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112:, two or more flat pieces of (usually) wood, joined by clasps, lined with wax on which was written the letter of appointment. Later, the letter might be written on papyrus and presented within the covers. By the late fourth century, however, specially-commissioned diptychs began to be included among the gifts that appointees to high office distributed to celebrate and publicize the public games that were their principal duties. These diptychs were made of ivory, with relief carvings on the outside chosen by the donor, looking superficially similar to codicils but containing no writing and with no official status.
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in 476 was probably responsible for the disappearance of western production at the end of the 5th century, with all surviving consular diptychs from the 6th century originating from
Constantinople. The most common motif on 6th century consular diptychs from Constantinople shows the consul, standing,
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Later, consular diptychs systematically carried either a more or less elaborate portrait of the consul on the most richly decorated examples or a dedicatory inscription to him within a geometric and vegetal scheme on the simpler examples. The simpler examples were probably produced as a series from
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of the late Roman Empire as well as for the study of the art of this period. Large numbers of them have survived to the present day, in many cases due to their re-use as book covers for medieval ecclesiastical manuscripts. Some were also used in churches as grand bindings for lists of bishops and
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games in 401 respectively. Almost all depict the games, and on three separate occasions
Symmachus links the presentation of these diptychs with the completion of the games. Their end is marked by the consulship's disappearance under the reign of
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models prepared in advance, with the more sophisticated (and thus more expensive) diptychs reserved for the inner circle of the Roman aristocracy. The workshops responsible for their production were to be found in the Empire's two capitals at
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in 384 to limit expenditure on the games of
Constantinople by reserving ivory diptychs (and golden gifts) to consuls alone. In the western empire, they became a usual part of the public displays given by great aristocrats.
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148:, is one commissioned by Anicius Petronius Probus (he was a consul in the Western Empire in 406) – it is unique not only for its extreme antiquity but also as the only one to bear the portrait of the Emperor (
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Cod. Theod. 15.9.1, p. 181 of The origin, context, and function of consular diptychs. Alan
Cameron, in memory of Tally Kampen. Journal of Roman Studies 103 (2013) pp. 174–207.
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pp. 185–194. The origin, context, and function of consular diptychs. Alan
Cameron, in memory of Tally Kampen. Journal of Roman Studies 103 (2013) pp. 174–207.
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to mark his entry to that post, and was distributed as a commemorative reward to those who had supported his candidature or might support him in the future.
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p. 182 of: The origin, context, and function of consular diptychs. Alan
Cameron, in memory of Tally Kampen. Journal of Roman Studies 103 (2013) pp. 174–207.
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p. 182. The origin, context, and function of consular diptychs. Alan
Cameron, in memory of Tally Kampen. Journal of Roman Studies 103 (2013) pp. 174–207.
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p178. The origin, context, and function of consular diptychs. Alan
Cameron, in memory of Tally Kampen. Journal of Roman Studies 103 (2013) pp. 174–207.
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in this instance, to whom the diptych is dedicated in an inscription full of humility, with Probus calling himself the emperor's "
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intended as a de-luxe commemorative object. The diptychs were generally in ivory, wood or metal and decorated with rich
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529:(catalogue of an exhibition at the Louvre, 3 November 1992 – 1 February 1993), Paris, 1993, 42–45.
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Late Fourth
Century Classicism in the Plastic Arts: Studies in the So-called Theodosian Renaissance
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From as early as the first century CE, some formal letters of appointment to office were known as
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Age of spirituality : late antique and early
Christian art, third to seventh century
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In chronological order of production (some shown with a single surviving panel):
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The routine distribution of such diptychs in the East is marked by a decision by
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The oldest diptych that can properly be called a consular diptych, held in the
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presiding over the consular games which marked his entry to the consulship.
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in 518. He sits between figures representing Rome and Constantinople.
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By their very nature, consular diptychs are a valuable tool for the
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Byzance, l'art byzantin dans les collections publiques françaises
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6th-century disestablishments in the Byzantine Empire
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Die Consulardiptychen : und verwandte Denkmäler
554:"Origin, Context and Function of Consular Diptychs"
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626:4th-century establishments in the Roman Empire
185:is a much rarer Imperial diptych, probably of
156:" or servant) rather than that of the consul.
368:Diptych of Theodore Philoxenus, consul in 525
27:Type of Roman diptych to commemorate a consul
328:Diptych of Anastasius, consul in 517 (Paris)
236:, produced for his consulate in 413 or 417.
70:. A consular diptych was commissioned by a
482:, 3 vols., Oxford University Press, 1991 (
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384:, consul in 540 (last surviving example)
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213:, consul in 406, depicting emperor
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217:(oldest surviving example)
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122:Quintus Aurelius Symmachus
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42:in 506, showing him in an
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110:"codicilli", little books
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316:, consul in 517 (London)
282:Rufius Achilius Sividius
211:Anicius Petronius Probus
516:Danièle Gaborit-Chopin
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181:similar records. The
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651:Consular diptychs
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128:games in 393 and
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18:Consular diptychs
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564:: 174–207.
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380:Diptych of
352:Diptych of
312:Diptych of
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280:Diptych of
264:Diptych of
248:Diptych of
209:Diptych of
126:quaestorian
620:Categories
488:0195046528
390:References
314:Anastasius
168:, but the
130:praetorian
578:162284518
187:Justinian
135:Justinian
552:(2013).
497:(1993).
215:Honorius
150:Honorius
137:in 541.
594:, ed.,
230:Diptych
193:Gallery
154:famulus
85:Origins
80:History
64:diptych
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382:Justin
103:Louvre
95:Magnus
48:Louvre
40:consul
574:S2CID
523:]
250:Felix
146:Aosta
606:ISBN
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460:ISBN
452:ISBN
164:and
162:Rome
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
