In these three MSS., reproductions from which are to be found in various modern works on art, the writing and ornamentation are the parts into which the artist puts his best work, not the figure drawing. Although in the St. Sernin MS. there is, in the Christ-figure, a distinct attempt at portraiture quite different from the coils and pen-flourishes which make up the Gospel-figures in the Irish and Merovingian MSS. Here the inspiration is clearly Greek, not Irish. The figure is draped in green and violet--seated on an embroidered cushion before a low castellated wall. The hair is light, and the chin beardless. The design shows a decided likeness to the consular ivory diptychs, and the painting follows the Eastern methods. In the details of ornament only are Irish features. Thus we trace in this MS. the sources of Carolingian art. The MS. being dated, is important as affording a means of comparison with other undated work. It was presented to St. Sernin on the occasion of the visit of the Emperor and Empress with their son, the amiable Louis "le Debonaire,"[14] just after the latter had been made King of Aquitaine. Godeschalk, the writer of it, on the last two leaves tells us that it took him seven years to accomplish. It is written throughout in gold and silver letters on purple vellum, and is, moreover, ornamented with borders, pictures, portraits, and panellings. At first it was kept in a _cumdach_ of silver, set with precious stones, but that has disappeared. [14] Mod. Fr. "Debonnaire."