Spanish, possibly Silos, or French, Limoges, second half 12th century

with Brimo de Laroussilhe, Paris;

where acquired 6 March 2006

The present repoussé figure represents the Virgin with the crowned Christ Child sitting on Her left knee. The Virgin is veiled and wears a finely pleated robe, which is fluidly draped across Her body and cinched at Her waist with a belt. The Virgin's drapery is enhanced by an embroidered band at the collar that was originally inset with stones which have been lost. The Virgin holds a fleur de lys at the height of Her chest, which compares to a crowned Virgin and Child on a Limoges châsse in the Church of Saint Marcel (op. cit. Gauthier, cat. no.76). The small holes at Her neck and between Her feet indicate that the figure was mounted as an applique. There is a faint line surrounding the Virgin's head, which may indicate that she originally wore a crown. 

The style and overall composition of the applique relates to a series of Apostle figures which are dispersed and are now in the Metropolitan Museum of Art, New York (inv. no.17.190.779); Kestner Museum, Hanover; and musée Sainte Croix, Poitiers (op. cit. Gauthier, cat. no.46). The posture and drapery of the Apostles seem to derive from the same type as the Virgin and Child: seated with their feet resting on a decorated cushion, with finely draped robes that are smooth at the knees. The eyes are inset with enamelled pearls and the collar is similarly enriched with a band embroidered with stones. The Apostles are thought to have been made in Limoges circa 1185-1200; given the comparisons it is probably that the present figure dates to the same period.

The present applique is, however, more Romanesque in style, which could suggest a slightly earlier date and might even indicate an origin in Silos rather than Limoges. The Virgin and Child finds convincing parallels in the crowned Virgin and Child which stands central in an altar front of the apse of San Miguel de Aralar, attributed to Silos or Limoges, circa 1175-85 (op. cit. Hildeburgh, pl.XXI, fig.27a). While the San Miguel Virgin and Child is largely flat as only the faces are worked in three dimensions, the flowing pose, energetic drapery, and oval physiognomy of the faces compare closely.

Few three-dimensional metalworks of this type survive. The outstanding quality of the hammered copper, detailed features, and remnants of precious gilding and enamelling demonstrates a highly skilled workmanship, which was present in both Limoges and Silos in the second half of the 12th century. It is likely that the present figure functioned as part of a devotional altar-top, such as was the case with the seated Virgin and Child in San Miguel de Aralar.

RELATED LITERATURE

M. Gauthier, B. Barriere, D. Becquet (et al.), Enamels of Limoges 1100-1350, exh. cat. The Louvre Museum and The Metropolitan Museum of Art, Paris, New York, 1996, pp.178-9, cat. nos.46, 76, 135; W.L. Hildeburgh, Medieval Spanish Enamels, Oxford, 1936, pl.XXI, fig.27a