[55] Descripción de la Catedral de Sevilla, pp. 27, 28.
[IVORIES]
The story of Spanish ivory-work is shortly told, for probably no craft, excepting glass, has been so little practised in this country. The older Spanish writers rarely mention it, although from time to time this substance may have been employed for carving diptyches and boxes, and Roderick is stated to have entered the battle of the Guadalete in an ivory car, by which is meant, perhaps, a chariot of Byzantine make or pattern, covered with ivory plates. However, properly speaking, the history of this art as exercised in Spain begins in the eleventh century, attains its prime towards the fourteenth century, and ceases altogether at the time of the Renaissance.
Among the ivory objects now preserved in Spain, and which were wrought by artists other than Mohammedan, none is more interesting or important than the consular diptych of Oviedo cathedral. Although this valuable diptych was not made in Spain, but manifests Byzantine art in all its purity, it well deserves to be described. It consists of two ivory tablets measuring sixteen inches and a half in height by twelve inches and a half across both leaves. Each leaf has a simple border of a triple form, and just inside each corner is a circular floral ornament in relief, with a lion's head in the centre. Another ornament, also circular, is in the centre of each leaf, and contains, carved within a graceful S-shaped border, a half-length portrait of the Consul, who is represented in the act of throwing down into the amphitheatre his mappa or handkerchief[56] with his right hand, while in his left he holds the sceptre (scipio imaginifer), crowned with a small bust. His hair is curled in the Byzantine fashion, and his costume is a richly decorated toga.
An inscription runs along the top of either tablet, between the border and the circular devices carved with flowers. It says:—
Flavius Strategius Apion—Strategius Apion. Vir inlustris Comes Devotissimorum Domesticorum et Consul ordinarius.
