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#190: By Ian Wardropper, Director Transcript

One of the distinctive art forms of the French Renaissance, enamel painting flourished in the sixteenth and seventeenth centuries in the city of Limoges, in southwest-central France. The production of enamel—essentially powdered glass on a metal substrate—required highly specialized skills, with artists of the Limoges workshops marshaling a variety of materials and techniques to achieve the desired colors, opacities, and other effects. The objects displayed in these cases represent the handful of dominant workshops that operated over generations to satisfy the demand for Limoges enamels across Europe. This includes the workshop of Suzanne de Court, who is the only known female head of a workshop active in Limoges.

Like all of these objects, the saltcellars indicate the wealth and status of their owners. Technical analysis of the Orpheus saltcellars, signed by Suzanne de Court, suggests that they were rarely, if ever, used to hold salt, then a very costly luxury. They were perhaps used primarily for display.

The subjects depicted on the objects displayed here represent the interests of their patrons: chiefly religious and mythological subjects as well as portraits, which were typically made at a small scale. The ambitious plaque of the Triumph of the Eucharist and the Catholic Faith, by Léonard Limousin, combines religious subject matter with a rare group portrait of the powerful Guise family.

The Triumph of the Eucharist and the Catholic Faith

 (French, ca. 1505–ca. 1575)
Date1561−62
MediumPainted enamel on copper, partly gilt
Dimensions7 3/4 × 10 in. (19.7 × 25.4 cm)
Credit LineHenry Clay Frick Bequest
Accession number1916.4.22
Commentary

This ambitious plaque is a propagandistic, if private, retelling of the shifting religious ideals and political struggles of the powerful Guise family. In the center is Jean de Guise, Cardinal of Lorraine, in a red robe and biretta, walking beside his older brother, Claude, first Duke of Guise. Behind the brothers—both of whom died in 1550, more than ten years before the plaque was commissioned—a chariot carrying Claude’s wife, Antoinette de Bourbon, tramples a group of Protestant heretics as she displays a chalice and host. This scene represents the triumph of the doctrine of transubstantiation—the belief in the transformation of the bread and wine of the Eucharist into the actual body and blood of Christ— a central issue of the Counter-Reformation and French Wars of Religion. Antoinette’s eldest son, François, second Duke of Guise, pushes the triumphal procession forward while the youngest, Charles, Cardinal of Lorraine, walks toward them with a text in his hands, offering a compromise to the Catholic Church’s controversial position on the Eucharist. Charles’s personal emblem and motto— an ivy-covered obelisk bearing the Latin phrase TE STANTE VIREBO (With you standing, I shall flourish)—are painted at the right.

Source: Vignon, Charlotte. The Frick Collection Decorative Arts Handbook. New York: The Frick Collection/Scala, 2015.

Collection History

J. Pierpont Morgan, London and New York. Duveen. Frick, 1916.

Source: Enamels, Rugs and Silver in The Frick Collection. Volume VIII. New York: The Frick Collection, 1977.

Not On View
Front view of enamel ploychrome plaque representing the Portrait of a Man, potentially Guillaum…
Léonard Limosin (or Limousin)
1546
Front view of polychrome enamel plaque representing Guy Chabot, Baron de Jarnac, in a gilt meta…
Léonard Limosin (or Limousin)
1540–45
Front view of enamel and gilt metal portrait of Louise de Pisseleu, Madame de Jarnac
Follower of Léonard Limosin (or Limousin)
late 16th century or later
Front image of enamel polychrome plaque depicting a man in Renaissance style dress
Léonard Limosin (or Limousin)
1542
Front view of polychrome enamel portrait of Odet de Coligny, Cardinal de Chatillon (1515–1571) …
Léonard Limosin (or Limousin)
ca. 1555
Front image of polychrome enamel plaque depicting the Portrait of a Man, potentially Antoine de…
Léonard Limosin (or Limousin)
ca. 1560
Side view of polychrome enamel ewer depicting the Triumph of Bacchus and the Triumph of Diana
Master I.C.
late 16th century
Front view of polychrome enameled casket in a structure of gilt bronze with Old Testament Subje…
Attributed to the Workshop of Pierre Reymond
mid-16th century, with later additions
Front view of enameled polychrome triptypch depicting The Way to Calvary; The Crucifixion; The …
Workshop of Master of the Large Foreheads
ca. 1510
Front view of an enamel plaque representing The Agony in the Garden in its decorative frame of …
Jean Pénicaud I
ca. 1520−25
View from the top of an enameled polychrome Ewer Stand showing Moses Striking the Rock
Workshop of Pierre Reymond
late 16th century
Front view of polychrome enamel plaque depicting the Adoration of the Shepherds
Master IDC
late 16th or early 17th century
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