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Hanover and Landesmusuem

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Literally around the corner from our hotel was Hanover’s famous art museum, the Landesmuseum. Naturally, we knew we could spend a few hours there checking out numerous artworks, the likes of which would get an entire wing dedicated to them should even one of these pieces be in a museum back home!

St Peter,
Evert van Roden (attributed)
Münster, c 1460


Madonna Enthroned
Lower Saxony, c. 1180 Linden wood, originally painted.

Death of Mary, Lower Saxony, c.1300/1310, Oak
The altarpiece from the former Augustinian convent in Wennigsen has only a few surviving panel paintings from the early 14thC. The apostles and a bishop have gathered at Mary’s deathbed. In the middle appears Christ, who has descended from heaven to collect Mary’s soul in the form of a small, white-clad figure.

Ten Commandments panel. Master of the Göttingen Jacobi Church Altar, c.1400. Oak.
The wings of this work, were originally mounted on both sides of the central panel, have been lost. Therefore, only six of the ten commandments can be seen. They are recited by God, who appears in a rainbow, and illustrated using stories from the Old Testament.

Christ with the Wise and Foolish Virgins, Lower Saxony, c. 1310-1320, Oak.
The heavenly judge turns to five expectant women with burning lamps. The ladies on the other side, however, are denied the kingdom of heaven. They had managed their finances poorly, and the oil in their lamps had run out before the longed-for bridegroom appeared in the night. The panel admonished the women in the Isenhagen monastery to live a life pleasing to God in preparation for the Last Judgement.😮

Childhood and Passion of Christ, Lower Saxony or Westphalia, c,1390, oak.
The two panels acquired from the Aegidienkirche in Hanover Münden once formed the wings of an altarpiece, the middle of which has been lost. When opened, the work was almost eight meters wide. The scenes from the life of Jesus are separated from one another by an artfully painted decorative architecture. A differentiated color scheme and a special interest in costume details characterize the painting.

Panel 2


Annunciation to Mary and Coronation of Mary, Masster Bertram Minden, c.1340-1414/14, Hamburg, oak.
The panels formed the outside of the altar on the left. The Annunciation to Mary and her coronation in heaven highlight the importance of the Mother of God in the salvation process. The robes, halos, crowns and angel wings once shimmered in gold and silver, the lions identify Mary as the Queen of Heaven.

Passion Altar, Master Bertram Minden, c. 1340 – 1414/15 Hamburg, Oak.
It is rare to be able to link the painters mentioned in the written reports with surviving works. In northern Germany, Master Bertram is the exception: he came from Westphalia, was familiar with the art of the imperial court in Prague and with the latest painting in the Netherlands, and ran a successful workshop in Hamburg. The altarpiece was probably created in his studio.
Inv.

The Gottingen Barfusseraltar, Gottingen, c.1424, oak and spruce.
St Francis of Assisi’s followers were committed to poverty, as itinerant preachers in towns and cities, they walked barefoot or clad in simple sandals, for that reason they were also know as ‘barefoot friars’ (German: Barfuss).

The Golden Panel
Lüneburg, c. 1420-1430, Oak

The ‘back’ or outside of the Golden Panel… simply stunning.

Arm reliquaries of Saints Valerius and Pancras, Lower Saxony, c. 1150/1175, Lime wood.

Reliquary bust: 1 of the 11,000 virgins Depicted as St Ursula, Lower Saxony (Lüneburg?), c.1300, oak.

Two reliquary busts of the 11,000 virgins, Lower Saxony (Lüneburg?), c.1432, lime wood, silver-plated.

Reliquary box, Lüneburg, 15th, Wood, silver-plated and gold-plated.

Reliquary box, Lüneburg, 15th, Wood, silver-plated and gold-plated.

Reliquary in the form of a book/ ivory tablet from the Romanos group
Lower Saxony, 14th/15th century / Constantinople, around 950, wood, linen fabric, parchment / ivory

Cross base with the resurrected Adam, West Germany, 11th/12th century Bronze, remains of gilding

Two ivory boxes, Sicily or southern Italy, 12th/14th century.

Cain and Abel chest, Lower Saxony, Westphalia, 11th century… c. 1230, oak core,

Enamelled reliquary box, Lower Saxony, Rhineland, Maas region, 12th-13th century, wood, copper, pit enamel, brown varnish

Abraham casket, West Germany, Lower Saxony, c.1025-1050, oak, copper-gilt fittings.

Two bowls for washing hands, Limoges, late 12thC, copper, enamelled, gold-plated
The magnificent bowls bear the coat of arms of the French ruling dynasty of the Plantagenêt. They were originally used for washing hands during courtly table ceremonies. They probably came to Lüneburg via Richard the Lionheart. HOLY SHIT!!!

Leather box, Lower Saxony, around 1300 wood, leather-covered, stamped and then painted.

Portable Triptych Relics, German, c.1432, wood, painted, horn discs.
According to the inscription and coat of arms, the triptych belongs to the foundation of Duke Bernhard I of Brunswick-Lüneburg. A large number of relics are kept behind transparent horn discs, for example pieces of the the Holy Cross, from James the Elder and from the Holy Sepulchre.

Octagonal container,
Italy, 14th C
Leather, parchment, pastiglia

The container covered with colored parchment strips is an extremely rare and beautiful piece. Before it was converted into a reliquary, it may have served as a cover for a drinking cup.

Lambert Altar, Master of the so-called Hildesheim, 12 panels of a Passion Altarpiece, c.1420/30, Oak

Diptych, Lower Saxony (Hildesheim), c.1420, Lime wood

The Tree of Life, c.1400, Master of the Richardson Triptych active in Sama (1370-1418), poplar wood.

Crucifixion Altar c.1506, Hans Raphon (1460-1512), Göttingen or Northeim, lime wood.

Mercy Altar, c,1510/1520, Tilman Riemenschneider (and workshop operating 1460-1531), Heiligenstadt/Eichsfeld, Würzburg, Lime wood.

Family altar, Lower Saxony, c. 1500/1510, Lime wood (?)
St. Anne, Mary’s mother, was particularly popular in the late Middle Ages. A chapel was dedicated to her in the Hanover Kreuzkirche, for which the winged altar was created. Her daughters, grandchildren, husbands and sons-in-law have gathered around the saint. On the wings there are various scenes from her life on the left, and the birth of Mary on the right.

Mother of God Altar c.1510 to 1515,, Hans Raphon, Göttingen or Northeim c,1460-1512 and Bartold Kastrop, Northeim c.1465-1531/1532 Göttingen, oak wood.
The Madonna is based on a copperplate engraving by Albrecht Dürer. His works of art printed on paper quickly spread and were often used as templates by other artists. The altarpiece was created for the Einbeck collegiate church of St. Alexandri,

Rosary altar, c. 1500, South Lower Saxony (Einbeck), oak.
The center of this winged altar is occupied by the Mother of God accompanied by angels.
Mary stands on a crescent moon and is surrounded by a halo of rays; the crown also identifies her as the Queen of Heaven. (I love the facial expression on the guy in the bottom right image)

Christ and Mary on Golgotha, c.1505, Hans Holbein the Elder, Augsburg, (1465- 1524), lime wood.
The thorn-crowned Christ sits on the cross and is mourned by Mary. A moment of pause is captured on Mount Golgotha, which Holbein characterizes as a hilly landscape and makes recognizable by skulls and bones.

John the Ev. and Jacob the Elder, c. 1510, oak
The two saints are deceptively realistic painted sculptures set in a stone architecture made of reddish marble. Such painted sculptures were particularly popular in the Netherlands. They were usually found on the outside of the winged altars, which then unfolded their full splendor of color when opened.

Portrait of a Man, Jakob Elsner, c.1507.
Nuremberg 1460/1465-1517 Nuremberg, Parchment or paper on oak.

Portrait of the Astronmer Johann Schöner, c.1528, Master of the Neudörfer Portraits active in Nuremberg around 1500-1530, Linden wood.

Female Saint, c.1510, Tilman Riemenschneider, Heiligenstadt/Eichsfeld, active 1460-1531, Würzburg,
Limewood, painted in color – the figure is carved from limewood, a material that can be worked in many different ways. The garments form a delicate relief. The carver has masterfully crafted the turban-like headdress, the veil and the wavy hair. Originally a standing figure an early collector sawed off the bottom of the work and converted it into a bust.

John the Baptist and Mary Magdalene, c. 1515, Hans Suess von Kulmbach (1470 – 1522),
Nuremberg, lime wood

The Saints Sebastian and Rochus, c.1518, Hans Suess von Kulmbach, (1470-1522),
Nuremberg, linden wood.

Venus with Cupid, c. 1515-1520, Lucas Cranach the Elder
Kronach 1472-1553 Weimar, transferred to plywood
The painting corresponds entirely to the Renaissance’s renewed interest in the female nude.
Venus appears life-sized. Her skin color and posture are reminiscent of ancient sculptures.

Lucrezia, c.1525, Lucas Cranach the Elder, Kronach 1472-1553 Weimar. Beechwood.

Martin Luther and Katharine von Bora, c.1528, Lucas Cranach the Elder (1472-1553) Weimar, beechwood
In 1525, the former Augustinian monk, Martin Luther married the nun, Katharina von Bora. By marrying, both broke their church vow of celibacy. The portraits became so popular at the time that numerous replicas were soon created.

The martyrdom of the seven sons of Felicitas c. 1530/1535, Lucas Cranach the Elder (1472-1553), Weimar, Oak wood.

Salvator Mundi panel, c.1537, Hans Kemmer (1495- 1561) Lübeck, oak wood.
The woman’s jewelry helps to identify the couple praying to the Savior: it is quite likely that her shoulder amulet shows the heraldic animal of the Lübeck merchant Carsten Timmermann. The couple probably commissioned the painting in memory of a deceased child. It was executed by Cranach’s student Hans Kemmer, who was the leading painter in Lübeck since the Reformation.
Inv.

Portraits of a Donor Couple, c.1520, Bartholomäus Bruyn the Elder (1493-1544), Cologne, oak.

Lucrezia, c.1510, Sodoma (actually Giovanni Antonio Bazzi) Vercelli, 1477- 1549 Siena, poplar wood.

Portrait bust of Grand Ducke Fernando I de Medici, c.158790,
Pietro Francavilla Cambrai (1548 – 1615), Paris, marble.
In antique idealization, the portrait bust shows the third ruler of the younger Medici line, Ferdinando I (1549-1609). Under his leadership, the House of Medici achieved its greatest power and significant influence throughout Europe.

Annunciation to Mary, c.1500/15150, Sandro Botticelli (workshop), Florence 1445 – 1510 Florence, poplar wood. Once developed, compositions were used more frequently in Sandro Botticelli’s studio. The Annunciation angel resembles a painting in the Uffizi in Florence, and the Virgin Mary resembles a painting now kept in London. The work was created for the private devotion of the woman kneeling in front; the black robe and white bonnet identify her as a widow.

St Peter in a wreath of fruit, c.1470-80. Pietro Perugino, (1448-1524), Fontignano, poplar

Adoration of the Child with the Infant Saint John, c.1490.
Sandro Botticelli (workshop), Florence 1445 – 1510, poplar wood.

Portrait of Francesco Alunno, c.1510.
Lorenzo di Credi, Florence 1459-1537 Florence, poplar wood.
The art writer Giorgio Vasari (1511-1574) praised Lorenzo di Credi’s painting style highly: It shows a finesse that surpasses any other painting. This alludes to the smooth texture of the oil painting, which also characterizes the charming portrait of the young scholar. An inscription identifies the person depicted as the lexicographer Francesco Alunno from Ferrara.

The Arrival of Aeneas at Dido’s c. 1460
Apollonio di Giovanni, Florence 1415/1417-1465, poplar wood.
In the 15th century, a bride was led to her new home in a wedding procession. Chests were carried along and used as furniture. The love story of Dido and Aeneas is shown on the chest front. Above, Aeneas arrives in Carthage; on the right, Dido welcomes him in the hall of a temple.

The Banquet and the hunt of Dido, c. 1460
The second chest front shows further events from the Aeneid by the ancient poet Virgil (70-90 BC). On the left, a banquet is being prepared for Aeneas, on the right, the company goes hunting. There, Dido and Aeneas are surprised by a thunderstorm. They flee into a cave, the scene of their night of love.

I can’t believe that I got all the way through adding these photos in, and translating descriptions and adding those in too – and totally forgot the one thing I made a mental note about while I was in the musuem! There are sensors EVERYWHERE in these galleries – and when you step too close to the artworks, a recording comes on, (with music) saying, (in English) quite loud, “STOP IN THE NAME OF ART! Before you break some art!” Kinda to the tune of the song, “Stop in the Name of Love!”, which was equal parts initially alarming, then amusing and eventually annoying. Wouldn’t have been so bad if you only heard it once or twice, but it was going off constantly – and you know why? Because the information plaques are so close to each of the artworks, and some as much as 30cm BEHIND artworks that stood proud of walls, meaning every time some old biddy leaned into to read the descriptions, or some finickity history nerd like me leaned in to take a photo of the descriptions, the damn sensors were triggered and the hideous recording went off. Again and again. It must have been set off over 50 times for the couple of hours we were in there. Never seen such an obnoxious security system in a museum before (unless you count the overly stern and officious ‘Shushhh’ing Nuns of The Vatican Museum’ – those women are seriously obnoxious but unsurprisingly, very efficient!

Aaaanyway… after checking out the medieval galleries of the Landesmuseum, we decided to take a wander through the Maschpark, Historical Garden. Gotta say, Hanover has loads of beautiful green spaces and feels like a very liveable city.

In this prettyish kind of wilderness is an enormous lake full of ducks and probably e-scooters!

the Neues Rathaus – or New Town Hall.

Started to rain, so we decided to bail and leave the very goose looking ducks to their weather.

Paderbornerdom

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Paderborn in a small town on the way to Hanover. It’s known for its beautiful Catholic cathedral – The High Cathedral of St Mary, St Liborious and St Kilian belonging to the archdiocese of Paderborn. The church is built in the late Romanesque and Gothic styles and is at the centre of the town above some springs, called the Pader Springs.. and well, you gotta stop for lunch somewhere! So why not choose a town with a famous medeival cathedral!

The cathedral is dedicated to three saints – namely, the Vigin Mary, St Kilian and St Liborious of Le Mans. Liborious is also the first patron of the city and his bones were brought from France to Paderborn in 836 by Emperor Louis the Pious – as part of what was a traditional relic dispersion. Relics were sent to various regional diocese to provide places/things for parishioners to pay homage and tribute to, and to make pilgrimages to see. I find it rather interesting that the remains of revered saints and religious personages were taken and scattered all over the countryside; the only other group of people who had their remains separated and sent to the four corners of any given kingdom in the medieval period were traitors and high criminals. Figure that one out!

Paradise Portal, done in the Romanesque style, c.1160.

The Paradise vestibule and Paradise portal are in the southern extension of the church. Built in the second half of the 12thC it is now twice as large today as it was in the 1860s. It has been used as a resting space for pilgrims on their way to the Santiago de Compostela, and there are many similar porches on French churches and cathedrals at other pilgrimage churches en route to Santiago.

The Cathedral was rebuilt from the 11thC, along with the Ottonian Imperal place in the region with large vaulted ceilings. The vaults of the Paderborn Cathedral are surprisingly uniform, given its window configuration doesn’t appear to possess the same symmetry… there’s some architectural trickery going on here.

Sadly, there wasn’t a lot of information around the church to explain objects to visitors. But on the other hand, it’s possibly because it’s more of a working cathedral and not a heavily toursited area, so that’s a bonus for the locals.

A decidedly non-medieval looking pulpit. Fair guess to say it was a later addition.

A Bishop Badurad had a crypt built into Paderborn Cathedral, which dates back the 1100AD. Although it was redesigned in the 13thC it remains on of the largest hall crypts in Germany – which is surprising because it doesn’t seem overly large compared to the sorts of crypts you see in France and Italy?

Under the altar of the crypt is an ebony shrine containing the relics of Saint Liborious (in the small box above – we couldn’t access that area).

On the opposite side of the crypt is an anteroom to the Bishop’s Crypt, which is decorated with mosaics from 1935. Though modern, the mosaics create a beautiful space around a gravestone which contains the replics of a Bishop Meinwerk; past the anteroom is the actual crypt of all the Paderborn Bishops. It is this unusually mosaic’d crypt that attracts most visitors to Paderbornerdom. It is actually quite beautiful, and has a decidedly art deco style to it.

At the centre of the Bishops’ Crypt is a Pieta, which is flanked left and right with two enormous bronze plates listing all the names of the Paderborn bishops right up to the 20thC. The bronze plates start with names of Bishops all the way back to the 900s, and the bones of all the previous bishops rest in a collective grave in the floor. It’s incredible to see this historical record going so far back.

The Chapel of St Joseph dates to the 14thC and was initially dedicated to the Three Magi.

The town of Paderborn is really quite cute and very sleepy. The centre of the Marktplaz has a fountain called the Neptunebrunnen Fountain, reminiscent of the Neptune fountain in the centre of Gdańsk. This fountain was originally built in 1730 by Johann Theordor Axer and reconstructed in 1979 by Joseph Rokis.

I love the details in medieval buildings surrounding the Marktplaz… very cool medieval rainbow mosaic.

Onward to Hanover…

Checked into our hotel and immediately went looking for a beer hall… we had decided to skip lunch as we spent too much time in the Cathedral, which put us on the hunt for Hanover’s best currywurst and jagerschnitzel!

Angus was very happy with his wash – my schnitzel was nice, the mushroom sauce was good, but not Heidelberg good… I am going to get mightily sick of the piles of fried potato that comes with every meal (I don’t eat them). Thankfully, we are here smack dab in the middle of erdbereen season – so there’s fresh strawberries everywhere for very cheap! They tasted even better than they looked if that is possible.

Cologne

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Cologne Cathedral is enormous! Like most important cathedrals and churches in Europe, it was built on very early Christian sites. In this case, on the site where early Roman Christians met in Cologne around 300AD. The building as it exists today wasn’t started until the high gothic era – around 1248, and unlike many other cathedrals that took hundreds of years to complete, the build plans never changed.

It’s hard to imagine that everyone who worked on the construction of this magnificent cathedral all knew that they would never live to see the endeavour completed. The plan to build the cathedral was started in 1164, when there was an agreed upon transfer of some relics to the town. In 1225, the planning for a bishop’s residence and pilgrimage church were established, and the prior building (from the 9thC) was demolished. In 1248 the foundation stone was laid.

In the 1360s building work slowed down, as the foundations were completed and some areas of the cathedral were already consecrated and put to use as a church. It wasn’t until the 15thC that the south steeple was completed at a massive height of 58m tall. Around 1530, work on the cathedral came to a halt all together as most of the ground floor, the nave, the choir, transepts and two lower storeys became usable.

And it pretty much stayed in that condition until 1794 when the French Revolution troops invaded and the archdiocese of Cologne was abolished. The cathedral was temporarily used as a fodder storage room and also as a makeshift prisoner of war camp! It wasn’t used as a church again until 1801, and the archdiocese wasn’t reestablished until 1821.

Construction eventually resumed on the cathedral in 1842 to be finally completed in 1880 – and all still to the exact same plans that were laid out in 1225! Which is just unbelievable when you think about how difficult it is to get a committee of five people to agree on how a fucking bus shelter should be built these days… let alone be able to keep an enormously intricate build of this calibre, going to the original plans and specifications for over 600 years and generation upon generation of architects, stonemasons, builders and who knows how many other masters and craftsmen, involved. It’s simply amazing.

In WWII, Cologne was reduced to rubble, and the cathedral was severely damaged by numerous bombs. Entire bays of the vaulted ceilings were collapsed and various windows were blasted out. One bomb tore an enormous hole in the western facade and destroyed a supporting buttress which was hastily stored up with makeshift bricks. Due to the construction techniques though, the bulk of the cathedral was able to withstand the shock of the blasts and vibrations. At the end of the war, it stuck out of a massive field of debris and destruction, looking largely undamaged compared to the rest of the city.

These windows were created in 1884, and based on a designed by Johannes Klein. Six of the eight windows were destroyed in WWII and remade in the 1990s.

This picture does not come close to conveying the sense of enormity and proportion this cathedral has. It feels as big as the Hagia Sofia, or the Florence Cathedral, the only other medieval cathedral that I remember feeling this overwhelming sense ginormity is possibly St Peter’s in the Vatican.

Altarpiece of St Claire, c.1350-1360. Oldest existing retable that contains a tabernacle for holding the sacraments. Originally came from the former Franciscan convent of St Clare and has resided in Cologne cathedral since 1811.

The ‘swallows nest’ organ was built in 1998 to commemorate the 750th anniversary of the Cathedral.

Crucifix of Gero (because… donated by some Bishop Gero c.976). At over 1000 years old, and considered one of the first larger than life size sculptures of the midlands, it represents Christ in the moment of death, through which mankind was redeemed. The Baroque altar was added in 1683 by Canon Heinrich von Mering. The Crucifix was said to be miraculous, and has been especially venerated over the centuries.

Statue of Grace depicting Our Lady, decorated with jewellery – also known as the Schmuckmadonna (great name!).

I just can’t get over the scale of this place.

Altarpiece of St Agilolph carved timber and painted. Antwerp c.1520.
From the former collegiate church of Our Lady at the Steps (St Maria ad Gradus).

St Heribert’s Shrine, c.970. Heriberto was born in Worms to Count Hugo and Tietwista – his maternal half brother was Heinrich, Bishop of Wurzburg. Silver, gilded, gold, precious gems and enamel, Cologne. It is under glass and has a rope around it so it ws difficult to photograph – but stunning enamel work!

St Christoper statue, Tilman van der Burch, c.1470.

Intricate mosaics cover 1,350sqm of the cathedral floor and are based on designs by August Essenwein – and created and laid 1885-1892 by Villeroy and Boch in Mettlach (believe it or not!). Villeroy and Boch… not just overpriced crystal! 😉

The Altarpiece of the City’s Patron Saints – originally created c.1445 the triptych is attributed to Stephan Lochner, Cologne. The central panel portrays Adoration of the Magi flanked by St Ursula and her companion, St Gereon, partron saints of Cologne.

Altapeice of the Magi, Wilhelm Mengelberg, c.1892.

From the crypt below the cathedral:

Visitors are able to climb the 533 steps into the south steeple for amazing views over the city of Cologne. It brings you to 100m above the ground…needless to say, me and my bung knee didn’t make the climb, but Angus did.

The Cologne Cathedral is truly impressive; it’s no wonder it was included in the original 1978 listings of World UNESCO Heritage sites. It was declared endangered in 2004 as there were plans in place to build several high rise buildings close to the Cathedral, but it was delisted from being endangered in 2006 when city planners thankfully came to their senses and put a limit on the height of modern buildings near the cathedral. It would have drastically altered the city skyline had they built up right beside it.

Some clever fundraising… hearts with the flags of all nations. For some reason, people can’t help themselves but pop some coins onto their own flags. The American heart even had a bunch of USD$1 notes plonked on it.

The Cologne Cathedral also has a rather impressive collection in their Domskammer / Treasury, which was an amazing labyrinth of tunnels underground at the back of the cathedral.

Reliquary monstrance. Cologne, c.1500. Silver, copper, gilded, rock crystal and glass.

Reliquary of the Cross from St Mary ad Gradus.
Constantinople, mid-end of the 12thC. Figures, wings and ornaments, Cologne, c.1240.
This reliquary was reset in the late Romanesque times with pieces of a Byzantine relic casket containing pieces of The Cross.

Shrine of St Engelbert. Goldsmith: Conrad Dulsbergh.
Casket Designer: Jeremiah’s Geisselbruhn. Relief Designer: Augustin Braun
Cologne, 1633, silver, partly gilded.

Reliquary of St Vincent de Paul, c.1800, silver, gilded.

Reliquary of the Cross with spectacle-glass.
Workshop of Hans von Reutlingen, Aachen, 16thC. Silver, gilded, spectacle-glass.

Statue of a deacon holding a reliquary of King Melchior. 16thC, Cologne.
Silver, gilded, glass reliquary, bronze, partly gilded, silver plated, precious stones.

Hammer and trowel, Wilhelm Pullack, Cologne, c.1842. Silver and ebony.
These tools were used by King Friedrich Wilhelm IV of Prussi when he laid the foundation stone for the completion of Cologne Cathedral on 4th Sept 1842.

Shrine of the Magi, Cologne, late 12thC.
inner wooden construction of the sharing, oak, glass, copper, gilded.

Reliquary Monstrance with links from St Peter’s Chains.
Cologne, c.1500, Silver, copper, gilded, rock crystal and glass.

Necklaces/Collars of the Mayors of the city of Koln
Cologn, 1954-1955. Gold, niello gold and silver gilded on bronze and garnet.

The Domskammer really feels like you’re walking around in a medieval vault.

Left: Crosier of Philippus Cardinal Krementz, Archbishop of Cologne (1885-1899)
– Unknown artist, Rhineland, 1868, silver, gilded and enameled.
Centre: Crosier of Herman Jospeh Schmitz, Auxiliary Bishop of Cologne (1893-1988),
– Peter Oediger, Krefeld, 1893, silver, partly gilded and enameled.
Right: Crosier of Hubertus Theophilus Samar, Archbishop of Cologne (1900-1902)
– Gabriel Hermeling, Cologne 1892, silver, gilded, enamel, precious stones.

Left: Chalice Franz Christoph Mederle. Augsburg. c. 1750. Silver, gilded.
Right: Chalice, Augsburg, late 18thC. Silver, gilded.

The Lamb of the Apocalypse. Johann Heinrich Rohr, Cologne, c.1774-1780. Silver, brass, partly gilded.

Monstrance. Franz Christoph Mederle, Augsburg, 1749/51.
Pendants: c1516. Gold, silver, gilded, and precious stones.

Necklace c.1657. Donated by Archbishop Maximilian Heinrich as jewellrey for the Schmuckmadonna.
Christian Schweling, Cologne, gold, enamel, previous stones

Matching bracelet – also by Christian Schweling, Cologne, c.1657.

Processional Cross – Silver, copper, gilded, enamel and precious stones.
Enamel plates: Limoges c.1200.
Setting: Cologne, c.1220.

The Sumptuous Monstrance. Christian Schweling, Cologne, c.1657/58.
Destroyed in 1975 when theives broke into the Treasury and reconstructed by Peter Bolg 1978-1987 using original pieces. Gold, silver, gilded, enamel, rock crystal, precious stones, pearls.

Epitaph of Jakob von Crzny, Brussels, c.1518. Bronze, gilt, brass and enamel.

Bust Reliquary of St Gregory of Spoleto. Cologne, c. 1500.
Silver party gilded, gold ring with precious stone.

Bust Reliquary of St Sebastian.
Franz Wusten, Cologne, c.1875. Silver, partly gilded, enamel, precious stones.

Reliquary of St Walburga. Wilhelm Sittmann, Cologne, c.1765. Silver Gilded.

Reliquary. Johann Heinrich Rohr, Cologne, c.1766. Silver, gilded.

Two Angels as Candleholders. Cologne, c.1500, Brass, silver, partly gilded.

Left: Censer, Rhineland, c.1500, silver.
Right: Censer, Cologne, late 16thC lid, 20thC charcoal holder and foot. Silver.

Chalices all from Cologne.
Left: 15thC silver/gilded. Centre: early 14thC, silver/gilded. Right: late 15thC, silver/gilded, enamel.

Monstance, Cologne, c.1400. Silver, gilded, enamel, mother of pearl.
Donated to the Cathedral by Maria Theresia Schaefhaueun in 1846.

Electoral Sword: c.1480-90. Sheath: c.1515-1547. Cologne, Silver, partly gilded, enamel, steel, velvet.
Gothic Bishop’s Crosier: Cologne, c.1322. Silver, partly gilded, enamel.
The bishop’s crosier and the electoral sword are the symbols of spiritual and secular authority of the archbishops of Cologne. The Crosier is from the consecration of the Gothic Cathedral Choir in 1322. The sword from the reign of Archbishop Hermann von Hessen (1480-1508).

Details of above:

Chalice with paten and spoon. Heinrich J Wilma. Düsseldorf, c. 1893.
Silver, gilded, enamel, precious stones and pearls.

Chalice with paten and spoon, Franz Wusten, Cologne, c.1888. Silver, gilded and enamel.

Altar braid from the High Altar of Cologne Cathedral. Cologne, completed prior to 1518.
Silk, and gold threads. The altar braid was believed to have been bestowed by Dean of the Cathedral, Friedrich von Simmen-Sponheim. The coats of arms of his parents are appliquéd onto both ends of the braid.

Fragment of the canopy of the Madonna of Milan, Cologne, c.1280/90.
Limestone with traces of colouration.

Four apostles of the jamb of the portal of Cologne Cathedral, c.1375. Limestone
Behind: Saints Andrew, Peter, Paul and John.
Front: Angel with a bell, St Catherine, a Prophet.

Detail: the Prophet.

Prophet from the reading desk in the choir of the cathedral. Cologne, c.1300. Tuff with colouration.


Grave goods from a Frankish woman’s tomb. Located under the inner choir during renovations in 1959 were these objects belonging to a young woman of approximately 28 years old. Personal objects were burning with noble perons at that time and included these lavish jewellery items.

Rosette brooches. Gold, garnets. Frankish.

Strap tags from cross garterings. Gold and garnets.

Bow brooches, gold, garnets.

Spherical pendant. Gold, rock crystal or moonstone. Frankish.

Six Capitals – Master of the Laacher Samson, Cologne, c.1200. Limestone.

Dalmatic and stole from the Capella Clementina. Paris, c.1742. Silver fabrics, gold embroidery.

Pluvial and five mitres of the Capella Clementina, Paris, c.1742.
A forty-four piece trousseau of silver fabrics and gold embroidery.
These splendid vestments were ordered in Paris by Clemens August von Wittelsbach, Archbishop of Cologne on the occasion of the coronation of his brother, the Emperor Karl VII – 12th February 1742.

Chasuble and mantle of the Capela Clementina, Paris, c.1742. Silver fabrics and gold embroidery.

Pectoral Cross and ring. Johann Bernhardt Clausius, Frankfurt AM, c.1769. Silver, precious stone.

Burse with the Virgin on the Crescent. Germany, late 19thC. Silk, gold and silver threads.

Cope of the Angels Vestements. Germany, c.1713. Silk, gold and silver threads.

Book Cover, Johann Franz Weissweiler, Cologne, early 18thC. Silver.

Book of Hours, Early 17thC. Leather, silver, gilded, iron.

St Peter’s Banner, Wilhelm Mengelberg (design), Minna Peters (worked), Neuss, c.1899.
Cotton, silk, gold and silver metal threads, glass stones and pearls.

Magi’s Banner. Wilhelm Mengelberg (design), Minna Peters (worked), Neuss, c.1899.
Cotton, silk, gold and silver metal threads, glass stones, pearls.

Chasuble with coat of arms of the Hirzelin Family, Cologne, c.1480 (appliqué work).
Ground cloth replaced in 1963. Silk, linen, gold and silver metal threads.

Pluvial brooch with a figure of St Hubert. Gabriel Hermeling, Cologne, c.1892. Silver, gilded, enamel.

Crosier: Belonging to Johannes Cardinal Geissel (Archbishop of Cologne 1842-1864).
– Made by Gabriel Hermeling, Cologne, c.1862. Silver, gilded, enamel.
Mitre: Belonging to Johannes Cardinal Geissel (Archbishop of Cologne 1842-1964).
– Unknown artist, Lyon, c.1850. Silk, gold, glass stones .

Magi’s Chasuble. Joseph Grossé, Bruges, c.1901. Silk, gold and silver thread.

1) Mitre of Joseph Hammels, Auxiliary Bishop of Cologne, 1924-1944. Germany, c.194. Silk, gold threads, glass stones. 2) Bishop’s ring of Antiochus Cardinal Fischer (Archbishop of Cologne 1903-1912), made by August Witte, Aachen, c.1904. Gold and precious stones. 3) Crosier of Peter Josef Lausberg (Auxiliary Bishop in Cologne 1914-1922), made by Leo Moldrickx, Cologne, c.1914. Silver, enamel, precious stones, ivory, pearls.

Large Plate, Friedrich Toussaint, Aachen, c.1900. Silver, gilded, enamel.

Dalmatic, Peter Hecker (design) Cologne, c.1922. Erica Freund (embroidery), Cologne, c.1927.
Silk, gold, threads, steel, pearls and glass pearls.

Pluvial accessories. Peter Heckler (designer of the cope) Cologne, c.1922. Erika Freund (embroidery), Cologne, c.1927. silk, gold threads, steel pearls, glass pearls.

After the cathedral and the amazing Domskammer – we made sure to take a break and visit the famous Peter’s Brauhaus for pork knuckles and schnitzels! Of course. It was a really cool place, great facade on the building and they have a massive overflow dining area across the road, up the street a little and in the square – which was packed at the moment due to all the football fans that are here for the 2024 EuroCup but aren’t using the Fan Zones.

We managed to get a table inside.

I wanted to see the stained glass ceiling, and I did, but it was packed with people and it was impossible to get a photo of it without snapping all these folks mid-forkful, so, below is a pic I unscrupulously stole off the internet.

Naturally I went for a schnitzel, which was such a polite portion of food compared to Angus’ enormous pork knuckle dinner! So much potato though – didn’t eat any of it. I’m going to look like a schnitzel by the time we leave Germny… the cuisine here is not ideal for someone who doesn’t like sausages and refuses to eat bread or potatoes. 😛

Totally forgot to take an ‘after’ picture – he demolished that thing!

Musée de Moyen Âge – Cluny

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If you had asked me last week what was my favourite museum that I have ever visited – I would have answered the Musée de Moyen Âge (aka The Cluny Museum) in Paris. I’d been here twice before, and they have such a fabulous collection of medieval decorative artefacts all displayed in a gorgeous medieval building… it was always just a magical place to visit. In fact, The MET Cloisters in New York always felt a bit like it was trying to be this museum. The entrance to the Musée de Moyen Âge, as I remember it…

Let’s just say – it’s changed… A LOT. They’ve modernised. A medieval museum. For some unknown reason (likely something to do with getting people enthused and interested to come visit, and see really old things, and make it feel more interactive and more accessible to people* without any background or education in the Middle Ages) and well, to be completely honest, it feels like the entire place has lost its soul. (*notably: accessible to French speaking people – there was a map in various languages, and usually one large display board in French and English in each room, but most of the information plaques on individual objects were in French only). The entrance to the Musée de Moyen Âge as it is now:

Which is all very sad, but I tried to keep it to myself. Anyway, I was determined to see what I could and take as many pics as I could because fuck knows, you don’t see anything like this back home, ever. Downside of the no English plaques, is that I could only glean tidbits of information on the objects as I was looking at them; upside is that this prompted me to photograph a lot of the plaques so I could have a crack at translating them in Google later. So for some of these pics, there is going to be a bunch of info… and for others – none at all!

STUFF:

Pyxis (box) with scenes from the Life of Christ.
Byzantine Empire, early 6thC. Ivory bas-relief.
Resurrection of Lazarus, healing of the paralytic at Copernaum and of the man born blind, encounter with the Samaritan woman.

Christ in Majesty Known as the “Trébizonde Christ”.
Contantinople, early 6thC
Elephant Ivory bas-relief
Christ sits on a throne under a canopy, between St Peter, St Paul and two angels. On the lower register, angels walk towards a cross. This central plate of a large diptych (orginally from the collection of Martin le Roy), then of Marque de Vasselot), illustrates a moment in history when models from classical Antiquity were subtly adapted to Christian Byzantine iconography.

Liturgical Strainer with the name of St Albinus of Angers.
Frankish Kingdom. Late 6thC. Nielloed sliver and Rajasthani garnet (India).

Fibulae brooches. Frankish Kingdom 6th-7thC.
Gilded silver, gold, garnet and glassware. From the Abbey of Clairvaux, (Aubre, France).
Pin was discovered in the tomb of Guillaume de Joinville, archbishop of Reims (1219-1226).

Arcy-Sainte-Restitue site. Two multifoiled cloisonné fibulae (brooches). Guilted silver, garnet, cast glass.

Fibulae inthe form of an eagle and belt-buckle plate.
Visigothic Kingdom, late 6th century. Gilded bronze, garnet and cast glass.
From Castel in Valence d’Argen (Tarn-et-Garrone, France). These two items probably comes from the same burial site. Both the stylised eagles come with compartmental decor and raised dots on the surface of the belt buck plate (with Indian garnet) are characteristic of Visigothic Art. The eagle motif is frequen in the early medieval kingdoms, which were receptive to the Imperial Roman symbolism of this bird of prey.

Diptych. England – 8th century (left) Italy (rigth). 10thC. Elephant ivory
From the treasury of the cathedral of Beauvais (Oise, France)
The re-use of these plates sculpted on both sides resulted in the levelling of the obverse side, where scenes of the life of Christ in an insular style (from the British Isles) can still be deciphered. The reverse sides feature exotic or imaginary animals amidst foliage framed by acanthus leaves. This second phase of sculptural work could be from a workshop in the Southern Alps.

Altar front of the Basel Cathedral. Fulda or Bamberg? (present-day Germany), 1st quarter of the 11th century Repoussé and stamped gold on oak core, precious stones, pearls, glassware From the treasury of the cathedral of Basel (Switzerland)
This antependium used to decorate the front of an altar. Five arcades stand out against a background of foliage with birds and four-legged creatures. Each one hosts a holy figure: Christ surrounded by the archangels Michael, Gabriel and Raphael, and Saint Benedict (founder of the Benedictine rule), who is glorified by the inscription. At the feet of Christ kneel Holy Roman Emperor Henri Il, who commissioned this antependium for the cathedral of Basel, and his wife, Kunigunde. Detail below:

Treasure of Guarrazar – Visigothic Kingdom, 7 century
Gold, sapphire, emerald, amethyst, rock crystal, jasper. pearls and mother-of-pearl
From La Fuente de Guarrazar, near Toledo (Spain)
These votive crowns are ex votos. Chains holding crosses and pendants used to hang from them. These pendant letters (the R is on display here) spell the name of two donors. One of them was Visigoth King Receswinth, who reigned in Toledo from 653 to 672. These crowns were probably royal offerings to the cathedral of Toledo. The archaeological discovery of the treasure (now split between the Musée de Cluny and the Museo Arqueológico Nacional de Madrid revealed one of the most important finds of the medieval Iberian period.

Christian motifs in Coptic art- Derived from Aiguptios in Greek and then qibt in Arabic, the word “Copt” defines the Christian civilization of Egypt, from the official birth of Christianity in Egypt (Edict of Thessalonica, 383). In artistic expression, a remarkable syncretism is revealed between pagan and Christian iconography. On the tapestries, Dionysus can be seen alongside a bowed character and the patterns of the patted cross and Chi-Rho (christogram) appear. The liturgical braid, depicting an archangel, the Visitation and Zechariah, is a rare piece of Coptic embroidery.
Egypt 5-6thC Wool and linen

Themes related to the Greek god, Dionysus were regularly depicted on ornamental tapestries for clothing, as shown here on two fragments of shawls. The kantharos is an accessory of the god of wine and ecstasy, closely linked to the art of theatre and poetry. The son of a slain mothe (Semele, struck down by a jealous Hera), saved by his father (Zeus, who carried him to term sewn into his thigh), Dionysus also embodies, in a certain way, the idea of bursting forth from beyond the grave.
Choosing Dionysiac themes for clothing linked to the afterlife was therefore probably not without symbolism in the Coptic world.
Tapestries with kantharoi, Egypt, 4th century, Linen and wool

Casket with mythological and battles scenes, casket plaque with a warrior.
Constantinople, late 10-early 1F century Bone bas-relief (on a core of wood for the casket)
About 1000, Byzantine bone carvers created caskets with secular themes inherited from classical Antiquity, especially legendary battles or circus games. This casket stands out by the quality of its sculpture and the fact that it is complete.
It used to belong to Frédéric Spitzer, a major 19 -century collector.

Two oliphants – fragmentary with animal frieze; decorated with an animal frieze, the Ascension and Saints. Southern Italy, 12thC, elephant ivory.
From the abbeys of Saint-Pierre-Saint-Paul of Bèze (Côte d’Or, France) and Saint-Arnoul of Metz (Moselle, France). Taking its shape from its material, an elephant tusk, the oliphant is first and foremost a horn. In the Middle Ages, oliphants were often associated with legendary facts, such as the death of the hero in the Song of Roland. The luxurious quality of this type of object made it enter church treasuries as relics. This is the case of this one in Metz (which used to be part of the collection of Frédéric Spitzer), known as the “horn of Charlemagne”.

Panels of the window of the Life of saint Benedict – Monks witness the ascension of saint Benedict
Ornamental border
Ile-de-France, 1140-1144, coloured glass, grisaille, lead. From the abbey church of Saint-Denis (Seine-Saint-Denis, France), ambulatory chapel.
Two monks witness the ascension to heaven of Benedict, their brother, who just passed away. The scene represents the final episode of a stained glass ensemble devoted to the life of saint Benedict, the founder of the Benedictine Order. It was placed inside of geometric panels (here, two half-medallions), at the top of a window. Each window consists of different scenes, juxtaposed and superimposed on one another, framed by an ornamental border of. varying lengths and widths. This sort of organization will endure for a century.

Two colonnettes and three sections of colonnettes
Colonnette: spiral strips decorated with acanthus leave bases and top to tail bunches of palmettes / Lower section of a colonnette: couples of birds and griffins facing each other, superimposed in follage: sprawling bunches of palmettes (possibly a complementary element of the next item) / Upper section of a colonnette: couple of griffins facing each other and bird spreading its wings with foliage motifs; sprawling bunches of palmettes (possibly a complementary element of the previous item) / Lower section of a colonnette: naked figures superimposed between pairs of birds and griffins facing each other; superimposed naked fighters / Colonnette: spiral strips decorated with inhabited follage and sprawling bunches of palmettes Tle-de-France, about 1135-1140. Lutetian limestone (liais)
From the western facade of the abbey church of Saint-Denis (Seine-Saint-Denis, France), jambs of the north and south portals. These six colonnettes decorated the jambs of the church’s western portals. They were stripped during the French Revolution. The three sections shown here are the sole remains of two or three of them, cut out in the middle of the 1820s to be reused as supports for low railings inside the basilica.

Jean Haincelin (Maître de Dunois) et Maître de Jean Rolin
Heures de Simon de Varye, Paris, vers 1455
Parchment.
Los Angeles, The J. Paul Getty Museum, MS 7, La Haye, Koninklijke Bibliotheek, ms. 74 G 37 and 37a
L’ouvrage est d’abord réalisé à Paris, autour de 1455 par le Maître de Dunois (Jean Haincelin) et le Maître de Jean Rolin, pour un commanditaire non identifié.
Il passe rapidement à un second propriétaire, Simon de Varye, commis à l’argenterie de Charles VII.
La devise « VIE À MON DÉSIR » est l’anagramme de son nom. Simon de Varye fait adjoindre trois feuillets indépendants dus à Jean Fouquet.

Sainte Anne et ses filles – Miniature issue des
Heures d’Étienne Chevalier, Paris, vers 1452-1455.
Parchment. Paris, Bibliothèque nationale de France, département des Manuscrits, NAL 1416
La miniature est issue du plus grand chef-d’œuvre enluminé par Jean Fouquet, les Heures d’Étienne Chevalier, aujourd hui démembrées, dont la plus grande partie est conservée au musée Conde de Chantilly. Le nom et le chiffre du commanditaire, trésorier de France outre-Seine et grand mécène de Fouquet, sont portés par les hommes sauvages. Mise en page comme un petit tableau, la scène montre sainte Anne et ses trois filles devant un panorama parisien.
La majorité des feuillets enluminés (40) du livre d’heures d’Étienne Chevalier est conservée au musée
Condé de Chantilly. En raison des dispositions testamentaires du duc d’Aumale qui les acquit en 1891, ils n’ont pu être prêtés à l’exposition. Celui-ci fit aménager spécialement le Santuario, dans son château de Chantilly, pour les présenter encadrés tels de véritables tableaux.

Jean Fouquet, Grandes Chroniques de France. Tours, vers 1415-1420 et 1455-1460
Parchment. Paris, Bibliothèque nationale de France, département des Manuscrits, Français 6465.
Le manuscrit renferme la première histoire officielle de la monarchie en langue vulgaire dont les origines remontent au règne de Saint Louis. Ses 51 petites miniatures ont été confiées à Jean Fouquet qui y utilise d’amples points de vue et un goût pour l’exactitude documentaire des lieux représentés. Il est peut-être le fruit de la commande du roi ou d’un de ses proches.

Pierre du Billant, on a cardboard by Barthélemy d’Eyck
The Healing of the Blind Woman (orfroi fragment)
France, 1444. Polychrome silks, gold and silver threads. Cl. 23424
This embroidery panel was part of a chapel (set of ornaments and liturgical vestments) dedicated to the story of Saint Martin. It illustrates a posthumous miracle of his life, that of a young blind girl from Lisieux who came by boat to the basilica and who, regaining her sight, thanks the saint. Pierre du Billant , embroiderer to King René, works there on the cartoons of his stepson, Barthélemy d’Eyck: the squat canons with massive heads and thick lips, and the oblique glances are characteristic of the latter’s art.

Barthélemy d’Eyck
René d’Anjou, Traité de la forme et devis comme on fait un tournoi, dit Le Livre des tournois
Angers (?), vers 1462-1465 / Papier Paris, Bibliothèque nationale de France, département des Manuscrits, Français 2695

André d’Ypres (Maître de Dreux Budé) – Triptyque de Dreux Budé
Paris, vers 1450 0 Volet gauche : Le Baiser de Judas et l’Arrestation du Christ avec Dreux I Budé et son fils Jean Ill présentés par saint Christophe
Huile sur bois. Paris, musée du Louvre, département des Peintures, RF 2015-3

Exceptionnellement réunis, ces panneaux forment l’un des triptyques les plus ambitieux de l’art parisien du xve siècle à nous être parvenus. Il a été commandé par Dreux Budé, notaire et secrétaire du roi mais aussi prévôt des marchands, représenté sur le volet de gauche. Le retable est destiné à la chapelle qu il a fondée dans le chevet de l’église Saint-Gervais-Saint-Protais à Paris. Le peintre qui tire son nom de ces tableaux a été identifié à André d’Ypres. Usant des plis marqués et des corps graciles, ce dernier y montre une certaine allégeance à la leçon de Rogier van der Weyden. Il a peint ici le plus ancien tableau français conservé figurant une scène nocturne.

D’après un carton de Jacques Daret – Délivrance de saint Pierre
Pays-Bas méridionaux, avant 1461. Laine et soie
Paris, musée de Cluny – musée national du Moyen Âge, CI. 1235
La tapisserie comporte aux quatre angles les armes de Guillaume de Hellande, évêque de Beauvais de 1444 à 1462, et du chapitre de la cathédrale Saint-Pierre de la même ville. Elle est le fruit de la commande de ce chapitre cathédral auprès de l’un des grands centres de tapisserie des Pays-Bas bourguignons. C’est le peintre d’origine tournaisienne Jacques Daret, formé dans l’atelier de Robert Campin, qui en a donné les cartons. C’est grâce à l’importation d’œuvres comme celle-ci que les nouveautés se diffusent dans le royaume de Charles VII.

This is what I meant when I said the museum had changed a lot… the artefacts and tapestries used to hang on the stone walls of the building, now the entire interior of the museum has white walls installed for the art to be viewed on, and it doesn’t feel Iike it is ‘in situ’ anymore.

Anges, Val de Loire, vers 1460-1470.
Pierre calcaire, traces de polychromie
Tours, musée des Beaux-Arts, inv. HG D 964.002.00001 et HG 968.028.0001
Portant les armes de Jean V de Bueil et de Jeanne de Montjean, ces deux anges (d’une série de quatre) proviennent du tombeau érigé par la famille de Bueil dans la collégiale Saint-Michel de Bueil-en-Touraine (Indre-et-Loire). Amiral de France en 1450, Jean de Bueil a joué un rôle important dans la reconquête du royaume par Charles VII. Stylistiquement proches du gisant d Agnès Sorel, ces anges montrent cependant une recherche d’animation plus marquée, avec des drapés épais et creusés, ou des cheveux agités de grosses mèches.

Panneau semé de fleurs de lis – France, deuxième tiers du xve siècle ?
Tapisserie, laine et soie. Paris, musée de Cluny-musée national du Moyen Âge, CI. 14361.

Guillaume Revel – Registre d’armes, dit Armorial Revel Moulins, vers 1450-1460.
Paris, Bibliothèque nationale de France, département des Manuscrits, Français 22297

Reliquaire de la Sainte Épine,
Égypte, xexie siècle. Paris, vers 1420-1450. Cristal de roche, or fondu, ciselé, émaillé, perles, rubis
Reims, palais du Tau,inv. D-TAU1972000010 (dépôt de la CRMH Grand Est); classé au titre des Monuments historiques, le 28 février 1896

Médailles de Charles VII dites les Calaisiennes. Émissions entre 1451 et 1460.
Or, frappe. Paris, Bibliothèque Nationale de France, Département des Monnaies, Médailles et Antiques, SR 10, 14, 16, 17, 20, 21, 24 et 26. Ces monnaies, appelées improprement calaisiennes. (Calais ne fut pas repris aux Anglais avant 1558), célèbrent la reconquête politique et militaire du roi.

Peut-être commandées par ce dernier ou par un de ses grands officiers, elles constituaient très vraisemblablement des présents de haut prix récompensant alliances et soutiens fidèles. Elles furent frappées pendant la dernière décennie du règne du roi et mettent en avant dans les inscriptions bavardes ses succès militaires, ses réformes et sa légitimité autour de symboles exaltant la majesté royale (roi chevauchant ou trônant, écu armorié, croix).

Altarpiece of the Passion and Childhood of Christ
Hutch (central structure): Christ carrying the cross; the Crucifixion; the Deposition from the cross (upper part of the hutch); The Nativity; the Adoration of the Magi; on each side: angels presenting the instruments of the Passion (lower part of the hutch). Polychromed wood (oak)
Wings: The twelve standing apostles; below: busts of twelve prophets (inner face); The Annunciation; on both sides: saint presenting a donor; sainted bishop; below: the four evangelists (outer side)
Oil on wood (oak): Northern Ile-de-France (Beauvais?), around 1520-1530
From the church of Saint-Martial in Champdeuil (Seine-et-Marne, France)


The Treasure of Oignies is largely composed of reliquaries.
Many have been built to house the relics of the priory, including those of Marie d’Oignies. Reliquaries are receptacles for collecting the relics of saints and blessed people. Whether corporeal relics or contact relics (clothing and objects that have come into contact with them), relics are sometimes accompanied by authentic, small labels used to identify them. The sanctity of the relics is reflected on their containers. Some of them are designed from the outset to serve as reliquaries, while others are adapted for this purpose.
The Treasure of Oignies has a variety of types of reliquaries.
It has reliquary crosses, which are also Reliquaries of the Holy Cross, i.e. deemed to contain a fragment of the Cross of Christ. It also includes anatomical reliquaries: those of the feet of Saint James the Great and Saint Blaise, the reliquary of the rib of Saint Peter, and of the jaw of Saint Barnabas. There is also the curious bird-shaped reliquary of the Virgin’s milk, phylacteries and monstrance reliquaries that make the relics visible.

Phylacteries of Saint Hubert
Oignies workshop, circa 1230-1235. Gilded silver, filigree, stones and rock crystal on wooden core
Coll. Fondation

Cradle of devotion – “Jesus’ Rest” and its storage box
Southern Netherlands, around 1500. Oak, ivory, metal alloy
Devotion to the crèche is attested as early as the 2nd century. This miniature cradle, which still preserves its storage box decorated with coat of arms, belongs to a group of devotional objects popular from the 15th century in monastic communities as well as in the private sphere. The small bells chime when the cradle is rocked.

Four tapestries – Tapestry cycie on seigneurial life
Paris (P), early 15 century. Wool and silk
This ensemble of millefieur tapestries (set against a background of floral motifs) represents the activities of the elite of the late Middle Ages: taking walks, bathing with music, embroidery, reading and spinning. Lacking a sign of ownership and reusing the same figures, it was likely woven prior to purchase, to be presented to potential buyers sure to be impressed by its bucolic décor.

Board game box, France, about 1500.
Stained bone and walnut wood, ebony, ivory.
Made with noble materials, this game box executed in France is one of the oldest known. The pawns and pieces, made of ivory, bone or wood, came from Europe and were designed at various times.
It contained at least six different games, testifying to the taste for entertainment in the Middle Ages.
Some of these games are still familiar to us, such as chess and tric-trac (a kind of backgammon), while others have disappeared: nine-men’s morris, “fox and geese”, tourniquet, and glick (the ancestor of poker).

Lidded hexagonal salt cellar. Italy, 1370. Pewter.

Drinking horn in the shape of a griffin’s claw – Germanic countries, about 1500.
Horn, engraved and gilded copper.
This bull’s horn, mounted in a precious metal setting, rests on eagle talons that evoke a griffin, a legendary animal that is half-eagle, half-lion. Saint Corneille, a pope, was said to have received a claw from a griffin he cured. Transformed into a drinking cup, the claw was believed to detect poison in drinks. A sign of wealth, this object may have decorated a table or dresser where precious dinnerware was displayed.

Pavise – Portcullis. Germanic countries, 1st quarter of the 16th century. Wood.

Pavise – David and Goliath. Bohemia, about 1480. Wood, fabric, leather, paint.
This pavise, whose lower part is missing, was used during the Hussite wars, as a tool in the context of an entirely original military organisation. Pavisiers (who earned more than other foot soldiers) held the shields in place, while pike men stood behind them. They could sustain heavy cavalry charges and successfully repel them.

Targe – Maltese Cross and roses. Germanic countries, last quarter of the 15thC, wood, paint.
This small targe was used in “courtesy” jousting (a joust à plaisance, as opposed to joust à outrance, or grudge matches, where opponents could fight to the death), or even during simple demonstrations.
During jousting, it would be held to the left armpit, protecting it while marking the target on which the opponent should break his lance.

Two cups and a dish. Manises, early 16th century Ceramic with metallic lustre.
Though purchased together, the cup on the right and the dish above it do not necessarily go together. They nonetheless share similarities with the other cup, like their golden lustred decor and the choice of a pseudo-heraldic motif for their ombilics (central circles in relief). The base of the cups features a motif resembling musical notes, called solfa. The care taken with the plant motifs and the harmony of colours with metallic highlights are in line with vessels created in Valencia from the late 15th century, when blue disappeared in favour of golden monochrome, accentuating a likeness to metalware. The gadroons (moulding in relief) reinforce the similarity to copper dishware.

Marten head – northern Italy, late 15th or 16th century Gilded copper, glass, bone.
This object, composed of a copper mount enclosing the head of a marten (animal associated with fertility) was likely placed at the end of a fur, as shown by the fastening holes in the metal. “Lice furs” in the form of martens, sables, foxes or beech martens, meant to serve as lice traps, were worn over the shoulder or attached to a belt. Certain furs were adorned with rock crystal and precious stones on their extremities.

Reliquary-monstrance. Lombardy region (Italy),
last quarter of the 15th century Cast, embossed, engraved and gilded copper, painted enamel, glass.

Papal rings in the name of Popes Paul II (1464-1471) and Sixtus IV (1471-1484)
Central Italy, 2d half of the 15th century Gilded copper alloy, rock crystal; red foil (CI. 9192)
Inscriptions: PIA/PA PAULO; P[A]PA SIXTUS.
These imposing rings, adorned with symbols of the evangelists, each bear the name of a pope. One of them also displays Pope Sixtus IV’s coat of arms (CI.9192). They were worn on top of gloves (by papal legates?). Some sixty of these rings dating to the 15′ century have survived to this day.

Musée D’Orsay

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Buying timed tickets to visit museums seems to be the necessity these days… which works okay, if you are travelling just for leisure, I guess and you don’t mind planning out your every single day of what you are doing on your vacation. But when travelling for work, and finding you might have a few hours to squeeze in something cultural – having to have pre-purchased tickets weeks in advanced leaves you at the mercy of some pretty mercenary resellers, mostly found on Trip Advisor links.

We did manage to get tickets for the morning we suddenly had available, but they were general entry and untimed, so that puts you in a different queue to get into the building, and that can mean ages waiting in lines. Thankfully at 0900 on a Saturday morning, the queues weren’t too intolerable and we were able to visit the Musée D’Orsay somewhat spontaneously after all.

Van Gogh self portrait.. another one. Oil on canvas.

Bedroom At Arles.
Vincent Van Gogh, 1888, oil on canvas… this is my favourite Van Gogh painting. I just can’t get over the texture he created which you an only see in person. This painting utterly fails to translate in reproductions.

The Church in Auvers-sur-Oise, View of the Chevet.
Vincent Van Gogh, 1890, oil on Canvas.
Mr K’s favourite. Something to do with a Dr Who episode? Huh?

Chrysanthemums.
Claude Monet, 1878, oil on canvas. Part of the Doctor Gachet collection, I quite liked this painting even though it isn’t typical of Money and has an odd perspective.

The Starry Night.”
Vincent Van Gogh, 1888, oil on canvas.

La Guinguette a Montmartre; Le Billard en bois, La Bonnie franquette.
Vincent Van Gogh, 1886, oil on canvas.

Fritillaires couronne impériale dans un vase de cuivre.
Vincent Van Gogh, 1887, oil on canvas.

Blue Water Lilies.
Claude Monet, 1916-1919, oil on canvas.

En norvégienne, also called, La barque à Giverny.
Claude Monet, 1887, oil on canvas.

Femme au fichu vert.
Camille Pissarro, 1893, oil on canvas.

Foyer de la Danse.
Edgar Degas, 1872, oil on canvas.

Not sure what to make of Degas, I’ve always admired the work and the spaces he depicted of the opera world and the ballet school always lent themselves to beautiful compositions – very elegant and feminine. As I get older though, I wonder whether he was a sneezy presence (like Trump at a beauty pageant) walking in like he owned the place and ogling half-naked, very young women… many of whom were expected to be congenial to patrons of the arts. :/

Blue Dancers.
Edgar Degas, 1893, oil on canvas.

The Ballet Class
Degas, 1874, oil on canvas.

La Place Valhubert.
Armand Guillaumin, 1875, oil on canvas.

La Dame aux éventails.
Édouart Manet, 1873, oil on canvas. The model is Nina de Callias, she was a musician and artiest herself.

City Dance and Country Dance.
Pierre-Augusta Renoir, 1883, oil on canvas.

Le Cathédrale de Rouen. Also called, Harmonie Bleue et Or.
Claude Monet, 1894, oil on canvas.

Woman with a Parasol Facing Right, and Woman with a parasol Facing Left.
Claude Monet, 1885, oil on canvas. The mondella was named Suzanne Hoschedé who was the daughter the impressionist collector Ernest Hochedé, but these were not meant as portraits. His outdoor figures were attempting to capture the landscape as the subject.

Henri-Edmond Cross.
Maximilien Luce, 1898, oil on canvas… I quite like this one, it’s amazing how much detail is conveyed with such frugal brush strokes and no blending to speak of. Beautiful.

Le Quai Saint-Michel et Notre-Dame.
Maximilien Luce, 1901, oil on canvas.

Georges Seurat’s Palette from 1891… what a cool object to have here – obviously it’s oil paint on timber.

The museum has imagery all around the place of the ‘Sunday Afternoon on the Island of La Grande Jatte’, which is one of those annoying things museums seem to do these day to create interest – but of course it isn’t here, it’s at the Art Institute of Chicago. They do have some very small studies that were done for the painting though. These are barely A4 in size, the full painting is 2m high and 3m wide.

Circus.
Georges Surat, 1890-1891, oil on canvas. This work is considered incomplete as Surat died prematurely while working on it. I’ve often wondered about the curatorial choices that go into displaying some of these well known or important works – but apparently Surat chose this blue frame himself.

Couple dans la rue.
Charles Angrand, 1887, oil on canvas.

La Seine à Herblay.
Maximilien Luce, 1890, oil on canvas.

Entrée du port de la Rochelle.
Paul Signac, 1921, oil on canvas… this one was an unexpected little gem that I just loved. The colours are so vibrant and beautiful, and again, such beautiful texture created by the brushwork.

Jardins publics: L’interrogatoire.
Édouard Vuillard, 1894-1936, oil on canvases.

Et l’or de leur corps.
Paul Gauguin, 1901, oil on canvas. I have little affection for Gauguin – partly because I don’t really enjoy his style, but also because I think he just spent years in Tahiti shafting native women. :/

Jane Avril Dancing.
Henri de Toulousse-Lautrec, 1892, thinned oil paint on poster board.

The Robe.
c.1982, distemper on flannel (?)

The restaurant was closed but looked very funky… love the colourful chairs.

Logement prolétaire (Proletärkarsern).
Eugène Jansson, Stockholm, 1898, oil on canvas.

La pointe d’Andey, Vallée de L’Avre.
Ferdinand Hodler, 1909, oil on canvas.

Portrait de l’artist au fond rose.
Paul Cézanne, c. 1875, oil on canvas.

Hercules Kills the Birds of Lake Stymphalia.
Antoine Bourdelle, 1880-1910, bronze.

Le Belier Retif, also called, Belier African.
Antoine Bourdelle, 1909, bronze.

Monument à Jean-Jacque Rousseau…
La Philsophie (centre), with La Verite et la Nature.
La Gloire et La Musique (sides).
Albert Bartholomé, 1910, sculpture en platre

Jeunesse.
Aristide Maillol, 1910, marble.

Judgement de Paris.
Pierre-Auguste Renoir, 1914, Platre (signed and dated Renoir).

Les Nubiens, also called, Les Chasseurs d’Alligators.
Ernst Barrias, 1894, platre.

La Roue de la Fortune (Wheel of Fortune).
Edward Burne-Jones, c1875-1883, oil on canvas.

Mercure inventant le caducée.
Jean Antoine Idrac, 1878, marble.

I didn’t get the description for this one… I liked her, even though the poor dear looks like she’s lost her portable! Selfie Queen.

Polar Bear.
Francois Pompon, c.1923-1933, stone.

Pompon famously worked with Rodin, but chose animals as his focus. This bear was one he watched pace in a cage at the zoo in the Jardins des Plantes, and was carved from a 3 tonne stone… every bit of it that wasn’t polar bear was removed and he is remarkably sleek and modern looking, even today.

We had to bail on the Musée D’Orsay, as we had skipped breakfast and were getting seriously hungry. Went for a bit of a wander to find lunch… on the way, the famous: Sorbonne University.

Lunch Bistro, chosen by Mr K;

Very nice choice. Many bistros will have a daily menu that gives you choices of two or three course meals at very reasonable prices – this is how Parisians often order their lunches, rather than a la carte. So we took that option. Jambon et fromage crépes, steak au poivre for Mr K, boeuf bourguignon for me, crème caramel for Mr K, and I spoiled myself with a crème brulee. Delicious and now we’ll be skipping dinner too!