Dijon Things to Do

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The figures below are called “pleurants” (an adjective) . I do not know enough about early French to know why the correct term "pleureurs" was not used. All of the figures appear to be male as the term indicates. The figures are different in physical attitude, facial features, folds of dress, etc. They are all moving in a clockwise direction through the structure and are frozen at a moment in time in a realistic manner. They are not posing frontally as most prior works would have them, but are interacting with one another. (In larger forms Sluter does this in his works at Champmol also). It is said that the figures were derived from living models and represent various levels of the royal retinue rather than paid mourners (the Carthusians), but we have no details. The conceit is more delicate than can be imagined and must be seen. The work on the second tomb has a rougher realization of the cloister-like atmosphere seen in the first tomb; the choice of a more varied arcade and niches does not add to the effect, but this is quibbling. It is still a masterpiece. It is worth reading the stories of how these great works barely survived the destructive furor of the Revolution. How simple rioting men, who had never seen them, were so affected that they recognized the pieces as a heritage not an object of hatred and refused to lay a hammer to them.

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The second Tomb in the Salle des Gardes is that of Jean the Fearless (sans Peur) and his wife Margaret of Bavaria. The Tomb was created between 1443 qnd 1470. Jean was assassinated in 1419. The Tomb was commissioned by Philippe the Good, his son. It was to have been created by de Werve, but he died before beginning. The new sculptor was first Jehan de La Huerta, who resigned followed by Moiturier, both of Aragon. He was to finish it in 3 years but it took over 20 (not as easy as it looked!). The commission included language indicating that this tomb should be as like the other as possible. No wonder it took so long!

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In 1383 Philippe le Hardi (the Bold) started the construction of the Chartreuse de Champmol (See our Off the Beaten Path Tips) to be his mausoleum. In 1385 in a part of the palace complex at Dijon, he installed a team of sculptors lead by Jean de Marville to create his Tomb. Jean’s assistant was Claus Sluter who took over this and other projects at Champmol when Jean died in1389. This was slow and highly original work. In fact Claus died in 1405, leaving the finishing to his nephew Claus de Werve.(Philippe died in 1404). This Tomb is now installed in the Salle des Guardes. TheTomb is topped by an effigy of Philippe lying on a black marble slab, guarded by 2 angels at his head and a lion at his feet. The slab rests upon a series of double arched cells, alternating and connected with niches. Walking through this forest are 41 figures who appear to us in varying life-like poses. They are all dressed in monk habits, usually capped by cowls.

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Although the Tombs of Philip the Bold and John the Fearless and his Wife are the gems of the Salle des Gardes and of the entire museum, there are other objects in the room worthy of careful study. One such is the retable carved by Jacques de Baerze and painted and gilded by Melchior Broederlam between 1390-99. On one side is a carving of the crucifixon scene and related events while on the other side are four paintings from the early life of Christ. This work was originally in the Chartreuse de Champmol along with the Tombs.

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During the 15C Burgundy controlled most of Flanders and commissioned works of art from its leading artists. It is not surprising to find that Rogier van der Weyden (or a member of his studio) would portray Philip the Good. Another of the three initiators of the Flemish school, Roger Campin (aka the Master of Flemaille) is also represented by a superb Nativity (Note the detail of the landscape in the upper part). There are others: a Head of Christ by Bouts and two matched portraits probably by Memlinc. A fair number of primitives are present as well

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The ducal kitchen is an immense structure next to the Bar Tower. It is so large that it is stillused for ceremonial gatherings. There are three pairs of giant hearths occupying three sides of the room. The ribbings above lead to a central vent hole. The size gives some indication of the number of people to be fed at an important gathering. Outside the kitchen are two guardian images and an ancient well with a protective suspension figure. You are entitled to this glimpse as part of your admission, so do not miss it.

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In Dijon, the establishment of a public art school and museum preceded the French Revolution by a decade. It was intended to use parts of the ducal complex and this fell into place when the remnants of Burgundy.’s artistic heritage were saved from destruction in the Chartreuse of Champmol. As in the Louvre, a palace is a spacious venue for art and during the succeeding two centuries Dijon has had talented artists and art patrons that have made this arguably the best French Art Museum outside of Paris. The shell of the Holy Chapel Chapter House heads the visit where a colored model of the “Well of Moses” greets the visitor ad where the religious gems are exhibited. The two Ducal Tombs are in the Guard Room, while at one angle of the complex a room was createdd at the outset for the ceiling fresco of Pierre-Paul Prud’hon and later the masterpiece of Francois Rude (both from Dijon) in the Salle des Statues. The kitchens of the palace are so large that they are used for special occasions and are thus on view as part of your visit. Be sure to admire the fine exhibit of primitve French Art in the rooms associated with the Tombs. Plan to spend at least two hours here.

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It is a nice experience to walk around in the central part of Dijon. There are many pedestrinized areas. It is actually a good way of experiencing the beautiful and varied architecture you find in Dijon. Not to mention the fantastic pastry shops!
There are good maps available at the tourist ofiice (Place Darcy).