Limoges enamel, France, late 12th century.

Of rectangular form, with champlevé enamel on copper alloy, fixed to an oak panel with iron nails. In the indented centre is depicted Christ in Majesty, sitting on a rainbow, raising his right hand in blessing and holding a book in his left hand. Above his shoulders are the Greek letters Alpha and Omega. In each corner are the symbols of the evangelists. The figures are engraved and gilt; their heads have been cast in relief and applied. The bevel has a band of leaf ornament and the outer border has a foliated scrolling stem also engraved and gilt. The whole of the decoration is on a blue enamel ground.

This object belonged to the famous French collector M. Sigismond Bardac. It was acquired by the museum in 1898.

In the Middle Ages, Limoges enamel was exported all over Europe including Scandinavia, and has been found as far a field as Iceland. There are even references to what could be Limoges enamel in China. The far reaching influence of this workmanship from the 12th to the 14th centuries was largely due to its distinctive aesthetic qualities. Enamelling had the unique ability to bring colour to three dimensional objects. It combined the vibrancy and distinctiveness of colour found in medieval stained glass and illuminated manuscripts with the functional forms of caskets, candlesticks and gospel covers. The application of enamel added versatility to such objects. They could depict narrative scenes, heraldry and religious iconography. By adding separately cast bronze figures to a colourful enamel surface, Limoges craftsmen combined enamelling with sculptural skill and created a third dimension in their scenes.

Although high quality enamels were produced in other areas of Europe, namely the Rhine and Meuse valleys, Limoges works were the most widely diffused in the Middle Ages. The area benefited from geographical location and influential patrons. It was placed on the intersection of major trading routes and pilgrimage routes to Spain and Rome. Under the jurisdiction of Henry II (1133- 1189), Limoges profited from the patronage of the Plantagenets. The influential abbey at Grandmont and Pope Innocent III (r.1198-1216) also commissioned works from Limoges. (Enamels of Limoges, 1996)

Historical significance: This object is a fine example of Limoges enamel work. Limoges enamel was characterised by the predominant use of blue, which can be seen here. Another feature, found as early as 1160-1170, was to work the heads of figures in bronze separately and apply them to the flat enamel ground. The plaque also exemplifies this skill. Early Limoges enamel used a formulaic style which is replicated in this work. The imagery, borders and decoration are all found in other Limoges works from the period.

The iconography of the plaque reflects the traditional iconography of enamel Gospel covers at this time. Bindings depicted the Crucifixion on the front cover and Christ in Majesty amid the symbols of the four evangelists on the back cover. Limoges enamel Gospel covers from the same period in the Metropolitan Museum (cat. 86) and in Gauthier's Emaux Méridionaux (cat.223) show that whilst the plaques could differ greatly in style, they followed certain traditions of form. Similar to the V&A example, Christ in Majesty sits enthroned, holding a book. His figure is enclosed inside an oval border and the four evangelists are placed in the corners of the cover.

It is likely that, as first suggested by Gauthier (1972), the V&A plaque is the reverse section of a plaque of the same date in the Kunstgewebemuseum, Berlin. This enamel, depicting the Crucifixion, has many stylistic similarities with the V&A piece. The foliate scrollwork is almost identical in both plaques and the decorative border panels display the same design and colouring. It is probable that these plaques once formed part of the same binding.

This plaque comes from the back of a gospel cover. Book bindings for gospels were often made of expensive materials such as silver, ivory and enamel in the medieval period. Enamelled book covers became particularly numerous in Limoges between c.1180 and c.1230, when the enamelling industry was at its peak in this area.

This book cover, with Christ surrounded by the symbols of the four evangelists, is a fine example of work by the early Limoges enamellers.

In the Middle Ages, Limoges enamel was exported all over Europe including Scandinavia, and has been found as far afield as Iceland. The far reaching influence of this workmanship from the 12th to the 14th centuries was largely due to its distinctive visual qualities. Enamelling applied the vibrancy of colour found in medieval stained glass and illuminated manuscripts to three dimensional objects such as caskets, candlesticks and gospel covers. Enamelled decoration could be extremely versatile, depicting narrative scenes, heraldry and religious iconography.

651-1898