Hugo d'Oignies

[3] During a visit to the priory in 1228 or 1229 to consecrate an altar, Jacques de Vitry, Bishop of Saint-Jean d'Acre and later cardinal, became a patron of his work.

[1] In his work, the human figure merges with the technical virtuosity with which the artist treats the decor's watermarks, crimping delicate cabochons.

[4][5] When the priory was overrun and the community of canons regular scattered by forces of the French Revolutionary Army in 1796, its treasures were hidden by the last Prior of Oignies at a farm in Falisolle.

After the death of the farmer, the treasure became entrusted in 1818 to the Sisters of Notre Dame de Namur, who were founded in that period.

The Encyclopædia Britannica says of his contribution to Gothic metalwork, "The growing naturalism of the 13th century is notable in the work of Nicholas' follower Hugo d’Oignies, whose reliquary for the rib of St. Peter in Namur (1228) foreshadows the partly crystal reliquaries in which the freestanding relic is exposed to the view of the faithful; it is decorated with Hugo’s particularly fine filigree and enriched by naturalistic cutout leaves and little cast animals.