We are here led to deplore the loss of another valuable manuscript of a totally different kind, which, although not in the collection at the time of Sir Robert’s death, once belonged to this library, and was lost in the same way.  We refer to to the “Enconium Emmae” an eleventh century Ms. which Cotton sent to Duchesne, and which the latter used in writing his Historiae Normanorum, but never returned.  It has entirely disappeared.

We now come to what is perhaps the noblest monument of Anglo-Saxon times in the Cottonian library—­namely, the famous Lindisfarne Gospels also known as the Durham Book, a marvel of palaeographic art.  It is indisputably the finest production of the school of Lindisfarne.  The Latin text, written in double columns, was transcribed by Eadfrith, Bishop of Lindisfarne, while still a simple monk, in honour, some say for the use, of St. Cuthbert.  It was finished after the saint’s death, at the end of the seventh, or beginning of the eighth century.  This we learn from intrinsic evidence, in the form of a brief note in Anglo-Saxon at the end of the Gospel of St. Matthew, and a longer one at the end of the volume.  These notes have thus been translated by Mr. Waring:—­*

* Prolegomena, Lindisfarne, and Rushworth Gospels, part iv.

“Thou, O living God, bear in mind Eadfrith and Aethelwald, and Billfrith and Aldred, the sinner.  These four with God’s help were employed upon (or busied about) this book.”

And—­

“Eadfrith, Bishop over the Church of Lindisfarne, first wrote this book in (honour of) God and St. Cuthbert, and all the company of saints in the Island; and Aethelwald, Bishop of Lindisfarne, made an outer cover, and adorned it as he was well able; and Billfrith, the anchorite, he wrought the metal-work of the ornaments on the outside thereof, and decked it with gold, and with gems, overlaid also with silver and unalloyed metal; and Aldred, an unworthy and most miserable priest, by the help of God and St. Cuthbert, over-glossed the same in English, and domiciled himself with the three parts.  Matthew, this part for God and St. Cuthbert; Mark, this part for the bishop; and Luke, this part for the brotherhood; with eight ora of silver (as an offering) on entrance; and St. John’s part for himself—­i.e., for his soul; and (depositing) four silver ora with God and St. Cuthbert, that he may find acceptance in heaven through the mercy of God; good fortune and peace on earth, promotion and dignity, wisdom and prudence through the merits of St. Cuthbert.

“Eadfrith, Ethelwald, Billfrith, and Aldred have wrought and adorned this Book of the Gospels for (love of) God and St. Cuthbert.”

Old as it is, neither vellum nor illumination shows the least sign of decay.  The writing is exquisitely beautiful, and points to a degree of refinement and cultivation which we do not usually associate with a rough life, such as was led by the monks of sea-girt Lindisfarne.  There are to be seen wonderful initial letters, geometrical and tesselated designs, like the most delicate and intricate mosaics, and above all, beautifully devout representations of the four evangelists, all evidently drawn by the same loving and reverent hand, and the whole colouring as fresh now as if it had been painted yesterday.