File:The ivory workers of the middle ages (1906) (14593318370).jpg

Identifier: ivoryworkersmidage00cust (find matches)
Title: The ivory workers of the middle ages
Year: 1906 (1900s)
Authors: Cust, Anna Maria Elizabeth
Subjects: Ivories
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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to two tiersby the border, and the recognition of the existenceof three dimensional space, by grouping the figuresfirmly on the ground. This knowledge was soonforgotten, and the figures on sculptures of scarcelylater date float about one over the other withoutthe artist being in the least troubled by the prob-lem of the depth of inclosed space. The closeconnection with these diptychs points to an earlydate, probably not later than the first decadesof the fifth century. The dividing border ^ isvery common in Carlovingian ivories, and is,perhaps, one reason why Westwood and Stuhlfauthattribute the Trivulzio plaque to that epoch,but a comparison of the space arrangement,imperfect as it is, with any Carlovingian ivory, ^ See ^the plaque with the Jiidg7Jient of Solomon in theLouvre. 45 IVORY WORKERS clearly shows the superiority of the more ancientwork. After this time angels were rarely representedwithout wings ; the absence of wings makes thebeautiful nimbed angel on the Trivulzio plaque
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DR. GRAEVtN PHOiO.) (BRITISH MUSEUM 7. THE CRUCIFIXIONItalian, commencement of fifth century quite indistinguishable from the figures of Christon the British Museum plaques with the Passion.It is interesting to note, just about the end of thefourth century, the earliest representation of thesymbolism of the Apocalypse in the presence of 46 LATIN AXD BYZANTINE IVORIES the Bull of St. Luke and St. Matthews Angel.The round shape of the tomb, with the raisedtiled roof, is a difficult point,, it appears to bethe eerm of the elaborate circular edifice with acupola which became such a feature in pureh

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