Early in his career, and well before he became archbishop in 1205, William of Bourges was a hermit-monk at the abbey at Grandmont, near Limoges. It is fitting, therefore, that this plaque honoring him was created in the enamel technique for which Limoges was renowned.
Inscription: Inscription: S[ANCTUS] GUILELM[US]; on the reverse: : EGO P.[etrus] LE LIEVRE CLERICUS / - UEUS JOANNIS E. R. GAS / SELIN FILIUS CO[G]NATOS / ORO NE HUNC PANCEUM AB AN / NIS PLUS CENTUM IN DOMO NOSTRA / SERVATUM AD ALIOS NOBIS ET NOMINE / ET SANG[UINE] / NISI JUNCTOS RELINQUA[NT]. (I, Pierre Lelièvre, priest, son of Gasselin, ask my relatives not to give up this panel [?], which has been preserved in our house for more than a hundred years, except to persons who are allied to us by name and blood).
Father Pierre Lelièvre, priest of the parish church of Bû(Eure-et-Loir), France (by 1758 - d. 1770); J. Pierpont Morgan, London and New York (until 1917)
Paris. Musée du Louvre. "L'Oeuvre de Limoges," October 23, 1995–January 22, 1996.
New York. The Metropolitan Museum of Art. "Enamels of Limoges, 1100-1350," January 22, 1996–June 16, 1996.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 32, 58, fig. 30, ill. p. 56.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 32, 58, fig. 30, ill. p. 56.
Ross, Marvin Chauncey. "Note sur un émail limousin de Saint Guillaume de Dongéon." Notes d'art et d'archeologie (1932). pp. 36-9.
Gauthier, Marie-Madeleine. "Reflects de la spiritualité grandmontaine et sources de l'histoire médiéale au miroir des émaux méridionaux." In L'Ordre de Grandmont, art et histoire: Actes des Journées d'Études de Montpellier 7 et 8 octobre 1989, edited by Jean Nougaret. 1992. pp. 100-1, fig. 3.
Taburet-Delahaye, Elisabeth, and Barbara Drake Boehm, ed. L'Oeuvre de Limoges: Emaux limousins du Moyen Age. Paris: Réunion des Musées Nationaux, 1995. no. 103, pp. 310-312.
Boehm, Barbara Drake, and Elisabeth Taburet-Delahaye, ed. Enamels of Limoges, 1100-1350. New York: The Metropolitan Museum of Art, 1996. no. 102, pp. 310–12.
Date: ca. 1220–1230Medium: Copper (plaques): engraved, scraped, stippled, and gilt; (appliqués): repoussé, chased, engraved, scraped, and gilt; champlevé enamel: medium blue, turquoise, medium green, yellow, red, and white, modern wood mountAccession: 17.190.735On view in:Gallery 304
Date: ca. 1180–90Medium: Copper: engraved, chiseled, stippled, and gilt; champlevé enamel: dark, medium, and light blue; turquoise, dark and light green, yellow, red, and white; wood core, painted red on exteriorAccession: 17.190.514On view in:Gallery 304
Date: ca. 1185–95Medium: Copper: engraved, stippled, gilt; champlevé enamel: dark and light blue, translucent dark and opaque medium green, yellow, translucent and opaque red, rose, and whiteAccession: 17.190.409aOn view in:Gallery 304