Étiquette : Great Principalty of Burgundy

Article written by Marie Verbiest

Introduction

When preparing a presentation on the mediatization of the Guelders’ conflict of 1538-1543, I came across a rather unusual newsprint, not so much for its content as for the imagery it presented. Entitled Sekere nyeuwe tijdinghe vanden furst van Cleve ende Gulick wat steden, sloten ende dorpen etc dat hem afhendich ghemaect sijn, ende wat in brande ghesteken sijn, this newssheet recounts the various “cities, castles and villages” that had been seized by imperial forces from the Duke of Cleves, and, more importantly, which places “have been set on fire”¹. Right beneath this lengthy title, we can see an imperial emblem. The peculiarity of this print lies not in the presence of the imperial emblem itself, which was very common, but in the small flames encircling it. Since the news report recounts areas that were set on fire, might the symbol have been intentionally adapted to reflect the content of the text? Can we, in other words, speak of an ‘actualization’ of a political emblem in light of a current event?

Mediatization of a conflict

When Charles II of Egmond (1467-1538), duke of Guelders, dies without an heir in the summer of 1538, a regional succession crisis provokes a large-scale international conflict implicating among others the Habsburg emperor, the French king, the Schmalkaldic League and the Ottomans. Charles V (1500-1558) had claimed his rights to the duchy as the descendant of the Dukes of Burgundy, since both his great-grandfather Charles the Bold (1433-1477) and his grandfather Maximilian I (1459-1519) had held the ducal title of Guelders². Charles II of Egmont, however, had made a secret agreement with Francis I (1494-1547) in 1534, promising to grant the French king the duchy of Guelders upon his death. The Guelders’ Diet (Landdag) of 1537, on the other hand, rejected both candidates and appointed William V Duke of Cleves (1516-1592) instead. An armed conflict ensued in 1542-43, opposing the army of William V, aided by the French, and the imperial troops. This ended only in the summer of 1543, when the imperial army conquered Guelders and it was incorporated into the Habsburg Netherlands³.

Many contemporary newssheets printed all over Northwestern Europe testify to the destruction and violence that followed this succession crisis, especially in the Low Countries. As is the case with the print in question, several of these reports were composed in rime, meant to be recited or sung as well as read. Compared to newssheets written in prose, these prints favour a more literary use of language that infuse the text with symbolic meaning. This can be seen, for example, when our print describes the invasion by the Guelders’ army into Brabant (‘the lion’), which was eventually deterred by imperial troops (‘the eagle’): 

Si moghen den leuwe wel verradelick in sijn landen sluypen
Maer om te verscueren is hi te scarp getant den Arent doet hem onderstant
Hy ontluyct clauwen ende vlercken
Het tkeysers macht is quaet taenmercken.

They may treacherously stalk the lion in his own land
But he is too sharp-toothed to be torn apart the Eagle comes to his aid
He unfurls his claws and wings
The emperor’s power is hard to ignore⁴.

A Burgundian symbol

To return to our emblem, like on most of these prints, we can see a version of the imperial symbol of Charles V printed right on the first page: the two-headed eagle, the imperial crown, the Order of the Golden Fleece collar, the columns of Hercules with the famous “Plus Ultra” slogan, or – in this case – a combination of all four elements. Our print, however, is the only one – to my knowledge – that exhibits the imperial emblem with a remarkable addition: small flames surrounding the imperial crown.

Flames or sparks that accompany a fire or flint stone (fusil or briquet in French) was the chosen symbol of Philip the Good (1396-1467), Duke of Burgundy, and appears as early as 1420 in his inventories. The symbol is generally interpreted as representing a policy of military aggression, chosen in response to the assassination of John the Fearless (1371-1419)⁵.

Dissecting the emblem printed on the title page of the newssheet in question, then, we can identify the flames along with the collar of the Order of the Golden Fleece as clear Burgundian symbols. The identification with Charles’ Burgundian heritage becomes even more apparent when we look at the content of the text itself. For example, our newsprint starts the text as follows: 

Verblijt this tijt, ghi Borgoensche sinnen, 
van deser blijder maren

Rejoice in this time, you Burgundian souls, 
of these cheerful tales

In general, newsprints on the Guelders’ War of 1538-43 portray the conflict, as well as the people and lands it affected, as distinctly ‘Burgundian’. Throughout the text, the imperial troops are consistently called ‘the Burgundians’ and we find multiple references to their bravery and military prowess. Even the lands that they took from the Duke of Cleves had, according to the text, “already wished to become Burgundian”⁶.

An emblem between symbolism and pragmatism

Refocusing on our peculiar emblem, it seems to me that its presence could be explained by several possible scenarios. Of course, first of all, it is possible that this emblem was simply the (only) one the printer had available. In this case, its presence merely testifies to an imperial- or ‘Burgundian’-minded printer, as evidenced by the content of the text itself, and nothing more. Unfortunately, given that the newssheet itself gives very little information as to the circumstances of its production, we know hardly anything about the creators or their intentions. We are left to wonder why the printer had this specific emblem in his possession, and what other purposes it could have served.

The second option echoes the question I introduced at the start of this post: could the emblem have been adapted to reflect the content of the text? Could it be that small flames were added because the narrative itself discusses cities and villages that had been set on fire? This seems plausible, considering that I have not (yet) found this particular emblem on any other print⁷. There are, however, other instances where a woodcut image has been modified to fit the topic of the print. One example is a news report on the sack of Rome, printed in Antwerp in 1527: it used a woodcut from a 1520 print and added a small shield displaying the letters ‘SPQR’, effectively identifying the city in the image as Rome⁸. Given that the reuse and ‘customizing’ of existing woodcuts to fit different purposes was a common, cost-efficient practice, it is entirely possible that this is the case with our newsprint⁹.

In a third scenario, the imperial emblem could have been intentionally modified to highlight or accentuate Charles V’s Burgundian legacy, seeing as this plays a major role in the Guelders’ conflict. As mentioned earlier, many newsprints on the topic frame the conflict as one between the ‘Burgundian emperor’ and his ‘Burgundian Netherlands’ on the one hand, and the Duke of Cleves – who is, in reality, under the control of the French king – on the other. From this perspective, it makes sense that the emblem would be adapted to call attention to Charles’ Burgundian heritage. We could even argue that the flames are used in the same way as under Philip the Good, expressing the military dominance of the Habsburg-Burgundian house over the French kingdom.

Conclusion

Considering these different options, a few points can be made with reasonable certainty: the little flames are undoubtably a Burgundian symbol that – whether intentionally or not – underscore the topic and narrative of the text. Moreover, like we’ve seen, woodcuts could be adapted to fit the topic of the text. This adaptability illustrates the nuanced interaction between text and image – an aspect I intend to explore further in my study of this medium. With the aforementioned elements in mind, I lean more towards the second and third scenario, in which the emblem is effectively adapted to the text. Ultimately, whatever the intentions of the author or printer – and whether the emblem was meant to echo the text or not – the newssheet effectively highlights both Charles V’s Burgundian heritage and his military dominance, conveyed through the text itself and the imperial symbol that accompanies it.

TO COME

I am grateful to Elodie Lecuppre-Desjardin and Maxim Hoffman of our WP 3 for sharing their time and insights, which greatly helped in shaping my reflections on this topic. This post is connected to my ongoing research on the mediatization of the Guelders’ conflict, a part of which I presented at the 66^th Rencontres of the Centre Européen d’Études Bourguignonnes (CEEB) in Paderborn in September 2025. Here my focus lay on the peculiarities of the ‘media coverage’ of this conflict, as well as the narrative portrayal of those in power in these newsprints. The collected papers of this conference are expected to be published in the autumn of 2026. Within the scope of my thesis, entitled “Expanding Horizons. Media Impact of International Events in Printed News Reports in the Early Sixteenth Century”, the Guelders War of 1538-43 is one of the six events that I study to examine the media impact of early sixteenth century events in printed news reports.

BIBLIOGRAPHY

Sources

Sekere nyeuwe tijdinghe vanden furst van Cleve ende Gulick wat steden sloten, ende dorpen, & dat hem afhendich ghemaect sijn, ende wat in brande ghesteken sijn, printed in Antwerp (1543), USTC n° 408361, Centrale Universiteitsbibliotheek Gent: Rés. 423/3, digitized version via Google.

Gherechtige copie vander nieuwer tidinghe welcke die ionghe Montrichart ghebracht heeft van Roomen, printed in Antwerp byJacob van Liesvelt (1527) USTC n° 415552, Centrale Bibliotheek van de Universiteit Gent: Meul 11/2, digitized version via Google. Of the newe landes and of ye people founde by the messengers of the kynge of Portygale named Emanuel, printed in Antwerp by Jan van Doesborch (1520) USTC n° 410154, British Library London: G.7106, digitized version via USTC.

Literature

Arthur M. Hind, An Introduction to a History of Woodcut, 2 vols, Houghton Mifflin: Boston, 1935.

Renate Holzschuh-Hofer, ‘Feuereisen im Dienst politischer Propaganda von Burgund bis Habsburg. Zur Entwicklung der Symbolik des Ordens vom Goldenen Vlies von Herzog Philipp dem Guten bis Kaiser Ferdinand I.’, RIHA Journal 6 (2010): 1-47.

Marjolijn Kruip, ‘Jan van Battel (1477-1557), (heraldisch) schilder in Mechelen. Kunstenaar, werken en nieuwe vondsten’, Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen 119 (2015), 105-139.

Elodie Lecuppre-Desjardin, The Illusion of the Burgundian State, trans. by Christopher Fletcher, Manchester University Press: Manchester, 2022.

Markus Neuwirth, ‘Plus Ultra – Origins and Impact of Emperor Charles V’s Imprese’, Plus Ultra. Beyond Modernity, Stefan Bidner (ed.), Thomas Feuerstein (ed.), Frankfurt am Main, Revolver, 2005, 305-352.

Aart Noordzij, Gelre: dynastie, land en identiteit in de late middeleeuwen, Hilversum, Uitgeverij Verloren, 2008.

Marion Pouspin, ‘La relation texte-image dans les pièces gothiques. De la pensée conceptuelle des imprimeurs à l’expérience du lecteur’, Perspectives Médiévales 38 (2017),

Earl E. Rosenthal, ‘The Invention of the Columnar Device of Emperor Charles V at the Court of Burgundy in Flanders in 1516’, Journal of the Warburg and Courtauld Institutes 36 (1973): 198-230.Steven Thiry, Anne-Laure Van Bruaene, ‘Burgundian Afterlives: Appropriating the Dynastic Past(s) in the Habsburg Netherlands’, Dutch Crossing 43, n° 1 (2019), 1-6.

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1. Sekere nyeuwe tijdinghe vanden furst van Cleve ende Gulick wat steden sloten, ende dorpen, & dat hem afhendich ghemaect sijn, ende wat in brande ghesteken sijn, printed in Antwerp (1543), USTC n° 408361, Centrale Universiteitsbibliotheek Gent: Rés. 423/3, digitized version on Google Books [↩]
2. Aart Noordzij, Gelre: dynastie, land en identiteit in de late middeleeuwen (Hilversum, Uitgeverij Verloren, 2008), 52. [↩]
3. Ibid., 177-179. [↩]
4. Any translation into English is mine. [↩]
5. https://devise.saprat.fr/embleme/fusil [↩]
6. “Die landen willen al borgoens wesen”, my italics. [↩]
7. We do, of course, find the ‘briquet’ surrounded by flames incorporated in imperial artworks such as the tryptic made by Jan van Battel in 1517-18, or in the heraldic representations painted in the Cathedral of Barcelona for the XIX Chapter meeting of the Order of the Golden Fleece in 1519: Jan van Battel, ‘Triptiek met Karel van Habsburg als koning van Spanje’ (1517-1518) oil on canvas (97,7 x 67,3 cm – middle pannel) (97,7 x 33,4 cm – side pannels), Hof van Busleyden, Mechelen; Markus Nieuwirth, ‘Plus Ultra – Origins and Impact of Charles V’s Imprese’, Plus Ultra. Beyond Modernity, Stefan Bidner (ed.), Thomas Feuerstein (ed.) (Frankfurt am Main, Revolver, 2005), 333. [↩]
8. The print on the sack of Rome: Gherechtige copie vander nieuwer tidinghe welcke die ionghe Montrichart ghebracht heeft van Roomen, printed in Antwerp by Jacob van Liesvelt (1527) USTC n° 415552. The print displaying the same woodcut-image: Of the newe landes and of ye people founde by the messengers of the kynge of Portygale named Emanuel, printed in Antwerp by Jan van Doesborch (1520) USTC n° 410154. The image in this last print is potentially a portrayal of the Siege of Jacob’s Ford (1179). [↩]
9. Arthur M. Hind, An Introduction to a History of Woodcut, 2 vols, II (Houghton Mifflin: Boston, 1935): 284-285; Marion Pouspin, ‘La relation texte-image dans les pièces gothiques. De la pensée conceptuelle des imprimeurs à l’expérience du lecteur’, Perspectives Médiévales 38 (2017), URL : http://journals.openedition.org/peme/12646. [↩]