DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75314#0061
Early Chriflian Ivories. 31
furmounted by a label infcribed DAVID · REX·, the V and X being
of the Anglo-Saxon form.
Figured, Gorius, Thes. Dipt., II. pp. 201-218, pl. vi.
Second leaf, a figure ftanding beneath an arch fimilar to that of the
other leaf, in confular robes, but with the head tonfured, the right hand
raifed with the mappa circenfis, the left holding a fceptre furmounted
with a Maltefe crofs, his feet refting upon an elaborately ornamented foot-
ftool, on each fide of which is to be obferved a ribbon interlaced in
the Anglo-Saxon manner. Over the two capitals is infcribed SCS
GREGoR(ius) and on a flab above the head of the figure, the lines-
+ GREGORIVS PSVL MERITIS ET NOMINE DIGNVS
VNDE GENVS DVCIT SVMMVM CONSCENDIT
HONOREM.
The letters G S and C are of the angulated Anglo-Saxon form. The
ornamentation of this diptych is far more elaborate than that of any
confular diptych.
Figured, Gorius, ut fupra. (83, 84.)
'58. 56. '65. 98, 99, 100, 101.
FIVE Plaques, being portions of an Epifcopal Chair.
Italian. 6th century. Original in the Sacrifty of the
Cathedral of Ravenna.
'58. 56. Η. 5 in., W. 6jin.
Portion of the celebrated chair of St. Maximinus, preferved in the
facrifty of the Cathedral of Ravenna.1 Jofeph fold by his brethren. To
the right beneath a flat-roofed building, fupported in front by a twifted
column and foliated capital, ftand three of the brethren of Jofeph, the
foremoft of whom is receiving money from the Egyptian merchant for
his little brother Jofeph, who ftands near him befeechingly holding out
his hands to him. To the left approach three Egyptians with long
plaited hair hanging on their fhoulders, one holding a long fpear in his
left hand, his right filled with money held towards the brother of Jofeph.
1 A figure of the entire chair is given in Sommerard's Des Arts au Moyen Age,
but feveral of the plaques are wanting on the original chair. The ftill exifting plaques
are carved on both faces, and in order to make the chair appear perfect, Sommerard
has figured both faces, thus filling up the vacant fpaces. There is a beautiful
drawing of the chair in the Gallerie Ramboux in the Academy of Fine Arts at
Duffeldorf.
furmounted by a label infcribed DAVID · REX·, the V and X being
of the Anglo-Saxon form.
Figured, Gorius, Thes. Dipt., II. pp. 201-218, pl. vi.
Second leaf, a figure ftanding beneath an arch fimilar to that of the
other leaf, in confular robes, but with the head tonfured, the right hand
raifed with the mappa circenfis, the left holding a fceptre furmounted
with a Maltefe crofs, his feet refting upon an elaborately ornamented foot-
ftool, on each fide of which is to be obferved a ribbon interlaced in
the Anglo-Saxon manner. Over the two capitals is infcribed SCS
GREGoR(ius) and on a flab above the head of the figure, the lines-
+ GREGORIVS PSVL MERITIS ET NOMINE DIGNVS
VNDE GENVS DVCIT SVMMVM CONSCENDIT
HONOREM.
The letters G S and C are of the angulated Anglo-Saxon form. The
ornamentation of this diptych is far more elaborate than that of any
confular diptych.
Figured, Gorius, ut fupra. (83, 84.)
'58. 56. '65. 98, 99, 100, 101.
FIVE Plaques, being portions of an Epifcopal Chair.
Italian. 6th century. Original in the Sacrifty of the
Cathedral of Ravenna.
'58. 56. Η. 5 in., W. 6jin.
Portion of the celebrated chair of St. Maximinus, preferved in the
facrifty of the Cathedral of Ravenna.1 Jofeph fold by his brethren. To
the right beneath a flat-roofed building, fupported in front by a twifted
column and foliated capital, ftand three of the brethren of Jofeph, the
foremoft of whom is receiving money from the Egyptian merchant for
his little brother Jofeph, who ftands near him befeechingly holding out
his hands to him. To the left approach three Egyptians with long
plaited hair hanging on their fhoulders, one holding a long fpear in his
left hand, his right filled with money held towards the brother of Jofeph.
1 A figure of the entire chair is given in Sommerard's Des Arts au Moyen Age,
but feveral of the plaques are wanting on the original chair. The ftill exifting plaques
are carved on both faces, and in order to make the chair appear perfect, Sommerard
has figured both faces, thus filling up the vacant fpaces. There is a beautiful
drawing of the chair in the Gallerie Ramboux in the Academy of Fine Arts at
Duffeldorf.