File:The ivory workers of the middle ages (1906) (14757090006).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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not a very artisticproduction, but it has a freshness entirely lackingin the other panels. The ornamental panels aresplendidly carved, and recall the beautiful open-work panels on the book cover at Monza,which most probably belonged to Berenger, Kingof Italy in 888, and Emperor 916, and also themarble screens and balustrades which decorate somany Byzantine buildings. There are two moreplaques at Cluny^ which should^ be classed withthese, and which are decorated vv^ith scroll-workcontaining figures of men fighting with satyrs andlions. The figures have a great likeness to thoseon the sixth century diptychs, especially the dip-tych in the Hermitage at St. Petersburg ; and asthat diptych formed part of the treasure of MetzCathedral, it could easily have served as a modelto the Carlovingian ivory workers. The rich bor-der is of scroll-work with alternating rosettes andanimals. The second plaque is still more likethe Byzantine original, and this similarity has ^ Nos. 1041-2, Cat. 1881.114
Text Appearing After Image:
(victoria and albert museum, LONDON 24. CRUCIFIXION Carlovingian, ninth century IVORY WORKERS caused many writers to differ with Molinier andclass it among pure Byzantine work. One of the most important ivories of the tenthcentury is the Frankfort book cover; the secondleaf is still in the Library, but the other was inthe late Spitzer Collection. It represents the largefigure of An Archbishop chanting the Psalms mcompany with some smaller canons, the wholegroup being surrounded by a battlemented wall,probably that of the convent. The work is dry,but very exact and particularly interesting for thestudy of early ecclesiastical vestments, which aregiven with great detail. In the Frankfort leaf,the Archbishop celebrates the mass, surroundedby attendant priests and acolytes. The numerous representations of the crucifixionof the ninth and tenth centuries can be roughlydivided into two classes : those decidedly originaland others copied from Byzantine models. TheCarlovingian type is filled w

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