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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.

In 2015, a domed oven from the late fifth millennium cal BC was excavated near Kortrijk, northern Belgium. In terms of its size, tripartite structure, stone flooring and well-preserved domed combustion chamber, the oven is unique in Neolithic Western Europe, although mostly smaller, less well-preserved parallels are known in northern France. Such features are thought to have appeared in Western Europe in the Early to Middle Neolithic periods (post-Linearbandkeramik Culture). Their appearance and possible use for drying cereals may be related to a change from individual (household) to communal processing of cereals, and/or indicate adaptation to a wetter climate by newly settled agro-pastoralist communities.

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French Gothic Ivories

A well-preserved Michelsberg Culture domed oven from Kortrijk, Belgium

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2 results

French Gothic Ivories

A well-preserved Michelsberg Culture domed oven from Kortrijk, Belgium