In which city is the Museum of a Medieval Family located? Paris
And although this album is formally dedicated to Paris, the views of this wonderful city will remain behind the scenes. Today we will talk about the famous national museum of the Middle Ages - the Cluny mansion (Musee national du Moyen age Cluny). It is located in the very center of the French capital - in the Latin Quarter at the corner of Saint-Michel and Saint-Germain boulevards. Its “historical” location is explained solely by the ancient origins of the museum building.
A long time ago, when Paris was still called Lutetia and was part of the gigantic Roman Empire, public baths - thermal baths - were located on this site. They were erected at the end of the 2nd - beginning of the 3rd centuries and burned by barbarians at the end of the 3rd century. The remains of the baths have nevertheless been preserved. Later, houses appeared next to the ancient ruins. Among others, at the end of the 14th century, the residence of Pierre de Chalus, who then headed one of the most significant abbeys of medieval France - Cluny in Burgundy, was built here. A century later, another abbot of Cluny, Jacques d'Amboise, decided to reconstruct the house, which was done between 1485 and 1500. The medieval architect came up with a very interesting solution (perhaps prompted not only by a love of ancient antiquity, but also by banal economy): the remains of walls The baths became a continuation of the walls of the Gothic mansion. Thus, the building that has survived to this day belongs to two different eras: it is not only a masterpiece of the late, so-called “flaming” Gothic, but also a monument to the Gallo-Roman era.
During the French Revolution, the mansion was nationalized. Under King Louis XVIII, the premises of the baths adjacent to the abbey building were excavated. In 1833, the Cluny mansion was acquired by collector Alexandre du Sommerard, who collected medieval and Renaissance art. In those years, such a hobby was rare. Lovers of fine arts throughout the history of art were primarily interested in antiquity and, to a lesser extent, the Italian Renaissance. Only the era of romanticism opened the eyes of collectors to the beauty of non-classical art forms. Du Somerrard was in this sense a hero of his time. After his death in 1842, the building (with the adjacent ruins of the baths) and the collection were purchased by the state to establish a museum, which opened to the public two years later and remains in operation today.
The Cluny mansion itself is a rare example of civil medieval architecture for Paris. Flaming Gothic - the autumn of the Middle Ages and the harbinger of the Renaissance - seems to me to be one of the most romantic architectural styles. It’s as if she painted the Cluny mansion with features of decay, and the museum is exceptionally organically perceived as a frozen fragment of a past long gone into the darkness of centuries.
Since the residence of the abbots was built and rebuilt many times, it contains staircases leading to nowhere and blocked arches. In this photo, a small door into the void is visible from above.
It is clearly noticeable that the masonry of the wall in the depths of the covered gallery differs sharply from the rest of the walls - this is a surviving part of the ancient three.
The ruins of a caldarium - a hot bath, a tepidarium - a warm bath and a frigidarium - a cold bath and pool - have survived to this day.
The best preserved frigidarium has walls two meters thick. This is the only Roman building in France where the vaults have completely survived. The room is so well designed that even on the hottest days, this spacious hall with a height of thirteen and a half meters remains cool. In winter, the walls and floor of the baths were heated using a system of lead and clay pipes, into which water came from boilers located in the basements.
This bath probably also dates back to the ancient period. In the Middle Ages, as is known, people could not boast of cleanliness, and large wooden tubs were then considered the height of luxury of sanitary equipment in most of Europe.
Since all the inscriptions in the museum’s halls (except, of course, “Exit”) are in French, some exhibits remained hidden for me under veils of secrecy. For some reason, this underground room evoked an association with a crypt (which it hardly ever was).
And these are probably real gravestones.
Cluny has preserved the generic features of the so-called pre-Enlightenment museums of the 18th and early 19th centuries. The exhibits there are not divided according to chronology, national schools or individual masters; the art here is not dissected according to the historical-monographic principle. This, of course, limits the possibilities of the museum as an educational tool, but gives it one important advantage over the educational museums we are accustomed to. Wandering through the halls, it is absolutely impossible to guess what awaits literally at the next step. Why does antiquity suddenly follow the 12th-13th centuries? Why are bone artifacts from the 4th century and religious paintings from the 13th century displayed in the same room? Here the visitor can freely indulge his whims and choose exactly what attracts him. No classifier tries to direct the visitor’s thoughts in a given direction or dictate his choice. Thus, Cluny was created not so much for those who are interested in changing eras and styles, but for those studying the very components of culture, for example, the care and craftsmanship of a piece of jewelry or household item.
It is difficult to list all the rich variety of exhibits in the Cluny collection. Here you can see sculptures from churches and monasteries, stained glass windows, manuscripts, furniture, church utensils, jewelry, ceramics and ivory, enamels... Of course, we must not forget that the mansion itself is not only a museum building, but also its largest exhibit.
Stained glass windows in the Gothic era were inextricably linked with architecture. Light passing through colored glass modifies the design imprinted in it by the hand of the master, painting the furnishings, floors and walls in new tones. Spots of colored light move with the sun, constantly changing their brightness and saturation, thereby giving the rooms features of irrationality and mysticism.
The ancient technology of making stained glass was distinguished by its few, but labor-intensive operations. First, the artist drew the so-called “cardboard” - a life-size sketch of the future composition to fit the size of the window. Then he outlined the main lines of the composition and laid lead jumpers along them. The voids in the frame were filled with pre-cut pieces of multi-colored glass. Then the composition was placed on a glass stand against the light and painted with special transparent paints, after which the stained glass window was fired. As a result, the glass was fused into a lead frame. Thanks to the elasticity of lead lintels, antique stained glass windows made using this technology were durable - they withstood the elements perfectly. Bent barely noticeably, they did not break under the onslaught of the most ferocious winds. Even during the Second World War, stained glass windows sometimes survived the shock wave from a bomb or shell explosion without much damage, while ordinary window glass flew out throughout the area within a radius of tens of meters.
Windows made from pieces of colored glass came into use during late antiquity. However, for a long time, stained glass windows remained purely ornamental; only at the end of the 10th century did images with figures appear. Early examples that have survived to this day include stained glass windows made for the Basilica of Saint Denis; they date from 1144. Now these stained glass windows are the true pride of the Cluny Museum.
The art of stained glass reached its peak in the 13th century. This was greatly facilitated by the development of architecture. Gothic structures no longer used thick walls as supports to support the weight of buildings, as was the case in Romanesque buildings. In Gothic, architects transferred the weight of the vaults to pillars, a system of flying buttresses and buttresses. Huge windows, often decorated with stained glass, of course, began to be cut into the walls, which ceased to act as supports.
It was at this time that stained glass windows were created, brought to Cluny from Sainte-Chapelle and the castle in Rouen. Restored in the middle of the last century by the museum’s masters, they remained in this famous mansion. Rouen stained glass windows are interesting because the shape in them is modeled not only by paint, but also by the glass itself, which has different thicknesses in different parts of the composition. In addition, these stained glass windows were made using the grisaille technique, that is, monochrome painting. This juxtaposition of multi-color glass with single-color glass made it possible to better illuminate the premises.
In this room, one of the museum’s caretakers approached me - literally the “God’s dandelion” grandmother. In very good English, she asked me why I carry a camera with me but don’t take pictures of anything. Frankly, it never occurred to me then that it was possible to film in such a museum. Since the price list at the cash register did not include the price of permission to photograph, due to the habit of a resident of Russia, I decided that it was simply prohibited. All too fresh in our memories are Russian museums and churches, where, at best, attendants in every hall or behind every column literally make a hunting stance at the sight of a camera and constantly demand to see permission. Sometimes in such situations I just wanted to pin this piece of paper on my clothes, it’s just a pity that I usually don’t carry pins with me. :) Often they simply prohibit any kind of filming, even for money. This is a specificity, by the way, inherent not only in Russia, but also in the countries of Eastern Europe. I wonder who learned from whom? :) Here I remember the lines from the famous song by Valery Shapovalov:
Stop! Who's swimming? Don't pretend to be a fish
Even fish are forbidden to swim here...
So, it turned out that in Cluny you can take photographs completely freely, the main thing is not to use a flash. This requirement is quite reasonable, since powerful flashes damage exhibits - they “burn out” the paint, etc.
However, the caretaker finally amazed me with her question. Having named the model name of my camera, “God's dandelion” asked if it was really her and what kind of additional optics I installed on it. To be honest, the camera that I used in 2004, with a wide-angle attachment installed, is not easy to recognize right away even for a specialist - the silhouette of the camera changes dramatically. I don’t think, of course, that such knowledge is inherent in all representatives of the older generation in France, but this incident turned out to be very memorable...
Having thanked the kind and technically savvy museum attendant, I rushed to photograph the halls I had already examined, which ultimately allowed me to make this album.
During the French Revolution, heads were cut off not only from people, but also from sculptures. In 1793, the stone statues of saints and biblical kings that adorned the western façade of the Notre-Dame de Paris Cathedral were toppled from their pedestals and beheaded by an ignorant crowd. Captivated by revolutionary enthusiasm, but not distinguished by education and level of culture, the mob mistook the saints for French kings and traditionally began to destroy the symbols of the “old world.” The figures of the statues ended up in the museum in the first half of the 19th century, and the severed heads were discovered quite by accident during construction work in the 9th arrondissement of Paris only at the end of the last century. This is how these symbolic exhibits are demonstrated - twenty-one statues of the “gallery of kings” from the facade of the world-famous cathedral thanks to the efforts of Victor Hugo - figures separately, heads separately...
The chapel - the former chapel of the abbots - has retained its appearance unchanged since the 15th century.
Wooden religious sculpture of the Middle Ages is sometimes distinguished by some researchers as a separate form of art. This is probably incorrect from the point of view of formal logic, but such sculptures amazingly combine the naivety of simplicity and high skill. However, there is an explanation for the skill: in the Middle Ages in Western Europe there were many skilled wood carvers - a material that was very accessible and did not require complex tools for processing.
Furniture in the Middle Ages was made heavy, often decorated with intricate carvings, but little thought was given to comfort. Probably, the term “ergonomics” would have puzzled people of those times for a long time, even if it had been deciphered for them. What are these chairs like, for example!
Tables of the 16th century. Judging by the size, these are the ancestors of modern coffee or serving tables.
Chests were a very important and practical piece of furniture not only in Rus'. Considering that both the royal court and more or less large feudal lords quite often changed residences throughout the year (most often for reasons of sanitation: due to the lack of proper sewerage and the large number of retinues, castles quickly began to resemble a cesspool), such chests served not only as furniture ( cabinets, benches, beds), but also luggage packaging.
Wood burning fireplace with chimney. For the Middle Ages, these were very luxurious “household appliances.” Even in prosperous countries, for a long time, the majority of residents made do with fireplaces “the black way,” that is, smoke came out through slightly open windows or doors, filling the entire room. In Russia, black huts were also found at the end of the 19th century.
This pottery dates back mainly to the 15th century. In those years, the “advanced” French had already adopted the elegant manners of the Italians. They began to eat not from “reusable” slices of rye bread (they were sometimes changed no more than once a week or when they began to noticeably “fragrant” even to a medieval nose accustomed to strong smells), as was the case just a century earlier, but from very colorful plates. Of course, the more tacky, the richer. :) However, if you remember the furniture of the Middle Ages, it becomes clear that the luxury of multi-colored dishes and tapestries had to compensate for the ponderous minimalism of the interiors of those times.
These repositories of noble drinks bear a certain resemblance to souvenir decanters from the late Soviet era. However, they are still noticeably older: an unknown master cast them back in the 14th century, that is, long before the era of dialectical materialism.
At one time, the Germanic peoples adopted the art of setting stones and the technique of cloisonne enamel from the Greeks and Romans. In the 5th century, at the dawn of the Middle Ages, the Visigoths founded their own kingdom in the south of France and the Iberian Peninsula. Like any pretentious rulers who love pomp, the Visigothic kings tried to decorate their residences. They had almost unlimited opportunities for this, because in 410 they captured Rome and took away the entire treasury of the Roman emperors. Visigothic craftsmen produced rare and beautiful items of the so-called polychrome style from Roman gold and silver to court orders. Historical fate divided the treasures of the Visigothic kings between two countries - France and Spain. The French part of the collection is kept today in the Cluny Museum.
I don’t know about the Visigothic or Frankish kings, but it would be unpleasant for me to drink from a goblet made in the shape of a bare human foot. :) However, in fact, as I was told, these are all reliquaries, that is, cases for storing the relics of saints.
The visor was supposed to not only protect the owner of the helmet, but also intimidate his enemies...
Field guns are displayed along the edges of the display case, which could be moved relatively easily by two gunners. In the middle, it seems, lies the trunk of a culverin. Now I don’t remember exactly what century these exhibits were dated, but judging by the technology of making the cannon barrel and strengthening it with forged iron strips, I would attribute both guns to the second half of the 15th century.
After visiting the Cluny Museum, the Middle Ages can appear in the form in which chivalric novels and fairy tales convey it to us - covered in romance, knightly nobility and majestic beauty. Meanwhile, any more or less savvy history buff will point out that those dark centuries for humanity that followed the collapse of the Roman Empire (476) and extended until the advent of modern times (the English bourgeois revolution of 1640 is usually taken as its milestone) were marked by dirt, ignorance and cruelty. However, one should not imagine the ancient era in rosy tones. However, what is important is that in any, even the darkest and most terrible times, there were always people who, often sacrificing their own lives, moved the great wheel of progress forward. If you keep this in mind, then it’s probably not so bad that sometimes the Middle Ages can seem embellished, as in children’s fairy tales about noble knights, wise kings and beautiful princesses.
The old Parisian Museum of Cluny, which today houses the National Museum of the Middle Ages, stands out from most of the city's museums. It seems to be aloof from the main trends of modernity, preserving the unique appearance of the museum until the 19th century. There are no traditional cafes here, which have become a mandatory part of modern museums as part of the entertainment industry. Also, the Cluny Museum does not have the orderliness that is inherent in almost all educational museums. This is simply a collection of oddities designed to appeal to ordinary human curiosity. Both the museum building itself, built on the site of ancient thermal baths, and its collection are unique in many ways and deserve a visit during a visit to Paris.
Story
Once upon a time, on the site of the Cluny mansion there were Roman baths, some of which have survived to this day. In the 14th century, the town house of Cluny Abbey was built in their place. At the end of the 15th and beginning of the 16th centuries, the building was rebuilt by the abbot of the order, Jacques of Amboise. The building has been rebuilt more than once, so its architecture reflects elements of the Renaissance and Gothic. In addition, during the reconstruction, some elements turned out to be unnecessary, so today you can find passages leading to nowhere, walled-up arches and other incomprehensible elements.
The house was confiscated by the state in 1793. Over the course of 30 years, the building was used in various ways, at one time one doctor even used the chapel as an autopsy room.
The history of the Cluny Museum dates back to 1933, when Alexandre du Sommera housed his private collection of Renaissance and Middle Ages artifacts here. After du Sommer's death, the collection was purchased by the state from his relatives. This happened in 1842, and since then the museum has been state-owned.
What to see
Lovers of antiquity should begin their tour of the museum with a visit to the Gallo-Roman baths, dating back to the 3rd century. The baths are open to the public regardless of the museum. As a matter of fact, the building of the frigidarium, which housed a swimming pool and cold baths, and the building of the Cluny mansion can be considered as two separate museums, embodying the unity of eras. Medieval architecture seems to grow out of antiquity, which served as the basis for it. The unity and continuous connection of eras is emphasized by modern reinforced concrete structures found in places. 
But most tourists visit the Cluny Museum not for the thermal baths, but for the exhibition housed in the abbey house. The museum's collection contains many exhibits that are worth visiting.
The property of the museum is the statues of biblical kings, which formerly adorned the western façade of Notre Dame Cathedral, discovered in the foundation of one of the houses. During the French Revolution, these sculptures were equated with the aristocracy. In the life of new France there was no place even for sculpted kings. Therefore, the statues were dismantled and beheaded. One of the townspeople bought them, supposedly for the foundation, but in fact buried them with honor. Later, instead of the destroyed statues, new ones were installed, so the discovered sculptures were transferred to the museum. The bodies of the kings appeared first in the exhibition, and their heads were discovered much later. Today they are exhibited separately. Other sculptures that are presented in the museum are no less interesting. The earliest of them date back to the beginning of the 11th century. In addition to stone sculptures, the museum collection has an excellent collection of wooden sculptures.
The museum's collection is famous for its collection of medieval tapestries, which include the famous painting "The Lady with the Unicorn", which is part of a series of six beautiful tapestries. Interestingly, the theme of the tapestries served as the basis for the design of the garden around the museum. The collection of tapestries is complemented by well-preserved examples of medieval fabrics and tapestries depicting moral and biblical scenes.
Museum of the Middle Ages in Paris (Paris, France) - exhibitions, opening hours, address, phone numbers, official website.
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The Museum of the Middle Ages in the heart of the Latin Quarter is unlike any other similar institution. There is nothing here that reminds you of the present, nor does it impose strict orderliness: instead of a boring excursion, you get a full-fledged journey into the past. The mansion was rebuilt several times, so its appearance mixed features of the Renaissance, Gothic and other styles, and many incomprehensible elements remained inside: from walled-up arches to passages leading to nowhere. Previously, Roman baths were located on this land, the ruins of which became part of the museum.
A little history
In the 13th century, a monastery of the Order of Cluny was built on the site of the ancient baths. A couple of centuries later, Abbot Jacques of Amboise added another building to the ensemble - the same building where the exhibition is held today. In 1515, the widow of Louis XII, Maria of England, settled here, and in 1793 the abbey was nationalized. In 1833, collector Alexandre du Sommerard decided to place a collection of medieval artifacts here, and 10 years later, after the death of the owner, the state bought the museum from the family.
What to see
The Museum of the Middle Ages occupies 3500 square meters. m, there are more than 23 thousand exhibits: stone and wooden sculptures of the 12-13th centuries, stained glass windows, tapestries, ivory items, household items and other evidence of ancient times. The most famous is the series of 6 tapestries “The Lady with the Unicorn”, created by an unknown author in the 15th century. 5 of them personify human feelings, and the meaning of the 6th is not fully understood: most likely, the image of a girl putting a necklace in a casket symbolizes the renunciation of harmful passions.
The most interesting stained glass window is “Chess Players”: a lady and a knight sitting at a chessboard. This is either a scene of playful flirtation, or a portrait of real historical figures not related by love.
The longest journey to the museum was made by statues of the Old Testament kings of Judah and Israel. 28 figures once decorated the portals of Notre-Dame de Paris, but during the French Revolution they were beheaded and later replaced with copies and given to the museum. By the way, the heads were also found: a Parisian bought them and buried them under his own house.
Practical information
Address: Paris, 6 Place Paul Painleve, 75005.
The nearest metro stations are Cluny-La Sorbonne, Saint-Michel and Odeon.
Opening hours: from 9:15 to 17:45, closed on Tuesday. Entrance: 5 EUR. Prices on the page are as of November 2018.
B Don't be fooled. A few words about “ancient” crucifixes
When one comrade blurted out, and a hundred repeated it.
Crucifixion of the Cluny Museum in Paris. Yes, there is such a thing. To be honest, I searched for this image on the internet for a very long time in order to at least clarify something about the crucifix. The Cluny Museum, so you understand, is a museum of medieval European art. This is not the Louvre; by default, Mesopotamian antiquities cannot be found there. Hence my doubts about the fact that such a crucifix could be located there at all. And yet it is there. I found confirmation of this on one of the Japanese sites. Yes, yes, no matter how funny it may sound. Therefore, I had to resort to Google Translate. This crucifix is exhibited in room 10, where things from the Church of Saint-Germain-des-Prés and the Church of Saint-Genevieve are exhibited. In general, this room is dedicated to the Romanesque style in European culture, this is the 11th-13th century. 
The style of iconography of this crucifixion also fits into this chronological framework. I had to study a little how this very iconography developed. The first such images of the crucified Jesus appear in the 5th century. Jesus is depicted as still alive, often with his eyes open, there is an idea to show Jesus having already conquered death. The nails were driven into the palms, which in reality could not have happened. For those who were crucified, nails were never driven into their palms, only into their wrists, or even tied with ropes. The palms are simply not able to support the weight of the body and the unfortunate person would simply fall to the ground. The nailing of the palms of Jesus, with which he healed and created others in iconography, is connected with some theological concepts about the self-abasement of God, which I do not want to dwell on now and get too hung up on. The only important thing is that the crucifix is Christian, medieval. Unfortunately, the Japanese describing his visit to the Cluny Museum, posting a photo of the crucifixion, did not show an accompanying explanation, however, with a high degree of probability it can be argued that this crucifix dates back to the 11-13th century, but not to 2000 BC.
The second popular one is Orpheus - Bacchus. 
Let me start with the fact that I don’t remember a single myth where Orpheus was crucified. Well, okay, let’s say that there was a certain myth that has not survived to this day. Lost, so to speak, in the depths of centuries.
What can you tell about this crucifixion? This artifact has actually been on display at the Kaiser Friedrich Museum in Berlin since 1922. But, already in 1926 and later in 1935, German antiquities researchers claim that this stone is a fake. It is indicated that this may be a medieval Italian work. The amulet was purchased in Italy by E. Gerhard and with his collection ended up in the Kaiser Friedrich Museum. What's also interesting is that in the 15th century, Italian priest Marsilio Ficino revived Orphic magic as part of a humanist project to bring ancient wisdom back to the world. In general, this Marsilio was a very advanced person for his time, a philosopher, humanist, and astrologer. Translated ancient Greek texts into Latin, philosophers naturally. They even say he drew some Tarot cards there. Why am I all this, such an amulet could have appeared in medieval Italy, in the 15th century and later, but not in the 3rd century BC. There were preconditions. The stone was apparently removed from display back in the 1930s and disappeared during World War II. The picture shows a Photoshopped image of a stone from one of the German books. 
Which also indicates that this is a fairly late item. Again, iconography. Crucifixes of this type, bent knees, fallen head, bent arms, dead or still suffering Jesus, simply put, appeared in the Middle Ages - the 13th century and above. See above for what crucifixions of late antiquity and the early Middle Ages looked like. Second. The stars and the moon on the amulet, well, here we can assume that the moment of Jesus’ death is still depicted and, as the Bible said, that the sky darkened as a sign of grief. 
Well, one last thing. If the image was from the 3rd century BC, then I’m sure the cross would have been depicted in a T-shape. Like this famous picture with a donkey. By the way, I’ll talk about this topic some other time. 
Or this crucifix, exhibited in the Cluny Museum, next to the “Mesopotamian” one. 
And here is another interesting gem from the 4th century, exhibited at the London Museum.
The Cluny Museum in Paris is officially called the National Museum of the Middle Ages. Locals call it the Palace of the Abbots of Cluny. It is located in the fifth arrondissement of the city, south of Boulevard Saint-Germain.
The construction of the Abbots' Palace of Cluny in Paris is one of the most outstanding among the urban architecture of medieval Paris. Fortunately, it has survived to this day. Since 1334, the building was the town house of the abbots of the commune of Cluny. In the period 1485–1510, the building was restored by the abbot of the Order of Cluny, Jacques of Amboise. There are elements of Gothic as well as Renaissance. In 1843, the structure was converted into a public museum, displaying French Gothic relics preserved in the building by Alexandre du Sommer. This is the only reminder in the museum of the connection with the Abbey of Cluny.
Initially, the palace of the abbots of Cluny was part of a larger complex called Cluniac, which included the building of a religious college on Sorbonne Square. Initially, the bishop of Claremont, Jacques of Ambois, abbot of Jumièges, settled in the building. It acquired its modern appearance in 1485–1500. Mary Tudor also lived in the building after the death of her husband Louis XII, that is, from 1515. Among those who lived here in the 17th century were papal ambassadors, including Mazarin.
In 1793, the building was confiscated by the state and over the next thirty years it served several functions. For a time it belonged to a doctor who used the magnificent Gothic chapel as an autopsy room.
In 1833, Alexandre du Sommer moved to the palace of the abbots of Cluny. He housed in it a large collection of valuable exhibits from the Middle Ages and the Renaissance. In 1842 he died, and the collection was purchased by the state. In 1843 it was first presented to visitors by the son of Alexandre du Sommer, who became the first curator of the Museum.
In the gardens that now exist on the grounds of the Abbots' Palace of Cluny, opened in 1971, there is a Unicorn Forest.
The Cluny mansion is built partly on the remains of Gallo-Roman baths (Thermes of Cluny), which date back to approximately the 3rd century. They still function today.
The museum consists of two buildings. One of them is a cold bath with a swimming pool - a frigidarium with preserved remains of the Baths of Cluny. The second is the Palace of the Abbots of Cluny, where an impressive collection of tapestries is presented, the Lady with a Unicorn from the cycle of six tapestries with the same name, and other famous works and sculptures of the early Middle Ages (VII-VIII centuries). There are works of gold and ivory, antique furniture and an illuminated manuscript.
