The Adoration of the Magi and Presentation in the Temple
Panel
ca. late 9th century (made)
ca. late 9th century (made)
| Artist/Maker | |
| Place of origin |
This is an ivory plaque reprensenting the Adoration of the Magi and The Presentation, made in Metz in ca. 900. It probably ones formed part of a bookcover. It is a good example of the best work of the Metz school: the relief is deeply cut, the figures seem to stand almost off the ground, their solid bodies clad in soft drapery which helps to reveal the from below and there is a real sense of movement.
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. This was originally taken from a book cover.
The architectural background subtly emphasizes the actions of the figures. The architecture is very closely modelled to the buildings seen in the Utrecht Psalter of about 820. Plaques as this seem to have served as models for tenth-century manuscript illumination in Anglo-Saxon England and elsewhere.
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. This was originally taken from a book cover.
The architectural background subtly emphasizes the actions of the figures. The architecture is very closely modelled to the buildings seen in the Utrecht Psalter of about 820. Plaques as this seem to have served as models for tenth-century manuscript illumination in Anglo-Saxon England and elsewhere.
Object details
| Categories | |
| Object type | |
| Title | The Adoration of the Magi and Presentation in the Temple (generic title) |
| Materials and techniques | Carved elephant ivory |
| Brief description | Panel, ivory, probably from the cover of a book, depicting the Adoration of the Magi and the Presentation in the Temple, Carolingian, North-East France (probably Lorraine), late 9th century |
| Physical description | Ivory panel, carved in high relief with the Adoration of the Magi and the Presentation in the Temple. In the upper part the Virgin presents the Christ-Child to Simeon, who steps forward with draped hands to receive the infant. Behind the Virgin are Joseph, holding two doves, and a female figure. Above, the three Magi - wearing Phrygian caps and holding bowls filled with their offerings - approach the Virgin and Child and Joseph. The star guiding the Magi is shown in the foliate border above. Both scenes are set before elaborate townscapes made up of various structures with tiled roofs. The lower scene is framed by an acanthus border on all sides, while the border of the upper scene is confined to the sides and top. The corners are pierced with holes, probably for attachment to a book cover. |
| Dimensions |
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| Style | |
| Object history | From the Webb Collection, purchased for £81. Previously, according to Rohault de Fleury, in the Micheli Collection at Paris and Sens. |
| Historical context | The architectural background subtly emphasizes the actions of the figures. The architecture is very closely modelled on the buildings seen in the Utrecht Psalter of about 820, as in the illustrations for Psalm III. Plaques as this seem to have served as models for tenth-century manuscript illumination in Anglo-Saxon England and elsewhere, as has been demonstrated for the Benedictional of St Aethelwold. |
| Production | North-East France |
| Subjects depicted | |
| Summary | This is an ivory plaque reprensenting the Adoration of the Magi and The Presentation, made in Metz in ca. 900. It probably ones formed part of a bookcover. It is a good example of the best work of the Metz school: the relief is deeply cut, the figures seem to stand almost off the ground, their solid bodies clad in soft drapery which helps to reveal the from below and there is a real sense of movement. 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. This was originally taken from a book cover. The architectural background subtly emphasizes the actions of the figures. The architecture is very closely modelled to the buildings seen in the Utrecht Psalter of about 820. Plaques as this seem to have served as models for tenth-century manuscript illumination in Anglo-Saxon England and elsewhere. |
| Associated object | REPRO.1873-74 (Reproduction) |
| Bibliographic references |
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| Collection | |
| Accession number | 150-1866 |
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| Record created | December 18, 2003 |
| Record URL |
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