15929994420001312637261000Standard Recordobject-31579170292703908017029083880001702926927248fitz-onlineadlib-object-31579https://data.fitzmuseum.cam.ac.uk/id/object/31579d5cc8882-c86a-3e0e-a35b-02e5f535a8f010personreferenceagent-156826adlib-agent-156826bcc02512-cfa2-33ba-971f-e06f3ec9782aarchbishoppersonreferenceagent-156825adlib-agent-156825147b056c-b5e1-33ae-9688-250e5ba21827deaconspersonreferenceagent-156824adlib-agent-156824920269d9-8461-3dfc-badb-26368fe9c047canonsreferenceterm-98228adlib-term-982283d747999-296f-3944-9a84-2936c3ae9f5csculpturereferenceterm-120007adlib-term-12000700af7c97-d937-3d5c-a1af-d2a83fe2785bFrank McCleanreferenceterm-23385adlib-term-233854c17df77-7d4e-32bf-8ec9-921b71d218a2religionApplied ArtsRectangular ivory panel. A large figure of a bishop or archbishop stands under a scalloped or shell niche facing the spectator with his right hand raised. On a desk to his left, held at the top in his left hand, is an open book inscribed in Latin 'Ad te levavi animam meam’ (‘Unto thee I have raised my soul’). Above, five deacons stand beneath a similar niche. Before him, three on his right and three on his left and one facing him, stand the canons, those at the sides with their mouths open about to chant. At the top and bottom is a crenalated wall and a pair of towers with round-headed windows. A finely carved border of acanthus frames the scene.38referenceexhibition-1458adlib-exhibition-14581ae99ab4-19d1-33c5-9df1-e6576b2eeb8bCarvings in Ivorycat. no. 4, case G.referenceexhibition-1459adlib-exhibition-14598d10d522-060b-3f4b-a203-7273b13a13eaDark Ages in Europe461referenceexhibition-18adlib-exhibition-18d710f826-fb52-350a-bae1-4630a842e7cbTreasures of CambridgeC.1referenceexhibition-1454adlib-exhibition-1454a6c2ec12-de65-3bec-a2fd-24ce1c4652c6Ornamenten Ecclesiae Kunst und Künstler der Romanik1breferenceexhibition-1455adlib-exhibition-14554b946fe3-31ba-3c9c-b9b2-baf4fb545a10Zu Gast in der Kunstkammer : eine Ausstellung anlässlich des einhundertjährigen Bestehens des Kunsthistorischen Museums, 12. Oktober bis 15. Dezember 1991.IV-39referenceexhibition-1456adlib-exhibition-1456bdf1d81f-5e22-321b-940e-8bf9a5ed8e51Bernward von Hildesheim und das Zeitalter der OttonenXI.30referenceexhibition-1457adlib-exhibition-1457c5812b30-e507-3960-b1ce-73f6330836aeKunst und Kultur der Karolingerzeit. Karl der Grosse und Papst Leo III in Paderbornreferenceexhibition-1802adlib-exhibition-18020b874211-2c11-32ba-b7d4-22384e29a194Ex-oriente. Isaac und der weisse ElefantM.12-19041accession numberM.12-190431579priref31579urihttps://data.fitzmuseum.cam.ac.uk/id/object/31579https://data.fitzmuseum.cam.ac.uk/id/object/31579referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumFrank McClean Bequestreferenceagent-172414adlib-agent-17241473d94f64-8c0d-30c1-9764-25b005f3ce1dMcClean, Frank190419041904bequeathedEntry date: 1904950950CE950circa09501000The dating and attribution of this panel have changed considerably since its accession in 1904. Previously c. 87511000CE1000circa1000probablymakerreferenceagent-149652adlib-agent-1496520d4f90dc-b166-3d4b-b0db-25f4118b6e98UnknownThe narrow rectangular format of this panel was derived from late Roman consular diptychs: hinged writing tablets showing the consul performing his duties which he presented to his supporters and friends on entering office. Its date and origin are uncertain, but recent scholarship indicates that it was probably made in the late tenth century, in Lotharingia, the area of modern Lorraine. The bishop or archbishop is about to celebrate Mass with five deacons behind him and in front of him, seven canons singing. The book on the desk is inscribed in Latin with the introit to the Roman Mass for the first Sunday in Advent, beginning 'Ad te levavi animam mean' (Unto thee, I raise my soul), sung as the celebrant processed into the church. His right hand is raised, not in blessing, but to indicate that he is ready to begin the service. The panel probably adorned the cover of a liturgical book such as a gradual, a choir book used in the Mass. Another ivory panel, probably carved in the same workshop, shows the celebrant standing in front of the altar at a later point in the service (Liebieghaus Museum, Frankfurt am Main). See the latest works in 'Documentation' for the most recent interpretations and dating of the panel.referenceterm-110176adlib-term-110176ed4bab0a-61e4-3ea5-94e6-9defda7c26b010th Century, Latereferenceterm-40149adlib-term-4014989c91a11-c946-3355-a7f0-e9d757f7a1d5ivoryDepthcm1.2Depthin1/2Heightcm33.7Heightin13 1/4Widthcm11.4Widthin4 1/2referencemedia-195487adlib-media-195487cdf8af8f-0e55-3a3b-9e82-3cd8f194c4c7jpegaa/aa32/M_12_1904_201304_adn21_dc2.jpg1heightpixels1050widthpixels37817029267195801imagejpegaa/aa32/M_12_1904_201304_adn21_dc2.jpg1heightpixels1050widthpixels37817029267195801imagejpegaa/aa32/M_12_1904_201304_adn21_dc2.jpg1heightpixels1050widthpixels37817029267195801imagejpegaa/aa32/preview_M_12_1904_201304_adn21_dc2.jpg1heightpixels694widthpixels25017029267195801image0media
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imagereferenceterm-110143adlib-term-1101437880ba6f-ffc7-3954-a9b0-88af32dbff6cpanelpanel from a book coverhistory noteDiscovered by Frédéric Spitzer at Schaffausen; Frédéric Spitzer Collection, Paris; sold, Paris, Chevallier, 18th April 1893, Objets d'art et de haute curiosité, Antiques, du Moyen-age and de la Renaissance, Composant l'importante et precieuse Collection Spitzer, catalogue p. 10, lot 45.referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumPubl. p. 133, pl. XIIp. 133referencepublication-2492adlib-publication-249230840d8d-78c4-3e00-9616-e7f7e9a0d7caCatalogue des IvoiresPubl. p. 137, pl. XXVIp. 137referencepublication-200000808adlib-publication-200000808ef3f4e4a-0bb8-380b-a678-d8ce1e852008IvoriesPubl. pp. 91-4, no. 35,described as Carolingian, 9th century; illustrated pl. VI, with the panel in Frankurt.91-4referencepublication-2149adlib-publication-21490e283af4-915e-33a3-b029-9273f13097e7Fitzwilliam Museum, McClean Bequest, Catalogue of the Medieval Ivories, Enamels, Jewellery, Gems, and Miscellaneous Objects bequeathed to the Museum by Frank McClean, M.A., F.R.S.referencepublication-2507adlib-publication-25075dcf26d6-d9f8-3da0-b9f8-c9fa8810ab78Die Elfenbeinskulpturenreferencepublication-2508adlib-publication-2508ecabc149-ad29-3159-92b9-c584d910095aConcelebration liturgiquePubl. pp. 126-7, fig. 78-9pp. 126-7referencepublication-2509adlib-publication-250970a36d42-1778-3e96-b63c-4d1b1b50b43eElfenbeinPubl. p. 123,. no. 5. Turpin suggests that all three panels are representations of Pope Gregory the Great, because firstly he was then regarded as the author of the liturgy of the Mass, and the two inscriptions on the open books are taken from the Mass, that on the Fitzwilliam panel is part of the Introit for Advent Sunday, that on the Frankfurt panel is part of the Canon of the Mass. Secondly, because Pope Gregory the Great was regarded as the author of the Gregorian chant and both panels stress the singing of the choir of canons during the celebration of Mass. He believes the pair to have been made as covers for the MS.164 at Cambrai, i.e. the Sacramentary of Hildoard, Bishop of Cambrai, who in c.812 ordered this copy of the famous book of the Gregorian rite addressed to Charlemagne by Pope Adrian. Hence the panels must be both of the time of Charlemagne and 'mittelrheinische' i.e. the work of an artist within the sphere of influence of the imperial court.p. 123referencepublication-200000809adlib-publication-20000080954f48c27-93be-3ab8-bb39-3cd405122fa3Apropos d'un ivoire qui aurait apparteu a l'abbaye de MarchiennesPubl. p. 145, where the author assigns this panel together with a number of other works to the Ottonian school of art of 10th centuryp. 145referencepublication-200000810adlib-publication-2000008104d028909-7798-3126-a754-6f59d108e963Elfenbeinreliefs der Ottonischen Renaissancereferencepublication-15adlib-publication-15a688918a-bb81-3998-99cc-81244715767dThe Fitzwilliam Museum, An Illustrated SurveyPubl. p. 14, illustratedp. 14referencepublication-2501adlib-publication-250182a599ab-2481-3c75-b2cd-e822caf47b56Daily Telegraph, 17th March 1959Publ. p. 321, no. 28, illustratedp. 321referencepublication-382adlib-publication-382ee5148de-e3eb-3d38-88db-9a331edf70b6Treasures of the Fitzwilliam Museumreferencepublication-2500adlib-publication-2500a5736eaa-2bd5-33c3-97c7-3d1d5b1f7a2aOrnamenten Ecclesiae Kunst und Künstler der RomanikPubl. Illustrated, p. 346
This entry indicates that the central figure is guiding the choir with hand signs, not blessing (his hand is in the wrong position for that).p. 346referencepublication-2502adlib-publication-25027f8e7dd2-f475-3c95-8d4f-67a01b0ed28cThe New Grove Dictionary of Musical InstrumentsPubl. Illustrated, pp. 3-15, on p. 6 where the companion piece from Frankfurt is discussed pp. 6-7pp. 3-15referencepublication-200000227adlib-publication-2000002277fde4963-2cde-365b-a75b-1085bb14f4e8Limitations of The Art MuseumPubl. Illustrated, p. 80, 6.2p. 80referencepublication-2503adlib-publication-2503523a3c83-4445-3dca-b964-dafd2ac269a9Schatzkunst: Die Goldschmiede - und Elfenbeinarbeiten aus Osterriechischen Schatzkammern des HochmittelaltersPubl. Exhibited pp. 13-4, 1b. See Helmet Tvnek, 'Das oeuvre des meisters der Wiener Gregorplatte, die sogenannte Sakramentergruppe', pp. 10-17. Cf. (a) Pope Gregory the Great and three scribes pp. 10-13 and (c) Canons with Celebrant of the Mass pp. 14-16 from Vienna and Frankfurt respectively.pp. 10-17referencepublication-2504adlib-publication-2504fd00ec0e-0cb6-3ff8-ad81-b43715e6f5e4Zu Gast in der Kunstkammer : eine Ausstellung anlässlich des einhundertjährigen Bestehens des Kunsthistorischen Museums, 12. Oktober bis 15. Dezember 1991.Publ. vol. 2, pp. 196-98, no. IV-39. Described as Lotheringian, end of 10th century.pp. 196-98referencepublication-2505adlib-publication-2505eecb4786-9412-3e50-a568-3019dd0f6e43Bernward von Hildesheim und das Zeitalter der OttonenPubl. Discussed by Susan Rankin, chapter 10 in Carolingian Culture: Emulation and Innovation, ed. Rosamund McKitterick, Cambridge, esp. pp. 274-5. See xerox in object's file. Illustrated pl. 16pp. 274-5referencepublication-200000807adlib-publication-2000008076d9ac0a1-4817-36dc-a99b-5564503fba8bCarolingian MusicPubl. Vol. II, p. 829, no. XI.30, the other panel XI.31 on p. 830. Attribution, Lotharingian, (Metz?), late 10th century. For an English translation by Susan Rankin, Emmanuel College, see object's file, and also for a translation of the entry for the other panel.pp. 829-30referencepublication-2506adlib-publication-2506c2898584-d5be-32ca-925b-72a7755afea0Kunst und Kultur der Karolingerzeit. Karl der Grosse und Papst Leo III in Paderbornobject namereferenceterm-44889adlib-term-448890c9ac36f-2ed2-3cad-a9ac-a5c971a0f351wallobject namereferenceterm-68825adlib-term-688255dc74c16-5478-3608-abb6-fb3d59d9ec0bdeskeventreferenceterm-25203adlib-term-25203a0ede368-f899-3f6a-ad33-ba88d138535amassliteralwallwallliteraldeskdeskliteralmassmassreferenceterm-110143adlib-term-1101437880ba6f-ffc7-3954-a9b0-88af32dbff6cpanelpanelivory, carvedreferenceterm-98865adlib-term-98865aeb90103-2708-3cdf-abc1-219c45a070e9carvingAn Archbishop among his Choirobject
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