Cross Base thumbnail 1
Cross Base thumbnail 2
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Image of Gallery in South Kensington
On display at V&A South Kensington
Sculpture, Room 111, The Gilbert Bayes Gallery

Cross Base

1160-1180 (made)
Artist/Maker
Place of origin

During the period 90-1200, ivories were produced all over Europe, often in monasteries and ecclesiastical or royal courts. The pieces in this drawer were used for liturgical purposes. Ivory carvings appeared on book covers, reliquary caskets, antependia (the panel in front of an altar) and religious icons. This pyramid-shaped carving, made in about 1160-80 in Germany (probably Cologne), decorated with four grotesque animals, served as a base for a crucifix, which would have been fitted into the slot on the top.
Originally this base had four feet of bone or walrus ivory. The base also may have had a copper-alloy plate on the underside. This plate would probably have held in place the tapering rectangular-sectioned tang of the cross, which completely pierced the base through the centre. The iconography of the base - dragons or serpents biting themselves - is found on a number of Romanesque metal cross feet.


Object details

Categories
Object type
Materials and techniques
Carved walrus ivory
Brief description
Cross base, walrus ivory, depicting dragons biting themselves, Germany (probably Cologne), 1160-80
Physical description
Ivory base (possibly for a cross or flabelluem?). The base is in the form of a truncated pyramid, carved in relief with four grotesque animals (dragons) in sunk panels, separated by beaded lines, and with a border of quatrefoils round the base. The two dragons on the sides turn to bite themselves, that on the front bites its tail, while the beast at the back scratches its neck with its left front paw. Originally the base had four feet of bone or walrus ivory. The feet were set at a sloping angle deep into the base, each held by two long pins. On of these pins survives. The base also may have had a copper-alloy plate on the underside, as this is scored with cross-hatched lines. This plate would probably have held in place the tapering rectangular-sectioned tang of the cross, which completely pierced the base through the centre.
Dimensions
  • Height: 3cm
  • At front width: 6.3cm
  • At left depth: 6cm
Object history
From the collection of the Bishop of Hildesheim, bought in 1873.
Originally the base had four feet of bone or walrus ivory. The base also may have had a copper-alloy plate on the underside, as this is scored with cross-hatched lines. This plate would probably have held in place the tapering rectangular-sectioned tang of the cross, which completely pierced the base through the centre.

Historical significance: The iconography of the base - dragons or serpents biting themsleves - is found on a number of Romanesque metal cross feet.
Historical context
The base probably supported a walrus ivory crucifix of similar type and dimension to the so-called 'Croix de Sibylle' of about 1160 in teh Musée du Louvre.
Subjects depicted
Summary
During the period 90-1200, ivories were produced all over Europe, often in monasteries and ecclesiastical or royal courts. The pieces in this drawer were used for liturgical purposes. Ivory carvings appeared on book covers, reliquary caskets, antependia (the panel in front of an altar) and religious icons. This pyramid-shaped carving, made in about 1160-80 in Germany (probably Cologne), decorated with four grotesque animals, served as a base for a crucifix, which would have been fitted into the slot on the top.
Originally this base had four feet of bone or walrus ivory. The base also may have had a copper-alloy plate on the underside. This plate would probably have held in place the tapering rectangular-sectioned tang of the cross, which completely pierced the base through the centre. The iconography of the base - dragons or serpents biting themselves - is found on a number of Romanesque metal cross feet.
Bibliographic references
  • Beckwith, John. Ivory carvings in early medieval England. London : Harvey, Miller and Redcalf, 1972, cat. no.79, ill.195
  • List of Objects in the Art Division, South Kensington, Acquired During the Year 1873, Arranged According to the Dates of Acquisition. London: Printed by George E. Eyre and William Spottiswoode for H.M.S.O., p. 2
  • Mersmann, Wiltrud. Der Faltstuhl vom Nonnberg in Salzburg. Salzburg : Winter, 1985, p. 69, fig. 25
  • Mann, Vivian B. [Ph. D. dissertation] Romanesque Ivory Tablemen. New York University, 1977, p. 113
  • Springer, Peter. Kreuzfüsse : Ikonographie und Typologie eines hochmittelalterlichen Gerätes. Berlin, 1981, p. 48, fig. A86
  • Williamson, Paul. Medieval Ivory Carvings. Early Christian to Romanesque. London, V&A Publishing, Victoria and Albert Museum, 2010, pp. 288, 9, cat.no. 76
Collection
Accession number
12-1873

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Record createdJanuary 5, 2004
Record URL
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