Holy Thorn Reliquary was probably created in the 1390s in Paris for John, Duke of Berry, to house a relic of the Crown of Thorns. The reliquary was bequeathed to the British Museum in 1898 by Ferdinand de Rothschild as part of the Waddesdon Bequest. It is one of a small number of major goldsmiths' works or joyaux that survive from the extravagant world of the courts of the Valois royal family around 1400. It is made of gold, lavishly decorated with jewels and pearls, and uses the technique of enamelling en ronde bosse, or "in the round", to create a total of 28 three-dimensional figures, mostly in the recently developed white enamel.
Except at its base the reliquary is slim, with two faces; the front view shows the end of the world and the Last Judgement, with the Trinity and saints above and the resurrection of the dead below, and the relic of a single long thorn believed to come from the crown of thorns worn by Jesus when he was crucified. The rear view has less extravagant decoration, mostly in plain gold in low relief, and has doors that opened to display a flat object, now missing, which was presumably another relic.
The reliquary was in the Habsburg 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 A History of the World in 100 Objects, in which Neil MacGregor described it as "without question one of the supreme achievements of medieval European metalwork", and is a highlight of the exhibition Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe at the British Museum from June to October 2011.
Description
The Holy Thorn Reliquary is made of gold, enamel, rock crystal, 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 ronde bosse technique, applied to three-dimensional figures, with white as the dominant colour. White enamel using lead was only recently developed, and very fashionable, dominating many contemporary ronde bosse 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 silver-gilt for the structural framework.
The jewels, which would have been keenly appreciated by contemporary viewers, include two large sapphires, one above God the Father 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 each. All the gemstones have the smooth and polished cabochon 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 of the door of the castle-like base.
Front face
The design of the front face is based on the general resurrection of the dead following the Last Judgment. 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 Holy Spirit was originally attached; with Christ below, all three persons of the Trinity were therefore represented. A round-topped compartment protected by a rock-crystal "window" holds the relic itself and the group around Christ. Christ in Judgment is shown seated displaying the wounds of his crucifixion, 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 celestial spheres are represented like a rainbow, and above him fly two angels holding Instruments of the Passion, including the crown of thorns 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".
To the left and right of Christ are shown John the Baptist and the Virgin Mary in supplicant poses, a traditional grouping; John was also one of the Duke's patron saints. Around the central scene small figures of the twelve Apostles carrying their identifying attributes emerge from the foliage border of oak leaves and tendrils; the uppermost heads on each side are replacements, probably by Weininger in the 1860s.
Rear view
Below this upper section there is a gold scroll label with the Latin inscription Ista est una spinea corone / Domine nostri ihesu cristi ("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 Day of Judgement. 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 Book of Revelation, standing on the turrets of a tiny castle which serves as the base of the reliquary.
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 Judgement—a belief expressed in the antiphon sung at Sens Cathedral in 1239 to celebrate the arrival of the main relic.
Two panels on the walls of the castle are patterned with the coat of arms of the Duke of Berry, and their form has been crucial for establishing the provenance and date of the work. Two of the angels with horns have blue fleurs-de-lis 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 tracery—a sign of advanced artistic taste at the time.In this respect the Holy Thorn Reliquary contrasts strongly with the Tableau of the Trinity in the Louvre (possibly made in London), whose framework is a forest of crocketed Gothic pinnacles, although estimates of its date cover the same period as the reliquary.
Rear face
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 radiant sunburst. The central round-topped area contains two doors, secured with a small gold pin, containing full-length gold figures in relief, chased in gold, a feature unique to this reliquary. On the left door is the archangel Saint Michael, spearing a dragon representing the devil. He was both the patron saint 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 Saint Christopher, carrying the Christ child 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 last rites, which may well explain his presence here.
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 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 damaged—sections 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" International Gothic 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 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".
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 vellum 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 Veil of Veronica, 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.
History
King Louis IX of France bought what he believed to be the authentic Crown of Thorns in Constantinople in 1239, and individual thorns were distributed as gifts by subsequent French kings. John, Duke of Berry (1340–1416), brother of King Charles V of France, had this reliquary made to house a single thorn; it was probably made a few years before he commissioned his famous Très Riches Heures du Duc de Berry, and some years after he commissioned the Royal Gold Cup, 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 1390–97.The Holy Thorn Reliquary was later thought to have been in the possession of Louis I, Duke of Orléans, but all recent writers prefer his brother, the Duke of Berry.
Its location is unknown until an inventory of 1544, when it belonged to Holy Roman Emperor Charles V, perhaps as an inheritance from his ancestors the Valois Dukes of Burgundy. It presumably passed to the Austrian branch of the Habsburgs on Charles V's death, as it is listed in several inventories of the Imperial Schatzkammer ("treasure chamber") in Vienna 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, dying in prison in 1879, but it was still not realised that he had returned to the Imperial collections one of his copies of the reliquary instead of the original. The Viennese Rothschild family bought the original reliquary by 1872, in ignorance of its provenance; it was inherited by Ferdinand de Rothschild, who moved to England, and built Waddesdon Manor in Buckinghamshire. One of the copies remained in the Ecclesiastical Treasury of the Imperial Habsburg Court in Vienna, where the deception remained undetected for several decades.
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 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 Joseph Destrée 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, Victoria and Albert Museum and Kunsthistorisches Museum 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 Cleveland and Baltimore legs of the exhibition Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe. Normally it is on display in Room 45, the dedicated Waddesdon Bequest Room, as specified in the terms of the bequest.
Except at its base the reliquary is slim, with two faces; the front view shows the end of the world and the Last Judgement, with the Trinity and saints above and the resurrection of the dead below, and the relic of a single long thorn believed to come from the crown of thorns worn by Jesus when he was crucified. The rear view has less extravagant decoration, mostly in plain gold in low relief, and has doors that opened to display a flat object, now missing, which was presumably another relic.
The reliquary was in the Habsburg 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 A History of the World in 100 Objects, in which Neil MacGregor described it as "without question one of the supreme achievements of medieval European metalwork", and is a highlight of the exhibition Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe at the British Museum from June to October 2011.
Description
The Holy Thorn Reliquary is made of gold, enamel, rock crystal, 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 ronde bosse technique, applied to three-dimensional figures, with white as the dominant colour. White enamel using lead was only recently developed, and very fashionable, dominating many contemporary ronde bosse 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 silver-gilt for the structural framework.
The jewels, which would have been keenly appreciated by contemporary viewers, include two large sapphires, one above God the Father 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 each. All the gemstones have the smooth and polished cabochon 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 of the door of the castle-like base.
Front face
The design of the front face is based on the general resurrection of the dead following the Last Judgment. 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 Holy Spirit was originally attached; with Christ below, all three persons of the Trinity were therefore represented. A round-topped compartment protected by a rock-crystal "window" holds the relic itself and the group around Christ. Christ in Judgment is shown seated displaying the wounds of his crucifixion, 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 celestial spheres are represented like a rainbow, and above him fly two angels holding Instruments of the Passion, including the crown of thorns 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".
To the left and right of Christ are shown John the Baptist and the Virgin Mary in supplicant poses, a traditional grouping; John was also one of the Duke's patron saints. Around the central scene small figures of the twelve Apostles carrying their identifying attributes emerge from the foliage border of oak leaves and tendrils; the uppermost heads on each side are replacements, probably by Weininger in the 1860s.
Rear view
Below this upper section there is a gold scroll label with the Latin inscription Ista est una spinea corone / Domine nostri ihesu cristi ("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 Day of Judgement. 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 Book of Revelation, standing on the turrets of a tiny castle which serves as the base of the reliquary.
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 Judgement—a belief expressed in the antiphon sung at Sens Cathedral in 1239 to celebrate the arrival of the main relic.
Two panels on the walls of the castle are patterned with the coat of arms of the Duke of Berry, and their form has been crucial for establishing the provenance and date of the work. Two of the angels with horns have blue fleurs-de-lis 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 tracery—a sign of advanced artistic taste at the time.In this respect the Holy Thorn Reliquary contrasts strongly with the Tableau of the Trinity in the Louvre (possibly made in London), whose framework is a forest of crocketed Gothic pinnacles, although estimates of its date cover the same period as the reliquary.
Rear face
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 radiant sunburst. The central round-topped area contains two doors, secured with a small gold pin, containing full-length gold figures in relief, chased in gold, a feature unique to this reliquary. On the left door is the archangel Saint Michael, spearing a dragon representing the devil. He was both the patron saint 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 Saint Christopher, carrying the Christ child 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 last rites, which may well explain his presence here.
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 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 damaged—sections 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" International Gothic 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 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".
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 vellum 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 Veil of Veronica, 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.
History
King Louis IX of France bought what he believed to be the authentic Crown of Thorns in Constantinople in 1239, and individual thorns were distributed as gifts by subsequent French kings. John, Duke of Berry (1340–1416), brother of King Charles V of France, had this reliquary made to house a single thorn; it was probably made a few years before he commissioned his famous Très Riches Heures du Duc de Berry, and some years after he commissioned the Royal Gold Cup, 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 1390–97.The Holy Thorn Reliquary was later thought to have been in the possession of Louis I, Duke of Orléans, but all recent writers prefer his brother, the Duke of Berry.
Its location is unknown until an inventory of 1544, when it belonged to Holy Roman Emperor Charles V, perhaps as an inheritance from his ancestors the Valois Dukes of Burgundy. It presumably passed to the Austrian branch of the Habsburgs on Charles V's death, as it is listed in several inventories of the Imperial Schatzkammer ("treasure chamber") in Vienna 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, dying in prison in 1879, but it was still not realised that he had returned to the Imperial collections one of his copies of the reliquary instead of the original. The Viennese Rothschild family bought the original reliquary by 1872, in ignorance of its provenance; it was inherited by Ferdinand de Rothschild, who moved to England, and built Waddesdon Manor in Buckinghamshire. One of the copies remained in the Ecclesiastical Treasury of the Imperial Habsburg Court in Vienna, where the deception remained undetected for several decades.
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 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 Joseph Destrée 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, Victoria and Albert Museum and Kunsthistorisches Museum 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 Cleveland and Baltimore legs of the exhibition Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe. 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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