Carved in Ivory - ACE051.3

Details of an early tau cross (possibly 11th century) showing a "classic quality" with "vigorous cursive rhythms… the dominant style of the time". Details of "Lady Gunhild’s Cross", made for the niece of King Canute. Clark describes it as "rather official", wonders if it is really of English origin, and says "it lacks the Romanesque rhythm and … humanity". A crosier. Details show St John of Beverley curing a dumb youth, and St Peter curing a lame man. The largest and most intricate English (whalebone) ivory, "The Adoration of the Magi", "a great piece of ornamental abstract art". Clark calls it "a masterpiece" but sees "a coldness about the head of the Virgin" which he considers "un-English". A panel representing Christ’s deposition. Clark comments on the "expressive de-formation … almost caricatural" of some of the figures. Kilpeck Church, Herefordshire. Some of the carvings round the door show a similar style to that of the deposition. Details of the top of a 12th century tau cross, part of which Clark likens to a Donatello, and points to Romanesque features of other figures. Details of a crucifix, "the most recently discovered" of English ivories. Clark explains that the figure of Christ was missing but has been replaced by one from a museum in Oslo. He points out that the texts on the crucifix have all been chosen "as a warning to the Jews". A crosier from Canterbury showing Nativity scenes, miracles by St Nicholas, and other figures. Clark describes this as the last work in an English tradition which was replaced by a French style.