OUR IVORY DIPTYCH by Libby Clay

OUR IVORY DIPTYCH

by Libby Clay

Are you running out of things to talk about in the Fountain Court? Do you find yourself "losing steam" after you have talked about the Otto III tapestry and the manuscript?

Perhaps the treasury arts case, to the left of the far doorway, will provide some new material. The Ivory Diptych, with its top register showing a Crucifixion and its lower register a Nativity scene, is a particularly fine example of French 14th-century ivory carving. In addition, MAG's diptych is very unusual in that Mary, in the crucifixion scene, is not wearing a head veil.  In the many examples of these diptychs, where artists chose iconography from pattern books, most portrayed Mary with her head covered. (David Walsh comments on this in Porticus, Vol. VII, 1984)

You would probably want to begin by reminding your group that, because ivory is so valued, the animals whose tusks supply it have been over-hunted, often illegally, and are now endangered. The finest ivory comes from the African elephant, both male and female, and the male Indian elephant.  Tusks continue to grow, can reach six feet in length, and a pair may weigh 100 pounds.

Ivory has been highly prized since ancient times, and was used almost continuously in the West from Roman times until the sixteenth century. Its fine grain, smooth texture and non-chipping quality make it eminently suited for carving. It is not destroyed by fire, which may be the reason ivories have survived in greater quantities than many other decorative arts.

You could emphasize the fine workmanship on the diptych by having your group carefully view it from the side.  This way they can better appreciate how skillfully the carver gave a three-dimensional feeling to a piece of ivory 3/8 of an inch thick. He has carved it into at least three different planes. Work like t would be given only to a master carver, for there was no margin for error with so costly and rare a material. The carver would use tools similar to those of a woodworker—-saws, drills, files and rasps. The ivory would then be polished, usually with a paste made from its own dust.

Your group can sharpen their looking skills by close observation of the diptych. You might ask them how they know there was another side to this piece (hinge marks on the right side). You could explain that this would probably have belonged to a wealthy person with his own private chapel in his own castle or great house.

                                                                              

The top scene shows a Crucifixion with the thorn-crowned Christ on His cross in the center. It is difficult to see, but His right foot is crossed over His left—a medieval symbol for the triumph of good over evil (the right side is the "good" side). His head falls to His right shoulder, symbolizing surrender of self-will to the will of the Father. To Christ's right is the veil-less Mary, supported by three women. To His left is John the Evangelist, with a book in his left hand, symbol of the New Testament. Two men, wearing the conical caps required of Jewish men in the middle ages, stand behind John.

The lower register shows a busy Nativity scene. Mary reclines on her makeshift bed and reaches down to grasp the hand of the infant reaching up to her. She cups her chin in her hand, as if to contemplate the fate awaiting her child. Joseph dozes at her feet. He is not disinterested—he was often pictured asleep or away from the main action to show that he had no fleshly connection with the Incarnation.

The ox and the ass are often incorporated into Nativity scenes, as they are here, for the ox, frequently referred to in the Old Testament as a sacrificial animal, became a symbol of the Jewish people. As a metaphor for patience, strength, docility and humility, the ox represents Christ the Redeemer. The ass or donkey is docile, humble and long-suffering; its presence indicates that even the simplest of the animals recognizes the Savior.

Above all in the scene, under the arches, is the Annunciation to the shepherds. The angel on the left displays a scroll to those tending their sheep. The shepherd in the center has a bagpipe under his left arm; the right arm is missing. The hand of the shepherd on the right is raised in a rather comical way; it is doubtful that they could read the scroll.

Connections might be made with the Consul sculpture with his scrolls, compared with the manuscript in the case to your right. The crucified Christ could be compared with the Spanish crucifix to show how the creator of each piece endeavored to arouse our emotions. There are also two other ivory pieces in the case. Finally, the realistic tenderness of Mary toward her child could be compared with the Renaissance tondo and contrasted with the formal Byzantine mother and child across the room, where Mary presents the child to the world.

Sources: Calkins, Robert G., Monuments of Medieval Art, New York: E.P. Dutton, 1979; Haskell, Alfred, Ivories, Rutland, Vermont: Charles E. Tuttle Col, Inc., Publishers; Walsh, David A.” Notes on the Iconography of a Fourteenth-century Ivory” Porticus, VII (1984), pp. 1-7. For other items in the case, see Porticus, V. (1982) David A. Walsh, “Two Limoges Enamels.”