diptychs

• “These are called diptychs if divided in two, or triptychs if divided into three parts.”

  The Seattle Times

• “The faithful however, fertile in expedients to gratify their devotion, now began to use those portable representations of pious subjects called diptychs, because they generally consisted of two tablets which could at pleasure be _folded_ together.”

  The Ceremonies of the Holy-Week at Rome

• “In the early church the faithful in communion with her were inscribed in a certain register; these names were read in public gatherings, and from this list were excluded those who were excommunicated, i.e., put out of the communion. these registers were called diptychs or canons, and contained the names of the faithful, both living and dead.”

  The Catholic Encyclopedia, Volume 3: Brownson-Clairvaux

• “This account is particularly interesting, because, although the laying of the necrology upon the altar during Mass afterwards fell into disuse, and the names were read in chapter instead of in choir, still the extract clearly shows that the book of obituaries had its origin in the old "diptychs", or tablets, upon which were formerly entered the names which were read out by the priest at the”

  The Catholic Encyclopedia, Volume 10: Mass Music-Newman

• “It is to this kind of diptychs that the later necrologies owe their origin.”

  The Catholic Encyclopedia, Volume 5: Diocese-Fathers of Mercy

• “* The continued use of the liturgical diptychs which is attested by documents of Carolingian date may also be noted in this connexion.”

  Internet Archive: Archaeologia, or, Miscellaneous tracts relating to antiquity [microform]

• “There are several clinically precise before-and-after diptychs.”

  The Guardian: Jonathan Yeo gets under the skin

• “He sometimes worked with tape, chromium steel and mirrors instead of paint, and he bought bolts of single-colored factory-dyed cotton and stretched it unaltered as diptychs and triptychs.”

  The Wall Street Journal: Contradictions, Equivocations

• “José Alberto Marchi: La Escuela del Escándalo | Inspired by the 19th Century photographs of Thomas Eakins, Marchi transforms Eakins figure studies from photographs in to luminous painted diptychs: each combining Eakins original image with its negative.”

  The Huffington Post: Bill Bush: Sadness Just Below the Surface: This Artweek.LA (February 21-27)

• “There are more diptychs and more on the duality of the photographers' lives on the Olson/Farlow website.”

  The Huffington Post: Steven Crandell: "Discovery Is What I Love" -- National Geographic Photographer Melissa Farlow (VIDEO)

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