The series of consular diptychs, having each of them in many cases a known date, is of essential value and importance in the history of art, whilst the fashion of them lasted. Similar as they are one to another in certain respects, nevertheless there is a considerable variety of treatment and undoubtedly various degrees of excellence or inferiority of style and execution. When so many would be required by the consul of the year, it was impossible that all could be made by good artists, and probably one or two of the best kind were roughly copied by common workmen. It was sufficient if the general character, dress, or special ornament of the consul were represented. Rapidly as art declined during the three centuries after the birth of Constantine, as shown especially in these consular diptychs, we may nevertheless trace a certain grandeur in the figures and in the attitudes which show that earlier and better models of antiquity were still followed by the sculptors. Labarte further observes that the diptychs carved at Constantinople were far superior to those which were made in Italy. Many of these diptychs are identified by the name of the consul which is carved across the top of one leaf; the full legend generally running across both being equally divided. It has been said that these legends (as well as portions of the sculpture) were sometimes coloured red. We know no extant example, but the following passage from Claudian is important, and not on that particular point alone: “Tum virides pardos, et cetera colligit austri Prodigia, immanesque simul Latonia dentes, Qui secti ferro in tabulas auroque micantes, Inscripti rutilum cælato consule nomen, Per proceres et vulgus eant; stupor omnibus Indis Plurimus ereptis elephas inglorius errat Dentibus.” We usually find also a profusion of proper names, according to the fashion and taste of the court of Constantinople and of the last years of the consulate. Following these names was a formula which expressed the style and dignities: “Vir illustris, comes domesticorum equitum, et consul ordinarius.” The “vir illustris” signified that the new consul had either filled or was of rank great enough to fill high official positions in the state. The “comes domesticorum equitum” was his title as commander of the bodyguard of the emperor. The “consul ordinarius” declared the true consular dignity itself. Some of the consular diptychs also add the names of the persons or communities to whom they were sent. Thus, the diptych of Flavius Theodorus Philoxenus, A.D. 525, has the following inscription in Greek iambics, part upon one tablet, part upon the other: “I, Philoxenus the consul, offer this gift to the wise senate.”