which proves still further the custom of copying the miniatures with more or less servility. [Illustration: [SCHWEIZERISCHER LANDESMUSEUM, ZURICH 22. ILLUSTRATION OF PSALM XXVII Carlovingian, ninth century] One more scenic plaque in the Louvre is of interest, not so much in connection with the MSS., but from the strong resemblance to the Probianus diptych (Fig. 2), especially in the lower scene, where the figures raise their hands to Solomon on his judgment seat. On the second half David is dictating his psalms to an assembly of clerks. It is difficult to class the ivories of this long period, but the majority are of German origin. Art and culture were a great deal dependent on the Court, which had the effect of bringing into line the work of craftsmen of very varying nationalities. Here also was a fear lest the people should worship the images themselves, but an iconoclastic spirit never arose, and these numerous carvings, besides adding to the sumptuousness of the cult, were used for the instruction of the unlettered. Ivory was classed with the precious metals, and much sought after for ecclesiastical purposes, the great abbeys of eastern France and Germany became regular workshops, making a large number of exquisite objects in goldsmith’s work and ivory. We are given a little side-light on the use of ivory in a letter of Eginhardt to his son, in which he mentions that he is sending him a carved ivory model of classical architecture that he should better understand certain passages in Vitruvius. The mention of the work done in the monasteries brings us to the Abbey of St. Gall and the monk Tuotilo, who has long been the hero of the craft; but, alas, the charming picture that the chronicler Ekkehardt gives, a hundred years later, of this Leonardo among craftsmen is utterly without foundation; that there was a monk Tuotilo at the end of the ninth and the beginning of the tenth centuries the records of the monastery tell us, and a note added by a later hand says that he was learned and a sculptor.