Editing Charles the Bold (section)

=== Arts ===
[[File:Master of the Jardin de vertueuse consolation and assistant (Flemish - Vasco da Lucena Giving his Work to Charles the Bold - Google Art Project.jpg|alt=A kneeling man presents his book to Charles who is seated on his throne|thumb|Vasco de Lucena presenting his translation of [[Quintus Curtius Rufus]]'s ''[[Histories of Alexander the Great]]'' to Charles the Bold. Folio from ''Le Jardin de vertueuse consolation'' by an [[Master of the Jardin de vertueuse consolation|anonymous master]], between 1470 and 1475.]]

The Burgundian court under Charles the Bold was famous and magnificent.{{Sfn|Schnerb|2008|p=444}} It was seen as a place to learn arts and etiquette and where chivalry and courtly life were more intact than in the rest of the Europe. For this reason, the Burgundian court was the host to many young noblemen and princes from all across the continent.{{Sfn|Walsh|2005|p=280}} Even future generations admired Charles's court. [[Philip II of Spain|Philip II]], for instance, at the urging of his father, [[Charles V, Holy Roman Emperor|Charles V]], introduced the "ceremonial of the court of Burgundy" into Spain, using [[Olivier de la Marche]]'s account of Charles the Bold's court.{{Sfn|Gunn|Janse|2006|p=156}} Charles's Burgundian court thus became the idealized courtly life that sparked inspiration throughout [[Spain in the 17th century|17th century Spain]].{{Sfn|Gunn|Janse|2006|p=157}} While Charles's court did not differ much from those of his contemporaries, certain special features increased the court's appeal: the number of knights and nobles, the sacred image of the ruler who was distant from other courtiers, and the splendour of the court.{{Sfn|Gunn|Janse|2006|p=158}} Charles, like his predecessors, displayed his glamour through extravagant [[patronage]] of the arts.{{Sfn|Kren|McKendrick|2003|p=2}}

During Charles's reign, the production of [[illuminated manuscript]]s flourished.{{Sfn|Kren|McKendrick|2003|p=223}} After his ascension in 1467, Charles provided considerable funds for projects left incomplete after his father's death and commissioned new projects as well.{{Sfn|Kren|McKendrick|2003|p=3}} As a patron of [[Renaissance humanism]], he commissioned the translation of [[Quintus Curtius Rufus]]'s ''[[Histories of Alexander the Great]]'' into French to replace the inadequate ''[[Roman d'Alexandre en prose]]''. He commissioned the Portuguese Vasco de Lucena and Jehan de Chesne to respectively translate [[Xenophon]]'s ''[[Cyropaedia]]'' and [[Julius Caesar|Caesar]]'s ''[[Commentarii de Bello Gallico|De bello Gallico]]'' into French.{{Sfn|Vaughan|Paravicini|2002|p=163}} In 1468, he commissioned [[Guillaume Fillastre (died 1473)|Guillaume Fillastre]] to compose a "didactic chronicle" called ''Histoire de Toison d'Or'' containing moral and didactic stories of [[Jason]], [[Jacob]], [[Gideon]], [[Mesha]], [[Job (biblical figure)|Job]], and [[David]].{{Sfn|Hemelryck|2016}} He employed the finest calligraphers and illuminators to [[Illuminated manuscript|engross]] his ordinances; the Ordinance of 1469 was illuminated by [[Nicolas Spierinc]] and was distributed among Charles's courtiers.{{Sfn|Vaughan|Paravicini|2002|p=164}} His prayer book illuminated by Lieven van Lathem is considered a masterpiece of Flemish illumination that influenced great illuminators such as the [[Master of Mary of Burgundy]].{{Sfn|Schryver|2008|p=12}} Charles and his wife Margaret were patrons of [[Simon Marmion]], who illuminated a [[breviary]] and a [[panel painting]] for them.{{Sfn|Ainsworth|1998|p=25}}

Charles was a patron of music and was a capable musician.{{Sfn|Fallows|2019|p=3}} In his 1469 ordinance, Charles gave a clear view of what his musical entourage should be: a [[concert band]], ceremonial trumpeters, [[chamber music]]ians, an organist, and the [[Chapel (music)|chapel musicians]], whose music had more variety than that of Philip the Good's chapel.{{Sfn|Brown|1999|p=54}} He brought his chapel with himself on his campaigns and had choristers sing a new song to him every night in his chambers.{{Sfn|Alden|2010|p=135}} Charles was a patron of the composer [[Antoine Busnois]], who became his choirmaster;{{Sfn|Blockmans|Pervenier|1999|p=228}} his court musicians also included [[Hayne van Ghizeghem]] and [[Robert Morton (composer)|Robert Morton]].{{Sfn|Wright|Fallows|2001}} His favourite song was ''[[L'homme armé]]'', a song that may have been written for him.{{Sfn|Taruskin|2009|p=485}} Charles composed a [[motet]] that was sung in the [[Cambrai Cathedral]], presumably in the presence of [[Guillaume Du Fay]], one of the most well-known composers of his era.{{Sfn|Fallows|2019|p=4}} Among his other works were [[chanson]]s and [[Secular music|secular songs]].{{Sfn|Fallows|2019|p=12}} Although no pieces from his motet or chansons remain, two songs are attributed to him: {{Transliteration|it|Del ducha di borghogna}} (''of the Duke of Burgundy'') and {{Transliteration|la|Dux Carlus}} (''Duke Charles''). Both are from Italian [[Song book|songbooks]] wherein no name of the composers is mentioned. Nevertheless, the songs have uncanny similarities to each other: in [[Vocal range|voice ranges]], in their use of pitch [[C (musical note)|C]], their [[musical form]] ({{Transliteration|fr|[[Rondeau (forme fixe)|rondeau]]}}), and both songs start with the phrase ''Ma dame''. According to the [[Musicology|musicologist]] [[David Fallows]], with such similar traits, the songs are most likely both composed by Charles in the 1460s.{{Sfn|Fallows|2019|pp=12–18}} Charles also liked to sing; however, he did not have a good singing voice.{{Sfn|Vaughan|Paravicini|2002|p=162}}