minute and surprisingly curious workmanship. The draperies partake of the
character of late Roman art. Round this central ivory piece of carving, is
a square, brass border, with the following inscription; which, from the
character of the capital letters, (for it is wholly composed of such) is
comparatively quite modern:

GRAMMATA QVI QVERIT COGNOSCERE VERE
HOC MATHESIS PLENE QVADRATVM PLAVDAT HABERE
EN QUI VERACES SOPHIE FULSERE SEQUACES
ORNAT PERFECTAM REX HEINRICH STEMMATE SECTAM.

In the outer border are precious stones, and portraits, with inscriptions
in Greek capital letters. These portraits and inscriptions seem to me to be
perfect, but barbarous, specimens of Byzantine art. Around the whole are
the titles of the Four Gospels in coeval capital letters. The general
effect of this first side of the book-cover, or binding, is perfect--for
antiquarian genuineness and costliness. The other side of the binding
contains representations of the cardinal virtues, in brass, with the lamb
in the centre: but they are comparatively modern. The interior of this book
does not quite accord with its exterior. It is in pure condition, in every
respect; but the art is rather feeble and barbarous. The titles to the
Gospels are executed upon a purple ground. The larger subjects, throughout
the illuminations, are executed with freedom, but the touch is heavy and
the effect weak. The gold back grounds are rather sound than resplendent.
Yet is this MS., upon the whole, a most costly and precious volume.

LATIN PSALTER. Probably of the latter part of the twelfth century. The text
is executed in a lower-case gothic. In the Calendar of Saints are found the
names of Edward the Martyr, Cuthbert, Guthlac, Etheldrith, and Thomas à
Becket. I think I am fully justified in calling this one of the richest,