Abstract
This article explores the practice of composite ivory assemblage: a range of techniques employed to join more than one discrete piece of ivory to make a complete sculptural element such as a triptych panel. The practice is found in extant diptychs, triptychs, polyptych tabernacles and figural altar groups amassed in collections around the world. Four ivories are here examined, from three different workshops, presenting a range of composite assemblage techniques. The four examples offer insights into the different ways in which ivory carvers employed leftover materials to complete complex compositions.
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