There is a simpler diptych of this Consul at Liverpool, which bears a Greek dedication to a friend. The most important among the anonymous consular diptychs is the fine one preserved in the Cathedral Treasury at Halberstadt (No. 38) on which the bearded Consul stands among his friends, the group being varied on each leaf. Above, in a narrow division, are two small imperial figures seated on a wide throne with the figures of Rome and Constantinople; at the back stands a Victory, as in the similar design on a coin of Theodosius I. Below, in another narrow division, are pathetic groups of captive barbarians. The inscription has been cut from the top, but the whole style points to an early date, and Meyer places it between those of Asturias and Boethius in the third quarter of the fifth century. The tablet of Lampadius at Brescia is especially interesting for the large picture it gives of a chariot race, showing the quadrigas rushing past the _spina_ or turning post. The Consul, clad in the _trabea_ sits with two companions behind the richly carved _cancelli_ or balustrade. The only similar representation is on the magisterial diptych at Liverpool (No. 51), but the identification is very confusing. In the Brescia tablet the central _trabea_-clad figure and the man on his left both hold the _mappa_, but on that at Liverpool there is, more reasonably, only one starter, but he is on the left of the central figure, who holds a libation cup instead of the _mappa_, and all three figures have the same un-consular dress. Meyer points out an inscription announcing the restoration of the Flavian Amphitheatre by Caecina Felix Lampadius, in the second half of the fifth century; the inscription being in the genitive is also a sign of antiquity. But the smooth and rather too minute workmanship connect it with the best diptychs of the early sixth century, and so Molinier attributes it to Lampadius, Consul at Constantinople in 530, and the same year as our old friend Orestes (Fig. 4), and the smooth finish of the Lampadius tablet can be contrasted, not altogether unfavourably, with the rougher modelling of what had become by then almost a provincial school. The nameless consular diptych of Bourges (No. 39), divides into two equal registers. Above, the bearded Consul is seated between two guards, on one leaf these have long hair, and may have been intended for Goths, and in the corners of the arch are two eagles exactly like those on the St. Gregory diptych at Monza (No. 44). In each lower half is a _bestiarius_ transfixing lions and leopards with his spear. The treatment, if rough, is free, and the grouping of the lions is somewhat similar to that in the Adam tablet at the Bargello (Fig. 6). It is probably fifth or early sixth century.