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Barberini ivory
The Barberini ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity, now in the Louvre in Paris. It represents the emperor as triumphant victor. It is generally dated from the first half of the 6th century and is attributed to an imperial workshop in Constantinople, while the emperor is usually identified as Justinian, or possibly Anastasius I or Zeno. It is a notable historical document because it is linked to queen Brunhilda of Austrasia. On the back there is a list of names of Frankish kings, all relatives of Brunhilda, indicating the important position of queens within Frankish royal families. Brunhilda ordered the list to be inscribed and offered it to the church as a votive image.
Although it is not a consular diptych, it shares many features of their decorative schemes. The emperor is accompanied in the main panel by a conquered barbarian in trousers at left, a crouching allegorical figure, probably representing territory conquered or reconquered, who holds his foot in thanks or submission, and an angel or victory, crowning the emperor with the traditional palm of victory (which is now lost). Although the barbarian is partly hidden by the emperor's huge spear, this does not pierce him, and he seems more astonished and over-awed than combative. Above, Christ, with a fashionable curled hair-style, is flanked by two more angels in the style of pagan victory figures; he reigns above, while the emperor represents him below on earth. In the bottom panel barbarians from West (left, in trousers) and East (right, with ivory tusks, a tiger and a small elephant) bring tribute, which includes wild animals. The figure in the left panel, representing a soldier, carries a statuette of Victory; his counterpart on the right is lost.
==Design==
It was originally made up of five rectangular plaques, although that on the right has been replaced (perhaps in the 16th century) by a board bearing the inscription CONSTANT. N. IMP. CONST. The plaques are fitted together by tongue and groove joints, around a larger central plaque. Overall, the piece is the only such secular object to survive in such good condition.〔The other comparable ivories of this era are in effect ecclesiastical diptychs such as the gospel of Saint-Lupicin or the binding of Etschmiadzin.〕 often grouped under the title of imperial diptychs. It measures high by wide overall, with the central panel high by wide by deep. It is made from elephant ivory, sculpted and mounted with precious stones (7 pearls survive). It carries no traces of polychromy, contrary to what certain historians have supposed.
It is not certain that the Barberini ivory belonged to a diptych, that is that there was a second set of plaques forming a second leaf with another portrait, perhaps of the empress – this first leaf is already too heavy to be comfortably used as a real writing tablet, and there is not trace of a hinge that could indicate it was a bookcover.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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