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Diptych

A diptych is an artwork consisting of two painted, carved, or otherwise adorned panels that are typically hinged together or presented side by side to form a cohesive whole, often depicting related scenes, complementary images, or a continuous narrative.^[1]^[2] The term derives from the Greek words di (two) and ptychē (fold), reflecting its origins as a folded object.^[3] Historically, diptychs trace their roots to ancient civilizations, where they functioned as practical writing tablets made of materials like wood, ivory, metal, or bone coated with wax for inscription. In Roman consular traditions, they took the form of engraved ivory panels to commemorate officials and events.^[3] By the medieval period, particularly from the 13th century onward, diptychs evolved into significant forms of Christian devotional art, serving as portable altarpieces, icons for private prayer, or hinged protective covers for religious texts, with prominent examples in Byzantine, Italian, and Flemish traditions.^[1]^[3] These works often featured scenes from the life of Christ, the Virgin Mary, or saints, emphasizing themes of worship and spirituality, and were valued for their portability during travel or in personal chapels.^[1] During the Renaissance (roughly 1400–1580), diptychs reached artistic heights in regions like Flanders and Italy, where they portrayed secular and religious subjects with intricate detail, such as double portraits of donors and spouses or symbolic narratives, exemplified by Piero della Francesca's Diptych of Federico da Montefeltro and Battista Sforza (c. 1473–1475), which showcases realistic profiles and allegorical landscapes on the reverse.^[3] The format persisted into the modern era, adapting to new mediums like photography and silkscreen, as seen in Andy Warhol's Marilyn Diptych (1962), a pop art icon juxtaposing vibrant and faded images of Marilyn Monroe to explore fame and mortality.^[3] Today, diptychs continue to influence contemporary art, allowing artists to play with juxtaposition, narrative depth, and spatial dynamics across unhinged or abstract panels.^[1]

Introduction and Etymology

Definition

A diptych consists of two flat plates or panels connected by a hinge, originally used as writing tablets filled with wax and inscribed with a stylus.^[4] These inner surfaces were typically coated with a layer of wax, allowing text or drawings to be scratched into it for temporary notes, correspondence, or exercises, and then smoothed over for reuse.^[5] Typically rectangular in shape, diptychs were constructed from materials such as wood, ivory, bone, or metal, with the panels designed to fold together for protection and portability.^[4] Wooden examples often featured a raised frame around the wax recess and binding holes for hinges or straps, while later ivory variants, such as consular diptychs, incorporated carved reliefs on the exterior.^[6] Over time, diptychs evolved from practical notebooks in antiquity to artistic and symbolic objects valued for their aesthetic and ideological qualities.^[7] Unlike a triptych, which features three panels, or a polyptych with multiple panels, a diptych is strictly bipartite in form.

Etymology

The term "diptych" originates from the Late Latin "diptycha," a borrowing from the Late Greek "díptycha" (δίπτυχα), the neuter plural form of "díptychos" (δίπτυχος), meaning "folded in two" or "pair of writing tablets."^[8]^[9] This compound derives from the Greek prefix "di-" (δí-, "two" or "twice") and "ptýchē" (πτύχη, "fold," "layer," or "tablet"), reflecting the structure of hinged writing surfaces.^[8]^[9] The word entered English in the early 17th century, with its earliest recorded use in 1622, as noted in the Oxford English Dictionary.^[10] In its historical linguistic context, "diptych" first appears in ancient Greek texts to describe paired wax tablets used for writing, correspondence, and note-taking, with evidence of such objects dating back to at least the 6th century BCE among the Greeks.^[11]^[4] These tablets, often made of wood or ivory coated with wax and bound by hinges, served practical purposes like copy-books or legal documents in classical antiquity. By the late 4th century CE, the term began to extend beyond literal writing tools in Latin usage, applying to more elaborate objects such as carved ivory panels.^[12]^[11] Over time, the semantics of "diptych" shifted from denoting functional writing implements to metaphorical applications in art and religion. In artistic contexts, it came to refer to paired hinged panels used for paintings or carvings, emphasizing the dual-fold format.^[9] In ecclesiastical usage, starting in the 4th and 5th centuries CE, diptychs evolved to include liturgical registers inscribed with names of the living (diptycha vivorum) and the dead (diptycha mortuorum) for commemoration during church services, marking a distinction from profane versions.^[11] This expansion highlights the term's adaptability to paired structures in broader cultural practices. Related terms include "triptych," a cognate formed similarly from Greek "tri-" (three) and "ptýchē," denoting three-fold panels, though diptych remains focused on duality.^[8]

Historical Development

Ancient Origins

The earliest precursors to diptychs appeared in the context of emerging writing systems during the late Neolithic and early Bronze Age in Mesopotamia, where small clay tokens and single clay tablets from sites like Uruk (circa 3500–3000 BCE) served as basic tools for record-keeping and accounting.^[13] These non-hinged objects represented goods, transactions, and administrative data, laying the groundwork for more advanced portable writing surfaces as cuneiform script evolved.^[14] Although true hinged diptychs did not yet exist, this period marked the transition from bulky clay media to compact, reusable formats suited for scribes' daily needs. The invention of diptychs as portable wax tablets occurred in Sumer during the Ur III period (circa 2100–2000 BCE), where textual references in cuneiform documents describe le'u-boards—wooden panels coated with wax for inscribing cuneiform signs with a stylus.^[15] These devices were developed to facilitate writing in administrative, economic, and possibly literary contexts, offering a lightweight alternative to clay tablets that could be erased and reused by smoothing the wax surface.^[16] Earliest examples are attested in Sumerian archives and tombs, such as those from the Ur III dynasty, highlighting their role in early bureaucratic systems across southern Mesopotamia.^[17] Constructed primarily from wood, such as boxwood, these early diptychs featured shallow recesses filled with a beeswax-based mixture (sometimes colored with orpiment or ochre) on the inner faces, bound together as paired panels with hinges made of ivory or organic materials like leather thongs.^[15] Typical dimensions ranged from 10 to 20 cm in height, making them ideal for handheld use by mobile scribes.^[18] The oldest surviving physical example, a boxwood diptych with a three-piece ivory hinge, comes from the Uluburun shipwreck off the coast of Turkey (circa 1320 BCE), likely originating from a Near Eastern context and intended for wax inscription.^[19] In Mesopotamian society, these diptychs played a crucial cultural role, employed by scribes for jotting administrative notes, tracking inventories, and recording transactions in temples and palaces, as evidenced by Ur III economic texts.^[15] While primarily utilitarian, they enabled quick documentation in fields like trade and governance, with potential early uses extending to personal memos or rudimentary poetry drafts, though surviving references emphasize bureaucratic functions.^[16] Archaeological contexts, including shipwrecks and archival hoards, underscore their portability and integration into daily scribal practices across early ancient civilizations.^[20]

Classical and Late Antiquity

In the Greco-Roman world, diptychs evolved from practical writing tools to symbols of elite culture. By the eighth century BCE, they were in use among the Greeks as hinged wooden tablets coated with wax for recording notes, correspondence, and penmanship exercises, particularly in intellectual centers like Athens where they facilitated legal and philosophical documentation. In Rome, these wax tablets served as precursors to the codex format, with some luxurious versions featuring ivory veneers on the outer panels to protect the inner writing surfaces, marking an early shift toward durable, status-oriented materials.^[21] The introduction of consular diptychs in late antiquity represented a pinnacle of this development, emerging in the late fourth century CE as ivory panels commissioned by newly appointed consuls to commemorate their office. These were distributed as prestige gifts to allies, officials, and supporters, reinforcing political networks and elite solidarity within the Roman and early Byzantine empires. Regulated by imperial law in 384 CE, their production was restricted to ordinary consuls, ensuring exclusivity; the practice continued until Justinian abolished the consulship in 541 CE due to its extravagant costs. More than 40 consular diptychs survive today, with notable examples including the diptych of Anicius Petronius Probus from 406 CE, now housed in Aosta Cathedral, which depicts the consul alongside Emperor Honorius in a scene of imperial authority.^[22]^[23]^[11] Crafted from elephant tusks sourced through trade routes via Egypt, these diptychs were meticulously carved in low relief on the exterior panels, often depicting the consul enthroned with symbols of power like the mappa circensis (a cloth dropped to start chariot races) and scepter, while the interiors retained wax recesses for occasional writing. Some featured gilding or inlays of gold and semiprecious gems to enhance their opulence, though the primary technique emphasized intricate engraving to evoke classical motifs of victory and governance. Workshops flourished in the imperial capitals of Rome and, increasingly, Constantinople, where centralized production allowed for standardized yet personalized designs, with names and titles inscribed post-carving.^[21]^[23]^[22] Socially, consular diptychs underscored the consul's role as a patron of public spectacles, distributed during inauguration ceremonies and chariot games in the Circus Maximus to honor contributors and spectators, thereby symbolizing the office's enduring prestige amid the empire's transitions. This shift from ephemeral wax inscriptions on utilitarian tablets to permanent, engraved ivory artifacts highlighted evolving notions of power, transforming diptychs from everyday tools into enduring emblems of authority and commemoration in the late Roman and early Byzantine eras.^[22]^[23]^[21]

Artistic Diptychs

Consular and Ivory Diptychs

Consular diptychs were prestige gifts commissioned by Roman consuls to commemorate their election, typically produced in the late Roman Empire from the 4th to 6th centuries CE. These objects, often carved from ivory, served as diplomatic and ceremonial tokens distributed to dignitaries, embodying the continuity of Roman imperial tradition amid political fragmentation. The iconography of consular ivory diptychs prominently featured relief carvings illustrating the consul's procession and public role, including motifs of victory, imperial authority, and civic pomp. Common scenes depicted the consul in a toga bordered with gold and jewels, presiding over chariot races at the Circus Maximus or receiving honors from senators and barbarians, symbolizing both pagan Roman heritage and emerging Christian influences. For instance, the Areobindus Diptych, dated to 506 CE, portrays the consul Flavius Areobindus Dagalaiphus Areobindus overseeing a hippodrome race with detailed figures of charioteers and spectators, emphasizing themes of imperial patronage and spectacle. Artistic techniques in these diptychs involved intricate bas-relief sculpture on elephant ivory panels, typically measuring 12-15 cm in height and bound with metal hinges for folding. Carvers employed bilateral symmetry, with each leaf mirroring the other's composition to create a unified narrative when opened, often using fine incising and polishing to achieve depth and texture in the ivory. This craftsmanship reflected the specialized workshops of Constantinople and Rome, where artisans drew from classical Greco-Roman models while adapting to Christian iconoclasm by omitting overt pagan deities in later examples. Approximately 100 consular ivory diptychs (often as leaves or fragments) survive, primarily from the period 400-600 CE, with notable examples housed in major institutions. The Symmachus and Nicomachus Diptych, dated around 400 CE, exemplifies early 5th-century style with its depiction of two aristocratic families in consular attire, now preserved in the Louvre Museum. Other significant pieces include the Nicomachus Flavianus Diptych in the Biblioteca Nazionale in Monza and various fragments in the British Museum, such as the Lampadii Diptych from 393 CE, which highlight the transition from pagan to Christian motifs. These diptychs hold cultural significance as artifacts of the late Roman world's decline, capturing the erosion of centralized authority while foreshadowing Byzantine and early medieval art forms. Many were later repurposed in the Middle Ages for Christian reliquaries or book covers, such as the diptych of Consul Agapitus (517 CE) adapted for a Gospel binding in the Biblioteca Capitolare in Verona, illustrating their enduring value across religious transitions.^[24]

Medieval and Renaissance Panel Paintings

During the medieval period, particularly from the 12th to 14th centuries, diptychs evolved as hinged altarpieces featuring religious scenes, serving as portable aids for personal devotion among the nobility and clergy. These works often depicted saints, the Virgin Mary, and Christ in intimate, gilded compositions that could be folded for protection during travel or private prayer. A prime example is the Wilton Diptych, created between 1395 and 1399 for King Richard II of England, which portrays the king kneeling before the Virgin and Child on one panel and surrounded by saints including John the Baptist, Edmund, and Edward the Confessor on the other, blending royal patronage with spiritual intercession.^[25] In the Renaissance, from the 15th to 16th centuries, diptychs innovated as compact devotional objects tailored for private use, emphasizing realism and emotional depth in oil painting techniques pioneered by Netherlandish artists. These portable pieces allowed patrons to engage directly with sacred imagery in domestic settings, often incorporating donor portraits alongside divine figures to personalize the act of worship. Jan van Eyck's small-scale works, such as the Annunciation Diptych (c. 1430s), exemplify this shift, adapting triptych motifs—like those in his Dresden Triptych (c. 1437)—into diptych formats for contemplative prayer, with meticulous details in light and texture enhancing their spiritual intimacy.^[26] Medieval and Renaissance diptychs were typically executed in tempera or oil on wood panels, such as oak, with extensive gilding to evoke heavenly radiance; their intimate scale, often 20-30 cm high, suited noble patrons' private chapels or travel. This format prioritized luminous colors, fine brushwork, and symbolic depth over monumental display, reflecting a growing emphasis on individual piety. Key examples include the wings of Robert Campin's Mérode Altarpiece (c. 1427–32), which function as diptych-like pairs showing the donor in devotion on the left and Saint Joseph with symbolic elements on the right, highlighting everyday mysticism. By the late 15th century, the form transitioned toward secular portraiture, as seen in Hans Memling's Diptych of Maarten van Nieuwenhove (1487), where the young Bruges merchant's realistic likeness on one oak panel faces the Virgin and Child on the other, merging personal identity with religious veneration through innovative spatial continuity and reflected light.^[27]^[28]

Modern and Contemporary Art

The diptych format experienced a notable revival in 20th-century art, particularly within the Pop Art movement, where artists repurposed the paired-panel structure to critique mass media and consumer culture. Andy Warhol's Marilyn Diptych (1962), a silkscreen on canvas measuring 205.4 x 289.6 cm, exemplifies this shift; the left panel features 25 vibrant, repeating images of Marilyn Monroe, while the right panel renders the same grid in stark black and white, juxtaposing the glamour of celebrity fame against the inevitability of mortality following her death.^[29] This work, acquired by Tate in 1980, marked a departure from traditional religious or narrative uses of the diptych, instead employing mechanical reproduction to explore themes of repetition and ephemerality in modern iconography.^[29] In the late 20th and early 21st centuries, conceptual artists further adapted the diptych to delve into philosophical dualities such as life and death, often using everyday or scientific motifs to provoke reflection on human fragility. Damien Hirst's works from the 2000s, including the oil-on-canvas diptych Addicted to Crack, Abandoned by Society (2004–2005), each panel 182.9 x 121.9 cm, pair contrasting compositions that evoke societal neglect and addiction, underscoring existential tensions.^[30] Similarly, Hirst's butterfly-themed diptychs, such as Monument to the Living and the Dead (2006), a large-scale installation with iridescent butterfly wings on panels, symbolize transformation and mortality, drawing on the insect's life cycle to highlight beauty amid decay.^[31] These pieces, exhibited in major retrospectives, emphasize the diptych's capacity for visual and thematic opposition, transforming personal and medical symbols—like pills in related series such as Two Pills (2004)—into meditations on survival and loss.^[30] Contemporary examples extend this format into street art, mixed media, and digital realms, blending accessibility with innovation. Banksy's Girl with Balloon (Diptych) (2005), spray paint on canvas in two parts each 30.2 x 30.2 cm, from an edition of 25, divides the iconic stencil image across panels to evoke innocence and loss, with the balloon motif suggesting fleeting hope; signed and numbered editions were produced around 2006.^[32] Post-2010, artists have incorporated diptychs into mixed-media and digital practices, such as James Verbicky's textured media paintings like Citta Samtana Diptych (2010s), which layer acrylic, ink, and gold leaf to create immersive, multi-sensory contrasts.^[33] In the digital sphere, non-fungible token (NFT) pairs have emerged as paired editions, exemplified by the Nascent series (2021) by Art + Mechanics, comprising 15 unique physical diptychs accompanied by open-edition NFT performances that explore emotional and narrative binaries through blockchain-verified duality.^[34] The diptych's enduring significance in modern and contemporary art lies in its facilitation of narrative contrast and juxtaposition, enabling artists to construct interactive dialogues between panels that invite viewer engagement with themes of opposition and unity. This format has been prominently featured in exhibitions at Tate Modern, such as the 2020 Andy Warhol retrospective, where Marilyn Diptych underscored its role in subverting traditional altarpiece structures for secular critique.^[29]

Ecclesiastical Diptychs

Liturgical Functions

In Christian liturgy, diptychs primarily served as inscribed lists known as the diptychs of the living and the diptychs of the dead, containing names read aloud during the Eucharistic prayer to commemorate church members for intercessory prayers.^[35] This practice originated in the 4th-century Byzantine rites, where wax tablets or bound panels were used as registers maintained by local churches to record members in good standing, excluding heretics or the excommunicated.^[35] In the Eastern Orthodox tradition, diptychs remain in active use during the Divine Liturgy, where deacons publicly read the names of the living and deceased, with the choir echoing responses to affirm communal remembrance.^[36] These lists encompass parish members as well as primates of autocephalous churches, underscoring hierarchical bonds, and are typically inscribed on materials such as wood, ivory, or precious metals like silver.^[35]^[36] By the 14th century, physical diptychs evolved into written lists (hramoty) or booklets (pomianiky) submitted by families for inclusion in services, particularly on All Souls Saturdays.^[35] Western Catholic adaptations of diptychs appeared in early sacramentaries, such as the 8th-century Gelasian Sacramentary, which includes prayers of intercession referencing commemorations of the living and dead following the pattern of Byzantine influences.^[37] However, the practice of reading names from physical diptychs phased out in the Western Church after the Middle Ages, with echoes persisting in missal rubrics for general intercessions rather than specific lists.^[11] The theological purpose of liturgical diptychs centers on symbolizing the unity of the church across time and space, as the act of naming fosters intercession between the living, the saints, and the departed, reinforcing ecclesial communion without visual imagery—relying solely on textual inscription.^[38]^[39] This purely verbal commemoration, defended as apostolic tradition by figures like St. Epiphanius of Salamis in the 4th century, emphasizes the corporate dimension of prayer in the Eucharist.^[35]

Historical Examples and Traditions

Ecclesiastical diptych traditions emphasized the commemoration of the living and departed faithful, with lists inscribed on wax or ivory tablets read aloud during the Divine Liturgy to affirm Church unity. In monasteries, these diptychs were annually updated, particularly at Easter and Pentecost, to include new baptisms, ordinations, benefactors, and deceased members, functioning also as registers and martyrologies.^[11] The use of diptychs declined in the Western Church after the 11th century, largely supplanted by written missals and verbal commemorations amid liturgical reforms and the Great Schism of 1054, disappearing entirely by the 12th century. In contrast, the Eastern Orthodox tradition preserved the practice, with ongoing updates to diptychs reflecting inter-church relations and ecclesial hierarchy. This persistence extended into Russian Orthodoxy even after the 1917 Revolution, where Soviet persecution forced clandestine maintenance of commemorative lists in émigré communities and surviving monasteries, adapting the format to wood or paper for portability.^[11]^[38]^[40]^[41] Few liturgical diptychs survive today, as they were often plain inscribed tablets rather than elaborate artworks. Notable examples include a 6th-century ivory diptych preserved in the treasury of San Paolo fuori le Mura in Rome, inscribed on one side with a list of popes and on the other with names of the faithful; and a 10th-century gilded silver tablet in the sacristy of Milan Cathedral, containing inscriptions of the living and dead. Approximately a dozen early Christian and Byzantine specimens are documented, many housed in the Vatican Apostolic Library's manuscript treasures and the monastic libraries of Mount Athos, where they continue to inform Orthodox liturgical scholarship.^[11]^[42]

Functional Diptychs

Diptych Sundials

Diptych sundials are portable astronomical instruments developed in Renaissance Europe, consisting of two hinged panels that fold like a book to facilitate timekeeping by observing solar shadows. These devices emerged as practical tools for determining local time without fixed installations, particularly valued for their compactness and adaptability to various locations. Crafted primarily from ivory or brass, they often integrated a compass for orientation and were adjustable for different latitudes, reflecting the era's advances in cosmography and navigation.^[43]^[44] The design features two leaves: the lower panel typically bears a horizontal dial plate with engraved hour lines and a string or pin gnomon that casts a shadow to indicate time, while the upper panel serves as a vertical dial or support, often with a compass embedded in its base for aligning north. Latitude adjustment is achieved through mechanisms such as rotatable beds, slotted holes, or numbered peg positions corresponding to specific European cities, allowing the gnomon's angle to match the observer's location—for instance, settings for latitudes from Danzig to Corfu. Additional elements include equinox lines for seasonal calibration, wind roses for directional reference, and sometimes lunar volvelles for nocturnal use or astrological data. Early examples incorporated wax writing tablets on the reverse for note-taking, blending timekeeping with practical utility. Materials like elephant ivory provided a lightweight, durable surface for intricate engravings, with brass components for gnomons ensuring precise shadow projection.^[45]^[44]^[46] In operation, the diptych is opened and placed on a level surface, with the compass used to orient it toward true north along the meridian line. The sun's rays pass through a small hole or along the gnomon string, casting a shadow onto the dial's hour rings, which are marked in systems like Italian hours (from sunset) or equal hours for day and night. Seasonal adjustments account for the sun's declination via equinox indicators, enabling time readings accurate to within a few minutes under clear conditions, though precision varied with construction quality and user alignment. Multiple dials on the panels allowed for Babylonian or zodiacal time notations, catering to scholarly or navigational needs.^[47]^[45]^[48] These sundials gained popularity in 16th- to 18th-century Europe, particularly among travelers, merchants, astronomers, and nobility, as portable alternatives to larger fixtures amid expanding trade and exploration. Produced in workshops in Nuremberg and Dieppe, they symbolized Renaissance ingenuity, influenced by texts like Peter Apian's Cosmographicus liber (1524), and often featured decorative engravings of courtly scenes or astronomical motifs. By the 18th century, their use declined with the rise of mechanical clocks, but they remained status symbols for the elite. Surviving examples include an ivory diptych by Johann Gebhert of Nuremberg (1556) in the Whipple Museum, Cambridge, with projective geometry for local time; one by Paul Reinmann (1602) in the Metropolitan Museum of Art, featuring adjustable string gnomons; and a Tucher workshop piece (c. 1600) in Oxford's Museum of the History of Science, complete with compass and lunar volvelle for multifaceted use.^[43]^[47]^[45]

Other Mechanical and Utilitarian Uses

In the 19th century, the diptych format experienced a revival as a practical writing tool through the development of aide-mémoire, compact hinged notebooks composed of thin ivory or bone leaves that allowed users to inscribe notes with a pencil and erase them using a damp cloth for reusability. These pocket-sized devices were favored by Victorian travelers and professionals for jotting down itineraries, ideas, or business reminders on the go, offering a portable alternative to bulkier journals. Examples from the mid-19th century often consisted of two or more panels bound by a rivet or hinge, encased in silver gilt or leather for durability and elegance.^[49]^[50] In contemporary settings, this form persists in utilitarian devices like foldable solar panels, where lightweight panels connected by hinges fold into a compact unit for easy transport and deploy to generate power in off-grid scenarios, such as camping or emergency response. These panels, typically weighing under 8 pounds for 190-watt models, provide reliable energy for charging electronics in remote areas.^[51] Modern innovations further adapt the diptych structure for everyday utility, notably in book-style foldable smartphones like the Samsung Galaxy Z Fold series, which use a central hinge to join two display sections, collapsing into a phone-sized form for pocket carry and expanding into a 7.6-inch tablet for multitasking. Introduced in 2019 and refined through subsequent models, this design enhances portability while supporting productivity features like split-screen apps and S Pen compatibility.^[52]

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[32]
Citta Samtana Diptych (A Beautiful Night), James Verbicky
Jan 9, 2025 · In 2010, Verbicky debuted the media paintings, mixed media works that stimulate the viewer with both content and texture. The three dimensional ...Missing: post- | Show results with:post-
[33]
Nascent | Art + Mechanics | Arsnl.art
Nascent consists of fifteen unique diptychs and an open-edition NFT theatrical performance starring “Happiness Pills.” To own an original Nascent diptych, email ...
[34]
An Explantation of the Byzantine Rite Liturgical Practice of ...
díptychon, which means anything folded in two. These were used in Church to commemorate the living and the dead at the Divine Liturgy since the fourth century.
[35]
Glossary of Terms - Ecumenical Patriarchate: Holy and Great Council
The names in the diptychs are read liturgically by the deacon (and echoed by the choir) at a Divine Liturgy celebrated by a patriarch or autocephalous primate.
[36]
Canon of the Mass - e-Catholic 2000
The Gelasian Sacramentary has as many as thirty-eight special forms to be intercalated at this place, in which allusions are made to all kinds of special ...
[37]
Diptychs: Orthodox Unity and Ecclesiology
May 1, 2011 · Diptychs, an arcane liturgical term that describes the order in which Orthodox churches commemorate each other at their services, is one of the ...
[38]
Autocephaly and the diptychs - OpenEdition Books
This paper focuses on how the autocephalous status of a Church affects the commemoration of the hierarchy within a specific Church, and what this says about ...<|control11|><|separator|>
[39]
Murano Diptych - The Byzantine Legacy
The Murano Diptych depicts Christ enthroned, healing scenes, the raising of Lazarus, the crippled man, Jonah's story, and the three men in the fiery furnace.Missing: 5th | Show results with:5th
[40]
The Murano Diptych is a Late Antique ivory book cover ... - Facebook
Jul 12, 2022 · The Murano Diptych is a Late Antique ivory book cover in the National Museum of Ravenna. While debated, it was likely made in 6th-century Egypt ...Missing: ecclesiastical | Show results with:ecclesiastical
[41]
The Emperor Triumphant (Barberini Ivory) - Smarthistory
Dr. Harris: [2:11] Art historians believe that the fineness of this carving indicates that this was made in a workshop in Constantinople, in the capital of what ...
[42]
A Byzantine vision of Paradise — The Harbaville Triptych
The Harbaville Triptych is a mid-10th century Byzantine ivory, a three-paneled triptych with a Deësis scene and a symbolic Garden of Paradise on the back.Missing: diptych elements
[43]
Diptychs - OrthodoxWiki
The diptychs is a list of names of the living and departed that are commemorated by the parish during the Divine Liturgy. The living are inscribed on one side ...
[44]
The Nine Years that Almost Destroyed the Orthodox Church
Oct 2, 2019 · In February 1917, as World War I raged, a revolution in Russia toppled the great Romanov dynasty. The Tsar and his family were kept under house arrest.
[45]
https://resources.metmuseum.org/resources/metpublications/pdf/The_Metropolitan_Museum_of_Art_Bulletin_v_26_no_4_December_1967.pdf
[46]
(PDF) History of Portable Sundials - Academia.edu
The article outlines the historical development of portable sundials in Central and Western Europe. Key figures include Vitruvius, Hermannus, and Regiomontanus, ...<|control11|><|separator|>
[47]
Diptych dial | History of Science Museum
A diptych dial is a type of sundial that gains its name from the two hinged leaves which open like a book. As with other sundials, the diptych dial uses shadows ...
[48]
[PDF] i11 - The Metropolitan Museum of Art
Among the earliest sundials in the collection is an ivory diptych dial (Figure 8) made by Paul Reinman, or Reinmann (worked I575-I609), one of the best and ...
[49]
Time on a Tablet: Early Ivory Sundials Incorporating Wax Writing ...
This article gives a detailed analysis of the sundials and the underlying construction principles, including considerations from the history of science, ...
[50]
'Sundials and Other Cosmographical Instruments': Historical ...
Figure 3.6 Ivory diptych sundial by the Nuremberg maker Johann Gebhert, 1556. Image © Whipple Museum (Wh.1681). In the wake of Apian, and in the context of ...
[51]
Diptych sundial and portrait of Lewis Evans
The ivory diptych dial was the quintessential Renaissance gadget. To call it a sundial is to underplay its ambition and ingenuity.
[52]
A Victorian ivory mounted aide memoir, mid 19th century - Christie's
Free deliveryA Victorian ivory mounted aide memoir, mid 19th century. The cover applied with a rectangular panel carved with a bouquet of flowers -- 27/8 x 21/8in.Missing: writing tablet hinged
[53]
Victorian Silver Gilt & Ivory Aide Memoire - Steppes Hill Farm Antiques
7-day returnsA fine quality Victorian silver gilt Aide Memoire of rounded rectangular form, the plain silver gilt covers opening on a swiveling pin and secured by a hinged ...Missing: tablet | Show results with:tablet
[54]
https://www.powerfilmsolar.com/products/foldable-solar-panels/190-watt-crystalline-foldable-solar-panel
[55]
Evolution of the Galaxy Z Fold Series: Thinner, Sturdier and ...
Jun 26, 2024 · Unlike bar-type smartphones with a single body, foldables consist of a central hinge and two folding sides. The hinge serves as the central axis ...