Between the arms of the cross are four gamma shaped ornaments, each set with small flat jewels. Across the sides are bands of gold on which are engraved the words DE DONIS DEI OFFERIT THEODELENDA REG. GLORIOSISSIMA SANCTO JOANNI BAPTISTE IN BASILICA QUEM IPSA FUNDAVIT IN MODICIA PROPE PALATIUM SUUM. A handsome border with flat garnets enclosed the whole, and the four cameos set near the gammas are a recent addition. Byzantine art is generally considered as a decadent form of Roman art, but in this particular instance there is much Greek feeling, and it is in all respects, excepting perhaps the inscription, a magnificent piece of work. [Illustration: FIG. 50.--The binding of the Gospels of Lindau, the older side.] The binding of the Gospels of Lindau has now two sides of different dates, each of which has been repaired and added to in recent times. The earlier of the two, far the finer, is probably contemporary with the manuscript, having been made about the later half of the ninth century, as the Abbey of the Noble Canonesses at Lindau was founded by the Emperor Lewis the Pious in A.D. 834. A large golden cross pattée is the chief motive of this beautiful piece of work, and it is ornamented with rare enamels showing bust figures wearing stoles, and jewels in great variety, the borderings being inlaid with small flat pieces of garnet. The spaces between the arms of the cross are filled with bronze plaques elaborately ornamented with Celtic interlacings in chiselled work. The workmanship is probably Irish, and was most likely done abroad, possibly enough at Lindau itself, by some Irish artists who had emigrated. Irish jewellers and enamellers of this early time were justly celebrated, and their services were secured whenever possible. The later side of the binding is one of the finest existing specimens of Carlovingian art. It is radically different from the earlier side and was probably added about the eleventh or twelfth century. [Illustration: FIG. 51.--The binding of the Gospels of Lindau, the more recent side.] In the centre is a large cross on which is a gilt figure of our Lord in the attitude of the crucifixion. The cross is outlined by a structure of open work of gold ornamented with filagree work and thickly set with jewels. Between the arms of the cross are angels worked in repoussé, and rich bosses of gold and jewels, raised on arcades of open work. The border is of great richness, and is thickly sown with large jewels cut “en cabochon,” many of them pierced longitudinally, betraying in all probability an Oriental provenance. No doubt this was originally made for some valuable manuscript now lost, and it was used to replace the original simple lower cover of the Gospels of Lindau at some unknown time. The book was formerly in the possession of the Earl of Ashburnham, but now it is gone to America.