The Glass of Charlemagne, journey of a legendary object
Enamelled and gilded glass (goblet), Copper (foot)
Syria, first half of the 13th century, France 14th century
Musée des Beaux-arts, Chartres
Inv No. 5144
Listed a Historic Monument by ministerial decree on May 18, 1849
The Glass of Charlemagne is an enamelled glass, originally from Syria. It is the work of artisan glassblowers and enamellers, using a technique Europe had not mastered in the Middle Ages, making it exceptional in the eyes of Westerners.
It has a calligraphic inscription in gold, praising its owner. This can be translated as follows: May his glory be eternal and his life long and healthy; may his lot be a happy one; his century favourable and his fortune perfect. The wording of this praise, addressed to no-one in particular, is found on many Islamic objects from the12th and 13th centuries, especially on silk.
The spoils of war, a diplomatic gift or simple traded, the Glass of Charlemagne crossed the Mediterranean, reaching Europe before the beginning of the 14th century. Its new owners decided to add their own touch to the glass. By adding a gilded copper foot, they gave it a new role: it went from being a simple drinking vessel to a chalice, an object used in Catholic masses. For four hundred years, it formed part of the treasure of the Madeleine of Châteaudun Abbey. In order to preserve it intact, its use was undoubtedly reserved for very special ceremonies during which it would be treated in the same way as a holy relic. In the 18th century, the glass took on legendary status when it became associated with Charlemagne; the Emperor was known to have sent a diplomatic mission to Caliph Harun al-Rashid in 797. From then on, it was really considered a relic of the Emperor. Even today, it is still known by this legendary name, despite scientific studies proving that this is an incorrect interpretation.
After the French Revolution, when the Madeleine Abbey was dissolved, the National Library of France claimed the precious glass, although it remained in Chartres. And when the Chartres Museum of Fine Arts opened in 1834, it was included in its collections.
Despite an eventful history (crossing the Mediterranean, being transformed and surviving the Revolution, etc.), the glass remained intact for more than 700 years. Unfortunately, it was broken in 1916 when a museum curator was rearranging a display.
Another Islamic glass that has a similar story is the Palmer Cup. It forms part of the collections in the British Museum in London.