Barberini ivory

As you examine the Barberini ivory, let your eyes wander over the intricate details of its craftsmanship. Made from elephant ivory, this piece is a marvel of sculptural technique. Notice how the five rectangular plaques fit together seamlessly, held by tongue and groove joints. You can almost feel the weight of history in your hands as you observe the delicate carvings, where every curve and line tells a story. The absence of polychromy allows the natural beauty of the ivory to shine through, emphasizing the skill of the artisans who crafted it. Can you see the remnants of precious stones, like the seven pearls that still cling to its surface? Each detail is a testament to the artistry of the imperial workshop in Constantinople, where this piece was born.

Originally part of an imperial diptych, it was likely commissioned to celebrate the power of the emperor, often thought to be Justinian. This piece was not just a work of art; it served as a votive offering, inscribed with the names of Frankish kings related to Queen Brunhilda, hinting at its significance in the political landscape of the time. After its creation, the ivory traveled through various hands, with its journey becoming somewhat of a mystery until 1625 when it was gifted to Cardinal Francesco Barberini. It became a prized possession in the Barberini collection in Rome before finding its home in the Louvre in 1899.

Created in the early 6th century, it reflects the political and religious dynamics of its time, particularly the intertwining of Christian authority and imperial might. This piece not only showcases the craftsmanship of an imperial workshop in Constantinople but also serves as a historical document linking to Queen Brunhilda of Austrasia, highlighting her influence and the connections between the Byzantine Empire and the Frankish kingdoms. The ivory's intricate iconography, depicting the emperor crowned by Victory and flanked by allegorical figures, set a precedent for future representations of power in art. Its survival in such excellent condition allows us to glimpse the aesthetic values and political messages of the era, making it a crucial piece for understanding the evolution of imperial imagery in art history.

One fascinating tidbit about the Barberini ivory is that it was originally thought to be a writing tablet, but its weight and lack of a hinge suggest it was never intended for practical use. Instead, it served a ceremonial purpose, reinforcing the emperor's divine right to rule.

Initially, it was thought to be a writing tablet, but its weight and lack of a hinge indicate it was likely intended for ceremonial use instead.

In 1625, it was gifted to Cardinal Francesco Barberini by the antiquary Nicolas-Claude Fabri de Peiresc, who had recovered it earlier and recognized its significance.

It is the only surviving secular object of its kind in such good condition, showcasing the exceptional craftsmanship of the imperial workshop in Constantinople.