It was deemed a heinous crime to open the sacred casket, and the widow of Sir Neal actually brought an action in the Court of Chancery in 1814 against Sir W. Betham, Ulster King-at-Arms, for daring to open the casket without her permission. His crime at any rate gratified our curiosity, for when opened it was found to contain a small wooden box very much decayed. Within the box was a dark, damp mass, which, on careful and cautions examination, proved to be a portion of the Psalter in Latin, written in a neat but hurried hand, of which, however, several folios at the beginning and end were utterly destroyed by the damp. Fifty-eight leaves remain, containing the Psalter from the 31st to the 106th psalm. We have examined the fac-similes published in the first volume of the _National Manuscripts of Ireland_, and we find that it is a portion of the Gallican Psalter, that is the Psalter at present in our Latin Vulgate, which was a second and more careful correction of the then existing Psalter made by St. Jerome, not according to the Septuagint, like his first correction, the Roman Psalter, but made according to the Hexaplar Greek of Origen. St. Columcille's copy is executed with wonderful neatness and accuracy, containing even the asterisks and obelisks of St. Jerome's correction. We note these facts to show that the Bible brought from Rome by St. Finnian was in truth the new and corrected edition of the old Vulgate, which was just then coming into universal use. This fact is quite enough to explain St. Columcille's anxiety to get a copy, as well as St. Finnian's fear that his own treasure might be lost or injured. Tourists visiting Ireland would do well to examine this venerable memorial of our ancient Church, as well as the other relics in the Royal Irish Academy. The casket itself consists of a brass box nine and a half inches long, eight in breadth, and two in thickness. The top, however, is covered with a silver plate, richly gilt, chased, and adorned with marvellously wrought figures of Columcille, the Crucifixion, and other sacred objects. The corners, too, were set in precious stones--crystals, pearls, sapphires, and amethysts, many of which, as might be expected, have been lost. The whole work furnishes a striking proof of the skill of our Celtic forefathers in metallurgy so early as the eleventh century, when it was almost lost as an art elsewhere.