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BILLARD BALL

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Originally appearing in Volume V15, Page 98 of the 1911 Encyclopedia Britannica.
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BILLARD See also:

BALL SCRIVELLO They rutty give nwe stun 5 Bl lu vwnausm-,teond vMbut See also:col ••Shed or"Mille Too&' No..1.. See also:acid. Celluloid is See also:familiar to us nowadays. In the See also:form of bonzoline, into which it is said to enter, it is used largely for billiard balls; and a new See also:French substitute—a caseine made from See also:milk, called gallalithhas begun to be much used for piano keys in the cheaper sorts of See also:instrument. Odontolite is See also:mammoth See also:ivory, which through See also:lapse of See also:time and from surroundings becomes converted into a substance known as fossil or See also:blue ivory, and is used occasionally in See also:jewelry as See also:turquoise, which it very much resembles. It results from the tusks of antediluvian mammoths buried in the See also:earth for thousands of years, during which time under certain conditions the ivory becomes slowly penetrated with the metallic salts which give it the See also:peculiar vivid blue See also:colour of turquoise. Ivory See also:Sculpture and the Decorative Arts.—The use of ivory as a material peculiarly adapted for sculpture and decoration has been universal in the See also:history of See also:civilization. The earliest examples which have come down to us take us back to pre-historic times, when, so far as our knowledge goes, civilization as we understand it had attained no higher degree than that of the dwellers in caves, or of the most See also:primitive races. Throughout succeeding ages there is continued See also:evidence that no other substance—except perhaps See also:wood, of which we have even fewer See also:ancient examples—has been so consistently connected with See also:man's See also:art-craftsmanship. It is hardly too much to say that to follow properly the history of ivory sculpture involves the study of the whole See also:world's art in all ages. It will take us back to the most remote antiquity, for we have examples of the earliest dynasties of See also:Egypt and See also:Assyria. Nor is there entire See also:default when we come to the periods of the highest civilization of See also:Greece and See also:Rome.

It has held an honoured See also:

place in all ages for the adornment of the palaces of the See also:great, not only in sculpture proper but in the See also:rich inlay of panelling, of See also:furniture, chariots and other costly articles. The See also:Bible teems with references to its beauty and value. And when, in the days of 'See also:Pheidias, See also:Greek sculpture had reached the highest perfection, we learn from ancient writers that See also:colossal statues were constructed—notably the " See also:Zeus of See also:Olympia " and the " See also:Athena of the See also:Parthenon." The faces, hands and other exposed portions of these figures were of ivory, and the question, therefore, of the method of See also:production of such extremely large slabs as perhaps were used has been often debated. A similar difficulty arises with regard to other pieces of considerable See also:size, found, for example, amongst consular diptychs. It has been conjectured that some means of softening and moulding ivory was known to the ancients, but as a See also:matter of fact though it may be softened it cannot be again restored to its See also:original See also:condition. If up to the 4th See also:century we are unable to point to a large number of examples of sculpture in ivory, from that date onwards the See also:chain is unbroken, and during the five or six See also:hundred years of unrest and strife from the decline of the See also:Roman See also:empire in the 5th century to the See also:dawn of the See also:Gothic revival of art in the 11th or 12th, ivory sculpture alone of the sculptural arts carries on the preservation of types and traditions of classic times in central See also:Europe. Most import-See also:ant indeed is the role which existing examples of ivory See also:carving See also:play in the history of the last two centuries of the consulates of the Western and Eastern empires. Though the evidences of decadence in art may be marked, the See also:close of that See also:period brings us down to the end of the reign of Justinian (527-563). Two centuries later the iconoclastic persecutions in the Eastern empire drive westward and compel to See also:settle there numerous colonies of monks and artificers. Throughout the Carlovingian period, the examples of ivory sculpture which we possess in not inconsiderable quantity are of extreme importance in the history of the See also:early development of See also:Byzantine art in Europe. And when the Western world of art arose from its torpor, freed itself from Byzantine shackles and traditions, and began to think for itself, it is to the sculptures in ivory of the Gothic art of the 13th and 14th centuries that we turn with admiration of their exquisite beauty of expression. Up to about the 14th century the See also:influence of the See also:church was everywhere predominant in all matters See also:relating to art.

In ivories, as in mosaics, enamels or See also:

miniature See also:painting it would be difficult to find a dozen examples, from the See also:age of See also:Constantine onwards, other than sacred ones or of sacred symbolism. But as the period of the See also:Renaissance approached, the influence of romantic literature began to assert itself, and a feeling and See also:style similar to those which are characteristic of the charming See also:series of religious art in ivory, so touchingly conceived and executed, meet us in many See also:objects in ivory destined for See also:ordinary domestic uses and See also:ornament. See also:Mirror cases, caskets for jewelry or See also:toilet purposes, combs, the decoration of arms, or of See also:saddlery or of weapons of the See also:chase, are carved and chased with scenes of real See also:life or illustrations of the romances, which bring See also:home to us in a vivid manner details of the See also:manners and customs, amusements, dresses and domestic life of the times. With the Renaissance and a return to classical ideas, joined with a love of display and of gorgeous magnificence, art in ivory takes a secondary place. There is a want of simplicity and of originality. It is the period of the commencement of decadence. Then comes the period nicknamed See also:rococo, which persisted so See also:long. Ivory carving follows the vulgar See also:fashion, is content with copying or adapting, and until the revival in our own times is, except in rare instances, no longer to be classed as a See also:fine art. It becomes a See also:trade and is in the hands of the mechanic of the workshop. In this necessarily brief and condensed See also:sketch we have been concerned mainly with ivory carving in Europe. It will be necessary to give also, presently, some indications enabling the inquirer to follow the history—or at least to put him on the track of it—not only in the different countries of the See also:West but also in See also:India, See also:China and See also:Japan. Prehistoric Ivory Carvings.—These are the result of investigations made about the See also:middle of the 19th century in the See also:cave dwellings of the See also:Dordogne in See also:France and also of the See also:lake dwellings of See also:Switzerland.

As records they are unique in the history of art. Further than this our wonderment is excited at finding these engravings or sculptures in the See also:

round, these chiselled examples of the art of the uncultivated See also:savage, conceived and executed with a feeling of delicacy and See also:restraint which the most See also:modern artist might envy. Who they were who executed them must be See also:left to the palaeontologist and geologist to decide. We can only be certain that they were contemporary with the period when the mammoth and the See also:reindeer still roved freely in See also:southern France. The most important examples are the sketch of the mammoth (see PAINTING, See also:Plate I.), on a slab of ivory now in the museum of the Jardin See also:des Plantes, the See also:head and shoulders of an See also:ibex carved in the round on a piece of reindeer See also:horn, and the figure of a woman (instances of representations of the human form are most rare) naked and wearing a necklace and See also:bracelet. Many of the originals are in the museum at St Germain-en-Laye, and casts of a considerable number are in the See also:British Museum. Ancient See also:Assyrian, See also:Egyptian, Greek and Roman Ivories.—We know from ancient writers that the Egyptians were skilled in ivory carving and that they procured ivory in large quantities from See also:Ethiopia. The Louvre possesses examples of a See also:kind of See also:flat See also:castanets or clappers, in the form of the See also:curve of the tusks themselves, engraved in outline, beautifully modelled hands forming the tapering points; and large quantities of small objects, including a See also:box of See also:plain form and See also:simple decoration identified from the inscribed praenomen as the fifth See also:dynasty, about 4000 B.C. The British Museum and the museum at See also:Cairo are also comparatively rich. But no other collection in the world contains such an interesting collection of ancient Assyrian ivories as that in the British Museum. Those exhibited number some fifty important pieces, and many other fragments are, on See also:account of their fragility .or See also:state of decay, stowed away. The collection is the result of the excavations by See also:Layard about 1840 on the supposed site of See also:Nineveh opposite the modern See also:city of See also:Mosul.

When found they were so decomposed from the lapse of time as scarcely to See also:

bear touching or the contact of the See also:external See also:air. Layard See also:hit upon the ingenious See also:plan of boiling in a See also:solution of gelatine and thus restoring to them the See also:animal matter which had dried up in the course of centuries. Later, the explorations of See also:Flinders See also:Petrie and others at See also:Abydos brought to See also:light a considerable number of sculptured fragments which may be even two thousand years older than those of Nineveh. They have been exhibited in See also:London and since distributed amongst various museums at home and abroad. Consular and See also:Official and Private Diptychs.—About fifty of the remarkable plaques called " consular diptychs," of the time of the three last centuries of the consulates of the Roman and Greek empire have been preserved. They range in date from perhaps See also:mid-See also:fourth to mid-See also:sixth cen- turies, and as with two or three exceptions the See also:dates are certain it would be diffi- cult to overestimate their historic or See also:intrinsic value. The earliest of absolutely certain date is the See also:diptych of See also:Aosta (A.D. 408); the first after the recognition of See also:Christianity; or, if the See also:Monza diptych represents, as some think, the See also:Consul Stilicon, then we may refer back six years earlier. At any See also:rate the See also:edict of Theo- dosius in A.D. 384, concern- See also:ing the restriction of the use of ivory to the diptychs of the See also:regular consuls, is evi- dence that the See also:custom must have been long estab- lished. According to some authorities the beautiful See also:leaf of diptych in the See also:Liverpool Museum (fig. 4) is a consular one and to be ascribed to See also:Marcus See also:Julius See also:Philippus (A.D.

248). Similarly the Gherardesca leaf in the British Museum may be accepted as of the Consul Marcus Aurelius (A.D. 308). But the whole question of the See also:

half dozen earliest examples is conjectural. With a few notable exceptions they show decadence in art. Amongst the finest may be cited the leaf with the combats with stags at Liverpool, the See also:dip- tych of Probianus at See also:Berlin and the two leaves, one of Anas- tasius, the other of See also:Orestes, in the See also:Victoria and See also:Albert Museum. The literature concerning these diptychs is voluminous, from the time of the erudite See also:treatise by See also:Gori published in 1759 to the See also:present See also:day. The latest of certain date is that of Basilius, consul of the See also:East in 541, the last of the consuls. The diptychs of private individuals or of officials number about sixteen, and in the See also:case of the private ones have a far greater See also:artistic value. Of these the Victoria and Albert Museum possesses the most beautiful leaf of perhaps the finest example of ancient ivory sculpture which has come down to us, diptychon Meleretense, representing a Bacchante (fig. 5). The other half, which is much injured, is in the See also:Cluny Museum.

Other important pieces are the See also:

Aesculapius and Hygeia at Liverpool, the See also:Hippolytus and See also:Phaedra at See also:Brescia, the See also:Barberini in the Bargello and at See also:Vienna and the Rufius Probianus•at Berlin. Besides the diptychs ancient Greek and Roman ivories before the recognition of Christianity are comparatively small in number and are mostly in the great museums of the Vatican, See also:Naples, the British Museum, the Louvre and the Cluny Museum. Amongst them are the statuette of Penthea, perhaps of the 3rd century (Cluny), a large head of a woman (museum of Vienna) and the See also:Bellerophon (British Museum), nor must those of the Roman occupation in See also:England and other countries be forgotten. Notable instances are the See also:plaque and ivory See also:mask found at See also:Caerleon. Others are now in the See also:Guildhall and British Museums, and most See also:continental See also:European museums have examples connected with their own history. Early See also:Christian and Early Byzantine Ivories.—The few examples we possess of Christian ivories previous to the time of Constantine are not of great importance from the point of view of the history of art. But after that date the ivories which FIG. 5.-Leaf of Roman dip-we may ascribe to the cen- tych, representing a Bacchante; tunes from the end of the to the Victoria and Albert tur Museum. 4th to at least the end of the 9th become of considerable See also:interest, on account of their connexion with the development of Byzantine art in western Europe. With regard to exact origins and dates opinions are largely divergent. In great See also:part they are due to the carrying on of traditions and styles by which the makers of the sarcophagi were inspired, and the difficulties of ascription are increased when in addition to the primitive elements the influence of Byzantine systems introduced many new ideas derived from many extraneous See also:sources. The questions involved are of no small archaeological, iconographical and artistic importance, but it must be admitted that we are reduced to conjecture in many cases, and compelled to theorize.

And it would seem to be impossible to be more precise as to dates than within a margin of sometimes three centuries. Then, again, we are met by the, question how far these ivories are connected with Byzantine art; whether they were made in the West by immigrant Greeks, or indigenous See also:

works, or purely imported productions. Some See also:German critics have endeavoured to construct a See also:system of See also:schools, and to form definite See also:groups, assigning them to Rome, See also:Ravenna, See also:Milan and Monza. Not only so, but they claim to be precise in dating even to a certain See also:decade of a century. But it is certainly more than doubtful whether there is sufficient evidence on which to found such assumptions. It is at least probable that a considerable number of the ivories whose dates are given by such a number of critics so wide a range as from . the 4th to the loth century are nothing more than the See also:work of the monks of the numerous monasteries founded throughout the Carlovingian empire, copying and adapting from whatever From photo by W. A. ManseU & Co. came into their hands. Many of them were Greek immigrants exiled at the time of the iconoclastic persecutions. To these must be added the See also:Celtic and Anglo-Saxon missionaries, who brought with them and disseminated their own See also:national feeling and technique. We have to take into account also the relations which existed not only with See also:Constantinople but also with the great governing provinces of See also:Syria and Egypt.

Where all our See also:

information is so vague, and in the See also:face of so much conflicting See also:opinion amongst authorities, it is not unreasonable to hold with regard to very many of these ivories that instead of assigning them to the age of Justinian or even the preceding century we ought rather to postpone their dating from one to perhaps three centuries later and to admit that we cannot be precise even within these limits. It would be impossible to follow here the whole of the arguments relating to this most important period of the development of ivory sculpture or to mention a tithe of the examples which illustrate it. Amongst the most striking the earliest is the very celebrated leaf of a diptych in the British Museum representing an See also:archangel (fig. 6). It is generally admitted that we have no ivory of the 5th or 6th centuries or in fact of any early See also:medieval period which can compare with it in excellence of See also:design and workmanship. There is no See also:record (it is believed) from whence the museum obtained the ivory. There are at least plausible grounds for surmising that it is identical with the " See also:Angelus See also:longus eburneus " of a See also:book-See also:cover among the books brought to England by St See also:Augustine which is mentioned in a See also:list of things belonging to See also:Christchurch, See also:Canterbury (see Dart, App. p. xviii.). The dating of the four See also:Passion plaques, also in the British Museum, varies from the sth to the 7th century. But although most See also:recent authorities accept the earlier date, the present writer holds strongly that they are not anterior to, at earliest, the 7th century. Even then they will remain, with the exception of the Monza oil See also:flask and perhaps the St Sabina doors, the earliest known See also:representation of the crucifixion. The ivory See also:vase, with cover, in the British Museum, appears to possess de-fined elements of the farther East, due perhaps to the relations between Syria and Christian India or See also:Ceylon. Other important early Christian ivories are the series of pyxes, the diptych in the See also:treasury of St Ambrogio at Milan, the See also:chair of Maximian at Ravenna (most important as a type piece), the See also:panel with the " See also:Ascension " in the Bavarian National Museum, the Brescia See also:casket, the " Lorsch "bookcovers of the Vatican and Victoria and Albert Museum, the Bodleian and other bookcovers, the St See also:Paul diptych in the Bargello at See also:Florence and the " See also:Annunciation " plaque in the Trivulzio collection.

So far as unquestionably See also:

oriental specimens of Byzantine art are concerned they are few in number, but we have in the famous Harbaville See also:triptych in the Louvre a super-excellent example. Gothic Ivories.—The most generally charming period of ivory sculpture is unquestionably that which, coincident with the Gothic revival in art, marked the beginning of a great and lasting See also:change. The formalism imposed by Byzantine traditions gave place to a brighter, more delicate and tenderer conception. XV. 4This See also:golden age of the ivory carver—at its best in the 13th century—was still in evidence during the 14th, and although there is the beginning of a transition in style in the 15th century, the period of neglect and decadence which set in about the beginning of the 16th hardly reached the acute See also:stage until well on into the 17th. To See also:review the various developments both of religious art which reigned almost alone until the 14th century, or of the See also:secular See also:side as exemplified in the delightful mirror cases and caskets carved with subjects from the romantic stories which were so popular, would be impossible here. Almost every great museum and famous private collection abounds in examples of the well-known diptychs and triptychs and little portable oratories of this period. Some, as in a famous panel in the British Museum, are marvels of See also:minute workmanship, others of delicate openwork and See also:tracery. Others, again, are remarkable for the wonderful way in which, in the See also:compass of a few inches, whole histories and episodes of the scriptural narratives are expressed in the most vivid and telling manner. Charming above all are the statuettes of the Virgin and See also:Child which French and Flemish art, especially, have handed down to us. Of these the Victoria and Albert Museum possesses a representative collec- tion. Another series of interest is that of the croziers or See also:pastoral staves, the development of which the student of ivories will be careful to study in connexion with the earlier ones and the tau-headed staves.

In addition there are shrines, reliquaries, bookcovers, liturgical combs, portable altars, pyxes, See also:

holy See also:water buckets and sprinklers, flabella or liturgical fans, rosaries, memento mori, paxes, small figures and groups, and almost every conceivable See also:adjunct of the See also:sanctuary or for private devotion. It is to French or Flemish art that the greater number and the most beautiful must be referred. At the same time, to take one example only—the diptych and triptych of See also:Bishop Grandison in the British Museum—we have evidence that See also:English ivory carvers were capable of rare excellence of design and workman-See also:ship. Nor can crucifixes be forgotten, though they are of extreme rarity before the 17th century. A most beautiful 13th-century figure for one—though only a fragment—is in the Victoria and Albert Museum. Amongst secular objects of this period, besides the mirror cases (fig. 7) and caskets, there are See also:hunting horns (the earlier ones probably oriental, or more or less faith-fully copied from oriental See also:models), See also:chess and draughtsmen (especially the curious set from the isle of See also:Lewis), combs, See also:marriage coffers (at one period remarkable See also:Italian ones of See also:bone), mernorandum tablets, See also:seals, the pommels and cantles of saddles and a II P. • aitut 'eJ GiW1YW11YWl ,', wr 4iUWU1~,wU!Wl ! uwWY UUU 55 111101WIffilUMIUNIW From photo by W. A. Mansell & Co. unique See also:harp now in the Louvre. The above enumeration will alone suffice to show that the inquirer must be referred for details to the numerous works which treat of medieval ivory sculpture.

Ivory Sculpture from the 16th to the zgth Century.—Compared with the See also:

wealth of ivory carving of the two preceding centuries, the 15th, and especially the 16th, centuries are singularly poor in really fine work. But before we arrive at the period of real decadence we shall come across such things as the See also:knife of See also:Diana of See also:Poitiers in the Louvre, the See also:sceptre of See also:Louis XIII., the See also:Rothschild hunting horn, many Italian See also:powder horns, the German See also:Psyche in the Louvre, or the " See also:Young Girl and See also:Death " in the See also:Munich Museum, in which there is undoubtedly originality and See also:talent of the first See also:order. The practice of ivory carving became extremely popular throughout the 17th and 18th centuries, especially in the See also:Netherlands and in See also:Germany, and the amount of ivory consumed must have been very great. But, with rare exceptions, and these for the most part Flemish, it is art of an inferior kind, which seems to have been abandoned to second-rate sculptors and the artisans of the workshop. There is little originality, the rococo styles run See also:riot, and we seem to be condemned to See also:wade through an interminable series of gods and goddesses, bacchanalians and See also:satyrs, pseudo-classical copies from the See also:antique and imitations of the schools of See also:Rubens. As a matter of fact few great museums, except the German ones, care to include in their collections examples of these periods. Some exceptions are made in the case of Flemish sculptors of such talent as See also:Francois Duquesnoy (Fiammingo), See also:Gerard See also:van Obstal or See also:Lucas Fayd'herbe. In a lesser degree, in Germany, Christoph Angermair, Leonhard See also:Kern, Bernhard See also:Strauss, Elhaf en, See also:Kruger and Rauchmiller; and, in France, See also:Jean Guillermin, See also:David le Marchand and Jean See also:Cavalier. Crucifixes were turned out in enormous See also:numbers, some of not inconsiderable merit, but, for the most part, they represent anatomical exercises varying but slightly from a See also:pattern of which a celebrated one atributed to Faistenberger may be taken as a type. Tankards abound, and some, notably the one in the See also:Jones collection, than which perhaps no finer example exists, are also of a high See also:standard. Duquesnoy's work is well illustrated by the charming series of six plaques in the Victoria and Albert Museum known as the " Fiammingo boys." Amongst the See also:crowd of objects in ivory of all descriptions of the early 18th century, the many examples of the curious implements known as rappoirs, or See also:tobacco graters, should be noticed. It may perhaps be necessary to add that although the See also:character of art in ivory in these periods is not of the highest, the subject is not one entirely unworthy of See also:attention and study, and there are a certain number of remarkable and even admirable examples.

Ivory Sculpture of See also:

Spain, See also:Portugal, India, China and Japan.—Generally speaking, with regard to Spain and Portugal, there is little See also:reason to do otherwise than confine our attention to a certain class of important Moorish or Hispano-Moresque ivories of the time of the Arab occupation of the See also:Peninsula, from the 8th to the 15th centuries. Some fine examples are in the Victoria and Albert Museum. Of Portuguese work there is little except the hybrid productions of See also:Goa and the Portuguese settlements in the East. Some mention must be made also of the remarkable examples of mixed Portuguese and savage art from See also:Benin, now in the British Museum. Of See also:Indian ivory carving the India Museum at See also:Kensington supplies a very large and varied collection which has no equal elsewhere. But there is little older than the 17th century, nor can it be said that Indian art in ivory can occupy a very high place in the history of the art. What we know of See also:Chinese carving in ivory is confined to those examples which are turned out for the European See also:market, and can hardly be considered as appealing very strongly to cultivated tastes. A brief reference to the well-known delightful netsukes and the characteristic inlaid work must suffice here for the ivories of Japan (see JAPAN: Art). Ivory Sculpture in the 19th Century and of the Present Day.—Few See also:people are aware of the extent to which modern ivory sculpture is practised by distinguished artists. See also:Year by year, however,a certain amount is exhibited in the Royal See also:Academy and in most See also:foreign salons, but in England the works—necessarily not very numerous—are soon absorbed in private collections. On the European See also:continent, on the contrary, in such galleries as the Belgian state collections or the Luxembourg, examples are frequently acquired and exhibited. In See also:Belgium the acquisition of the See also:Congo and the considerable import of ivory therefrom gave encouragement to a definite revival of the art.

Important exhibitions have been held in Belgium, and a notable one in See also:

Paris in 1904. Though ivory carving is as expensive as See also:marble sculpture, all sculptors delight in following it, and the material entails no See also:special knowledge or training. Of 19th-century artists there were in France amongst the best known, besides numerous See also:minor workers of See also:Dieppe and St See also:Claude, Augustin See also:Moreau, Vautier, Soitoux, Belleteste, Meugniot, See also:Pradier, Triqueti and Ger&me; and in the first decade of the loth century, besides such distinguished names in the first See also:rank as Jean Dampt and See also:Theodore See also:Riviere, there were Vever, Gardet, Caron, Barrias, Allouard, Ferrary and many others. Nor must the decorative work of Rene Lalique be omitted. No less than See also:forty Belgian sculptors exhibited work in ivory at the See also:Brussels See also:exhibition of 1887. The list included artists of such distinction as J. See also:Dillens, Constantin See also:Meunier, van der Stappen, See also:Khnopff, P. Wolfers, See also:Samuel and Paul de See also:Vigne, and amongst contemporary Belgian sculptors are also van Beurden, G. Devreese, Vincotte, de Tombay and Lagae. In England the most notable work includes the " See also:Lamia " of See also:George Frampton, the " St See also:Elizabeth " of See also:Alfred See also:Gilbert, the " Mors Janua Vitae " of Harry See also:Bates, the " Launcelot " of W. See also:Reynolds-See also:Stephens and the use of ivory in the applied arts by See also:Lynn See also:Jenkins, A. G.

See also:

Walker, See also:Alexander See also:Fisher and others. AuntoiuTIEs.—See generally A. Maskell, Ivories (1906), and the bibliography there given. On Early Christian and Early Byzantine ivories, the following works may be mentioned: See also:Abbe Cabrol, Dictionnaire de l'archeologie chretienne (in progress) ; O. M. See also:Dalton, See also:Catalogue of Early Christian Antiquities in British Museum (1902) ; E. Dobbert, Zur Geschichte der Elfenbeinsculptur (1885); H. Graeven, Antike Schnitzereien (1903); R. Kanzlcr, Gli avori . Valicana (1903); Kondakov, L'Art byzantin; A. Maskell, Cantor Lectures, See also:Soc. of Arts (1906) (lecture II., " Early Christian and Early Byzantine Ivories ") ; Strzygowski, Byzantinische Denkmaler (1891); V. Schulze, Archaologie der altchristlichen Kunst (1895); G.

Stuhlfauth, See also:

Die altchristl. Elfenbeinplastik (1896). On the consular diptychs, see H. F. See also:Clinton, See also:Fasti Romani (1845–185o) ; A. Gori, See also:Thesaurus veterum diptychorum (1759) ; C. See also:Lenormant, Tresor de numismatique et de glyptique (1834–1846) ; F. See also:Pulszky, Catalogue of the Fejervdry Ivories (1856). On the artistic interest generally, see also C. See also:Alabaster, Catalogue of Chinese Objects in the See also:South Kensington Museum; See also:Sir R. See also:Alcock, Art and Art See also:Industries in Japan (1878) ; Barraud et See also:Martin, Le See also:Baton pastoral (1856); Bouchot, See also:Les Reliures d'art a la Bibliotheque Nationale; Bretagne, Sur les Deigns liturgiques; H. See also:Cole, Indian Art at See also:Delhi (1904); R.

Garrucci, Storia dell' arte Christiana (1881); A. Jacquemart, Histoire du mobilier (1876); J. Labarte, Histoire des arts industriels (1864); C. See also:

Lind, Uber den Krummstab (1863); Sir F. See also:Madden, " Lewis Chessmen " (in Archaeologia, vol. See also:xxiv. 1832) ; W. Maskell, Ivories, Ancient and Medieval in the South Kensington Museum (1872); A. See also:Michel, Histoire de l'art; E. See also:Molinier, Histoire generale des arts (1896); E. See also:Oldfield, Catalogue of Fictile Ivories sold by the See also:Arundel Society (1855) ; A. H. See also:Pitt See also:Rivers, Antique Works of Art from Benin (1900); A.

C. See also:

Quatremere de See also:Quincy, Le See also:Jupiter Olympien (1815) ; See also:Charles See also:Scherer, Elfenbeinplastik seit der Renaissance (1903); E. du Sommerard, Les Arts au moyen age (1838–1846); G. Stephens, Runic Caskets (1866–1868) ; A. Venturi, Storia dell' arte Italiana (19or); Sir G. See also:Watt, Indian Art at Delhi (1904); J. O. Westwood, Fictile Ivories in the South Kensington Museum (1876). Sir M. D. See also:Wyatt, Notices of Scul pture in Ivory (1856). (A.

End of Article: BILLARD BALL

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