Louvre acquires $26 million kitchen Cimabue

Four years after a late 13th century painting by medieval master Cimabue was discovered in the kitchen of an elderly woman in Compiegne and sold at auction to a private buyer for $26.6 million, Christ Mocked has officially entered the collection of the Louvre Museum.

It’s been a long, strange journey for the tempera-on-panel depiction of Jesus being taunted by the crowd after his trial before the Sanhedrin. Originally part of an altarpiece diptych of scenes from Christ’s Passion and crucifixion, at some point the panels were disarticulated and sold off individually to collectors keen to acquire one of only 11 known panel paintings by the great Cimabue (1240-1302). The only two other known panels believed to have been part of the original altarpiece are now in the Frick Collection in New York and the National Gallery in London, but only confirmed as the work of Cimabue in 2000.

While the Frick was acquiring its then-unattributed panel and the National Gallery’s was slumbering unrecognized in a Suffolk stately home, Christ Mocked was hanging over a hotplate in a Compiegne kitchen, mistaken by its owner for an old Russian icon. It was only when the lady, then in her 90s, decided to move out of her home and have its contents appraised by a local auction house, that its true identity was discovered. She had no idea where it came from. Louvre researchers think it may have been sold to her ancestors in 1830 by an art dealer from Pisa named Carlo Lasinio who was likely responsibly for selling the other two known panels at the same time.

When it went under the hammer in October 2019, it was the first Cimabue ever to appear at auction, so it was no surprise when the 10-inch panel blew past its pre-sale estimates to sell for nearly $27 million. The buyer was a London collector purchasing it on behalf of the Alana collection, a private collection of Italian Renaissance art in the US. The outfit filed for an export license in December and the French government promptly denied it, declaring the work a national treasure and blocking its export for 30 months to give the Louvre the chance the raise the purchase price and add the Cimabue to its collection.

It’s been more than 30 months, so there was either an extension granted or the announcement was kept under wraps until now. Either way, the Louvre managed to raise the necessary millions thanks to the big revenues from licensing its name to the Louvre Abu Dhabi and a sizable donation from the non-profit American Friends of the Louvre organization.

Christ Mocked will now join Cimabue’s monumental painted panel, Maestà, in the Paris museum. The two works are a fascinating juxtaposition of Cimabue’s range and vision. The Virgin and Child in Majesty Surrounded by Six Angels (aka Maestà) is formally posed in the Byzantine hieratic style. The other two panels of the diptych Christ Mocked was a part of are also painted in that same iconographic style, but Christ Mocked takes a very different approach. It is the first work of Cimabue that seeks to present a naturalism and verisimilitude in the expressions, postures and rendering of space. The faces of the characters in the back are hidden by those of the rows in front of them. They wear contemporary clothing against a backdrop of contemporary Tuscan architecture, conveying their humanity and modernity to the viewers of the time. The materials he used — gold, lapis lazuli, red lacquer — were among the most brilliant and expensive of the time, artfully employed by later masters like Giotto ( c. 1267-1337) and Duccio (1260-1319), who are often credited with introducing the kinds of innovations seen in Christ Mocked.

Maestà is currently undergoing restoration, and Christ Mocked is being examined by conservators. Its condition is very good, with little paint loss and almost no overpainting, so it will be cleaned and conserved to restore its vivid original color before both panels are presented to the public together in 2025.

Silesian bracteate hoard found in western Poland

A hoard of medieval Silesian bracteate coins has been discovered in the city center of Szprotawa, western Poland. There are about 100-150 coins minted between 1250 and 1300 in the hoard. Some of the coins were found in cylindrical stacks, indicating they were carefully arranged before being placed in a textile bag with some loose coins. The bag was then tightly tied to keep the coin stacks in place before being buried at a shallow depth on one of the main streets connecting the market square to the Głogowska Gate in the city’s 13th century defensive walls.

Silesian bracteates were minted on one side of a thin silver plate leaving an impression on the obverse that appears on the reverse as a negative. The silver had a high copper content, which is why the surface of the coins now has a green patina. The bracteates were of comparatively low value because of their low precious metal content and susceptibility to wear and tear. Rulers often recalled the coins and replaced them with new ones to refresh the value of the rapidly depreciating coins.

The historic center of Szprotawa is undergoing a comprehensive revitalization program that includes the reconstruction of all the communications infrastructure, new bicycle paths leading to a bicycle station, the renovation town hall, the secondary school, police headquarters and two historic churches. The work is being carried out under the supervision of archaeologists as the medieval city was all but levelled in World War II — an estimated 90% of Szprotawa was destroyed — making the archaeological material underground all the more significant.

Most of the finds so far have been the remains of 19th century tenement house cellars built after the demolition of the medieval walls, but earlier remains have also been uncovered, notably fragments from a 15th century bridge, pieces of the city wall from the early 14th century, the remains of a tower and a section of the medieval Głogów Gate.

The coins are of particular significance because of their dates. First recorded in around 1000 A.D. as a small settlement, Szprotawa was grated town rights in 1260 and full city rights in 1304. Its defensive walls were built by Silesian Piast Duke Konrad I of Głogów after he granted Szprotawa its town rights, so the coins were minted as the city came into its own.

Europe’s oldest functioning compass found in Estonia wreck

One of the artifacts recovered from the wreck of the medieval ship unearthed near the Old Town Harbor of Tallinn, Estonia, in 2022, is Europe’s oldest dry compass still in working order.

The cog was excavated from its location on Lootsi Street and transported to the Estonian Maritime Museum in four pieces. Archaeologists of the Estonian Maritime Museum and experts in ship conservation from Finland have been cleaning and conserving the cog in a purpose-built hall where visitors can see the work in progress.

The excavation and conservation process uncovered a number of finds in excellent condition, including leather shoes, wooden spoons and tools, preserved by the waterlogged mud of the harbor. The shoes were well-worn and repaired, so not cargo intended for sale. This suggests the ship was sunk in an accident and everyone who could escape did so, leaving behind their belongings. The compass and the well-preserved remains of two rats who apparently did not desert the sinking ship were the most surprising finds.

[Archaeologist Priit Lätti of the Estonian Maritime Museum] aid that Estonia’s medieval ships really stand out among other similar finds because they are not empty. Medieval ships found in Germany and the Netherlands are mostly empty, the researcher said.

“Ours are full of finds, and the finds are wall to wall, giving us clues about everything from eating habits on board to clothing to navigational equipment,” he said.

Unique medieval seal matrix found in Norfolk

Gilded silver seal matrix, late 13th-early 14th c. Photo courtesy Andrew Williams/Norfolk County Council.A metal detectorist has discovered a medieval gilded silver seal matrix with several unique features in a field north of Norwich, southeastern England. It was discovered in April near Horsham St Faith and dates to the late 13th or early 14th century.

The circular seal is .9 inches in diameter and the central motif is a crowned Virgin Mary holding the Christ Child. A monk on his knees prays to her right. A scroll running upwards from the tips of his joined hands reads AVE * MA (Hail Mary). The scene is set in a quatrefoil frame. Set in a beaded circular border around the edge of the die is an inscription in medieval Latin that reads TE: ROGO: IVSTICIE: SOL: PIVS: ESTO: VIE. That translates to “I beseech thee, holy sun of righteousness, be the way.” This inscription has never been found before on any other seals or objects.

Dr Geake, Norfolk’s find liaison officer, said: “It’s completely unique, we don’t have anything to compare with this inscription.

“The ‘sun of righteousness’, appears in the Old Testament, towards the end of a set of prophecies, and became a relatively common way of referring to Jesus Christ in the Middle Ages.”

The iconography of Virgin and Child with a kneeling monk is relatively common on seals, both private ones and ones used for official ecclesiastical documents, but there is no directly comparable example of this imagery on a circular seal. This matrix has another very unusual feature: the reverse is a recessed socket with a notched border that suggests it had a detachable handle that could be inserted and turned to lock it in place. Seals with sockets for handles are known on the archaeological record, but the handles were permanently mounted, not interchangeable.

[Dr Geake] believes it must have been owned by a monk and he would have exchanged the die with others, one of which was personal and another to reflect his official role in the monastery.

“It’s unique in two different ways – it’s interchangeable and it has this little, private prayer,” Dr Geake said.

“It’s a window into someone’s personal, emotional or spiritual world in the years before the Black Death.”

Cores reveal age of Leaning Tower of Delbrück

Core samples have determined the exact age of the spire of the St. Johannes Baptist church in Delbrück, East Westphalia, for the first time. Dendrochronological analysis of wood samples taken from the spire found they were felled in the winter of 1479/1480, which means the spire was built in 1480.

Frank Högg, a building researcher of the Westphalia-Lippe Regional Association (LWL), drilled thin cores out of the oak beams in the interior of the spire. It’s that same oak that gives the spire its moniker: “leaning tower of Delbrück.” Its characteristic tilt that defines the city skyline is caused by the wood frame construction warping over time and exposure to the weather.

“The elaborate construction of this octagonal pointed helmet is an impressive example of medieval craftsmanship,” explains Högg. The imperial stem, which extends from the base of the roof to the top, consists of four timbers mortised together and has a total length of over 30 meters. “The construction of the rafters and struts follows the tradition of Westphalian carpentry and represents a constructive masterpiece,” says Högg.

St. Johannes Baptist is a Catholic parish church in the Paderborn district of Delbrück. There were several iterations of the building, with the earliest surviving sections — the central nave and lower part of the tower — built around 1180. The southern aisle of the old Romanesque three-aisled basilica was replaced with a much larger Gothic nave and choir in around 1340. Neogothic elements were added to the north side in the 1860s.

Little is known about the pre-modern architectural history of the church as there have been no archaeological investigations and there are no surviving records. The approximate dates of construction come from stylistic comparisons with other churches. Up until now, the spire was thought to have been built around 1400.