241:. A few of the features of the bird carved into Suger's Eagle that point to this include the shape of the bird's beak, its nostrils, and wings. Eagles, while similar in appearance to hawks and falcons, do not have curved beaks or nostrils, and their wings take on a different shape than the one that is depicted on Suger's Eagle. This is not to say that the vase does not include eagle-like features. The neck of the bird as well as the legs and tail all resemble an eagle's anatomy, and can be argued in favor of the vase's title. However, upon closer inspection, it can be assumed that the bird on Suger's Eagle was modeled after a
119:
257:. Spolia uses materials from older objects and artworks to create something that is brand new. What makes Sugar's Eagle a use of spolia is that the piece was originally a vase, more specifically a type of vase called an amphora. The vase was repurposed and still remains a part of Suger's Eagle, now serving as the body of the bird. What is left of the eagle, the head, feet, and wings, are made up of other materials that were added to the amphora, including gold (or gilt silver), red porphyry, and niello. Because the vase was repurposed, it is also a form of
313:, red porphyry is known for its spotted texture and reddish, purple coloring. These features can be seen on the body of the eagle, where the minerals in the porphyry cause a speckled texture. Red porphyry is commonly used for decoritive purpose and was popular in Rome more so than anywhere else, the Romans importing it in mass quantities to use for things like tile, columns, sculptures, and vases, such as Suger's Eagle.
32:
220:
thought that by commissioning and keeping a collection of pristine artworks, such as Suger's Eagle, that he would be honoring God, and what is now the Saint-Denis
Cathedral. As head of the monastery of Saint-Denis, Suger's goal was to create a place of beauty and worship that was worthy of god, using the art that he collected to place value and to create an extravagant place to practice religion.
281:. Gilt silver is silver that has been coated in a layer of gold, and niello is an alloy with a black metallic color to it, often used decoratively on metal surfaces with materials such as lead or silver. The vase stands at about 17 x 11 inches and includes intricate stone and metal work. This can be located in the gold and silver gilt at the base of the eagle's neck, or at the mouth of the vase.
245:, which is another large bird of prey. This category of birds includes hawks, eagles, falcons, and raptors, which were commonly found during the time period in which Suger's Eagle would have been commissioned. Though it is likely for the Raptor to be the cause for the bird's mismatched features, the bird that is carved in the vase is still referred to as an eagle.
321:, which, in Rome, was used on the clothing of superior Roman classes. The color of red porphyry resembled this color enough to gain popularity amongst the royals, serving as a way to show status and power through design. This may have had influence on why red pophyry was included in Suger's Eagle, as the vase was made to be worthy of God.
219:
Abbot Suger was responsible for the commissioning of Suger's Eagle and saw that it was transformed and created by artists at his request. Suger himself had a desire to collect and commission beautiful works of art, as he had an appreciation for beautiful and intricate things. Furthermore, Suger
316:
The reason for the popularity of red porphyry in Rome was highly due to its association with royalty and imperial power. The reason this rock was so popular amongst royalty in Rome, was that it stemmed from another popular Roman connection to royalty. Shellfish produce a purple dye, known as
143:'s comments on eagles and their abilities to look into the sun. These observations were then compared to biblical stories of Jesus Christ, linking the image of Christ ascending into Heaven to meet God to that of an eagle's flight while looking at the sun.
293:: "This stone deserves to have mounts of gold and gems. / It was marble. Its settings are more precious than marble." Inscribed around the base of the neck, above the lip of the vessel, is a dedication to the church of Saint-Denis. The
324:
Red porphyry is still most commonly associated with, and found in Rome. The many works that were made for Roman royalty have become a part of a large collection of red porphyry pieces, which have been found and preserved over time.
930:"Reuse Value. Spolia and Appropriation in Art and Architecture from Constantine to Sherrie Levine" edited by: Richard Brilliant, Dale Kinney, Farnham, Ashgate, 2011, p. 109 in e-book; "Ancient Gems in Middle Ages"
154:. Marbod was also recorded as associating inanimate objects with living creatures, similarly to how Suger associated his vase with an eagle. This was claimed to be done as a way to give the object more life.
115:(the Eleanor Vase), both of which were a part of a large collection of art pieces owned and commissioned by Suger. These vases are also on display alongside Suger's Eagle at the Louvre in Paris, France.
269:
Suger's Eagle is gold and deep red in color, with the body of the eagle being represented by the vase itself. This vase was crafted out of a few different materials, including
Ancient
803:
146:
Another interpretation is that Abbot Suger chose an eagle as the main visual in order to give the vase the spirit of an eagle. Suger may have gotten this idea from King
619:"Reuse Value. Spolia and Appropriation in Art and Architecture from Constantine to Sherrie Levine" edited by: Richard Brilliant, Dale Kinney, Farnham, Ashgate, 2011,
183:, he found, "lying idly in a chest for many years, an Egyptian porphyry vase admirably shaped and polished." In his own words, he determined to adapt and transfer (
716:"Vases of Abbot Suger: Sardonyx Ewer (Aiguière) [left]; Eagle (Aigle de Suger) [center]; Eleanor Vase (vase d'Aliénor d'Aquitaine) [right]"
374:"Vases of Abbot Suger: Sardonyx Ewer (Aiguière) [left]; Eagle (Aigle de Suger) [center]; Eleanor Vase (vase d'Aliénor d'Aquitaine) [right]"
233:
While Suger's Eagle was referenced as depicting an eagle, even by Suger himself, the animal that the vase takes the shape of is actually closer to resembling a
198:(including the eagle vase) as it was then displayed, in a cabinet. Its popularity as a tourist attraction prevented the treasure's total destruction during the
1039:
191:), a symbol of Christ. Suger's Eagle exemplifies the preservation of an ancient relic that has fully maintained its original integrity.
715:
373:
980:"Vases of Abbot Suger: Sardonyx Ewer (Aiguière) Eagle (Aigle de Suger) ; Eleanor Vase (vase d'Aliénor d'Aquitaine) ".
206:
and King Roger's decanter, both of rock crystal, and a sardonyx ewer—ended up in the
Galerie d'Apollon at the Louvre.
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624:
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39:
Suger's Eagle (Aigle de Suger), made with red porphyry niello, gold, and mounted in a medieval silver-gilt eagle.
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261:, which refers to the transformation of pagan materials into a Christian context, such as Suger's Eagle.
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150:, who, like Suger, believed he could bestow an animal's spirit into a vase, in his case, one made of
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Abbot Suger was a collector and patron of many art pieces, and Suger's Eagle is one of three
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that served as a symbol of
Christianity after Rome transitioned from the practice of
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Sugar's Eagle is an example of a medieval art piece that uses what is known as
86:
1023:
923:
Prodon, Roger (2020). ""The Eagle of Suger": a falcon rather than an eagle".
318:
881:
Heckscher, W. S. (1938). "Relics of Pagan
Antiquity in Mediæval Settings".
306:
242:
973:
Tola, Maya (October 12, 2023). "Red
Porphyry: Symbol of Imperial Power".
274:
78:
75:
147:
902:
846:
The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122-1151)
779:
The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122-1151)
520:
The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122-1151)
294:
140:
894:
402:. John Wiley and Sons Inc (published April 15, 2019). p. 340.
151:
136:
31:
961:
Stratford, Neil (1991). "Le Trésor de St-Denis: Paris, Louvre".
139:
beliefs. The eagle is known as a symbol of Christ partly due to
427:. Bloomsbury Publishing (published May 14, 2020). p. 190.
309:
that is used in the amphora of Suger's Eagle. Originating from
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937:. John Wiley and Sons Inc (published April 15, 2019). p. 340.
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834:. Bloomsbury Publishing (published May 14, 2020). p. 190.
202:.The eagle and three of Suger's other liturgical vessels—
187:) it into a liturgical vessel "in the form of an eagle" (
988:
Verdier, Philippe (1990). "The
Chalice of Abbot Suger".
733:
599:. Variorum (published August 22, 1996). pp. 57–58.
356:
354:
341:
339:
337:
571:""The Eagle of Suger": a falcon rather than an eagle"
1015:
Porphyry vase, known as Suger's eagle, at the Louvre
351:
334:
131:
The vase takes the form of an eagle, a metaphor for
948:Stratford, Neil (1981). "New York: The Cloisters".
422:
868:Evans, Joan (1932). "Die Adlervase des Sugerius".
855:. Variorum (published August 22, 1996). pp. 57–58.
1021:
781:. Metropolitan Museum of Art. pp. 102–103.
522:. Metropolitan Museum of Art. pp. 102–103.
629:p. 109 in e-book; "Ancient Gems in Middle Ages"
157:
756:. University of Michigan Press. p. 177.
452:. University of Michigan Press. p. 177.
109:Aiguière de sardoine du trésor de Saint-Denis
1000:Weinryb, Ittai (2013). Miller, Peter (ed.).
752:Weinryb, Ittai (2013). Miller, Peter (ed.).
448:Weinryb, Ittai (2013). Miller, Peter (ed.).
297:of the neck demonstrates superb chiselwork.
167:The vase likely dates to the second century
853:Culture and spirituality in medieval Europe
597:Culture and spirituality in medieval Europe
107:that he owned. The other two vases are the
194:Two large engravings from 1706 depict the
960:
947:
880:
848:. Metropolitan Museum of Art. pp.102–103.
739:
694:(5th ed.). Oxford University Press.
594:
505:
493:
472:
74:made with niello, gold, and mounted in a
1002:Cultural Histories of the Material World
916:Packham, Chris (2014). "Birds of Prey".
858:
839:The Oxford Dictionary of Art and Artists
804:"Red Porphyry: Symbol of Imperial Power"
754:Cultural Histories of the Material World
692:The Oxford Dictionary of Art and Artists
689:
476:
450:Cultural Histories of the Material World
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30:
1004:. University of Michigan Press. p. 177.
987:
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85:piece and is displayed along with the
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122:Dom Félibien 1706 trésor de St-Denis
1040:Medieval European metalwork objects
841:(5th ed.). Oxford University Press.
830:Apostolos-Cappadona, Diane (2020).
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745:
423:Apostolos-Cappadona, Diane (2020).
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883:Journal of the Warburg Institute
284:At the bottom of the eagle is a
802:Tola, Maya (October 12, 2023).
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81:eagle. The vase is a medieval
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158:Dating and original location
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111:(the Ardonyx Ewer), and the
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935:A Companion to Medieval Art
475:, p. 216 n. 3, citing
400:A Companion to Medieval Art
50:Commissioned by Abbot Suger
10:
1056:
977:. Retrieved April 20,2024.
911:Antique Jewelry University
859:DelbrĂĽck, Richard (1932).
670:Antique Jewelry University
305:Red Porphyry is a type of
185:adaptavimus ... transferre
113:Vase d'Aliénor d'Aquitaine
851:Constable, Giles (1996).
595:Constable, Giles (1996).
248:
49:
44:
29:
933:Rudolph, Conrad (2019).
918:Infobase-Films on Demand
832:A Guide to Christian Art
549:Infobase-Films on Demand
425:A Guide to Christian Art
398:Rudolph, Conrad (2019).
328:
259:interpretatio christiana
963:The Burlington Magazine
950:The Burlington Magazine
844:Crosby, Summer (1981).
777:Crosby, Summer (1981).
543:Packham, Chris (2014).
518:Crosby, Summer (1981).
196:treasury of Saint-Denis
863:. Leipzig: De Gruyter.
837:Chilvers, Ian (2015).
690:Chilvers, Ian (2015).
569:Prodon, Roger (2020).
123:
36:
171:. According to Abbot
121:
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16:Ancient Egyptian vase
942:Cambridge Dictionary
645:Cambridge Dictionary
204:Queen Eleanor's vase
861:Antike Porphyrwerke
26:
975:Daily Art Magazine
808:Daily Art Magazine
508:, pp. 337–38.
496:, pp. 216–17.
181:De administratione
179:(d. 1151), in his
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229:Physical features
200:French Revolution
189:in aquilae formam
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91:Galerie d'Apollon
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940:"silver gilt".
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381:. Retrieved
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361:Verdier 1990
346:Verdier 1990
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307:igneous rock
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301:Red Porphyry
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271:red porphyry
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210:Attributions
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133:Jesus Christ
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45:Pre ca. 1122
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275:gilt silver
224:Description
215:Abbot Suger
177:Saint-Denis
175:, abbot of
163:Saint-Denis
79:silver-gilt
1024:Categories
925:Cairn.Info
909:"Niello".
825:References
575:Cairn.Info
148:Maroboduus
876:: 221–23.
813:April 20,
725:March 26,
675:March 26,
650:March 26,
580:March 26,
383:March 26,
265:Materials
141:Aristotle
127:Symbolism
870:Pantheon
666:"Niello"
479:, p. 203
295:goldwork
286:nielloed
152:sapphire
97:in Paris
76:medieval
69:porphyry
64:) is an
996:: 9–29.
720:ARTSTOR
290:titulus
93:at the
89:in the
982:ARTSOR
903:750006
901:
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623:
603:
554:May 6,
526:
456:
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378:ARTSOR
319:tyrian
279:niello
277:, and
255:spolia
249:Spolia
243:Raptor
239:falcon
95:Louvre
83:spolia
899:JSTOR
329:Notes
237:or a
173:Suger
137:pagan
105:vases
815:2024
783:ISBN
758:ISBN
727:2024
696:ISBN
677:2024
652:2024
621:ISBN
601:ISBN
582:2024
556:2024
524:ISBN
454:ISBN
429:ISBN
404:ISBN
385:2024
235:hawk
72:vase
967:133
954:123
891:doi
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