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 unique harp now in the Louvre. The above enumeration will alone suffice to show that the inquirer must be referred for details to the numerous works which treat of medieval ivory sculpture.

Ivory Sculpture from the 16th to the 19th Century.—Compared with the wealth of ivory carving of the two preceding centuries, the 15th, and especially the 16th, centuries are singularly poor in really fine work. But before we arrive at the period of real decadence we shall come across such things as the knife of Diana of Poitiers in the Louvre, the sceptre of Louis XIII., the Rothschild hunting horn, many Italian powder horns, the German Psyche in the Louvre, or the “Young Girl and Death” in the Munich Museum, in which there is undoubtedly originality and talent of the first order. The practice of ivory carving became extremely popular throughout the 17th and 18th centuries, especially in the Netherlands and in Germany, and the amount of ivory consumed must have been very great. But, with rare exceptions, and these for the most part Flemish, it is art of an inferior kind, which seems to have been abandoned to second-rate sculptors and the artisans of the workshop. There is little originality, the rococo styles run riot, and we seem to be condemned to wade through an interminable series of gods and goddesses, bacchanalians and satyrs, pseudo-classical copies from the antique and imitations of the schools of Rubens. As a matter of fact few great museums, except the German ones, care to include in their collections examples of these periods. Some exceptions are made in the case of Flemish sculptors of such talent as François Duquesnoy (Fiammingo), Gerard van Obstal or Lucas Fayd’herbe. In a lesser degree, in Germany, Christoph Angermair, Leonhard Kern, Bernhard Strauss, Elhafen, Kruger and Rauchmiller; and, in France, Jean Guillermin, David le Marchand and Jean Cavalier. Crucifixes were turned out in enormous numbers, some of not inconsiderable merit, but, for the most part, they represent anatomical exercises varying but slightly from a pattern of which a celebrated one attributed to Faistenberger may be taken as a type. Tankards abound, and some, notably the one in the Jones collection, than which perhaps no finer example exists, are also of a high standard. Duquesnoy’s work is well illustrated by the charming series of six plaques in the Victoria and Albert Museum known as the “Fiammingo boys.” Amongst the crowd of objects in ivory of all descriptions of the early 18th century, the many examples of the curious implements known as rappoirs, or tobacco graters, should be noticed. It may perhaps be necessary to add that although the character of art in ivory in these periods is not of the highest, the subject is not one entirely unworthy of attention and study, and there are a certain number of remarkable and even admirable examples.

Ivory Sculpture of Spain, Portugal, India, China and Japan.—Generally speaking, with regard to Spain and Portugal, there is little reason to do otherwise than confine our attention to a certain class of important Moorish or Hispano-Moresque ivories of the time of the Arab occupation of the Peninsula, from the 8th to the 15th centuries. Some fine examples are in the Victoria and Albert Museum. Of Portuguese work there is little except the hybrid productions of Goa and the Portuguese settlements in the East. Some mention must be made also of the remarkable examples of mixed Portuguese and savage art from Benin, now in the British Museum. Of Indian ivory carving the India Museum at Kensington supplies a very large and varied collection which has no equal elsewhere. But there is little older than the 17th century, nor can it be said that Indian art in ivory can occupy a very high place in the history of the art. What we know of Chinese carving in ivory is confined to those examples which are turned out for the European market, and can hardly be considered as appealing very strongly to cultivated tastes. A brief reference to the well-known delightful netsukés and the characteristic inlaid work must suffice here for the ivories of Japan (see : Art).

Ivory Sculpture in the 19th Century and of the Present Day.—Few people are aware of the extent to which modern ivory sculpture is practised by distinguished artists. Year by year, however, a certain amount is exhibited in the Royal Academy and in most foreign salons, but in England the works—necessarily not very numerous—are soon absorbed in private collections. On the European continent, on the contrary, in such galleries as the Belgian state collections or the Luxembourg, examples are frequently acquired and exhibited. In Belgium the acquisition of the Congo and the considerable import of ivory therefrom gave encouragement to a definite revival of the art. Important exhibitions have been held in Belgium, and a notable one in Paris in 1904. Though ivory carving is as expensive as marble sculpture, all sculptors delight in following it, and the material entails no special knowledge or training. Of 19th-century artists there were in France amongst the best known, besides numerous minor workers of Dieppe and St Claude, Augustin Moreau, Vautier, Soitoux, Belleteste, Meugniot, Pradier, Triqueti and Gerôme; and in the first decade of the 20th century, besides such distinguished names in the first rank as Jean Dampt and Théodore Rivière, there were Vever, Gardet, Caron, Barrias, Allouard, Ferrary and many others. Nor must the decorative work of René Lalique be omitted. No less than forty Belgian sculptors exhibited work in ivory at the Brussels exhibition of 1887. The list included artists of such distinction as J. Dillens, Constantin Meunier, van der Stappen, Khnopff, P. Wolfers, Samuel and Paul de Vigne, and amongst contemporary Belgian sculptors are also van Beurden, G. Devreese, Vincotte, de Tombay and Lagae. In England the most notable work includes the “Lamia” of George Frampton, the “St Elizabeth” of Alfred Gilbert, the “Mors Janua Vitae” of Harry Bates, the “Launcelot” of W. Reynolds-Stephens and the use of ivory in the applied arts by Lynn Jenkins, A. G. Walker, Alexander Fisher and others.

—See generally A. Maskell, Ivories (1906), and the bibliography there given.

On Early Christian and Early Byzantine ivories, the following works may be mentioned: Abbé Cabrol, Dictionnaire de l’archéologie chrétienne (in progress); O. M. Dalton, Catalogue of Early Christian Antiquities in British Museum (1902); E. Dobbert, Zur Geschichte der Elfenbeinsculptur (1885); H. Graeven, Antike Schnitzereien (1903); R. Kanzler, ''Gli avori ... Vaticana'' (1903); Kondakov, L’Art byzantin; A. Maskell, Cantor Lectures, Soc. of Arts (1906) (lecture II., “Early Christian and Early Byzantine Ivories”); Strzygowski, Byzantinische Denkmäler (1891); V. Schulze, Archäologie der altchristlichen Kunst (1895); G. Stuhlfauth, Die altchristl. Elfenbeinplastik (1896).

On the consular diptychs, see H. F. Clinton, Fasti Romani (1845–1850); A. Gori, Thesaurus veterum diptychorum (1759); C. Lenormant, Trésor de numismatique et de glyptique (1834–1846); F. Pulszky, Catalogue of the Féjérváry Ivories (1856).

On the artistic interest generally, see also C. Alabaster, Catalogue of Chinese Objects in the South Kensington Museum; Sir R. Alcock, Art and Art Industries in Japan (1878); Barraud et Martin, Le Bâton pastoral (1856); Bouchot, Les Reliures d’art à la Bibliothèque Nationale; Bretagne, Sur les peignes liturgiques; H. Cole, Indian Art at Delhi (1904); R. Garrucci, Storia dell’ arte Christiana (1881); A. Jacquemart, Histoire du mobilier (1876); J. Labarte, Histoire des arts industriels (1864); C. Lind, Über den Krummstab (1863); Sir F. Madden, “Lewis Chessmen” (in Archaeologia, vol. xxiv. 1832); W. Maskell, Ivories, Ancient and Medieval in the South Kensington Museum (1872); A. Michel, Histoire de l’art; E. Molinier, Histoire générale des arts (1896); E. Oldfield, Catalogue of Fictile Ivories sold by the Arundel Society (1855); A. H. Pitt Rivers, Antique Works of Art from Benin (1900); A. C. Quatremère de Quincy, Le Jupiter Olympien (1815); Charles Scherer, Elfenbeinplastik seit der Renaissance (1903); E. du Sommerard, Les Arts au moyen âge (1838–1846); G. Stephens, Runic Caskets (1866–1868); A. Venturi, Storia dell’ arte Italiana (1901); Sir G. Watt, Indian Art at Delhi (1904); J. O. Westwood, Fictile Ivories in the South Kensington Museum (1876). Sir M. D. Wyatt, Notices of Sculpture in Ivory (1856).

IVORY COAST (Côte d’Ivoire), a French West African colony, bounded S. by the Gulf of Guinea, W. by Liberia and French Guinea, N. by the colony of Upper Senegal and Niger, E. by the Gold Coast. Its area is approximately 120,000 sq. m., and its population possibly 2,000,000, of whom some 600 are Europeans. Official estimates (1908) placed the native population as low as 980,000.

Physical Features.—The coast-line extends from 70° 30′ to 3° 7′ W. and has a length of 380 m. It forms an arc of a circle of which the convexity turns slightly to the north; neither bay nor promontory breaks the regularity of its outline. The shore is low, bordered in its