File:The ivory workers of the middle ages (1906) (14593489248).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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s little to distinguish German ivories inthe thirteenth and fourteenth centuries from theFrench ; perhaps there is a tendency to greaterelaboration in the architecture, and on rare occasionsthe figures betray the German type ; but in thefifteenth century the love of reaHsm gained ground,and the ivory carvers more closely imitated thepainters and the rapidly increasing school of woodcarving. The English were also profoundly influenced bythe French Gothic art, but gradually worked outa style of their own. There was less monotonyof design and a considerable modification of types,the figures becoming thinner and the faces graver,more earnest and sweeter in expression, though, at 150 GOTHIC IVORIES the same time, more realistic ; also there is a varia-tion in certain details of the costumes. Two piercedplaques with scenes from The Life of St. Agneswhich were in the Meyrick and Spitzer Collec-tions, and a plaque representing Christ with theapostles, the group being surrounded by rich archi-
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ALINARI PHOTO.) (BARGELLU, FLuRENXE 33. PANEL FROM A CASKET French, fourteenth century tecture, and two other pierced plaques with scenesof the Passion, in the Victoria and Albert Museum,seem to be English work. In the Salting Collec-tion, now in the same museum, is a deeply cutdiptych of a strongly characteristic type represent-ing the Virgin and Child, and Christ teaching; thefigures are framed in architecture of an English 15^ IVORY WORKERS type decorated with small heraldic roses. Thisdiptych formed part of both the Soltykoff andSpitzer Collections. The triptych in the British Museum (Fig. 36)is closely connected with it, and is said to havebeen carved for Bishop Grandison of Exeter(1327-1369), but Molinier thinks that the style isfar nearer that of the early fifteenth century. Inthe British Museum there is also the wing of adiptych, in two divisions, with The Anmmciation,and below, y^^;^ Baptist; the other wing is in theLouvre and represents the Coronation, ^\\\\ Johnthe Evangeli

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