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.
c
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 Ferdinand Kyblish,
are later additions; they personify certain of the virtues.
This
royal seat was first used at the coronation of Christian 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 :
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