Saint-Denis

The vase likely dates to the second century AD.^[7] According to Abbot Suger, abbot of Saint-Denis (d. 1151), in his  De administratione, he found, "lying idly in a chest for many years, an Egyptian porphyry vase admirably shaped and polished."^[1] In his own words, he determined to adapt and transfer (adaptavimus ... transferre) it into a liturgical vessel "in the form of an eagle" (in aquilae formam), a symbol of Christ.^[8] Suger's Eagle exemplifies the preservation of an ancient relic that has fully maintained its original integrity.^[8]

Two large engravings from 1706 depict the treasury of Saint-Denis (including the eagle vase) as it was then displayed, in a cabinet. Its popularity as a tourist attraction prevented the treasure's total destruction during the French Revolution.^[9]The eagle and three of Suger's other liturgical vessels—Queen Eleanor's vase and King Roger's decanter, both of rock crystal, and a sardonyx ewer—ended up in the Galerie d'Apollon at the Louvre.^[2]

Abbot Suger

Abbot Suger was responsible for the commissioning of Suger’s Eagle and saw that it was transformed and created by artists at his request. Suger himself had a desire to collect and commission beautiful works of art, as he had an appreciation for beautiful and intricate things. Furthermore, Suger thought that by commissioning and keeping a collection of pristine artworks, such as Suger’s Eagle, that he would be honoring God, and what is now the Saint-Denis Cathedral. As head of the monastery of Saint-Denis, Suger’s goal was to create a place of beauty and worship that was worthy of god, using the art that he collected to place value and to create an extravagant place to practice religion. ^[10]

Physical features

While Suger's Eagle was referenced as depicting an eagle, even by Suger himself, the animal that the vase takes the shape of is actually closer to resembling a hawk or a falcon. A few of the features of the bird carved into Suger’s Eagle that point to this include the shape of the bird's beak, its nostrils, and wings. Eagles, while similar in appearance to hawks and falcons, do not have curved beaks or nostrils, and their wings take on a different shape than the one that is depicted on Suger’s Eagle. This is not to say that the vase does not include eagle-like features. The neck of the bird as well as the legs and tail all resemble an eagle’s anatomy, and can be argued in favor of the vase’s title. However, upon closer inspection, it can be assumed that the bird on Suger’s Eagle was modeled after a Raptor, which is another large bird of prey. This category of birds includes hawks, eagles, falcons, and raptors,^[11] which were commonly found during the time period in which Suger’s Eagle would have been commissioned. Though it is likely for the Raptor to be the cause for the bird's mismatched features, the bird that is carved in the vase is still referred to as an eagle.^[12]

Spolia

Sugar’s Eagle is an example of a medieval art piece that uses what is known as spolia. Spolia uses materials from older objects and artworks to create something that is brand new. What makes Sugar’s Eagle a use of spolia is that the piece was originally a vase, more specifically a type of vase called an amphora.^[13] The vase was repurposed and still remains a part of Suger’s Eagle, now serving as the body of the bird. What is left of the eagle, the head, feet, and wings, are made up of other materials that were added to the amphora, including gold (or gilt silver), red porphyry, and niello. Because the vase was repurposed, it is also a form of interpretatio christiana, which refers to the transformation of pagan materials into a Christian context, such as Suger's Eagle.^[14]

Materials

Suger’s Eagle is gold and deep red in color, with the body of the eagle being represented by the vase itself. This vase was crafted out of a few different materials, including Ancient red porphyry, gilt silver, and niello. Gilt silver is silver that has been coated in a layer of gold,^[15] and niello is an alloy with a black metallic color to it,^[16] often used decoratively on metal surfaces with materials such as lead or silver.^[17] The vase stands at about 17 x 11 inches and includes intricate stone and metal work. This can be located in the gold and silver gilt at the base of the eagle’s neck, or at the mouth of the vase.^[18]

At the bottom of the eagle is a nielloed titulus: "This stone deserves to have mounts of gold and gems. / It was marble. Its settings are more precious than marble."^[1] Inscribed around the base of the neck, above the lip of the vessel, is a dedication to the church of Saint-Denis.^[8] The goldwork of the neck demonstrates superb chiselwork.^[19]