This long trestle table is one of the most striking pieces in this museum. It measures just over eight metres, and the top is made from one piece of oak. A date is inscribed on the side: 1424. What is practical about this kind of table is that it can be easily stored away by removing the top, folding up the trestles - four in this case - and putting it against the wall. At one time it must have stood in the nuns’ refectory. Usually a tablecloth was draped over it. This kind of trestle table was quite common in the fifteenth century and is regularly depicted in paintings of that period.

This precious little gem from the late fifteenth century was probably commissioned by a nun from the convent of Our Lady of the Potterie. The nun is depicted in a kneeling position, in the typical habit or dress worn by the Augustinian nuns at the time. The central figure is Saint Michael, one of the seven archangels, who is waging battle against two demons. He has trampled one of them underfoot. Exceptionally he is not wearing a suit of armour; instead, he is depicted in a priest’s vestments. This little oak panel was long attributed to the workshop of Hans Memling (ca. 1435-1494). Later research has shown that it is probably the work of a Bruges Master of the Legend of St. Ursula.

It was quite common practice to document miracles and favours granted in order to emphasize the power of the saint and the genuineness of the miracle, and also to keep a record of them for posterity. This also accounts for the origin of the Miracle Book of Our Lady of the Potterie, which is kept in the display case in the hallway next to the church. The book is illustrated with 18 ink drawings which depict the most important miracles worked by the statue of Our Lady of the Potterie. Above each drawing a few lines of text in Dutch describe the events in verse. The names of the persons concerned and the dates on which the miracles took place are included in the text as further evidence. According to the watermarks in the paper, the Miracle Book is dated 1520-21. The hairstyles and costumes of the figures corroborate this. The author and the illustrator of the book are unknown, although usually miracles were documented by the attending clergy. The combination of texts and drawings is unusual. Miracle books generally only contain texts. In order to present the miracles to a wider audience, many of whom were illiterate, other media were used such as paintings or tapestries. Miracle paintings of Our Lady of the Potterie may have existed, but none have been preserved.