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Summary
Print shows, on the left, Louis, the Duke of Burgundy, identified as Louis Le Petit, sitting at a table outside a tent. In his right hand, he appears to be holding a Louis d'Or coin, and with his left hand he holds a balance above other coins on the table (the table top is supported by an eagle). An "essayeur", identified as "Celuy qui epreuve l'Or", is standing opposite of Louis, he holds a triangle from which coins dangle. Fleurs-de-lis decorate Louis's clothing, and the assayer's clothing shows the design of a cross saltire and orle, possibily representing the House of Bourbon or Navarre.
Forms part of: British Cartoon Collection (Library of Congress).
The roots of the Flemish school are usually placed in Dijon, the capital of the dukes of Burgundy where Philip the Bold (reigned 1363–1404) established a tradition of art patronage. Philip the Good (reigned 1419–67) moved the Burgundian capital to Brugge (Bruges). The largest county in the Southern Netherlands was Flanders and the term Flanders is often used to refer to the whole of the Southern Netherlands. Flanders produced many famous artists of Northern Europe. Arts flourished in the County of Flanders and neighboring Brabant, Hainaut, Picardy, Artois, and Tournaisis, from the early 15th century until the 17th century. In the 15th century and up to 1520 Flaundry was a part of Early Netherlandish art with the center in Antwerp. It gradually became distinct from the art of the rest of the Low Countries, especially the modern Netherlands by the end of the 16th century, when the north and the south Netherlands were politically separated. During the last quarter of the 16th century, political unrest between the northern and southern parts of the Netherlands brought a decline in Flemish art. Many Flemish artists left the Southern Netherlands for Rome, Germany, or the Dutch Republic. After Twelve Year Truce, Flemish art revived.
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