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Ch. 1: Ancient Carved Ivories

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ANCIENT CARVED IVORIES 35
employed in the decoration of this remarkable ecclesiastical work, although Mr. Dalton suggests that a single artist might have taken more pains with the more conspicuous panels and have treated the others with less care. The splendid carving of the archangel, probably St. Michael, in the British Museum, has also been referred to Antioch, where the best traditions of Greek art long held sway.*
In this latter work Strzygowski has seen an influence of the histrionic frescos of Pompeii, in which the short flight of steps by which the actors descended to the stage are flanked by pairs of columns. As such an influence could scarcely be exerted, upon Christian art especially, in any place other than a great centre of population, the conjecture that Antioch was the city where the remarkable carving of the archangel was produced receives additional confirmation, f
A very interesting carved ivory panel in the Bargello in Florence, representing the figure of an empress, has been variously dated by different authorities, Molinier referring it to the Empress Irene, regent for her son Constantine VI m 780 A. D., but the work was probably executed at an earlier period, and may figure Ariadne, who was successively mar­ried to the Emperors Zeno and Anastasius I, her son by the latter emperor having died in 507 A. D., to which date, approximately, the panel may be attributed. The curious headgear of the empress was used at a later time in repre­sentations of the Virgin Mary.J
Of the ivory-adorned book covers in the Bibliothèque Nationale, one of the finest and most interesting is formed from a Roman diptych. On one leaf is carved a repre-
*0. M. Dalton, "Byzantine Art and Archœology," Oxford, 1911, pp. 203-206; see Fig. 122, 123.
fOp. cit., pp. 201, 202.
ÎO. M. Dalton, "Byzantine Art and Archaeology," Oxford, 1911, pp. 213, 214; see Fig. 128.
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