The Virgin and Child and the Crucfixion
Diptych
ca. 1300 (made)
ca. 1300 (made)
Artist/Maker | |
Place of origin |
This is an ivory diptych, made in Paris in about 1300.
Ivory was used all over Europe for religious works of art. It was often combined with precious metals and usually took the form of relief panels, for book covers, portable altars and caskets. An almost unbroken tradition of ivory carving extends from the Roman and Byzantine empires until the end of the 14th century. From about 1250, Paris became the centre of production for figures and reliefs intended for private devotion.
The devotional diptych is in many ways the object type most associated with the notion of Gothic ivory carving. The earliest examples probably date to the 1240s; these are complex, large and ambitious works that emerged, somewhat surprisingly, with no obvious precursors. The owners of ivory diptychs sometimes appear within their images. Such portraits indicate that they were special requests on the part of their commissioners, and they parallel the similar figures that appear in manuscripts and panel paintings of the period. The iconography of Gothic diptychs oscillated between two poles. The first of which is the desire to present narratives (Life of Christ and Virgin Mary) for envisaging. The second was the use of non-narrative images to form the focus of devotion.
Ivory was used all over Europe for religious works of art. It was often combined with precious metals and usually took the form of relief panels, for book covers, portable altars and caskets. An almost unbroken tradition of ivory carving extends from the Roman and Byzantine empires until the end of the 14th century. From about 1250, Paris became the centre of production for figures and reliefs intended for private devotion.
The devotional diptych is in many ways the object type most associated with the notion of Gothic ivory carving. The earliest examples probably date to the 1240s; these are complex, large and ambitious works that emerged, somewhat surprisingly, with no obvious precursors. The owners of ivory diptychs sometimes appear within their images. Such portraits indicate that they were special requests on the part of their commissioners, and they parallel the similar figures that appear in manuscripts and panel paintings of the period. The iconography of Gothic diptychs oscillated between two poles. The first of which is the desire to present narratives (Life of Christ and Virgin Mary) for envisaging. The second was the use of non-narrative images to form the focus of devotion.
Object details
Categories | |
Object type | |
Parts | This object consists of 2 parts.
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Title | The Virgin and Child and the Crucfixion (generic title) |
Materials and techniques | Elephant ivory |
Brief description | Diptych, ivory, The Virgin and Child and the Crucifixion, France (Paris), about 1300 |
Physical description | Each leaf depicts a single scene beneath a pointed trefoil arch. The arch on the left leaf is supported on slender columns, while that on the right rests on corbels. The spandrels of each trefoil contain rearing dragons in relief, and the arches are topped with elaborate foliate crockets and finials. In the upper corners of each leaf are standing figures of angels (without wings) emerging from the clouds. Each holds a crown aloft in one hand, while supporting another in front of its chest. Beneath the arch of the left leaf stands the Virgin Mary, holding the Infant Christ on her left arm, and the stalk of a flower in her right. The Christ-Child holds a fruit in his left hand, while blessing with his right. Above, the Virgin is crowned by an angel. At either side stand censing angels, holding incense boats in their left hands and swinging censers in their right. In the right wing the Virgin and St John the Evangelist stand beside the Cross. Above are two angels bearing discs representing the sun and the moon. Each wing carved with a Gothic arch and grotesque animals. Christ wears a heavy and full loincloth, and is nailed to a rough wooden cross. |
Dimensions |
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Object history | In the collection of George Salting, London, by 1909; To the Museum through the Salting bequest, in 1910. |
Subjects depicted | |
Summary | This is an ivory diptych, made in Paris in about 1300. Ivory was used all over Europe for religious works of art. It was often combined with precious metals and usually took the form of relief panels, for book covers, portable altars and caskets. An almost unbroken tradition of ivory carving extends from the Roman and Byzantine empires until the end of the 14th century. From about 1250, Paris became the centre of production for figures and reliefs intended for private devotion. The devotional diptych is in many ways the object type most associated with the notion of Gothic ivory carving. The earliest examples probably date to the 1240s; these are complex, large and ambitious works that emerged, somewhat surprisingly, with no obvious precursors. The owners of ivory diptychs sometimes appear within their images. Such portraits indicate that they were special requests on the part of their commissioners, and they parallel the similar figures that appear in manuscripts and panel paintings of the period. The iconography of Gothic diptychs oscillated between two poles. The first of which is the desire to present narratives (Life of Christ and Virgin Mary) for envisaging. The second was the use of non-narrative images to form the focus of devotion. |
Bibliographic references |
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Collection | |
Accession number | A.552:1-1910 |
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Record created | June 24, 2009 |
Record URL |
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