The ivory workers of the middle ages . e emotion pentup in those rugged forms. The clumsy features and moustache dividedinto two solid pieces, with the forceful attitudesand the peculiar drapery edged with an em-broidered hem, are found again on several othercarvings,^ notably an aged figure of St. Paul inthe Musee de Cluny. The bald head, wrinkledforehead, and the fulness of the drooping lids, areportrayed with wonderful realism in a wide andrough technique, the very reverse of the caressingfinish of the contemporary Byzantine artist. This contrast of German and Byzantine art ona book belongi
The ivory workers of the middle ages . e emotion pentup in those rugged forms. The clumsy features and moustache dividedinto two solid pieces, with the forceful attitudesand the peculiar drapery edged with an em-broidered hem, are found again on several othercarvings,^ notably an aged figure of St. Paul inthe Musee de Cluny. The bald head, wrinkledforehead, and the fulness of the drooping lids, areportrayed with wonderful realism in a wide andrough technique, the very reverse of the caressingfinish of the contemporary Byzantine artist. This contrast of German and Byzantine art ona book belonging to the Empress, raises the ques-tion of how much of the Byzantine influence wasattributable to Theophano, grandchild of theartistic Constantine Porphrygenitus, and sister ofthe Emperors Basil and Constantine. After long hesitation on the part of the proudByzantine Court, the German offer was acceptedand Theophano, the delicately nurtured Porphry- ^ See article by Dr. W. Voge in the Jahrbiich der kgl. preiiss,Kunst-samml.^ 1899. 122.
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Keywords: ., bookcentury1900, bookdecade1900, bookpublisherlondo, bookyear1906
