e-conservation the online Magazine 16, oct 2010.pdf

IDENTIFICATION OF IVORY BOOK COVERS
and texts. The Carolingian period marked a revival
of ivory carving [10], particularly in ecclesiastical
furniture, reliquaries, and book covers [1]. Charlemagne
sought to recreate the glory and culture of
ancient civilizations by having scribes and artists
copy classical texts and illustrations, including
many books of lavish miniatures and gold and/or
ivory covers [10]. After the Carolingian revival,
ivory continued to be used for making fine book
covers for treatises of special merit or religious
manuscripts [1].
A less figurative and more decorative design became
more common in the later years. This is more
representative of the simple, elegant designs of
the three deaccessioned books, as they are from
the late 19 th century. Book 1 has four fleur-de-lis
additions on the front and back, and an ink emblem
on the center medallion. Book 2 has a simple
yet beautiful oval medallion and surrounding engraving,
while Book 3 includes an asymmetrical
center addition.
Ivory Use in Portrait Miniatures
books, so miniaturists continued to illustrate books
but also offered patrons independent miniatures
[11]. In the 1520s, individual portraits in miniature
size were first produced at French and English
courts on a portable piece of parchment or
vellum [11]. This transfer of art technique relied
on an understanding of the close association between
the materials and techniques of the illuminated
book and the early miniature on parchment
[12]. It is interesting to consider the implication
on portrait miniatures had an early ivory book been
present and considered for the same transfer of
application.
Instead, small scale portrait images were painted
in a range of materials, styles, and techniques,
from water-based paints on paper or card supports,
to fired enamels on gold or copper supports, and
oil paints on metal, stone, glass and tortoiseshell
[12]. However, the most significant early methods
of painting portraits were on parchment or vellum,
called limnings, becoming known as portrait miniatures
in the 18 th century when they began to be
painted on ivory [12].
The use of ivory in books seems to have not experienced
a specific period of use, but rather was in
use periodically throughout history. In contrast,
portrait miniatures were very popular during a
400 year time period. Both ivory objects are intended
to show a kind of devotion; these particular
books to display religious beliefs, and the portrait
miniatures to commemorate a loved one or
important figure. The books were likely on display
in a home when they were not in use as a Catholic
missal to celebrate Mass throughout the year, however,
the miniatures were often more personal than
for display.
Notably, early portrait miniatures were derived
from illuminated manuscripts. From the 1460s,
handwritten books had to compete with printed
The first watercolour portraits on ivory tablets
were attributed to the Venetian artist Rosalba
Carriera [13]. These were initially used as bases
or lids for boxes [13], much like the repurposing
of diptychs and plaques for early ivory books.
Carriera gathered fame throughout Europe for
the beauty of the ivory visible through the transparent
paint in flesh coloured areas [13]. By 1710,
artists internationally faced pressure to conform
to this new fashion despite the difficulty of painting
watercolour on the unabsorbent ivory [13].
After the introduction of ivory as a support for portrait
miniatures, parchment use began to decline
until it stopped entirely [12]. The popularity of the
portrait miniature was decreasing by 1839 with the
introduction of the daguerreotype, a few decades
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