54 IVORY AND THE ELEPHANT 



The 500 livres of this time represented a weight of silver 

 worth at least $2,000 intrinsically, and of course much 

 more if measured by its purchasing power, fivefold or per- 

 haps even tenfold that of our day. We cannot help re- 

 gretting that the treasurer, while noting the name of the 

 seller, the "varlet de chambre" of the Duke of Burgundy, 

 quite forgets to give us the name of the humble artist. 

 The "monsieur saint Jean Baptiste," a form not unusual 

 in the older French, seems strange enough to-day, when 

 the primal sense of monsieur, "my lord," has been quite 

 forgotten. Of course even in these early times monseig- 

 neur signified a higher rank than monsieur. 



Two ivory mirror cases, one in a fragmentary state, are 

 to be seen at the Musee de Cluny, and in time long past 

 formed part of the rich collection of the Abbey of St. Denis. 

 As ornamental adjuncts of articles used for the toilette 

 the carver has selected for his designs subjects drawn from 

 the romances of chivalry. In the unbroken case chimerical 

 figures form the corners. The treatment is unrestrained and 

 yet not in the least too free, and there is a notable softness 

 both of forms and draperies. 



Venetian ivory carving is well exemplified in a retable 

 preserved in the Musee de Cluny. This is a fourteenth- 

 century work, the subjects depicted on the central leaf 

 being, the Crucifixion, the Vision of the Shepherds, and the 

 Nativity. On the right-hand leaf are the Betrayal by Judas 

 and the Annunciation, on the left-hand leaf the Apparition 

 to Mary Magdalen and the Adoration of the Magi. The 

 execution is carefully finished, and although there may be 

 no high inspiration, there is both dignity and harmony in 

 this production of North Italian art. 



The free use of gilding and colors to enhance the effect 

 of ivory has already been noted, and we have an interesting 

 example of this in a bas-relief in the Musee de Cluny, the 



