ADDENDA 481 



to the grass after having surrounded an elephant. Every 

 effort of the frightened animal to escape is frustrated by 

 the encircling hunters and finally the elephant is burnt to 

 death. This method of hunting, apart from its cruelty, is 

 very unprofitable, for the flesh of the animal is destroyed 

 and the precious tusks become discolored by the fire and 

 lose much of their value. 



THE DANISH CORONATION SEAT IN ROSENBORG CASTLE, 

 COPENHAGEN, DENMARK 

 See illustration facing page 292 



The pillars sustaining the canopy of this remarkable 

 work of art are narwhal tusks of great length and beauty; 

 other shorter tusks constitute the supports of the seat and 

 of its arms; it is also covered with plates cut from the tusks. 

 Bendix Grodtschilling was the master under whose direction 

 the work was produced. In the earliest notices the Danish 

 writers always call the material "unicorn's horn," rather, 

 perhaps, for the tradition associated with the name than 

 because they were ignorant of its real character and source. 

 An account published in 1747 states that the seat was of 

 unicorn's horn and ivory. Recently an expert examination 

 was made of the material at the instance of Dr. Axel Garboe; 

 this determined finally that no ivory had been used, nothing 

 but narwhal tusks. The silver figures, executed by Fer- 

 dinand Kyblish, are later additions; they personify certain 

 of the virtues. 



This royal seat was first used at the coronation of Chris- 

 tian V, June 7, 1671. After the king had been crowned and 

 while he was seated on the chair, or throne. Bishop Johan 

 Wandal delivered a glowing allocution, in the course of 

 which he cited King Solomon's gold and ivory throne, the 

 like of which had never been made before. Then, turning 

 to the King, he proceeded : 



