Plaque with Saint John the Evangelist

early 9th century
On view at The Met Cloisters in Gallery 14
The Evangelist, accompanied by his symbol, the eagle, displays the opening text of his gospel. The deep layering of his tunic folds adds life and vigor to the Classical drapery forms. The roughly lettered inscription on the upper border, added at an early date, translates: "The word of John soars to heaven like an eagle." This plaque once was thought to be from a book cover, but it is now argued that this panel and three more, which represent the other authors of the Gospels, formed the wings of a triptych flanking an image of Christ in the central panel.

Artwork Details

Object Information
  • Title: Plaque with Saint John the Evangelist
  • Date: early 9th century
  • Geography: Made in Aachen, Germany
  • Culture: Carolingian
  • Medium: Elephant ivory
  • Dimensions: Overall: 7 3/16 x 3 11/16 x 1/4 in. (18.3 x 9.4 x 0.7 cm)
  • Classification: Ivories-Elephant
  • Credit Line: The Cloisters Collection, 1977
  • Object Number: 1977.421
  • Curatorial Department: Medieval Art and The Cloisters

Audio

Cover Image for 49. Plaque with Saint John the Evangelist

49. Plaque with Saint John the Evangelist

Gallery 14

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NARRATOR: This ivory plaque is one of the oldest works of art in The Cloisters. During the reign of Charlemagne in the ninth century, art and architecture flourished, reaching levels not seen in some time. Unfortunately, much from this period has been lost. But the achievements of the Carolingian period can clearly be seen in ivory carvings. St. John the Evangelist sits squarely on his throne and holds up his Gospel, opened to its first line, which translated reads: "In the beginning was the Word." Under an impressive arch decorated with acanthus foliage and supported by two classical columns is John's symbol, the eagle. Across the top of the piece is inscribed a line in Latin that translates, "Calling out like an eagle, the word of John reaches Heaven." The opulent drapery of St. John's robe is represented in a highly calligraphic, ornamental style and seems to have a life of its own. This textural, plastic approach is typical of Carolingian ivory carving, and foreshadows many of the characteristics associated with Romanesque art a few centuries later.

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