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Contributions to the Iconography of the Counts of Holland, with Reference to the Statues from the Amsterdam Tribunal (concluded)

Contributions to the Iconography of the Counts of Holland, with Reference to the Statues from the... 234 boven de karakterisering der figuren als historische individuen het onper- soonlijke, algemeen vorstelijke der typen. Wegens deze opvatting behoren de vier beelden tot de middeleeuwse kunst, hetgeen in overeenstemming is met de gothische stijl, waarin ze uitgebeeld zijn 102). Contributions to the Iconography of the Counts of Holland, with Reference to the Statues from the Amsterdam Tribunal (concluded) by R. van Luttervelt Chapter III. The Statues from the Amsterdam Tribunal The author suggests that the four Amsterdam statues represent: Count William VI of Bavaria-Holland, his daughter Jacqueline, Charles the Bold of Burgundy and his daughter Mary. Count William can be recognized from his coat of arms (although this was renewed), the Order of St. Anthony round his neck and the curious hat, probably to be regarded as an uncomprehended imitation of a painting. His suit of armour is in part fanciful. Jacqueline is comparable with other portraits of her, for instance in the Rijksmuseum and at Frankfort, and with some statuettes on the tomb of Lodewijk van Male at Lille, which was destroyed during the French Revolution. The statue in Amsterdam may also have been influenced by the upright polychrome wooden statue of the Countess which at one time adorned her grave in the Court Chapel of The Hague, but of which no pictures are extant. Charles the Bold is recognizable from his physiognomy, his abundant hair, his chain of the Golden Fleece and possibly the big jewel on his hat, reminiscent of the big jewel which fell into the hands of the Swiss at the Battle of Granson (illustrated in the Historical Museum of Basle). His suit of armour has been adapted to that of William VI. Mary of Burgundy functions as a second Jacqueline of Bavaria: she, too, reigned over Holland, lost her father when still young and was faced with great difficulties. Her figure displays archaistic tendencies, which render recognition difficult. The pin on her round, flat, padded hat may formerly have supported a small crown. It follows from this identification that the statues must probably be dated from the beginning of the Duchess's reign, thus 1477 or 1478. The four figures show influences of the general sym- bolic medieval typification of princely personages discussed in the first chapter, but also the realistic individualistic manner of representation referred to in the second chapter. The former style however predominates in these statues, which may be termed as typically medieval. 1(2) Notitie bij hoofdstuk I: Een serie van 36 portretten van de graven van Holland, beginnende met een symbolische vrouwenfiguur met het wapen van Holland, en eindigende met Philips II, bevond zich in 1613 in de boedel van Karel van Croy, hertog van Aerschot, op kasteel Beaumont. Zie: A. Pinchart, Messager des sciences historiques, des arts et de la bibliographie de Belgique 1855, blz. 403. De verzameling werd in 1614 geveild; verde- re lotgevallen van de reeks zijn onbekend. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

Contributions to the Iconography of the Counts of Holland, with Reference to the Statues from the Amsterdam Tribunal (concluded)

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Publisher
Brill
Copyright
© 1957 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501757X00199
Publisher site
See Article on Publisher Site

Abstract

234 boven de karakterisering der figuren als historische individuen het onper- soonlijke, algemeen vorstelijke der typen. Wegens deze opvatting behoren de vier beelden tot de middeleeuwse kunst, hetgeen in overeenstemming is met de gothische stijl, waarin ze uitgebeeld zijn 102). Contributions to the Iconography of the Counts of Holland, with Reference to the Statues from the Amsterdam Tribunal (concluded) by R. van Luttervelt Chapter III. The Statues from the Amsterdam Tribunal The author suggests that the four Amsterdam statues represent: Count William VI of Bavaria-Holland, his daughter Jacqueline, Charles the Bold of Burgundy and his daughter Mary. Count William can be recognized from his coat of arms (although this was renewed), the Order of St. Anthony round his neck and the curious hat, probably to be regarded as an uncomprehended imitation of a painting. His suit of armour is in part fanciful. Jacqueline is comparable with other portraits of her, for instance in the Rijksmuseum and at Frankfort, and with some statuettes on the tomb of Lodewijk van Male at Lille, which was destroyed during the French Revolution. The statue in Amsterdam may also have been influenced by the upright polychrome wooden statue of the Countess which at one time adorned her grave in the Court Chapel of The Hague, but of which no pictures are extant. Charles the Bold is recognizable from his physiognomy, his abundant hair, his chain of the Golden Fleece and possibly the big jewel on his hat, reminiscent of the big jewel which fell into the hands of the Swiss at the Battle of Granson (illustrated in the Historical Museum of Basle). His suit of armour has been adapted to that of William VI. Mary of Burgundy functions as a second Jacqueline of Bavaria: she, too, reigned over Holland, lost her father when still young and was faced with great difficulties. Her figure displays archaistic tendencies, which render recognition difficult. The pin on her round, flat, padded hat may formerly have supported a small crown. It follows from this identification that the statues must probably be dated from the beginning of the Duchess's reign, thus 1477 or 1478. The four figures show influences of the general sym- bolic medieval typification of princely personages discussed in the first chapter, but also the realistic individualistic manner of representation referred to in the second chapter. The former style however predominates in these statues, which may be termed as typically medieval. 1(2) Notitie bij hoofdstuk I: Een serie van 36 portretten van de graven van Holland, beginnende met een symbolische vrouwenfiguur met het wapen van Holland, en eindigende met Philips II, bevond zich in 1613 in de boedel van Karel van Croy, hertog van Aerschot, op kasteel Beaumont. Zie: A. Pinchart, Messager des sciences historiques, des arts et de la bibliographie de Belgique 1855, blz. 403. De verzameling werd in 1614 geveild; verde- re lotgevallen van de reeks zijn onbekend.

Journal

Oud Holland - Quarterly for Dutch Art History – Brill

Published: Jan 1, 1957

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