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The Chartreuse de Champmol, formally the ''Chartreuse de la Sainte-Trinité de Champmol'', was a Carthusian monastery on the outskirts of Dijon, which is now in France, but in the 15th century was the capital of the Duchy of Burgundy. The monastery was founded in 1383 by Duke Philip the Bold to provide a dynastic burial place for the Valois Dukes of Burgundy,〔Vaughan, 202〕 and operated until it was dissolved in 1791, during the French Revolution. Called "the grandest project in a reign renowned for extravagance",〔Sherry C. M. Lindquist, "Accounting for the Status of Artists at the Chartreuse de Champmol" ''Gesta'' 41.1, "Artistic Identity in the Late Middle Ages" (2002:15-28 p. 15)〕 it was lavishly enriched with works of art, and the dispersed remnants of its collection remain key to the understanding of the art of the period.〔Some works formerly at Champmol and documentation, were assembled for the exhibition "Chartreuse de Champmol", Dijon, 1960, with a catalogue containing essays by scholars of the calibre of Millard Meiss and Colin Eisler.〕 ==Founding== Purchase of the land and quarrying of materials began in 1377, but construction did not begin until 1383,〔(Vaughan, 202 ). The complex and unwieldy bureaucratic structure, providing "a rare view into artistic production at a major centre" (p 15), was analyzed from copious surviving accounts by Sherry C. M. Lindquist, "Accounting for the Status of Artists at the Chartreuse de Champmol" ''Gesta'' 41.1, "Artistic Identity in the Late Middle Ages" (2002), pp. 15-28.〕 under the architect Druet de Dammartin from Paris, who had previously designed the Duke's chateau at Sluis, and been an assistant in work at the Louvre. According to James Snyder his work at Champmol was "a somewhat conservative modification of the Late Gothic buildings of Paris".〔Snyder, 65〕 A committee of councillors from Dijon supervised the construction for the Duke, who was often elsewhere.〔 By 1388 the church was consecrated, and most construction probably completed. The monastery was built for twenty-four choir monks, instead of the usual twelve in a Carthusian house,〔 and two more were endowed to celebrate the birth in 1433 of Charles the Bold.〔Dossier, p. 10〕 These lived semi-hermitic lives in their individual small houses when not in the chapel. There would also have been non-ordained monks, servants, novices, and other workers. When founded, Champmol was "two arrow shots" outside the city gates,〔Quoted by Lindquist (2002), p. 177〕 but is now inside the modern city boundaries. At this time the city had about 10,000 inhabitants and was the largest in Burgundy proper, though smaller than the cities of the territories in the Netherlands recently inherited by the Duke through his wife. But Burgundy was held more securely than the often turbulent cities in the north, and represented the senior title of the dynasty.〔Gelfand (2005), 571〕 Over sixty members of the Capetian House of Burgundy, whom the Valois had succeeded in 1361, only two decades earlier, had been buried at Cîteaux Abbey to the south of Dijon. Champmol was intended to rival Cîteaux, Saint-Denis, where the Kings of France were buried, and other dynastic burial places. Somewhat in contradiction to the Carthusian mission of tranquil contemplation, visitors and pilgrims were encouraged, the expenses of hospitality recompensed by the Dukes. In 1418 Papal indulgences were granted to those visiting the Well of Moses, further encouraging pilgrims. The ducal family had a private oratory overlooking the church (now destroyed), though their visits were in fact rare.〔Lindquist, 2002〕 The ducal accounts, which have fortunately survived, show major commissions for paintings and other works to complete the monastery continuing until about 1415, and further works were added after that at a slower rate by the Dukes and other donors. The accounts for Champmol have survived in sufficient detail that Martin Warnke〔Warnke, ''The Court Artist: On the Ancestry of the Modern Artist'' (Cambridge University Press), 1993.〕 synthesized from them a view of the emerging status of court artists, and "the autonomous consciousness of art and artists"〔Warnke 1993:xiii.〕 that would distinguish the world of art in the Early modern period. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Champmol」の詳細全文を読む スポンサード リンク
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