The architecture lends credence to this theory, the cannelated columns and pediment flanked by so-called “doves,” being much the same as that on the various sixth century diptychs. The drapery too, has been copied from good models, that of St. Peter, with the right arm buried in the folds of his toga, is in imitation of the famous Lateran Sophocles. Another proof of alteration is the manner in which he holds a narrow key in a grasp wide enough to contain a roll as large as that in the Bologna fragment. There is a diptych in Tongres Cathedral,[8] which has a history carrying it back to the ninth century. The names of the Bishops of Tongres from 855-959 being engraved on the back. It evidently belongs to the large class of ivories of mixed Latino-Byzantine origin. The vine scroll border, the flat relief and rather grooved working of the draperies, also the peculiar stockings and oriental shoes are all features of this class. St. Paul raises his hand to bless in the Greek manner, with only two fingers extended. The interpretation of this gesture is variously given, many say it is symbolical of the dual nature of Our Lord and of the Trinity. Byzantine, equally with Italian art, sprang from the last _floraison_ of Roman Art, and grew up at Constantinople, the New Rome, but much modified by Greek and Syrian influences. At first the culture of the two Empires was so linked together, that it is the merest shade which distinguishes Roman Art in the East and West. The division widens, and the two branches stretch out, one, the purely Latin, soon to wither and almost perish, and the other to grow into that spreading tree of Byzantine Art, whose branches have scattered fruit in every part of Europe and the Levant. The latest bloom on the purely Latin branch, before it commenced to decay, included ivories of singular beauty, as the splendid casket at Brescia and the famous Carrand diptych in the Bargello at Florence (Figs. 5 and 6). This carving is of superb finish, worthy of the beautiful Bacchante diptych, though the design is less purely classical. The first leaf represents Adam in the Earthly Paradise, engaged in naming the animals, the figure is thoroughly Greek, and the treatment closely resembles an Orpheus scene, though the curiously crimped hair and heavy hands and feet betray a decline in art. The animals show delightful touches of first-hand observation, the worrying attitude of the little dog, who, forgetting he is in Paradise, is just going to bark at the dignified goat below. The droop of the bull’s head as he grazes by the side of the Four Rivers is very natural, though the artist still adheres to the rather dry technique of animal portrayal in ancient art. These animals may be compared with those on the diptych of Bourges, which are scattered over the background in much the same way, but with less defiance of perspective, as they are supposed to be leaping in the act of fighting.