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The ivory's history between then and 1625 is unknown – in that year it was offered by the leading antiquary Nicolas-Claude Fabri de Peiresc to the Papal legate Cardinal Francesco Barberini in Aix-en-Provence, becoming part of the Barberini collection in Rome. Peiresc mentions it specifically in a letter to his friend Palamède de Vallavez ...
Barberini Ivory on display at the Louvre. Panel of a possible imperial diptych representing the empress Ariadne, Bargello.. In Late Antiquity, an imperial diptych is a theoretical type of ivory diptych, made up of two leaves of five panels each and each with a central panel representing the emperor or empress.
Barberini ivory: Diptych Dendera zodiac: Bas relief The Exaltation of the Flower: Bas relief Harbaville Triptych: Triptych in ivory (Byzantine) Borghese Vase: Krater Daniel Pincot: Investiture of Zimrilim: Fresco (Mari, Syria)
Barberini ivory; P. Portland Vase; V. Barberini Venus This page was last edited on 30 August 2017, at 08:37 (UTC). Text is available under the Creative Commons ...
The largest surviving Byzantine ivory panel (428 mm × 143 mm), is a leaf from a diptych in the Justinian court manner of c. 525 –550, which features an archangel. [3] From the Middle Ages many panel paintings took the diptych form, as small portable works for personal use; Eastern Orthodox ones may be called "travelling icons".
The mosaic is square in shape. The sides are 1,860 mm (73 in) long. Originally it was part of a large floor mosaic featuring five different images. It formed the floor of the dining room in a large atrium house. The Judgement of Paris was the central and largest image, with two others on each side.
The Barberini ivory, a 6th-century ivory diptych representing either Anastasius or Justinian I. Anastasius was born at Dyrrachium; the date is unknown, but is thought to have been no later than 431. He was born into an Illyro-Roman family.
These two pictures, now in the National Gallery, London, are thought to have been completed between 1490 and 1495. One, an angel in red, is thought to be the work of Ambrogio de Predis while the angel in green is thought to be the work of a different assistant of Leonardo, perhaps Francesco Napoletano.
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