Tomb of Philip the Bold

Portrait of Philip the Bold, unknown artist. 16th century, Hospice Comtesse, Lille

Philip acquired the domain of Champmol, on the west outskirts of Dijon, in 1378 to build the Carthusian monastery Chartreuse de Champmol as the site of his and his predecessors' tombs.[5] Although he held little personal regard for the clergy and was never keen to fund them, by the early 1390s he was under significant financial pressure to do so.[7] In addition, he was fond of ceremony and commissioned the charterhouse to display his religious devotion and to create an appropriately ambitious sanctified place for the resting places of his dynasty. Via Philip's investment, and the quality of successive artists he employed for the project, Champmol is today regarded as one of the great artistic achievements of the Middle Ages.[8] Although Philip spent much of his time in Paris, Dijon had been home to the Dukes of Burgundy from the early 11th to the late 15th centuries, and he wished Champmol to become its ducal palace. Its cornerstone was laid in 1383, and its foundational charter is dated 1385. Champmol was dedicated to the Virgin and the Trinity in 1388, and that year the first monks took up residence.[9] However the charterhouse took in total over 20 years to complete and despite great expense was not finalised until Philip's tomb was installed in 1410.[10][11][12]

In 1380, Philip commissioned Jean de Marville to "make an alabaster sepulcher for him in Dijon",[13] and in 1386 asked to eventually be buried in the choir.[9] De Marville began to work on the tomb in 1384, employing a number of artisans to cut and shape the alabaster for the arcades. The following year he purchased one large and several smaller blocks of black Dinant marble.[13]

By 1384 de Marville had a workforce of around 10 craftsmen, all of whom had progressed beyond apprenticeship and were masters.[14] Historical records show that by 1386 he had at least thirteen fully qualified craftsmen, including two specialist polishers brought in from Paris.[2] Work proceeded slowly, and by the Duke's death in 1404, only two mourners and the framework were complete. Philip's son John the Fearless, assumed control of the project[15] and gave Sluter, who had been Philip's chief sculptor since 1389,[16] four years to finish the tomb, but the artist died within two years. Sluter's nephew and assistant, Claus de Werve took over and finished the sculptures in 1410.[17] By 1387, the arcade around the base was largely complete and assembled.[18]

Detail of Philip's death mask and angel wings

The polychrome effigies were painted by Jean Malouel.[19][20]

Van Eram's main contribution was in adding to outlines of the capitals above the mourners. Sluter designed the mourners themselves, the cherubs above them, and the detail in the arches of the niches. By then the work seems to have been under Sluter's ownership since 1397, and the preparatory work was brought to Champmol, in Paris, where the final masonry work began.[13] Reflecting the fact that the designated area would never have been large enough to contain the number of tombs that Philip had envisioned, in 1402 the monument had become so large that Sluter was forced to break through the wall around the designated area.[15]

Philip's wife Margaret III, Countess of Flanders died in 1405, but had stipulated that her remains would be laid with those of her parents in Lille.

Philip was buried in a cellar beneath the choir on 16 June 1404 (although his organs were sent to the church of Saint Martin at Halle). In 1792, his body was re-interred at Dijon Cathedral.[21] The following year Champmol was destroyed and the tomb was damaged by revolutionaries and looters. It was restored in the first half of the 19th century.[22]

The charterhouse at Champmol was sacked and burned during the French Revolution, when the tomb was dismantled and some of its parts destroyed. Today both Philip and John's tombs are housed in the Musée des Beaux-Arts de Dijon. The slabs and effigies are in poor condition, with parts, especially around the feet, now lost. The effigies were reconstructed in 1819, in a project lead by the architect Claude Saint-Pere, having been in the Salle des Gardes, Paris, since 1827. They were further restored in the early 21st century.[29]

The style of an arcade with near life sized pleurants carrying a royal effigy became highly influential amongst contemporary sculptures, and can be seen in the monument for Philip's son John, the tombs of Isabella of Bourbon, Marguerite of Bourbon, Philippe Pot (d. 1493)[30] and John, Duke of Berry.