The Cloisters

On the third day of the trip I separated from my mom and brother for a solo day of museums. They went to tour more of south Manhattan while I took the A train all the way to north Manhattan to visit The Cloisters. The Cloisters is a lovely museum featuring an incredible collection of Medieval art. 

Hopping on the subway in Queens and heading towards Manhattan.

Part of the beautiful Fort Tryon Park that surrounds the museum.

The Healing of the Blind Man and the Raising of Lazarus. Monastery of San Baudelio de Berlanga Spain, possibly 1129-1134.

Textile Fragment from the Shrine of Santa Librada. Sigüenza Cathedral, Spain - first half of the 12th century.

Alter Frontal. Ginestarre de Cardós, Spain 1225.

The Virgin and Child in Majesty and the Adoration of the Magi. Attributed to the Master of Pedret. Church of Santa Maria de Cap d’Aran, near Tredós, Spain, 1100.

Panels with Ivory Crucifixion Scenes. Jaca, Spain, 10th-11th century.

Pyxis with the Miracle of Christ’s Multiplication of the Loaves. 6th century.

This beautiful box was made in North Africa but was entered into the treasury of San Pedro de la Rúa, a church on the pilgrimage route to Santiago de Compostela sometime in the 13th century. The lid is a later replacement of uncertain origin. 

Bifolium from a Pink Qur’an. Valencia or Granada, Spain, early 13th century.

At a time when most Andalusian Qur’ans were written on parchment, this distinctive pink paper was milled in Játiva; a town well known for its fine paper production.

Coffret with the Legend of Guilhem, Count of Toulouse. Southern France, 1200-1225.

The rare wooden box survived with its remarkable and vibrant painting still largely intact.

Letter from Judah ha-Levi to Halfon ben Nathanel ha-Levi. Alexandria, Egypt, after mid September 1140.

Judah ha-Levi was a scholar, poet, physician, and leader of the Toledo Jewish community in the early 12th century. Later in his life he traveled to the Holy Land. Stopping in Alexandria, he wrote this letter to a friend describing his journey. 

Hebrew Bible. Spain, 1300-1350.

Pyxis carved in Ivory. Cordoba, Spain, 950-975. 

The Saint-Guilhem Cloister.

Three Shields with Coats of Arms. French, early 14th century.

The shield with the cross moline belongs to a member of the Moustuéjouls family. The other two shields belong to the Porcelet family. (Porcelet means piglet in French).

Doorway. French 1250.

The monastery of Moutiers-Saint-Jean, where the doorway was originally placed, is believed to feature the donors on either side. King Clovis (above) and his son Clothar (below).

Architectural Frieze. French, 1120-1150.

Spandrel. French, 1120-1130.

Marveling at the Cuxa Cloister and the beautiful architecture. 

I was so impressed with how the museum incorporated medieval columns, archways, and other design elements into the structure of the building. It was easy to feel transported back in time.

The Cuxa Cloister.

Mourning Virgin. Austrian, 13th century.

Grisaille Panels. French, 1320-1330.

A close up of stained glass from the choir windows at Saint-Ouen at Rouen. 

Martyrdom of Saint Lawerence. British, 1180.

This stunning piece of stained glass came from the Canterbury Cathedral. It depicts one of my favorite Saints, Lawrence the Martyr, on a grill over an open fire for his defiance of Rome. 

A window filled with British, French and German stained glass ranging from 1230-1340.

Looking down into the Gothic Chapel.

Tomb Slab of a Friar. French, 14th century.

This tomb slab indicated that it was in honor of Father Louis. It still retains a remarkably modern look.

A Knight of the d’Aluye Family. French, 1258-1267.

Three generations of men from the d’Aluye family had gone to the Holy Land to fight in the crusades. This tomb was intriguing because the carved sword at his side did not match his armor; it was of Chinese origin.

Saint Fiacre. British or French, mid 15th century.

As the patron Saint of gardeners, he was known for his herbal remedies (particularly for hemorrhoids).

Book of Flower Studies. French, 1510-1515.

Bust of the Virgin. Prague, 1390-1395.

The Book of Chess. Written by Jacob de Cessolis (Italian, active 1288-1322). Woodcuts with letterpress, published by Heinrich Knoblochtzer (German, late 1400’s).

The description indicated: “The author - a Dominican friar - hoped that, in learning about the game of chess, men would ‘behave more as they should’ in real life. The board provides the grid for a balanced, just society, in which all have assigned roles to play.”

Ivory Chess Pieces. Western European, late 1300’s.

Windows filled with beautifully detailed glass pieces.

Saint Agnes. Swabia, 1490.

Three Apes Assembling a Trestle Table, German(?), 1480-1500.

Netting Partridge. Nuremberg, 1535-1545.

Turkish Soldier Holding an Arrow and Supporting a Shield. Netherlandish, 1530.

Tile with the Heraldic Device of the Nasrid Kings. Spanish, early 16th century. 

This floor tile bears the device of the Nasrid Kings; a shield with a white heraldic band impressed with the motto “There is no conqueror but God” in Arabic.

Glass Beakers. German, late 15th or early 16th century.

Glass Beaker. German or Swiss, late 13th-early 14th century.

Reliquary Beakers. German, late 15th-early 16th century.

Footed Cup with Forked Handle (left). Beaker with Openwork Foot (right). Both German, 1500-1525.

These incredible vessels share the distinctive bluish-green color of glassware typical along the Rhine River. The cup on the left had a protruding element that was a thumb rest. It was a common feature in metal cups but is considered almost reckless when done in glass. The cup on the right features an intricate openwork base. Only two other examples on this form exist. Miraculous that both of these fragile cups have survived. 

Flask with the Image of Jesus Crucified. German, 1490-1510. 

The description indicated: “This vessel resembles a pilgrim’s bottle, with loops on its shoulders for attachment to a cord or strap. Exceptionally, however, a hollow, free-blown image of Jesus crucified is attached to the flask. His body could thus be filled with wine or any other liquid poured into the bottle. The function of this unusual glass is not known.”

Standing Virgin and Child. Attributed to Niclaus Gerhaert von Leiden. Probably Vienna, 1470.

Detail of Prophet (left). French or South Netherlandish, late 1300’s. Head of a Bishop (right). South Netherlandish, 1440-1460. 

The Cloisters Playing Cards. South Netherlandish, 1475-1480.

The Cloisters set of fifty-two cards is the only known complete deck of illuminated playing cards from the 15th century. 

The Prayer Book of Bonne of Luxembourg, Duchess of Normandy. Attributed to Jean Le Noir. French, mid 1300’s. 

Bonne of Luxembourg, for whom the book was made, died of the plague in 1349. The book was then passed on to her eldest son, Charles V of France, who established a royal library. The book was most likely made by Jean Le Noir, an illuminator in the service of Bonne’s husband, John the Good. Jean Le Noir collaborated with his daughter, the enlumineresse (female illuminator) Bourgot.

The Belles Heures of Jean de France, duc de Berry. By The Limbourg Brothers. French, 1405-1409.

The Hours of Jeanne d’Evreux, Queen of France. By Jean Pucelle. French, 1324-1328.

The book may be limited in color, but the delicate shades of gray have a beautiful sculptural quality. The panel on the left depicts Christ before Pontius Pilate and the panel on the right depicts the expectant Virgin Mary greeted by her cousin Elizabeth. 

Prato Haggadah. Spanish, 1300.

The Haggadah traces the biblical story of the Exodus and celebrates the Jews’ escape from slavery in Egypt. While the story had been established for thousands of years, it was not until the Middle Ages that the Haggadah was made into an independent, illustrated book for household use.

Ring. Ottonian, 950-1050.

An intricate gold ring made with a variety of techniques. Speaks volumes of the skill and sophistication of Ottonian goldsmithing.

Crucified Christ. Northern European, 1300.

This sensitive and delicate carving was made out of walrus ivory.

Panel with Hunting Scenes. French, 1350.

Silver Belt (with modern textile support). Italian, 1325-1350.

Locket-Brooch in the Form of a Letter E. German, 1340-1360

The description indicated: “The letter E was presumably the initial of the person for whom this locket was made. It opens to reveal a capsule in which a love token, perhaps a lock of hair, was once concealed. An inscription inside, written in a dialect of Middle High German, can be translated: ‘Fair lady, may I always remain close to your heart’. The cast figure on the front holds an arrow symbolizing the love that pierces his heart, a popular motif in fourteenth-century courtly romance imagery.”

Coffret (Minnekästchen). German, 1325-1350.

The description indicated: “The inside of this coffret’s lid depicts Frau Minne, the German goddess of love, aiming an arrow at a young man. At right, he gives her his heart. The inscriptions have been interpreted as: ‘Gracious lady, I have surrendered’, and ‘Lady send me solace, my heart has been wounded’.

Pax. German, 1515-1520.

The engraved letters IHS in the rock crystal are a monogram of the Greek name for Jesus. On the inside of the back plate is an inscription indicating that Jacob Ostrofski presented this pax to the church of Blonie (near Warsaw) in 1529.  

Enthroned Virgin and Child. French, 1260-1280.

I was struck by the tender sweetness of this piece. Normally, the Christ child is facing outward toward the viewer. In this small ivory sculpture Mary and baby Jesus are loving engaged with one another, just simply mother and child. 

Reliquary Shrine. Attributed to Jean de Touyl. French, 1325-1350.

This reliquary, so sumptuously designed, features the Virgin and Child surrounded by angels. The arches, vaults, and sculptural decorations resemble stained glass windows and depict scenes in the life of Mary and Jesus. It was bursting with vibrant color and extraordinary detail. It is one of only four such shrines to have survived. 

Devotional Diptych. German, 1300-1325.

This tiny piece could be folded and placed into a pocket. 

The Bishop of Assisi Giving a Palm to Saint Clare. German, 1360.

Reliquary Cross. French, 1180. 

Gold and sapphire rings. British, late 13th or early 14 century. 

I loved looking at the collection of rings. They are such intimate, personal items. Some ornate, others elegant and surprisingly modern. All expertly crafted. Sapphire was often used for its spiritual significance. 

Gold and sapphire rings. French and British, 13th century. 

Crozier. Northern Italian, early 14th century. (Detail of a Cope, a type of ceremonial vestment worn by high ranking clergy, is in the background. Spanish, 1430-1437.)

Book of Hours. By Simon Bening. South Netherlandish, 1530-1535.

This very small and beautifully designed book was meant to be stored with precious possessions and used for prayer at three hour intervals throughout the day.

Reliquary. Hungarian, 1500.

Tile with Griffin. French, early 16th century.

The French inscription reads: “We must think.”

Sweetmeat Fork. German, late 15th century. 

Stepping outside into the Bonnefont Cloister and Garden. The herb garden contains over 250 species that were cultivated in the Middle Ages. Even in December it was a sight to behold.

The adjacent Trie Cloister.

Detail of the Unicorn Tapestries. 

The room was filled with magnificent panels of a unicorn hunt. The tapestries were mostly likely designed in Paris and woven in Brussels in about 1500. 

The Unicorn Rests in a Garden (The Unicorn in Captivity). 1495-1505. 

The brilliant stained glass window in the Boppard Room. The stained glass was made in the 15th century and is from a Carmelite convent at Boppard-am-Rhein, Germany.

Antiphonary. By Belbello da Pavia and collaborators. Italian, 1467-1470.

This large book was commissioned to contain chants to be sung at daily prayer services from Advent to Lent. Only three of the bound volumes survive today and this is the only one to have left the city of Venice. The edge of the pages have been stained from use.