The largest known statuette was in the possession of the late Mr. Alexander Barker; and this is not only remarkable for its size and height but is graceful in design, and from the hand of a good artist. It is French, probably of the Burgundian school, and of the fourteenth century. The Blessed Virgin is standing, carrying the Child; both hold in one hand a fruit, perhaps an apple. The figures are vested much in the same manner as the statuette no. 4685 at South Kensington, and the draperies have gilded borders with a running scroll; the linings of the robes of both are painted dark blue. The hair of the Virgin and of the Infant has been gilded. The perpendicular height of this statuette is twenty-three inches, and the extreme width at the base six inches. The figure is hollow as far as the tusk was so, and slopes to the left in accordance with its natural growth. The height to the girdle is fifteen inches, and the Infant sitting on His mother’s arm measures seven and a half inches. From the chin to the top of the head of the Virgin is three inches. The tusk curves inwards at the waist two inches from a line falling from the back of the head to the lowest part of the drapery which covers the feet. Every one must have remarked the bend or twist so often given to statues, carved from stone, of the Virgin and of female saints which fill the niches of churches and cathedrals built in the thirteenth and fourteenth centuries. The necessity which obliged the workman in ivory to follow the natural form of the tusk in all statuettes of such a size, or of nearly so great a size, as that which has been just described, certainly did not press upon sculptors whose material was stone and comparatively unlimited. But the position had perhaps become, as it were, a fashion, and the style conventional and pleasing to eyes accustomed daily to see statues so leaning aside in their own oratories. The same slope or twist is to be seen often in the figure of the Virgin in the centre of the volute of the head of a pastoral staff; where, so far as abundance of material was concerned, there was not the least necessity for any deviation from an upright into an unnatural attitude. Again, in statuettes in silver or other metal: as, for example, in the silver Virgin and Child in the South Kensington museum; and in another, also silver, standing on the cover of an oblong reliquary, and said to represent Jeanne d’Evreux, queen of France. This last is among the collections of the Louvre.