Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/descriptionofivoOOsoutrich ANCIENT a? MEDIAE VAL IVORIES IN THE SOUTH KENSINGTON MUSEUM DESCRIPTION OF THE* IVORIES ANCIENT fc? MEDIEVAL. IN THE SOUTH KENSINGTON MUSEUM WITH A PREFACE BY WILLIAM MASKELL PUBLISHED FOR THE SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION BY CHAPMAN fc? HALL No 193 PICCADILLY LONDON 1872 ^> '1 v> 1 CONTENTS. Lift of the Photographs. Lift of the Woodcuts. Preface ....... Defer iption of the Ivories .... Appendix ....... Notes to Defcription of the Ivories and to the Appendix Index to the Ivories ..... Chronological Index to the Ivories . Geographical Index to the Ivories . General Index Page i to cvii i to 148 • H9 to 182 dix 183 • • ! 93 • . 198 • • 203 . . 209 E *77'7- » J 339337 LIST OF THE PHOTOGRAPHS. Mirror Cafe Triptych . Diptych . . . End of 13th Leaf of a Roman Diptych Panel, probably of a cafket HeadofaPaftoral Staff Box : Moorifh work St. Sebaftian Book Cover Triptych . Plaque Book Cover Front of a Cafket Triptych . Plaque : probably a book cover Statuette : Virgin and Child Portion of a Crucifix . Mirror Cafe Diptych Three panels in open work Leaf of a Confular Diptych Shrine A Tau . Statuette : Virgin and Child or e; arly Page 14th century . 4 14th century . 29 14th century . 42 3rd century 44 14th century . 45 14th century 46 1 oth century , 48 15th century . 49 9th century . 53 14th century 58 nth century 59 nth century ■ 63 14th century 64 13th century . 6 9 13th century 73 14th century 76 14th century 81 14th century ■ 83 14th century . 122 14th century . 128 6th century • 131 14th century - 134 nth century • 134 14th century • i45 Printed by the Permanent Printing Company (Woodbury Procefs). a 4 LIST OF THE WOODCUTS. OBJECT. Page. Pre-hiftoric carving Modern Efquimaux carving . Carving of the head of an ibex „ of group of reindeer „ of portions of the mammoth Vafe in the Britifh Mufeum . (pre-hiftoric) ( „ ) ( n ) Early 7th century Old Englifh cafket in the Britifh Mufeum . 8th century Panels from a cafket in the Meyrick Collection Lid of cafket in the Meyrick Collection . Englifh comb of the nth century, in the Britifh Mufeum Cheflmen in the Britifh Mufeum .... Arm of a chair in the Meyrick Collection Head of a paftoral ftaff in the Meyrick Collection Statuette. A leaf of a diptych in the Meyrick Collection A Pieta. The volute of a paftoral ftaff" in the Britifh Mufeum ....... Copy of an illumination in a French MS. Plaques of pierced work in the Meyrick Collection . Portion of a book cover, pierced work, in the Britifh Mufeum ........ One leaf of a diptych, Englifh, 14th century, in the Britifh Mufeum ....... IX x xi xii xliv xlix and 1 lviii Ixi Ixii lxxii-lxxiii Ixxiv lxxix xc xcii xcv ciii ciii civ P RE FA CE. THIS Preface claims to be only an attempt to put toge- ther, in somewhat of a collected form, the information about carvings in ivory which is to be found scattered in a number of books 071 various subjects. That the result is imperfect and scarcely better than a mere sketch of what ought to be done no one is more ready to acknowledge than tlie writer. He will be well satisfied if he has in any degree helped to direct general attention, zvith greater interest than has hitherto been shoivn, to a class of works more important per- haps than any other in the history or illustration of Sculpture, from at least the days of imperial Rome to the revival of Art under the teaching of the great masters of the fifteenth century. N any description or account of Carvings in Ivory we must include carvings in bone, of which last there are some remarkable examples in the South Kensington Museum. The rarity and value of ivory frequently obliged workmen to use the commoner and less costly material. Properly and strictly no substance except the tusk of the elephant presents the characteristic of true ivory, which " now, according to the best anatomists and physiologists, is " restricted to that modification of dentine or tooth sub- /°*77i7- b ii Preface. " stance which, in transverse sections or fractures, shows " lines of different colours or strise proceeding in the arc of " a circle, and forming by their decussations minute curvi- 11 linear lozenge-shaped spaces." 1 But, besides the elephant, other animals furnish what may also be not improperly called ivory. Such as the walrus, the narwhal, and the hippopotamus. The employment of walrus ivory has ceased among southern European nations for a long time ; and carvings in the tusks of that animal are chiefly to be found among remains of the mediaeval and Carlovingian periods. In those ages it was largely used by nations of Scandinavian origin and in England and Ger- many. Many were then unable to obtain and may not even have heard of the existence of true elephant ivory. In quality and beauty of appearance walrus 2 ivory scarcely yields to that of the elephant. There is still another kind of true ivory — the fossil ivory — which is now extensively used in many countries, although it may be difficult to decide whether it was known to the ancients or to mediaeval carvers. In pre-historic ages a true elephant, says professor Owen, " roamed in countless herds " over the temperate and northern parts of Europe, Asia, 1 Professor Owen; in a valuable " teeth. Olaus Magnus in the 15th paper on " the Ivory and Teeth of " century tells us that sword-handles " Commerce/'read before the Society M were made from them ; and, some- of Arts in Dec. 1856. Printed in " what later, Olaus Wormius writes, their journal : vol. 5,/. 65. "'the Icelanders are accustomed, 2 " In the reign of Alfred, about " 'during the long nights of winter, " A.D. 890, Ohtere, the Norwegian, " ' to cut out various articles from " visited England, and gave an ac- " 'these teeth. This is more par- " count to the King of his voyage " ' ticularly the case in regard to " in pursuit of these animals, chiefly " ' chess-men.' " Sir F. Madden, in " on account of their teeth. The Archseologia, vol. 24, p. 246. " author of the Kongs-Skugg-sio, or Olaus Wormius speaks in another " Speculum Regale, (composed in place of rings against the cramp, " the 12th century,) takes particular handles of swords, javelins, and " notice of the walrus and of its knives. Preface. iii " and America." This was the mammoth, the extinct Elephas primigenius. The tusks of these animals are found in great quantities in the frozen soil of Siberia, along the banks of the larger rivers. Almost the whole of the ivory turner's work in Russia is from Siberian fossil ivory, 3 and the story of the entire mammoth discovered about half a century ago embedded in ice is well known to every one. With regard to the tusks of elephants, African and Asiatic ivory must be distinguished. The first, " when recently cut " is of a mellow, warm, transparent tint, with scarcely any " appearance of grain, in which state it is called transparent " or green ivory ; but, as the oil dries up by exposure to " the air, it becomes lighter in colour. Asiatic ivory, when " newly cut, appears more like the African, which has been " long exposed to the air, and tends to become yellow by " exposure. The African variety has usually a closer tex- " ture, works harder, and takes a better polish than the " Asiatic." 4 It would be mere guessing to attempt to decide the original nature of ancient or mediaeval ivories. Time has equally hardened and changed the colour of both kijids, whether African or Asiatic. It is not easy to suggest any way in which the very large slabs or plaques of ivory used by the early and mediaeval artists were obtained. The leaves of a diptych of the seventh centuiy, in the public library at Paris, are fifteen inches in length by nearly six inches wide. In the British Museum is a single piece which measures in length sixteen inches and a quarter by more than five inches and a half in width, and in depth more than half an inch. 3 " Although commonly called fos- " for use as the ivory procured from " sit, this ivory has not undergone " living species." Tomlinson, cyclo- " the change usually understood in psedia, vol. 2, p. 98. " connexion with the term fossil, for 4 Encyclopaedia Metropolitana, their substance is as well adapted vol. 12. b2 iv Preface. By some it is thought that the ancients knew a method which has been lost of bending, softening, and flattening solid pieces of ivory ; others suppose that they were then able to procure larger tusks than can be got from the degenerate animal of our own day. Mr. McCulloch tells us that 60 lbs. is the average weight of an elephant's tusk; 5 but Holtzapffel declares this to be far too high, and that 15 or 16 lbs. would be nearer the average. 6 Be this as it may, pieces of the size above mentioned (and larger specimens probably exist) could not be cut from the biggest of the tusks preserved in the South Kensington museum ; although it weighs 90 lbs., is eight feet eleven inches long, and sixteen inches and a half in circumference at the centre. 7 An enormous pair of tusks weighing together 325 lbs. was shown in the Great Exhibition of 1851 ; but these, heavy as they were, measured only eight feet six inches in length and did not exceed twenty-two inches in circumference at the base. An ingenious mode of explaining how the great chrys- elephantine statues of Phidias and other Greek sculptors were made is proposed and fully explained in detail by Quatremere De Quincy in his work on the art of antique sculpture. 8 He gives several plates in illustration, more particularly plate XXIX. ; but none of them meet the diffi- culty of the large flat plaques. The natural form of a tusk would adapt itself easily so far as regards the application of pieces of very considerable size to the round parts of the human figure. fi Dictionary of commerce : Ivory, the Museum. The other four weigh, 6 Turning and mechanical mani- respectively, 76 lbs., 86 lbs., 72 lbs. pulation, vol. i,J>. 141. and 52 lbs. They are all probably 7 This tusk is the largest of five male tusks. which were presented to the Queen 8 Le Jupiter Olympien. Paris, by the king of Shoa about the year 18 i$,pp. 399 et seqq. 1856, and given by Her Majesty to Preface. v Mr. Hendrie, in his notes to the third book of the " Schedula diversarum artium " of Theophilus, says that the ancients had a method of softening and bending ivory by immersion in different solutions of salts in acid. " Eraclius " has a chapter on this. Take sulphate of potass, fossil " salt, and vitriol ; these are ground with very sharp vinegar " in a brass mortar. Into this mixture the ivory is placed " for three days and nights. This being done, you will " hollow out a piece of wood as you please. The ivory " being thus placed in the hollow you direct it, and will " bend it to your will." 9 Considerable variety of colour will be observed in the various pieces of the collection in the Museum, and much difference in the condition of them. Some, far from being the most ancient, are greatly discoloured and brittle in appearance ; others retain their colour almost in its original purity and their perfect firmness of texture, seemingly un- affected by the long lapse of time. The innumerable possible accidents to which carved ivories may have been exposed from age to age will account for this great difference, and a happy forgetfulness, perhaps owing to a contemptuous neglect at first of their value and importance, may have 9 Ch. 192, p. 440. Mr. Hendrie methods from Mr. Hendrie, and gives another recipe from the Sloane adds another from an English MS. MS. (of 15th century), No. 416. of the 12th century: "Place the This directs that the ingredients " ivory in the following mixture, above mentioned " are to be dis- " Take two parts of quick lime, one " tilled in equal parts, which would " part of pounded tile, one part of " yield muriatic acid, with the pre- " oil, and one part of torn tow. " sence of water. Infused in this " Mix up all these with a lye made " water half a day, ivory can be of elm bark." — Lecture before the "made so soft that it can be cut Arundel society, /. 22. " like wax. And when you wish it These various recipes have been " hardened, place it in white vine- tried in modern days and the experi- " gar and it becomes hard." ments, hitherto, have completely Sir Digby Wyatt quotes these failed. vi Preface. been the cause of the comparatively excellent state and con- dition of many. Laid aside in treasuries of churches and monasteries, or put away in the chests and cupboards of great houses, the memory even of their existence may have passed away for century after century. It does not appear that any good method is known by which a discoloured ivory can be bleached. All rough usage of course merely injures the piece itself, and removes the external surface. Exposure to the light keeps the original whiteness longer in existence, and in a few instances may to some extent restore it. It need hardly be observed that any other attempt to alter the existing condition, what- ever it may be, as regards the colour of an antique or mediaeval ivory is to be condemned. It is quite a different matter to endeavour to preserve works in ivory which have suffered partial decomposition, and which can be kept from utter destruction only by some kind of artificial treatment. Almost all the fragments sent to England by Mr. Layard from Nineveh were in this state of extreme fragility and decay. Professor Owen sug- gested that they should be boiled in a solution of gelatine. The experiment was tried and found to be sufficiently effectual ; and it is to be hoped that the present success will prove to be lasting. 10 We may think it to be sufficiently strange in tracing the early history of the art of carving or engraving in ivory that we should be able easily to carry it, upon the evidence 10 " Since the fragments have been " it has been restored, and the or- " in England, they have been ad- " naments, which on their discovery " mirably restored and cleaned. The "fell to pieces almost upon mere " glutinous matter, by which the " exposure to the air, have regained " particles forming the ivory are " the appearance and consistency " kept together, had, from the decay " of recent ivory, and may be " of centuries, been completely ex- " handled without risk of injury." " hausted. By an ingenious process Layard's Nineveh, vol. 2, /. 9. Preface. vii of extant examples, to an antiquity long before the Christian era : through the Roman, Greek, Assyrian, and Jewish people, up to an age anterior to the origin of those nations by centuries, the number of which it may be difficult accu- rately to count. These very ancient examples are of the earliest Egyptian dynasties : yet, between them and ' the date of the earliest now known specimens of works of art incised or carved in ivory there is a lapse of time so great that it may probably be numbered by thousands of years. We must go back to pre-historic man for the proof of this ; to a period earlier than the age of iron or of bronze ; to the first — the drift — period of the stone age. We must go back, as Sir John Lubbock writes, " to a time so remote " that the reindeer was abundant in the south of France, " and probably even the mammoth had not entirely disap- " peared." n There have been found within the last few years, in caves at Le Moustier and at La Madelaine in the Dordogne, numerous fragments of tusks of the mammoth and of reindeer's bone and horn, on some of which are incised drawings of various animals, and upon others similar representations have been carved in low relief. These objects have been engraved in several works by geologists and writers upon the important questions relating to pre-historic people ; and copies of them may be found in Sir John Lubbock's book already mentioned. 12 Among them are drawings and carvings of fish, of a snake, 11 Origin of civilization, p. 30. " that far antiquity when these im- See also Reliquiae Aquitanicas, by " plements, the undoubted work of Lartet and Christy, now in course of " human hands, were used and left publication, /. 6. " It rests with " there by primaeval man." — Ibid., " the geologist, by indicating the p. 13. " changes which have occurred in 12 Also in his Pre-historic times, " the very land itself, to shadow out p. 324. Fully and in detail in the " the period in the dim distance of Reliquiae Aquitanicas. viii Preface. of an ibex, of a man carrying a spear, of a mammoth, of horses' heads, and of a group of reindeer. Sir John Lubbock describes these works as showing " really considerable skill ; " as " being very fair draw- " ings ; " as the productions of men to whom we must give " full credit for their love of art, such as it was." But to speak of them in words so cold is less than justice. No one can examine the few fragments which as yet have been discovered without acknowledging their merit and attri- buting them to what may very truly be called the hand of an artist. There can be no mistake for a moment as to many of the beasts which are represented. Again : the sculptor has given us, in a spirited and natural manner, more than one characteristic quality of his subject : and we can recognise the heaviness and sluggish- ness of the mammoth as easily as the grace and activity of the reindeer. The results of the workman's labour are not like the elephants and camels and lions of a child's Noah's ark, — merely bodies with heads and four legs, — but they are executed with the right feeling and in an artistic spirit : the animals are carefully drawn and often with much vigour. There is nothing conventional about them ; they are far beyond and utterly different in style from the ugly at- tempts of really civilised nations, 13 such as the Peruvians 13 They must certainly be spoken " who had not broken in a single of as civilised, though it is curious " animal to labour, and who wielded to remember how great authori- " no better weapons than those ties seem to differ as to what civili- " which could be made out of sticks, zation means. Macaulay, writing " flints, and fish-bones, and who with a recklessness of statement " regarded a horse-soldier as a not unusual with him when aim- " monster." — Life of Lord Clive. ing at some picturesque contrast, Essays, vol. 3,/. 109. But Bernal describes the ancient Mexicans as Diaz, whose report as an. eye- " savages who had no letters, who witness has stood the test of years " were ignorant of the use of metals, of later investigation and dispute, Preface. IX or Mexicans, 14 to say nothing of the works of the savages of Africa or New Zealand. 15 They are true to nature. Nor is this all. The pre-historic carvings are from the hands of men who were neither beginners nor blunderers in their art. The practised skill of a modern wood en- graver would scarcely exceed in firmness and decision, nor in evident rapidity of execution, the outline of the animals in the example which is here engraved. describes the appearance of the great cities from without as like the enchanted castles of romance, and full of great towers and temples. And within, " every kind of eatable, ' every form of dress, medicines, 1 perfumes, unguents, furniture, lead, ' copper, gold and silver ornaments 1 wrought in the form of fruit, ; adorned the porticoes and allured ' the passer-by. Paper, that great 1 material of civilization, was to • be obtained in this wonderful ' emporium ; also every kind of ' earthenware, cotton of all colours • in skeins, &c. There were officers 1 who went continually about the ' market-place, watching what was 1 sold, and the measures which were ' used." Helps's life of Hernando Cortes,/. 135. If we are to take the judgment of Lord Macaulay as our guide in de- termining what may be true civili- sation, we must set down the Greeks in the reign of Alexander, or the Italians in the days of Leo the tenth, as "savages," because they were ignorant of the electric tele- graph; or ourselves now, because we cannot guide balloons through the air. 14 The ruins and works of art in the ruined cities of Yucatan are also to be thought of. Many engravings of them are given in Stephens's Cen- tral America, 8vo. 1842. 15 Compare also the plates of Indian drawings and picture writings in Schoolcraft's history, &c. of the Indian tribes of the United States. Part I. Plate 50, et seqq. Again, of a different character altogether, the illuminations in Indian and x Preface. Other illustrations are given in order that the reader may compare them, and more especially those also just referred to above, with a woodcut of some drawings incised or etched upon bone by Esquimaux of our own days. This has been chosen because there seems to be a general disposition, in the way of theory, to compare the dwellers in the caves of Dordogne and the men of the stone age with the Esquimaux and to limit, as it were, the unknown amount of civilization in the one by what we have learnt from our own experience of the latter. Yet, so far as the drawings and the sculptures are concerned, there is scarcely room for comparison. The work of the stone age is that of a people with whom, if they were in all other respects savages, we have no modern parallel. The work of the Esquimaux is that of men who imitate with the hand of a child, and the success or power of whose imitation ranges exactly with their advance and culture (if culture it may be called) in other arts. The first of these illustrations is perhaps the best, as it is certainly the most delicate and graceful of all the fragments yet discovered. It represents the profile of the head and shoulders of an ibex, carved in low relief upon a piece of the palm of a reindeer's antler. So exact and well charac- terised is the sculpture, that naturalists have no hesitation Persian MSS. In some respects purely conventional, with scant feel- these are of the highest quality as ing of truth or beauty, and little regards execution, but the animals power of expressing it. are generally drawn in a manner Preface. XI in deciding the animal to be an ibex of the Alps, and not of the Pyrenees. The next is a group of reindeer, drawn upon a piece of slate. And on the next page, incised upon a piece of mammoth ivory, are outlines of the mammoth itself. The original, rather more than nine inches in length is at Paris, in the museum of the Jardin des plantes. There is no discovery with respect to primaeval man — his powers and capabilities, his possible enjoyments and appreciation of the beautiful, his certain infinite elevation Xll Preface. as a reasonable being above the beasts of the field, in the most distant age and period to which his existence has been , *z^i.~u f traced, — so full of interest, so full as yet of unfathomed mystery, as these wonderful works in ivory and bone. It can scarcely be supposed that, by a happy accident, we have lighted on the only specimens which were ever made of such great merit ; or that there were some two or three men only who for a brief time in the stone age, by a sort of miracle, were able to produce work so excellent. Further researches and a few more fortunate " finds " may enable us to learn much more than we now know of other habits, and the state of (what we call) the barbarism of those ancient races in other respects. Nor must we forget that for numberless generations after these men had passed away their descendants lost all the old power and skill. There came " dark ages " similar (though incomparably longer in duration) to those which followed Greek or Roman civilization and science from the sixth to the ninth and tenth centuries after Christ. "No representation, however " rude, of any animal has yet been found in any of the " Danish shell mounds. Even on objects of the bronze " age they are so rare that it is doubtful whether a single " well authenticated instance could be produced." " Even Preface. xiii " curved lines " upon the rude and coarse pieces of pottery of later ages " are rare." Again : " Very few indeed of the " British sepulchral urns, belonging to ante- Roman times, " have upon them any curved lines. Representations of " animals are also almost entirely wanting." 16 Further discussion and speculation upon this subject would here be out of place. We must leave it, although with great regret. We must pass at one bound to a later period of time which, however long ago it may seem to us looking back upon it, is nevertheless, in comparison with the supposed date of the men who left their ivory and bone carvings in the caves of Aquitaine, positively modern. Although the narrative of the sacred Scriptures does not, with the exception of the first eleven chapters of Genesis, reach back so far as the known history of the kingdom of Egypt, it may be best to mention, first, some places in the Old Testament in which reference is made to works in ivory. King Solomon, we are told, " made a great throne. " of ivory, and overlaid it with the best gold." 17 " The " ivory house which Ahab made," is particularly mentioned among his memorable acts. 18 The Psalmist speaks of gar- ments brought "out of ivory palaces," or from what may rather be translated wardrobes. 19 The prophets tell us of " benches of ivory brought out of the isles of Chittim," of " horns of ivory," and of " beds of ivory." 20 There are 16 Pre-historic times, //. 149, later, — and the 45th Psalm is not of 185, 323 ; and compare the Origin early date and was moreover written of civilization, p. 31. in a foreign country, — it meant more 17 3 Kings x. 18. Compare 2 commonly a wardrobe, or what we Chron. ix. 17. now call a vestry or sacristy. See 18 3 Kings xxii. 39. Castellus, lex. heptaglotton. 19 xliv. 9. p 'TpXTfa In the 20 Ezekiel xxvii. 6, 15. Amos earlier Hebrew the word ^3Ti meant vi. 4. a small house or palace; in the xiv Preface. other evidences in the Bible of the value and high estima- tion in which ivory was held by the Jews, and its beauty of appearance, its brightness, and smoothness are used as poetical illustrations in the Song of Solomon. 21 From one of these last places we learn that the ivory was inlaid with precious stones. It is quite evident that in those days works in ivory were regarded in Judsea as a possession only to be acquired by very great and wealthy persons ; nor may it be too much, perhaps, to say that they were looked upon as insignia of royalty. We may entirely agree with De Quincy : " L'ivoire " constitua les ornaments distinctifs de la dignite royale " chez les plus anciens peuples. L'antiquite ne parle que " de sceptres et de trones d'ivoire. Tels etaient selon " Denis d'Halicarnasse les attributs de la royaute chez les " Etrusques. A leur exemple, Tarquin eut le trone et le " sceptre d'ivoire," etc?* But, as has been already observed, there are specimens and remains of Egyptian works in ivory still existing which date by many centuries from an earlier time than the days of Solomon or Ahab. These must be, of course, of ex- cessive rarity : partly because of their antiquity and fragile nature ; partly because of the smallness of their size, owing to which they must have been frequently overlooked or thrown aside. But the collection in the British Museum includes some examples, a few of which, particularly two daggers inlaid and ornamented with ivory, are of the time of Moses, about 1,800 years before Christ. Several chairs, ornamented in a like manner, may be attributed to the sixteenth century b.c. 23 Again may be mentioned the 21 v. 14, and vii, 4. tians, vol. 2, ch. vi., where several 22 Le Jupiter Olympien, p. 163. woodcuts are given of chairs and 23 See Wilkinson, ancient Egyp- stools ornamented with ivory. Preface. xv handle of a mirror in hippopotamus ivory ; an ivory palette of about the same period ; two ivory boxes, in the shape of water fowl ; and a very remarkable figure or statuette, a woman, of perhaps the eleventh century B.C. 24 The use of ivory for ornament and the adapting it to works of art must have been known by the Egyptians from a most remote antiquity. There is a small ivory box in the Louvre, which is inscribed with a prsenomen attributed to the fifth dynasty. 25 On a tablet of the twelfth dynasty an object is mentioned, whose "arms are to be made of pre- " cious stones, silver and gold, and the two hinder parts of " ivory and ebony. In a tomb at Thebes record is made " of a statue composed of ebony and ivory, with a collar of "gold." 26 The date of the Egyptian statuette in the British Museum and of numerous smaller objects in that and in the great foreign collections, such as spoons, bracelets, collars, boxes, &c, most of which are earlier than the 24th dynasty and long before the time of Cambyses, brings us to about the same period as the famous Assyrian ivories, which 24 There is, also, a very curious " jets d'os et d'ivoire. Ce sont de casket of considerable size but of " petits vases, des objets de toilette, much later date : probably of the " des cuillers dont le manche est first century of the Christian aera : " forme par une femme nue, et une Roman work and decoration. It " boite ornee d'une belle tete de was found at Memphis and is made " gazelle. La piece la plus curieuse of ivory plaques laid upon a frame- " est une autre boite d'ivoire tres- work of wood. The plaques are " simple, mais d'une excessive anti- incised with figures and coloured. " quite, puisqu'elle porte la legende The shape is oblong, with a sloping " royale de Merien-ra, qui est place' cover ; it measures about twelve by " vers la sixieme dynastie." — His- ten inches. toire des arts industriels, p. 186. 25 Labarte, quoting De Rouge, 26 Dr. Birch, on two Egyptian car- mentions another of the sixth dy- touches, found at Nimroud. Trans- nasty :— " On voit au Musee Egyp- actions of Royal society, vol. 3, " tien du Louvre une quantity d'ob- /. 172. xvi Preface. were found at Nineveh, and which are also preserved in the British Museum. These were chiefly discovered in the north-west palace ; and almost all in two chambers of that building. We can- not do better than listen to the general description of them given by Mr. Layard himself : — " The most interesting are " the remains of two small tablets, one nearly entire, the " other much injured. Upon them are represented two 11 sitting figures, holding in one hand the Egyptian sceptre " or symbol of power. Between them is a cartouche con- " taining hieroglyphics, and surmounted by a plume, such " as is found in monuments of the eighteenth and subsequent " dynasties of Egypt. The chairs on which the figures are " seated, the robes of the figures themselves, the hiero- " glyphics and the feather above, were enamelled with a " blue substance let into the ivory, and the whole ground of " the tablet, as well as the cartouche and part of the figures, " was originally gilded, — remains of the gold leaf still 11 adhering to them. The forms and style of art have a " purely Egyptian character, although there are certain " peculiarities in the execution and mode of treatment that " would seem to mark the work of a foreign, perhaps an " Assyrian, artist. The same peculiarities, the same " anomalies, characterise all the other objects discovered. " Several small heads in frames, supported by pillars or " pedestals, most elegant in design and elaborate in exe- " cution, show not only a considerable acquaintance with " art, but an intimate knowledge of the method of working 11 in ivory. Scattered about were fragments of winged " sphinxes, the head of a lion of singular beauty, human " heads, legs and feet, bulls, flowers, and scroll work. In " all these specimens the spirit of the design and the deli- " cacy of the workmanship are equally to be admired." 27 27 Nineveh and its remains, vol. 2, p. g. Preface. xvii There are altogether more than fifty of these Assyrian ivories in the British Museum : a detailed account of nearly all is given by Mr. Layard in the appendix to his first volume. Dr. Birch says they cannot be later in date than the seventh century b. c. ; and thinks it highly probable that they are much earlier. Mr. Layard believes that about the year 950 b.c. is the most probable period of their execution. 28 There can be no doubt that from the year 1000 B.C. down to the Christian sera there was a constant succession of artists in ivory in the western Asiatic countries, in Egypt, in Greece, and in Italy. Long before ivory was applied in Greece to the making of bas-reliefs and statues it was employed for a multitude of objects of luxury and ornament. Inferior to marble in whiteness, and of course greatly inferior in extent of available surface, ivory exceeds marble in beauty of polish and is less fragile, being an animal substance and of true tissue and growth. From the time of Hesiod and Homer numerous allusions are to be found in classic authors to various works in this material : such as the decoration of shields, couches, and articles of domestic use. As to statues, Pausanias tells us that, so far as he could learn, men first made them of wood only ; of ebony, cypress, cedar, or oak. 29 The passages from the earlier classics have been referred to, over and over again, by all the later writers on the subject ; and it would be not merely wearying but unnecessary to repeat them here. 30 In the sixth century before Christ, ivory statues of the 28 Transactions of Royal society, xix. 562, xxi. 7, xxiii. 200. Hesiod, vol. 3, p. 170, and Layard's Nineveh, Scut. Here. 141. cit. Trans. Royal vol. 2. p. 209. soc. vol. 3, /. 1 74. See also, Odyss. 29 Graecia? descriptio, lib. 8, cap. ix. 383, xviii. 195, and Eurip. Cycl. 17. 460. 30 Iliad v. 583, iv. 141. Odyss. 1. c XVI 11 Preface. Dioscuri and other deities were made at Sicyon and Argos. Sir Digby Wyatt speaks of them as having been rude in character, but there is no evidence left for so dis- paraging a decision. 31 Other named works were statues of the Hours, of Themis, and of Diana. The names of some of the sculptors have been preserved. Among them Poly- cletus, Endoos of Athens, the brothers Medon, and Dory- cleides. The style in which objects of this kind were executed was called Toreutic : 32 signifying chiefly working the material in the round or in relief. One of the most famous of such works, and of which Pausanias 33 has left us a tolerably 31 Lecture on sculpture in ivory, read before the Arundel society, p. 2. 32 From Topevu), to bore through, to chase, to work in relief. "Phidias inventa cet art appele u par les anciens toreutice, c'est & " dire, l'art de tourner." Winckel- mann, hist, de l'Art, lib. 4, cap. 7. In his second edition he corrects this, and rightly says, " la racine de " cette denomination est ropog, clair, " distinct, epithete qui s'applique a " la voix. C'est pourquoi on donne " ce nomme au travaux en relief, " par opposition au travail en creux " des pi.erres precieuses." Lib. 7, cap. 1. A long disquisition on the mean- ing of the word, and its etymology, is given by De Quincy, part 2, p. 73. 33 Lib. v. cap. 17, et seqq. Pau- sanias mentions the existence in his time, -of numerous ivory statues and of chryselephantine works. In the first section of the same chapter he enumerates ten or fifteen, which he says were all made of ivory and gold : a table of ivory, cap. 20. At Megara, he saw an ivory statue of Venus, the work of Praxiteles ; — 'ipyov Hpa£ir£\ovc — lib. 1, cap. 43 : at Corinth, many chryselephantine sta- tues, lib. 2, cap. 1 : near Mycenae, a statue of Hebe, the work of Nau- cydes; — tex vt 1 Ncu/kuoovc — cap. xvii. : in Altis, the horn of Amalthea, lib. 6, cap. 19 : and in another treasury there, a statue of Endymion entirely of ivory, except his robe : at Elis, a statue made of ivory and gold, the work of Phidias, cap. 25 : nearTritia, in Achaia, an ivory throne with the sitting figure of a virgin, lib. 7, cap. 22 : at ^Egira, a wooden statue of Minerva of which the face, hands, and feet were ivory, cap. 26. And, to name no more, a statue of Mi- nerva, the work of Endius, all of ivory, long preserved at Tegea but at the time when he wrote placed at the entrance of the new forum at Rome ; having been taken there by Augustus : lib. 8, cap. 46. Edit. C. G. Siebelis. Lips. 1825. . There are two men whose travels and the sights they saw we cannot Preface. xix accurate description, was the coffer which the Cypselidae sent as an offering to Olympia, about 600 B.C. It seems to have been made of cedar wood, of considerable size ; the figures ranged in five rows, one above the other, along the sides which were inlaid with gold and ivory. The subjects were taken from old heroic stories. De Quincy has given a large plate with a conjectural restoration of the chest ; which he supposes to have been oblong with a rounded cover. 34 Others believe it to have been elliptical. Somewhat later than the statues of the Dioscuri and the chest at Olympia were the famous chryselephantine statues of Phidias and his contemporaries. One of the most cele- brated was the figure of Minerva in the Parthenon, which was in height nearly forty English feet. 35 Even more colossal was the statue of Jupiter at Olympia ; the god was represented sitting, and reached to the height of about fifty- eight feet. 36 but envy ; one was Pausanias, the other our own Leland. It should be noted that Pausanias believed ivory to be the horn and not the tooth of the elephant : and he has a long argument about it, lib. 5, cap. 12, in which he refers to and mentions the Celtic stag, to kv Ke\- Tucrj Orjptoi'. Declaring it to be horn, he says that, like the horns of oxen, ivory can be softened by fire and changed from a round to a flat shape. 34 P. 1 24. Compare Mutter's ancient art ; 1st period, 57. 35 It would be wrong to omit all notice of the attempt to reproduce this statue which was made by order of the late due de Luynes, and was shown in the Paris Exhibition of 1855. " M. Simart, qui l'a exe'eute'e, " s'est montre le digne interprets de " Phidias, et a su retrouver, par ses " etudes approfondies, le vrai senti- " ment de l'art antique. La statue, " de trois metres de hauteur, est " d'ivoire et d'argent : la face, le cou, " le bras et les pieds, la tete de Me- " duse placee sur son egide, ainsi que " le torse de la Victoire qu'elle tient " dans la main droite, sont d|ivoire " de Tlnde. La lance, le bouclier, " le casque et le serpent sont de " bronze ; la tunique et l'dgide d'ar- " gent ont 6t6 repoussees etciselees." Labarte, hist, des arts industriels, p. 188. 36 For conjectural restorations of this statue, see De Quincy, plates 1, 13, 16. xx Preface. We have to remember the destruction of these and similar works with the utmost regret ; and the more so, because that destruction was owing in many instances to the mad violence of Christian fanatics. The remains which we possess even of smaller objects are not only of excessive rarity but they cannot with any certainty be attributed to artists working in Greece itself. Ivory and metal have perished under conditions which have left uninjured fragile vases. There are some examples of carvings in ivory in the British Museum and in the collection at present de- posited there by signor Castellani which have been found in Etruscan tombs : many of these are perhaps the work of Greek artists. 37 Neither the beauty nor the wonderful spirit of the execution of some of these ivories has been exceeded or perhaps equalled in any later time. Among them the following ought to be particularly mentioned : — A large bust of a woman, of the Roman republican period, and a small carving of the head of a horse, scarcely inferior to the work of any Greek artist of the best time. A very important head of a Gorgon, as seen on Athenian coins, with eyes inlaid in gold, about two inches in diameter ; probably the button of a woman's dress. Two lions, the heads and part only of the bodies, lying across each other, very admirable and full of character ; and another lion's head, the top perhaps of the handle of a mirror. These were chiefly discovered, with numerous other fragments, at Chiusi and Calvi. At Chiusi also were found the panels of two small caskets which have been put together ; both are 37 Etruscan sculpture was pro- contrary, soon cleared itself from bably derived at first from Egypt : the bondage of old traditions and, but the art of the one was entirely even when rudest, was free and at- and unchangingly conventional, and tempted to imitate nature in the never seems to vary from a certain representation of muscles, hair, and fixed style : the Etrurian, on the draperies. Preface. xxi of early date ; one it may be of the fourth century B.C. and Phoenician in style. 38 Carvings in ivory of the Roman imperial times before Constantine are almost equally scarce. 39 In the collection in this museum there are two only which can safely be so attributed. One is the fragment, No. 299/67. The other is the beautiful leaf, No. 212/65. The British Museum (not to mention a large number of fragments chiefly of caskets or decorations of furniture, tesserse and tickets of admission to theatres and shows, dice and the like) possesses a few pieces : of which one is extremely fine in character and in good preservation. The subject is Bellerophon, who is repre- sented on Pegasus, killing the Chimaera ; and it is executed in open work. The age is somewhat doubtful. Professor Westwood places it as early as the third century, and his judgment must be treated with great deference. Others, of no slight authority, are indisposed to give it an earlier date than the fourth century. 40 In the collection given to the 38 There is also in the same case " ebore sellas, lectos, et alia fa- a fine small ivory statuette, much " ciunt." later, perhaps of the second century : 40 This admirable ivory has some- a boy, still partly embedded in the what of the character of the book- mortar or refuse in which it was cover in the Barberini collection, found. engraved in Gori. Thes. torn. 2, 39 The workers in ivory, however, p. 168. That famous piece is not during the first centuries of our aera perfect nor is there any name upon were, as a class, sufficiently numerous it. Gori fairly argues that it re- to be exempted by law from some presents the emperor Constantius, personal and municipal obligations, about the year 357. The Bellero- Pancirolus gives a list of these bodies phon is of finer work. of artificers, in his Notitise, lib. de The gradual and uninterrupted magistratibus municipalibus, /. 197. decline of art from the days of He mentions as exempt, architects, Augustus is to be traced as dis- medical men, painters, and others, tinctly in the ivories which have with references to the various laws been preserved as in ancient build- under which they were excused ; and ings . But we can scarcely agree among them, " Eborarii, qui ex with D'Agincourt as regards its ra- xxii Preface. town of Liverpool by Mr. Mayer there are two very cele- brated pieces, possibly of the third century; they were originally the leaves of a diptych. On one is .^Esculapius, on the other Hygieia. A description of them is given below in the appendix. From the middle of the fourth century down to the end of the sixteenth we have an unbroken chain of examples still existing. Individual pieces may, perhaps, in many in- stances be of questionable origin as regards the country of the artist, and, sometimes, with respect to the exact date within fifty or even a hundred years. But there is no doubt whatever that, increasing in number as they come nearer to the middle ages, we can refer to carved ivories of every century preserved in museums in England and abroad. Their importance with reference to the history of art cannot be overrated. There is no such continuous chain in manu- scripts, or mosaics, or gems, or enamels. Perhaps, with the exception of manuscripts, there never was in any of these classes so large a number executed nor the demand for them so great. The material itself or the decorations by which other works were surrounded very probably tempted people to destroy them ; and we may thank the valueless character of many a piece of carved ivory, except as a work of art, for its preservation to our own days. The most important ivories before the seventh century are the consular diptychs. The earliest which we now have pidity. Speaking of sculpture gene- de l'art par les monumens, vol. 2, rally, he says : " On vit celle-ci p. 15. D'Agincourt probably refers " successivement grande, noble, au- to the barbarism of Caligula, who " guste sous le prince qui merita ce proposed to put a head of himself " nom ; licencieuse et obscene sous upon the Olympic Zeus by Phidias ; " Tibere ; grossierement adulatrice Suet. Calig., 22, 57 : or to Claudius, " sous Caracalla ; extravagante sous who cut the head of Alexander out " Neron, qui faisait dorer les chefs- of a picture by Apelles, to replace " d'ceuvre de Lysippe." Histoire it with his own ; Plin. xxxv. 10. Preface. xxiii claims to be of the middle of the third century, the latest belongs to the middle of the sixth. Anything doubled, or doubly folded, is a diptych : olxrv^ov ; but the term was chiefly applied to the tablets used for writing on with me- tallic or ivory styles by the ancients. When these tablets had three leaves they were called triptychs, and of five or more leaves pentaptychs or polyptychs. Inside, each leaf was slightly sunk with a narrow raised margin in order to hold wax ; outside, they were ornamented with carvings. They were not always of ivory ; frequently of citron or of some less costly wood, and for common use were probably of small size, convenient for the hand and for carrying about. Homer speaks of such tablets, 41 and there are frequent references to them in Latin writers ; 42 but it happens also that two ancient specimens have been found. Both were discovered in gold mines in Transylvania, and have been described by Massmann in a volume published at Leipsic in 1 84 1. Each consists of three leaves, one of fir- wood, the other of beech, and about the size of a modern octavo book. The outer part exhibits the plain surface of the wood, the inner part is covered with wax surrounded by a margin. The edges of one side are pierced that they might be fastened together by means of a thread or wire passed through them. The wax is not thick on either set of tablets ; it is thinner on the beechen set in which the stylus of the writer has in places cut through the wax into the wood. There is manuscript still remaining on both of them : the beginning of the beechen tablets containing some Greek letters. The writing on the other is in Latin, a copy of a 41 Iliad vi. 169. These are a few only from the pas- 42 See Juvenal, Sat. 9 ; Martial, sages commonly quoted by writers xiv. 3 ; Pliny, Ep., i. 6 ; Suet. Ner., on the ancient Roman diptychs and 17; Plautus, Bacchid. iv. 4. 64. tablets. xx iv Preface. document relating to a collegium. The name of one of the consuls is given, determining the date to be a.d. 169. 43 But the consular diptychs were of much larger size, generally about twelve inches in length by five or six in breath. Diptychs of this kind were part of the presents sent by new consuls on their appointment to very eminent persons ; to the senators, to governors of provinces, 44 and to friends. Each consul probably sent many such gifts, and these naturally varied greatly not only in the workmanship but in the material. For persons in high station or autho- rity the diptychs would be carved by the best artists of the time, and if not made entirely of some metal very costly and valuable the material would be ivory, perhaps also mounted in gold. 45 For others of lower rank or for dependants, they would be roughly finished and of bone or wood. Inside, the wax may have been inscribed with the Fasti Consulares or list of names of all preceding consuls, 46 closing with that of the new magistrate, the donor. This, however, is matter of conjecture. Outside, the leaves were carved with various ornaments ; sometimes with scrolls, or cornu- 43 Abridged from the account we have, " Domino Principi nostro given in Smith's dictionary of an- " auro circumdatum diptychon misi, tiquities, Verb. Tabulae. " caeteros quoque amicos eburneis 44 It is to the custom of sending " pugillaribus et canistellis argenteis these diptychs to people of .rank in " honoravi." Epist. lvi., ad Sallus- the provinces that we owe the pre- Hum. servation of some still extant, and 46 Compare Ausonius : which have been kept in the country « Hactenus adscripsi fastos. Si sors into which they came by gift or volet, ultra otherwise in veiy early times. Gene- Adjiciam : si non, qui legis, ad- rally, in somewhat later days, they jicies. were given or bequeathed to churches; Scire cupis, qui sim ? titulum qui and, having been first used in the quartus ab imo est public services, were afterwards laid Quaere ; legis nomen consulis Au- by in their treasuries. sonii." 45 In the fifth book of the letters Epigr. 150. of Symmachus (consul, a.d. 391) Ausonius was consul, a.d. 379. Preface. xxv copiae, or the bust of the new consul in a medallion. Some- times — and as the diptychs which we now possess repeat this style the most frequently we may conclude it to have been the usual practice at least for the more important of those presented — the consul was represented at full length and sitting in the cushioned 47 curule chair : one hand often being uplifted and holding the mappa circensis. He is clothed in the full ceremonial vestments of his office, as used when he was inducted into it. The dress itself seems to be a splendid imitation of that worn by the old generals at the celebration of a triumph ; a richly embroidered cloak {toga pidd) with ample folds, beneath which is a tunic striped with purple {traded) or figured with palm leaves {tunica palmata). On his feet are shoes of cloth of gold {calcei aurati), and in one hand the consular staff or sceptre {scipio) surmounted by an eagle or an image of Victory. Not unusually, below, in a separate compartment, were representations of the shows which the consul intended to 47 The conspicuous representation advice given by Ovid to the lover of a cushion on the seat of the chair in attendance on his mistress in the is probably not to be overlooked as theatre or at public games : of small signification or importance. „ p arva leves capiunt animos Fuit Cushions were permitted only to ^ mu i t j s certain privileged classes during the Pulvinum facili com posuisse manu. games of the circus : Profuit et tenui ventum movisse ta- " . . . . exeat, inquit, bella [JIabello 1] ; Si pudor est, et de pulvino surgat Et cava sub teneram scamna de- equestri disse pedem." Cujus res legi non sufficit . . . ." Artis amat. lib. i, /. 160. Juvenal, Sat. 3. Compare Martial A Une or two above the poet c P'g- v - 2 °- speaks of the ivory statues carried Caligula conceded the use of in the processions : cushions to senators as a graceful " At cum pompa frequens ccelesti- compliment at the beginning of his bus ibit eburnis, reign. Dio Cass. lib. lix. Tu Veneri dominae plaude fa- Some will remember also the vente manu." xxvi Preface. give, of the manumission of slaves, 48 and of the presents, money, bread, &c, which were also to be distributed among the people. The series of consular diptychs, having each of them in many cases a known date, is of essential value and import- ance in the history of art, whilst the fashion of them lasted. Similar as they are one to another in certain respects, nevertheless there is a considerable variety of treatment and undoubtedly various degrees of excellence or inferiority of style and execution. When so many would be required by the consul of the year it was impossible that all could be made by good artists, and probably one or two of the best kind were roughly copied by common workmen. It was sufficient if the general character, dress, or special ornament of the consul were represented. Rapidly as art declined during the three centuries after the birth of Constantine, as shown especially in these con- sular diptychs, we may nevertheless still trace a certain grandeur in the figures and in the attitudes which show that earlier and better models of antiquity were followed by the sculptors. Labarte further observes that the diptychs carved at Constantinople were far superior to those which were made in Italy. 49 Many of these diptychs are identified by the name of the consul which is carved across the top of one leaf ; 50 the 48 To give freedom to slaves was tions the custom in the life of almost an official duty of the consul Galba, cap. 10. And Cassiodorus at the beginning of his consulate, gives the reason : " in argumentum Ammonian speaking of the cere- " etiam publicse gloriae solvebat fa- monies, on one occasion, says, " mulos jugo servili, qui liberta- " Dein Mamertino ludos edente " tern tantae dederat civitati." Va- " circenses, manumittendis ex more riar. lib. 6, ep. i. " inductis per" admissionum proxi- 49 Histoire des arts indust. vol. i, " mum, ipse lege agi dixerat, uti p. 197. " solebat," lib. 22. Mamertinus was 50 It has been said that these le- consul, a.d. 362. Suetonius men- gends (as well as portions of the Preface. xxvii full legend generally running across both, being equally divided. We usually find a profusion of proper names, according to the fashion and taste of the court of Constan- tinople and of the last years of the consulate. Following these names was a formula which expressed the style and dignities : " Vir illustris, comes domesticorum equitum, et " consul ordinarius." The " vir illustris " signified that the new consul had either filled or was of rank great enough to fill high official positions in the state. The " comes domes- " ticorum equitum " was his title as commander of the body- guard of the emperor. The " consul ordinarius " declared the true consular dignity itself. 51 Some of the consular diptychs also add the names of the persons or communities to whom they were sent. Thus, the diptych of Flavius Theodorus Philoxenus, a.d. 525, has the following inscription in Greek iambics, part upon one tablet, part upon the other : — " I, Philoxenus the consul, " offer this gift to the wise senate." 52 Another diptych of Flavius Petrus, a.d. 516, has this in- scription within a large circle : — " I, the consul, offer these " presents, though small in value, still ample in honours, to " my [senatorial] fathers." 53 sculpture) were sometimes coloured Per proceres et vulgus eant ; stupor red. We know no extant example, omnibus Indis but the following passage from Clau- Plurimus ereptis elephas inglorius dian is important, and not on that errat particular point alone : Dentibus." " Turn virides pardos, et cetera Claudian, de secundo cons. Stilich. colligit austri 345. Prodigia, immanesque simul Lato- 51 Montfaucon, L'Antiq. expliq., nia dentes, lib. 2, cap. xviij. Qui secti ferro in tabulas auroque 62 Gori : Thes. vet. diptych, torn. micantes, 2, p. 24. Inscripti rutilum caelato consule no- 53 Pulszky, essay on antique ivo- men ) ries, /. 5. The same writer quotes, xxviii Preface. During the period when these ivory diptychs were in use or fashion, that is (so far as we know) from the first or second centuries to the sixth, the office of consul was en- tirely in the hands of the emperors who conferred it on whom they would, and assumed it themselves as often as they thought fit. Augustus was consul thirteen times ; Vitellius proclaimed himself perpetual consul ; Vespasian eight times, and Domitian seventeen. The consuls, there- fore, gradually became mere ciphers in the state. It is true that they presided in the senate and on other public occasions with all the ancient forms ; and the mere title, down to the extinction of the Western empire, was nominally the most exalted and honourable of all official positions. The most complete list which we have of the existing consular diptychs is given by professor Westwood in a carefully-written paper read before the Oxford architectural society. 54 These are supposed to have been all identified, and, in most instances, by the inscription on the ivory. Nevertheless, we must still acknowledge to a grave doubt about more than one : — A.D. 1. M. Julius Philippus Augustus. In the Mayer collection at Liverpool. One leaf 248 2. M. Aurelius Romulus Caesar. In the British Museum. One leaf ......... 308 3. Rufius Probianus. At Berlin. Both leaves 55 . . 322 in the same page, the often-cited " sulibus ordinariis, nulli prorsus decree of the emperor Theodosius ; " alteri auream sportulam aut di- by which, because of the honour " ptycha ex ebore dandi facultas sit. attached to the receiving of these " Cum publica celebrantur officia, diptychs, the presenting of them by " sit sportulis nummus argenteus, anyone but the ordinary consuls was " alia materia diptycha." Compare forbidden. The law ought not to be Gori, Thes. torn. \. p. 237. omitted here : — " Lex xv. Codex 54 Proceedings, Trinity term, " Theodosianus, tit. xi. De expen- 1862,/. 127. " sis ludorum. Illud etiam constitu- 55 The leaves now form the covers " tione solidamus, ut exceptis con- of a manuscript life of St. Ludgerus. Preface. xxix 4. Anicius Probus. In the treasury of the cathedral of Aosta. Both leaves 4°6 5. Flavius Felix. Bibliotheque Imperiale, Paris. One leaf. 56 428 6. Valentinian III. 57 In the treasury of the cathedral of Monza. Both leaves 43° 7. Flavius Areobindus. 58 At Milan, in the Trivulci col- lection. Both leaves 434 8. Flavius Asturius. 59 At Darmstadt. One leaf . . 449 9. Flavius Aetius. At Halberstadt. One leaf . . -454 10. Narius Manlius Boethius. In the bibl. Quiriniana at Brescia. Two leaves. 60 487 This diptych is named by Labarte as the most ancient now known to exist. 56 The other leaf was lost or stolen during the French revolu- tion of 1792. 57 So attributed by Mr. Pulszky : but Mr. Oldfield, a much better au- thority, suggests that it may be given to Valentinian II., in which case the date would be about a.d. 380. The earlier date is supported by the great beauty and admirable execution of the diptych. 58 This diptych has no inscription : it bears a monogram which contains all the letters of the name Areo- bindus. It is engraved in Gori, Thes. Dipt, torn. 2, p. no. 59 Formerly in the church of St Martin at Liege, and it was long supposed to be lost. Professor Westwood, however, has found the greater portion of one leaf, used as the cover of a book of the gospels in the Royal library at Darmstadt. This, probably, is not a fragment of the Liege diptych but of another of the same consul. The two leaves are engraved in Gori, torn. 1, p. 5 S. 60 A folio volume of more than 200 pages was edited by Hagenbuch in 1738, containing a number of learned essays on this diptych alone. It has at the beginning engravings of both leaves : and the consul is represented on one in a standing position ; on the other, sitting and holding the mappa in his right hand. The inscription is unusually obscure : how much so may be judged from the fact that the editor of the book has collected more than half-a-dozen different interpretations of it. Some of them are amusing. The inscrip- tion on one leaf runs thus : NAR- MANLBOETHIVSVCETINL, on the other, EXPPPVSECCONSOR- DETPATRIC. The members of the Academy at Paris, to whom the difficulty had been referred, pro- posed to read "Natales regios Man- " lius Boethius vir clarissimus et " inlustris ex propria pecunia voto " suscepto edixit celebrandos consul " ordinarius et patricius." But a more probable reading is, "Narius xxx Preface. A.D. 11. Theodorus Valentianus. At Berlin. 61 Both leaves. 505 12. Flavius Dagalaiphus Ariobindus. At Lucca ; both leaves. At Zurich ; both leaves. And in private possession at Dijon ; one leaf. 62 . . . .506 13. Flavius Taurus Clementinus. In the Mayer collec- tion at Liverpool. Both leaves . . . 513 14. Flavius Petrus Justinianus. Bibliotheque ImpeViale, at Paris; one leaf. And at Milan, in the Trivulci collection; both leaves 516 15. Flavius Anastasius Paulus Probus Pompeius. 63 At Berlin ; one leaf. The other leaf in South Kensington museum. Bibliotheque Imperiale, Paris ; both leaves. 64 And Verona; one leaf 517 16. Flavius Paulus Probus Magnus. Two in the Imperial library at Paris ; each one leaf. Another, so attributed, in the Mayer collection at Liverpool ; one leaf . .518 1 7. Flavius Anicius Justinus Augustus. At Vienna ; one leaf 519 18. Flavius Theodorus Philoxenus. Bibliotheque Impe- riale, Paris ; both leaves. 65 And in the Mayer collec- tion ; one leaf ; very doubtful 525 " Manlius Boethius vir clarissimus date of this diptych doubtful : it is " et inlustris, expraefectus prastorio, remarkable, as representing in a " prsefectus, et comes, consul ordi- medallion, between the busts of the " narius et patricius." Again, against emperor and empress, the head of this last some have disputed that Christ with a cruciferous nimbus, the PPP meant three times prefect, 62 M. Pulszky says that in 1856 and CC twice consul. it belonged to M. de Tolliot, at Artists in ivory were driven, be- Dijon, cause of the narrow limits at their 63 Figured in Lenormant. Tresor disposal, to use extreme forms of de glyptique, vol. i,pl. 17. contraction and symbols, scarcely 64 This was long known as the intelligible even in their own time, diptych of Bourges, under which instead of words : far more so, in- name it is well engraved in Mont- deed, than were the carvers of in- faucon, Ant. expl. lib. 2, cap. xviij. scriptions upon monumental stones, p. 90. altars, and sarcophagi. 65 Known as the diptych of Com- 61 Professor Westwood leaves the piegne ; having been given by Preface. XXXI 19. Flavius Anicius Justinianus Augustus. At Paris 20. Rufinus Orestes. South Kensington museum. Both leaves. 21. Anicius Faustus Albinus Basilius. 66 In the Uffizii, at Florence ; one leaf. The companion leaf 67 is in the Brera, at Milan. 68 . . . . A.D. 528 530 414 541 But besides these there are several very important Roman diptychs and leaves of diptychs, not consular, still Charles the Bald in the ninth cen- tury to the abbey church of St. Corneille, where the leaves were pre- served until its destruction in 1790, and were then transferred to Paris. The diptych is admirably figured in Lenormant,Tresor de numismatique et de glyptique, vol. 2, pi. 53. Lenormant refers also to previous writers on this diptych,/. 27. 66 Basilius, consul of Constanti- nople, was the last of the long and illustrious line of consuls. They had continued, with a few short in- terruptions of the tribunes, for more than a thousand years. After Ba- silius, the emperors of the East took the title of consul, until at last it fell into oblivion. The last consul of Rome was Decimus Theodoras Paulinus, a.d. 536. 67 The second leaf has been iden- tified by professor Westwood : M. Pulszky believed it to have been lost. Essay,/. 15. It is but a frag- ment of the right wing of the diptych, the upper half. Gori, Thes. torn. 2, pp. 134-136, gives figures of both leaves : he decides against their being of the same pair. Mr. West- wood, however, says that "it is " certainly the companion " to the leaf in the Uffizii. 68 A detailed description and ar- guments about many of these dip- tychs will be found in the dis- sertations printed by Gori in his Thesaurus. Other authorities are Du Cange, Mabillon, and Mont- faucon. Their statements have been ably and briefly summed up in the very interesting paper already men- tioned, read before the architectural society of Oxford, by professor Westwood; and by M. Pulszky in his essay on antique ivories. A Roman diptych, undescribed, is preserved at Tarragona in Spain, and it is extremely probable that a careful search amongst the treasures still remaining in the churches of that country would discover others. The very learned editor of the Thesaurus of Gori (writing more than a hundred years ago) says: "Suspicio enim in- " valuit in locupletissimis Hispanias " sacrariis, quo totius fere orbis dona- " ria confluxerunt, multa hujusmodi " abscondi,quaenusquamadhuccom- " paruere, quia hactenus nee per- " quisita nee curata." Ad lectorem, torn. i t p. xj. XXX11 Preface. extant ; some also of greater beauty than any of the examples in the preceding list. Among them is the diptych (already mentioned) of yEsculapius and Hygieia in the Mayer collec- tion at Liverpool ; and another, but smaller, of the same subject in a private collection in Switzerland. 69 The diptych of cardinal Ouirini, now at Brescia, having on one leaf, as in- terpreted by M. Pulszky, Phaedra and Hyppolytus ; and on the other Diana and Virbius. 70 This is probably of the third century. Another is the diptych, long known as the Tablets of Sens, but now at Paris in the Imperial library and forming the covers of a thirteenth century manuscript, containing " The Office of Fools." 71 This is somewhat similar in style to the sarcophagi of the third century. There is a diptych of 69 Briefly described by professor Westwood, who possesses a cast of it, as " in much deeper relief than " the Fejervary diptych, and full of " energy in the design. Here ^scu- " lapius holds a palm-branch in his " right hand, and supports his club, " round which a serpent is twined, " with his left ; whilst Hygieia holds " a snake in her right hand, and, " apparently, a large melon in her " left." Proceedings, &c, Oxford Archit. soc, No. vj. p. 144. 70 Catalogue of the Fejervary ivo- ries. Essay,/. 26. 71 Or, rather, the Office of the feast of the Circumcision. In the thirteenth and fourteenth centuries some childish and improper jests and plays were allowed in churches on the first day of the year. This " Office of Fools " seems to have a complete arrangement for the day; with mass, matins, and hours. The whole affair was something like (but without the reverential decorum) the festival of the boy-bishop, cele- brated in more than one of our English cathedrals about the same period, and was probably a relic of the heathen Saturnalia. The feast of Fools was kept also at Beauvais and other places, until it was finally put down everywhere in the sixteenth century. See Du Tilliot, memoires pour servir a l'histoire de la fete des Fous ; and Du Cange, voc. tar- tara, kalendae. These tablets are engraved by Labarte, in his Album, pi. 1. On one leaf is represented Bacchus in a car drawn by centaurs ; on the other is Diana in a chariot drawn by two bulls. Both subjects are surrounded by mythological figures. They are engraved also in La- croix, Arts of the middle ages, /. 474, as an illustration of book- binding : and in the Monumens antiques ine'dits, by Millin, torn. 2, P- 336. Preface. xxxiii perhaps the fifth century in the treasury of the cathedral of Monza ; one leaf representing Calliope sounding the lyre, and the other some unknown philosopher. 72 Another is in the Imperial library at Paris, the two leaves having six muses, each of them accompanied by an author. These last have been guessed at by M. de Witte, who places the diptych in the fourth century. Neither M. Pulszky nor pro- fessor Westwood is inclined to agree with these guesses, except that one may perhaps be Euripides grouped with Melpomene. The workmanship is rude and the figures carved in high relief. Again, another diptych at Vienna in the cabinet of antiquities is attributed to the time of Justinian. One leaf has a figure representing Rome; the other, Constantinople. The above are all named in the essay attached to the catalogue of the Fejervary collection by M. Pulszky ; and professor Westwood very rightly adds to them one leaf of a diptych in the possession of count Auguste de Bastard, the diptych of St. Gall, the mythological figure of Penthea in the museum of the Hotel Cluny, a perfect diptych in the cathedral of Novara, and another in the basilica of San Gaudenzio at the same place. There is no example among all these which surpasses in beauty of execution, or in the interest of the subject, two ivory tablets which were formerly the doors of a reliquary in the convent of Moutier in France, in the diocese of Troyes. When M. Pulszky wrote his essay both tablets were supposed to be lost ; they had been described and engraved in the Thesaurus of Gori, from whose prints alone 72 Mr. Oldfield, in his excellent He objects to Gori's suggestion that catalogue with very valuable notes the other leaf represents a poet, of the Arundel series of fictile ivo- taking the characteristics to be those ries, supposes the muse to be some certainly of a philosopher. — Note, Roman lady in an ideal character, p. 33. I. d xxxiv Preface. they were known. Happily both since have been reco- vered. The left tablet is in the Hdtel Cluny, much in- jured, 73 and the other is in the collection of the South Kensington museum. This last is fully described below, p. 44, No. 212, '65; and it is probably the most beautiful antique ivory in the world. Each leaf represents a Bacchante ; on both they are standing, and the Bacchante on the left wing (the Paris leaf) has no attendant. Her drapery falls negligently sus- pended from her left shoulder, leaving the right arm and breast exposed. 74 It is gathered at the waist by a narrow girdle. She stands before an altar on which a fire burns, and holds in each hand a torch with the flaming end down- wards, as if to extinguish them. Her hair is gracefully bound with a riband decorated with ivy leaves and falls down her back. A pine-tree, stiff in design, stands close behind the altar ; not to be compared with the oak-tree on the South Kensington leaf. The diptych was, perhaps, a gift on the occasion of some marriage between members of the two patrician families whose names are on the labels: NICOMACHORVM : SYMMACHORVM 75 ; or, perhaps, an offering from the two families to the temple of Bacchus or Cybele. 73 It was discovered a few years '.' casion of the person's stooping, to ago at the bottom of a well. " slip down over the arm. Artists ap- 74 Professor Becker, in describing " pear to have been particularly fond the Lycoris of Virgil's tenth ec- " of this drapery." Gallus,/. 82. Such logue, says : " Her light tunica, with- an arrangement, or rather disarrange- " out sleeves, had become displaced ment, of drapery would equally " by her movements, and slidden happen when the tunic was fastened " down over her arm, disclosing over the shoulder by a small fibula : ". something more than the dazzling as with the Bacchante on the Cluny " shoulder." He adds in a note leaf, and the young attendant on the that " the wide opening for the Bacchante upon our own. " neck, and the broad holes for the 75 They may possibly have been " arms, caused the tunica on every oc- the cover of the marriage contract : Preface. xxxv Before we pass to the large series of ivory carvings executed between the eighth or ninth and the fifteenth cen- turies, there is one very celebrated piece about which a few words may be said : a superb leaf of a diptych, preserved in the British Museum. The other leaf is lost and has probably been destroyed ; nor is there any record (it is believed) from whence the Museum obtained this ivory. It has been in the collection for many years. The plaque itself is one of the largest known : more than sixteen inches in length by nearly six in width. The subject is an angel, standing on the highest of six steps under an arch supported on two Corinthian columns ; he holds a globe with a cross above it in his right hand ; in his left a long staff, to the top of which, as if half resting on it like a warrior on his lance, the hand is raised above his head. He is clothed in a tunic and an ample cloak or mantle falling round him and over the shoulders in graceful folds. His head is bound round with a fillet; and the feet have sandals. There is no antique ivory carving which surpasses this in grandeur of design, in power and force of expression, or in the excellence of its workmanship. Al- though some foreign writers are disposed to place the date of it so late as the time of Justinian we shall be more cor- rect in attributing it, with Mr. Oldfield, to the fifth or even to the end of the fourth century. Nor, looking at it, can we hesitate to claim for the earliest Christian art, after Christianity was recognised by Constantine, a place by the side of the best works of pagan times. If we select this, and the book-covers in the treasury of the cathedral at Milan, and the well known book-cover in the Imperial the tabula nuptiales, matrimoniales. Ccena sedet, gremio jacuit nova " Signatas tabulae, dictum feliciter ! nupta mariti." ingens Juv. sat. 2. 119. d2 xxxvi Preface. library at Paris, we shall find no western work in ivory to equal them in quality and beauty of workmanship from the fifth to the thirteenth century. 76 We owe the preservation of many of these consular and mythological diptychs to the circumstance that when the practice of sending them as presents had (it may be) for some time been discontinued, another use was found by adapting them to Christian purposes. In some cases the subjects or titles of the diptychs were altered ; as, for example, in one of the diptychs preserved at Monza. This was originally a consular diptych, of late work, coarse in style and manner of execution. The consul is repre- sented on each wing, raising the mappa circensis in the usual way : on one, however, he is standing ; on the other he is sitting upon a kind of throne. On one leaf the top of the consul's head has been shaved, to show the clerical tonsure ; and in the blank space of two small panels, im- mediately beneath the arch under which he stands, the title S[an]C[tu]S GREG°R[ius] is cut in high relief. On the other leaf above the sitting consul, on the corresponding panels, DAVID REX is inscribed in similar letters. 77 It must not be omitted that some late writers have argued that this diptych is not a palimpsest ; that it is merely an imitation of the earlier consular diptychs, and not earlier than the seventh or eighth century. 78 But the whole character is unlike mere imitation ; and the shaving of the head, the alteration of the ornamented top of the sceptre 76 The fine work and style of the foliage of trees, borders of Greek or Byzantine 77 Gori gives an engraving of the works in ivory of the fifth, sixth, and two wings, torn, 2, p. 218. seventh centuries are very remark- 78 Pulszky, essay on antique able; and more especially the true ivories,/. 23. Professor Westwood form and character of their inter- also in the Proceedings before cited, lacing and twining branches and /. 143. Preface. xxxvii or staff, and the cutting of the inscriptions on the tablets, might without difficulty have been made for the required and more modern purpose. It is easy to understand how later possessors of consular diptychs were induced to make presents of them to their bishops and churches ; and in some instances, probably, in the sixth century those originally sent to high ecclesiastical persons were at once transferred to pious uses. Instead, then, of containing the lists of the consuls, the diptychs enclosed the names of martyrs, saints, or bishops who were to be commemorated in the public service of the Church. 79 Several such leaves still exist, and sometimes with the names not written on wax but carved or incised upon the ivory itself. One very remarkable example is the diptych of Flavius Clementinus, consul a.d. 5 1 3. Another is the dip- tych of Anastasius, a.d. 517, of which one leaf, No. 368/71, is in the South Kensington collection. Upon this leaf the portion of a single word "GISI " is now alone to be decyphered ; when Wiltheim saw it, more than a hundred years ago at Liege, he read " I GISI," and supposed it to be part of the name of Ebregisus the twenty-fourth bishop of Tongres in the seventh century. 80 But upon the other leaf, which is now preserved at Berlin, Gori was able to make out a considerable portion. " Offerentes . . . O . . . 79 These lists were read at mass : " tychis, id est tabulis, nomina of the saints at that part of the " defunctorum, etc." — De div. offi- canon which is now known as the ciis, cap. 40. Full information and Communicantcs ; and of the dead at a cloud of authorities on the sub- the Metnento, after the consecration ject will be found in the learned work of the Eucharist. Frequent reference of Salig, on diptychs, cap. 4. De to the custom is to be found in the praxi diptychorum in oblationibus. old ritualists ; for instance, Alcuin : 80 See an interesting paper by " Post ilia ergo verba, quibus dicitur Mr. Franks, read before the Society " in somno pads, usus fuit antiquo- of antiquaries. Proceedings, March " rum, ut statim recitarentur ex dip- 10, 1864. xxxviii Preface. " eorum p. pi . . . ecclesia catholica quam eis dominus " adsignare dignetur . . . facientes commemorationem bea- " tissimorum apostolorum et martyrum omniumque sanc- " torum. Sanctae Marise Virginis, Petri, Pauli, etc." But he owns that some even of these words are conjectural. 81 The diptych of Justinianus, in the Imperial library at Paris, is one more example of the same kind. Inside are written litanies of the ninth century, with the names of saints inserted who were particularly revered at Autun. 82 Another half of a consular diptych may be mentioned, a single leaf ; in which instance the original carving has not only been removed but the ivory has been sawn into two pieces. As it happens, both fragments are in this country — one in the British Museum ; the other in the South Ken- sington collection, No. 266, '67. The two together have still sufficient traces left to enable us to recognise the old design ; a consul seated in the usual way, under a round arch. Below, there seem to have been the two boys or servants emptying their sacks of money and presents. This mutilation occurred about the eighth or ninth century ; and the other side of the leaf was then carved with subjects taken from the gospels. It was an unnecessary injury to destroy and plane away the first design. As the new pur- pose was probably to decorate the panels of some shrine or book-cover, the old carvings might have been concealed when the plaques were inlaid ; in the same manner as the very curious pieces were treated, now in this museum, Nos. 253, '67 ; 254, '67 ; and 257, '67® It would be a subject far too extensive for this short preface to attempt to give a history of the use and purpose 81 Thesaurus, torn. 1, p. 49. on the reverse sides in the ninth, is 82 Labarte, vol. i,p. 206. engraved in Du Sommerard, 2nd 83 Another example of an early series, //. 29 ; and in Lenormant, diptych of the sixth century, carved vol. 2, p. 25. Preface. xxxix of diptychs in the public service of the Christian Church. Their origin is to be traced to the very earliest times ; perhaps to the apostolic age. Mention is made of them in the liturgy of St. Mark. 84 Numerous treatises and disser- tations, even long books, have been written on the subject; and it would be idle work to repeat the names of the au- thors who are referred to, over and over again, by most writers on ivory carvings. In fact, the learning which some of these exhibit might much better have been shown if their subject had been the primitive history and practices of the Church. Except to state the mere fact of their use, the connection of ceremonial ecclesiastical diptychs with sculpture in ivory requires only a few remarks. The common use of such diptychs is well and shortly summed up in a dissertation printed by Gori in his Thesaurus. The summary may be given in few words, and moreover the dissertation itself is written in explanation of the diptych of the consul Clementinus just mentioned, which we are now fortunate enough to possess in England, in the Mayer collection at Liverpool. Inside the leaves is an inscription in Greek of the eighth century, to be read during mass, desiring the people to be devout and reverent and to pray for the persons whose names were to be recited. 85 The Christian diptychs were intended for four purposes. First come those in which the names of all the baptized were entered, a kind of Fasti ecclesics and answering to the registers kept now in every parish. Second, those in which 84 Gori (or his author) quotes also tury his evidence is valuable, and he the ecclesiastical hierarchy of Dio- speaks of the use of diptychs as of nysius the Areopagite. This is cer- things long known, tainly not the writing of the true 85 An engraving of this inscrip- Dionysius, the contemporary of St. tion will be given below, in the Paul. Yet, putting the pseudo- notes to the description of the col- Dionysius as late as the fifth cen- lection of ivories. xl Preface. were recorded the names of bishops and of all who had made offerings to the church or other benefactions. This list included the names of many persons still living. Third, those in which were recorded the names of saints and martyrs ; and, naturally, in various places the names would be par- ticularly of saints who in their lives had been connected with the locality. Such additions are of the utmost importance in tracing the history of ancient lists which have come down to our own time. Diptychs of this class were read aloud at mass, as a sign of the communion between the Church triumphant and the Church militant on earth. Fourth, those in which were written the names of dead members of the particular church or district, who having died in the true faith and with the rites of the Church were to be remembered at mass. 86 Towards the middle of the sixth century sculpture in ivory again sensibly declined. 87 The figures in Byzantine 86 As regards the living, the con- tinuance of their names in the dip- tychs was of the highest conse- quence ; to be erased was equal to the denunciation of them as heretics and unworthy of communion. See St. Cyprian, ep. 66 ; and St. Au- gustin, serm. 37. In these diptychs also were pro- bably added the names of those who were sick or in trouble. But besides these four objects for which Christian diptychs were made, there was another which must cer- tainly have caused the production of many large sculptured works in ivory from the seventh to the tenth cen- tury : namely, for the purpose of exciting devotion and as a means also of teaching the ignorant. The old Ambrosian rite for the church of Milan orders, " Finita lectione, puer " magistri scholarum,acceptis tabulis " eburneis de altare vel ambone . . . " vestitus camisiolo ascendit pulpi- " turn, etc." Again : " Quando dia- "conus canit Alleluia clavicularius " ebdomadarius porrigit ei tabulas " eburneas ad exitum chori." 87 One of the most celebrated relics in ivory was executed about this time ; the throne or chair made for Maximian, archbishop of Ra- venna from a.d. 546 to 556. This is now preserved among the treasures of the cathedral at Monza, and is engraved in the great book of Du Sommerard, and by Labarte in his handbook. The chair has a high back, round in shape ; and is en- tirely covered with plaques of ivory, arranged in panels richly carved in Preface. xli work of that period begin to be characterised by sharpness and meagreness of form, and lengthiness of proportion ; in high relief with scenes from the gospels and with figures of saints. These plaques have borders with foliated ornaments ; birds and ani- mals, flowers and fruits, filling the intermediate spaces. Du Somme- rard names amongst the most re- markable subjects, the Annunciation, the Adoration of the wise men, the flight into Egypt, and the Baptism of our Lord. Sir Digby Wyatt says that this chair, having " always been carefully preserved as " a holy relic, has fortunately escaped " destruction and desecration ; and, " but for the beautiful tint with " which time has invested it, would " wear an aspect little different from " that which it originally presented " in the lifetime of the illustrious " prelate for whom it was made. " This valuable object could hardly " have been all wrought at one time, " as Dr. Kugler distinctly traces in " it the handling of three different " artists, who could scarcely have " all lived at the same period. Some " of the plates resemble diptychs. " Thus, the series pourtraying the " history of Joseph in Egypt is quite " classical ; another, and less able " artist in the same style, provided " the plates lor the back, and in " one set of five single figures the " Greek artificer stands apparent. " The simplest explanation appears " to be that the throne was made " up by the last-mentioned artist " out of materials provided for him, " and that what was wanting to " make it entire was supplied by " him." — Lecture before the Arundel society, /. 9. Probably the differ- ent plaques were carved by several sculptors ; but Dr. Kugler's suppo- sition that the whole chair was not made by contemporary artists (in short, at one time) is scarcely probable. Speaking of and praising the Ra- venna chair, Passeri offers some very useful remarks by way of cau- tion against the hasty conclusions which some make, who set down all ancient large plaques of ivory as having been the leaves of diptychs : "Vidi etiam Ravenna? in charto- " philacio principis ecclesiae sedem " eburneam sancti Maximiani epis- "copi quinto seculo operosissime " efformatam, cujus ambitum unde- "quaque adornant tabulae eburneae " amplitudinis fere sesquipedalis, " quam plerumque ebur patitur ana- " glypho opere, et scitissima manu " elaborate, quae si disjecta? et sin- "gulares occurrent imprudentibus " facile imponerent, ut inter diptycha " censerentur. Nee ista nominis " quaestio est, nam longe alia mente " explicandae sunt missiles consulum " tabellae, atque in illis expressa em- " blemata, quae omnia ad consulatum " ejusque pompas pertinent, alia "vero sculpturae omnes, quae in "alium usum parabantur. Haec "observatio facile prodit errorem " illorum, qui diptychis adcensuerunt "laterculos, nullo consule designa- " tos, cum musarum, poetarum, Bac- xlii Preface. the heads, however, we yet find a good expression ; and especially in representations of our Lord dignity and resig- nation. The costume also gradually became more and more covered with ornaments and jewels ; although the ancient classical robes were still copied, and apostles were clothed in togas, or the Virgin in a chlamys and tunic, or the magi in Phrygian caps. But troubles arose and about the year 750 there sprang up in the East very bitter theological quarrels, especially having reference to the lawfulness of the use of images, not only in churches but for private devotion. The spirit of Ma- hometanism, strictly and dogmatically condemning without distinction, whether in sculpture or in paintings, all repre- sentations of the Deity and of man, first shown in the near neighbourhood of the Holy Land spread rapidly from one country to another. The Christian iconoclasts of Constan- tinople, even if they did not follow the heresy of Mahomet in this matter to its fullest extent, at least equalled it in hatred of all holy images and sacred sculpture, and in the severity with which they persecuted the workers and pur- chasers of such works. 88 Towards the middle of the eighth century the power and influence of these fanatics reached their height ; and, with Leo the I saurian on the throne, received the fullest support which an emperor could give. We must attribute to the rage of the iconoclasts ^dis- criminating in its fury not only the destruction of Christian "chantum ac deorum imaginibus, " diptychorum loco essent, quum " quas mihi nullam aliam ingerunt "praesertim exterior illorum ornatus " speciem, quam quod aliquando " superne in acutum desinat ; quod " libros contexerint, quibus parerga " a diptychorum instituto quam max- " adluderent. Sunt prseterea quae- " ime abhorret." — Ad lectorem, to m. " dam imperatorum inferioris aevi i. p. xiv. " simulacra tabellis eburneis incisa, 88 The anger of the iconoclasts " in quibus nulla cardinum vestigia was especially directed against all " apparent, ut potius videatur sedes statues or images said to be mira- " honorarias decorasse, quam quod culous ; aytipoiroi-qTai. Preface. xliii monuments and sculptures, but of many of the most im- portant and most valuable remains, then still existing, of the best periods of ancient Greek art. This persecution continued for more than a hundred years, until the reign of Basil the Macedonian, a.d. 867 ; who, by permitting again the right use of images, restored to the arts their free exercise. But in consequence of these excesses in the east the west of Europe gained greatly. Not only works of art were brought by fugitives from Constantinople to France, Germany and other countries, thus furnishing models from which copies could be multiplied and a better taste intro- duced, but the workmen and artists themselves, driven into exile, came and were hospitably received and founded everywhere new schools of art. Charlemagne especially, too wise a prince to overlook the certain benefits and ad- vantages which were thus offered, liberally patronised the strangers and gave them his assistance and protection everywhere. 89 There are still remaining, in the collections both at home and abroad, many examples of carved ivories from the fifth century to the time of Charlemagne. The woodcut repre- sents one of the most important and remarkable works 89 We are told by great authority " neglect and emptiness of form, a upon paintings that the iconoclast " general sameness of feature, and emigration did not much influence " the total disappearance of relief art in Rome and Italy. The Roman " by shadow. Still the reminiscence artists, as shown in the few mosaics " of antique feeling remained in which remain, " trod the path of " certain types, in a sort of dignity " decline, independent in their weak- " of expression and attitude, and in " ness. To the faults which had " breadth of draperies, which, though " been confirmed by centuries of " defined by parallel lines, were " existence, others were superadded. " still massive." — Crowe and Ca- " To absence of composition, of valcaselle, history of painting, vol. " balance in distribution and con- 1, p. 48. Their subject, however, " nection between figures, were added is not sculpture in ivory. 7 xliv Preface. known of this period. There is a difficulty in suggesting even a probable date, which can scarcely however be later than the early part of the seventh century : 90 nor is it more easy to speculate on the original use of the vase. A loose ring, cut from the same block of ivory, surrounds the foot ; and, if the vase was made for some very sacred purpose, we may suppose that the ring carried a thin veil to be thrown over the whole for further security and reverence. This piece is in the British Museum. 91 Unlike the vase, which is good both in design and work- manship, the early ivories of western Europe are rude and some of them even barbarous in manner and workmanship ; but about the year 800 a sure result of the influx of Greek artists is to be seen and the style advanced with a very evi- dent progression, subject only to a short interval of deteriora- tion at the end of the tenth century. After this brief check there followed a distinct improvement ; impressed however with a feeling and type peculiar to the eleventh 90 There is great similarity of style between this ivory and a silver vase of the sixth century, in the Blacas collection. 91 The cover is of later date ; and where the ivory has cracked there is a repair excellently done by some mediaeval jeweller with a small gold chain. This extends from the rim downwards about two inches. Preface. xlv and first half of the next century. We find the figures calm and, as it were, collected in design but placed in stiff and unnatural positions ; the draperies close and clinging, and broken up into numerous little folds ; ornamented also still more largely than before with small jewels or beads. The school of the lower Rhine kept itself to a certain extent free from these faults ; their figures preserved more movement, their modelling was better, their draperies more natural and disposed with greater art. 92 Christianity spread gradually though slowly over western Europe, from the age of Charlemagne, and as it spread ivory was used more and more for the decoration of ec- clesiastical furniture, especially of books and reliquaries. The adaptation of the large tablets given by the consuls has been already spoken of. But not only were the old diptychs still remaining in the seventh or eighth centuries applied to their new purpose for the public services of the Church, but many new diptychs must also have been pro- vided. Pyxes for the consecrated and unconsecrated wafers, retables or ornamented screens to be placed upon altars, book-covers, holy water buckets, handles for flabella, episcopal combs, croziers, and pastoral staffs were made in fast increasing numbers. There is ample evidence, not only from examples which have been preserved down to our own times but from con- temporary writers, of the large extent to which the employ- ment of ivory reached in the Carlovingian period, from the end of the eighth to the middle of the tenth century'. Egin- hard, writing to his son, sends him a coffer made by a con- temporary artist, enriched with columns of ivory after the antique style; 93 Hildoward, bishop of Cambrai a.d. 790, 92 See Labarte,/. 227. 93 Eginhard, epist 30, opera, torn. 2, p. 46. xlvi Preface. orders a diptych of ivory to be made for him in the twelfth year of his pontificate : 94 an inventory of Louis le Debon- naire, in 823, mentions a diptych of ivory, a statuette, and a coffer ; 95 his son-in-law, count Everard, leaves in his will, writing tablets, a chalice and coffer, an evangelisterium or- namented with bas-reliefs, and a sword and belt with similar decorations, all of ivory; 96 Hincmar, archbishop of Rheims in 845, orders covers to be made for the works of St. Jerome with plaques of ivory, and also for a sacramentary and lectionary. 97 94 Pertz, Mod. Germ. hist. torn. 9, P- 4i5- 95 D'Achery, spicileg., torn. 4, p. 480. 96 Testamentum Everardi, apud Miraei opera diplom., torn. i,p. 19. 97 Flodoardi, ecclesiae Remensis hist, lib. 3, cap. v. These autho- rities are given in Labarte, vol. 1. /. 217, where one or two other pas- sages are referred to. Several of the most important of the existing examples of this famous Carlovingian school are named in Labarte's useful book : among them, especially, the diptych preserved in the treasury of the cathedral of Milan, and of which a plate is given in the Album, pi. xiii. ; the two plaques which form the cover of the sacramentary of Metz, now in the Imperial library at Paris ; and a bas-relief of a book of gospels at Tongres, in the' diocese of Liege, remarkable for the simplicity of the composition, the soberness of its ornamentation, and correctness of design : all of which qualities are frequent characteristics of the work of the ninth century. Georgius says that the very ancient tabulce eburnea which he saw in the church of St. Riquier in Picardy (Centulensi thesauro), and those given to his church by Riculfus, bishop of Elne, in Narbonne, a.d. 915 (episc. Helenensis) were sacred diptychs. — De lit. Rom. pont., torn. 1, p. cxxvj. Mr. Oldfield gives an excellent selection of Carlovingian ivories in his catalogue of the casts of the Arundel society, class 4, 5, and 6. In the same period we must also place, contrary to the judgment of Du Sommerard who would give it an earlier date, a book cover in the public library at Amiens, carved with the baptism of Clovis and with two miracles of Remigius. An en- graving of this plaque is in Lacroix, Arts of the middle ages, p. 344. In the scene of the baptism of Clovis, which occupies the lowest of the three compartments, the dove is seen descending upon the head of the king with the famous ampulla and sacred oil used in the corona- tions of the sovereigns of France. It is scarcely necessary, perhaps, to remark that the holy water Preface. xlvii And, as time went on (a consequence probably of the repeated travels of men to the east during the crusades) crucifixes, statuettes, triptychs, diptychs, and other portable helps to private devotion, were made in great quantity. The term triptych for religious tablets composed of a centre piece and of one wing on each side, sufficient in width when folded to cover the centre, has been retained in the description of the South Kensington ivories, because, whether or not exactly right, it is perfectly well understood and fully explains itself. And, indeed, although triptych or pentaptych or polyptych may, in strictness and in its first signification, mean only (as it might happen) three or five or many leaves fastened together on one side by hinges or threads like the leaves of a book, yet the name triptych may be fairly applied to tablets two of which hinge on the outside edges of the opposite sides of the third, and are intended to fold across and cover it. 98 Where these wings are made, in order to surround the centre, of more than two pieces (and in such buckets, mentioned in the text just above, are not to be confounded with stoups; the one was carried by an acolyte in attendance on the priest, the other fixed against the wall at the entrance of the church. That situlce or buckets were made of ivory, and for the especial purpose just named, is certain from an ex- ample preserved in the treasury of the cathedral of Milan, which is en- graved in the appendix to the third volume of Gori's Thesaurus. This situla is richly carved with scripture subjects, and round the upper border is incised the legend, " Vates Ambrosii Gotfredus dat tibi sancte, "Vas veniente sacram spargendum Caesare lympham." Gotfred was archbishop of Milan in the year 975. 98 Triptychs are spoken of more than once by the author of the Liber Pontificalis. For example, in his life of pope Hadrian, a.d. 772, he mentions one which had in the centre the face of our Saviour, and on each wing images of angels. — Edit. Mogunt. p. 163. It is greatly to be regretted that Anastasius is so miserably concise in his description of the marvellous works of art which he enumerates. We look in vain for any details, or for the name of a single artist. xlviii Preface. cases they generally enclose and protect also some larger carving or a statuette), the name Shrine seems to be more appropriate and better to describe the object. But in the middle ages, from the eighth to the beginning of the sixteenth century, the use of ivory was not confined to church and pious purposes. It was adopted for number- less things of common life. Not for common people, per- haps, because its value and rarity were too great ; but for the daily use of wealthy persons. Caskets and coffers, horns, hilts of weapons, mirror cases, toilet-combs, writing- tablets, book-covers, chessmen, and draughtsmen, were either made entirely of ivory, walrus and elephant, or were largely inlaid and ornamented with it. Examples of works of each of these kinds are to be found in the South Ken- sington Museum ; and with regard to some of them it is necessary to make a few remarks. And, first, to take caskets. The most beautiful of these is No. 146, '66, a work of the fourteenth century. This is richly decorated on the top and the four sides with subjects taken from romances, then well-known and commonly read. Other caskets may be noticed, Nos. 216, '66 and 2440, '56, which are of earlier date ; and Nos. 301, '66 and 10, '66, of Spanish work in a remarkable style, half Saracenic, carrying down to the eleventh or twelfth century the peculiar treat- ment and ornamentation shown in the small admirably executed round box of the caliph Mostanser Billah, No. 217, '65. There are many plaques in the collection which probably once formed portions of coffers or caskets ; some of them reaching as far back as the ninth century ; but it is not possible to say with certainty whether they were made originally for that purpose or not. The most curious and perhaps the most valuable old English casket existing is in the British Museum ; which it will be well to notice in this place, before we pass Preface. xlix to other examples in the South Kensington collection. Engravings of two portions of it are also given. This casket is of the eighth century, nine inches long, seven and a half in width, and a trifle more than five inches in height. The material is not ivory ; not even of the walrus ; but of the bone of a whale. Unfortunately it is imperfect, and in parts damaged ; of the fourth side only a small piece remains. The cover and the sides are richly carved in sharp and clear relief with mythical and scripture subjects ; and each panel has a runic inscription within a broad border ; except the top, on which one word only is carved \ inches. Bought, 20/. The crook is made of two pieces of ivory, and it is entirely covered with rococo fcroll work, overloaded with decorations, fprawling angels, cherubs' heads, fhell ornaments, and the head of fome unknown beafl cut ftiort off half way down the fnout. The end of the fweep of the 8 Defcription of the Ivories. crook, in the centre of the volute, prefents us with the head and body (fo far as the waift) of a naked figure of a man wearing a mitre, and refting his left arm on a fhield with a coat of arms. This mitred perfonage is reprefented fpringing out of an open flower, with the petals downwards, giving him fomething of the look of being clothed like the ancient Mexicans. The effedr. is grotefque. 2*33- 65- POWDER Flask. Bone. French. 16th century. Length, 6 J inches. Bought, 5/. The fubjecl: is " Samfon deftroying the Lion," whofe mouth is held wide open by Sampfon's two hands whilft he is being kept down on the ground. On a tablet above, within the furrounding border, is an incifed infcription u Force. 1574. Samfon." The carving is in low relief. 933- '5 6 ' TRIPTYCH. The Crucifixion. Italian. 15th century. Bone, in a marquetry frame. Height, including pe- deftal, 13 inches ; width of centre piece, 4 inches ; width of each wing, 1 inches. Height of pedeftal, i\ inches. Bought, 8/. i8j. 6d. This triptych is a repetition in ftyle and architecture of the one fully defcribed, No. 7606. '67 ; that is, fo far as it contains the fame fubjecl:. For this has but three pieces of bone in the centre, reprefenting the Crucifixion, treated exactly as in the other example, and in each wing there is a fingle faint. There is no lower divifion or compartment. 1637. '$6. BOX. French. 14th century. With engraved fubjects of perhaps the 16th century. Height, ij inch ; length, 6^ inches ; width, \\ inch. Bought, 5/. Probably made to hold writing implements. It has clamps and faftenings of copper gilt. Defcription of the Ivories. The top is engraved in fine outlines, (lightly fhaded in parts, like the borders of the beautiful Horae printed by Verard, or Simon Voftre, or Pigouchet, about the year 1500. There are fix fmall panels on the lid : 1. Samfon carrying the gates of Gaza. 2. A grotefque hog fitting up and churning with his foot in a tub before him ; a fmall pig ftands by, looking on. 3. A lady in a garden. 4. A man playing on a bagpipe. 5. The two fpies carrying the grapes back from the promifed land. 6. A man beating a drum and playing on a clarionet. It will be feen how mifcellaneous the fubjedts are ; probably en- graved, hap-hazard, and certainly at a later period than the original date of the box, from the decorated pages of fome book. The fides are ornamented with narrow borders. 1639. '$6. HANDLE of a Dagger. Italian. 1 6th century. Length, 4^ inches. Bought, 8/. 16s. Carved in the form of a terminal figure, with the head of a fatyr crowned with large bunches of flowers. The pillar is ornamented with arabefques and two fmall figures, winged, and female to the waifts. 2440. '56. CASKET. Bone, with gilt copper mountings. German, nth century. Height, 3 1 inches ; length, 6 J inches; width, 3! inches. Bought, 13/. 4*. The top and fides are carved with a floriated ornament in low relief; the fcrolls on the fides interlacing in the ftyle of decoration adopted in Weftern Europe fome centuries earlier. The cafket has been coloured ; fome few traces ftill remain. The bottom of the box is incifed with bands intertwining, and dots in the centres. 2553- >• BOX. Bone. Hunting fubjedts and animals. French (?). Late 15th century. Height, i\ inches; length, 5^ inches; width, 3 f inches. Bought, 1/. 8j. i o Defcription of the Ivories. A coarfe example of the fame kind of work and ftyle as Nos. 4660 and 6747. The lid is made of four feparate pieces of bone ; in three of them is a dog, in the fourth a hare. One of the dogs has a hare in his mouth. On the fides are other animals, among them a flag and a lion. The whole is carved in low relief. On the bottom is a chequered board for fome game, four fquares in the width with fix in the length. The fquares are made of bone and ftained wood. COFFER. Bone and marquetry. Italian. 15th century. Height, 7 inches; length, 9 inches; width, 5 inches. Bought, 8/. The fides are ornamented with oblong pieces of bone, not in the round as is ufual in Italian coffers of the fame period, but flat. The fubjedts are winged boys, fighting : one with a butterfly, a fecond with a mail, a third with a graflhopper, a fourth with a hare. Two other boys are mown, one riding on a fwan, the other fifhing. The fides of the cover are inlaid with a geometrical pattern in horn and bone j and on the top is a fmall figure holding a fcroll, in the midft of foliage. Portions of the box have been richly gilded. s 5 8z. '56. STATUETTE. An emaciated figure. German. 16th century. Height, 9 J inches. Bought, 10/. 10s. A very fpirited and cleverly executed figure, perhaps from a group of a Dance of Death. A man whofe bones are barely covered with fkin and wafted integuments dances along, with both hands raifed above his head and holding drumfticks. He grins with mouth wide open, and his face is almoft that of a fkeleton ; the focket of one eye empty ; and the nofe gone. He wears a long light robe folded in the manner of a fcarf, which floats loofely behind him from his moulders, without in any way covering the body. On his head is a large broad hat, of the ftyle common in Germany in the 16th century, with three large feathers. The drumfticks are modern reftorations. Defer iption of the Ivories. ii 3800. '56. COFFER. Plain Panels. French (?). 15th century. Height, if inch ; length, 3f inches ; width, 1 j inch. Bought, il. Ss. This pretty little cafket has its original mounts j filver bands with ends terminating in fleurs-de-lis. 2818. '$6. TRIPTYCH. The Crucifixion. German. 16th century. Height, 3 J inches ; width of centre, i\ inches ; of each wing, 1 \ inch. Bought, 15/. 4s. The centre has the Crucifixion ; the Saviour hangs from the crofs, above which is an elaborate ornament of twirling branches fpringing from the top of the crofs itfelf; thefe are undercut clear from the ground of the ivory. Our Lord has the crown of thorns upon His head, and the feet, crofled, are fattened with a fingle nail. On His right fide the BlefTed Virgin Hands with both hands clafped ; on the other fide is St. John, in a like pofition ; they look upwards to the Saviour. Both have ample garments ; and the Virgin wears a hood fattened round the throat. On each wing is a coat of arms, crefted and elaborately mantled. Upon the fhield of one is the butt of a man ; on the other a lamb. There are two labels below, having, under the one H. V. M., under the other I. V. R. Thefe fhields have over them trees with leaves and a flower each ; underneath a canopy of four fmall Gothic arches. Probably this triptych was a marriage gift, and the arms thofe of the hufband and wife. 2998. '56. CHESSMAN. Equeftrian figure of a knight. German. 1 6th century. Height, i\ inches ; width, 2 inches. Bought, il. 16s. The knight, armed and carrying a battle-axe in his right hand, rides on a horfe alfo armed and caparifoned. 12 Defcription of the Ivories. 3265. '56. COFFER. Bone and marquetry. Italian. 15th cen- tury. Height, 11 \ inches; length, 15Jinch.es; width, 8 inches. Bought, 38/. The cover is inlaid with marquetry of bone and ftained wood. The quarter round moulding which forms the bafe of the domed or conical lid is richly ornamented with foliage, and undraped winged figures in high relief. The front and back are divided into two compartments with four pieces of bone in each ; the fides have one fimilar compartment. The bones are carved at the tops either with towers and buildings to fignify a town as the fcene of the aftion of the figures, or with trees to fignify country. The fubje&s are taken from the romance of Jafon. 3^47- '56. HANDLES of a Knife and Fork. German. 16th cen- tury. Length, i\ inches. Bought, 5/. Thefe are cleverly carved with two groups of animals on each handle, fighting and twifting round one another. On the knife are dogs attacking a flieep and a chamois ; on the fork, two dogs fighting with a goat and a wild boar. The knife and fork have a box-wood fheath belonging to them, elaborately carved, and with the date 1598. 4i39- '5 6 - BOX. Circular. Oriental. Uncertain date. Height, 3 J inches ; diameter, 5^ inches. Bought, 7/. This fine box has unfortunately loft its cover. The fides are very delicately carved in pierced work with a fmall pattern of interlacing circles, enclofing ftars. A broad band furrounds the lower part, with an Arabic infcription. Defer iption of the Ivories. 1 3 4073- 57- BOX. Circular. French (?). 14th century. Height, 4! inches ; diameter, 4J inches. Bought, 9/. I2J. Probably a cuftode for holding unconfecrated wafers. The box is perfectly plain and turned to great thinnefs of the ivory. It is mounted with gilt metal clamps, lock, and three feet. 4075- 1 *57- PLAQUE. Floriated ornament. Birds and animals Spanifh-Morefco. nth century. Height, 2'i inches; width, 2 -J inches. Bought, 1/. 12s. This has perhaps formed part of the fame coffer or cafket as No. 1057. '55. The defign is cut fharply in deep relief; interlacing branches forming in the lower part four circles, and richly foliated with palm leaves. At the top, in a fmall fquare, is an angel feen to the waift, with fpread wings and nimbed, holding a book in the left hand, and the right hand open and lifted up. This is a later addition, carved upon a blank fpace where originally was probably a lock or fattening. In the centre, on each fide, in the larger circles of the intertwining branches are two eagles ; ftanding below them, two quadrupeds. The whole is enclofed in a plain border about a quarter of an inch in width, in which the holes remain by which the plaque was originally fixed to the cafket or coffer to which it belonged. The arrangement and treatment of the birds and animals are fimilar to that in No. 254. '67. Both pieces mould be compared with the Moorifh box No. 217. '65, and with the cafkets Nos. 10. '66 and 301. '66. 4085. '57. MEDALLION. St. George. Englilh. 15th century. Diameter, 1 -J inch. Bought, 1/. 11s. St. George in armour, on horfeback, uplifts his sword in the act of ftriking at the dragon, which lies on the ground before him. The medallion is fet in a filver frame of later date, on the back of which is incifed the Veronica, or facred napkin, with the imprefTed face ofChrift. 14 Defer iption of the Ivories. 43o4- 57- CASKET. Bone. Italian. 15th century. Octagonal. Height, 18 inches; diameter, 13 inches. Bought, 40/. The cover of this cafket is brought up to a point, like No. 5624. '59, and is terminated with a modern finial. In the panels are feated figures of women, winged, reprefenting the Virtues. The lower divifions are filled with fubje&s from a romance ; eight fquare panels, in each of which three feparate pieces of bone are funk. The mouldings and frame work are ornamented with marquetry of bone and ftained woods. 433 6 - '57- TRIPTYCH. French. 16th century. Height of the centre piece, 8 \ inches; width, 5 inches; width of each wing, i\ inches. Bought, 20/. The centre panel of this triptych has, in low but effective relief, two angels, ftanding under an ogee arch with floriated cufps, and hold- ing with both hands a circle originally intended for a relic but now a mere opening, the relic having been removed or loft. The angels are clothed in long robes, fattened round the neck and reaching to the feet. Their heads are bound with a narrow fillet from which the curls efcape below. One wing of each angel is drawn in clofe following the perpendicular line of the border ; the other wing is raifed and open, following the upward infide curvature of the arch. The background of the centre and of both wings is enriched with bold fleur-de-lis ; the intermediate fpaces are diapered with delicate crofs lines. The height of each angel is \\ inches. 4355- 57- DIPTYCH or Folding Devotional Tablets. The Annunciation. Bone. Italian. 15th century. Height, 7 inches ; width, 6 J inches. Bought, 250/. The figures only of this diptych are of bone ; the mounting is of heavy gilt bronze and filver, furrounded by niello work. Defcription of the Ivories. 15 On the left leaf is the angel kneeling on one knee. He places his right arm with a gefture of reverence acrofs his breaft, and holds a tall blooming lily in the other. A coronet of flowers is round his head, and he is clothed in a long robe doubled at the girdle and with decorated fleeve. The figure is admirably defigned and the execution good ; the attitude and expreffion full of humility and devotion. The other leaf has the Blefled Virgin, veiled as ufual in a gown or tunic, with a very ample pall or cloak. On her left moulder is a flower in relief. A nimbus is over her head, which is covered with a light veil. She, alfo, ftands in an attitude of humility, one hand crofling her breaft and with eyes caft down. Before the Virgin there is a richly carved reading ftand ; upon the defk of it is an open book, to which the cloth is attached which protects the binding. At one end of the defk is a candleftick. Two fmall femicircular fpaces at the top of the leaves of the diptych are filled, one, with a fmall buft of God the Father holding up His right hand in the act of benediction ; the other, with the Dove defcending above the Virgin's head. The background on which thefe figures are placed is black horn. 4476- '58. CASKET. Flemifli(?). 1 6th century. Height, 3 inches ; length, 4-J inches; width, i\ inches. Bought, 1/. 4J. Two of the fides and the top of this fmall cafket are of bone. It has the original brafs hinges, corner clamps, and fattening. The panels are plain, with fome flat mouldings. 4685. '58. STATUETTE. The Virgin and Child. French. 14th century. Height, 14 inches ; width at foot, 5§ inches. Bought, 100/. An ivory of an unufually large fize and height. The proportions are incorre£t, in confequence of the neceffity under which the artift laboured of following the dimenfions of the tufk. The head of the Virgin is far too fmall, and the length of the leg below the knee far too great. The figure of Our Lord is in fair proportion ; no difficulty prefenting itfelf of the fame kind. 1 6 Defcription of the Ivories. The Blefled Virgin fits upon a chair without a back, and leans very much to the left, in accordance with the natural growth of the tufk. On her head is a narrow coronet originally decorated with fleurs-de-lis alternate with low cufps or points ; but the flowers have unfortunately been broken off". Under the coronet is a veil, falling on each fide over her moulder and behind down the back in light and elegant folds. Her hair is mown in long curls on each cheek. She wears an infide robe or tunic, bound round the waift by a girdle fattened with a bracelet, and over it a large cloak, unfaftened acrofs the throat, falling down to the feet. She holds a lily in the right hand and fupports her Child, (landing on her left knee, with the other. The lily is a modern reftoration. The Infant ftands on the Virgin's knee turned towards and regard- ing His Mother. One hand is raifed with a gefture of love and affec- tion, the other carries a fmall globe. It is not eafy to determine what this may originally have been intended to reprefent. Perhaps a globe from which the ufual low crofs on the top has been broken off; perhaps an apple. There remains what may either be the ftem of the apple or a fragment of the crofs. The Saviour's head is bare, mowing a quantity of fhort curls. He wears a fingle long robe with wide fleeves ; His left foot is expofed bare. The drapery of this ftatuette is good and falls eafily in broad folds over the figure. The pedeftal is modern ; perhaps of the laft century. 4686. '58. SHRINE, with Folding Shutters, two on each fide. French (?). 14th century. Height, excluding the pedeftal, 13^- inches; width of centre canopy, 3^ inches; width of each fhutter, if inch. Bought, 350/. The centre of this beautiful lhrine is occupied by a ftatuette of the Blefled Virgin holding the Child Jefus on her left arm. In her right hand there has been, probably, a lily ; now loft. The Virgin is crowned with a low coronet of four fleurs-de-lis alternate with low cufps. Under the coronet is a veil which falls behind over the fhoulders. Her robe is gathered clofe in round her throat; and falls in broad heavy folds down to her feet, trailing in front along the ground. Over the robe is thrown an ample cloak gathered in a large knot into the Defcription of the Ivories. 17 girdle on the left fide. The whole arrangement of the drapery is admirable; the veil hangs delicately on each fide of the head giving additional beauty to the expreffion of the face, in itfelf wonderfully tender and graceful ; and the broad folds of the lower garment which fall below the feet fupply dignity to the whole figure. The Child fits lightly upon the Mother's arm, carrying in the left hand a globe on which has originally been a low crofs ; and raifing the right hand with two fingers extended in benediction. The head is turned rather away from the Virgin, although the face is towards her with an expreffion of eager love. From above, on the right, an angel, fmaller in fize, defcends with extended arms ; the fingers of each hand juft touching the fleurs-de-lis of the Virgin's coronet as if in the a£r. of having at the moment placed it on her head. The three figures of this group have been gilded and painted ; and with the exception of red colour on the inside of the veil the effect is good and rich. The robe and cloak of the Virgin have a broad border of gold, diapered or ornamented with a defign in vermilion ; the lining is light blue. The hair of the Child and of the angel has been gilded. The group is placed under a canopy of two pointed and cufped arches on the fides, and of a larger and higher arch in front. Above the arches rife pediments or gables the largeft moulding of which is ornamented with rosettes. The roof is plain. In front, two flender pillars with floriated capitals fupport the canopy. The three figures, the bafes of the columns, and the whole canopy are carved from one piece of ivory ; only the flender ihafts are feparate, and probably modern reftorations. The Virgin is in height 8^ inches, and the depth of the relief ii in. Each fhutter is divided into two compartments, enclosing their fubjects under pointed arches, cufped, and above them crocketed pedi- ments. The mouldings, crockets, and finials are gilded and picked out in red and blue colour. The four fubje&s in the top compartments, running from left to right with the fhutters opened, are : — I. The Vifitation ; two figures, the Virgin and St. Elizabeth meeting. 2. The Annunciation ; an angel descending with a fcroll towards the Virgin, who ftands below. 3. St. Jofeph fitting, holding in his hands the Child wrapped in swaddling clothes, and looking towards, 4, the Virgin Mother, who lies regarding them and with outftretched arms in a floping pofture on a pallet. Above the couch are the fymbolical ox and the afs. Thefe two compartments are the Nativity. Below, in the corresponding divifions, 1 and 2, on the two left-hand fhutters, are the three kings in the ufual attitudes of adoration and 1 8 Defcription of the Ivories. approach. 3 and 4 are the Presentation ; one containing the Virgin who fupports Our Lord ftanding on an altar, draped or veiled \ the other Simeon, who prepares to receive Him in his arms. A large veil is thrown over the fhoulders and hands of Simeon, in the ceremonial manner in which the prieft is vefted in modern times at the office of benediction, when he takes the blefTed sacrament from the altar. All the figures of thefe four compofitions are carved in deep relief, with draperies well executed, gilded and coloured ; every detail and expreflion of the faces beautifully and carefully worked out. The whole fhrine is an admirable example both of the time and ftyle. It is not poffible to decide of what country the artift was ; there is an equal probability whether we claim him for England, or allow him to have been French. Below the centre, and forming the prefent pedeftal, there is a fquare box which has had formerly a piece of glass or cryftal in front, and which ftill enclofes a relic of St. Chryfogonus, the martyr. This is a later addition, probably of the 16th century j its height, 2 inches. 4690. '58. PLAQUE. Angels finging, and with mufical inftru- ments. Italian. 16th century. Height, 5 inches; width, 4 J inches. Bought, 25/. Two angels, unclothed to the waift and with long flowing hair, ftand in front, finging : one playing also on a viol ; the other on a guitar. Behind them are feen the heads of three other angels. This plaque is in an ebony frame, of the fame period ; with orna- mented pilafters, and a fhield with coat of arms on the bafe. 6834. '58. DIPTYCH or Folding Devotional Tablets. Subjecls chiefly from the Gofpels. Englifh. 14th century. Height, 5£ inches; width of each leaf, 2J inches. Bought, 30/. Each leaf is divided into two nearly fquare compartments : the top border of every compartment having a receffed moulding, decorated with rofes. On the left leaf in the top divifion is the Adoration of the three Kings. Although the subject is treated much in the fame way as in the diptych No. 235. '67, there are fome variations of Defcription of the Ivories. 19 importance. In this, the king {landing on the extreme left raifes his head to look at the ftar to which the king in the centre points. The ftar alfo is reprefented in the right-hand top corner. The gifts which the kings' offer are not all contained in cups or chalices of one kind ; but one holds in both hands a tall round box with a cover ; another a cup ; and the third, the kneeling king, an open bowl filled with fome fubftance represented by fmall crossed lines. The Child also ftands on His Mother's lap, not turned wholly towards the king but half turned towards the Virgin, whofe robe He clafps with His left hand as it falls below her moulder, and His right hand is raifed in benediction. The lower divifion of this leaf has two fubje&s, reprefented without any divifion or mark of feparation. On the left — the Annunciation — the BlefTed Virgin ftands, vefted in a long robe reaching to her feet and with an outer cloak or garment which covers her head alfo. She lifts her right hand with an expreflion of wonder and fubmiffion, and in her left hand holds a book. Before her is a vafe, low and fmall, from which fpring a lily with four leaves and a flower. An angel ftoops towards the Virgin from the left top corner, holding a fcroll in his left hand and railing his right hand in benediction, one finger only being lifted. On the right fide of the compartment is the Vifitation. Two figures, fully draped with their heads covered ; the BlefTed Virgin ap- proaches St. Elizabeth, whom fhe embraces with her right arm. On the right leaf at top is the Coronation of the Virgin. Two figures of equal fize, feated upon a plain feat fide by fide ; the Virgin turned in adoration and humility towards her Divine Son. Above them are two fmall angels, ifluing from clouds and each of them fwinging a cenfer. Our Lord, a majeftic figure, fits fronting the fpectator ; His left hand holding and refting upon a globe, from which the crofs upon the top has beeen partly broken away. His face is directed towards His mother, who turns to Him with both hands raised and clafped ; and with His right hand places the crown upon her head. This is the beft executed and beft defigned of the four fubje£ts of the diptych. The lower compartment is the Nativity. The Virgin lies on a couch upon her right fide, leaning her head upon her hand ; St. Jofeph fits behind her, wearing a long cloak with fhort cape and hood covering his head. At the fide of the couch is a cradle with the Child Jefus, Whofe left arm is lifted by His mother whilft fhe looks down upon Him with love and adoration. Two fmall beafts, fymbolically reprefenting an ox and an afs, kneel at the foot of the cradle. This diptych is of good work and carefully defigned. The Coro- nation, as has been juft faid, is the beft of the four fubjecls both in B 2 2 Defer iption of the Ivories, defign and execution. It is one of the few pieces which we may venture to attribute with fome kind of certainty to an Englifh artift ; and the argument is ftrongly fupported by comparifon with an ivory in the Britifh Mufeum, which was made for Grandifon, Bifhop of Exeter, A.D. 1328-1370. Strictly, the four divifions of this diptych mould be taken from the left fide of the lower compartment of the left leaf. Thus they would be read in the following order : — 1. The Annunciation ; 2. The Visita- tion ; 3. The Nativity ; 4. The Adoration of the Kings ; 5 The Coronation of the Virgin. 4535- 59- CASKET, with floping lid. Sicilian (?) 12th century. Height, 4 J inches ; length, 7J inches ; width, 4 inches. Bought, 10/. The box itself is of wood covered with thin plaques of ivory on which grotefque birds and animals are painted, and fome fmall circles filled with fcroll ornaments. The bottom panel of the cafket is inlaid with a chequered pattern in ivory and ebony. 4660. '59. CASKET. Bone. Morris-dancers and domeftic fcenes. French (?). 15th century. Height, 2§ inches; length, 7^ inches ; width, 5J inches. Bought, 8/. The fubjects are carved in low relief. The lid is divided into fix oblong panels furrounded by a broad border of foliated fcroll ornament. Each panel has a feparate morris- dancer. One a fool with cap and bauble ; one a woman ; one a man beating a fmall drum and playing on a clarionet. The other three men are drefTed alike in tight leggings or hofe, fhort tunics girded round the waift, and low caps with a long peak in the front. On the front of the cafket are a lady and gentleman meeting in a garden. On one fide are two couples walking, followed by a man blowing a clarionet. The ladies wear gowns with laced boddices, tight fleeves, and hoods with long drapery reaching to the ground behind. The men have long fleeves falling from the moulder. Defcription of the Ivories. 21 On the other fide are two knights tilting, with mantles flying out in the wind. They have fmall fquare fhields and tilting helmets with peaked vizors. Their horfes are caparifoned with cloths fweeping the ground. On the back is a garden or country with trees. A man walking meets a fool with cap and bells, carrying a bag. Birds fly in the diftance. The bottom of the cafket is divided into fquares for a chefTboard. 47i3- 59- MOUNT of a dagger-sheath. German. 16th century Length, 3^ inches ; width, 3 J inches. Bought, (Mufeum of the Collegio Romano.) This has been the ornament at the point of the fheath. Both fides are well carved in low relief with grotefque decorations. At top there have been two female figures, feen to the hips ; thefe have been injured, and the head of one of them which has been reftored is modern. 47!7- 59- COMB. Martyrdom of St. Catherine. Italian. 16th century. Length, 6 inches ; width, 1 J inch. Bought, (Mufeum of the Collegio Romano.) This is the head of a comb to be worn for fixing the hair. It is finely carved in pierced work ; 1 6 or 1 7 fmall figures in front of an arcade with battlements, behind which are many other heads of people watching what is going on below. In the centre is a fcaffold on which is a broken wheel, and by the fide of it St. Catherine kneels, her hands upraifed towards an angel who defcends bringing a palm branch to the martyr. The executioners are falling over from the ends of the fcaffold, ftruck down by the broken pieces of the wheel. Another hides himfelf underneath. Other figures ftand round in wonder and amazement, and on the right the Emperor Maxentius, " beyng " as the Golden Legend has it " wode for angre," fits on his throne under a rich canopy. In front of the Emperor are three perfons, one a woman ; fhe may be perhaps the Queen of Maxentius, who, when me M behelde thefe thynges, came and began to blame the emperour of fo grete cruelte." 22 Defcription of the Ivories. 4718. '$ 9 . BOX. Bone. Italian. 1 5th century. Height, 7 1 inches ; length, 1 1\ inches ; width, 8^ inches. Bought (Mufeum of the Collegio Romano.) The pieces of bone with which this cafket or box is overlaid, furrounding the four fides, are carved each with a feparate figure in low relief, feven at the back and front and three at each end. It is poffible that they reprefent fome fcenes from a romance, but it is not eafy to fuggest even a probable ftory to which they may be attributed. The top of the box and the moulding round the bafe of it are inlaid with marquetry, bone, and ftained wood, with a wide border or quarter round moulding of winged figures and boldly defigned foliage. 47i9- 59 BOX. North Italian. 1 5th century. Height, 7 inches ; length, 7 inches ; width, 4J inches. Bought (Mufeum of the Collegio Romano.) The cover is inlaid with marquetry of bone and coloured wood, with a broad quarter round moulding filled with flying figures in low relief holding fhields with foliage. Round the box are pieces of bone carved in the ufual flyle of this period, but coarfely executed; with figures of men and women Handing. 547i- 59- BOX. 1 2th century. Height, 2 J inches; length, 7J inches ; width, 5 inches. Bought, 4/. It is not eafy to fuggeft the country where this box was made. It may be Spanifh. The lid is divided into four compartments or fmall panels filled with a rich fcroll ornament, foliated, and bordered with an openwork round band. The fides, fingle panels, have a fimilar decoration. The whole is carved in very high relief; the fcrolls cut away clear from the background of the panels. Defer iption of the Ivories. 23 Some parts of the foliated ornament, in particular the ends of the leaves turned over at the extremities, have much of the fame ftyle and character as No. 4075. '57, and the cafket No. 10. '66. 5607. '59- COMB. Groups of figures in gardens. Italian. 14th century. From the Soulages Collection. Length, 6£ inches ; width, 4^ inches. Bought, 15/. The middle panels of this comb are filled on one fide with groups of ladies and knights or gentlemen in pairs, talking, giving prefents, kifling j in fhort, making love as pleafantly as may be. On the other fide, all preliminaries having as it feems been amicably ar- ranged, the four groups join hands in one line for a dance. 5623- '59- DIPTYCH or Folding Devotional Tablets. French. Scenes from the Paflion. 14th century. From the Soulages Collection. Height, 7 inches ; width of each leaf, 4-J inches. Bought, 20/. The fubjedl of this diptych is the Paflion of Our Lord reprefented in eleven defigns, one of which has been, unhappily, cut away. The character and ftyle of work is of the higheft quality and the execution moft careful. The leaves are divided into two equal compartments, having at the head of each an arcade of three pointed arches, cufped and crocketed. There is a feparate fubject under each arch, except under the arcade of the top divifion of the right leaf, which has two fubjects under the three arches. The hiftory of the Paflion is to be read from the left loweft corner of the left leaf. 1. Judas receiving the money from the chief priefts. Judas ftands before two of the priefts, one of whom, holding a bag, takes from it a purfe which he puts into the traitor's left hand. There is, perhaps, no ivory carving in the Mufeum which exceeds this group in excellence of defign or in corre&nefs of expreflion j the face of the prieft giving the money is admirable. 24 Defcription of the Ivories, 2. The Kifs of Judas, and the cutting off of the ear of Malchus. Treated as in No. 296. '67, except that the foldier feizing upon Our Lord is not in armour. 3. Chrift before Pilate. A group of four figures. Our Lord ftands before Pilate, who fits, with croffed legs, on the right hand. Behind the Saviour are the heads of two men, who accufe and maltreat Him. 4. Pilate warning his hands. A fervant ftands before Pilate, pouring water upon his hands from an ewer. The feeling fhown in the countenance of Pilate is moft true ; fo alfo is the exprefTion of the crofted hands, full of regret and defpondency. 5. A fingle figure, the fuicide cf Judas. The traitor, with his left hand raifed and clutching at the rope, hangs from the fork of a tree. He is clothed in a long garment, open in front, expofing his bare legs and " his bowels gufhing out." 6. The Beating of Our Lord. This is the buffeting and not the flagellation. The Saviour is feated, and two men, one on either fide, raife their hands againft Him before the blow. Our Lord croffes His hands in fubmifiion on His lap, and His head is covered with a cloth or thick veil, the ends of which are held by the two men, and which fcarcely conceals the exprefiion of His face. Examples of this treatment are rare. The execution of it is perfect, and the effect very impreflive. 7. The Stripping, before the flagellation. Our Lord, ftooping, is ftripped of His garments by two men who ftand behind Him. 8. The Flagellation ; treated as in No. 290. '67. 9. The Carrying of the Crofs. A woman attempts to fupport one arm of the crofs, whilft one man drags the Saviour forward by the hair and another raifes his hand to ftrike Him on the face. 10. The Crucifixion. The Virgin ftands on the left fide, wringing her clafped hands in mifery ; a man kneels before her looking up to our Lord. On the other fide is St. John ftanding, before him a lad with a pot of hyflbp, and another fmall figure nailing the foot to the crofs. 11. This has been cut away ; from a mark, ftill on the ivory, the fubjedt. feems to have been the Depofition. The mutilation of a diptych fo important and excellent as this is greatly to be regretted. There is fome evidence that it was not done wilfully. The other fubjedts are all cut out of the folid ivory. It may be that the artift in his work injured this laft defign, and another was executed and ftuck on with glue. There are fome crofs hatchings which would induce us to think this to have been the cafe. Defcription of the Ivories, 25 The background of this diptych has been coloured blue, of which a few traces remain ; alfo fome which fhow that the figures alfo were originally painted and gilded. 5634. '$9. COFFER. Bone. Italian. 15th century. From the Soulages' Collection. Hexagonal. Height, 1 1\ inches ; diameter, 1 2^ inches. Bought, 1 5/. The cover of this cafket is brought up from the corners of the hexagon, in a dome fliape, to a point ; inlaid, like the other mouldings, with marquetry of bone and ftained wood. A richly carved border of nude flying figures furrounds it. The fix panels below are filled each with three pieces of bone, and one bone forming the corner. The feveral corners reprefent a man armed with a club and fpear, and drefled in a fhort clofe-fitting tunic. The other portions contain the hiftory of Pyramus and Thifbe, beginning from the time when the two were infants ; then as children going to fchool ; then as lovers, and the whifpering through the wall ; then the appointment at the fountain, and the lion ; and laftly the deaths of Pyramus firft, afterwards of Thifbe. 6747. '60. BOX. Bone. Morris-dancers, hunting scenes, &c. French (?). 15th century. Height, 2f inches ; length, 7^ inches ; width, 6\ inches. Bought, 5/. This box is fimilar to No. 4660. '59 : the lid gives the fame morris-dancers. On the front are two men ; one carrying a ftafF, the other a bow from which he has juft mot off" an arrow. On one fide is a huntfman blowing his horn ; before him, two dogs chafing a flag. Above is a conventional fun with rays, fhowing, perhaps, noon-tide. On the other fide are two men and women in a garden. One man with a long ftick beats fruit off" a tree which one of the ladies catches in her gown fpread out before her. Behind, another lady ftands playing on a fmall harp. On the back are two knights tilting; their mantles flying out behind them as in No. 4660. The bottom of the box is divided into fquares for a chefTboard. 26 Defcription of the Ivories. 6974. '60. COFFER. Wood, with flat bands of ivory. Oriental. 13th century (?). Height, 3§ inches; length, 8J inches ; width, 7 inches. Bought, 1 il. The wooden box is completely covered with flat bands of ivory, each about 7.\ inches in width, carved in open work, with grotefque but fpirited reprefentations of various animals. Among them are lions, a camel, an oftrich, a fphynx, eagles, and peacocks. They are joined, one with another, by a bold interlacing fcroll. It is evident that the carved bands were originally made for fome other purpofe, and are but fragments adapted to the box. 6989. '60. PLAQUE. English (?). 14th century. Height, si inches ; width, ^ inch. Bought, 2/. This has been part of a fmall fhrine; and is of fuch good work- manfhip, that the lofs of the whole fhrine is greatly to be regretted. The top of this fragment is broken off". Originally it was in two (perhaps three) compartments. Below is the Virgin and Child , an unufual pofition for a fubjec-t. of fuch dignity to be placed in, alone ; and it is probably a part of a group of the Adoration of the Magi, who were reprefented on another fliutter. Above the Virgin is a pointed arch, cufped. The upper compartment has St. Jofeph fitting in a meditative attitude, as he is often placed as part of a group of the Nativity. 7441. '60. COMB. Groups of figures in a garden. Englifh. 1 6th century. Length, 5^ inches; width, 3 J inches. Given by Sir James Hudfon, K.C.B. On one fide are two ladies with two gendemen, meeting, all drefled in the coftume of Queen Elizabeth's time. Upon the right are a large houfe furrounded by a high wall with batdements and a gateway with towers. On the left is a fmaller houfe with palifades and doorway. Defcription of the Ivories, 27 On the other fide are the fame figures, and one of the gentlemen leads a lady by the hand following the other who points to a houfe decorated with a flag. Behind them is a building reprefenting a church. The fubjecl: very poflibly is the return home from a wedding. The fide panels are fcrolls in open work, in the fame ftyle as No. 232. '67. Probably copied from an example brought to England. Half of one of thefe fide panels is unfortunately broken off. 7500. '6l. REST for the hand of a fcribe when writing. Italian. 15th century. Length, 13^ inches. Bought, 9s. 3d. The head is carved with a crowned lion. 7501. '6l. FIGURE. A Lion. Italian. 15th century. Height 1 J inch. Bought, gs. 3d. This is the head of a reft, uled by fcribes when writing ; of the fame character and ftyle as the preceeding example. 7592- '61. TRIPTYCH. Scenes chiefly from the Gofpels. Italian (?). 14th century. Height of the centre piece, ioj inches; width, 3 inches ; width of each wing, 1 J inch. Bought, 50/. This very beautiful triptych was formerly in the Gigli-Campana Col- lection, where it was defcribed as certainly Italian work and " attributed to Andrea Orcagna." The great delicacy and grace of parts of the compofition very reafonably induce us to believe that it may be by the hand of an Italian artift ; but there is nothing to fupport the guefs, for it is no more, that it is the work of Orcagna. The centre panel is divided into two compartments, of which the lower occupies two thirds of the whole. In the upper compartment is the Coronation of the Virgin. The Virgin, feated on the fame feat with our Lord, turns towards Him with both hands clafped and uplifted. The Divine Son turns in like manner towards His mother and with His left hand places the crown upon her head, whilft He lifts up His right hand, with two fingers extended, in benediction. From above, 2 8 Defer iption of the Ivories. an angel, fliown only to the waift, is defcending with opened arms. The fubjedl is enclofed under a cufped arch, above which rifes the pedi- ment of the panel. In the pediment is an incifed ornament ; three fmall fegments interlacing. The lower compartment of the centre reprefents the BlefTed Virgin ftanding with the Infant in her arms, Whom me is regarding with devotion and love. The Child raifes His right hand in the attitude of benediction. A veil covers our Lady's head, and fhe is crowned ; her drapery falls in graceful ample folds down to her feet, on which are the pointed fhoes commonly mown in French and Englifh work of the fame period. On either fide of the BlefTed Virgin an angel ftands, holding a candleftick ; these figures reach in height only to the moulder of the central figure. From above an angel defcends, as if in the act of having juft placed the crown upon the Virgin's head. The whole defign is under a cufped arch, over which is a crocketed pediment with floriated finial ; and on either fide of it a pinnacle, alfo floriated. Between the point of the pediment and each pinnacle the fame incifed ornament of interlacing fegments is repeated. The wings are divided, each into three equal compartments. The top divifions on either fide are fupplementary, as it were, to the upper fubject in the central piece, viz., the Coronation of the Virgin, and contain in each an angel, holding a candleftick and bending in adoration. The two middle divifions are — on the left, the Annunciation ; the Virgin Handing, a pot with a lily before her, and an angel, feen only to the moulder, defcending with a fcroll in his hands : on the right, the Nativity ; the Virgin reclining in a half upright pofture on a couch covered with draperies, behind which ftands St. Jofeph. Above is the cradle, with the head of an ox on one fide of it and of an afs on the other. The two loweft divifions are : on the left, the Adoration of the Kings. The kings only are reprefented ; in the ufual attitudes and holding the ufual offerings : on the right, the Prefentation in the Temple. The BlefTed Virgin ftands on the left of a low altar, which is covered with a cloth, holding her Infant in her arms, Whom fhe prefents to Simeon, who, aged in appearance, bends reverently and raifes his hands in adoration. Thefe four lower fubjects are under cufped arches, fupported on brackets. ' This triptych has originally been painted with a background diapered with ftars, of which the traces evidently remain. It is much discoloured, and the centre piece has been cut very clofe upon the w bark " of the TRIPTYCH Ffiurteenth Century. Xo. 7606 — 61 Defer iption of the Ivories. 29 tooth, curioufly fhowing' the grain, fomewhat like the grain of pine wood. The moulding of the infide edge at the top of each wing, where it folds againft the middle piece, is ornamented with boldly executed crockets. 7606. '6l r X RIPTYCH. Subjects from the Gofpels. Italian. JL 14th century. From the Gigli-Campana Collection. Height, including pedestal and frame, 1 feet 3 \ inches ; width of centre, 8£ inches ; width of each wing, 4^ inches ; height of pedeflal, 6 inches, compofed of pieces of bone fixed clofe together with cement into a frame of marquetry. Bought, 3$l. This is a large example of the fculpture in bone, common in Italy during the 14th and 15th centuries. Each group or fingle figure is on a feparate piece of bone, rounded in its natural form. The centre is divided into two compartments ; one, the lowed, fquare, with five fingle figures ; the other, rifing in height from an inch on each fide into the pediment of the frame. The centre fubject, above, is the Crucifixion. The bone in the middle has our Lord hanging upon the crofs, with two foldiers at the foot of it, each wearing a pointed helmet and carrying a long pointed fhield, (landing one on the right the other on the left fide. The two adjoining pieces are, on the left, the BlefTed Virgin and two women ; behind one of them is feen the helmet of another foldier who carries a fmall banner ; on the right, St. John whofe head is drooping upon his breaft, and behind him three fpe&ators with another foldier and his banner. On the two remaining fmaller pieces of bone, occupying the corners of the compartment, are four foldiers similarly armed, one of whom carries a long fword refling on the ground and reaching to his ihoulder. The left wing, at top, has two pieces of bone ; the two, the Annuncia- tion. The angel, behind whom are two other angels {landing, kneels on one knee before the Virgin who is fitting on a raifed feat or throne, below a canopy from which a curtain hangs. Above the angels, in the angle of the half pediment, is a tower of four flages, perhaps to repre- fent the Temple. The two pieces in the right wing, in the corre- fponding compartment, mow the Agony in the garden. Three fleeping 3 o Defcription of the Ivories. apoftles are at the bafe, and above them on a mount the Saviour kneeling, to Whom an angel defcends. The centre and both wings of the lower rectangular divifions are filled with faints ; one figure on each piece of bone. In the middle the Virgin and Child ; the faints are St. Chriftopher, St. Lawrence, St. Stephen, St. John Baptift, St. John the Evangelift, St. Paul, and St. Anthony Abbot with his crutch. Each figure ftands upon a plain round pedeftal, the figure and pedestal together about 5 inches high. .Below every pedeftal is another feparate bone, carved to reprefent towers and buildings. The borders of the frame and upper mouldings of the pedeftal are inlaid with fmall bits of ivory in the ftyle of the Italian cafkets and furniture of the fame period. The bafe of the pedestal and the outfide mouldings of the pediment are gilded. 7611. *6l. PREDELLA' of an altar piece. Subjects chiefly from the Gofpels. Bone. Italian. 14th century. From the Gigli-Campana Collection. Length, 5 feet 10 inches; height, 5J inches. Bought, 50/. This very fine example of Italian work of the 14th century in bone is divided into nine compartments by feparate pieces, enclofing each an angel or a faint ftanding under a niche or canopy of three pointed arches, cufped and crocketed. Above every canopy is a fmall fquare turret with battlements. Some of thefe turrets have merely windows with fhutters ; in others are bufts and faces looking out. The hiftory reprefented begins at the left hand panel, and the panels are numbered as in their prefent arrangement. 1. St. Jofeph warned in a dream "not to fear to take unto him Mary his wife." An angel defcends towards the faint, who fits leaning his head upon his hand. The reft of this compartment is filled with the conclufion of the fame fubjecl:. St. Jofeph is feen taking the BlefTed Virgin to their home. She is feated fideways upon the afs, her feet refting upon a board below the faddle and covered with her drapery. St. Jofeph walks thoughtfully before her, a ftafF acrofs his moulder from which a bag and a water-bottle hang. The figure of the Virgin evidently mows this to be the true meaning of the compofition. The fubject is very unufual and it would not be eafy to refer to another example. Defcription of the Ivories. 31 2. Chrift teaching in the Temple. Our Lord fits upon a high feat of three ftages, furrounded by the doctors ; fome in liftemng attitudes, fome raifing their hands in argument or wonder. St. Jofeph and the Virgin approach from the right, the mother of Jefus beckoning to Him. 3. Chrift feeding the five thoufand in the defert. On the left is the multitude, men and women with infants and children all feated. Behind them and pafling them are other people carrying bafkets with loaves and a few fifh. Thefe feem to be explaining to two of the apoftles the fmall quantity of provifions they have brought. Behind thefe again our Lord ftands, a fomewhat taller figure than the reft, and raifes His hand in benediction. 4. The Laft Supper. The twelve apoftles are feated behind the table, St. John lying with his head upon the Saviour's lap. Our Lord lifts His finger fpeaking of Judas, and the reft raife their hands with geftures of aftonifhment and denial j fome turning alfo one to another. In front of the table is a fmall figure feated on a three-legged ftool. The end of a girdle which faftens his tunic is feen falling from his waift with a broad fringe. 5. This is an introduced piece, perhaps from fome cafket. The work is of the fame ftyle and period, but coarfer ; and the pieces of bone being fhorter than the reft the proper height has been made out by two narrow pieces of border, wood with marquetry. The fubjedt. is our Lord ftanding in a tomb, and feen only to the waift. His head droops as if He were dead, and His hands fall on each fide beyond the tomb. Behind Him is the crofs. The BlefTed Virgin and St. John ft and on each fide with heads bent down, as ufual in roods. Compare the Pax, No. 247. '67. 6. The Afcenfion. Our Lord rifes in the centre, the eleven apoftles gazing upwards at Him, fome kneeling, fome ftanding. Two place their hands over their eyes as if to fhield them from the radiance. 7. The Annunciation. The Virgin is feated outfide a building from which fome curtains hang drawn up in folds ; fhe is clothed in a large mantle which alfo covers her head. An angel, kneeling and vefted as in No. 4355. '57, is before her. The two fides are filled with buildings. 8. The fubject of this is doubtful. The Virgin fits in the middle with four women in attendance ; on the right another enters through a half opened door, as if bringing in a meflage. Poflibly the fubjecT; reprefents the Virgin waiting in patience and forrow after the Cruci- fixion before our Lord appeared to her. 9. The Legend of " the moft facred Girdle." The Blefled Virgin 32 Defer iption of the Ivories, is feated within an almond-fhaped aureole, which is fupported by flying angels. Below her is St. Thomas, who, kneeling, receives the girdle dropped into his hands. This legend of the girdle was very enthufiastically received and famous in Tufcany in the 14th century. None of the heads in this Predella has a nimbus. In the firft panel the Virgin is reprefented wearing a wimple under the hood, which covers her head. The execution and general defign of the various compofitions in this Predella are of high quality. The action of many of the figures very characteristic, efpecially in the feeding of the five thou- fand and in the Afcenfion. The title of Predella has been kept, but with fome doubt. That the various pieces may have been adapted, perhaps, from a large cafket or reliquary coffer and fo ufed at fome period is very probable ; but if originally made for that purpofe portions have been loft. The centre, in that cafe, would probably have been a crucifixion or an entombment. 7650. '61. FIGURES and Plaques inferted in the fC Soltikoff Reliquary." Rhenifh Byzantine. 12th century. Bought, 2,142/. This magnificent reliquary is defcribed and its previous hiftory given in a report by Dr. Bock, printed in the Appendix to the nth Report of the Science and Art Department, 1864, p. 191. The reliquary is made in the form of a Greek crofs with a dome or cupola. Under the dome, in niches, are placed twelve fitting figures intended for the apoftles, fome of them in walrus ivory. St. Peter is efpecially diftinguifhed by his keys. They are about 3! inches in height, and each holds a fcroll in his hand on which is part of a legend to be read from one to another. In the arcade of the tranfepts below are taller niches filled with {landing figures about 5 inches in height, fome of which alfo are in walrus ivory. Thefe, as well as the apoftles above, are vefted in tunics with togas or cloaks over them. At the end of each tranfept is a plaque of ivory, of which one at leaft is walrus. Thefe are about 5 inches high and 35 wide. In the firft is the Nativity. The Blefled Virgin fits on a richly decorated throne or chair with a high back, her large pall or cloak Defer iption of the Ivories. 33 thrown as a veil over her head. She holds the Infant on her lap and St. Jofeph ftands in front, his outer robe faftened by a morfe over the right fhoulder. The fecond has the three kings riding fide by fide. They wear tunics, and a fhort cloak thrown over the fhoulder ; all are crowned and carrying offerings. Two are reprefented as aged men, the third young and without a beard. The details of the bridles and trappings of the horfes are very carefully executed. In the third is the Crucifixion. The Saviour is fufpended from a broad crofs, His arms widely extended, and His feet refting on a fmall tablet. The BlefTed Virgin and St. John ftand on either fide. Our Lord is clothed from the waift to the knees, the drapery falling from a girdle. In the fourth is the vifit to the Sepulchre. The three women bear- ing fpices approach from the left ; an angel fits upon the edge of the tomb, pointing down to it with one hand to fhow that it is empty. In the other he holds a fcroll with the words ECCE LOC\ This group is under a canopy of two arches, above which are fix fleeping foldiers. Two have pointed helmets, fome fpears, one a fword, and two have fhields. One of them is armed in a hooded hauberk of chain mail. 7678. '6l. STATUETTE. A lady feated. Italian. 16th cen- tury. Height, 6 inches ; width of pedeftal, 4J inches. Bought, 35/. A lady seated upon a low chair holds a metal mirror in her right hand. She is richly drefTed in a long robe, painted red and bordered* with ermine. Her hair is ornamented with fmall garnets, and fhe wears fandals faftened half way up the leg. An oval difh is at her feet. The figure is mounted upon a flat ftand or pedeftal of marble, oval- fhaped, with metal rim ftudded with fmall pebbles and garnets. The back of the feat is very richly and boldly carved with two fcrolls, and a lion looking out from between them as a fupport. 7660. '65. BOX. Ivory and marquetry. Various fubjects in inlaid panels. French. 15th century. Height, 8 inches; length, 11 inches; width, 8 inches. Bought, 100/, 34 Defcription of the Ivories. This very curious box is compofed of large panels of marquetry, (fmall diamonds of ebony and ivoryj in which are inferted panels of ivory carved in openwork and inlaid upon pieces of coloured silk. The panels are furrounded by broad borders of ivory, long panels filled with foliated fcrolls, alfo of pierced work and laid on silk. The two ivories on the lid are circles in which are round arches and trefoils. In front are two men clothed in fkins, one aiming with a bow and arrow, the other carrying a club. Each is under a gothic canopy. On the fides under fimilar canopies are St. Catherine, St. James, St. Barbara, and St. Peter. This box in its original uninjured ftate muft have had a rich and handfome appearance. It is faid to have been found hidden in a recefs of a wall, a few years ago, on the final demolition of a ruined chateau in France. 7943. '63. CRUCIFIX. Walrus ivory. Byzantine. 10th cen- tury. From the SoltikofT Collection. Height, 7^ inches ; width, 5 J inches. Bought, 1 45/. The figure of our Lord is ivory, fattened to a crofs of cedar wood, covered with plates of gold filagree work. The label at the head of the crofs and the four medallions with emblems of the evangelifts are of cloifonne enamel. The Saviour is fufpended with arms widely fpread, and His feet feparate refting on a fmall table. On His head is the crown of thorns, and the hair is carefully divided into numerous plaits which fall behind and over His moulders. His clothing is fattened with a broad girdle round the waift, and falls below the knees, in the manner of the Crucifixion in the famous reliquary No. 7650. '6i, but of an earlier ftyle of treatment. The arms of the figure of our Lord are feparate pieces of ivory. THE head of a Paftoral Staff. French. 13th century. From the SoltikofT Collection. Height, 8 \ inches; width, 4 J inches. Bought, 265/. A fuperb piece and in moft admirable prefervation. The fweep of the volute is fmall compared with the large fize and height of the Defcription of the Ivories. 25 stem from which it fprings, rather according to the ftyle and feeling of earlier centuries. The defign and execution are excellent. The centre is filled with two fubje&s : on one fide is the Virgin and Child attended by two angels carrying candlefticks, as in No. 297. '67. Thefe angels have large mantles, faftened at the breaft with a brooch, over their tunics. The Blefled Virgin is crowned, and fhe ftands treading a dragon under her feet. On the other fide is the Crucifixion, a rood ; our Lord hangs from the crofs, clothed from the hips to below the knee, with His mother on one fide and St. John upon the other. Above Him are the emblems of the fun and moon. The volute is fupported by an angel kneeling with one knee on a large floriated corbel or bracket, and with uplifted arms. He wears a tunic girded round the waift. The outfide of the volute is enriched with a deep moulding filled with rofes, is crocketed, and has three floriated ornaments boldly breaking the outline. This fine paftoral ftafF has been richly gilded and coloured ; enough remains to give the whole a magnificent effect. The ftand on which it is mounted is modern. 7953- '&*. HORN or Oliphant, carved with animals and birds. Byzantine School, Northern Europe. nth century. From the SoltikofF Collection. Length, 25 inches ; diameter, 5 \ inches. Bought, 193/. This magnificent example is covered with interlacing circles, fharply cut, enclofing figures of various animals and birds in high relief. Many of thefe are fabulous or grotesque ; but among them are an elephant comparifoned, a flag, hares, and eagles. About thirty are included over the body of the horn. A broad border ornaments each end, filled with fimilar interlacing circles and animals. The tufk has been hollowed throughout down to a flight thicknefs, fcarcely more than fufficient to enable the workman to carve the defign without piercing the ivory. In its prefent ftate, together with fome light metal mountings at each extremity, it weighs fix pounds and a quarter. 36 Description of the Ivories. 7954- 'fo. HORN or Oliphant Hunting fubjecls. German. 1 5th century. From the SoltikofF Collection. Length, 26 inches ; diameter, 5 inches. Bought, 265/. This very beautiful horn is ornamented with a crowded feries of hunting fubjedts, feparated by narrow lines or borders which run lon- gitudinally from one end to the other. They are excellently well defigned and carved in low relief. There are three rows or divifions on each fide, the fides being {lightly flattened, befides two rows, one on the inner the other on the outfide curve. Thefe two laft divifions are filled with foliage. On one band, the fubjects begin (from the broad end) with a figure of St. Chriftopher carrying our Lord acrofs the river, and lighted on his way by the hermit, holding a lantern in his hand. This is the hermit who, as the mediaeval books say, " preched to hym of Jefu Chryft, and " enformed hym in the fayth dilygently," and who had before told him that " bycause he was noble and hye of ftature and ftronge in his " membres he mould be resydent by the ryuer, and bere over all them " that {hould paffe there." Next to this we have seven men armed with long spears and low helmets attacking a dragon, who iflues from his den againft them, vomiting forth flames. To this fucceed two other combats of men fingly with beafts, and then we find, running upwards to the narrow end, men returning through the wood from hunting and a lady with one of the hunters. Taking the next band or divifion, the broad end begins with a man led through rocks and trees by two ladies ; some flight depreflions follow in the ivory, out of which peer the heads of men and women, two pairs of them killing one another. Then come a goat and fheep with their fhepherd ; the narroweft part at the end again filled, as in the firft, with foliage. In another divifion we find animals only, fighting or devouring : a wolf killing a fheep ; a fox eating a bird ; an eagle tearing a fwan ; and ornamenting one of the loops by which the horn was flung round the body of the huntsman is fome fabulous beaft, a dragon with wings fighting with a lion. The prefent tone of this horn is extremely good, and said to be fimilar to that of the modern French horn. A mufical authority informs me that F jf, A if, C J , and F $ are the easieft notes to obtain, Defcription of the Ivories, 37 and are what are confidered to be the natural notes. The next eafieft and definite are B and E tt. The others, to complete the fcale, are uncertain. The compafs of the horn may be written thus : — Natural Notes eafily obtained. I -<©- -£e> F A C F G Notes obtained by a little management of the breath. 1 : > * o c * * -So- I 8035. '6^. HORN or Oliphant. Plain furface, with two raifed bands. German. 1 2th century. Length, 1 1 inches ; diameter, 4J inches. Bought, 35I. The form of this horn is fhort and clumfy. The round of the tufk has been flattened into eight bands, running the whole length and giving it an octagonal appearance. Five inches from the fmaller end is a band, about an inch and three quarters in width, in which the eight fides are feparated by a narrow border ; the divifions are filled with fix grotefque beafts and two men. One man is dreffed in a tunic and carries a flower. The other who is placed on the infide curve of the tufk wears a tunic alfo, or long coat with fleeves, and has a cup in his right hand. In the hollow of this fame curve, in the middle, is a man on horfe- back, blowing a horn of the fame fhort thick fhape as this prefent example. Another band, a trifle wider and fimilarly divided, is round the broad extremity two inches from the end. The infide compartment has a Greek crofs within a circle, and fruit ornaments between the limbs. The other divifions have a ftag ; a man on horfeback carrying a hawk on his fift ; a traveller with walking ftaff ; each of them repeated ; and in the eighth, two nondefcript quadrupeds {landing on their hind legs. A narrow border with two interlacing fcrolls furrounds the extremity of the broad end ; and between this and the wider band are incifed ornaments, in the fafhion of fmall rofettes. 38 Defcription of the Ivories, 8394- '63. HORN. Buckhorn. Sicilian (?). 12th century (?). Length, 8^- inches ; width, 3^ inches. Bought, 1/. 4J. id. The original ufe or purpofe of this piece is doubtful ; fome have fuggefted that it was made to be a receptacle for money. It is hollow, with three openings. The outfide is ornamented with incifed reprefentations of animals, very rudely defigned, and with interlacing fcrolls or circles enclofing foliage. Each end or opening is furrounded with a border, fimilarly ornamented. There are alfo feveral repetitions of the common " bone pattern" found on objects of bone in almoft every century, from the earlieft Aflyrian times ; fmall circles with dots in the centres. 8461. 6 3 . BOOK Covers. Bone. German (?). 10th century. Length, 8f inches ; width, 5^ inches. Bought, 1 5/. Thefe two large plaques are now inferted in the binding of a Latin bible (folio, Paris, Guillard et Defboys, 1552); they are both carved in open work. One is divided by a St. Andrew's crofs, in the centre of which is a lion ; and having in each of the four corners a fmaller animal. The panels between the limbs of the crofs are filled with a foliated orna- ment. The other fide is completely filled with fimilar foliation boldly defigned and interlacing. 8987. '63. CHESS Piece. Walrus ivory. A caftle. Englifh (?). 13th century. Oval fhape. Height, 3 -J inches ; width, i\ inches. Bought, 8/. 16s. The fides are filled with figures on the top of the battlements of the caftle. On one fide is a combat : in the centre a man armed with fhield, helmet, and chain mail lifts his right arm with a fword, having juft ftruck down a man who falls away from him on the left. On the other fide is a king Handing with an armed knight on each fide. The Description of the Ivories. 39 bafe of the caftle is ornamented with an interlacing fcroll, lightly incifed, and with fmall bofTes carved as heads or floriated ornaments. This interefting piece is unhappily much mutilated. 9039. '63. HILT of a hunting fword. German. 16th century. Length, 4^ inches. Bought, 5/. Well carved and with much fpirit with involved groups of animals. At the top are a lion and wild boar ; below them dogs, a flag, rabbits, and another boar. gg. '64. TRIPTYCH. Spanifh. 18th century. Height, 5! inches ; width of centre, 3^ inches ; of each wing, 1^ inch. Bought, il. In the centre is the Aflumption : the Virgin is afcending, her feet refting on the crefcent moon, with clouds below. The Saviour, holding a globe with a crofs in His left hand, ftoops down from above to receive her. On either fide are emblems of her fpiritual tides, with fcrolls and legends. The wings are divided into two equal compartments, in each is a male faint Handing. This triptych is a good example of modern Spanifh work. 304. '64. STATUETTE. St. Sebaftian. Italian. 16th century. Height, 2§ inches. Bought, 1/. icxr. This very pretty ftatuette reprefents the faint tied to a tree, almoft nude ; his right hand falls fufpended from a branch which pafTes under the arm pit j his head droops, as if at the moment of death, upon the left fhoulder. 4-0 Defcription of the Ivories. 321. '64. CASKET. Spanifh. 14th century. Height, 3 inches; length, 6 inches; width, 4^ inches. Bought, 1/. is. A plain box with gilt metal clafps, handle, hinges, and lock. The lock is finely incifed with an interlacing Saracenic ornament in a circle. Infide the cafket is written the following memorandum, by Mr. J. C. Robinfon, at that time Art Superintendent of the collections in the Mufeum : — ' . " Bought this ancient Morefco box at Granada, Dec. 1863. It is doubtlefs a work of the Granadan-Arab epoch, of (as I believe) the end of the 14th or beginning of the 15th century." 1 162. '64. BOX. Cylindric, plain, with metal mounts. German. 14th century. Height, 3 \\ inches ; diameter, 4^ inches. Bought, 4/. 12s. 6d. This has perhaps been ufed for holding unconfecrated wafers. 71. >6 5 . POWDER Flafk. Flattened oval form. French 1 6th century. Height, 4^ inches; width, 5 J inches. Bought, 40/. The two fides are carved in low relief with claflical fubjects, en- clofed in wreaths of rofes and fruits with the heads of lions, and mafks. A large comic mafk is at the head of each fubject,. On one fide is a feated Bellona, with fhield and fpear, crowned by Vi&ory. On the other Mars and Venus with a Cupid ftanding by. The handles or rather the fmall openings at the fides by which the flafk might be fufpended are formed of fcrolls held up by fatyrs, and boys at the top. The whole is of good defign and workmanfhip. Defcription of the Ivories. 41 72. '65. POWDER Flafk. Shells, with Cupids. Flemifh. 16th century. Height, i\ inches. Bought, 10/. 8 s. The two fhells form the body of the fmall flafk, and two Cupids or naked boys throw themfelves acrofs it holding by each others feet. 73- '6$- HORN. Cupids and dogs. French. 16th century. From the Pourtales Collection. Length, 13^ inches. Bought, 42/. On one fide are a number of Cupids, fome with dogs ; fome hawking ; fome hunting rabbits. All admirably defigned and carved in low relief. On the other fide are six flops for modulation. 510. '6$. MIRROR. Cafe. Love 'fcenes. French. 14th cen- tury. Diameter, 5J inches. Bought, 75/. This very beautiful mirror cafe is divided into two compartments. Above, under a canopy of three arches, the middle arch twice the fize of that on each fide, are three fubjects. On the left, wearing a long loose robe with a hood is a man about to kifs a lady, whofe face he turns towards himfelf, putting his hand under her chin. In the centre a king fitting crofs-legged upon a low chair holds on his left hand a hawk, and with the other feems hefitating to ftrike with an arrow a man who kneels at his feet. On the other fide of the king is a lady fupplicating with both hands, and alfo kneeling. The right canopy is filled with two ladies, perhaps attendants on the lady kneeling before the king. Below are three pairs, gentlemen and ladies, under an arcade of fix arches, with cufps and richly crocketed. They are in a garden with flowering fhrubs, probably rofes, and two are prefenting gifts, one a flower, another a fmall dog. The infide border of the circle is decorated with a number of fmall rofes, and outfide are four crawling dragons as in No. 217. 42 Description of the Ivories, air. '65. DIPTYCH, or pair of folding devotional Tablets. Subjects from the Paflion. French. Early 14th cen- tury. Formerly in the treafury of the Cathedral of Soiflbns. Height, 1 2 J inches ; width of each leaf, 4^ inches. Bought, 308/. No example in the collection furpaffes this fplendid diptych in rich- nefs of architectural decoration, in beauty of defign, or in excellence of workmanfhip. The leaves are divided, each into three nearly equal compartments, and the fubjedts, which are the hiftory of the Paflion, are to be read acrofs both leaves beginning from the loweft divifion on the left. One half of each compartment is occupied by a very rich and elaborate canopy of three pointed arches fpringing from corbels, with open curbs pierced through the folid fubftance of the ivory, giving to the defign a peculiarly light and elegant efFedt. Tall pediments rife above the arches, crocketed, but without finials. The fpaces in the pediments have rofe or wheel ornaments. Between each pediment is a fquare turret with battlements, and the hollow of the moulding which divides one com- partment from another has emblematical vine leaves carved on it in good relief. Under each arch of the canopy is a feparate fubject. 1. The treachery of Judas. The apoftate receives the purfe of money in his left hand, and points acrofs his breaft with his right; the prieft giving him the money is the only other figure in the group. 2. The kifs of Judas. Our Lord is feized by two men, not armed but clothed in garments girded round the waift, whilft Judas from behind reaches forward and kifses the Saviour upon the right cheek. The man holding our Lord's right hand has a bare head. 3. Judas hanging from a tree ; as in 5623. '69. 4. Jefus is led away to the high prieft. Our Lord walks in the centre, His left arm clasped by a man carrying a kind of ftaff or club ; He is pufhed forward by another, who raifes his hand as if about to ftrike. 5. Pilate warning his hands ; as in 5623. '69. 6. The Flagellation ; as in 290. '67. 7. (Reading from right to left, from the right corner of the second divifion.) The Carrying of the crofs. Two figures only. Our Lord precedes carrying the crofs refting on His right moulder ; a man follows with the hammer in his left hand. I*fl 'MaJMaSufy End oj Thirteenth, or, early Fourteenth Ct No. 211—65 Defcription of the Ivories. 43 8. The Crucifixion. Our Lord in the centre ; on either fide a thief. The thief upon His right hand turns his head upwards, as if in the firft flufh of his faith. Both thieves are fufpended by their arms over and behind the crofs beams, and their legs are tied at the ankles ; the feet not nailed. They are clothed in fhort garments from the waift to the knees. 9. The taking down from the Crofs. St. John, and not St. Jofeph of Arimathea, is receiving our Lord's body in his arms ; the BlefTed Virgin ftands behind and lifts the left hand of the Saviour to her lips. The exprefli on of death in this hand is admirably given. Below, on the right, a man kneels and removes the nail from the feet with pincers. 10. The Entombment. Four figures. .Two men lower the body of the Saviour into the tomb ; another, St. Joseph, with a cap on his head, holds a flafk in his left hand and anoints the breaft of our Lord with the right. 11. Our Lord, holding in His left hand the crozier or tall flafFwith a crofs, fits upon the fide of the open tomb ; He is clothed in a robe which fattened round the throat reaches to the ankles, leaving his feet bare. By the fide of the tomb are two fmall figures of fleeping foldiers, in chain armour, one of whom holds a fword upright with his right hand. 12. The defcent into Hades ; commonly called " The Harrowing of Hell." Our Lord carrying the crozier receives two figures, male and female, intended to reprefent probably Adam and Eve, from the open jaws of a huge dragon whofe head only is mown. Flames iflue from the mouth of the dragon. 13. (Reading from left to right, from the left corner of the top divifion.) The women at the open fepulchre. One of the women, carrying a vafe of ointment or spices, ftoops and looks into the tomb. Two women ftand behind and one lifts her hand in amazement. An angel fits upon the left, his head raifed towards heaven, and points with the forefinger of one hand down towards the empty tomb. 14. Our Lord's appearance to His mother. The BlefTed Virgin kneels at the feet of her Son, Who bends over her in a tender attitude, as if about to lift and to embrace her. 15. Our Lord appears to the three women. He carries the crozier in His right hand and with the left makes a gefture as if forbidding either of them to touch Him. The women are all ftanding before Him. 16. The incredulity of St. Thomas. The doubting apoftle kneels before the Saviour, Who, holding the crozier, lifts up His right arm so 44 Defcription of the Ivories. as to fhow the wound in His fide ; and allows St. Thomas to touch it with his finger. Behind St. Thomas ftands another apoftle with a book. 17. The Afcenfion. Two of the apoftles ftand in attitudes of wonder and adoration, gazing up into the fky. The lower part of the robe of our Lord and His feet are mown, pafling away on clouds up to heaven. 18. The defcent of the Holy Ghoft. Three only of the apoftles are feen ; feated and looking upwards to the defcending Dove. One of them holds a fcroll in his right hand. The ground of each panel of this fuperb diptych has been coloured blue ; and the hair and beards of the figures are gilded. Gilding alfo remains on fome of the mouldings of the arcades. There are no other traces of colour, except of green upon the tree from which Judas hangs and on the crofles. 2,12. '65. PLAQUE. One leaf of a Roman diptych. A female figure, with attendant, before an altar. Roman. 3rd century. Height, 11 j inches; width, 4^ inches. Bought, 420/. This is one leaf of the very celebrated diptych engraved and de- fcribed by Gori, torn. 1, p. 203, and known as the Diptychon Melere- tense. The diptych was formerly attached to a reliquary at Moutiers in France and the other leaf ftill exifts, preferved at Paris in the Mufeum of the Hotel de Cluny. A female, a prieftefs, clothed from the fhoulders to the feet in a long tunic over which is thrown a pall or cloak, falling behind her over the left moulder, ftands before an altar on which a fire is lighted. She holds in her left hand an open acerra or fmall box from which fhe takes a grain, perhaps, of incenfe with the finger and thumb of the other hand, in the acSt of dropping it on the flame. On the wrift of either arm is a bracelet. Her hair is bound with a fillet of ivy or fmall vine leaves and gathered into a knot behind the head. On the feet are fandals. The whole figure is extremely graceful and dignified ; the expreflion of the face earneft and devotional ; the form of the figure rightly exprefTed beneath the drapery, and the hands and feet well and carefully carved. Part of the forefinger of the left hand has been unhappily broken off, feemingly in very modern days, and it was pro- bably uninjured at the time when the engraving was made for Gori's book, about 120 years ago. LEAF OF A ROMAN DIPTYCH. No. 212. '65. rteenth Century. NO. 21 Defcripticn of the Ivories. 45 Behind the altar is a young female attendant, a child, holding a bowl in one hand and in the other a cantharus or two-handled vafe, both of which fhe prefents to the prieftefs, looking up to her. The girl is clothed in a fingle light garment, girdled and evidently open at the fides down to the waift ; it falls below the fhoulder, which is thus left bare as well as the arm. The altar is of the ufual claflic form, having under the top flab a wide fcroll with volutes ; the fides are ornamented with a bold wreath and fillets. The upper portion of the altar refembles a capital of the Ionic order and of an archaic type. The fubjecl is within a rich border of floriated ornaments interlacing. Behind the attendant is an oak tree, having feveral branches ; the leaves and acorns very delicately executed. It fpreads over the head of the prieftefs. Above the tree on a tablet occupying the width of the panel is incifed in uncial letters, the title, SYMMACHORVM. 213- '65- PANEL or Plaque. Our Lord and two apoftles under canopies. French. 14th century. Height, 5 J inches ; width, 4 \ inches. Bought, 168/. A very fine and beautiful example of the rare pierced or open work ; in good prefervation. In the centre is our Lord ftanding, holding a fmall crofs in His right hand ; and a globe, on which is incifed a crofs, in the left. On the one fide is the apoftle St. Peter with the key in his left hand, which is bare ; a book in the right hand over which are the folds of his cloak. On the other fide is St. Paul, both hands are under the cloak ; in one is a book, the other refts upon a sword. The two apoftles turn towards the Saviour, and all the three figures are vefted in long garments covered with large mandes or cloaks, crofled over the body in front. The draperies are admirably and moft carefully carved. ; the heads are expreflive, and that of our Lord full of dignity. Each figure is placed on a low pedeftal of pierced work with quatrefoils in a niche, over which is a rich canopy of three fmall arches with cufps. Above the arches rife pediments with a rose and quatre- foil in each. The panels behind the pediments are filled with narrow pointed arches, and between them a flender pinnacle with buttrefles. The back of every niche is filled with tall pointed decorated windows. The whole of this architectural decoration is executed in the moft 46 Defcription of the Ivories. delicate and beautiful open work, fo carefully carried out in every detail that the pattern even of the groined roofs under each canopy, over the heads of the three figures, is clearly feen. Above thefe niches are three correfponding fmall fquare compart- ments. In the left, is the Annunciation. The angel kneels before the Virgin, holding a fcroll which floats away between the two. The Blefled Virgin ftands, holding a book ; fhe is robed in a large cloak over her lower veftment, and with long hair. In front of her is a vafe with flowering lily. In the middle is the Adoration of the Kings. The Virgin fits to the left with limbs extended, an unufual pofture ; and holds upon her lap the Infant, Who bends forward to receive the gift from the firft king, kneeling before Him. Behind the Virgin is St. Jofeph, who is feldom introduced into the fubjecl: of the Adoration ; and behind the king are the two others, ftanding and waiting to offer. By the fide of the Virgin is the empty cradle. In the right compartment is the Prefentation. The Virgin fupports our Lord, Who ftands upon the altar, turned towards His mother as if returned to her by Simeon. An attendant with the offerings ftands behind the Virgin. The three niches and the three compartments are feparated by up- rights divided into four ftages, in each of which is a fmall figure of a faint ; except that at the top there are two angels, blowing trumpets. The excellence of the workmanfhip of this panel can hardly be furpafled. 2 1 4. '65- THE head of a Paftoral Staff". French. 14th century^ Height, 6J inches; width, 3§ inches. Bought, 168/. The volute is filled with a double fubjecl:. On one fide the Virgin and Child, as in No. 297. '67, except that the angels have large cloaks or palls thrown over their tunics ; and the BlefTed Virgin is not crowned. On the other fide the Crucifixion : a rood ; our Lord with His mother and St. John on either fide. The crook is ornamented on the outfide with a very rich branch of a vine, with large leaves cut in high relief all round. There are a few fmall bunches of fruit. HEAD OF A PASTORAL STAFF Fourteenth Century. No. 214—65. Defcription of the Ivories. 4 7 The volute is fupported from below by an angel, defigned with great fpirit and well executed. He is clothed in a long tunic under which are feen the feet, bare. The whole is carved from one piece of ivory : the two fubjedts in the volute in open work. 215- '<%• HEAD of a Tau. Walrus ivory. Northern Europe, nth century. Length, 5 inches; width, i-J inch. Bought, 77/. This very beautiful and important piece has loft the two ends. Pro- bably they reprefented the heads of animals and were not carved out of the fame piece, in order to put relics underneath. There are hollows in the ends of the tau as if intended for that purpofe. The two fides are divided into diamond ftiape compartments in each of which is carved, in high relief, a fign of the Zodiac. The bands which feparate thefe compartments are richly ornamented with fmall beads j and a large circle or hollow at the interfe&ions probably, in old times, contained gems. The fmaller divifions, where the half diamonds complete the ornaments of the tau, are filled with various fmall animals : fome with hares and birds ; fome with grotefque beafts. The under fide has two compartments. In one is, as it feems, an abbot tonfured, veiled in an alb and fhort chafuble, holding a book in his left hand and in his right a plain paftoral ftaff, with the crook turned towards himfelf. He ftands under a canopy of three fmall round arches, fupported on columns with early Norman capitals. In the other is a prieft vefted in like manner and ftanding under a like canopy. He holds a tau in his left hand, a long ftaff with the fhort crofs piece at the top ; and with his right hand he gives benedic- tion. He is alfo tonfured. There is art ornament upon the front of his chafuble which, if the prieft were mitred, might be taken to repre- fent an archbifhop's pall j but more probably, in this cafe, it is an orphrey of the chafuble. 2l6. '65. CASKET. Byzantine, nth century (?). From the trea- fury of the Cathedral of Veroli, near Rome. Height, 4I inches ; length, 1 5 J inches ; width, 6 inches. Bought, 420/. A wooden cafket entirely overlaid with thin plaques of ivory, 48 Defcription of the Ivories, richly carved with claffical fubjecls. On the top is one long panel, i\\ inches by l\ inches, filled with figures cut in high relief, feemingly reprefenting three diftindr. fubjects : Europa on the bull ; Orpheus with his lyre ; Centaurs with flute and pipe and men dancing. There are three rich borders, 2 inches in width. The infide border is narrow, with fmall pierced ornament ; the middle, an inch wide, circles touching each other, filled alternately with rofettes and profile heads in low relief ; the outfide border has fcrolls, with foliated terminations. The fides are filled with fimilar panels enclofed in one border of circles with rofettes only. The fubjects are extremely doubtful. In one are boys, Amorini, with flag and lionefs ; with a bull and horfe in another. Bacchus lying on a chariot is drawn by leopards in a third ; in the remaining panels are Pegafus, and Efculapius, and a number of other figures mixed up with them ; men, women, boys in grotefque play, and fea monfters. Probably no finer example than this exifts of its peculiar ftyle ; fuppofed to be a revival, or rather an imitation, in the middle ages of the earlier antique work and defign. Many parts of this cafket are executed with great freedom and fpirit. 217. '65. BOX. Cylindrical, with rounded cover. Moorifh. 10th century. Height, ' 3 inches ; diameter, 4 inches. Bought, 112/. This beautiful box is carved throughout, except the bottom of it, with interlacing narrow bands forming quatrefoils, in which, on the cover, are four eagles. These have fpread wings and ftand erect ; well defigned and moft delicately executed. A fmall knob ferves to lift the lid. Round the fide, each quatrefoil is filled with a ftar having a leaf ornament. The fame decoration is repeated in the fpaces between the larger quatrefoils on the cover. The whole is carved in pierced work, except a band which forms the upper upright portion of the box, round the fide of the lid. This band has an Arabic infcription ; it is (lightly mutilated and has been tranflated, " A favour of God to the fervant of God, Al Hakem al Mostanser Billah, commander of the faithful." He was a Caliph who reigned at Cordova A.D. 961-976. , ST. SEBASTIAN. Fifteenth Century. No. 219. "65. Defcription of the Ivories, 49 This box has at fome time been fubjected to great heat, or perhaps fire. The ivory has become fragile and mould be very carefully handled. It has now an appearance fomething like the very ancient ivories found at Nineveh. 2 1 8. '65. THE head of a Paftoral Staff. German (?). 12th cen- tury. Height, 4! inches. Bought, 140/. The outfide of the volute of this very remarkable ftaff is carved in high relief, with many fmall figures. Below, on one fide is the meffage from heaven to the fhepherds. Three of them are feen with their fheep, and at the firft bend of the crook the angel is reprefented flying downwards, with the ftar clofe by. Under the angel is the word, incifed, " Angelus." On the other fide is the Nativity : the Bleffed Virgin, fculptured only to the waift as if iffuing from the ftaff, draws afide curtains and contemplates the Infant in His cradle. Her robe is open at the throat, with an ornamental border. Her long hair is braided on either fide. Above the Nativity, the Virgin is feated fuckling the Child. St. Jofeph, clofe by, reaches out his hands to Him. At the top lie three women, fleeping : perhaps after watching at the foot of the crofs. A figure, half clothed, lies along the returning flope of the crook, as if to reprefent the body of our Lord being removed and about to be received by a man, who lifts up his arms towards it from below. A woman alfo on the other fide lies along the curve, extending her arms as if to affift. I can offer no better conjecture of what all thefe figures mean : it is certain that the three fleeping are women. The extremity of the volute is formed of a fcroll, fupporting the Infant Chrift in fwaddling clothes. Under this lies the Virgin afleep, with her arms croffed j and above her is fufpended a fmall lamp. On the other fide is an angel. A fmall animal in the centre has been broken off. 519. '65. PLAQUE. St. Sebaftian. North Italian. 15th cen- tury. Height, 9f inches; extreme width, 4J inches. Bought, 84/. 50 Defer iption of the Ivories, This may perhaps as rightly be called a fmall figure in low relief: and is placed on a background of wood. The defign and execution are admirable. The faint is reprefented unclothed except by a fmall piece of drapery over the loins, crofled and the end falling between the legs halfway to the knees. His head leans as it were exhaufted away from the tree to which his hands are faftened behind him with a rope ; and the fame effecT: of weaknefs is given by the comparative flightnefs of the legs. The beard is lightly indicated ; his hair long, falling in three rows of curls behind over his moulders. He ftands upon the fide of a low mound or hill, with a tree fculptured in the diftance to the right. The fubject is in a frame of the fame period, with a marquetry border; of the ftyle common in North Italy in the 15th century. ZZO. 220a. 22ob. 220C. '65. PLAQUES, four. The Evargelifts. Carlovingian. nth century. Height of each, 3% inches; width, i\ inches. Bought, 70/. Thefe plaques have probably been the corners of an evangelifterium. One evangelift is on each, feated at a writing ftand with a book. Above is the particular emblem, in clouds. The evangelifts fit on large thrones or chairs, fupported on both fides by towers with pin- nacles. Their feet reft upon a floriated ornament, forming a kind of border. The fides have no borders. 247- *6&. CASKET. Bone. Byzantine. nth century. Height, finches; length, 10^ inches; width, 7 inches. Given by Robert GofF, Efq. The cover of this cafket is compofed of four pieces of bone, carved in low relief with figures of armed warriors, fome ftanding, fome fighting. Portions feem to reprefent scenes from a legend or romance. The top piece of the lid is a fingle plaque of ivory, with fimilar fubjedts carved in high relief; warriors fighting, some on horfeback. This is of an earlier date than the other pieces which furround the cafket and the figures are in claiTic coftume. It feems to reprefent a Defer iption of the Ivories. 51 battle with fome barbarians ; one of whom, wearing the bracctz^ fits wounded on the ground. The fides are made of fingle fmall panels, each with the figure of an armed man. The panels are furrounded by wide borders, with ftars or rofettes in circles, like the Veroli cafket, No. 216. '65. 3l6l. '55. POWDER Flafk. Circular. German. 16th century, diameter, 3 J inches. Bought, 10/. One fide is left plain ; on the other is a wide border enclofing a fmall medallion, in which are two rabbits. Round the border is a hunting party. Three men on horfeback with one lady, preceded by a man who drags forward by a long thong a couple of very unwilling hounds, currifh-looking brutes, learned together. The background is coloured blue ; and the figures, horfes, dogs, and trees are all painted. The chief perfon of the party and the lady are richly drefled in the coftume of the time. 10. '66. CASKET, with floping lid. Spanifh-Morefco. 12th century (?). Height, 8 J inches; length, \o\ inches ; width, 6§ inches. Bought, 1 26/. 6s. 3d. This fine cafket is richly carved in deep relief with foliage and animals in fcrolls interlacing one another, and forming larger and fmaller circles. The top and each fide is a fingle plaque of ivory ; the floping lid at the front and back has two panels. On the top are two animals, like does ; a large bird ftands on the back of each, attacking it with his beak. The floping fides have, in the large circles, men on horfeback, and animals fighting. The inter- mediate fpaces are completely filled with foliage and fmaller beafts. Similar fubjects are repeated in the circles on the panels forming the lower fides of the cafket, and, among them, arc two groups of men and women fitting ; one blowing a horn, another playing on a guitar, another holding a cup in one hand and a flower in the other. There is great fimilarity in parts of this cafket, efpecially in the foliage, to the two pieces of a cafket, Nos. 4075. '$j and 1057. '55 ! The mounting is more modern ; filver, of the early part of the 17th century. D 2 52 De/cription of the Ivories. ii. '66. BOX, with floped lid. Southern Spanifh. 14th century. Height, 3 inches ; length, 3-§ inches ; width, 1 \ inches. Bought, 1 1. 18s. yd. This fmall coffer has been much injured and two loft panels of the lid have been fupplied with wood. The top and fides are ornamented with gilt geometric rofettes of Saracenic defign. On the front is an infcription in Arabic, much defaced ; and another on the bottom of the box. 138. '66. PLAQUE. Subjects from the Gofpel. Russo-Greek. 1 6th century (?). Height, ijinch; width, i\ inch. Bought, il. A little devotional tablet, mounted in a filver frame with filagree border. It is greatly difcoloured. The fubjects in four fmall com- partments appear to be : 1. The Annunciation; 2. The Baptifm of our Lord ; 3. The Entombment ; 4. The vifit of the women to the Sepulchre. Traces remain of an infcription over each divifion. 136. '66. PYX or Ciborium (?). Byzantine, nth century. Height,. 5 J inches; diameter, 3§ inches. Bought, 25/. The name by which this piece has long been ftyled is retained, but there is no evidence whatever, or any particular character about it, which would prove it to have been made for a religious ufe. It is carved in low relief with a double fcroll, richly foliated and having birds enclofed in three of the terminating circles. Thefe fcrolls fpring from a vafe carved above the border which furrounds the foot or bafe. The original cover is loft ; its place is fupplied by a wooden round cover, of about the 14th century, which is cleverly painted with bold floriated ornaments, correfponding to fome extent with the earlier defigns upon the cup. BOOK COVER. Ninth Century. No. 138—66. Defcription of the Ivories. 5 3 138. '66. BOOK Cover. Five panels with scriptural subjects. CarJovingian. 9th century. Height, exclufive of frame, 15 inches; width, 10 \ inches. Bought, 588/. This magnificent book cover is complete and uninjured, and probably is not to be furpafTed by any other example of the fame ftyle and period now exifting. It is almoft identical in fize, ftyle, and arrangement with a cover preferved in the Mufeum of the Vatican, defcribed in Gori, Thefaurus Diptychorum, torn. 3, p. 25. The Vatican ivory ftill forms the cover of the manufcript on which it was originally placed ; a volume containing the Gofpels of St. Luke and St. John. The fuggeftion has been made, and it is not improbable, that the prefent book cover be- longed to the manufcript of the two Gofpels of St. Matthew and St. Mark. On the other hand, great as the fimilarity is between the two, — taking the engraving in Gori to be a fair reprefentation, — there is ftill fufficient difference in the fhape of the fide panels, in the decorations of the architecture, and in the general ftyle of the draperies, which would induce us to hefitate before we accept fuch a fuggeftion as con- clufive. In fact, the book cover now before us feems to be, although of the fame fchool, yet of fomewhat a later period. In which cafe the volume to which it belonged was not the one correfponding to the Evangelifterium in the Vatican. There can be no doubt, however, cither that the arti ft of the one cover had feen and imitated the other, or that they were indebted to another example which both copied. The entire cover is compofed of five pieces : a centre panel, with two narrower panels at the fides ; and at the top and bottom a fourth and fifth panel occupying the whole width acrofs the other three. The fides are floped or fhaped at the narrow ends, correfponding with Hopes to fit the arrangement of the fourth and fifth panels. The centre panel is rectangular ; in height, 8f inches ; in width, 4 inches. The fubject is the Virgin and Child. The Bleffed Virgin fits upon a throne or chair, of which little is feen except the upper part of the back above her fhoulders ; the reft is concealed by the ample folds of her garments. On the back of the chair a loofe cover hangs, and the base of it is decorated with an ornamental feather-like moulding. The throne is placed under a round arch fupported on two columns, with capitals of acanthus or lotus leaves, the ftiafts divided by bands into four parts, — two fluted perpendicularly, and two oblique. The 5 4 Description of the Ivories. oblique flutings are placed together between the two perpendicular. In the fpandrils above are two large flowers. The Virgin holds the Infant on her left arm, which falls along her fide, fimply fupporting Him in a fitting pofture by His feet. With her right hand fhe points to Him acrofs her breaft. She is clothed in a long garment reaching to the feet, on which are fhoes ; and is covered alfo with a large * cloak, falling entirely over her back and in front down to the waift, fo that nothing is feen in the way of a girdle. The Child points in like manner with His mother, with His right hand to a clofed book which He holds in His left. The head of each is furrounded with a nimbus ; that of the Virgin is ornamented with rays, cut in low relief} the nimbus of the Child is incifed with the ufual crofs. The knees of the Virgin are extended, according to the ftyle of fimilar works of the fame period ; and the feet, drawn clofer together, reft on a large low footftool, dia- pered and with a moulding of acanthus leaves. On the left panel is a prophet, perhaps Ifaiah. He ftands under a round arch, refting on two columns ^fluted perpendicularly from top to bottom. In the fpandrils above it are two branches of trees, apparently of the olive. The prophet holds in his left hand a long open scroll in which nothing is incifed or fculptured, and places his right arm acrofs his body. He wears a beard and has long hair divided in the middle. He is clothed in a long garment falling nearly to the ankles ; and over it is a tunic with sleeves, gathered in and doubled over by a girdle at the waift. There are fandals on his feet. On the right panel, under ari arch of like ftyle, is the figure of a man, probably intended for Melchifedec ; he ftands carrying a cenfer in his right hand, fwingmg from three chains, and in the left a round covered box or vafe with the incenfe. He is drefled fomewhat like the prophet, except that his under robe has two narrow bands and his cloak is fattened acrofs the breaft with a large round fibula. On his head is a low crown or fillet, and his feet are covered with shoes like modern oriental flippers and laced acrofs the inftep. Palm branches fill the fpandrils above the arch. Thefe fide panels are each i\ inches in width, and in height, to the extreme corners of the flope, 9f inches. In the top panel two angels, floating upon the clouds and with wings extended, hold in their outfpread arms a round fliield, infide which is the buft of our Lord, nimbed and in the adr. of giving benediction. The long garments and veils of the angels extend lightly behind them in the air. The lower panel has two fubje&s. On the left and centre is the Nativity. St. Jofeph fits in a chair leaning his head on his left arm and Defer iption of the Ivories. 5 5 regarding the Blefled Virgin who, lying on a couch and half raifed up, looks towards her Child. Chrift, wrapped in swaddling clothes, is placed on a high cradle of two ftages, each ornamented with a feries of arches ; the group is within the portico of a building, the roof of which refts on two columns. Half infide half outfide the portico are the ox and the afs, worfhipping. Behind the group are other buildings, repre- fenting the city. On the right is the angel appearing to the fhepherds. The angel walks approaching them, three in number, and they rife from the ground in wonder and amazement. Three fheep are between the men and the angel. 139. '66. DIPTYCH. Confular diptych of Rufinus Gennadius Probus Oreftes. Byzantine. 6th century. Height of each leaf, 13^ inches; width, 4J inches. Bought, 620/. Oreftes was conful A.D. 530. The conful is reprefented on both leaves, fitting on a curule feat with an ornamented cuihion, and with the legs and heads of lions for its fupport. The lions hold rings in their mouths, as if carrying out the old type of the moveable chair. There are fcroll ornaments alfo at the ends of the feat. His confular robe is thrown over the left moulder j a broad band (a fuperhumerale or orarium) falling from the right moulder under its folds as low as the ankles. This robe is richly decorated in both leaves of the diptych with an incifed pattern, intended to reprefent gold embroidery ; but the pattern is not the fame upon the two leaves. In one the ornament is compofed of fquares filled with flowers j in the other are circles and fimilar flowers infide. Underneath the robe is feen the tunic. His feet have ftioes faftened tightly at the ankle with a round button in front j and they reft on a footftool, the top of which is ornamented. This footftool in one leaf is perfectly plain in front ; in the other it has fome open fcroll work. The head of the conful is bare, with curls very carefully combed and arranged. In his right hand, refting it on his knee, he holds the Mappa Circenfts ; in the other a fceptre with a fmall figure of, perhaps, Victory very rudely carved at the top. The fleeve of his tunic has a broad decorated border from the waift half way to the elbow. On the left fide of the conful ftands a female, fymbolizing the city of Rome ; on his right another, fymbolizing the city of Conftantinople. Both are vefted in long rich garments reaching to the feet, with broad ornamented borders or collars furrounding the neck. Their hair hangs 5 6 Description of the Ivories, on each fide of the head, drawn afide from the forehead as low as below the ear ; the curls finifh with a pendant attached, poflibly intended for a large pearl. Each wears a helmet or diadem, Rome bearing one creft or decoration, Conftantinople three. The figure of Conftantinople holds a fmall globe in her right hand, on which is incifed the letter A, to mark the then preeminence and imperial dignity of that city ; in the other hand is a ftafF or fceptre. Rome, on the contrary, has the right hand empty and expanded, lifted as if to applaud the conful. In her left fhe holds a bent palm branch, to which a fmall banner is attached ; and upon this, on one leaf, is incifed a fmall head .and buft furrounded by a nimbus. This has been fuppofed to be intended for the emperor ; but it is extremely doubtful. Above the head of the conful is a round tablet or fhield, on which a monogram is incifed which is almoft certainly to be read " Oreftus " for Oreftes. A fuggeftion has been made by high authority that it may be read Erotimus, or any other fimilar name of like letters; and be the monogram of the artift. But it is highly improbable that the carver of this diptych would venture to intrude his own name upon tablets of fuch high official character, and much lefs in a place fo confpicuous as immediately over the head of the conful. Behind the two fymbolical figures are two pilafters with Corinthian capitals of bad ftyle. These have a low round arch between them, from which hang laurel wreaths, and they fupport a broad tablet on which is the following infcription, in uncial letters, running acrofs both the leaves. On the firft, « RVF CENN PROB ORESTIS." On the other, "V C ET INL CONS ORD." To be read, \ inches. Bought, 8/. In this pax the Saviour is reprefented {landing in the open fepul- chre and is feen as low as the hips ; round which a veftment is folded falling down. The upper part of His body is unclothed ; and the arms crofled in front before Him. The head, furrounded by a nimbus, droops towards the left moulder. Behind the tomb on the left the Virgin ftands, fupporting our Lord ; and on the right a faint, probably St. John. The bafe of the tomb is fculptured with a foliated fcroll ornament. The group is placed under a pointed arch. Defcription of the Ivories, 97 On the face of the fepulchre is engraved " Humylitas vincit." Refting on the two tall points of the letters h and 1 and covering the three intermediate letters is a crown. This is of the fame character with crowns feen over the firft letters of title-pages in books printed by the early French printers ; efpecially by Martin Morin of Rouen. On the back of this pax there is cut in low relief what appears to be fome kind of mufical inftrument, with pegs to tighten the firings. It may poffibly be a private or trade mark of the artift or dealer. 3 4 8. '67. PLAQUES, four. The Evangelifts. French. 12th century. Each, i-J inch by 1 inch. Bought, 10/. Thefe fmall pieces have been probably the corners of a cover of a manufcript of the Gofpels. In each an evangelift is feated writing at a fmall defk and with his appropriate fymbol in the corner. The execution of the figures is good, and the pofition of every one different from another. Two are writing ; one feems to be mending his pen ; and the fourth dipping it into the ink. P 249- '67- LAQUE. A hawking party. French. 14th century. Height, 3f inches ; width, i\ inches. Bought, 8/. One leaf of a pair of writing tablets. A lady and gentleman riding through a wood. She carries a whip in her right hand, and he has a hawk upon his left wrift. Turning his face towards the lady, he carefTes her under the chin with his right hand. The gentleman wears a loofe riding coat and a girdle from which a fword hangs ; the lady is drefled in a long robe falling completely over the feet and drawn tight acrofs the upper part of the body. She fits aftride her horfe. A large cloth falls on each fide under the faddle. The fubjecl: is given under a canopy of three pointed arches, with crocketed pediments and finials. MTU y '~- EMh Dejription of the Ivories. 99 252. '67. LAQUE. Te Crucifixion. Carlovingian. 10th century. Height, 5J iches ; width, 3f inches. Bought, 46/. Probably a book-ci'er. Our Lord ft and s upon a board faftened to crofs, the feet fepaite ; His body clothed from above the hips half to the knees ; th garment fufpended from a broad girdle faftened a centre ornamet. His head drops on the right fhoulder, and a of blood poui from the wound on that fide into a vafe held up woman. Below he extended hands, faftened to the crofs, ftand Virgin and St. Jon. Clofe to St. John a foldier, the centurion )ably, looks upwais at the Son of God j this man wears the toga led by a fibula arofs the fhoulder. Two men at the foot of the turn away froi it on either fide ; one carrying the fponge on and a fmall ucket with round handle with the hyflbp. A an crouches benedt the board to which the Saviour's feet are fixed. In the corners atthe bottom are two figures, feen to the waift, attitudes and witl geftures expreffive of forrow and indignation. >ve the crofs tw> roups of angels ftoop down in adoration, and feen them a nan holding a wreath iflues from the clouds. The lbolical fun and moo occupy the extreme corners. The fubject is witin a foliated border. 253- ' 6 7- LAQUE. "1 e Tranffiguration. Carlovingian. 10th century. I-ight, 5f inches ; width, 3-$- inches. >ught, 39/. This has been pciaps a panel of a cafket or part of the cover of a )k. The upper hlf is filled with three figures \ our Lord in the re, ftanding and irrounded from head to foot by an oval nimbus. His right hand Elias, on His left Mofes with the two tables the law. Above or Saviour an open hand defcends from clouds the acl: of benedi£bn. At the bottom of the plaque are feen the se apoftles j one, in the middle, on his knees but railed in an titude of amazemen as if fpeaking ; the other two crouched, one each fide, in fer. Between the two groups are three fmall ldings of two ftork in height, the three tabernacles. The fubjeft is witin a rectangular border of acanthus leaves. G 2 ioo Defcription of the Ivories. This piece of ivory has been twice ufed. There is another fubjecl on the back, of the ninth century, almoft uninjured and complete. Originally this feems to have formed the door of a fmall reliquary : as there ftill remain traces of a fattening or lock in the middle of one fide, and of two hinges on the other. Having for many years (pro- bably for centuries) been hidden from the light, this fide has become difcoloured. The fubjecl: is the Laft Judgment, in low relief. At the top, in the middle, the Son of God is feated, holding a fcroll in each hand, half unfolded. On either fide of Him are three angels blowing ftraight trumpets. Immediately below, ftanding upon a crefcent, is the arch- angel fummoning the dead ; thefe rife from their open tombs, the blefled on the right hand of the Saviour, the wicked on the left. Although this ivory has been fomewhat roughly treated and fhows moreover marks of continued ufe, when employed for its firft purpofe, neverthelefs it is ftill not difficult to diftinguifh the expreffion of horror on the faces of the condemned. The two lower parts of this fubjecl: are occupied by an angel in one corner receiving the redeemed into their everlafting habitation ; reprefented by the open door of a building with a fmall cupola ; and in the other corner, by the open mouth of hell into which the wicked are driven. Upon the fcroll in the Saviour's right hand is the mutilated infcription, " Venite bene atr . . . mei percipit . . vo . ." A narrow border with a fmall ornament of pierced circles fur- rounds the whole. The top bit of the border has been cut away in order to fit the piece for its later purpofe. 2$4- '67. PLAQUE. The Afcenfion. Carlovingian. 10th century. Height, 5 J inches ; width, 3 J inches. Bought, 30/. Of the fame date and perhaps by the fame hand as No. 253. '67, and in like manner carved upon a piece which had been before ufed for another purpofe, this plaque is poflibly from the fame deftroyed reliquary or cafket. Above, in the upper part of the plaque, our Lord is afcending into Heaven, an angel on each fide bending forward in an attitude of adora- tion. The Saviour is furrounded by an oval nimbus or vefica. Below is a group of the apoftles, fome of whom are fcarcely to be feen, being cut in very low and faint relief; all with heads raifed and gazing up into the clouds. In the midft of them the Blefled Virgin ftands ; and there are trees, as if to fhow a garden. Defer iption of the Ivories. 101 The plaque has a foliated border. The reverfe fide is carved in good relief and well executed, with two fmall fquares containing, in the upper, two birds, and in the lower, two goats', tied with an interlacing ornament. Thefe little panels are divided and furrounded by a broad border of fcroll ornament with birds and animals. 255- 256. '67. PLAQUES, two. Scenes from the Life of Chrift. Car- lovingian. 10th century. Height of each, 3^ inches ; width, 2§ inches. Bought, 25/. each. Thefe are portions probably of fome cafket which contained, when perfect, a complete feries of fubje&s from the hiftory of our Lord. Both in defign and in execution thofe which remain are good, and the whole mull have been a very effective and rich object. One plaque has the Tranffiguration. Above, furrounded by a per- fectly-plain vefica or oval nimbus, our Lord ftands almoft touching with His right hand Elias and turning His head from him towards Mofes, who approaches with ftooping and humble gefture on His left. A hand defcends upon the Saviour's head, from clouds above. Below are the three apoftles as in No. 253. '67. The other plaque has two fcenes. The upper, Chrift healing a paralytic. The fick man with hands dropt and open before Him bends forward, dragging his legs weakly ; the Saviour almoft touches him with His right hand extended. The paralytic is bare to the waift, over his loins is a fhort garment. Behind our Lord are four of the difciples. The lower fcene is our Lord giving fight to the blind, as in No. 280. '67, except that three men accompany and follow the blind man, one of whom guides him, holding his left arm. Each plaque is furrounded by a rich foliated border of acanthus and divided by a line with low curves acrofs the middle. *57- *fy. PLAQUE. Scenes from the Life of our Lord. Carlo- vingian. 9th century. Height, 5 J inches ; width, 3J inches. Bought, 30/. This is divided into two equal compartments. The lower has for its fubjeel: the anointing of our Lord's feet by St. Mary in the houfe of 102 Defer iption of the Ivories, Lazarus. The Saviour fits leaning His arm upon a fmall round table which is covered with a cloth, on which are vafes holding fruits. He turns afide from Mary, who kneels at His feet wiping them with her hair, to fpeak to and reprove Judas who has juft rifen from his feat and ftands in the act of addreffing our Lord. Behind Judas fit four guefts, alfo near the table. From below two fervants are bringing up wine from flagons which are on the ground clofe to them. A fmall building, like a church, is feen on the right hand of our Lord in the diftance. The whole action and the characters of the fpeakers is well defigned and the execution good. In the upper divifion is the Entry into Jerufalem. Two men lay their garments in the way before the feet of the afs on which the Saviour rides, lifting up His right hand in benediction. Five difciples accompany Him, carrying palm branches in their hands. The border is floriated with acanthus leaves and runs acrofs between the two divifions. In its later ufe, this piece was probably a part of a cafket reprefenting the hiftory of our Lord. This ivory has been ufed before for another purpofe ; on the back is a barbarous carving of the feventh or eighth century, from which the top has been cut away. This alfo has had, at leaft, two divifions or compartments ; in the lower, is the Baptifm of our Lord. He is re- prefented not in the river Jordan but, in the manner of the age in which the artift (if we may fo call him) lived, fitting in a fmall ciftern or font, and over Him and lifting Him by the right hand ftands the Baptift, nimbed and clothed in a rude cope. Behind our Lord an angel ftands and a tree is behind St. John. The upper compartment fhows a part of the Afcenfion. The apoftles, grouped together, are gazing up into heaven, and a Handing figure in the midft, eagerly ftretching out her hands, is probably the Blefled Virgin. 25 8. '6 7 . PLAQUE. Walrus ivory. The Afcenfion. Rhenifti By- zantine, nth century. Height, 5f inches; width, 4! inches. Bought, 45/. This is of the fame period and probably of the fame fchool as No. 145. '66. Both examples are formed of three feparate pieces of ivory, taken from near the end of a tufk or from fmall tufks and follow- ing the natural curve, Defcription of the Ivories. 103 In the centre our Lord is reprefented afcending into heaven, fur- rounded by a richly decorated oval nimbus. He carries the banner of the Refurredtion in His left hand and with the right hand outftretched touches a hand which ifliies from above, in the act of benediction. Two angels fupport the nimbus, one on each fide. Below are two groups of apoftles ; on one fide fix, on the other five ; in front of whom is the Bleffed Virgin, looking upwards and with uplifted hands. The robes of our Lord, of the angels, and of the two groups are all ornamented with the fame kind of fmall incifed dots as in No. 145. '66. Under the loweft point of the nimbus is a low mound from which the Saviour rifes ; and in front of it is the prophet Habakkuk, feen to the waift, holding in both hands a long fcroll, on which is infcribed in uncial letters, " Elevatus eft fol." Above his head the name " ABACVC." P 239. '6y. LAQUE. The Afcenfion. German? nth century. Height, 4f inches ; width, i\ inches. Bought, 30/. A very interesting piece and ftill remaining in the book-cover for which it was originally made. The material is walrus ivory. Our Lord ftanding on a cloud occupies the upper half of the plaque, carrying the crozier with the flag in His right hand. He is vefted in a long fingle robe, girded round the waift and thrown over the left arm and fhoulder. His feet are bare. On either fide are the conventional fymbols of the fun and moon, and the background of the fky through which He is afcending has fmall ftars carved over it in low relief. Below is a group of the apoftles, looking up ; and on each fide ftands an angel, reprefented much taller than the apoftles. A large fragment, only, remains of the manufcript itfelf. , At the beginning is a part of an evangelifterium, containing gofpels for fundays between Innocents' day and the middle of Holy Week. Thefe are followed by a copy of the charter, printed in the Gallia Chriftiana, vol. 3, p. 423, among the " Inftrumenta ecclefiae Sedunenfis." The reft of the volume is a portion of a miflal. 1 04 Defer iption of the Ivories. 2.60. '6j. PLAQUE. The Saviour in Glory. French. 1 2th century. Height, 4-J inches ; width, 2 J inches. Bought, 7/. This is, unfortunately, only a fragment and has probably been a part of a book-cover. The fubjecl: is in low relief, well defigned and executed with great fpirit. The centre is occupied by our' Lord Who is enveloped in an oval nimbus. He holds a book in His left hand and in the right a long ftaff with a double crofs and banner at the top. Outfide the nimbus are the lion and the dragon on which the Saviour refts both feet, treading them down. Two other animals are in the corner, feemingly the conventional afp and bafilifk. Our Lord is vefted in a long robe and a large cloak or pall ; this laft is crofled over the fhoulders and the ends of it float away on either fide. There is a beautiful border j an undulating fcroll, the intermediate fpaces filled with an ornament of leaves. 2.61. '6j. PLAQUE. The Saviour in Majefty. French or Englifh. 14th century. Height, 4 J- inches ; width, 2f inches. Bought, 20/. This is a beautiful example of the rare fculpture in open work, and has probably been the centre-piece of the cover of a fmall book of the gofpels. In the middle our Blefled Lord fits on a throne within a diamond- fhaped compartment, the points of which touch the borders of the fquare outfide. He is clothed in a long garment over which, in broad heavy folds, a large cloak falls, enveloping almoft the entire figure and faftened in front with a cruciform fibula. The face is that of a middle- aged man with a beard divided at the chin. He wears the tiara or triple crown and holds the globe, with a Latin crofs, in the left hand, raifing the right hand in benediction with two fingers extended. The throne is like a curule chair, the extremities of both ends of the feat fculptured, each with the head of a dog. His feet reft upon a rainbow, fupported from beneath by the fmall figure of an angel. Acrofs the breaft is a ftole. Defer iption of the Ivories. 105 The corners of the fquare are filled with finely executed fymbols of the four evangelifts. This piece has been painted. Traces of colour ftill remain, more evidently on the tiara and the croffed ftole. 262. *6y. HEAD of a Tau. Walrus ivory. Northern Europe. 12th century. Length, 6-J inches; width, 1 inches. Bought, 10/. This Tau is formed of two half fnakes, their bodies joining in the centre, their heads twifted round underneath looking away from each other. They are ornamented with waving bands interlacing. In the middle on each fide, front and back, under a round arch with Norman columns, is the figure of a faint ; one veiled as an archbifhop with pall and chafuble ; the other in a large cloak and long tunic. The genuinenefs of this Tau may fairly be queftioned. 263. '67. CASKET. The legend of St. Margaret. French. 14th century. Height, 1 J inches; length, 3 -| inches ; width, i\ inches. Bought, 48/. On the lid are four faints : St. John Baptift, St. Agnes, St. Bar- nabas, and St. Catherine. They ftand under a canopy of four pointed arches with cufps and crocketed pediments. The fides are filled with fcenes from the hiftory of St. Margaret, reprefented under an arcade of a fimilar character. In front to the left the faint is feen fitting with a diftaff in her hand, and, approaching her, is Olybrius the Roman governor with his horfe behind him. On the right of this fame panel fhe is led off to prifon, having reje&ed his propofal to marry her. On the back St. Margaret, unclothed to the waift, is being fcourged by the executioners, and in the other two compartments of the fame panel fhe is being led back and thruft again into her dungeon. One fide, divided into two compartments, fhows her encounter with the devil in the form of a dragon, from whofe body, burfting open, fhe is emerging after he had fwallowed her. The other divifion has her execution. The faint kneels with upraifed hands, and a man behind, feizing her long hair, lifts his fword to ftrike off her head. 106 Defer iption of the Ivories, The other fide has alfo two compartments. In each of them is a man fitting, crowned, and with one leg crofled over the other. 264. '6y. CASKET. Domeftic fcenes. Englifh(?). 14th century. Height, n\ inches ; length, 5 inches ; width, 3 inches. Bought, 48/. The lid has four figures ; two ladies and two gentlemen alternately, each under a pointed arch with crocketed pediment. The gentlemen carry hawks on their wrifts ; the ladies wear long ftreamers of the time of Edward the third hanging from their fleeves. The men have clofe- fitting tunics, or the cote hardze, with tippets and hoods. The hood of one is flung round, fo as to mow the long pendant or liripipe hanging in front of him. Both wear girdles low down acrofs the hips. The front has four divifions : two people converfing in a garden ; and in the corners, two others playing on mufical inftruments. The ends have two divifions each. On one end are ladies and gentlemen fitting and talking ; on the other, two playing chefs, and a lady crowning her lover with a chaplet. 365. '67. PLAQUE. Two fubjecls with warriors. Byzantine. 1 2th century. Height, 2-| inches; length, iof inches. Bought, 46/. The front of a cafket, in three pieces of ivory. The fubjecl on the left reprefents a king or warrior feated and wearing chain armour, with uncovered head, holding a long rod or fceptre in his left hand, and ftretching the right arm forward towards two men who approach him {looping and with a gefture of reverence or fubmiflion. They carry fome gift or tribute in their hands, which are covered with the long fleeves of their tunics. The king fits upon a cufhion placed on a ftrong feat with bars and four legs. A cloak is thrown over his left arm. Behind him are three warriors ftanding and in attendance, fimi- larly armed in mail over tunics falling to their knees, and having long fpears and fhields. They have pointed helmets with chain pieces falling behind the neck. On the right fits (probably) the fame royal perfonage on a throne, wearing the fame kind of drefs and attended by the three warriors. He turns as it were fuddenly to one fide, to liften to the meffage of Defer iption of the Ivories. 107 two foldiers or warriors who approach him with hurried and eager fteps and ftretching out their right arms with a threatening gefture. Each is armed with a plain cuirafs, fword, and fhield. Poffibly they reprefent heralds delivering a hoftile meflage. They are evidently intended for warriors of another country. z66. '67. PLAQUE. The Crucifixion and Refurrection. Carlovin- gian. 10th century. Height, 6f inches ; width, 4 inches. Bought, 48/. This has been perhaps a book-cover, perhaps a part of a cafket or reliquary. The top compartment is occupied by the Crucifixion. In the centre, our Lord, fully clothed and reftihg His feet feparate on a block nailed to the upright beam, hangs from the crofs. A foldier is piercing His fide with a fpear, and another ftands looking upwards on the other fide. Behind thefe, on the right hand and on the left, are the Blefled Virgin and St. John. Behind thefe again are the two thieves with feet tied to the crofs and unclothed down to the waift. In the middle compartment is the open tomb above which rifes a low turret with a cupola. An angel, holding a tall ftaff with a fmall crofs in his left hand, extends the other towards a group of three women who approach carrying the fpices and ointments. On the other fide of the tomb two foldiers are feen, ftill fleeping. Four other fmall fubjects fill up and crowd the vacant fpaces of the plaque. It is not eafy to explain two of them. The lower two are the ufual fymbolical reprefentations of the earth and fea. All appear to be coarfe copies of earlier work, perhaps Roman of the 6th or 7th century. This plaque once formed part of a very early carving ; the half of a confular diptych. Traces of the head of a fitting figure ftill remain, with fome portion of the curls of his hair. The reft has been planed away. Another fragment, the remaining half of the fame leaf of the diptych, is in the Britifh Mufeum : it has alfo been mutilated and adapted to a like purpofe with the prefent piece. Very probably the two were made at the fame time for the fame reliquary, or the fame book. 108 Defcription of the Ivories. 2,6y. '6y. PLAQUE. The Annunciation and the Nativity. Southern French ? 1 2th century. Height, 4 inches ; width, 2J inches. Bought, 48/. This has probably been a portion of a book-cover and is divided into two equal compartments. Above, is the Annunciation. The Bleffed Virgin is feated on a high chair or throne, covered with a cufhion, under a canopy formed like a fquare doorway fupported on one fide by a ftout pillar with foliated capital. She turns towards the angel who approaches with his right hand uplifted and carries a long ftaff in the other. The Virgin is vefted in a long under garment or ftole ; over which is a tunic falling below the knees, and the upper part of her body is enveloped in a large cloak eroded in front and thrown back over the left fhoulder. Her head is covered with a veil. The angel wears a robe like the ancient toga but with long fleeves and tightly folded acrofs the waift. A curtain is carried from pillar to pillar of the doorway, behind the head of the Virgin ; and on her right hand is the reprefentation of a building. Below is the Nativity. The Bleffed Virgin lies on a Hoping pallet or bed half covered with a quilt or coverlet, and at the foot fits St. Jofeph in the ufual attitude of meditation. Between the two is a fmall tree ; and above it the Infant in a cradle, with the heads of the ox and the afs feen through a round arch. On the left is the ftar of Bethlehem ; and the town itfelf is conventionally mown by a fmall feries of towers joined together hexagonally by a low wall, above the head of St. Jofeph. By the fide of the Virgin is a low ftool, on which are placed her (hoes. This plaque is finely carved ; portions of it may be compared with the curious crozier, No. 218. '65, and with the handle of the flabellum, No. 373. '71. 268. '67. BOX, elliptic, cylindrical form. Carlovingian. nth cen- tury. Height, 2f inches ; longeft diameter, 2§ inches. Bought, 48/. This fmall box has loft its cover ; and is carved from a piece of walrus ivory. The front fhows a tonfured prieft, his hands covered with a large Defer iption of the Ivories. 109 veil, carrying a chalice to an altar on which ftands a candleftick. The altar has a cloth on it, falling over the fides. In another compartment two religious are embracing, one wearing a long habit with a cowl, the other with a chafuble over his habit. Both thefe have the tonfure. The third divifion has a man lying proftrate on the ground outfide a building, at the door of which a prieft ftands as if prepared to receive and welcome him. The fubjects are taken from the life of fome faint. 2,69. '6y. PLAQUE. The Symbol of St. John the Evangelift. Byzantine. 1 2th century. Height, 4-f inches ; width, 5 inches. Bought, 48/. This very beautiful piece is, unhappily, a mere fragment. It has been cut off from the leaf of a diptych of which it formed the top, or it may have been a portion of a book-cover. In the centre is an eagle, admirably executed in low relief, the head turned afide and nimbed, with expanded wings and the feet refting upon a clafped book. Surrounding the eagle is a circle with a fquare border, filled with a well defigned rich ornament of acanthus. Each corner infide the fquare is occupied by a bold floriated ornament. The whole ftyle is Romanefque. 270. '6j. PLAQUE. Two Apoftles feated. Byzantine. 9th century. Height, 5 J- inches ; width, 3% inches. Bought, 24/. The two apoftles are feated : the one on the left, in a folding chair with a tall back and with a Hoping arm formed of a dolphin, is dictating with raifed right hand to the other apoftle who fits upon a chair of fimilar ftyle, but with a back and without arms. This apoftle writes in an open book with a ftylus. Each figure has a fquare footftool on which the feet reft, bare but fandaled. Between the two apoftles an angel, reprefenting the Genius of Rome, ftands holding in his left hand a long rod or fceptre, and above his head carved in relief upon the edge of the frame are the words, IIOAIC PfiMH. In front of the angel is what appears to be a ftand for carrying the inftruments of writing ; in the ornamental part of which two dolphins are again reprefented. no Defcription of the Ivories, Thefe apoftles probably are St. Peter and St. Paul : on the right knee of the figure on the left is incifed the Greek letter n. The heads differ altogether in character. That of St. Peter on the left feems almoft to be a portrait ; powerfully drawn and executed, as of a perfon in fome high dignity. The other is in ftyle rather like the head of our Lord on a plaque of about the fame period, now in the Britifh Mufeum, reprefenting the raifing of Lazarus. 271. *6j. PLAQUE. Six Apoftles ftanding. Italian. 1 6th century. Height, 4J inches ; width 5 J inches. Bought, 24/. In the middle ftands St. Peter, carrying his crofs upright and turning away to St. Paul who addrefles him with outftretched left hand, refting his right hand on a fword. Behind St. Peter are St. Bartholomew with his knife and three other apoftles. All are clothed in long tunics with the pallium or cloak over. Three pilafters are in the background ; and a large cart or carriage, of which two wheels are feen, ornamented with a double band of large lotus leaves. 2J2,. *6j. PLAQUE. An Apoftle. 10th century. Height, 4^ inches; width, 2f inches. Bought, 15/. A fragment cut out of fome larger piece ; reprefenting an apoftle or faint ftanding and holding in one hand a fcroll. He is robed in an ample cloak which is carried acrofs his fhoulders and falls in numberlefs fmall folds down to his feet. *73- * 6 7- FIGURE. Our Saviour feated. Byzantine. 13th century. Height, 4f inches ; width 2§ inches. Bought, 1 5/. Our Lord is reprefented fitting on a throne with cufhion and four round legs. His feet reft upon a fquare footftool j one hand fupports a large book clafped and with ornamented fides, the other is raifed in the act of benediction. He has long hair falling over the fhoulders and a Defcription of the Ivories. 1 1 1 fhort and thick beard. His robe, loofe acrofs the cheft, falls in heavy folds over and between the knees, and in fharply cut clofer folds down to the feet which are bare and fandaled. An outer garment covers the fhoulders, and is gathered together and crofTed at the waift. There is great dignity in the head of this fmall figure which is well executed. It has been probably part of a book-cover. The upper portion of the figure of our Lord is carved clear, leaving no background. This has been cut away in later times, and the nimbus which originally fur- rounded the head has not been fpared. The nimbus was cruciferous j a flight trace of it ftill remains. 374- '6f. PLAQUE. An Apoftle ftanding. Carlovingian. nth century. Height, 4J inches; width, 2§ inches. Bought, 15/. This finely executed piece has probably been the cover of a fmall book. The apoftle is St. Paul j who ftands lifting up the right hand open and carrying a double rolled fcroll on his other arm. He is clothed in a long robe girded round the middle, broadly treated acrofs the body but falling in fharply cut narrow and numerous folds towards the feet. Over the body, covering the back, is a large cloak hanging from the fhoulders and unfaftened. A tree very delicately cut, with three branches of leaves at the top, is on each fide of the apoftle. In the broad fingle moulding of the border is incifed in uncial letters this infcription : " Pernicies . fidei . faulus . cedendo . fideles . invigila . . . . dei . verba . ferendo . di." 375- '67- PLAQUE. A king riding towards another king in bed. Englifh (?). nth century. Length, 4f inches, width, 2 inches. Bought, 10/. Perhaps a panel of a cafket, reprefenting when entire the whole hiftory of fome legend of which in this fingle piece we have only one fragment. From the left fide a king, with three attendants who accompany him on foot, rides towards a low building, yet neverthelefs feeming to repre- fent conventionally a houfe of three ftories with batdements, in which lying on a bed is another king, who raifes himfelf up as if to greet the 112 Defcription of the Ivories, coming vifitor. Three attendants here alfo are ftanding by the king behind his couch. PLAQUE. A Bifhop giving benediction. French. 13th century. Height, \\ inches; width, 3§ inches. Bought, 10/. This has been the centre of a triptych and is carved in high relief. The bifhop ftands under a trefoil arch above which is an arcade of two low ft ages and towers. He is fully vefted with fmall pointed mitre, chafuble, maniple, fandals, and gloves ; the right hand is in the adt of benediction and his paftoral ftaffis held upright in the other. On either fide kneel two fmall figures ; upon the bifhop's right is a man ; on his left a woman ; both drafted in the coftume of the period. The woman wears a cloak and has a round cap or hat, fattened by a broad band which partes under the chin. 2JJ. '6j. PLAQUE. The half of a pair of writing tablets. French. 14th century. Height, 3 J inches; width, 1 \ inches. Bought, 10/. This piece has been much mutilated j the fquare corners at top have been cut away down to the corbels from which the arch of the canopy fprings ; under which the fubjecl: is reprefented. The BlefTed Virgin ftands in the centre, holding a lily in her right hand and carrying the Infant on her left arm. Upon her left is St. John the Baptift clothed in his raiment, with the lamb ; and on her right St. Catherine, crowned ; holding in one hand the palm of martyrdom, in the other her wheel. Above the Virgin, two angels ifluing right and left hold a crown fufpended over her head. The background of this plaque has been gilded. 278. '67. HANDLE of a Dagger. French. 14th century. Length, 5§ inches ; width, 3 inches. Bought, 48/. The corners of this handle are formed of the heads of two women, with wimples ; and of two men, whofe hair is bound round with a fillet. Defcription of the Ivories. 113 Their drefTes trail down the fides and join. In the centre on each fide is the head of a bearded man within a lozenge. PLAQUES, fix. Scenes from the Life of our Saviour. German. 12 th century. Each plaque in height, 1 inches; width, 1 J inch. Bought, 10/. Thefe fmall plaques, carved in low relief, have formed part of a much larger feries reprefenting the life of our Lord, and originally were perhaps the ornaments of a fhrine or reliquary. They are now enclofed in a black frame. It is beft to take them according to the prefent arrangement, beginning at the top. 1. Three faints ; each holding a book and lifting the right hand in benediction ; fully vefted in long garments and with a large cloak thrown over the left moulder. 2. The incredulity of St. Thomas; treated as in No. 2X1. '65, except that our Lord has nothing in His uplifted right hand ; and all the other apoftles ftand in crowded groups on each fide behind the Saviour. 3. Two men carry Lazarus to the tomb. The tomb is reprefented by the fame open coffin-fhaped fmall building as in No. 280. '67 ; and Lazarus, wrapt in grave clothes, is carried towards it by two men who wear fhort tunics girded at the waift. 4. Healing the demoniac. The pofTefTed man, clothed only from his hips to the knee and with hands fattened behind his back, rufhes for- ward with hair ftreaming in the wind towards Chrift Who approaches him with open arms. Behind our Lord an apoftle or difciple ftands, vefted in a long robe and with a cloak over him. 5. The taking down from the Crofs. St. Jofeph of Arimathea ftands embracing and half fupporting the body of our Lord, one of Whofe hands only has been removed from the crofs ; behind him is the Blefled Virgin who kifles the hand. On the other fide a man, raifed on a ftool to reach it, is withdrawing with pincers the nail from the left hand. St. John ftands clofe to the foot of the crofs. 6. The death of the Virgin ; treated as in No. 296. '67. H4 Defer iption of the Ivories. 280. '67. PLAQUES, fix. Scenes from the Life of our Saviour. German. 12th century. Each plaque in height, 2 inches; width, i| inch. Bought, 10/. Thefe plaques are fix of the fame feries and from the fame reliquary or fhrine as thofe in No. 279. Theyalfo are enclofed in a black frame. We will take thefe, again, according to the prefent arrangement, beginning at the top. 1 . Three faints in chafubles, each holding a book in the left hand and giving benediction with the right. Thefe three are meant for archbifhops wearing palls, the infignia of their ecclefiaftical rank. 2. Our Lord addrefling the rich young man. The Saviour in the centre addrefles the young man and feems as if following him, although he turns to go away. Behind our Lord an apoftle ftands regarding what is taking place. The young man wears a fhort tunic reaching half- way to the knee, leaving the legs bare. There are traces of bufkins. The other two figures are clothed in long garments falling to the feet. 3. Our Lord and the woman of Samaria. The woman ftands on the right before a narrow well from which me is drawing water, a rope pafling from her left hand down to it. The Saviour feated on a low mound addreffes her with upraifed right hand. Behind are two apoftles returning to our Lord. 4. The refurre&ion of Lazarus. Lazarus is mown, bound tightly round with the grave cloths and fwathed like an Egyptian mummy, ftanding at the door of a fmall tomb which has the appearance of a modern coffin fet upright. On the left our Lord approaches vefted in a long robe and cloak and touches Lazarus with His right hand. Behind the Saviour is a man who raifes one hand in amaze- ment ; and on the right of Lazarus is another man wearing a tunic, who puts a hand over his noftrils, for " by this time, he ftinketh." 5. The charge of our Lord to the apoftles. Six ftand on either fide and the Saviour in the middle, a dignified figure, flightly feparate from both groups. 6. Chrift giving fight to the blind. Our Lord approaches from the left and touches with His fingers the eyes of a man who ftoops towards Him. Behind our Lord is one of the difciples ; and on the right another man with his back to the blind man bends over a fmall feat. Chrift and the difciple are clothed in long robes j the other two figures wear fliort tunics. Defcription of the Ivories. 115 , 381. '6j. ROSARY. A Tablet. Ten beads and two larger beads or boffes at the end. German. 1 6th century. Length, 14! inches. Bought, 40/. The tablet at the top has on one fide the BlefTed Virgin, on the other St. John, in low relief; both under decorated canopies. Each bead is carved with three fmall heads in high relief, funk in deep quatrefoils and making the bead of a triangular form. They are meant to fignify the power of Death (who is reprefented in the firft bead by a (kull) over all clafles of people. The ten beads have the heads of princes and princefTes, ladies and gentlemen, bifhops and ecclefiaftics, nuns and monks. The large bead is alfo triangular, with a king, an emperor, and a pope, each under an arch or canopy in openwork. The bofs has three heads : a man's, crowned with a wreath of laurel ; a woman's, with hair plaited in the form of a diadem ; and a (kull, alfo with a laurel chaplet, out of whofe jaws worms creep. This rofary is a beautiful example of a ftyle not uncommon in the early part of the fixteenth century. Compare the bofs, No. 2149. '55. 282. '6y. GROUP. The Annunciation. French. 1 5th century. Height, 3 J inches ; width, r| inch. Bought, io/. This fubjec~r. is carved in high relief, under a canopy of fmall pointed arches with finials and divided from each other by pinnacles. The BlefTed Virgin kneels at a low defk and turns round to the angel, who from behind approaches to addrefs her. She is vefted in a long robe with a large cloak over it ; and her hair flows from her uncovered head in long curls down the back. The angel holds a ftaff" with a lily at the top, and the dove defcends upon the Virgin from above. The whole is fupported from beneath by an ornamented bracket. 383. '6j. GROUP. The Adoration of the Magi. French. 15th century. Height, 3 | inches ; width, 1 J inch. Bought, 10/. The companion piece to No. 282. The Virgin fits on the left, fupporting the Infant on her lap. He is unclothed and with His left h a 1 1 6 Defcription of the Ivories. hand accepts the gift which one of the kings offers. Behind are the other two kings Handing and waiting to prefent their offerings. Thefe two fmall pieces are well defigned and carved. Perhaps they have formed part of the enrichments of a fhrine. 284. 2840. '67. PLAQUES. Three fitting figures under rich canopies, and a fragment with a fingle figure. ( Englifh. 14th cen- tury. Length, 5 inches ; width, 3 inches ; length of fragment, if; inch. Bought, 10/. The long piece has been the front or back of what was once a very beautiful fmall cafket. The panel is divided into three compart- ments having in each a fitting figure ; a lady carefling a dog which flie holds in her arms ; and two gentlemen, each with a hawk upon his wrift. All, the lady as well, have the long narrow ends hanging from their fleeves ; and the men wear the pointed fhoe of the time of Edward the third, which was in ufe before the fafhion came in of the exaggerated elongation beyond the foot. Each figure is under a rich canopy. An ogee arch with bold cufps floriated at the points and fupported by two pinnacled turrets on each fide. Behind the arches is a battlemented wall with windows, and above this is a low roof with a gable in the middle. The whole of this architectural decoration is delicately cut in open work. The fragment is a portion of one of the fides of the fame cafket ; with the fitting figure of a lady. 285. '6 7 . GROUP. Virgin and Child with faints. French. 14th century. Height, 2 J ; width, i\ inches. Bought, 1 5/. A fragment of a panel of fome larger piece, cut in open work and very carefully executed. The Bleffed Virgin flands on the right, fuckling the Infant from Whom fhe turns afide her head. She is vefted in a long robe with large mantle ; and wears a veil over which is a rich crown. Before her kneels a woman in a nun's drefs ; with wimple and kerchief, and girded with a thick cord. Behind this woman ftands St. John the Baptift carrying the lamb ; he is clothed in his raiment of camel's hair, and over it is thrown a cloak. He has alfo the crofs and flag in the Defcription of the Ivories. 117 fame hand as the lamb. Between the Baptift and the Virgin is a bifhop mitred and vefted in a cope, holding a crown in one hand and in the other his paftoral ftafF. A nimbus furrounds the head of the Virgin, of St. John, and of the bifhop. 286. f 6y. REST for the hand of a fcribe when writing. French. 14th century. Length, 8 \ inches. Bought, 15/. The head is carved with a group of the miftrefs of Alexander riding upon the back of the philofopher Ariftotle. 587. '67. REST for the hand of a fcribe when writing. French. 14th century. Length, io^ inches. Bought, 10/. The head is carved with a group of two lions. 288. '67. PLAQUE. Warrior and a young female. Byzantine, nth century. Height, i\ inches; width, ij inch. Bought, 61. This fmall piece has been a portion, probably, of a cafket. It is well defigned and carved in deep relief. A large tall man, holding a fpear, is fupported on the right by a woman who places her right hand upon his heart, as if to flop blood from a wound. The man is nude, except that a large cloak, fattened in front under the throat, floats away behind him. He wears fillets round the legs as if to fhow bufkins, but his feet are bare. The woman has upon her a long robe from the neck to the feet, gathered in at the waift and with long hanging fleeves. 289. '67. BOX. Cylindric. The Cardinal Virtues. Italian. 16th century. Height, 4 inches; diameter, i\ inches. Bought, 48/. This may poffibly have been made to hold unconfecrated wafers, but more probably was for fome domeftic or toilet ufe. 1 1 8 Defer iption of the Ivories. The feven cardinal virtues are reprefented round the box ; each under a feparate low arch or canopy. The figures are in low relief, well defigned and executed. There is a modern metal lining, and the bottom of the box is made of a feparate thin piece of ivory having a medallion infide of Innocent the eleventh, pope from 1676 to 1688. 290. '6j. DIPTYCH, or Folding Devotional Tablets. Scenes from the Paflion. French. 14th century. Height of each leaf, iof inches ; width, ^\ inches. Bought, 182/. The fubjects upon this large and admirable diptych reprefent the Paflion of our Lord and run in order acrofs both leaves, beginning on the left of the top divifions of the left leaf. The leaves are divided into three compartments : and thefe again into two portions, feparated by a light pillar fupporting the middle of a rich canopy of fix arches with crockets and finials. 1. The entry into Jerufalem. Our Lord approaches the city, mounted upon an afs, the foal walking by her fide. His right hand is raifed in benediction and a group of the difciples (five in number are feen) follow clofe behind. A fmall figure ftoops immediately before the afs and lays down a garment on the road. Behind him is a tree with Zaccheus on the branches, whom our Lord feems to be addrefling. In the diftance, but neverthelefs coming boldly forward under the canopy, is the gate of the city ; two towers with a gateway and lifted portcullis and battlements. 2. The warning of the feet of the difciples. Our Lord kneels upon one knee before St. Peter who is feated, and lifts St. Peter's foot from a fmall ciftern placed between them, in the a& of warning. The apoftle turns his head afide and raifes his right hand, deprecating the humiliation to which the Saviour fubmits Himfelf. Seven other of the apoftles ftand behind in attitudes of wonder and devotion. 3. The Laft Supper. Our Lord fits in the centre with two apoftles on either fide and St. John bending and leaning his head upon the Saviour's bofom. Judas kneels upon one knee before the table and receives the fop from our Lord, Who gives it with the left hand ; at the fame time raifing His right hand in the a£t of blefling the beloved apoftle, St. John. 4. The Agony in the Garden. Five apoftles are fleeping on the left and upon the right the Saviour kneels, raifed on a low mound, with Defer iption of the Ivories. 119 both hands lifted up to heaven in prayer. In the background four trees are rudely reprefented. 5. The kifs of Judas. On the left Peter is in the a£r. of putting the fword back into its (heath, having cut off the ear of Malchus who has fallen down, feemingly faint. The heads of three other apoftles are feen behind St. Peter. In the centre Judas kifles our Lord, em- bracing Him with his right arm. A foldier on the right feizes the right arm of our Lord Who with His left hand touches the right ear of the fervant Malchus. The foldier wears a coat of mail and helmet, the coat covered with a loofe garment falling to the knees. The heads of two Jews are feen behind the foldier ; the hand of one uplifts a lantern, and the other carries a fpear. 6. The Flagellation. A group of three figures only. Our Lord in the centre, both hands bound to the pillar and clothed from the waift down to the knees. On either fide is a man lifting a fcourge formed of a fhort handle and three knotted cords. The pillar to which the Saviour is bound reaches from the ground to the top of the compartment. 7. The carrying of the Crofs. Our Lord has the crofs in both hands and refts it on His right moulder. Three women are clofe be- hind, one of whom fupports the right arm of the crofs with her hands. The Saviour places His foot upon the bafe of Mount Calvary, making the firfl flep of the afcent. A little before Him and higher up are four men ; one of whom carries a hammer and the other three nails. 8. The Crucifixion. A rood, treated in the ufual manner. The Virgin on the right hand of our Saviour and St. John upon the left. 9. The Entombment. The body of our Lord lying on a large meet, in which He is to be enveloped, is being lowered into the fepul- chre. Jofeph of Arimathea ftands behind the tomb, and holding a pot of ointment in his left hand anoints the Saviour with his right hand, whilft the body is fufpended. Three women ftand behind St. Jofeph, and two apoftles at the head and feet of our Lord, holding the four corners of the fheet. 10. The Refurre&ion. Our Lord, carrying a crozier in His left hand, is ftepping out of the tomb and raifes His right hand in the act of benediction. Two angels, one on each fide, kneel on one knee upon the edge of the tomb and raife their hands, which are clafped, in adora- tion. Three foldiers fleep in the foreground in front of the fepulchre; they wear round helmets and are in chain armour with furcoats ; one of them holds a mace and the other a fpear. 11. Our Lord's appearance to St. Mary Magdalen. The faint kneels on one knee before the Saviour, holding up both hands clafped 120 Defcription of the Ivories. together. She is clothed in long garments with a veil and wimple. Our Lord ftands on the right, holding a crofs (as in the laft fubjedt) in one hand. He bends tenderly towards St. Mary whilft at the fame time He extends His right hand with a forbidding gefture and fays, " Touch me not." Two trees are in the background. 12. The incredulity of St. Thomas. On the left is a group of the apoftles : St. Thomas kneels on one knee in the centre, extending his right hand fo as to touch the wound in the facred fide. Our Lord, larger than the other figures, ftands on the right with His right arm raifed high and bared, fo that the wound may be expoled and open to the examination of the apoftle. In His left hand the Saviour holds the crofs. The robe which our Lord wears in thefe three laft fubjects is open on the right fhoulder and fide ; but partes over the left fhoulder and arm and hangs in heavy folds down to below the knees. 291. '6y. DIPTYCH, or Folding Devotional Tablets. Subjeds from the Paffion. French. 14th century. Height of each leaf, 10 inches; width, 4-| inches. Bought, 140/. The leaves are divided into three compartments, each under a canopy of four low-pointed arches, cufped, with crockets and floriated finials. The work is of the fame period and fame fchool as No. 290. '67, and of no lefs merit and beauty. Carved in deep relief. The fubjedts run acrofs the diptych from left to right when open, beginning at the top. 1. The entry into Jerufalem, as in No. 290, except that there is no foal by the fide of the afs ; and there are two perfons laying their garments upon the way. 2. The wafhing of the difciples' feet, as in No. 290 ; but all the twelve apoftles are reprefented. 3. The Laft Supper, as in No. 290. 4. The Agony in the Garden : eleven apoftles lie fleeping round our Lord, Who kneels in prayer in the midft of them. 5. The Betrayal, as in No. 290. 6. The Crucifixion, as in No. 5623. '59 ; but a man lifts the hyflbp to the Saviour's lips. On the left is reprefented Judas hanging from the tree. Defer iption of the Ivories, 121 292. '67. DIPTYCH, or Folding Devotional Tablets. French. 14th century. Height, 6^ inches; width of each leaf, 4 inches. Bought, 84/. This beautiful diptych is as to its fubje&s, namely, on the left leaf the Virgin and Child, on the right the Crucifixion, almoft a duplicate of No. 294. '67. In the defign and details of the arches under which the fubjedfs are placed it is fimilar to No. 148. '66. The angels, however, in the fpandrils are different. In this, on the left leaf, they fwing cenfers ; on the right, they hold the fymbolical fun and moon. 293- ' 6 7- DIPTYCH, or Folding Devotional Tablets. French. 14th century. Height, 6^ inches; width of each leaf, 4^ inches. Bought, 106/. The leaves are divided each into two equal compartments, and the fubjects are given under a canopy of feven arches with cufps, crockets, and finials. The fubje&s are to be read from the lower compartment firft, to the upper one of the left leaf. 1. The Nativity. 2. The adoration of the Kings. Thefe two in the fame divifion. 3. Occupying the whole compartment, the Crucifixion. 4. (Upper half of the right leaf.) The taking down from the Crofs. 5. The Entombment. 6. (Lower half). The appearance of our Lord to St. Mary Magdalen in the garden. 7. The coronation of the Virgin. Six of thefe fubje&s are treated almoft in an identical manner with the fame in Nos. 211. '65 and 290. '67. The variations are, that in the depofition St. Jofeph of Arimathea Handing receives our Lord into his arms ; and in the entombment women bring the ointments and anoint the body. The feventh, the Coronation, is exactly as in No. 6824. '58. The defign and execution of this diptych are excellent. 122 Defcription of the Ivories. 294. '67. DIPTYCH or Folding Devotional Tablets. Subjects from the Gofpels. French. 14th century. Height, 6 \ inches ; width of each leaf, 4J inches. Bought, 84/. There is one fubjeir, on each leaf, placed under a canopy of three arches crocketed and with finials. On the left leaf the BlefTed Virgin is reprefented Handing and hold- ing on her left arm our Lord as an infant. The Divine Child plays with both hands with one end of a veil falling from the head of the Virgin, His face turned towards her. The right arm of the Virgin hangs down and her hand has originally held fome object, probably a lily, which is now loft. A crown is on her head over the veil, admir- ably defigned, four fleurs-de-lys alternately with four low points. On each fide of the Virgin an angel ftands, holding with both hands a candleftick. The angels have long hair tied round with a fillet ; and reach in height up to the moulder of the Virgin. Above the group two fmaller angels are floating in the air, reprefented only as far as the waift, where the border of the panel comes. Thefe angels are placed, one on each fide, under the right and left arches of the canopy, and they fwing two cenfers which meet over the head of the Virgin under the centre arch. The figures are all fully draped : the Virgin has a long robe girded round the waift, covered with a larger cloak or mantle falling in broad loofe folds over her arms and in front down to the knees. This robe hangs with remarkable weight and in numerous folds on the right arm. Her lower garment reaches to and covers the feet, which feem to have on them pointed fhoes. A morfe placed in the middle of the breaft faftens the cloak of each ftanding angel. Their under robes fall down to the feet which, however, are expofed and bare. On the right leaf is the Crucifixion. Our BlefTed Lord is fufpended upon a perfectly plain, flightly defigned, crofs ; the hands open, and the fingers extended above the wood to which they are nailed ; the feet crofTed one over the other and fattened with a fingle nail. A rather full piece of drapery hangs from the hips falling down low enough to cover the knees. The Saviour's head droops upon the right moulder. Above our Lord on each fide, under the arches correfponding with thofe above the two jubilant angels on the other leaf, is an angel ; the one on the left wringing his hands in grief, the other on the right Defcription of the Ivories. 123 covering his eyes with both hands. The expreffion of the face of our Lord would lead us to think that the moment before death is reprefented ; but there is the wound already made in the right fide by the fpear. On the right hand of our Lord below the crofs, the Virgin, flill almoft in an upright attitude, is falling fainting into the arms of two women who ftand behind her. One of thefe women looks mourn- fully down to the ground ; the other, clofe to the crucifix, lifts up her head eagerly to the face of our Lord. The point of what has been a fword, the hilt broken off (or, it may be, the end of the fpear which had been in the Saviour's fide, as in No. 233. '67), is plunged into the left breaft of the Virgin : " a fword fhall pierce thine own heart " alfo :" Luke ii. 35, and her hands are lowered and extended from her fides in her mifery. Befide the crofs, below the left hand of our Lord ftand three men. The one in front, St. John, holding his robe with his right hand up to his face, but not concealing it ; and in his left hand a fmall fquare box or book. Two men ftand behind him J one holding a fcroll in the left hand and pointing with the other hand to the crofs ; the other lifting up both hands clafped in adoration or in grief. The three figures of each group are fully vefted in long robes : St. John alone having his feet bare. The women have their heads alfo covered. This diptych is fplendid in execution and good in defign. The expreffion of the head of our Lord, fcarcely dead, is admirable. So alfo the contraft between the attitudes and movements of the angels above each group : in the one full of joy and finging ; in the other overwhelmed with grief and horror. Every detail both of the archi- tecture and of the figures is moft carefully worked out. The whole defign is executed in relief, three-eights of an inch deep. 295- '67- PLAQUE. Scenes from the Life of our Saviour. By- zantine. 1 2th century. Height, 9^ inches ; width, 4! inches. Bought, 100/. Perhaps originally a book-cover : there is alfo a poffibility of its having been part of a reliquary or cafket. The border runs acrofs only at the top and bottom of the plaque ; as if, on each fide, it had been joined to fimilar pieces, forming a complete feries of fubjects. 124 Defer iption of the Ivories. The plaque is divided into three compartments ; the centre rather fmaller than the other two. Two fcenes in each. At the top on the left is the Annunciation. The Blefled Virgin ftands before a feat from which fhe feems to have juft rifen, the canopy of the feat lofty above her head. The angel falutes her, carrying in his left hand a long rod or fceptre, and is in a walking attitude. On the right is the Nativity. The Virgin Mother lies fully robed on a flat couch and by her fide, above her, is the Infant in a cradle ; the heads of an ox and afs touching Him. On one fide a fmall figure approaches, intended probably for one of the fhepherds j on the other fide is a fecond fhepherd kneeling and refting on a ftaff. At the Virgin's feet St. Jofeph fits in a meditative pofture, refting his head on his hand. Above the cradle are four angels in adoration. By the fide of St. Jofeph at the foot is another group ; feemingly the Virgin wafhing the Infant Jefus, Who is ftanding in a low veflel, to which an attendant is bringing a pot of water for the purpofe of filling it. In the centre compartment on the left is the Transfiguration. Above (the three ftanding within one large nimbus on which a ftar ornament is cut in low^ relief) are our Saviour, Mofes, and Elias. Three apoftles are below, one of whom points as if to the tabernacles ; and another on his knees buries his face in his robe. On the right fide is the raifing of Lazarus. Lazarus ftands with crofled arms and fwathed in grave clothes at the open tomb, from which the ftone lying at his feet has been removed. Before him is our Lord with the right arm ex- tended ; and between the two are two fmall figures, Martha and Mary. An apoftle ftands behind the Saviour with hands uplifted in amazement. The loweft compartment has upon the left the women at the fepulchre. An angel fits upon the tomb and points away with his right hand, telling of the Refurrection to two women who approach carrying veflels with the fpices. On the other fide are two foldiers, raifing themfelves as if juft awakening. On the right fide is the appear- ance of our Lord to two women, both of whom kneel and one embraces His feet. Two trees fhow the place to be a garden. 296. '6y. PLAQUE. The Death of the Virgin, and figures of Saints. Byzantine, nth century. Height, 1 of inches; width, 5-! inches. Bought, 95/. This has probably been a book- cover ; it is divided into three equal compartments, the top divifion arched. Defcription of the Ivories. 125 The higheft compartment reprefents the death of the Virgin. She lies, clothed in a veftment reaching from head to feet, on a tall couch with ornamented fides and legs and with drapery falling to the ground. Behind her ftand fix apoftles ; fix others are at her feet, one of whom (loops in the a£r. of killing them. Behind is our Saviour, Who (lands lifting in both His hands a fmall figure wrapped in what feems to be a fhroud and which reprefents the foul of the Virgin jufl departed from the body. Three angels float above our Lord, as if rejoicing to welcome and accompany the foul. Above the couch is incifed H KOIMHCIC. The two lower compartments are filled with eight (landing figures of faints. Their names are incifed at the fide of each, in perpendicular lines, in Greek uncials ; namely, St. Gregory, St. Bafil, St. Paul, St. Peter, St. Cosmas, St. Damian, St. Nicolas, and St. John. Of thefe, St. Peter and St. Paul are embracing each other, and St. Gregory wears the archiepifcopal pall. Above the name of each faint is the letter A, for ayu<;, in a fmall circle. 297. '6j. THE Head of a Paftoral Staff. French. 14th century. Height, 7 \ inches ; width, 4-J inches. Bought, 96L The centre of the volute is filled with a ftatuette of the Virgin and Child (carved from the fame piece of ivory), attended on each fide by an angel carrying a candleftick. The Blefled Virgin holds the Infant on her left arm and offers Him a fruit with the other hand. She is veiled in a long gown reaching to the feet and over it is the long cloak ; her head is covered with the ufual veil. She is crowned with a crown of lilies divided from each other by low points. The angels wear long tunics girded round the waifl, and bend down their heads in reverence. The upper garment or cloak of the Virgin has been diapered with fleurs-de-lys and traces of the fame ornamentation remain upon the veil. The arrangement of the three robes, the veil, the cloak, and the tunic, is well fhown on the back of this figure. The whole crook is ornamented with a fcroll of large vine-leaves, in low relief, with three bold foliations. The (lem fprings from the open mouth of an animal. 126 Defcription of the Ivories. 298. '6j. THE Head of a Paftoral Stafr. Englifh. 14th century. Height, 6 J inches; width, 4I inches. Bought, 128/. The volute is filled with a double fubjedt. On one fide is the Virgin and Child, as in No. 297. '67 ; except that one of the angels has a large cloak over his tunic, fattened with a brooch at the breaft. On the other fide is the Crucifixion, as in No. 214. '65. An angel, feen as far as the waift, fupports the volute from below : and the outfide is ornamented with large crockets. 299- '67- PLAQUE. Figures in a proceflion. Roman. 2nd century. Height, 6 inches ; width, 3J inches. Bought, 50/. This fine fragment is part of a cup, perhaps reprefenting a facrificial proceflion. Three figures and a portion of a fourth remain. They wear tunics ; one with long fleeves, the others with bare arms. One carries a low difh, another a vafe or cup fwinging by its handle. They all have wreaths round the head and wear fandals. The ivory is in a round form, following the natural curve of the tufk. 3°3- ' 6 7- PLAQUE. The Crucifixion. Carlovingian. 10th century. Height, 5 J inches; width, 2-J inches. Bought, 10/. Our Lord occupies the centre, His feet nailed with two nails, feparately, to a board fixed on the crofs. A foldier pierces His fide with a fpear ; and on the other fide another foldier is turning away with the fponge and hyflbp. The BlefTed Virgin and St. John ftand looking upwards to the Saviour. Above the crofs fix angels (three on each fide) ftoop, Handing on clouds, with wings raifed and expanded. Two fmall figures, higher up, reprefent the fun and moon, as in No. 251. '67. A ferpent rifes from the ground immediately under our Lord's feet ; and on each fide of the ferpent are four figures rifing from tombs. The whole is enclofed in a beautiful double border. The infide filled with a fmall leaf ornament ; the outfide fmall lozenges alternate with circles. Defcription of the Ivories, 127 242;. '69. PLAQUE. Ladies and jefters. French. 14th century. Height, 2 & inches ; width, 2 inches. Bought, 10/. The leaf of a pair of writing tablets. It is not eafy to decide what the fubjecl: of the carving is ; it feems to reprefent the tricks of three jefters behind whom two ladies ftand looking on. Above the group is a canopy of three pointed arches with crocketed gables ; and behind the canopy is a wall, decorated with a feries of narrow-pointed windows or panelling. This piece is fomewhat coarfely executed, in low relief. 453 to 466. '69. KNIFE Handles. Kings and Queens. Englifh. Dated 1607. Length, about 4 inches. Bought, 410/. Thefe very curious handles reprefent our kings and queens. There are now fourteen (from Henry the firft to James the firft) out of a fet originally, in all probability, of twenty-four. Each fovereign is reprefented at full length ; regally vefted in crown and mande and carrying the orb and fword. The three lateft, Edward the fixth, queen Elizabeth, and James the firft, are dreffed in the coftume of their time and with a fair attempt at portraiture. The details of their robes, the collars, ruffs, and jewels are elaborately carved. 468. '69. COMB. David and Bathfheba, and a fcene from a romance. German (?). 1 5th century. Length, 6-J- inches ; width, 4 J inches. Bought, 40/. On one fide in the flat upright panel of the comb is a tower, from the window of which king David delivers his letter to a page ftanding below. The page wears a tunic with a fword at his girdle and removes his hat from his head receiving the meflage. In the middle is Bath- fheba, feen in the bath, naked to the hips but wearing a fmall head- drefs and a necklace. An upright fountain, in the fhape of a pillar, pours two ft reams into the bath. She is attended by three ladies wearing long gowns with wide fleeves, bringing in wines and fruits. 128 Dejcription of the Ivories. The lower fide panels are ornamented with trees. On the other fide is a fcene from a romance. A knight or gentle- man lies apparently wounded at the foot of a fountain, with a man behind him who points to his fide with a ftaff. Three women, un- draped, are approaching ; one carrying a vafe and fmall box ; another, a fword held upright ; and the third a very long arrow. At the oppofite fide of the fountain an attendant holds a horfe faddled and bridled. The fide panels have fcrolls of branches of trees. 1 153. '69. FLUTE or Trumpet. fc Cornetto curvo." Italian. 1 6th century. Length, 22 inches ; diameter of mouth, ij- inch. Bought, 10/. An elegant although unornamented horn or trumpet, carved from a fmall tufk and following its natural curve. Towards the mouthpiece there are feveral rows of flight depreflions. There are fix flops. HEAD of a Paftoral Staff. French. 14th century. Height, 5 inches ; width, 4 J inches. Bought, 1 20/. The volute is filled with two fubje&s carved in openwork. On one fide is the Virgin and Child ; on the other the Crucifixion ; both fubjects are treated as in No. 214. '65, except that the BlefTed Virgin in this example is feated, and holds the Infant ftanding on her lap. The crook alfo is ornamented, as in No. 214, with vine leaves richly difpofed round it. There is, however, no angel fupporting the volute from below. 366. >L A SERIES of Panels; three with two compartments in each, 4§ inches by 2-| inches ; and two panels, fingle, i\ inches by i\ inches. Scenes, with one exception, from the PafTion of our Lord. French. 14th century. Bought, 250/. Thefe have been the panels of a cafket or reliquary and are carved in open work by an excellent artift of the beft period. They are now arranged in one oblong frame, according to the fubjecl:. PANE I Fourteenth Century. No. 3C6— 71. Defer iption of the Ivories. 129 1. The marriage at Cana in Galilee. Our Lord, a very dignified figure, fits in the centre, lifting His right hand in benediction and hold- ing a finall fquare object in the left. On one fide is the BlefTed Virgin with a chalice or cup in her hand, and behind are three other figures. The table is covered with a cloth and various difhes, the details of which are admirably carved. At the end of the table to the left is a man kneeling who offers a flagon to our Lord, in order for the miraculous change. Two curtains are feen hanging behind. 2. Chrift before Pilate. Our Lord, guarded by three foldiers, ftands in the centre, His hands croffed before Him and tied. Pilate, clothed in a long robe, holds out his hands and an attendant pours water over them. 3. The Flagellation. Treated in the ufual manner ; our Lord faftened to a tall, upright, flender column. Two perfons, feemingly Jews, ftand behind, wearing high peaked caps. 4. The carrying of the Crofs. The afcent to Calvary is mown by a man on the right who carries three nails in one hand. Immediately behind him is another who drags our Lord forwards. Two women follow behind, one of whom fupports an arm of the crofs. 5. The Refurrection. On the right of the compartment, the Saviour with a crozier in one hand fteps out of the fepulchre, in front of which lie three fleeping foldiers. An angel fits in the middle holding a fcroll or (it may be) a long narrow piece of linen, acrofs his knees ; and addrefles the three women who approach with fpices and ointment. 6. The harrowing of Hell. Our Lord carrying the crozier receives Adam and Eve, two undraped full length figures, who iflue from the open mouth of a dragon. Above the mouth, two demons drag down and clafp with their claws another naked figure. This may be intended for the impenitent thief, becaufe behind the Saviour ftands a man with a nimbus, his hands clafped in adoration, and covered with a long cloak under which is a garment of hair cloth. This may be the penitent thief. Thefe two figures occur, but rarely, in other ivories and illumi- nations of the fame fubje£t 7. The appearance to St. Mary Magdalene. St. Mary, wearing a long robe and her head covered with a veil and wimple round the throat, kneels on one knee, looking upwards at our Lord Who with the crozier in His left hand repels her with the other. There are two trees in the background. 8. The appearance to the three women. One kneels, with her hands before her extended and fpread open in a very natural way, and behind ftand the other two in adoration and with an eager gefture. They are drefled in long gowns and cloaks and with wimples. Our Lord ftill carries the crozier, with its banner. 1 1. 1 130 Defer iption of the Ivories, Each of thefe fubjects is under a richly decorated canopy of three arches, with tall pediments or gables above, crocketed and finialed. A diminutive angel fits between each gable, playing on an inftrument of mufic, or holding a fcroll as if finging. Behind is feen the open work of a panelled fcreen. Nothing can exceed the beauty of this example of the rare open work of the 14th century, and the lofs of the other panels (for thefe are probably only eight out of twenty-four) is greatly to be regretted. 3 6 7- '7 1 - DIPTYCH, or Folding Devotional Tablets. Scenes from thePaffion. Englifh. 14th century. Height of each tablet, 8 J- inches ; width, 5 inches. Bought, 200/. The fculpture of this fine diptych is in very high relief; portions of many of the figures cut clear from the background. Each plaque is divided into three equal compartments, feparated from one another by a band ornamented with rofes. The fubje&s begin from the left corner of the loweft left compartment. 1. The treafon of Judas and his betrayal of Chrift. The chief prieft advances towards Judas from the door of a low building and gives him the bag of money, which the traitor clutches with his right hand. The betrayal is on the right of this : Judas places his right hand upon the breaft of our Lord, about to embrace Him. Two men ftand behind, one with an axe upon his flioulder, ready to feize Jefus. 2. On the left Judas hangs from the tree, as in No. 291. '67. In the centre, St. Peter holding the fheath of a fword in his left hand ftrikes off the ear of Malchus with the other : our Lord ftands by, a man holding Him by the upper part of His robe. On the right, a fervant with a jug ftands before Pilate who wipes his hands with a napkin. 3. The carrying of the Crofs. Our Lord between two men, one of whom fupports the end of one limb of it. And the Crucifixion : the Saviour between the two thieves as in No. 211. '65, but their feet are not tied. 4. The Depofition from the crofs and the Entombment as in No. 293. '67. 5. On the left is the Refurre&ion. An empty tomb ; behind which ftand the three women looking into it and holding in their hands the fpices and the ointment. An angel, vefted in a long robe, and with feet bare, fits upon the edge of the fepulchre pointing downwards with his right hand. In front are the two foldiers, fleeping. They are armed LEAF OF A CONSULAR DIPTYCH Sixth Century. No. 368: '71 , Defcription of the Ivories. 131 in chain mail with furcoats and hooded hauberks. On the left, our Lord appears to St. Mary Magdalene : the faint kneels in an attitude of adoration, and the Saviour half turns away repulfing her with His right hand. He carries the crozier and is clothed in a Angle fliort cloak thrown acrofs the body and the left fhoulder. A tree ftands between the two. 6. The harrowing of Hell. Our Lord clothed as in the garden with St. Mary Magdalene advances and takes Adam by the right hand ; Adam is clofely followed by Eve. Both are clear of the mouth of Hades, and are nude. Behind them are the gaping jaws of the dragon's head from which iflue fix or feven figures, feen to the waift. 368. '71. LEAF of a Confular Diptych. Of the conful Anaftafius Paulus Probus Sabinianus Pompeius. Byzantine. 6th century. Height, 14J inches; width, 5 inches. Bought, 420/. Anaftafius was conful in the year a.d. 517. The conful is reprefented fitting in a curule chair, robed in the fame manner as the conful Oreftes in the diptych No. 139. '66, with tunic, toga or trabea^ and the broad band or fuperhumerale. His fhoes are fattened acrofs the inftep by narrow ribands patting round the ankles and tied. The chair is of the fame ftyle and character as that of Oreftes, but the front of it is decorated with two fquare panels filled with winged heads and fmaller medallions with butts in very low relief. The embroideries on the robes are alfo fimilar in defign to thofe worn by Oreftes, as mown on the right leaf of his diptych. The head of Anaftafius is bare ; the hair carefully combed ftraight over it. Behind his head is an ornament about the meaning of which there has been much difcuffion. It is in the ihape of a fea-fhell, and at firft fight looks like a nimbus ; but it furrounds only the upper part of the head. Some think it to be a fign that the conful was related to the emperor Anaftafius ; and that it was intended to denote his dignity as of imperial blood. Others, again, take it to be a part of the architectural decoration of the canopy under which he fits. He holds the mappa circenfis raifed in his right hand, in the act of throwing it for the fignal to begin the games. In his left hand is a fceptre, having a top heavy with ornament ; firft an eagle, fitting within a circle; and above this a narrow band on which reft three fmall bufts. 1 a 132 Defcription of the Ivories. On each fide of the conful is a fmall figure of Victory ; thefe ftand on globes and hold above their heads with both hands round tablets ; their draperies flutter behind them as if to fignify the movement of flight. The canopy under which Anaftafius fits is in fhape like the pediment of a temple, and refts upon two round columns with debafed Corinthian capitals. On the abacus of one of thefe, a fmall flower, very common in that ftyle, is carved ; the other abacus is hidden by the right hand which holds the mappa. Above the pediment of the canopy are three medallions, feparated by two angels holding wreaths or garlands. Bufts richly decorated with gems and embroideries are carved in low relief on the medallions. Thefe reprefent perhaps the children and the wife of Anaftafius, or perhaps fome members of the imperial family. At the top is the ufual tablet, with the infcription " V. INL. COM. « DOMEST. EOVIT. ET. CONS. ORD." " Vir illuftris comes " domefticorum equitum et conful ordinarius." The lower portion of the leaf is divided into two equal compart- ments by a narrow band ornamented with fmall fquares enclofing ftars. In the upper divifion are two fervants wearing tunics and holding in one hand fmall ftandards of wood or metal, on which is carved a crofs in low relief. Each leads a horfe by the bridle out of buildings meant probably for the ftables of the circus. The heads of the horfes are decorated with peacock's feathers, and with trappings acrofs the cheft tied round the neck. The legs are bandaged, as fometimes in modern days, from the knees and hocks to the fetlocks. In the lower compartment upon the left is a group of two men and a boy. One of them is almoft nude and refts his right hand upon the boy's head. It may be that thefe reprefent fome portion of the games in which athletes or acrobats were to exhibit. Behind them is a part of a tower and of the arcade of the circus. Upon the right, originally, as we learn from the engraving of this diptych in the firft volume of Gori, p. 280, were two men wearing tunics, one of whom with hands tied behind him ftoops forward and puts his head into a large dim fixed upon a tripod ; a crab in the difh lies juft under his face. Behind this man is the other whofe nofe has been caught tightly by the claws of a crab, and he ftands making it with an expreflion about his mouth as if he had had enough of the amufement. The part contain- ing this man and the tripod has been broken off. From the prefent appearance of the fracture it feems to have been of much older date than the time of Gori, about 100 years ago. But the piece is now unfortunately loft ; it may poflibly exift in fome collection as a fragment. Defer iption of the Ivories, 133 The execution of this leaf is far more careful and of better workman- fhip than the confular diptych of Oreftes, No. 139 ; and with the exception of the imperfection juft noticed, and of another lefs important on the fame fide at the top, is in admirable prefervation. On the back fome flight traces of an infeription in uncial letters ftill remain. 3 6 9- >• CASKET. Gilt metal faftenings, clamps, and lock. French. 13th century. Height, 6-J- inches; length, 13 \ inches ; width, 6| inches. Bought, 165/. This very remarkable coffer is of wood overlaid with thin plaques of ivory and has probably enclofed a reliquary of St. Felix. The lid has Hoping fides. On the front panel are painted two fubje&s : one, an archbifhop feated under a canopy fupported by a pointed arch, boldly cufped. He is fully veiled with pall, crozier, pointed mitre, alb, ftole, chafuble and maniple. His chafuble and mitre are red, the pall, maniple, ftole, and apparels of the alb gilded. His chair or throne has a cloth thrown over it, coloured green ; the arms terminate with the heads of dogs, and the feet are thofe of goats. The archbifhop lifts his right hand in the a£r. of benediction, and a plain nimbus furrounds his head. On a line with the top of the canopy is the infeription : S: FELIX : PI : ET : MAR: The other fubjedr. is the Virgin and Child. The Blefled Virgin, vefted in a long robe girded at the waift and with a gilded pall or cloak fattened in front with a jewelled morfe, offers her breaft to the Infant Jefus Who fits upon her knee fupported by her left hand. Her head is covered with a white veil and above it is a crown of gold and jewels. She fits on a low feat painted green and decorated with narrow panels. Her nimbus is flightly ornamented with fmall dots infide. The group is placed under a canopy like that above St. Felix. The cafket is alfo ornamented with twenty-two fhields on which coats of arms have been painted ; thefe are now almoft entirely defaced. Upon two, however, the blazonry may ftill be traced. One, as a friend tells me, is azure, femee fleurs-de-lys, or : the other, barry, vair of fix, counterchanged. A broad band below the lid has been richly decorated with light foliated fcrolls. 134 Defer iption of the Ivories, 37°- 7 l - SHRINE with folding Shutters. Two on each fide. French. 14th century. Height, 8 J inches; width of centre, 2§ inches; width of fh utters, 2 inches. Bought, 165/. A very beautiful fhrine ; fimilar in defign and ftyle of execution, as well as in the archite&ural decorations and different fubjects, to No. 4686. '58. We have here, alfo, the Virgin and Child in the centre, the Annunciation, the Vifitation, the Nativity, the adoration of the Kings, and the Prefentation in the temple. There are flight varia- tions ; for example, the robe of the Virgin under the canopy is thrown open rather back from the moulders, not gathered up in folds acrofs the waift. In the Nativity, again, the Child is in His mother's arms, in fwaddling clothes, as fhe lies upon the pallet. Once more, all the three kings ftand. The ftatuette in the middle is in high relief, but fomewhat lefs clearly cut from the background than in No. 4686c This fhrine has been painted and gilded. Slight traces of the colour and gold frill remain. 37 1 7 1 - HEAD of a Tau. Walrus ivory. Open work. Northern Europe, nth century. Length, 6§ inches; width, i\ inches. Bought, 200/. The two volutes of this Tau are formed of the bodies and heads of ferpents, fpringing from the middle and bending round to the centre of each volute where they terminate ; three of them with open jaws, feizing upon men by their waifts who ftruggle and hold the upper jaw. The fourth ferpent lies proftrate before the archangel St. Michael, who is armed with fword and fhield. The three men are all drefled alike in long tunics with wide fleeves decorated with borders having a fmall beaded ornamentation. On one fide, the centre is occupied by a figure of our Lord, feated and feen down to the knees ; He holds a book in the left hand and with the right He gives benediction. A cruciferous nimbus furrounds His head. He is vefted in a long robe and over it is a large mantle or cloak thrown acrofs the left arm. This fubjedr. is carved in high relief within a circle having a rich floriated border. SHRINE. Fourteenth Century. No. 370 — 71 Defer iption of the Ivories, 135 On the other fide, within a fimilar circle, are the BlefTed Virgin and the Infant. She wears a tight-fitting robe with hanging fleeves, her head [covered with a veil, and looks downwards to the Child Who fits upon her left knee with His face turned towards her. He is veiled in what feems to reprefent a fmall cope over His under garment. The figures and the heads of the ferpents in the volutes of this fine Tau are carved in openwork. 37*- ft; HEAD of a Tau. Scroll ornaments with figures. French (?). 12th century. Length, 5J inches; width, if inch. Bought, 75/. This piece has unfortunately loft the two ends and the centres on both fides. It is made out of a flat piece of ivory ; and the defign is carved in high relief. On one fide are two men clothed in tunics, involved and as it were tied by the convolutions of the twifting and interlacing fcroll with which the Tau is ornamented. On the other are two fabulous animals executed with great fpirit and force, winged griffins. Thefe are in like manner tied and furrounded by the twifting fcroll. 373- >• HANDLE of a Flabellum. Round compartments, with animals. South of France. 12th century. Height, 6 inches; diameter, J inch. Bought, 55/. This very beautiful piece is half, probably, of the whole handle ; and another half, almoft correfponding, is now in the Britifh Mufeum. It is divided by bands, ornamented with fmall round beads, into three portions ; each portion again divided into three rectangular compartments. At the top the firft round has a fabulous animal ; the upper part of a man holding a fword, the lower part a dragon's body and tail; a large bird like a goofe ; and a bird flying. The fecond has a cock and two large web- footed birds. In the third and fourth rounds are fix fabulous beafts; griffins, dragons, and animals with human heads. The fifth and fixth rounds have a centaur, a monkey, a ftag, a lion, a wild boar, and fome unknown beaft. Below thefe there is one more round or band ; having three winged dragons or griffins. 136 Defer iption of the Ivories. The execution of the ornaments on this handle is admirable. All the animals are delicately carved in high relief; their legs in feveral inftances cut clear from the background. The wild boar and the monkey are truthful and fpirited ; efpecially the latter, fcratching his head with one paw and picking up nuts with the other. 374- 71. DRAUGHTSMAN. Circular. French (?). 12th century. Diameter, i\ inches. Bought, 5/. ior. A man armed with a fhield and fword attacks a ferpent which winds itfelf in and out of the branches of a tree. He wears a fhort tunic girded round the waift, and fhoes. The border is divided into fmall fquares by double lines; each divifion filled with a quatrefoil ornament. 375- 7*- DRAUGHTSMAN. Walrus ivory. Circular. Northern Europe. 1 2th century. Diameter, 2§ inches. Bought, 5/. 10s. This is carved in very high relief. A man and woman fit with a low table between them, playing at the game. Four others ftand behind, looking on. The border is wide, filled with fmall open round dots. S7 6 - '7i- DRAUGHTSMAN. Walrus ivory. Northern Europe. 13th century. Diameter, 2 -J inches. Bought, 5/. A man rides upon a griffin or fome kind of nondefcript beaft, with the head, wings, and claws of an eagle, and body and hind legs of a horfe. The man carries a hawk on his left wrift ; and what feems to be a cloth in the other hand. The border is flightly incifed with ornamental lines. Defer iption of the Ivories. 137 377- '71- DRAUGHTSMAN. A fragment. 1 2th century. Diameter, i\ inches. Bought, 4/. Scarcely more than half of this curious piece remains. In the centre, in high relief, is a fabulous animal, a kind of dragon without wings ; the head is thrown back with the jaws open, biting at the end of a ftafF or fpear. This ivory has been alfo greatly damaged by fire. 37*- >i- PLAQUE. Walrus ivory. The Afcenfion. Rhenifh Byzantine, nth century. Height, 8finch.es; width, 7 1- inches. Bought, 15c/. A book-cover. Perhaps it has been the companion piece to No. 144. and No. 145. '66 : and formed the cover of another volume of the fame Evangelifteria. The border is different, but the ftyle, date, and execution are precifely fimilar. The back of this example mows how the tufks of the walrus were fitted and adapted for the required purpofe. In front, the joining together of the feveral pieces is very neatly done. Behind, the three large fections are feen almoft roughly put fide by fide and fixed firmly to the border with ivory pegs. The fubjecT:, the afcenfion of our Lord, is treated in a manner almoft identical with No. 258. '67. The chief variations are that the vefica which furrounds the Saviour is not decorated in this example; nor do the two angels touch it with their hands. The apoftle St. Peter holds the keys and another apoftle, immediately behind, a book. The name ABACVC is incifed on the fcroll which the prophet holds, and the legend " Elevatus eft fol " is omitted. The hill from which our Lord afcends is ornamented with fmall flowers lightly incifed. 379- , 7 I - PLAQUE. Scenes from the Gofpels. Byzantine, nth century. Height 8f inches ; width, 5 J inches. Bought, 150/. A book-cover. Divided into eight compartments ; each feparated and furrounded by an intricate and interlacing border of foliage, tied 138 Defer iption of the Ivories. together at the interferons by large rofettes. The fubjedls begin at the right corner at top. 1. The mefTage to St. Jofeph. He is reprefented afleep lying on a pallet, behind which an angel ftands addrefling him. The angel carries a long ftafF with a crofs at the end in his left hand. Behind St. Jofeph are two fmall buildings, Romanefque ; and in front of them, falling like drapery above his head, are two curtains fufpended from a rod. At the foot of the couch is a tall candleftick and a flagon by the fide of it. The angle of one of the buildings is fupported by a flender twifted column with foliated capital. 2. The flight into Egypt. The' Virgin and Child ride upon an afs which St. Jofeph leads by the bridle ; an angel directs them, flying above their heads. They are at the entrance of a city, the gates of which are opened ; with battlemented walls and towers. Two birds fit upon the wall of the city. 3. The murder of the Innocents. King Herod is on a throne out- fide the doorway of a low building, giving the order to his foldiers. He wears a crown, tunic, and large mantle. In his left hand is a long fceptre. Several children lie dead upon the ground, and two men lift up others high above their heads to dafh them upon the ftones. Women ftand behind in attitudes of grief. 4. " Rachel weeping for her children." On the left is a walled city ; outfide of which Rachel, a large figure, fits with outftretched arms, her hair flowing over her fhoulders and her robe torn open acrofs her breafts, with a headlefs child lying acrofs her knees. Other women ftand by weeping. 5. The Prefentation in the Temple. Our Lord is mown, older than ufual, ftanding ; half led half fupported by His mother as if about to advance towards Simeon who comes forward, ftooping and having both hands covered with a large cloth. The Blefled Virgin wears a large mantle which covers her head and is faftened with a morfe in front. Others ftand round and behind her ; one of them carrying two doves. St. Anne is behind Simeon ; and the background is filled with buildings ; reprefented as furrounding a court. 6. Chrift teaching in the Temple. In the infide of a build- ing fupported on two columns our Lord is feated on a high chair, holding a book and extending His right hand with a gefture of fpeak- ing. Nine men, elders, fit round the chair upon the ground. The Blefled Virgin with an attendant woman ftands at the open door, outfide. 7. The Marriage at Cana in Galilee. On the left a building, at the entrance of which our Lord ftands with His mother clofe behind. Defcription of the Ivories. 139 He ftretches out His right hand, dire&ing fervants who bring water- pots and place before Him ; two of them pouring water from larger pots. 8. The Mafter of the feaft ftands at the door of a fimilar building and fervants come to him, one of them holding high up in one hand a cup full of wine and a large flagon in the other. The chief perfon wears a tunic, over which is a cloak with a collar turned down round the neck. The eight fubje6ts are enclofed in a border of acanthus leaves. The whole effecl: of this extraordinary piece is exceedingly rich and the execution of every part of it very delicate and admirable. Many parts are carved clear of the background, particularly the flender columns which fupport the various buildings. A fmall piece has been broken away from one of the top compart- ments ; in other refpects this wonderful book-cover is in good preferva- tion. It muft have been always kept with great care, as an object efpecially and rightly to be prized. 380. '71. PLAQUE. The Vifit to the Sepulchre. Carlovingian. 10th century. Height, 2s inches ; width, 2§ inches. Bought, 10/. Probably the cover of a fmall book. The fepulchre is reprefented as a round building with a dome and cupola over ; there is a range of fmall windows under the dome and tall rectangular windows are in the cupola above. An angel fits on the left ; and three women approach from the oppofite fide ; one carrying a cenfer which me fwings in her hand. The angel raifes one hand in the acl: of benediction ; in the other he holds a tall crozier. The door of the fepulchre is wide open ; and the linen clothes are feen lying infide. On the roof of the dome are the two foldiers, afleep. The border is very delicately carved with a fmall floriated ornament. 381. '71. PLAQUE. Walrus ivory. Our Lord feated in Majefty. Byzantine. 1 2th century. Height, 3^ inches ; width, 1 inches. Bought, 10/. The Saviour, vefted in an ample robe with broad fleeves over which is thrown a large mande, fits on a wide throne with a circular back 1 40 Defcription of the Ivories. and ornamented. There are two cufhions reprefented, one over the other. Our Lord raifes His right hand in the adr. of benediction and holds a book, wide opened, in the left j His feet, bare and unfandaled, reft upon a fquare footftool. 382. '71. PANEL. The Virgin and Child. French. 14th cen- tury. Height, 3 \ inches ; width, 2 inches. Bought, 1 il. This has been the centre-piece of a fmall fhrine of which the fhutters have been loft. The Virgin is feated, her head covered with a veil, and clothed in a fingle large mantle or robe falling in broad folds down to the ground. She holds the Child on her left arm, His feet refting on her knee. The canopy under which fhe fits is formed of a trefoil arch over which is a heavy architectural decoration j an arcade with turrets at the ends and central tower. 3*3- '7i- MEDALLION. Bone. The Marriage of St. Catherine. German. 15th century. Diameter, 2§ inches. Bought, 7/. This medallion has had the lower part carved in low relief, the upper half in openwork. This upper part is loft. The BlefTed Virgin fits in the centre wearing an imperial crown and richly clothed in a tunic fattened round the throat. A large mantle falls acrofs her moulders in heavy folds over her feet along the ground. She holds the Infant in her arms, Who turns away bending towards St. Catherine ; the faint lifts up her right hand, on which our Lord places the ring. She has her fword in the left hand refting its point upon the ground. On the right of the Virgin is a fmall fitting figure with an open book ; probably intended for St. John. His mantle is fattened on his breaft with a band. This fmall piece is well defigned and the workmanfhip good. The fubje<5r. is rare at this period in German art. Defcription of the Ivories. 141 1. 72. PLAQUE. Scenes from the Gofpels. Byzantine, nth century. Length, 8 J inches ; width, 3-J inches. Bought, 75/. This has been, probably, a book-cover. It is divided into three compartments by two narrow bands, flightly ornamented. At the top is the Crucifixion. Our Lord is fufpended from a crofs the limbs of which are unufually wide, and His feet come down to the ground, refting feparate on a broad tablet. His head is erect, furrounded by a cruciferous nimbus. His garment falls from the waift to the knees, faftened by a knot. An angular vefica, in the fhape of an unequal-fided diamond, furrounds our Lord ; enveloping Him from the top of the crofs to His feet. On His right fide a foldier holding a fpear in his right hand and pointing with the left to the Saviour turns himfelf afide as if fpeaking to the Blefled Virgin, who ftands beyond him. The foldier is clothed in a tunic with ornamented border faftened round the waift by a wide belt, from which a broad and fhort fword hangs. His legs are bound round tightly with bandages. The Virgin is vefted in a ftole with large mantle or cloak and her head covered with a veil. On the left fide of our Lord, beyond the limb of the crofs, St. John ftands holding a book ; his large mantle clofely drawn round his body and covering one hand. Between St. John and the crofs is a man carrying the fponge and a fmall bucket with the vinegar. Above the crofs are the fymbolical fun and moon. Two half figures richly vefted ; one crowned with the fun the other with the crefcent moon, and both holding their refpedtive emblems in their hands. The next divifion contains the Refurre&ion. In the middle is the tomb or fepulchre, reprefented by a lofty building having an upper ftory under a high roof and the lower part half hidden by a curtain drawn acrofs and hanging from the doorway. On either fide of the open entrance an angel fits, each holding in his hand a long ftaff" with a fmall crofs at the top. From the left the three women approach bearing their fpices and ointments, all wearing long garments with mantles and veiled. Upon the other fide are two foldiers, fleeping, their heads refting upon ftiields and their fpears behind them. Aboveare three angels. The lower compartment has three diftincl: fubje&s. On the left is the harrowing of Hell. Our Lord has thrown down the gates of Hades and, pafling under a canopy of two arches, releafes the fouls in prifon who iflue from the open mouth of the dragon. 142 Defer iption of the Ivories. In the middle is the Afcenfion. The apoftles ftand below, fur- rounded by the walls of a fortified town with battlements. The BlefTed Virgin is in the centre and all gaze up into heaven towards our Lord, Who rifes upon a cloud, fupported on each fide by an angel. From above, a hand defcends touching the head of the afcending Saviour. Our Lord is feated in glory in the right corner of this compartment. He is furrounded by a double vefica, the two interfering at His waift, and held by four angels. He fits upon a rainbow under which is another angel. A nimbus with incifed crofs is alfo round His head. 2,. J2,. PLAQUE. Our Lord in Glory. French (?). 12th cen- tury. Height, 5 J inches ; width, 2% inches. Bought, 40/. A book-cover, carved in low relief within a plain border. Our Lord is feated on a cufhion refting on a rainbow within a vefica. His head is furrounded by a cruciferous nimbus and the hair tied with a narrow fillet. He is veiled in a long under robe falling to his feet, which are bare, and over it a large mantle unfaftened at the throat but tied acrofs the body round the waift. In His right hand are a key and a fhort ftafF with a triangular head, enclofing a crofs ; in His left is a flaming cenfer. Refting on His left knee is a large book. The four corners of the panel are filled with the emblems of the four evangelifts, and at the bottom is a fmall circle of open work on which the Saviour's feet reft. This has held a relic which could be feen through the perforations of the ivory. 3- >• PLAQUE. The Taking down from the Crofs. nth century (?). Height, 8§ inches ; width, 4-| inches. Bought, 60/. A book-cover of very remarkable ftyle and character ; the figures extremely attenuated, and the folds of the draperies angularly difpofed. There is much about it which reminds one of the Irifh and Anglo-faxon fchools. The body of our Lord is upheld, half taken down from the crofs. His head drops down upon the head of the BlefTed Virgin and His hands and arms fall upon her moulders. She receives the left hand in her own, kifling it. The Saviour's hair is arranged in long plaits hanging Defer iption of the Ivories. 143 down His back and His ribs are ftrongly marked. The man fup- porting the body wears a tunic and fhort cloak and ftands upon a high three-legged ftool. The figures of the Virgin and of our Lord are larger than the others in the compofition. The Virgin ftands at the foot of the crofs 1 and behind her another woman, a faint ; both are vefted, as ufual, in long gowns with cloaks and veils thrown over the head. On the other fide a man half kneeling removes the nails from the feet with pincers. The extremities of the crofs pieces are figned with A and O ; thefe letters may be of later date ; and the top of the upright limb has alfo a fecond crofs. Above are two angels, each holding a cloth or napkin. The border is well defigned, fcrolls with bold foliage. 4. 7*> DIPTYCH. In filver frame. French. 14th century. Height, 2§ inches ; width, 2f inches. Bought, 30/. This fmall and beautiful diptych is enclofed in a filver frame of later date. On one leaf is the Virgin and Child. The Virgin is feated, holding a flower in her right hand and looking towards the Infant Whom me fupports on her lap. She has a veil on her head with a crown over it ; and is vefted in a long tunic girded round the waift ; a mantle hanging from her fhoulders. At her right fide a fmall figure, feemingly a woman, kneels in adoration. On the other leaf is St. Catherine crowned and carrying her book, treading the emperor Maximilian under her feet and thrufting him through with a fword. Both thefe fubje&s are under pointed arches, cufped and crocketed ; the hair and crowns of the figures have been gilded and the background above the canopies painted. In the corners at top are gilded circles, each enclofing a red crofs. 5- >• PLAQUE. Scenes from the Gofpels. Byzantine, nth century. Height, I2f inches ; width 5§ inches. Bought, 100/. This is divided into two equal compartments by a narrow band roughly ornamented with fmall beads \ the lower of which contains two fubje&s. 144 Defcription of the Ivories, In the upper divifion is the Crucifixion. In the centre our Lord, draped from the loins to the knees, is fufpended from the crofs with arms widely extended. His feet reft upon a tablet. The BlefTed Virgin and St, John ftand fide by fide under His right arm, as if fpeaking to one another. They are vefted in the ufual way with long tunics reaching to the feet and with large mantles. The Virgin's head is covered with a hood. Behind them is the flope of a hill with trees. On the other fide is a foldier, the centurion, with armour and a fhort tunic, carrying a large ftiield and pointing upwards to the crofs with his right hand. Another man, richly dreiTed in an ornamented tunic and broad belt or girdle, holds the fpear in his right hand and a vafe with the vinegar in the other. Behind him a third raifes the fponge towards the Saviour. Behind thefe is a building. Above the crofs are two angels with the conventional fun and moon ; and at the foot of it is a fmall mound from which a fkull looks out ; there are alfo what feem to be three large pegs or pofts driven into the mound. The upper and larger portion of the lower compartment has the Depofition. A man, ftanding on a very Hoping ladder, receives the body of our Lord into his arms. The BlefTed Virgin holds His right arm and a man is in the act of drawing out the nail from the left hand : this man ftands upon a double ladder or a pair of fteps. St. John, in an attitude of grief, is at the left fide of our Lord. Above the crofs are four angels. Below this is the Entombment. The body of our Lord is extended at full length, the arms acrofs, on the ground outfide the fepulchre ; the fide of which has two crofTes incifed upon it. His head is flightly raifed by the BlefTed Virgin who ftoops over it. Two men proftrate them- felves in adoration at His feet. Above are two angels. The general treatment of the fubjedts and the coftumes of the figures in this plaque are unufual and full of intereft. But the execution, though fpirited, is coarfe and unfinifhed. Traces of painting ftill remain upon the ivory. 6. >. SHRINE, with folding Shutters. Two on each fide. French. 14th century. Height, g\ inches; width of centre canopy, 3 J inches ; width of fhutters, 2-J inches. Bought, 225/. The centre is divided into two compartments : below are the Virgin and Child with angels as in No. 7592. '6i, except that there is no angel above the Virgin's head. Above are our Lord and the BlefTed Virgin STATUETTE : VIRGIN AND CHILD. Fourteenth Century. ■ No. 7. '7a. Defer iptio?i of the Ivories. 14.5 in glory, alfo treated as in No. 7592. Both groups are placed under canopies ; a pointed arch cufped and fupported on two columns with foliated capitals. The figures are all carved in very high relief and the three in the lower divifion are long out of all proportion. The fubjefts on the mutters, which are divided like the centre, are : I. The Annunciation ; 2. the Vifitation ; 3. the Nativity ; 4. the Adora- tion of the three kings ; 5. the Prefentation in the temple. Thefe are treated as in No. 7592 and No. 140. '66, except that in the Nativity a female attendant ftands behind the pallet on which the Virgin lies, and receives the Infant into her arms. All the three kings, again, are reprefented ftanding. The figures of the groups in the lower compart- ments are even more exaggerated in height than thofe in the centre. Notwithstanding this unufual error in proportion the effect of the whole fhrine is very graceful and beautiful. Some portions of the canopies are modern reftorations. 7. 7*- STATUETTE. Virgin and Child. Englifh (?). 14th century. Height, 7 J inches ; width, 1 inches. Bought, The Blefled Virgin ftands holding the Child on her left arm rather higher than is ufual, fo that His face is on a level with and almoft touches her cheek. She is veiled as in the ftatuettes No. 4685. '58 and No. 201. '67, her tunic falling down to and covering her feet. She holds the ftem of a lily, of which the flower is loft, in her right hand. The Infant throws His right arm round His mother's neck ; a tender and beautiful action of which there is no other example in the collection. The robes of the Virgin have been coloured. B 8. ' >* OOK Covers (two). German. 1 6th century. i-| inch; width, ] ;§ inch. Bought, .5/. Height, Thefe covers are ftill attached to the book for which they were made, of which the title is, " Schoene Troftfprueche fixer die aengftigen " GewiiTen. M. Vitus Deeterich." The date is on the colophon : " Anno 1597." On one fide is the facrament of Abfolution. A prieft fitting in a low canopied chair, of fourteenth century ftyle, liftens t« a man who kneels 1. K 146 Defcription of the Ivories. before him. The prieft wears a low cap and furplice j the penitent is bareheaded in a long gown with fur over the moulders. On the other fide is the facrament of the Eucharift. The prieft, Handing, holds the paten in his right hand and with his left gives the Sacrament to the fame perfon as before, kneeling. Behind the prieft is feen the crucifix upon the altar, and on his right one of the altar curtains fufpended from a rod. 9. '73. MIRROR Cafe. The fiege of the Caftle of Love. French. 14th century. Diameter, 5 -J inches. Bought, no/. This very beautiful example is in perfect prefervation, the lions on the border being uninjured. The workmanfhip and defign are alike excellent. In front of the caftle is a gateway approached by four fteps with portcullis half drawn up and flanked by two large towers j thefe have battlements and conical roofs. Above this are two upper ftories. Behind the battlements of the loweft are four ladies defending the caftle and throwing rofes down at the aflailants ; the ladies wear long gowns faftened tight round the throat, and two of them with girdles at the waift. On the top, above them, Cupid crowned aims an arrow at one of the knights underneath. Below, three knights attack upon the left and two on the right, all on horfeback ; they are armed and their horfes are caparifoned as in the cafket, No. 146. '66, except that one feems to be attacking the walls with a heavy club or battleaxe. Another, as if weary and hot, half lifts his heavy tilting helmet from his head, fhowing the hood of the hauberk below. On two trees, right and left of the caftle, are two figures of men blowing trumpets. Four lions, well defigned and carved clear of the body of the mirror cafe, walk flowly round the rim. IO. *J2. STATUETTE. Group of the Baptifm of our Lord. Spanifh(?). 1 6th century. Height, 10J inches; width, 4 inches. Bought, 3$!. Two lengthy figures : St. John the Baptift ftands on a low mound holding a fhell in his right hand, from which he pours water upon the Defcription of the Ivories, 147 head of our Lord Who is placed a little below him, alfo ftanding. The Baptift is clothed in a fliort raiment of camel's hair ; the Saviour in a loofe garment falling from the left moulder and gathered upwards acrofs the loins, leaving the body nearly bare. His hands are croffed with humility over His breaft. The expreflion of the faces is painful, the mouths drawn and open. II. J 2. % SET of Tablets. Covers and fix leaves. French. 14th century. Height, 4J inches ; width, 2§ inches. Bought, 1 25/. This fine example of mediaeval tablets feems to have all its leaves complete, as when originally made. The feparate leaves, which have been (lightly hollowed for wax with the ufual narrow rim, have been filled with fubje&s relating to the Paflion of our Lord, painted and very largely gilt. On one cover upon the left is St. Laurence vefted in his dalmatic as a deacon and holding a gridiron, the emblem of his martyrdom. On the right, a bifhop ftands giving his blefling, fully vefted with chafuble, mitre, and paftoral ftaff. On the other cover is the coronation of the Virgin, as in No. 7592. '6i and No. 239. '67, except that the angels are reprefented above, fwinging cenfers. On both covers in the corner is a fmall kneeling figure of a man, a monk ; tonfured and wearing his habit. Probably intended for the perfon for whom the tablets were made. The two fubje&s are under canopies ; each of two plain pointed arches, and above them gables crocketed and with finials. In the panels between the gables are trefoils in low relief. The covers have been painted and gilded. The paintings infide are: 1. The Laft Supper. 2. The kifs of Judas. 3. Chrift before Pilate. 4. Chrift before Herod. 5. The Flagellation. 6. Pilate wafhing his hands. 7. The carrying of the Crofs. 8. The Crucifixion. 9. The Refurre£tion. 10. The Veronica. 11, 12, 13, 14. Emblems of the Paflion: — the kifs of Judas; the hand which flapped ; the wound in the fide ; the crown of thorns ; the fponge and ftafF; the three nails, the hammer, the pincers; the pieces of money, the pillar and the fcourge ; the feamlefs robe ; the fpear ; the ladder ; and the open tomb. 148 Defcription of the Ivories. 12. 72. STATUETTE. A boy feated. Italian. 1 6th century. Height, 7 \ inches ; width, 4 inches. Bought, 50/. The boy is bareheaded and clothed in a thin garment fattened by a button at the throat. Over this, falling from his moulders fo as to cover the back, is a thicker cloak or mantle. He fits on a low fquare feat ornamented in low relief with flowers. In one hand he holds forward a fcroll, in the other a garland of flowers. 13. 73. GROUP. Three boys. Italian. 16th century. Height, 7 inches; width, 2^ inches. Bought, $$1. One of the boys carries another on his moulders, lifted above his head ; two others behind give their fupport. The figures are all good. APPENDIX. | HE collection of Ivories in the British Museum — ex- The elusive of Egyptian, Assyrian, and Etruscan — is very ^ ritish i i 1 /• , Museum. important, and can show examples of almost every > , — style. The whole number is about one hundred and sixty pieces besides the set of chessmen and draughtsmen found in the isle of Lewis, which have been already spoken of. Among them the following are especially to be noticed : — i. The leaf known by the name of the Gherardesca diptych, or the apotheosis of Romulus : which has been long the subject of much dispute among writers on consular diptychs. It has been published by Buonarotti, Montfaucon, Gori, and Millin. Some have thought it to be a mythological and not a historical tablet ; some, relying on the coins of Antoninus Pius, have claimed it for that emperor. Lastly, M. Pulszky has suggested another expla- nation which seems not unreasonable, although we may scarcely agree that it solves all the difficulties at once. He rightly argues that, being heavy in design and rude in execution, it must be placed at a much later period than the reign of Antoninus ; most probably early in the fourth century. His chief proof is derived from the monogram which is carved, in open work, at the top of the leaf ; and which contains all the elements of the name of Romulus, and also the letters A and C. "M. Aurelius Maxentius, raised to the " Imperial throne, A.D. 306, had a youthful son, Aurelius Romulus, " whom, A.D. 308, he declared Caesar and consul for Italy. The " young man died during his consulship, and received the honours of " an apotheosis. . . It is the emperor Maxentius who, as a new " Jupiter Conservator, holding a laurel twig and the hasta pura, is 150 Appendix. The " carried, by four elephants on a kind of shrine on four wheels, British « towards the funeral pile, from which the young Caesar Aurelius Museum. . f, . -, ■ % 1 r 1 ' . ' " Romulus rises towards heaven, in a chariot drawn by four horses. " Two eagles, the symbols of the apotheosis, soar up with him ; " whilst above him two Genii carry the first Romulus to the assembly " of gods, seated above the six autumnal and hibernal signs of the " zodiac. The letters of the monogram, with A and C, mean " Aurelius Romulus Caesar." ' We must acknowledge that there is at least great ingenuity in the explanation proposed by M. Pulszky. There is a remarkable ornament on the top of this leaf: formed of open work scrolls joined in the centre by a small circle. 2. The magnificent tablet which has been described above, p. xxxv., representing an angel. 3. The Northumbrian casket, given to the Museum by Mr. Franks ; also described above, p. xlix. 4. A small fragment, Roman work, perhaps of the third century ; having, in low relief, the head and body of a man seen to the waist. 5. A bishop's ceremonial comb, probably Norman ; of the twelfth century or even earlier. Nearly eight inches in length by three and a quarter. It is carved in open work, divided into three compartments which are separated by bands, having heads of some fabulous animal designed with much spirit in the middle. The two end compartments are filled with scrolls, interlacing ; in the centre is a man standing upright and blowing a large horn ; he is supported underneath by a grotesque figure, wearing a conical cap. On one side is an inscription, incised ; of which a portion, " Vult " D. Deus. I H S. Christus." is still easily to be read. There is a small handle with a ring, as if to suspend it ; and the flat bands have ornaments in low relief. This most rare ivory is in a very fragile state and mutilated. An engraving of it is given in the preface. 6. The Bellerophon, which has been already mentioned ; Roman, of the fourth century : carved in pierced work, eight inches and a quarter by three inches. Above the border of the panel is a series of low arches. 7. Plaque, Italian ? seventh century ; seven inches and a quarter by nearly four. This has been, perhaps, a part of a reliquary or of the ornament of a chair, like the Ravenna chair. It represents two of the three kings offering their gifts ; they wear the Phrygian cap, 1 Essay on antique ivories, p. 18. Appendix. 151 and are clothed in a single short tunic girded at the waist. Behind The them are buildings in low relief. Museum. 8. Book cover, about seven inches by four ; Carlovingian, tenth ■ > — century. This has been also already noticed above, p. xxxviij., as being carved on the half of an old consular diptych, of which No. 266.'6?, in the South Kensington collection, is the other half. It is divided into three compartments ; the lowest of which it is not easy to explain. It may be the going forth of the soldiers to seize our Lord. In the middle are the kiss of Judas and the healing of the ear. of Malchus. At top is an unusual subject : our Lord standing upright after His betrayal, and the falling back of the soldiers and people upon the ground. 9. Plaque, Byzantine, ninth century ; seven inches and a half by three and a half. The raising of Lazarus. Our Lord stands in the centre, carrying a long rod or staff in His left hand and raising the right in benediction. He is vested in a long tunic with short sleeves and a cloak. Before Him are St. Mary and St. Martha, one of them kneeling with one knee upon the ground, and behind is a single apostle. Christ, alone, is represented with a nimbus. Gori 2 says that the Christians in early times always placed a rod or sceptre in the hand of our Lord — " semper cum " virga in manu dextra repraesentant " — in paintings and sculptures of the resurrection of Lazarus, or of the feeding the multitude in the desert. So sweeping an assertion must be received with caution ; and, in the present example, the rod is in the left hand. This, however, may be a mode of expressing that the miracle itself is worked by the power of His right hand. Lazarus is seen upright in a kind of large open pillar, wrapt, except his face, in the grave- clothes, and bound tightly round with narrow bands, frequently crossing, from head to foot. Some buildings like three towers are in the background. This important ivory was formerly preserved in the church of St. Andrew at Amalfi, where it formed for a length of time a panel in a reliquary. Its original use is unknown. Afterwards, it was kept in a museum at Naples ; from thence it passed into the possession of the chevalier Bunsen: by whom it was sold to another private person before it was obtained by the British Museum. It is engraved in Gori. 3 There is a very curious similarity of manner, style, and posture in the figure and even in the face of the kneeling woman, with repre- 2 Or, rather, his author. ThesauruSj torn. iii. p. 107. * Thesaurus, torn. iii. p. io8. 1 52 Appendix. The sentations of Hindoo women upon almost modern carvings and in British -.11 Museum, oriental drawings. ' ' ' 10. A cup; seventh century ? already spoken of above, p. xliv. ; height, nine inches. 11. Plaque, Byzantine, eleventh century; about six inches by five. Probably a panel of a casket or reliquary. On the right, our Lord is seen sitting upon the rainbow, His feet resting on a foot- stool. His whole figure is surrounded by an oval nimbus, above and behind which is a crowd of saints or angels, and on the left is the tall figure of a man standing. The whole of this is in the style of the eleventh century ; but in the corner are three small naked boys, classical in design and treatment, and similar to the figures on the Veroli casket, No. 216/65. Hence this ivory is of great value in determining the probable date of works of that school. 1 2. A diptych of excellent design and workmanship, French, four- teenth century ; each leaf five inches by three. On one side are the Virgin and Child, standing, attended by angels ; on the other, the Crucifixion, with St. Mary and St. John. The subjects are under rich canopies of a single arch. 13. Handle of a fiabellum : exactly like in size, style, and date to the example in the South Kensington collection, No. 2>72>-7 l y anc * equally admirable in the workmanship. In three of the compart- ments are the twelve apostles, two under each separate arch which forms the ornament of the division. The lowest compartment has animals, perhaps meant for the evangelistic symbols. 14. A chess piece : walrus ivory, perhaps North German, of the thirteenth century; already described above, p. lxxiij. 15. The extraordinary set of chessmen found in the isle of Lewis, and fully described with engravings in the Archceologia* See above also, p. lxxij. 16. Plaque, German ? tenth century ? five inches by nearly four. This is an example of the peculiar style recognised by the pierced decoration of the background, and of which other speci- mens will be mentioned presently in the Liverpool museum. The subject on the plaque is the raising of the widow's son. Two young men carrying the body extended on a bier, close to which two smaller figures walk, meet our Lord followed by a group of the apostles. He stretches out His hand and touches the bier. The whole is well designed and the story plainly told. 17. The head of a pastoral staff, French, eleventh century; 4 Vol. xxv. Appendix. 1 53 rather more than five inches in height and about four in width. The The volute ends in a serpent's head, whose open mouth touches the JjJjjjJ^ beak of a bird (a cock ?) which fills the centre. The round is sup- ■ ■ — ported underneath by an eagle, vigorously designed and well carved. The whole of the piece has been covered with gems, of which the traces of the setting alone remain and the thick gilding between each. This beautiful ivory is said to have been the head of the pastoral staff of St. Bernard. A small silver and crystal reliquary, excel- lent work of the thirteenth century, enclosing a large relic of that saint had from time immemorial been preserved with it, and they were not separated until the staff-head was obtained some few years ago by the British Museum. 1 8. The head of the staff of Alexander abbot of Peterborough from 1222 to 1226, and found in his coffin. Rather more than five inches high and two and a half across. The volute, graceful in design, is filled with a scroll ornament having a bold floriated end. Although it has been buried for so long a time this ivory is in fair preservation. 19. Another, German? fifteenth century; four inches and a half by about five ; ill designed and coarse in workmanship. In the centre is a lamb. 20. Another, English, fourteenth century. This also is rude in execution. Only one side of the centre is carved — the Crucifixion. Our Lord hangs upon the cross with St. Mary and St. John on either side. There are ten or eleven examples of the rare open or pierced work in ivory, including the Bellerophon. Of these one is espe- cially remarkable, and has been already noticed above, p. ciij., namely, — 21. A plaque, French, fourteenth century; rather more than six inches long by four and a quarter. Divided into thirty com- partments or small panels, each one inch by three-quarters of an inch. The subjects are taken from the legendary life of our Lady and from the gospels. 1. The offering of St. Joachim and the refusal of it by the priest. 2. His departure into the desert, and sojourn with the shepherds. 3. The message of the angel to him. 4. The message of the angel to St. Anne. 5. The meeting of St. Joachim and St. Anne at the gate of the city on his return home. 6. The birth of the Blessed Virgin. 7. Her presentation in the temple ; she ascends the steps of an altar behind which stands the high priest. 8. The crowd of suitors and the blossoming of the rod of St. Joseph. 9. The 154 Appendix. marriage of the Virgin. 10. The Annunciation. II. The Visita- tion. 12. The Nativity. 13. Adoration of the Magi. 14. Mas- sacre of the innocents. 15. Flight into Egypt. 16. Presentation of our Lord in the temple. 17. The Baptism of our Lord. 18. Entry into Jerusalem. 19. Washing the feet of the apostles. 20. The agony in the Garden. 21. The kiss of Judas and the miracle ofMalchus. 22. The Flagellation. 23. The Crucifixion. 24. The Resurrection. 25. The harrowing of Hell. 26. The appearance to St. Mary Magdalen. 27. Incredulity of St. Thomas. 28. The Ascension. 29. The descent of the Holy Ghost. 30. The coro- nation of the Virgin. 22. Another of open work, French, fourteenth century; per- haps the panel of a casket ; seven inches by about four. Divided into six compartments filled with subjects from the life of the Virgin, each under a rich canopy of three pointed arches with pediments and crockets : 1. The Annunciation. 2. The Nativity of our Lord. 3. The Adoration of the kings. 4. Presentation in the temple. 5. Death of the Virgin. 6. Her coronation. 23. Another, of open work, but somewhat coarser in work and style, English ? fourteenth century ; about seven inches by four. Scenes from the Passion of our Lord, beginning with the Entry into Jerusalem and ending with the Harrowing of hell. 24. Plaque, very curious and interesting, partly in open work ; French ? fourteenth century ; four inches by rather more than two. The Crucifixion, carved in very bold relief and crowded with figures, some on horseback. Christ and the two thieves are fastened to very lofty crosses ; a man stands at the foot of the cross of our Lord, about to pierce His side with a spear; the Saviour's head droops, dead, upon His shoulder. Both the thieves are still living, and the penitent thief turns, regarding Him, towards our Lord. 25. The Grandison triptych. Height of the centre six inches and a half by four ; width of each wing two inches ; English, fourteenth century. The centre is divided into two compartments : in the lower is the Crucifixion, in the upper the coronation of the Virgin. This last is well designed, and the figures solemn and dignified in expression ; the throne on which they are placed is richly orna- mented in low relief. On the wings are four saints, each under a canopy : St. Peter, St. Paul, St. Stephen, and (probably) St. Thomas of Canterbury. In the panels above the canopies are roses ; and, repeated, a shield with the arms of Grandison bishop of Exeter from 1327 to 1369. Appendix. 155 26. A leaf of a diptych, about ten inches by five, English, of The the same style and date as the preceding. This is also divided into Museum. two compartments. Above, the Annunciation. The Virgin, sitting, ' ' bends her head aside as if listening to the Dove which approaches closely to her ear, or to the angel who kneels at her feet. A small figure of God the Father issues from the clouds above, with one hand raised in benediction. The veil falls back almost altogether away from the Virgin's head which is covered only by her hair. The expression of the head is very beautiful and full of obedience and devotion ; but the figure is small and out of proportion. Below is St. John the Baptist, sitting on a rock and holding in his left hand a large Agnus Dei to which he points with his right. The diptych, of which this is one leaf, is believed also to have belonged to bishop Grandison ; slight traces of the arms of that prelate can still be seen upon it. An engraving of this ivory is given in the preface, p. civ. 27. A plaque, open work, French, fourteenth century. About three inches by two and a half. A representation of the Trinity, in the usual manner of that period. God the Father supports with His extended arms the crucifix ; and above it is the Dove, the emblem of the Holy Ghost. Two angels stand at the side ; one with the spear, the other with the nails. The whole under a canopy of three arches. 28. Plaque, open work, perhaps Burgundian work, late thirteenth century. Nine inches by nearly five. This has been probably a panel of a splendid reliquary. Three compartments ; each under a very lofty and bold canopy of a single arch ; with rich decorations, cusps and reversed crockets. There are three subjects in each compart- ment : 1. Pilate washing his hands ; 2. The buffeting of our Lord ; 3. The Flagellation ; 4. The carrying the Cross ; 5. The Cruci- fixion ; 6. The Deposition ; 7. Incredulity of St. Thomas ; 8. The Ascension. 9. The descent of the Holy Spirit. This is an admirable specimen of the peculiar school ; each story distinctly told in the simplest manner and with few figures. For example, in the Crucifixion only our Lord and the two thieves ; in the Ascension, only two apostles and the feet of the Saviour shown above, as He rises into heaven. The plaque has been carefully coloured and gilded. The architectural decorations are unusually large in detail ; occupying more than half of the height of each compartment, with a very fine effect. A tall turret rises between each pediment or gable. This piece is extremely similar to the example in the South 1 56 Appendix. Kensington collection, No. $66.'yi, and is probably by the hand of the same sculptor. The style of this school is easily to be recognised by the fulness of the figures and the broad treatment of the draperies. There are other peculiarities, such as the manner in which the thieves are crucified ; dressed in short drawers, tied and with their arms thrown back over the limbs of their crosses ; again, by the mode in which Judas is represented (when his death is given) hanging on the tree. 29. A very curious group, German ? thirteenth century ; about four inches high. A seated figure seemingly a woman with long hair, crowned and clothed in a long robe, holds a child also crowned upon her lap, who clings with both hands to the border of the robe round her neck, and looks downward to a group of small figures, also wearing crowns, who stand round at the knees of the principal person. 30. Diptych, French, fourteenth century. Each leaf is about eight inches by four and divided into three compartments, with canopies of five low pointed arches. The subjects begin upon the left of the lowest division : I. The Annunciation ; 2. The Nativity ; 3. The Adoration of the kings : in this, a servant stands behind them, holding the heads of three horses, from which they have just alighted ; he wears shoes and a riding tunic with a hood over his head and strikes at one of the horses with a heavy whip. 4. Betrayal of our Lord, and the cutting off the ear of Malchus ; 5. Judas hanging ; 6. The Cruci- fixion ; 7. The Resurrection ; 8. The Ascension ; the Blessed Virgin, surrounded by the eleven apostles, stands immediately under the feet of our Lord, which alone are shown. 9. The descent of the Holy Ghost. Again, the Virgin sits directly under the Dove, the apostles round her and bending in adoration. This diptych is from the Bernal collection and very good both in design and workmanship. 31. Diptych, Burgundian, fourteenth century; each leaf about eight inches by four. There are three compartments, the subjects recessed under canopies supported on slender columns cut clear from the background : 1. Judas receiving the money. 2. Betrayal of our Lord. 3. Judas hanging. 4. The Flagellation. 5. The Crucifixion. 6. The Deposition. 7. The Entombment. 8. The Harrowing of Hell. The penitent thief accompanies our Lord, Who receives Adam and Eve outside the opened door ; inside are other souls expectant and demons above them. 32. Another, of the same time and school. In this Judas, hanging, Appendix. 157 is represented entirely nude. The common manner is to show his The garment open in front, with the bowels gushing out. Museum 33. A pax, French, fourteenth century ; about six inches high by * ■ — three and a half. There are two compartments. Above, is St Roch, standing ; an angel kneels at his feet as if about to touch the wound in his leg, which the saint shows by lifting the skirt of his tunic. On the other side is a dog. Below, is the martyrdom of St. Sebastian. The name " Jehan Nicolle " is incised upon this pax in capital letters ; there is also a shield, bearing a hammer behind two crossed swords. 34. A pax, English, fifteenth century ; about four inches by three and a half. The shape is somewhat unusual, being perfectly flat. The subject is the Crucifixion, on either side are the Blessed Virgin and St. John. St. Peter stands behind the Virgin ; and a female saint with her palm of martyrdom is behind St. John. 35. A small oblong piece, not quite three inches high ; early fifteenth century. This is a very remarkable ivory, and has probably been the centre of the volute of a pastoral staff. On one side is the Agony in the garden : Christ kneels at. the top of the mount, with the apostles below. On the other is a Pieta, admirably designed and carved. The full-length body of our Lord, unclothed, lies stretched across the knees and lap of the Virgin, with His head thrown back and drooping but sup- ported by her right hand. The Blessed Virgin is vested in the usual manner and the draperies fall in broad heavy folds down to the ground. An engraving of this beautiful ivory is given in the preface, p. xcij. There are thirteen or fourteen statuettes (more than one, how- ever, rather doubtful) in the British Museum. Of these, one is very noble and grand, namely : — 36. A Virgin and Child, possibly English of the fourteenth century ; more than fourteen inches high. The Blessed Virgin sits, clothed in a gown or tunic and a large cloak which falls from above her head over the whole body to the knees ; below which her gown again shows in elaborate folds, deeply carved. The Child, unclothed, half stands upon her lap ; supporting Him with the right hand she places her left under her breast to offer it to Him. The figure of the Virgin is dignified and the face full of tenderness and love. The original seat of this fine statuette has unfortunately been lost ; otherwise, as in the case of Mr. Hope Scott's (spoken of 158 Appendix. The above, p. xcj.), we might with more certainty have attributed it to MuleL. an English artist. v - — < — ' 37. Statuette of St. Margaret, French, fourteenth century ; six inches high. The saint, dressed in a long robe and with hands clasped in prayer, is seen issuing from the back of the body of a huge contorted dragon. The end of her gown trails from the beast's open mouth. It has been painted and gilded. 38. A small triptych, French, late thirteenth century ; height of the centre under five inches by about three in width. A very charming and beautiful example, carved in high relief. In the centre are the Virgin and Child, attended by angels, under a canopy. On one wing are the three Kings alone : on the other, the Presentation in the temple. 39. A large triptych, filled with a number of ivory statuettes, fixed upon a frame of wood ; German ; early fifteenth century. The centre is three feet one inch in height, and about nineteen inches wide. There are three subjects in the centre. In the middle is the Crucifixion : our Lord on the cross, with St. Mary and St. John ; these two are smaller figures. Below is the death of the Virgin, treated in the usual way. The body lies upon a richly decorated couch and the expression of death is well given. Her soul, a small figure crowned and sitting upright, is in the arms of our Lord, Who stands behind the couch looking down upon the body with pity and sorrow. Above, is the Coronation. On the wings are, 1. The Annunciation ; 2. The Visitation ; 3. The Nativity; 4. The Adoration of the kings ; 5. The Present- ation ; 6. The Flight into Egypt. A male attendant, wearing a hood and tunic, is behind the Virgin who rides carrying the Child. St. Joseph, with a basket on his shoulder, leads the ass. The statuettes vary in size : the average height being about six inches ; that of our Lord on the cross is eight inches. 5 * This triptych was purchased, about of the history of the triptych. "During fifteen years ago, from a London dealer. " six and twenty years it was one of the Sir Digby Wyatt speaks of it as one of the " rarest gems in the private collection of noblest monuments of ivory carving now " Dr. Bohm of Vienna, director of the existing of the fourteenth century. The " Imperial collection of coins and medals. " objection to the high praise which he be- Dr. Bohm on his part, it seems, had a story stows upon this and upon the famous that the triptych was presented by a pope retable made for Jean de Berry, brother to an emperor about the middle of the four- of Charles V. of France, (now in the teenth century, and that a hundred years Louvre) is that the work is not carving in afterwards it was given by some unknown ivory from one piece, but statuettes or empress to some unknown convent of nuns, figures in the round applied to and fixed and afterwards was seized by the emperor . upon a separate frame. He gives an account Joseph II., and then somehow or other was Appendix. 159 40. Casket, French ; fourteenth century. Fully described and The engraved in the 5th volume of the Archaeological journal. Sr ntish 41. Mirror-case, English ; late thirteenth century ; about four * . — * inches in diameter. A lady and gentleman are in a garden, with houses on each side. The rim has four large floriated ornaments. 42. Another, of nearly the same size and with a similar subject, but somewhat later. In this the gentleman offers a heart to the lady, and an attendant is behind him. One house only is shown. Above are two angels who support a shield with a rose carved on it in low relief. 43. Another, larger ; both halves of the case ; French ; early sixteenth century. On one is Thisbe who falls upon the sword, whilst Pyramus lies dead on the ground. On the other is Lucretia stabbing herself and supported by an attendant. A knight in armour and another person dressed in royal robes and with a sceptre look on. 44. Another, about four inches and a half in diameter, English ? late fifteenth century. A lady and a gentleman sit under a wall, the one playing a guitar, the other a clarionet. A fool with cap and bauble looks at them over the wall. 45. Another, bone ; of nearly the same date, about three inches in diameter. A party of morris-dancers in a garden enclosed with a palisade having a barred gate in the middle. The British Museum is rich in mirror-cases ; there are eight or ten more. But only two or three combs. Besides these ivories which have been perhaps too slightly described there are many others well worth careful examination. Among them four plaques dark in colour, perhaps of the seventh century, carved in deep relief with subjects from the Passion ; a large and very curious piece given by dean Conybeare ; a small half boss in walrus ivory, twelfth century, perhaps the lower half of the pilfered by one of the emperor's court, " mediaeval carving to be of Italian work- whose descendants sold it to Dr. Bohm. " manship, so little does it possess of that For all this there is not a shadow of evidence, " spirituality which distinguishes the school and the story looks as neat and probable as "of Giovanni and Andrea Pisano, and others of the same kind, which are often " other artists working under the influence told by dealers of fervid imagination. Credat "of Giotto. A more careful examination Judoeus. Having, however, attributed in the " will probably lead to a conviction that it text this great work — for great it undeniably "could not have been executed in any is — toaGermanartistofalittlelaterdateper- " other country than Italy. ... It is to haps than the year 1400, it is right to quote "the school of Andrea d'Ognibene or the contrary opinion. Sir Digby Wyatt " Cione, that this noble triptych may be says, "Upon the first inspection, the ob- " most correctly referred. " — Lecture before " server will doubtless find it a little difficult the Arundel Society, p. 14. " to imagine this splendid monument of 160 Appendix. The boss of a crozier or staff, well worked, with small dragons creeping British round it ; several more diptychs and another beautiful triptych ; «■- — i — -» several important plaques of the eighth and ninth centuries ; and a curious money-horn covered with interlacing scroll ornament, in low relief, in the Anglo-saxon manner ; this last was found in Switzerland in the Grisons, full of coins of Louis the First, Charles the Bald, and other kings of the ninth century. There are also several remarkable pieces of the (so called) Goa- work : or, rather, of western Africa. Among them two cups, one carried by men on horseback, having much of the character of rude Scandinavian art : and " a pilgrim " having the sitting figure at the top ; in the middle a fountain, with sheep ; and below, another figure lying down asleep under a cave. Nor must we omit a large tusk which has been turned, three hundred years ago, into a grotesque drinking-horn. This has some original African carvings of animals on it in low relief, and an inscription : Drinke you this and thinke no scorne, All though the cup be much like a home. 1599. Fines. In the manuscript library of the British Museum are three or four ivories, inlaid in book covers. The most important are two, one upon each cover of the Egerton MS. n 39: a psalter of the twelfth century. These plaques measure each nearly nine inches by about six, and are Greek work of the same period. They are filled with subjects within circles interlaced one with another by smaller rounds. On one side is the history of David, on the other (not the seven works of Mercy as stated in the catalogue of additional manuscripts, but) the six acts mentioned by our Lord in the gospel of St. Matthew, chap. xxv. ver. 35, 36. The name Herodius is on the top of the panel. 6 Another, very curious, is on the cover of Harleian MS. 2889 : a lectionary of the eleventh century. This is in walrus ivory, of the same date. It represents an archbishop, vested in chasuble and pall, holding a Tau in one hand ; two small figures kneel and kiss his feet. Two other volumes in the Manuscript library have ivories inlaid upon their covers. One on Harleian, 2820, containing the four gospels, and the other on an English martyrology in verse ; Additional, 10,301. The first of these is Carlovingian, of the tenth century ; and the other, perhaps, English of later date. These splendid ivories are described in Du Sommerard, vol. v. pp. 107, 162. Appendix. 161 The ivories in the Bodleian Library are four in number, and three The of them are inlaid on the covers of manuscripts. Bodleian r Library. 1. A very superb piece, occupying nearly the whole of one cover ' . — of an Evangelisterium of the tenth century. The present binding of this manuscript is quite modern ; French, of perhaps a hundred years ago. But there is no reason whatever to doubt that this ivory has been removed and preserved from the ancient cover, and in date it is certainly at least coeval with the manuscript. The plaque is divided into. a centre piece surrounded by twelve small compartments, forming a border. These are separated by wide ornamented bands, of good style. In the centre is a sitting figure of our Lord, young in face and beardless. He holds a book in the left hand and with the right supports a crozier which passes nearly horizontally behind His head. The back of the throne on which our Lord sits is represented as the gateway of a building resting on two columns, with heavy rude capitals. He is vested in a tunic and cloak and His feet rest on a lion and an asp ; beneath are two smaller animals, like dragons. The Saviour's head is nimbed, with a cross in low relief. On the book is incised IHS XPS SVPASP. The figure of our Lord is rather short and so far ungraceful, and the head is too large for the body. The mode in which the crozier is held across the shoulders is very peculiar. The subjects in the compartments are, beginning at the top — i. The prophet Isaiah holding a scroll on which is the begin- ning of the prophecy, " Ecce virgo concipiet." 2. The Annunciation. The angel approaches Mary, who is seated ; an attendant is behind her. This is an unusual treatment of the subject. 3. The Nativity. 4. The Adoration of the three kings. 5. The massacre of the innocents. One child is being lifted up to be dashed to the ground, another lies dead. Behind is a woman, raising her hands and wailing. Herod sits on a chair to the right, looking on. The figures in this compartment are out of proportion one to another. 6. The Baptism of our Lord. Christ stands in the centre, a very small figure, and the Dove descends upon His head. 7. The miracle of Cana. 8. The raising of the daughter of Jairus. 9. The cure of the demoniac, and the driving of the swine into the sea. 10. The healing of the paralytic who walks away carrying his bed. 1 62 Appendix. 1 1. The woman with the issue of blood. She kneels behind our Lord and kisses the border of His robe. 12. (At the foot,) our Lord asleep in the storm ; three figures in the boat, besides the Saviour Whom they are awakening. This plaque measures rather more than eight inches in height by five in width. It is perfectly uninjured, having evidently been always preserved with the greatest care. In beauty of workman- ship and design it may challenge a comparison with any other known example of the same time or of the Carlovingian school. 2. A plaque, of morse ivory, five inches by nearly four ; inlaid in the centre of a metal book-cover, probably Rhenish Byzantine work of the ninth century ; the manuscript inside contains the gospels of St. Matthew and St. Mark, written about A.D. 1050. Our Lord is represented sitting, in majesty, within an aureole nimbus which surrounds the whole body. In the top corners and at the Saviour's feet are the evangelistic symbols and behind His head a cross in low relief. Below, on one side, is a woman un- clothed to the waist, holding a branch in her right hand and in the other a snake, which winds round her arm : on the other side (the figure broken off) is the arm of a man with a fish. These typify the Earth and the Sea. The whole subject is enclosed within a well-executed border of acanthus leaves. 3. A plaque, about six inches by four, mounted in a modern and very bad silver cover of a Greek New Testament known as the Codex Ebnerianus, written late in the thirteenth century. The ivory is also of Greek work and of the same date. This is carved in high relief. Our Lord sits upon a cushioned chair, lifting His right hand in benediction and holding a closed book in His left. He is fully vested, with a nimbus round the head. His feet, bare and sandalled, rest on a footstool. 4. A triptych, bone, North Italian, of the fourteenth century. The centre is nine inches in height by four in width. In the middle is the Virgin and Child, with a saint on either side. On the left wing is a female saint, holding a book ; on the other, St. Lawrence. This triptych is a good example of the kind, and the frame is inlaid with marquetry in the usual style. The collection of ivory carvings in the Ashmolean Museum, although not many in number, are of great interest. They may all claim, with scarcely an exception, to be of English workman- ship. 1. A draughtsman, walrus ivory, nearly four inches in diameter, thirteenth century ; the subject, St. Martin dividing his cloak with Appendix. 163 the beggar, cut in deep relief. Behind St. Martin, who stands, is The shown the head of an ass. The border is formed of two narrow ^™^ an circles enclosing the usual ornament of beads. ' ■ ' 2. Another draughtsman, rather larger ; also walrus, of the same time and the same subject. In this a horse is behind St. Martin and there are two angels above. 3. Half of a diptych, fourteenth century, about five inches by three. Divided into two compartments with arcades of three plain arches. Above are the Annunciation and the Visitation ; below the Adoration of the kings. 4. A diminutive statuette, fourteenth century, the Virgin and Child. The Virgin is seated, crowned, and vested in the usual manner. The left hand and arm on which she supports the Infant are covered with her cloak. This has probably been the centre of the volute of a pastoral staff. 5. Plaque, four inches by two, apparently the panel of a small casket or reliquary. There are two compartments. Above is the Annunciation ; below, the Visitation : each subject under a canopy of pointed arches, cusped, and with trefoils in the spandrils. 6. Plaque, four and a half inches by about three, fourteenth century. The original use of this is doubtful. The Adoration of the kings, under a rich canopy of three pointed arches. Below the kneeling king his crown is placed upon the ground. The back- ground of this plaque has been coloured. 7. A leaf of a diptych, seven inches and a half by three and a half, fourteenth century. A curious piece and well executed. There are two compartments divided by a band ornamented with small roses. Above is the Crucifixion, below is the Deposition. The Deposition has a man on a ladder which rests on the left limb of the cross and the body of our Lord is turned half round so as to show » His back, in the deep relief of the carving. A man, kneeling, removes the nail from the feet with pincers. 8. Another half of a diptych, five inches by one and a half, fourteenth century. The Resurrection. Our Lord is seen stepping out of the sepulchre, supported on either side by a small angel standing. He is clothed in a long robe, open at the side so as to show the wound. There is a bold canopy of a single pointed arch, cusped and crocketed, resting on two columns. 9. Plaque, about three and a half inches by two and a quarter, fourteenth century ; one leaf of a pair of writing tablets. The subject is the Crucifixion ; under a canopy of three pointed arches with richly decorated gables, crocketed. (Query : the other half of these tablets in the British Museum ?) L2 164 Appendix. The 10. Plaque, three inches and a half by two, fourteenth century ; Museum*" an interesting piece of which the original use is doubtful. The * ■ — * Crucifixion, rudely carved under a canopy of three pointed arches. A sword, of which the hilt is shown, issues from the wound in the Saviour's side and pierces the heart of the Blessed Virgin who stands by the cross. 11. The head of a pastoral staff, about five inches in diameter, thirteenth century. The volute ends with the head of a serpent whose jaws are widely extended. Inside is a lamb, with the head turned back towards the open mouth and on its back a plain cross. A small silver gilt figure of St. Paul, of the same date, stands fixed on one side to the body of the lamb ; from the other side the corresponding figure has been lost. A metal ornament, also original, surrounds the serpent's head. 12. Mirror case, fourteenth century, three inches and a half in diameter. A garden scene, in which a lady and gentleman meet. Four dragons crawl round the rim. 13. An oval seal of the archdeaconry of Merioneth ; late thir- teenth century, about an inch and a quarter long by an inch wide. On the seal is carved the symbol of the Blessed Trinity ; God the Father holding before Him a small crucifix, above which is the Dove. Round the border is the legend, " S >J< Archid »J< de *J< " Merion." 14. A chessman apparently walrus, thirteenth century, in height three inches. Two knights mounted and in complete armour : one carries a sword, the other a spear. Small portions still retain traces of the original colouring and gold. This piece is engraved and described in the Archaeological journal, vol. iii. There is, also, in the Ashmolean a curious statuette, of the . seventeenth century, about eight inches high. On one side is a woman very slightly draped in front but covered with a long cloak from head to foot falling behind her : on the other side a skeleton in a shroud. Both figures are standing. The Fitz- There are two mediaeval ivories in the Fitzwilliam Museum at william Cambridge, both of English work : 1. A small draughtsman ; walrus ivory ; fourteenth century, an inch and a half in diameter. In the centre on one side is a sunk panel, with the head of a man in relief ; on the other side, in a similar panel, a shield with a crest above. The border on both sides has an inscription, illegible. 2. A plaque, four inches by two and a half; tenth century: found some years ago in a grave in a church in Cambridgeshire. The subject, in low relief, is our Lord in glory, sitting within a Appendix. 165 large oval nimbus. On one side is the Virgin holding a book, The Fitz- crowned, and with a veil under the crown. On the other is St. ™ lliam Museum. Peter with his keys. Both are standing. On the border above, • . • " Sancta Maria " is incised over one figure and " Sanctus Petrus " over the other. On the upper part of the nimbus may still be read, " O vos oms videte manus et p. . . " These legends are carved in Anglo-saxon characters. That there are no ancient or mediaeval ivories in the Soane The Soane Museum in Lincoln's Inn Fields is rather surprising. Indeed, the useum - only ivory is a Russo-Greek plaque, of the seventeenth century. This is an unusually fine specimen of the kind and is inlaid as the centre of a triptych, in the wings of which are four small paintings of saints on gold grounds. The size of the plaque is about four and a half inches by three. The subject is the Virgin enthroned, with the Child : round them is a circular nimbus ; and outside that are angels, standing, in adoration. Behind is a large building with domes, towers, and palm-trees : and below, a great company of saints and bishops. There are several inscriptions cut in minute letters. There is no catalogue of the collection of ivories in the Liverpool The Museum : some old numbers remain on many of the pieces L lver P° o1 Museum. formerly in the Fejervary collection, which refer to the account of them published in 1856 by M. Francis Pulszky. The liberal founder of this museum, Mr. Mayer, has added to the Fejervary ivories others of various ages, from almost the earliest known dates down to modern times. The whole collection now consists of about 150 pieces, of which 70 or 80 are Egyptian, Greek, and early Roman before the Christian era. These are generally small and many of them fragments : but they are extremely valuable, and some of great beauty and importance ; especially among the . Egyptian ivories a finger-ring with hieroglyphics ; and among the Greek the head of a laughing boy, the head of a lion, and another lion's head which has, perhaps, been part of a chair or stool ; the head of a horse, seemingly the crook of a staff; and a beautiful ring, slightly injured, with a dolphin carved on it in low relief. It is, however, when we come to the third century after Christ that we arrive at the ivories which form the glory of the Mayer collection. It will be well to take first the famous diptych known as the ^Esculapius and Hygieia. Before this ivory was sold to Mr. Mayer by M. Pulszky, it had belonged to the Gaddi family at Florence, to count Michael Wiczay at Hedervar in Hungary, and to M. Fejervary. Each leaf measures twelve inches and a quarter in height, by five inches and a half in width. 1 66 Appendix. The On the right leaf, ^Esculapius is represented standing on a Liverpool pedestal (or what may be taken as a plain panel, left for an • , — -* inscription at his feet, surrounded by a narrow ornamented border) leaning on a thick club, round which a serpent is twined. His left hand holds a scroll and the right rests upon his hip. He is clothed in a single robe which covers the left arm to the wrist, in the manner of a sleeve, and is drawn down from the shoulder so as to leave the right arm and all that side of the body bare to the waist : from which it falls in broad and not ungraceful folds down nearly to the ground. A narrow fillet binds the hair, which is long and falls behind the neck ; he is bearded, and the feet have sandals. The genius Telesphorus, the deity of convalescence, a diminutive figure, stands close to ^Esculapius ; his head is covered with a hood or cowl and he is reading a scroll, which is held open by both hands. The group is placed between two pilasters, above which are suspended oak wreaths. A basket of flowers is placed upon the top of one of these pilasters ; the other has been broken off. Gori, who has engraved this diptych, has put upon the now missing top corner a child with a basket out of which a snake is creeping. 7 On the other leaf Hygieia stands, resting her left foot on a low stool and leaning with the left arm laid across a tall tripod, up which creeps a large serpent winding itself round the arm, and passing behind her shoulders to take an almond-shaped fruit or small cake from her right hand. The hair of the goddess is fastened in a large knot behind the head, and bound round with a low diadem. A light curl falls naturally on each side of the throat. She is clothed in a long tunic of thin texture, and with a stole which falls from above the hips nearly to the feet. By her side is also a diminutive figure, almost nude; a Cupid, with his bow in the left hand. He looks up to Hygieia with a movement as if desirous to draw her away. On the top of one of the pilasters are (as M. Pulszky interprets them) " the sacrificial vessels, the pro- " chus and the phialae, the jug and cup for libations ; on the other, " the Bacchic child Iacchus opens a wicker basket (cista mysticd), " from which a snake is creeping out." 8 Both tablets are surrounded by a border of acanthus leaves and flowers, with a plain label at the top. There is no inscription or trace of an inscription and it is not probable that any was ever written upon either of them. 7 Thes. torn, iii., pi. xx. He seems to 8 Catalogue of the Fejervary ivories, have repeated it from the left leaf. p. 36. Appendix. 167 M. Pulszky speaks of this splendid diptych with unbounded The praise ; and he has written several pages of explanation of the J^J^jJ™ various symbols, which are worth referring to. We may fully ' ■ ' agree with him that both the tablets are of high quality, that the arrangement of the drapery is good, and the composition masterly; and it is not unlikely that his supposition is correct that the reliefs are copies of some well-known and celebrated marble statues. But neither of the leaves equals in design or execution the leaves of the diptych of the Symmachi, one of which is in the South Kensington collection, No. 212/65. The ^Escu- lapius and Hygieia are not only by an inferior artist but evidently later in date ; though the difference in this last respect may not be much, for there is a remarkable similarity of style and workmanship in the sacrificial vessels, which in the Hygieia are on the top of one of the pilasters and in the South Kensington leaf are held by the attendant. Another tablet in the Liverpool museum is of matchless excel- lence. It measures eleven and a half inches by four and three quarters and is in almost perfect preservation. Of late years this has been commonly attributed to the year 248, and to the consul- ship of Marcus Julius Philippus, son of the emperor M. Julius Philippus the Arab. There is not only, however, very insufficient evidence for this supposition, but it is possible that the leaf is half of a diptych which was not consular. 9 Be this >as it may, the style and execution of every part are of the very best period of which any examples have come down to us ; and we cannot be wrong in placing it as a work not later than the end of the third century, and perhaps considerably earlier. This beautiful tablet was first known when in the possession of M. Roujoux of Dijon, from whom it came into the cabinet of baron Brunet Denon, and subsequently into the Fejervary collec- tion. The subject is a fight between men and stags in a circus, before three personages who are seated as spectators in a gallery. The centre figure (not standing, as M. Pulszky describes him) 10 holds a small patera in his right hand, and the person on his left holds the mappa, raising it as in the act of throwing. The work is admirable and spirited throughout, especially in one of the stags 9 All tablets of this kind are generally never having been the half of a diptych at so certainly and so instantly set down as all. It is quite possible that this magnifi- leaves of consular diptychs, that it is with cent ivory may have been a panel of a hesitation one ventures to hint at the possi- casket or coffer, bility of such an example as the present ,0 Catalogue, p. 16. 1 68 Appendix. dying in the foreground of the lower part. There are traces of an early Greek inscription written on the back. Another is the complete diptych of Flavius Clementinus, consul A.D. 513, similar in character and style to the diptych in this museum, No. i^g.'66. The backs of the leaves have been hollowed out for the reception of wax, and measure each fifteen inches and a quarter by five inches. M. Pulszky describes them sufficiently for our present purpose, as representing the consul with sceptre and raised napkin seated on the curule chair between two females, Rome and Constantinople. Above him is his monogram, his name and title, a cross, and the busts of the emperor Anastasius and the empress Ariadne. At his feet two boys are emptying bags, containing cakes, coins, palm branches, and diptychs. The earliest known possessors were the patrician family Naegelein at Nuremburg in the last century. This diptych has very great additional interest given to it from the circumstance that there is a long Greek inscription deeply incised upon the back of each leaf. The inscription was, almost beyond doubt, engraved in the first year of pope Hadrian the first, A.D. 772, when the diptych was given to a church (some think) in Sicily for sacred use, and it includes among the number of those to be prayed for the name of the donor. Whether, however, this man was " John the least priest of the dwelling of the holy Agatha " or " Andrew Machera, servant of the Lord " must remain undecided. Another is a single leaf, of bone. The original legend upon the tablet has been cut away, and an inscription incised in its stead, in large Roman capitals, about a certain bishop Baldicus : "pzo " prczsule Baldico jubente." Several bishops of this name occur ; one of Utrecht, as early as the tenth century ; and others, in France, in the eleventh and twelfth. It is a pity that the pious bishop had not been contented to leave his gift — if it was his gift — unmuti- lated, although unadorned by the record of his own existence. This leaf measures in length fourteen inches by five in width ; and has been attributed (though the guess does not seem to be worth much) to Probus Magnus, consul A.D. 518. A similar bone tablet, inscribed with the name of that consul, is in the Imperial library at Paris ; another, of ivory, in the same collection. The subject is similar in design to that of the consul Clementinus, but very coarse and rude in workmanship. Besides these — which alone are sufficient to give renown to any collection of ancient carvings in ivory — there are three other pieces which some believe to be genuine. They are all of bone — supposed to be camel bone : and all of the same school and work. One is a Appendix. 169 single leaf of a diptych of Philoxenus, consul A.D. 525, and contains The the half of a Greek inscription, the whole of which is extant on a L lver P° o1 r Museum. complete diptych of Philoxenus preserved in the Imperial library **■ — ■ ' at Paris. The titles of the consul are rudely carved on an octagonal panel in the centre, surrounded with leaves and small branches ; and on four roundels or medallions is the second Greek iambic : TIJATOC TIIAPXwN IIPOC3>EPa> 0>IA£EN. The other two tablets claim to be the leaves of a diptych of some unknown consul, being anonymous. Following close upon the consular diptychs, there are in the Liverpool collection several important examples of almost every century from the eighth to the fifteenth. Among them, especially : 1. A panel of a book cover, Byzantine, of the early part of the eighth century or perhaps, according to the high authority of Mr. Oldfield, even of the seventh. 11 This piece measures six inches and a quarter by four and a quarter. On the upper part is the Crucifixion ; Christ hangs upon the cross draped from the hips to the knees, and His feet nailed with two nails. There is no " scabellum," as M. Pulszky describes; 12 nor, again, can we agree with him that the Virgin (who stands on one side) " is wailing with " an expression of the highest grief in her countenance," for, un- happily, the face has been so rubbed by the constant use of the book cover for many ages that there is no expression left. On the lower half is the Resurrection ; the empty tomb of our Lord is placed under a light cupola which rests on columns joined by arches. These are well carved in open work, the pillars cut clear from the ground of the ivory. The guards are asleep ; and the angel sits before the monument, addressing the three women who approach with spices and ointment. This panel is of excellent style and workmanship ; one of the sleeping soldiers is represented in a very rare and admirably posed attitude ; standing, with his arms folded along the edge of the open sepulchre and his head dropt upon them. 2. Probably of a date not much later than the preceding is another panel, also Byzantine, with the Ascension of our Lord. The Saviour ascends towards an arm outstretched from the clouds above ; His drapery is arranged in the manner usual with artists of that period and through the Carlovingian times ; and a portion of His robe floats from the right hand as He moves through the air. We can scarcely agree with M. Pulszky in his idea, rather deroga- 11 Catalogue of the Arundel fictile 12 Catalogue of the Fejervary ivories, ivoiies, class iv. p. 37. p. 45. 1 70 Appendix. tory, that " Christ soars upwards, raising a handkerchief with his " right hand, just as the consuls did when, at the beginning of the " games of the circus, they gave the signal for the starting of the race." 13 Six apostles stand below, in a group, gazing at their ascending Lord. M. Pulszky rightly says that the subject is enclosed within a very beautiful and graceful border of acanthus leaves. 3. The wing of a diptych, Byzantine, of the eighth or ninth cen- tury, having in the centre the Presentation in the temple, and very remarkable because the subject is surrounded with Old Testament types of the Christian dispensation. M. Pulszky, in describing this ivory, makes more than one strange error. He says, " Simeon " raises the Child with enthusiasm above a square altar, covered with " a napkin. Joseph, astonished at the event, stands opposite to him, " holding the swaddling clothes in which the Child was enveloped. " Mary, with the two doves, is represented behind Simeon." Such a treatment of the subject of the Presentation may be said to be un- known ; and the present example is in no respect different from the usual mode. The Blessed Virgin presents the Child to Simeon, who receives Him with extended arms and hands covered with the ceremonial veil, so often spoken of in the description of the South Kensington collection. Behind the Virgin is her attendant, with the two doves. St. Joseph is not present ; and Anna the prophetess, identified by a scroll with the letters A N, stands behind Simeon. The four types are, above the centre, Moses receiving the tables of the Law from the outstretched hand of God, and the sacrifice of Isaac who lies upon the altar ; and at his side is his father Abraham, whose arm in the act of striking is arrested by the symbolical hand. Below the centre are the Jewish high-priest carrying the lamb of the passover to the temple ; and, probably, Melchizedek coming to meet Abraham with the bread and wine. 4. Another panel, probably a book cover, Byzantine, of the tenth century. The Crucifixion ; under a dome or cupola of open pierced work supported on two columns. On either side of the centre are three square panels filled with busts of saints and angels. 5. A very curious tablet, five inches by three, perhaps Rhenish Byzantine of the eleventh century. This is divided into two com- partments, the upper having a small border along the top. Above is the Nativity ; below, the adoration of the Magi. It has been a panel of a reliquary or a casket. 6. 7. 8. Three ivories of the remarkable school (it may be from 13 Catalogue of the Fejervary ivories, p. 45. Appendix. 171 the hand of one artist alone) of which there is an example in the The British Museum, No. 16 ; and four upon the cover of a Carlovinerian Liverpool IMuscuiti. MS. of the tenth century, preserved in the museum at Berlin. 14 The ' . — -? style of this school or artist is known not only by the treatment of the figures and drapery but by the peculiar patterns of perforated work which decorate the flat background of each piece. The subjects of the three in the Liverpool collection are : I. St. Peter and the tribute money. 2. Our Lord giving their commission to the apostles. 3. The woman taken in adultery. In this last, our Lord sits and stooping forward writes upon the broad footstool which is before Him. The subject of the British Museum piece is the raising of the widow's son. Of the four upon the book cover at Berlin : Christ teaching in the temple, 15 our Lord standing with St. Peter and St. Paul, the feeding of the five thousand, and the raising of Lazarus. In all these ivories, which are of the tenth or eleventh century, the draperies are simple and well managed ; the gestures natural, earnest, and dignified ; and the heads large and solemn, of a northern type and character. 9. A small plaque, of morse ivory, three inches by two and a half, Anglo-saxon ? of the eleventh century. The Nativity : the Blessed Virgin lies on a high and sloping couch, her head upon a cushion which is supported by an attendant. St. Joseph sits at the foot, meditating and resting his head upon one hand. Below, on one side of the couch are the ox and the ass and the cradle with the Infant. 10. A remarkable panel of a casket, Byzantine, eleventh century, about six inches by two, representing the making of wine. M. Pulszky calls it " a vintage," and supposes it " to be some early " Christian symbol of salvation, referring to Christ the true Vine and " the Father Who is the husbandman." There is nothing Christian about it ; but it is a very important and well-executed piece. Two men carry a large bucket full of wine, slung on a pole which rests across their shoulders, to another who is filling a cask through a funnel. Behind him a man sits holding up a cup as if to look at and to taste the wine. The background is ornamented with vine branches and leaves. n. A panel of a casket, Byzantine, eleventh century. St. John the Baptist, clothed in his raiment of camel's hair, stands 14 The codex Wittechindius, said to have of Charles the Bald. Professor Westwood, been given by Charlemagne to Wittekind in the Archseolog. journal, vol. 16, p. 240. on his conversion to Christianity. A fine 15 With the inscription, ' ' Fili quid fecist Carlovingian MS. of 4*0. size, in the style " no[bis]." 172 Appendix. The holding in his hand an open scroll on which is incised, in Greek, Liverpool t h e text " Behold the Lamb of God," &c. This ivory is simple ■ — -* and powerful in design and of good workmanship. 12. Several small fragments of panels of an early Italian casket, bone : good work in low relief ; a revival of the antique classical treatment, and of the same school and period as the Veroli coffer in the South Kensington collection, No. 2i6!6$. They represent Apollo, with a lyre ; Venus and Mars ; a centaur ; two warriors ; and a man standing on the prow of a ship. 13. A very curious small oval box, bone : nearly two inches high and about two and a half long, with a plain fiat cover. The sides are carved in relief with the evangelistic symbols ; and the names of the inspired writers to whom they belong are incised below each panel. This box is of the thirteenth century and has much of the character of English work. 14. The centre panel of a small triptych ; nearly five inches high by two and a half wide: fine in design and of excellent work- manship. Very probably English, fourteenth century. It is divided into three compartments, and the lowest and centre subjects are placed each under a canopy of three arches supported on pillars. In the lowest is the Virgin and Child ; our Lady sits, having on one side St. Peter and on the other St. Paul. In the middle is the Crucifixion, with the mother of our Lord and St. John : two saints stand behind these, in attitudes of adoration. At the top which is formed of a large trefoil pointed arch our Lord is seated, in majesty, with both hands raised ; on either side is an angel kneeling ; one holds the cross, the other the spear and crown of thorns. This charming fragment is carved in high relief and the columns supporting the architectural decorations are cut clear from the background. When perfect it must have been a very beautiful triptych. 15. 16. Two covers of writing tablets, not of the same pair, though at first sight they may seem to be so from their similarity of size and style, French or English, fourteenth century. On one cover is the Crucifixion under a gothic canopy : the other is divided into two compartments ; above is the Crucifixion, below the Entombment : each under a canopy of three arches. 1 7. A very beautiful diptych : each leaf seven inches and half in height by nearly five inches wide, French, of the fourteenth century. Both leaves are divided into two compartments, with two subjects in each. The lower compartments have, 1. The Annunciation. 2. The Nativity, with the message of the angels Appendix. 1 73 in the distance. 3. The Adoration of the three kings. 4. The entry into Jerusalem. Above are, 5. The Last Supper. 6. The kiss of Judas, and the cutting off the ear of Malchus. 7. The Crucifixion. 8. The appearance to St. Mary Magdalen. All these are treated in the usual way ; and the compartments have canopies of four arches, a thin pillar supporting them in the middle. 18. A single leaf of another diptych of the same style and date and of equal excellence : carved in rather deeper relief. The size is eight inches by five. There are three compartments on this leaf. Above, occupying the whole space, is the Entry into Jerusalem. In the middle, 1. The Agony in the garden: all the twelve apostles are behind our Saviour, and the three in front are asleep. 2. The kiss of Judas. In the lowest range are, 1. The Crucifixion. 2. The Deposition. 3. The Entombment. 19. Another single leaf, of about the same size as the last. This is a good example of what is generally recognised as the Burgundian school ; fourteenth century ; but the figures are larger than is common in that style. There are two compartments with canopies of three arches. Above is the Crucifixion ; below, the carrying of the Cross. 20. A diptych, French, fourteenth century : the leaves are rather more than five inches high by three and a half in width. Each has, as in those preceding, two compartments with the usual arcades. On one leaf is, 1. The Nativity, and the message to the shepherds. 2. The Crucifixion and Entombment. The other has, below, the death of the Virgin, as in the South Kensington ivory, No. 279/67. The figure of our Lord, Who stands behind the couch holding the soul in His arms, is dignified and well carved ; the body of the Blessed Virgin shows death and lies still and solemn. Above are the Virgin and Child. Our Lady is seated in a very wide and richly decorated chair or throne, attended on either side by a female saint. 21. Another diptych, of good bold work, carved in high relief, French, fourteenth century ; each leaf seven inches by four, divided like the preceding and with the like architectural decoration. The subjects show in one or two respects a somewhat original and clever treatment. On one leaf are the Annunciation, the Nativity, and the adoration of the Magi. In this last, the Blessed Virgin half sitting half lying on her couch holds the Infant, standing in her lap in a leaning posture, and supports Him by a girdle round His waist : our Lord stretches out His hand to the chalice offered by the kneeling king. On the other leaf are the Crucifixion and 1 74 Appendix. The the coronation of the Virgin. Our Lord sits with His mother on Museum 01 ^ e ri ght hand and angels are grouped around : two kneel with - — i ' censers, another places the crown on the Virgin's head, and two others support a cloth, like a cloth of estate, over and behind the heads of the two sitting figures. This is a very rare and appro- priate addition to the subject of the Coronation. 22. A very beautiful fragment, the cover of a casket, French, fourteenth century. In the centre is a tournament before a castle, on the battlements of which stand the spectators. On the left is a knight riding and carrying a lady before him on the saddle : on the right is the siege of the castle of Love. 23. A mirror case, five inches in diameter ; of the highest excellence and quality of workmanship. A knight is in the centre, standing on the peak of the saddle on his horse's back and help- ing a lady to elope from the window of a castle. Three knights are riding in front, one of whom carries a lady before him, as in the panel of the casket just described : and four others are riding behind. All these are represented as passing across a bridge with a single round arch. A boat is coming through below the bridge ; in it are a man rowing, a lady and knight in the middle of the boat embracing, and a third in the stern playing on a musical instrument. The party of people in the boat is like the illumin- ation for the month of May so commonly seen in the calendars of fifteenth-century manuscripts. In this admirable mirror case the knights are armed, the horses are caparisoned, and the ladies are dressed as in the South Kensington examples, No. 2i8.'6y and No. 220.'6y. Four grotesque animals creep round the edge of the case. 24. A comb ; broken, but very curious. Perhaps English, of the fourteenth century ; about six inches by four. One side is similar to the South Kensington comb, No. 231*67 ; the fountain of Youth, with two figures near it, a lady and a gentleman ; behind them are other persons. On the other side, a monk on the left is preaching from a low pulpit ; before him several women are seated, one with a child standing, another holds a rosary in her hand : all these seem to be in the open air, with a tree in the middle. 25. Small statuette; the Virgin and Child. English, fourteenth century. The Blessed Virgin is sitting and gives suck to the Infant, resting on her left knee : her breast is exposed through an opening in the robe, as in the statuettes in the South Kensington museum, No. 1598/55 and No. 205.'6/. She is vested in the usual Appendix. 1 75 way ; and the veil is well shown over her robe, falling from over The the head half way down the back. Museum! 26. 27. 28. Three paxes ; all are good examples of the fifteenth * ■ century. Two of these have, for their subject, the Crucifixion ; the third is a Pieta : this last has the original support at the back, complete as when it was used. Underneath the sitting figure of the Virgin, who holds the dead body of our Lord across her lap, an inscription is incised in capital letters : " Da pacem Dne in diebus " nostris." The drapery is arranged in angular large folds, having much of the character of the woodcuts in English printed books of the end of the fifteenth century. Besides all these very important ivories, the Mayer collection at Liverpool possesses several curious pieces which may be noticed. A large statuette sixteen inches high, Spanish, of perhaps about the year 1600. It represents an abbess dressed in her habit and holding her pastoral staff in her left hand ; probably saint Theresa. This statuette is cut from the end of an immense tusk and is perfectly solid throughout. A rude small triptych, German, about 1450. The Virgin and Child in the centre ; on the left wing St. John the Baptist ; on the right, another saint. Above the centre is a small square panel with the Crucifixion, surrounded by a low pediment or gable with pinnacles. There are also many pieces of what is commonly known as Goa work, and made for the Portuguese of that settlement, two or three hundred years ago. Later investigation has induced authorities of great weight to believe that carved ivories of this class were mostly made in the settlements founded on the west coast of Africa. The specimens in the Liverpool museum are, several of them, very large and important of their kind, more particularly some horns. There is, again, one of those odd allegorical pieces called " a Shepherd " or " a Pilgrim," in which a sort of rock or mountain is represented, with a man lying asleep in the middle close to a fountain from which a stream of water issues, and surrounded with sheep. There are several small collections of ivories in private posses- sion in this country. That of the Reverend Walter Sneyd of Keele Hall, Staffordshire, includes as many as forty pieces dating before the sixteenth century. By far the most complete is the Meyrick collection, at this time Th e on loan in the South Kensington museum. There are altogether CoHection. more than seventy ivories, besides others of later date than the year 1500, or of oriental workmanship. Some estimate of the 1 76 Appendix. The historical value and importance of the whole may be formed from Collection. an examination, especially, of the following selections : — ' ' ' 1. A diptych, French, fourteenth century ; each leaf five inches and a half by four. The subjects which are divided into two com- partments are from the Passion of our Lord, placed as usual under canopies. 1. Entry into Jerusalem, with a man and woman looking over the battlements as Christ enters. 2. The Crucifixion. 3. The Entombment. 4. The Resurrection. These leaves are now unfortunately separated ; and one is enclosed in a black frame. 2. A pax, probably English, fifteenth century. Height four inches. The Crucifixion, under a broad flat ogee arch. 3. A small coffer, bone and marquetry, North Italian, four- teenth century. Height six inches ; length seven ; width four. The front and sides surrounded by single female figures holding shields and scrolls. The back has lost one figure ; in the centre of it a man stands, holding a baby bound round with swaddling clothes. 4. A triptych, bone and marquetry ; same school and date ; a fine example and richly decorated. The centre is more than eighteen inches high and six wide. In the middle are the Virgin and Child, deeply recessed under a pointed arch above which is a figure of our Lord in low relief, His hand raised in benediction. On the sides are St. John Baptist and a bishop with his pastoral staff and palm of martyrdom. Two saints are on each wing. The outside of the wings has been painted with two saints on a red ground ; and the back contains a hollow for a relic, with a shutter. 5. Three fragments of the sloping lid of a casket, the same style as the Veroli casket, No. 216/65. The subjects are boys and cen- taurs with animals, a characteristic specimen of the peculiar school. 6. A coffer, of unusually small size, French, fourteenth century ; two inches in height and three inches long, by rather more than two in width. The cover and sides are divided into panels rather rudely carved with scenes from the life of St. Margaret ; on the cover the Virgin and Child and St. Christopher fill the centre panels. 7. Lid of a casket, French, fourteenth century; ten inches by six. This has four compartments. In the middle two is a tourna- ment, with ladies looking on from a gallery above. On one side is the siege of the castle of Love which is defended by ladies shower- ing down roses. On the other, ladies are leaving the castle with the knights who carry them away on horseback, over a bridge Appendix. 177 under which a boat passes with a man rowing and another knight The and lady embracing. The whole subject is similar to that in the cottection. Mayer collection, No. 23. ' > ' There are three other panels of this casket in the collection. 8. A very fine casket, also of the same style and date, four inches and a half in height, ten inches long by five wide. On the cover is a tournament, as in the panel last noticed. The two side divisions of it have, one the attack, the other the sur- render of, the castle of Love. In front is — -I, Aristotle teaching his pupil Alexander. 2. The philosopher, on hands and knees, carrying the lady on his back. 3. Two old men and an old woman slowly approaching the fountain of Youth, in which, 4, four young people, men and women, nude to the waist are bathing. On the back, scenes from the story of Lancelot ; his combat with the lion ; his perilous passage across the river upon an unsheathed sword; and his sleep upon the enchanted cart, with the ladies looking on. Upon one end is the common subject of the knight received at the gate of a castle by a hermit ; on the other, the trick played upon king Mark by his wife and Tristan, as in the South Kensington casket, No. I46.'66. ; and in a second division, the lady deceiving the unicorn which is slain by a hunter. 9. The head of a pastoral staff, described above, p. lxxx. 10. A very beautiful shrine, French? late thirteenth century. Height of the centre seven inches, width three. In the middle is a statuette of the Virgin and Child, standing under a canopy of a single pointed arch, the whole carved from a single block of ivory. On the four shutters are : 1. The Annunci- ation. 2. The Nativity, in which St. Joseph holds the Infant in his arms, whilst the Virgin sleeps upon her pallet. 3. The Ador- ation of the kings. 4. The Presentation in the temple. 11. Two plaques, mounted in black frames ; perhaps the panels of a reliquary. French, fourteenth century ; each about six inches by four. They are divided into two compartments with arcades of six pointed arches, and the carving is in high relief. Scenes from the history of our Lord. One, is Christ teaching in the temple ; He is a childish figure and stands, supported by His mother, before five or six priests who sit listening to Him. These ivories have not been improved by modern restoration of the old colour and gilding. 12. The curved arm of a chair, made of two walrus tusks. The length in a straight line from end to end of the curve is twenty- three inches. Twelfth century. 1. u 1 78 Appendix. It is not possible to decide in what country this very important and magnificent ivory was carved ; and the name " arm of a chair " must be taken only as a supposition. That it is one of a pair is apparently certain ; for in the centre, on one side, is an eagle, on the other a winged lion : two of the four symbols of the evangelists. These are deeply sunk and enclosed in ornamental borders, exactly similar to the draughtsmen of the same period. The sides from the centres to the end are richly carved in admirable style and workmanship with an interlacing scroll ornament in the midst of which are twined men and fabulous animals. The ends, which are also the ends of the two tusks, have for terminations the heads of lions designed with much spirit. On the under side which is left perfectly flat and plain are incised some small crosses, composed of the well-known little circles called the bone ornament. The original copper pin which strongly fastened the tusks together in the middle still remains. An engraving of one half of this ivory is given in the preface, p. lxxiv. 13. Mirror case, French, fourteenth century; four and a half inches in diameter. Within a border — a quatrefoil, with points — a knight unarmed and dressed in a long single robe with a hood falling behind his shoulders receives a sword from a lady, who is in the costume of the early part of the century and wears a wimple. On each side of them two smaller figures, a lady and a gentleman, are embracing. 14. Mirror case, same size, English ? late thirteenth century ? the siege of the castle of Love. The knights attack on horseback with branches of rose-trees instead of swords. One, who has climbed to the top of a tree, is being helped over the battlements by a lady. There have been four dragons round the rim ; two of them are broken off. 15. A casket, French, fourteenth century. Height, two inches; length, about five ; width, nearly four. The design and workmanship are excellent. The cover and the four sides are divided into small panels, ornamented with canopies and filled with a domestic subject ; two figures in each. Some are walking in a garden, some embracing, some with hawks, some playing at chess, and in one a lady puts a helmet on the head of an armed knight who kneels before her. 16. A thin round reliquary, French, fourteenth century. This beautiful ivory probably contained a relic of the true cross ; for which a space with four arms of equal length is left in the middle. The four spaces between the circumference and the angles of the Appendix. 1 79 cross are filled with subjects from the gospels ; well executed in open work: i. The Annunciation. 2. The Crucifixion. 3. The Resurrection : the angel and the three women all shown with the sleeping soldiers. 4. The coronation of the Virgin. This reliquary retains its original colouring ; and the emblems of the evangelists are painted at the extremities of the cross. 17. A diptych, French, fourteenth century ; each leaf is about eight inches by four. Probably no diptych exists in any collection which equals this in the depth to which the figures have been cut in relief. Each is brought out from the background three quarters of an inch. On one leaf is the Virgin and Child ; on the other our Lord stands holding in His left hand an open book on which is incised " Ego su. dns. " ds tuus Ic. xpc. q 1 creavi redemi & salvabo te." Both figures have great grace and dignity ; and the draperies are arranged with unusual simplicity and breadth. The workmanship is admirable. Over each is a richly decorated arch with cusps and large crockets, with bold finials. Traces of colour and gilding remain upon the borders of the robes and on the hair. 18. A comb, English? fourteenth century; nearly six inches long by four and a half. On one side is the Judgment of Solomon, in low relief. One woman stands on the left and two men hold up by his heels the living child, represented nearly of the same size as themselves. The other woman kneels before the king who sits in the centre, crowned and with a sceptre, upon a throne of rather an archaic type ; he is attended by two men. On the other side is a combat of armed warriors, who fight with and kill one another in a very easy and somewhat ludicrous fashion. For example, one man, whose hand still holding a shield and lying on the ground has been lopped off, runs his enemy quietly through the body ; another, who is stabbed in the same way, cuts through his antagonist's head and helmet down to the shoulders, both men still standing upright. 19. A triptych, French, fourteenth century. Height of the centre, ten inches ; width nearly four. This is a good specimen of the school and period ; and carved with scenes from the gospels, well designed. Especially, on one of the wings, Christ carrying the cross ; a simple and beautiful composition of two figures only, with heads of people seen in the distance. This triptych is mounted upon a modern pedestal in the worst possible taste. 20. The centre of a triptych, French, fourteenth century ; nine 180 Appendix. inches high by four and a half. This has the Virgin and Child, carved in very high relief, standing and) attended by angels with candlesticks. Another angel descends to put the crown upon our Lady's head. The group is placed under a single pointed arch, above which is a pediment with a moulding filled with roses in relief. The figure of the Virgin slopes aside much ; of course, except as a conventional manner of treatment, unnecessarily. 2i. Four panels of a casket, in a black frame; the front and back and two ends : French, early fourteenth century. The sub- jects are from the romance of Sir Tristem, all admirably designed and carved and two of them unusual. These last represent people in bed covered with a counterpane but unclothed according to the custom of the time. Each scene is enclosed within a quatrefoil with points. 22. Three panels, the front, back, and lid of another casket, same style and date. The subjects said to be from the romance of the comtesse de Vergy. 23. A triptych, of the finest style and quality, French, late thirteenth century ; the centre eight inches and a half by about four. The centre piece has two compartments, each under a rich canopy of a single pointed arch, cusped and with reversed crockets onthe pediment. Below, the Virgin sitting and supporting our Lord Who stands on her knee ; two angels are attendant. Above, the Crucifixion. Two men are below the cross : one pierces the Saviour's side ; the other offers the sponge on a spear and holds a small bucket in the left hand. Behind each is a woman in an attitude of grief. A small figure, sitting on the ground, receives the blood into a chalice from the wounds in our Lord's feet. There are two compartments also on each wing : below, the Adoration of the kings and the Presentation ; above, are the carrying the Cross and the Deposition. In this last, the body of our Lord supported by one man has already dropped below the arms of the cross. This triptych has been richly coloured and gilded. 24. A diptych, French, fourteenth century. Each leaf nearly twelve inches by more than five. A superb diptych, admir- ably carved in very high relief ; the canopies which cover each compartment are composed of three pointed arches resting on slender columns cut clear from the background of the ivory. The subjects are taken from the gospels : 1. The Annunciation. 2. The Nativity and the message to the shepherds. In the Nativity behind the Virgin, who lies asleep on a couch, is an Appendix. 181 attendant who seems to be tasting with a spoon out of a caudle The cup; an angel is descending from above. 3. The approach of Collection the three kings, who come riding on horseback towards Herod ' ■ who sits cross-legged, as it seems, consulting with four men who stand by. 4. The Adoration of the kings : they are represented in the presence of the Blessed Virgin who is seated on a high throne with sloping seat, carved and decorated; an angel is placing a crown upon her head. 5. The massacre of the Inno- cents : Herod vested in a long robe, crowned and with a sceptre in his right hand, stands pointing to a woman who has fallen back fainting before a soldier who holds a child head downwards by his legs and thrusts him through with a sword. The fainting of the mother is excellently represented. The original painting and gilding of this magnificent diptych have been well preserved. 25. Ten small panels from a reliquary ; each about two inches and a half square, French, fourteenth century ; carved in open work. The subjects are taken from the legend of St. Agnes : 1. St. Agnes, working with the distaff in her hand, is sitting outside the door of her father's house ; the son of the prefect Sempronius rides by and speaks to her parents who stand behind her. 2. The pre- fect, crowned and dressed in a long mantle over his robe, is arguing with and endeavouring to persuade St. Agnes who stands before him ; two young women are in attendance. 3. The father and mother of St. Agnes, outside a small building like an oratory, implore God to make her resolute against marrying the son of the prefect and giving up her faith. 4. The saint brought before Sempronius who orders her to worship the heathen deities, placed on a high column to his right. 5. The martyrdom of her parents in her sight ; the father lies beheaded, and the mother; kneeling and blindfolded, is about to have her head also struck off by the executioner who has already raised his sword. St. Agnes lifts her hands in prayer, and Sempronius with his attendants looks on. 6. Doubtful, unless it has been misplaced in the present frame ; in which case it may represent St. Agnes deliberating on the pre- fect's proposal. Her father stands by and holds a chaplet of beads in his hand. Against this interpretation is the difficulty that St. Agnes is shown half unclothed ; yet it is not easy to suppose it to be a scene in the prison to which she was taken after the death of her parents. 7. The sudden blindness and sickness of the prefect's son. He lies stretched upon the ground and a winged demon is about to seize the body : St. Agnes kneels and prays for his resto- 1 82 Appendix. The ration to health, which is granted, and her two women look on at Collection tne miracle in amazement. 8. St. Agnes is bound to a stake in ' ' ' the midst of flames which, however, do her no harm but slay the executioners. Sempronius sits by, wearing an open imperial crown. 9. St. Agnes, tied to a pillar, is scourged by two men. 10. The death of St. Agnes ; she kneels, whilst an executioner by order of the prefect kills her with a long spear. Above, two angels carry her soul upwards into heaven. In each scene of these charming panels St. Agnes is represented as a maiden of about fifteen years, and except once accompanied by her lamb. The style and character of the work are similar to and quite as excellent as the panels of the casket with the history of Sir Tristem in this same collection. An engraving of two of the panels, No. 7 and No. 9, is given in the preface, p. lviij. NOTES TO THE DESCRIPTION OF THE IVORIES, AND TO THE APPENDIX. No. 4139. '56.^. 12. "A broad band furrounds the lower part, " with an Arabic infcription." This has been kindly tranflated by Dr. Rieu, keeper of the oriental manufcripts in the Britifli Mufeum, as follows: " In the name of God. This has been made by the princely " lady, daughter of Abderrahman, Prince of the Faithful, upon whom " be God's mercy and grace." " Rejoice, for you have attained u what you hoped and expected ; and faith in its work brings forth " what you defire. Four things ftand by your fide, againft the viciffi- " tudes of fortune : Glory, long life, profperity, and vidtory." There are a kw more words apparently of fimilar import, illegible. No. 4686. '58. p. 18. " A large veil is thrown over the moulders " and hands of Simeon." The fuggeftion may be ventured that when, in ivory carvings or in illuminations of manufcripts, we find a perfon fo veiled receiving the Child, the fubject, is the Prefentation in the temple : when no covering is upon the hands, it would be the Cir- cumcifion. So far as the prefenting of the Infant is concerned, the two fubje&s would be treated much in the fame way. No. 761 1. '6 1. p. 30. "St. Jofeph warned not to fear to take " unto him Mary his wife." This, not an ufual fubjecl: in fculptures, in painted glafs, and in manufcripts, is fomewhat likely to be mif- underftood and taken to reprefent the flight into Egypt. A little care in obfervation, one would fuppofe, might prevent fuch an error ; for the figure of the BlefTed Virgin is almoft always mown as of a woman " great with child." Yet — to mention only one inftance — there is an egregious example to the contrary in the very learned author of the appendix or fupplement to the third volume of Gori's Thefaurus : and, in this cafe, an engraving is given of the ivory which fhows that the fculptor has not only omitted the Infant but taken even exaggerated pains to tell his ftory, fo that there mould be no miftake about it. Neverthelefs the commentator perfifls that the fubjecl: is the flight into Egypt. It is worth while to quote his own words ; he has juft been fpeaking of a picture in the Menologion which, rightly, repre- fented the flight into Egypt. " Recedit," he fays, " vero aliquantu- " lum a pictura fubfequente fubje&a heic fculptura, in qua ipfa fuga 184 Notes to the cc exprimitur, nam angelus qui in ilia fubfequitur heic prascedit. Prae- " terea in pictura Virgo valida afellum inequitat ; fed in hujus tabulae " anaglypho, nefcio quo confilio, infirmitatem fpirat et veluti e jumento " labans, humeris Iofephi fuftinetur. FortafTe in mentem fculptoris " occurrit, dum opus moliretur, textus D. Hieronymi in primum caput " Mathaei ubi caufas defponfationis Mariae cum Iofepho diligentius " inquirens hanc etiam fubdidit, tertio, ut Mgyptum fugiens haberet " folatium Iterum peccavit heic fculptor, qui pueri Iefu " pene oblitus, de fuga tantum parentum follicitus fuit, quern fortafle " in Nazareth dereliquit, innocentium caedis fpectatorem." p. 36. tabula xij. It is not eafy to match this perverfity of reafoning except by the explanation which the fame writer gives of the famous mythological diptych of cardinal Quirini at Brefcia ; in which he turns a purely claffical fubject into the temptation by a woman of an early Chriftian martyr, as related by St. John Damafcene in his hiftory of two foldiers of Chrift. It may be added that upon the right leaf of this Brefcia diptych, which is probably not later than the end of the third century, the male figure is reading a letter or a meflage out of a fet of tablets, pugillares, which he holds in his left hand. No. 7952. '62. p. 35. " On the other fide is a Crucifixion, a " rood." Strictly fpeaking the crofs itfelf, in olden times, was called the rood, from the Anglo-Saxon rode ; as in the poem in the Vernon manufcript (Bodleian library) How the holy cros was y-founde, which begins, " The holy rode, the fwete treo," i.e. tree. And, in like manner, the crofTes of the two thieves : " So that heo founden roodes threo, " Tho heo hedden i-doluen longe, u The roode that God was on i-do, " And that the twey theues were on an honge " Bi-fyden ur lord." /. 303. But the name was commonly applied alfo to the crucifix, and more efpecially to the group of our Lord on the crofs, with the Virgin and St. John on either fide, as ufually placed over the rood-fcreens of Englifh churches ; for example, the royal commiffioners who were fent into Lincolnfhire in 1565 to deftroy all the ancient religious ornaments and furniture generally make an entry of " the rood, Mary, and John." No. 211. '65. p. 43. " 13. The women at the open fepulchre." This frequent fubjecl: upon ivory diptychs was alfo carved over the Eafter fepulchre in our churches. A very curious example, but much mutilated, ftill (it is believed) exifts in the church at Nazenby, in Lincolnfhire ; below are the three foldiers in chain armour and furcoats, Defer iption of the Ivories. 185 watching ; above the arch is an angel, and the three women are feen approaching with fpices. No. 212. '65. p. 45. "Above the panel is inferibed the title, " Symmachorum." PafTeri, in the preface to the firft volume of Gori's Thefaurus fuggefts that the omitted word before " Symma- " chorum " on this leaf of the diptych and " Nicomachorum " upon the other is " religio ; " and fuppofes that the two families took the opportunity of recording upon this occaflon — whether of a marriage or whatever elfe it may have been — their determination to uphold and cling to the old pagan worfhip againft the doctrines and influence of Chrif- tianity, at that time (the middle of the third century) widely extending. " Occafio diptychi exculpendi conjugium, feu magiftratus, aut quae- " vis alia conjun&io, quae foedere novo utramque familiam fui tem- " poris praeclariflimam copulaverit. Quid ni, etiam aliquo inito inter " ambas facramento, deteftando equidem, atque omnium temporum " averfione execrando, quo data fide antiquam idolorum fuperftitionem " tueri ac propugnare conveniflent. Divinabor fortafTe, fed non in- " aniter, pactum fcriptis firmatum, ac eboreis tabulis inclufum publico " aliquo in loco repofitum fuifle, quo Chriftianam religionem kk undi- " que diffundentem, quam novitatis nota arguebant, ab ipfis unice im- " pugnatam pofteris teftarentur : etc." p. xviij. No. 10. '66. p. 51. " On the top are two animals, like does; a " large bird ftands on the back of each, attacking it with his beak." Perhaps intended to reprefent the well known Arab and Moorifh fport of hunting the gazelle with hawks. No. 11. '66. p. 52. "On the front is an infeription in Arabic, " much defaced." Dr. Rieu fays, " To decypher this is hopelefs. The " bottom line might contain the words, glory and profperity." Perhaps a portion of fome Moorifh formula. No. 139. '66. p. 56. " A broad tablet, on which is the infeription." In this infeription the C inftead of G for Gennadius, and I for E in Oreftes, are probably errors of the fculptor. But upon this point Gori can be referred to in his fecond volume, p. 89, et feqq. ; where alfo the reader can learn that it is from this diptych alone that we have any evidence that the names of the conful Oreftes were Rufius Gennadius Probus, a very important facl: which the editors of the fajii confulares were all ignorant about. Alfo, that the monograms may not mean Oreftes but will fpeli alfo (if properly looked at) " Conjlanttnopolis et Roma ; altera YT^oy 'sit ttrt M# Greek infcription is deeply incifed the diptych of the conful Clemen- of this curious infcription, which is KA A O C fiYAAiOC M6TA $0&oY Qt *Jirpoc$gp$H 4M H rt K ® oaW re Toy HoNHCTHd ^ 4.MHH * S$ r>pa Defcription of the Ivories. 189 to be read acrofs both divifions, engraved probably upon the ivory by fome one not well fkilled in the language. There are feveral faults, both in fpelling and in the letters : for example, we have o-to^ev ; Qbutukck; ; tXeux; ; and < often inftead of q. The infcription is to this effecl: : tc »f. Let us ftand well. Jfc Let " us ftand with reverence. +• Let us ftand with fear. Let us attend " upon the holy oblation, that in peace we may make the offering to " God. The mercy, the peace, the facrifice of praife, the love of " God and of the Father and of our Saviour Jefus Chrift be upon us, " Amen. In the firft year of Adrian, patriarch of the city. Remem- " ber, Lord, thy fervant John, the leaft prieft of fthe church of " St. Agatha. Amen. -J* Remember, Lord, thy fervant Andrew " Machera. Holy Mother of God ; holy Agatha. + Remember, " Lord, thy fervant and our paftor Adrian the patriarch. + Remem- " ber, Lord, thy fervant, the finner, John the prieft." P.S. — The Department of Science and Art is indebted to Mr. Franks for the loan of the woodcuts p. xlix and p. 1 : and to Mr. Mayer for the woodcut p. 188. INDICES TO DESCRIPTION OF THE IVORIES. 1871. INDEX TO DESCRIPTION OF THE IVORIES. Name of Objedt. Country. Cent/. 1 Subjedt. No. ! Page. 1 Book corers . German (?) loth St. Andrew's Crofs, etc. . 8461. *63 38 ,, cover . German . 9th 1 Scriptural fubjedls . 1 38. '66 53 >» >» »> 1 6th Religious fubjedts . 8. '72 145 Bofs of a rofary » 15th Emblematical fubjedts. . 2149. '55 6 Box . French . i6th(?) Engraved fubjedts . 1637. '56 8 n • • • French (?) 15th Hunting fubjedts . 2553. '56 9 ,, . . . Oriental . Interlacing circles, etc. . 4139. '56 12 ,, . . . French . 14th . 4073. '57 i3 ,, . . . Italian 15th Uncertain 4718. '59 22 >» • • • » »» Figures 4719. '59 »> >» Spanifli (?) 1 2th Scroll ornament 5471. '59 !> »> French (?) 15th Morris dancers, etc. 6747. '60 25 ,, »> »> Various fubjedts 7660. '62 33 ,, . . . German . 14th 1 1 62. '64 40 >» Moorifli . 10th Various fubjedts . . 217. *65 48 „ Spanifli . 14th Gilt geometric rofettes, etc n. '66 52 j> • • • Moorifli . 1 2th Scroll foliated ornament . 3oi. '66 75 » German . nth Legend of a faint . 268. '67 108 » Italian . 1 6th The cardinal virtues 289. '67 117 Bufts . >> M Man and woman, etc. 216. '67 82 Cafket French . 15th Foliage .... 1268. '55 3 ,, . ,. ( ? ) • 14th Heraldry 1618. '55 4 » German . nth Floriated, etc. 2440. '56 9 ,, . Italian . 15th Figures of women, etc. 43o 4 . '57 14 >i Flemifli (?) . 1 6th 4476. '58 i5 ,, Sicilian . 1 2th Birds, etc. 4535. '59 20 ,, . French (?) 15th Morris dancers, etc. 4660. '59 „ >» • Spanifli . 14th 321. '64 40 >» Byzantine uth(?) Claffical 216. '65 47 » • )> •» Various fubjedts 247. '65 5o ,, Spanifli- Morefco i2th(?) » • • 10. '66 5i ,, French . 14th Tournament, etc. . 146. '66 64 ii Englifli . 15th Scriptural fubjedts . 176. '66 7i » • German . 10th Scenes from the Paffion of our Lord. 216. '66 74 >» French . 14th The legend of St. Mar- garet. 263. '67 io5 j> Englifh(?) >» Domeftic fcenes 264. '67 106 >» • French . 13th Scriptural fubjedts . 369. '71 133 Chefiman German . 1 6th A knight on horfeback . 2998. '56 11 >» French (?) 14th 1 A king feated 2l3. '67 81 194 Index to Name of Object. Country. Centf. Subject. No. Page Chefs-p iece . Englifh (?) 1 3th Various fubjedts 8987. '63 38 Coffer Italian . 15th Boys, etc. 2563. '56 10 French (?) 59 Fleurs-de-lis, etc. . 2800. '56 11 99 Italian . 55 Various fubjedts 3265. '56 12 n 55 55 Pyramus and Thifbe, etc. 5624. '59 25 j> Oriental . i 3 th(?) Animals 6974. '60 26 Comb German . 1 6th David and Bathfheba, etc. 2143. '55 5 99 ' Italian . 55 Scroll and fmall medallions 2144. '55 9] 39 55 • • 95 Boys and medallion . 2145. '55 9! 55 55 • * 55 Martyrdom of St. Catherine 4717- '5 9 21 55 55 I4th Ladies and knights . 5607. '59 23 55 Englifh . 1 6th Figures in a garden 7441. '60 26 55 Italian . 14th Figures with mufical in- ftruments. 227. '67 86 55 95 • * 1 5th Gentlemen and ladies 228. '67 87 55 55 14th Various fubjedts 229. '67 95 55 Englifh (?) 15th Hunting fcene, etc. 23o. '67 Si 55 Italian . 55 99 23l. '67 99 55 99 • * 1 6th Scrolls, perforated work, etc. David and Bathfheba, etc. 232. '67 85 5» German (?) 15th 468. '69 "3 Coyer of a box j> 5) God the Father and the dead Saviour. 225. '67 8( Crucifix Byzantine loth The Crucifixion . 7943. '62 Zi Dagger Italian . 14th Animals, etc. 147. '66 6( Diptych " . 15th The Annunciation . 4355. '57 u 55 Englifh . 14th Scriptural fubjedts, etc. . 6824. '58 it 55 French . 99 Scenes from the Paflion . 56z3. '59 2: 55 " . " * 55 99 211. '65 4 2 55 Byzantine . 6th Confular 1 3 9 . '66 5! 55 French . 14th Subjects from the Gofpels 148. '66 6; 55 German (?) 55 Scenes from the Paflion . 3oo. '66 7 l - 55 Englifh (?) 95 Scenes from the Gofpels . 233, '67 8< 59 French . 99 59 • 234. '67 9< 55 55 • • 99 99 • 235. '67 99 55 59 99 Scenes from the Paflion . 290. '67 lit 55 55 99 99 • 291. '67 I2C 55 59 99 Scriptural fubjedts . 292. '67 121 55 59 • • 99 Scenes from the life of our Saviour, etc. 293. '67 95 55 95 99 Subjects from the Gospels 294. '67 12: !5 Englifh . 55 Scenes from the Paflion . 367. '71 i3c 55 Byzantine 6th Confular 368. '71 i3i 55 French . 14th The Virgin and Child, etc. 4- '72 14' Draughtfmar i „ (?) • 1 2th Man attacking a ferpent . 374- '7 1 i3< 55 North Europe . 55 Man and woman, etc. 3 7 5. '7 1 59 5> 59 1 3th A man riding, etc. . 376. '71 55 55 1 2th A fabulous animal . 377. '7 1 i3- Figures, etc Rhenifh-Byzan- 55 The Apoftles, etc. . 7650. '61 3: Figure . Byzantine 1 3th Our Saviour feated . 273. '67 IK Group . French (?) 14th The Laft Supper (?) 211. '67 8 55 95 • 15th The Annunciation . 282. '67 11 55 55 • • 55 Adoration of the Magi . 283. '67 99 )> 55 14th Virgin and Child, etc. 285. '67 11 55 Italian . 1 6th Four boys . . i3. '72 14 Handle of a dagger 55 • • 55 Carved terminal . 1639. '56 55 French . 14th Heads of men and women 278. '67 11 Handles of a knife German . 1 6th Animals fighting . 36 47 . '56 1 and fork. Defcription of the Ivories. *95 Name of Objedt. Country. Cent?. Subjedt. No. j Page. Handle of a flabellum Head of a tau Hilt of a hunting fword. Horn or oliphant . Horn . >> • Knives and knife- cafe. Knife handles Medallion Mirror cafe Mount of a dagger {heath. Paftoral ftaff Pax » Plaque (four) French . North Europe French (?) German . North Europe German Sicilian (i French German Englim German Englim » ( German French German French Englim » French » German French German French Englim French Englifh French German Spanifli-Moreft Italian . Englim (?) Roman . French . Italian . German . 1 2th nth lath nth 1 2th 1 6th nth 15th 1 2th »(?] 1 6th 17th 15th 14th 1 6th 14th i3th 14th 1 6th 1 8th i3th 14th 1 2th 14th 1 5th 14th 1 6th nth » 1 6th 14th 3rd 14th 1 5th nth Animals Various fubjedts Saints and animals . St. Michael, etc. . Men and animals . Groups of animals . Animals, etc. Hunting fubjedts . Various fubjedts Animals, etc. Cupid and dogs Three emperors, etc. Kings and queens . The AfTumption St. George . » The marriage of St. Cathe- rine. The Caftle of Love David's meflage to Bath- fheba. Love fcenes . Various fubjedts A tournament A hawking party . Balcony, with figures, etc. Figures in a garden A hunting party . Gentleman and lady play- ing at chefs. A game at chefs Hawking party The Caftle of Love Grotefque decorations, etc. Various fubjedts Virgin and Child, etc. The Nativity, etc. . The Virgin and Child, etc. St. Michael and Satan The Entombment . Scenes from the Gofpels Our Lord feated, etc. Scroll ornament, etc. Foliated ornament, etc. Angels and mufical in- ftruments. The Virgin and Child . A prieftefs before an altar Our Lord and two apoftles St. Sebaftian . The Evangelifts 3 7 3. « 7 i 2i5. '65 262. '67 371. '71 372. '71 9039. '63 7953. '62 7954. '62 8o35. '62 8394. '63 73. '65 2i65. '55 453 to 466. '69 1607. '55 4085. '57 233. '66 38 3 . '71 i6»7- '55 2148. '55 210. '65 217. '67 218. '67 219. '67 220. '67 221. '67 222. '67 223. '67 224. '67 226. '67 9. '72 4713- '59 2166. '55 7952. 62 214. '65 218. '65 297. '67 298. '67 365. '7i 246. '67 247. '67 665. '53 620. '54 i°57- '55 4075. '57 4690. '58 6989. '60 212. '65 2i3. '65 219. '65 220. 220\ 220 b . 220 c . '65 i35 47 !°5 1 3 4 i35 39 35 36 37 38 4i 7 127 3 ij 75 140 4i 82 83 »> 84 5» 85 86 146 7 34 46 49 125 126 128 96 13 18 26 44 45 49 5o 196 Index to Name of Object. Country. Centy. Subject. No. Page. Plaque . Ruflb-Greek . i6th(?) Subjects from the Gofpels 128. '66 s« 33 Anglo-Saxon . nth Adoration of the kings . 142. '66 | 59 j, . Rhenifh-Byzan- tine. 3> The Nativity. 144. '66 62 }3 • • * 33 33 The Adoration of the kings 145. '66 63 „ (three) Byzantine 3» Scenes from the life oi Chrift. 1 4 9 a i49 b i49 e . '66 67 „ German . 9th The Offering of the wife men, etc. 150. '66 68 , . . . 33 loth The Crucifixion, etc. i5i.'66 69 ,, Byzantine 1 3th Bufts of our Lord and four faints. A Majefty 2i5. '66 73 „ . Englifh . 14th 34. '67 75 „ (four) French . 33 The Nativity. 237. '67 9 1 ,, . Lombardic (?) . 10th The Prefentation . 238. '67 92 33 • Englifh (?) 14th Scenes from the Paflion 239. '67 33 ., . French . 33 Subjects from the Gofpels 240. '67 93 ., . 33 33 Scenes ,, 241. '67 3> ., . Englifh . 33 The Nativity . 242. '67 94 ?> Italian . 13th Subjects from the Gofpels 243. '67 33 ,, . French . 14th Two domeftic fcenes 244. '67 95 ;> 33 33 Two love fcenes 245. '67 96 „ (four) 33 • • 1 2th The Evangelifts 248. '67 97 ,, . 33 14th A hawking party . 249. '67 33 j> . • German . 9th The Crucifixion zSo. '67 98 » 33 33 33 25l. '67 33 5> 33 10th 33 2S2. '67 99 33 33 33 The Transfiguration 2S3. '67 33 33 33 • • S3 The Afcenfion 254. '67 IOO 33 ( tW0 ) • 33 33 Scenes from the life Chrift. f 255 256/67 IOI 33 33 9 th Scenes from the life our Lord. 257. '67 33 33 Rhenifh-Byzan- tine. nth The Afcenfion 258. '67 I02 33 German (?) 33 3'. 259. '67 io3 33 French . 1 2th The Saviour in Glory 260. '67 104 33 „ .(?) • 14th The Saviour in Majefty 261. '67 33 J3 • Byzantine 1 2th Two fubjects with warrioi s 265. '67 106 3) German . 10th The Crucifixion and Re furrection. 266. '67 107 33 • • • French . 1 2th The Annunciation, etc. 267. '67 108 33 Byzantine 33 The fymbol of St. John 269. '67 109 33 33 9th Two apoftles feated 270. '67 13 33 Italian 1 6th Six apoftles ftanding 271. '67 no 33 10th An apoftle 272. '67 33 ,, German . nth An apoftle ftanding 274. '67 in 33 Englifh (?) 33 Two kings 275. '67 >» 33 French . 13th A bifhop giving bene diction. 276. '67 T12 33 33 • • 14th The Virgin and Infant 277. '67 33 „ (fix) . . German . 1 2th Scenes from the life our Saviour. f 279. '67 n3 „ (fix) . . 33 33 3» 280. '67 114 „ (two) . Englifh . 14th Sitting figures under c»no pies, etc. - 284 284*. '67 116 33 Byzantine nth Warrior and a female 288. '67 117 33 33 a 2th Scenes from the life our Saviour. f 295. '67 123 33 ••• •, 33 • nth Death of the Virgin, etc. 296. '67 124 Defcription of the Ivories. J 97 Name of Objeft. Country. Cent/. Subjecl. No. Page. Plaque . Roman . 2nd Figures in a proceflion . 1 2 99- '67 126 jj ' German . loth The Crucifixion 3o3. 67 JJ » French . 14th Ladies and jefters . 1 242. '69 127 ,, (ferie ") '• jj jj Paffion of our Lord . 366. '71 128 jj Byzantine 6th Leaf of a confular diptych 368. '71 i3i jj Rhenifh By- zantine. nth The Afcenfion 378. '71 i3 7 jj Byzantine » Scenes from the Gofpels . 379- '7i jj jj German 10th The vifit to the Sepulchre 38o. '71 i3 9 jj 1 Byzantine 1 2th Our Lord feated in Ma- jefty. 38i.'7i jj JJ French . 14th The Virgin and Child . 382. '71 140 JJ Byzantine nth Scenes from the Gofpels . 1. '72 141 JJ French (?) 1 2th Our Lord in Glory . 2. '72 142 JJ nth The taking down from the Crofs. 3. '72 j> JJ Byzantine » Scenes from the Gofpels . 5. '72 i 4 3 Polyptych French (?) 14th Virgin and Child, etc. 4686. '58 16 n » • • » The Crucifixion, etc. 140. '66 57 JJ » jj The Virgin and Child, etc. 37c. '71 1 3 4 JJ » • • jj jj jj jj 6. '72 144 Pommel of a knife German . 1 6th A man and woman 362. '54 2 or dagger. j> jj jj jj jj _ j» 2i5o. '55 7 Predella of an altar- Italian . 14th Gofpel fubjedts 7611. '6i 3o piece. Powder flafk French . 1 6th Samfon deftroying the lion 2233. '55 8 jj » jj Bellona crowned by Vic- tory, etc. 71. '65 40 jj Flemifh . jj Shells, with cupids . 72. '65 41 jj German . jj A hunting party 2161. '5s 5i Pyx (?) . . Byzantine nth Foliated fcroll and birds . i36. '66 52 Reft (for writing) . Italian . 15th A crowned lion 75oo. '61. 27 jj • jj jj A lion .... 75oi. '61. >j jj French . 14th Claffical fubjeds . 286. '67 117 jj jj jj Group of two lions 287. '67 jj Rofary (tablet) German . 1 6th The Blefled Virgin 281. '67 Il5 Statuette Italian . jj St. George and the Dragon 36i. '54 1 jj French (?) 14th Virgin and Child . 1598. '55 3 German . 16th An emaciated figure 2582. '56 10 >» French . 14th The Virgin and Child 4 685. '58 i5 JJ Italian 1 6th A lady feated . 7678. '61 33 JJ jj • jj St. Sebaftian . 304. '64 39 JJ French . 14th Virgin and Child . 200. '67 76 JJ Englifh (?) jj jj jj 201. '67 jj JJ » • • jj jj jj 202. '67 77 » French . 1 3th jj jj 2o3. '67 jj JJ ■ Englifh . 14th jj jj • • 204. '67 78 JJ • French . jj jj jj • • 2o5. '67 jj JJ • » jj jj jj 206. '67 jj JJ Englifh (?) jj jj jj • • 207. '67 79 JJ ■ French . jj jj jj • • 208. '67 jj JJ | JJ ■ • jj jj jj • • 209. '67 80 JJ • Italian 15th A faint 210. '67 » » • jj 14th The Crucifixion 212. '67 81 >♦ • jj • • 1 6th St. Paul 214. '67 82 JJ • » • • jj St. Peter 2l5. '67 jj JJ Englifh (?) 14th Virgin and Child . 7. '72 145 » Spanifh (?) 1 6th Baptifm of our Lord IO. '72 146 JJ • Italian . jj A boy feated 12. '72 148 198 Index to Name of Subject. Country. Cent/. Subjeft. No. Page Tablets (fet) Triptych Trumpet French Italian German French Italian (? Spanifli French Italian French » Italian 14th 15th 1 6th » 14th » 1 8th 14th 13th 14th 1 6th Paflion of our Lord The Crucifixion » » • • Two angels . . Scenes from the Gofpels . » jj^ j> The Affumption, etc. The Virgin and Child, etc. Coronation of the Virgin . The Virgin and Child, etc. II. '72 933- '56 2818. '56 433°- '57 759*- '61 7606. '61 99. '64 141. '66 143. '66 175- '66 236, '67 1123. '69 147 8 11 14 *7 29 39 58 61 6 9 9 1 128 CHRONOLOGICAL INDEX TO DESCRIP- TION OF THE IVORIES. Date No. and of Country. Name of Object. Subjed. Date of Page. cent?. Acquifition. 2nd Roman . Plaque Figures in a proceflion 299. '67 126 3rd » • „ • • A prieftefs before an altar 212. '65 44 6th Byzantine Diptych Confular i3 9 . '66 55 » » j» • • „ . . .^ 368. '71 131 5> » • • Plaque Leaf of a confular diptyc 1 368. '71 i3i 9th >> • • ,, . . . Two apoftles feated 270. '67 109 .«> German . Book cover Scriptural fubjedts . i38. '66 53 » j> • Plaque Offering of the wife men etc. The Crucifixion i5o. '66 68 „ • . • 25o. '67 98 » it „ • • " 25l. '67 » » » • • j» • Scenes from the life our Lord. f 257. '67 IOI loth Byzantine . Crucifix The Crucifixion 7943. '62 34 5> German (?) Book covers St. Andrew's Crofs, etc. 8461. '63 38 )> Cafket Scenes from the Paflion 216. '66 74 » Plaque The Crucifixion, etc. i5i. '66 69 )> » „ . J5 • • 252. '67 99 » >> • • ,, . . . The Transfiguration 253. '67 >> 3J 5> • • „ . • • The Afcenfion 254. '67 100 » >> • ' „ (two) Scenes from the life Chrift. F 255.256. '67 IOI »> » • „ . . • The Crucifixion and Re- furredlion. 266 '67 107 }) 5> • ,, . The Crucifixion 3o3. '67 126 Defer iption of the Ivories, 199 Date No. and of Country. Name of ObjecT:. Subjecl. Date of Page. cent?. Acquifition. 1 oth German . Plaque The vifit to the Sepulchre 38o. "71 i3 9 » j> • An apoftle 272. '67 no » Lombardic (?) . J5 • The Prefentation . 238. '67 92 » Moorifh . Box . Various fubjefts 217. '65 48 nth Anglo-Saxon . Plaque Adoration of the kings . 142. '66 59 „(?) Byzantine Caflcet . Clafiical 216. '65 47 » >j • • » • Various fubjedts 247. '65 5o 5J » Plaques (thr ee) . Scenes from the life of Chrift. 149 s . i49 b . 149°. '66 67 J» >> • Plaque Warrior and a female 288.'67 117 J> » >> • Death of the Virgin, etc. 296. '67 124 JJ » • • 5> • Scenes from the Gofpels . 379. '71 i3 7 » » >> • » 1. '72 141 5» » • j» • » 5. '72 i 4 3 5> » • • Pyx . Foliated fcroll and birds . i36. '66 52 » Engli/h(?) Plaque Two kings . 275. '67 in J) German . Box . Legend of a faint . 268. '67 108 » »> Caflcet Floriated, etc. 2440. '56 9 » » Plaques (fou r) . The Evangelifts 220. 220 a . 220 b . 220 c . '65. 5o » » (?) • Plaque The Afcenfion 259. '67 io3 » »» j> • An apoftle {landing 274. '67 in » North Europe . Head of a ta u . Various fubjedts 2i5. '65 47 » » j> St. Michael, etc. . 371. '71 1 3 4 » » Horn or olif hant . Animals, etc. 7953. '62 35 w Rhenifh-Byzan- tine. Plaque • The Nativity . 144. '66 62 » » • • The adoration of the 145. '66 63 kings. » » » • The Afcenfion 258. '67 102 » j> » • „ . . . 3 7 8. '71 i3 7 )> Spanifli-Morefco }y • • Scroll ornament, etc. 1057. '55 2 }> 5> >> • • Foliated ornament, etc. . 4075. '57 i3 »J ■ »> • The taking down from the crofs. 3. '72 142 1 2th Byzantine » ' Two fubjedts with warriors 265. '67 106 » >> j» • The fymbol of St. John . 269. '67 109 » »> >» • ■ Scenes from the life of our Saviour. 295. '67 123 J> » • • v • Our Lord feated in Ma- jefty. 38i. '7* i3 9 » French (?) Draughtfma 1 . Man attacking a ferpent . 374. '71 i36 » » Handle of bellum. a fla- Animals 3 7 3. '71 i35 J> » (?) • Head of a ta u . Men and animals . 372. '71 » » » Plaques (fou r) . The Evangelifts 248. '67 97 >? » • Plaque The Saviour in Glory 260. '67 104 J> » » • • The Annunciation, etc. . 267. '67 108 ») » (?) • » • • Our Lord in Glory . 2. '72 142 J> German . Horn or olip bant . Various fubjedts 8o35. '62 37 » H (?) • Paftoral ftafl The Nativity, etc. . 218. '65 49 » J> • • Plaques (fix) Scenes from the life of our Saviour. 279. '67 ix3 » ". * „ (f«) » 280. '67 114 » Msorifh . Box . Scroll foliated ornament . 3oi. '66 75 » North Europe . Draughtfma n . Man and woman, etc. 375. '71 i36 » » Head of a ta u Saints and animals . 262. '67 io5 200 Chronological Index to Date of cent''. Country. Name of Object. Subjedl. No. and Date of Acquifition. 12th » „(?) 12th (?) »> 13th 14th Rhenifh-Byzan- Figures The Apoftles, etc. . 7650. '61 tine. Sicilian . Cafket Birds, etc. 4535. '59 ,. (?) • Horn . Animals, etc. 8394. '63 Spanifh (?) Box . Scroll ornament 5471. '59 Spanifh-Morefco Cafket Various fubjedls 10. '66 Draughtfman A fabulous animal . 377. '71 Byzantine Figure Our Saviour feated . 273. '67 » ' Plaque . . Buft of our Lord and four faints. 2 1 5, '66 Engli(h(?) Chefs-piece Various fubjedls 8987. '63 >) Mirror cafe Gentleman and Jady play- ing at chefs. 223. '67 French . Cafket Scriptural fubjecl: ,. 369. '71 j) • • Paftoral ftaff Virgin and Child, etc. 7952. '62 JJ • • Plaque A bifhop giving bene- diclion. 276. '67 JJ Statuette Virgin and Child . 2o3. '67 JJ " * Triptych )> • 175. '66 Italian Plaque Subjects from the Gofpels 243. '67 North Europe . Draughtfman A man riding, etc . 376. '71 Oriental . Coffer Animals 6974. '60 Englifli(?) Cafket Domeftic fcenes 264. '67 JJ • * Diptych Scriptural fubjefts, etc. . 6824. '58 » (0 i jj • • Scenes from the Gofpels . 233. '67 JJ '> • • Scenes from the Paffion . 367. '71 >J * Mirror cafe A game at chefs 244. '67 JJ Paftoral ftaff Virgin and Child, etc. 298. '67 'y * Pax . St. Michael and Satan 246. '67 jj Plaque The Virgin and Child . 6989. '60 jj ' » • A Majefty . ■ -• ■ 3 4 - '67 .-, (?) • ,j . . . 1 Scenes from the Paffion . 239. '67 J» ,, . The Nativity . 242. '67 >> * » (two) Sitting figures under cano- 284. 284*. pies, etc. '67. „ (?) • Statuette Virgin and Child . . 201. '67 jj • • » • • 5> " ' 202. '67 jj » • » • 204. '67 „ (?) • j» • • » 207. '67 M (?) • »> • • !> 7. '72 French . Box . 4073. '57 „ (?) • Cafket Heraldry 1618. '55 » • • >> • • Tournament, etc. . 146. '66 >> • * j> • • Legend of St. Margaret . 263. '67 M (?) • Cheffman . A king feated 2i3. '67 jj Diptych Scenes from the Paffion . 5623. '59 jj >> • » » 211. '65 3? • • >> Subjects from the Gofpels 148. '66 JJ • • » • » jj 234. '67 J> » • Jj ;j 235. '67 JJ • >> ••■•• Scenes from the Paffion . 290. '67 „ >» j> )> jj 291. '67 JJ • • » • • Scriptural fubjedls . 292. '67 JJ • • y> Scenes from the life of our Saviour. 293. '67 J> * • >> Subjedls from the Gofpels 294. '67 >» • » The Virgin and Child, etc. 4. '72 J. (?) • Group The Laft Supper . . MX, '67 Defcription of the Ivories. 20 1 Date ; No. and of Country. Name of Obje£r. Subject. Date of Page. cent?. J Acquifition. 14th French . Group Virgin and Child, etc. 28S. '67 116 » »» Handle of a dagger Heads of men and women 278. '67 112 »> » Mirror cale The Caftle of Love 1617. '55 4 j> » >» Love fcenes . 210. '65 4i » )> >> Various fubjefts 217. '67 82 j> j> j> A tournament 218. '67 83 j> » >» A hawking party . 219. '67 >> » >t >> Balcony with figures, etc. 220. '67 84 » >> » Figures in a garden 221. '67 >> » ji » A hunting party 222. '67 85 » »> »> A hawking party . 226. '67 86 » ?» >i The Caftle of Love 9. '72 146 » j? Paftoral ftaff Virgin and Child, etc. 214. '65 46 ;> » >» „ „ etc. . 297. '67 125 » >» »i >> » 365. '71 128 >» i» Plaque Scenes from the Gofpels . 665. '53 1 jj »> M • • Our Lord and two apoftles 21 3. '65 45 » >» „ (four) The Nativity 237. '67 91 » j» » Subjects from the Gofpels 240. '67 93 >> ?> >> Scenes from the Gofpels . 241. '67 j» » )> » • • Two domeftic fcenes 244. '67 95 5» » >> • • Two love fcenes 245. '67 96 )> >» »> • • A hawking party . 249. '67 97 >> » (? ) ; » The Saviour in Majefty . 261. '67 104 5> >> >» The Virgin and Infant . 277. '67 112 » >) )» • Ladies and jefters . 242. '69 127 Jl ;> >i • • The Virgin and Child 382. '71 140 )> .. P ) '■ Polyptych . Virgin and Child, etc. . 4686. '58 16 )> » >» The Crucifixion, etc. 140. '66 57 »> »» ,. The Virgin and Child, etc. 370. '71 i3 4 >J » n • < »> » j> 6. '72 144 » » Reft (for writing) Claffical fubjects 286. '67 117 » » >> » Group of two lions 287. '67 v J> » ) i Statuette Virgin and Child . 1598. '55 3 » J> j> • » » 4685. '58 i5 J> Jl » • • » j> 200. '67 76 >» » » • • » M 2o5. '67 78 » » »» • • >t » 206. '67 » » >! >» n 5» 208. '67 79 J> >» >» " " 209. '67 80 >» » Tablets (fet) Paffion of our Lord II. '72 J 47 J> >» Triptych Virgin and Child, etc. 141. '66 58 » »» » • » »> 236. '67 9 1 » German Box . .... 1 162. '64 40 >J .» ( ? ) • Diptych Scenes from the Paffion . 3oo. '66 75 )» Italian Comb Ladies and knights 5607. '59 23 )) j> ?» • • Figures with mufical in- ftruments. 227. '67 86 J> » >> • Various fubjedts 229. '67 87 » 5» Dagger Animals, etc. 147. '66 66 )> j» Predella of an altar piece. Gofpel fubjedts 7611. '61 3o » „ Statuette The Crucifixion 212. '67 81 >» » (?) Triptych . Scenes from the Gofpels . 7592. '61 27 »> >> jj • • » » >» • 7606. '61 29 If » >» • The Coronation of the 143. '66 6i Virgin. >i Spanifli . Box . Gilt geometric rofettes, 11. '66 5a etc. 202 Chronological Index to Date No. and of Country. Name of Object. Subject. Date of Page. cent?. Acquifition. 14th Spanifh . Cafket 321. '64 40 15th Englifh . jj • Scriptural fubjects . 176. '66 7i JJ „ (?) • Comb Hunting fcene, etc. 23o. '67 88 JJ 55 Medallion . St. George 4085. '57 i3 JJ „ (?) • » » • 233. '66 75 JJ French (?) Box . Hunting fubjects . 2553. '56 9 JJ » (?) • jj a . • Morris dancers, etc. 6747. ' 60 25 JJ » • • jj • • " Various fubjects 7660. ' 62 33 » » • • Cafket Foliage 1268. '55 3 JJ „ (?) • jj Morris dancers, etc. 4660. '59 20 JJ n (?) • Coffer Fleurs-de-lis, etc. . 2800. '56 11 JJ it • • Group The Annunciation 282. '67 n5 JJ » • • jj • • Adoration of the Magi . 283. '67 jj JJ jj Pax . The Entombment 247. '67 96 JJ German . Bofs of a rofary . Emblematical fubjects 2149. '55 6 JJ „ (?) • Comb David and Bathfheba, etc. 468. '69 127 JJ j> • Cover of a box . God the Father and the 225. '67 86 JJ dead Saviour. » » • Horn or oliphant . Hunting fubjects . 7954. '62 36 JJ JJ • • Medallion . The Affumption . 1607. '55 3 )> J> • >» • • The Marriage of St. Ca- therine. 38 3 . '71 140 JJ Italian Box . Uncertain 4718. '59 22 JJ » j> • • Figures . . . , 4719. '59 j» JJ » • Cafket Figures of women, etc. . 43°4- '57 14 JJ » • • Coffer Boys, etc. 2563. '56 10 JJ » • jj • Various fubjects 3265. '56 12 JJ jj • jj Pyramus and Thifbe 5624. '59 25 JJ » • Comb Gentlemen and ladies 228. '67 87 JJ JJ • jj « • Hunting fcene, etc. 23l. '67 88 J) JJ Diptych The Annunciation 4355. '57 14 JJ JJ Plaque St. Sebaftian 219. '65 49 JJ 7? • Reft (for writing) A crowned lion 75oo. '61 27 JJ » >j jj A lion .... 7501. '61 jj JJ JJ Statuette A faint 210. '67 80 JJ JJ • Triptych The Crucifixion 9 33. '56 8 1 6th Englifh . Comb Figures in a garden 7441. '60 26 » Flemifh (?) Ca/ket . 4476- '58 i5 >» jj • • Powder flafk Engraved fubjects . 72. '65 41 „(?) French . Box . >> ?> 1637. '56 8 >» 5> • • Horn Cupid and dogs 73. '65 4i JJ jj Powder flafk Samfon deftroying the lion 2233. '55 8 JJ JJ • • jj Bellona crowned by Vic- tory, etc. 71. '65 40 JJ » • Triptych Two angels . 4336. '57 14 JJ German . Book covers Religious fubjects . 8. '72 145 JJ jj Cheffman . . A knight on horfeback . 2998. '56 11 Comb David and Bathfheba, etc. 2143. '55 5 JJ jj Handles of a knife and fork. Animals fighting . 3647. '56 12 JJ jj • ' • Hilt of a hunting fword. Groups of animals . 9039. '63 39 )> jj Knives and knife cafe. Three emperors, etc. 2165. '55 7 JJ jj Mirror cafe David's meffage to Bath- fheba. 2148. '55 6 » jj Mount of a dag- ger flieath. Grotefque decorations, etc. 47i3. '59 2 » jj Plaque Our Lord feated, etc. 620. '54 i jj Defcript ion of the Ivories. 203 Date No. and of Country. Name of Object. Subjea. Date of Page. centy. Acquifition. 1 6th German . Pommel of a knife or dagger. A man and woman 362. '54 2 » jj • jj jj jj jj 2150. '55 7 JJ jj Powder flafk A hunting party 2161. '55 5i JJ jj • Rofary (tablet) . The Blefied Virgin 281. '67 "5 JJ jj • • Statuette An emaciated figure 2582. '56 10 JJ jj Triptych The Crucifixion 2818. '56 11 JJ Italian Box . The cardinal virtues 289. '67 117 JJ jj Bufts . Man and woman, etc. 216. '67 82 JJ „ Comb Scroll and fmall medal- lions. 2144. '55 5 JJ j» » Boys and medallion . 2i45- '55 jj J> jj • jj • Martyrdom of St. Cathe- 47»7- '59 21 JJ jj • • jj • Scrolls, perforated work, etc. Four boys 232. '67 89 JJ j> • • Group 1 3. '72 148 JJ jj • • Handle of a dagger Carved terminal 1639. '56 9 JJ jj ■ • Plaque Six apoftles flanding 271. '67 no JJ jj jj • • Angels and mufical inftru- merits. 4690. '58 18 JJ jj Statuette St. George and the Dragon 36i.'54 1 JJ jj • • jj • A lady feated 7678. '61 33 JJ jj • • jj • • St. Sebaftian . 304. '64 39 JJ jj • • jj • • St. Paul 214. '67 82 JJ jj jj St. Peter 2l5. '67 jj JJ jj jj A boy feated . 12. '72 148 JJ jj • Trumpet ... 1123. '69 128 JJ Ruffo-Greek . Plaque Subjects from the Gofpels 128. '66 52 JJ Spanifh ?) Statuette Baptifm of our Lord 10. '73 146 I7th Englilh . Knife handles Kings and queens . 453 to 466. '69 2166. '55 127 iSth French . Paftoral ftaflf Various fubjedts 7 >J Spanifh . Triptych The AfTumption, etc. . 99. '64 39 GEOGRAPHICAL INDEX TO DESCRIP- TION OF THE IVORIES. Country. Name of Object. Cent- V . Subject. No. and Date of Acquifition. Page. Anglo-Saxon Byzantine jj jj jj jj Plaque . . Cafket jj Crucifix Diptych jj nth „ (?) jj loth 6th jj Adoration of the kings . Claflical Various fubjedts The Crucifixion Confular „ ... 142. '66 216. '65 247. '65 7943. '62 139. '66 368. '71 59 47 5o 34 55 131 204 Geographical Index to 1 No. and Country. Name of Object. j CentT. Subject. Date of Page. Acquifition. Byzantine . Draughtfman 13th Our Saviour feated . 273. '67 no » Plaque (three) nth 149. 149. 149. '66 67 >> • • j> 13th Bulls of our Lord and four faints. 2i5. '66 73 » jj • 1 2th Two fubjedh, with war- 265. '67 106 jj » n riors. The fymbol of St. John . 269. '67 109 >i » • 9th Two apoftles feated 270. '67 j» jj • jj nth Warrior and a female 288. '67 117 j> • • 51 • • 1 2th Scenes from the life of our Saviour. 295. '67 123 j/ JJ nth Death of the Virgin, etc. 206. '67 124 «> JJ 6th Leaf of a conlular diptych 368. '71 i3i jj !» » Scenes from the Gofpels . 379. '71 i3 7 jj • • >> • 1 2th Our Lord feated in Majefty 38i. '71 i3 9 JJ J» • nth Scenes from the Gofpels . I. '72 141 JJ • • >» • • >t jj jj 5. '7* i 4 3 „ Pyx >> Foliated fcroll and birds . i36. '66 52 Englifli Ca/ket 15th Scriptural fubjefts . 176. '66 71 jj j> • ■ « 14th Domeftic fcenes 246. '67 106 „ (?) • • Chefs-piece 13th Various fubjedls 8987. '63 38 jj • Comb 1 6th Figures in a garden 7441. '60 26 „ (?) . • ' ." 15 th Hunting fcene, etc. 23o. '67 88 ?J • • Diptych 14th Scriptural fubjefts . 6824. '58 18 >. (?) • • » • »> Scenes from the Gofpels . 233. '67 89 » • • » • • »> Scenes from the Paflion . 36 7 . '71 i3o » Knife handles 17th Kings and queens . 453. to 466. '69. 4085. '57 127 j) • • Medallion 15th St. George i3 » " " >> „ ... 253. '66 75 »> Mirror cafe 13th Gentleman and lady play- ing at chefs. 223. '67 85 » • • » 14th A game at chefs 244. '67 jj jj Paftoral ftaff >> Virgin and Child, etc. 298. '67 126 jj ji • • » St. Michael and Satan 246. '67 96 >» Plaque »> The Virgin and Child . 6989. '6o 26 » >> • » A Majefty 34. '67 75 » (?) • • >y ' jj Scenes from the Paflion . 239. '67 92 » • »> » The Nativity 242. '67 94 }■> ' >j • nth Two kings 275. '67 m JJ „ (two) 14th Sitting figures under cano- pies, etc. 284. 284*. •67 116 » (?) • • Statuette >j Virgin and Child . . 201. '67 76 JJ >» ■ • ,, jj 202. '67 77 JJ • " » • • jj jj • 204. '67 78 „ (?) • • » • jj jj 1 207. '67 79 >> ■ • >j • • jj jj • 7. '72 14S Flemim(?) Caflcet 1 6th 4476. '58 15 j> • • Powder fla/k jj Shells, with Cupids 72. '65 4 1 French Box »,(?) Engraved fubjedts . 1637. '56 8 H (?) • • j* . 15th Hunting fubjedts 2553. '56 9 » (?) • • ?> •'" • 14th . 4073. '57 1 3 „ (?) • • » • 15th Morris dancers, etc. 6747. '60 25 JJ • • » jj Various fubjedts 7660. '62 33 J> • • Ca/ket ji Foliage 1268. '55 3 „ (?) • • » • 14th Heraldry 1618. '55 4 JJ • i> • • 15th Morris-dancers, etc. . 4660. '59 20 JJ • i> 14th 1 Tournament, etc. . 146. '66 64 Defer ipt ion of the Ivories. 205 | No. and Country. Name of Object. CentT. Subjea. Date of Acquifition. Page. French . Caflcet 14th The legend of St. Mar- garet. 263. '67 105 » • » • • i 13th Scriptural fubjedls . 369. '71 i33 „ (?) Cheffman . 14th A king feated 2l3. '67 81 „ (?) Coffer 15th 2800. '56 11 » Diptych 14th Scenes from the Paffion . 5623. '59 23 a » a " . * 211. '65 42 >» 11 Subjects from the Gofpels 148. '66 67 » 11 11 11 234. '67 90 » . . 11 u 11 • 235. '67 11 » ii Scenes from the Paffion . 290. '67 118 a tt • • »i 11 11 291. '67 120 II tt i» Scriptural fubjects . 292. '67 121 11 ii Scenes from the life of our Saviour, etc. 293. '67 11 11 ii Subjects from the Gofpels 294. '67 122 II 11 The Virgin and Child, etc. 4- '7* . i 4 3 „ ( ? ) Draughtfman 12th Man attacking a ferpent . 374. '71 i36 „ (0 Group 14th The Laft Supper (?) 211. '67 80 »l tt • • 15th The Annunciation . 282. '67 "5 II >» • • ii Adoration of the Magi . 283. '67 JJ 11 » • • 14th Virgin and Child, etc. 285. '67 116 11 Handle of a dagger „ Heads of men and women 278. '67 112 11 Handle of a flabel- lum. 1 2th Animals 3 7 3. '71 i.35 11 ( ? ) Head of a tau „ Men and animals . 372. '71 11 11 Horn 16th Cupid and dogs 7 3. '6 S 41 11 Mirror cafe 14th The Caftle of Love 1617 '55 4 11 H " • • » Love fcenes . 210. '65 4i 11 >» 11 Various (ubjects 217. '67 82 H »j 11 A tournament 218. '67 83 11 tt 11 A hawking party . 219. '67 11 I> tt ii Balcony, with figures, etc. 220. '67 84 11 »> 11 Figures in a garden 221. '67 M 11 )» i> A hunting party 222. '67 85 11 II ii A hawking party . 226. '67 86 M >> ,, The Caftle of Love 9. '72 146 H Paftoral ftaf F '. 1 8th Various fubjects 2166. '55 7 11 >> 13th Virgin and Child, etc. 7952. '62 34 11 >> 14th 11 11 214. '65 46 11 tt Pax 15th The Entombment 247. '67 96 11 Plaque 14th Scenes from the Gofpels . 665. '53 1 If • » 11 Our Lord and two apoftles 2i3. '65 45 11 ■ „ (four' ii The Nativity 237. '67 9i » ' „ , 11 Subjects from the Gofpels 240. '67 93 )» • tt 11 Scenes from the Gofpels . 241. '67 >» „ 11 Two domeftic fcenes 244. '67 95 11 • •> ■ 11 Two love fcenes 245. '67 96 11 • „ (four] 1 2th The Evangelifts 248. '67 97 11 >i • 14th A hawking party . 249. '67 11 11 »> • 1 2th The Saviour in Glory 260. '67 104 „ (?) • j» • 14th The Saviour in Majefty . 261. '67 11 11 i» • 1 2th The Annunciation, etc. . 267. '67 108 >» >» • 13th A bi/hop giving benediction 276. '67 112 11 tt ' 14th The Virgin and Infant . 277. '67 „ II it ' • 11 Ladies and jefters . 242. '69 127 )J „ (feries ) ■ 11 Paffion of our Lord 366. '71 128 206 Geographical Index to No. and Country. Name of Objedt Cent?. Subject. Date of Page. Acquifition. French Plaque 14th The Virgin and Child . 382. '71 140 „ (?) • • J! 1 2th Our Lord in Glory . 2. '72 142 H (?) • ' Polyptych . 14th Virgin and Child, etc. . 4686. '58 16 » j» • j> The Crucifixion, etc. 140. '66 57 »J • • »> • • »> The Virgin and Child, etc. 370. '71 134 >» • • » )? »> j» j> 6. '72 144 » Powder flafk . 1 6th Samfon deftroying the lion 2233. '55 8 J» j» » Bellona crowned by Vic- tory, etc. 71. '65 40 » Reft (for writing] 14th Clafiical fubjedts . 286. '67 "7 » • j> >» 5> Group of two lions 287. '67 JJ )> • • Statuette )> Virgin and Child . 1598. '55 3 » • j> J> >» 4685. '58 15 J> » J> » • 200. '67 76 M >j • ■ i3th M 2o3. '67 77 » » • • 14th 3> • 205. '67 78 )> » • >» If 206. '67 »> • jj 5> 5> 208. '67 79 »> » • 5> J> 209. '67 80 » • Tablets (fet) '» Paffion of our Lord II. '72 J 47 » * Triptych 1 6th Two angels . 4336. '57 J 4 »J • » 14th Virgin and Child, etc. 141. '66 58 »> j> • • i3th )» • 175. '66 69 5> X 14th a • 236. '67 9 1 German (?) Book covers 10th St. Andrew's Crofs, etc. . 8461. '63 38 »» • „ cover 9th Scriptural fubjects . i38. '66 53 >» ?> • 1 6th Religious fubjedts . 8. '72 H5 :» • Bofs of a rofary . 15th Emblematical fubjedts 2I 49-'55 6 » • • Box 14th 1 1 62. '64 40 >» • • » • • nth Legend of a faint 268. '67 108 *> * • Ca/ket nth Floriated, etc. 2440. '56 9 »> • 10th Scenes from the Paffion . 216. '66 74 !»*.*• Cheffman . 1 6th A knight on horfeback . 2998, '56 n Comb „ David and Bathfheba, etc. 2143. '55 5 M (?) • " " 15th „ „ etc. 468. '69 127 >» • ' Cover of a box . » God the Father and the dead Saviour. 225. '67 86 „ (?) • Diptych 14th Scenes from the Paffion . 3oo. '66 75 » ' • Handles of a knife and fork. 1 6th Animals fighting . 3647. '56 12 » Hilt of a hunting fword. » Groups of animals . 9039. '63 39 JJ ' • Horn or oliphant . 15th Hunting fubjedts 7954- '6» 36 » • * " . " 1 2th Various fubjedts 8035. '62 37 )» • • Knives and knife cafe. 1 6th Three emperors, etc. 2165. '55 7 » Medallion . 15th The marriage of St. Ca- therine. 383. '71 140 »> • • » • • »> The Aflumption . 1607. 'ss 3 f J • • Mirror cafe. 1 6th David's mefTage to Bathflieba 2148. '55 6 >l Mount of a dagger flieath. » Grotefque decorations, etc. 47i3. '59 21 „ (?) Paftoral ftaft' 1 2th The Nativity, etc. . 218. '65 49 M • • Plaque 1 6th Our Lord feated, etc. 620. '54 2 » • • „ (four) nth The Evangelifts 220. 220 a . 220 b . 220 c . '65. 5o J> ?> • • oth 1 Offering of the wife men, etc. 150. '66 68 Defcription of the Ivories, 207 No. and Country. Name of Object. Cent*. Subject. Date of Acquifition. Page. German . Plaque 10th The Crucifixion, etc. 151. '66 69 » jj • • 9th jj 250. '67 98 » jj • • » jj 251. '67 jj » jj • • loth »j 252. '67 99 JJ * " jj • * jj The Transfiguration 253. '67 jj JJ jj jj The Afcenfion 254. '67 100 J» „ (two) jj Scenes from the life of Chrift. 255. 256. '67 101 JJ • ' j» 9th Scenes from the life of our Lord. 257. '67 jj „ (0 • jj • • nth The Afcenfion 259. '67 io3 JJ • jj • • loth The Crucifixion and Re- furredlion. 266. '67 107 JJ ' * jj nth An apoftle ftanding 274. '67 in JJ ' • * „ (f"). • 1 2th Scenes from the life of our Saviour. 279. '67 n3 JJ JJ JJ • jj jj » 280. '67 114 10th The Crucifixion 303. '67 126 >» • • JJ • • jj The vifit to the Sepulchre 38o. '71 i3 9 JJ Pommel of a knife or dagger. 16th A man and woman 362. '54 2 >> ' jj • jj ". " 2150. '55 7 J> ' * Powder fiafk jj A hunting party 2161. '55 51 Rofary (tablet) . jj The Blefled Virgin 281. '67 "5 H • • Statuette jj An emaciated figure 2582. '56 10 )» • • Triptych . jj The Crucifixion . . 2818. '56 n Italian Box . 15th Uncertain 4718. '59 22 jj • jj jj Figures 4719. '59 jj jj • jj • • 1 6th The cardinal virtues 289. '67 117 » • • jj • jj Man and woman, etc. 216. '67 82 jj Ca fleet 15th Figures of women, etc. . 4304. '57 H JJ • * Coffer jj Boys, etc. 2563. '56 10 JJ j> • jj Various fubjects 3265. '56 12 JJ • " jj • jj Pyramus and Thifbe 5624. '59 2 5 JJ • * Comb 1 6th Scroll and fmall medallions 2144- '55 5 JJ • • jj • * »j Boys and medallion 2145. '55 jj JJ * jj • jj Martyrdom of St. Cathe- 47»7- '59 21 JJ • jj * 14th Ladies and knights . 5607. '59 23 JJ jj jj Figures with mufical in- ftruments. 227. '67 86 JJ " • jj • • 15th Gentlemen and ladies 228. '67 87 jj ' ' jj • 14th Various fubjects 229. '67 >? jj • ■ jj • 15th Hunting fcene, etc. a3i. '67 88 jj • jj • • 1 6th Scrolls, perforated work, etc. Animals, etc. 232. '67 89 jj • • Dagger 14th 147. '66 66 jj Diptych 1 5th The Annunciation . 4355- '57 14 ., Group 1 6th Four boys i3. '72 148 j> • • Handle of a dagger jj Carved terminal 1639. '56 9 jj • • Plaque jj Angels and mufical inftru- ments. 4690. '58 18 jj • • jj • 15th St. Sebaftian . 219. '65 49 j> • • jj • • 13th Subjects from the Gofpels 243. '67 94 jj • • jj • 1 6th Six apoftles ftanding 271. '67 no jj • Predella of an altar piece. 14th Gofpel fubjects 7611. '61 3o jj Reft (for writing). 15th A crowned lion 7500. '61 27 jj jj >j jj jj • 7501. '61 jj 2o8 Geographical Index to Ivories. | | | No. and Country. Name of Object. Cenf. Subject. ; Date of ' Acquifition. Page. Italian Statuette 1 6th St. George and the Dragon 36i.' 54 1 » » » A lady feated 7678. '6i 33 » » • >» St. Sebaftian . 304. '64 39 >t ■ • >t • • 15 th A faint .... 210. '67 80 »> " * < 14th The Crucifixion 212. '67 81 » j» 1 6th St. Paul 214. '67 82 >> j» • » St. Peter 215. '67 » )» • • »> ■ • j> A boy feated . 12. '72 148 jj Triptych 15th The Crucifixion 9 33. '56 8 j> „ (?) • • 14th Scenes from the Gofpels . 7592. '61 27 » • • » >) » >» • 7606. '61 29 j> » >i The Coronation of the Virgin. 143. *66 61 " Trumpet 1 6th Unornamented 1 1 23. '69 128 Lombardic (?) Plaque 10th The Prefentation . 238. '67 92 Moorifli . Box . >» Various fubjects 217. '65 48 >t ' • ,, . 1 2th Scroll, foliated ornament . 3oi. '66 75 North Europe . Draughtfman „ Man and woman, etc. 375. '71 i36 » • 13th A man riding, etc. . 3 7 6. '71 >• » • 1 2th A fabulous animal . 377. '71 i3 7 Head of a tau nth Various fubjedts 215. '65 47 5> • nth Saints and animals . 262. '67 105 J* • nth St. Michael, etc. 371. '71 134 Horn or oliphant . » Animals, etc. 7953. '62 35 Oriental . Box . (?) Interlacing circles, etc. . 4139. '56 12 M • * Coffer i3th(?) Animals 6974. '60 26 Rhenirti Byzan- Figures, etc. 1 2th The Apoftles, etc. . 7650. '61 32 tine. » Plaque nth The Nativity . 144. '66 62 »> „ » The adoration of the kings. 145. '66 63 i> i> » The Afcenfion 258. '67 102 »> » • >> >» • • 3 7 8. '71 i3 7 Roman »» 3rd A prieftefs before an altar. 212. '65 44 » >> • 2nd Figures in a proceffion 299. '67 126 Ruffo-Greek . S» • • ' i6th(?) Subjects from the Gofpels 128. '66 52 Sicilian Caflcet nth Birds, etc. 453s- '59 20 » (?) Horn . ,. (?) Animals, etc. 8394. '63 38 Spanifti(?). Box . >» Scroll ornament 5471- '59 22 » • „ . 14th Gilt geometric rolettes, etc. 11. '66 5* >» Calket » 321. '64 40 » (0- • Statuette . 1 6th Baptifm of our Lord 10. '72 146 Triptvch . 1 8th The Afl'umption, etc. 99. '64 39 Spanifli-Morefco Cafke't I2th(?) Various fubjects 10. '66 5i » Plaque nth Scroll ornament, etc. IOS7- '55 2 >» » • >> Foliated ornament, etc. . 4075- '57 '3 209 GENERAL INDEX. Page Abbreviations of legends . . . xxx ^Efculapius and Hygiea . . xxii, 165 All large plaques not originally diptychs ..... xli Angel, on leaf of diptych, in Britifli Mufeum ..... xxxv Arm of chair ..... lxxiv Artifts in ivory, in middle ages . . cv Aflimole Collection . . . cvii Aflyrian ivories .... xv Bardolph, hanged for Healing a pax . lxxxi Becker's Lycoris .... xxxiv Bellerophon ..... xxi, 1 50 Book-covers, in Britifli Mufeum . 1 60 „ of ninth century . . xlvi Borders, in early Byzantine ivories . xxxvi Caflcet of Arabic work . . . xlviii „ from Memphis ... xv „ Runic, in Britifli Mufeum . xlviii „ from Veroli ... li „ in inventories ... liii Caxton, u playe of the chefTe " . . Ixix Chair of St. Peter at Rome . . xxxii „ at Ravenna .... xl Chalice, &c, of ninth century . . xlvi Charlemagne, his patronage of Greek artifts ..... xliii Cheflmen, in chronicles and poems . lxx „ earlieft date . . . Ixix „ date of invention . . Ixvii „ in inventories . . . lxxi „ found in Lewis . . lxxii Chryfelephantine ftatues ... iv „ of the due de Luynes xix „ conjectural reftoration xix Civilization of ancient nations . . viii Coffer, fent by Eginhard ... xlv „ in inventories . . . liii Colour in fculpture .... xcv I. Combs, domeftic „ in inventories „ pontifical . Conful, decline of the office „ the laft Confular diptychs . . xxii, Coftume in early Greek ivories Crofs, on the diptych of Oreftes Crucifixes .... „ in Spanifli Place Cup, or vafe, in Britifli Mufeum Cufliions, the meaning . Page lx Ixiv lxiii xxviii xxxi xxiii, etc. xlii 186 xcvii xcviii xliv XXV David and Bathflieba ... lx Decline of art in the firft four centuries xxi „ after Conftantine . xxvi ,, after fixth century . xl Deftruftion of religious objects in the fixteenth century . xcviii Diptych of Boethius . . . xxix „ at Brefcia .... xxxii ,, ofCompiegne . . . xxx „ ecclefiaftical . . . xxxvii „ „ their purpofe . xxxix „ Gherardefca . . . 150 „ with Greek inferiptions .168, 188 „ mutilated and palimpfeft . xxxviii „ of Juftinian . . . xxxviii „ at Monza . . . xxxiii, xxxv „ found in Tranfylvania . . xxiii Domeftic fcenes .... lx „ works in ivory . . xlv, xlviii Draughtfmen lxxiii Drefs and decorations of confuls on diptychs xxv Ecclefiaftical works in ivory . . xlv Egyptian ivories .... xiv, 165 Englifli ivories .... civ Etrufcan ivories .... xx 2IO General Index* " Familia " of cheffmen . Feaft of Fools Fejervary Collection Flabellum in inventories . „ of Theodolinda „ its ufe . Flight into Egypt, mifunderftood Forgeries in ivory . Foflil ivory . Grecian ivories Handle of fan „ of holy water fprinkler „ of whip Horns, African, in Britifh Mufeum „ for hunting . ,, tenure Hunting the gazelle Iconoclaft fanatics . Identification of confular diptych Importance of works in ivory Improvement in art after feventh century Ivory, African and Afiatic „ its characterises . „ mode of foftening . „ much employed in 14th tury „ variations of colour Jehan Nicolle. Jewifh ivories. Jupiter, at Olympia . Ladies riding . Legends on confular diptych Lift of confular diptychs . Lycoris, defcribed . Mammoth ivory Manumiflion of flaves Marriage cafkets Meyer Collection . " Meyne," its meaning . Minerva, of the Parthenon Minftrel Gallery at Exeter Mirrors . „ in illuminations Moorifli ivories Morris dancers Mufical inftruments Nineveh ivories Page lxxi xxxii cvii lxxxv lxxxv lxxxiv 183 186 lxxxiv lxxxvi lxxxvi 160 ci cii 185 xlii xxvi xxii xliv »57 xiii xix lxvii xxvi xxviii xxxiv ii xxvi lix cvi lxxi xix 186 lxiv lxvi, 174. cvi lx 186 vi Oliphant, explained Open-work in ivory . . ,, examples Paftoral ftaff, with infeription . ,, not ufed by the Pope „ of great rarity „ of St. Bernard „ ordered in Sarum pont: fical „ of wood Paufanias, account of Greek statues „ believed ivory to be horn Pax inferiptions „ in inventories . ,, late ufe in England . „ ordered in Sarum miflal „ its ufe . „ why disufed. „ of wood . Pieta, of Michael Angelo „ in volute of paftoral ftaff Pilgrim, in fo-called Goa work Plaques of ivory, large fize „ not originally diptychs Prehiftoric ivories . Pugillares Pyx, in inventories „ 6f St. Mennas . ,, various ufes Ravenna chair Retable of Poifly . Roman ivories „ ivory fculptors exempt from certain obligations Romance of the Rofe „ fubjects . Rood, explained Seals in Britiih Mufeum „ illuftrating ftatuettes Sepulchre, at Navenby Serpent, as an emblem Shrine, explained . „ in illuminations Siege of the Caftle of Love Sneyd Collection . Spanifh ivories Statuette, coloured . „ in inventories „ of ninth century Page ci lviii ciii lxxviii lxxix lxxx 153 lxxviii lxxvii xvii, xviii xix Ixxxiii lxxxiii lxxxiv lxxxii lxxxi lxxxiii lxxxiv xciii xcii, 1S7 160 ill xli vii xcix, 184 liv lv lv xl lix xxi xxi lvii lvi 184 lxxxviii Ixxxviii 184 Ixxvi xlviii lxxxix lxvi 17S xlxvi General Index, 211 Page Statuette, the largeft known . . xci „ opening on hinges . . xc „ under canopies . . . Ixxxix „ very large example . lxxxviii, 157 Style of Englifh art . . . . cv " Symmachorum," the omitted word 185 Tabernacles, at Lincoln . . . Ixxxix Tables explained .... xcix Tablets of Julius Philippus . . 176 „ of Moutier .... xxxiv „ of Sens .... xxxii „ for writing on , . . xcix " Tan-tabl," its meaning . . . lxxiii Tau, explained .... lxxiv Page Tau, rarity ..... lxxx Toreutic, its meaning . . . xviii Triptychs in Britifli Mufeum . . i58 ,, explained . . . xlvii „ in illuminations . . Ixxxix „ mentioned by Anaftafius . xlvii Tufks, fize and weight ... iv Veil, over the hands of Simeon . 183 Veroli cafket, probable date . . Ill Volute, with double fubject . . lxxvii Webb Collection .... cvii Whip-handles .... Ixxxvi LONDON Printed by George Edward Eyre and William Spottiswoode Printers to the Queen's moil Excellent Majefty For Her Majefty's Stationery Office aB lj ^AY E?^' ">BBO^D RETURN TO the circulation desk of any University of California Library or to the NORTHERN REGIONAL LIBRARY FACILITY Bldg. 400, Richmond Field Station University of California Richmond, CA 94804-4698 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS • 2-month loans may be renewed by calling (510)642-6753 • 1-year loans may be recharged by bringing books to NRLF • Renewals and recharges may be made 4 days prior to due date DUE AS STAMPED BELOW JUL 1 9 2004 19 DD20 6M 9-03 LD21A-40m-3, , 72 (Qll78al0)476-A-32 General Library University of California Berkeley 33*1331 THE UNIVERSITY OF CALIFORNIA LIBRARY