The Throne of St. Peter in the apse of his church in Rome, is made up in the same way with little plaques representing the _Labours of Hercules_ and other purely pagan subjects. The ivory carvings belong to two periods, one, admittedly, of the ninth century when the Throne was restored, and the others are traditionally supposed to date from the lifetime of the apostle. It was inclosed 200 years ago in a hideous casing, and no close examination is permitted. If this chair is really of great antiquity, even if not so early as the first century, it would be a great support to Venturi’s assumption that all these secular caskets belong really to classical antiquity, and are of late Roman origin. There is a beautiful casket in the Cathedral of Troyes, of the tenth or eleventh century, which was sent back by Garnier de Traisnel, Bishop of Troyes, and Almoner to the Crusaders. Garnier died in the East, but sent home his share of the spoil from Constantinople. It is stained a rich purple and evidently belonged to the Basileus, who is depicted on horseback. III. THE BYZANTINE RENAISSANCE. The Golden Age of Byzantine Art commences about the beginning of the tenth century, and, roughly speaking, coincides with the rule of the great Macedonian dynasty, a period when the warrior emperors, usurpers or otherwise, kept the invading barbarians at bay. The Byzantine chroniclers expatiate at great length on the unparalleled luxury of the Court and how the “Sacred Palace” was filled with art treasures; and they also tell us that Constantine VII., Porphrygenitus (911-959), was an enthusiastic amateur, and even employed his “sacred” fingers in carving and painting beautiful objects; it was about the only thing he did do, for the government was entirely taken out of his hands by a series of usurpers who were nominally his colleagues. Ivory carving was only one small portion of this great stream of decorative work, but an important part, as there was practically no sculpture in stone. In the new basilica at Constantinople were some animals carved on the marble fountains, and a few inferior bas-reliefs have been found in the Crimea and Mount Athos, but the technique is merely an enlargement of the tiny reliefs, with a complete loss of that delicacy and loving finish which is the greatest charm of the ivory craft.