[Illustration: A. GIRAUDON PHOTO.] [BIBLIOTHÈQUE NATIONALE, PARIS 11. COVER OF A BOOK OF THE GOSPELS, WITH THREE SCENES FROM THE NATIVITY Italo-Byzantine, sixth century] Milan Cathedral possesses another ivory carving too important to be passed over, which Molinier and Graeven attribute to this period in contradiction to Labarte, who declares it to be Italian Carlovingian of the ninth century, but the design is too closely connected with the series just under discussion for it to be possibly of later date than the sixth century. The two leaves of the diptych are crowded with active little figures, all intent on the business in hand. It should be noted that though the angel by the tomb is almost identical with that on the Trivulzio tablet, the guards are differently dressed, having the crested helmet and mailed tunic of antique Roman soldiers. The separation of the two schools had become complete when the plaque in the Munich Museum was carved, probably well on in the sixth century. It is unmistakably Byzantine; in the lower half the Holy Women visit the Tomb, whilst above, there is a fine figure of Christ ascending to heaven; He rises with a powerful impetus, and the whole scene is far superior in vigour to the later representations. There is an interesting plaque in the Liverpool Museum, on which the Carlovingian craftsman has closely imitated the grouping of the Holy Women and the soldiers round the tomb. The glory of the ivory craft is at Ravenna, the magnificent Throne of St. Maximian, bishop of that city from 546-553. [Illustration: L. RICCI PHOTO.] [CATHEDRAL, RAVENNA 12. FRONT OF THE THRONE OF MAXIMIAN Italo-Byzantine, sixth century] This _cathedra_ or episcopal chair is entirely covered with carved ivory, and has been treasured in the Cathedral for more than fourteen centuries. The throne was made in the sixth century, during that period of great artistic activity, when Justinian was engaged in beautifying Constantinople and the other great cities of his Empire. The new Church of St. Sophia was being decorated in the most gorgeous manner. The old chroniclers tell of gold and silver doors, and six doors of carved ivory; so the custom of overlaying large surfaces with ivory plaques was not an innovation. The bishop ordered his Throne and set it up at a time when Ravenna was still an important centre, and yearly adding to the number of its beautiful buildings.