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the forger invented this scheme, and therefore presumed that he copied enamel on the original that has been removed in the 19th century, probably because it was damagedâsections of enamel cannot be patched up, but must be removed completely and redone. However John Cherry believes this and other changes in the enamel of the Vienna version are elaborations by
Weininger and his craftsmen; for example in Vienna the wings of the trumpeting angels are coloured. The two figures are in a sophisticated "soft and flowing"
905:
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enamels, as the very fine working of many details of them was clearly intended to be seen. The rougher working of the surfaces at the bottom of the doors: the dragon below St
Michael, the water below St Christopher, and the ground below both of these, suggests that the missing original enamels were opaque in these areas. But all the extra enamel in Vienna is opaque, including the saints' figures, and the effect of the more intense colours is "lurid" and "offends our eyes because of its crudity".
591:
555:, in either form, is a possibility; the face of Christ at the top in a circular setting often represents this. Outside the doors the foliate border of the front is continued, uninterrupted by figures. Below two of the angels with trumpets can be seen, with an unpopulated stretch of the green hillside, and below it the back of the castle base, which has apparently had another arched "leg" in the centre crudely removed, leaving a jagged edge, and also making the reliquary rather less stable.
304:
603:
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319:, pearls, rubies and sapphires. It is just over 30 centimetres (12 in) high and weighs 1.4 kilograms (3.1 lb). There are some areas of damage (including what appears to be deliberate removal of enamel in the 19th century), and small losses and repairs; but generally the reliquary is in good condition. The central front compartment holding the relic is protected by a thin pane of rock crystal, which has kept it in perfect condition. The enamel is mostly in
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like the Holy Thorn
Reliquary, that have survived from the period, and as regards subject matter to tapestries and some secular illuminated manuscripts. There are extremely detailed inventories of Berry's possessions including ones from 1401â1403 and 1413â1416, however none contain an entry whose description matches the reliquary.
1299:
205:, also in the British Museum. Previously dated between 1401 and 1410, from evidence in John Cherry's book of 2010 the reliquary is now thought to have been made before 1397; based on the heraldic forms used, the museum now dates it to 1390â97. The Holy Thorn Reliquary was later thought to have been in the possession of
672:
very considered way"; "a controlled use of red includes the alternation of rubies and pearls", except where "a single sapphire interrupts this rhythm" above God the Father. Blue, an important enamel colour in other works, is almost entirely absent here, perhaps so as not to overshadow the large sapphires.
750:
in 1477). A reliquary that was donated to the church had a better chance of surviving than the similar secular works that are now only known from their descriptions in inventories, where scenes of courtly pleasure were depicted with portrait figures of the princes and their friends. A work belonging
734:
which have little value in their materials and so have not been recycled, his brother Louis of Anjou had over 3,000 pieces of plate at one point. These included wholly secular pieces with sculptures in enamel that can only be imagined by comparison as regards technique to the handful of reliquaries,
666:
or "encrusted" enamelling technique, which involves creating small three-dimensional figures coated in enamel on a metal core, often just gold wire. The technique was a recent innovation which the goldsmiths working for the Valois were pushing to its limits at the end of the 14th century. The main
347:
cut normal in medieval jewellery, and though they are set in the reliquary with gold "claws", all are drilled through as though for threading on a necklace, suggesting that they are re-used from another piece. There may have been other jewels now lost, for example mounted in two holes on either side
242:
from 1677 onwards. It remained in Vienna until after 1860, when it appeared in an exhibition. Some time after this it was sent to be restored by
Salomon Weininger, an art dealer with access to skilled craftsmen, who secretly made a number of copies. He was later convicted of other forgeries, and died
642:
The maker of the work is unknown; it is not signed or marked, and goldsmiths of the period rarely did this. There are a number of goldsmiths' names known from accounts and other records, but none of the few surviving works can be attached to a particular maker. Paris was the centre of production for
538:
In the fake in Vienna, the figures of both saints are enamelled; flesh is white, Michael and the Christ child have red robes, and
Christopher blue, and the saints stand on a brownish dragon and blue water respectively, with green grass below both of these. Some scholars have thought it unlikely that
1667:
671:
dated to the period beginning about 1380 and ending about 1410, used as here for both the clothes and flesh of the figures. Gold is used for their hair, and other enamel colours are mostly used at the neck and cuffs to demarcate between white robes and white flesh; "throughout, colour is used in a
651:
royal family and other buyers. Berry and his brothers and nephews had goldsmiths on salaries or retainers for what must have been a continuous flow of commissions, whose results are tersely catalogued in various inventories of the period, but of which there are now only a handful of survivals. Only
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on their robes; the other two, patterns of dots in blue. All the arches of the castle are semicircular, and in fact the whole reliquary lacks any Gothic pointed arches, even among the traceryâa sign of advanced artistic taste at the time. In this respect the Holy Thorn
Reliquary contrasts strongly
342:
at the very top of the reliquary, where it may have represented heaven, and the other below Christ, on which the thorn is mounted. The gold elements framing God the Father and the central compartment with Christ and the thorn are decorated with alternating rubies and pearls, totalling fourteen of
270:
The original reliquary reached the
British Museum as part of the Waddesdon Bequest in 1899, by which time its origins had been "completely lost" and it was described as "Spanish, 16th Century". Thus its history had to be reconstructed through scholarship; the meaning of the heraldic plaques on the
775:
One work that survived long enough to be recorded in an 18th-century painting had a very similar gold castle as its base, with a paradisal garden within the walls, in this case with trees bearing pearls and red gems. However the rest of the piece was very different in scale, with a single large
543:
style executed with great virtuosity; Michael's staff is detached from the background over most of its length and is one of a number of elements that extend outside the frame of the door. If there was once enamel on the two figures it would have been at least mainly in more fragile translucent
498:
The rear face is plainer, with no jewels, but still highly decorated; Cherry speculates that it may originally have been much more simple and not designed for viewing, with most of the other elements added after it was originally made. At the top is a medallion with the face of Christ set in a
652:
one item mentioned in the records of the Berry collection might match the reliquary, but this was made after 1401, which conflicts with the date suggested by the heraldry. Another possibility is that the reliquary was made and given as a gift, as many such pieces were, in between inventories.
164:
collections from at least the 16th century until the 1860s, when it was replaced by a forgery during a restoration by an art dealer, Salomon
Weininger. The fraud remained undetected until well after the original reliquary came to the British Museum. The reliquary was featured in the BBC's
380:, with his feet resting on the globe of the world, and making a blessing gesture. As with all the enamelled figures that are still extant, the hair is in gold, the main robe is in white, and the flesh is in white with coloured eyes and lips, a touch of pink on the cheeks. Behind Christ the
1049:
British Museum
Collection Database. The case for the later date is set out at length by Tait (pp 36â41), but a note by "DFT" (Dr. Dora Thornton, the current curator) on the database (in the middle of the Tait extract) suggests Cherry's dating fits the style of the work
799:
Berry was religious as well as worldly, and collected relics as keenly as other types of objects. By 1397 both of his sons had died, he was in his late fifties, and he had begun to think of his tomb, finally deciding to build a new "Sainte
Chapelle" in his capital of
710:(1340â1416), or the "excellent puissant Prince Jehan filz de roy de France Duc de Berry" ("excellent and powerful prince Jean, son of the king of France, Duke of Berry"), as his secretary inscribed one of his manuscripts, was the third of the four sons of King
667:
colour of enamel used is a lead-based white, which had also only been developed a decade or two at most before the date of the reliquary, and was evidently very fashionable at the end of the century. White dominates the few surviving large enamels in
449:
The Last Judgement was an especially appropriate subject for setting a relic from the Crown of Thorns. Some thought that the crown was held by the French kings on loan, and would be reclaimed by Christ on the Day of Judgementâa belief expressed in the
442:. On a green enamel mound like a hillside are four naked figures, two men and two women, emerging from tiny gold coffins whose lids have been upturned on the ground; the women wear white caps. Four angels blowing horns sound the "Last Trump" of the
730:(1342â1404). All commissioned great numbers of works of art in various media, and in particular spent huge sums on works in gold and silver. Although it is Berry who is especially remembered as a patron, partly because he specialized in
893:, where the Crown of Thorns itself was kept. The reliquary is relatively small and would almost certainly have had a custom-made carrying case like that for the Royal Gold Cup, in which the cup came to the British Museum.
438:("This is a thorn from the crown / Of Our Lord Jesus Christ") in black enamel filling the engraved letters. Below the inscription is a scene showing the mass resurrection of naked people rising from their graves on the
691:, which is too detailed to see in most photographs, and indeed hard to see on the original. Michael's body is also feathered, stopping at the neck, ankles and wrists, a "most exceptional feature" often referred to as "
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of the French monarchy, and also traditionally the person responsible for supervising the chaotic crowds at the Last Judgement, when he is often shown in art weighing souls in a pair of scales. On the right is
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Other techniques are also used with a great degree of skill; the large figures on the rear are chased, with St Michael's wings being represented on the flat surface of the door in delicate stippled or
1670:. Retrieved 4 July 2010 (includes Tait, starting with his page 34 and ending with his bibliography on page 46. After a note, the Tait extract resumes with "Losses" and "Repairs" from his pages 26â28)
742:
the previous year. That the reliquary escaped this fate suggests it may have been given away by Berry, perhaps to his Burgundian cousins, in whose family it is next recorded (the Burgundian heiress
531:
on his shoulders, who raises his hand in blessing. There was a popular belief that sight of an image of Saint Christopher meant that a person would not die on that day without receiving the
271:
castle base had by now been lost in both London and Vienna. The first publication to assert that the London reliquary was the one recorded in earlier Viennese inventories was an article by
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over his head; behind him a cross in shallow relief emerges from the curved gold background. The thorn relic rises below and in front of him, mounted on a "monstrously large sapphire".
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works. There is also red, green, blue, pink, and black enamel. Pure gold is used throughout, which is rare even in royal commissions of such pieces at this period; most use cheaper
275:
in 1927; the matter was not finally settled until 1959 when the Viennese version was brought to London to enable close comparison. The assembled experts from the British Museum,
738:
Soon after Berry's death in 1416, the bulk of his treasures were seized and melted down by the English, who were occupying much of northern France after their victory at the
283:
in Vienna agreed that the London reliquary was the original. Under the terms of the Waddesdon Bequest the reliquary cannot leave the museum; in 2011 it was omitted from the
2006:
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in front of it". Whatever was designed to be displayed has now gone; it must have been flat, and was perhaps another relic, probably a textile, or a picture on vellum. The
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in prison in 1879, but it was still not realised that he had returned one of his copies of the reliquary to the Imperial collections instead of the original. The Viennese
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757:, with King Mark spying on the lovers from a tree above them, giving himself away when they see "the enamelled reflection of his face in the enamelled brook".
1926:
1635:
130:, or "in the round", which had been recently developed when the reliquary was made, to create a total of 28 three-dimensional figures, mostly in white enamel.
883:
Berry may have kept the reliquary with him on his round of visits to his many castles and palaces, or it may have been kept in a chapel, perhaps the Bourges
2085:
547:
When the pin is removed and the small doors opened, there is now nothing to see but "a flat layer of plaster, with a sheet of nineteenth-century paper or
3101:
1187:
Whose number varies somewhat in the historical inventory records, see Tait, 35 and 38. Two of the pearls are possibly replacements, see Tait, 27 and 35.
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Not necessarily a necklace at all, as drilled gems set on metal stalks are found in many pieces of medieval metalwork such as crowns and reliquaries.
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emerge from the foliage border of oak leaves and tendrils; the uppermost heads on each side are replacements, probably by Weininger in the 1860s.
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were therefore represented. A round-topped compartment protected by a rock-crystal "window" holds the relic itself and the group around Christ.
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Tait, 34â36, though his date of 1944 for the comparison meeting is incorrectâsee the "British Museum Highlights" and Collection database.
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described it as "without question one of the supreme achievements of medieval European metalwork", and was a highlight of the exhibition
2100:
699:. Other elements were cast in small moulds, and most of the visible gold has been burnished to give a smooth and shining appearance.
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in 1239, and individual thorns were distributed as gifts by subsequent French kings. John, Duke of Berry (1340â1416), brother of King
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Cherry, 19â23; Tait, 37â38 â at least six thorns were owned by Berry, at least two of which he gave to foreign royalty, one to the
3176:
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364:. At the top sits God the Father, above two angels. A small hole at the level of their knees shows where a dove representing the
1244:
British Museum Collection Database; Tait, 27 covers various small damages and repairs to the "particularly vulnerable" apostles.
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1898:
1798:
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1731:
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788:, Berry's nephew, as a New Year's gift by another uncle, Philip the Bold, Duke of Burgundy. It later passed to a church at
198:
503:. The central round-topped area contains two doors, secured with a small gold pin, containing full-length gold figures in
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295:. Normally it is on display in Room 45, the dedicated Waddesdon Bequest Room, as specified in the terms of the bequest.
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197:, had this reliquary made to house a single thorn; it was probably made a few years before he commissioned his famous
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The jewels, which would have been keenly appreciated by contemporary viewers, include two large sapphires, one above
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technique, applied to three-dimensional figures, with white as the dominant colour. At the time, white enamel using
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royal family around 1400. It is made of gold, lavishly decorated with jewels and pearls, and uses the technique of
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Except at its base the reliquary is slim, with two faces; the front view shows the end of the world and the
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with a lance-like jewelled cross, completely out of scale with the garden in which he stands. This is the
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157:, and has doors that opened to display a flat object, now missing, which was presumably another relic.
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Tait, 36 discusses and rejects Evan's theory; Cherry and the British Museum sources do not mention it.
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must have given it a special status. The crown from which the thorn came had been bought in 1239 by
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Cherry, 15, with photo showing the doors opened on p. 14; Tait, 26â27, who calls the sheet vellum.
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British Museum Collection Database. It was Tait who first established this, in 1962, see Tait, 36
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to house it. His collection of relics included objects claimed to be the wedding ring of the
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British Museum Collection Database, accessed June 16, 2010. Registration number: 1892,0501.2
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30:
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8:
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Treasures of Heaven: saints, relics and devotion in medieval Europe: Holy Thorn reliquary
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had been only recently developed and was very fashionable, dominating many contemporary
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446:, standing on the turrets of a tiny castle which serves as the base of the reliquary.
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1539:, from The Institute of Historical Research and Royal Holloway, University of London.
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equates to "free-standing" in English, and may be used of any sculpture that is so.
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Henderson, 134â139; Snyder, 16â17, and chapter 3 on the patronage of the brothers
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Below this upper section there is a gold scroll label with the Latin inscription
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251:; it was inherited by Ferdinand de Rothschild, who moved to England, and built
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Catalogue of the Waddesdon Bequest in the British Museum, Volume 1, The Jewels
876:, including the far smaller Salting Reliquary in the British Museum, a French
153:. The rear view has less extravagant decoration, mostly in plain gold in low
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on Charles V's death, as it is listed in several inventories of the Imperial
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of the Duke of Berry, and their form has been crucial for establishing the
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Its location is unknown until an inventory of 1544, when it belonged to
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Evans, Joan. "The Duke of Orléans' Reliquary of the Holy Thorn", 1941,
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below, and the relic of a single long thorn believed to come from the
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2016:
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in the 7th century, and may very well be the same relics that Bishop
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512:
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in gold, a feature unique to this reliquary. On the left door is the
384:
are represented like a rainbow, and above him fly two angels holding
368:
was originally attached; with Christ below, all three persons of the
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97:
1024:
Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe
293:
Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe
175:
Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe
1791:
Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe
1477:
Tait 42â43 (quoted); Cherry, 34; British Museum Collection Database
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d'azur semé de fleurs de lys d'or, à la bordure engrelée de gueules
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Detail of Saint Michael; a rectangular Viennese tax stamp near top
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1684:, 2010, British Museum Press (British Museum objects in focus),
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267:, where the deception remained undetected for several decades.
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bought what he believed to be the authentic Crown of Thorns in
154:
209:, but all recent writers prefer his uncle, the Duke of Berry.
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and date of the work. Two of the angels with horns have blue
461:
Two panels on the walls of the castle are patterned with the
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that survive from the extravagant world of the courts of the
89:
1460:
Tait, 43; Anderson, 167-168; for other examples in wood see
518:, spearing a dragon representing the devil. He was both the
112:. It is one of a small number of major goldsmiths' works or
1724:
Finer than Gold: Saints and their Relics in the Middle Ages
324:
247:
bought the original reliquary by 1872, in ignorance of its
482:(possibly made in London), whose framework is a forest of
224:, perhaps as an inheritance from his ancestors the Valois
1353:
British Museum Collection Database; Tait 43; Robinson, 87
1647:
The Vienna "Lover's Brooch" discussed by Tait, 38 and 50
1531:
Tait, 39; Cherry, 27â28, with photograph. Online image
1398:
British Museum Collection Database; Cherry, 34; Tait 26
434:
Ista est una spinea corone / Domini nostri ihesu xpisti
1757:. In Heilbrunn Timeline of Art History. New York: The
776:
white enamel figure of the Archangel Michael impaling
343:
each. All the gemstones have the smooth and polished
228:. It presumably passed to the Austrian branch of the
1776:(the entry also online in the BM collection database)
751:
to Berry's elder brother Anjou showed the romance of
638:
or "encrusted" enamelling, about 1400. British Museum
356:
The design of the front face is based on the general
1537:
Richard II's Treasure; the Riches of a Medieval King
1340:
1338:
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of the Holy Thorn, as well as its centrality to the
796:, where it remained until it was destroyed in 1801.
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in 1239 to celebrate the arrival of the main relic.
177:
at the British Museum from June 23 to October 2011.
1808:(Thesis/dissertation), Courtauld Institute of Art,
647:, secular and religious, produced for the extended
16:
14th-century reliquary made for John, Duke of Berry
1626:, British Museum Highlights, accessed May 27, 2011
2166:Amun in the form of a ram protecting King Taharqa
1564:. British Museum, BBC Radio. New York, New York.
1335:
44:Gold, sapphire, ruby, rock crystal, pearl, enamel
3229:
974:enamel, 1430â40, also inherited by the Habsburgs
411:. Around the central scene small figures of the
216:Detail of one of the Apostles (over actual size)
3253:Medieval European objects in the British Museum
84:was probably created in the 1390s in Paris for
1661:Drama and imagery in English medieval churches
934:Berry's arms as they appear on the reliquary:
872:said to have come from the relic in the Paris
1948:
1840:The reliquary features in a BBC4 documentary
1226:Cherry, 7, with close-up illustration on p. 6
1124:Exhibition website, with large zoomable image
695:", that perhaps borrows from the costumes of
1785:Cherry and Tait have longer bibliographies.
1362:Cherry, 50â51, with photo of the Vienna copy
1204:
1202:
836:, both a saint and King of France, from the
535:, which may well explain his presence here.
1162:
1160:
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201:, and some years after he commissioned the
2101:Colossal quartzite statue of Amenhotep III
1955:
1941:
1921:This article is about an item held in the
1825:: CS1 maint: location missing publisher (
1592:: CS1 maint: location missing publisher (
395:To the left and right of Christ are shown
311:The Holy Thorn Reliquary is made of gold,
2796:Kition Necropolis Phoenician inscriptions
1557:
1199:
1175:Cherry, 37, 42â43. Cherry refers to the
1105:, 16 September 1995, accessed 5 June 2010
887:, built in emulation of the king's Paris
2284:Percival David Foundation of Chinese Art
2234:Dhaneswar Khera Buddha image inscription
1865:(includes good high-zoom image of front)
1755:"Patronage of Jean de Berry (1340â1416)"
1157:
1062:The Burlington Magazine for Connoisseurs
759:
674:
619:
421:
302:
211:
2638:Sarcophagus of Seianti Hanunia Tlesnasa
660:The reliquary exuberantly exploits the
3230:
3192:Royal Commission on the British Museum
1666:"British Museum Collection Database",
3118:A History of the World in 100 Objects
1936:
1899:A History of the World in 100 Objects
1863:A History Of The World in 100 Objects
1855:Video (3 minutes), The British Museum
1806:The Holy Thorn Reliquary reconsidered
1803:
1561:A history of the world in 100 objects
1097:Ekserdjian, David, "The art of lying"
1065:, Vol 78, issue 459, pp 196, 200â201
994:
992:
990:
988:
348:of the door of the castle-like base.
167:A History of the World in 100 Objects
3097:Conservation and Scientific Research
1522:Henderson, 134â136, quotation p. 135
998:"British Museum Collection Database"
259:. One of the copies remained in the
1617:Reliquary pendant of the Holy Thorn
13:
1962:
1780:
1663:, Cambridge University Press, 1964
1289:Cherry, 8, with close-up photo p.9
985:
970:Burgundian brooch with figures in
816:, the body of a child murdered by
407:; John was also one of the Duke's
263:of the Imperial Habsburg Court in
199:TrĂšs Riches Heures du Duc de Berry
14:
3284:
3107:Portable Antiquities and Treasure
1834:
1761:, 2000â. (accessed July 5, 2010)
1143:British Museum, Waddesdon Bequest
3212:
3211:
3154:Films shot at the British Museum
2791:Black Obelisk of Shalmaneser III
2506:Herculean Sarcophagus of Genzano
2194:Aphsad inscription of Ädityasena
1912:Icon of the Triumph of Orthodoxy
963:
942:
927:
915:
903:
824:, and many others. However the
748:Maximilian I, Holy Roman Emperor
601:
589:
577:
565:
29:
1641:
1629:
1609:
1600:
1551:
1542:
1525:
1516:
1507:
1498:
1489:
1480:
1471:
1454:
1445:
1436:
1419:
1410:
1401:
1392:
1383:
1374:
1365:
1356:
1347:
1326:
1317:
1292:
1283:
1274:
1265:
1256:
1247:
1238:
1229:
1220:
1211:
1190:
1181:
1169:
1148:
1136:
1117:
1108:
838:Latin Emperor in Constantinople
376:is shown seated displaying the
3068:The Tale of the Flopsy Bunnies
2106:Colossal head of Amenhotep III
1793:, 2011, British Museum Press,
1768:, 1986, British Museum Press,
1712:, 2008, British Museum Press,
1513:Cherry, 44, 47â48; Tait, 36â39
1089:
1080:
1071:
1053:
1043:
1031:
1016:
1001:
844:, along with a portion of the
782:St Michael and the Devil Group
335:for the structural framework.
298:
1:
2618:Priene dedicatory inscription
1869:Saint Catherine of Alexandria
1673:"British Museum Highlights";
1653:
655:
351:
307:The thorn rises before Christ
2806:Complaint tablet to Ea-nÄáčŁir
2781:Tell al-'Ubaid Copper Lintel
2249:Jade terrapin from Allahabad
2116:Gebelein predynastic mummies
2111:El-Amra clay model of cattle
1710:Masterpieces of Medieval Art
1013:, BBC, accessed May 27, 2011
870:number of other thorn relics
615:
493:
222:Holy Roman Emperor Charles V
7:
2821:Babylonian Map of the World
2376:Barber Cup and Crawford Cup
2305:The Great Wave off Kanagawa
2289:Seated Buddha from Gandhara
2209:AmitÄbha Buddha from Hancui
1877:Metropolitan Museum of Arts
415:carrying their identifying
10:
3289:
2151:Rhind Mathematical Papyrus
1925:. The object reference is
1759:Metropolitan Museum of Art
922:Side view of the reliquary
896:
386:Instruments of the Passion
277:Victoria and Albert Museum
180:
149:worn by Jesus when he was
3207:
3131:
3084:
3013:
2911:
2857:Lion Hunt of Ashurbanipal
2721:
2633:Sant'Angelo Muxaro Patera
2324:
2179:
2084:
2005:
1996:
1970:
1907:
1896:
1887:
1789:Bagnoli, Martina et al.,
1743:, 1985, Harry N. Abrams,
1253:British Museum Highlights
1008:Transcript: Episode 66 â
822:Massacre of the Innocents
702:
378:wounds of his crucifixion
160:The reliquary was in the
141:and saints above and the
68:
56:
48:
40:
28:
23:
3258:Works in vitreous enamel
3164:Repatriation controversy
2841:Flood tablet (Gilgamesh)
2623:Priene edict inscription
2456:Choiseul-Gouffier Apollo
2224:Mogao Christian painting
1741:Northern Renaissance Art
1726:, British Museum Press,
1722:Robinson, James (2011).
1708:Robinson, James (2008).
1682:The Holy Thorn Reliquary
1677:. Retrieved 4 July 2010.
1675:The Holy Thorn Reliquary
1668:The Holy Thorn Reliquary
1659:Anderson, Mary Désirée.
1558:MacGregor, Neil (2013).
979:
949:A slightly later German
608:The doors on the reverse
358:resurrection of the dead
281:Kunsthistorisches Museum
238:("treasure chamber") in
207:Louis I, Duke of Orléans
143:resurrection of the dead
24:The Holy Thorn Reliquary
3149:Dingwall Beloe Lectures
2851:Library of Ashurbanipal
2239:Hephthalite silver bowl
2204:Ambika Statue from Dhar
1548:Cherry, 43â44; Tait, 37
1145:, accessed May 26, 2011
1028:, accessed May 26, 2011
732:illuminated manuscripts
722:(1339â1384), Berry and
291:legs of the exhibition
261:Ecclesiastical Treasury
106:Ferdinand de Rothschild
3102:Libraries and Archives
2903:Phoenician metal bowls
2831:Cylinders of Nabonidus
2294:Stamp seal (BM 119999)
1804:Smith, Bennet (2006),
1301:Tableau of the Trinity
1133:, accessed May 9, 2011
772:
720:Louis I, Duke of Anjou
680:
639:
476:Tableau of the Trinity
433:
427:
405:a traditional grouping
308:
217:
100:was bequeathed to the
3268:God the Father in art
3243:Christian reliquaries
2878:Babylonian Chronicles
2736:Assyrian lion weights
2713:Xanten Horse-Phalerae
2648:Stony Stratford Hoard
2566:Papyri of Oxyrhynchus
2466:Dionysus Sardanapalus
2411:Bronze head of Hypnos
2047:Double-headed serpent
1636:Wood and leather case
1615:Robinson (2008), 87;
868:in 409. There are a
763:
746:married the Habsburg
678:
643:the great numbers of
623:
425:
403:in supplicant poses,
306:
215:
3061:The Disasters of War
2983:Sutton Hoo purse-lid
2933:Holy Thorn Reliquary
2279:Mathura lion capital
2037:Bronze Head from Ife
1427:email en ronde bosse
1380:Cherry, 50; Tait, 43
1010:Holy Thorn Reliquary
848:. Both had been in
808:, a cup used at the
786:Charles VI of France
626:Dunstable Swan Jewel
541:International Gothic
82:Holy Thorn Reliquary
52:Probably before 1397
3144:British Museum Acts
3054:The Ancient of Days
2953:Mildenhall Treasure
2731:Ain Sakhri figurine
2662:Townley collection
2603:Petelia Gold Tablet
2531:Macmillan aryballos
2451:Chatuzange Treasure
2396:Boscoreale Treasure
2096:Battlefield Palette
2076:Yaxchilan Lintel 24
1848:Andrew Graham-Dixon
1843:Treasures of Heaven
1694:Henderson, George.
1451:Robinson (2008), 87
1271:Robinson (2011), 61
1235:Robinson (2008), 58
771:, his patron saint.
740:Battle of Agincourt
195:Charles V of France
86:John, Duke of Berry
3026:DĂŒrer's Rhinoceros
3005:Lampsacus Treasure
3000:Vindolanda Tablets
2893:Antiochus cylinder
2883:Ur Box inscription
2628:San Sosti Axe-Head
2551:Minoan Bull-leaper
2491:Farnese Diadumenos
2481:Esquiline Treasure
2426:Campo Iemini Venus
2386:Beaurains Treasure
2371:Asclepius of Milos
2311:Vishnu Nicolo Seal
2254:Kakiemon elephants
2189:Admonitions Scroll
2042:Codex Kingsborough
1988:Round Reading Room
1622:2015-10-18 at the
1307:2011-06-15 at the
1129:2018-01-21 at the
773:
765:Jean, duc de Berry
754:Tristan and Isolde
708:Jean, duc de Berry
681:
640:
596:Detail of the base
584:Detail of Apostles
444:Book of Revelation
428:
374:Christ in Judgment
309:
218:
187:Louis IX of France
3225:
3224:
3127:
3126:
2989:Swimming Reindeer
2978:Sutton Hoo helmet
2811:Tablet of Shamash
2703:Vaison Diadumenos
2653:Strangford Apollo
2461:Demeter of Knidos
2441:Chaourse Treasure
2431:Carthage Treasure
2356:Arcisate Treasure
2244:Huixian Bronze Hu
2199:Amaravati Marbles
2161:Sphinx of Taharqo
2064:Kayung totem pole
2058:Throne of Weapons
1918:
1917:
1908:Succeeded by
1892:Taino Ritual Seat
1799:978-0-7141-2330-1
1774:978-0-7141-0525-3
1732:978-0-7141-2822-1
1718:978-0-7141-2815-3
1698:, 1967, Penguin,
1571:978-0-14-312415-3
830:Passion of Christ
812:, a piece of the
712:John II of France
697:liturgical dramas
525:Saint Christopher
382:celestial spheres
245:Rothschild family
226:Dukes of Burgundy
110:Waddesdon Bequest
78:
77:
3280:
3273:Veil of Veronica
3215:
3214:
3092:Coins and Medals
2968:Seax of Beagnoth
2816:Statue of Idrimi
2771:Ram in a Thicket
2643:Satala Aphrodite
2593:Paramythia Hoard
2436:Caubiac Treasure
2346:Apollo of Cyrene
2341:Aineta aryballos
2131:MacGregor plaque
2003:
2002:
1957:
1950:
1943:
1934:
1933:
1888:Preceded by
1885:
1884:
1830:
1824:
1816:
1753:Stein, Wendy A.
1648:
1645:
1639:
1633:
1627:
1613:
1607:
1604:
1598:
1597:
1591:
1583:
1555:
1549:
1546:
1540:
1529:
1523:
1520:
1514:
1511:
1505:
1502:
1496:
1493:
1487:
1484:
1478:
1475:
1469:
1458:
1452:
1449:
1443:
1440:
1434:
1423:
1417:
1414:
1408:
1405:
1399:
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1390:
1387:
1381:
1378:
1372:
1369:
1363:
1360:
1354:
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1324:
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1315:
1296:
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1093:
1087:
1084:
1078:
1075:
1069:
1057:
1051:
1047:
1041:
1035:
1029:
1026:, British Museum
1020:
1014:
1005:
999:
996:
967:
946:
931:
919:
910:Detail of Christ
907:
862:Paulinus of Nola
767:at prayer, with
744:Mary of Burgundy
728:Duke of Burgundy
605:
593:
581:
569:
553:Veil of Veronica
440:Day of Judgement
436:
397:John the Baptist
388:, including the
57:Present location
33:
21:
20:
3288:
3287:
3283:
3282:
3281:
3279:
3278:
3277:
3248:Crown of thorns
3228:
3227:
3226:
3221:
3203:
3123:
3080:
3016:
3009:
2914:
2907:
2888:Kurkh Monoliths
2873:Lachish reliefs
2846:Jar of Xerxes I
2826:Rassam cylinder
2717:
2698:Uerdingen Hoard
2556:Nereid Monument
2496:Guilford Puteal
2486:Euphorbos plate
2446:Chatsworth Head
2406:Braganza Brooch
2351:Archangel ivory
2336:Aegina Treasure
2327:
2320:
2264:Kanishka casket
2219:Buddhapad Hoard
2175:
2126:Hunters Palette
2087:
2080:
2052:Hoa Hakananai'a
2008:
2007:Africa, Oceania
1998:
1992:
1966:
1961:
1931:
1914:
1901:
1894:
1882:
1837:
1818:
1817:
1783:
1781:Further reading
1656:
1651:
1646:
1642:
1634:
1630:
1624:Wayback Machine
1614:
1610:
1605:
1601:
1585:
1584:
1572:
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1499:
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1459:
1455:
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1446:
1441:
1437:
1424:
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1415:
1411:
1406:
1402:
1397:
1393:
1388:
1384:
1379:
1375:
1370:
1366:
1361:
1357:
1352:
1348:
1343:
1336:
1331:
1327:
1322:
1318:
1309:Wayback Machine
1297:
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1288:
1284:
1279:
1275:
1270:
1266:
1261:
1257:
1252:
1248:
1243:
1239:
1234:
1230:
1225:
1221:
1216:
1212:
1207:
1200:
1195:
1191:
1186:
1182:
1177:Middleham Jewel
1174:
1170:
1165:
1158:
1153:
1149:
1141:
1137:
1131:Wayback Machine
1122:
1118:
1113:
1109:
1102:The Independent
1094:
1090:
1085:
1081:
1076:
1072:
1058:
1054:
1048:
1044:
1036:
1032:
1021:
1017:
1006:
1002:
997:
986:
982:
975:
968:
959:
947:
938:
932:
923:
920:
911:
908:
899:
890:Sainte Chapelle
885:Sainte Chapelle
880:of about 1340.
874:Sainte Chapelle
854:Muslim Conquest
810:Wedding at Cana
724:Philip the Bold
705:
658:
618:
613:
612:
611:
610:
609:
606:
598:
597:
594:
586:
585:
582:
574:
573:
570:
558:
527:, carrying the
496:
413:twelve Apostles
390:crown of thorns
354:
301:
257:Buckinghamshire
253:Waddesdon Manor
183:
147:crown of thorns
108:as part of the
94:Crown of Thorns
36:
17:
12:
11:
5:
3286:
3276:
3275:
3270:
3265:
3260:
3255:
3250:
3245:
3240:
3223:
3222:
3220:
3219:
3208:
3205:
3204:
3202:
3201:
3200:
3199:
3194:
3189:
3184:
3179:
3171:
3166:
3161:
3156:
3151:
3146:
3141:
3135:
3133:
3129:
3128:
3125:
3124:
3122:
3121:
3114:
3112:Rondanini Faun
3109:
3104:
3099:
3094:
3088:
3086:
3082:
3081:
3079:
3078:
3075:Triumphal Arch
3071:
3064:
3057:
3050:
3047:Isabella Brant
3043:
3036:
3029:
3021:
3019:
3011:
3010:
3008:
3007:
3002:
2997:
2992:
2985:
2980:
2975:
2970:
2965:
2963:Royal Gold Cup
2960:
2958:Ringlemere Cup
2955:
2950:
2945:
2943:Lewis chessmen
2940:
2935:
2930:
2925:
2919:
2917:
2909:
2908:
2906:
2905:
2900:
2898:Nimrud ivories
2895:
2890:
2885:
2880:
2875:
2870:
2865:
2860:
2853:
2848:
2843:
2838:
2836:Cyrus Cylinder
2833:
2828:
2823:
2818:
2813:
2808:
2803:
2798:
2793:
2788:
2783:
2778:
2773:
2768:
2766:Standard of Ur
2763:
2758:
2756:Blau Monuments
2753:
2748:
2743:
2738:
2733:
2727:
2725:
2719:
2718:
2716:
2715:
2710:
2705:
2700:
2695:
2694:
2693:
2688:
2683:
2678:
2673:
2668:
2660:
2658:Tomb of Payava
2655:
2650:
2645:
2640:
2635:
2630:
2625:
2620:
2615:
2610:
2605:
2600:
2595:
2590:
2589:
2588:
2583:
2578:
2573:
2563:
2558:
2553:
2548:
2543:
2538:
2536:MĂącon Treasure
2533:
2528:
2523:
2521:Lion of Knidos
2518:
2513:
2508:
2503:
2498:
2493:
2488:
2483:
2478:
2473:
2468:
2463:
2458:
2453:
2448:
2443:
2438:
2433:
2428:
2423:
2421:Bursa Treasure
2418:
2413:
2408:
2403:
2401:Boy with Thorn
2398:
2393:
2388:
2383:
2378:
2373:
2368:
2363:
2358:
2353:
2348:
2343:
2338:
2332:
2330:
2322:
2321:
2319:
2318:
2313:
2308:
2301:
2299:Statue of Tara
2296:
2291:
2286:
2281:
2276:
2271:
2266:
2261:
2256:
2251:
2246:
2241:
2236:
2231:
2226:
2221:
2216:
2214:Bimaran casket
2211:
2206:
2201:
2196:
2191:
2185:
2183:
2177:
2176:
2174:
2173:
2171:Younger Memnon
2168:
2163:
2158:
2153:
2148:
2143:
2141:Papyrus of Ani
2138:
2133:
2128:
2123:
2118:
2113:
2108:
2103:
2098:
2092:
2090:
2082:
2081:
2079:
2078:
2073:
2066:
2061:
2054:
2049:
2044:
2039:
2034:
2029:
2024:
2019:
2013:
2011:
2000:
1994:
1993:
1991:
1990:
1985:
1983:King's Library
1980:
1974:
1972:
1968:
1967:
1964:British Museum
1960:
1959:
1952:
1945:
1937:
1923:British Museum
1919:
1916:
1915:
1909:
1906:
1895:
1889:
1880:
1879:
1866:
1856:
1850:
1836:
1835:External links
1833:
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1831:
1801:
1782:
1779:
1778:
1777:
1762:
1751:
1734:
1720:
1706:
1692:
1680:Cherry, John.
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1649:
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1628:
1608:
1599:
1570:
1550:
1541:
1524:
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1468:in DĂŒsseldorf.
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1000:
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978:
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969:
962:
960:
957:Stefan Lochner
952:Last Judgement
948:
941:
939:
933:
926:
924:
921:
914:
912:
909:
902:
898:
895:
850:Constantinople
704:
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693:feather tights
657:
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617:
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600:
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583:
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572:God the Father
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495:
492:
456:Sens Cathedral
360:following the
353:
350:
340:God the Father
300:
297:
273:Joseph Destrée
203:Royal Gold Cup
191:Constantinople
182:
179:
171:Neil MacGregor
135:Last Judgement
102:British Museum
76:
75:
70:
69:Identification
66:
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62:British Museum
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2928:Franks Casket
2926:
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2923:Boxwood altar
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2863:Oxus Treasure
2861:
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2801:Burney Relief
2799:
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2786:White Obelisk
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2741:Balawat Gates
2739:
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2616:
2614:
2613:Portland Vase
2611:
2609:
2608:Piranesi Vase
2606:
2604:
2601:
2599:
2598:Pericles bust
2596:
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2541:Mainz Gladius
2539:
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2476:Elgin Marbles
2474:
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2471:Elgin Amphora
2469:
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2381:Bassae Frieze
2379:
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2361:Armento Rider
2359:
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2157:
2156:Rosetta Stone
2154:
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2146:Prudhoe Lions
2144:
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2086:Ancient Egypt
2083:
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2032:Briggs Enigma
2030:
2028:
2027:Benin Bronzes
2025:
2023:
2020:
2018:
2015:
2014:
2012:
2010:
2004:
2001:
1995:
1989:
1986:
1984:
1981:
1979:
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1969:
1965:
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1946:
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1749:0-13-623596-4
1746:
1742:
1738:
1737:Snyder, James
1735:
1733:
1729:
1725:
1721:
1719:
1715:
1711:
1707:
1705:
1704:0-14-020806-2
1701:
1697:
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1690:0-7141-2820-1
1687:
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1662:
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1621:
1618:
1612:
1606:Cherry, 19â21
1603:
1595:
1589:
1581:
1577:
1573:
1567:
1563:
1562:
1554:
1545:
1538:
1534:
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1510:
1501:
1492:
1483:
1474:
1467:
1466:his companion
1463:
1457:
1448:
1442:Cherry, 26â37
1439:
1432:
1428:
1422:
1416:Cherry, 44â47
1413:
1404:
1395:
1386:
1377:
1368:
1359:
1350:
1344:Cherry, 12â15
1341:
1339:
1329:
1320:
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1310:
1306:
1303:
1302:
1295:
1286:
1277:
1268:
1259:
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1232:
1223:
1217:Cherry, 11â12
1214:
1205:
1203:
1193:
1184:
1178:
1172:
1163:
1161:
1154:Cherry, 26â35
1151:
1144:
1139:
1132:
1128:
1125:
1120:
1111:
1104:
1103:
1098:
1095:Tait, 35â36;
1092:
1083:
1074:
1068:
1064:
1063:
1056:
1046:
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1027:
1025:
1019:
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966:
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918:
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867:
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843:
839:
835:
831:
827:
823:
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766:
762:
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749:
745:
741:
736:
733:
729:
725:
721:
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686:
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664:
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637:
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631:
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604:
592:
580:
568:
559:
556:
554:
550:
545:
542:
536:
534:
530:
526:
521:
517:
516:Saint Michael
514:
510:
506:
502:
491:
489:
485:
481:
477:
472:
471:fleurs-de-lis
468:
464:
459:
457:
453:
447:
445:
441:
437:
435:
424:
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418:
414:
410:
409:patron saints
406:
402:
398:
393:
391:
387:
383:
379:
375:
371:
367:
363:
362:Last Judgment
359:
349:
346:
341:
336:
334:
330:
326:
322:
318:
314:
305:
296:
294:
290:
286:
282:
278:
274:
268:
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258:
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214:
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107:
103:
99:
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88:, to house a
87:
83:
74:
71:
67:
63:
59:
55:
51:
47:
43:
39:
32:
27:
22:
19:
3263:Gold objects
3159:Private Case
3139:Blythe House
3116:
3073:
3066:
3059:
3052:
3045:
3038:
3031:
3024:
2995:Hedwig glass
2987:
2932:
2868:Taylor Prism
2855:
2561:Oscan Tablet
2526:Lycurgus Cup
2516:Jennings Dog
2391:Blacas Cameo
2366:Arundel Head
2303:
2259:Kang Hou gui
2070:Tree of Life
2068:
2056:
2009:and Americas
1920:
1897:
1881:
1872:
1862:
1841:
1805:
1790:
1784:
1765:
1764:Tait, Hugh.
1740:
1723:
1709:
1695:
1681:
1660:
1643:
1631:
1611:
1602:
1560:
1553:
1544:
1536:
1527:
1518:
1509:
1500:
1491:
1482:
1473:
1456:
1447:
1438:
1430:
1429:; in French
1426:
1421:
1412:
1403:
1394:
1385:
1376:
1367:
1358:
1349:
1328:
1319:
1300:
1298:Cherry, 30;
1294:
1285:
1276:
1267:
1262:Cherry, 7â10
1258:
1249:
1240:
1231:
1222:
1213:
1192:
1183:
1171:
1150:
1138:
1119:
1110:
1100:
1091:
1082:
1073:
1060:
1055:
1045:
1039:Duke of York
1033:
1023:
1018:
1009:
1003:
971:
950:
935:
888:
884:
882:
873:
814:Burning Bush
798:
781:
774:
769:Saint Andrew
752:
737:
706:
682:
668:
661:
659:
644:
641:
633:
557:
546:
537:
529:Christ child
520:patron saint
497:
475:
463:coat of arms
460:
448:
431:
429:
394:
355:
337:
328:
320:
317:rock crystal
310:
292:
269:
235:Schatzkammer
234:
219:
184:
174:
159:
132:
124:
113:
81:
79:
18:
3238:1390s works
2938:Hoxne Hoard
2776:Lyres of Ur
2751:Uruk Trough
2746:Blacas ewer
2723:Middle East
2416:Burgon vase
2316:Wardak Vase
2229:David Vases
2136:Min Palette
2121:Hornedjitef
2022:Aubin Codex
1999:and objects
1997:Departments
1978:Great Court
1873:ronde-bosse
1859:BBC website
1431:ronde bosse
972:ronde bosse
820:during the
806:Virgin Mary
687:work using
669:ronde bosse
663:ronde bosse
635:ronde bosse
401:Virgin Mary
366:Holy Spirit
333:silver-gilt
329:ronde bosse
321:ronde bosse
299:Description
169:, in which
137:, with the
127:ronde bosse
104:in 1898 by
3232:Categories
3015:Prints and
2973:Sutton Hoo
2948:Lindow Man
2915:and Europe
2913:Prehistory
2761:Palmer Cup
2708:Warren Cup
2676:Discobolus
2546:Meroë Head
2501:Harpy Tomb
2269:Klang Bell
1654:References
1462:this angel
1407:Cherry, 25
1323:Cherry, 12
1086:Cherry, 50
852:since the
846:True Cross
842:Baldwin II
826:provenance
790:Ingolstadt
656:Techniques
533:Last Rites
467:provenance
417:attributes
352:Front face
249:provenance
122:enamelling
35:Front view
3177:Directors
2511:Isis Tomb
2274:Kulu Vase
2088:and Sudan
2017:Akan Drum
1903:Object 66
1875:from the
1814:272621406
1588:cite book
1580:837179039
1425:Strictly
1208:Cherry, 7
866:Jerusalem
858:Holy Land
716:Charles V
685:pointillé
632:badge in
616:Goldsmith
513:archangel
494:Rear face
488:pinnacles
484:crocketed
474:with the
426:Rear view
289:Baltimore
285:Cleveland
230:Habsburgs
151:crucified
98:reliquary
60:Room 2A,
3217:Category
3197:Trustees
3169:Secretum
3033:Epifania
3017:Drawings
2671:Caryatid
2666:Antinous
2328:and Rome
1971:Building
1821:citation
1620:Archived
1504:Tait, 37
1371:Tait, 42
1332:Tait, 41
1305:Archived
1166:Tait, 40
1127:Archived
834:Louis IX
501:sunburst
454:sung at
452:antiphon
399:and the
345:cabochon
162:Habsburg
64:, London
41:Material
3187:Keepers
3182:Friends
2681:Hadrian
1846:, with
1535:, from
1311:in the
1050:better.
897:Gallery
878:pendant
864:saw in
856:of the
802:Bourges
794:Bavaria
689:punches
486:Gothic
478:in the
370:Trinity
181:History
139:Trinity
92:of the
49:Created
3173:Staff
3040:I Modi
2326:Greece
1812:
1797:
1772:
1747:
1730:
1716:
1702:
1696:Gothic
1688:
1578:
1568:
1313:Louvre
703:Patron
649:Valois
645:joyaux
630:livery
549:vellum
509:chased
505:relief
480:Louvre
313:enamel
265:Vienna
240:Vienna
155:relief
118:Valois
114:joyaux
96:. The
73:WB.67
3132:Other
3085:Other
2691:Venus
1927:WB.67
1486:Stein
1067:JSTOR
980:Notes
818:Herod
778:Satan
185:King
90:relic
2686:Vase
2181:Asia
1910:67:
1890:65:
1861:for
1827:link
1810:OCLC
1795:ISBN
1770:ISBN
1745:ISBN
1728:ISBN
1714:ISBN
1700:ISBN
1686:ISBN
1594:link
1576:OCLC
1566:ISBN
1533:here
1464:and
628:, a
624:The
325:lead
287:and
279:and
80:The
2586:103
2581:102
1871:in
955:by
792:in
255:in
125:en
3234::
2576:85
2571:84
1823:}}
1819:{{
1739:.
1590:}}
1586:{{
1574:.
1337:^
1201:^
1159:^
1099:,
987:^
840:,
726:,
718:,
507:,
315:,
1956:e
1949:t
1942:v
1929:.
1829:)
1596:)
1582:.
714:â
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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