From the middle of the third to the beginning of the sixth century AD anything doubled, or double folded, is referred to as a diptych. This term describes tablets which were used for writing on with a metallic or ivory stylus. While plain and functional on the inside the outsides were often ornately carved in wood and ivory; and this was particularly the case with consular diptychs. These were sent as presents by new consuls on their appointment to very eminent persons; to the senators, to governors of provinces, and to friends. Each consul probably sent many such gifts, some as duplicates, with the general range of subjects, material, and workmanship varying greatly.

While the messages in wax have long since disappeared the outside eaves were carved with various ornaments; sometimes scrolls, cornucopia, or the bust of the new consul in a medallion. The consul is the most repeated type and the more important diptychs represent the consul at full length and sitting in the cushioned curule chair: one hand often being uplifted and holding the mappa circensis.

The cushion on the seat of the chair is of no small significance as cushions were permitted only to certain privileged classes during the games of the circus. Caligula conceded the use of cushions to senators as a graceful compliment at the beginning of his reign. The lower part of each leaf was often filled with representations of: the shows which the consul intended to give, freeing of slaves, presents of money, and bread distributed among the people. In addition many consular diptychs have a known date which increases their significance in the defining the history of the period.

While the tusk of the elephant is correctly considered to present the purest characteristics of ivory the tusks of other animals, such as the walrus, the hippopotamus, and the narwhal are included in the list of animals who provided the raw material for ivory carving. Any descriptions on the history of carving in ivory should also include objects carved in bone because the rarity of ivory often obliged carvers to work in the less costly bone.

Geoff Barker, Assistant Curator, September 2010

References
Maskell, W., Ivories Ancient and Medieval, printed by Chapman and Hall, Piccadilly, London, 1875
Westwood, J. O., A Descriptive Catalogue of the Fictile Ivories in the South Kensington Museum, printed by George E. Eyre and William Spottiswoode, printers to the Queen's Most Excellent Majesty, Piccadilly, London, 1876

Many of the casts were taken from the original artworks by J. O. Westwood and A. Nesbitt. At first they used gutta-percha alone, but it was found that after being softened in hot water it hardened again too rapidly to allow a large ivory to be properly pressed. Hence they mixed wax with the gutta-percha, which caused it to retain its softness for a longer period. The prepared gutta-percha was then to be placed in hot water (which was not allowed to boil), and when it became as soft as putty it was moulded by hand into a flattened plate rather larger than the artwork to be moulded. The face of the artwork was wetted with clear cold water, or washed over with soft soap and while wet the gutta-percha was placed upon it and pressed by the thumb carefully so as to force the gutta-percha into all the deeper cut parts of the artwork.

It was then allowed to harden and cool, after which it was lifted with great care from the artwork. Once removed the mould was ready to receive the fluid plaster of Paris of the finest quality. Westwood notes that when a number of copies were required an electrotype made of the mould was preferred to ensure every cast was as fresh as the first. In this manner a considerable number, both of moulds and electrotype moulds, were accumulated by Alexander Nesbitt, A. W. Franks, and J. O. Westwood. These were later transferred to the Arundel Society, who sold copies of the casts from 1855.

The beauty of the casts made from these moulds was universally acknowledged at the time as they were made with the finest plaster of Paris by Messrs. Franchi, whose business was transferred to Messrs. Elkington, who continued to sell nearly all of the specimens taken by Nesbitt and Westwood. When properly made, and carefully coloured by hand from the originals, (the surface allowing the application of common water colours), it was next to impossible to distinguish one of these casts from the original.

Walrus ivory ceased to be used in Europe long before the nineteenth century and most examples date back to medieval and Carlovingian periods. In addition the scarcity of Elephants in the medieval period limited its use, although it is important to note that frozen fossil tusks from mammoths had been used, particularly in Russia. Among ivories there is a wide difference in the condition and colour. This is not caused by the origin of the material, or even necessarily the age, as some newer pieces are among the most discoloured and brittle in appearance. It seems the innumerable possible accidents to which carved ivories are exposed from age to age accounts for this great difference.

References
Westwood, J. O., A Descriptive Catalogue of the Fictile Ivories in the South Kensington Museum, printed by George E. Eyre and William Spottiswoode, printers to the Queen's Most Excellent Majesty, Piccadilly, London, 1876

Between 1884 and 1887 the Museum of Applied Arts and Sciences acquired over 650 plaster cast reproductions of European Medieval carved artworks into its collection. These were purchased from: F. Kusthardt in 1884; J. Kreittmayr in 1885; and Messrs Elkington & Co between 1885 and 1887.

Replica diptych, The Birth of Christ, French late 15th C, fictile ivory plaster cast, made by Elkington and Co, London, England, 1855-1887

Plaster cast from an unkown original. Another cast from the same process is held by the Victoria and Albert Museum (repro.1858-230).

A vertical panel in which the scene is surmounted by a flattened ogee arch (a Gothic architectural structure often used in decorative molding) with pinnacles and tabernacle work.
Christ lies on top of a wickerwork crib wrapped in swaddling clothes. In front of the crib, an ox and an ass are eating a sheaf of corn. Joseph is seated at the right of the crib with a staff in his hand. A shepherd with his flock is part of a woodland scene above the crib and above that is an angel holding a long scroll, which he points at with much animation.

Reference: Westwood, J. O., 'Fictile Ivory Casts in the South Kensington Museum', Chapman and Hall, London, 1876 (58-230)

Made: Elkington & Co; ; 1855 - 1887

16518

1855 - 1887

83 mm

43 mm

12 mm