File:The ivory workers of the middle ages (1906) (14757035686).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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Text Appearing Before Image:
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
Text Appearing After Image:
DR. GRAEVEX PHOTO.) (BRITISH MUSEUM 8. CHRIST LEAVING THE PR.ETORIUM Italian, commencement of fifth century Byzantine Art; but there were many circulartombs ^ in Rome for the artist to copy, and thehuge round mass of the Mausoleum of Hadrian ^ A round tomb with a cupola has been excavated in theVia Praestina, and the circular Church of S. Costanzo is thetomb of a daughter of the Emperor Constantine. 47 IVORY WORKERS consisted of a drum, raised on a square basis, anddecorated with columns and statues in a rathersimilar manner to the tomb on the fine Byzan-tine plaque with the Ascension, in the MunichMuseum. Thus we find the two sets of plaques in theBritish Museum and the Trivulzio tablet closelyconnected with each other and in touch with theBrescia casket. The workmanship is not so goodon the smaller pieces, but on the whole the drawingis fairly correct, the drapery well designed andfalling in few and soft folds over the rather chubbyforms ; and the whole technique is very differentfr

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