A note on the dating of objects: Where the authors propose alternative dates for objects, those dates are used in the List of Illustrations and captions in their essays; otherwise, generally accepted dates are given. For the illustrations of the Cloisters Cross in the Introduction, the broad dating (1150–90) reflects differing scholarly opinions.
Figure 1.1
Front, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.2
Back, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.3
Moses and the Brazen Serpent, front central roundel, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.4
Dispute between Pilate and Caiaphas, Ascension, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.5
Good Friday Plaque, front right finial, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.6
Easter Plaque, front left finial, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.7
Adam and Eve at the Foot of the Cross, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.8
Lamb of God and Synagoga, back central roundel, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.9
Mark Plaque, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.10
Luke Plaque, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 1.11
John Plaque, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 2.1
Front, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph © Malcolm Varon, courtesy of The Metropolitan Museum of Art
Figure 2.2
Back, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph © Malcolm Varon, courtesy of The Metropolitan Museum of Art
Figure 2.3
Replica of the Cloisters Cross, ca. 2004, in candlelight. Photograph by the author
Figure 2.4
Very Reverend James Atwell (right), Ronald Street (centre), and Charles Little (left), with a replica of the Cloisters Cross, September 2004, at St Edmundsbury Cathedral. Photograph by the author
Figure 2.5
Ante Topić Mimara (1898–1987). Photograph in the public domain
Figure 2.6
Wiltrud Mersmann (1919–2022). Photograph in the public domain
Figure 2.7
James Rorimer (1905–1966). Photograph in the public domain, courtesy of The Metropolitan Museum of Art, New York
Figure 2.8
Carmen Gómez-Moreno (1914–2008). Photograph in the public domain, courtesy of The Metropolitan Museum of Art, New York
Figure 2.9
Thomas Hoving, (1931–2009). Photograph in the public domain, courtesy of The Metropolitan Museum of Art, New York
Figure 2.10
Harry Bober (1915–1988). Photograph courtesy of the Institute of Fine Arts, New York University, New York
Figure 2.11
Margaret Freeman (1899–1980). Photograph in the public domain, courtesy of The Metropolitan Museum of Art, New York.
Figure 2.12
Kay (Katherine) Serrell Rorimer (1908–2000). Photograph courtesy of the Rorimer family
Figure 2.13
Sabrina Jane Longland, now Sabrina Harcourt-Smith (b. 1939). Photograph courtesy of the Harcourt-Smith family
Figure 2.14
Wiltrud Mersmann at the Munich Central Collecting Point in March 1946. Archives of the National Gallery of Art, Washington, DC. Photograph courtesy of the Archives of the National Gallery of Art
Figure 2.15
Job, from the Bury Bible, ca. 1125–36. Corpus Christi College, Cambridge MS 2 fol. 344v. Artwork in the public domain; photograph by Harry Bober, courtesy of the Metropolitan Museum of Art, New York
Figure 2.16
Detail of Malachias, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters. Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.17
Seal from Bury St Edmunds, ca. 1150. Bodleian Library, Oxford, MS Suffolk ch. 10. Artwork in the public domain; photograph by Julian Gardner, courtesy of the Metropolitan Museum of Art, New York
Figure 2.18
Detail of an Angel, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.19
St Albans Head, ca. 1151–66, excavated. Artwork in the public domain; photograph courtesy of the Conway Library, Courtauld Institute, London
Figure 2.20
Detail of Abdias, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.21
Ascension, from the Pembroke College Gospels, 12th century. Pembroke College, Cambridge, MS 120, fol. 5v. Artwork in the public domain; photograph by permission of the Masters and Fellows of Pembroke College
Figure 2.22
Detail of the Ascension, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.23
Crucifixion, from the Arundel Psalter, MS157, fol. 10v, dated here ca. 1200–1210. British Library, London, Arundel 157 fol. 10v. Artwork in the public domain; photograph courtesy of the British Library
Figure 2.24
Detail of the titulus, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.25
Gold cross (now folded strip) from the Staffordshire hoard, inscribed in Latin: ‘Help us O God—Arise, O Lord, and may your enemies be torn apart and those who hate you will flee from your face’ (Numbers 10:35), 600–70. Birmingham Museums, cat. no. 540. Artwork in the public domain
Figure 2.26
Initial L to Saint Matthew’s Gospel, with the Four Evangelists, frontispiece to a gospel book, probably made for the Abbey of Le Parc at Louvain, mid-12th century. Fitzwilliam Museum, Cambridge, MS 241, fol. 7v. Artwork in the public domain, courtesy of the Fitzwilliam Museum
Figure 2.27
Ascension of the Virgin, from the Stammheim Missal, Hildesheim, 1170–80. J. Paul Getty Museum, Los Angeles. MS 64 (97.MG.21), fol. 145v. Artwork in the public domain
Figure 2.28
Ivory element with St Peter and prophets (now lost), 1100–1200. Artwork in the public domain; photograph after Wiltrud Mersmann, ‘Das Elfenbeinkreuz der Sammlung Topić-Mimara’, Wallraf-Richartz-Jahrbuch 25 (1963), 94, fig. 84.
Figure 2.29
Detail of prophets, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.30
Brazen Serpent from Dialogus de laudibus scantae, Prüfening Abbey, Regensburg, ca. 1170–80. Staatsbibliothek, Munich, clm. 14159, fol. 3. Artwork in the public domain
Figure 2.31
Detail of the Brazen Serpent, Cloisters Cross, dated here ca. 1150–60, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author
Figure 2.32
Oslo Corpus on the Cloisters Cross for The Year 1200 exhibition, 1970, Metropolitan Museum of Art, New York. Photograph courtesy of the Metropolitan Museum of Art
Figure 2.33
Detail, Oslo Corpus, dated here ca. 1150–1200, walrus ivory. Photograph by the author
Figure 3.1
Rupert Leo Scott Bruce-Mitford, 12 November 1976, photograph, Bassano Ltd, half-plate film negative. London, National Portrait Gallery, NPG x171707. Photograph © National Portrait Gallery
Figure 3.2
Ante Topić Mimara with dog, photograph in the public domain
Figure 3.3
Peter Lasko (centre) with George Zarnecki and Reg Dodwell (to the left), 1965. Photograph in the Zarnecki Archive FAHZ834; image courtesy of the Photographic Collections, Courtauld Institute of Art, London, supplied under a CCBYNC licence
Figure 3.4
Initial L to Saint Matthew’s Gospel, with the Four Evangelists, frontispiece to a gospel book, probably made for the Abbey of Le Parc at Louvain, mid-12th century. Fitzwilliam Museum, Cambridge, MS 241, fol. 7v. Artwork in the public domain, courtesy of the Fitzwilliam Museum
Figure 4.1a–b
The Cloisters, Fort Tryon Park, Washington Heights, New York. Photographs in the public domain
Figure 4.2
Front, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 4.3
Right side showing the Cham ridet couplet, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 4.4
Left side showing the second part of the Cham ridet couplet, Cloisters Cross, 1150–90, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 4.5
Bernard of Morlais, page from Liber 1, De Contemptu Mundi, 12th century. British Library, London, MS Cotton Cleopatra A.VIII.2.2. Courtesy of the British Library
Figure 4.6
Bernard of Morlais, page from De Contemptu Mundi, in Matthias Flacius, Varia doctorum piorumque virorum, De corrupto Ecclesiae statu, Poemata (Basel: Ludwig Lucius, 1556/57), https://www.hymnologyarchive.com/de-contemptu-mundi
Figure 4.7
Peter Comestor, page with marginal notes from Historia Scholastica showing a discussion of Genesis 9:20–29, with the Cham ridet couplet in the bottom margin, copied late 12th century. Biblioteca Apostolica, Vatican, Vatican City, lat. 1973, fol. 14v. Courtesy of the Vatican
Figure 4.8
Stephen Langton, extract from the allegorical exposition of Genesis 9:20–27 in Postillae super Genesim showing the second line of the Cham ridet couplet, copied 13th century. British Library, London, Royal MS. 2. E. XII, fol. 25v. Courtesy of the British Library
Figure 4.9
Odo of Cheriton, detail from Sermon 12 of the passage containing the Cham ridet couplet in Sermones Dominicales, probably copied in Spain, 13th century. Real biblioteca del Monasterio de San Lorenzo de El Escorial, Madrid, Cod. lat. 0. II. 7, fol. 36v. Courtesy of the Real biblioteca del Monasterio de San Lorenzo de El Escorial
Figure 5.1
Astri Tonoian, For Our Sins, 2023, bronze, Kongen Marina, Oslo. Photograph by Eirik Anzjøn.
Figure 5.2
Front, Cloisters Cross, dated here second half of the 12th century, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 5.3
Detail, liturgical chair from Tydal Church, ca. 1150–1200, wood carving. National Historisk Museum, Olso. Artwork in the public domain, © Museum of Cultural History, University of Oslo; photograph by Alexis Pantos (CC BY-SA 4.0)
Figure 5.4
Oliphant of Sainte-Chapelle, ca. 1150, walrus ivory. Bargello National Museum, Florence. Artwork in the public domain; photograph by the author
Figure 5.5
Oliphant bearing the insigna of Christian I and Dorothea, 14th century, walrus ivory, 505 x 53 mm. National Historisk Museet, Stockholm, 17922_LRK. Artwork in the public domain; photograph by the author (CC BY 4.0)
Figure 5.6
Narwhal tusk from St Mary’s Church, Utrecht, 11th or 12th century. Rijksmuseum, Amsterdam. Photograph provided by the Rijksmuseum (CC0)
Figure 5.7
Purse reliquary, ca. 1125, walrus ivory, 7.7 x 13.4 x 2.8 cm. Rijksmuseum, Amsterdam. Photograph by the author (CC0).
Figure 5.8
Detail of the Good Friday Plaque, Cloisters Cross, dated here second half of the 12th century, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Photograph by the author (CC0)
Figure 6.1
Christ, saints, and Henry the Lion and Matilda of England and their families, from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 171v. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.2
Easter plaque, front left finial, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.3
Illuminated initial, Resurrection of Christ, from the Ratmann Sacramentary, Hildesheim, 1159. Dom-Museum, Hildesheim, DS 37, fol. 75r. Artwork in the public domain, © Dom-Museum
Figure 6.4
Sleeping soldiers and the Resurrection of Christ, from a prayer book, second half of the 12th century. Österreichische Nationalbibliothek, Vienna, Cod.2739*, fol. 65v. Artwork in the public domain, © Österreichische Nationalbibliothek
Figure 6.5
Ascension of Christ, walrus-ivory plaque, Cologne, second-half of the 12th century. Victoria and Albert Museum, London, no. 258.67. Artwork in the public domain, © Victoria and Albert Museum
Figure 6.6
Ascension of Christ, stone baptismal font, late 12th–early 13th century. Collegiate Church of St Boniface, Freckenhorst. Artwork in the public domain, © Baptisteria Sacra Index; photograph courtesy of Harriet Sonne de Torrens
Figure 6.7
Frontispiece from the Gospel of Matthew with author portrait, 1105–13, from Quattuor Evangelia, Ms. 16, fols. 1v–2r. Bibliothèque du Château, Chantilly. Artwork in the public domain; photograph CNRS-IRHT © Bibliothèque du musée Condé, Château de Chantilly
Figure 6.8
Burial of Christ, Maries at the Tomb, from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 74v. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.9
Maries at the Tomb, from the Stammheim Missal, Hildesheim, 1170s. J. Paul Getty Museum, Los Angeles, MS 64 (97.MG.21), fol. 111. Artwork in the public domain
Figure 6.10
Copper-gilt disk-cross flabellum, ca. 1170–80. Kremsmünster Abbey, Kremsmünster. Artwork in the public domain, © Stift Kremsmünster; photograph by the Best Kunstverlag, courtesy of Kremsmünster Abbey
Figure 6.11a–b
Page from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188: a) the Flagellation and Crucifixion of Christ, and b) detail of Synagoga. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 170v. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.12
Synagoga and the Lamb of God, back central roundel, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.13
Crucifixion of Christ, Werden, 11th century. Stadtbibliothek, Trier, MS 14, Folio 9v. Artwork in the public domain; photograph courtesy of the Stadtbibliothek
Figure 6.14a–b
Ascension of Christ and the Dispute between Pilate and Caiaphas: a) front top finial, and b) detail of inscription on the titulus, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.15
Adam and Eve, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.16
Crucifixion of Christ; Adam and Eve, from Flavius Josephus, Antiquitates Judaicae, Zwiefalten. Württembergische Landesbibliothek, Stuttgart, Cod. hist. 2° 418, fol. 3r. Artwork in the public domain, © Württembergische Landesbibliothek
Figure 6.17
Moses and the Serpent, front central roundel, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.18
Herod’s Feast, from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 73v. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.19
Good Friday Plaque, front right finial, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.20
Christ in the House of the Pharisee, from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 111v. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.21
The Good Samaritan, from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 112r. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.22
Ascension of Christ, from the Gospel Book of Henry the Lion and Matilda of England, ca. 1188. Herzog August Bibliothek, Wolfenbüttel, Cod. Guelf. 105 Noviss. 2°, fol. 75r. Artwork in the public domain, courtesy of Herzog August Bibliothek
Figure 6.23a–c
Triumphal Cross Group: a) facing East, b) prophets, and c) Adam, Halberstadt Cathedral, 13th century, linden, oak, and spruce wood with paint and gilding. Artworks in the public domain, photographs by the author and Richard Plant
Figure 6.24
Prophets, back crossbar, Cloisters Cross, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.25a–b
Eilbertus Altar, Cologne, mid-12th century: a) from side, and b) top. Kunstgewerbemuseum, Staatliche Museen zu Berlin, Berlin. Artwork in the public domain; photograph courtesy of the Kunstgewerbemuseum, Staatliche Museen zu Berlin / Karen Bartsch, CC BY-SA 4.0
Figure 6.26
Processional Cross, Hildesheim, 1190s, copper alloy, gilding, champlevé enamel with a wood core. Basilica of St Godehard, Hildesheim. Artwork in the public domain
Figure 6.27
Holy Sepulchre altarpiece, Lower Saxony, mid-12th century, cast and chased bronze. Germanisches Nationalmuseum, Nürnberg, KG 159. Artwork in the public domain; photograph by G. Janssen
Figure 6.28a–c
Aquamanile, Hildesheim, 1200–1220, copper alloy: a) aquamanile, b) detail, and c) detail. Museum für Kunst und Gewerbe, Hamburg, Inv. 1959.307. Artwork in the public domain; photograph courtesy of the Museum für Kunst und Gewerbe
Figure 6.29
Cover, Gospel of Saint Godehard, Hildesheim, ca. 1170/80. Hohe Domkirche, Domschatz, Trier, No. 70, Cod. 141 (olim 126). Photograph by Ann Münchow, courtesy of Hohe Domkirche Trier – Domschatz
Figure 6.30
Cloisters Cross when taken apart, dated here ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Open access
Figure 6.31
Deposition and Ascension, sculpted wall face, 1160/70, Externsteine, Teutoburg Forest, Lippe. Artwork in the public domain; photograph by the author
Figure 6.32
Drawing of the Externsteine relief, from Die Gartenlaube, 1862, 380. Artwork in the public domain
Figure 6.33
Lamentation and the Maries at the Tomb, ca. 1200, fresco. West wall (south part) of the refectory, Monastery of Saint John the Theologian, Patmos. Artwork in the public domain; photograph © Svetlana Tomeković, courtesy of Catherine Jolivet Lévy
Figure 6.34
Steatite fragment of an icon with scenes from Christ’s Passion, 1100s. Artwork in the public domain; Cleveland Museum of Art, Cleveland, no. 1962.27. Open access
Figure 6.35
Deposition, Lamentation and Embalming, Maries at the Tomb, and the Harrowing of Hell, ca. 1180s, fresco. East wall, Holy Sepulchre Chapel, Winchester Cathedral. Artwork in the public domain; photograph by the author
Figure 7.1
Pilate plaque, here identified as a repair to the (lost) lower terminal of the Cloisters Cross, here dated ca. 1200, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.127. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.2
Good Friday plaque, Cloisters Cross, here dated ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.3
Easter plaque, Cloisters Cross, here dated ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.4
Oslo Corpus (Kunstindustrimuseet, Oslo, Inv. No. 10 314) on the Cloisters Cross in 1970, here dated 1188, both walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.5
Reconstruction of the missing parts of the Oslo Corpus on the Cloisters Cross. Graphic by the author
Figure 7.6
The figure of Christ on the Good Friday plaque of the Cloisters Cross. Graphic by the author
Figure 7.7a–b
Details of the drapery on the figure of a) Moses on the front boss of the Cloisters Cross, The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12, and b) the loincloth of the Oslo Corpus, Kunstindustrimuseet, Oslo, Inv. No. 10 314, showing similar conventions of damp-fold drapery: nested V folds, a thin roll of cloth beneath the knee, and ‘bridges’ across furrows.
Figure 7.8
Oslo Corpus on the Cloisters Cross, from the right side. Artwork in the public domain; photograph by the author, taken in 1974.
Figure 7.9
Oslo Corpus on the Cloisters Cross, from the left side. Artwork in the public domain; photograph by the author, taken in 1974.
Figure 7.10
Rear view, Oslo Corpus, here dated ca. 1188, walrus ivory. Kunstindustrimuseet, Oslo, Inv. No. 10 314. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.11
Crucifixion plaque, perhaps Mosan, ca. 1100?, elephant ivory. British Museum, London, Acc. No. Maskell 1856,0623.35. Artwork in the public domain; photograph © British Museum
Figure 7.12
Crucifixion plaque, detail of Christ on the Cross, Metz, ca. 860, elephant ivory. Victoria and Albert Museum, London, Inv. No. 251-1867. Artwork in the public domain, courtesy of the Victoria and Albert Museum
Figure 7.13
Front, Oslo Corpus, here dated ca. 1188, walrus ivory. Kunstindustrimuseet, Oslo, Inv. No. 10 314. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.14
Reverse inscribed with biblical texts, Gunhild’s Cross, Denmark, ca. 1110, walrus ivory. National Museum, Copenhagen, Inv. No. 9087. Artwork in the public domain; photograph © Lennart Larsen
Figure 7.15a–b
Lettering of the word SYNAGOGA on a) the Cloisters Cross, The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63, and b) Gundhild’s Cross, National Museum, Copenhagen, Inv. No. 9087.
Fig. 7.16
Map of Denmark showing places named in the text of this essay. Map © Frederick John Sekules Heslop.
Figure 7.17
Titulus board, Cloisters Cross, here dated ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.18
Dispute between Pilate and Caiaphas, Cloisters Cross, here dated ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.19
Head of Christ on the Cross, southern England, ca. 1050, walrus ivory. Victoria and Albert Museum, Inv. No. 7943-1862. Artwork in the public domain; courtesy of the Victoria and Albert Museum.
Figure 7.20
Head of Christ, Oslo Corpus, here dated ca. 1188, walrus ivory. Kunstindustrimuseet, Oslo, Inv. No. 10 314.
Figure 7.21
Kings David and Solomon, Cloisters Cross, here dated ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.22
The great seal of King Cnut VI of Denmark. Photograph after Henry Petersen, Et Dansk Flag fra Unionstide i Maria-Kirken i Lübeck (Copenhagen: C. A. Reitzel, 1882).
Figure 7.23
Prophet Balaam, Cloisters Cross, here dated ca. 1188, walrus ivory. The Cloisters Collection, The Metropolitan Museum of Art, New York, Acc. No. 63.12. Artwork in the public domain; photograph provided by Florens Deuchler and modified by the author
Figure 7.24
South door, Ribe Cathedral, here dated between 1190 and 1220. Photograph by the author
Figure 7.25
Detail of the gable over the south door, Ribe Cathedral, here dated between 1190 and 1220. Photograph by the author