Sarah Tibbits
Châsses
Death of the Virgin
This châsse is typical for its type in terms of shape and enamel; it is built to resemble a tomb, and the deep blue enamel is characteristic of Limoges châsses¹. The core of the structure is wood, over which copper plates are set. Each figure is gilded, though their heads were made and attached separately. The main side appears to depict the burial of a saint while an angel appears over them. On the roof, two other figures carry what may be a stretcher for transportation to the tomb¹. All other sides of the box lack figures, instead featuring cross or checked patterns. The iconography is unique; the Limoges collection may not have another burial depiction. It may also feature the “elevation” of a saint, though the burial of Mary is believable given that the attendants wear haloes, and would thus be apostles¹.
1200 / 1215; copper (champlevé copper, enameled, engraved and gilded), wood core
The châsse, or tomb-shaped reliquary, was a common reliquary type in the High Medieval period. Much of their production is associated with the particular enamelling process carried out in Limoges, France. Often, one side was able to be opened for the placement of relics.
Many reliquaries depict scenes and figures that have nothing to do with the relics kept inside. The life of Christ is a common theme amongst reliquaries; here, on the main panel, he is shown being discovered by the three holy women after having risen from the grave. There is a proposed association with Saint Martial, who may be depicted on the top panel, although that section could also represent the Harrowing of Hell². However, as this is clearly a Limoges châsse, and because St. Martial was the first bishop of Limoges, a connection cannot be ruled out.
Holy Women at the tomb
ca. 1200–1210; Copper gilt over wood, enamel (champlevé), glass
This reliquary is the epitome of work from Limoges from its time. Dark blue enamel, gilt figures, circular patterns, and glass ‘gems’ are all characteristic of the type. The women are depicted crowned, though none of them were actual royalty. Rather, it’s more likely a recognition of their dedication to Christ. Many of the materials are the same as that of the shrine with the Death of the Virgin, though this iconography is much more typical, a scene found on a variety of reliquaries throughout time.
Findings:
Most remaining objects of this type were made in the same place around the same time, which provides a unique insight as far as comparison goes. Gender depictions can be studied a little more accurately without the need to account for possible shifts in sensibility over time. Châsses were commonly commissioned from Limoges to be sent abroad; such is likely the case with this reliquary, depicting the death of Thomas Becket. Becket was an English saint, and, as England sported few of its own saints at the time, an incredibly popular subject for iconization amongst English churches and nobility. His martyrdom appears to be the most common image associated with his objects.
The materiality and patterning is much the same between all three objects. The main differences appear in the images displayed on one long side of the châsse, where the central art is placed. It was typical, though not ubiquitous (see the châsse of Mary’s death), to display angles or saints on the sides of châsses, though they sported fewer distinguishing features than any people placed on the ‘front’, or long side. The central image was typically reserved for the ‘front’. Here, a sword connects with Becket’s neck, though his head still remains attached, unlike the pictures under the bust of Saint Candidus. The illusion of the decapitation is given in the altar vessel into which the head is meant to fall, and the hands of an angel that will lift him to heaven. On the panel above, Becket does take his place in heaven, signalling his ascension by literally placing the panel in a higher position.
Reliquary Châsse with Scenes of the Martyrdom of Thomas Becket:
1210; Copper alloy (gilded), enamel (champlevé)³
Though it may seem like the châsse showing Mary’s death complicates the gendered notions of violence, no violence is actually depicted on Mary’s reliquary. Instead, she is shown shrouded for death, not in the process of being killed. Though never stated in the Bible, it appears that Mary is widely believed to have died peacefully. Notably, she still has her eyes open, while Becket’s appear closed. Thus, she continues to have lifelike qualities even after she is assumed to be dead. Death never truly touches her, as it appears with all of the women on these objects.
References:
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“Châsse : la mort de la Vierge ?” The Louvre Collections, accessed May 10, 2026, https://collections.louvre.fr/en/ark:/53355/cl010097460.
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“Reliquary Chasse with the Holy Women at the Tomb,” Treasures of Heaven, accessed May 10, 2026, https://projects.mcah.columbia.edu/treasuresofheaven/relics/Reliquary-Chasse-with-the-Holy-Women-at-the-Tomb.
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“Reliquary Chasse with Scenes of the Martyrdom of Thomas Becket,” Treasures of Heaven, accessed May 10, 2026, https://projects.mcah.columbia.edu/treasuresofheaven/relics/Reliquary-Chasse-with-Scenes-of-the-Martyrdom-of-Thomas-Becket-99.