#musee national de moyen age

[me-encontre-no-museu]

Museu de Cluny - Paris

[pettybourgeoiz]

Treasure of Guarrazar, votive crown

[thejim07]

The Lady and the Unicorn A Mon Seul Désir

Hi everyone! The Lady and the Unicorn is a serie of six tapestries woven in Flanders from wool and silk, from designs drawn in Paris around 1500. The set, on display in the Musee national du Moyen Age (former Musee de Cluny) in Paris, is often considered one of the greatest works of art of the Middle Ages in Europe.

Happy Simming! Jim Polygon Counts: Object: High/Medium/Low Tapestry: 5/none/none Additional Credits: Faithful reproductions of two-dimensional public domain works of art are public domain. TSRW, S4S, S4PE.

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[arlathhan]

Musee de Cluny, Paris, France. by Christopher Levy Via Flickr: Musee de Cluny, Paris, France. From Wikipedia : The Musée de Cluny, officially known as Musée National du Moyen Âge (National Museum of the Middle Ages), is a museum in Paris, France. The structure is perhaps the most outstanding example still extant of civic architecture in medieval Paris. It was formerly the town house (hôtel) of the abbots of Cluny, started in 1334. The structure was rebuilt by Jacques d'Amboise, abbot in commendam of Cluny 1485-1510; it combines Gothic and Renaissance elements. In 1843 it was made into a public museum, to contain relics of France's Gothic past preserved in the building by Alexandre du Sommerard. Though it no longer possesses anything originally connected with the abbey of Cluny, originally the hôtel, was part of a larger Cluniac complex that also included a building (no longer standing) for a religious college in the Place de la Sorbonne (just south of the present day Hôtel de Cluny along Boulevard Saint-Michel). Although originally intended for the use of the Cluny abbots, the residence was taken over by Jacques d'Amboise, Bishop of Clermont and Abbot of Jumièges, and rebuilt to its present form in the period of 1485-1500.[1] Occupants of the house over the years have included Mary Tudor, who was installed here after the death of her husband Louis XII by his successor Francis I of France in 1515 so he could watch her more closely, particularly to see if she was pregnant. Seventeenth-century occupants included several papal nuncios including Mazarin.[2] In 1793 it was confiscated by the state, and for the next three decades served several functions. At one point it was owned by a physician who used the magnificent Flamboyant chapel on the first floor as a dissection room. [3] In 1833 Alexandre du Sommerard moved here and installed here his large collection of medieval and Renaissance objects. [4] Upon his death in 1842 the collection was purchased by the state and opened in 1843, with his son as the museum's first curator. The present gardens, opened in 1971, include a "Forêt de la Licorne" inspired by the tapestries. The Hôtel de Cluny is partially constructed on the remains of Gallo-Roman baths dating from the third century (known as the Thermes de Cluny ), which are famous in their own right and which may still be visited. In fact, the museum itself actually consists of two buildings: the frigidarium ("cooling room"), where the remains of the Thermes de Cluny are, and the Hôtel de Cluny itself, which houses its impressive collections.

[physicsandwitchcraft]

Cernunnos. At the Musee de Cluny - Musee National du Moyen Age in Paris. Photo by me, June 2016.

[dailybiblelessons]

Friday: Preparation for the Nineteenth Sunday in Ordinary Time

Roman Catholic Proper 19 Revised Common Lectionary Proper 14

Complementary Hebrew Scripture from the Writings: Ecclesiastes 6:1-6

There is an evil that I have seen under the sun, and it lies heavy upon humankind: those to whom God gives wealth, possessions, and honor, so that they lack nothing of all that they desire, yet God does not enable them to enjoy these things, but a stranger enjoys them. This is vanity; it is a grievous ill. A man may beget a hundred children, and live many years; but however many are the days of his years, if he does not enjoy life's good things, or has no burial, I say that a stillborn child is better off than he. For it comes into vanity and goes into darkness, and in darkness its name is covered; moreover it has not seen the sun or known anything; yet it finds rest rather than he. Even though he should live a thousand years twice over, yet enjoy no good—do not all go to one place?

Semi-continuous Hebrew Scripture Lesson from the Latter Prophets: Isaiah 9:18—10:4

For wickedness burned like a fire,  consuming briers and thorns; it kindled the thickets of the forest,  and they swirled upward in a column of smoke. Through the wrath of the Lord of hosts the land was burned, and the people became like fuel for the fire;  no one spared another. They gorged on the right, but still were hungry,  and they devoured on the left, but were not satisfied; they devoured the flesh of their own kindred; Manasseh devoured Ephraim, and Ephraim Manasseh,  and together they were against Judah. For all this his anger has not turned away;  his hand is stretched out still.

Ah, you who make iniquitous decrees,  who write oppressive statutes, to turn aside the needy from justice  and to rob the poor of my people of their right, that widows may be your spoil,  and that you may make the orphans your prey! What will you do on the day of punishment,  in the calamity that will come from far away? To whom will you flee for help,  and where will you leave your wealth, so as not to crouch among the prisoners  or fall among the slain? For all this his anger has not turned away;  his hand is stretched out still.

Complementary Psalm 33:12-22

Happy is the nation whose God is the Lord,  the people whom he has chosen as his heritage. The Lord looks down from heaven;  he sees all humankind. From where he sits enthroned  he watches all the inhabitants of the earth— he who fashions the hearts of them all,  and observes all their deeds. A king is not saved by his great army;  a warrior is not delivered by his great strength. The war horse is a vain hope for victory,  and by its great might it cannot save.

Truly the eye of the Lord is on those who fear him,  on those who hope in his steadfast love, to deliver their soul from death,  and to keep them alive in famine.

Our soul waits for the Lord;  he is our help and shield. Our heart is glad in him,  because we trust in his holy name. Let your steadfast love, O Lord, be upon us,  even as we hope in you.

Semi-continuous Psalm 50:1-8, 22-23

The mighty one, God the Lord,  speaks and summons the earth  from the rising of the sun to its setting. Out of Zion, the perfection of beauty,  God shines forth.

Our God comes and does not keep silence, before him is a devouring fire,  and a mighty tempest all around him. He calls to the heavens above  and to the earth, that he may judge his people: “Gather to me my faithful ones,  who made a covenant with me by sacrifice!” The heavens declare his righteousness,  for God himself is judge.

“Hear, O my people, and I will speak,  O Israel, I will testify against you.  I am God, your God. Not for your sacrifices do I rebuke you; your burnt offerings are continually before me.

“Mark this, then, you who forget God,  or I will tear you apart,  and there will be no one to deliver. Those who bring thanksgiving as their sacrifice honor me;  to those who go the right way  I will show the salvation of God.”

New Testament Lesson: Acts 7:1-8

[Stephen has been hauled before the Sanhedrin. Opponents have falsely testified that he said Jesus of Narazeth will destroy this place and change the customs Moses gave us.]

Then the high priest asked him, “Are these things so?” And Stephen replied: “Brothers and fathers, listen to me. The God of glory appeared to our ancestor Abraham when he was in Mesopotamia, before he lived in Haran, and said to him, ‘Leave your country and your relatives and go to the land that I will show you.’¹ Then he left the country of the Chaldeans and settled in Haran. After his father died, God had him move from there to this country in which you are now living. He did not give him any of it as a heritage, not even a foot's length, but promised to give it to him as his possession and to his descendants after him, even though he had no child. And God spoke in these terms, that his descendants would be resident aliens in a country belonging to others, who would enslave them and mistreat them during four hundred years. ‘But I will judge the nation that they serve,’ said God, ‘and after that they shall come out and worship me in this place.’² Then he gave him the covenant of circumcision. And so Abraham became the father of Isaac and circumcised him on the eighth day; and Isaac became the father of Jacob, and Jacob of the twelve patriarchs.”

[Stephen's entire defense before the Sanhedrin is in Acts 7:1-53.]

¹Genesis 12:1   ¹Genesis 15:13-14

Year C Ordinary 19, Roman Catholic Proper 19, RCL Proper 14, Friday

Selections are from Revised Common Lectionary Daily Readings copyright © 1995 by the Consultation on Common Texts. Unless otherwise indicated, Bible text is from New Revised Standard Version Bible (NRSV) copyright © 1989 by the Division of Christian Education of the National Council of Churches of Christ in the United States of America. Used by permission. All rights reserved. Image Credit: Image by Wally Gobetz Paris - Latin Quarter: Muse national du Moyen Age - Tenture de chÅ“ur - Scènes de la légende de saint Etienne, downloaded from Flickr. This wool and silk tenture de chœur (choir hanging) featuring "Scnes de la légende de saint Etienne" (Scenes from the story of Saint Etienne), dating to circa 1500 in Brussels, depicts Saint Etienne conversing with Jewish doctors outside le Grand Sanhdrin. licensed under Creative Commons 2.0-by-nc-nd

[oureuropetrip2017]

클뤼니 중세 박물관. 건물과 태피스트리가 멋있었습니다. 특히 유니콘과 아가씨(?) 태피스트리는 유명 한데 촉감, 미각, 후각, 청각, 시각, 육감을 표현 했다고 해서 6점 모두를 찍어 보았어요. Musee de Cluny - Musee National du Moyen Age. The building and tapestry collection were good. The lady and unicorn is a famous tapestry. I took photos of all six (touch, taste, smell, hearing, sight, and sixth sense).

[energysolutions]

"Saint Louis and Relics of the Sainte-Chapelle" exhibition opens in Moscow with Gazprom and ENGIE as general partners has been published on Energy Solutions News

New Post has been published on http://www.energybrokers.co.uk/news/gazprom/saint-louis-and-relics-of-the-sainte-chapelle-exhibition-opens-in-moscow-with-gazprom-and-engie-as-general-partners

"Saint Louis and Relics of the Sainte-Chapelle" exhibition opens in Moscow with Gazprom and ENGIE as general partners

The Moscow Kremlin Museums hosted today the opening ceremony of the 'Saint Louis and Relics of the Sainte-Chapelle' exhibition at the One-Pillar Chamber of the Patriarch's Palace.

The event was attended by Sergey Ivanov, Special Presidential Representative and Head of the Board of Trustees of the Moscow Kremlin Museums, Olga Golodets, Deputy Prime Minister of the Russian Federation, Vladimir Medinsky, Minister of Culture of the Russian Federation, Jean-Maurice Ripert, Ambassador Extraordinary and Plenipotentiary of France to Russia, Alexey Miller, Chairman of the Gazprom Management Committee, and Gerard Mestrallet, Chairman of the Board of Directors of ENGIE Group.

The exhibition features numerous masterpieces of Gothic art from the era of Louis IX. Most of the artworks will be displayed in Russia for the first time ever, including 13th-century stained glass panels from the Sainte-Chapelle and unique items from French art collections, namely the Louvre Museum and Musee National du Moyen Age. Many of those exhibits have never been shown to non-French audiences before.

The event was organized by the Moscow Kremlin Museums and France’s Centre des Monuments Nationaux with support from the Embassy of France in Russia. Gazprom and ENGIE served as general partners in the project.

“Gazprom and ENGIE expand their cooperation beyond industrial and commercial efforts to R&D and arts by supporting exhibitions devoted to French and Russian culture. For over 20 years, the ENGIE Foundation has contributed to the protection and restoration of stained glass panels in dozens of monuments across France, including the Sainte-Chapelle,” said Gerard Mestrallet.

“Gazprom has traditionally supported major international cultural projects. The exhibition presenting some of the greatest cultural achievements of medieval France, which we unveiled today, is truly a landmark occasion for Russia and France alike. It will foster mutual understanding and friendship between our nations,” said Alexey Miller.

Background

France's ENGIE (prior to 2015 – GDF SUEZ) is focused on natural gas exploration, production, processing and marketing, as well as power generation.

Gazprom and ENGIE cooperate in gas supplies, sci-tech development, and personnel training. The companies also pursue joint cultural projects.

[dimartblog]

Art et Liberté: η ιστορία του σουρεαλισμού στην Αίγυπτο

—της Aimee Dawson / The art newspaper | Μετάφραση για το dim/art: Γιώργος Τσακνιάς—

Η ομάδα των Αιγύπτιων σουρεαλιστών Art et Liberté επέλεξε τη Γκερνίκα του Πικάσο (1937) για να εικονογραφήσει το πρώτο της μανιφέστο, που δημοσιεύτηκε το 1938 με τίτλο: Vive l’art dégénéré (Ζήτω η παρακμιακή τέχνη). Αυτές τις μέρες, 79 χρόνια αργότερα, το μανιφέστο εκτίθεται στην Ισπανία, στο Museo Nacional Centro de Arte Reina Sofía της Μαδρίτης, στο πλαίσιο της έκθεσης: «Art et Liberté: Ρήξη, Πόλεμος και Σουρεαλισμός στην Αίγυπτο (1938-48)».

Οργανωμένη από τους ανεξάρτητους curators Till Fellrath and Sam Bardaouil, η έκθεση ανασυνθέτει για πρώτη φορά την ιστορία και το έργο μιας όχι ιδιαίτερα γνωστής ομάδας καλλιτεχνών, που εμπνεύστηκαν από τον Σουρεαλισμό. Το Art et Liberté εξέφρασε μια γενιά νέων καλλιτεχνών, διανοουμένων και ακτιβιστών σε μια εποχή μεγάλων πολιτικών και πολιτισμικών αλλαγών στην Αίγυπτο και υπήρξε τμήμα ενός παγκόσμιου κινήματος που αντιτάχθηκε στον φασισμό, στον εθνικισμό και στην αποικιοκρατία.

Η έκθεση αρχικά φιλοξενήθηκε στο Pompidou, στο Παρίσι, από τις 20 Οκτωβρίου 2016 (προς τιμήν των 50 χρόνων από τον θάνατο του André Breton) μέχρι τις 16 Ιανουαρίου του 2017. Στη Μαδρίτη τα εγκαίνια έγιναν εχθές, 14 Φεβρουαρίου, και η έκθεση, που θα διαρκέσει μέχρι τις 11 Ιουνίου, περιλαμβάνει περίπου το 70% των εκθεμάτων του Πομπιντού, δηλαδή γύρω στους 200 πίνακες, χαρακτικά και σχέδια, φωτογραφίες και αρχειακό υλικό, από τα τέλη της δεκαετίας του 1920 μέχρι τις αρχές της δεκαετίας του 1950. Τα εκθέματα είναι δανεικά από 42 δημόσιους φορείς και ιδιωτικές συλλογές που βρίσκονται σε δέκα διαφορετικές χώρες.

Η έκθεση θα μεταφερθεί στο Kunstsammlung Nordrhein-Westfalen, Düsseldorf (15 Ιουλίου-15 Οκτωβρίου) και στην Tate Liverpool (17 Νοεμβρίου-18 Μαρτίου 2018). Η έκθεση τελεί υπό την αιγίδα του Σεΐχη Dr Hassan bin Mohammed bin Ali Al Thani και του Montblanc Cultural Foundation.

Κέντρο Πομπιντού

Από αριστερά προς τα δεξιά: Georges Henein, Fuad Kamel, Ikbal El Alailly, και Ramses Younan.

Το λογότυπο του περιοδικού Al-Tatawwur, 1940

Από τον κατάλογο της πρώτης έκθεσης της ομάδας, το 1940. Κείμενο του Henein, σχέδια του Fuad Kamel.

Από τον κατάλογο της πρώτης έκθεσης της ομάδας, το 1940. Κείμενο του Henein, σχέδια του Fuad Kamel.

Αφίσα της έκθεσης της ομάδας Contemporary Art Group, 1948 (Collection Leila Effat).

Hassan El-Telmisani, Άτιτλο (recto-verso), ca. 1940

Mayo, Coups de bâtons, 1937. (Image: © Annunciata Galleria, Milan)

Mayo: Portrait, 1937, λάδι σε καμβά. Ευρωπαϊκό Πολιτιστικό Κέντρο Δελφών.

Abdel Hadi El-Gazzar, Mahassib al-Sayyida, 1950

Samir Rafi, Nu, 1945

Ramses Younan, Untitled (1939) (Image: courtesy H. E. Sh. Hassan M. A. Al Thani collection, Doha)

Rateb Seddik,Sans titre, 1940. Courtesy of Musee Rateb Seddik Le Caire.

Ramses Younan, La Famille, 1938

Fouad Kamel Moves of Lust, 1939

Injy Efflatoun, Το κορίτσι και το Τέρας, 1941.

Abdel Hadi el-Gazzar, Λαϊκή χορωδία, 1949 (Collection Naguib Sawiris).

* * *

Ζήτω η παρακμιακή τέχνη!

Ακολουθεί το μανιφέστο της ομάδας Art et Liberté στα γαλλικά και στα αγγλικά. Μεταξύ των υπογραφόντων, και τρεις Έλληνες αιγυπτιώτες (αν και, τουλάχι��τον οι δύο πρώτοι, ήταν γεννημένοι στην Ελλάδα): ο ζωγράφος Αριστομένης Αγγελόπουλος, ο ποιητής και συγγραφέας Τίμος Μαλάνος και ο ιστορικός της ελληνικής κοινότητας της Αιγύπτου Αθανάσιος Πολίτης.

Άλλη μια αιγυπτιώτικη ελληνική «συμμετοχή» στην έκθεση είναι τα έργα του Mayo. Ο Αντώνης Μαλλιαράκης Mayo (1905-1990) γεννήθηκε στο Πορτ Σάιντ από πατέρα Έλληνα και μητέρα Γαλλίδα. Έζησε κυρίως στη Γαλλία, συνδέθηκε με τους σουρεαλιστές, ιδίως με τον Tzara και τον Picabiα και αργότερα με τον Desnos και τον Prévert, εικονογράφησε βιβλία του Camus και του Prévert και δημιούργησε κοστούμια και σκηνικά για το θέατρο και τον κινηματογράφο.

Vive l’art dégénéré

On sait avec quelle hostilité la société actuelle regarde toute création littéraire ou artistique menaçant plus ou moins directement les disciplines intellectuelles et les valeurs morales du maintien desquelles dépendent pour une large part sa propre durée, – sa survie.

Cette hostilité se manifeste aujourd’hui dans les pays totalitaires, – dans l’Allemagne hitlérienne en particulier, par la plus abjecte agression contre un art que des brutes galonnées promues au rang d’arbitres omniscients, qualifient de ” dégénéré”.

Depuis Cézanne jusqu’à Picasso (et sur le plan littéraire depuis Henri Heine jusqu’à Thomas Mann) tout ce que le génie artistique contemporain a donné de meilleur, tout ce que l’artiste moderne a crée de plus libre et de plus humainement valable est insulté, proscrit.

Nous tenons pour absurdes et justiciables du plus parfait mépris les préjugés religieux, racistes et nationalistes à la tyrannie desquels certains individus ivres de leur toute puissance provisoire prétendent asservir le destin de l’oeuvre d’art.

Nous refusons de voir dans ces mythes régressifs autre chose que de véritables camps de concentration de la pensée.

L’Art, – en tant qu’échange spirituel et effectif permanent auquel participe l’entière humanité, ne peut plus connaître d’aussi arbitraire limites.

Dans Vienne livrée aux barbares, on lacère les toiles de Renoir, on brûle les ouvrages de Freud sur les places publiques. Les plus brillantes réussites des grands artistes allemands tels que Max Ernst, Paul Klee, Kokoschka, George Grosz, Kandinsky, Karl Hofer (Prix Carnegie, 1938) sont mises à l’index et doivent céder la place à la platitude de l’art national-socialiste.

A Rome une commission dite de “bonification littéraire” vient d’achever sa malpropre besogne en concluant à la nécessité de retirer de la circulation “tout ce qui est anti-italien, anti-raciste, immoral et dépressif”.

Intellectuels, écrivains, artistes ! Relevons ensemble le défi. Cet art dégénéré, nous en sommes absolument solidaires. En lui résident toutes les chances de l’avenir. Travaillons à sa victoire sur le nouveau Moyen-Âge qui se lève en plein coeur de l’Occident.

Ont signé le présent manifeste les artistes, écrivains, journalistes et avocats dont les noms suivent :

A. Angelopoulo, Armand antebi, Abd-el-Khalek el Azzouni, Zakaria el Azzouni (membre du Conseil de l’Ordre du Barreau d’Alexandrie), Marcelle Biagini, Albert Cossery, Henri Dumani, Ahmed Fahmy, Annette Fedida, L. Galanti, Samy Hanoka, Hassia, Georges Henein, Albert Israel, Germaine Israel, Anouar Kamel, Fouad Kamel, Edouard Levy, Malanos, Alexandra Metchcouevska, Marcel Nada, Fatma Nimet-Rachid, Mohammed Nour, A. Politis, Edouard Pollack, Angelo de Riz, A. Revaux, Sami Riad, Mohammed Seif-el-Dine, Hassan Sobhy, Laurent Salinas, Emile Simon, Scalet, Telmissany, Nadave Siber, Kamal William, Ibrahim Wassily.

Le Caire, le 22 Décembre 1938.

Long live degenerate art

We know with what hostility current society looks upon any new literary or artistic creation that directly or indirectly threatens the intellectual disciplines and moral values of behaviour on which it depends for a large part of its own life – its survival.

This hostility is appearing today in totalitarian countries, especially in Hitler’s Germany, through the most despicable attacks against an art that these tasselled brutes, promoted to the rank of omniscient judges, qualify as degenerate.

All the achievements of contemporary artistic genius from Cézanne to Picasso – the product of the ultimate in freedom, strength and human feeling – have been received with insults and repression. We believe that it is mere idiocy and folly to reduce modern art, as some desire, to a fanaticism for any particular religion, race or nation.

Along these lines we see only the imprisonment of thought, whereas art is known to be an exchange of thought and emotions shared by all humanity, one that knows not these artificial boundaries.

Vienna has been left to a rabble that has torn Renoir’s paintings and burned the writings of Freud in public places. The best works by great German painters such as Max Ernst, Paul Klee, Karl Hoffer, Kokoschka, George Grosz and Kandinsky have been confiscated and replaced by Nazi art of no value. The same recently took place in Rome where a committee was formed to purge literature, and, performing its duties, decided to eliminate works that went against nationalism and race, as well as any work raising pessimism.

O men of art, men of letters! Let us take up the challenge together! We stand absolutely as one with this degenerate art. In it resides all the hopes of the future. Let us work for its victory over the new Middle Ages that are rising in the heart of Europe.

The following artists, writers, journalists and lawyers have signed this manifesto:

Ibrahim Wassily, Ahmed Fahmy, Edouard Pollack, Edouard Levy, Armand Antis, Albert Israel, Albert Koseiry, Telmessany, Alexandra Mitchkowivska, Emile Simon, Angelo Paulo, Angelo De Riz, Anwar Kamel, Annette Fadida, A. Paulitz, L. Galenti, Germain Israel, George Henein, Hassan Sobhi, A. Rafo, Zakaria AL Azouny, Samy Riad, Samy Hanouka, Escalette, Abd El Din, Mohamed Nour, Nadaf Selair, Hassia, Henry Domani.

Cairo, December 22, 1938.

Σημείωση του dim/art: βρήκαμε το γαλλικό και το αγγλικό κείμενο εδώ. Δεν κατορθώσαμε να τα διασταυρώσουμε. Τα ονόματα των καλλιτεχνών και διανοουμένων που υπογράφουν το μανιφέστο διαφέρουν στις δύο εκδοχές, με αυτά που βρίσκονται κάτω από την αγγλική να έχουν σίγουρα πολλά λάθη — π.χ. ο Αριστομένης Αγγελόπουλος γράφεται κάτω από το γαλλικό σωστά «A. Angelopoulo» ενώ κάτω από το αγγλικό το επώνυμό του έχει σπάσει στα δύο και έχει ιταλοποιηθεί: «Angelo Paulo».

Στο 19ο τεύχος του περιοδικού Dada/Surrealism μπορείτε να διαβάσετε ένα καλό και αναλυτικό χρονολόγιο του κινήματος Art et Liberté στα αγγλικά (ηλεκτρονικά εδώ).

* * *

Εδώ άλλες αναρτήσεις από την κατηγορία Εικαστικά

  Ζήτω η παρακμιακή τέχνη! Art et Liberté: η ιστορία του σουρεαλισμού στην Αίγυπτο —της Aimee Dawson / The art newspaper…

[arlathhan]

Musee de Cluny, Paris, France. by Christopher Levy Via Flickr: Musee de Cluny, Paris, France. From Wikipedia : The Musée de Cluny, officially known as Musée National du Moyen Âge (National Museum of the Middle Ages), is a museum in Paris, France. The structure is perhaps the most outstanding example still extant of civic architecture in medieval Paris. It was formerly the town house (hôtel) of the abbots of Cluny, started in 1334. The structure was rebuilt by Jacques d'Amboise, abbot in commendam of Cluny 1485-1510; it combines Gothic and Renaissance elements. In 1843 it was made into a public museum, to contain relics of France's Gothic past preserved in the building by Alexandre du Sommerard. Though it no longer possesses anything originally connected with the abbey of Cluny, originally the hôtel, was part of a larger Cluniac complex that also included a building (no longer standing) for a religious college in the Place de la Sorbonne (just south of the present day Hôtel de Cluny along Boulevard Saint-Michel). Although originally intended for the use of the Cluny abbots, the residence was taken over by Jacques d'Amboise, Bishop of Clermont and Abbot of Jumièges, and rebuilt to its present form in the period of 1485-1500.[1] Occupants of the house over the years have included Mary Tudor, who was installed here after the death of her husband Louis XII by his successor Francis I of France in 1515 so he could watch her more closely, particularly to see if she was pregnant. Seventeenth-century occupants included several papal nuncios including Mazarin.[2] In 1793 it was confiscated by the state, and for the next three decades served several functions. At one point it was owned by a physician who used the magnificent Flamboyant chapel on the first floor as a dissection room. [3] In 1833 Alexandre du Sommerard moved here and installed here his large collection of medieval and Renaissance objects. [4] Upon his death in 1842 the collection was purchased by the state and opened in 1843, with his son as the museum's first curator. The present gardens, opened in 1971, include a "Forêt de la Licorne" inspired by the tapestries. The Hôtel de Cluny is partially constructed on the remains of Gallo-Roman baths dating from the third century (known as the Thermes de Cluny ), which are famous in their own right and which may still be visited. In fact, the museum itself actually consists of two buildings: the frigidarium ("cooling room"), where the remains of the Thermes de Cluny are, and the Hôtel de Cluny itself, which houses its impressive collections.