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Published online by Cambridge University Press: 08 January 2012
The three plaques of ivory here illustrated are already well known to students of such work, but there has been some uncertainty as to the form in which they were originally joined together. One of them, representing the Eagle of the Evangelist St. John, is in the Victoria and Albert Museum,1 for which it was acquired in 1867 from the Webb Collection; the other two, with the Angel of St. Matthew and a half-length figure of Christ, are now in the Museo Nazionale at Ravenna.
page 193 note 1 No. 269–1867.
page 194 note 1 Description of the Ivories Ancient and Mediaeval in the South Kensington Museum, P. 109.
page 194 note 2 Descriptive Catalogue of the Fictile Ivories in the South Kensington Museum, pp. 117–18, and 360.
page 194 note 3 VII (1898), pl. 28, p. 51.
page 195 note 1 I (1914), pl. 16, pp. 20–21.
page 197 note 1 Jahrbuch der Königlich Preussischen Kunstsammlungen, xxvi, p. 60.
page 197 note 2 The ‘Ada’ group, one of several into which Carolingian ivories have been divided, is so called from its relations with a manuscript of the Gospels at Trèves, illuminated for the Abbess Ada about the year 800; various centres have been suggested for this group, which probably originated in the Middle Rhine or Moselle district. In his first article Dr. Goldschmidt regarded the London and Ravenna reliefs as forming part of a later (10th century) group following on the Ada group, and classed with them the diptych with Christ and St. Peter at Darmstadt, and (at a further remove) the diptych leaf with the Washing of the Apostles' Feet and the Crucifixion at Bonn. In the later classification of the Elfenbeinsculpturen, however, the reliefs are put back with the Ada group itself in the ninth century.
page 198 note 1 Les Ivoires, p. 86.
page 198 note 2 MS. Lat. 9387.
page 198 note 3 No. 138–1866.
page 199 note 1 No. 368–1871.
page 199 note 2 No. 53 in Mr. Dalton's Catalogue.
page 199 note 3 There are examples in the British Museum (a king and a bishop), in the Victoria and Albert Museum, and elsewhere.
page 200 note 1 No. 248.
page 203 note 1 The best known, as well as the largest, are the altar-pieces in the Certosa at Pavia (datable about 1400) and in the Louvre; a third was in the collection of Mr. Pierpont Morgan. The work of the Embriachi family has been very fully discussed by von Schlosser, J. in the Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses, xx (1899), pp. 220 ffGoogle Scholar.
page 203 note 2 XIII (1906–7), pp. 67 ff.
page 203 note 3 XXXV, pp. 61–62.