ANCIENT CARVED IVORIES 31 



Out of the consular diptychs still extant, thirty-seven bear 

 inscriptions giving the name of the consul, only twelve 

 being anonymous. Whether because this particular consul 

 caused an unusually large number of his diptychs to be 

 made, or simply owing to chance, out of the small total 

 that have been preserved no less than eight are of Areo- 

 bundus, and the difference in artistic quality between the 

 best of these and the least excellent indicates that more care 

 was bestowed upon those destined as gifts to people of es- 

 pecial prominence than upon those to be bestowed upon 

 less notable persons. The greater part of these consular 

 diptychs were executed in the Eastern Empire. 



The diptych of Anastasius, A. D. 517, has on either leaf 

 a seated figure of the consul; above each of these figures are 

 three portrait medallions, the subjects of which are uncer- 

 tain, and two winged figures with garlands. Below, the 

 left leaf shows two Amazons, each leading a horse by the 

 bridle, probably in preparation for a horse race; beneath 

 this is represented the manumission of some slaves, one of 

 these, a hunchback, being freed by the consul's wife, Anas- 

 tasia. The corresponding part of the right leaf contains 

 a representation of a combat in the arena between men and 

 wild beasts. This is one of the most effective of the con- 

 sular diptychs, although in artistic merit it may be sur- 

 passed by a few others. 



The consular and other diptychs from Roman times had a 

 very practical use as writing tablets, the surface being cov- 

 ered with a coating of wax upon which the writing was made 

 with a metal stylus. They were thus not only valuable and 

 beautiful, but most useful presents. The medieval diptychs 

 and triptychs, on the other hand, had a purely religious 

 significance, and were generally so arranged as to constitute 

 small shrines or tabernacles. 



The Roman diptych bearing inscribed on one leaf the name 



