prosperity of his reign. This personification was often presented in this role on images of the triumphant emperor or the emperor in majesty, as for example on the missorium of Theodosius (with Tellus similarly represented at the bottom of the composition, under the figure of Theodosius I enthroned in majesty) and on the relief of the pietas augustorum on the arch of Galerius (where the Tetrarchs are accompanied by a series of personifications, including Gaia) These personifications of Tellus/Gaia are generally recognisable by their principal attribute of a cornucopia – this is not actually present on the ivory, but the fruit-filled fold in the woman's robe is of the same form and fulfils the same symbolic function. Counterbalancing this first female figure, in the top right hand corner of the central panel, is a statuette of a winged Victory standing over a globe inscribed with the sign of the cross, holding a palm (symbol of victory) in her left hand and in her right hand (now broken) she almost certainly held a crown to be placed on the emperor's head. This type of statuette personification is also one of the links to the iconography of the triumphant emperor, found on several coins (e.g. the reverse of the solidus of Constantine II, right) but also in sculpture (e.g. the scene of sacrifice on the arch of Galerius) and on some consular diptychs. The emperor has a bowl or archivolt haircut, of the sort where the fringe describes an arched circle around his face, similar to that worn by Constantine, and wears a crown studded with pearls, of which four survive. His facial features are oval in form and quite heavy, notably the eyelids and the nose, but give a cheerful character to the imperial portrait. The emperor wears the military uniform of commander in chief, the role in which he is portrayed – under his cuirass he wears a short tunic and over the cuirass a cloak (paludamentum), of which a fold flies behind him and which is held onto his shoulder by a round fibula. The fibula was originally made of precious stone, like the cuirass. He wears cross-laced boots (cothurni), ornamented with a lion's head. The horse's harness is decorated with a series of medallions dripping in inlays, now lost apart from the one in the centre of its head. The relief of this central motif was particularly accentuated