Beautiful Byzantine work of the twelfth century is to be seen upon the carved and jewelled binding of the Psalter of Melissenda, daughter of Baldwin II., King of Jerusalem, and wife of Fulk, his successor. The ivory covers measure eight by six inches, and are elaborately carved in bas relief with Biblical scenes. On each side are six circles, and in each circle a little figure group, on one side representing episodes in the life of David and on the other works of mercy. There is lettering run in with red, giving the names of each of the personages shown, and their eyes are set with tiny rubies or emeralds cut “en cabochon” like coloured grains of sand. The spaces between the circles are filled with other Biblical or symbolical figures, scrolls and animals, and a beautiful interlacing border encloses the whole, set with turquoises and rubies. The carver’s name, “HERODIUS,” is cut in the lower cover. The workmanship on these ivories is extremely fine, and there is no doubt they were made to be used as a binding. The majority of ivory carvings found on mediæval bookbindings appear to have been simply added, having been originally made for some other purpose. But there are notable exceptions, particularly in the Bibliothèque Nationale at Paris. The shape in which the plaque of ivory is cut will often give a valuable indication in this matter. The finest Byzantine binding now in England is probably that known as the Gospels of Charlemagne, now in the Victoria and Albert Museum. It is nearly square, and the upper side is overlaid with gilt metal, enamels and gems. In the centre is a seated figure of Our Lord in the attitude of Benediction, in repoussé work. Round this is a band of white and green enamelled lettering, restored, on which are two hexameter lines: “MATHEVS ET MARCVS LVCAS SCSQ JOHANE VOX HORV QVATVOR REBOAT TE XPE REDEMPTOR.” The outer border is made up of rectangular plaques of enamels, gold work and jewels. The work here is also largely restored, but it is, as a rule, admirably done, and where the old work remains, especially in the gold, it is of a high excellence. The jewels have, for the most part, been restored. As the book is now it is a splendid and dignified example of its kind; the under side is simply covered with strong red leather, with a cross marked by small studs. Like many of these splendid altar books, this one is said to have served as a Pax. The manuscript itself is of the tenth century, and belonged to the Abbey Church of St. Maurice d’Agaune, and from here it was stolen in the fourteenth century. It afterwards found a home at Sion, and was purchased for the Victoria and Albert Museum at the Spitzer sale in 1893.