Art/ Collection/ Art Object

Center Panel of a Triptych with the Crucifixion and the Entombment

ca. 1100
Made in Amalfi
South Italian
Overall: 8 7/8 x 4 1/8 x 9/16 in. (22.5 x 10.4 x 1.4 cm)
Credit Line:
Gift of J. Pierpont Morgan, 1917
Accession Number:
On view at The Met Fifth Avenue in Gallery 304
Originally the central panel of a triptych, this ivory has a cavity below the Entombment scene that may indicate its function as a reliquary for pieces of the cross on which Jesus was crucified.
[ Amedeo Canessa, Paris (sold 1911)]; J. Pierpont Morgan, London and New York (1911–1913)
Paderborn, Germany. Diözesanmuseum Paderborn. "Canossa 1077: Erschütterung der Welt. Geschichte, Kunst und Kultur am Aufgang der Romanik," July 21, 2006–November 5, 2006.

Salerno, Italy. Museo Diocesano di San Matteo. "L'enigma degli avori medievali da Amalfi a Salerno," December 20, 2007–April 30, 2008.

Breck, Joseph. "Pre-Gothic Ivories in the Pierpont Morgan Collection." The Metropolitan Museum of Art Bulletin, o.s., 15, no. 1 (January 1920). p. 16.

Goldschmidt, Adolph. Die Elfenbeinskulpturen aus der romanischen Zeit, XI.-XIII. Jahrhundert. Vol. 4. Berlin: Bruno Cassirer, 1926. no. 143, pp. 3, 42, pl. LI.

Longhurst, Margaret H. Catalogue of Carvings in Ivory. Vol. 1. London: Victoria and Albert Museum, 1927. pp. 92–93.

Cook, Walter W.S. "Review: 'Die Elfenbeinskulpturen aus der romanischen Zeit (XI.-XIII. Johrhundert)' by Adolph Goldschmidt." The Art Bulletin 10, no. 3 (March 1928). p. 287, (as no. 143).

Kessler, Herbert L. "An Eleventh Century Ivory Plaque from South Italy and the Cassinese Revival." Jahrbuch der Berliner Museen 8 (1966). pp. 75–76, fig. 9.

Bergman, Robert P. "A School of Romanesque Ivory Carving in Amalfi." Metropolitan Museum Journal 9 (1974). pp. 163–86, fig. 37.

Bergman, Robert P. The Salerno Ivories: Ars Sacra from Medieval Amalfi. Cambridge, Mass.: Harvard University Press, 1980. pp. 144–45, fig. 175.

Hürkey, Edgar J. Das Bild des Gekreuzigten im Mittelalter: Untersuchungen zu Gruppierung, Entwicklung und Verbreitung anhand der Gewandmotive. Worms: Werner'sche Verlagsgesellschaft, 1983. no. 290, p. 235, fig. 290.

Evans, Helen C., and William D. Wixom, ed. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843–1261. New York: The Metropolitan Museum of Art, 1997. no. 326, pp. 491–92.

Gaborit-Chopin, Danielle. Ivoires Médiévaux, Ve-XVe siècle. Paris: Musée du Louvre, 2003. p. 212, fig. 60c.

Franco Mata, María Angela. "Liturgia hispánica y marfiles: Talleres de León y San Millán de la Cogolla en el siglo XI." Codex aquilarensis: Cuadernos de investigación del Monasterio de Santa María la Real 22 (2006). p. 103 n. 48.

Stiegemann, Christoph, and Matthias Wemhoff, ed. Canossa 1077: Erschütterung der Welt: Geschichte, Kunst und Kultur am Aufgang der Romanik. Volume 2: Catalogue. Munich: Hirmer Verlag, 2006. no. 387, p. 280.

Bologna, Ferdinando, ed. L'enigma degli avori medievali da Amalfi a Salerno. Vol. 2. Pozzuoli: Paparo Edizioni, 2008. no. 76, pp. 444–45.

Galan y Galindo, Angel. "El marfil y el comercio medieval Mediterráneo." Arte, Arqueología e Historia 19 (2012). p. 42.

Eastmond, Antony. "On Diversity in Southern Italy." In The Salerno Ivories: Objects, Histories, Contexts, edited by Francesca Dell’Acqua, Anthony Cutler, Herbert L. Kessler, Avinoam Shalem, and Dr. Gerhard Wolf. Berlin: Gebr. Mann Verlag, 2016. p. 99, fig. 1.

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