Robert Mangot

Robert Mangot (died 1556) was a French goldsmith who supplied the royal court and Mary, Queen of Scots.[1]

Pierre Mangot

Robert was a son of the goldsmith Pierre Mangot, who worked for Francis I of France.[2] Works attributed to Pierre Mangot include the "Royal Clock Salt" now owned by the London Goldsmith's Company which once belonged to Henry VIII of England,[3][4] and a gold casket decorated with Limoges enamel plaques held by the British Museum.[5] His hallmark appears on the silver-gilt mount of a book belonging to Trinity College, Cambridge, which seems to be depicted in the portrait of Thomas Cromwell by Hans Holbein the younger,[6] and on a jewelled cup known as "Le baguier de Pierre Mangot".[7]

Pierre Mangot made a coronet for the wedding of Catherine de' Medici to the Duke of Orleans.[8] Another goldsmith called Pierre Mangot, who married the widow of a goldsmith Louis Denzen, and died around 1563, was probably a son of Pierre Mangot, and is known as Pierre Mangot II. He made gold chains for diplomatic gifts to ambassadors.[9]

Robert Mangot

Robert Mangot, Pierre's son and successor, was based in Paris. One of Pierre Mangot's apprentices, François Dujardin, is also regarded as a successor to Pierre as a goldsmith to the French court.[10]

Mangot attended the funeral of Henry II of France as a royal goldsmith.[11] He was listed as a goldsmith in the household of Charles IX in 1577.[12]

In 1551 he supplied a gem of green jasper spotted with red, known as a heliotrope, engraved with the figure of an Indian.[13]

An account for the households of the royal children in 1551 includes some of his bills.[14] The young Mary, Queen of Scots, had jewels repaired and refashioned by Parisian jewellers including Robert Mangot, Jean Doublet and Mathurin Lussault. Mangot made gold paternoster beads and "gerbes" for her rosaries. He provided a girdle or belt and a descending chain, made in Spanish fashion. He also supplied 1,500 gold buttons to decorate bands of silver embroidery that edged a black velvet gown.[15]

References
  1. Michèle Bimbenet-Privat, Les orfèvres parisiens de la Renaissance (Paris, 1992), p. 545.
  2. Thierry Crépin-Leblond, Marie Stuart: le destin français d'une reine d'Écosse, (Paris, 2008), p. 56: Germain Bapst, Histoire des joyaux de la couronne de France, 1 (Paris, 1889), p. 56.
  3. Elizabeth Cleland, The Tudors: Art and Majesty in Renaissance England (New York, 2023), p. 104 fig. 36: Ilaria Toesca, 'Silver in the Time of François I: A New Identification', Apollo, 90 (October, 1969), pp. 292–297.
  4. A Royal treasure and its role in the Renaissance court: the Royal Clock Salt
  5. British Museum, casket, WB.23
  6. Owen Emmerson: Thomas Cromwell Discovery
  7. Le baguier de Pierre Mangot, BnF Gallica
  8. Germain Bapst, Histoire des joyaux de la couronne de France (Paris, 1889), p. 24
  9. Germain Bapst, Histoire des joyaux de la couronne de France (Paris, 1889), p. 10 fn
  10. Germain Bapst, Histoire des joyaux de la couronne de France (Paris, 1889), p. 56
  11. Funérailles du roy Henry II (Paris, 1869), p. 62.
  12. Jules Labarte, Histoire dea Arts Industriels, 2 (Paris, 1872), 138.
  13. Léon, marquis de Laborde, Notice des émaux exposés dans les galeries du Musée du Louvre, 2 (Paris, 1853), p. 349.
  14. Ève de Castro, Enfant roi (Plon, 2013).
  15. Thierry Crépin-Leblond, Marie Stuart: le destin français d'une reine d'Écosse, (Paris, 2008), pp. 56, 70: Alphonse de Ruble, La première jeunesse de Marie Stuart (Paris, 1891), 37-40, 297-300: See external links for the passages transcribe by Ruble.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.