triptychs. Among the most remarkable examples is the Harbaville Triptych from the 10th century with many figurative panels. Such Byzantine triptychs could only have been used for private devotion because of their relatively small size. Another famous 10th century ivory triptych is the Borradaile Triptych in the British Museum, with only one central image (the Crucifixion). The Romanos Ivory is similar to the religious triptychs but its central panel shows Christ crowning Emperor Romanos and Empress Eudokia. There are different theories about which Byzantine ruler was made for the triptych. One possible solution is Romanos II that gives the date of production between 944 and 949. It seems that ivory carving declined or largely disappeared in Byzantium after the 12th century. Western Europe also made polytychs, which by the Gothic period typically had side panels with tiers of relief narrative scenes, rather than the rows of saints favoured in Byzantine works. These were usually of the Life of the Virgin or Life of Christ. If it was a triptych the main panel usually still featured a hieratic scene on a larger scale but diptychs just with narrative scenes were common. Western art did not share Byzantine inhibitions about sculpture in the round: reliefs became increasing high and small statues were common, representing much of the best work. Chess and gaming pieces were often large and elaborately carved; the Lewis Chessmen are among the best known. Olifants were horns made from the end of an elephant's tusk, usually carved over at least part of their surface. They were perhaps more for display than use in hunting. Most medieval ivories were gilded and coloured, sometimes all over and sometimes just in parts of the design, but usually only scant traces survive of their surface colouring; many were scrubbed by 19th century dealers. A fair number of Gothic ivories survive with original colour in good condition however. The survival rate for ivory panels has always been relatively high compared to equivalent luxury media like precious metal because a thin ivory panel cannot be re-used, although some have been turned over and carved again on the reverse. The majority of book-cover plaques are now detached from their original books and metalwork surrounds, very often because the latter has been stripped off for breaking up at some point. Equally they are more robust than small paintings. Ivory works have always been valued, and because of