Abstract
The Carrand Diptych is one of the finest and most beautiful ivories from the Early Christian period (Florence, Bargello, Fig. 1).1 It is also one of the most enigmatic. Carved around 400, the diptych is often considered in surveys of Early Christian and late Roman art, but discussion has focused primarily on the question of where it was produced.2 Its unusual subjects have not been closely studied nor has its unique program been satisfactorily explained. The subjects of both wings are easily identified. This is their earliest known appearance in the history of art. On the left, Adam is seated nude, surrounded by wild animals. He points to the lion beside him with his right hand. This scene clearly illustrates the
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