Treasures of the Musée de Cluny in Paris
A retable of golded copper and enamel from the abbey of Stavelot, 1160-70, showing Christ sending the Holy Spirit on the Twelve Apostles at Pentecost.
A gilded frontal from either Bamberg of Fulda Abbey, ca. 1000-33, later in the treasury of the cathedral of Basle, Switzerland. In the arcades, Christ is shown in the middle, with the Emperor St Henry and his wife St Cunegond, the founders of both the see and cathedral of Bamberg, at His feet; on the right, Ss Gabriel and Raphael, on the left, Ss Michael and Benedict. The inscription above and below is in hexameters: “Quis sicut El, fortis, medicus, Soter, benedictus? Prospice terrigenas, clemens, mediator usias. – Who is like God, the mighty, the healer, the savior, the blessed? Look foravably on those who are on earth, o merciful one, mediator of (our) nature.”
The only surviving reliquary from the original treasury of the Sainte Chapelle, made of gilded silver, and engraved with images of Ss Lucian, Maxian (also known by the more common form ‘Maximian’) and Julian, martyrs at Beauvais in the late 3rd century, whose relics were given to St Louis IX. The Saints are shown holding their own decapitated heads, as recounted in their legend. (Parisian, 1261-62.)
The oldest surviving golden rose, made by Minucchio da Siena in 1330 for Pope John XXII; the original recipient, the Count of Neuchatel, added his own arms and a filigree knot of the 13th century to the base.
A processional cross of gilded silver, made in central Italy in the second half of the 15th century, with (clockwise from the top) Ss Peter, John the Evangelist, Mary Magdalene, and the Virgin Mary. On the left, an incense boat made in Siena, ca. 1450-75; on the lower right, a reliquary or monstrance, also from Siena, 1330.
A crook made in Paris ca. 1325-50 of ivory, copper and gilded silver, with the Crucifixion on one side, and the Virgin and Child with two angels on the other.
An ivory triptych made in Paris ca. 1300-25, with scenes of Christ’s Infancy in the lower register, and of the Passion in the upper.
A drinking horn made from an elephant tusk in Sicily or southern Italy in the 11th or 12th century, with Christ in glory and the Virgin Mary.
An ivory plaque of the twelve sons of Jacob, made in Germany in the mid-12th century.
Ivory plaques of the Crucifixion and various Saints, originally made in Venice at the turn of the 11th century as a cover for a Gospel book.
A reliquary casket of bone on wood, with copper fixtures, made in Cologne ca. 1200
Another ivory book-binding plate, showing an unnamed Apostle, made in France ca. 900.
A morse for a cope with an image of the Annunciation, copper and enamel, made in Paris ca. 1325-50.
A prayer book printed at Paris ca. 1500; the book is open to the end of the Little Office of the Virgin Mary, and the beginning of the Penitential Psalms, which are introduced by an image of King David spying on Bathsheba (2 Samuel 11), the episode referred to in the title of the most famous of the Penitential Psalms, and the most prominent in the liturgy, the Miserere (Psalm 50.) – Many of the illustrations in the liturgical books printed by Desclée in the later 19th century and first half of the 20th are recut versions of images from books by this typographer, Simon Vostre, whose engraver was called Philippe Pigouchet.
Source: http://www.newliturgicalmovement.org/2019/09/treasures-of-musee-de-cluny-in-paris.html
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