French Gothic Ivories: Material Theologies and the Sculptor’s Craft

333 Pages·2022·29.609 MB·English

by  Sarah M. Guerin

FRENCH GOTHIC IVORIES
fi
Thisvolumeisthe rsttoconsiderthegoldencenturyofGothicivorysculpture
1230–1330
( )initsmaterial,theological,andartisticcontexts.Providingarange
of new sources and interpretations, Sarah M. Guérin charts the progressive
development and deepening of material resonances expressed in these small-
scalecarvings.Guérintracesthejourneyofivorytusksfromtheintercontinental
trade routes that delivered the raw material to northern Europe, to the work-
benchesofspecialistartisansinmedievalParis,and,ultimately,tothealtarsand
private chapels in which these objects were venerated. She also studies the rich
social lives and uses of a diverse range of artworks fashioned from ivory,
including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering
new insights into the meanings that ivory sculptures held for their makers and
’
viewers, Guérins study contributes to our understanding of the history of
materials, craft, and later medieval devotional practices.
SarahM.GuérinisAssistantProfessorofMedievalArtHistoryattheUniversity
of Pennsylvania.

F R E N C H
G O T H I C
I V O R I E S
’
Material Theologies and the Sculptor s Craft
S M . G
A R A H U É R I N
University of Pennsylvania
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DOI:10.1017/9781009039987
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Names:Guérin,SarahM.,author.
Title:FrenchGothicivories:materialtheologiesandthesculptor’scraft/SarahM.Guerin,Universityof
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Description:NewYork,NY:CambridgeUniversityPress,2022.|Includesbibliographicalreferencesandindex.
Identifiers:LCCN2021063037(print)|LCCN2021063038(ebook)|ISBN9781316511008(hardback)|
ISBN9781009018876(paperback)|ISBN9781009039987(ebook)
Subjects:LCSH:Ivories,Gothic–France.|Ivorycarving–France–History.|Artandsociety–France–
History–To1500.
Classification:LCCNK5949.A1G842022(print)|LCCNK5949.A1(ebook)|DDC736/.620944–dc23/eng/
20220217
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This book is dedicated to
Margaret (Peggy) Elizabeth Guérin, née Philpott
18 1947–13 2019
June January

CONTENTS
Acknowledgements page ix
Notes on the Text xiii
List of Abbreviations xiv
1
Introduction: Ivory Palaces
1
17
Ivory in the Gothic Emporium
2
61
Thrones of Wisdom: The First Gothic Ivories
3
“ ” 91
Fleshly Tablets of the Heart : The Passion in Ivory
4
fi 133
Glori cation of the Virgin: Ivory Palaces and the Assumption
5
Contemplation and Desire: Ivories in the
175
Domestic Sphere
vii
viii
CONTENTS
6
An Ivory Enterprise: The Yvoirier of the Saint-Sulpice
1280–1310 212
Triptych,
256
Epilogue: Gothic Ivories as a Capetian Art
278
Bibliography
308
Index
ACKNOWLEDGEMENTS
Sunt geminae Somni portae, quarum altera fertur
cornea, qua veris facilis datur exitus umbris,
altera candenti perfecta nitens elephanto,
sed falsa ad caelum mittunt insomnia manes. –Virgil,AeneidVI
A
T ONE POINT SOME FIFTEEN years ago, I, like Aeneas, took a path
throughthegatesofivoryinsteadofthoseofhorn.IntheOdyssey,the
brilliant Penelope explains the difference between true and false
κέρας
dreams by means of a clever assonance, with horn ( ) corres-
“ fi ” κραίνω ἐλέφας
pondingwiththe verb to ful ll ( )and ivory( )echoingtheverb
“ ” ἐλεφαίρομαι
todeceive ( ).Hasmyjourneyofnearlytwodecadesbeenavoyage
of deceit and pretense, as such etymological games might suggest? Readers of
this book will have to decide. What is certain is that the journey would never
havebeenpossiblewithouttheunboundedgenerosityofcolleagues,friends,and
family,andIhopenottodisappointtheirloyalty,support,andconvictioninmy
abilities expressed over such an extended period of time.
I begin this long list of thanks with my family. My in-laws, Béatrice de
Montmollin and Lawrence Herman, have long shown pride and enthusiasm
formyworkandanourishinglovefortheworldofartmorebroadly;theyhave
made me feel very much part of the family. My own immediate family pro-
foundly shaped me and enabled me to become who I am: my sister, Sanna
ix
x
ACKNOWLEDGEMENTS
Guérin,myfather,MarcelGuérin,andmydearly La grande doyenne of Gothic ivory studies,
missed mother, Margaret (Peggy) Guérin, to Danielle Gaborit-Chopin, retired from the
whose memory I dedicate this volume. My all- LouvrejustasIbeganthisproject,but herextra-
consumingprojectrobbedherofmycompanyfar ordinary scholarship has spurred many of my
fi
too often, and I only hope the nal product is own investigations. John Lowden, the master-
fi
worthy of those sacri ces. mind behind the Courtauld Gothic Ivories
My Doktorvater at the University of Toronto, Project deftly managed by Catherine Yvard,
AdamS.Cohen,empoweredmetosetoffonmy facilitated my arrival at the Courtauld and often
ivory path. He has been a teacher, mentor, and lent a critical eye as I honed my arguments over
even psychopomp when needed, and I am grate- the years. Few scholars enjoy the privilege of
fi
ful for how he continues to enrich my life. Linda having a database built speci cally to their
Safranhasthesingulardistinctionofbeinginstru- research needs, and though I jest, the Gothic
mentalatboththeopeningandtheclosingofthis Ivories Project has advanced my research for
project,contributingtothedissertationandmore this book in inestimable ways; I could have
fi
recently editing the nal book manuscript. With cited it on every page.
bottomless patience Linda greatly elevated this Many curators, keepers, and other patrimonial
book, and I offer her my profound thanks. She caretakers generously opened their collections to
saved me from countless little embarrassments, me over the years, making it impossible to thank
butanyerrorsthatremainareverymuchmyown. themindividually.I hopethat seeingtheirobjects
Although perhaps not quite as circuitous as in these pages will demonstrate how formative
those of Odysseus or Aeneas, my journey those site visits were for this monograph. Some
through the gates of ivory brought me to many museums safeguard remarkably large collections
ports. Thanking each person in those communi- of Gothic ivories, and their curators kindly facili-
ties with whom I had scintillating conversations tated multiple visits over the years: Élisabeth
or who inspired a train of thought is simply not Antoine-KoenigattheLouvre;ÉlisabethTaburet-
possible. I offer warm thanks to colleagues and Delahaye,XavierDectot,andDamienBernéatthe
friends at the University of Toronto, the MuséeCluny;PaulWilliamson,Glyn Davies, and
Metropolitan Museum of Art, the Department Michaela Zöschg at the Victoria and Albert
of Art History and Archaeology at Columbia, Museum; James Robinson, Naomi Speakman,
the Courtauld Institute of Art, and the and Lloyd de Beer at the British Museum; Peter
Université de Montréal, from whom I have Barnet, Charles T. Little, and Barbara Boehm at
learned so much. I thank especially the library the Metropolitan Museum of Art and the
staff at each of those institutions, whose labours Cloisters; and Griff Mann, Martina Bagnoli, and
on my behalf helped this project grow. Christine Sciacca at the Walters Art Museum
fi
The members of the so-called ivory ma a (some of these talented professionals have now
warmly welcomed me into their midst, teaching movedtootherinstitutions).Iamgratefulfortheir
me an enormous amount about this fascinating generositywiththeircollections,theirknowledge,
medium. I am grateful to all of them, especially and especially their time. Gothic ivories continue
Paul Williamson, an indefatigable and generous tobecollectedbyprivateowners,andIwouldlike
sparring partner; Charles T. Little, for his kind- to thank in particular the two leading collectors
ness and faith in my abilities; and Tony Cutler, who have granted me access to their exceptional
for teaching me the ins and outs of a tusk. treasures overthe years.