Alfred Ogle Maskell

Summary

Alfred Ogle Maskell 1911 Encyclopædia Britannica (1911)

Throughout the Carlovingian period, the examples of ivory sculpture which we possess in not inconsiderable quantity are of extreme importance in the history of the early development of Byzantine art in Europe. And when the Western world of art arose from its torpor, freed itself from Byzantine shackles and traditions, and began to think for itself, it is to the sculptures in ivory of the Gothic art of the 13th and 14th centuries that we turn with admiration of their exquisite beauty of expression.
Source: Wikisource

Alfred Ogle Maskell 1911 Encyclopædia Britannica (1911)

Mirror cases, caskets for jewelry or toilet purposes, combs, the decoration of arms, or of saddlery or of weapons of the chase, are carved and chased with scenes of real life or illustrations of the romances, which bring home to us in a vivid manner details of the manners and customs, amusements, dresses and domestic life of the times. With the Renaissance and a return to classical ideas, joined with a love of display and of gorgeous magnificence, art in ivory takes a secondary place. There is a want of simplicity and of originality. It is the period of the commencement of decadence.
Source: Wikisource

Alfred Ogle Maskell 1911 Encyclopædia Britannica (1911)

Throughout succeeding ages there is continued evidence that no other substance—except perhaps wood, of which we have even fewer ancient examples—has been so consistently connected with man’s art-craftsmanship. It is hardly too much to say that to follow properly the history of ivory sculpture involves the study of the whole world’s art in all ages.
Source: Wikisource

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