This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.

Publicado con ocasión de la exposición homónima, en The Legion of Honor, San Francisco, from october 28, 2017, through january 7, 2018CONTENTS6 Forewordg Introduction11 Byzantine and Romanesque23 Châsses and reliquaries38 Gothic ivories and ivory carving in the Middle Ages43 Ivory statuettes large and small63 Passion diptychs: Variants on a theme85 Diptychs with other scenes105 Fragments of larger ensembles113 Medallions and roundels117 Domestic and personal items129 Private devotion147 Fragments of major works.

After 25 years as a piano teacher of 100 students, mostly children, I find that i continue to be impressed by their musical talent and amused by their unexpected comments. If you like kids as much as i do, you will appreciate some of their unintentional and frequently uninhibited humor. Quoting my late grandmother Velma Peterson, as she quoted a favorite early T.V. host "Kids Say the Darnest Things".

"Over 500 baroque and later ivories from the outstanding holdings of the Victoria and albert Museum are illustrated and discussed in this extensive scholarly catalogue."--Book cover flap.

A report on the small but unique assemblage of ivory objects that were discovered between 1957 and 1974 in northwestern Iran and all date prior to 800 BC when the site was sacked.

Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.

No archaeological investigation is begun or successfully terminated in Princeton University which has not been inspired and made possible by the wisdom and kindness of Professor Allan Marquand. From the day when the present work was commenced, through the years of compilation and writing, Professor Morey has done all in his power to make it of scholarly value, and in the last stage of preparation, the author’s absence from the University has increased his obligation to his colleagues, for Professors Marquand and Morey have read all the proof and attended to every detail of the publication. For the aid here acknowledged and for that which no words can acknowledge, the author now voices his gratitude to these two friends. Aeterna Press

Reprint of the original, first published in 1876.