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The Chronology and Political Significance of the Tomb of Mary of Burgundy
Ann M. Roberts
The Art Bulletin
Vol. 71, No. 3 (Sep., 1989), pp. 376-400
Published by: College Art Association
DOI: 10.2307/3051135
Stable URL: http://www.jstor.org/stable/3051135
Page Count: 25
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Abstract
The tomb of Mary of Burgundy, the last Valois ruler of Burgundy, stands in its original site in the church of Notre Dame of Bruges. The date of this monument and the names of the artists who created it have been obscured in the past by an incomplete knowledge of the documentation for it. This essay provides transcriptions of newly discovered documents that detail the dates of construction and the personalities involved in the financing and execution of this project. The dating of the monument to a critical period in the rule of Mary's husband, Maximilian of Austria, leads to a reconsideration of the program of the tomb. The well-developed genealogies that are the great innovation of this monument are seen as a legitimization of Mary's status as the heir to the Burgundian patrimony, in the face of challenges to her right to inherit based on her gender.
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The Art Bulletin © 1989 College Art Association