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The two images considered here, one a diptych comprised of two painted panels and the other a triptych consisting of three, have been assigned on stylistic grounds to Jean Bellegambe of Douai (1470-75/1535).

Nuns, images, and the ideals of women's monasticism: Two paintings from the Cistercian convent of Flines (*)

Douai began the fourteenth century, however, not as a Flemish town, but as a French one, and remained under French political and cultural influence throughout the period under discussion.

The Marriage Exchange: Property, Social Place, and Gender in Cities of the Low Countries, 1300-1500

Rather then impute motives to the various writers of marriage contracts, she instead seeks to describe how attitudes towards marital property changed in Douai and in the process "to tease social and gender meaning out of the legal sources" (10).

The Marriage Exchange: Property, Social Place, and Gender in the Cities of the Low Countries, 1300-1550

Both Agnes de Harnes and Crestiene de Hazebruech, inhabitants of Douai, for example, received routine life rents from Bruges;(25) Marie file Pance, who made her will in Douai, came from Bethune.(26) Major towns exercised sufficiently constant influence over the more rural regions that surrounded them to guarantee considerable uniformity of practice between town and countryside.(27) During the thirteenth and fourteenth centuries, the county was moreover developing into a cohesive political entity.(28)

Guardianship over women in medieval Flanders: a reappraisal