Philip's court can only be described as extravagant.
 Despite the flourishing bourgeois culture of Burgundy, with which the court kept in close touch, he and the aristocrats who formed most of his inner circle retained a world-view dominated by knightly chivalry.
 He declined membership in the English Order of the Garter in 1422, which could have been considered an act of treason against the king of France, his feudal overlord.
 Instead, he created his own Order of the Golden Fleece, based on the Knights of the Round Table and the myth of Jason, in 1430.

Philip had no fixed capital and moved the court between various palaces, the main urban ones being Brussels, Bruges, and Lille.
 He held grand feasts and other festivities, and the knights of his Order frequently travelled throughout his territory to participate in tournaments.
In 1454, Philip planned a crusade against the Ottoman Empire, launching it at the Feast of the Pheasant, but this plan never materialized.
In a period from 1444 to 1446, he is estimated to have spent a sum equivalent to 2% of Burgundy's main tax income in the recette génerale, with a single Italian supplier of silk and cloth of gold, Giovanni di Arrigo Arnolfini.

Philip's court was regarded as the most splendid in Europe, and it became the accepted leader of taste and fashion, which probably helped the Burgundian economy considerably, as Burgundian (usually Flemish) luxury products became sought by the elites of other parts of Europe.
 During his reign, for example, the richest English commissioners of illuminated manuscripts moved away from English and Parisian products to those of the Netherlands, as did other foreign buyers.
 Philip himself is estimated to have added six hundred manuscripts to the ducal collection, making him by a considerable margin the most important patron of the period.
Jean Miélot was one of his secretaries, translating into French such works as Giovanni Bocaccio's Genealogia Deorum Gentilium.

Philip was also a considerable patron of other arts.
He commissioned many tapestries (which he tended to prefer over paintings), pieces from goldsmiths, jewellery, and other works of art.
 It was during his reign that the Burgundian chapel became the musical center of Europe, with the activity of the Burgundian School of composers and singers.
 Gilles Binchois, Robert Morton, and later Guillaume Dufay, one of the most prominent composers of the 15th century, were all part of Philip's court chapel.

In 1428, Jan van Eyck traveled to Portugal to paint a portrait of the daughter of King John I, the Infanta Isabella, for Philip in advance of their marriage.
 With help from more experienced Portuguese shipbuilders, Philip established a shipyard in Bruges.

Rogier van der Weyden painted his portrait twice on panel, of which only copies survive, wearing the collar of the Order of the Golden Fleece.
The only original van der Weyden of Philip to survive is a superb miniature from a manuscript (above left).
The painter Hugo van der Goes of the Early Netherlandish school is credited with creating paintings for the church where Philip's funeral was held.
Philip's court can only be described as extravagant.  Despite the flourishing bourgeois culture of Burgundy, with which the court kept in close touch, he and the aristocrats who formed most of his inner circle retained a world-view dominated by knightly chivalry.  He declined membership in the English Order of the Garter in 1422, which could have been considered an act of treason against the king of France, his feudal overlord.  Instead, he created his own Order of the Golden Fleece, based on the Knights of the Round Table and the myth of Jason, in 1430.
Philip had no fixed capital and moved the court between various palaces, the main urban ones being Brussels, Bruges, and Lille.  He held grand feasts and other festivities, and the knights of his Order frequently travelled throughout his territory to participate in tournaments. In 1454, Philip planned a crusade against the Ottoman Empire, launching it at the Feast of the Pheasant, but this plan never materialized. In a period from 1444 to 1446, he is estimated to have spent a sum equivalent to 2% of Burgundy's main tax income in the recette génerale, with a single Italian supplier of silk and cloth of gold, Giovanni di Arrigo Arnolfini.
Philip's court was regarded as the most splendid in Europe, and it became the accepted leader of taste and fashion, which probably helped the Burgundian economy considerably, as Burgundian (usually Flemish) luxury products became sought by the elites of other parts of Europe.  During his reign, for example, the richest English commissioners of illuminated manuscripts moved away from English and Parisian products to those of the Netherlands, as did other foreign buyers.  Philip himself is estimated to have added six hundred manuscripts to the ducal collection, making him by a considerable margin the most important patron of the period. Jean Miélot was one of his secretaries, translating into French such works as Giovanni Bocaccio's Genealogia Deorum Gentilium.
Philip was also a considerable patron of other arts. He commissioned many tapestries (which he tended to prefer over paintings), pieces from goldsmiths, jewellery, and other works of art.  It was during his reign that the Burgundian chapel became the musical center of Europe, with the activity of the Burgundian School of composers and singers.  Gilles Binchois, Robert Morton, and later Guillaume Dufay, one of the most prominent composers of the 15th century, were all part of Philip's court chapel.
In 1428, Jan van Eyck traveled to Portugal to paint a portrait of the daughter of King John I, the Infanta Isabella, for Philip in advance of their marriage.  With help from more experienced Portuguese shipbuilders, Philip established a shipyard in Bruges. 
Rogier van der Weyden painted his portrait twice on panel, of which only copies survive, wearing the collar of the Order of the Golden Fleece. The only original van der Weyden of Philip to survive is a superb miniature from a manuscript (above left). The painter Hugo van der Goes of the Early Netherlandish school is credited with creating paintings for the church where Philip's funeral was held.
Philip the Good