An artistic use for pearls at that time was in the rich and elegant bindings of the splendidly written missals and chronicles, finished in the highest degree of excellence and at vast expense. An artist might devote his whole life to completing a single manuscript, so great was the detail and so exquisite the finish. Vasari states that Julio Clovio devoted nine years to painting twenty-six miniatures in the Breviary of the Virgin now in the royal library at Naples. The library at Rouen has a large missal on which a monk of St. Andoen is said to have labored for thirty years. These books were among the most valued possessions of the churches, and their bindings were enriched with gold and pearls and colored stones. The wealthy churches had many such volumes; Gregory of Tours states that from Barcelona in 531 A.D. Childebert brought twenty “_evangeliorum capsas_” of pure gold set with gems. Several of these superbly bound volumes are yet in existence, in the Basilica of St. Mark in Venice; in the treasury of the cathedral at Milan; among the imperial Russian collections in the Ourejenaya Palata at Moscow, etc.; and they furnish probably the most reliable examples of artistic jewel work of the Dark Ages. The most remarkable specimen of these books in America is doubtless the Ashburnham manuscript of the Four Gospels, now owned by J. Pierpont Morgan, Esq., which affords an interesting example of the jeweler’s art. For many centuries it belonged to the Abbey of the Noble Canonesses, founded, in 834, at Lindau, on Lake Constance. After an extended examination, Mr. Alexander Nesbit concluded that the rich cover of the manuscript was probably made between 896 and 899 by order of Emperor Arnulf of the Carolingian dynasty. Most of the ninety-eight pearls appear to be from fresh water, and probably all of them were obtained from the rivers of Europe. This is one of the few remaining pieces of the magnificent ecclesiastical jeweling of that period. After the death of Charlemagne, internal dissensions, separations and the division of the Empire into the nations of Europe, annihilated commerce, oppressed the people, and impoverished the arts. In the ninth century, the Normans pillaged many of the palaces and churches in Angoulême, Tours, Orléans, Rouen, and Paris, and destroyed or carried away large treasures. The tenth and the eleventh centuries were indeed the Dark Ages in respect to the cultivation of the arts; yet even during that period the churches of western Europe received many gems from penitent and fear-stricken subjects. The heart of man, filled with the love of God, laid its earthly treasure upon the altar in exchange for heavenly consolation. Pious faith dedicated pearls to the glorification of the ritual; altars, statues, and images of the saints, priestly vestments, and sacred vessels, were surcharged with them. The great museums and the imperial collections contain some beautiful and highly venerated objects of this nature.