Royal Gold Cup - Knowledge

1117:, hammering and punching rather than cutting, to form a shallow recess to hold the enamel. The more important parts of the design were modelled by varying the depth of the surface to produce different intensities of colour when the translucent enamel was added; the gold under folds of drapery often rises near the surface to create a paler highlight. In many of the recessed areas decoration was added by either engraving or punching which would show through the translucent enamel, or to facet the background so the reflections change as the viewing angle changes slightly. In these last-mentioned areas cutting tools were used. Most of the background outside the enamelled areas was decorated in the same way. After the enamel was added and fired the surfaces were cleaned up, made good and polished, including removing by scraping any bumps showing through on the reverse of the metal. 554:, rejected this theory on stylistic grounds, considering that the cup must have been created only shortly before it appeared in Charles VI's inventory in 1391. He says that "in 1380 figure-style was a softly undulating, flowing style, with slender elongated figures and much use of serpentine or curving folds in the drapery, and with trailing dresses ending in sinuous Gothic hem-lines" —a style that can be seen in the miniature of the coronation of Charles VI in 1380 illustrated above. In contrast, Lightbown says "the figures on the cup are broad, some might even be called stocky, with soft drapery of cylindrical form, or of smooth, tight outlines. The folds are tubular and the hems of the robes are straight with no waving, trailing outlines. The style in fact is the 'Italianate' manner which developed in France as a result of contact with ' 209: 506: 1104:

manuscripts may have produced drawings. A number of names of goldsmiths appear in records of the period, but in contrast to many contemporary manuscripts, the few surviving goldsmith's pieces are not signed or marked and cannot be matched to any names. Not a single maker's name is recorded for the more than 3,000 items in precious metal in the inventory mentioned above of the possessions of Berry's brother Anjou. High quality courtly work like the cup is conventionally assigned to Paris in the absence of other stylistic evidence; this is where other documentary sources locate the main concentration of goldsmiths.

338: 1074: 1020: 1047: 928: 615:(1342–1404)—all spent huge sums on works in gold and silver, as well as on other works of art. Although it is Berry who is especially remembered as a patron, partly because he specialized in illuminated manuscripts which have little value in their materials, it was his brother Louis of Anjou who was the "most passionately interested in the goldsmith's art"; he 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: in terms of technique to the handful of 1090: 686:

silver made prior to the early 19th century is probably scarcer than that of any other European country." The cost of even very skilled labour was low compared to that of the materials, and in the absence of any reliable way of either depositing or investing money, it was turned into lavish objects, in the knowledge that it might well need to be sold or melted down to finance some future project. If it survived long enough to become old-fashioned it was likely to be melted down and remodelled in a new style.

20: 418: 1008: 558:' art, and not the purely Northern Gothic International manner." This view was rejected in 1981 by Neil Stratford, former Keeper of Medieval and Later Antiquities at the British Museum, who pointed to a number of manuscript illuminations in a similar style that date from earlier than 1390. John Cherry, another former Keeper of the medieval collections at the British Museum, still presents the older dating in a work of 2010, and the British Museum website dates the cup to "about 1370–1380". 821: 159: 539:, January 21, and is recorded as owning at least 13 works of art featuring her, including a different gold cup enamelled with scenes from her life (both are recorded in the 1391 inventory). Until recent decades the generally accepted hypothesis was that Berry ordered the cup as a present for his brother in 1380, to be ready for his birthday in January 1381. When the king died in September 1380, Berry had retained it for a decade before presenting it to Charles VI. 1059: 387:

previously presented both James and the queen with elaborate cups, among other valuable gifts. According to Pauline Croft, "With his usual over-generosity the king gave the departing envoys around half the large gold vessels from the royal possessions he had inherited from Elizabeth. The Constable himself received a stupendous gift of plate, including possibly the most venerable item in the collection, known as "the Royal Gold Cup of the Kings of France and England."

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has twice been extended by the addition of cylindrical bands, so that it was originally much shorter, giving the overall shape "a typically robust and stocky elegance." The original decorated knop or finial on the cover has been lost, and a moulding decorated with 36 pearls has been removed from the outer edge of the cover; a strip of gold with jagged edges can be seen where it was attached. Presumably it matched the one still in place round the foot of the cup.

3822: 1032: 739: 667: 285:, but the tripod is not mentioned, some of the jewels are missing, and the subject is misidentified as the life of Saint Suzanna not Saint Agnes. For some reason it does not appear in a royal inventory of 1441; Jenny Stratford suggests that this was because Beaufort still had it at this point. Another possibility is that it had been pawned, as it was in 1449 and again in 1451, on both occasions to finance England's 574:

in weight the cup is much too heavy to drink from conveniently. However John Cherry, noting the exclusively religious subjects depicted (including that on the lost tripod stand) considers that the cup may have been intended as a ciborium from the start. It might have been used either to accompany in its carrying case the duke on his tours of his many castles and palaces, or perhaps for his foundation of the

967:("Come with me my sister into glory"). She dies, and the following scene shows the two martyrs, accompanied by two other unnamed female martyrs (in the source "a great multitude of virgins clad in vestments of gold and silver"), as they appear in a vision to Agnes' friends eight days after her death, as they gather round her sarcophagus, into which Emerentiana's body has also been placed. 909:'s translation) "the bishops of the idols made a great discord among the people, so that all they cried: Take away this sorceress and witch that turned men's minds and alieneth their wits". The Prefect is now sympathetic to Agnes but fears he will lose his position if he does nothing, so leaves the matter in the hands of another official; the two are seen talking together, with words from 978:, and heard of the vision at Agnes' tomb, and come to pray there. The presence at left of a young man on crutches, not in the source, suggests that others are doing the same. The sleeping woman beside the tomb is either another such, or an attendant on the princess. As Constantina sleeps, Agnes, holding her lamb, appears to her, saying 860:, who has fallen in love with Agnes and shows her an open casket of jewels to persuade her to marry him. The inside of the casket is white, the only colour of opaque enamel in the original work, used only for a few highlights like the tiny area of the host held by Christ on the inside of the cover. Agnes rejects him, with the words 881:

lusts. And when he saw his fellows come out and issue all abashed, he mocked them and called them cowards. And then he, all araged, entered for to accomplish his evil will. And when he came to the clearness, he advanced him for to take the virgin, and anon the devil took him by the throat and strangled him that he fell down dead.

434:, who had supplied useful information, and then initially congratulated the buyer on his purchase. However, on looking further into the matter the duke realized that the sale was contrary to the 1610 deed of gift he had discovered in the family archives, and sued in the French courts to recover the cup. 880:

Then made she of the bordel her oratory, ... All they that entered made honour and reverence to the great clearness that they saw about St. Agnes, and came out more devout and more clean than they entered. At last came the son of the provost with a great company for to accomplish his foul desires and

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or shop display unit, with receding shelves for displaying on important occasions all the plate of the household that was not in use. Neil Stratford suggests that the cup was only used to drink from on special occasions, including St Agnes' feast day, while Lightbown remarks that at over four pounds

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The enamel lies flush with the gold surfaces; it was a preparation of finely ground glass paste applied with great care to the prepared recessed areas, and then fired. Different colours of enamel meet each other with a neat boundary, which was achieved by firing one colour with a retaining border of

1879:

Lightbown, 81; the scene is not visible to visitors, but there is a photo on the "British Museum collection database", and in Lightbown (Plate LXVIIa), and Dalton's Figure 3 has a drawing. All biblical quotations are given in Latin and English per Lightbown (pp. 79 and 81; English version unknown),

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Berry died in 1416 with no male heir, and deeply in debt. Those of his works in precious metal and jewels that had not already gone to his creditors were mostly seized by the English when they took Paris in July 1417. This was the first of a number of periods that saw the large-scale destruction of

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could not raise the price. He was forced to put up £5,000 of his own money temporarily while he continued to try to get smaller amounts from others, and succeeded in 1892 when the Treasury agreed to contribute the final £830; "to Franks this was his greatest acquisition, and the one of which he was

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in 1521. By now the cover had lost the finial "garnished with four sapphires, three balas rubies and fifteen pearls" described in Charles VI's inventory and had a new one of gold in the form of a closed, or "imperial" crown. This matches a propaganda drive at this time by Henry to assert England as

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The cup is made of solid gold, stands 23.6 cm (9.25 inches) high with a diameter of 17.8 cm (6.94 inches) at its widest point, and weighs 1.935 kg (4.26 lb). It has a cover that lifts off, but the triangular stand on which it once stood is now lost. The stem of the cup

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before adding the next. The difficulty was increased by the application of tints of a different colour to a base shade of enamel before firing, so that the added colour blends gradually into the background colour around the edges of the tinted area. This is especially used on "flux", or colourless

864:("I am betrothed to him who the angels serve") in a banderole above. In the Caxton her rejection is unequivocal and not polite, and she points out that her heavenly fiancé has promised her much better jewels. The Prefect stands behind his son, and in the next scene has sentenced her to serve in a 729:

of before 1376 has no enamels or gems, and a different shape, but offers an interesting comparison as it has a tripod stand with winged grotesques as legs, a short stem, and the cover has both an elaborate finial and a raised decorated strip around the rim, so that all the altered aspects of the

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had already used a closed crown since 1471. Other uses had probably been found for the jewels of the old finial; it is assumed that the lower band with the Tudor roses was added in Henry's reign, as part of a programme of adding Tudor badges to possessions inherited from earlier dynasties, which

685:

As a secular piece the cup would be an almost unique survival at this level of quality, "the one representative left to us of medieval secular plate in its most sumptuous development". Although French plate in silver and gold was made in great quantities, and at a high level of quality, "French

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The cup stayed in the convent until 1882 when the nuns were short of funds and wanted to sell it. It was at some point during this period that the pearl border to the cover and the Tudor finial were removed. The nuns decided they would get a better price in Paris than in Spain, and the cup was

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The gift of "some 70 items of silver and gold plate" by James to the Constable, of which the cup was the most notable item, is documented on both the English and Spanish sides; the Constable wrote an account of his mission on his return, which mentions the gift from James. The Constable had

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Each of the cover, main body, and foot of the cup is made of an inner and outer plate, and the enamelled medallions inside the cover and bowl were made separately before attachment. The enamel areas may have been designed by the goldsmith, or an artist more used to painting on panels or in

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of gold, all its cover well and richly enamelled on the outside with the life of Madame St Agnes; and the cresting of the foot is garnished with 26 pearls, and the crown around the cover with 36 pearls; and the finial of the said cover (is) garnished with four sapphires, three

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in five scenes, shown with a continuous groundline from which small rocks rise up to demarcate the scenes; on the base trees perform this function. Sunrays radiate from the centre of the cover above all the scenes; the red enamel which once filled these is nearly all lost.

239:, now in the British Museum. The young king Charles had been forced to remove his uncle from governorships after the latter's rapacious conduct had led to unrest, and the meeting in 1391 marked their reconciliation after a period of bad relations. Lavish gifts among the 1897:

explains, in Caxton's version, "Agnes is said of agna a lamb, for she was humble and debonair as a lamb, or of agnos in Greek, which is to say debonair and piteous, for she was debonair and merciful. Or Agnes of agnoscendo, for she knew the way of truth, and after this

398:, as the inscription describes. His deed of gift survives, and records that the gift was on condition that the cup was never alienated by the convent. A marginal note on the deed, in the Constable's own handwriting, records that he had obtained the permission of the 716:

describes this and the Royal Gold Cup as the "two examples of outstanding merit, unsurpassed in any collection." However it is unclear if most of the enamel at King's Lynn is original. The closest comparison to the Royal Gold Cup is perhaps the silver-gilt

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This cup of solid gold, a relic of the sacred treasure of England and a memorial to the peace made between the kings, the Constable Juan de Velasco, returning thence after successfully accomplishing his mission, presented as an offering to Christ the

1540:

Dalton, 6; he lists some donors of smaller amounts. See also Wilson, 175–176 for more detail on the timing. Samson Wertheimer died in 1892, and the sale was actually concluded by his son Asher and other heirs, and the donation by them was in his

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goldsmiths' work that the cup escaped, but thousands of other pieces did not, a survival that Brigitte Buettner finds "almost miraculous". In particular, the move to Spain in 1604 enabled it to avoid the dispersal and destruction of the

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The Royal Gold Cup was "probably not exceptional as to size or decoration" in this milieu; once "but one member of a class, it now stands alone". An inventory of Charles V records 25 gold cups weighing between five and fifteen

430:, researched the second added cylinder and was sufficiently convinced that this was the cup documented in 1604 to make a rather low offer, which was accepted. In the course of his researches the baron had contacted the current 796:, though all figures are shown in contemporary 14th-century dress. The story begins on the inside of the bowl, which has a round medallion showing St Agnes kneeling before a bearded figure, representing her teacher, wearing a 1197:

There are illustrations of the original shape in Dalton's Figure 1 (drawing), and Cherry, p. 24 (edited photo, also in Henderson, 138). However, Neil Stratford, 263, raises the possibility that there was originally a longer

916:("I find no cause against her") above. The last scene shows her martyrdom; she was sentenced to be burned but the flames part away from her so that finally the magistrate orders her killed by a spear. Her last words, from 426:

entrusted to Simon Campo, a priest, who took it to Paris and approached several leading dealers and collectors. There had been a spate of forgeries of medieval objects, and the Parisians were suspicious, until one, Baron

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since 1892, where it is normally on display in Room 40, and is generally agreed to be the outstanding surviving example of late medieval French plate. It has been described as "the one surviving royal magnificence of the

1818:). See Campbell (1987), 435–436, with good photo and full catalogue entry; Osbourne, 333. Four restorations and re-enamellings between 1692 and 1782 are recorded in inscriptions under the base – see Campbell (1987). 1134:, silver and gold to the glass; here scientific tests have shown that copper was used. After firing the enamel was polished flush with the surrounding metal. The technique had been known to the Ancient Romans (see the 896:

In the following scene Agnes has been moved by the Prefect's grief, and prayed for the son to be restored to life, which an angel has done. The repentant Procopius kneels before her, while she leans down to tell him

643:; this is slightly over nine without its stand. Smaller gold cups are recorded in sets of a dozen, of which Charles V had three. The largest items were the great table ornaments, in the shape of ships, called 449:. Samson Wertheimer agreed "with much public spirit" to sell the cup to the British Museum for the £8,000 (£ 1,100,000 in 2024) it had cost the firm. Franks was worried by the new American collectors such as 963:("Behold what I have desired I now possess"). In the next scene pagans have arrived to disrupt the burial, and only Emerentiana has stayed, kneeling in prayer as she is pelted with rocks. The inscription reads 225:(1340–1416) was Charles VI's uncle and a powerful figure in the kingdom, as well as the most famous and extravagant collector and commissioner of art of his day. He is still best known for commissioning the 780:

advice was taken, at least over the texts used in the inscriptions. It is tempting to relate the depiction of the story, with its "distinct and vivid tableaux, well suited to adaptation for performance" to

982:("If you believe in Christ you will be healed", an adaptation of the text in the source). In the final scene, the cured, and baptized, Constantina tells her crowned father the story, with the inscription 199:

in a sun on a ground of clear red, and the three feet of the tripod are formed by three winged dragons. The said hanap and cover were given to the king by monseigneur the duc de Berry on his journey into

1138:, also in the British Museum), but was lost at the end of the Middle Ages until the 17th century. The added cylinders use opaque enamel, except for the red on the Tudor roses, which is translucent 623:, that have survived from the period, and in terms of subject matter to tapestries and illuminations. However, in 1381 Anjou melted down almost all his plate to finance a war to pursue his claim to the 885:

In the next scene on the cup, Agnes stands outside the sentry box-like brothel, looking down at the Prefect's son who has been strangled to death by the devil crouched over him; a banderole reads

631:, writing seventy years later, one of Anjou's goldsmiths, called Gusmin and "a most skillful sculptor, of great talent", was so affected by the destruction of his life's work that he joined an 561:

Another traditional assumption, based on the language of the inventories and shared by almost all writers, was that the cup was a piece of secular plate, for use at table, or display on a

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fame: "A very wonderful gold cup has appeared returned to this country after an absence of 287 years, and I am anxious to see it placed in the National Museum and not removed to America."

1782: 258:. How he acquired the cup is not known, but he would have received many gifts from Charles VI, and had both lent the king money and bought from him things such as the library of the 2015:

Lightbown, 78; Maryon (1951) – see further reading – and his colleagues established the method for making the recesses, which Read and Dalton had thought were all cut out with

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case of leather on a wood frame, with iron lock, handles and mounts. This was either made at the same time or soon after the cup, and has incised and stamped foliate decoration and a

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Quotation from Cowling, 27. On plays specifically about St Agnes, see Cowling, 19, 24, 27–28. On links between religious art and drama more generally, see Lane, especially 47–59.

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enamel, as in the ground areas, rocks and trees. Flux was also used for flesh areas as on a gold background it darkens slightly when fired to a suitable colour for skin. The

170:

There is no firm evidence as to the date and circumstances of the creation of the cup. It is first clearly documented in an inventory from 1391 of the valuables belonging to

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run round the foot of the cup, and there are enamel medallions at the centre of the inside of both the cup and the cover. The lower of the two added bands contains enamel

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The duke eventually lost his case in 1891, enabling a further sale that had been set up by Baron Pichon to proceed. This was to the leading firm of Messrs. Wertheimer of

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enamel areas began by marking the outline of the design and the main internal outlines on the gold with a tool called a "tracer". Then the interior area was worked with

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decoration worked in the gold. In particular the decoration features large areas of translucent red, which have survived in excellent condition. This colour, known as

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run round the sloping foot of the cup, in pairs facing each other, above a green ground area. Lightbown notes this as "another sign of care for naturalistic effect".

1695:

Henderson, 136; Lightbown, 89; Buettner. Ghiberti does not make it entirely clear which Duke of Anjou Gusmin worked for; it might also have been Duke Louis I's son,

111:, was the most difficult to achieve technically, and highly prized for this and the brilliance of the colour when it was done successfully. Scenes from the life of 3848: 776:

for St Agnes' feast day, and it has been suggested that the two rings of pearls also reflect the language of the chants for these services. It seems likely that

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The cup appears in another inventory of Charles VI in 1400, and then is not recorded until it appears as the property of another royal uncle, and collector,

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Jenny Stratford's book is on Bedford's inventories, and includes a brief biography (Chapter 1) and chapter 5 on him as a "Patron and Collector"; Dalton, 10

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Sir Charles Hercules Read (see further reading), in 1904, quoted in Dalton, 1; Steane,135; Neil Stratford, 265; Jenny Stratford, 320; Buettner and others.

3710: 2367:. Paris, Galeries nationales du Grand Palais, Réunion des musées nationaux, 1981 (in French) – Catalogue of an exhibition including the cup (as the 1142:, of a similar composition to the original reds. Translucent enamel is more fragile than opaque, and medieval survivals in good condition are very rare. 84:

in New York, "of all the princely jewels and gold that have come down to us, this is the most spectacular—and that includes the great royal treasures."

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The inside of the cover has a circular enamel medallion with worked gold borders, showing a half-length Christ making a blessing gesture and holding a

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The cup is more briefly described as the first item in a list of valuables received from Bedford's estate prepared for Henry VI's minister Cardinal

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enamel with translucent colours that reflect light from the gold beneath; many areas of gold both underneath the enamel and in the background have

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The first scene on the cover; Procopius offers Agnes a casket of jewels. Parts of the next scene can be seen at right, and her martyrdom at left.

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at the end of the 14th century, and later belonged to several English monarchs before spending nearly 300 years in Spain. It has been in the

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Translation from Dalton, 8–9. Crucially, the number of pearls around the foot agrees with the current number. A "marc" is approximately 249

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saith, truth is opposed against vanity, falseness, and doubleness, for these three things were taken from her for the truth that she had."

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with translucent enamels, with considerable losses, showing the prepared metal surfaces beneath, and the tinting with different colours

478: 445:, who had been Keeper of British and Mediaeval Antiquities and Ethnography at the British Museum since 1866, and was president of the 195:

3 ounces of gold. and the said hanap rests on a stand of gold in the form of a tripod, and in the middle of the tripod is represented

3893: 3404: 3226: 2097: 486: 1966:

Constantina developed a medieval legend, and was venerated as a saint, Saint Constance in English. See Kleinhenz, Christopher, ed.;

515: 3762: 3231: 2892: 2842: 2563: 482: 1870:

Lightbown, 82; "British Museum collection database" has good images allowing all scenes to be seen, but they have no stable links.

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Dalton, 10; Jenny Stratford 60–61, on the cup between 1400 and entering Bedford's possession, and generally on Bedford's property.

789:, but the fragmentary records mention no dramas on the life of St Agnes that are close in time or place to the origin of the cup. 3785: 3246: 1073: 3805: 3800: 1721:

Dalton, 11. The duc de Berry has a nef on his table in the illustration above, and two of Charles V's can be seen on the table

247: 212: 1811: 531:, which is rarely depicted in such detail in art. However, there was one outstanding devotee of the saint in the period: King 3795: 3726: 3676: 2172: 2071: 464:

Franks tried to get wealthy individuals to subscribe £500 (£ 69,000 in 2024) each, but even with a grant of £2,000 from

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England and the Peace with Spain, 1604: Pauline Croft Analyses the Causes and Traces the Consequences of a Momentous Treaty

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So Dalton, 6; both Jenny Stratford and Neil Stratford (p. 263) mention a judgment of 1885, but there were perhaps appeals.

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Lightbown, 78; Neil Stratford, 265; Jenny Stratford, 320. See Caxton reference for an online English translation of the

175: 1046: 1007: 414:. By this period a rule of the church normally forbade the use of vessels decorated on their inner surface as ciboria. 323: 286: 959:

with a cross attend, with Emerentiana with halo to the left, and Agnes' mother to the right. The banderole above says

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Stratford, Neil, in Baron, Françoise; Avril, François; Chapu, Phillipe; Gaborit-Chopin, Danielle; Perrot, Françoise.

2358: 2344: 2330: 2309: 2295: 2257: 2243: 2226: 2192: 2138: 1977: 1019: 3399: 3114: 470: 446: 1355:

Jenny Stratford, 319–325; Dalton, 8. It is the only surviving piece of metalwork from the list (J. Stratford, 319)

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On the cover, the second scene with Agnes outside the brothel and Procopius lying dead. Below, the pagans stone

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Dalton, 1, and Lightbown, 81–82. Neil Stratford, 263, adds that the hexagonal top of the cover is modern. See

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enamel, a difficult technique which creates a see-through effect like stained glass. A silver-gilt cup in the

3757: 974:, the daughter of the Emperor Constantine, asleep on top of it, wearing a crown. She has been afflicted with 917: 910: 902: 3241: 2857: 2724: 2719: 2556: 2277:. Reports of the Research Committee of the Society of Antiquaries of London. Volume XXXVI, 1978. 75–82 849: 403: 1884:(aka "KJV"). The Vulgate text can be accessed via the link by changing the version at the top of the page. 3863: 3715: 3429: 2984: 2913: 2897: 2596: 1418:

Translation "British Museum collection database". Dalton has the reading "sacred (royal) treasure", p. 5.

1279:, so allowing for the changes to the cup, the weight given is consistent. The stand weighed 3 marcs and 5 64: 3790: 2759: 2499: 1409:

Dalton 8, Jenny Stratford, 324, 320; the cup appears in all known Tudor inventories of the royal plate.

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displaying plate, and two courtiers beside it seem to be comparing gifts. January from the calendar of

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Juan Pantoja De la Cruz and the Circulation of Gifts between the English and Spanish Courts in 1604/5

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Metalwork and enamelling: a practical treatise on gold and silversmiths' work and their allied crafts

765: 442: 342: 3683: 3655: 3064: 2832: 2457: 1510: 358: 315: 3634: 3825: 3531: 3476: 3459: 3194: 3189: 2847: 2812: 2549: 660: 535:, Berry's older brother and Charles VI's father. Charles V was born in 1338 on Saint Agnes' 509:

Berry at a feast for New Year, when gifts were exchanged among his court. To the left there is a

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French painting in the time of Jean de Berry: The late XIV century and the patronage of the duke

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British Museum collection database, accessed January 11, 2023. Registration number: 1892,0501.2

998: 726: 604: 337: 327: 232: 943:, whose red enamel has significant losses, which reveal clearly the engraved lines beneath. A 3853: 3486: 3344: 3321: 3256: 3074: 2678: 2655: 2471: 1506: 840:

In the first scene the two girls are returning from school, Agnes accompanied by her punning

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most proud." Apart from the Treasury, the £500 contributors were Franks and Wertheimer, the

302: 297: 128: 131:. The upper band has an engraved inscription filled in with black enamel, with a barrier of 3669: 3591: 3541: 3449: 2887: 2645: 656: 620: 407: 399: 374: 236: 171: 163: 73: 2476:

The Royal Gold Cup of the Kings of France and England, now preserved in the British Museum

8: 3878: 3662: 3561: 3339: 3211: 3139: 3059: 3004: 2704: 2684: 2147: 1808: 1700: 1441: 797: 757: 532: 377:. The upper extension to the stem of the cup has a Latin inscription that translates as: 255: 251: 243:

court circle were routine, and on this occasion Berry had special reason to be generous.

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Much the most prominent decoration on the cup is the cycle of scenes from the life of

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an "empire", a contemporary sense meaning a state recognising no superior, though the

3597: 3586: 3419: 3311: 3261: 3069: 3049: 3039: 2964: 2852: 2807: 2769: 2672: 2666: 2591: 2525:, from The Institute of Historical Research and Royal Holloway, University of London. 2480: 2435: 2419: 2394: 2354: 2340: 2326: 2305: 2291: 2253: 2239: 2222: 2188: 2168: 2134: 2067: 1973: 1437: 869: 747: 624: 600: 520: 411: 3144: 2495: 1130:

or "ruby glass" red, used so effectively here, was made by adding tiny particles of

357:

succeeded to the English throne in 1603, one of his first priorities was to end the

3576: 3424: 3379: 3279: 3274: 3251: 3201: 3119: 3044: 2954: 2949: 2739: 2111: 1703:, who all pursued their claims to Naples, with Louis I and III dying in Italy. 628: 612: 215:, kneeling, was the first English owner of the cup. Detail from a miniature by the 116: 700:, also in the British Museum, and none as fine as the cup. The "King John Cup" in 431: 3496: 3481: 3454: 3434: 3306: 3289: 3164: 3104: 3094: 3054: 3014: 2959: 2944: 2872: 2827: 2734: 2522: 2428: 1899: 1786: 1686:

Henderson, 134–139; Snyder, 16–17, and chapter 3 on the patronage of the brothers

935:

The scenes continue on the underside of the bowl, starting with Agnes' burial. A

857: 644: 608: 584: 391: 240: 56: 2250:

The Altar and the Altarpiece, Sacramental Themes in Early Netherlandish Painting

746:

The cycle of scenes from the life of Saint Agnes, and that of her foster-sister

19: 3720: 3566: 3551: 3506: 3444: 3374: 3364: 3266: 3129: 3029: 3009: 2907: 2822: 2779: 2749: 2572: 2531: 2452: 2281: 2143: 1616:

Both British Museum Highlights" and "British Museum collection database" pages

1122: 936: 906: 845: 782: 713: 701: 694: 494: 417: 282: 216: 115:

run round the top of the cover and the sloping underside of the main body. The

68: 32: 768:

or scrolls that explain the scenes. Other texts are quotations from the Latin

361:, which had been dragging on since 1585. A Spanish delegation arrived for the 3842: 3536: 3471: 3409: 3394: 3349: 3299: 3221: 3216: 3149: 3084: 3079: 2989: 2969: 2764: 2754: 2640: 2635: 2231: 2152: 2123: 1815: 793: 761: 752: 570: 551: 293: 262:, in the uneasy period when Charles had made peace with the English and made 259: 135:

branches in green to mark off the end of the inscription from its beginning.

77: 3154: 820: 718: 674: 3767: 3747: 3603: 3294: 3169: 3134: 3124: 2999: 2974: 2867: 2019:. For other objects with translucent enamels, see Campbell (1987), 458–461. 1751:

Sir Charles Hercules Read (see further reading), in 1904, quoted, Dalton, 1

1135: 1109: 1095: 458: 450: 345:

representatives in August 1604; Spanish on the left, English on the right.

93: 1266:

Dalton, 8–9. The inventories are BnF Mss Fr 21445 (f.1b) and 21446 (f.45b)

254:, who was briefly Regent of both France and England for his infant nephew 158: 103: 3546: 3384: 3359: 3354: 3024: 2924: 2837: 2744: 2729: 2630: 1166:

Hoving, 61, calling it the "Saint Agnes Cup"; in French it is always the

1065: 1038: 971: 948: 940: 825: 786: 705: 671: 616: 528: 465: 438: 271: 196: 192: 143: 112: 36: 1316:

The subject of Buettner's article; Cherry, 47, gives alarming statistics

997:

in red. Below the two added cylinders on the stem, the four traditional

3581: 3556: 3369: 3316: 3109: 2877: 1769:

Osbourne, 726; Campbell (1987), 163; Steane, 134, writing about England

952: 833: 808:("Thy words have I hid in my heart that I might not sin against thee". 647:, of which Charles V had five, the heaviest weighing over 53 454: 307: 132: 120: 2513: 2118:

Campbell, Marian (1987); in Jonathan Alexander and Paul Binski (eds).

2882: 2625: 853: 813: 792:

Agnes and her sister were virgins of Rome in the time of the Emperor

764:

of the age, whose wording corresponds to some of the inscriptions in

738: 697: 536: 319: 139: 124: 98: 689:

There are only four other known survivals, secular or religious, of

589: 555: 366: 275: 201: 666: 365:, which concluded with a treaty signed in 1604. The leader of the 2541: 2129:

Campbell, Marian (2001); in Blair, John and Ramsay, Nigel (eds).

2028:"British Museum Investigation"; Maryon (1971), 188; Osbourne, 333 1837: 994: 990: 975: 956: 944: 865: 773: 769: 579: 16:

14th century decorated gold cup made for the French royal family

3648: 2016: 1577:

Lightbown, 82, in 1978. The old view is presented in Dalton, 10

1131: 841: 777: 721:

of about 1400, which is the only surviving medieval example of

632: 395: 266:

his heir. After the death of his brother Henry V, Bedford

188: 2107:

Past Presents: New Year's Gifts at the Valois Courts, Ca. 1400

2099:

Investigation of the 'rouge clair' glass on the Royal Gold Cup

868:

for being a Christian who refuses to sacrifice to the goddess

550:

However, in 1978 Ronald Lightbown, Keeper of Metalwork at the

986:("This is a wise virgin, one of the number of the prudent"). 931:

The first scene underneath the bowl, in which Agnes is buried

593: 183: 60: 2131:

English Medieval Industries: Craftsmen, Techniques, Products

1462:

Jenny Stratford, 325, has an extract from the list of gifts.

1276: 52: 1677:

Lightbown, 89 (quoted), and throughout his later chapters.

812:). The top of the cover continues the story up to Agnes' 2416:

The Grove encyclopedia of materials and techniques in art

2187:, Volume 13. Fairleigh Dickinson University Press, 2001. 2304:, Oxford History of Art, Oxford University Press, 2008, 1664:

Cherry, 41 on Berry's castles, and 43–44 on the Bourges

270:

the resurgent French resistance, which was energised by

2318:, 1979, Pierpont Morgan Library/Oxford University Press 2006:

Lightbown, 89 and throughout; Cherry, 25; Osbourne, 726

1324: 1322: 856:. They are accosted by Procopius, the young son of the 829: 2498:. In Heilbrunn Timeline of Art History. New York: The 2275:

Secular Goldsmiths' Work in Medieval France: A History

2120:

Age of Chivalry, Art in Plantagenet England, 1200–1400

1642: 1640: 804:("Have pity on me, Holy God"), while a banderole says 138:

The cup came to the British Museum with a custom-made

127:

pointillé background; this was apparently added under

1911:

Cherry, 26; there is also a belt in the lower scenes.

1809:

Poor image of King John Cup from West Norfolk Council

1789:, British Museum Highlights, accessed, June 16, 2010. 2515:

Richard II's Treasure; the Riches of a Medieval King

2376:

La Coupe de sainte Agnès (France-Espagne-Angleterre)

1319: 806:

In corde meo abscondi eloquia tua ut non peccem tibi

712:

work probably made in England; the metalwork expert

174:(reigned 1380–1422), surviving in two copies in the 1637: 889:("How has thou fallen that risest in the morning", 390:In 1610 the Constable gave the cup to a convent in 322:. The cup is described in inventories in 1532 and 2133:, Continuum International Publishing Group, 2001, 1988:Lightbown, 79; he gives the Latin from the source. 924:("Into your hands, O Lord, I commend my spirit"). 905:). However the result of the miracle was that (in 31:across at its widest point; weight 1.935 kg, 2775:Amun in the form of a ram protecting King Taharqa 1245:Dalton, 1–4; "British Museum collection database" 500: 3840: 2391:The Archaeology of the Medieval English Monarchy 1931: 1929: 1585: 1583: 1427:Ungerer, quoted here, has details and references 708:with transparent enamel, is the best example of 292:The cup first appears in the records of the new 3849:Medieval European objects in the British Museum 1440:; most of the Spanish gifts were bought in the 1436:Dalton, 6. Ungerer describes several surviving 1210: 1208: 1206: 1204: 91:The gold surfaces are decorated with scenes in 2365:Les fastes du gothique: le siècle de Charles V 1084: 984:Hec est virgo sapiens una de numero prudencium 2557: 1926: 1580: 993:with a host inside. Around him is a sun-like 497:in London, which the museum had also wanted. 2179:A Fifteenth-century Saint Play in Winchester 1201: 371:Juan Fernández de Velasco, 5th Duke of Frías 278:in 1435, leaving Henry VI as his heir. 2382:, 2022, 176 p., 127 images, Distributed by 2380:Académie des Inscriptions et Belles-Lettres 2323:The Oxford Companion to the Decorative Arts 2084:. British Museum. Accessed January 11, 2023 2064:Spectacle & Image in Renaissance Europe 1836:Legner, I, 112-113. It was perhaps made in 2710:Colossal quartzite statue of Amenhotep III 2564: 2550: 2530:This article is about an item held in the 2353:, Society of Antiquaries of London, 1993, 970:The next scene shows the sarcophagus with 627:. According to the sculptor and goldsmith 493:. In 1901 Morgan succeeded in buying the 3405:Kition Necropolis Phoenician inscriptions 2325:. Oxford: Oxford University Press, 1975. 2316:Twelve Centuries of Bookbindings 400–1600 2264:Die Parler und der Schöne Stil, 1350-1400 2184:Medieval and Renaissance Drama in England 2158:online version of Temple Classics edition 1969:Medieval Italy: an encyclopedia, Volume 1 1919: 1917: 980:Si in xpm (Christum) credideris sanaberis 922:In manus tuas domine commendo animam meam 588:in Paris and his brother's foundation at 2893:Percival David Foundation of Chinese Art 2843:Dhaneswar Khera Buddha image inscription 2496:"Patronage of Jean de Berry (1340–1416)" 2212:The Royal Gold Cup in the British Museum 2102:. British Museum. Accessed June 16, 2010 2093:. British Museum. Accessed July 13, 2010 1607:Cherry, 25, and biography on rear cover. 1088: 1013:The third and fourth scenes on the cover 926: 819: 737: 665: 659:and royal collection of plate under the 504: 416: 336: 207: 157: 18: 3247:Sarcophagus of Seianti Hanunia Tlesnasa 862:Illi sum desponsata cui angeli serviunt 3841: 3801:Royal Commission on the British Museum 2236:Greatest Works of Western Civilization 2160:, 1275–1483, with modernized spelling. 1914: 516:Les Très Riches Heures du duc de Berry 248:John of Lancaster, 1st Duke of Bedford 213:John of Lancaster, 1st Duke of Bedford 3727:A History of the World in 100 Objects 2545: 2455:. "New Light on the Royal Gold Cup". 1474: 1472: 1470: 1468: 1289:ounces. See also Jenny Stratford, 320 887:Quo modo cecidisti qui mane oriebaris 569:of the period was more like a modern 441:in London, where the cup was seen by 3706:Conservation and Scientific Research 2418:. Oxford University Press US, 2008. 2290:. Courier Dover Publications, 1971. 2266:, Catalogue of an exhibition in the 1179:"British Museum collection database" 191:and fifteen pearls. And it weighs 9 55:covered cup lavishly decorated with 3884:Medieval European metalwork objects 893:), and the Prefect looks on sadly. 750:, follows the traditional story of 635:and lived out his days in silence. 39:appears to her friends in a vision. 13: 2571: 2445: 2434:. The British Museum Press, 2002. 2167:. The British Museum Press, 2010, 2078:British Museum collection database 1465: 1367: 901:("Go forth and sin no more"; from 760:; the most popular compilation of 349:is nearest the window on the left. 231:, the famous International Gothic 228:Très Riches Heures du Duc de Berry 14: 3905: 3716:Portable Antiquities and Treasure 2488: 1531:Wilson, 175–176 (quotation, 176). 876:fills in the intervening action: 287:increasingly unsuccessful efforts 3894:Material culture of royal courts 3821: 3820: 3763:Films shot at the British Museum 3400:Black Obelisk of Shalmaneser III 3115:Herculean Sarcophagus of Genzano 2803:Aphsad inscription of Ādityasena 2507:In-Depth Studies: France in 1400 2126:/Weidenfeld & Nicolson, 1987 2096:"British Museum Investigation". 1093:A 14th-century silver plaque in 1072: 1057: 1045: 1030: 1018: 1006: 471:Worshipful Company of Goldsmiths 289:to hold on to French territory; 176:Bibliothèque nationale de France 2115:, Volume 83, Issue 4, 2001. 598 2040: 2031: 2022: 2009: 2000: 1991: 1982: 1960: 1951: 1938: 1905: 1887: 1873: 1864: 1855: 1842: 1830: 1821: 1801: 1792: 1772: 1763: 1754: 1745: 1736: 1727: 1715: 1706: 1689: 1680: 1671: 1658: 1649: 1628: 1619: 1610: 1601: 1592: 1571: 1562: 1553: 1544: 1534: 1525: 1516: 1499: 1490: 1481: 1456: 1447: 1430: 1421: 1412: 1403: 1394: 1385: 1376: 1358: 1349: 1340: 1331: 1310: 1301: 1292: 1269: 1260: 1248: 1224: 772:Bible, mostly derived from the 582:, intended to rival the king's 410:, or container for consecrated 148:YHE.SUS.O.MARYA.O.MARYA YHE SUS 117:symbols of the Four Evangelists 3677:The Tale of the Flopsy Bunnies 2715:Colossal head of Amenhotep III 2214:. London: British Museum, 1924 1239: 1236:"British Museum Investigation" 1230: 1227:section for the missing parts. 1217: 1191: 1182: 1173: 1160: 1151: 1079:Detail of Constantina's scenes 1037:Detail of black pagan stoning 965:Veni soror mea mecum in gloria 733: 693:enamel on gold, one the small 501:Creation, context and survival 406:, for the cup to be used as a 1: 3227:Priene dedicatory inscription 2461:, Vol. 16, No. 2, April 1951. 2432:The British Museum; A History 2087:"British Museum Highlights". 2052: 1487:Dalton 6, Jenny Stratford 320 1107:The process for creating the 961:Ecce quod concupivi iam teneo 828:, and on the foot the winged 800:. She holds a book inscribed 153: 3415:Complaint tablet to Ea-nāṣir 3390:Tell al-'Ubaid Copper Lintel 2858:Jade terrapin from Allahabad 2725:Gebelein predynastic mummies 2720:El-Amra clay model of cattle 2458:The British Museum Quarterly 730:Royal Gold Cup are present. 619:, like the British Museum's 475:Charles Drury Edward Fortnum 404:Bernardo de Sandoval y Rojas 235:, and also commissioned the 7: 3430:Babylonian Map of the World 2985:Barber Cup and Crawford Cup 2914:The Great Wave off Kanagawa 2898:Seated Buddha from Gandhara 2818:Amitābha Buddha from Hancui 2062:in Lascombes, André (ed.), 1880:while the links are to the 1085:Construction and techniques 605:Louis I, Duke of Anjou 453:, and in 1891 wrote to Sir 324:after Henry's death in 1547 10: 3910: 3874:Medieval history of France 2760:Rhind Mathematical Papyrus 2534:. The object reference is 2500:Metropolitan Museum of Art 2472:Read, Sir Charles Hercules 2252:. Harper & Row, 1984. 1064:The two final scenes with 1052:The stoning of Emerentiana 999:symbols of the Evangelists 914:Nihil invenio cause in eam 852:, and carrying a martyr's 82:Metropolitan Museum of Art 3816: 3740: 3693: 3622: 3520: 3466:Lion Hunt of Ashurbanipal 3330: 3242:Sant'Angelo Muxaro Patera 2933: 2788: 2693: 2614: 2605: 2579: 2468:(two vols). Phaidon, 1967 2414:Ward, Gerald W. R. (ed). 2339:. Harry N. Abrams, 1985. 1559:Lightbown, 82; Dalton, 10 899:Vade amplius noli peccare 443:Augustus Wollaston Franks 363:Somerset House Conference 343:Somerset House Conference 172:Charles VI of France 164:Charles VI of France 80:, former director of the 3859:Works in vitreous enamel 3773:Repatriation controversy 3450:Flood tablet (Gilgamesh) 3232:Priene edict inscription 3065:Choiseul-Gouffier Apollo 2833:Mogao Christian painting 2337:Northern Renaissance Art 2302:Northern Renaissance Art 2165:The Holy Thorn Reliquary 1701:Louis III of Naples 1511:Jewish Museum (New York) 1145: 802:Miserere mei Deus sancte 533:Charles V of France 347:The Constable of Castile 3758:Dingwall Beloe Lectures 3460:Library of Ashurbanipal 2848:Hephthalite silver bowl 2813:Ambika Statue from Dhar 2351:The Bedford Inventories 1944:In fact a sword in the 1807:"Maryon (1971)", 187; ( 1697:Louis II of Naples 1598:Neil Stratford, 263–265 1170:, as in Neil Stratford. 939:is being laid over her 633:eremitic monastic order 607:(1339–1384), Berry and 312:illuminated manuscripts 3869:14th century in France 3711:Libraries and Archives 3512:Phoenician metal bowls 3440:Cylinders of Nabonidus 2903:Stamp seal (BM 119999) 2484:Volume 7, part 3, 1904 2321:Osborne, Harold (ed). 2060:Tudor Dynastic Symbols 1568:Dalton, 10; Cherry, 25 1188:Dalton, 1; Steane, 135 1100: 1025:The martyrdom of Agnes 932: 883: 837: 743: 727:Rijksmuseum, Amsterdam 682: 599:The four sons of King 524: 479:Duke of Northumberland 447:Society of Antiquaries 422: 384: 350: 314:and buildings such as 233:illuminated manuscript 219: 206: 167: 63:. It was made for the 40: 3487:Babylonian Chronicles 3345:Assyrian lion weights 3322:Xanten Horse-Phalerae 3257:Stony Stratford Hoard 3175:Papyri of Oxyrhynchus 3075:Dionysus Sardanapalus 3020:Bronze head of Hypnos 2656:Double-headed serpent 2369:Coupe de Sainte Agnes 2273:Lightbown, Ronald W. 2270:, Köln, 1978. 3 vols. 1957:Lightbown, 79; Caxton 1507:The Wertheimer Family 1255:Wood and leather case 1092: 930: 878: 823: 785:, often a source for 741: 669: 508: 420: 379: 340: 316:King's College Chapel 303:Great Seal of England 211: 180: 161: 22: 3670:The Disasters of War 3592:Sutton Hoo purse-lid 3542:Holy Thorn Reliquary 2888:Mathura lion capital 2646:Bronze Head from Ife 2536:M&ME 1892,0501.1 2262:Legner, Anton (ed). 2105:Buettner, Brigitte. 2037:Campbell (2001), 129 1328:Jenny Stratford, 320 1168:Coupe de Saint Agnes 661:English Commonwealth 657:English Crown Jewels 621:Holy Thorn Reliquary 400:Archbishop of Toledo 375:Constable of Castile 250:(1389–1435), son of 237:Holy Thorn Reliquary 76:age". According to 74:International Gothic 23:The Royal Gold Cup, 3753:British Museum Acts 3663:The Ancient of Days 3562:Mildenhall Treasure 3340:Ain Sakhri figurine 3271:Townley collection 3212:Petelia Gold Tablet 3140:Macmillan aryballos 3060:Chatuzange Treasure 3005:Boscoreale Treasure 2705:Battlefield Palette 2685:Yaxchilan Lintel 24 2502:, 2000–. (May 2009) 2409:Shakespeare Studies 2393:. Routledge, 1999. 2217:Henderson, George. 2148:Jacobus de Voragine 1972:, Routledge, 2004. 1780:"Salting Reliquary" 1646:Neil Stratford, 265 1442:Spanish Netherlands 1382:Neil Stratford, 261 1364:Jenny Stratford, 48 758:Jacobus de Voragine 421:The foot of the cup 332:inventoried in 1574 223:John, Duke of Berry 65:French royal family 3864:14th-century works 3635:Dürer's Rhinoceros 3614:Lampsacus Treasure 3609:Vindolanda Tablets 3502:Antiochus cylinder 3492:Ur Box inscription 3237:San Sosti Axe-Head 3160:Minoan Bull-leaper 3100:Farnese Diadumenos 3090:Esquiline Treasure 3035:Campo Iemini Venus 2995:Beaurains Treasure 2980:Asclepius of Milos 2920:Vishnu Nicolo Seal 2863:Kakiemon elephants 2798:Admonitions Scroll 2651:Codex Kingsborough 2597:Round Reading Room 2521:2007-06-13 at the 2349:Stratford, Jenny. 2209:Dalton, Ormonde M. 2090:The Royal Gold Cup 1882:Authorized Version 1785:2015-10-18 at the 1101: 933: 838: 744: 683: 578:at his capital of 525: 423: 351: 220: 168: 162:The coronation of 41: 3834: 3833: 3736: 3735: 3598:Swimming Reindeer 3587:Sutton Hoo helmet 3420:Tablet of Shamash 3312:Vaison Diadumenos 3262:Strangford Apollo 3070:Demeter of Knidos 3050:Chaourse Treasure 3040:Carthage Treasure 2965:Arcisate Treasure 2853:Huixian Bronze Hu 2808:Amaravati Marbles 2770:Sphinx of Taharqo 2673:Kayung totem pole 2667:Throne of Weapons 2510:, from the Louvre 2481:Vetusta Monumenta 2451:"Maryon (1951)": 2403:Ungerer, Gustav. 2374:Stratford, Neil, 2280:"Maryon (1971)": 2248:Lane, Barbara G. 2238:. Artisan, 1997. 2221:. Penguin, 1967. 2173:978-0-7141-2820-7 2072:978-90-04-09774-2 1438:bills of exchange 848:with a cruciform 748:Saint Emerentiana 625:Kingdom of Naples 601:John II of France 521:Limbourg Brothers 359:Anglo-Spanish War 326:, and then under 268:struggled to stem 3901: 3889:Diplomatic gifts 3824: 3823: 3701:Coins and Medals 3577:Seax of Beagnoth 3425:Statue of Idrimi 3380:Ram in a Thicket 3252:Satala Aphrodite 3202:Paramythia Hoard 3045:Caubiac Treasure 2955:Apollo of Cyrene 2950:Aineta aryballos 2740:MacGregor plaque 2612: 2611: 2566: 2559: 2552: 2543: 2542: 2494:Stein, Wendy A. 2464:Meiss, Millard. 2429:Wilson, David M. 2268:Schnütgen Museum 2205:, Issue 49, 2004 2197:Croft, Pauline. 2146:(translation of 2112:The Art Bulletin 2047: 2044: 2038: 2035: 2029: 2026: 2020: 2013: 2007: 2004: 1998: 1995: 1989: 1986: 1980: 1964: 1958: 1955: 1949: 1942: 1936: 1933: 1924: 1921: 1912: 1909: 1903: 1891: 1885: 1877: 1871: 1868: 1862: 1859: 1853: 1846: 1840: 1834: 1828: 1825: 1819: 1805: 1799: 1796: 1790: 1778:Dalton, 11. The 1776: 1770: 1767: 1761: 1758: 1752: 1749: 1743: 1740: 1734: 1731: 1725: 1719: 1713: 1710: 1704: 1693: 1687: 1684: 1678: 1675: 1669: 1662: 1656: 1653: 1647: 1644: 1635: 1632: 1626: 1623: 1617: 1614: 1608: 1605: 1599: 1596: 1590: 1587: 1578: 1575: 1569: 1566: 1560: 1557: 1551: 1548: 1542: 1538: 1532: 1529: 1523: 1520: 1514: 1503: 1497: 1494: 1488: 1485: 1479: 1476: 1463: 1460: 1454: 1451: 1445: 1434: 1428: 1425: 1419: 1416: 1410: 1407: 1401: 1398: 1392: 1389: 1383: 1380: 1374: 1371: 1365: 1362: 1356: 1353: 1347: 1344: 1338: 1335: 1329: 1326: 1317: 1314: 1308: 1305: 1299: 1296: 1290: 1288: 1287: 1283: 1273: 1267: 1264: 1258: 1252: 1246: 1243: 1237: 1234: 1228: 1221: 1215: 1212: 1199: 1195: 1189: 1186: 1180: 1177: 1171: 1164: 1158: 1155: 1076: 1061: 1049: 1034: 1022: 1010: 629:Lorenzo Ghiberti 613:Duke of Burgundy 491:Earl of Crawford 328:Elizabeth I 260:Palais du Louvre 30: 26: 3909: 3908: 3904: 3903: 3902: 3900: 3899: 3898: 3839: 3838: 3835: 3830: 3812: 3732: 3689: 3625: 3618: 3523: 3516: 3497:Kurkh Monoliths 3482:Lachish reliefs 3455:Jar of Xerxes I 3435:Rassam cylinder 3326: 3307:Uerdingen Hoard 3165:Nereid Monument 3105:Guilford Puteal 3095:Euphorbos plate 3055:Chatsworth Head 3015:Braganza Brooch 2960:Archangel ivory 2945:Aegina Treasure 2936: 2929: 2873:Kanishka casket 2828:Buddhapad Hoard 2784: 2735:Hunters Palette 2696: 2689: 2661:Hoa Hakananai'a 2617: 2616:Africa, Oceania 2607: 2601: 2575: 2570: 2540: 2523:Wayback Machine 2491: 2453:Maryon, Herbert 2448: 2446:Further reading 2335:Snyder, James. 2314:Needham, Paul, 2282:Maryon, Herbert 2177:Cowling, Jane. 2144:Caxton, William 2066:, BRILL, 1993, 2058:Anglo, Sydney. 2055: 2050: 2045: 2041: 2036: 2032: 2027: 2023: 2014: 2010: 2005: 2001: 1996: 1992: 1987: 1983: 1965: 1961: 1956: 1952: 1948:, Lightbown, 79 1943: 1939: 1934: 1927: 1922: 1915: 1910: 1906: 1892: 1888: 1878: 1874: 1869: 1865: 1860: 1856: 1847: 1843: 1835: 1831: 1826: 1822: 1806: 1802: 1798:"Maryon (1971)" 1797: 1793: 1787:Wayback Machine 1777: 1773: 1768: 1764: 1759: 1755: 1750: 1746: 1741: 1737: 1732: 1728: 1720: 1716: 1711: 1707: 1694: 1690: 1685: 1681: 1676: 1672: 1663: 1659: 1654: 1650: 1645: 1638: 1633: 1629: 1624: 1620: 1615: 1611: 1606: 1602: 1597: 1593: 1588: 1581: 1576: 1572: 1567: 1563: 1558: 1554: 1549: 1545: 1539: 1535: 1530: 1526: 1521: 1517: 1504: 1500: 1495: 1491: 1486: 1482: 1477: 1466: 1461: 1457: 1452: 1448: 1435: 1431: 1426: 1422: 1417: 1413: 1408: 1404: 1399: 1395: 1390: 1386: 1381: 1377: 1372: 1368: 1363: 1359: 1354: 1350: 1345: 1341: 1336: 1332: 1327: 1320: 1315: 1311: 1306: 1302: 1297: 1293: 1285: 1281: 1280: 1274: 1270: 1265: 1261: 1253: 1249: 1244: 1240: 1235: 1231: 1222: 1218: 1213: 1202: 1196: 1192: 1187: 1183: 1178: 1174: 1165: 1161: 1156: 1152: 1148: 1087: 1080: 1077: 1068: 1062: 1053: 1050: 1041: 1035: 1026: 1023: 1014: 1011: 951:for sprinkling 947:priest with an 858:Prefect of Rome 736: 704:, of ca. 1340, 609:Philip the Bold 585:Sainte-Chapelle 565:beside it. The 503: 392:Medina de Pomar 298:Henry VIII 204:in the year 91. 156: 129:Henry VIII 49:Saint Agnes Cup 28: 24: 17: 12: 11: 5: 3907: 3897: 3896: 3891: 3886: 3881: 3876: 3871: 3866: 3861: 3856: 3851: 3832: 3831: 3829: 3828: 3817: 3814: 3813: 3811: 3810: 3809: 3808: 3803: 3798: 3793: 3788: 3780: 3775: 3770: 3765: 3760: 3755: 3750: 3744: 3742: 3738: 3737: 3734: 3733: 3731: 3730: 3723: 3721:Rondanini Faun 3718: 3713: 3708: 3703: 3697: 3695: 3691: 3690: 3688: 3687: 3684:Triumphal Arch 3680: 3673: 3666: 3659: 3656:Isabella Brant 3652: 3645: 3638: 3630: 3628: 3620: 3619: 3617: 3616: 3611: 3606: 3601: 3594: 3589: 3584: 3579: 3574: 3572:Royal Gold Cup 3569: 3567:Ringlemere Cup 3564: 3559: 3554: 3552:Lewis chessmen 3549: 3544: 3539: 3534: 3528: 3526: 3518: 3517: 3515: 3514: 3509: 3507:Nimrud ivories 3504: 3499: 3494: 3489: 3484: 3479: 3474: 3469: 3462: 3457: 3452: 3447: 3445:Cyrus Cylinder 3442: 3437: 3432: 3427: 3422: 3417: 3412: 3407: 3402: 3397: 3392: 3387: 3382: 3377: 3375:Standard of Ur 3372: 3367: 3365:Blau Monuments 3362: 3357: 3352: 3347: 3342: 3336: 3334: 3328: 3327: 3325: 3324: 3319: 3314: 3309: 3304: 3303: 3302: 3297: 3292: 3287: 3282: 3277: 3269: 3267:Tomb of Payava 3264: 3259: 3254: 3249: 3244: 3239: 3234: 3229: 3224: 3219: 3214: 3209: 3204: 3199: 3198: 3197: 3192: 3187: 3182: 3172: 3167: 3162: 3157: 3152: 3147: 3145:Mâcon Treasure 3142: 3137: 3132: 3130:Lion of Knidos 3127: 3122: 3117: 3112: 3107: 3102: 3097: 3092: 3087: 3082: 3077: 3072: 3067: 3062: 3057: 3052: 3047: 3042: 3037: 3032: 3030:Bursa Treasure 3027: 3022: 3017: 3012: 3010:Boy with Thorn 3007: 3002: 2997: 2992: 2987: 2982: 2977: 2972: 2967: 2962: 2957: 2952: 2947: 2941: 2939: 2931: 2930: 2928: 2927: 2922: 2917: 2910: 2908:Statue of Tara 2905: 2900: 2895: 2890: 2885: 2880: 2875: 2870: 2865: 2860: 2855: 2850: 2845: 2840: 2835: 2830: 2825: 2823:Bimaran casket 2820: 2815: 2810: 2805: 2800: 2794: 2792: 2786: 2785: 2783: 2782: 2780:Younger Memnon 2777: 2772: 2767: 2762: 2757: 2752: 2750:Papyrus of Ani 2747: 2742: 2737: 2732: 2727: 2722: 2717: 2712: 2707: 2701: 2699: 2691: 2690: 2688: 2687: 2682: 2675: 2670: 2663: 2658: 2653: 2648: 2643: 2638: 2633: 2628: 2622: 2620: 2609: 2603: 2602: 2600: 2599: 2594: 2592:King's Library 2589: 2583: 2581: 2577: 2576: 2573:British Museum 2569: 2568: 2561: 2554: 2546: 2532:British Museum 2528: 2527: 2526: 2511: 2503: 2490: 2489:External links 2487: 2486: 2485: 2469: 2462: 2447: 2444: 2443: 2442: 2426: 2412: 2401: 2389:Steane, John. 2387: 2372: 2361: 2347: 2333: 2319: 2312: 2298: 2278: 2271: 2260: 2246: 2232:Hoving, Thomas 2229: 2215: 2206: 2203:History Review 2195: 2175: 2163:Cherry, John. 2161: 2141: 2127: 2116: 2103: 2094: 2085: 2082:Royal Gold Cup 2074: 2054: 2051: 2049: 2048: 2039: 2030: 2021: 2008: 1999: 1990: 1981: 1959: 1950: 1937: 1925: 1913: 1904: 1886: 1872: 1863: 1854: 1841: 1829: 1820: 1814:2012-08-05 at 1800: 1791: 1771: 1762: 1753: 1744: 1735: 1726: 1714: 1705: 1688: 1679: 1670: 1666:Saint Chapelle 1657: 1648: 1636: 1627: 1618: 1609: 1600: 1591: 1579: 1570: 1561: 1552: 1543: 1533: 1524: 1515: 1498: 1489: 1480: 1464: 1455: 1446: 1429: 1420: 1411: 1402: 1400:Anglo, 198-199 1393: 1384: 1375: 1366: 1357: 1348: 1339: 1330: 1318: 1309: 1300: 1291: 1268: 1259: 1247: 1238: 1229: 1216: 1200: 1190: 1181: 1172: 1159: 1149: 1147: 1144: 1123:gum tragacanth 1086: 1083: 1082: 1081: 1078: 1071: 1069: 1063: 1056: 1054: 1051: 1044: 1042: 1036: 1029: 1027: 1024: 1017: 1015: 1012: 1005: 907:William Caxton 783:medieval drama 735: 732: 714:Herbert Maryon 679:V&A Museum 677:, about 1400 ( 576:Saint Chapelle 552:V&A Museum 548: 547: 546: 545: 502: 499: 495:Lindau Gospels 369:diplomats was 283:Henry Beaufort 217:Bedford Master 178:. This lists: 155: 152: 69:British Museum 45:Royal Gold Cup 33:British Museum 15: 9: 6: 4: 3: 2: 3906: 3895: 3892: 3890: 3887: 3885: 3882: 3880: 3877: 3875: 3872: 3870: 3867: 3865: 3862: 3860: 3857: 3855: 3852: 3850: 3847: 3846: 3844: 3837: 3827: 3819: 3818: 3815: 3807: 3804: 3802: 3799: 3797: 3794: 3792: 3789: 3787: 3784: 3783: 3781: 3779: 3776: 3774: 3771: 3769: 3766: 3764: 3761: 3759: 3756: 3754: 3751: 3749: 3746: 3745: 3743: 3739: 3729: 3728: 3724: 3722: 3719: 3717: 3714: 3712: 3709: 3707: 3704: 3702: 3699: 3698: 3696: 3692: 3686: 3685: 3681: 3679: 3678: 3674: 3672: 3671: 3667: 3665: 3664: 3660: 3658: 3657: 3653: 3651: 3650: 3646: 3644: 3643: 3639: 3637: 3636: 3632: 3631: 3629: 3627: 3621: 3615: 3612: 3610: 3607: 3605: 3602: 3600: 3599: 3595: 3593: 3590: 3588: 3585: 3583: 3580: 3578: 3575: 3573: 3570: 3568: 3565: 3563: 3560: 3558: 3555: 3553: 3550: 3548: 3545: 3543: 3540: 3538: 3537:Franks Casket 3535: 3533: 3532:Boxwood altar 3530: 3529: 3527: 3525: 3519: 3513: 3510: 3508: 3505: 3503: 3500: 3498: 3495: 3493: 3490: 3488: 3485: 3483: 3480: 3478: 3475: 3473: 3472:Oxus Treasure 3470: 3468: 3467: 3463: 3461: 3458: 3456: 3453: 3451: 3448: 3446: 3443: 3441: 3438: 3436: 3433: 3431: 3428: 3426: 3423: 3421: 3418: 3416: 3413: 3411: 3410:Burney Relief 3408: 3406: 3403: 3401: 3398: 3396: 3395:White Obelisk 3393: 3391: 3388: 3386: 3383: 3381: 3378: 3376: 3373: 3371: 3368: 3366: 3363: 3361: 3358: 3356: 3353: 3351: 3350:Balawat Gates 3348: 3346: 3343: 3341: 3338: 3337: 3335: 3333: 3329: 3323: 3320: 3318: 3315: 3313: 3310: 3308: 3305: 3301: 3298: 3296: 3293: 3291: 3288: 3286: 3283: 3281: 3278: 3276: 3273: 3272: 3270: 3268: 3265: 3263: 3260: 3258: 3255: 3253: 3250: 3248: 3245: 3243: 3240: 3238: 3235: 3233: 3230: 3228: 3225: 3223: 3222:Portland Vase 3220: 3218: 3217:Piranesi Vase 3215: 3213: 3210: 3208: 3207:Pericles bust 3205: 3203: 3200: 3196: 3193: 3191: 3188: 3186: 3183: 3181: 3178: 3177: 3176: 3173: 3171: 3168: 3166: 3163: 3161: 3158: 3156: 3153: 3151: 3150:Mainz Gladius 3148: 3146: 3143: 3141: 3138: 3136: 3133: 3131: 3128: 3126: 3123: 3121: 3118: 3116: 3113: 3111: 3108: 3106: 3103: 3101: 3098: 3096: 3093: 3091: 3088: 3086: 3085:Elgin Marbles 3083: 3081: 3080:Elgin Amphora 3078: 3076: 3073: 3071: 3068: 3066: 3063: 3061: 3058: 3056: 3053: 3051: 3048: 3046: 3043: 3041: 3038: 3036: 3033: 3031: 3028: 3026: 3023: 3021: 3018: 3016: 3013: 3011: 3008: 3006: 3003: 3001: 2998: 2996: 2993: 2991: 2990:Bassae Frieze 2988: 2986: 2983: 2981: 2978: 2976: 2973: 2971: 2970:Armento Rider 2968: 2966: 2963: 2961: 2958: 2956: 2953: 2951: 2948: 2946: 2943: 2942: 2940: 2938: 2932: 2926: 2923: 2921: 2918: 2916: 2915: 2911: 2909: 2906: 2904: 2901: 2899: 2896: 2894: 2891: 2889: 2886: 2884: 2881: 2879: 2876: 2874: 2871: 2869: 2866: 2864: 2861: 2859: 2856: 2854: 2851: 2849: 2846: 2844: 2841: 2839: 2836: 2834: 2831: 2829: 2826: 2824: 2821: 2819: 2816: 2814: 2811: 2809: 2806: 2804: 2801: 2799: 2796: 2795: 2793: 2791: 2787: 2781: 2778: 2776: 2773: 2771: 2768: 2766: 2765:Rosetta Stone 2763: 2761: 2758: 2756: 2755:Prudhoe Lions 2753: 2751: 2748: 2746: 2743: 2741: 2738: 2736: 2733: 2731: 2728: 2726: 2723: 2721: 2718: 2716: 2713: 2711: 2708: 2706: 2703: 2702: 2700: 2698: 2695:Ancient Egypt 2692: 2686: 2683: 2681: 2680: 2676: 2674: 2671: 2669: 2668: 2664: 2662: 2659: 2657: 2654: 2652: 2649: 2647: 2644: 2642: 2641:Briggs Enigma 2639: 2637: 2636:Benin Bronzes 2634: 2632: 2629: 2627: 2624: 2623: 2621: 2619: 2613: 2610: 2604: 2598: 2595: 2593: 2590: 2588: 2585: 2584: 2582: 2578: 2574: 2567: 2562: 2560: 2555: 2553: 2548: 2547: 2544: 2539: 2537: 2533: 2524: 2520: 2517: 2516: 2512: 2509: 2508: 2504: 2501: 2497: 2493: 2492: 2483: 2482: 2477: 2473: 2470: 2467: 2463: 2460: 2459: 2454: 2450: 2449: 2441: 2440:0-7141-2764-7 2437: 2433: 2430: 2427: 2425: 2424:0-19-531391-7 2421: 2417: 2413: 2410: 2406: 2402: 2400: 2399:0-415-19788-0 2396: 2392: 2388: 2385: 2381: 2377: 2373: 2370: 2366: 2362: 2360: 2359:0-85431-261-7 2356: 2352: 2348: 2346: 2345:0-13-623596-4 2342: 2338: 2334: 2332: 2331:0-19-866113-4 2328: 2324: 2320: 2317: 2313: 2311: 2310:0-19-284269-2 2307: 2303: 2300:Nash, Susie. 2299: 2297: 2296:0-486-22702-2 2293: 2289: 2288: 2283: 2279: 2276: 2272: 2269: 2265: 2261: 2259: 2258:0-06-430133-8 2255: 2251: 2247: 2245: 2244:1-885183-53-4 2241: 2237: 2233: 2230: 2228: 2227:0-14-020806-2 2224: 2220: 2216: 2213: 2210: 2207: 2204: 2200: 2196: 2194: 2193:0-8386-3889-9 2190: 2186: 2185: 2180: 2176: 2174: 2170: 2166: 2162: 2159: 2155: 2154: 2153:Golden Legend 2149: 2145: 2142: 2140: 2139:1-85285-326-3 2136: 2132: 2128: 2125: 2124:Royal Academy 2121: 2117: 2114: 2113: 2108: 2104: 2101: 2100: 2095: 2092: 2091: 2086: 2083: 2079: 2075: 2073: 2069: 2065: 2061: 2057: 2056: 2046:Osbourne, 333 2043: 2034: 2025: 2018: 2012: 2003: 1994: 1985: 1979: 1978:0-415-93930-5 1975: 1971: 1970: 1963: 1954: 1947: 1946:Golden Legend 1941: 1935:Lightbown, 79 1932: 1930: 1920: 1918: 1908: 1901: 1896: 1895:Golden Legend 1890: 1883: 1876: 1867: 1858: 1851: 1850:Golden Legend 1845: 1839: 1833: 1824: 1817: 1816:archive.today 1813: 1810: 1804: 1795: 1788: 1784: 1781: 1775: 1766: 1760:Osbourne, 726 1757: 1748: 1739: 1733:Cherry, 47–48 1730: 1724: 1718: 1709: 1702: 1698: 1692: 1683: 1674: 1667: 1661: 1652: 1643: 1641: 1631: 1622: 1613: 1604: 1595: 1589:Lightbown, 82 1586: 1584: 1574: 1565: 1556: 1547: 1537: 1528: 1519: 1512: 1508: 1502: 1493: 1484: 1475: 1473: 1471: 1469: 1459: 1450: 1443: 1439: 1433: 1424: 1415: 1406: 1397: 1388: 1379: 1370: 1361: 1352: 1343: 1334: 1325: 1323: 1313: 1304: 1298:Cherry, 39–43 1295: 1278: 1272: 1263: 1256: 1251: 1242: 1233: 1226: 1220: 1214:Lightbown, 81 1211: 1209: 1207: 1205: 1194: 1185: 1176: 1169: 1163: 1157:Lightbown, 78 1154: 1150: 1143: 1141: 1137: 1133: 1129: 1124: 1118: 1116: 1115:chasing tools 1112: 1111: 1105: 1098: 1097: 1091: 1075: 1070: 1067: 1060: 1055: 1048: 1043: 1040: 1033: 1028: 1021: 1016: 1009: 1004: 1003: 1002: 1000: 996: 992: 987: 985: 981: 977: 973: 968: 966: 962: 958: 954: 950: 946: 942: 938: 929: 925: 923: 919: 915: 912: 908: 904: 900: 894: 892: 888: 882: 877: 875: 871: 867: 863: 859: 855: 851: 847: 843: 835: 831: 827: 822: 818: 815: 811: 810:Psalms 119:11 807: 803: 799: 795: 790: 788: 784: 779: 775: 771: 767: 763: 762:hagiographies 759: 755: 754: 753:Golden Legend 749: 740: 731: 728: 724: 723:plique á jour 720: 715: 711: 707: 703: 699: 696: 692: 687: 680: 676: 673: 668: 664: 662: 658: 652: 650: 646: 642: 636: 634: 630: 626: 622: 618: 614: 610: 606: 602: 597: 595: 591: 587: 586: 581: 577: 572: 571:Welsh dresser 568: 564: 559: 557: 553: 544: 543: 542: 541: 540: 538: 534: 530: 522: 518: 517: 512: 507: 498: 496: 492: 488: 484: 480: 476: 472: 467: 462: 460: 456: 452: 448: 444: 440: 435: 433: 432:Duke of Frías 429: 428:Jérôme Pichon 419: 415: 413: 409: 405: 401: 397: 393: 388: 383: 378: 376: 372: 368: 364: 360: 356: 348: 344: 339: 335: 333: 329: 325: 321: 317: 313: 309: 304: 299: 295: 294:Tudor dynasty 290: 288: 284: 279: 277: 274:. He died in 273: 269: 265: 261: 257: 256:Henry VI 253: 252:Henry IV 249: 244: 242: 238: 234: 230: 229: 224: 218: 214: 210: 205: 203: 198: 194: 190: 185: 179: 177: 173: 165: 160: 151: 149: 146:inscription: 145: 141: 136: 134: 130: 126: 122: 118: 114: 110: 106: 105: 100: 96: 95: 89: 85: 83: 79: 78:Thomas Hoving 75: 70: 66: 62: 58: 54: 50: 46: 38: 34: 21: 3854:Gold objects 3836: 3768:Private Case 3748:Blythe House 3725: 3682: 3675: 3668: 3661: 3654: 3647: 3640: 3633: 3604:Hedwig glass 3596: 3571: 3477:Taylor Prism 3464: 3170:Oscan Tablet 3135:Lycurgus Cup 3125:Jennings Dog 3000:Blacas Cameo 2975:Arundel Head 2912: 2868:Kang Hou gui 2679:Tree of Life 2677: 2665: 2618:and Americas 2529: 2514: 2506: 2479: 2475: 2465: 2456: 2431: 2415: 2408: 2404: 2390: 2375: 2368: 2364: 2350: 2336: 2322: 2315: 2301: 2285: 2274: 2263: 2249: 2235: 2218: 2211: 2202: 2198: 2183: 2178: 2164: 2151: 2130: 2119: 2110: 2106: 2098: 2089: 2081: 2063: 2059: 2042: 2033: 2024: 2011: 2002: 1993: 1984: 1968: 1962: 1953: 1945: 1940: 1907: 1894: 1889: 1875: 1866: 1857: 1849: 1844: 1832: 1823: 1803: 1794: 1774: 1765: 1756: 1747: 1738: 1729: 1717: 1708: 1699:or grandson 1691: 1682: 1673: 1665: 1660: 1651: 1630: 1621: 1612: 1603: 1594: 1573: 1564: 1555: 1546: 1536: 1527: 1518: 1501: 1492: 1483: 1458: 1449: 1432: 1423: 1414: 1405: 1396: 1391:Dalton, 1, 8 1387: 1378: 1369: 1360: 1351: 1342: 1333: 1312: 1303: 1294: 1271: 1262: 1250: 1241: 1232: 1219: 1193: 1184: 1175: 1167: 1162: 1153: 1139: 1136:Lycurgus Cup 1127: 1119: 1110:basse-taille 1108: 1106: 1102: 1096:basse-taille 1094: 988: 983: 979: 969: 964: 960: 934: 921: 913: 898: 895: 891:Isaiah 14:12 886: 884: 879: 873: 861: 839: 832:, symbol of 805: 801: 791: 751: 745: 722: 710:basse-taille 709: 691:basse taille 690: 688: 684: 653: 648: 640: 637: 603:—Charles V, 598: 583: 575: 566: 562: 560: 549: 526: 514: 510: 463: 459:Tate Gallery 451:J. P. Morgan 436: 424: 389: 385: 380: 355:James I 352: 291: 280: 264:Henry V 245: 226: 221: 189:balas rubies 181: 169: 147: 137: 108: 102: 94:basse-taille 92: 90: 86: 48: 44: 42: 3547:Hoxne Hoard 3385:Lyres of Ur 3360:Uruk Trough 3355:Blacas ewer 3332:Middle East 3025:Burgon vase 2925:Wardak Vase 2838:David Vases 2745:Min Palette 2730:Hornedjitef 2631:Aubin Codex 2608:and objects 2606:Departments 2587:Great Court 1634:Steane, 135 1550:Needham, 24 1522:Wilson, 175 1509:, from the 1140:rouge clair 1128:rouge clair 1066:Constantina 1039:Emerentiana 972:Constantina 941:sarcophagus 872:. Caxton's 826:Emerentiana 794:Constantine 787:iconography 734:Iconography 706:silver-gilt 702:King's Lynn 672:silver-gilt 617:reliquaries 529:Saint Agnes 487:Lord Iveagh 483:Lord Savile 466:HM Treasury 439:Bond Street 382:Peacemaker. 272:Joan of Arc 144:blackletter 121:Tudor roses 113:Saint Agnes 109:rouge clair 51:is a solid 37:Saint Agnes 3879:Gothic art 3843:Categories 3624:Prints and 3582:Sutton Hoo 3557:Lindow Man 3524:and Europe 3522:Prehistory 3370:Palmer Cup 3317:Warren Cup 3285:Discobolus 3155:Meroë Head 3110:Harpy Tomb 2878:Klang Bell 2122:. 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