on a sick man to find the one True Cross that has the healing powers. As well as the masterly goldsmith's work and beauty of the Stavelot Triptych, it remains instructive as a demonstration of the diverging Eastern and Western Christian artistic traditions in the Romanesque period. Not only are the enamel techniques different between the outer triptych and the smaller inner triptychs, but the way images and ideas are expressed are very different. Eastern Byzantine artists use static, hierarchal figures frozen in place, silently adoring Christ and the cross. In contrast, the Western artists use narrative storytelling with animated figures acting out dramatic visions, battles and miracles. References Bibliography Charles Ryskamp (1980). The Stavelot Triptych. Mosan Art and the Legend of the True Cross. New York: Pierpont Morgan Library / Oxford University Press. . Marilyn Stokstad (2004). Medieval art. Westview Press Inc. . Stavelot Reliquary on Corsair, the Online Catalog of The Morgan Library & Museum. Stavelot Reliquary on the Christian Iconography website of J. Richard Stracke, emeritus professor of English at Augusta State University. Stavelot Triptych. Zoomable image from The Morgan Library & Museum. Further reading Evans, Helen C. & Wixom, William D., The glory of Byzantium: art and culture of the Middle Byzantine era, A.D. 843-1261, no. 301, 1997, The Metropolitan Museum of Art, New York, ; full text available online from The Metropolitan Museum of Art Libraries 1156 works Mosan art Triptychs Reliquaries of the True Cross Works in vitreous enamel Collection of the Morgan Library & Museum Annunciation in Christian art Crucifixion of Jesus in art Stavelot Romanesque art Gold objects