Late Roman Theodosian Style

Ivories

	1. Ivory diptych commemorates the marriage alliance of the Nicomachi and Symmachi families, 4th c. Rome (Paris: Cluny; London: Victoria and Albert Mus.) This alliance laid the basis for the leadership in Rome of the senatorial reaction that contributed greatly to the eventual collapse of the Roman Empire. An example of the apogee of neo-classical small-scale art under senatorial patronage.
	2. Ivory diptych of Stilicho, ca. 390 A.D. (Monza: Cathedral Treasury). The task of defending the empire fell to a series of able generals, starting with Stilicho, who were keenly loyal to the emperors. Arcadius was youthful and ineffectual, and his brother and co-ruler, Honorius, feeble-minded, but Stilicho served them ably, despite courtly factionalism. The images on his shield of Arcadius and Honorius imply Stilico is defender of the Empire's theoretical unity. Stilicho was German, as was the Roman army, as seen in his use of a fibula, but he is represented here on a diptych, and, except for facial features, is represented in the Theodosian manner.
	3. Ivory consular diptych of Sextus Anicius Probus, showing Honorius at the left, early 5th c. Rome. While the use of the nimbus, frontality, closed composition, inorganic forms, and the importance of symbols are hieratic traits, there is an effort here to revive the classical aesthetic: the sense of plastic values, relaxed pose, and calm expression devoid of emotion. The senatorial aristocracy in Italy looked to the past as the source of its dignity and its independence from the emperors backed by the army. But the danger in this reaction was parochialism. Indeed, we see here an Italianate plebeian figure style that suggests local associations could outweigh association with the Empire.
	4. Lampadi diptych leaf. Three members of Lampadi family sit in the tribune to witness a race in the Hippodrome in Constantinople, 5th c. A.D. (Brescia: Museo Cristiano). The consul's throwing the mapa into the arena (throwing in the towel) was the high point of the consular career and marked the entrance of the consul into the senatorial order.
	5. Leaf from Basilius diptych showing winged victory holding a shield with an effigy of Basilius, who was Consul in 480 A.D. (Milan: Museo del Castella Sforzesco). In style and content, this example of the Theodosian style in the Western Roman Empire is beginning to loose touch with the Theodosian courtly style. In the Eastern Roman Empire, courtly culture has a future.
	6. Two ivory diptych leaves, Constantinople, ca. 500 A.D. On left is a consular diptych leaf (Paris: Cab.des Med.) A traditional type, but here more plastic, solid, and refined. On right is a court diptych (London: Brit. Mus.), based on a Greek classical model. Well modled, subtle drapery, delicate architecture. These works illustrate the style and good technique employed in Constantinople at the time.
	7. Ivory diptych leaf of Areobindus, Constantinople ca. 506 A.D. Areobindus was Consul in the East in 506 and the husband of Juliana Anicia. Below is a hunt in the Hippodrome.
	8. Ivory diptych leaf of Consul Basilius and "Roma," with circus below, Rome, 6th century.
	9. Ivory relief showing Apollo and Daphne, Ravenna (Ravenna: Museo Nazionale). A marked neo-classicism reflects the tastes of the court artistocracy at Ravenna, who are reacting to the imposition of military rule in Italy, but here there is even a rejection of a Christian theme in favor of pagan mythology. Soon enough this attitude will be considered treasonous, as indeed it was.
	10. Ivory statue of Ariadne (?), ca. 500 A.D. (Paris: Cluny). Reflects the classical revival.
	11. The Barberini diptych has five panels. This one shows Anastasius or Justinian in triumph. Constantinople, beg. 6th c. A.D. (Paris: Louvre). A revival of classical values seen in the high relief, pictorial organization, and complex foreshortening.
	12. Detail from the Barberini diptych, 6th c. A.D. (Paris: Louvre). Effective use of perspective and light and shade to achieve vigorous expression. With such energy and with the help of generals like Narses and Belisarius, Justinian, like the Gupta in India, managed to destroy much of the Roman Empire in his effort to restore its political unity.
	13. Ivory diptych of Anastasius, Magister Militium and Consul in 517 A.D. Theodosian style. Hieratic and expressive, but technically refined. Anastasius, holding the mappa, presides over the Hippodrome games. Below are Amazons and tragic actors. Medallion portraits of Anastasius and Ariadne. (Paris, Cab. des Méd.)
	14. Ivory consular diptych of Justin, Constantinople, 540 A.D. Justin was the son of Germanus. The medallions show Theodora and Justinian flanking Christ.
	15. Ivory comb from Alexandria. 6th c. A.D. Scenes from the mythology of Dionysius. Although Alexandria was in Egypt, it was largely an extension of East Roman culture. The classical revival manifested here contrasts sharply with what was occurring in the Coptic art of Egypt.
	16. Ivory throne of Archbishop Maximian of Ravenna, 546-556 A.D. (Ravenna: Museo Archivescovile). A technically sophisticated work with rich Christian symbolism and a coherence despite the separation of individuals by architectural elements. After the Gothic Wars in Italy, the Exarchate of Ravenna, which stretched from Ravenna to Rome, became an outpost of Byzantine culture because of settlers from Constantinople.
	17. Another view of the Throne of Archbishop Maximian.
	18. Detail from the throne of Maximian. The framed panel compositions may reflect Coptic or Syrian traditions.
	19. Fragment from a diptych showing the Marriage at Cana, Alexandria, 6th c. A.D. Although the figures tend to float, nevertheless the active narrative scene with semi-nude figures reflects the neoclassicism associated with the East Roman court in the 6th c. The church, as the local representation of imperial authority, adapted the ivory diptych for didactic purposes, but as foreign trade declines and a feudal need for emotional color emerges, the primary vehicle became panel painting.