• Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled crosier with a lion and serpent, circa 12th century from Limoges, enamel on gold.  AD. Inv OA 7287, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, end of the 12th century from Limoges, enamel on gold. AD. Inv OA 7284, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval relief panel depicting Christ, Enamel on gold from Limoges, circa 1220-1230. Inv OA 11935, The Louvre Museum, Paris.
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Enamelled plaque of Louis 12th known as the Sorrowful Virgin made in Limoge around 1500. inv 11170, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ in front of Pilate made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 1520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Berber Zellige decorative tiles inside the Riad of the Kasbah Telouet, Atlas Mountains, Morocco.
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Medieval enamelled crucifix, end of the 12th century from Limoges, enamel on gold. AD. Inv OA 7284, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, end of the 12th century from Limoges, enamel on gold. AD. Inv OA 7284, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled crosier with a lion and serpent, circa 12th century from Limoges, enamel on gold.  AD. Inv OA 7287, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, end of the 12th century from Limoges, enamel on gold. AD. Inv OA 7284, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, end of the 12th century from Limoges, enamel on gold. AD. Inv OA 7284, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled crosier with a lion and serpent, circa 12th century from Limoges, enamel on gold.  AD. Inv OA 7287, The Louvre Museum, Paris.
  • Medieval enamelled crosier with a lion and serpent, circa 12th century from Limoges, enamel on gold.  AD. Inv OA 7287, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, end of the 12th century from Limoges, enamel on gold. AD. Inv OA 7284, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled crosier with a lion and serpent, circa 12th century from Limoges, enamel on gold.  AD. Inv OA 7287, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled crosier with a lion and serpent, circa 12th century from Limoges, enamel on gold.  AD. Inv OA 7287, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval relief panel depicting Christ, Enamel on gold from Limoges, circa 1220-1230. Inv OA 11935, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval relief panel depicting Christ, Enamel on gold from Limoges, circa 1220-1230. Inv OA 11935, The Louvre Museum, Paris.
  • Medieval relief panel depicting Christ, Enamel on gold from Limoges, circa 1220-1230. Inv OA 11935, The Louvre Museum, Paris.
  • Medieval relief panel depicting Christ, Enamel on gold from Limoges, circa 1220-1230. Inv OA 11935, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval relief panel depicting Christ, Enamel on gold from Limoges, circa 1220-1230. Inv OA 11935, The Louvre Museum, Paris.
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Gothic chest decorated with the Slaughter of the Innocents from Limoges Circa 1210-1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65529
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled plaque of Louis 12th known as the Sorrowful Virgin made in Limoge around 1500. inv 11170, The Louvre Museum, Paris.
  • Enamelled plaque of Louis 12th known as the Sorrowful Virgin made in Limoge around 1500. inv 11170, The Louvre Museum, Paris.
  • Enamelled plaque of Louis 12th known as the Sorrowful Virgin made in Limoge around 1500. inv 11170, The Louvre Museum, Paris.
  • Enamelled plaque of Louis 12th known as the Sorrowful Virgin made in Limoge around 1500. inv 11170, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ in front of Pilate made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ in front of Pilate made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ in front of Pilate made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ’s flagellation made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ’s flagellation made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ’s flagellation made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Enamelled plaque depicting Christ’s flagellation made in Limoges at the end of the 15th century, attributed to Master Pseudo-Monvaerni. inv 6309, The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Part of an altarpiece made from enameled brick found on the forecourt of the temple-palace of Guyana /Tell Halaf. The decoration is made up of wavebands, rosettes, and semicircles that interpreted as a representing mountains. Pergamon Museum, Berlin, inv no VA14646
  • Part of an altarpiece made from enameled brick found on the forecourt of the temple-palace of Guyana /Tell Halaf. The decoration is made up of wavebands, rosettes, and semicircles that interpreted as a representing mountains. Pergamon Museum, Berlin, inv no VA14646
  • Part of an altarpiece made from enameled brick found on the forecourt of the temple-palace of Guyana /Tell Halaf. The decoration is made up of wavebands, rosettes, and semicircles that interpreted as a representing mountains. Pergamon Museum, Berlin, inv no VA14646
  • Part of an altarpiece made from enameled brick found on the forecourt of the temple-palace of Guyana /Tell Halaf. The decoration is made up of wavebands, rosettes, and semicircles that interpreted as a representing mountains. Pergamon Museum, Berlin, inv no VA14646
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 1520. Inv RF 3096, The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain

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