YALE UNIVERSITY LIBRARY YALE UNIVERSITY LIBRARY CATALOGUE OF THE GEORGE A. HEARN COLLECTION OF CARVED IVORIES THE GEORGE A. HEARN COLLECTION OF CARVED IVORIES THE PRESENTATION IN THE TEMPLE PRIVATELY PRINTED : NEW YORK : ANNO DOMINI ONE THOUSAND NINE HUNDRED AND EIGHT THE ILLUSTRATIONS ARE FROM PHOTOGRAPHS MADE EX PRESSLY FOR THIS CATALOGUE BY MR. CHARLES BALLIARD COPYRIGHT, 1908 BY GEORGE A. HEARN IVORY CARVINGS AND THEIR MAKERS FROM classic times down to the present, ivory has been employed for manifold artistic uses, and ivory carvings preserve an al most unbroken story of the struggle of man for artistic expression. Buildings, monu mental sculpture and other records have been de stroyed during periods of great upheaval, but sculptured ivories remain in such numbers that, from them alone, we may learn the customs, dress and domestic arts that marked the successive centuries. Although ivory was employed freely for articles used in religious and domestic life, no reference need be made here to such objects anterior to the Consular Diptychs, or writing tablets, which were introduced in the days of the Roman Consulate, continuing from the fourth to the middle of the sixth century, a period of about a hundred and fifty years. Although only about fifty of these exist to-day, preserved in European Museums, they throw light on the customs of the Romans and are of great historical importance. These Diptychs are two-fold ivories, hinged together, carved on the outside, often with the Consul's vii name and portrait. They were used as books for recording memoranda, the reverse sides being hol lowed slightly and coated with wax upon which the records were inscribed with a stylus, and were given away by the Consuls on their inauguration in office to the senators and influential friends. The number of these diptychs was so considerable that only those intended for friends in exalted position were made of ivory, others of simpler design and smaller, were often of bone. In the middle of the sixth century Justinian abolished the office of Consul when Consular Dip tychs were no longer used. In the British Museum may be seen one leaf of a notable example of these Consular ivories. 1 1 measures five by eleven inches and is ascribed to Marcus Aurelius Romulus Caesar A. D. 308, and a reproduction of it is included in this collection and may be found illustrated in Number 1 . Here the Roman official is seen seated in a cov ered car drawn by elephants towards a funeral pyre. Above is seen his apotheosis, the Roman being borne Heavenward where he is received by waiting friends. Other Diptychs also remain to us and are of great historical and artistic value. Some of these Diptychs came into possession of conti nental churches as votive offerings and were adopted by the clergy for liturgical uses, and thus have been preserved. In the sacristies of Italian churches these pagan carvings may be seen set in elaborate borders of goldsmiths' work to in crease their size and enclosing numerous parch ment leaves. Brief reference must be made here to Byzan- tine ivory carvings. When Constantine estab lished his authority on the shores of the Bos- phorus, he planned to make his new capital un rivalled for splendor among the cities of the world, hence artists from Athens, Antioch and all Eastern centers flocked to Byzantium, which he renamed Constantinople, bringing their masterworks with them. The adoption of Christianity, amounting almost to a revolution, gave great impetus to Christian art. It was but natural then that By zantine art should show a mixture of Eastern and Western traits — Roman taste modified by Greek and Syrian influences. This mingling will be seen at once by glancing at the statuettes shown in numbers 2, 3, 5 and 6. The first thought of Byzan tine art is one of barbaric magnificence, a lav- ' ish use of color and incrusted jewels. But it is plain that the artist knew how to handle the draperies in spite of the tyranny of fixed rules and court etiquette, which compelled him to clothe his figures in the stiff sheath of cloth encrusted with a mosaic of jewels. Here the carver was allowed little chance for invention but must follow the regulations laid down by the church. The result is stiffness and angularity. The Byzantine ivory sculptures invariably show this immobility of line and form, an influence that later was felt throughout Europe, when the Eastern artists, spreading over the West, settled down to practice their art in Italy, Germany, England and France. In making this collection there was no intention in the mind of the owner to cover the entire field of ivory sculptures, nor even to secure historical representatives of the various periods, nor to show the consecutive development of the art. The various pieces were bought at different times covering a period of years because they interested him, and without relation to other pieces. Thus modern pieces as well as those of earlier date were added, wholly on their merits as objects of beauty without regard to their period or historic interest. In the same way the Japanese vases were added because of their intrinsic interest and not because they represented any period. How ever from such a number of pieces the student cannot fail to gather the story and see the thread of development that binds them together in an historic chain. The Byzantine-German school of ivory carving flourished in the Rhine Provinces. This school of carving is marked by bold relief and a gloomy sincerity. The figures are usually large and somewhat elongated and the craftsmanship though earnest is lacking in elegance. In the hands of these Rhenish carvers there is no doubting their meaning. There is a stern naturalism to their figures and that love of sorrow and gloom which came with the Gothic period in the North, pre saging later German art. There is the fondness for stern reality, and that earthly things should not be too enticing through cheerfulness. Crudity of workmanship could be more easily overlooked than a cheerful outlook toward life. With the coming of the active Gothic age, with its deeply religious spirit, the ivory-carvers were kept busily employed in picturing the Biblical stories, with scenes of the Passion, pietas, saints and martyrs, with foliations, birds and symbols. During this period and until the fifteenth century all art was in the service of the church, and every object devoted to religious rites was lavished with decoration. Ivory was used largely for all ec clesiastical uses as well as for articles employed in private devotions. Besides the retables, cros iers and reliquary caskets, there were liturgical combs, triptychs, statuettes, shrines, benitiers, book-covers, and the many lesser things demanded by that devotional age. These devotional ob jects were carried as talismans on voyages, used on their long crusades, or employed in their households, no sleeping-room being without its shrine, whose shutters were only opened at times of prayer. These shrines or triptychs were carved with the scenes of the Passion or with scriptural stories and were meant for instruction and medi tation. Usually of small size they were for daily use and meant to be examined closely and studied with loving care. Wrought with great devotion they must have exercised wide influence as teachers in those devout ages of faith. To-day these heirlooms of the centuries, carved with all the leading events in Biblical history, excite our admiration as the works of great creative artists. By interesting the people in the story or lesson of the carving they sought to prevent them from worshipping the images themselves, furthermore these ivories were used for the instruction of the unlettered multitude. The passionate fervor with which the people XI regarded the Virgin grew out of the religious enthusiasm of the thirteenth century and this worship brought into being countless images for public and private devotion. It was in these statuettes that the mediaeval ivoryworkers reach ed the culminating point of their art. This col lection contains a number of these groups of Mother and Child which bear the stamp of elevated thought and sincerity in the artist and the highest skill in workmanship. In numbers 15, 18, 21 and 21A may be seen examples of fourteenth century work of great beauty and tenderness showing the devotional spirit of the time and the reverent care and loving thought that inspired the pious work man. In these statuettes the Mother generally wears a crown, bows her head to regard her infant son, and is often attended by other figures of saints or angels in adoration. The curve of the figure in these early ivories is usually accounted for by the shape of the tusk to which the figure was made to conform while the draperies were usually painted in rich colors, the crown being gilded. Reference should here be made to some other statuettes in this collection of a later period and illustrated in numbers 25, 27 and 28. These are of Portuguese origin and possess distinct char acteristics. While there was less use of ivory for sculpture in Spain and Portugal than in other European countries, there came into existence a peculiar product from the Portuguese colonies in India, which should not be overlooked. They are works of a hybrid type and show a strange mingling of Oriental and Western influences. After the Portuguese in the sixteenth century took Goa in India and established themselves, their ivory products were sent over to Western Europe in large numbers. Native artists in Goa began carving madonnas and saints and other religious subjects for European use. While trying to meet the demands of Western taste, it was but natural that they should adhere to certain fixed Oriental traits and forms of decoration. Among curious examples of Goa work is the "Pilgrim" or "Shepherd" rockery, the religious significance of which has never been quite clear to Western minds. Two examples will be found illustrated in numbers 29 and 30. On the summit of a rocky mount sits a youthful shepherd, usually asleep, while along the paths below wander his scattered flock; here and there from out the rocks streams of water spout forth falling into basins below. As might be expected from Oriental workmen the ivory is carved with great minuteness of detail. The fourteenth century produced the finest carvings of the entire Gothic period, and although it is extremely difficult to assign the origin of a mediaeval ivory to one country or another, stu dents agree that to France must be accorded pre eminence for artistic quality. It was an age of great architectural skill and activity and the ivory carvers profited by the work going on about them. Seeing so much exquisite work lavished on the cathedrals rising in every town, the ivory workers commenced to copy the forms in minia- X11I ture. Their pictures become better arranged, the buildings introduced are in better proportion and finer in detail and their figures better placed. This will seem but natural when it is stated that most of the ivory carvers belonged to the religious orders and carried on their work in the monasteries, side by side with the men who designed the cathedrals, and with other scholarly monks who spent their time making the illumin ated missals. The beautiful illuminated manu scripts were thought worthy of equally beautiful covers, hence the carved ivory plaques were used to enclose and protect the parchments. Ex amples of such book covers may be cited in num bers 55, 72 and 73. A triptych or three-fold ivory has a central panel to which two narrower tablets are hinged on the side, closing to meet in the centre. Both central leaf and wings are sculptured in relief with sacred stories, the outer surface being gen erally left plain. Beautiful examples of this kind of ivories will be found in numbers 39, 40 and 47. They illustrate the fertile imagination and devotional spirit of the artists and are worthy of the closest study as examples of creative art. With an eye for decorative effect, the carvers never lost sight of the devotional use and the teach ing value of these pictorial representations of the sacred narratives. There is no overloading of ornament, no crowding of figures, to obscure the story told by these miniature shrines or ora tories. Where more than one story is to be told the space is divided into compartments by archi- XIV tectural lines to avoid confusion. In portraying the persons who figure in the Biblical stories the artists always followed the iconographical types which had been established since the sixth cen tury. For example St. Paul is always represented with a bald head and long pointed beard; St. Peter with thick hair and a round curling beard, St. John with hair falling on the shoulders. Often the symbolism of the Apocalypse is followed, repre senting St. Luke with the bull, St. Matthew with the angel, St. Mark with the lion and others with their special symbols. The vine is introduced freely in representations of Christian symbolism just as long before it had been a popular pagan decoration. The types of the Holy women who appear in the scenes of the Crucifixion also follow a fixed type in order that they may be easily recognized. Besides the Crucifixion, the scenes of the Nativity and the Magi bringing gifts to the Infant Christ were popular subjects which the carvers repeated again and again with variations. Later several of the Miracles became popular, such as the Marriage atCanaand the Raising of Jairus's Daughter, in which the artists dwelt more on Christ's human relations as a teacher and healer than on His sufferings. It must be remembered that in that age few among the general public were able to read. What books existed were religious manuscripts mostly confined to the mon asteries. These ivories served the purpose of illustrated books to spread the sacred stories among the people. They would be studied and discussed by the owner and his friends, and every incident and expression would be noted and fixed in mind. Since the artists went to the same source for their subjects there is bound to be fre quent repetitions of these stories of Holy Writ, which were matters of every-day talk and dis cussion among the people. It was the aim of each artist to picture the story chosen with as much power as possible so as to leave a definite image on the mind of the beholder. In number 53 may be seen an example of the portable shrines. In this polyptych a number of leaves are hinged to fold about a small tabernacle in which a statuette is placed, forming a minia ture shrine. This is ornamented both within and without with carving, color also being applied. In fact many of the groups and plaques in this collection show traces of coloring, a custom which was common in the earlier centuries. Sometimes the entire figure except the flesh shown was gilded; at other times only the crown or the border of a garment. In relief sculpture often the color is used with great reserve and discrimination. In some cases there is only the faintest tint, the artist showing the nicest discretion with only a touch here and there as if to accent the effect. In their striving for grace and elegance, however, the artists, as time advanced, fell away farther and farther from the old stiff forms, until finally their work showed the exclusion of all spirituality. The age of piety and Christian chivalry was succeeded by an age of romance and classical myth. With the advance of the Renaissance ivory carvings showed the popular admiration for the classical stories. When this era of romance set in, scriptural stories gave way to the revived mythological allegories and romantic poems. We find the fabulous story of Europa or the exploits of /Eneus or Alexander, or the legends of Venus interested the carvers as did also the Knights of King Arthur or the Romaunt of the Rose. And since ivory was employed for numerous domestic articles and objects used for presents, these subjects are found on mirror-cases, powder horns, jewel boxes, writing tablets, chessmen, book-covers and various other articles. Secular objects were always deco rated with stories from the romances of chivalry or with domestic scenes. Following the custom of gifts of Consular Diptychs to commemorate of ficial honors, later times employed carved ivories to commemorate marriage ceremonies, or to celebrate some special event like a royal accession or some triumph at arms. Plaques of ivory beautifully carved were also used for the decoration of caskets which were in general use both in churches and in private houses for the protection of their treasures. An example of such a casket may be found in num ber 211. This handsome coffer is of Italian work manship; the carvings of bone are laid on the wood in strips about two inches wide. Along the central space of the body of the casket run the arms of various illustrious Italian families. On the hinged cover, made in the form of a truncated pyramid, as well as on the base, appears marquetry of wood and ivory common to Italian productions for household use and known as Certosina work. XVll The horns of oxen, the tusks of walrus and other animals are often employed for ivory. How skill fully these materials were worked may be seen by studying objects illustrated in numbers 105, 108 and 1 17. Horns made from long tusks such as appear in numbers 112, 113 and 1 14 are familiar objects, and often show very elaborate and skillful treatment. The smaller ones were used for the chase, also to sound alarm in old feudal castles on the ap proach of an enemy, or to welcome a distinguished guest. They were also used in churches to an nounce the beginning and close of the service, then when bells came into use, the large oliphants or complete tusks were hung up in the churches as receptacles for venerated relics. Numerous caskets and horns have been preserved from having been treasured as reliquaries. Smaller horns, used as drinking horns, were lined with silver and provided with supporting feet. Akin to the horns are the pulverines (numbers 108, 109) , or powder flasks, generally made of the stag's horn, but sometimes of ivory, which were pro duced in the sixteenth and seventeenth centuries. They were often of elegant design and exquisite workmanship and are either of Italian origin or show Italian influence in their decoration. With the seventeenth century came a great change in public taste. Classical adaptations and the love for nudities was carried to extravagance through all the world of art. The age of Donatel- lo's purity was followed by the age of Bernini's muscular nymphs and sprawling putti among heavy cloud masses. The general state of sculp ture was debased. Furthermore with the grow ing popularity and excellence of wood carving, especially in Germany and Flanders, came the decline of ivory carving. Many of the artists turned their attention to the more popular em ployment. Those that still held to ivory working, following the taste of the time, borrowed their classical subjects at second hand from paintings and engravings and became mere copyists. Their subjects were drawn wholly from classical myths; laughing satyrs, dancing nymphs and piping Pans follow drunken Silenus in mad Bacchanalian revels around the surfaces of cups and tankards and ewers attended by troops of children and playful goats. Sea gods and naiads disport them selves among dolphins, while Bacchus Helios clasping his Thyrsis holds aloft his empty wine cup and cheers the little figures gathering grapes and treading out the wine. These pagan scenes of the Roman Saturnalia were almost universal. Diana Lucifera in her chariot is attended by pa gan dryads, Venus with her nymphs and amorini completes her toilet with no thought of privacy, and Apollo watches his rearing horses in their efforts to break away from the surface of the tankard. Works of this kind, presenting the apotheosis of the flesh, of external beauty, are in striking contrast to that of the early ivory- workers, and show the eager temperament and unbridled fancy of the age. Through all runs a voluptuous touch and pagan fancy, and their themes were repeated over and over with slight variation. They delighted in reproductions of the Rape of the Sabine Women by Giovanni da Bologna, or Fedi's Rape of Polyxena, or Bernini's Apollo and Daphne and other similar subjects. During this period many were employed carving portions of tusks with classical stories which were taken in hand by the artistic metal workers of Augsburg and Nuremburg and mounted in silver in the form of vases and tankards. This work has gone on ever since, many of the old themes being repeated again and again. The large rose water ewers and dishes, such as numbers 1 77 and 1 78, made more for decorative than for practical uses, came into vogue in the middle of the seventeenth century and were due to the efforts of one Michael Maucher a Suabian carver of great skill and prolixity. Made up from several pieces joined by gilt metal, they offered opportun ity for the introduction of an endless number of figures, horses, dolphins, amorini and foliated scrolls and became popular. The great popularity of Rubens in the seven teenth century exercised a perceptible influence on ivory carving and did much to arrest the de cline into which it had fallen and even to raise the standard of those about this artist. Several Flemish carvers came directly under his influence and patronage. Francis Duquesnoy, Lucas Fay- d'herbe and Gerhard van Opstal were notable ar tists of this period whose work rose above the general productions of the time. Their work showing groups of playing children, little satyrs romping with goats, nymphs teasing Bacchus and similar panels, is distinguished for its delicacy and refinement and the treatment of the draperies follows the best classical models. Their themes later were reproduced by German carvers on numerous plaques and tankards. In the eighteenth century a certain kind of microscopic work came into vogue showing a good deal of patience and artistic skill. Several ex amples of this species of work may be pointed out in the Scenes of Wallenstein's campaign in the Thirty Years War illustrated in numbers 127, 130, 131 and 133, also in the battle scenes illustrated in numbers 121, 122, 123 and 126. In these the ivory is carved with such extraordinary minuteness as to almost require a magnifying glass for its ex amination. Scores of figures of horsemen on splen did chargers followed by a train on foot are carved with great care and minuteness. Notwith standing the small space of these panels the artists have preserved the life and bustle of a festival or the action of a battle. In the middle of the eighteenth century ivory- carving fell off greatly. While plaques and stat uettes, tankards and ewers were produced they were as a rule reproductions and inferior to the earlier work. In our own time the art has been revived by a number of skillful workers some of whom are distinguished artists in this field. Ex amples of modern relief carving may be found in this collection, illustrated in numbers 150, 187 and 199 as well as in the brilliant Charles V Enter ing Antwerp (after Makart) which forms the front ispiece of this book. XXI A wide field separates these modern works from those of the middle centuries, each group having its own interest. To modern eyes many of the early examples of the sculptor's art may seem rude and archaic, but they show the intensity and the fervor of religious devotion which stirred that earlier time, and for the student and collector, have far greater interest and value than any mod ern reproductions of the pictures and statues of great artists ; for they carry the mind away from the bustle and noise of modern life to the serener upper air of that devout age of faith. W. Stanton Howard. INDEX TO ILLUSTRATIONS RELIGIOUS SUBJECTS IN RELIEF ON DIPTYCHS, TRIPTYCHS, PLAQUES, BOOK COVERS, ETC. PAGE Adoration of the Magi 17,23,43 Annunciation 71 Apostles 9 Archangel Michael 79 Baptism of Christ 57 Christ in Glory — Votive Object 5 Christ in the House of Simon 55 Christ and Thomas 25 Crucifixion 43 Christ Before Pilate 43 Descent from the Cross 1 1 , 69 Dormition of the Virgin 21 Elias Announcing the Messiah 59 Evangelists 129 Flagellation 43 Ildefonse Altar Picture 73 xxiii PAGE Madonna, Infant Christ, St. Joseph and St. John 47 Madonna and Infant Christ with Donors . . 77 Madonna of the Pesaro Family 123 Madonna and Child with Angels . . . .125 Madonna, Infant Christ and St. John . . .139 Marriage of Joseph and Mary . . . 113, 125 Miraculous Draught of Fishes 67 Nativity of Christ 67, 75 Presentation in the Temple . . . title page Road to Golgotha 13 Scene at Golgotha 53 Scenes in the Life of Christ . 13, 15, 19, 45, 61 Scenes in the Life of the Virgin 63 St. Francis and St. Gerome 93 RELIGIOUS SUBJECTS IN STATU ETTES AND GROUPS Archbishops 49 Christ Blessing Little Children 35 Christ and Emblems of the Passion ... 41 Christ and Mary 29c Crosier Heads 51 Female Saint in Adoration 27 Female Saint With Spear 41 Madonna and Infant Christ 27, 29A, 29B, 31, 63 Madonna, Infant Christ, St. Joseph and Wise Man 29 Monk 27> 39 xxiv PAGE Nun 39 Resurrection and Attending Angels .... 33 Shepherd Rockeries 37 St. Anthony of Padua 31 St. Matthew 41 St. Paul 41 Virgin Enthroned on a Globe .... -35 Virgin in Adoration 35, 37 SECULAR SUBJECTS IN RELIEF ON PLAQUES, TRIPTYCHS, ETC. Amphitrite 243 Arrival of Marie de Medicis at Marseilles . . 105 Assassination of Henry III 119 Attila's March 109 Audience of Louis XIV 159 Battle of Alexander 143,147 Battle of the Amazons .141 Battles of Constantine ^ 145 Battle of the English and Holland Fleets with the French 143 Battle of Pavia 103 Battle Scenes 147 Bohemian Dance 235 Car of Diana 239 Charles V Entering Antwerp . . . Frontispiece Children Playing 231 Chinese Vases 261 XXV PAGE Consular Tablet 3 Cross Covered with Small Carvings .... 9 Death of Henry 1 1 109 Decorative Panel 223 Decorative Plateau — The Festival of Ceres .217 Decorative Plateau — Frederick Barbarossa . 219 Decorative Plateau — Frederick 1 1 in the Con quest of Jerusalem 221 Departure for the Chase 117 Domestic Scene 233 Don Quixote and Sancho Panza 243 Faun, Children and Goat 23 1 Fete Champetre under Louis XV 233 Five Senses 227 Francis I 10 1 Francis I Knighted by Chevalier Bayard . . 81 Frederich II Crowns Himself at Jerusalem . 155 Frederick the Great in Battle 1 1 1 Henry IV 91 Henry IV and Marie de Medicis .... 93, 95 Henry IV Hunting 81, 111 Henry IV Enters Paris 89 Homage to Marie de Medicis 97 Homage to Pan 163 Isabella of Bavaria 175 Joan of Arc and French Army . . . . 85, 101 Joan of Arc and Charles VII Entering the Cathe dral of Rheims 13! Judgment of Paris 237 xxvi PAGE Louis XII Showing Clemency to His Subjects . 115 Louis XIII at Susa 79 Louis XIV Giving Audience 159 Louis XIV at Strasburg 123 Louis XIV and Maria Theresa 167 Marriage Contract at the Russian Court . .121 Marriage of Henry IV and Marie de Medicis . 95 Marriage of Psyche 239 Massacre of St. Bartholomew's Day . . . 107 Maximilian I Crowns Ulric von Hutten . .155 Musicians 117, 165 Napoleon's Campaign in Egypt 157 Napoleon's Coup d'Etat 157 Nelson Wounded at Trafalgar 1 59 Neptune and Mermaids 241 Nymphs Struggling With a Centaur . . . 245 Offering to Venus 233 Peace — Children at Play 167 Peter the Hermit Preaching the Third Crusade 1 3 1 Poet Reciting His Verses Before His Sovereign 161 Powder Horns 133, 135, 137 Prisoners Led Through Nuremburg Streets . 129 Rape of Europa 23 1 Relief Carvings Framed in Carved Ebony 139' '55. 1 57> r59> l6] Return of the Victor 127 Richard Coeur de Lion 127 Sobieski Delivers Vienna 87 xxvii PAGE St. George and the Dragon . . . . 171, 173 Scenes from the Thirty Years' War . 151, 153 Toast to the Victor 165 Toilet Boxes 133 Toilet of Venus 1 69 Triumph of Marcus Aurelius 83 Venus and Naiads 241 Vintage and Wine Press 241 Wallenstein at Eger 151, 153 War — Children at Play 167 Women Bringing Offerings to a Young Prince 169 Youth and Wisdom Presenting Princes to France 235, 237 SECULAR SUBJECTS IN STATUETTES, TANKARDS, CUPS, ETC. Apollo and Daphne 179, 181 Byzantine Statuettes 5, 7 Cabinet 259 Casket 251, 253, 255, 257 Conde and Madame de Montpensier .... 99 Cupid and Psyche 183 Cup— Faun and Nymphs 197 Cup from Boar's Tusk 201 Cup — The Vintage 207 Cyrano de Bergerac 249 Diana and Bacchus iqc Dejanira Carried Off by Nessus . . . 187, 193 xxviii PAGE Hanap and Cover Set with Emeralds and Rubies 209 Horns or Oliphants 137 Judgment of Paris 199 Lamp Screens 247 Madame de Montpensier and Conde ... 99 Merovingian 225 Minerva 189 Musicians — Grotesque Musicians 229 Nicephorus 1 1 1 and Maria of Constantinople . 5 Nymph 177 Peace — Symbolical Figure 197 Prometheus Defended by Pandora . . . .187 Powder Horns 133, 135 Roman Standard Bearer 225 Rose Water Ewer and Tray, Saturnalia of Venus 213, 215 Shepherd 225 Tankard — Dolphins and Sea Nymphs . . .211 — Festival of Flora 205 " — Revels of Neptune and Naiads .211 " — Triumph of Neptune 203 Trumpeter of Sackingen 225 Venus 185 War— Symbolical Figure 197 Women of Pel ion Fighting Centaurs . . .191 THE ILLUSTRATIONS CONSULAR TABLET. APOTHEOSIS OF MARCUS AURELIUS ROMULUS (A. D. 308). REDUCTION FROM THE IVORY IN THE BRITISH MUSEUM HEIGHT, 5 INCHES; WIDTH, 2 INCHES [3] 2, 3- STATUETTES. BYZANTINE. NICEPHORUS III AND HIS WIFE MARIA. CONSTAN TINOPLE 1 078- 1 08l HEIGHT, 7K INCHES 4. THE SMALL VOTIVE OBJECT REPRESENTS CHRIST IN GLORY 5l 5- 6. STATUETTES. BYZANTINE. ALEXIUS I AND HIS WIFE. CONSTANTINOPLE, 1 08 I — I I if HEIGHT, 5J INCHES [7 CROSS COVERED WITH PIECES OF CARVED BONE MOUNTED ON A METAL BASE SET WITH JEWELS AND SHOWING A CARVED MEDALLION HEIGHT, 18K INCHES; WIDTH, 5l [3. DEVOTIONAL TRIPTYCH. XV CENTURY. ADORATION OF THE WISE MEN HEIGHT, 5 INCHES; WIDTH, 8 }4 INCHES 14- DEVOTIONAL DIPTYCH MOUNTED IN WOOD. XIV CENTURY. SCENES FROM THE LIFE OF CHRIST HEIGHT OF EACH PANEL, J H INCHES; WIDTH, 8X INCHES I 5. DEVOTIONAL TRIPTYCH. XIV CENTURY. THE DORMITION OF THE VIRGIN HEIGHT, 5 X INCHES; WIDTH, 8X INCHES 1 6. DEVOTIONAL TRIPTYCH WITH COLOR. THE ADORATION OF THE WISE MEN WITH SIDE SCENES OF THE NATIVITY AND CIRCUMCISION HEIGHT, 7X INCHES; WIDTH, 9X INCHES 17- DEVOTIONAL TRIPTYCH WITH COLOR. CHRIST AND ST. THOMAS SURROUNDED BY SAINTS AND ANGELS HEIGHT, 7X INCHES; WIDTH, 10 INCHES l8. STATUETTES. XV CENTURY. MADONNA AND INFANT CHRIST. HEIGHT, 8X INCHES 19. FEMALE SAINT IN ADORATION. HEIGHT, 10 INCHES 20. A MONK; THE HEAD, WITH HAIR AND EYES COLORED, IS OF SEPARATE PIECE AND DETACHABLE. HEIGHT, 8X INCHES [27] 21. MADONNA, INFANT CHRIST, ST. JOSEPH AND ONE OF THE WISE MEN IN ADORATION XIV CENTURY. HEIGHT, 8 INCHES [29] 29A. STATUETTE COLORED AND GILDED. XIII CENTURY. MADONNA AND INFANT CHRIST HEIGHT, IOX INCHES [ 29A] 29B. GROUP, COLORED AND GILT. XIII CENTURY. CORONATION OF THE VIRGIN HEIGHT, I I INCHES [29B ] 29c. STATUETTE. XIV CENTURY. MADONNA AND INFANT CHRIST HEIGHT, I4X INCHES [29c] 22. STATUETTES. ST. ANTHONY OF PADUA. HEIGHT, 20SA INCHES 23. MADONNA AND INFANT CHRIST. HEIGHT, 17X INCHES [31] 24. GROUP. THE RESURRECTION OF CHRIST WITH ANGELS ATTENDING HEIGHT, 9X INCHES [33] 25. STATUETTES. THE VIRGIN IN ADORATION HEIGHT, 6X INCHES 26. CHRIST BLESSING LITTLE CHILDREN HEIGHT, 9 INCHES 27. THE VIRGIN ENTHRONED ON A GLOBE HEIGHT, 6X INCHES [35l 28. STATUETTE. THE VIRGIN IN ADORATION. HEIGHT, 13 INCHES 29, 30. TWO SHEPHERD ROCKERIES. PORTUGUESE (GOA) CARVINGS HEIGHT, IOX INCHES [37] 31 32. STATUETTES OF A MONK AND A NUN. THE LOWER PART OF EACH UNFOLDING AS A TRI PTYCH REVEALS A FIGURE KNEELING AT THE FOOT OF A CRUCIFIX HEIGHT, 7 INCHES 33- STATUETTES. ST. PAUL 34. A FEMALE SAINT HEIGHT, 10 INCHES HEIGHT, 9 X INCHES 35- CHRIST WITH EMBLEMS OF THE PASSION 36. ST. HEIGHT, 9 INCHES MATTHEW HEIGHT, 8 INCHES 37, 3^- DIPTYCHS IN SPHERICAL FORM. THE FIRST SHOWS THE FLAGELLATION AND CRUCIFIXION; THE SECOND, WITH ENAMELED FIGURES, CHRIST BEFORE PILATE AND CHRIST IN THE GARDEN DIAMETER, 3 X INCHES AND 2 H INCHES 39- DEVOTIONAL TRIPTYCH. XV CENTURY. SCENES FROM THE LIFE OF CHRIST EACH OF THE THREE PARTS IS DIVIDED INTO THREE REGISTERS BY GOTHIC ARCADES. THE CENTRAL SERIES SHOWS THE OFFERINGS OF THE MAGI, THE CRUCIFIXION AND THE ASCEN SION. IN THE SIDE SERIES, THE NATIVITY, THE KISS OF JUDAS, JUDAS HANGING, THE ENTRY INTO JERUSALEM, AND THE RESURRECTION. HEIGHT, IOX INCHES; WIDTH, IOX INCHES [45 40. TRIPTYCH, MADONNA AND INFANT CHRIST WITH ST. JOSEPH AND ST. JOHN HEIGHT, 7 INCHES; WIDTH, 4X INCHES [47l 41, 42, 43- PORTRAIT STATUETTES OF ARCHBISHOPS. XV CENTURY HEIGHT, 7X INCHES. HEIGHT, II INCHES. HEIGHT, 9X INCHES THE CENTER ONE HOLDS A SILVER STAFF, AND HIS MITRE, COPE CLASP AND SHOES ARE SET WITH JEWELS [49] 44- THREE CROSIER HEADS: XV CENTURY. A DRAGON ENCLOSING A GRIFFIN AND DEER, HEIGHT, I 6 INCHES; WIDTH, 4 A INCHES 45, DESCENT FROM THE CROSS. HEIGHT, J A INCHES; WIDTH, 5 A INCHES 46. THE ANNUNCIATION. HEIGHT, 6 X INCHES; WIDTH, 4 X INCHES 47- TRIPTYCH. BENITIER OR HOLY WATER CUP. THE SCENE AT GOLGOTHA HEIGHT, 7 INCHES: WIDTH, 7X INCHES [53: 48. TRIPTYCH. CHRIST AT THE FEAST IN THE HOUSE OF SIMON HEIGHT, 6X INCHES; WIDTH, 8X INCHES 49, 5°- IVORY DEVOTIONAL TRIPTYCHS. THE BAPTISM OF CHRIST BY ST. JOHN HEIGHT, 7X. INCHES; WIDTH, 5X INCHES 51. TRIPTYCH. THE PROPHET ELIAS ANNOUNCING THE MESSIAH HEIGHT, 13'^ INCHES; WIDTH, 6X INCHES [59] 52. TRIPTYCH MOUNTED IN WOOD. XV CENTURY. SCENES IN THE LIFE OF CHRIST HEIGHT, 15 INCHES; WIDTH, I3X INCHES [6l 53- DEVOTIONAL POLYPTYCH ENCLOSING STATUETTE OF MADONNA AND INFANT CHRIST. THE WINGS SHOW SCENES FROM THE LIFE OF THE VIRGIN: THE ANNUNCIATION, THE NATIVITY, THE ADORATION OF THE KINGS, THE FLIGHT INTO EGYPT, ETC. HEIGHT, I3X INCHES; WIDTH, OPEN, 8X INCHES [63] IVORY POLYPTYCH WITH PAINTED DECORATION (EXTERIOR VIEW OF PRECEDING) [65] 54- THE MIRACULOUS DRAUGHT OF FISHES — AFTER KASPER DE CRAYER (BRUSSELS MUSEUM) HEIGHT, 4X INCHES; WIDTH, I OX INCHES 55. DIPTYCH. THE NATIVITY AND THE ADORATION OF THE MAGI HEIGHT, 7 INCHES; WIDTH, 9X INCHES [67] 56. TRIPTYCH. THE DESCENT FROM THE CROSS (AFTER RUBENs) HEIGHT, I iH INCHES; WIDTH, CjAk INCHES [69] 57. DEVOTIONAL DIPTYCH. THE ANNUNCIATION HEIGHT, 8 INCHES; WIDTH, 7X INCHES .7' 58. TRIPTYCH. THE ILDEFONSE ALTAR PICTURE. AFTER RUBENS (IMPERIAL MUSEUM, VIENNA) ON THE WINGS ARCHDUKE ALBRECHT AND ARCHDUCHESS CLARA EUGENIA ISABEI LA HEIGHT, IOX INCHES,' WIDTH, 9X INCHES [73l [75] ^4 U.H«JllA.A.Jt.A'j!{AJi' *""¦'¦'¦¦ ^moti 60. COMMEMORATIVE TRIPTYCH. THE MOTHER AND INFANT CHRIST, WITH PORTRAITS OF DONORS. XVI CENTURY HEIGHT, IOK INCHES; WIDTH, I2X INCHES 6l. HISTORICAL TRIPTYCH. LOUIS XIII AT THE PASS OF SUSA HEIGHT, 7X INCHES; WIDTH, 5 A INCHES 62. TRIPTYCH. ARCHANGEL MICHAEL TRIUMPHING OVER THE SPIRITS OF EVIL HEIGHT, 5 A INCHES; WIDTH, 4 INCHES 63. HISTORICAL TRIPTYCH IN COLOR. FRANCIS I KNIGHTED 64. HISTORICAL TRIPTYCH IN COLOR. HENRY IV KING OF BY CHEVALIER BAYARD FRANCE OUT HUNTING HEIGHT, 6X INCHES; WIDTH, ¦HG.2 PJKuz H I o 3 x a* J2 S 3 D O CO -J x . < T ai O H >. " Hc2H J <2o LU Xuz X H Q IUZ r^HOHiX 123] 97- TRIPTYCH. THE MARRIAGE OF JOSEPH AND MARY HEIGHT, 6 INCHES; WIDTH, A INCHES 98. TRIPTYCH. MADONNA AND INFANT CHRIST WITH ANGELS HEIGHT, 7 INCHES; WIDTH, 4X INCHES 99- TRIPTYCH. RICHARD COEUR DE LION HEIGHT, 5K INCHES; WIDTH, 4X INCHES 100. HISTORICAL TRIPTYCH. RETURN OF FRANCIS I IN TRIUMPH HEIGHT, 5X INCHES; WIDTH, 4X INCHES [ 127] 101. TRIPTYCH. THE FOUR EVANGELISTS AND THEIR PROTECTING SAINT HEIGHT, "]Vi INCHES; WIDTH, 9X INCHES 102. HISTORICAL TRIPTYCH. HANS SCHUTTENSAM, THE ROBBER, BEING LED TO PRISON IN NUREMBURG HEIGHT, 7X INCHES; WIDTH, 7'< INCHES [ 129] IO3. RELIEF PANEL. JOAN OF ARC AND CHARLES VII ENTERING THE CATHE DRAL OF RHEIMS HEIGHT, A}< INCHES; WIDTH, 7X INCHES 104 RELIEF PANEL. PETER THE HERMIT PREACHING THE THIRD CRUSADE, 1 098 HEIGHT, 4X INCHES; WIDTH, 7X INCHES [i3'l IO5. HORN OF WALRUS TUSK LENGTH, 10 INCHES I08. PULVERINE HEIGHT, 9 INCHES 106, IO7. TWO IVORY TOILET BOXES DIAMETER, 3 INCHES IO9. PULVERINE LENGTH, IOX INCHES ['33 I 10, II I. TWO POWDER FLASKS ELABORATELY CARVED DIAMETER, 5 X INCHES DIAMETER, A X INCHES 112, 113, "4- THREE IVORY HORNS OR OLIPHANTS ELABORATELY CARVED WITH SCENES OF THE CHASE LENGTH 51X INCHES, 59X INCHES AND 53 INCHES 115, Il6. TWO RELIEF PICTURES FRAMED IN CARVED EBONY 117. A POWDER HORN WITH SCENES OF THE HUNT Il8. MADONNA AND CHILD AND ST. JOHN f Mi J f'43] 122, I23. RELIEF PANELS FRAMED IN CARVED WOOD. THE BATTLES OF CONSTANTINE HEIGHT, 6X INCHES; WIDTH, l8X INCHES f'47 J ['49] \^K nScit^iK ''P^feiiw Srr-^a^ lajilfaa R?HHife^^yc> • ' 1 'iSw-r^TK JjsH Pit'- 'm? t^xS^ P :f *3£Pm o< < £ in o< < ui >- Oi >• UJ H a OS UJ X u. in H o UJrr tu IS) ( ) X 2 7 H UJ Z > J? — < rr ¦ >- OS OS < < o o 2 >¦ z D OS D X o X > X u. o X 0 t/> h X ? UJ % o z< Xu Q % 2 z a 3 < D as — -J -i UJ •— ' 2 o u. ., >¦ z UJ XH 2 5 OS Q OCQ o Ou. UJ03 5 Ul H Z i/> o in i/3 UJ 25 UJ, X Q UJ inOS u 2 UJ UJ — u, > < u. „."* OS O 1/3 •it u. O X c/3-1 2 o H Ul o z X 2 < z p OUJ 0. OSOf) uUJ X u. OS UJ z _) UJ H UJ s U) OS o O £ < 6 ¦* ™ [161] 142. PANEL. HOMAGE TO PAN HEIGHT, 5X INCHES; WIDTH, 7X INCHES I43. RELIEF PANEL FRAMED IN EBONY INLAID WITH IVORY ULRIC VON HUTTEN SETTLES A QUARREL BETWEEN WARRIORS [l63] 144- RELIEF PANEL. A TOAST TO THE VICTOR WALLENSTEIN AND HIS GENERALS HEIGHT, 4X INCHES; WIDTH, IOX INCHES 145- RELIEF PANEL. GUSTAVUS ADOLPHUS WITH THE MUSICIANS HEIGHT, 4.X INCHES; WIDTH, IOX INCHES •65 I46. RELIEF PANEL. PEACE HEIGHT, 334 INCHES; WIDTH, 10 INCHES 147, 148. RELIEF PORTRAITS. LOUIS XIV AND MARIA THERESA HEIGHT, 7 INCHES; WIDTH, A INCHES [l67] 149- RELIEF PANEL. WAR. HEIGHT, 3X INCHES; WIDTH, 10 INCHES 150. RELIEF PANEL. THE TOILET OF VENUS HEIGHT, 7 INCHES; WIDTH, 6X INCHES [l69] ) v Ma 7-: £a \ \ { ¦'< 151. RELIEF CARVING IN A CARVED WOOD FRAME. ST. GEORGE AND THE DRAGON IVORY, 6X INCHES HIGH [>7>] A 152. RELIEF GROUP. ST. GEORGE AND THE DRAGON HEIGHT, 6X inches; WIDTH, 4A INCHES [>73l 153- HEAD. ISABELLA OF BAVARIA THE HEAD-DRESS AND SUPPORTING BASE ARE OF SILVER; THE EARRINGS AND FOREHEAD PENDANT ARE PEARLS. THE BASE IS STUDDED WITH JEWELS HEIGHT, 10 X INCHES [175] 154- STATUETTE. A NYMPH HEIGHT, 12 INCHES [¦77] ^T 155- GROUP. APOLLO AND DAPHNE HEIGHT, l8 INCHES [ 179] 156. GROUP. APOLLO AND DAPHNE HEIGHT, I IX INCHES [l8l] 157- GROUP. CUPID AND PSYCHE HEIGHT, 24 INCHES [l83] I58, 159- STATUETTES. VENUS HEIGHT, l8 INCHES [l85] l6o. GROUP. DEJANIRA BEING CARRIED OFF BY THE CENTAUR NESSUS HEIGHT, 20X INCHES l6l. PROMETHEUS DEFENDED FROM THE EAGLE, THAT DEVOURED HIS LIVER, BY PANDORA HEIGHT, l6^ INCHES [l87] l62. STATUETTE. MINERVA HEIGHT, 20 INCHES [l89: 163. GROUP. WOMEN OF PELION DEFENDING THEMSELVES AND THEIR CHILDREN FROM THESSALIAN CENTAURS HEIGHT, I9X INCHES [191 ] 164. GROUP. DEJANIRA BEING CARRIED OFF BY THE CENTAUR NESSUS HEIGHT, 20X INCHES [ '93l 165. STATUETTE. DIANA AND BACCHUS HEIGHT, 20 INCHES [ 195] 56, 167. FIGURINES. REPRESENTING PEACE AND WAR HEIGHT, II INCHES CUP WITH SILVER BASE AND COVER. FAUN AND NYMPHS HEIGHT, I5X INCHES ¦97 169. GROUP. THE JUCGMENT OF PARIS HEIGHT, 25X INCHES [199] 170. CUP OF BOAR'S TUSK WITH MOUNTINGS OF SILVER HEIGHT, l6 INCHES [201 ] 171. IVORY TANKARD. THE TRIUMPH OF NEPTUNE HEIGHT, 22X INCHES [203] 172. IVORY TANKARD. THE FESTIVAL OF FLORA, OR THE ABUNDANCE OF THE EARTH HEIGHT, 27X INCHES [205] 173- IVORY CUP MOUNTED IN SILVER. SUBJECT OF CARVING: THE VINTAGE HEIGHT, 14 INCHES [207] 174- HANAP OF IVORY AND WOOD, SET WITH EMERALDS AND RUBIES. SUBJECT, VINTAGE FESTIVAL HEIGHT, 19 INCHES [209] -A 175. TANKARD. THE REVELS OF NEPTUNE AND NAIADS HEIGHT, l8X INCHES 176. TANKARD. DOLPHINS AND SEA NYMPHS HEIGHT, 15 INCHES 3 Z UJ > u. o H OS 3 O l/l u Ui UJ XH Xuz H o < UJ_J >¦" ^ s < < OS H 5 Q in Z UJ < X u OS z UJ £ ko' UJ n OSUJ H< HXo £ uj X UJ 1/) o OS > OS o > [2.3] u.oHOS3OU X H Hai O > 00 HXoX ,215] X H OS< UJX UJZ 3ai d £ UJX UJ u X z -J <> 1^ 1^ Q XUz 5 h XOUJX [2.7] [219] [22.] 182. DECORATIVE RELIEF PANEL. A KING BRINGING HIS SON TO A CONVENT HEIGHT, 7% INCHES; WIDTH, I iX INCHES 183. A SHEPHERD 184. A MEROVINGIAN 185. ROMAN STANDARD-BEARER 186. TRUMPETER OF SACKINGEN HEIGHT, 12 X INCHES HEIGHT, 12 INCHES HEIGHT, I I X INCHES HEIGHT, 10 H INCHES 187. FIVE PLAQUES REPRESENTING THE FIVE SENSES (AFTER MAKARt's PAINTINGS) EACH PLAQUE HEIGHT, 9X INCHES; WIDTH, 3X INCHES 2 < 3 s2 < sai H 32s 5 3 a in UJ HOOSo oo 00 [229] 189. RELIEF PANEL. CHILDREN PLAYING HEIGHT, 3X INCHES; WIDTH, 8 INCHES I90. RELIEF PANEL. THE RAPE OF EUROPA HEIGHT, 5X INCHES; WIDTH, 12 INCHES "At 'ifm J ^— — 41s . — - S^- — . ----- :^-t ^M -r— $^£Tak # -1 ^aiE: A^JST**^ K '3k " ***" jE§! £ ¦sa^eM .^^^Sv< P tutiii ---"¦^ttJU --— ^^^5= ^~: igi. RELIEF PANEL. FAUN WITH CHILDREN AND GOAT HEIGHT, 4 INCHES; WIDTH, 12 INCHES [231] m * ¦ if rv • 192. RELIEF PANEL. OFFERING TO VENUS HEIGHT, 3 X INCHES; WIDTH, 12 X INCHES 193. RELIEF PANEL. FETE CHAMPETRE IN THE TIME OF LOUIS XV HEIGHT, 3 X INCHES; WIDTH, 10 INCHES I94. RELIEF PANEL. GERMAN DOMESTIC INTERIOR HEIGHT, 5X INCHES; WIDTH, 9X INCHES ' 233 ] 9 !l*X :/, -V 195. RELIEF PANEL. BOHEMIAN DANCE HEIGHT, 5 INCHES; WIDTH, 10 INCHES I96. RELIEF PANEL. YOUTH AND WISDOM PRESENTING TWO PRINCES TO FRANCE HEIGHT, 6X INCHES; WIDTH, J INCHES [235] 197- RELIEF PANEL. THE JUDGMENT OF PARIS HEIGHT, 4X inches; WIDTH, 6X INCHES (98. RELIEF PANEL. THE GLORY OF THE PRINCES IS SHARED BY THE CHILDREN OF FRANCE HEIGHT, 6X INCHES; WIDTH, J INCHES [237] 199- RELIEF PANEL. THE CAR OF DIANA HEIGHT, 4X inches; WIDTH, II X INCHES 200. FRAMED RELIEF CARVING. THE MARRIAGE FEAST OF PSYCHE HEIGHT, 6X INCHES; WIDTH 9X INCHES [239] 201. RELIEF PANEL. VENUS AND NAIADS HEIGHT, 3X INCHES; WIDTH, II INCHES 202. TRIPTYCH. • THE VINTAGE AND THE WINE PRESS HEIGHT, 4X INCHES; WIDTH, 8 INCHES 203. RELIEF PANEL. NEPTUNE AND MERMAIDS HEIGHT, 3X INCHES; WIDTH, II INCHES [241] 204- DON QUIXOTE AND SANCHO PANZA HEIGHT, 7 INCHES 205. RELIEF PANEL. AMPHITRITE HEIGHT, 4X INCHES; WIDTH, 8X INCHES [243] 206. DECORATIVE RELIEF PANEL. NYMPHS STRUGGLING WITH A CENTAUR HEIGHT, I2X INCHES; WIDTH, 6X INCHES [245] 207, 208. ROCOCO IVORY LAMP SCREENS HEIGHT, I2X INCHES HEIGHT, I9X INCHES [247! 209. WOOD FIGURE WITH HEAD OF IVORY. CYRANO DE BERGERAC HEIGHT, 5X INCHES [249] 210. IVORY CASKET WITH INLAID ORNAMENTATION 211. CASKET OF BONE AND INLAID WOOD. ACROSS THE CENTER ARE THE ARMS OF PROMINENT ITALIAN FAMILIES FRONT VIEW CASKET SHOWN ON PRECEDING PAGE, VIEW OF BACK AND COVER [255] casket (end view) [257] ul3a< Quj > OS- J UJH o HU2 [259] 213, 214- PAIR OF IVORY VASES OF CHINESE CARVING, DELICATELY COLORED HEIGHT, IO INCHES [26.]