The Ivory Workers of the Middle Ages

INDEX

Abraxas, 133.
Aix-la-Chapelle, Cathedral, 128.
Aldobrandini, Benci, Bishop of Volterra, crozier of, 152.
Amalasuntha, 7, 30, 31.
Anagni, silver casket at, 80.
Anastasius, diptych of, 24.
Areobindus, diptychs of, 14, 15, 17, 19, 20, 40.
Asturias, diptych of, 13.
Bamberg Missal, 88; reliquary, 118, 119.
Basil II., the Emperor, 95.
Basilewsky tablet, 18.
Basilius, diptych of, 18, 19, 20.
Bateman diptych, 67.
Berlin, Museum, 49, 66, 75, 117, 119, 121, 134.
Bernward, Bishop of Hildesheim, 124, 125, 128.
BesanÇon, 18.
Boethius, diptych of, 13.
Bologna, Museo Civico, 37, 78, 97.
BonaffÉ Collection, 140.
Book covers, 10, 25, 26, 52-57, 110, 112, 113, 116,
117, 118, 121, 123, 125, 134.
Bourges, 22, 29, 40.
Brescia, 21, 32, 34, 39, 42, 43, 48, 78.
Brunswick, 117, 119.
Brussels, Royal Art Museum, 58, 127.
—— Trivulzio Collect
CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

FOOTNOTES:

[1] The numbers to the diptychs, in all cases, refer to those in the list of diptychs at the end of the book.

[2] MÉlanges de l’ArchÉol. et d’Histoire, Rome, 1882.

[3] See the figure of Circe in the Casa di Modesta, Pompeii.

[4] See the Joshua Rotulus, edited by the Directors of the Vatican Library, Rome.

[5] Zwei Antike Elfenbeintafeln, Munich, 1879.

[6] L’Arte, 1898.

[7] Roman Art, Wickhoff, Eng. trans. by Mrs. A. Strong.

[8] Second leaf in the Royal Museum of Decorative and Industrial Art, Brussels.

[9] See the plaque with the Judgment of Solomon in the Louvre.

[10] A round tomb with a cupola has been excavated in the Via Praestina, and the circular Church of S. Costanzo is the tomb of a daughter of the Emperor Constantine.

[11] Les Tapisseries Coptes, par M. Gerspach, Paris, 1890.

[12] Venturi considers that the Throne was made for another Maximian, Archbishop of Constantinople 345, and being taken in the course of time to Venetia, is identical with that mentioned in the Chronicle of the Deacon John; who tells of an ivory throne sent in December, 1001, by the Doge Pietro Orseolo, to the Emperor Otto III., who was then residing in Ravenna, and gave it to the Cathedral. There is no mention of an ivory throne in the Cathedral before this date. Cf. Storia dell’ arte italiana, vol. i., p. 466. Ricci connects this throne with that of St. Mark in Grado. Cf. L’arte italiana decorativa e industriale, vol. vii., p. 104.

[13] This coat is said to be the one “without seam,” for which the soldiers cast lots, and which has an undoubted history from the time of the Empress Helena, in the fourth century.

[14] From e????, a likeness, and ????, I break in pieces.

[15] Full list given by Molinier, Les Arts appliquÉs, vol. i.

[16] L’Archittetura in Italia, VI.-XI. cent. Venice, 1890.

[17] See Marcel Reymond, La Sculpture Toscane. Florence, 1897.

[18] Nos. 1041-2, Cat. 1881.

[19] Dr. Paul Weber, Geistliche Schauspiel und Kirchliche Kunst.

[20] See a plaque in the British Museum with the Nativity, and notably the Salutation.

[21] See article by Dr. W. VÖge in the Jahrbuch der kgl. preuss. Kunst-samml., 1899.

[22] See an article on Croziers by Cahier and Martin, MÉlanges d’ArchÉologie, t. iv.

[23] See an article by Barbier de Montault, Revue de l’Art ChrÉtien, 1883, p. 157.

[24] The Angel belongs to M. G. Chalandon and the Virgin to M. P. Garnier.

Transcriber's Notes:

The cover image is in the public domain.

The illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate.

Old or antiquated spellings have been preserved.

Typographical errors have been silently corrected.

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