Ekkehardt spoils his argument in favour of Tuotilo by attributing to him too many perfections, and by finally quoting the opinion of Charlemagne, who had been dead and buried nearly a hundred years. It is very sad to have to give up the one real individual who greets us on the rather weary path of anonymity. The fine book cover, one leaf of which Ekkehardt attributes to Tuotilo (Fig. 23), is still safely preserved in the Abbey of St. Gall, but the two leaves appear to be by the same hand, though there is every reason to attribute the workmanship to the ninth century. On the upper leaf Christ is represented in glory, youthful and beardless in type, as is often the case in Carlovingian ivories which come from the Germanic part of the empire. There was a flourishing school of German craftsmen who closely imitated the ivories of the Italo-Byzantine school of the sixth century, the great abbeys having many specimens of ancient ivory carving in their treasuries. The two cherubim and Four Evangelists with their symbolic beasts are also strongly Byzantine; above are busts of the sun and moon and beneath the figures of Ocean and Earth. In fact, the arrangement is borrowed wholesale from a very frequent Carlovingian type of the crucifixion (Fig. 24), even to the little tombs which have no connection with the subject. The workmanship is delicate, but very conventional, and the concentric folds on this and on the second leaf, point to the influence of the manuscripts. The second leaf represents the Assumption of the Virgin, the attitude is stiff and the drapery is terribly unreal, having almost the appearance of corrugated iron, but the movements of the angels are freer, especially the forward movement of the one on the Virgin’s right. [Illustration: SCHOBINGER AND] [EPISCOPAL LIBRARY, SANDHERR PHOTO. ST. GALL, SWITZERLAND 23. COVER OF A BOOK OF THE GOSPELS Carlovingian, ninth century]