also suggests a Justinian date – it is comparable to a consular diptych of Justin from 540, the last known consular diptych before Justinian suppressed the consulship in 541, and the first to place images of Christ and of the imperial couple (Justinian and Theodora) in medallions below the portrait of the consul. Up until then the Christian presence on these diptychs had been limited to the symbol of the cross, like those framing the imperial portraits on the consular diptych of Clement in 513. This cross could also be shown within a crown carried by two angels, the best-known motif of the Theodosian era – besides ivories such as that at Murano, it also figures on the bas-reliefs of the column of Arcadius and the decoration of the sarcophagus of Sarigüzel. Replacing the cross within the crown with a bust of Christ on the Barberini ivory marks another step in the Christianisation of the relief form, which would also date it to later than the reign of Anastasius and corresponds well to the ideological orientation observed at the start of Justinian's reign. The Archangel ivory in London, of which only one panel survives, represents an archangel holding a sceptre and a globe topped by a cross and can be assigned to the same ideological movement. It was dated precisely to the start of Justinian's reign in 527 by D.H. Wright, after making a new translation of its Greek inscription. The identification of the triumphant emperor with Justinian thus corresponds quite well to the imagery left behind by this emperor, which also includes equestrian statues and statues of Victory (for victories over the Persians that were heavily proclaimed in propaganda but not particularly real). A drawing by Nymphirios (a member of the entourage of Cyriac of Ancona) now in the library of the University of Budapest shows the statue which surmounted the column raised by Justinian in 543/4 in the Augustaion in Constantinople and described at length by Procopius of Caesarea in his Edifices (I, 2, 5). The emperor, mounted on a horse with one hoof raised, holds an orb surmounted by a cross in his left hand and greets the viewer with his right hand. He is crowned with a large plumed headdress or toupha. According to the epigram which was its dedicatory inscription, conserved in the Anthology of Planudes and confirmed by Procopius's account, the statue was set