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History of civilization --- Bruegel, Pieter [Elder] --- Painting, Flemish --- Flanders --- Peinture flamande --- Social life and customs --- Pictorial works --- Bruegel, Pieter, --- Criticism and interpretation. --- Flandres --- Moeurs et coutumes --- Ouvrages illustrés --- Ouvrages illustrés --- Bruegel, Pieter --- Criticism and interpretation --- Flanders (County)

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The Flemish tapestries collected by the Habsburg rulers of the Low Countries are among the most beautiful art works of the Renaissance period. This book places these important tapestries in their historical and cultural context. Part I of the book examines the relationship between the Habsburgs and the tapestry industry in the Low Countries, the roles of the artists who designed the tapestries, the weavers who made them, and of the tapissiers, the court officials who looked after the royal tapestry collections. This is followed by four chapters which document and survey the collections formed by the Habsburg rulers of the Low countries: Margaret of Austria, the Emperor Charles V, Mary of Hungary and Philip II of Spain. Part II of the book is a detailed catalogue of thirteen of the most important surviving Habsburg sets. These include such important tapestries as the Honours, the Hunts of Maximilian, the Armorials of Charles V, the Seven Deadly Sins, the History of Vertumnus and Pomona and the Apocalypse

Tapestry [Flemish ] --- Tapisserie flamande --- Wandtapijtkunst [Vlaamse ] --- Tapestry, Flemish --- tapestries --- Applied arts. Arts and crafts --- Habsburg [Dynasty] --- anno 1500-1599 --- Brussels --- Tapestry --- Europe --- History --- Habsburg [House of ] --- Art collections --- Tapestry [Renaissance ] --- Flanders (County) --- Benelux countries --- Habsbourg (dynastie) --- tapisserie

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The research focuses on materials and techniques used in the art of stained glass in the Low Countries and more especially in the County of Flanders and Duchy of Brabant during the Renaissance and Baroque eras. This was without doubt the golden age of stained glass in our region and stained-glass artists at the time were sometimes highly respected draughtsmen and painters.



To give a clear picture of material and technical developments, the period under consideration starts with a prologue (from the early fifteenth century) and ends with an epilogue (into the first decades of the eighteenth century). The subjects of research were not restricted to the glass still present in our region, but included case studies on stained glass from the Low Countries found in Spain (Miraflores, Leon and Seville), Portugal (Batalha) and England (Oxford). Stained glass windows from the Low Countries were in any case highly desirable luxury products that were exported all over Europe.



The approach based on the conservation-restoration perspective is largely innovative, since past studies on stained glass in our region have mainly been founded on one well-defined approach. It was unusual to make connections between, for example, the results of chemical analyses of glass and the art historical interpretation or correct dating. The uniqueness of the modern conservationist-restorer’s approach lies in the fact that he or she is required to consider our cultural heritage in a broad and integrated way with a view to correct diagnosis and suitable treatment.



This research, although only an initial exploration, has already resulted in some highly relevant new insights. This study is also able to demonstrate that the art of stained glass, contrary to what was generally assumed, was still technically very refined into the first half of the eighteenth century, although mainly in the Northern Netherlands, where worldly clients continued to value stained glass windows as an expression of their wealth and prestige.



The conclusion emphatically confirms the importance of interdisciplinary cooperation with a view to conserving our cultural heritage. Historical and scientific research is after all an essential complement to visual observation. Together, these various analytical methods are a guide to better interpretation of the heritage we seek to preserve, its story of decay, and the efforts at restoration. Without this integrated collection of information, every study will be limited by its own shortcomings and prejudices, which could of course be a hazard when actively intervening to conserve stained glass.

glass painting [image-making] --- glasschilderkunst --- glasramen --- Applied arts. Arts and crafts --- anno 1500-1799 --- anno 1400-1499 --- Flanders --- Glass painting and staining --- History. --- Technique. --- 949.32 LEUVEN --- Geschiedenis van België: hertogdom Brabant; provincie Brabant--(reg./lok.)--LEUVEN --- 949.32 LEUVEN Geschiedenis van België: hertogdom Brabant; provincie Brabant--(reg./lok.)--LEUVEN --- stained glass [material] --- Glass, Stained --- Painted glass --- Stained glass --- Decoration and ornament --- Glass, Ornamental --- Glass art --- Glass craft --- Painting --- Glass, Colored --- Stained glass industry --- Technique --- History --- Stained glass windows --- Benelux countries --- Flanders (County) --- Brabant (Duchy) --- Nederlandse school

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History of Belgium and Luxembourg --- anno 1500-1599 --- Flanders --- #gsdb8 --- 934.4 --- Vlaanderen --- oorlogen --- geweld --- geschiedenis --- België --- 949.3.022 --- 16de eeuw --- Tachtigjarige Oorlog --- C3 --- nieuwe tijd (x) --- België [land - BE] --- dagelijks leven --- criminaliteit --- geschiedenis België- 16e eeuw --- Geschiedenis van België: 17de eeuw; Spaanse tijd (1555/1585-1713) --- Kunst en cultuur --- 949.3.022 Geschiedenis van België: 17de eeuw; Spaanse tijd (1555/1585-1713) --- Crime --- City crime --- Crime and criminals --- Crimes --- Delinquency --- Felonies --- Misdemeanors --- Urban crime --- Social problems --- Criminal justice, Administration of --- Criminal law --- Criminals --- Criminology --- Transgression (Ethics) --- History --- Social aspects --- Flanders (County) --- 16th century --- Pillage --- History [Military ] --- godsdienstoorlogen

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Dit cahier presenteert (in het tweede gedeelte) zo'n vijftig retabels, bewaard in Belgische kerken, kastelen en andere gebouwen. Na een korte beschrijving van het monument waar het retabel zich thans bevindt, komen de iconografie, de stijl en daaraan gekoppeld het productiecentrum, de bewaringstoestand en de eventuele behandelingen aan bod. Een bibliografie sluit elke bespreking af. Het eerste gedeelte daarentegen gaat in op een aantal algemene aspecten van de retabelproductie : historiek, functie, iconografie, productiewijze en -centra, arbeidsorganisatie, ambachtslui (beeldsnijders en schilders), materialen, technieken, onderzoek, conservering en restauratie.

Arts religieux --- Belgique --- België --- Monumenten --- Monuments --- Religieuze kunst --- Altarpieces, Flemish --- Sculpture, Medieval --- Retables flamands --- Sculpture médiévale --- Retabels --- Sculpture médiévale --- religieuze iconografie --- 75:726.593 --- 247.2 --- 625.3 Beeldhouwkunst --- 73 --- Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- Altaar. Tabernakel. Retabel. Ambon --- beeldhouwkunst, numismatiek, kunstsmeedwerk en kunstdrijfwerk --- kerkelijk meubilair --- 247.2 Altaar. Tabernakel. Retabel. Ambon --- 75:726.593 Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- #A0010A --- 581 Monumentenbescherming, cultureel erfgoed --- beeldhouwkunst --- retabels --- History --- Sculpture --- retables [altar appendage] --- Applied arts. Arts and crafts --- Belgium --- Flanders --- restauratie --- 15de eeuw --- 16de eeuw --- Vlaanderen --- Brabant --- Altarpieces --- Flanders (County) --- Criticism and interpretation --- 729 --- Beeldsnijkunst--Brabant (hertogdom) --- Vlaamse school --- Brabantse school --- sculpture [visual works] --- religieuze kunst --- sculptuur. --- religieuze iconografie. --- restauratie. --- 15de eeuw. --- 16de eeuw. --- Vlaanderen. --- Brabant. --- België. --- sculptuur --- Simon, Lucien.