In the central portion, 21 in. high, by 15 1/2 in. wide, is a seated figure, reading a roll. In front of him is a cupboard, the doors of which are open. It is fitted with two shelves, on the uppermost of which are eight rolls, the ends of which are turned to the spectator. On the next shelf is something which looks like a dish or shallow cup. The lower part of the press is solid. Perhaps a second cupboard is intended. Above, it is finished off with a cornice, on which rests a very puzzling object. There are a few faint lines on the marble, which Professor Petersen believes are intended to represent surgical instruments, and so to indicate the profession of the seated figure[98]. There is a Greek inscription on the sarcophagus, but it merely warns posterity not to disturb the bones of the deceased[99]. The second representation (fig. 14) is from the tomb of Galla Placidia, at Ravenna. It occurs in a mosaic on the wall of the chapel in which she was buried, A.D. 449[100]; and was presumably executed before that date. The press closely resembles the one on the Roman sarcophagus, but it is evidently intended to indicate a taller piece of furniture, and it terminates in a pediment. There are two shelves, on which lie the four Gospels, each as a separate _codex_, indicated by the name of the Evangelist above it. This press rests upon a stout frame, the legs of which are kept in position by a cross-piece nearly as thick as themselves. [Illustration: Fig. 14. Press containing the four Gospels. From a mosaic above the tomb of the Empress Galla Placidia at Ravenna.] The third representation of an _armarium_ (fig. 15) occurs in the manuscript of the Vulgate now in the Laurentian Library at Florence, known as the _Codex Amiatinus_, from the Cistercian convent of Monte Amiata in Tuscany, where it was preserved for several centuries[101]. The thorough investigation to which this manuscript has lately been subjected shews that it was written in England, at Wearmouth or Jarrow, but possibly by an Italian scribe, before A.D. 716, in which year it was taken to Rome, as a present to the Pope. The first quaternion, however, on one of the leaves of which the above representation occurs, is probably older; and it may have belonged to a certain _Codex grandior_ mentioned by Cassiodorus, and possibly written under his direction[102]. The picture (fig. 15), which appears as the frontispiece to this work, shews Ezra writing the law. On the margin of the vellum, in a hand which is considered to be later than that of the MS., are the words: CODICIBUS SACRIS HOSTILI CLADE PERVSTIS ESDRA DEO FERVENS HOC REPARAVIT OPUS.