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Symmachi–Nicomachi diptych
The Symmachi–Nicomachi diptych is a Late Antique ivory diptych dating to the late fourth or early fifth century〔Compare the Poet and Muse diptych of a hundred years later.〕 whose panels depict scenes of ritual pagan religious practices. Both its style and its content reflect a short-lived revival of traditional Roman religion and Classicism at a time when the Roman world was increasingly turning to Christianity and rejecting the Classical tradition. The diptych takes its name from the inscriptions "Nicomachorum" and Symmachorum," references to two prominent Senatorial families. It was commissioned by the family of Q. Aurelius Symmachus, "one of the paladins of the pagan cause in the last quarter of the fourth century".〔Alan Cameron, "A New Late Antique Ivory: The Fauvel Panel", ''American Journal of Archaeology'' 88.3 (July 1984), pp. 397-402.〕
==Provenance==
The diptych leaves were preserved together until the nineteenth century.〔Weitzmann, 186.〕 The earliest description of the leaves dates to 1717, when a treasury inventory of the monastery of Montier-en-Der records them serving as doors on an early thirteenth century reliquary.〔Kinney, 458; they were engraved for E. Martène and U. Durand, ''Voyage littéraire de deux religieux Bénédictins de la congregation de S. Maur'' (Paris, 1717, p. 98, noted in Cameron 1984, p. 387 note 5, below〕 Art historian and scholar Richard Delbrueck uncovered a reference to the panels in the abbot Adso's tenth century biography of Bercharius, who founded the monastery ca. 670. Adso wrote that his predecessor "visited Jerusalem and obtained very many sacred relics, and he brought back with him excellent tablets of ivory."〔Delbrueck's view and Adso quotation found in Kinney, 461.〕 When the events of the French Revolution forced the closure of the monastery in 1790, the reliquary and its panels were temporarily lost. The Nicomachi wing was recovered in 1860 from a well, heavily damaged by fire, and the mostly intact Symmachi panel resurfaced in the hands of a collector not long after. They were subsequently acquired by the Musée de Cluny and the Victoria and Albert Museum respectively.
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