A common term anciently in England for these horns was “olifant,” from the name then usually given to the elephant; for instance, the amusing story in the old life of St. Clement in Caxton’s Golden Legend: “When Barnabe came to Rome prechynge y^e fayth of Jesu Christ, the philosophers mocked hym and despysed hys predicacyon and in scorne put to hym this questyon sayenge, What is y^e cause y^e culex whyche is a lytell beest hath vj. feet and two wynges and an olyphaunte whyche ys a grete beest hath but foure feete and no wynges,” etc. St. Barnabas replied that it was a foolish question and needed no answer—the more especially as they knew not the Creator and must necessarily, therefore, be ignorant about his creatures. There is only one horn at South Kensington which can be regarded as having been a tenure horn. It is possible that no. 7953 (see the etching) may have been a horn of that kind. Several of these tenure horns are still preserved in England and were shown in the loan exhibition of 1862. Among them the most famous are the horn of Ulphus, in the treasury at York; the horns given by Henry the first to the cathedral at Carlisle; and the Pusey horn. The ivory hunting horn (so-called) of Charlemagne is kept at Aix la Chapelle; and another said to have been Roland’s in the cathedral at Toulouse. It will be observed by those who examine the catalogue of the ivories in the South Kensington museum that more are attributed to the fourteenth century than to any other, and this would be correct with regard also to the collection in the British museum, or at Liverpool, or abroad. Sculpture in ivory was very general and greatly patronised at that time; and, with the exception of a very few examples of Roman art under the emperors, there are no carvings existing which equal those made from about the year 1280 to 1350, either in truth and gracefulness of design or in excellence of workmanship. We find also in carvings of that period the best examples of the very beautiful open or pierced work which has been already spoken of: and an illustration has before been given (p. 64) from a series of small panels in the Meyrick collection. No apology will be required for adding here two more woodcuts from ivories of the same character. Both are engraved of the exact size of the originals. One of these contains two compartments from the splendid plaque, no. 366, in the South Kensington collection. [Illustration: HORN OR OLIPHANT. IVORY. BYZANTINE. 11^{TH} CENT. 25 IN. DIAM. 5½ IN. (SOLTIKOFF COLL.) S. K. M. (N^o 79^{53.-’62.}) A. A. BRADBURY. FECIT.] [Illustration] [Illustration]