Meyer quotes the text of Gregory of Tours, who describes the installation of Clovis the Frankish king as Consul of the West in 508, with all the pomp and honour of Roman custom, and repeats the rather problematic suggestion that this diptych commemorates the occasion. The ivory tablet in the British Museum, called the Apotheosis of Romulus, from a very doubtful reading of the monogram, is probably also of the fifth or even sixth century, though its thoroughly heathen subject seems to necessitate an earlier date. The composition is most elaborate. Below, the Consul, clad in the toga, is seated in an architectural triumphal car drawn by four elephants, each with their driver. In the centre he is seen in miniature driving in a quadriga, which bears him upward, preceded by eagles, from the funeral pile to the heavens, where he is again represented in the hands of winged genii, who present him to the assembled gods. This is interesting as being an example of that continuous method of composition, in which the same figure is repeated acting in sequence. This method was introduced into Roman art about the Augustan age, and was largely continued by Christian art, especially in the MSS. It gained great popularity, and for a while it seemed doubtful whether the “continuous” or the “episodic” method would be the leading feature in modern art.[7] Several consular diptychs have been turned to Christian religious uses by slight alterations of the figures, and by the removal of inscriptions and scenes from the games. The most important transformed diptych is in the Cathedral Treasury at Monza (No. 44), which now represents St. Gregory and King David. The alterations have been considerable, and have given rise to many differences of opinion, but the latest writers, with the exception of Meyer, have gone back to the opinion of the earliest, Gori, who declared the consular origin of these tablets. St. Gregory did not die till 604, so could not have been canonized before the seventh century, and the style is fully that of the consular diptychs in the first half of the preceding century. The saints are depicted in full consular robes, the right hand raised with the _mappa_ in the act of flinging it into the arena, and in the left the _scipio_.