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The Halberstadt diptych is a prominent example of late-antique official court art and of various kinds of expression of legitimation and power. In an article written in 1998, Alan Cameron attributed the diptych to Consul F1. Constans of 414, contradicting those who judged ita s having been commissioned by the western consul Fl. Constantius, who became consul only three years later. What may seem like a negligible difference in years is of significant consequence in that Cameron’s suggestion not only assigns the diptych a new date but, more importantly, postulates an eastern origin for it and raises wider questions in the history of art. In the following paper Cameron’s main argument will be refuted, while other arguments will be rehabilitated in favour of a western origin of the Halberstadt diptych.

At the Library of the University of Michigan there is a waxed diptych from the Fayoum, secured for the University by Professor Kelsey while in Egypt in 1919. The leaves of the diptych are of wood, about ll¼ inches long and 8¼ inches wide, slightly hollowed out and coated with black wax on the inner sides. These inner sides are shown in the photographs which accompany this article (Pls. X., XI.). In explanation of the photographs, it should be said that they were taken with the aid of a strong artificial light coming from the left at an angle of 45 degrees. This has caused the incisions and depressions on the wax to reflect the light in such a way that they seem to stand out above the general surface of the wax. Thus the white blotches which appear on the first leaf are really hollows and not projections, as they seem to be in certain lights. It should also be stated that a transcription was made of this leaf before the wax crumbled away, probably owing to unfavourable atmospheric conditions, along the edge of the crack in the lower part of the leaf.

The papyrus which bears the Yale inventory number 1528 (pl. i) was purchased from an Egyptian dealer in Paris in the summer of 1933. Nothing is known of its place of origin. It is a rectangular sheet of good quality and colour, frayed but not seriously damaged. The writing is confined to the recto. The presence of a heading, and the long vacant space below the three lines of the second column shown that the document is complete. Paragraphing is indicated in lines 4 and 17 of the first column by the projection to the left of the first two letters of the name Τοῦσϰος. Otherwise the left margin is even, and the right margin fairly so. There is a natural fold between the two columns, indicating that the papyrus was handled as a diptych.

The diptych I exhibit before our Society belongs to our Fellow Mr. Walter Metcalfe, who bought it some twenty years back at Phillipps's sale rooms in Bond Street. After hanging the diptych up in the hall of his house in the country, Mr. Metcalfe gave the picture to a parish church in Essex; but it was not admired, and a new organ, with smart pipes, was erected in front of it. Mr. Metcalfe, therefore, at my suggestion, asked to have the diptych returned to him. After some delay, and certain forms gone through, this request was complied with.

IN this article I am aiming at the solution of an iconographic puzzle.1 I have in mind one of the Miraculous Healings of Christ found on the ivory cover of the Etschmiadzin Gospel Book in the library of the monastery Etschmiadzin in Armenia. The gospel book, as we know, was written in the tenth century and a sixth century ivory diptych was used for the cover.2

THIS paper is a portion of a study of the style of the late antique ivories whereby I hope to classify them into groups or schools and to arrive thereby at some conclusion in regard to the place of origin of such groups or schools. As a basis for this study, I have taken first the consular diptychs, since they are among the few absolutely dated monuments of the fifth and sixth centuries A. D. and cover a period where it is most difficult to follow the effect of the interacting forces which finally transformed the Hellenistic into the Mediaeval style2.

The Wilton Diptych (pls. I, 11) is in quality the most outstanding painting known from the English middle ages. Its unique interest has produced a massive literature, much of it concerned with stylistic problems and with purely theoretical interpretations. Little can be added to the meticulous description of Sir George Scharf, while only one major contribution has been made to the historical analysis of the painting's heraldic data, by the late Miss Maud Clarke. This heraldic analysis offered abundant evidence of approximate date, yet the subsequent literature has failed to take adequate account of the limits set, and a fundamental reassessment of the facts is overdue.

The Early Christian ivory diptych which, by the permission of the owner, Mr. Andrews, it is my privilege to bring before the Society is almost entirely unknown. I have called it ‘undescribed’, and I might almost have called it ‘unpublished’. But some twenty years ago a rather inadequate photographic reproduction of it did appear in the first volume of Professor Venturi's invaluable Storia dell' Arte Italiana. Since that date a number of archaeologists have tried to get a sight of the diptych, but in vain. And the few brief notices of it that have been published by Professor Goldschmidt, Dom Leclercq, and others, have been based entirely on the small and not very clear half-tone block given without comment by Professor Venturi.

EVER since the so-called Andrews Diptych in the Victoria and Albert Museum with scenes from the New Testament (Fig. 1) was published thirty years ago1 its date and origin have aroused controversy. Some scholars give it a date in the first half of the fifth century,2 while others considered it to be a Carolingian work.3 The question of the date of this ivory involves that of three other ivories, stylistically closely related to the Diptych; the Venatio ivory in Liverpool (Fig. 2),4 and two ivories, each showing an apostle, in the Victoria and Albert Museum (Fig. 3) and in the Louvre (Fig. 4).5

Es werden die Reaktionsgeschwindigkeiten der Hydrolyse von NB-Bindungen von 12 diptych-Boroxazolidinen in 90-proz. Aceton bestimmt. Die Ergebnisse deuten darauf hin, das die Hydrolysegeschwindigkeit hauptsachlich eine Funktion der Substituentengrose am Stickstoff ist, wahrend die Substituenten am Esterkohlenstoff nur einen sekundaren Einflus ausuben.

The subject of this article is a terracotta plaque in the Dumbarton Oaks Collection formerly in the Barberini Collection, Rome. It shows Christ and six apostles seated on a dais with a small-scale group of men, women, and children below. This highly unusual scene has been interpreted by some scholars as the Last Judgement, by others as congiarium scene. In my opinion, it is definitely not a judgment, but rather a contamination of the traditional Christ as a teacher and a congiarium scene. There are a few other examples of Christian scenes with the inclusion of elements from secular art. These elements need not have been inspired by imperial monuments, however. One may also think of objects with scenes from the activities of high dignitaries, such as diptychs and the like.

The three plaques of ivory here illustrated are already well known to students of such work, but there has been some uncertainty as to the form in which they were originally joined together. One of them, representing the Eagle of the Evangelist St. John, is in the Victoria and Albert Museum,1 for which it was acquired in 1867 from the Webb Collection; the other two, with the Angel of St. Matthew and a half-length figure of Christ, are now in the Museo Nazionale at Ravenna.

A diptych ofLucas Cranach (1472–1553), painted 1502/03 in Viena, Austria, shows a Red Macaw from Brazil.

At the IRP A most of the paintings on wood which we receive for treatment are of the Flemish School of the fifteenth, sixteenth and seventeenth centuries. The number of panels of other Schools which pass through ~ur hands is very small: a few Italian School, a few icons, a fifteenth century French (Maitre d'Aix), a Catalan altar frontal, two Cranachs. Our experience therefore consists principally in the treatment of supports of Flemish pictures, where the wood used is exclusively oak (except for Flemish paintings done in Italy and Spain). The paintings of this period are often diptychs, triptychs or polyptychs, fixed into a rebated frame which holds them without immobilizing them. The edges of the panels are thinned at the back to form a chamfer or tongue. The planks are joined with butt joints, with or without dowels. The 'Death of the Virgin' by H. van der Goes (Musee Groeninge, Bruges) is an example of a special and so far unique assembly: it consists of tenons set into the thickness of the plank and held by pegs, whose ends are visible on the painted side. Sometimes animal fibres were glued over the joints at the back to consolidate them (e.g. C. de Cater, 'Legend ofSt Rombaut', Cathedral ofSt Rombaut, Malines). The front is smoothed to receive the ground and the paint layer, which also cover the frame. But on the back there are generally cutting marks and surface irregularities on the planks, unless of course the backs are painted, as are the majority of polyptych wings. These panels are thin in relation to their surface area, as the following examples show

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-Eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in materialiseto offer an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-Eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in materialiseto offer an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-Eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in order to embody an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la Victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in order to offer an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

Tras el estreno de El sur (1984), Víctor Erice declaraba sobre sus próximos proyectos: «A menudo he tenido la tentación de derivar hacia una estructuración cinematográfica fragmentaria, el diario íntimo, el ensayo, la reflexión, quizá con un toque de ficción» (Molina Foix, 1984: 51). Dos décadas después, en la presentación de la exposición Correspondencias Erice – Kiarostami, el cineasta utilizaba entonces el concepto «fraternidad entre lo real y la ficción»para describir su manera de entender la experiencia cinematográfica. Si bien El sol del membrillo (1992) es precursor de un nuevo cine contemporáneo basado en esa fraternidad (Monterrubio, 2018), la reflexión ensayística se convierte en forma fílmica en esta correspondencia entre los cineastas y, muy especialmente, en La Morte Rouge (soliloquio) (2006).

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-Eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in materialiseto offer an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

Winthrop is a major new musico-dramatic work by Istvan Anhalt. In view of the theme and character of his earlier La Tourangelle (completed in 1975; published by Berandol, 1982} the two works can, and probably ought to be, seen as parallel compositions, forming a large-scale diptych that probes two of Canada's most important roots, reaching back into the first half of the seventeenth century. In La Tourangelle Anhalt chose for the focal personage Marie de l'Incarnation, the Ursuline nun who became a very significant figure in the history of La Nouvelle France. In Winthrop he aims at depicting the life and times of John Winthrop, the first governor of the Massachusetts Bay Company who resided on the North American continent, taking into account events and experiences that took place before, during, and after his emigration to New England. -Editor The Work* Winthrop is an opera (in the manner of an historical pageant) in two parts, with a total duration of about two and one-half hours. Completed in March 1983, it is scored for six solo singers, a mixed choir of at least twenty-four voices, a small boys' choir, and an instrumental ensemble of at least thirty players. I assembled the text myself, relying principally on original sources from the first half of the seventeenth century, but borrowing also from others that date from earlier and from more recent periods. I completed the libretto by adding, here and there, a few passages, as the need for these arose, and whenever no suitable "authentic" text was at hand. The Theme The central figure of the piece is John Winthrop, governor of the Massachusetts Bay Company, the founder of Boston, the most commanding figure in the history of New England from 1630 to 1649. Winthrop was born in England, lived and died an Englishman, yet he was also a major contributor to the evolution of what might be called the "New England mind," and, by extension, also the "English-Canadian mind." (A claim that John Winthrop might be considered a founding father of Canada also would have to - and I think does - rest on the evidence of the vital role Massachusetts, and other parts of New England, played in the history of Nova Scotia and Lower and Upper Canada before, during, and after the American Revolution.) In addition to the genetic legacy, Winthrop, members of his original group, and their descendants left also a spiritual one, which is shared to this very day by large segments of the Englishspeaking societies in the United States and Canada: it is what one may call the Puritan ethic, or world-view. This inheritance is a recognizable component in the lives of many men and women who have significantly contributed to the evolving North American experience as individuals, and at times also, as members of diverse institutions, in an uninterrupted flow ever since John Winthrop's time. But John Winthrop is still more than an outstanding historical personage, a founding father, and a paradigm for an ethicalphilosophical outlook, He is remembered also, and foremostly, as a human being, somewhat larger in certain dimensions than most, yet identifiable as such in his passions, striving, gropings, doubts, triumphs, failures, and his compromises. Only when one is able to regard him from this viewpoint, can one begin to understand him in his public roles and feel with him in his actions. When coming to know him in this manner, one begins to sense that through the life of this man one might also have gained a glimpse into the universal human condition. It is the aim of Winthrop to bring about a synthesis of representations of private and public worlds, of times past and present, of historical events, and of some of the complex currents of ideas and feelings underlying them, for the purpose of creating a framework for such a kind of understanding. The Story (A Synopsis) PART ONE 1. Pilgrimage and Discovery A pastoral scene near Groton, in Suffolk, England. …

Tras el estreno de El sur (1984), Víctor Erice declaraba sobre sus próximos proyectos: «A menudo he tenido la tentación de derivar hacia una estructuración cinematográfica fragmentaria, el diario íntimo, el ensayo, la reflexión, quizá con un toque de ficción» (Molina Foix, 1984: 51). Dos décadas después, en la presentación de la exposición Correspondencias Erice – Kiarostami, el cineasta utilizaba entonces el concepto «fraternidad entre lo real y la ficción»para describir su manera de entender la experiencia cinematográfica. Si bien El sol del membrillo (1992) es precursor de un nuevo cine contemporáneo basado en esa fraternidad (Monterrubio, 2018), la reflexión ensayística se convierte en forma fílmica en esta correspondencia entre los cineastas y, muy especialmente, en La Morte Rouge (soliloquio) (2006).

The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-Eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in materialiseto offer an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.

Tras el estreno de El sur (1984), Víctor Erice declaraba sobre sus próximos proyectos: «A menudo he tenido la tentación de derivar hacia una estructuración cinematográfica fragmentaria, el diario íntimo, el ensayo, la reflexión, quizá con un toque de ficción» (Molina Foix, 1984: 51). Dos décadas después, en la presentación de la exposición Correspondencias Erice – Kiarostami, el cineasta utilizaba entonces el concepto «fraternidad entre lo real y la ficción» para describir su manera de entender la experiencia cinematográfica. Si bien El sol del membrillo (1992) es precursor de un nuevo cine contemporáneo basado en esa fraternidad (Monterrubio, 2018), la reflexión ensayística se convierte en forma fílmica en esta correspondencia entre los cineastas y, muy especialmente, en La Morte Rouge (soliloquio) (2006).

Tras el estreno de El sur (1984), Víctor Erice declaraba sobre sus próximos proyectos: «A menudo he tenido la tentación de derivar hacia una estructuración cinematográfica fragmentaria, el diario íntimo, el ensayo, la reflexión, quizá con un toque de ficción» (Molina Foix, 1984: 51). Dos décadas después, en la presentación de la exposición Correspondencias Erice – Kiarostami, el cineasta utilizaba entonces el concepto «fraternidad entre lo real y la ficción»para describir su manera de entender la experiencia cinematográfica. Si bien El sol del membrillo (1992) es precursor de un nuevo cine contemporáneo basado en esa fraternidad (Monterrubio, 2018), la reflexión ensayística se convierte en forma fílmica en esta correspondencia entre los cineastas y, muy especialmente, en La Morte Rouge (soliloquio) (2006).

Tras el estreno de El sur (1984), Víctor Erice declaraba sobre sus próximos proyectos: «A menudo he tenido la tentación de derivar hacia una estructuración cinematográfica fragmentaria, el diario íntimo, el ensayo, la reflexión, quizá con un toque de ficción» (Molina Foix, 1984: 51). Dos décadas después, en la presentación de la exposición Correspondencias Erice – Kiarostami, el cineasta utilizaba entonces el concepto «fraternidad entre lo real y la ficción»para describir su manera de entender la experiencia cinematográfica. Si bien El sol del membrillo (1992) es precursor de un nuevo cine contemporáneo basado en esa fraternidad (Monterrubio, 2018), la reflexión ensayística se convierte en forma fílmica en esta correspondencia entre los cineastas y, muy especialmente, en La Morte Rouge (soliloquio) (2006).

That The Winter's Tale presents an experimental, two-part structure has been generally agreed since the time of Thomas Price, a late Victorian critic who described the play as 'a genuine diptych', the first part of which is 'a tragedy and the second a comedy'.l On the other hand, opinion of the success of this structure has changed radically, the once maligned gap in time between Acts III and iv now being regarded as less a flaw than an index of Shakespeare's over-all design. Whereas Price found that 'in passing from part to part, the mind loses grasp of the artistic unity',2 Nevil Coghill sees the end of Act II as 'a kind of dramaturgical hinge, a moment of planned structural antithesis'.3 And while Northrop Frye also calls the play a diptych, he finds coherence in an arrangement 'of parallel and contrasting actions, one dealing with age, winter, and the jealousy of Leontes, the other with youth, summer, and the love of Florizel'.4 Thus, in the modern view, Shakespeare achieves unity through a significant balance of elements on either side of Time's central chorus: events such as Perdita's two ocean voyages and the attempts to stay the departures of Polixenes and Camillo in Acts I and iv would appear to establish a certain architectural symmetry, while others would seem to join the two parts in the cross-referential manner of the Elizabethan double plot.5 As Dr Tillyard pointed out, 'Florizel and Perdita re-enact the marriage of Leontes and Hermione, but with better success'.6 Moreover, as Frye has observed, these contrasting illustrations of imperfect and perfect love develop complementary views of the same theme. Florizel's love for Perdita, which transcends his duty to his father and his social responsibilities as a prince, is a state of mind above reason. He is advised, he says, by his 'fancy': If my reason Will thereto be obedient, I have reason; If not, my senses, better pleased with madness, Do bid it welcome.

carried on stage, and thereafter it is he who dominates the action. Not only is the rhythm of the drama such that husband and wife never meet; there is an extended interval during which neither character is present on stage (820-972). At this point the play's structure reveals a deep division, a gap separating the tragedy of Deianeira from the grim portrayal of Heracles in extremis. But while the presence of this gap is undeniable, it should not blind us to the fact that the structure of the Trachiniae can be analyzed in more than one

C RITICAL EXEGESIS of "The Paradise of Bachelors and the Tartarus of Maids" has focused on the longer of the two sketches. The first seems to acquire its significance largely through illumination thrown back on it by the tale of the maids, a work which could easily stand alone. There is little argument about the levels of meaning in the latter: in the general view, E. H. Eby's comment that the tale presents both the biological and social burdens of women is still valid. Related to the first part of the diptych, the two levels of meaning are appropriately extended or modified. For Eby, the maids' drudgery and female subjugation to biological processes contrast with the bachelors' happy life and male freedom.' For C. G. Hoffmann, W. R. Thompson, and R. H. Fogle, further dimensions are apparent: a distinction between "Old World leisure and New World industrialism";2 an indictment of the moral weaknesses of both civilizations;3 an attack on "mass production, the publishing business, and some theories of American democracy,"4 with the first tale serving to point up comparison and contrast. Most critics feel that the diptych is technically unsuccessful. The second tale is "bristling . . . with sexual symbols,"5 but when the allegory is correlated with the first tale it seems to illustrate some tritely obvious fact of life. Melville's serious critical purpose in linking the civilizations of Europe and America does not come through because of a "structural flaw."' His obliaue approach ob