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A Late Antique Ivory Plaque and Modern Response Dale Kinney Bryn Mawr College, [email protected]

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A Late Antique Ivory Plaque and Modern Response Dale Kinney Bryn Mawr College, Dkinney@Brynmawr.Edu Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 1994 A Late Antique Ivory Plaque and Modern Response Dale Kinney Bryn Mawr College, [email protected] Anthony Cutler Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Kinney, Dale, and Anthony Cutler. "A Late Antique Ivory Plaque and Modern Response." American Journal of Archaeology 98 (1994): 457-480. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/31 For more information, please contact [email protected]. A Late Antique Ivory Plaque and Modern Response DALE KINNEY Abstract "the" forger implicitly denies the historical relativity A recently published challenge to the authenticity of of aesthetics [not to mention style], and with it a the of the now in the Victoria ivory plaque Symmachi, fundamental premise of art history), Eisenberg's es- and Albert Museum, is refuted, and its late fourth-cen- say elicited a chorus of approbation from art profes- tury origin is confirmed by comparison with other sionals who plaques whose fourth- or fifth-century date is secure. wrote to express their own rejection of The charge of forgery is related to patterns in recent the object. Alan Shestack confessed that he had been art historiography,and these are traced to an anachro- "duped for decades" but was now converted; Chris- nistic critical that entails vocabulary inappropriate toph Clairmont proclaimed that "the forgery of the norms of illusionistic depiction. A different vocabulary panel ... is blatant!"; and so on.2 Thus encouraged, is proposed, based on a reexamination of the plaque's visible structure and of its artistic sources. Eisenberg went on to publish a second article de- A pendant note by Anthony Cutler scrutinizes the voted exclusively to the case against SYM- fabric of the Symmachi diptych leaf and the manner MACHORVM.3 The published responses to this in which it was worked. Recognizing both resem- article are more as came from blances to and differences from the leaf of noteworthy, they companion authorities on Late art. Neither the Nicomachi, the author argues that these fit a prominent Antique known pattern of Late Antique workshop production Ernst Kitzinger nor the late Kurt Weitzmann dis- and that the technical arguments underlying the claim avowed Eisenberg's proposal; on the contrary, both that SYMMACHORVMis a 19th-century creation are allowed its possibility, while cautioning that it re- therefore groundless.* quired further demonstration.4 In fact, Eisenberg's arguments are very easy to In an essay entitled "The Aesthetics of the refute. Were it simply a matter of exposing their Forger," published in the spring of 1992, Jerome failings it might be most productive to ignore them; Eisenberg cited several well-known objects gener- but the willingness of connoisseurs and scholars to ally believed to be authentic antiquities to exemplify embrace his judgment suggests that there is some- the "stylistic criteria" that he claimed are symptoms thing more meaningful at work here. That other of forgery. Among these objects is an ivory plaque "something" is the real concern of this essay, al- inscribed SYMMACHORVM (figs. 1, right, and 2) though I will begin by attending to the specifics of that is usually associated with the Roman senator Eisenberg's case and the evidence that disproves it. Quintus Aurelius Symmachus (fl. 365-402).' De- Eisenberg acknowledges that the plaque of the spite some dubious assertions, noticeable even in Symmachi and its presumed companion, NICO- the essay's title (the very notion of "the" aesthetics of MACHORVM (fig. 1, left), can be traced almost con- * The following abbreviationsare used below: Eisenberg 1993 J.M. Eisenberg, "The Symmachi Ivory Diptych Panel: A Nineteenth-Cen- Claussen PC. Claussen, "Das Reliquiar von tury Interpretation of a Lost Origi- Montier-en-Der: Ein spitantike nal?" Minerva 4:2 (1993) 12-18. Diptychon und seine mittelalter- Eisenberg 1992. London, Victoria and Albert Mu- liche Fassung," Pantheon 36 (1978) seum, no. 212-1865; P Williamson ed., The Medieval Trea- 308-19. sury: The Art of the Middle Ages in the Victoria and Albert Cutler 1984 A. Cutler, "The Making of the Jus- Museum (London 1986) 44. I would like to thank Mr. Wil- tinian Diptychs," Byzantion 54 (1984) liamson for his assistance and friendly advice about this 75-115. plaque. Cutler 1993 A. Cutler, "Five Lessons in Late 2 "Letters," Minerva 3:6 (1992) 4-5. Roman Ivory,"JRA6 (1993) 167-92. 3 Eisenberg 1993. Dr. Eisenberg kindly sent me several Delbrueck R. Delbrueck, Die Consulardiptychenund drafts of his article before publication, and we had some verwandte Denkmailer(Berlin 1929). lively exchanges over them. I wish to acknowledge his 1992 "The Eisenberg J.M. Eisenberg, Aesthetics of the courtesy and openness to debate. I expressed most of my Forger: Stylistic Criteria in Ancient objections to his argument to him directly in a letter of 19 Art Forgery," Minerva 3:3 (1992) 10- January 1993. 15. 4 "Letters," Minerva 4:3 (1993) 5. 457 American Journal of Archaeology 98 (1994) 457-80 458 DALE KINNEY [AJA98 Fig. 1. Diptych leaves of the Nicomachi (left), Paris, Musee national du Moyen-Age, Thermes de Cluny, and of the Symma- chi (right), London, Victoria and Albert Museum. (Photos courtesy Reunion des Musees nationaux and Trustees of the Victoria and Albert Museum) tinuously to 1717, when they were recorded in the Gori's posthumous work of 1759.6 A view of the reli- treasury of the Benedictine monastery of Montier- quary without the plaques, also published by en-Der, mounted as doors on a medieval reliquary.5 Martene and Durand (fig. 4), shows an inscription An engraving of the plaques was published in that in Gothic letters on its base: hiis tabulis hoc ditat op(us) year by Doms Edmond Martene and Ursin Durand B(er)chari(us) iilli [sic] quas pegrinanti terra beata dedit. (fig. 3), and another engraving appeared in A.E With the reliquary itself the inscription is datable to 5 Delbrueck 214 quotes an inventory of the monastery 1985) 104-107. 6 of 1717: "ce qui orne davantage ce reliquaire ce sont deux Voyagelittiraire de deux religieux benddictinsde la Con- portes d'Ivoire... Ce sont deux pieces achevees qui ... gregation de Saint Maur (Paris 1717) opp. p. 98 (Eisenberg servent de portes ou volets pour couvrir les reliques";cf. 1993, fig. 5); A.E Gori, Thesaurusveterum diptychorum consu- Claussen 318, n. 20. The plaque of the Nicomachi is in larium et ecclesiasticorum,ed. I. Passeri, I (Florence 1759) pl. Paris, Musee de Cluny, Cl. 17048: J.-P Caillet, Eantiquite' VI opp. p. 207 (Eisenberg 1993, fig. 7). classique, le haut moyendge et Byzance au Musde de Cluny (Paris 1994] A LATEANTIQUE IVORY PLAQUE 459 Fig. 2. Diptych leaf of the Symmachi. London, Victoria and Albert Museum. (Photo courtesy Trustees of the Victoria and Albert Mu- seum) 460 DALE KINNEY [AJA98 I IA ifr -pq i_- -A I klr ti: _i wil fil MIS;N Fig. 3. Engraving of diptych of the Nicomachi and the Symmachi. (After E. Martene and U. Durand, Voyagelittiraire de deuxreligieux benidictins de la Congregationde SaintMaur [Paris 1717] opp. p. 98. Photo BibliotecaApostolica Vaticana) the turn of the 13th century.' Richard Delbrueck Adso (d. 922): "he [Bercharius] visited Jerusalem traced its content to a biography of Abbot Ber- and obtained very many sacred relics, and he charius (d. 675) attributed to his distant successor brought back with him excellent tablets of ivory."8 7 Delbrueck 214; Claussen 312-15; P Verdier,"A Thir- 8 Delbrueck 214; cf. Claussen 310, 318, n. 16. Actasanc- teenth-Century Reliquary of the True Cross," BClevMus torumOctobris VII, pt. 2, eds. J. van der Moere and J. van 69 (1982) 107. Hecke (Paris 1869) 1017: "Hierosolymamadiit sacrasque plu- 1994] A LATE ANTIQUE IVORY PLAQUE 461 tA ;-7W 777 .aIle s~~Il~~i~ ,z- 1V ~~~~L~1C~~aB~ I~~a~814 I~"L~ Ilie 19~~??WI k~~E~ ?~~~ 44 Fig. 4. Engraving of reliquary of the monastery of Montier-en-Der. (After E. Martene and U. Durand, Voyagelittiraire de deuxreligieux benidictins de la Congregationde SaintMaur [Paris 1717] following 98. Photo Biblioteca Apostolica Vaticana) According to a source of 1845, the reliquary "fell (SYMMACHORVM was found after the discovery prey to fire" after the monastery was closed in 1790.9 of NICOMACHORVM, but not after its publica- In 1860 the plaque of the Nicomachi was found "at tion; see ns. 10-11 supra), I think that we might the bottom of a well," presumably having been grant some grounds for suspicion. The plaque of thrown there as debris.'0 The plaque of the Symma- the Symmachi is much better preserved than NI- chi appeared soon after, in good condition, "in the COMACHORVM (though hardly pristine) and it possession of an amateur in the town of Montier-en- shows no traces of fire. In theory it could be an Der."" It was purchased by the South Kensington opportunistic recreation of a plaque even more (now Victoria and Albert) Museum in 1865.12 disastrously wrecked than NICOMACHORVM, Eisenberg finds it suspicious that the plaque of the made to fetch a better price. Symmachi turned up "in virtually pristine condi- Though it is justified by circumstance, Eisenberg's tion" so soon after the discovery of the ruined NI- case against SYMMACHORVM is ultimately moved COMACHORVM. He contends that the object by style, and this forces him to an even more drastic acquired by the Victoria and Albert Museum is a conclusion.
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