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THE SAINTE-CHAPELLE IN DIJON AND THE RESIDENCESOF THE DUKES OF BURGUNDYARCHITECTURE, HISTORY AND MUSIC
EXHIBITION FROM 17 MAY TO 13 OCTOBER 2014
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CONTENTS
A MUSEUM WITHIN A PALACE
THE DUKES OF BURGUNDY AND THE DUCAL CHAPEL
THE DUCAL CHAPEL OF DIJON, MANY YEARS IN THE MAKING
THE DUCAL CHAPEL, VIRTUALLY RECONSTRUCTED IN 2013
THE PALAIS DES DUCS IN DIJON
THE PALAIS DES DUCS IN DIJON, A PALACE REVEALED?
CREATING THE DEPICTION
THE RESIDENCES OF THE DUKES OF BURGUNDY
CHÂTEAU DE GERMOLLES, THE CELEBRATION OF A PRINCE
THE CASTLE OF THE DUKES OF BURGUNDY IN HESDIN
AROUND THE EXHIBITION
THE CURATOR
CONTACTS AND PRACTICAL INFORMATION
COPYRIGHT-FREE VISUALS
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The Musée des Beaux-Arts of Dijon, partly installed within the historic residence of
the dukes of Burgundy, has rediscovered its central place at the heart of the city
since the opening in September 2013 of the new section dedicated to the Middle
Ages and the Renaissance, the first phase of its enormous renovation project.
At its core, the redesigned Cour de Bar courtyard presents a contemporary
extension that integrates harmoniously with the old architecture, including the
residence built by Philip the Good in the mid- 15th century which is now a highlight
of the visit.
This documentary exhibition invites visitors to delve deeper in their discovery of
what we currently know of the Sainte-Chapelle, a magnificent Gothic building that
dominated the city of Dijon until 1802, and exploration of the adjacent palace of the
dukes of Burgundy.
Thanks to a virtual visit featuring music and digital applications, the public is invited
to rediscover the history of these prestigious buildings constructed in the time of
the dukes. Complete with an evocation of the other ducal residences and a glimpse
of daily life at the court of Burgundy, this journey through time enriches visits to
the renovated museum.
A MUSEUM WITHIN A PALACE
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In 1363, Philip the Bold was granted the
duchy of Burgundy in apanage. He made
Dijon a brilliant artistic hub and elevated
it to the status of capital.
His son John the Fearless was to
experience a more troubled reign and
his thirst for power and the continental
conflicts against France caused him to
neglect Dijon to a great extent.
The third Duke of Burgundy, Philip the
Good, inherited the duchy in 1419. During
his reign, the political and cultural centre
of gravity of the Burgundy states moved
towards the Netherlands. He did not
however neglect the duchy of Burgundy,
which he took to the pinnacle of its
power.
The ducal chapel, founded by Hugh III
in 1172, became the headquarters of the
Order of the Golden Fleece in 1430. In
1433, pope Eugene IV granted Philip the
Good the Sacred Host and the ducal
chapel became its home.
The city’s powerful families had
themselves interred in prestigious
funereal monuments there and founded
votive chapels.
Under the brief reign of Charles the Bold
then that of the king of France, the ducal
chapel retained all of its importance in
the religious life of Burgundy.
During the French Revolution, the
artworks and items of furniture held
in the Sainte-Chapelle were dispersed,
vandalised or destroyed Finally, in 1802,
the old Sainte-Chapelle was destroyed
by a mine explosion.
From the mid-20th century, the chapter
house, situated on the ground floor of
the tour de Bar tower, hosts the vestiges
from the adjacent Sainte-Chapelle.
Stained glass, sculptures and painted
panels all bear silent testimony to the
artistic importance of the lost ducal
chapel.
THE DUKES OF BURGUNDY AND THE DUCAL CHAPEL
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Founded in 1172 by Duke Hugh III
of Burgundy upon his return from a
pilgrimage to the Holy Land where he
risked his life, the vast chapel adjacent to
the princely palace and facing towards the
north was constructed in several phases
which only ended in the early 16th century.
This collegiate church governed, under
the authority of a dean, by a college of
ten then twenty five canons, enjoyed
numerous privileges and major revenues
thanks to the support of the dukes.
Reporting directly on the Holy See of
Rome, it escaped the episcopal jurisdiction
and played an important role in the life
of the city and the duchy of Burgundy
throughout history. After the French
Revolution the chapel was not returned to
the church, unlike the churches of the city.
THE DUCAL CHAPEL OF DIJON, MANY YEARS IN THE MAKING
Judged to be insignificant in terms of its
architecture and too costly to maintain,
the most beautiful Gothic building in
Dijon, which had dominated the city with
its crowned spire over 50m in height was
destroyed in 1802 by a mine explosion.
A last vestige remained at the first
western side bay, next to the façade,
for which François Pernot and Jules
d’Arbaumont produced the designs. It was
destroyed in 1852 to allow the construction
of the eastern wing that enclosed the Cour
de Bar. Only the chapter house, situated
on the ground floor of the Tour de Bar,
a few pillar bases and a few capitals still
bear witness to the existence of this ducal
chapel.
Juliette Rollier-Hanselmann
Multidisciplinary project manager, École
Nationale Supérieure des Arts et Métiers,
ParisTech
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THE DUCAL CHAPELVIRTUALLY RECONSTRUCTED IN 2013
The programme allows visitors to
discover music from the era with
spatialised acoustics reproducing the
propagation of sound in the building
according to the movements of the
protagonists.
An animated film also presents the
reconstruction of a performance of the
church’s «musical cantors» directed by
the children’s choirmaster. It takes place
around the lectern installed between
the choir stalls. On the programme is
Alleluya Ego vos from the Messe de
saint André by Guillaume Du Fay (1400-
1474) and the Regina Caeli by Loyset
Piéton (who died in 1536), two œworks
emblematic of the musical activities of
the Sainte-Chapelle and their respective
eras.
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Within the context of a multidisciplinary
university research programme bringing
together musicologists, archaeologists,
historians and virtual reality engineers,
a 3D architectural reconstruction
has been produced by reinterpreting
historic maps and cross-sections.
It integrates spatialised sound extracts
and virtually reconstructs the votive
ceremony of the Annunciation, whose
foundation charter, given on 6 June
1526 by Girard de Vienne, seigneur of
Ruey and baron of Antigny, it describes
in detail. The liturgical garments are
inspired by the tapestry Le Siège de
Dijon par les Suisses, conserved at the
Musée des Beaux-Arts in Dijon, and
other historic representations.
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From at least the 12th century, the
dukes of Burgundy owned a residence
in Dijon situated to the north of the
castrum (Low Empire fortified wall).
In the 14th century this residence
stretched between the Sainte- Chapelle,
the current Place des Ducs, the Porte
aux Lions and the current Place de la
Libération.
The organisation of the residence at
this time may be partially reconstructed
thanks to the repairs accounts.
When Philip the Bold arrived in
Burgundy in 1363, the residence
grouped together a disparate collection
of buildings arranged around two
courtyards : the large residential
courtyard to the north and the lower
courtyard to the south, used for service.
In around 1366, he began the
construction of a new inhabitable tower,
between the great hall and the Sainte-
Chapelle (the future Tour de Bar).
THE PALAIS DES DUCS IN DIJON
To the north of the tower was erected a
vaulted treasure room and the annexes
to the bedrooms : the wardrobes and
latrines. In 1384, duchess Margaret of
Flanders had steam rooms constructed
in the lower courtyard whose bathroom
was wood-panelled and heated with a
wood-burning stove.
John the Fearless spent little time in
Dijon. His wife, Margaret of Bavaria,
erected a red « gallery » on five pillars
above the inner courtyard or raised
garden which contained bedrooms and
a chapel. From 1445, Philip the Good,
who wished to modernise the old living
quarters in the Dijon residence, built on
the southern side the stairway tower or
vis of the new living quarters, destroyed
circa 1710.
In August 1454, the Duke took
possession of the premises. The
construction of the Grande Tour was
completed before 1459.
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The residence of the Dukes of Dijon is
the best preserved of the urban palaces
of the Dukes of Burgundy. Indeed, all
that remains of the Hôtel d’Artois in
Paris is one tower, the Prinsenhof in
Ghent is reduced to two monumental
doors, and that of Bruges has given its
name to a Neo-Gothic residence. Of the
Palais Rihour in Lille, all that remains
is one room and a tower which has
been moved. In Brussels, the cellars of
the Coudenberg have been carefully
excavated, restored and showcased,
with exemplary sense of, and respect
for, its heritage.
In Dijon, the Tour de Bar, the ducal
kitchens and the new living quarters
of Philip the Good form an exceptional
ensemble, which has to date never been
appraised and valued as it deserves.
The new living quarters in particular
(which stretch from the Salles des
Tombeaux to the Tour Philippe le Bon)
has not been the subject of any global
study since those of Henri Chabeuf
(1894 and 1902) and the sealed
separation of the building between
the town hall and the museum has not
allowed its coherence and exceptional
conservation to be discovered.
THE PALAIS DES DUCS IN DIJON,A PALACE REVEALED ?
On the occasion of the preparatory
studies for the restoration of the
museum, thanks to the construction
archives, the initial research allowed
the positioning of the jewellery and
treasure chambers on the ground floor,
and on the first floor those of the Salle
du Poêle and the duke and duchess’
chambers, to be identified. The Centre
de Castellologie de Bourgogne, which
was given access to the restoration site
from January 2012, was able to confirm
its hypotheses through archaeological
observations. During the work, the
stripped walls revealed panelling
attachments, the slopes of latrines,
workmen’s graffiti, a measurement
device, and traces of polychromy. In the
courtyard, the trenches that crossed the
wall of the castrum and the foundations
of the Capetian palace also allowed
certain observations to be made. But
the most fruitful discoveries were
made by systematically comparing
iconographic sources, archives,
constructions and studying the two
separate halves of the palace as a single
object.
Hervé Mouillebouche
Senior lecturer, Université de
Bourgogne
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« It all began in the autumn of 2013
with a visit to the Palais des Ducs in
Dijon, under the leadership of university
historian Hervé Mouillebouche.
He already had fairly precise ideas
of designs in mind which he wished
me to carry out, and he had the plans
and charts of the building to hand.
Hervé tried to help me understand the
architecture of the medieval palace
which was later absorbed into the
CREATING THE DEPICTION
enlargements of the 17th and 18th
centuries of the palace of the States of
Burgundy.
I photographed everything he pointed
out to me. I had to follow him up
staircases and above all through the
chronology of the volumes dovetailed
by successive reconstructions of the
palace since the Middle Ages. While
passing through, I made sure I made a
few sketches that I could clean up later.
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The first sketch I made was that of the
calibration.
It was necessary to interpret the
plans, carefully study photographs
and examine a large volume of
documentation. Little by little, the
sketch was formed. Finally, my
conversations with the historian allowed
this first depiction to be completed,
which aimed to put into context the
discovery of a yardstick engraved
on the southern wall of the palace.
Certain objects, sculptures or paintings
displayed in the museum are also
represented, which I invite the visitor to
discover ! »
Lionel Duigou
Illustrator
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First project for the Palais des
États, 1688
First project for the Palais des
États, 1688. In 1688 Jules Hardouin-
Mansart, architect to king Louis
XIV, developed enlargement
project around the ducal palace,
on the model of Versailles. He also
designed a semi-circular courtyard
to host the equestrian statue of
the king. The Sainte-Chapelle,
nestling at the heart of the city
and adjacent to the ducal palace,
dominated the buildings of Dijon
with all of its height.1
The Palais des États around 1780
The painter Jean-Baptiste Lallemand
from Dijon was accustomed to views
of the city and its surrounding areas
in the late 18th century. Here he
depicts the façade of the Palais des
États overlooking the Place Royale
organised around the equestrian
monument of Louis XIV. From left to
right, it is easy to spot the Pavillon
des États (the current entrance to the
municipal archives), the Tour Philippe
le Bon, and then the spire of the
Sainte-Chapelle.10
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The main ducal residences are found
in the heart of Burgundy, not far
from Dijon and sometimes even in
its immediate surroundings. They all
bear witness to the magnificence of
the dukes and to a strong desire for
comfort and pleasure.
The fifty or so properties belonging
to the Valois dukes in Burgundy were
equipped not only with functional
installations - farms and storerooms
for exploiting the domains, defences,
administrative and judicial premises for
exercising seignorial and public power -
but also residential constructions,
developed to a greater or lesser extent
and used to receive the duke, his family
and the court. Called away on strategic
missions, some of them rarely or never
received a princely visit. Before 1369,
Philip the Bold frequented only a dozen
of his residences, including Dijon,
Rouvres and Montbard. After 1380, he
was occupied by Paris and Flanders. His
successor, John the Fearless, was even
more so. Both therefore used the Hôtel
d’Artois in Paris and the Ghent, Bruges
and Lille residences in Flanders or the
Arras and Hesdin residences in Artois.
THE RESIDENCES OF THE DUKES OF BURGUNDY
Certain sites were favoured and in the
late 14th century became remarkable
laboratories of innovation : Aisey-sur-
Seine and its deer park, Rouvres or
Germolles with its gardens and farms.
Everywhere the construction,
organisation and decoration of these
residences were entrusted to the
very best artists and craftsmen of
the era, who also participated fully in
showcasing the power and authority
of the dukes. Today the sites fail to
demonstrate this at first glance. They
suffered from a number of accidental
or intentional destructions and many
are ruins, some more visible than
others. Fewer than ten of them have
resisted better however, despite the
considerable transformations they have
undergone over time.
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In 1380, Philip the Bold acquired the
fortress of Germolles near Chalon-
sur-Saône. In 1381 he granted it to his
wife, Margaret of Flanders, who carried
out major work and transformed
the austere fortress into a luxurious
pleasure residence.
The advantage of Germolles is that it
bears witness, through its architecture
and decoration, to the opulence and
inventiveness that blossomed at this
wealthy court in the late 14th century.
The residence, of which half remains,
was in the form of a rectangle, in the
middle of which there was a courtyard.
To the north, the castle was composed
of an entrance porch confined by two
towers. The erection of the remaining
buildings was developed over three
levels : the ground floor (domestic
activities - storeroom, kitchens, steam
rooms - and the secondary chapel), the
first floor (living quarters of the princes,
main hall, ducal chapel), and the second
floor (living quarters of the entourage).
This regular, clearly legible organisation
is surprisingly « modern ». Its creator,
Drouet de Dammartin, designed
rigorous, effective, and elegant, sober
and noble architecture, translating with
the simplicity of its formal language the
prestige of the ducal family.
CHÂTEAU DE GERMOLLES,THE CELEBRATION OF A PRINCE
The decorations created to adorn the
building contribute to this princely
celebration. The tiles on the floor
therefore repeat a repertoire composed
of around thirty emblems : the lion, the
sun or the fleur-de-lis, for example,
illustrate the notion of power and
majesty and recall the ducal family’s
membership of the royal lineage.
The same values appear in the cycle
sculpted on the capitals of the fireplace
in the great hall. One scene, taken from
the romance by Chrétien de Troyes,
Yvain, the Knight of the Lion , tells of
the exploits of the hero at the moment
at which he fights a dragon to save a
lion ; once rescued, the noble animal
becomes the faithful companion of
its benefactor. This image appears to
have been chosen to suggest a parallel
between the courage of a legendary
knight and the bravery of the duke.
Matthieu Pinette
Curator in chief,
Château de Germolles
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The castle of Hesdin was dependent
on the French crown before passing
to the counts of Artois and then to the
house of Burgundy in 1384. This regular
residence of the dukes of Burgundy was
situated in the northern corner of the
triangle formed by the medieval town,
along the banks of the river Canche. The
iconography and archive texts reveal that
it was pentagonal in shape with a tower
at each corner. It was accessed from the
town by two doors while a third door
opened onto the game park to the north.
Each was closely guarded by a doorman
and the guards had several « bartizans »
situated on the walls.
In the north wing of the castle is the
« galerie d’esbatement » created by
Robert II d’Artois. It is a collection of
rooms hosting mechanical and hydraulic
automatons. These machines were
probably inspired by the Islamic models
that the count was able to admire in
certain Sicilian gardens on a trip to
Palermo. Among the 75 rooms in the
castle was the « ostel du chastellain »,
the chapel, various bedrooms named
after their decoration (the Stag room
or the pink room), galleries, areas for
the running of the residence (areas for
storing foodstuffs, jewellery and animals),
lodgings for the castle’s officers and
prisons.
THE CASTLE OF THE DUKES OF BURGUNDY IN HESDIN
In the absence of a precise description
and archaeological digs, it is impossible
to detect the exact location of most of
these rooms.
In addition to this vast castle, the dukes
owned a few small residences in the
surrounding areas : this was the case of
the Hôtel du Manage for example, which
hosted a labyrinth of plant life, and the
« Pavillon du Marais », constructed in a
green and calm setting on the banks of
the river.
The multitude of residences allowed
the duke to withdraw from the constant
hustle and bustle that reigned at the
court. Similar phenomena maybe
observed in Paris, where the duke
possessed several residences in and
around the city, and in Bruges where
Philip the Good sometimes left the
Prinsenhof for the more peaceful Hôtel
Vert.
Victorien Leman
Ph.D student, Université de Picardie
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THURSDAY 22 MAYFrançois Tainturier, founder of the
historical music group Le Laostic,
recreates the music of the Middle Ages
and the Renaissance and presents
replicas of instruments of the era.
THURSDAY 5 JUNEAlexandre Mazuir (École Nationale
Supérieure des Arts et Métiers Paris
Tech - Institut Image), creator of the 3D
reconstruction of the Sainte-Chapelle,
reveals the secrets of the modelling.
NOCTURNALfrom 7 p.m. to 9 p.m.
WEDNESDAY JUNE 2014Music at the Sainte-Chapelle, Gilles
Binchois ensemble
Visitors are invited to explore the rich
musical hours of the Sainte-Chapelle,
discovering œpieces composed by
the musical masters of the 16th to 18th
centuries.
WEDNESDAY 18 JUNE 2014Music at the Sainte-Chapelle, heritage
revisited, Conservatoire of regional
importance and Les Ambrosiniens
ensemble
These training sessions bring to life the
music of the chaplains of the dukes of
Burgundy, drawing from the repertoires
of the 14th and 15th centuries. It is
also the first opportunity to listen to
Neumes, a piece for solo clarinet and
Gregorian choir composed in 2010
by Vincent Carinola and constructed
from Salve Regina, a masterpiece of
Gregorian chant.
AROUND THE EXHIBITION
THE 12.30 GUEST
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This exhibition was produced by the
City of Dijon and the ANR programme
« Music and musicians in the Saintes-
Chapelles 13th-18th centuries » in
partnership with the Centre National
de la Recherche Scientifique (CNRS),
the Agence Nationale de la Recherche
(ANR), the Centre d’Etudes Supérieures
de la Renaissance (CESR-UMR 7323),
Université François Rabelais de Tours,
the UMR ARTeHIS 6298, Université de
Bourgogne, Université Versailles Saint-
Quentin-en-Yvelines, École Nationale
Supérieure des Arts et Métiers
ParisTech - Institut Image, Centre de
Castellologie de Bourgogne, Longcat
Audio Technologies, Nicéphore Cité, the
Gilles Binchois ensemble and the Les
Ambrosiniens ensemble.
GENERAL COORDINATION OF THE EXHIBITIONMatthieu Gilles, interim curator and
director of the Musée des Beaux-Arts
Zoé Blumenfeld-Chiodo, manager of
the cultural department and Liliane
Lecler-Boccacio, intermediary
Sophie Jugie, director of the sculpture
department at the Musée du Louvre
Hervé Mouillebouche, senior lecturer
in medieval history (Université de
Bourgogne, UMR ARTeHIS 6298) and
Centre de Castellologie de Bourgogne.
« MUSIC AND MUSICIANS IN THE SAINTES-CHAPELLES 13th - 17th CENTURIES » PROGRAMME
SCIENTIFIC COORDINATION
David Fiala, senior lecturer (Université
François Rabelais de Tours,
Centre d’études supérieures de la
Renaissance - UMR 7323)
Juliette Rollier-Hanselmann,
Multidisciplinary project manager
(École Nationale Supérieure des Arts et
Métiers, ParisTech - Institut Image)
Vasco Zara, senior lecturer in
musicology (Université de Bourgogne,
UMR ARTeHIS 6298)
DIGITAL DEVELOPMENT
Christian Père, senior lecturer (École
Nationale Supérieure des Arts et
Métiers ParisTech - Institut Image)
Alexandre Mazuir, 3D computer
graphics specialist (École Nationale
Supérieure des Arts et Métiers
ParisTech - Institut Image)
Ghislain Nicolas and Jérémie Landrieu,
engineers (École Nationale Supérieure
des Arts et Métiers ParisTech - Institut
Image)
Benjamin Bernard and Benjamin
Ribolet, sound engineers (Longcat
Audio Technologies)
Jean-Claude Da Silva (Nicéphore Cité)
Antoine Tanguy, computer engineer
(Centre d’études supérieures de la
Renaissance - UMR 7323)
THE CURATOR
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WRITERSFrançois Duceppe-Lamarre, doctor
in archaeology of the Middle Ages
(Université de Lille III)
David Fiala, senior lecturer (Université
François Rabelais de Tours, Centre
d’études supérieures de la Renaissance -
UMR 7323)
Emmanuel Laborier, archaeologist
(Institut National de Recherches
Archéologiques Préventives)
Agnès Lavoye-Nbeoui, communications
manager (Tour Jean sans Peur)
Victorien Leman, Ph.D student in
history (Université de Picardie)
Hervé Mouillebouche, senior lecturer
(Université de Bourgogne, UMR
ARTeHIS 6298) and Centre de
Castellologie de Bourgogne
Matthieu Pinette, head heritage curator
(Château de Germolles)
Philippe Plagnieux, lecturer (Université
de Besançon and École Nationale des
Chartes)
Rémi Rivière, director of the Tour Jean
sans Peur
Juliette Rollier-Hanselmann,
Multidisciplinary project manager
(École Nationale Supérieure des Arts et
Métiers, ParisTech - Institut Image)
Vasco Zara, senior lecturer (Université
de Bourgogne, UMR ARTeHIS 6298)
Lionel Duigou, illustrator
DIGITAL DEVELOPMENTLoïc Million, manager of the studies
and development department (City
of Dijon - Department of Information
Systems and Telecommunications) and
the Cent millions de Pixels, MG Design,
Opixido and Tévolys companies
SCENOGRAPHY AND GRAPHICSSéverine Chupin, assisted by Simon
Bethenod from the Les Pistoleros
agency
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PRESS CONTACT
CHRISTINE LEPEUKommunikationsassistentin
03 80 74 53 27
For all requests for visuals, please contact us
PRACTICAL INFORMATION
EXHIBITION OPEN EVERY DAY EXCEPT TUESDAY AND 14 JULY
FROM 9.30 A.M. TO 6.00 P.M.
FREE ENTRY
MUSÉE DES BEAUX-ARTS DE DIJON
PALAIS DES DUCS ET DE ÉTATS DE BOURGOGNE
CS 73310
21033 DIJON CEDEX
Tél. 03 80 74 52 09 - [email protected]
MBA.DIJON.FR
OPEN EVERY DAY EXCEPT TUESDAY
FROM 2 MAY TO 31 OCTOBER FROM 9.30 A.M. TO 6.00 P.M.
FROM 2 NOVEMBER TO 30 APRIL FROM 10.00 A.M. TO 5.00 P.M.
CERTAIN ROOMS ARE CLOSED FROM 11.30 A.M. TO 1.45 P.M.
THE MUSEUM IS CLOSED ON 1 JANUARY, 1 AND 8 MAY, 14 JULY, 1 AND 11
NOVEMBER, 25 DECEMBER
FREE ENTRY
CONTACTS AND PRACTICAL INFORMATION
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COPYRIGHT-FREE VISUALS
Jules Hardouin-Mansart, First project for the Palais des États, 1688 ms 1501© Paris, Bibliothèque de la Sorbonne
1
Workshop of Rogier van der Weyden, Portrait of Philippe le Bon, Deposit with exchange, Saint-Étienne, Musée d’Art et d’Industrie© Musée des Beaux-Arts de Dijon. Photo Hugo Martens
2
Chapter house of the Sainte Chapelle© musée des beaux-arts de Dijon. Photo F. Jay
3
Hypotheses of reproduction of the Sainte-Chapelle of Dijon© Alexandre Mazuir, CNRS UMR 6298 ARTeHIS, École Nationale Supérieure des Arts et Métiers ParisTech - Institut Image
4
Depiction of the building site, 13 March 1452, drawing by Lionel Duigou, 2014© Lionel Duigou
5
Sketch depicting calibration, drawing by Lionel Duigou, 2014© Lionel Duigou
6
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Photomontage© Alexandre Mazuir, CNRS UMR 6298 ARTeHIS, École Nationale Supérieure desArts et Métiers ParisTech - Institut Image / Musée des Beaux-Arts de Dijon.wPhoto F. Jay
Sketch depicting calibrator, drawing by Lionel Duigou, 2014© Lionel Duigou
7
Sketches of garments from illuminations, drawing by Lionel Duigou, 2014© Lionel Duigou
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Blatt mit Skizzen von Kleidung auf der Grundlage von Buchmalereien, Zeichnung Lionel Duigou, 2014 © Lionel Duigou
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11French anonymous, Country fair at the court of Philip the Good© Musée des Beaux-Arts de Dijon. Photo F. Jay
Lallemand, Jean-Baptiste, The Palais des Etats around 1780© Musée des Beaux-Arts de Dijon. Photo F. Jay
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