![]() The Cloisters: Medieval Art and Architecture. "'Tears of Compunction': French Gothic Ivories in Devotional Practice." PhD diss., University of Toronto, 2009. "Un trittico eburneo con l’Incoronazione della Vergine e i Santi Giovanni Battista ed Evangelista." Arte Medievale, n.s., 7, no. Morbio Inferiore: Selective Art Edizioni, 2007. New York and New Haven: The Metropolitan Museum of Art, 2005. ![]() "Contributi allo studio della scultura eburnean trecentesca in Italia: Venezia." Annali della Scuola normale superiore di Pisa: Classe di lettere e filosofia, 4th ser., 4, no. "Gothic Ivories in Detroit and Baltimore." Apollo 145, no. Detroit: Detroit Institute of Arts, 1997. "Symbiosis across Scale: Gothic Ivories and Sculpture in Stone and Wood in the Thirteenth Century." In Images In Ivory: Precious Objects of the Gothic Age, edited by Peter Barnet. ![]() ![]() "Narrative Structure and Content in Some Gothic Ivories of the Life of Christ." In Images In Ivory: Precious Objects of the Gothic Age, edited by Peter Barnet. "Ivory and Ivory Workers in Medieval Paris." In Images In Ivory: Precious Objects of the Gothic Age, edited by Peter Barnet. "Private Lives: Gothic ivories reveal the faith and romantic fancies of medieval Europeans." Art & Antiques 20, no. Images In Ivory: Precious Objects of the Gothic Age. Een engel in de koffer: Willem Neutelings en zijn verzameling. "Exhibition Review: Amsterdam, The Art of Devotion." Burlington Magazine 137, no. The Art of Devotion in the Late Middle Ages in Europe, 1300-1500. New York: The Metropolitan Museum of Art, 1994. The Rothschild Canticles: Art and Mysticism in Flanders and the Rhineland circa 1300. New York: The Metropolitan Museum of Art, 1988. "Medieval Sculpture at The Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 46, no. New York: The Metropolitan Museum of Art, 1987. New York: The Metropolitan Museum of Art, 1983. Le Couronnement de la Vierge: Les Origines et les Premiers Développements d'un Thème Iconographique. "Ivoires et art gothique." Revue de l'art 46 (1979). New York: The Metropolitan Museum of Art, 1975. Patterns of Collecting: Selected Acquisitions, 1965-1975 Explanatory Texts. "Medieval Art and the Cloisters." Notable Acquisitions (Metropolitan Museum of Art) no. "One Hundred First Annual Report of the Trustees for the Fiscal Year Jthrough June 30, 1971." Annual Report of the Trustees of the Metropolitan Museum of Art 101 (1971). "Mittelalterliche Kunst der Sammlung Kofler-Truniger, Luzern." Aachener Kunstblätter 31 (1965). Bloch, Peter, Hermann Schnitzler, Charles Ratton, and W. Kofler-Truniger, Luzern: Skulpturen – Elfenbein, Perlmutter, Stein, Holz europäisches Mittelalter. "A Notable Private Collection." Apollo 79, no. Große Kunst des Mittelalters aus Privatbesitz. The supple carving enlivens the symmetrical representation of the drama of redemption and condemnation. Adapted from representations in contemporary architectural sculpture, these subjects are set within a series of trefoil-cusped arcades and are elegantly carved in exceptionally high relief. The damned appear in the lower right, pushed headfirst into the mouth of Hell at the order of two grotesque devils. As the dead are called from their graves, the kneeling Virgin Mary and Saint John the Baptist serve as their intercessors in the Last Judgment. In the right wing Christ, accompanied by angels carrying instruments of the Passion, displays the wounds of his Crucifixion. At the bottom a retinue of the saved souls, including a mendicant friar, a king, a pope, and possibly a deacon, is ushered up a ladder to the celestial paradise by an angel who points the way. The left wing represents the Coronation of the Virgin. Intended for the private contemplation and devotion of its owner, this palm-size ivory diptych illustrates both the reward of salvation and the consequence of damnation.
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