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on 8 January 1166. The truth of this story is not clear. It would then have formed part of the Aachen cathedral treasury, but again there are many doubts about this because a medallion containing the hair of the Virgin Mary is not mentioned in the records until the 12th century. The connection to
186:, along with a bone fragment from Charlemagne's right arm, on the occasion of her visit to Aachen, during the procession of Corpus Christi on 9 December 1804. The gift was offered in order to thank Napoleon for returning the relics of the cathedral which had been confiscated during the
93:
work, but it lacks the figural depictions, coloured enamels, animal designs and interlace patterns which are common in older works. The work is thus dominated by the filigree work itself, along with pearls and jewels in box and palmette designs. Thus the arrow-shaped
134:
of
Canterbury, that he was trying to stop the emerging custom of wearing reliquaries around the neck, since it was "better to imitate the example of the saints with the heart than to carry their bones around in little sacks... this is a Pharisee superstition."
102:
pilgrims' ampules which had been particularly common in the west in the fifth and sixth centuries, and thereby indicated the origins of hair which it originally contained. Secondly, it uses four emeralds and a central stone to create the a cross, just like
61:. It is the only surviving piece of goldwork which can be connected with Charlemagne himself with some degree of probability, but the connection has been seriously questioned. The talisman is now kept in
98:
decorations between the filigree could recall motifs which were previously common. The shape of the amulet combines three different forms with their own meanings. Firstly, it mimicked the shape of the
77:
The 7.3 cm long medallion is one of the few surviving items of goldsmithery from the ninth century AD. It is not really a piece of religious artwork, but a reliquary for personal purposes, an
119:
to
Charlemagne in 801. In fact, the reliquary appears to be a late work of Aachen in the time of Charlemagne, based on stylistic factors. It originally held hair purported to belong to the
517:
Thomas
Labusiak: "»Er schenkte der Kirche viele heilige Gefäße aus Gold und Silber.« Goldschmiedekunst in der Zeit Karls des Großen." In Peter van den Brink, Sarvenaz Ayooghi (Ed.):
230:
Thomas
Labusiak: "»Er schenkte der Kirche viele heilige Gefäße aus Gold und Silber.« Goldschmiedekunst in der Zeit Karls des Großen." in Peter van den Brink, Sarvenaz Ayooghi (ed.):
436:
Vom
Talisman Karls des Großen. Kanonikus Anton Joseph Blees und der Aachener Münsterschatz zur Zeit der französischen Revolution. Zwei Abhandlungen zur Geschichte des Münsterschatzes.
107:. Finally, the magnificent front serves as a frame for the relic visible behind the translucent gemstone. It is likely that it was used to heal or protect a high ranking individual.
549:
455:
164:
527:
499:
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Christoph
Winterer, "«Das Wort Gottes, in ruhmvollem Glanz blinkend». Kunst im Umkreis Karls des Großen." in Michael Imhof, Christoph Winterer:
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381:
Blaise de
Montesquiou-Fezensac, "Le Talisman de Charlemagne", Art de France. Revue annuelle de l’art ancien et moderne, II (1962), p. 69
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who hid it in a wall of his house and transmitted it to her in
England. In 1919 it passed to the Archbishop of Rheims, Cardinal
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Melius est in corde sanctorum imitari exempla quam in sacculis portare ossa Haec est pharisaica superstitio
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in the centre, with the supposed hair of Mary between them, but in 1804 they were replaced with a piece of
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214:. The exchange of the hair of Mary for a piece of the True Cross may have taken place in this period.
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Goldschmiedekunst im
Mittelalter. Form und Bedeutung des Reliquiars von 800 bis 1500.
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The talisman is meant to have been found around
Charlemagne's neck when his tomb in
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148:
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86:
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Karlsausstellung: Goldschmiede erstellen Replik des Talismans Karls des Großen.
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Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres
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Verlorene Schätze. Ehemalige Schatzstücke aus dem Aachener Domschatz.
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Verlorene Schätze. Ehemalige Schatzstücke aus dem Aachener Domschatz.
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50:
47:
90:
82:
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62:
441:
Blaise de Montesquiou-Fezensac: "Le Talisman de Charlemagne."
481:
Vol. 42). Schwann, Düsseldorf 1973, No. 7, pp. 14–15.
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glass. The talisman is covered in sumptuous gemstones and
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Karl der Große. Leben und Wirkung, Kunst und Architektur.
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Karl der Große. Leben und Wirkung, Kunst und Architektur.
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Karl der Große. Leben und Wirkung, Kunst und Architektur.
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According to legend, the talisman was a gift from Caliph
473:
Ernst Günther Grimme (Text), Ann Münchow (Recordings):
407:
L'Empereur et les arts: la liste civile de Napoléon III
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Charlemagne is mentioned for the first time in 1620.
198:. At the fall of the Second French Empire, Empress
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210:, who placed it in the church treasury of the
57:and is purported to contain a fragment of the
350:"Le tombeau de Charlemagne à Aix-la-Chapelle"
448:Jean Taleron: "Le talisman de Charlemagne."
397:
327:Centre national de documentation pédagogique
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312:
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519:Karl der Große – Charlemagne. Karls Kunst.
232:Karl der Große – Charlemagne. Karls Kunst.
151:in the year 1000 or when it was opened by
130:(735-804) wrote in a letter to Archbishop
371:http://www.alphilrevues.ch/d/revue/1/6/29
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159:Until 1804, the Talisman was kept in the
506:Schnell & Steiner, Regensburg 2014,
81:. Originally, it was set with two large
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525:vom 20. Juni bis 21. September 2014 im
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450:Les monuments historiques de la France
126:Charlemagne's pre-eminent theologian,
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539:, pp. 75–93, at pp. 90–92.
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194:, who passed it in turn to her son,
531:, Aachen. Sandstein, Dresden 2014,
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390:Georg Minkenberg, Sisi Ben Kayed:
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613:
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35:The reverse side of the talisman.
462:M. DuMont Schauberg, Köln 1972,
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53:that may once have belonged to
521:Katalog der Sonderausstellung
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190:. She gave it to her daughter
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1:
577:Reliquaries of the True Cross
217:
320:"Le talisman de Charlemagne"
282:"Talisman Karls des Grossen"
7:
404:Granger, Catherine (2005).
10:
618:
16:Relic from the 9th century
348:de Mély, Fernand (1915).
161:Aachen Cathedral Treasury
111:Contemporary significance
23:Talisman of Charlemagne,
602:Joséphine de Beauharnais
496:, pp. 76–117, on p. 104.
488:Imhof, Petersberg 2013,
452:12, 1966,pp. 24–43.
445:2, 1962, pp. 68–76.
41:Talisman of Charlemagne
479:Aachener Kunstblätter.
475:Der Aachener Domschatz
438:Creutzer, Aachen 1920.
36:
28:
25:Musée du Palais du Tau
410:. Droz. p. 381.
165:Marc-Antoine Berdolet
34:
22:
456:Ernst Günther Grimme
300:Monumenta Alcuiniana
234:Dresden 2014, p. 92.
153:Frederick Barbarossa
212:Abbey of Saint-Remi
105:St. Stephen's Purse
528:Centre Charlemagne
502:, Sisi Ben Kayed:
184:Napoleon Bonaparte
139:Subsequent history
37:
29:
537:978-3-95498-093-2
512:978-3-7954-2834-1
494:978-3-932526-61-9
470:, pp. 21–23.
468:978-3-7701-0669-1
267:Imhof, Winterer:
254:Imhof, Winterer:
188:French Revolution
180:Empress Josephine
43:is a 9th-century
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558:, 14 April 2014.
556:Aachener Zeitung
500:Georg Minkenberg
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145:Aachen Cathedral
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523:Karls Kunst
332:3 September
208:Louis Luçon
168: [
163:, but then
121:Virgin Mary
100:Palestinian
73:Description
55:Charlemagne
45:Carolingian
566:Categories
218:References
182:, wife of
174:the first
59:True Cross
592:Talismans
132:Æthelhard
83:sapphires
79:encolpion
51:encolpion
48:reliquary
514:, p. 20.
302:p. 719 (
192:Hortense
96:repoussé
91:filigree
271:p. 102.
258:p. 104.
200:Eugenie
65:in the
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510:
492:
466:
414:
394:p. 20.
338:(PDF).
304:Online
128:Alcuin
87:enamel
63:Rheims
323:(PDF)
172:]
533:ISBN
508:ISBN
490:ISBN
464:ISBN
412:ISBN
334:2012
39:The
477:(=
298:,"
568::
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358:59
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311:^
306:).
239:^
170:de
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336:.
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