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what the "Lagoons" peoples call nvufu (an offering consisting of mashed yam or banana mixed with oil and egg yolk)? It is more likely that shafts or sceptres were inserted in the space, giving the statue prestige and power. Again, this is what can be seen in a famous piece at the Abidjan Museum attributed to the Odiukru. A final possibility, one that is frequent in Côte d'Ivoire19 is that the two hands were empty, most of the time. In this case, their appearance becomes, as such, the offering or an imitation of it, as if it depicted the very idea of giving or its symbol. Gold plating Naturally, what immediately dazzles the viewer is the profusion of gold leaf, which, to magnify and transfigure the statue, cover the wood in its totality, without leaving any gaps, if we set aside the minor wear and tear resulting from the old age of the piece and handling, when it had to be transported between cases. For anyone who has seen the sceptres topped with animals, still carried today by the same peoples in the lagoon regions during age group ceremonies, one aspect stands out at once: whereas the gold leaves, which are now extremely thin (less than the width of cigarette paper!), are simply stuck on, we can see on this statue that they are much thicker, modelled around the wood and fixed with staples: "tiny gold staples", in the words of the great specialist of African gold, the late-lamented Tim Garrard. This is an ancient technique, which in his view was given up, see his book Gold of Africa, in the early 20th century in favour of gluing. On this work, since the gold plating is carried out by hammering the gold layers onto the marks on the wood surface, the result is a magnificent network of juxtaposed, criss-crossed ridges, triangles, diamond-shapes and squares. A whole body subjected to scarification? In fact, it must be said that in Africa this is absolutely impossible.20 The statue is transported into the realms of the extraordinary, and takes on a supernatural, legendary, almost fantastical dimension.21 Why is gold used in this way? For the "Lagoons" peoples, as for the Akan,22 the fact is well known: this metal is not simply an ornament, but a "living" and almost magical substance. They attribute to it an intrinsic force, a divine essence. Some say today that for them it is like a human being, with its own personality, and it can grow like a plant, while having the privilege of never dying, like the sun. They maintain that it contains a spirit that gives an absolute power. But gold plays an even more vital role, due to the importance of the sacred heritage that grants an extended family the feeling of belonging to a lineage. This metal is seen as "warm", and therefore endowed with energy, and manifests the concrete presence of ancestors. Talismanic pearls As if gold were not enough for its splendour, an abundance of pearls increases the statue’s supremacy. Alongside a whole host of materials, coral, glass and gold pearls, some of which are obviously very old, and show signs of wear. And a wealth of intriguing ornaments: bracelets, knee bands, ankle bracelets, belts, a stringed necklace over the torso as far as the waist. Why should practically all the parts of the body, and especially the joints, the "strategic" areas, be covered? Simply for show? Not at all, since, as Amon d'Aby has shown,23 these pearls, for the "Lagoons" peoples, also protect.24 The cylindrical pearls, called éholié, are lucky charms with magical powers; the nzoan are blue and are placed around the neck to ward off fever; others, in the form of amulets, are also "charms”25 to deter "soul eaters", etc. Are they charms in all
senses of the word? Thus bedecked with tools to ward off evils, the statue, above and beyond the aura it acquires, also becomes invulnerable in the eyes of all. Armed to face life? And still today, is it not the case that some Ivorian women, even during the night, when they are completely naked, absolutely insist on keeping on them one last ornament, their belt of talismanic pearls? On the statue, rows of overlaid pearls
