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Three ivory pieces are discussed: a box (Stuttgart, Württembergisches Landesmuseum) and two diptychs (treasury at the Chambéry Cathedral; National Museum in Warsaw), traditionally dated to the late 11th, 12th, or even 13th c., and associated with Venice or ‘the eastern Mediterranean coast’, namely the centres where the production of Christian ivory items has not been confirmed with strong evidence. Having analyzed the pieces in view of the craftsmanship, epigraphy, and iconography, the Author moves their dating to the 10th-mid-11th c., while accounting for their otherness with the richness of the then Constantinople craftsmanship and its tireless search for new manners of making objects.
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