Faith Encased in Gold, Exploring Reliquaries

My cousin once said to me, “nothing makes art like religion” and when one takes a step back it is hard not to disagree. From Michelangelo’s Sistine Chapel ceiling to Leonardo’s Last Supper, some of the most famous and prized works have been created through the devotion and love born out of Christianity. Unlike paintings or sculptures, reliquaries were not made simply to be admired, but to house important relics. Items such as bones, blood and objects tied to saints and to Christ himself were set into gold and adorned with gemstones and enamel to reflect the significance of their contents.

To understand the artistry of reliquaries, we must first understand relics. Defined by the British Museum as “the physical remains or objects closely associated with a saint, martyr or other holy person,” relics were believed to heal and protect or even perform miracles for worshippers. Known examples include fragments of the True Cross, skulls, arms, whole bodies, vials of blood, fingers, teeth and many others. The Crusades of the Middle Ages brought many of these items into Western Europe as pilgrims and knights would return with them from the holy lands. Churches and rulers then commissioned reliquaries that were statements of faith as well as of wealth, with the goldsmiths of the time honouring these relics with creations worthy of such sacred items. Unfortunately, most reliquaries are unattributed as they were rarely signed and little documentation survives. Materials were chosen deliberately with symbolism inlaid into every decorative choice. This post will look at three striking examples that display extraordinary craftsmanship.

Two contrasting examples come from Christ’s crown of thorns, said to have been placed upon Jesus’ head during his crucifixion.

Reliquary Pendant of the Holy Thorn

This reliquary, made in Paris around 1340, is from the outside a simple amethyst pendant in a tactile kidney shape with a short chain, meant to be worn around the wrist and cradled in the palm of the hand.

When opened, much more is revealed. The amethyst has connections with Christianity due to the classical story of Ametiste. Fleeing the god of wine Bacchus, she is turned into a pure white stone (rock crystal). Upon finding her this way, Bacchus weeps tears of wine over her and stains her purple. In Christianity this came to reflect the blood sacrifice of Christ and is used in many reliquaries and religious items. Inside the pendant, enamelled plaques depict biblical scenes including the Virgin and Child and the Crucifixion, one of which lifts away to reveal the Holy Thorn behind a rock crystal panel. The reliquary reflects a time when Paris was a centre of goldsmith activity and wealth, with sophisticated jewels prized among collectors. Its deeply personal design made to be held in the hand to absorb the amuletic properties of relic and stone demonstrates both the devotion to religion and the exceptional skill of Parisian craftsmen.

Museum number 1902,0210.1, © The Trustees of the British Museum.

The Holy Thorn Reliquary

A larger, more public and highly impressive example is the Holy Thorn reliquary, made around 1400 and commissioned by Jean, Duc de Berry, a member of the French royal family. Standing 30.5cm high and weighing over 1.4kg, every surface tells a story. The base is architecturally shaped like a fortress, topped with trumpet playing angels and the dead rising from their coffins, the central section shows Jesus displaying his five wounds, seated on a white globe behind the Holy Thorn, with the Virgin Mary and St John kneeling beside its sapphire base. Jesus’ head is crowned by two angels holding the instruments of the Passion. The twelve apostles surround the central crystal window, while God crowns the very top. The reverse features hinged doors covering a space for possibly another relic, decorated with figures of St Michael battling the devil and St Christopher carrying the Christ Child. Dripping with meaning from top to bottom, this reliquary is both a devotional masterpiece and a tool for drawing in important visitors and pilgrims. Originally housed in its own chapel in Paris, it now stands in the British museum

Museum number WB.67 © The Trustees of the British Museum

The Head of St John the Baptist

A different type of relic is represented by the reliquary of the head of St John the Baptist, preserved in Amiens Cathedral in France. Many locations claim to possess his head, such as San Silvestro in Capite in Rome and the Residenz Museum in Munich, but Amiens holds one of the most significant examples.

According to biblical accounts, St John criticised King Herod for divorcing his wife and marrying his niece, Herodias, which was seen as a violation of God’s law. Angered, Herodias asked King Herod to have John imprisoned. At the kings birthday feast Herodias’ daughter entertained the king with her dancing, pleased with her performance he promised her anything she wished. At her mother’s urging, she asked for John’s head and it was delivered on a platter.

Found resting on a silver plate, it was brought back from a the fourth Crusade in Constantinople by Wallon De Sarton, with the plate being sold to fund the travel. It was given it to the Bishop of the town Armiens in 1206 and a cathedral was constructed to display this relic. Exhibited there until the French revolution where it was removed for protection, but later returned in 1816 where a gilded silver plaque was added to restore the historic story.  The skull is preserved in rock crystal, with gemstones of turquoise cabochons, peridots, amethysts and pink and light blue/green stones together with pearls adorning the rim and forehead, with an enamel plaque of the saint depicted with a cross topped staff. The bottom of the plate has the historic royal banner of France.

Here again, materials are the key to meaning. Rock crystal acts as a pure and protective window, while gemstones and pearls transform the relic into a jewel of devotion. Across centuries this combination of gold, crystal and gemstones continues to communicate both sanctity and magnificence.

Universal Images Group via Getty

Conclusion

It must be said that this is a small exploration into the many surviving reliquaries of the Middle Ages. Many today still housed in cathedrals and churches, reliquaries like these show that they were as much about craftsmanship and wealth as they were about faith. They drew crowds of pilgrims, elevated the status of cathedrals and showcased the skills of the most talented goldsmiths. The medieval belief that the sacred could be encountered through physical objects is reflected in every detail and their enduring power lies in the way they combine devotion with artistry. Perhaps this is why these items remain so captivating today, they are testaments to the skills of the past born from devotion, yet also carriers of story and meaning through time.