Diptychs.—For the early period of which we are treating, the diptychs are of most importance. They were double writing-tablets ornamented on the outer side with bas-reliefs, while the inside surfaces were waxed and served for notes or memoranda of various kinds. In civil life these diptychs were restricted, to the consuls; hence a very large class of con sular diptychs from the fourth to the sixth century, which, being dated, are important for the history of sculpture. There were also ecclesiastical diptychs, belonging to the bishop, on which were inscribed the names of the full members of his congregation. Circular ivory boxes for use in church ceremonies were also carved with elaborate scenes. But soon, from the sixth century onward, the main work of the artist was to carve covers of the sacred volume, of missals, or of other ecclesiastical books. One of the most beautiful of Eastern diptychs is given on Plate IS (fic. 3) to show the style of early Byzantine art, probably at the close of the fifth century, shortly after the Roman artist had cast the bronze statue of St. Peter. In this grand figure of au archangel we see an art quite differ ent from that of the sarcophagi. It is more thoroughly Christian, and is as noble in conception as it is beautiful in execution. It may be called classic, but this classicism is Greek, not Roman. The figure, with broad wings, stands on the steps of the heavenly Jerusalem, under an arcade of rich architecture. In his left hand he holds a long staff, on which he leans like an antique athlete. His right hand holds the globe of the world, surmounted by a cross. His feet are clad in sandals, and lie wears the ancient Greek costume.
Ivory what degree of magnificence this carving in ivory could be carried is shown by the great throne of Maximianus, bishop of Ravenna, who lived in the sixth century. It was composed of a frame work into which were set innumerable tablets of carved ivory; so that every inch of it—front, sides, and back—was covered with sculpture.
The majority of the scenes were from the Old Testament, and the most artistic portion was the lower part of the front, which is given on Plate IS (jig. 2). The central figure is considered by some to be Christ, but most authorities call it John the Baptist, on account of the lamb and the goatskin. The figures at the sides are those of the four Evangelists. When compared with the archangel in Figure 1, these figures, though still fine, have lost symmetry and dignity, and we see that they were carved many years after. Turning to the ornamentation above and below the figures, we are struck with admiration by its combined deli cacy and richness, by the freedom of touch, and by the perfection of every detail, from the lion to the smallest leaf. This throne of Maximianus is also the work of Byzantine artists and was executed (546-52 A. D.) during the reign of Justinian, under whom the first development of Byzantine art reached its highest point of perfection and is immortalized by its chcfd'awvre, the Church of Santa Sophia, at Constantinople.
Byzantine sculpture after Justinian soon ceased to create bronze statues or monumental reliefs, and continued its development through five or six hundred years without ever attempting to go beyond the limits of the small industrial arts. It gradually lost more and more of the classic feel ing that we find in the two ivories here illustrated, though there was a classic revival in the ninth century, tinder Basil the Macedonian. The figures became slenderer and more ascetic, and there was less action and skill in composition. Still, during all this period Byzantium remained the instructress of the West in sculpture, and at least continued free from barbarism. The subjects, and even their composition, were closely copied by Western artists; and this was the case in Italy even as late as the four teenth century. To the Byzantines we owe, then, a great debt of grati tude for keeping alive the artistic flame until its custody should fall into worthy hands.