Some writers of great authority upon paintings have said that the iconoclast emigration did not much influence art in Rome and Italy. The Roman artists, as shown in the few mosaics which remain, “trod the path of decline, independent in their weakness. To the faults which had been confirmed by centuries of existence, others were superadded. To absence of composition, of balance in distribution and connection between figures, were added neglect and emptiness of form, a general sameness of feature, and the total disappearance of relief by shadow. Still the reminiscence of antique feeling remained in certain types, in a sort of dignity of expression and attitude, and in breadth of draperies, which, though defined by parallel lines, were still massive.” Crowe and Cavalcaselle, from whom the quotation is taken, may not intend, however, to include in this statement sculptures in ivory. [Illustration] There are still remaining, in the collections both at home and abroad, some examples of carved ivories from the fifth century to the time of Charlemagne. The woodcut represents one of the most important and remarkable works known of this period. Although there is a great similarity of style between this ivory and a silver vase of the sixth century in the Blacas collection, in the British museum, there is still difficulty in suggesting even a probable date, which can scarcely be later than the early part of the seventh century; nor is it more easy to speculate on the original use of the vase. A loose ring, cut from the same block of ivory, surrounds the foot; and, if the vase was made for some very sacred purpose, we may suppose that the ring carried a thin veil to be thrown over the whole for further security and reverence. The cover is of later date, and where the ivory has cracked there is a repair excellently done by some mediæval jeweller with a small gold chain which extends from the rim downwards about two inches. This piece is in the British museum.