From left to right, Aristotle and Alexander, Phyllis riding Aristotle, the Lion shredding the Cloak of Thisbe, the Suicide of Pyramus
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From left to right, Aristotle and Alexander, Phyllis riding Aristotle, the Lion shredding the Cloak of Thisbe, the Suicide of Pyramus
Back, from left to right, 3 labels, the number 405, Met Loan 17.190.252, the number 293, Morgan collection number P.M. 1380. in red ink and 2 incised marks
Artwork Details
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Title:Panel from a Box with Scenes from Romance Literature
Date:14th century
Culture:French
Medium:Elephant ivory
Dimensions:Overall: 3 3/4 x 9 5/8 x 1/4 in. (9.5 x 24.4 x 0.7 cm)
Classification:Ivories-Elephant
Credit Line:Gift of J. Pierpont Morgan, 1917
Object Number:17.190.252
This rectangular ivory panel once formed a part of a precious box. At the time of its acquisition by the Museum, no other sides of the box were known, but the present object can be identified as the former front panel by the placement of the square-framed indentation in the center, which was previously covered with a metal lock that secured the casket. Metal bands formerly held the box together; the pointed-end tabs on the left and right edges show where the joining metal bands were attached to the sides. Broad vertical bands of plain ivory mark where other metal strips were attached.
The entire surface of the panel is deeply carved in relief with a series of four scenes separated by those bands of raised ivory. They excerpt moments taken from two stories popular in the romance literature of the late Middle Ages. The two scenes to the left of the lock are taken from the comic tale of Aristotle and Phyllis. The first shows Alexander the Great with his teacher, Aristotle, who cautions him to avoid the seductive charms of Phyllis. Phyllis is incensed at Aristotle’s interference, and her revenge is to humiliate him. In the second scene on the panel, we see she has seduced Aristotle to such submission that she can ride on him, while Alexander watches and points from above the ramparts, gesturing to two courtiers.
On the right side of the former lock two scenes from the story of Pyramus and Thisbe unroll. This tale tells of two young lovers whose parents sought to separate them, leading them to plan to meet in secret. Thisbe arrived first at the appointed spot, but frightened by a lion, she climbed a tree and dropped her cloak by accident. The lion tore the cloak in his bloodied mouth. Although it is not depicted in the ivory, Pyramus arrives and finds the bloodied cloak and assumes his love has been killed. He kills himself in despair and Thisbe, finding his body, takes his weapon to kill herself as well. The final scene, on the right side of the panel, condenses the end of the tale, depicting two suicides as one moment on one sword.
The same scenes, with little variation, can be seen on another ivory box in the Museum’s collection (see acc. no. 17.190.173a, b; 1988.16) and connect this object to a group of similar boxes called "composite caskets". Eight extant boxes comprise this group, all ornamented with scenes from several different tales of courtly literature. In addition to the two tales summarized in the present object, other popular scenes include the hunt for the unicorn and tournaments.
During the middle of the nineteenth century the fascination for the gothic period resulted in a high demand and significant prices for objects such as these ivory boxes. The gothic revival not only helped increase the broader appreciation of such objects, but it also enticed artists to create objects in imitation of original examples. These copies were often sold as gothic ivories, making it difficult to determine whether an example is medieval or nineteenth century. For a time, this carving was thought to be a nineteenth-century copy. However, its style, and workmanship are of high quality, and its iconography is similar to multiple authentic fourteenth century examples. Research has identified an 1847 publication illustrating the panel, establishing its existence prior to the period when most forgeries were created, arguing for its medieval date. This redating can be confirmed by further recent research that has identified two other fragments from the original box: a lid in the Detroit Institute of Arts (inv. no. 1997.6) and a side panel in the Louvre Museum (inv. no. OA 12522). Those two ivories display carving styles, dimensions, and delicate zigzag markings that demonstrate their connection with The Met’s panel. Together these separate pieces form at least half of a former composite box and confirm the authenticity of the present piece.
Further Reading:
David J. A. Ross, "Allegory and Romance on a Mediaeval French Marriage Casket," Journal of the Warburg and Courtauld Institutes 11 (1948): pp. 112–142.
Paula Mae Carns, "Compilatio in Ivory: The Composite Casket in the Metropolitan Museum," Gesta 45, no. 2 (2005): pp. 69-88.
Elisabeth Antoine-König, "The Return of Gawain: Thoughts on Composite Caskets in the Light of Some Recent Acquisitions," in A Reservoir of Ideas. Essays in Honour of Paul Williamson, ed. Gyn Davies, London : Paul Holberton Publishing in association with V&A Publishing, 2017: pp. 151-163.
Catalogue Entry by Lisa Schmid, Swiss National Science Foundation Fellow, Department of Medieval Art and The Cloisters, 2023-2024 (with assistance from Wendy Stein, Volunteer, Department of Medieval Art and The Cloisters)
Weidenhaupt collection (collegiate vicar), Aix-la-Chapelle (from at least 1847); [ Georges Hoentschel (French)(until 1911); J. Pierpont Morgan (American), London and New York (until 1917)
Lersch, L. "Die Irrungen der Liebe. Mittelalterliches Elfenbeinrelif in Aachen." Jahrbücher des Vereins von Alterthumsfreunden im Rheinlande 11 (1847). pp. 123–141, Pl. V and VI.
Pératé, André. Collections Georges Hoentschel: Ivoires, orfèvrerie religieuse, pierres. Vol. 2. Paris: Librairie Centrale des Beaux-Arts, 1911. no. 45, fig. XXXVIII.
Koechlin, Raymond. Les Ivoires Gothiques Français: Volume I, Text. Paris: Editions Auguste Picard, 1924. no. 1297, pp. 487, 501.
Koechlin, Raymond. Les Ivoires Gothiques Français: Volume II, Catalogue. Paris: Editions Auguste Picard, 1924. no. 1297, p. 459.
Ross, David J. A. "Allegory and Romance on a Mediaeval French Marriage Casket." Journal of the Warburg and Courtauld Institutes 11 (1948). p. 118, (as K. 1297).
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