International Influences

Suger employed craftsmen from around the world to undertake impression reconstruction projects including updating the main altar, forging the central bronze doors, and constructing the Altar of the Martyrs.[1] These and smaller developments like the liturgical vessel mountings reflect the diversity of the craftsmen who worked on them.[2] From Germany to the Meuse Valley to various parts of France and each brought his own background style and skillset.[3]

The double filigree on the rim knob and foot of the chalice looks much like the niello scrollwork and palmettes much Byzantine, Islamic and Viking architecture and objects.[4] This complex patterning appears all over Saint-Denis, exhibiting Suger’s vision of wealth and grandeur.[5] Meanwhile, the flat foot and rounded mid-section are clearly rooted in Western, especially French, tradition.[6] The diversity of style reflects Suger’s interest in international splendor and a desire for the finest craftsmanship in the world.