals medieval the In do today.they than things different quite symbolise he describes animals The comments. educational and edifying “Wisdom”, interjects called Queen, His them. for hunting techniques and animals of behaviour the about apprentices his teaches “Method”, named king afictional Good, the Philip Ratio &Queen Modus ofKing Hunt of the Book the In texts. discussed and read widely most the were amongst trapping and hunting falconry, taught that Treatises animals. wild from herds and crops for protecting and table the on food for putting primarily was hunting pastime, knightly A role. important an played hunting Ages, Middle the In but ahunter). am (I chassier” “Je que ne fois wrote, Good the Philip of Cleves, Duke the nephew 1452 to his in written aletter In et de la royne Ratio Les Livres Modus du roy KBR – ms. 10218-19, folio 46v folio 10218-19, –ms. KBR 1450-1467 Brussels, (detail) Ratio royne la de et Modus roy du Livres Les Ferrières, de Henri , deer and roe deer are clearly classified classified clearly are deer roe and , deer

, which was commissioned by by commissioned was , which

20 and exaggerated tales. Despite containing a grand agrand containing Despite tales. exaggerated and invented but also details, of historic reports many are There Holy Land. the of liberating dream his on play and duke’s authority the to legitimise aim Great, the Charles as such ancestors, prestigious Tales of court. Burgundian the rolea key in played which ideals chivalrous the with filled is Chroniques The et conquêtes de Charlemaine copyists. and writers chronicle main one of the was and of Burgundy Dukes for the assignments many he completed century, 15th of the half second Turpin du Chronique Pseudo- the and France de Chroniques by the inspired work The is reality. and of myths amixture in Great the of Charles epic legendary ChroniquesThe et conquêtes de Charlemaine manuscript. luxury the commissioned generals, favourite Good’s the one of Philip and Canaples lord of of France, north the from V de Créquy how Jean tells manuscript the in prologue The Charlemaine the Chroniques etof conquêtes de part first The Charlemaine de conquêteset Chroniques and was compiled by David Aubert. In the the In Aubert. by David compiled was and was completed for Philip the Good. Good. the for completed Philip was

tells the the tells

grisaille. semi- in painted whoalso Vrelant, Willem as such contemporaries, work of his the than varied less Chroniquesfor et the conquêtes de Charlemaine Tavernier by Jan used palate colour the makes This red. organic an and vermilion gold, with together ink, gall iron black and black on carbon lay focus the miniatures, creating When miniaturist. second a indicate may volume second the in illustrations the in style in difference slight The highlighted. is uppermost, duke the with pyramid, social former the and depicted, realistically is city medieval The events. important most the to witness illustration, of the back to eye the spectator’s the leads of perspective tweak Asubtle spectators. excited and bankers tradesmen, with filled scene, market a in place takes Good the to Philip manuscript of the submission the where miniature, opening on the lies focus main The manuscript. of the parts two to complete the years two than less took it probably grisaille, in of 105 miniatures total KBR – ms. 9066, folio 11r folio 9066, –ms. KBR 1458-1460 ca. Netherlands, Southern (detail) Charlemaine de conquêtes et Chroniques David Aubert,

much much

21 of Belgium of andof Art History Royal Museums the at workshop casting the from Reproductions Netherlands. Southern the in century 15th of the presentation the in addition a valuable be will model the of Burgundy Dukes the under district our in riches of the asymbol As museum. KBR for the crane emblematic of this model scale a made Archim’aide company the of KBR, Friends non-profit organisation the from funds Using of wool. or bales herring of crates or oil, beer of wine, barrels goods: the lift then cables The crane. the in reel horizontal the moving thus wheel the in walk children” “Crane watermills. hydraulic in technology by the inspired is operation crane’s The prosperity. city’s the symbolises 1288, in Bruges in built crane, The Crane Special items

Isabella of Bourbon. Isabella of mausoleum the from and Fearless the John and Bold the of Philip graves the at mourners and Good, the of Philip abust made has workshop casting the museum, KBR for the Especially patination. and casting in both techniques, ancient employ still tradesmen specialised The years. 150 for almost continuously models plaster new producing been it has Meanwhile, them. using as well as century, 18th to the times prehistoric from dating of artwork casts 4,000 of around collection a It manages II. Leopold of King reign the under century 19th the in founded was History and Art of Museums Royal the at workshop casting The

22 Tears can be mended, gaps filled, ink corrosion corrosion ink filled, gaps mended, be Tears can history. and authenticity the to conserve important it is Meanwhile, deterioration. any to prevent and of abook, condition the to stabilise is objective key The object. heritage the in elements immaterial to the as material to the attention much as just pay which procedures, and deontological scientific recognised internationally adopt restaurateurs and However, custodians binding. modern century or 19th- 18th an in usually and binding, original their in seldom therefore are Manuscripts owners. changed book the or whenever fashion latest the to according or adapted replaced be could which protection, but temporary nothing as considered were long bindings For example, collection. the of characteristic times turbulent to the witness bear of Burgundy Dukes of the Library the from Even books some so, by time. untouched been have they that impression the give scripts and parchment clean the miniatures, of the spirit and brightness the condition: exceptional such in still are why they reason the also is value symbolic This owners. their the political and economic powers of carefully looked after, they as symbolise have been always library Burgundian the in manuscripts The librarians. for originally was conservation Book atask Conservation the future. the it for it now but protect share past, the to preserve wishing for those motto the is necessary” as much but as possible as little as “Do value. documentary or scientific religious, cultural, artistic, aesthetic, historical, composition, state, on the depending considered carefully always are and endless are abook to repair options …the replaced, leather spine reinforced, bindings fixed, paint prevented,

23 as their iconography is of great artistic value value artistic of great is iconography their as category, aspecial also are manuscripts Illustrated to handle. tricky them make weight and binding thick size, their while fragile, and precious are Old manuscripts infrastructure. technical appropriate the to not mention expertise, and patience precision, demands operation delicate This alibrary. in documents other than caution more requires of manuscripts digitisation The archiving. to digital approach of asustainable part as server on a stored permanently are which files form way this in produced metadata and images The source. the harming without one source from information all to store designed specially are by KBR used stations digitisation The metadata. structured and exchangeable of uniformly provision the and capture for image approach systematic a requires This reliable. scientifically and comprehensible both is that away in to do so and on acomputer to heritage access to give is aim The institutions. heritage in held heritage artistic and of documentary form digital in reproduction gradual the is Digitisation projects. digitisation of execution the coordinating with charged 2011, in department digitisation up the set institute the properly this To manage online. access to give and conservation preventive as both collections, its digitising been has KBR For adecade, audience and researchers worldwide. hidden treasures in their to vaults awide off show to able have libraries been large digitisation, this to Thanks 2000. since internet the of overwhelming success aresult digitalas of images and the have emerged library” “digital the The “digitisation heritage” of and Digitisation on belgica.kbr.be on them You through browse can library. Burgundian the from manuscripts all of almost digitisation complete the included have museum KBR the at Preparations volume. on alarge fortnight entire day. an per spend We pages 100 can more than to manage achallenge It is consuming. time very be can digitisation its of amanuscript, nature the on Depending to illumination. itwhen comes complexity, certainly to the adds of gilding use The reproduction. colour afaithful requires and .

24 Triptych (inv.Triptych 2242) of Christ birth The Anonymous (inv.344) of Affligem triptych the from Panels crucifixion The and cross of the bearing The Anonymous 8738) (inv. and 8737 atriptych from Fragments resurrection The and cross of the bearing The Anonymous, (inv. 567) century 15th Netherlands, Southern Preaching Brussels from master Anonymous (inv. 7016) century 15th Netherlands, Southern of people Group Weyden der van to Rogier Workshop belonging (inv. 3607) century 15th of the half second of Cleves of Philip Portrait master Anonymous (inv. 1500 6355) ca. (Brussels?) Netherlands Southern Fair the of Philip Portrait Coninxloo?) van of Pieter (imitator Anonymous (inv. 1480 6149) ca. Netherlands, Southern Barbara of life St. the from Scenes Barbara of St. legend of the Master of Belgiumof Fine Arts RoyalBrussels, Museums established. was Burgundy of Dukes the of a clear idea of the context in which the collection visitors give casts and retables Altarpieces, KBR. magnificent collection of manuscripts held by KBR museum can enjoy even more than just the Thanks to many lenders, those visiting the Loans apanel from , Fragment

, Fragment of a painting of apainting , Fragment , Southern Netherlands Netherlands Southern ,

Museums and of History Art TheBrussels, Royal (inv. 3629) (inv. of Bassine altarpiece the from Fragments Anonymous (inv. 9021) Statue Catherine St. Anonymous (inv. 0918) altarpiece an from Fragment Adrian of St. Martyrdom The Anonymous 1460-1470 (inv. ca. 868) Netherlands, Southern cross the from Descent Anonymous

, Fragment from a retable aretable from , Fragment

25 (inv. C195a) century 15th Netherlands, Southern Palace, below Coudenberg excavations during found spout, pouring and base aflat with lamp Oil Museum City BrusselsBrussels, (inv. GRO 0201-202. I) century 15th Netherlands, Southern Diptych of Sorrow Man and Dolorosa MarmionMater of Simon workplace to the Attributed Museum Groeninge Bruges, century 15th the of half first Netherlands, Southern Wilgefortis St. Anonymous Hof van Busleyden Museum Mechelen, 0731) PHN 10731 /MRAH (WHI century 17th Netherlands, Southern pulley, bow with Cross 0004) PHN /MRAH 10004 (WHI century 15th Netherlands, Southern sleeves, short with shirt Chain-mail 4447) PHN /MRAH 14447 (WHI century 15th or Switzerland, Germany Guisarme, 0279) PHN /MRAH 10279 (WHI century mid-16th Netherlands, Southern soldier, for pedestrian ahalf and Sword for ahand 0493) PHN /MRAH 10493 (WHI century mid-15th Two-handed Germany, sword, 0504) PHN /MRAH 10504 (WHI century 15th Netherlands, Southern dagger, Bollock 1078) PHN 11078 /MRAH (WHI century 15th late Netherlands, Southern hook, with culverin Hand and History Art The Royal Museums of WarBrussels, Heritage –

s, s, Wroclaw, 1647 Wroclaw, Wilhelm of Heinrich Fleece Golden the from Necklace Hans Boxhammer collection Private century (Nivelles?), mid-15th Netherlands Southern chariot Gertrude’s St. from Panels Gertrude of life St. the from Episodes Jacob Sourdiaus Church Gertrude of St. Collegiate Nivelles, 91(inv. B/X0-45) Mich St century 15th Netherlands, Southern Brussels in Gudula’s Cathedral St. the under excavations during found lenses, glass Optical d’Archéologie royale SociétéBrussels, Amsterdam, Rijksmuseum , (inv. BK-AM-33) Rijksmuseum Amsterdam, of Bourbon of Isabella mausoleum the from mourners Six (inv. 1416) CA Beaux-Arts, des Musée Dijon, the Fearless John and Bold the of Philip graves the at Mourners 5432) KRG (inv. Württemberg Landesmuseum Stuttgart, 1510 ca. Augsburg, Good the of Philip Bust to Jörg Muscat Attributed based on the original pieces Museums and of History Art fromCasts the Royal 173v) fol. 1923, (CC 1468 register Netherlands, Southern 1468 -31 1468 December 1 January Bold the for Charles treasurer de Ruple, Guilbert from Invoices for miniaturists. register Payment Archives National Belgian

26 and pleasant oasis, in the centre of the busy city. busy of the centre the in oasis, pleasant and agreen It is or research. studies visitor’s between in air for fresh some ideal is courtyard KBR’s inner courtyard Inner answered. be will visitors of all questions counter, the where information the at or reader’s card aticket to buy possible It is laptop. on their work quietly can they or appointment for their wait they while lounge the in aseat take can Visitors spot. pleasant a very is KBR at reception the renovation, to the Thanks Reception mobility. limited with improve and to those accessibility building the in circulation facilitate infrastructure, 2019,madewere a professionalto with visitors modifications providereception many In views of Brussels. magnificent and courtyard inner include the treasures other study, work read, collection, or enjoy heritage abite cherished addition to In the to eat. for place students looking to apleasant and passers-by many attracts KBR Brussels, of heart apublic knowledge.place access the space to providing exceptional As in inspiring It of an use is your the time. to maximise redesigned entirely been has KBR place meeting KBR as a musical treasures from KBR’s collections. from treasures musical unknown and famous with listeners entrance musicians motivated Talented and institution. the in stored scores of musical heart to the journey imaginary an is concert ayear. Each times six gathering enjoy a musical can visitors floor, where 4th on the hall aconcert accommodates KBR hall Concert artists. with together designed KBR that products unique and artists by of famous works prints catalogues, exhibition and publications KBR purchase can They KBR. shop of the in something to find sure be always can Visitors gift? or nice for abook Looking Shop

27 objects illustrating the exciting life of Thielemans. life exciting the illustrating objects other and letters books, scores, musical fifty cuttings, press of photos, hundreds contains of KBR, care the in Fund, Toots The Thielemans Toots Thielemans. musician, jazz world-famous the about exhibition an launch will museum the Year. 2022, In Bruegel of part as organised was and prints of Bruegel’s collection entire the displayed exhibition This exhibition. White” and Black in World of Bruegel “The to admire possible it was 2020, 16 February until where, area exhibition amagnificent into transformed been has space The to KBR. belonging palace 18th-century an of Lorraine, of Charles Palace the 2019 was in of KBR’s renovations One area Exhibition park. car underground to an door next and Station to Central close of Brussels, heart the in central: very is location KBR’s Furthermore, or course. presentation meeting, event, conference, for areception, place original an are galleries stylish The meeting. event or for an location perfect the is KBR Renting venue a the grandeur of the partly renewed interior. interior. renewed partly of the grandeur the revives that artisanry and sustainability products, of local acombination kitchen: Fransen’s Filip of chef philosophy the in as well as city over the view amazing the in found to be is “Perspective” perspective. with pastry afternoon and coffee enjoy lunch, can tourists and locals visitors, KBR, of floor 5th the On doors. its open will “ALBERT” restaurant new the year of this months last the In Restaurant

28 Fund financed the model of a crane from Bruges. the model crane of a financed Fund The funding. items collection and Forways. purchasing in it KBR supports example, of anumber in KBR’s supports Friends of KBR activities organisation non-profit The manuscripts. restorationsupported medieval of the the Belgium’s patrimony. Fund doing Baillet-Latour so, In the contributes to managing way, involved this in restoration projects and, in regularly is The Fund grants. and prizes of funds, allocation the with heritage to Belgian is preserve mission Fund’s evolution. but arigorous open approach with The to social excellence Belgium, in Baillet-LatourThe Fund added value. cultural visitor seeking (inter)national of needs every the satisfy can KBR layout museum accessibility. improving the such, and As reception infrastructure, the by Toerisme supported adapting KBR welfare. has employment Vlaanderen social and economic to improving aview return, with Brussels and Flanders in industry tourist Toerisme Vlaanderen renovated spaces. the exhibition in collection heritage magnificent the to admire future the enjoy in more frequent opportunities will of visitors to KBR them work KBR’s design interior Thanks in and premises. played has a key infrastructural role the Agency in Buildings context. The Belgian evolving to the adapt this and patrimony country’s the to maintain invests heavily patrimony. historic The and organisation architectural Belgium’s and national service public for federal authority the estate real federal the is Agency Buildings Belgian The organisation Friends of KBR. the Baillet-Latour Fund and the non-profit Buildings Agency, Toerisme Vlaanderen, Belgian the from support and collaboration The KBRmuseum saw the light thanks to Partners promotes the sustainable development of the and promotes sustainable tourism the in focuses on encouraging, developing and promoting human developing promoting human on and encouraging, focuses

29 found in Boulevard de l’Empereur 4. de l’Empereur Boulevard found in be bays can parking disabled Several accessible adisability. to people with tour are museum and The building of KBR. entrance main the Access via stop “Place Royale”) tram/bus Centrale”, “Gare (metro Brussels 28, Mont des Arts Location 1 November, 11 November, December) 25 Day, Monday, Whit 21 July, 15August, Monday, 1May, of Thursday Ascension holidays Sunday, (1Easter January, Easter bank onClosed Mondays certain and 10.00 –6.00 pm am From 18.09.20, Tuesday to Sunday: times Opening information Practical Guided tours Guided museumPASSmusées ICOM (Lerarenkaart/carte card, PROF), € 11 Tickets Brussels-Central and back. and Brussels-Central reduction a50% them buy Ticket gives aDiscovery which can visitors museum, to ticket the admission SNCBto the online code on their Thanks for museum. KBR of visitors the journeys SNCB offers a train reduction on train by visit Museum to www.kbr.beGo Spanish. and German French, English, Dutch, offeredin are Guided tours Free 8 €

job seekers, Belgian teachers Belgian seekers, job (+1 companion), disability Under a 18s, with visitors >15people)groups Reduced (65+, rate students, Standard for more information. more for on their journey to journey on their

30 protect against COVID-19 against protect to measures Health 6. 5. 4. 3. 2. 1.

as is maintaining physical distance. physical maintaining is as Wearing amask is mandatory, numbers are limited in confined spaces. Visitors do not pass each other and every day (twice aday for risk points). The museum is fully disinfected using the interactive screens. A digital is stylus provided for and disinfectant wipes for audio devices. There is hand sanitiser gel in various locations limited to people 50 per hour. The number of visitors is

31 Press contacts

PRESS CONTACT KBR PRESS CONTACTS BE CULTURE

Rebecca Thierfeldt Séverine Provost Communication General Manager [email protected] Noor Van der Poorten +32 (0) 473 49 59 20 Project Coordinator

+ 32 (0) 2 519 55 96 – www.kbr.be [email protected] +32 (0) 478 49 95 97 be +32 (0) 2 644 61 91 – www.beculture.be Design: onostudio. Design:

Regie der Gebouwen Régie des Bâtiments