Nothing could be more exquisite than the Gothic shrines in ivory
made in the thirteenth century, but descriptions, unless accompanied
by illustrations, could give little idea of their individual charm,
for the subject is usually the same: the Virgin and child, in the
central portion of the triptych, while scenes from the Passion
occupy the spaces on either side, in the wings.

Statuettes in the round were rare in early Christian times: one of
the Good Shepherd in the Basilewski collection is almost unique,
but pyxes in cylindrical form were made, the sculpture on them
being in relief. In small ivory statuettes it was necessary to
follow the natural curve of the tusk in carving the figure, hence
the usual twisted, and sometimes almost contorted forms often seen
in these specimens. Later, this peculiarity was copied in stone,
unconsciously, simply because the style had become customary. One
of the most charming little groups of figures in ivory is in the
Louvre, the Coronation of the Virgin. The two central figures are
flanked by delightful jocular little angels, who have that
characteristic close-lipped, cat-like smile, which is a regular
feature in all French sculpture of the Gothic type. In a little
triptych of the fourteenth century, now in London, there is the
rather unusual scene of Joseph, sitting opposite the Virgin, and
holding the Infant in his arms.

Among the few names of mediæval ivory carvers known, are Henry de
Grès, in 1391, Héliot, 1390, and Henry de Senlis, in 1484. Héliot
is recorded as having produced for Philip the Bold "two large ivory
tablets with images, one of which is the... life of Monsieur St.
John Baptist." This polite description occurs in the Accounts of