"official routine or formula," especially "excessive bureaucratic rigmarole," 1736, in reference to the red tape formerly used in Great Britain (and the American colonies) for binding up legal and other official documents, which is mentioned from 1690s.
1869; Englishing of vers libre.
But it is possible that excessive devotion to rhyme has thickened the modern ear. The rejection of rhyme is not a leap at facility; on the contrary, it imposes a much severer strain upon the language. When the comforting echo of rhyme is removed, success or failure in the choice of words, in the sentence structure, in the order, is at once more apparent. Rhyme removed, the poet is at once held up to the standards of prose. Rhyme removed, much ethereal music leaps up from the word, music which has hitherto chirped unnoticed in the expanse of prose. [T.S. Eliot, "Reflections on Vers libre," New Statesman, 3 March 1917]
symbol of artistic or intellectual aloofness, by 1889, from French tour d'ivoire, used in 1837 by critic Charles-Augustin Sainte-Beuve (1804-1869) with reference to the poet Alfred de Vigny (1797-1863), whom he accused of excessive aloofness.
Et Vigny, plus secret, comme en sa tour d'ivoire, avant midi rentrait. [Sainte-Beuve, "Pensées d'Août, à M. Villemain," 1837]
Used earlier as a type of a wonder or a symbol of "the ideal." The literal image is perhaps from Song of Solomon [vii:4]:
Thy neck is as a tower of ivory; thine eyes like the fishpools in Heshbon, by the gate of Bathrabbim: thy nose is as the tower of Lebanon which looketh toward Damascus. [KJV]