Other highly decorated pages in these Byzantine _Gospels_ are those which contain the "Canons" of Bishop Eusebius, a set of ten tables giving lists of parallel passages in the four Gospels. These tables are usually framed by columns supporting a semicircular arch, richly decorated with architectural and floral ornaments in gold and colours. Frequently birds, especially doves and peacocks, are introduced in the spandrels over the arches; they are often arranged in pairs drinking out of a central vase or chalice--a motive which occurs very often among the reliefs on the sarcophagi and marble screens of early Byzantine Churches both in Italy and in the East[36]. These birds appear to be purely ornamental, in spite of the many attempts that have been made to discover symbolic meanings in them. Other birds, such as cocks, quails and partridges, are commonly used in these decorative illuminations, and this class of ornament was probably derived from Persia, under the Sasanian Dynasty, when decorative art and skilful handicrafts flourished to a very remarkable extent[37]. Among the most sumptuous and beautiful illuminations which occur in these Byzantine _Gospels_ are the headings and beginnings of books written in very large golden capitals, so that six or seven letters frequently occupy the whole page. These letters are painted over a richly decorated background covered with floreated ornament, and the whole is framed in an elaborate border, all glowing with the most brilliant colours, and lighted up by burnished gold of the highest decorative beauty[38]. _Textus for the High Altar._ These sumptuous _Evangeliaria_, or _Textus_ as they were often called, soon came to be something more than merely a magnificent book. They developed into one of the most important pieces of furniture belonging to the High Altar in all important Cathedral and Abbey churches[39]. Throughout the whole mediaeval period every rich church possessed one of these magnificently written _Textus_ or _Books of the Gospels_ bound in costly covers of gold or silver thickly studded with jewels. This _Textus_ was placed on the High Altar before the celebration of Mass, during which it was used for the reading of the Gospel. _Textus used as a Pax._ The jewel-studded covers had on one side a representation of Christ's crucifixion, executed in enamel or else in gold relief, and the book was used to serve the purpose of a _Pax_, being handed round among the ministers of the Altar for the ceremonial kiss of peace, which in primitive times had been exchanged among the members of the congregation themselves. One of the most magnificent examples of these _Textus_ is the one now in the possession of Lord Ashburnham, the covers of which are among the most important and beautiful examples of the early English goldsmith's and jeweller's art which now exist[40]. _The Textus at Durham._