Being the Count of Nassau Refiguring identity in space, time and stone Ethan M. Kavaler On November rI, rgl, Hendrik III of Nassau held a tournament at Breda to honour his son, Rend de Chalon, who had reached majority and been proclaimed Prince of Orange . This day of tilting and pageantry was an occasion to view in the Grote Kerk the splendid monument that Hendrik had erected to his uncle and guardian, Engelbert II of Nassau (figs. r-8).IVisitors to the new lterenkoorbeheld Engelbert and his wife, Cimburga of Baden, carved in aiabaster and lying on a plinth of black marble, surrounded by four kneeling heroes from antiquity. These over life-size statues, resplendent in ornate ceremonial armout supported a second slab of black marble, a permanent canopy suspended over the deceased which displayed carved representations of Engelbert's harness, helmet, leggings and gauntlets.2 Hendriks monument to his uncle was an effective assertion of both their identities; it projected a persuasive image of the great nobleman at a time when the function and ideology of the Netherlandish nobility was under renegotiation. Engelbert as knight of great renown stood for Burgundian virtue, the traditional mark of achievement and the comfort of custom, whereas the four legendary bearers and the bold Italianate design could signift command of the new humanist rhetoric of political discourse. The image must have seemed all the more powerful and appropriate for addressing a broad range of concerns proper to its estate: differingviews of family, chivalric ideals, commemorative rituals, and the cult of antiquity. Disparate codes of behaviour and authority \ rere potentially reconciled in this ambitious sculpture, which recast older conventions as references to more current values. Remarkably, Hendrik sequestered the monument from earlier tombs of the Lords of Breda, placing it in the center of a separate chapel. Equally distinctive is the portrayal of Engelbert and Cimburga just after death, shrouded with only their faces and hands revealed; the upper slab carries the count's armour rather than effigies of the couple in public dress. The separation of the monument from earlier tombs weakened the dynastic narrative that would have pointed so forcefully to the present. Rather, time is present- ed within different frames: the lifetime of an individual, the history of a family, the age of Greece and Rome.3 The momentary configuration of the culture, with its growing emphasis on immediate family relations, may have encouraged Hendrik's implicit presentation of himself through his illus- Etl:an r4 M. Kaurt/ar I Monument to Engelbert II of Nassau and Cimburga ofBaden. Begun 15z6 Breda, Grote Kerk. Photo: author. Monument to Engelbert II of Nassau and Cimburga of Baden. Detail. Breda, Crotc Kerk. Pl-roto: author. J Monument to Engelbert II of Nassau and Cimburga of Baden. Detail. Breda, Grote Kerk. Photo: author. 4 Monument to Engelbert II of Nassau and Cimburga of Baden. Detail. Breclm. Grote Kerk. Phoro: author. 5 Monument to Engelbert II of Nassau and Cimburga of Baden' Detail. Rreda. Grore Kcrk. Photo: author. 6 Monument to Engelbert II of Nassau and Cimburga of Baden. Detail. Breda. Grote Kcrk. Photo: aurhor. rrious protecror. He was less likely to introduce himself solely according to models of extensive lineage: 'l am Telemachus, the son of Odysseus, the son of Laertes, the son of Antolycus', for ties between father and son (or uncle and heir) had grown more culturally significant with internal boundaries more pefmeable.a If Engelbert of Nassau profited directly from comparison with ancient heroes, it was his nePhew who phrased the encomium; rhe memorial at Breda preseryed the memory of the uncle, that feu seigneur, through the prestige and invention of his heir. Engelbert and Hendrik defined each other reflexively. It was not usual at this time to erect a memorial to oneself, for the g and physical presence of the effigy referred so rously The tendency to confuse Person and "br.,r... nually evident in the fourteenth-century account of corrected his statue of Rudolf of Swabia in accordance with the aPpearance of the aging emperor. To be represented publicly as lifeless flesh was no laughing marter - or so catherine de Mddici discovered when she commissioned tornb for her deceased husband, Henri II. The queen, then forry- " Being the Count of Nassatt I I Ethnn,il[. Katttler I6 f r 7 Monument to Engelbert II of Nassau and Cimburga of Baden. Detail. Breda. Grote Kerk. Photo: author. 8 Monument to Engelbert II of Nassau and Cimburga ofBaden. Begun r;26. Breda, Grotc Kerk. Photo: anthor. Being the Count ofNasau -L L I I I five, rejected the marble effigy that portrayed her 'as she would look a few days after her death for a more decorous presentation of the obligatory trdnsi.l Those who retained an active interest in the affairs of this world could find such a tribute both disorienting and counterproductive. Begun in ry26, the Monument to Engelbert II of Nassau and Cimburga of Baden is a strikingly novel manifestation of courtly magnificence that forges identity through a selective synthesis of disparate paradigms. Naturally our notion of the ineffable individual with a unique consciousness and personality was foreign to the early sixteenth century.6 A sense of the self that reserved less space for a private and distinctive mental life led to a view of the individual more firmly bound to the group. Particular accomplishments tended to be recognized in terms of proximity to the ideal. There was an inherent dialectical relationship between active and passive models: between the courageous battle against Death, for instance, and humble submission to the Supreme Leveller. At issue is the authority of the model itself in defining personal experience.T The memorial to Engelbert II and Cimburga, which projects an image of the great noble across several cultural fields, mediates between independence and subsumption. ActingNobly been important for the nobleman to uiure noblement, to display visibly his status, yet the changing role of the nobility made this charge It had always increasingly problematic. Appointment to government office had become the principal avenue to wealth and success, a role chiefly as administrator or advisor that required greater education, entailed a relative loss of independence and conflicted with traditional chivalric ideology.8 Only the selfimage of the Netherlandish nobleman was threatened, for he remained economically, socially and politically secure, as long as he was prepared to reject the older feudal model based on personal military achievement; those who couid not adjust enteled into a limited rivalry with the prosperous and welleducated bourgeoisie. The high nobility ('grort, edelen') was perhaps more prominent in the early sixteenth century than during any recent period. In Brabant titled lands were concentrated in the hands of a small group of families to which the Nassau belonged.e By the rtlos their particiPation in Government policy had become so expected that Hendrik of Nassau needed to excuse himself when local matters prevented him from advising the central adminisrration in Mechelen.r0 Both Engelbert and Hendrik were quasi-public figures. They occupied important offices and had distinguished themselves in combat and diplomacy for their respective lords. Hendrik was well enough knolvn to warrant frequent mention of his affairs in the contemPorary journal of Antoine de Lusy of Mons.rL Engelbert had been vtsrble as stad' lnuder of Holland and governor of Lille, but he had also acquired a reputarion as a redoubtable warrior and trustworthy se rvant of the emperor. 'Until death we will remain with you, my Lord, and show you that we hate your enemies' - thus Engelbert is said to have assured the emperor in the Wonderlycke Oorloghen uan Keyer Maximiliaen, published at AntwerP shortly after r5r9.12 While still in his late teens, Engelbert won praise for dis- I I8 ? Ethan M. Kaurt/er Y I I tinguished service in battle. By the age of twenty-two, he had been named to the o.d.r of the Golden Fleece and appointed lieutenant general for Brabant and Limburg. He continued to fight valiantly for charles the Bold t at Nancy, r,vhere the Duke of Burgundy was killed and Engelbert taken prisoner. After his ransom and release he worked assiduously for the marriage berween Mary of Burgundy and Archduke Maximilian of Austria, as he would for the marriage between Philip the Fair and Joanne of Aragon' Engelbert fought for Maximilian as he had for Charles, supplying the-emp.ror with critical military support dur-ing rwo revolts in the Netherlands.l3 Having no legitimate children of his own, Engelbert took charge of his nephew Hendrik III in order to raise him properly as his heir. Arr:iving in the Netherlalrds at the age of sixteen, Hendrik spent considerable time in Brussels and Mechelen, associating with the high nobility and accompanying Philip the Fair to Spain. Admission to the order of the Golden Fleece i, h"d for his uncle, alongrvith an appointmentas stadhouderof folloived, "i Military successes against the forces of Gelderland and France Gelderland. earned him the position ofcaptain-general ofBrabant and then ofthe entire Netherlands army. Hendriks political responsibilities increased ^s stad'houcler of Holland and Zeeland, while his diplomatic skills were tested in working for the election of Charles V as emperor and insuring Passage of two i.Jport",rt peace trearies. Since his days of instruction to rhe young Charles V Hendrif often accompanied the emperor, as he did during the lengthy period of travel in Spain fron-tr5zz until rilo. In the r53os Hendrik fought agair'r for Charles, while spending the greater part of his final decade in Bieda, rvhere he died in r538.r1 \Thereas Engelbert had wed only once, Hendrik married three times, all to great advantage. In r5o3 he wed Franqoise Louise of Savoy. In Iyr5 Claudia de Chalon became his second wife, the daughter of Jean, Prince of Orange, and Philiberta of Luxembourg' After her death, Hendrik married Mencia de Mendoza at Burgos in 1524, the 5 daughter of the Marquis of Zenete and Maria de Fonseca. ' The Nassaus, like other great families, were expecred to live in a suitably grand manner that required considerable finances. Fine clothes, a livery .astle or distinguished residence we re mandarory, despite the fact that "nd " favored nobles often travelled with the peripatetic courts of the time. The srrategies for acquiring and maintaining wealth had been altered during the Burgundian Dynasty, with personal service to the Dukes valued higher than extensive lineage or independent achievement. Those nobles who assisted Philip the Bold and his successors were rewarded with fiefs, episcopal and rights to additional revenues. Among the leading families "ppoi.r,-.lr,s inih. N.th.tlands in Itoo were the Nassau, de Croy, de Lalaing, de Berghes and de Ligne. Charles de Croywas made Bishop of Cambrai; Guillaume de Croy was a respected mentor of Charles V and Antoine de Lalaing, the trusted advisor to Philip the Fair and the legent Margaret of Austria. Yet none of these lines had been especially prominent a hundred years earlier: all had risen through the personal favour of the Dukes.16 Neither the sword nor the plough was a reliable key to economic supporr, despire the fact that war remained a significant acriviry for the high nobiiity as it had been since the days of Philip the Bold; both Engelbert II and Hendrik III had earned favour partly by taking the field against the ene- t 1, art EBrnquIrJ pue traqlr8uE '(e 3U) urrrrs uepoo^\ rltu€r1rl ut lq sprr -ourlu raqto pu€.{:otrlnqrue rLIl tuoUlJo pasop'ladrqr EJo rrruaf, aLIt uI elroF sputrs uapugto uZ,tnqrut3 pua nussurlJto 11 ttaq1a8uE oi iuaunuory eq3., 3ur,u.err1 e.l.rleruroJJad puu ared5 elrleJoruaurruoJ puorrs a8utg: tdarlt pue srqt e>l?ru ,{rrlrqou aqr pedlaq pooqutu Jo suolrou rlr]t^Iqtr erp ol serl ,.,{-rntua: Lltuaarxls aqr Sur.rnp aLIr JoJIET{ parrnrlo srrpJo l{rntu q8noqr 'slEopr ,ttau oqr rllslutrunrl lll .{:essao:u pJJeplsuof, st.u padoldrue aqr a8rn8url pu? srnssr jo a8pa1.{\ou>l ruros '$ls?t alnneda: pue yrcru -qrJt tsoul glr.{\ prtsnrrua rlr,{\ srErrntaJnq puts s:al,ue1go ssel: ltuorsse3ord r q8noqa 'uonrsod u.tto srl Sunrasst ur a8r:n8ut1 r€lruns r rdope or 1:rnb se.tt .{rrlrqou eqt pu€ 'suorsEffo IerlUJo JJqlo Jo sarJtua snodof tE serueql I?f,rssEIJ ot JSJnoJaJ PErl etrts Jo suoDntrlsur eql :JtrlruJTSS? ot uon?fnPr uret-ral e pa:lnbar ttql slurar utt:tnbDut ur :a,ttod Surluasa-rda: JJe,{! rJnof Ir aADfE slsrutunH 'aJr,t;as Jllle:lsrunupr ur 8ururc:r pale:rtstqdos arou pa:rnbar dpunS:ng Jo selnq aqr Suour ,t\ET uEuro5 go uorteluaru:1drur JqJ 'sJlnue)ur .{urur ere,t\ ereql 0.'uoneJnpJ are.tud repeoJq t :oj 8ur -Bner-lr -lo dtrsra,trun Surpualrt ue8aq salqou risrpuelrarlteN go reqrunu 8ur -.uor8 r '.puEI rreqt palro.\\ oq.\\ srrurrEJ tsrporu rql tuog l1p:nlpr paloua-I str qtr.\\ snlJltl Jo Eepr r1llrl put prrrurJ llareq uago ere,\\ srtes leour.to:d rrallr tt rueplser asoLll seT;nluef snor,ta;d ur g8noqrpenltr\ uI pJsrerJur uontfnpJ 'a8ttsa:d pue re.uod Sururrta: ur turuodLul eJoru eu?treq alr,rrJs elDurrslulurp? sV n,'suotttsod ltluaruu,ra,r.o8 uo:3 l:e1es uI PUtsnoLIl urqt arotu Sururra rllq^\ sputl srq Ip uo{ spunod putsnoqr rno1 euros prlre]Tor nrulug ap dn3 rrarr) srqJo tq8raq aqr te id-rntua: qtueruu aqrJo retltl aqr Suunp tuaredd? dpea.rp sz.u luarudo]a^ap sn{I d;tps dqrparl JTErI r perrrrr .taltnoqpa$ pur: rou:e.to8 .{:rllrtu '.rolpu?gr Jo srl5Jo rLIt roJ 'prtuarod tsatear8 Jqt peral3o slsod leluaruu:a,to8 ol sluarururoddy 8r'ellrolur rJrr JrltJo rPnu Palunsuo) uauo stsol etruEuaturEu Pue sexEl alq.u'sarud uel:e:3e ur uotssa:dep aqt ua,tr8 'algergo.rd rroru qrnur lou sE^\ Surploq puE-I 'retrl s:red -,fiua.rl arnrua,\ptsrur d:r:trlrru 8ur.rto11oj spunod ooo'o8 reqtoull pue Lllt ur,{:utp jo ept"g aqt 8ur.uo11og rseeJer slrl e-rnsul ot spunod ooo'ol prtd ptq 11 rraqla8uE 'Luosu?r ruerlqroxe or pEel p]nol ernrdr: pu? 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Koudlet 9 'Wooden screen to new Herenhoor. BrcJr. (irote Kcrk Photo: Zcist. Rijksdienst voor de Motrume tlterz-org but newly important, not merely as a stage in continuous Nassau progress' im as individuals and Hendriks Nassau family were Present in t for the chapel, earlier ancestors 'sve find in tion, where they admitted the Iight that revealed the monument. for 'the the accounts that Dirck de Briyn, glaesmaker t'(Jtrecht' was paid more third window with the figures of count Jan and his wives'.22 Yet these couple central the which against a ground distant kin were presenr; apart, the were seen. Ertg.ib.rt, Cimburga "ttd thtit four attendants dominate The exiting' before circle or by to visitors Pass limited interioispace, fo.cing situation of the monumentlhus helps create its ideal viewer, subordinate face in opposite and deferential to the obiect of regard. The kneeling bearers an air of cleates and presentation .i,.,""lir.d directions, which suggert, " Being the Count of Ndssrtlr it through eyes familiar with the elaborate freestanding tombs of the later sixteenth and seventeenth centuries, those raised in the Burgundian tradition must have marvelled at the unique creation. This was no block-like sarcophagus surmounted by an effigv and surrounded by statuettes of ancestors or mourners; the images of the deceased are enclosed by human architecture that distinguishes it from the Tbmb of Louis XII andAnne of Brittary at St. Denis (fig. ro). Begun in Itrt, the French monument shelters the transis within an arcaded mausoleum, upon which spectacle. Whereas we see IO Tomb of Louis Begun XII and Anne of Brittany. rq5. Sr. L)enis. Photo: author. Ethan M. Kaualer The Grote Kerk at Breda ca. 1480 OId Htenkoor E II Plans ofthe Chevet Breda. Photo: Author ofthe Grote Kerk at to the virtues indicated. Hendrik III decided not to place the memorial in the old herenkoor, north of the main choir, where the Breda families of Nassau and Polanen Bcing thc Cotrrtt af ,'t"a::drr tombs over the course of fi\ro centuries (fig. rr). Entering funelaly reserve from the north transept, the visitor noted the tombs of Tan I of Polanen (fig. rz) and Jan II of Polanen on either side. Next on the right rvas the impressir.e Monument to Enge/bert I and Jan IV of lVassau, a project perhaps commissioned bv Engelbert II lor tivo of his orvn ancestors ifigs. r3-r4).r5 This large epitaph, also a statement of lor.rg-standing Nassau greatnessr rests agaiust the noltheln r,i'all of the church choir, across the ambulatory fron-r the new family chapel. Distinct in manv $'a)'s from its Renaissance cousin, this earlier sculpture is Late Gothic, designed in one of rhe lichest versions of the modern manller. The effigies ivith their patron :;rints kneel within a niche. On the left we see Engelbert I and Johanna vart l-rad erected three tl-ris Polanen rvith Saints George and Wendelit-rus. These are balanced on the right by Jan IV and Maria van Loon-Heinsberg lvith the Baptist and St. ,ferome. On the central pedestal stood a figure o[ Christ ol of the Virgin, u.hich rvas destrol'ed by the iconoclasts ar-rd replaced in the nineteenth cenrurlr 11' a statlre of the Virgin and Child crowned by angels. The numerous coats of arms, identifiable with the aid of a later engraved reproduction, appear to follow the Nassau line back to its legendarv beginnings.r(' Selfconscious claims to venerable ancestry remained current throughout the six- 2,) 12 Tomb ofJan I ofPolanen. Br cda, (lrore Kerk. Phoro: arLthor Ethdn M. Kntnler 24 r3 Monument to Engelbert I and Jan IV of Nassau. Rredr. Grote Kerk. I'hoto: author. r4 Montrment to Engelbert I and Jan [V of Nassau. Detail. Brcda. (lrote Kerk. lthoro: author. reenth century, when scholars at Breda pr family to antiquity; the Hapsburgs shared cratic cLrlture in tracing the lineage of Charl rvith the French kings for rights to the heritage of Ti'oyrtlie time that additions to the Grote Kerk at Breda This was "lro "bo.rt Being tlte Count of Ndsau ary site, destined to hold rombs for herselI, her late husband Philibert of Sa.",oy and his mother Margaret of Bourbon. The three funeral monumenrs s'ere designed ir-r t;r6, but it rvas only in r;26 that the regent commissioned Conrad Meit to carve the effigies. During these same years, the r-ecenrly ri'idowed Maria van Hamal arranged for a familv burial chapel in the monastery she had founded at Heverlee near Louvain .\n ryzz she commissioned fi'om Jean Mone a romb fol her late husband, Guillaume de Crc,y, Lord of Chidvres.re If Maria van Hamal, who had earlier married Adolphe de la Marck, was herself a prominent member of the nobilit)', her husband Guillaume was even more so; he had been the leading adviser to both Philip rhe Fair and Charles V. Maria later ordered lrom Mone a tomb for her husband's nephew, Cardinal Guillaume de Croy, Archbishop of Toledo and Primate of Spain, which rvas delivered 6), ry29J(t These r,vere cur-renr and presrigious Netherlandish examples of a European tradition, which Hendrik pointedly chose not to follon. 25 r5 Vault of the new Herenho or. Painted 153J. Breda, Grote Kerk. Phoro: Srichring Grore of C)nze Lievc Vrourve Kcrl< te Brecla. z6 Ethau M. Kaudler The old herenkoor was consequently extended and transformed into an ambulatory, which weicomed iombs attd epitaphs from the leading B.for. the memorial to Engelbert II was completed, Jan van that of Renesse commissioned his own Italianate tomb in a style recalling van Dendermonde and Jan van Hulthem Jean Mone. A decade later Jan dependent on the designs of Cornelis were that ,h.i, epitaphs "dd.d nir the ambulatory was accessible to the herrnkoor new the Floris.3r Neithe r Breda familier. II g..r.."1 congregation of Breda, insuring that the Monwment to Engelbert 'oni Ci*Ou\go"of Bad.r, addressed pr.dominantly the Netherlandish nobiliry and orher eminent visitors. FamilyValues Hendriks decision to make his guardians monument unusuaily conspicfamily' uous seems to accord with a -or. r.rtricted understanding of the At kinship.3z of notions other with competing which was then successfully 'le gentilassert: could la Marche de Oliviei ...rc.rry, the end of the fifteenth homme est cellu| qui d'ancienn.etl est issu de gentilzhommes et gentiLzfemmes. la noblesse qui est commencement de , was invested in children, Parents a and select cousins. This core unit of family as we have come to know it' b authority in shaping lamily progres Fi.t-rJrik, brought him to the Netherlands and Hendrik something of an adopted son making recognized him as his heir, judged respect to his accomplished PIotectol; with who"could expect to be from other tombs and memorials apart serring the monument to Eigelberr Other representations of rerelationship.i5 ir-r.,ritibly privileged this dirJct \7e note that the contemPotime. this stricted 1i.,."g. *er. -"d. at about life-size statues of inclu.des I/ry Bruges ,^ry Mart/rp'irce to Charles Vin the rePlesenting his medallions and th. .-p.ro. with his four grandparenti Count of Nassauhad ,"i..i d - cerparents (fig. 16). This dynastic dtcl now in elab i"i.ly whe. compared to the ancess' Innsbruck. Here, twenty-eight bron the flanking rows two in stand life, than tors and conremporari.r, .i larger Emperor of the figure the with praying nave of the Hofkirche in Innsbruck, atop a cenotaph between them.16 ' N"tur"liy this was a gradual Process marked by shifting preferences; attitudes toward <inship remained curlent rvith social more traditional functions and lituals reinforcing the sense of mutuai dependence among the collateral branches. Hendrik hilself might at other times emphasize commisin demonstrated he value of distant and glorious ancestry, which sioning a set of eight lapestries portraying as many generations of Nassaus'3; The fiie survivin! drawings of about r53o show Hendrik and four ancestors by their wives. Apart from the decorous incluon horseback, "..o-p".riJd to set his sion of Hendrik III's two former consorrs, there was no attemPt was granstatus no privileged rapesrry offfrom the remainder of the series visible is Fleece Golden of the ,.'d hi- or his guardian. Though the Order ni, skillful ,'ili"n.., are indicated by his marriages, the on his breast "r-ra Being tbe Count of Nasttu frame of the entire series asserts the importance of family over personal achievement. 16 Mantlepiece to Chmles V in the Bruges Vrij. ry28-r53t. Brugcs, The Four Ancient Bearers The four corner figures on the Monument to Engelbert II of lVassau personify qualities ascribed to the deceased. At the east end Julius Caesar kneels in his ornate breastplate and crown (fig. 3), a representation ofstrength, or, as the surviving inscliption informs w: 'C. JULIUS CAESAR + VIRTUTE BELLICA IM + PERAVL FORTITUDO'('C. Julius Caesar. I governed through military virtue. Strength'). Assisting him is Atilius Regulus, the only figure clad in drapery (fig +), who stands for honour and nobility: ATTILIUS REGULI]S + FIDEM II{FRACTUS SER + VAVI. MAGNANTMTTAS, (Atilius Regulus, my word of honour I kept unbroken. Magnanimity'). The other two heroes are fully dressed in helmet and armour but have lost their identif.ing cartouches. Kalf thought the missing inscriptions 'seem ro have indicated the virtues Perseuerantia and Prudentia, personified by Hannibal (fig. 5) and Philip of Macedonia (fig. 6)', a rentative interpretation that has qenerally been accepted despite the fact that Van Goor, writing in 1744, could say no more than: 'the other two, whose inscriptions have been broken off, represent according to my judgmerlt rwo Greek heroes'.38 Of the four historical figures only Caesar, who already belonged to the medieval schema of the Nine Heroes or \Torthies, was an obvious choice for such a program. Although humanists cited the Roman emperor for several I47 Photo: author. Erhan M. K,tualer 28 civic and military virtues, he could be used to signifi' fortitude in battle without fear of confusion; it had become hackneyed to Praise a conquering ruler as a/ter Caesar.3e Atilius Regulus aPpeared much less commonly. A gifted general finally overcome by th on a diplomatic mission after responsibly counselled Rome to less returned to his captors to ancienr and modern to laud him as an example of honour and trustworthias a fitting Personificatio n I l'anticque of the nes as significandy, he was a man of honour d, the protector of a society still organized the rituaily seliconscious nobility of the sixteenth century, such a demonstration must have been affecting, even if the wh aro st Regulus's civic patriotism required translation to the personal loyalty of the t7 Tableau of Hanseatic Merchants showing Philip of Macedonia and Alexander the Great. Remy du Puys, La nyunphante et solemnelle En*ie,.. de Charles prince des ia and Hannibal are not hopelessly out of place in from the meagre evidence for their identification. as a shrewd leader of the Carthagenians and a skillful general, and like Caesar, he was included among the thirry-six Roman and Greek personalities portrayed on terracotta medallions in the court of the Nassau palace.a2 Hannibal's cruelty was also proverbial; his presence across from Regulus might almost have seemed fractious, since the hespaignes, Paris, ra riri. Photo: author. deceased and a reference to his heir, though the statue's lack of both crown and sceptre makes this interpretation problematic. It would be comforting to verif, the identity of these final two figures, yet much can already be deduced. They are dressed as warriors and must refer to virtues befitting a military leader. Given the presence of Engelbert's armour on the upper slab, the martial cast is consistent; it is the essence of the relationship between effigy and attendant, which could not have escaped the viewer. Caesar and Regulus fall into this pattern as well, while the crown on the former and drapery on the latter connote rulership and service to rhe stare in this con- text. The Cult ofAntiquity The conspicuous reference to antiquity in the four suPPorting figures and the Italianate decorative carving immediately distinguished the memorial to and Polanen tombs. It was a code of auEngelbert II proximity to institutional power, though thority and ty had only begun to employ this formal by 15z6 the system on tomb sculpture and other large and permanent structures' Margaret of Austria still favoured the refined Late Gothic manner for her .h.,..h and tombs at Brou, which were not completed until the r53os.at In Be )o ing the Count of Nasau these years the important jubds at Aarschot, Tessenderlo, \flalcourt, Lier, and Diksmuide were constructed in the Late Gothic style, as were tabernacles at Lier and Louvain and the Town Halls of Oudenaarde and Zoutleeuw.i6 In r9r, the Dutch humanist Janus Secundus spoke of the Tbmb of Louis XII (fig. ro) as an example of the superiority of Renaissance forms, which were regrettably not yet fully accepted in his own land.i- Hendrik's choice of an Italianate and antiquarian design was hardly a foregone conclusion and signalled his position among a broader European elite. The first decades of the sixteenth century witnessed a vogue for Italian art acloss the continent. Peter Vischer's Kress Epitaph in the Lorenzbirche in Niirnberg, the Tbmb of the Amboise Cardinak ar Rouen and the Tomb of Philip rhe Fair andJuana la Loca in Granada were all conceived according to local inte rpretations of an Italian manner.4E Interest among the French nobility naturally increased with the incursions into the peninsula under Charles VIII and Louis XII, creating conditions for importing Genoese sculpture and sculptors to Gaillon and Folleville. Lorenzo da Mugiano's statue of Louis XII in Roman armour, now in the Louvre, signals the self-conscious use of antiquity to glorifir conquest that we find in countless manuscripts, medals and royal entlies.at In the Netherlands, Italianate design was first introduced on a monumental scale through the ephemera of public spectacles. At Charlest Entry into Bruges, the Italian merchants built two arches, each like ung arc tri' umphal a lanriq[ue]' (fig. 18). On the second one there stood Bellerophon and Cadmus as 'puissanctz champions Armes ltcoustres a /anticque bien richetne[nJt....'According to the expected allegorical gloss, the mythological warliors repelled dragons symbolizing pride and arrogance and were thereby incorporated within local literary traditions.50 If the Roman and Greek heroes were shared thematic material of both humanist scholarship and rederijle er allegory, the Southern formal vocabulary of these tableauxwas principallv new and helped establish a taste for this imagery in visual media. Llendrik of Nassau was not oblivious to the significance of style and thematic frame. At Bruges, the young Charles had been greeted by Ulysses, \lexander, Hercules, Caesar and other notables from Greece and Rome. The visual and historical legacy of antiquity had clearly been assimilated to :he language of power and tribute. Rulers and illustrious families were com:.rissioning tombs and other structures in conscious imitation of Roman :-..,dels, either directly or through the mediation of Italian artists. Four years r:tore rvork began at Breda, Jean Mone designedthe Tbmb of Guillaume de -,,r.,-Chftures and Maria uan Hamal. Though in certain ways it remained .,-r- ,o the standard Burgundian Freigrab, the virtues and sibyls displayed .r.,ur the base were housed within a classicizing arcade, while amazons in .:-:ie nt armour tended to the effigy of Maria van Hamal.5r The lessons Hendrik learned in the Netherlands must have been rein;-d in Spain where the count accompanied the young emperor for several :..- f . In t;24 Hendrik married Mencia de Mendoza, daughter of the wealthy ' i..r.hise of Zenete who had built an Italianate palace at his residence out- :- Granada. The Mendoza enjoyed a formidable intellectual tradition, - r:h rhe new wife of the Count of Nassau did her part to maintain. In her - - .irood she had been a favourite of Tuan Luis Vives, who mentions her in r8 Second Triumphal Arch ofthe Italian Merchants, Remy du Puys, La tryumphante et solemnelle Entrie,,, de Cbarles prince fus beqtaignes. I'aris, ra. r;r5. Photo: :ruthor. lo Ethtrn 19 The Persian Porch, Cesue Cesariano, Di Lucio Vitruuio Pollione De Architectura Libri Decem. (lono, rizr, Phoro: anthor M. I{autt/er PRIT{V5 his Dr institutione foeminae christianae. After Hendrik's return to the Netherlands in r53o, Vives would be a frequent and welcome guest at Breda, though Mencias studies received the more regular guidance of the court humanist Hernln Ruiz de Villegras. Much later, after Hendrik's death, she would impress the poet Petrus Nannius with her knowledge of Greek.5z While Hendrik and Mencia were still at the court of Charles V in Spain, the emperor adopted a new image, styling himself conspicuously after his ancient predecessors. He signed papers 'Carolus', preferred to be addressed as 'Caesar', and grerv a beard in the manner of Roman portrait busts. In 15z6 Being tha Courx of Nnsart Charles had Pedro Machuca begin his classicizing palace at the Alhambra in Granada, the city in which the Mendoza had long been based.sr Hendrik was no man of letters, yet he clearly appreciated the political and social value of humanist reference and anticque form. The self-consciously historicizing characrer of the Monumenr at Breda is further indicated by its likely dependence on Vitruvius, via Cesarianot Como edition of ryzr. The putative Hannibal and Philip of Macedonia bear an uncanny resemblance to figures from the illustration of Caryatids, Atlantes and other .Stutzfiguren supporting an edifice of three storeys (fig. 19).54 The ultimate cornice is upheld by a man dressed in ancient armour who bends a knee while shouidering this load. Cesarianot Vitruvius, which became something of a best seller, predates the earliest work on the Breda sculpture by only five years. Agreement with this body of cultural expertise was apparently of value to Hendrik, and we may suppose that it was equally appreciated by his audience. Tomasso Vincidor. who direcred consrrucrion of the Palace at Breda in the r53os, had already worked for Floris van Egmond in ry21, and Alexander Pasqualini would be employed by the Egmond family at IJsselstein and Buren. An interest in archaeological correctness also marks Gossaertt paintings like the Neptune and Amphitrire, executed for Philip of Burgundy in r516 (Berlin-Dahlem, Staatliche Museen). ,l1though it is not until the ry6os that we find references to Vitruvius in contracts, it is clear that De architectura had long enjoyed authoritative force :rmong the Netherlandish elite.55 TheArmour The armour is in many ways rhe site of reconciliation between different models of identity. The cuirasses worn by the four ancient bearers, replete in :heir Italianate ornament, forcefully atrract rhe viewer while serving as the orinciple sign of war, wealth, anriquiry, ceremony, and social distinction. The intricate vegetal and figural motifs that have been finely carved in alaia-.ter are trrly 'schoon chierlih ende costelic'as befitted a monument to rhe House of Nassau.t" The empty armour resting on rhe upper slab, essential to ::: efFect made by the entire sculpture, could refer to the chivalric code so .:lportant for the self-image of the nobility.5T Although military prowess r.:.J been an avenue to preferment for Engelbert II, ir had come to stand for :r- sen.ice culture of the nobility in general and retained this value through :::rch of the century. Armour figured prominently in Charles's Entry into l:uqes in r5r5 (fig. r8). Approaching one of rhe ceremonial arches, the -.-;nq Habsburg ruler would have seen Perseus raising the shield of Pallas, ---',.sses presenting the armour of Achilles 'auec tout le barnaiandAlexander :-=rdishing his sword. Hercules, who completed the foursome, held aloft .-. of rhe golden apples he had won from Hesperides.5s Tournamenrs were - :rmon enough to be noted casually in sixteenth,century journals, though -,-.= occasions no doubt provided rreasured memories for those like Antoine :. alaing, who owned seven paintings portraying the coats of arms of those .,'.:lil:/tommes d'espaignd who had come to joust near his residence at -, L,,gjrraren in r53r.i'r Contemporary romdnceswere full of battles, ritualized .:-: realr indeed, it is remarkable how frequently arms and armour arise in Ethin M. Kaud/et )z j p I I I 20 Tomb of Karel van Egmond. Ca. ry4o' ArLrhem. St. EuscbirLske rk. l)hoto: author. this literature, how resonant the figure of the knight remained for the European elite. In Le Cheualier Dilibdri, owned by both Francis I and V the 'resolute knight' is careful to don his 'harnoys de guerre'before embarking on his quest. The Emperor: Charles was so taken rvith the novel that he translated it into Spanish, added references to his own ancestors and had it set to verse by Don Hernando de Acuna, in which form it was published at Antwerp in r5y3.60 Vives was quick to warn young women away from such misleading trifles, horvevel fashionable. And popular they were; the library of Antoine de Lalaing, for example, contained more than fifteen of these chivalric romances and allegories, including Le Recuei/ des histoires de l)oye, Les tiers Liures de la destruction de Tioya Le Champion des d'ames, Oliuier de Castille, Fredric de Gennes, and Goddeffroy de Boullon.6l Actual armour often accompanied the tombs of the nobilitv, a phenomenon closely tied to the cttstom of bearing ceremonial armour in funeral processions; the suit might be made of metal or fashioned of wood specificallv for the occasion.6z Above the Italianate Monument to Karel uan Egmondat Arnhent (circar54o), the Duke's armour was displayed in an open wooden chambel affixed to the nearest pillar (figs. zo-zl). Assembled as if kneeling in prayer, the suit of armour needed only a wa-x model of the Charles Rting tbc Coun.t of ,\'m:au 33 2t Armour ofKarel van Egmond. Arnhem. --',Lke's head to become a second effigv.r': Similarly at Freiberg, the armour rrn b)r Moritz of Saxorrl'at his death in r5y3 was exhibited on the wall of -. choir, opposite Molitz's tomb."i England shar:ed this tladition. At -.rte rburl', the weapons, harness and helmet of the Black Prince are sns. :.rJed above the effig1. on a chain. The Monument to R(ryhe and Elizabeth : ;,';ntu7 from the later sixteenth centurv originally included a set of funer- .irmour above the figule of the deceased, while a comparable display sur.Lnrs the epitaph of Sir William Penn from about 167o.( This formal -:::.rgement er-rjoved the autholity of ancient custom, as r,vas noted byJean i :r.1ire de Belges in his Traittl da pornpes funebres, an occasional piece that .,rsses the propriety of armour on the funeral bier. A child like Opheltes - -:ld have his o-,vn armour andrveapor-rs and the armour of his father and --,rors hung around the bier, whereas a great u.arrior like Patroclus was to - his suit of almour mounted as a victor-v trophv and placed by his Sr. Eusebiusl<erk. Photo: aurhor- )4 Ethan M. Kdtahr Kalf, Van Luttervelt and Kloek et a/. consider the armour placed on the upper slab to be a make-shift solution and conclude that the Monument to Engelbert II was never completed according to plan.67 Finding the monument bare as it now stands, they con.jecture that figures of Engelbert and Cimburga were meant to appear again on the upper slab, either lying in state or kneeling in prayer. This seems unlikely. The hypothesis rests implicitly on standards derived from the tombs commissioned by Margaret of Austria for Brou and the Tbmb of LouisXllat St. Denis - all different from one another and of questionable relevance for the memorial at Breda.('8 It is likewise hard to believe that the original project would have sorely taxed the Nassau accounts, since the carving of the individual pieces of armour required considerable work, surely equal to fashioning a single effigy. A document from r53r records substantial payment for gilding the 'statues and other alabaster work of the tomb'. Restorations on the monument, once assembled, may have been made by the sculptor Joseph deWrlde, cleijnsteleer, as Cerutti suspects. These operations must belong to the final stages of execution, since the gilding cannot have preceded significant carving or structural work. The Monument to Engelbert II and Cimburgawas probably finished 6y t;ll, the year arabesques were painted on the chapel ceiling.6e It is uncertain if there is even sufhcient room for two recumbent figures above, since the upper slab is considerably narrower than the lower one and would force an indecorous crowding of rwo gisants with little if any margin around the bodies. Nor could the four bearers manage such a double weighu they have already suffered considerable damage from supporting their present minimal load. The single effigy of Philippe Pot is carried by eight mourners, whereas the figures of Louis XII and Anne of Brittany kneel upon an independent architectural structure (fig.tZ).At Breda, a pair offigures born by only four attendants would have looked oddly top-heary and have been structurally unsound. Neither is it likely that Engelbert alone was intended to appear above. Two gisants can lie above with only one transibeneath- - as we find in the Tbmb of Reynout III uan Brederode and Philipote uan der Marc[ at Vianen.7o Yet it is a different matter to have only one member of a couple above while both lie in shrouds below. Most importantly, the presumption of a second set of effigies ignores symbolizing death for all conventions of gesture essential to the Breda tomb. The four heroes from antiquity do not stand or march in procession as mourners or pallbearers but rather kneel and raise Engelbert's arms in honour and respect. To support the Count of Nassau on one's knees would signiS' subjugation or social inferioriry and thus befit captives or servants. Vitruvius discusses anthropomorphic architectural supports as symbolic of conquest and subjugation. Caryatids, he explains, were designed to carry a hear.y load as a reminder of the punishment imposed on the captive women of Caryae; porches with statues of men derive from the public representations of the defeated Persians as humiliated and enslaved.Tr Caesar, Regulus, 'Philip', and 'Hannibal'were exempld, personifications of virtues and flattering comparisons with Engelbert. Had this quartet been shown raising the body of the Count, their own status would have been compromised and so too the symbolic service they rendered. No violation of decorum is implied by Androuet de Cerceau's plan for a tomb, superficially similar to the Breda monument but support- Being the Count of Nnsnu 35 22 Tomb of Sir Frmcis Vere. -i(esrminster Lo ndo n, Photo: arLthor. ing an effigy, as the four bearers in ancient armour are generic Roman warriors rather than celebrated generals from the past.;r On the related Tomb of the nt Earl of Salisbury at Hatfield from 16rz, the Earl is shown above lying in state while a skeleton occupies the lower plinth. Here, however, female figures of the virtues have been substituted lor the men of war.7l An obvious hommage to Engelbert's memorial at Breda is the Tbmb of Sir Francts Wre inWestrninster Abbey, for which a full suit of armour was likewise carved rather than presented (fig. zz). Four kneeling soldiers support a slab bearing the armour of Vere, whose effigy lies beneath. Vere, who had spent much time in the Netherlands, was no doubt receptive to the plan and chose a sculptor familiar with the Netherlandish tradition; his tomb dates from the early seventeenth century and has been attributed to -\{aximilian Colt, born in Arras and trained in the Netherlands.-a The Vere monument, erected some seventy vears after the completion of the work at Breda, testifies to the thorough acceptance of the Monument to Enge/bert II ln lts Present state. The Rites of Death \t Breda, the display of Engelbert's armour alone, formally arranged on the polished black marble, could associate the monument with commemorat;ve :iruals surrounding the funeral procession and burial. The experiential and performative meaning for the viewer would have been strengthened as :nemory of participation in these ceremonies informed the process of reholding, effectively linking it to other actions of social value. The armour -rlso signified the duality of the funeral ritual. On the one hand the Nassau :rms carried by four heroes recall Roman trophies borne in triumphal pro:e ssions, so fashionable on Italianate monuments and discussed by emaire.Tt On the other hand, Engelbert's weapons remind us of the mor:aliry of this knight, for they afforded him little protection in his final hour. Abbet, )6 Ethan M. Kaunler so imporThe Hypnerotomachia Potiphiti, that Renaissance incunabulum on tant fo; disseminating .o-",ltit vision of antiquity' inventively Pl1's "Near the end of the first book' the arrival of Cupid this double possibilitf. receprion that includes the display of trophies, two of 'Nemo';the inscriptions here attestwhich bear the legends 'Quis euadet'and occasions " *iu,',ph"i omnipoing to cupid', ui".tori., "re th. conventional tribute to Death's t.i...'u Eros ar'td Thanatos are joined by Fortune in one of the more notable Danssen' a Netheriandish books from Engelbert's age, Van den drie Blinde demoustrates the range of imagery t rhemortality. lt lvas easy enough tJexpress these truths through humanist that embedded them all the more firmly toric with references to "niiq.rity within the culture. and At Breda, the marble slab suspended over the effigies of Engelbert of distinccimburga also functions as a sort of ."t]opy, that elemental sign triumphal and processions fl-ttd both to common tion on tombs and v in r558, charles for rites death the characterized both entries. Motifs from hold his to plaque a memorial of erection the way, which included, by the and coats of crown, sword and cer.-o,ti"l dress, as well as imperial insignia commemoemployedin commonly was imagery arms.'s Roman triumphal procesfuneral the in precedents ciassical with lative rituals, an adaptation victory of theme The Caesar':e and Sylla like sions of military l."d.r. yet a motifs' ancient of application a similar ,hror-,gh Christ had prompted in clearly this s9e Ve century' fifteenth in the ;.; t:g". for the tt.-. "ro,. to also was which Naples, at arch Aragonese the works like th. in ^oi'.r_.ntal imagery of political use the Fiance, In have a memorial function.so the and campaigns Italian by,the accelerated funeral processions was gfeatly for ."r"i"g."p.rie'rce of tri".-rmpir"l e,rtries into I ombard cities; at the rites auons Nous / et charroy cheuaulx ses ueu ttuons Ch"rlei VIII one heard: iVozzs procession was ueu son triumphant /1rrqt....sL Philibert de Chaions funeral o.n the death procession the 'o triomphe,while ,i-if*fy .or-ti.t.,.d bim g'o' Roman ancient to references humanist rvith of Gaston de Foix was ,o ,.pl.a. funethan 'a triumphant more of pomp custom that Brant6me complained acceptwidely was rituals two the of re al or christian .s2 A ..rt"i.r conflation Lemaire's interested and even prescribed, albeit with some reservation. in de France menClaude to prologue ing treatise or't f.,t-t.r"lr. His dedicatory mother, which her of B.i,."t-ty, of-An'r. tiJns having witnessed the funeral (Mais lamentable) trop 'triumphe hlLas Roryale he describes-a s a .''8 Ceremoniesr.t.h"rthesecouldt-ployhumanistthemeslikethe petrarchan triumph of Fame over Death, though they could allude concur- Being the Count of Nasatt Guillaume Filastre, chancellor of the order, had interpreted the Golden Fleece itself as the Lamb of God and its conquest as the deliverance of humanity.85 Once more, it is the Christian Knight who inherits the legacy of Troy. Breda and the European Monument The language of funerary monuments was changing, regulated by a discursive process through which new formal conventions were adopted within the Netherlands.s6 The statues of mourners and ancestors on Burgundian tombs, for instance, were replaced by personifications of the virtues, as familiar themes were expanded and new subjects introduced.E- On the Tbmb of Erard uan der Marck, formerly in Libge, virtues do battle with vices, while on the Tomb of Francis II of Brittany, the free-standing figure of Fortitude pulls a dragon from her traditional tower, thus associating her concurrently with St. Margaret - a classical variarion of this phenomenon is found on the Tomb of Louis XII, where Fortitude carries Hercules' lion skin.ss Hybrid programs formed from different series are increasingly seen on monuments like Mone's Tomb of Guillaume de CroyChi?urrq which displayed statues of Hope, Faith, Charity and Temperance along with figures of four sibyls.8e Joining sibyls among newly popular sepulchral themes were the planets, the liberal arts, Hercules and Samson, Fame and Glory and, of colrrse, putti - a development that required a precise code of identification.eo The Monument to Engelbert II and Cimbwrga of Baden does not only demonstrate the general espousal of l'anticquebut also the changing indices of elevated status that were shared among other tombs then being designed for the high nobiliry of the Netherlands. If Mone's Tbmb of Guillaume de Croy-Chiiures (152,1) had included amazons, hrs Tbmb ofAntoine de Lalaing (circa ry28) presents full-fledged warriors in relief, dressed in armour similar ro that at Breda (figs. z3-24).')l The Italian traditions of funerary sculpture were essential for the Nassau monument. In Lombardy, the area most readily accessible, lay the Certosa of Pavia with its much admired jewel-like facade whose designer, Antonio Amadeo, also produced the Tbmb of Giouanni Borromeo now in the palace chapel at Isola Bella. The six pillars supporting the highly detailed corpus are braced by large statues clad in ancient armour and drapery.''2 Venice offered models such as the Tbmb of Doge Pieto Mocenigo, which conrains a central image of the Doge standing on a sarcophagus born by three men who are dressed in antique fashion (fig. rl). Two wear armour while one is clothed only in drapery, a combination similar to that employed on the Breda Tomb, though the three bearers in Venice seem to be generic representatives of their age and empire. Equally unspecific are the Roman guardians who occupy lateral niches at each of the levels. Unlike at Breda, rhe bearers support not only arms but the standing figure of the Doge himself; Pietro Mocenigo, renowned for his conquests against the Tirrks, is porrrayed as military victor with reiiefs on the sarcophagus illustrating memorable events from his life, an image of honoured service that no doubt pleased rhe Dogek heirs who had commissioned the Tomb immediately following his death. Executed between 1476 and r48r by Pietro Lombardo and his )/ Ethart l8 :t ,9. M. K,ttaler Beitg tha Cotmt of Nds:dtt )9 23 Tomb ofAntoine de Lalaing. Ca,ryz8, Hoogsrraten, Sr. Catherinakerk Phoro: author 24 Tomb ofArtoine de Lalaing. Detail. Hoogsrraten, St. Catherinakerk. Photo: author. 25 Tonb of Doge Pietro Mocenigo. Detail. t476-r48r. Venice. \S. Ciovrnni e P.rolo. Photo: aurhor. workshop, the tomb dominates the inner west wall of San Giouanni e Paolo, one of the most desired sites for funerary monuments.e3 In the same church, Tirllio Lombardo's Monument of Doge Ant/rea Wndramin includes Roman \Tarriors flanking the structure on both sides.')a Naples, where King Alonso had constructed the enormous Aragonese Arch for the Castel Nuouo, had also become a center of humanist learning and antiquarian sculpture. On the Tbmb of Gianni Colleoni of about r4,g, six large statues front columns that support the attic-like sarcophagus. The central figure may be Hercules, though the trio are likewise not explicitly Ethntt M. Ktu,t/er 4o 26 Tomb of Don Jum ofAragon. Ca. tSo8. Ionrscrrar. Bcnedicrine Monasterv. Photo: :rurhor. N identified.ei Also from Naples comes the Tomb of Don Juan of Aragon (fig' z6), n'hich colrains features that recur on the Monument to Engelbert II and Cimbttrga.e6 oPPorr;ity Tivo kneelit-t relief of Don ook the ulptors. a large the sar- cophagus, with the viceroy shorvn in prayer above. Although the unidentified bearers are subsewient to the deceased and the whole is set within an Being the Count oJ'Nassau 41 arched aedicule, the work bears a marked resemblance to rhe narrow sides of the Breda monument. The Tomb of DonJuan ofAragonhad been shipped to the Benedictine monastely of Montserrat near Barcelona, where it was more directly accessible to Hendrik III and his advisors than it would have been in Naples itself. Hendrik III had come ro Barcelona during his extensive travels through Spain in the party of the Emperor, while Charles V is explicitly documented at Montserrat during an earlier tour in r5r9.e7 An international outlook was shared by Philiberte of Luxembourg in r53r, the year in which she planned the mausoleum at Lons-le-saunier for her husband Jean de Chalon and their son, Prince Philibert; two emissaries were first sent to Italy with instructions to make drawings of the most beautiful and exquisite tombs between Milan and Naples.es Although Van Luttervelt was parricularly struck by similarities berween the plans for the Chalon tombs and the Breda monument, the correspondence is limited to particular iconographical features - as far as can be determined from existing documents, for nothing of these works survive. Carved between r53r and 1534 and conremporary with later work at Breda, the Chalon rombs were decorated with Italian motifs and appointed with nine life-size srarues: the three theological virtues, prudence and five heroes from among the Nine lVorthies. It is equally clear that the tombs musr have looked quite different; the Chalon monuments had substantial architectural elements and were charged with an idiosyncratic program ofseveral independent figural series. Because Hendrik's marriage to Claudia de Chalon had produced an heir to the house of Orange, relations with Philiberte of Luxembourg, his former mother-in-1aw, had soured.ee Ve may suspect that contact berween the two families continued, and that somerhing of the same humanist locus of ideas helped generate both designs. Formal correspondence between the monuments at Breda and Lons-le-Saulnier is not strong enough, however, to presume a direct relationship in their creation. 27 Tomb of Philip pe P ot. Ca. t 48o-t 49o. Paris, Louvrc. Photo: author. 42 Ethan M. Kaualer There seems at first littie reason to look to the older Netherlandish tombs that preserve the Burgundian tradition of pleurants and ancestors. The Tbmb of Phillipe Pot(fig. z), however, sometimes cited as a distant prototype of the Breda tomb, \\'arrants some attention on account of its potential relationship to the viewer rather than its iconography. Eight mourners support a slab that holds an effigy of the deceased, dressed in armour. Philippe Pot, Grand Seneschal of Burgundy, probably commissioned his tomb some years before his death in 491 for his burial chapel at the Monastery of Citeaux. We might consider it a dramatic reworking of Claus Sluter's Tomb of Pbilip the Bold at Dijon, though its spatial ProPerties are entirely different, since the procession is neither contained within the tomb nor distanced through smaller scale. The life-size figures, anonymous with their faces covered by their cowls, form an imposing procession that challenges the authority of the viewer over their shared environment, permitting an experience oddly similar to that of the Breda monument.r00 The Artist as Instrument Although we cannot identift the designer or carvers of the Monwment to Engelberr II of Nassau and Cimburga of Baden, it is likely that they had already acquired a favorable reputation by the mid Iyzos. Artists in fashion brought particular value to their work, a fact Hendrik understood when asking Rombout Keldermans, architect to the emperor and master of the Brabantine Late Gothic, to inspect the early stages of the palace at Breda despite its more current Italianate mode. As architect he would engage the esteemed Tomasso Vincidor from Bologna. Surely Hendrik noted that with the death of Margaret of Austria, her palace at Mechelen, built largely by Rombout Keldermans, was being remodelled in a Renaissance style that recalled the chhteaux along the Loire.r0r When it came to metalwork, Hendrik turned to Peter lVolfgang from Cologne, who had been praised by Geldenhauer and Dtirer and had received commissions from the Emperor Maximilian and Mary of Hungary.r02 Hendrik's most famous acquisition was undoubtedly the Garden of Eartbly Delighx by Hieronymus Bosch, an artist whose popularity among well-placed patrons need not be stressed.103 The anonymiry of the Breda monument today is therefore all the more disconcerting; it not only denies us customary biographical access, it also conceals one mechanism through which patrons might insure the positive reception of their projects. \Triting in the middle of the eighteenth cen- tury, Van Goor credited Michelangelo with the sculpture; Giambologna, Gossaert, Vincidor, Torrigiani, and Jean Mone have since been suggested.roa Although Monet decorative work can resemble the ornament at Breda quite closely, he is essentially a carver of reliefs and nowhere else shows a comParable treatment of the body as a fully plastic form.lot A few years later, Mone might well have been Hendriks choice. As artist de l'empereur resident at Mechelen, he was the most prominent Italianate sculptor in the Netherlands. Having emigrated from Spain by r5zo, he too was appreciated by Albrecht Dtirer and soon enjoyed the patronage of the Netherlandish high nobility. Most of Mone's known work, however' Postdates 15z6 and thus the conception of the Monument to Engelbert II and Cimburga.\06 Being the Count of Nasau There were other Italianate (and Italian) sculptors who may have seemed as promising in t526, and we must remember rhat hindsight radically distorts Hendriks perspective and possibilities. Certainly more than one sculptor was involved, even on the carving of the kneeling figures. The face of 'Hannibal' is more deeply cut and rounded than that of neighbouring 'Philip', while the features of Engelbert II and Cimburga of Baden show a detailed mapping of the physiognomy with carefully incised lines around the eyes and sharp angles of the nose, a trearment not found on the four exempLl. Van Luttervelt and others tend to equate the distinction in manner with regional training and attribute the effigies to a traditional Northern artist, yet the disparity may have much to do with the separate functions of recognizable portraits and ideal personifications. Resemblance could be a sign of social distinction - in Renaissance Brabant as in the Roman Empire.l0. If Engelbertt effigy recalls painted portraits of the count, it is partly because his position warranted an effigy with predictable veristic portrayal. The gisants have been compared to the transi of Louis XII and Anne of Brittany at St. Denis, but again their 'realism' is best understood as an index of social and transcendenral srarus.I0s \7e have seen how the Italianate manner functioned as a particular sign among the nobility of the early sixteenth cenrury; Hendrik was friends with Philip of Burgundy, Maximilian van Hoorn and Floris of Egmond, all of whom were supporters of the anticque mode in the Netherlands. Their common orientation indicates a specific circle of patronage and cultural ambience, and a restricted pool of artists capable of rendering the ir ideals in permanent form.loe Conclusion Tomb sculpture was a powerful medium that employed communal space among its materials, while its location within the church naturalized its prt-rgram. The splendid monument to Engelbert II illustrates the complex role such works can play in the shaping of public image. At Breda Hendrik III synthesized a persona for both his uncle and himself from a nexus of rapidly changing social and formal conventions; the marble and alabaster memorial constructs the identity of the great nobleman for an elite audience whose own social role was being transformed. Dominaring rhe space within irs chapel, the memorial raised Engelbert and Cimburga above more distant ancestors. Its emphasis on martial achievement could refer both to Engelbert's military career and to the ethic of chivalry rhar assumed new prominence in the culture of this elite. The art of war and the etiquette of the battle field supported the self-definition of the nobility as a discrete order. \7ith less value placed on extensive lineage, emphasis was given to living nobly, to magnificent display. Accordingly, the upper slab could signif. a canopy, that sign of social distinction common to rituals of death and triumph, while the four venerable bearers appealed unequivocally to the authority of antiquity, which had become a conscious reference in the language of court and state. This unusual srructure is not the tomb of Engelbert and Cimburga, for their physical remains are preserved some meters away in a family crypt. The cavity benearh the monument conrains 43 44 Ethan M. Kaualer ilft|j##:;'.'"""*H his successor. If the amid circu model for Netherlandish nobleman. burga of Badenarose nturY' it Provided a Wre in \Testminster Being the Cowtt of Nasau Notes r France'. in: Thomas C.Heller et a/. Inditidu,t lim. Autonon4,, Indiuidua/it1, and rhe Self' S.A. Vostcrs, 'De ge esreli.jke achte rgronden van Mcncia de Mendoza, vrouwe van Breda', Dr Oranjaboomt4 (t961,64; F.F.X. Cerutri, 'De i nstitutionele geschicdcnis der stad rijdens de Nassau's', in: Geschiedenis uan Breda (vol. l: De middeleeurven), Schiedam r976, r88. Hendril< rcturned ro Breda lrom France in October of 1533. The monument rvas lil<c11. commissioncd in r526. The assumption that the memorialwas left unfinished at the death ofHendrik III in r;38 stcms frorn dissatisfirction with the arrangcment as we see it coday. Documents for r53r mention rhe in tYestern Tbougltt, Stanford r986, j.1-j7; Brian Stock, 'The Sclf and Lirerarv Experience in Iate Anticluity and the Middle Ages', New Litentry History z; (rgq+), 8;q-8+q. \X/eintraub providcs this cxamplc of the Homeric Transi Tontb in tha Late Middle Ages and the Renais:ance, Bcrkelev ry73, rll-r8r; Ernst H Kantoror.vicz., I/:r King : Tu'o Bodi. s. A ;r ud)t in M edieua / Po lit ica I Th eo lo gt, Pri nce ton kunst in Brcda, vijfstudies', EdnundJ. Bourne,'Does drc 7 naar de stand van onze tegenrvoordige ke nnis' , Bullerin 6 nieuu,sbu/letin, Ko n in k lij ke Nade r landse oudlt eid- Neder lands Kuns th (r962), 8z-roz; is to ris ch rt J tt ar b o e l< t I in: M. Blorskl' ftd.), On rz \X/. doo r luc btigh en h r3 8 Signs, n P ri nce, Borchgrave, tn: Biographie Nrttiona/e, rtrl. ry, Bnrssels, 1899,471-48o; Cerutti, op. cit. (n. r), fi3-zz9 The C antemp o rar i as of Ernsmus, vol. 3, Toronto, r98o, 4-;. 14 F.A Brekelrnans jn: Nationartl B io grafs ch'Mo o rtlen bo e k, voir 9, Brussels r98t, 33.1-319; Van Cloor, 0? cit. (n. 4) , 3z-34:' Schcrft, op tit. (n. r3), 17-23; Jansen, op cit. (n.4), 37-4o; Cerutti, op cit. (n. t), fi3-zz9: The Contemp0ftlries of Erdsmu5 vc>1. 3, Toronto, 19tlo,; HendriJ<bore rhe titles Court of Nassau, burggranfof Arrwerp, baron oFBreda, Steenbergen, Dicst and sever:rl other tcrfltorlcs, 15 Brekelmans, op. cit. (n. r,1), ;39. Rend de Chalon, his only lcgitimate child, 'ixreenrh would inherit the ccnrun. Dominic Baker-Smith. "'Inglorious glorli': r5r3 and thc See Humanist Artack on Chivalrv', in: 16 Sydnev Anglo (ecl.), CltiualrJ, in rbe rz9-r11. R. van U,vwcn, 'Dc Brabanrse adel als polirieke en sociale groep tijdens dc Latc rriddelccurvcn' . in: De ndel irt het hertogdom Brnbant, Brusscls r98y, 8;-86. The rnost successful collecrors ofterritories rvere probablv thc lamilics Dc Croy, Glimcs, Nassau, Iegacies ofboth Nassau and Orange. At Rcnd's dearh irr ts44 thev prs.ed to his cou'irr Villiarn of Orange, Ieader of the revolt in the Netherlands. Paul dc Vin, 'De adel in het hcrrog- dom Brabant van de vijftiendc ceuw. Een terreinverke nnhg', Tij ds c h r iJi uoor Gescbiedenis 93 (r98o), 394t9t, Renrtissance. ril/oodbridge r99o, 9 bo re Stadt en Lande udn Breda, The Hague 1741, ;'iazt Baron Emile de Despitc humanisr criticism of irs values and cusroms, chivalrl' rernained a polverful cuhural force lor the nobilirv during rhe o o c hgh e Maximilirten Hoe Hi eerst int /andt quam. Entle hoe hi urou Marien troude, Groningen 1957 , rL7. P. Scherft, 'De heren van Breda in de Bourgondisch-Habsburgse ti)d', De Oranj b o o m r (ry 48), ry-ry ; H.P.H. Janscn, 'De bredase Nassaus', in: C. A. Tamse (ed.), Nassatt en Ordnje in de Neder/nndse Cesthiedenis, Alphen aan den Rijn ry79,12361 Th.E. van Ooor, Beschryuinge der e Th in b ing Th rougb Culntes, Cambridgc, Mass. r99r, rr3-r5;, especiallv r47-r53; Weinrraub, ap rir. ("4,t6-y. index). Jappc Alberrs (ed.), Dit :ijn die uonderlijtke oorloghen uan dan Keyser Culturally?' in: RichardA. Shrveder, 3 Umbcrto Baltimore 198;, 289-3oz; Elcanor \X/insor Lcach. 'The Politics ofSelfPrcsentation: Plinl:s Letter: tnd Roman Porrrait Sculprure', Classicnl Anriquitltgt (April, 199o),6. Eco discusses thc strategic manipuJarion oFdillerent na[rat.ivc franlcs in presenting a public image. Past acts are re-contextualizcd and imbued wi rh prcscllt consclousness. Karl J ri(eintraub,'Autobiography and Hisrorical Consciousness', Critica/ Inquirl t97t, 8lt; Naralie Zemon Davies, 'Boundarics and rhe sense of Self in S ixteenth-Centuq. Armand Louanr (ed ), Le journa/d'un b ourgeo is de Mo ns,r;01-ry;{ Bnrssels 1960. Antoin< de Lury refcr' morc than fifty times to rhe count of Nassau Concept of rhe Person Vary Cross- (r961), 48; V.Th. Klock, \W. Halsema-Kubes, R.J. Baarsen, Art before tlte Innoc/rtsm, The Hague 1986,19-tr. Eco, 'Portrait of the Elder as a Young Pliny: How to Build Fame', rr r9i7, especially 383-.1;o; David hundige Bond,6th series, r5 (1962), zo-zz; R. \,an Lutten.elt, 'Renaissancc- I), Utrecht r9rz, ro6-rro; Hennan Htgo, fhe Seige of Bretla b)'rbe Arms of Phillip the Fourt, Louvain fi27, tq7: M.D. Oz.inga, 'De strenge renaissance-stijl in de Nedcrlanden Ho/lnnd. From knights to regents, r;oo-r6So, Cambridgc r984, r6r. Realism. A Snd1, ofSepu/chra/ Sltmbolism, Leiden r95,1, ;6-57; Emin Panofsky, Tornb Stu/pture, Nerv York 1964, tz,8o; Kathleen Cohcn, Metamorphosis of a Dadth Symbol. Tha 6 H, K. F van Nierop, The nobility o/ (see Ideali.sm and Freedberg, The Pouer oflmdges Srudies in the History and Theory of Response, Chicago t989, zot-246. 'Wcintraub, op. cit. (n.l,g8-99. Gocdrc's dcclaratior.'lndividuurn ineffabile est', is often cited as a landrnark in the historical der.elopment of rhe concept. Pierre Bourdieu, Outline ofa Theory of Pratice (trans. Richard Nice), Cambridge 1977, 8 4-86: Stcphen C reenblatt, Renaissanca S elf Fash ion ing, Chicago t98o, 4t- q7 ; Id., 'Ficrion and Friction'. tn:Heller et a/. 6. i , tz-t+: Richard A. Shrveder and Jan Kalf, De monumenten in r/e uoorm,t/ige Baronie ran Breda (De molumenten van de geschicdenis en krLnst in de provincic Noordbrabant: ro perso nalicl'. 5 Hcnricttc's-Jacob, rnonument. Discussion of this issue lollorvs bclorv. 4 Lalaing, Hoorn, Brime u, Merode and 'Wittem. (eds.) , Rcconsrructirtg gilding ofthe alabaster statues, a process that must have been carried out near the conplctiol of rhe z 4t r7 40r-4o8. Svdnev Anglo, 'Introduction' and 'How to Kill Man at your Ease: Fencing Books and the Duelling Ethic', in: SydneyAnglo (cd.), op tit. (n. 8), xi-xvi, 9-ro; J.R. Ha)c, \Yar rntd a Socie4t in Renai:s{ince Europe, Ethan M. Knualer 46 Baltimore r98;' 178-r98; Henrl'J. Cohn, 'Gotz von Be rlichingcn and the Arr of ir'lilirary Aurobiogiaphy', in: J.R. Mulryrc rnd 45 o- r 6zo, Margaret Shcrvring (cds.), War, Liteiature and the Arts in Sixteenth' Cennry EuroPe, London t989, z4-29' ofthe 37r Charles Oman, A Hisrory Arr oftYar in the Sixteenth Centurl, London 1917, 9-ro, t7-t9' 66, t'rz-u4:' tYarfare N4ichael Murrin, History and in Renai:sanu EPir, Chicago 1994, 8z-86; Richard CooPer, "'Nosrre histoirc renouveldc": the Reception of the Romances of Chivaln'in Renaissattce France', in: S. Anglo (ed ), op. cit. sixteellth ccnturY thc nobiltY comprised no nore than o,390 of rbe student bodv ar Lonvain; their share had multiplie d cleven time s during thc.eculld thirJ. The utlirersitv zr r7;-t9r The d rise of the Swiss formidable fbrcc further dirnmed thc Prestige of calvarv, which had adoPtcd r.rerv armour to counter the widcspre ad use t 0n t(ntl,ot o i ne z t moderrt mnner of Kcldermans's gcneration than carlicr d.'ign' Thc i",.rre of ,h. BrcJr uall tomb ofthe nobiliry. south trallsePt at's-Hertogenbosch, rvhich rvas not completed belore r5o;' We might evcn rvonder if rhere rvere direct connecrions betrveen the designs of rhese nvo structures The transept gable itself resemblcs other structures irom this time. The question of the origin olthi' monLtnrcnt * ilLbc ,dJre"ed in anorhr'r artitIl lter< I preler to rcccpt lhe 'tundard Jrting ol ibe I"re fifte..ch centuryJ though rvith resen'ations, particularly regarding the frame Tanrcr, The Lnst Descendant of Aeneas. The Hapsburgs and the Mlthic Imttge of the EmPerzr, Nerv Haven il 1d romances ofchivalry rhat scnt them on irresponsible quests for adventure r (n 18 9), 8z; ir thc Onze-Lievc-\/rouukerk ofthat torvn, more than halfthe gross income lrom Aarschor alone' In Holland immunitt'from taxes among the nobilitv was graduallv eliminated during the sixtcenth centurv. In riri and r5r8 Charles V restrictcd exemptions to Iiefs held for personal usc. 19 Van U1'wen, Anrhon-v in Frartce pounds ts a knighr ofthe Goldcn Flecce. Guy de Brimeu earned au even qreater petccrltJge ofhit annrrrl il.ooo pound income lrom I'ribet lor sen'ices dispenscd rhlough l.ris various Lievc Vrouq'ekerk rc Brcda. Aantekeningen ovcr de bourvgeschiedenis', De Ornnjeboom zt (n' zt), irq68), ro-r+t Paquay, op cit. (n. roo-Io'1' z), cit. oP. Kalf, zi-zz; h mausolcum. op. cir' (n.3)' 289-3oz' Ka)f, op. cit' (n z), roo-ro6; Valcnrijn P.rquar'. f)r'n.t'tiek zel[brrr tr'tziin irr 24 Eco. z5 t993' z8 J.M.F. IJsseling,'De Grote of Onzc € r98o, 37-4o. The Tonb oJ'Louis XII ttrtd Anna o.f Brirtdz,l, built bY members of d-re Giusti lamilY lrom Genoa, relates to the the Tomb of Gian G,,t/eazzo Viscontiin the Certosa ofPavia, rvhich also has an arcadcd HerJxt(ring en tituering v'tn 'teen. her Na*sau-grafreliEf in dc Grote Kerk re Breda', De Oranjeboornlo (rq8Z), r-43; H. Tummers,'Laatmiddelecuu'se figuralc grafsculptirul in Nederland" Neder lan ds Kuns ap cit. (t' 9),8r-84"fhe Chancellor ofBrabanr carned t,zoo pounds, u'hereas Filips van Lalaing, ihe Count of Hoogstraten' made z,ooo pounds as governot of Gueldirs, rvith an additional thousand offices. z3 Van ro), li. ln r1o7 the rschot. Bicrbcek ght in 2486 Pounds, yet onlv zo5 pounds remaincd after payment ofexpenscs. That Year the lord ofAarschot paid the glass painter Niklaas Rombouts z6z Pounds for a u,indow udn gr. Ja r h isto ri s c h J aar bo e k 45 (t9941,1z-13 C. Peeters' De Slzr b os ch, J ans k arh edraa / te \ - H ertogen The Hague I98i, 96-98. Tummers rvould date the \"{emorial Rclief to Engelbert I at.rd Jan I\/ van Polanen r47;. Paquar', rvho Prefirs a "bo.t date as late as r5rr and suggests that HerrdriL Ill planncd rhi\ Inonumcnl as rvell, ma1'be closer ro the mark, at least rcgarding Possible transfornations of che lrame To mv mind the best evidencc comes from . Paqnav, oP. cit. (n. z)' zz-zi. 27 Janscn, op. cit. (n. r3), I4; Maric z6 22 F.F.X. Cerutti,'Gegevens ovcr de Bredase kunst en kntlstenaars zestiende eeurv: I' ' De Oranjaboorntl (r96o), z4: "tderde gelas nenenfgueren is scartlingll'similar to the gablc fiom thc (rq-6). 258-2--l Roberr J. Knecht, 'MilitalvAutobiographies in Sixteenth-CenttLn' Frauce', in: MulrYne and Shervring (cds.), o/ cit. (n. q),3-r9. As Knecht notes. cdttcation had becomc more importattt even for thc milirary idcal lrom Spain. Hendrik's latcr use oI rhe Italianate sryle is no contradiction, since the Lace Gorhic would still have becn expected around llrr. The stvlc olthc delicate tracerv and the crest seems to have morc to do lvith the zaak?' Tijdschri.f uoor Geschiedenis 91 (198o), 416-419' 43r; F. Billacois, 'I-a crise de la noblesse europdenne (r5;o-r6;o)', Reuue l'hisroite moderne (n.8), 77-9I, especiallv 88-9r; Landslenec/tte zs a at Orleans, renorvtled lor its iLlstruction in lau', s:rw the percentagc ofBrabanr noblcs enrolled illcreasc more thall forty pcrcenr during the first halfof thc sixteenth centuIY. Hilcle de Ridder-Svmoers,'Adel en unir.ersiteiten i n de zesticndc eeuu' Humanistisch idcaal of bittere nood- -i/illiam H. Jackson,'TotLrtlaments end Lhe Cermrn Chi,.rlric rcnovacio: Tournament Discipline and thc Mvth of Origins', in: S Anglo (ed), op cir' (n. 8), the Netherlands rather than 20 Ibid.,8o. During thc first third of the 29 Geschied- en Oudheidkundige K'ing uoor Leuuen en omgeuingz3 (r983), 1-8 3o Ibirl.,9,z6-69. 3r Kall op. tit. (n.z'), rro-rr7 rX/ordofHonour, B. Neuschel, inrerTrering lYoble Cultu'e in S ixte a rt th - Cenru ry, France' Ithaca t98 9, 3z Kristcn 78-9r. 33 Vrn U1 rven , oP rir. rn 9\' -o' 34 Sherrin Marshall' The Durch Gentrl' 4004650 Fnmil, Fttith anl Fortttne, NervYork t987, I-rz; Neuschel, ap rit (n. 3z), 78-87; Robert Muchernbled, 'Famille, alrlour er mariage : Meltalit€s et comportemcnts des nobles artisiens i l'dpoquc de PhiliPPe iI', Rerza d'ltisruire mllente et iltrf?1ilPluin( 22 (r97 ), 217 -255: Natal ie Zemon Davis, 'Ghosts, Kir and Progenr": Some Featurcs of FamilY Life in Earlv 47 Being the Count of Nassau vol. z), Toronto t978,626,t629: A.H.T. Levi (ed.)' Colbcted Work: of Erasmus (Literary and Educational 'Writings, vol. Toronto 1986' li' Modern France' , Daedalus 6 ft977), roo-ro8; Robert'\ilheaton, 'Introduction: Recent Trends in the Historical StudY of the FamilY" in: 5)' Robert'W'heaton and Tamara 40 K. Hareven Gds.)' Famifi' and SeruaLitT in French HistotT, Philadeiphia r98o, 3-26; Donald Haks, 'Continuiteit en verandering oeg-moderne t al. (ed'), Vijf . Liefde, huwelijk en S anctiss n46-ry16, imi B C orp o ris C hr isri, ussum/AntwerP 1946' ,8')4r. 47 ' ihil;pp. SenechaL.'Jcan 'ec'nd wat taken Srinibcni.: lc, tombeattx g che Charles smus relcrs to Reuue de ) de et de Louis XII en r;32', lArt99 (tgg)'l+-lq;Ido \4lI homPson' in op cit. (n' 39), 6o8-6o9, 6zl; Cicero' tijd" het in: eett eucharisrica DCCi Anni a condiro fe*o 4' 41 opuueding in N,derlanJ' Niimegcn r988, li-4o. 35 Jansen, 36 L.,. D. Karel- (Kunstnatrimonium van Vc:t-VlaattJerett' vol. ro) Tielr r987r Elisabcth Scheicher,'Das Grabrlal Kaiser Maximilians I in der Innsbrucl<er Hofl*irche', in'. Die Kurrtden bmiLer der Stadt hnsbrutk: Die Hofbauten (Osterreichische Kunsttopographie' vol. 47) Vienna t 986' 359-125; V. Oterhammet, Die Bronzestand' sch1ub, bi lder des M aximilian- G rab male s in 48 estimates ofits early recePtion all the more hazardous. ith' German ter Renaissauce anAge of rtainry, Princeton 19 9 4' t19 -r)t\ Georges Ltnfry et al., Le Tombeau des Llnc (I, viii, z8). 44 :ili, Cardinaux dAmboile (Les Cahie rs de Notre-Dame de Rouen), Rouen r9i9; Manuel Gomcz.-Moreno, Las aguilas de I renacimi ento esp aiio l, Mtdrid ry81' elle hesoaienes' Pari\ ca' Iili: reprirrreJ ,uiih iirroJucrion by Sydncy Anglo' Amsterdam 1973, sig C6r-C6v' French renaissance: the Period of Charles VIII', Sirnitt lus tz (r98r-r982)' 45 J. Duverge r,'Vlaamsche '' 'B."ldhoi*"ts te Brou', Oud Holland plan ned. i7 Cat. exh The Age of B'uegel Nethslandish Drawings in the S i xr ee n t h Ce n r u 11, Wa'hington (National Gallery) ry86' 47-239; C.tW. Fock, 'Nieuws over de rapi.jten' bekend als de Nassause Gcnealogie" Oud Holland84 (1969), r-28; cat' Ni eder Lijndisc h e Ze ic hnungen ds t 6 Srmmlungr l9qo.58-62' (n. z)' Io7; Van Goor' 38 Kalf , op ci' oo. cit. (n. 4)' 8t. cisalpina: i9 Roben'W'. Scheller,'Gallia Louis XJI and ItalY r499-r5o8', Sitniolrtst; (198;), zo, z8-36; r. Der ToPos der Nine rhie: Gortinge n lgTt Among R<n:i'..tn-c .tuthor' Era'mus cires H Schroede \\- oi L j-.rr a. *cll rbr hi' nren'al acuin ). I .':-; 'l(m(ncv D, CaPi t' :nd desrinr Pattegttictt:) i;3 1.r C::it R ThomPson - - -- -- "r -i-i-:< ii c h : Guillaume F i /astr e, P aris tgzo' Filastre 56. ln the I47os Guillaume had imported glazed terra-cotta s found. on the tombs' Earlier designs by more in a Jean Perrdal were probably South..n ^"tter, Yet Lemaire's reference to Perrdal's moien des n' atl (n' 39); Gustave 5-68: Id., oP. cit. Clausse, Les Sforza et Les arts en Milandis rlSo-t530' Paris r9o9' plate 9; (Jn amateur d'aYt auW J. du Teil, Margaret had 47 (r9lo), 8. Though to design the Roome van asked Jan tornbs at Brou a decade earlier in r5t6' the iubd was ProbablY nor Plan ned untll the mid r5zos OnlY a feu' linited Italianate elements are to be in Sa e rG ' working 'az dntiques ' uue es /ia remain' cryPric' choses Het kuordoksaal in de , lVerhandelingen van dc Vlaamse Academie voor \fletenschaPPen, Letteren en Schone Kutsten uan Belgid, klasse der Schone Kunsten, no' 7), Brussels 195;-'roo-r/9' r43-r49;F ' van TYghem' 'Bestuursn.tou*"n van Keldermans in Brahant !. Vlaand.ren" in:J H Mos'clveld architectonisch ("d.), den'TheHa,gue netu)e 1987, 96-97,P Devos, Het Stadhuis vt n O t tdertaarde, Oudenaarde r99o; R \ fae re. De sacramentstorens van L:f,\'.n . in: S.-\. -lxrers (ed)' Srudirt jo sr decoration lor St. Omer from the Della Robbia shoP at Pisa' Du Puys, op. cit. (n' 44), sig E3r-E6v' Valvekens. op. cir. \n' z9) 15-26: Richard Hamann anJ Mac Lean' 'Das Frcigrab', Zeitschrif des deuxcben Wreins liir KunstwissenschaJi p G978) ' rr7-rzr. op. cit. (.n. r), 57-8o; Carlos G. Noreiia, /zaz Luis Viues (Intenational Archives of the Historl' ofldeas, no. 34), The Hague r97o' rrr; Tbe Contemporaries of Ftnsmus'vol' z' 5z Vosters, Toronto t986' $L-$3' 53 Ozinga, oP. cit- (n. z), zo; Helcn Th, Mendo"a Fami| in the sh Rcnai,sarrr r;so-rsfo' Ncw N"d.i' S Pdn i Bruns*ick r979' r98; Comez-Morcn'' op. rit rn.48t. ro4-tr-' Charle' was probablY following the lead of his Ethnn M, Krrun/et 48 6I chancellor Mercuri rro Barrinara ttr adopting rhc nerv image t4 7 ha Lost Muning of' Cln,si,nI Atrl'itc,utt c \tlrl,triotr ntt Ot',a''t.ntf ort Vitrtruitts to Venturi. George Hcrser', Canbriclge, Mass r988, 77-9o, rrr-rz7; Carol Hcrselle Krirskv (ed,), Vitrtn,i us. D e drch i tecntra N aclt dt u le t dar bountcntiertert ersten ita.lienischen Ausgabe t,on Ces,tre Ccsnri,tno (Cono, r;zf rifren und ausgcu'ihlte Tcxte zur sch 55 (Bilddokumentc QtLellcn- curopiischcn Kuustgeschichte), Munich 1969, r3, r'i, r'ii Orirga, op cit. (n. z),t6-1o F.F.X. Cerutti, 'Cego,ens ovcr Bredasc l<rLnst en l<unstcua:rrs in de zesriendc ceurv (r96r), 14 2.6-28; Luttcrvelt r96j, Jarr ce Cr.rl'. ,,, 57 3,rl2tnts he, ;8 t9 H. A. I-nnor.tI t irldcr. (igrrrrri bttrefende roerend en onroerend bezi.t in de Neder/nndart in de t6 eeuut,vol. t, Thc 6o HagLre 1972, j6. Gilbe rt Degroote (.cd.), Jnn Pu tche u,t/': Dn CntnP ttander Doot, Anm'erp r9.+8, xnvii; Oiivicr de la I'larchc, Le C heu,zlil dl lib ir1, P aris r,188, sig. A4r-A;v: It4on chcval sappeloit vouLoir [,r mon harnovs fiz rrempcr Dunc.lrtc quott tt,ttnmc pottoit l\lon escu lirt.l. l'rn e.lir. Satisil,ing o, to, to prcsent-dav taste. the mcmorial seems to havc bee n crrected roug.hll' accor:ding to plan. 69 VanLuttenclc1962,op cit (n.z), 8i-86; Cerutti 1c16o, o1t. cit (.n. zz)' z.i-25;J. Duvcrger, Contat Mcijt (cn r48o-r;5r) (Ycrhanclelitrger van de Konin l<li jke Belgische Academic, Afdccling schoonc knnstcn 1), Brussels r934, 98. Eightv guilclers rvas Esscx :rnd pi\id '0n te uer.qu/den tle per:onagiln ende ander a/bdsten u,ertk t'rtn de clcs rum actachees les arLnrLres de son pere er dc scs incestres et aussi le petit iuc dc au trcs bons monument. l-lrcy inrerpret'crijttterucrt.', also menrioned, as the naterial for polishine. Although the ir readiLrg mav be .ort ccr. Lltc .locutttcttt llt(nl iot)\ guerrot'eurs, 'anerttts steen re cLcarly viov is prelimilarv accounrs of the church masccrs. Avennes, sourh of N4:rLrbeuge, At, crt ness tu n' o r'p i r rt d'Au enn as' was trequcntlv chosen lor sculpttLrc. It is a solr u,hite stone and catt have little to clo *,ith thc black marblc of thc e biogr:rphical and ignores bt oadcr cnltrLral rclcrenccs. clr (n ;), 95-96; Van Luttervelr op. cit. cit. (.n. aP, DtLvergct's comparison benvecn the Brcd:r monumetrt ancl thc Tomb o.f' I'hilippt I'otin rhc Louvre. Kalf sttggests that columns once resrcd at rhe cotners ofthe plinth. T-his, hou,cver, n,ould har.e tlaudarcd a nuch larger upper slab and :r diflcrcnt placeLnent ofthe fbur anciettt bearers. The fiLrther addition ofa sccoucl set of cffigies lvould havc so rranslormed rhe nronrrnrent thrt s'e ri'ould har c to a montLment, 1962, (n.u), 9i-98; K)ock et a/., oP z),49 Varr Ltttrcrvelt revicrvs In r54o, fbr eramPle, the Abbc,v oFTorgerloo comnissioned frorn Conrad Nlleit a holv scpulchre 'a/ uttrt Awmtcstcrz 1 Qrrarried at lirerally 68 Krlf, op cir. (t. z), rro; 's-Jacob, u'ord is ;ror has also bccn read 'aternrc: steen', a tlroroughlv common term that occurs elseu'herc iLr rhc tlrc cttrrent di.p,''ition inappropri.tt.. since Engelbcrt lvas bettct knorm as stadho uder of Ho] land than as mi.l itary hero. This rvas even more trltc of a f/'The rvritten alcl as'nmenie: steen'. Ccl'nrri rcasotlablt' suggests th:rt the phrase be rc:rd as \on f rul)relt.tnoi. J. ..rP' . Kttll, op cir. (.n. z), Iro; 's-Jacob, o7 cir. (n. 5),95-96; Van Luttc'r ek 1962, op tit. (n u), 9;-98; KIoek errtl., oP cit. (n. l), '19. \/ar Luttcrr elt drorLght Hendrik. vet such r, conce rns rhe samc to the black nrarblc destined for rhe Cest i dire unt pal de bo1's richcnrent ouLrrd, paint ct dori, luclucl pencloit 67 orving :rccourr basc arrd tLppcr slab of rhc l.rrLrnt et :,,n crrqu.l\. .J l(Lit( cuirasse e t soLr espie... N'{ais i ung humnre p:lrfuit. .ilotttntc c.toit It:rtroculus ct e'. T 6e foll chapel, rccords pavmcnt to rLle scnLptor Joseph de Vilde, deijnsreker' lor four large pieces ofstonc, purch:rsecl ar Annvcrp. Ce nLtri ancl Van Luttervelr suppose rhar this refers Stccher (.ed.), Oeutres de.f ean Lentrtire t/e Be/ges, vol. 4, Louvain 189r, z;8: 'Et tour alenrour de Ia biere dudic Ophialtes estoienr pctrdttes et on Lrecroit derters leurs che[trng tr ophde qui est enseignc de victoi b indicaring thar it poupes funebres', in: J a tabern:rcle rvas post-Rcforntations Fnneral Mor.tuments', in: Svdncl'Anglo (ed ), op tit. (n 8), r,1;-t6o. DrL Puvs, op cit. (n 44), sig E;rE6v. the Brcda rnonunent srLcccssful as ir is Redclilfc, Bristol. 66 'Trairrd commissioned for Heverlee rvith thc stipulatjon thar it'sullcn moettcrl eeproporch ioneert z-\.'n nae h LLerc linghdc ende hucre ordinatrcie cLrde mare vanclen bocck r.irruvi i.' Victor v:rnder Haeghen, 'Pauu'cls vatl der Schclden', ir BiogtLtphia n/ltilnd/e de Be/gique, vo1. zr, Rrusscls rgrI-11, 519-64o. The description rvas applied to the ltalianate portal lbr the rorvtl hall at Oudcnaardc. post-Rclormarion England. Thc phenoncna are closelv rclatecl, hou'er.er, in convet'iug a distinctive cultrLre of 'scnsibiliq', breedilg arrd morirlitr'.' Sce Nigel Llovellvn,'Cllaims to Status rhrorLgh Visual (lodcs: Heraldrr on All Saints, Rir.elhall, spc:rk ofa raclicalll' dilfcrent rvork Thcre is no rcason to belicve drat a mcmorial closer ro the')-omb of' Lo uis XI I w ts ori gi nalll' e nvisionec1. 's-Jacob, on thc other hand, consiclers 'fhe Penn epitaph is in St. N'lary lJ"tij- Such visual rclcrences to:r chivalric ethic arc dilferent lrom those c{iscussed b1'Llcrvcllvn rvith respcct to 07. 611. r11. 5,1). 1c1-2-; rvas consrtucred shortll- after r594. ntru.m,l.euven I977, 3rz. BenvccLl r;6o and r;63 y6 and ap \r.rli. ll,iliPs tan 'rr. rt. tr-.rt,:J R o urgo nd ii 4 6 ;- r t 2 4, ioz-ro 1, rr7 -tL91' i.ld.r. Richarcl (looper, oP. cit. (n. t7) 6z Nigel LlervclJl'n, I l,e art ofdentlt l'istuzl crrlnn e irt rhe Euglih durh ritua/ c rsoo-t rEoo, Lorrclon r99l' 6;-68. 63 Rik Vos and Frecl l-eeman, Het uieutue ot n,u)lLilt. Uid: t oor dt t, n,ri;iattrca.rchitetttrur en -decordtia in r/e t6de eeuw in Areder/tnl. f he HagLre 1986, t6z-t63. 64 s*i,h. o7 cir. (t. q8). r-t{. 65 Llcrvellvn, op cit. (t.62), 68-7t, tt4-tzt. The Mentoria/ to RaPha tnd Elizabath Wyterunn stands irr Sr Marl' (lI)', De Ordnjeboont ,,. Vrrn ( 7o Klock at,t/., op rir (Lr z), ror. 7r Vitruvius, DearrhitectLtra, r.r.5-r 1.6; Hcrsev, op. cit. (.n. 5q) ,69-7i; John Onians, Bearer: of Manniry. I-he cldssical Orders in nLti(lrtitJ, rha Midd/c rtge s, ,,tnd tha Renrtissance,Princeron r98ll,22I-222. 7z Jacques Androuet dLt Cerct'at- ['iue d'arthitectura, Paris r5;9, lol 33 z3 \lrrgarr'r \'hirrncr. \eullrurc in B r itd i.n, t ; j o- r8 jo. Harmondsrvtlrth 1988, 6o-62; Van Lurten'clt, aP. r/r. (n. z, r96z), 99-too Being the Count oJ'Nassau historiscb Jaarboek +; (tggi, Z+9-18t, cspeciaJly 362-363; Hamann and Lean, 74 $ilhinney, op. cit. (n.7),6r-62.; Lrrrten.elt r96u, op, cit. (n.u), 98-ror; Hamann and Lean, op cit. (n. 5r), rr;. 75 76 Srccher. op. cir. (n.66). 2-8-2-q. Francesco Colonna, Hlpnerotomachia Po lip h i /i, Y enice r499, sig. u7v-x2r; Id., Discours du songe de Poliphile, Paris r546, rrtv-rr7v. Giulio Clovio's miniature inthe De Rothesay Hoursis another of the many works that permit both readings. On the page inrroducing the Psalms, King David is shown kneeling in repentance, having discarded his crownr sceptrer robe and harp, while underneath, the young David beheads the lallen Goliath. In the broad margin Clovio depicts three sets of armour two hoisted as trophies - while purti play with the abandoned hclmcts. See Thomas Kren, Ren aissance Manuscrip ts from the 87 88 77 W.J. Schuijt (ed.), Vandendrie B linde D ans sen, Amsterdam/Antwerp 19it. 78 Car. exh Maria uan Hongarije; boningin tusen keizers en kunstenaars r 5o S-rS 58, Utrecht (fujksmuseum Het Catharijneconvent) /'s-Hertogenbosch (Noordbrabants Museum), Zwolle t991, z@-264; cat. exh. in: de Vier Winden, Rotterdam (Museum Boymans van Beuningen), Rotterdam 1988, no. ro9-uo. La Mort dans l'antiquitl romaine, Rennes r986, z3-24. 79 JealPriev, 8o George Hersey, The Aragonese Arch Naples, 144yr475, New Haven/ 8r Ralph E. Giesey, The Royal Funeral at London ry73,t-2,t9-zo. CeremonT in Renaissance France. op. cit. 92 95 et I'h*toire de I'ordre depuis I'annle 429 jusque ) tSS9, Brussels 19o7, r3; Guillaume Filastre, Le Premier Vo/ume da la Toison d'or, vol. r, Paris tit7.4-9. The rrecrisewas completed in 468.1n 1429, Philip the Good had initiated the order with a messianic goal to be achieved through the crusade. Ethan M. Kavaler, 'The Jub6 of Mons ald the Renaissance in the Nerherlands', Netlerlands Kunx- 9r appearing on portals, choir stalls and painted architectural decoration. On the Tomb of Philibert of Saul)t ^tBrou, where the attributes havc disappcared, it is no longer cleal whether the sratuettes were to represent the ten .ibylr or perhap. the ren virrtres ascribed to tbe Virgin Valvekens, op. cit. (n. z9), 6r. The Tomb of Antoine de Lalaing was thus begun about two years after work Il renaixement, r. -{71(Histdria de I'Art Catali: IV), Barcelona r986, 44-5r; SaLah \Wilk, The Scu/pture of Tullio 97 er son Moreno, op cit. (n. 48),3L-13t F. Mathey, Brou,Rennes t99r, zr. Though not previously common on tombs, the sibyls appearcd throughout the filteenrh and.ixtccnth centuric', the basement. Hersey 1973, op cit. (n 8o), 23, 3o, 37-38, figure z3; Roberr Pane, Rinas c imento ne /l'I ta/ia meridio nale, Milan r97;, rr4-rr5. 96 Joachim Garriga, L'ipoca del iedenis der Dcnis. Ligier Richier. L arrisre scalloped borders on the breast pLrtes, epaulcttes in the lorm ofa lion's head, acanthus scrolls and other similar dccorativc deviccs. Gustavc Clausse, Les Sforza et /es arts en Milanais 4So-r;30, Paris r9o9, 34t-343, 476-48t The tomb rvas transferred from the church ofSan Francesco Grande in the seventeenth century. 93 Johri McAndrew, Wnetiart A rthi t ect r' re of r ht Fn rl1 Re tta issn n t.. Cambridge, Mass. 198o, rz3-126. 9a lbid..69-72.462-4b9. The inner niches were originally occupied bv statues ofAdam and Eve. Thc guardians srood oursidc rh. main strucrure ofthe tomb, atop the ends of oeutre, Paris t9tr, 69-74: Gomez- H. Kerryn de Lcttenhove, Toison d'or. 86 started on the monumenr ar Breda. Armour on both memorials has Blunt, op cit. (n.4),37-42 PauI Giesey, 83 Srecher. op. cir. (n.66), u -o-z-r. 84 Ciesev. op cir. (n.8r\. rzo. 85 Tanner, op. cir. (n. z7),t46-r5t; I'institution cb Nedlrlanden utm de Middeleeuuen tot onze rijd. Annverp I,r5,+. J-6- t-89 Valveken.. op. rir. (n.2q). Is-26. 90 Carlo de Clercq, 'Contribution i l'iconographie des Sibylles: I', Jaarboek uan het Koninklijk Musettm uoor Schone Ktnsten AiltuerPen r97 9, 7-6St id., 'Conrribution i I'iconographie des Sibyllcs: II', Jaarboek uan her Koninkltjk Mrueurn uoor Schone Kuntten Antu)erPen t98o, /-3;; Panolsky, op. cit. (n. ;),1+-16: (n.8r), 6, rzo. Notes snr r.ol II, The Hague r932, z5; 's-Jacob, op. cit. (n. ), zo9-Lr4. Emile Mile, L'art religieux dtt XIII: si?c/e en France, Paris 1898, trz; Lutreruelr 1962., op. cit. (n. z), Cl;J. Duverger and M. J. Onghena, 'De Zuidnederlan dse beeldhouwkunst gedurende de zestiende ecuw', in: H. E. van Gelder and J. Duverger (eds. ), Kunstges Gencva 196o, ro8, rrr, rr7. 8z Louant, op cit. (n. u),3or; op. cit. (n.;r), roo-rr8, rz7-rz9; Panofsky, op cit. (n. ),74-76,9-85. An emphasis on personal deeds and qualities ofthc dcceased was generally adopted during the early sixteenth century, a development that had bcgun began earlier in ltaly. The Tomb of Gdleazzo Viscontiarthe Certosa ofPavia depicts several memorable scenes fiom Galeazzo's life. Ac St. Denis, thc Tomb of Loui: XII and Anne ofBrittany incl udes reliefs representing the military victories of the French King. Panofsky, op. ci. (n.5),74-76; R. van Marle, Iconographie de I'art profane au molen-hge et i /a renditsance et ld dy'coration des demeures, Librarl, Malibu r98;,92: British Library, Add. Ms. zo9z7, fol. 9w. 49 98 99 Lombardo. Studies in sources rtnd Meaning. New York r9-8. fig. zsM Gachard, Colltction das uolages des souaerains des Pay-Bas, voL ;, Bnrssels rS74. zql F. A. Brekelmans in: Nationaa I B iogrdJis ch \Yo o rdenb o e b, vol. 9, Brussels r98r, 336; Gomez-Moreno, op cit. (n.48), zy-26. The Empcror stayed at Montserrat on February fifth and sixth, r5r9. Artistic contacts bcrwcen Catalor.ria and Naples wcrc closc as might bc expected; belore working ri.ith Jean Mone. Bartolomi Ordoncz had rvorked in Naples, can,ing a tomb for the Caracciolo di Vico chapel in San Giovanni da Carbonara. Ozinga, op cit. (n. z), zz; Valvekens, op cit. (n. z9), 59. Contracts from the rixtecnth ccntury oltcn rclcr to specific rvorks then widcly admircd. Van Luttewehry6z, op. cit. (n. z), 96-97t J . Gauthier, 'Conrad Mcyt ct les sculpteurs de Brou en Franchecomte. Lcur ocuvrc Lcur imirarcurt QSzq-t5Q)', Riunion des sociltls des beaux-arts des dlpdrtements zz (r8g9), z5o-z8z;Valvekens, op cit. (n. z9), 59-6o. The grieving Philiberte engaged the sculptors Conrad Meir and the Florentine Gior.anni Battista Mariorto, who were then working on Ethan M. Kaurtler io roo ror thc tombs at Brou lor Margaret of Austria, to erect the memorials in rhe church of rhe Cordcliers ar Lons-leSaunicr Qura). Theodor M tiller, Sctlprure in tbe Nctherlartds, Gerrnany, France, Spdin. r4o o-r to o, Harmondsrvorrh r966, figure r43b; Hamann andLean, op. tit. (n. yr), roo-roz; 's-Jacob, op cit. (n. ), C)zinga, op. cit. (n. z), zo-jo R. N{eischke, De gotbiscbe bouwtraditie, Amersloort 1988, r88-r89; R l\{eischke en F van T1,chem, 'Huizcl en hoven, gebourvd onder leiding van Anrhonis I en Rombout in: l\{osselveld, op. cit. (t. q6), r3z-t3 ;, r 4z--t46 ; Hcsscl Miedema, 'Over de rvaardering wa1 architekt en beeldende kunstenaar in de zestiende eetw', Oud Holknd 9q (198o), V-8i. Vincidor, trained as a painter, rvas no prolessional architect than rhe goldsmith Pasqualini, rvho led construction for rhe familv Egmond. Painters and sculptors, horvever, were olten gir crr ar.lritcctural commi\5;r'n\ in the sixteenth century, lvirh thc additionaL appointnrcnt of a rechnical advisor ifnecessarv. J. l)uverger, 'Bijdragcn ror de srudie der Renaissance in de Nederlandcn', tn: Bijdragen en documeilten tot de kunstgeschiedenis, Gent (n d.), ;4; Cerutri r96r, op. tit. (n. ti), 29-ll; Carolus Scriban i, Antuerp itt, Antw er p r6ro, .lo-4r. Scribani praised Volfgang in rhe follou'ing rvords: 'd morc nnte a omn{ Wolfgangus uan Breda, qui primus nta//eo stiloque subsn"ati pice cae/are rlocuit, citm anti fusi/i omnes ductu /aminas in Jirmtts clgerent. ergl t,incitis. habet h'ic eniru omnis retri antiquitas quod discdt, quld imitetur'. roj ro4 ro5 J.K. Steppc,'Jhcronimus Bosch. Bijdrage tot de historischc cn de ikonogr afischc studic van zijn u'erk', in: j. K. 5teppe t dl.. Jheuotritntrs Bosch, Btjdragen bij ge/egenbeil uan de h erd ert k ings tento o nste / /ing te \ -H erto ge n bos ch ryd7 Eindhovcn I967, 8-zz. Thc paintirg is documenred in his palace at Brussels in r;r7. Van Coor, op cit. (n.4),89 G Galland, Gestbichte dey le urr t und B i /dn e rei im Zeita/ter der Rennissance der ndtionn/en B/iite und des Klassicismus, Frankfurt r89o, 8Z; Kalf, op. cit. (n. z), b o //andis t h e n B au ro9; D. Roggen, 'Dc beeldhourverJan Mone, zijn rverk en invloed', De kunst (r9;o-r9;l), 4r9; ro7 C)ther ornamenral figurcs have closc counrerparrs on thc lranrervork oF Mun.:, Alrn,piett of rln 5euctt Sacraments{Halle . Thc spiralling acarrrhur r incr. profile porrrair medallions, miniature nudes and 9t-96 II', ro2 der Neder/anden r Lutten,elt ry62, op cit. (n. z),82-92 Kloek et al., op cit. (t. z), 49. ro6 De Liggeren en andere historistha chimera are similar to the decorative clcr ice. ort tlrc bre.tttplrre. ofCacrrr, 'HaLrnibal' and'Philip of lvlacedonia' D. Roggen, 'Jehan Mone, Arrisre de I'Emperenr', Gentse Bijdragen tot de KtLutgeschiedenisr4 G9t,l), zo7 -zt9; J. Duvergcr, J.J. Onghena en P.K. van Daalen, 'Nieurvc gcvcns aangaande zesriende eerrrv.. b..ldlrourrcrr in Brabant en Vlaanderen', Medede/tngen unn de Koninl<lijbe V/aam:e Acadamia uoor rr/etenschappeil, Lett€ren en Sthone Kunsten uan Be/gi?, klasse der Schone Kunsten r; (r953) 9-r5; Valvekens, op. tit. (n. z9), 6r; J. Stcrk, op. cit. (n. t;),;61 H. Rahrgens, Dir lzirchlichen Denkmliler der Stadt Kiiln: St. Gereon, St. Jobdnn Baprisr, die Marienkirchen, Gross St. Marrin (Dic Kunsrdenkml.len der Stadt Kciln, z), Dusseldorfrgrr, z3z; Stcppe r9;2, op cit. (n. 46), zr4 H. H. Hitchcock, Netherlandisb Scrol/et/ Gnbles of the Sixteenth dnd EnrQ Setenteenth Centuries, Nerv York r978, zz Lutten.elt r962., op. cit. (n. z),92q Koek et n/., op tir. (n. z), +q; Kali op. cit. (n. z), ro9. Originallv lrom Metz,, Monc had travelled to Marseille, rvhere he u,orked from ryrz-r5r3. He may then have travelled in ltaly, though this is not cerrain. AIso inrriguing is the similarit,v to the Tomb oJ' Don Juan ofAragon x Montserrat. Mole was u'orking at Barcelon:r in tyrg and mav vcn, rvell haye knorvn rhis monurlent, caryed a decade earlier and stationcd somc thirty-fir.e kilornctrcs arvav. FoL us, the name Mone poinrs morc to a communal style than co an individual. The sculprure may havc been can,e d bv other sculptors from Mechelen, rhe court ciry under Margarct ofAustria and home to antieb snltders.In ryt7 artists lrom Mcchelen began rvork on thc jubi for Sanbt Maria-im-Kapitol at Cologne, which includes an assortnrcnt of Renaissance motifs. Ch.rractcristicalh . t he commi.'ion had come from Nicasius Hackeney, an ofTicial to Charlcs V, rvho shipped the srructure to his narive ciry on the Rhine. Leach, op, cit. (n.;), 19-27; Ulrich Thieme and Fel txBecker. A//gcnteinas Lexilzon tler Bi/denden Kilnst/er uon der Antibe bis zur Gegentuart(Htns Vollmer ed. t. r'ol.3o. Leipzig ro4-. +66; Ph. Rombouts cn Th, van Lerius, ro8 arcltiaren der AntaerPsLhe St. Lucav gi/de,Antwcrp 1872, rz8; Ccrutti, op .;1. (11.552). z-1-,rs: Scribani. ap. rir, (n. roz),4o-4r. Anton van Zerroen may bc thc Antonis van Brcda rvho registered at Annverp iLr I;36 and is latcr mcnrioned bv Scribani in the company of CorneLis Floris, Jan d'Heere, Jacques Jonghelinck and \Villcnr Paludrn r,: ',1ui, enim Antoniun uan Breda, Corne/ium f'/oris, Ioannem da Hase, Ionghe/ingun, Pnludanum nouit; quis borunt opera, qui non inc/dmet, Non impnrifelicitate fluxenLnt bic aera steterunt mdtmortt'. 'De Hdse'is presumablv a misreading ofJan d'Heere. In October of r539 Breda citizcnship was cxtcnded to a large group ofscnlptors, several of rvhom had come lrorn l\'[echelen. This communal registration rvas probablv a legal manoeuvre around pal'menr restrictions rather than a record of sudden immigration. Man,v of the artists had likely been emploved on Hendrik's casrle, rvhich had cornc to a scandstill at his death, though othcrs may have rvorke d on the Monument to Engelbert II and Cimburga. Anong thc narnes gl,enis Mr. Andries de steen/touuer. This musr be Andries Scron, an Italial rvho had alrcady worked lor Hendlik III eight 1'ears earlier and eventually boughr a house in the to*'n. hr l;39 he also rvorked lor thc famil,v Egmond, for rvhom he carved the sculptnre on the gallery of the castlc at Buren, norv destroyed. Perhaps Andries Seron came from rhe same famill- as Juan An tonio Ceroni, rhe Millnc'e 5culpror born irr ti-q. Seron was Jike\'relaced to the Annverp sculptor Anton van Zerrocn (also Seroen or Zerun), one ofche principal car.rers of the spectacular mausoleum fbr rhe Elector Moritz of Saxony in rhe Cathedral ofFreiberg in rhe carly rt6os. Sdndchal, op cit. (n.47),76; Catheline Pdrier-D'leteren.'LIne Oeuvrc rctrouvie du Maitrc dcs Portraits Princiers', Annales d'Histoire de lArt 6 Ilaing tbe Count d'Archiologie8 (rq86), +6-;o. The heir oIboth Fngclb.rt lnd Crc'ar it simi[:rrly- can'cd: there m:ry evidcnce ro9 rro of nvo different scnlptors, but hardlv tlvo diametricallv opposed techniqucs. Stcrk, op cir. (o. i),19. Kalf, op tir. (.n. z'), to6. oJ Ndstttr