The Relationship of Sculptors and Painters in the Court School of Charles the Bald

  title={The Relationship of Sculptors and Painters in the Court School of Charles the Bald},
  author={Amy L. Vandersall},
  pages={201 - 210}
Carved primarily to serve as manuscript covers, ivory reliefs of the Carolingian period are intimately associated with the manuscripts they decorated. In his corpus of Carolingian ivories Adolph Goldschmidt recognized the close affiliation between manuscript painting and ivory sculpture.1 His ivory categories follow manuscript classifications that obtained at the beginning of the century, and he derived historical footholds for his style groups from manuscript-ivory associations. Commenting… 
3 Citations

The Anglo-Saxon stone sculpture of Mercia as evidence for continental influence and cultural exchange

Scholarship has long considered the style of stone sculpture produced in Mercia during the late eighth and early ninth centuries to reflect the direct influence of artistic activities on the

"Tears of Compunction": French Gothic Ivories in Devotional Practice

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Volume Information

  • History
  • 1982
Bucher, Fransois. Medieval A rchitec tural Design Methods, 800-1560, Xl/2 (1972), pp. 37-51. . Micro-Architecture as the Idea of Gothic Theor} and St^le, XV ( 1976), pp. 7 1-90. Cahn, Walter.



Two Carolingian Ivories from the Morgan Collection in the Metropolitan Museum of Art

IN 19I7 the Metropolitan Museum received from the Pierpont Morgan Collection two ivory plaques that depict Christ enthroned between the apostles Paul and Peter and the enthroned Virgin and Child

Alhans Psalter IStudies of the Warburg Institute

  • XXV London
  • 1960

The ivories were so attributed by Peter Iasko in a recent Pelican survey (Ars Sacra

  • 1972

Studies in English Manuscript Illumination

  • 1967

Another ivory by this sculptor's hand, as Goldschmidt observed, is the well-known Crucifixion plaque in Munich (Bayer. Staatsbibl, Clm. 4452; Go. I, 41)