There are several very important Roman diptychs and leaves of diptychs, not consular, still extant; some also of greater beauty than any of the examples in the preceding list. Among them is the diptych (already mentioned) of Æsculapius and Hygieia in the Mayer collection at Liverpool; and another, but smaller, of the same subject in a private collection in Switzerland. This last is described by professor Westwood, who possesses a cast of it, as “in much deeper relief than the Fejérváry diptych, and full of energy in the design. Here Æsculapius holds a palm-branch in his right hand, and supports his club, round which a serpent is twined, with his left; whilst Hygieia holds a snake in her right hand and, apparently, a large melon in her left.” Another is the diptych of cardinal Quirini now at Brescia, having on one leaf, as interpreted by M. Pulszky, Phædra and Hyppolytus; and on the other Diana and Virbius. This is probably of the third century. Another is the famous diptych, long known as the Tablets of Sens, but now at Paris in the Imperial library and forming the covers of a thirteenth century manuscript, containing “The Office of fools,” or, rather, the Office of the feast of the circumcision. In the thirteenth and fourteenth centuries some childish and improper jests and plays were allowed in churches on the first day of the year. This “Office of fools” seems to have been a complete arrangement for the day; with mass, matins, and hours. The whole affair was something like (but without the reverential decorum) the festival of the boy-bishop, celebrated in more than one of our English cathedrals about the same period, and was probably a relic of the heathen Saturnalia. These tablets, which are somewhat similar in style to the sarcophagi of the third century, are engraved by Labarte in his album. On one leaf is represented Bacchus in a car drawn by centaurs; on the other is Diana in a chariot drawn by two bulls. Both subjects are surrounded by mythological figures. They are engraved also in Lacroix, Arts of the middle ages, as an illustration of book-binding: and in the second volume of the Monumens antiques inédits, by Millin.