IVORY CARVINGS 67 



were Frangois Duquesnoy (1594-1644), surnamed in Italy 

 II Fiammingo or "The Fleming"; Gerhard van Opstal 

 (1595-1668); Lucas Faid'herbe (1617-1697), a pupil of 

 Rubens, and Francis van Bossuit (1635-1692). Of Faid- 

 'herbe only one work certainly from his hand is to be seen 

 to-day. This is a relief in Prado Museum in Madrid de- 

 picting a group of children dancing to the flute-playing of a 

 satyr. Here no one can fail to recognize in the chubby forms 

 of the dancing children the influence of Rubens' taste in 

 painting. Many other ivories of Faid'herbe gained the 

 applause of his contemporaries, such as a Christ on the Cross, 

 a Venus, a Mercury, a Cupid and Psyche, an Adam and Eve, 

 etc., these being executed under the direction of Rubens and 

 in part at least from designs furnished by him, but no trace 

 of any of these works can now be found. However, some 

 art critics, as Christian Scherer,* for example, have more or 

 less successfully identified as by Faid'herbe several ivories 

 in various museums. One of the more effective, and one 

 certainly quite in the manner of Rubens, is a tankard in the 

 Grossherzoglicher Kammer in Carlsruhe, showing a wild 

 bacchanalian dance of nymphs and satyrs in high relief. 



The carvings of Frangois Duquesnoy (II Fiammingo), who 

 was also celebrated for his representation of young children, 

 are much more chaste in design and spirit, and are still 

 influenced by the higher art of the fifteenth and sixteenth 

 centuries. This excellence is not attained at any sacrifice 

 of naturalness, as is well exemplified in a Cupid of the Green 

 Vaults Collection in Dresden, not certainly by him, indeed, 

 but confidently and probably correctly attributed to him.f 

 This artist's long residence in Italy and his enthusiastic study 

 of the masterpieces of ancient art were undoubtedly main 



*Christian Scherer, "Die Elfenbeinplastik seit der Renaissance," Leipzig [1902], pp. 40, 

 sqq.. Figs. 32-36. 



tSee Scherer's "Elfenbeinplastik," p. 32, Fig. 24. 



