In Late Antiquity, a consular diptych was a type of diptych intended as a de-luxe commemorative object. The diptychs were generally in ivory, wood or metal and decorated with rich relief sculpture. A consular diptych was commissioned by a consul ordinarius 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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👉 Consular diptych in the context of Diptych
A diptych (/ˈdɪptɪk/, DIP-tick) is any object with two flat plates which form a pair, often attached by a hinge. For example, the standard notebook and school exercise book of the ancient world was a diptych consisting of a pair of such plates that contained a recessed space filled with wax. Writing was accomplished by scratching the wax surface with a stylus. When the notes were no longer needed, the wax could be slightly heated and then smoothed to allow reuse. Ordinary versions had wooden frames, but more luxurious diptychs were crafted with more expensive materials.
In this Dossier
- ⭐ Core Definition: Consular diptych
- 👉 Consular diptych in the context of Diptych
- Consular diptych in the context of Barberini ivory
- Consular diptych in the context of Byzantine Senate
- Consular diptych in the context of Areobindus Dagalaifus Areobindus
- Consular diptych in the context of Imago clipeata
Consular diptych in the context of Barberini ivory
The Barberini ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity, now in the Louvre in Paris. It represents the emperor as triumphant victor. It is generally dated from the first half of the 6th century and is attributed to an imperial workshop in Constantinople, while the emperor is usually identified as Justinian, or possibly Anastasius I or Zeno. It is a notable historical document because it is linked to queen Brunhilda of Austrasia. On the back there is a list of names of Frankish kings, all relatives of Brunhilda, indicating her important position. Brunhilda ordered the list to be inscribed and offered it to the church as a votive image.
Although it is not a consular diptych, it shares many features of their decorative schemes. The emperor is accompanied in the main panel by a conquered barbarian in trousers at left, a crouching allegorical figure, probably representing territory conquered or reconquered, who holds his foot in thanks or submission, and an angel or victory, crowning the emperor with the traditional palm of victory (which is now lost). Although the barbarian is partly hidden by the emperor's huge spear, this does not pierce him, and he seems more astonished and over-awed than combative. Above, Christ, with a fashionable curled hair-style, is flanked by two more angels in the style of pagan victory figures; he reigns above, while the emperor represents him below on earth. In the bottom panel barbarians from West (left, in trousers) and East (right, with ivory tusks, a tiger and a small elephant) bring tribute, which includes wild animals. The figure in the left panel, representing a soldier, carries a statuette of Victory; his counterpart on the right is lost.
Consular diptych in the context of Byzantine Senate
The Byzantine senate or Eastern Roman senate (Greek: Σύγκλητος, Synklētos, or Γερουσία, Gerousia) was a continuation of the Roman Senate, established in the 4th century by Constantine I. It survived for centuries, but the senate's powers varied greatly during its history and gradually diminished until its eventual disappearance in the 13th century.
The senate of the Byzantine Empire originally consisted of Roman senators who happened to live in the East, or those who wanted to move to Constantinople, and a few other bureaucrats who were appointed to the senate. Constantine offered free land and grain to any Roman senators who were willing to move to the East. When Constantine founded the Eastern senate in Byzantium, it initially resembled the councils of important cities like Antioch rather than the Roman Senate. His son Constantius II raised it from the position of a municipal to that of an imperial body but the senate in Constantinople had essentially the same limited powers as the senate in Rome. Constantius II increased the number of senators to 2,000 by including his friends, courtiers, and various provincial officials.
Consular diptych in the context of Areobindus Dagalaifus Areobindus
Flavius Areobindus Dagalaifus Areobindus (Ancient Greek: Ἀρεόβινδος; fl. 479–512) was an Eastern Roman general and politician. The scion of a distinguished line, he led troops in the Anastasian War, and served as consul in 506. During an urban riot in 512, Areobindus evaded a mob which wanted to force a change of government by proclaiming him emperor. He died soon after.
Consular diptych in the context of Imago clipeata
Imago clipeata (Latin: "portrait on a round shield") is a term in the art history of ancient Rome for images of ancestors, famous people or deceased shown as on a round shield (in Latin: clipeus). For other periods similar forms are called medallions. In the Roman world the imago clipeata was used to depict the ancestral family tree (Latin: Stemma) in patrician houses of the Roman Republic as described by Pliny the Elder (Historia Naturalis 35: 4–11).
These shield portraits can be seen in architectural sculptural decorations, on sarcophagi and on standards of the Roman legions among many other types of representations in the Roman and Early Christian world. In Italian Baroque imagery, medallion portraits supported by nymphs or genii came to signify an apotheosis. In this context they might be called tondi.