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Medieval Europe

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The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world. Displayed in both The Met Fifth Avenue and in the Museum's branch in northern Manhattan, The Met Cloisters, the collection encompasses the art of the Mediterranean and Europe from the fall of Rome in the fourth century to the beginning of the Renaissance in the early sixteenth century. It also includes pre-medieval European works of art created during the Bronze Age and early Iron Age.



medieval europe

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Although the fledgling Metropolitan Museum acquired its first medieval object in 1873, the core of the collection in the Main Building was not formed until nearly fifty years later, in 1917, when the son of the financier and collector J. Pierpont Morgan donated some two thousand medieval objects that had belonged to his father. The collection has continued to grow through purchases, gifts, and bequests. More than 250 medieval objects came to the Museum from the banker and prodigious collector George Blumenthal in 1941. Others who have contributed substantially to the collection include Michael Friedsam, George and Frederic Pratt, and Irwin Untermyer.


In 1925 the American philanthropist and collector John D. Rockefeller Jr. provided funds that made it possible for the Museum to acquire Barnard's collection and also financed the conversion of nearly sixty-seven acres of land into a public park to house the new building. Rockefeller donated seven hundred acres to establish additional parkland along the New Jersey Palisades, ensuring that the view from across the Hudson River from The Cloisters remain unsullied. The Cloisters building, designed by Charles Collens, the architect of New York City's Riverside Church, in a simplified medieval style, was formally dedicated on May 10, 1938.


The Treasury contains small-scale works of exceptional splendor. On display is a richly carved English ivory cross of the twelfth century, as well as the Hours of Jeanne d'Evreux, a masterpiece in miniature by the illuminator Jean Pucelle, and a book of hours created for the great medieval book collector, Jean of France, Duke of Berry. A gallery devoted to late medieval private devotion presents the celebrated Merode Triptych by the Netherlandish master Robert Campin. The Late Gothic Hall exhibits many of the finest fifteenth- and sixteenth-century works in the collection, including sculptures by Tilman Riemenschneider and altarpieces from Spain. Particularly beloved is the gallery that features the seven tapestries showing The Hunt of the Unicorn. Throughout The Met Cloisters are exceptional examples of stained-glass windows, including those from the castle chapel at Ebreichsdorf, Austria, and the Carmelite church at Boppard-am-Rhein.


More than 1,400 objects on view in The Met Fifth Avenue allow visitors to trace the history of medieval and Byzantine Art, from their roots in Celtic and late Roman art to the sumptuous objects of late medieval courts and the ecclesiastical riches of Late Byzantium and its eastern neighbors. The collection boasts an abundance of works from Late Antiquity and the Early Byzantine periods. The renowned Second Cyprus Treasure, with its plates representing the life of the biblical King David, is one of several silver and gold treasures on view. Byzantine Egypt is particularly well represented by an impressive collection of textiles as well as architectural fragments and tomb monuments from the Museum's early twentieth century excavations at Bawit and Saqqara. An extensive collection of early medieval art, which comprises the jewelry of Anglo-Saxons, Franks, and Visigoths, among other peoples, highlights the artistic achievements of western Europe at the same moment.


An evocation of a Byzantine church sanctuary, replete with icons and a lectionary from the church of Hagia Sophia, makes plain the Museum's rich collection of art from the Greek East from 800 to 1500. The same period in the Latin West saw the emergence of the Church as the most important patron of the arts, and several galleries testify to the splendid holdings of Western monasteries and churches. Relic containers, book covers, and a tabernacle are among the many noteworthy objects from the Museum's collection of enamels by Limoges goldsmiths. A set of works from eleventh and twelfth-century Spain includes ivory carvings and leaves from a Beatus manuscript. Masterworks of sculpture and stained glass from such key monuments as the royal abbey of Saint-Denis outside Paris, Notre-Dame in Paris, and the cathedral of Amiens evoke the great age of church building. Also on view is an array of ivories from the Gothic period, while luxury tableware and a rotating display of tapestries recall the world of late medieval aristocrats.






Travel to an extraordinary world full of triumphs of medieval imagination and join the hunt for an elusive unicorn. Explore three tales about medieval creativity with The Met Cloisters Primer. Begin your journey


The Gardens of The Met CloistersDesigned as an integral feature of the Museum, the gardens have been a major attraction of The Cloisters since its opening in 1938, enhancing both the setting in which the Museum's collection of medieval art is displayed and the visitor's understanding of medieval life. Explore the gardens and plant lists


"The second section is more groundbreaking, but the first five articles are also commendable for their solid research. (...) Different readers will draw different lessons from these very different articles. Considering them as a whole, they do shed light on the meaning of frontiers and borders in medieval Europe, especially in terms of monastic foundations." (Brian Patrick McGuire, in: Revue d'Histoire Ecclésiastique, 2015/1, p. 374-376)


In medieval Europe, however, the frontier nature of monasticism had specific manifestations in addition to the founding myths of monastic wilderness. In the twelfth and thirteenth centuries the expansion of Latin Europe in East-Central Europe, the Iberian Peninsula, Scandinavia, and into the Holy Land and Greece opened possibilities for extending monastic networks and establishing new houses. One of the most important parts of this process was the interaction between these new religious communities and the social world around them-an interaction that was characterised by various shades of hostility, cooperation, and adaptation to the local social and cultural framework.


"A thoughtful and wide-ranging contribution to the social and economic history of the High Medieval urban milieu."--Journal of Interdisciplinary History "Interesting and comprehensive. . . . A major accomplishment."--Journal of Economic History "Epstein takes a fresh look at the organization of labor in medieval towns and emphasizes the predominance of a wage system within them. He offers illuminating comment on a wide range of subjects--on guilds and guild organization, on women and Jews in the work force, on the value given labor, and on the sources of disaffection. His book presents a feast of themes in medieval social history."--David Herlihy, Brown University About the Author Steven A. Epstein, professor of history at the University of Colorado, Boulder, is author of Wills and Wealth in Medieval Genoa, 1150-1250. 

For more information about Steven A. Epstein, visit the Author Page.


"Epstein takes a fresh look at the organization of labor in medieval towns and emphasizes the predominance of a wage system within them. He offers illuminating comment on a wide range of subjects--on guilds and guild organization, on women and Jews in the work force, on the value given labor, and on the sources of disaffection. His book presents a feast of themes in medieval social history."--David Herlihy, Brown University


Focus: This unit (Unit 3 for schools using the CKHG series in Sequence grade-level order) begins by providing background information to place the Middle Ages in Western Europe in historical and geographical context. Students learn about the Western and Eastern Roman Empires, the influence of the Roman Catholic Church, Charlemagne, the feudal system, castles and manors, chivalry, the growth of towns, women in the Middle Ages, William the Conqueror, the Magna Carta, Parliament, Joan of Arc, the plague, and the legacy of the Middle Ages. Students also learn about medieval European art, architecture, and music, as well as the fictional King Arthur and Camelot.


Citation: Schuenemann VJ, Avanzi C, Krause-Kyora B, Seitz A, Herbig A, Inskip S, et al. (2018) Ancient genomes reveal a high diversity of Mycobacterium leprae in medieval Europe. PLoS Pathog 14(5): e1006997.


Investigations on the evolutionary history of M. leprae have elucidated the past phylogeography and diversity of the leprosy bacillus in Europe. Recently sequenced medieval M. leprae genomes reveal the presence of at least two distinct M. leprae branches in medieval Northwestern Europe [9]. Furthermore, the data indicate a high level of genetic conservation during the last 1000 years. There appears to be a close relationship of a group of late medieval strains with contemporary strains present today in the Southwestern USA [9] infecting humans and armadillos [15] as well as red squirrels in England [17]. Two medieval genomes from a cemetery in the UK suggested a possible predominance of branch 2 during the 10th to the 12th century in Northwestern Europe, while branch 3 was more frequent during the Late Medieval Period [20]. However, the past diversity and population structure of M. leprae at different time points in other parts of Europe still remain unclear.


The medieval genome from Italy (T18) falls within branch 2F, whereas SK11 from Hungary clusters with the branch 0 strains. The Body188 strain from Czech Republic belongs to branch 4 and is ancestral to contemporary strains from Western Africa. The six individuals from the St. Jørgen cemetery in Denmark, which was established in 1270 and existed until 1560, are 14C-dated with overlapping periods and mean values from the 12th to the 14th century (S1 Table), a period in which the majority of burials took place [35]. The six M. leprae genomes obtained from these individuals cluster within three different branches (Fig 2A): branch 0 (n = 1), branch 2F (n = 1) and branch 3 (n = 4).

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Medieval Europe Vallie Kleinert <kleinertvallie@gmail.com> - 2024-01-08 12:10 -0800

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