Ivory Figure of the Virgin and Child
Medieval, about AD 1330
Paris, France
The curve of the elephant tusk creates the exaggerated sweep of
the figures which conforms perfectly to the stylistic conventions
of the period. The Virgin's anatomy - her long abdomen for instance
- increases the effect of mannered elegance popular in aristocratic
circles. The quality of the execution of this piece suggests that
it belonged to a wealthy noble or a prominent church official.
Between the fingers of the Virgin's right hand there is a hollow
tube. This may have contained a flower, perhaps a lily, a common
attribute of the Virgin. The flower could have been made of ivory,
but is more likely to have been metallic and decorated with
enamel.
While the artist has focused on the tenderness between mother
and child, the Virgin tramples a demon underfoot. This is a
reference to the Lady of the Apocalypse from Revelation, the last
book of the Bible. This mysterious character was often seen as a
further manifestation of the Virgin and images drawn from
Revelation were gradually incorporated into her iconography.
The fine workmanship is characteristic of only the most
important Paris workshops. It is constructed from two pieces of
ivory, one for the figures and another for the cylindrical plinth
which keeps them upright. Most of the polychromy which remains
probably dates to the nineteenth century, but traces of original
paint exist beneath
J. Robinson, Masterpieces: Medieval Art (London, British Museum Press, 2008)
C.T. Little, 'Ivoires et art gothique', Revue de lart (1979)