IVORY CARVINGS 75 



being principally, and often exclusively, of bone. The ac- 

 tivity in these schools has been mainly industrial, compara- 

 tively little art work pure and simple having been produced, 

 and the prosperity of the workshops has been dependent 

 upon the temporary vogue enjoyed by small decorative 

 objects, such as brooches, etc. Nevertheless, many of the 

 carvers could lay claim to the possession of a very considera- 

 ble share of technical skill, and here and there a real artist 

 has appeared among them.* 



As a specimen of Russian work we have three striking 

 profile portraits, executed in the reign of Catherine II of 

 Russia (1729-1796), one giving a fine likeness of the empress 

 herself, and the other two depicting her son Paul Petrovitch 

 (later Paul I) and the Princess Maria Feodorovna. These 

 profile busts are cut out of ivory plates, a circular band of 

 the material being left to serve as a frame. In this form 

 they could be mounted on hard wood, metal, or velvet; the 

 velvet serving as an excellent background for the ivory 

 portraits. 



The modern revival of the art of ivory carving in France 

 and Belgium owes much to the initiative of the great French 

 painter and sculptor Gerome, who, in order to widen the 

 artistic field and appeal to a larger class of art patrons, 

 founded the "Societe de I'art precieux," to foster the pro- 

 duction of small works, which would have better chances of 

 finding their way into a great number of private collections 

 than could the large figures in marble or bronze. f Ivory as a 

 material was peculiarly favourable to subserve these pur- 

 poses, and lent itseK well to a combination with gold, silver, 

 or other metal, this combination greatly enhancing the 

 charm of the work of art. 



*Sombom, "Die Elfenbein und Beinschnitzerei," Heidelberg, 1899. 

 tEmile Ducier, "Apropos de 1' exposition du Musee Galliera"; in La Revue de I'Art, Vol. 

 XIV, pp. 61-74; 1903. 



