Horn thumbnail 1
Horn thumbnail 2
+21
images

Horn

first half of 11th century (made)
Artist/Maker
Place of origin

Some of the animal panels at the oliphant reveal a knowledge of Byzantine silks, while the crude quality of the carving and the elementary treatment of the human bodies and faces indicate a date earlier than the Farfa casket of ca. 1060 and show a clear adherence to earlier Longobardic figurative traditions, as manifested in the co-called Ratchis altar and the paliotto of Sigualdus in Cividale. The tenacity of the Longobardic heritage in Southern Lazio, Molise and Campania, which continued in some areas until the 12th century, is illustrated in the area around Campobasso, Benevento and Capua, where stone reliefs in a style comparable to that on the present horn are to be found at Capua, Petrella Tifernina and Matrice.

Probably made for ceremonial purposes, the horn does not have any indications that chains or straps were attached to it to aid handling and travel or even allow suspension for display.
The two raised bands with panels were perhaps intended to give the impression of gilt metal containing coloured enamel, an effect which would have been obtained by the application of the red mastic surrounding the figures in the panels.

Object details

Categories
Object type
Materials and techniques
Elephant ivory
Brief description
Horn or oliphant, ivory, South or Central Italian, possibly under Norman patronage, probably first half of the 11th century
Physical description
The octagonally ribbed surface of the horn is plain, at either end are raised bands of ornament carved, in panels, with figures of men and animals and with a cross in low relief. In the centre of the inner curve is the figure of a naked mounted man blowing a horn; round the wide end is a band of interlaced ornament. The ground is decorated with bands of rosettes formed of incised circles.
The upper band consists of five roundels and three rectangular panels containing: (1) a cross with flowers, (2) a stag, (3) a naked mounted hunter with hawk, (4) a walking male figure with staff or sword, (5) two confronted dogs or wolves, (6) another walking male figure with staff, (7) another naked mounted hunter with hawk, (8) a deer.
The lower band is made up of eight rectangular panels containing: (1) a large standing figure in short tunic, (2) a seated lioness or leopard, (3) a quadruped with long ears, (4) a standing figure, (5) a peacock, (6) a griffin or senmurv, (7) a dog or wolf, and (8) a seated bear or lioness.
Dimensions
  • Length: 54.5cm
  • Diameter: 12cm
Object history
Acquired in London, £35 in 1862,

Historical significance: Some of the animal panels at the oliphant reveal a knowledge of Byzantine silks, while the crude quality of the carving and the elementary treatment of the human bodies and faces indicate a date earlier than the Farfa casket of ca. 1060 and show a clear adherence to earlier Longobardic figurative traditions, as manifested in the co-called Ratchis altar and the paliotto of Sigualdus in Cividale. The tenacity of the Longobardic heritage in Southern Lazio, Molise and Campania, which continued in some areas until the 12th century, is illustrated in the area around Campobasso, Benevento and Capua, where stone reliefs in a style comparable to that on the present horn are to be found at Capua, Petrella Tifernina and Matrice.
Historical context
Probably made for ceremonial purposes, the horn does not have any indications that chains or straps were attached to it to aid handling and travel or even allow suspension for display, as do the majority of the 'Saracenic' examples. The decoration of the inner curve of the horn, unusually showing the cross, the mounted horn-blower and the 'giant', reinforces its difference from the latter group. If it is not possible to identify the large figure - rather different from the others and with a frontal, staring attitude - with confidence, it might tentatively be proposed that it represents the legendary Roland, who from an early date was associated with such horns in the Christian West and was especially popular with the Normans. In the 12th century Chason de Roland it is recounted that 'Just as a stag flies before hounds, so the pagans [in this context the Muslims] take flight before Roland', and it is therefore perhaps of relevance that just such a creature is shown alongside the Cross on the horn. The two raised bands with panels were perhaps intended to give the impression of gilt metal containing coloured enamel, an effect which would have been obtained by the application of the red mastic surrounding the figures in the panels.
Production
probably first half of 11th century; South or Central Italy, possibly under Norman patronage
Subjects depicted
Summary
Some of the animal panels at the oliphant reveal a knowledge of Byzantine silks, while the crude quality of the carving and the elementary treatment of the human bodies and faces indicate a date earlier than the Farfa casket of ca. 1060 and show a clear adherence to earlier Longobardic figurative traditions, as manifested in the co-called Ratchis altar and the paliotto of Sigualdus in Cividale. The tenacity of the Longobardic heritage in Southern Lazio, Molise and Campania, which continued in some areas until the 12th century, is illustrated in the area around Campobasso, Benevento and Capua, where stone reliefs in a style comparable to that on the present horn are to be found at Capua, Petrella Tifernina and Matrice.

Probably made for ceremonial purposes, the horn does not have any indications that chains or straps were attached to it to aid handling and travel or even allow suspension for display.
The two raised bands with panels were perhaps intended to give the impression of gilt metal containing coloured enamel, an effect which would have been obtained by the application of the red mastic surrounding the figures in the panels.
Bibliographic references
  • Inventory of Art Objects Acquired in the Year 1862. In: Inventory of the Objects in the Art Division of the Museum at South Kensington, Arranged According to the Dates of their Acquisition. Vol I. London: Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 12
  • Longhurst, Margaret H. Catalogue of Carvings in Ivory. Part I. London: Victoria and Albert Museum, 1927, p. 51
  • Kühnel, E. Die islamischen Elfenbeinskulpturen. VIII.-XIII. Jahrhundert, Berlin 1971, p. 11 and Abb. 28.
  • Williamson, Paul. Medieval Ivory Carvings. Early Christian to Romanesque. London, V&A Publishing, Victoria and Albert Museum, 2010, pp. 334-337, cat.no. 85
Collection
Accession number
8035-1862

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdJune 24, 2009
Record URL
Download as: JSONIIIF Manifest