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The object called by the museum Casket with Scenes of Romances (catalogued as Walters 71264) is a French Gothic ivory casket made in Paris between 1330 and 1350, and now in the Walters Art Museum, Baltimore, Maryland. The casket is 4 5/8 inches high, 9 15/16 inches wide and 5 1/16 inches deep (11.8 × 25.2 × 12.9 cm).〔Walters〕 The casket is one of the relatively few surviving Gothic ivory caskets decorated with themes from courtly literature, called composite caskets for that reason. There are eight known surviving examples (and numerous fragments), of which two more are also discussed in this article: firstly a casket in the British Museum with an almost identical set of scenes,〔British Museum P&E 1856,0623.166, see Robinson, 216 and (Ivory casket with scenes from the Romances ) in the Highlights on the website〕 and one in the Louvre in Paris, which shares many scenes, but diverges in others.〔Carns p.69〕 By this period, Paris was the main European centre of ivory carving, producing large numbers of religious and secular objects, including small diptychs with religious scenes that used the same relief technique; these and smaller secular objects such as mirror-cases are more common than these caskets,〔Robinson, 202; Gardner's, 364; the Courtauld database records large numbers.〕 or larger religious statues like the ''Virgin and Child from the Sainte-Chapelle'' of the 1260s. The composite caskets differ slightly from each other, but are sufficiently simiular to suggest they all originated from one Paris workshop, or group of workshops, around 1330 to 1350.〔 This casket may well have been a gift of courtship or upon marriage, and was probably intended for an aristocratic female owner, to keep her jewels and other valuables in. The carved scenes were possibly originally painted; as the paint on Gothic ivories tended to peel in places, it was very often removed by later dealers and collectors. The unusually large size of the piece allows a wide range of the repertoire of popular scenes from different literary sources in French Gothic art to be shown, which display a variety of medieval attitudes to love and the role of women: "Themes such as lust and chastity, folly and wisdom are juxtaposed in a series of non-connected scenes".〔Robinson, 216〕 Susan L. Smith has proposed that the caskets express the power of love.〔〔 Smith pp. 168-186. Smith focuses on one of examples in the Victoria and Albert Museum but indicates her ideas apply to the whole group.〕 The Walters casket is first recorded in England in 1757, and was bought by Henry Walters in 1923. The iron mounts are modern, probably 19th century.〔Walters〕 ==Iconography== The lid shows scenes of the Castle of love and knights jousting and the sides show other scenes from French medieval romances. The themes of the lid are related to the 13th-century ''Romance of the Rose'' by Guillaume de Lorris and Jean de Meung. The ''Siege of the Castle of Love'' (or "Assault on" etc.), at the left on the lid, is a fanciful scene of courtly romance, where knights attack a castle defended by ladies and a cupid, with both sides throwing roses as missiles. This subject does not, as is sometimes claimed, appear in the ''Roman de la Rose'',〔Loomis, 266-267〕 and first appears in art not long before the date of the casket, as one of few secular scenes in the illuminated manuscript known as the Peterborough Psalter of 1299–1328.〔Robinson, 216; the MS is in the Royal Library of Belgium in Brussels, as MS 9961-62, with the miniature on folio 91v.〕 But such a scene was staged and acted out by "many gentlemen and twelve of the fairest and gayest ladies of Padua" as part of a festival at Treviso in 1214, a century earlier.〔Loomis, 255〕 In the center knights joust in front of ladies. The scene at right has differing interpretations: either the victor, whose shield carried three roses, receives a bouquet of roses from a lady as prize,〔So Gardner's, 364〕 or, more likely, the tournament continues, now between the ladies, fighting with flowers, and the knights using "oak branches".〔So the Courtauld database: "Scene 3: Mock Tournament; lady and knight on horseback; ladies jousting with stems of flowers; men jousting with oak branches; couples watching from the castle battlements; portcullis."〕 This is the only scene on the lid that differs in the British Museum and Paris caskets, where the siege of the castle continues in the section at furthest right. A variation of this set of scenes has examples in Cleveland, Ohio, Detroit, Boulogne, Liverpool and the Metropolitan Museum of Art: here there is an elopement scene at left, then the two central sections are the tournament, with the attack on the Castle of Love behind the elopement at left, and in the last section on the right.〔See Gothic Ivories database, search on "Castle of Love"〕 The front of the casket has, from the left: Aristotle teaching Alexander the Great, Phyllis riding Aristotle, watched by Alexander from a window, and at the right, old people arriving at the Fountain of Youth, and young naked people in it.〔(''William and Henry Walters: The Reticent Collectors'' ), by William R. Johnston, Walters Art Gallery, p. 208〕 ''Phyllis riding Aristotle'' is the "quintessential image from the Power of Women topos", which was beginning its long career in art at this time.〔Russell, p. 175〕 The Fountain of Youth is a regularly occurring scene, of Eastern origin, that shows old people being carried to a miraculous spring which immediately turns them into beautiful young people,〔Robinson, 216〕 one of the relatively few scenes in medieval art where figures are not just "naked" but "nude".〔Using Kenneth Clark's famous comment in ''The Nude''〕 All three scenes are the same in the British Museum casket, and the Walters also has a side from a French casket of similar date but less high-quality carving, showing the first two of these scenes, but changing the last (Walters 71196, shown below). The Walters also has mirror-cases with other examples of the ''Siege of the Castle of Love'' and the ''Fountain of Youth''. The rear side of the casket contains scenes from Arthurian romance described in the Courtauld Institute database of Gothic ivories as: "Gawain in armour fighting the lion; Lancelot crossing the sword bridge, with spears falling from the sky; Gawain on the perilous bed; bed on wheels and with bells; lion; shield with a lion's paw; spears falling from the sky; the three maidens at the Château Merveil".〔Courtauld〕 The sword bridge features in ''Lancelot, the Knight of the Cart'' by Chrétien de Troyes, and the perilous bed in his ''Perceval, the Story of the Grail''. Both the Walters and British Museum caskets have the same scenes and compositions here, which both depart from the literary sources by having the rain of swords falling not only on Gawain on the bed, but also on Lancelot on the bridge, suggesting that the ivory-carver's or designer's contact with the literature was indirect.〔Robinson, 216〕 The two ends show other Arthurian scenes: the adulterous lovers Tristan and Iseult are spied upon by Iseult's husband King Mark of Cornwall, hiding in a tree; his face can be seen reflected in the pool below, which they see, enabling them to switch to innocent conversation. This end also has a scene with a wounded unicorn, a maiden and a man with holding a spear which has been run through the unicorn, in a version of the subject of ''The Hunt of the Unicorn'' where the maiden has been used to lure the unicorn to his death.〔Robinson, 216〕 The other end has a scene with Galahad. File:Casket with the castle of love BM PE 1856 0623 166.jpg|View of the British Museum casket File:Mnma, casket with assoulkt to the castle of Love and other romance scenes, paris 1300-1310, ivory 02.JPG|Lid of the Paris casket File:French - Casket with Scenes of Romances - Walters 71264 - Right.jpg|Walters, end, ''Galahad receiving the keys to the Castle of the Maidens''〔(per the entry in Courtauld database )〕 File:French - Casket with Scenes of Romances - Walters 71264 - Top Front.jpg|Walters, front view File:Mnma, casket with assoulkt to the castle of Love and other romance scenes, paris 1300-1310, ivory 01.JPG|Paris: a different scene at left, as a knight rescues a lady from a woodwose, and the same Galahad scene at right File:Mnma, casket with assoulkt to the castle of Love and other romance scenes, paris 1300-1310, ivory 03.JPG|Paris: the same two Aristotle scenes (left), and two different ones to right.〔The scenes on the right are a medieval version of the Trial of Solomon: "Two young men argue over the inheritance of a recently deceased man; seated king; throne decorated with lions. The king orders them to shoot arrows to the shrouded corpse and only the 'false' son complies.", (Courtauld database )〕 File:French - Box Front with Scenes of Alexander and Pyramus - Walters 71196.jpg|Walters 71196, a different French box panel with two of the same scenes File:French - Mirror Cover with the Fountain of Youth - Walters 71170.jpg|Walters 71170, a more common ivory mirror case with a ''Fountain of Youth'' File:Lucas Cranach d. Ä. - The Fountain of Youth - WGA05707.jpg|''Fountain of Youth'' by Lucas Cranach the Elder, 1546 File:Siege castle love Louvre OA6933.jpg|''Siege of the Castle of Love'' on a mirror-case in the Louvre, 1350–1370; the ladies are losing. File:Master Of The Housebook - Aristotle and Phyllis - WGA14556.jpg|Master of the Housebook, ''Aristotle and Phyllis'', 15th-century engraving File:The Hunt of the Unicorn Tapestry 5.jpg|One of the tapestry series ''The Hunt of the Unicorn'', 1495–1505, Flanders? File:Francia, coperchio di specchio con scene galanti, xiv sec..JPG|Another ''Gawain on the Perilous Bed'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Casket with Scenes of Romances (Walters 71264)」の詳細全文を読む スポンサード リンク
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