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This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.
The consolidation of French kingship in the 13th century was accomplished by a group of jurists – the legists – trained in the Civil Law and ready to imagine their ruler as princeps after the Roman model. No longer simply a feudal suzerain, Philip the Fair would assert his legal authority against provincial lords, against the head of the Roman Church (Boniface VIII), and against whoever would possess the imperial throne. Although described as legibus solutus by his legal counsel, Philip remained dependent on the material resources possessed by his most powerful vassals, by the church orders and by his bankers, all of whom were learning to invoke their dominium proprietatis against the dominium iurisdictionis of their king.
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