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Unknown, 'Virgin and Child', c.810

 


Depicting an enthroned Virgin and Child in the central panel, flanked by St John on the left with an elongated scroll and the prophet Zacharias on the right, this ivory is richly carved and extensively detailed. The top panel furthers the Christological narrative, bearing two flying angels and a typically Byzantine rendering of Christ encircled, beardless and blessing to convey his position as the judge of humanity, or Pantocractor. It was a common image above doorways to churches and chapels, signifying the crossing of the boundary into the divine realm. As this particular ivory appeared on the front of a book, the image would hold a similar purpose in the traversing of boundaries, as the volume was opened and closed, concealing and revealing material within. The bottom layer of the ivory, meanwhile, shows the Nativity and Annunciation to the Shepherds. It allows the artist to extend the narrative and show off their skill, illustrating architecture, angels and animals alongside the necessary religious characters. Without over complicating imagery and maintaining readability, the reclining Virgin beside her sleepy husband is depicted on the left-hand side of the panel, all the way across to the demanding angel with pointed finger towards the unsuspecting shepherds on the right-hand side. 

This front cover ivory panel from the Lorsch Gospels is a rare survival from the Carolingian period, dated c.810. Other pieces are scattered across collections, including the rear cover now in the Vatican Library, depicting the Gospels of Luke and John. It is generally considered that this piece from the V&A is the most technically astute, as Charles Rufus Morey illustrated through the 'fuller and more complicated folds of drapery' as well as 'bolder curves in line and surface' through 'pronounced relief'. Certainly here, the attention to detail of drapery is what captures a viewer's eye. With no colour on the panel, line becomes more visible, particularly evident over the knees of the Virgin, offering a hint of the three-dimensional as the realistic folds of cloth stretch across her protruding knees. It also suggests stability and strength, for the Christ Child to be positioned against. Meanwhile, the artist has focused on the layers of material in the two periphery figures - Zacharius, with incense held aloft, wears a linear underskirt with multiple layers of cascading folds across the top. The gathering of material at the hem in small bumps and folds diagonally across the legs of Zacharius shows the skill of the artist in manipulating relief.

Beyond drapery, the panel attempts to suggest the three-dimensional through materials and there are different levels of relief - deeper indents in the surface appear in the drapery folds, in contrast to the faces which are carved in lower relief. Despite these changes and a continuing use of linear forms, the figures do not move beyond their niches. All three push their shoulders forward, as if they have been forced into their ivory compartments, yet are wishing to move into their own spaces for more room. This is noticeable in the left-hand figure of St John and his foot which just pushes beyond the niche and out towards the viewer. These small details are ingenious inclusions by the artist to increase the dynamism of the ivory, as well as the interaction between saints and viewer, for a close connection to the divine sphere. Zacharius swings his incense beyond the niche, further implying that the figures are not so tied to their surroundings as perhaps first appears. 

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