The luxurious Dukes of Burgundy—Possessions of the House of Burgundy— The Burgundian Court—Household of Philip the Good—the Feast of the Pheasant—the Duke of Burgundy at the Coronation of Louis XI—Arras Tapestries—Sumptuous _Dressoirs_ and their Adornments—Celebrations in honour of the Knights of the Golden Fleece—Luxury of Charles the Bold—Charles the Bold at Trèves—Furnishings of the Abbey of Saint-Maximin—Charles the Bold’s Second Marriage—Furnishings of the Banqueting Hall at Bruges—Descriptions by Olivier de la Marche—Aliénor of Poitier’s Descriptions of the Furniture of the Duchess of Burgundy’s Apartments—Rich _Dressoirs_—the Drageoir and its Etiquette—the Etiquette of the _Escarbeau_—Philip the Bold’s Artisans—Flemish Carving—the _Forme_ or _Banc_—Burgundian Workmanship—Ecclesiastical Work—Noted Carvers—Furniture of the Period—the “Golden Age of Tapestry”-Embroideries—Tapestry-weavers of the Low Countries—Introduction of Italian Cartoons—Goldsmiths’ Work—Furniture of the Fourteenth and Fifteenth Centuries. The most luxurious prince of his age was Philip the Bold, Duke of Burgundy (1342–1404), son of John the Good, King of France. By its alliances, conquests and inheritances, the House of Burgundy attained such wealth and power as to overshadow the French throne itself. Under his grandson, Philip the Good, the Burgundian Court displayed greater splendour than any other in Europe. The reigning dukes were powerful protectors of the arts. Their immense resources, drawn from the Flemish hives of industry, enabled them to indulge their taste for architecture, painting, sculpture, illuminated books, tapestry, goldsmiths’ work and sumptuous furniture. They were also insatiable collectors of everything that was curious and rare. Any able artist, sculptor, architect, goldsmith, or image-maker, driven from home by the perpetual civil wars in England, France and Italy, was sure of refuge and employment at the Court of Burgundy. Thus, for a century and a half, the Low Countries were the most important art centre of Europe. Dijon and Brussels, the capitals of the Burgundian dominions, were Meccas of Mediaeval Art; and Tournay, Bruges, Ypres, Ghent, Dinant, and many other industrial centres swarmed with craftsmen who produced all that was luxurious and beautiful for domestic comfort and decoration. The house of Burgundy constantly increased its possessions. Some idea of its power is gained by a list of Philip the Good’s titles. He was Duke of Burgundy, of Brabant, of Lothier, of Luxembourg; Count of Flanders, of Artois and of Burgundy; Palatine of Hainault, of Holland, of Zeeland, of Namur and of Charolais; Marquis of the Holy Empire; and Lord of Friesland, of Salins and of Mechlin.