File:The ivory workers of the middle ages (1906) (14593539137).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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nd nota trace of His sufferings, which formed the chieftheme of later art. In the series of miracles Christ is nearly alwaysrepresented as a young beardless man, with aslight smile, the hair sometimes cut short in Romanfashion, but more often at this period with cluster-ing curls. This younger, or IdeaL type is,perhaps, slightly the earlier, and we find it in thecatacomb frescoes and the most ancient mosaicsand sarcophagi. The so-called Portrait type ofChrist, as a Nazarene, with long hair and beardand a grave face, tending to severity was employedat the same time and sometimes side by side in thethe same decoration, as in the Ivory Book of St.Lupicien, and the mosaics of S. Vitale at Ravenna, 50 LATIN AND BYZANTINE IVORIES both sixth century. In each case He is figuredas Pantocrator, this type being invariably beardedin Byzantine Art. On some few sarcophagi Heis also represented with a beard. Early in the third century there had been asharp struggle about the appearance of Our Lord ;
Text Appearing After Image:
(MUS£e DE CLUNY, PARIS 9. PYX, CHRIST RAISING THE PARALYTICItalo-Byzantine, sixth century many sided with TertuUian, making Him of abjectform, others with Jerome and John Chrysostomdeclared He conquered souls by His beauty. Thelatter opinion prevailed, as it agreed with the exist-ing traditions of the beauty of the Immortals. Itis interesting to note that during this controversy 5^ IVORY WORKERS no actual portrait was referred to, all the so-calledportraits of Our Lord being of later date. Fig. lo is typical of a large group of ivorycarvings of mixed origin. These book coversand the later pyxes are closely allied to the scenicpieces on the Throne of Maximian, though thetechnique is inferior, some being of very roughworkmanship. The arrangement of these panels is like thatof the five-piece consular diptych mentioned inthe last chapter, only the vertical side panels aredivided into two pieces by a border. The threeimportant examples of this kind of book cover are :this single panel fro

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