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VI, with the panel in Frankurt.","page":"91-4","type":"reference"},"admin":{"id":"publication-2149","uid":"adlib-publication-2149","uuid":"0e283af4-915e-33a3-b029-9273f13097e7"},"summary_title":"Fitzwilliam 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."},{"@link":{"type":"reference"},"admin":{"id":"publication-2507","uid":"adlib-publication-2507","uuid":"5dcf26d6-d9f8-3da0-b9f8-c9fa8810ab78"},"summary_title":"Die Elfenbeinskulpturen"},{"@link":{"type":"reference"},"admin":{"id":"publication-2508","uid":"adlib-publication-2508","uuid":"ecabc149-ad29-3159-92b9-c584d910095a"},"summary_title":"Concelebration liturgique"},{"@link":{"notes":"Publ. pp. 126-7, fig. 78-9","page":"pp. 126-7","type":"reference"},"admin":{"id":"publication-2509","uid":"adlib-publication-2509","uuid":"70a36d42-1778-3e96-b63c-4d1b1b50b43e"},"summary_title":"Elfenbein"},{"@link":{"notes":"Publ. 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.","page":"p. 123","type":"reference"},"admin":{"id":"publication-200000809","uid":"adlib-publication-200000809","uuid":"54f48c27-93be-3ab8-bb39-3cd405122fa3"},"summary_title":"Apropos d'un ivoire qui aurait apparteu a l'abbaye de Marchiennes"},{"@link":{"notes":"Publ.  p. 145, where the author assigns this panel together with a number of other works to the Ottonian school of art of 10th century","page":"p. 145","type":"reference"},"admin":{"id":"publication-200000810","uid":"adlib-publication-200000810","uuid":"4d028909-7798-3126-a754-6f59d108e963"},"summary_title":"Elfenbeinreliefs der Ottonischen Renaissance"},{"@link":{"type":"reference"},"admin":{"id":"publication-15","uid":"adlib-publication-15","uuid":"a688918a-bb81-3998-99cc-81244715767d"},"summary_title":"The Fitzwilliam Museum, An Illustrated Survey"},{"@link":{"notes":"Publ. p. 14, illustrated","page":"p. 14","type":"reference"},"admin":{"id":"publication-2501","uid":"adlib-publication-2501","uuid":"82a599ab-2481-3c75-b2cd-e822caf47b56"},"summary_title":"Daily Telegraph, 17th March 1959"},{"@link":{"notes":"Publ. p. 321, no. 28, illustrated","page":"p. 321","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"},{"@link":{"type":"reference"},"admin":{"id":"publication-2500","uid":"adlib-publication-2500","uuid":"a5736eaa-2bd5-33c3-97c7-3d1d5b1f7a2a"},"summary_title":"Ornamenten Ecclesiae Kunst und K\u00fcnstler der Romanik"},{"@link":{"notes":"Publ. Illustrated, p. 346\nThis entry indicates that the central figure is guiding the choir with hand signs, not blessing (his hand is in the wrong position for that).","page":"p. 346","type":"reference"},"admin":{"id":"publication-2502","uid":"adlib-publication-2502","uuid":"7f8e7dd2-f475-3c95-8d4f-67a01b0ed28c"},"summary_title":"The New Grove Dictionary of Musical Instruments"},{"@link":{"notes":"Publ. Illustrated, pp. 3-15, on p. 6 where the companion piece from Frankfurt is discussed pp. 6-7","page":"pp. 3-15","type":"reference"},"admin":{"id":"publication-200000227","uid":"adlib-publication-200000227","uuid":"7fde4963-2cde-365b-a75b-1085bb14f4e8"},"summary_title":"Limitations of The Art Museum"},{"@link":{"notes":"Publ. Illustrated, p. 80, 6.2","page":"p. 80","type":"reference"},"admin":{"id":"publication-2503","uid":"adlib-publication-2503","uuid":"523a3c83-4445-3dca-b964-dafd2ac269a9"},"summary_title":"Schatzkunst: Die Goldschmiede - und Elfenbeinarbeiten aus Osterriechischen Schatzkammern des Hochmittelalters"},{"@link":{"notes":"Publ. 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.","page":"pp. 10-17","type":"reference"},"admin":{"id":"publication-2504","uid":"adlib-publication-2504","uuid":"fd00ec0e-0cb6-3ff8-ad81-b43715e6f5e4"},"summary_title":"Zu Gast in der Kunstkammer : eine Ausstellung anl\u00e4sslich des einhundertj\u00e4hrigen Bestehens des Kunsthistorischen Museums, 12. Oktober bis 15. Dezember 1991."},{"@link":{"notes":"Publ. vol. 2, pp. 196-98, no. IV-39. Described as Lotheringian, end of 10th century.","page":"pp. 196-98","type":"reference"},"admin":{"id":"publication-2505","uid":"adlib-publication-2505","uuid":"eecb4786-9412-3e50-a568-3019dd0f6e43"},"summary_title":"Bernward von Hildesheim und das Zeitalter der Ottonen"},{"@link":{"notes":"Publ. 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. 16","page":"pp. 274-5","type":"reference"},"admin":{"id":"publication-200000807","uid":"adlib-publication-200000807","uuid":"6d9ac0a1-4817-36dc-a99b-5564503fba8b"},"summary_title":"Carolingian Music"},{"@link":{"notes":"Publ. 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.","page":"pp. 829-30","type":"reference"},"admin":{"id":"publication-2506","uid":"adlib-publication-2506","uuid":"c2898584-d5be-32ca-925b-72a7755afea0"},"summary_title":"Kunst und Kultur der Karolingerzeit. Karl der Grosse und Papst Leo III in Paderborn"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-44889","uid":"adlib-term-44889","uuid":"0c9ac36f-2ed2-3cad-a9ac-a5c971a0f351"},"summary_title":"wall"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-68825","uid":"adlib-term-68825","uuid":"5dc74c16-5478-3608-abb6-fb3d59d9ec0b"},"summary_title":"desk"},{"@link":{"relation":"event","type":"reference"},"admin":{"id":"term-25203","uid":"adlib-term-25203","uuid":"a0ede368-f899-3f6a-ad33-ba88d138535a"},"summary_title":"mass"},{"@link":{"type":"literal"},"name":[{"value":"wall"}],"summary_title":"wall"},{"@link":{"type":"literal"},"name":[{"value":"desk"}],"summary_title":"desk"},{"@link":{"type":"literal"},"name":[{"value":"mass"}],"summary_title":"mass"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110143","uid":"adlib-term-110143","uuid":"7880ba6f-ffc7-3954-a9b0-88af32dbff6c"},"summary_title":"panel"}},"summary_title":"panel","techniques":[{"description":[{"value":"ivory, carved"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-98865","uid":"adlib-term-98865","uuid":"aeb90103-2708-3cdf-abc1-219c45a070e9"},"summary_title":"carving"}}],"title":[{"value":"An Archbishop among his Choir"}],"type":{"base":"object","type":"OBJECT"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"« Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next »","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":1,"total":1}]