122:), who was renamed "Eudokia" on her arrival at court. Stating that âemperors are always shown more or less as they lookedâ, scholars point to the fact that the Romanos depicted on the Ivory is beardless, and therefore more likely to be Romanos II, who was only six years old by the time of his coronation in Easter 945 CE. In contrast, the later Romanos IV would have been about 30 and had a full beard. There is also some allusion to the Eudokia figureâs âchild-like featuresâ. Costuming of the couple also favors the Romanos II theory, as Romanos is shown wearing a
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for their minor sons, which
Eudokia Makrembolitissa was at the time of her marriage to Romanos IV. On coinage, the term was used by two other women, both of whom assumed the throne as sole rulers or regents for their sons during their lifetime. The image of this double coronation was also used on
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that had arrived in the west before the death of
Sigebert of Minden in 1036, it follows that the Romanos Ivory could not have been made in the second half of the 11th centuryâ. This claim also fits with other assertions that metal and
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169:, while noting that 10th-century carving was more flat and use less undercutting than is seen on the Romanos Ivory. Facial types and other stylistic details have also been related to works of the late 11th century.
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found in 1936 makes it even more probable that he is the emperor depicted in the Ivory, as it shows that he actively attempted to replicate the portraiture of his father,
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and therefore dated between 1068 and 1071. Discoveries of other carved relief works in the 20th century led researchers to think that it represents the earlier
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65:. However, there were two imperial couples by these names and scholars have yet to agree which is shown. It was first believed to represent
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However, others note that the ivory more stylistically resembles other works dated in the second half of the 11th century such as the
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184:. The Romanos Ivory would then be an imitation of Constantine's own ivory relief, which also depicts him being crowned by Christ.
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were favored over ivory as a medium by the 11th century. There are currently no other recorded works where a wife of a
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measuring 24.6 cm (at the highest) by 15.5 cm and 1.2 cm thick. The panel is currently in the
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Contemporary scholarship on this piece asserts that this work represents the coronation of junior emperor
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seals and the coinage of the realm to both promote
Eudokiaâs power and legitimize Romanos IV as emperor.
61:. Inscriptions name the figures of the emperor Romanos and his wife Eudokia, who are being blessed by
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206:"The Romanos Îvory and the New Tokalı Kilise: Imperial Costume as a Tool for Dating Byzantine Art"
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that are more certainly dated in the 10th century. An ivory plaque ordered as part of an
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Until 1926, this panel was assumed to be depicting the coronation and/or marriage of
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Some scholarship links the style of the
Romanos Ivory to other surviving works of
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Byzantine East, Latin West: Art-Historical
Studies in Honor of Kurt Weitzmann
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284:"A Byzantine Triptych in Medieval Germany and Its Modern Recovery"
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Romanos Ivory depicting Christ blessing
Romanos and Eudokia.
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was portrayed, nor a junior emperor without the senior.
349:"Royall Tyler to Mildred Barnes Bliss, August 16, 1936"
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Carved ivory relief panel from the
Byzantine empire
118:and his child bride, Bertha (the daughter of king
236:"Eudokia Makrembolitissa and the Romanos Ivory"
389:Collection of the Cabinet des MĂ©dailles, Paris
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67:Romanos IV
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