The Ivory Workers of the Middle Ages

by Anna Maria Elizabeth Cust

DR. GRAEVEN PHOTO.][BRITISH MUSEUM
8. CHRIST LEAVING THE PRÆTORIUM
Italian, commencement of fifth century

After this time angels were rarely represented without wings; the absence of wings makes the beautiful nimbed angel on the Trivulzio plaque quite indistinguishable from the figures of Christ on the British Museum plaques with the Passion. It is interesting to note, just about the end of the fourth century, the earliest representation of the symbolism of the Apocalypse in the presence of the Bull of St. Luke and St. Matthew’s Angel. The round shape of the tomb, with the raised tiled roof, is a difficult point, it appears to be the germ of the elaborate circular edifice with a cupola which became such a feature in purely Byzantine Art; but there were many circular tombs[10] in Rome for the artist to copy, and the huge round mass of the Mausoleum of Hadrian consisted of a drum, raised on a square basis, and decorated with columns and statues in a rather similar manner to the tomb on the fine Byzantine plaque with the Ascension, in the Munich Museum.

Thus we find the two sets of plaques in the British Museum and the Trivulzio tablet closely connected with each other and in touch with the Brescia casket. The workmanship is not so good on the smaller pieces, but on the whole the drawing is fairly correct, the drapery well designed and falling in few and soft folds over the rather chubby forms; and the whole technique is very different from the unyielding draperies and the too minute details of the consular diptychs.

Sculpture in ivory prospered, while that in marble declined. The fashion of sculptured marble sarcophagi had almost died out in the sixth century; but the Latin types and traditions were carried on by a series of carved pyxes, till they gradually merged in the Latino-Byzantine Art.

These pyxes are little circular boxes made in Italy, and dating practically from the fifth and sixth centuries. Many were of pagan origin, and decorated with mythological subjects, some being used for the toilet requisites of Roman ladies; and others were, doubtless, accerae, or boxes for holding incense for heathen worship, such as we see in the hand of the lovely Bacchante on the diptych of the Symmachi family in the Victoria and Albert Museum. Afterwards they found a place in Christian liturgy, being used to hold the Reservation of the Host.

The most ancient and beautiful pyx of Christian origin is in the Berlin Museum. It was probably carved in the fifth century from good antique models; on it, Christ, posed like Probianus on his diptych, and represented as a beardless youth, is teaching the Apostles. St. Peter and St. Paul (who usually takes the place of Judas among the twelve) are seated at His feet. The apostle on the right of Christ raises his hand, just in the manner of a consul about to throw the mappa. On the other side is a very beautiful figure of Abraham sacrificing Isaac. The style is so completely that of the sarcophagi that when the design is drawn as a flat strip it could easily be mistaken for one. In the Bargello there is a well-carved pyx with a lively picture of the Angel appearing to the Shepherds, who, with their rough short garments and thick crooked sticks are typical antique figures and very like Joseph’s brothers on the Throne of Maximian ([Fig. 13]). We also find on the Throne the strange basket chair in which the Virgin sits. The onward rush of the Magi, as they bear gifts to the Infant Saviour, is a very favourite motive in Byzantine Art. Their barbaric costume, of trousers and short girdled shirt, surmounted by a Phrygian cap, traces back all through ancient Greek Art, and, minus the cap, is still the summer dress of the Russian peasant.

A pyx in the Musée de Cluny ([Fig. 9]) is of interest, giving some of the same series of miracles that are found so repeatedly at this period, both in carvings and in the mosaics. The Healing of the Paralytic, who carries his bed, Restoring sight to the man born blind, the Woman of Samaria, the Raising of Lazarus, and the ever popular whale scenes from the Life of Jonah ([Fig. 10]).

The minds of the early Christians seemed turned away from the scenes of Christ’s Passion and Death, and only dwelt on His human relations as a Teacher and Healer, and on His glorious position as “Pantocrator,” Ruler of All. A great triumphal joy seems to break out in the glowing mosaics of the earlier basilicas, and again and again, Christ, the Mighty, the Ruler, is represented in enormous size on the glittering walls, and not a trace of His sufferings, which formed the chief theme of later art.