We find no allusion in the works of Pliny or St. Isidoro to the existence of the industry of ivory carving in Spain during the Roman and Visigothic dominations. An interesting example of ivory work of the Roman period, consisting of a consular diptych may be seen at the cathedral of Oviedo, which, although certainly not carved in Spain, must not be overlooked here, in order that it may be included among the number of the carvings which have reached us of this period. The two leaves of this diptych are complete, and in a perfect state of preservation: they are 16 inches long by 6 inches wide; in the centres are two medallions in relief with a bust of the consul, who is represented in the act of throwing down with his right hand the mappa or handkerchief, and holding in his left hand a sceptre. The right angles are ornamented with masks, the rest of the surface is plain. The two following inscriptions run along the upper part of the leaves: FL·STRATEGIVS APION. STRATEGIVS APION V. ILL: COM. DEVV. DOMM. ET · CONS · OR.
Flavius Strategius Apius. Strategius Apius, illustrious man, count of the most fervent servants, and consul in ordinary.
This consul belongs to the period of Justinian, by which emperor he was invested with this dignity in A.D. 539. We do not know how this diptych came to Spain; it is generally supposed that it belonged originally to the shrine of the cathedral of Toledo, from whence it was removed to Asturias, with other relics, to be concealed there during the invasion of the Arabs at the beginning of the 8th century. The student will find further details in "Corpus Ins." by Hübner. "Monumentos arquitectonicos." "Mus. Esp. de Antiguedades." Vol. i. p. 385.
From the invasion of the Arabs, which began early in the 8th century, and on the foundation of the empire of the Caliphs of Cordova in the year 756, an era of grandeur began for the Arabs in Spain, coinciding with their independence from the Caliphs of Damascus, which lasted for more than two centuries; during this time Cordova became the most important literary and scientific centre in Europe. The direct influence of the East and Constantinople may be traced without interruption from this time on the culture of the Spanish Arabs. At times this culture was transmitted by the objects of every kind which the Spaniards received from the East, at others by the influence exercised by the artists who established themselves on the territory of the Caliphate of Cordova. The greater part of the industrial arts, which were imported at this time, became naturalized in the country, and we find them developed in every locality of the Peninsula, and although we do not possess any positive historical information stating this fact, which distinctly bears on ivory carvings, we are safe in affirming that the industry existed among the Spanish Arabs in a very high state of perfection during the last years of the Caliphate. The description and details of the most important ivories which have reached us of this period confirms this opinion.
At the South Kensington Museum there is a cylindrical box No. 217-'65 with rounded cover. I copy Mr. Maskell's description of this object, of which a woodcut is given. (Vide "Ivories, Ancient and Mediæval, in the South Kensington Museum," London, 1872.)
"This beautiful box is carved throughout, except the bottom of it, with interlacing narrow bands forming quatrefoils, in which on the cover are four eagles. These have spread wings and stand erect; well designed and most delicately executed. A small knob serves to lift the lid.
"Round the side, each quatrefoil is filled with a star having a leaf ornament. The same decoration is repeated in the spaces between the larger quatrefoils on the cover.
