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Image of Gallery in South Kensington
On display at V&A South Kensington
Medieval & Renaissance, Room 8, The William and Eileen Ruddock Gallery

Box

second quarter of the 11th century (made)
Artist/Maker
Place of origin

This is an Anglo-Saxon ivory box probably made in Winchester, probably in the second quarter of the eleventh century. Boxes like this are known to have been kept in cathedral treasuries. They were probably used as containers for the host (the consecrated bread) and the material reflects their important function.
The unique narrative images at the box have challenged an acceptable interpretation of the subject matter. The narrative appears to represent a relatively obscure story. The narrative may most plausibly be interpreted as showing the use of a grand chalice by an abbot, the discovery of its theft, and the confession and prostration of the guilty monk before the abbot, with the hidden chalice finally revealed behind the latter. The high relief of this box and the style of the figures relate it to the so-called St John of Beverley crozier, also a work of the middle of the eleventh century.


Object details

Categories
Object type
Materials and techniques
Walrus ivory
Brief description
Box, walrus ivory, probably intended as a pyx, Anglo-Saxon (probably Winchester), probably second quarter of the 11th century
Physical description
The narrative begins logically on the front: A monk is shown advancing towards an altar, carrying a chalice in his covered hands. The altar is vested and set with a candlestick and candle. To the right two tonsured figures are in close and animated discussion beneath a rounded arch. On the back is shown a prostrate monk, stretched out horizontally but his legs still resting on the kneeler. He is connected to another figure on the right, who is gesturing with his right hand to the former. This is before a small building with steps in front and there is a square tower between the figures. Behind the standing figure is a heavy curtain gathered up to reveal a large chalice standing on an arcaded dais. There is a simple roll-moulding at the top of the box, but at the bottom the same moulding only extends across the back of the box. The lid is missing.
The box is carved in one without the need for a separate base plate. There is a square hole in the base perhaps to secure a later metal mount.
Dimensions
  • Maximum height: 6.6cm
  • Width: 5.9cm
  • Depth: 3.7cm
  • Weight: 0.14kg
Measured for the Medieval and Renaissance Galleries
Style
Object history
Purchased from Webb, £48.

Historical significance: The unique narrative images at the box have challenged an acceptable interpretation of the subject matter. The narrative appears to represent a relatively obscure story. The narrative may most plausibly be interpreted as showing the use of a grand chalice by an abbot, the discovery of its theft, and the confession and prostration of the guilty monk before the abbot, with the hidden chalice finally revealed behind the latter.
Production
probably second quarter of the 11th century
Subjects depicted
Summary
This is an Anglo-Saxon ivory box probably made in Winchester, probably in the second quarter of the eleventh century. Boxes like this are known to have been kept in cathedral treasuries. They were probably used as containers for the host (the consecrated bread) and the material reflects their important function.
The unique narrative images at the box have challenged an acceptable interpretation of the subject matter. The narrative appears to represent a relatively obscure story. The narrative may most plausibly be interpreted as showing the use of a grand chalice by an abbot, the discovery of its theft, and the confession and prostration of the guilty monk before the abbot, with the hidden chalice finally revealed behind the latter. The high relief of this box and the style of the figures relate it to the so-called St John of Beverley crozier, also a work of the middle of the eleventh century.
Bibliographic references
  • Heslop. J. A. A Walrus Ivory Pyx and the visitatio sepulchri. Journal of the Warburg and Courtauld Institutes 44 (1981), 157-60
  • Peter Lasko. Anglo-Saxon or Norman? Observations on Some Ivory Carvings in the English Romanesque Exhibition at the Hayward Gallery. The Burlington Magazine 126, no.973, April 1984, pp. 216-225 (esp. pp.221-222)
  • Zarnecki, George, Holt, Janet and Tristram Holland, eds. English Romanesque Art 1066-1200: Hayward Gallery, London, 5 April - 8 July 1984. London: Weidenfeld and Nicholson / Arts Council of Great Britain, 1984
  • Williamson, Paul. Medieval Ivory Carvings. Early Christian to Romanesque. London, V&A Publishing, Victoria and Albert Museum, 2010, pp. 258-261, cat.no. 67
  • Longhurst, Margaret H. Catalogue of Carvings in Ivory. London: Published under the Authority of the Board of Education, 1927, Part I, p. 90
  • Inventory of Art Objects acquired in the Year 1867. Inventory of the Objects in the Art Division of the Museum at South Kensington, arranged According to the Dates of their Acquisition. Vol. 1. London : Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 5
Collection
Accession number
268-1867

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Record createdFebruary 11, 2004
Record URL
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