The Cloisters

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The Cloisters
The Cloisters Hudson River crop.jpg
View from the Hudson River with bell tower
The Cloisters is located in New York City
The Cloisters
Location within New York City
Established May 10, 1938
Location 99 Margaret Corbin Drive, Fort Tryon Park
Manhattan, New York City
Coordinates 40°51′53″N 73°55′55″W / 40.8648°N 73.9319°W / 40.8648; -73.9319Coordinates: 40°51′53″N 73°55′55″W / 40.8648°N 73.9319°W / 40.8648; -73.9319
Type Medieval art
Collection size 1,854
Public transit access Bus: M4 to museum's entrance (rush hours only), or M4 or M98 (rush hours only) to the entrance of Fort Tryon Park
Subway: 190th Street (NYCS-bull-trans-A.svg train) or 191st Street (NYCS-bull-trans-1.svg train)

The Cloisters is a museum in Upper Manhattan, New York City specializing in European medieval architecture, sculpture and decorative arts. Its collection grew from that of American sculptor, art dealer and collector George Grey Barnard, whose foundations were acquired by John D. Rockefeller, Jr. in 1925.[1] Rockefeller extended the collection and in 1931 purchased the land at Washington Heights and contracted the design for a new building. The museum is today part of the Metropolitan Museum of Art.

Its architectural and artistic works divide between the Romanesque and Gothic styles. The four installed cloisters -the Cuxa, Bonnefort, Trie and Saint-Guilhem cloisters- come from French monasteries and abbeys. Between 1934 and 1939 they were excavated and reconstructed in Washington Heights, in a large project overseen by the architect Charles Collens. They are surrounded by a series of indoor chapels and rooms grouped by period which include the Romanesque, Fuentidueña, Unicorn, Spanish and Gothic rooms.[2] The design, layout and ambiance of the building is intended to evoke in visitors a sense of the Medieval European monastic life through its distinctive architecture.[3] The area around the buildings contains a number of reconstructed early medieval gardens.

The Cloisters is a well-known New York City landmark and has been used as a filming location a number of times. In 1948, the experimental filmmaker Maya Deren used its ramparts as a backdrop for her experimental film Meditation on Violence.[4] In the same year, German director William Dieterle used the Cloisters as the location for a convent school in his film Portrait of Jennie. The 1968 film Coogan's Bluff used the site for the scene of a shoot-out.[4]



George Grey Barnard, sculptor and collector of medieval art, whose collection forms the nucleolus of the Cloisters

The design for the 66.5-acre (26.9 ha) Fort Tryon Park was commissioned by the philanthropist John D. Rockefeller, Jr. beginning in 1917, when he purchased the Billings Estate and other properties in the Fort Washington area and hired Frederick Law Olmsted, Jr., son of one of the designers of Central Park, and the Olmsted Brothers firm to create a park, which he donated to New York City in 1935. As part of the project, Rockefeller also purcheased the medieval art collection of George Grey Barnard, an American sculptor and collector, who had already established a medieval-art museum near his home in Fort Washington, and during one of his frequent financial crises, sold it to the Metropolitan.[5] His collection was acquired along with a number of pieces from Rockefeller's own holdings, including the Unicorn Tapestries. These became the foundation and core of the Cloisters collection.

The Cloisters and its adjacent 4 acres (1.6 ha) gardens are situated within Fort Tryon Park, and were created using grants and endowments from Rockefeller; construction took place over a five-year period beginning in 1934.[6][7] He also bought several hundred acres of the New Jersey Palisades, which he later donated to the State of New Jersey, to help preserve the view from the museum. This land is now part of the Palisades Interstate Park.


John D. Rockefeller (left) and John D. Rockefeller Jr. 1915

The Cloisters building in Washington Heights was designed by Charles Collens, who incorporated parts from five cloistered abbeys in Catalan, Occitan and French origins. Parts from Sant Miquel de Cuixà, Sant Guilhèm dau Desèrt, Bonnefont-en-Comminges, Trie-en-Bigòrra, and Froville were disassembled stone-by-stone and shipped to New York City, where they were reconstructed and integrated into a cohesive whole. In 1988, the Treasury Gallery within the Cloisters, containing objects used for liturgical celebrations, personal devotions, and secular uses, was renovated. Other galleries were refurbished in 1999.


Shaped tree in the Cloisters' gardens

The museum contains architecture elements and settings relocated from four French medieval abbeys: the Cuxa, Bonnefort, Trie and Saint-Guilhem cloisters. Between 1934 and 1939 they were transported, reconstructed and integrated with new buildings, in projects overseen by the architect Charles Collens.

The Cloisters is fortified, as would have been the original churches and abbeys. In such circumstances well developed gardens would have been essential for survival.[8] Today the gardens of the Cloisters contain a wide variety of mostly rare medieval species,[9] amounting to over 250 genera of plants, flowers, herbs and trees, making it one of the world's most important collection of specialized gardens. Their design was overseen by during the museums build by James Rorimer, aided by Margaret Freeman, who conducted extensive research into both the keeping of plants and their symbolism in the Middle Ages.[10] Today the gardens are tended by a staff of horticulturalists; the senior members are also historians and researchers on medieval gardening techniques.[11]


Stone pillars

The Cuxa Cloisters are structurally and thematically the museum's centerpiece.[12] They are located on the south side of the building, and originally built using pink marble. They are from the Benedictine monastery of Saint-Michel-de-Cuxa, Mount Canigou in the northeast French Pyrenees, founded in 878.[13] The monastery was abandoned in 1791. Its structure was dispersed, with around half of the building relocated to New York, after it was purchased by George Grey Barnard (d. 1938).[13] Until then it had been in disrepair; its roof collapsed in 1835, followed by its bell tower in 1839.[14]

Its marble cut capitals were cut at different points in its history, and contain a variety of sculpted patterns and forms, including scrolling leaves, and animals with two bodies but sharing a head, lions restrained by apes, and a mermaid.[15] According to the Met, the motifs "may derive from popular fables or depict the struggle between the forces of good and evil, the conveyance of meaning seems to have been less important for the Cuxa artists than the creation of powerful works capturing the energy and tension between the forms depicted."[13]

Pink marble capitals, Cuxa Cloisters

The Cuxa cloisters are placed at the center of the museum. Its quadrangle-shaped garden formed a center around which monks slept in cells. Its original garden seemed to have lined walkways around adjoining arches lined with capitals enclosing the garth. The oldest plan of the original building describes lilies and roses.[16] It is impossible to now represent all medieval species and arrangements; those in the Cuxa are approximations by botanists specializing in medieval history.[16]

They were an early purchase by Barnard, in around 1907. Their installation took years, as one of the first major undertakings by the Metropolitan after it had acquired and absorbed his collection. After intensive work over fall and winter 1925–26, the Cuxa cloister was finally opened to the public on April 1, 1926.[17]


The Bonnefont cloisters consist of four walkways around medieval herb garden, and in part dates from a late 12th- to early 14th-century Cistercian abbey in the southern French region of Midi-Pyrénées,[18] built on a monastery active between 1136 to 1807. The cloister is not fully from any monastery, but a composite of a number of buildings from the region. The clositers today contain twenty-one double capitals, surrounding a garden that contains many typical features of the medieval period, including a wellhead, raised flower beds, and fences lined with acacia.[19] The marbles are highly ornate and decorate, some contain two registers, some with grotesque figures. The garden contains raised beds bordered by bricks and wattle fences.[20]

The garden contains a medlar tree, found in the The Hunt of the Unicorn tapestries, and is centered around a wellhead in use since the 12th century. The remnants of the Bonnefont cloisters were acquired by Barnard in 1937.[21]


The fountain at the Trie cloisters

The Trie cloister were originally built as part of a convent for Carmelite nuns at Trie-sur-Baïse, in south-western France. The original abbey, save for the church, was destroyed by Huguenots in 1571.[22]

Like those from Saint-Guilhem, the Trie cloisters have been roofed.[23] A number of small and narrow buttresses were added to the exterior by the Metropolitan Museum curator Joseph Breck, who based their design on features at Kenilworth Castle in Warwickshire, England.[24]

The convent originally contained 81 white marble capitals,[25] carved between 1484-1490.[26] Eighteen are now at The Cloisters, and contain numerous biblical scenes and incidents form the lives of saints. There is evidence of secularization in some of the carvings, with biblical scenes merged with characters from legend, including Saint George and the Dragon.[25] Examples include a "wild man" confronting a grotesque monster, and the droll head wearing a very unusual and fanciful hat.[25] The biblical capitals are placed in chronological order, beginning with God in the act of creation at the north west corner, Adam and Eve in the west gallery, followed by and Abraham sacrificing Isaac, and Matthew and John writing their gospels. Capitals in the south gallery illustrate scenes from the life of Christ, from the Annunciation to the Entombment.[27]

The Trie cloisters surround a rectangular garden which hosts around 80 species of plants, and contains a tall limestone waterfall at the center.[28] The waterfall is a composite of two late 15th- to early 16th-century French structures.[26]


Saint-Guilhem Cloisters

The Saint-Guilhem cloisters date to a building founded in 804,[29] at the site of the later Benedictine monastery of Saint-Guilhem-le-Désert, with other pieces dating to the 1660s. These cloisters were one of Barnard's early acquisitions, from 1906, financed by a loan of $10,000, and with the assistance of dealers in Paris.[30] The Benedictine monastery was established by William IX (known as Guilhem) (1071–1127), count of Toulouse, duke of Aquitaine and one of Charlemagne's Paladins was a colorful and adventurous character before he settled as a monk at the abbey. At the time, it marked an important stopping point in the pilgrimage route to Santiago de Compostela in northwestern Spain.[31]

Around 140 architectural elements from the monastery were acquired and transferred to New York. Highly innovated carvings on the marble piers and column shafts are in places coiled by extravagant foliage, including vines, and recall Roman sculpture.[32] The capitals contain acanthus leaves and a variety of grotesque heads peering out from the vines.[33] including capitals representing the Presentation at the Temple, Daniel in the Lions' Den,[34] and the Mouth of Hell,[35] and a number of pilasters and columns.[29] The carvings seem preoccupied with the evils of hell. The capital beside the mouth of hell contains the head of the devil, and nearby are various tormenting beasts with, according to art historian Bonnie Young, "animal-like body parts and cloven hoofs [as they] herd naked sinners in chains to be thrown into an upturned monster's mouth".[36]

The Saint-Guilhem cloisters is located in an indoor section of the building, and covered by a skylight, and plate glass panels which conserves heat in the winter months. Its plant are mostly potted or in containers, including a 15th-century glazed earthenware vase. The small garden contains a central fountain.[37]

Chapels and halls[edit]

Gothic Chapel[edit]

Stained glass in the Gothic chapel

The Gothic chapel faces northeast and consists of two stories overlooked by stained glass windows. It is entered at ground level via a heavy abbey door at its east wall. The hall begins with a pointed Gothic arch, leading to high bayed ceilings, ribbed vaults, with buttress on the thick walled exterior.[38]

The apse contains a large limestone sculpture of Saint Margaret dated to c. 1330 and from Lleida, Spain. The glass windows are of the 14th century with a depiction of Saint Martin and complex medallion patterns, the three center windows are from the church of Saint Leonhard, in southern Austria, from c. 1340.[38] The glass on the east wall comes from the abbey of Evron, Normandy, and dates from around 1325.[39]

Tomb effigy
Tomb effigy

The Gothic chapel contains four tombs, each supreme examples of contemporary sepulchral art,[40] and each from the Uregel family of Catatonia; counts, their wives and children, each with a commemorative tombstone sculptural effigy.[39] The family is associated with the church of Santa Maria at Castello de Farfanya, which was redesigned in the Gothic style by Ermengol X, who was dead by 1314.[40] The tombs are thought to contain Ermengol VI (d. 1184), who commissioned the tombs. The "Tomb Effigy of a Lady", sourced in Normandy and dated to the mid 13th c, is perhaps of Margaret of Gloucester.[41] Although resting on a modern base,[42] she is dressed in the height of contemporary aristocratic fashion, including a cotte, jewel studded belt and mantle, and an elaborate ring necklace brooch.[43]

Three of the tombs were once in the Bellpuig de las Avellanes monastery in northern Spain. The small tomb effigy of a young boy was also acquired from the church of Santa Maria at Casttello de Farfanya.[40]

Fuentidueña Chapel[edit]

The Fuentidueña Apse, Spanish, c. 1175–1200
Main article: The Fuentidueña Apse

The Fuentidueña Chapel opens with oak doors flanked by sculptures of leaping animals. It houses the Fuentidueña Apse, a semicircular Romanesque apse dated c. 1175–1200, originally part of the San Martín church at Fuentidueña in Segovia. The room also contains a hanging crucifix, and large frescos honoring the Virgin Mary.[44] The chapel consists of a rectangular courtyard with covered walk ways, and beds of flowering shrubs and plants.[45] The capitals supporting the arch portray the Adoration of the Magi and Daniel in the lions' den. Its piers contain the figures of Saint Martin of Tours on the left, and the angel Gabriel announcing to The Virgin on the right. The Fuentidueña room includes a number of other, mostly contemporary medieval art works set within the Fuentidueña Apse. They include, in its dome, a large fresco painted on wet plaster c. 1130-50, from the Spanish Church of San Juan de Tredos, which in its colorization resembling a Byzantine mosaic and is dedicated to the ideal of Mary as the mother of God.[46] Hanging within it the apse is a c. 1150-1200 Crucifix from the convent of St Clara at Astudillo.

Crucifix, c. 1150-1200. Spanish. White oak, polychrome, gilding and applied stones

By the 19th century the church was long abandoned and in disrepair. In the late 1940s the apse was moved and reconstructed for installation in The Cloisters, a transfer than involved the shipping of almost 300 blocks of stone from Spain to New York. The acquisition followed three decades of complex negotiation and diplomacy between the Spanish church and both countries art historical hierarchies and governments. It was eventually exchanged in a complex deal that involved, in return, the gifting by New York of six frescoes from the San Baudelio de Berlanga to the Prado, on an equally long term loan.[47]

The capitals supporting arch portray the Adoration of the Magi and Daniel in the lions' den. Its piers contain the figures of Saint Martin of Tours on the left, and the angel Gabriel announcing to The Virgin on the right. The chapel contains a number of other mostly contemporary medieval art works, including a large fresco from the Spanish Church of San Juan de Tredos. Painted c. 1130-50, the fresco honors the ideal of Mary as the mother of God.[46] Also within the apse is a c. 1150-1200 Crucifix from the convent of St Clara at Astudillo.

The Fuentidueña hall is the museum's largest room.[48] Its acoustics are especially rich and warm, and it is often host to recitals of early music.[49]

Langon Chapel[edit]

The apse of the Langon Chapel

The Lagon Chapel is entered from the Romanesque hall via a massive Gothic oak doorway with elaborate architectural framing. It was sourced from Moutiers-Saint-Jean in Burgundy, France. Carvings on the doorway depict the Coronation of the Virgin, and it contains folited capitals, and statuettes on the outer piers, two kings positioned in the embrasures, and various kneeling angels.[50]

The chapel's architecture is from the Cathédrale Notre-Dame-du-Bourg de Digne in Lagon, and dates from c. 1126.[51] The Pontault Chapter house consists of a single aisle nave, projecting transepts[52] is taken from a small parish Benedictine church of c. 1115 from Notre Dame de Pontault,[53] then in neglect and disrepair - when acquired its upper level was a holding for tobacco. About three quarters of its original stonework was relocated to New York.[52]

The heads on the right hand capital were for a time assumed to represent Henry II of England.[54] Seven capitals survive from the original church, with carvings of human heads or figures, some now conformed as identifiable as historical persons, including of Eleanor of Aquitaine,[52] although Henry II is rejected.

Romanesque hall[edit]

The Romanesque hall is noted for its three great church doorways. It opens through a monumental arched Burgundian entrance from Moutier-Saint-Jean de Réôme France, dated to c. 1150.[55] Two animals are carved into the keystones, both on their hind legs as if about to attack each other. The capitals are lined with carvings of both real and imagined animals and birds, as well as leaves and other fauna.[56] The two other, earlier doorways are from Reugny, Indre-et-Loire in and Poitou in central France.[3] The hall contains four large early 13th-century stone sculptures representing the Adoration of the Magi, and frescoes of a lion and a wyvern, each from the Monastery of San Pedro de Arlanza, in north central Spain.[55] On the left of the room are portraits of kings and angles, also from the monastery at Moutier-Saint-Jean.[56]

The hall contains the remnants of a church at the small Augustinian church at Reugny, consisting of three pairs of columns over a door with molded archivolts.[57] Surviving records indicate that an upper "new cloisters" were installed at Saint-Guilhem-le-Désert before 1206. The site at Reugny was badly damage during both the French Wars of Religion and French Revolution, and most of it had already been sold on by 1850 by Piere-Yon Verniere, whose heir sold it on to Barnard in 1906.[29]


The Cloisters contains approximately five thousand individual European medieval works of art, mostly from the 12th to 15th centuries. Notable architecture include the Sant Miquel de Cuixà cloister and the Fuentidueña Apse from a chapel in the province of Segovia, Spain.

One of the Hunt of the Unicorn tapestries

The museum holds several ivory c. 1300 Gothic Madonna ivory statuette, mostly French, with some English examples. Other major works include the Flemish tapestries The Hunt of the Unicorn (c. 1495-1505, probably woven in Brussels or Liège[58] and the Nine Heroes, Robert Campin's c. 1425-28 Mérode Altarpiece panel painting,[59] and the 12th-century ivory Cloisters Cross. The museum holds an extensive collection of frescoes, stained glass, manuscripts, porcelain statuettes, reliquarys, wood sculptures and boxwood Rosary beads.

Illuminated manuscripts[edit]

The museum has collected four medieval illuminated books, each of the first rank and of major art historical interest. Their acquisition was a significant achievement for the museums early collectors - it was felt that the Cloisters should focus on architecture and not spend funding on manuscripts, which were considered more suitable for the Pierpont Morgan Library.[60] The four books are the very early c. 1330 French "Cloisters Apocalypse" (containing the Book of Revelations),[61] the "Hours of Jeanne d'Evreux" (1325–28), the Psalter of Bonne de Luxembourg and the Limbourg brothers' "Les Belles Heures du Duc de Berry" (1399–1416).

Stained glass[edit]

Grisaille Panel, Château-de-Bouvreuil, Rouen, France, c. 1265

The Cloisters' collection of stained glass windows are characterized by vivid colors and often abstract designs and patterns. Many are made from hand made opalescent glass.[62] Among the best known are from Canterbury Cathedral in England, dated to c. 1178-80. Typical of such art works of the time, the designs highlight the effects of light, especially interplay between darkness and illumination.[63] The current collection began from acquisitions in the early 20th century by Raymond Picairn, who was acquiring at a time when medieval glass was not a highly sought after medium by connoisseurs. There were a number of reasons for this, including the fact that pieces were not easily extractable, and even then difficult to transport.[64]

Jane Hayward, a curator at the museum from 1969, believed stained glass was "unquestioningly the preeminent form of Gothic medieval monumental painting",[65] and began a second phase of acquisition.[65] She bought c. 1500 heraldic windows from the Rhineland, now installed in the Campin room with Robert Campin's Mérode Altarpiece, which had been acquired in 1950. Hayward's 1980 addition lead to a redesign of the room so that the installed pieces would echo the domestic setting of the altarpiece. She later said that the Campin room is the only gallery in the Met "where domestic rather than religious art predominates, [because] a conscious effort has been made to create fifteenth-century domestic interior similar to the one shown in [Campin]'s Annunciation panel."[66] Other acquisitions from this time include c. 1265 grisaille panels from the Château-de-Bouvreuil in Rouen, the Cathedral of Saint-Gervais-et-Saint-Protais at Sées,[66] and panels from the Acezat collection, now in the Heroes Tapestry Hall, which feature a number of grotesques.[67]

Library and archives[edit]

The Cloisters Library is one of the Metropolitan Museum's thirteen libraries. It contains 15,000 volumes of books, its archive administration papers, the personal papers of George Grey Barnard, early glass lantern slides of museum materials, curatorial papers, museum dealer records, scholars records, recordings of musical performances at the museum and maps.[68]

Selected objects[edit]

See also[edit]



  1. ^ Barnet, 11
  2. ^ Young (1979), 1
  3. ^ a b Parker, 43
  4. ^ a b "The Cloisters in Popular Culture: "Time in This Place Does Not Obey an Order"". Metropolitan Museum of Art. 
  5. ^ Hayward, 38
  6. ^ Postal, Matthew A.; Dolkart, Andrew S. (2009). Postal, Matthew A., ed. Guide to New York City Landmarks (4th ed.). New York: John Wiley & Sons, on behalf of New York City Landmarks Preservation Commission. ISBN 978-0-470-28963-1. , p.213
  7. ^ "The Cloisters Museum and Gardens". The Metropolitan Museum of Art. Retrieved 15 May 2016
  8. ^ Baynard (1985), 1
  9. ^ Baynard (1985), vii
  10. ^ Baynard (1985), 1-2
  11. ^ Baynard (1985), 2
  12. ^ Husband (2013), 33
  13. ^ a b c "Cuxa Cloister". Metropolitan Museum of Art. Retrieved May 15, 2016
  14. ^ Young (1979), 47
  15. ^ Horste, 126
  16. ^ a b Bayard, 37–42
  17. ^ Husband (2013), 22
  18. ^ Rorimer (1972), 20
  19. ^ McGowan, Sarah. "The Bonnefont Cloister Herb Garden". Fordham University. Retrieved May 22, 2016
  20. ^ "Bonnefont Cloister". Metropolitan Museum of Art. Retrieved 15 May 2016
  21. ^ Young (1979), 98
  22. ^ Husband (2013), 10
  23. ^ Husband (2013), 34
  24. ^ Husband (2013), 38
  25. ^ a b c Young (1979), 96
  26. ^ a b Rorimer (1972), 22
  27. ^ Young (1979), 97-9
  28. ^ Barnet (2005), 18
  29. ^ a b c Barnet, 58
  30. ^ Husband (2013), 8
  31. ^ Rorimer, 17
  32. ^ Parker, 10
  33. ^ Yarrow, Andrew. "A Date With Serenity At the Cloisters". New York Times, 13 June 1986. Retrieved 21 May 2016
  34. ^ "Saint-Guilhem Cloister". Metropolitan Museum of Art. Retrieved 15 May 2016
  35. ^ Young (1979), 24-25
  36. ^ Young (1979), 26
  37. ^ Bayard, 81
  38. ^ a b Young (1979), 76
  39. ^ a b Young (1979), 80
  40. ^ a b c Young (1979), 82
  41. ^ Young (1979), 80–84
  42. ^ "Tomb Effigy of a Lady". Metropolitan Museum of Art. Retrieved June 5, 2016
  43. ^ Brown, 409
  44. ^ Young (1979), 14
  45. ^ Young (1979), 23
  46. ^ a b Young (1979), 17
  47. ^ Wixom, William. "Medieval Sculpture at The Cloisters". The Metropolitan Museum of Art Bulletin, volume 46, no. 3, Winter, 1988–1989. 36
  48. ^ Rorimer (1951), 267
  49. ^ Barnet, 19
  50. ^ Forsyth, 33, 38
  51. ^ Young (1979), 31
  52. ^ a b c Barne, 47
  53. ^ Young (1979), 40
  54. ^ "Chapel from Notre-Dame-du-Bourg at Langon . Metropolitan Museum of Art. Retrieved 14 May 2016
  55. ^ a b Siple, 88
  56. ^ a b Young (1979), 6
  57. ^ Barnet, 78
  58. ^ "Gallery 017 – Unicorn Tapestry Hall (The Cloisters)". The Metropolitan Museum of Art. 
  59. ^ for example by Campbell in: National Gallery Catalogues (new series): The Fifteenth Century Netherlandish Paintings, 72, Lorne Campbell, 1998, ISBN 1-85709-171-X and his 1974 Burlington article JSTOR specifically dealing with the authorship of the work
  60. ^ Deuchler (1971), 1
  61. ^ Deuchler (1969), 146
  62. ^ Hayward 36
  63. ^ Cotter, Holland. "Luminous Canterbury Pilgrims: Stained Glass at the Cloisters". New York Times, February 27, 2014. Retrieved June 2016
  64. ^ Hayworth, 45
  65. ^ a b Clarke, 31
  66. ^ a b Clarke, 32
  67. ^ Hayworth (1992), 303
  68. ^ "The Cloisters Library and Archives". Metropolitan Museum of Art. Retrieved 15 May 2016
  69. ^ "Doorway". Metropolitan Museum of Art. Retrieved June 5, 2016


  • Barnet, Peter. The Cloisters: Medieval Art and Architecture. CT: Yale University Press, 2005. ISBN 978-1-5883-9176-6
  • Bayard, Tania. Medieval Gardens and the Gardens of the Cloisters. Metropolitan Museum of Art, 1985
  • Clark, John. English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art. New York: Harvey Miller Publishers, 2003. ISBN 978-1-8725-0137-6
  • Deuchler, Florens; Hoffeld, Jeffrey; Nickel, Helmut. "The Cloisters Apocalypse: An Early Fourteenth-Century Manuscript in Facsimile". New York: Metropolitan Museum of Art, 1971
  • Deuchler, Florens. "The Cloisters: A New Center for Mediaeval Studies". The Connoisseur 172, November 1969. 146
  • Forstyh, William. A Gothic Doorway from Moutiers-Saint-Jean. New York: Metropolitan Museum of Art, 1979
  • Hayward, Jane. "Two Grisaille Glass Panels from Saint-Denis at The Cloisters". In Parker, Elizabeth. The Cloisters: Studies in Honor of the Fiftieth Anniversary. New York: Metropolitan Museum of Art, 1992. ISBN 978-0-8709-9635-1
  • Horste, Kathryn. "Romanesque Sculpture in American Collections". Gesta 21, no. 2, 1982
  • Hoving, Thomas. King of the Confessors. Simon & Schuster. New York, New York: 1981
  • Husband, Timothy. "Creating the Cloisters". The Metropolitan Museum of Art Bulletin, volume 70, no. 4, Spring, 2013
  • Parker, Elizabeth. The Cloisters: Studies in Honor of the Fiftieth Anniversary. New York: Metropolitan Museum of Art, 1992. ISBN 978-0-8709-9635-1
  • Rorimer, James J. The Cloisters. The Building and the Collection of Mediaeval Art in Fort Tryon Park, 11th edition, New York 1951
  • Reynolds Brown, Katharine. "Six Gothic Brooches at The Cloisters". In Parker, Elizabeth. The Cloisters: Studies in Honor of the Fiftieth Anniversary. New York: Metropolitan Museum of Art, 1992. ISBN 978-0-8709-9635-1
  • Rorimer, James J. Medieval Monuments at the Cloisters. New York: Metropolitan Museum of Art, 1972. ISBN 978-0-8709-9027-4
  • Siple, Ella. "Medieval Art at the New Cloisters and Elsewhere". The Burlington Magazine for Connoisseurs, Volume 73, no. 425, 1938
  • Uzig, Nicholas M. "(Re)casting the Past: The Cloisters and Medievalism". The Year's Work in Medievalism, Georgia Institute of Technology, 2012
  • Young, Bonnie. A Walk Through The Cloisters. New York: Viking Press, 1979. ISBN 978-0-8709-9203-2

External links[edit]