Heidelberg University Publishing

Abstract Hugo d’Oignies’ case holds a unique position in the field of signatures, as no other treasury ensemble displays the presence, work and influence through various artefacts of one particular goldsmith to such an extent. The works all stem from, were housed in and created for the former treasury of the priory of canons regular of Oignies, where Hugo himself held various social roles. Hugo was not only a goldsmith in Oignies’ priory, but also a donor and a regular canon—maybe even a scribe and illuminator. Thus, he was deeply entangled in the matters of the priory.

Hugo d’Oignies is one of the most important medieval goldsmiths known by name, due to his six name inscriptions and two self-portraits on and in several artefacts: on the bookbinding plates of a gospel book, on one of its’ manuscript pages, on a chalice, and on a relic label in a reliquary, all cre­ated between 1228 and 1238. Some of the works were made for newly acquired relics, generously donated by Jacques de Vitry (1160/70–1240), once himself a canon regular in Oignies, later Cardinal of Tusculum.

By analyzing the wording, the layout, the (in)visibility of the signatures in the interplay of the work as a whole, their spatial arrangements and thus their accessibility by different actors and au­diences, the present paper discusses central com­municative functions and the reception of the presence of the artist through his signatures and self-portraits within the ritual and liturgical struc­ture and (choreographed) action scenarios of the priory and community of Oignies. Furthermore, means of communication of Hugo’s self-referen­tial works with supra-temporal and -spatial di­mensions are discussed, as the community of the living was reminded to whom gratitude was due for the precious artefacts they used over many centuries, thus transcending Hugo’s death.

Keywords Goldsmith’s Art; Artists’ Signatures; Praxeology; Hugo d’Oignies; Self-Representation of Artists