File:The ivory workers of the middle ages (1906) (14593334550).jpg

Identifier: ivoryworkersmidage00cust (find matches)
Title: The ivory workers of the middle ages
Year: 1906 (1900s)
Authors: Cust, Anna Maria Elizabeth
Subjects: Ivories
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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tent onthe business in hand. It should be noted thatthough the angel by the tomb is almost identicalwith that on the Trivulzio tablet, the guards aredifferently dressed, having the crested helmet andmailed tunic of antique Roman soldiers. The separation of the two schools had becomecomplete when the plaque in the Munich Museumwas carved, probably well on in the sixth century.It is unmistakably Byzantine; in the lower halfthe Holy Women visit the Tomb, whilst above,there is a fine figure of Christ ascending to heaven ;He rises with a powerful imipetus, and the wholescene is far superior in vigour to the later repre-sentations. There is an interesting plaque in theLiverpool Museum, on which the Carlovingiancraftsman has closely imitated the grouping of theHoly Women and the soldiers round the tomb. 58 LATIX AXD BYZAXTINE IVORIES The glory of the ivory craft is at Ravenna, themagnificent Throne of St. Maximian, bishop ofthat city from 546-553- This cathedra or episcopal chair is entirely
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L. RICCI PHOTO.) (cathedral, RAVENNA 12. FRONT OF THE THRONE OF MAXIMIANItalo-Byzantine, sixth century covered with carved ivory, and has been treasuredin the Cathedral for more than fourteen centuries.The throne was made in the sixth century, duringthat period of great artistic activity, when Justinian 59 IVORY WORKERS was engaged in beautifying Constantinople andthe other great cities of his Empire. The newChurch of St. Sophia was being decorated in themost gorgeous manner. The old chroniclers tellof gold and silver doors, and six doors of carvedivory; so the custom of overlaying large surfaceswith ivory plaques was not an innovation. Thebishop ordered his Throne and set it up at a timewhen Ravenna was still an important centre, andyearly adding to the number of its beautifulbuildings. S. Vitale, newly finished and decorated withthe celebrated mosaic portraits of Justinian andTheodora, was consecrated by St. Maximian him-self, who is pictured on the walls by the side ofthe Emperor.

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