Barberini Ivory

The ivory shown here depicts a triumphant emperor. It is the famous piece known as the Barberini Ivory[1] kept in the Louvre. It is made of five ivory plaques, which are fitted together. This leaf of a diptych is made up of a central plaque and four long and rectangular plaques, but the right plaque is missing. The central plaque depicting the triumph of an emperor was carved in very high relief, and even in the round in some sections. The emperor is mounted on a rearing horse. He wears a crown, short tunic and boots. His cloak (paludamentum) floats behind him. The triumphant emperor depicted is perhaps Justinian I (527–65), who concluded a peace treaty with the Persians in 532.

Surrounding him are a Victory, a personification of the Earth and a servant from a conquered people – a Persian or a Scythian, judging by his clothing and cap. These figures highlight the emperor’s power. The left plaque depicts a high court dignitary, probably a military leader. He holds a small statuette of Victory out to the emperor. The right plaque probably originally depicted the same iconography. On the lower plaque, the conquered peoples pay tribute to the emperor. The upper plaque depicts Christ raising his hand in blessing in a medallion borne by flying angels. He holds a cross in his left hand. On either side of the bust of Christ are carved symbols of the Sun and the Moon.

It is an exceptional example of Byzantine ivory production, which flourished in the fourth to sixth centuries. Some ivories may have come from the East, others from the West, but we do not have reliable information on the artistic centres where they were produced. These reliefs were probably sculpted in the workshops of Constantinople during the reign of Justinian, judging from the stylistic similarities[2].

Inscribed in ink on the back of the ivory is a list of the deceased comprising over three hundred Latin names, including those of the kings of Austrasia[3] from 575 to 662. This list seems to have been written in Auvergne or Provence during the late seventh century, which testifies to the presence of this object in southern Gaul during this period. The presence of a Christ blessing motif allows us to advance the hypothesis that this objet was reused in a religious context – unless the object’s sumptuary quality was the reason it was reused. The size of the Barberini Ivory allowed it to be easily transported. It is difficult to know in what circumstances or at what moment it arrived in Gaul – at a time when ivory sculpture was no longer produced there? This object testifies to the continuing trade between East and West after the fall of the Western Roman Empire (476).

Inspired by these prestigious models, a high-quality ivory craft industry developed during the Carolingian period.

[2] Cf. the reliefs of the throne of Ravenna, or the diptych of the consul Justin (540), notably the motif of Christ associated with an emperor.

[3] Frankish kingdom located in present north-eastern day France, covering the Meuse and Moselle basins and a large part of the Rhine basin.