This dress is also found in a Codex (No. 286) at Corpus Christi College, Cambridge, and again on another set of plaques in the British Museum, which belonged to a casket, and are of a deep reddish colour. On these plaques the types of the Holy Women are the same as those on the Trivulzio tablet, and the crouching women in the _Raising of Tabitha_ in the British Museum set of three. The Crucifixion (Fig. 7) belongs to the coloured set, and is the earliest representation known, excepting that on the carved wood doors of St. Sabina at Rome, which were made by Greek workmen for Pope Celestin (432-440), and the two conceptions have much in common in modelling and pose. It should be noticed that the _titulus_ is written only in Latin. A most important proof of the Latin origin of these ivories is the finely cut honeysuckle moulding which surrounds the door of the tomb in the Trivulzio tablet, and which is found both on the diptych of Probianus (Fig. 2) and on that of the Nicomachi family (No. 58). The tablet has another close connection with the Probianus diptych in the division of the surface into two tiers by the border, and the recognition of the existence of three dimensional space, by grouping the figures firmly on the ground. This knowledge was soon forgotten, and the figures on sculptures of scarcely later date float about one over the other without the artist being in the least troubled by the problem of the depth of inclosed space. The close connection with these diptychs points to an early date, probably not later than the first decades of the fifth century. The dividing border[9] is very common in Carlovingian ivories, and is, perhaps, one reason why Westwood and Stuhlfauth attribute the Trivulzio plaque to that epoch, but a comparison of the “space” arrangement, imperfect as it is, with any Carlovingian ivory, clearly shows the superiority of the more ancient work. [Illustration: DR. GRAEVEN PHOTO.] [BRITISH MUSEUM 7. THE CRUCIFIXION Italian, commencement of fifth century] [Illustration: DR. GRAEVEN PHOTO.] [BRITISH MUSEUM 8. CHRIST LEAVING THE PRÆTORIUM Italian, commencement of fifth century]