The casket has a frieze of fifteen heads in medallions, and in the narrow borders are the symbolical Types of Old Testament history. The large central scenes are from the New Testament, showing Christ as the Good Shepherd at the Gate of the Fold, and several of the miracles which became so popular on the Italo-Byzantine ivories, including the rarer scene of the _Raising of Jairus’s daughter_, which has many features in common with the _Raising of Tabitha_ on one of a series of three most interesting little plaques in the British Museum, notably in the treatment of the long waving hair of the attendant women. On the flat lid the Cycle of the Passion is most fully illustrated, but stops short with the scene in the Prætorium before the sad representation of the Crucifixion. The great similarity between the art of the Eastern and Western divisions of the Roman Empire has already been mentioned, and it is this similarity which causes considerable difficulty in classifying the early ivories. The three British Museum plaques just referred to as having a close connection in the scene of the _Raising of Tabitha_ to the Brescia casket, which is undoubtedly of Western origin, have also a strong resemblance to the first half of a diptych now in the Trivulzio Collection at Milan, both in the dress of the soldiers, and in the crouching figure of one of the Holy Women, which are almost identical on the two ivories. Molinier considers the Trivulzio tablet to be purely Constantinopolitan, but Graeven produces good evidence for connecting it with Latin sculpture. This tablet is divided into two scenes from the first Easter Morn, the startled soldiers by the tomb of Christ, and the Angel appearing to the two Maries. The proportions are on the whole good, though inclining to the dumpiness peculiar to the reliefs on the sarcophagi. There are other details which betray the influence of these sculptures. The half opened door of the tomb is found on pagan coffins, and the dress of the soldiers, with the strange round headgear, rather like a cook’s cap, is often characteristic of the Jews, and is found on several of the sarcophagi. In the British Museum plaques the Israelites who stoop down to drink of the water from the rock wear exactly the same dress, treated in exactly the same manner, even to the ends of the chlamys, which fly out in rapid movement.