Panel with San Millán

Master Engelram and his son Redolfo

An item at Metropolitan Museum of Art

The relics of the sixth-century Spanish saint Aemilian were housed in an ornate shrine crafted of ivory, gold, and gems. We are remarkably well informed about the reliquary, which was made on the occasion of the translation (or transport) of the saint's relics from the monastery of Suso to the church of San Millán de la Cogolla, dedicated in 1067. Although the reliquary was damaged during the Napoleonic invasion of Spain in 1809, we know from a 1601 description that The Cloisters' plaque decorated the roof of the shrine. On it we see the saint tending his sheep in the bottom register, while above he receives a blessing from the hand of God at the top of a mountain. In addition to this plaque, several other ivories from the shrine survive in European and American collections. One, in the State Hermitage Museum, Saint Petersburg, depicts the ivory carver and his assistant in the workshop and bears an inscription that identifies them as Master Engelram and his son Redolfo. Such images of artists were rare in this period, as was the practice of identifying artists by name.

Medieval Art and The Cloisters

An exhibit at Metropolitan Museum of Art

The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world. Displayed in both The Met Fifth Avenue and in the Museum's branch in northern Manhattan, The Met Cloisters, the collection encompasses the art of the Mediterranean and Europe from the fall of Rome in the fourth century to the beginning of the Renaissance in the early sixteenth century. It also includes pre-medieval European works of art created during the Bronze Age and early Iron Age.

Metropolitan Museum of Art