The Royal Gold Cup, also known as the St. Agnes Cup, is a magnificent gold goblet lavishly adorned with enamel and pearls. Crafted during the late 14th century for the French royal family, it later passed through the hands of several English monarchs before spending nearly three centuries in Spain. Since 1892, it has been housed in the British Museum, primarily exhibited in Room 40. Widely regarded as an exceptional surviving specimen of late medieval French metalwork, it is often referred to as "the sole remaining emblem of royal opulence from the International Gothic era." According to Thomas Hoving, the former director of the Metropolitan Museum of Art in New York, "among all the princely jewels and gold artifacts that have come down to us, this goblet stands out as the most impressive – even surpassing the grand royal treasures."
The goblet, made entirely of solid gold, stands at 23.6 cm (9.25 inches) in height, with a maximum diameter of 17.8 cm (6.94 inches), and weighs approximately 1.935 kg (4.26 pounds). While its lid is detachable, the triangular base on which it once rested has been lost to time. The cup's stem was lengthened twice by adding cylindrical bands, making it initially much shorter and giving the overall shape a distinct "stout and chunky elegance." The original ornate knob or finial on the lid is missing, and a molding adorned with 36 pearls has been removed from the outer edge of the lid, leaving a visible gold band with irregular edges where it once attached. Presumably, it matches the band that still encircles the cup's base.
The gold surfaces feature basse-taille enamel scenes with translucent flowers that catch the light from the underlying gold, with extensive areas of engraved and pointillist decoration both beneath the enamel and in the background. Notably, there are large expanses of translucent red in the design, which have remarkably retained their vibrant color. This particular shade, known as "rouge clair," was exceptionally challenging to achieve and highly esteemed for both its technical difficulty and its brilliant appearance when executed successfully. Scenes depicting the life of St. Agnes adorn the top of the lid and the sloping lower portion of the main body. Symbols representing the four evangelists are arranged around the base of the bowl, and enamel medallions grace the center of both the bowl and the lid's interior. The lower of the two additional bands added to the cup features Tudor enamel roses against a pointe background, presumably added during the reign of Henry VIII. The upper band bears an engraved inscription filled with black enamel, separated from its beginning by a barrier of green laurel branches.
The cup arrived at the British Museum with a custom-made hexagonal leather case mounted on a wooden frame, complete with an iron lock, handles, and mounts. Crafted around the same time as the cup or shortly thereafter, the case features carved and stamped foliate decoration and bears a black-lettered inscription: YHE.SUS.O.MARYA.O.MARYA YHE.SUS.
