Musée national du Moyen Âge
From Wikipedia, the free encyclopedia
The Musée national du Moyen
Âge in the Hôtel de Cluny
The Lady and the
Unicorn tapestries
موزه ملی قرون وسطی/سده های میانه که در گذشته موزه دو کلونی نامیده
می شد (با تلفظ فرانسه: myze
də klyni) که
رسما Musée national du Moyen
Âge - Thermes et hôtel de Cluny (موزه
ملی قرون وسطی- عمارت و آبگرم کلونی نامیده می شود از موزه های پاریس پایتخت
فرانسه است. این موزه در منطقه 5 در خیابان
پُل پِنِلوه (Paul Painlevé) پلاک 6، جنوب بلوار سن
ژرمن، بین بلوار سن میشل و خیابان سن ژاک واقع شده است. از آثار مهمی که در این موزه نگاهداری می شود
دیوارکوبهای ششگانه بانو و تکشاخ (La Dame à la Licorne (The Lady and the Unicorn است.
The Musée
national du Moyen Âge, formerly Musée de Cluny (French pronunciation: [myze də klyni]),
officially known as the Musée national du Moyen Âge - Thermes et hôtel
de Cluny (National Museum of the Middle Ages - Cluny thermal baths
and mansion), is a museum in Paris, France. It is located in the 5th arrondissement at 6 Place Paul
Painlevé, south of the Boulevard
Saint-Germain, between the Boulevard
Saint-Michel and the Rue Saint-Jacques.
Among
the principal holdings of the museum are the six La Dame à la Licorne (The Lady and the
Unicorn) tapestries.
هتل دو کلونی
احتمالا این بنا برجسته ترین نمونه ی سر پا از معماری
شهری پاریس سده های میانه است.
The
Hôtel de Cluny
The
structure is perhaps the most outstanding example still extant of civic architecture in medieval Paris. It was
formerly the town house (hôtel) of the abbots of Cluny, started in 1334. The
structure was rebuilt by Jacques d'Amboise, abbot in commendam of Cluny 1485-1510; it
combines Gothic andRenaissance elements. In 1843 it was made
into a public museum, to contain relics of France's Gothic past preserved in
the building by Alexandre du
Sommerard.
Though
it no longer possesses anything originally connected with the abbey of Cluny,
the hôtel was at first part of a larger Cluniac complex that
also included a building (no longer standing) for a religious college in the
Place de la Sorbonne, just south of the present day Hôtel de Cluny along
Boulevard Saint-Michel. Although originally intended for the use of the Cluny
abbots, the residence was taken over by Jacques
d'Amboise, Bishop of Clermont and Abbot of Jumièges,
and rebuilt to its present form in the period of 1485-1500.[1] Occupants of the house over the
years have included Mary
Tudor, the sister of Henry VIII of England. She was installed here
after the death of her husband Louis XII by his successorFrancis I of France in
1515; Francis wished to monitor Mary closely, particularly to see if she was
pregnant. Seventeenth-century occupants included several papal nuncios,
including Mazarin.[2]
Later,
it was used as an observatory by the astronomer Charles Messier, who in 1771 published his
observations in the landmark Messier catalog. In 1793 it was confiscated by
the state, and for the next three decades served several functions. At one
point it was owned by a physician who used the magnificent Flamboyant chapel on the first floor as a
dissection room.[3]
In
1833 Alexandre du Sommerard moved here and installed his large collection of
medieval and Renaissance objects.[4] Upon his death in 1842 the
collection was purchased by the state; the building was opened as a museum in
1843, with du Sommerard's son serving as the first curator. The present
gardens, opened in 1971, include a "Forêt de la Licorne" inspired by
the tapestries.
The
Hôtel de Cluny is partially constructed on the remains of Gallo-Roman baths dating from the third century
(known as the Thermes de Cluny),
which are famous in their own right and which may still be visited. In fact,
the museum itself actually consists of two buildings: the frigidarium ("cooling room"),
where the remains of the Thermes de Cluny are, and the Hôtel
de Cluny itself, which houses its impressive collections.
The
museum
The
Musée de Cluny houses a variety of important medieval artifacts, in particular
its tapestry collection, which includes the
fifteenth century tapestry cycle La
Dame à la Licorne (The Lady and the
Unicorn).
Other
notable works stored there include early Medieval sculptures from the seventh
and eighth centuries. There are also works of gold, ivory, antique furnishings,
stained glass, and illuminated
manuscripts.
Gallery
Hôtel de Cluny
·
·
Interior of the Roman baths
·
Element of the Pillar of the Boatmen,
first quarter of the 1st century AD
·
Room of the Roman baths
with capitals from theAbbey of
Saint-Germain-des-Prés
·
View of the courtyard and
its gallery
·
View of the courtyard and
tower
·
Tower door
·
Gable window
·
The well
·
View from the medieval
garden
·
View of the garden arcades
·
Capitals under the arcades
·
Vaults of the gothic chapel
·
One of the rooms of the
museum
·
Collection
The Devil and a woman,stained glass, before 1248, from the Sainte-Chapelle
·
Marble sculpture of thePresentation at
the Temple, Burgundy, late 14th century
·
Reliquary of the Holy Umbilical Cord :
Virgin and Child, gilded silver, France (Paris ?), 1407
·
Casket : Apostles and
angels, gilded champlevéenamel,
Limoges, 2nd quarter of the 13th century
·
Adam, stone, Paris, around
1260, from the interior of the south transept of Notre-Dame
de Paris
·
Altarpiece of the Abbey of Saint-Denis,
around 1250-1260, episodes of the life ofSaint Benedict
·
« Melancholic » Apostle,
stone, around 1243-1248, from the interior decor of the Sainte-Chapelle
·
Health collection of Ibn Butlan, Rhineland, 2nd half of 15th
century
·
Visigothic votive crowns
from the Treasure of Guarrazar,
Spain, 7th century
·
Ivory binding of Ariadne
with Maenad, Satyr and Cupids,Constantinople, 6th century
·
Ivory crosier, Virgin and child with two angels,
around 1300
·
Tapestry of The Lady and the
Unicorn, A mon seul désir, late 15th century.
·
Tapestry of The Lady and the
Unicorn, Hearing
·
Tapestry of The Lady and the
Unicorn, Taste, detail
Herman Melville visited Paris in 1849,
and the Hôtel de Cluny evidently fired his imagination. The structure figures
prominently in Chapter 41 of Moby-Dick, when Ishmael, probing Ahab's
"darker, deeper" motives, invokes the building as a symbol of man's
noble but buried psyche.
In G. K. Chesterton's The Man Who Was
Thursday, the narrator states (chapter 13) that the wealthy Dr.
Renard's rooms "were like the Musée de Cluny".
