regularizing of clerical life through the reform of cathedral chapters and the establishment
of houses of regular canons. His correspondence of over 300 letters is a valuable source
for knowledge of ecclesiastical and secular matters in his lifetime.
Grover A.Zinn
[See also: CANON LAW; GRATIAN; REGULAR CANONS]
Ivo of Chartres. Opera. PL 161–62.
——. Yves de Chartres: Correspondance 1090–1098, ed. and trans. Jean Leclercq. Paris: Les
Belles Lettres, 1949.
Duby, Georges. The Knight, the Lady, and the Priest, trans. Barbara Bray. New York: Pantheon,
1983.
IVORIES
. From antiquity through the Middle Ages, ivory was prized as a precious material. Ivory
comes from tusks, bones, or teeth of animals. Elephant-tusk ivory is especially valued
and was used in the Middle Ages along with whalebone and other materials. The ivory-
carving techniques used simple tools similar to those used in woodcarving. In the Middle
Ages, ivory was finished by polishing and often painting and gilding. Medieval ivories
were also combined with metalwork and jewels.
Carved ivory pieces were used in France throughout the Middle Ages. In the
Merovingian period, some ivory carving was essentially a continuation in subject matter,
especially religious scenes for liturgical furnishings, from late antiquity in Gaul. Other
carvings displayed styles characteristic of Germanic tribes, such as the Franks. Ivory
carving was one of many arts that experienced a revival during the Carolingian 9th
century. Although production of ivories declined in the turbulent centuries following the
fragmentation of the Carolingian empire, ivory carving was continued in French
Romanesque art under the auspices of the church. In the Gothic period, ivory carving
flourished in France. The Carolingian and Gothic eras were the two outstanding periods
for the art of ivories in France.
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