The elephant is a much-admired animal, but it is also endangered. The ivory from its tusks has been in great demand across the centuries and throughout all cultures. What sort of material is it? How has it been used in the past and the present? And what can we do today to protect the world's largest mammals from poachers? This lavishly illustrated volume embarks on a journey through cultural history and takes up a contemporary position. Ivory fascinates. As long as 40,000 years ago people carved mammoth tusks into artful figures and musical instruments, and it remains popular as a material to this day. Ivory polarises, because the animal's tusks also stand for injustice and violence. The exploitation of man and nature, the threatened extinction of the elephant, poaching and organised crime are phenomena which we associate with ivory. The publication approaches the subject critically and poses the question as to our responsibility in our dealings with both animal and material.

This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guerin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guerin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guerin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.