The chief glory of the museum is its collection of Irish antiquities on the upper floor. It starts with the Stone Age, and we could not but remark how closely the flint arrow-heads and spear-heads and other implements resemble those of the Indians and Moundbuilders, so common in our part of Ohio. Then comes the Bronze Age, with a magnificent collection of ornaments of hammered gold, and some extraordinarily interesting examples of cinerary urns and food vessels—for the old Irish burned their dead, and, after the fashion of most Pagan peoples, put food in the grave beside them, to start them on their journey in the other world.

In the room beyond are the so-called Christian antiquities: that is, all the objects of art, as well as of domestic and military usage, which date from the time of St. Patrick down to the Norman conquest—roughly, from 400 A. D. to 1200 A. D. Before that time, Ireland was Pagan; after the Norman conquest, she was crushed and broken. It was during these eight hundred years, while the rest of Europe was struggling in ignorance and misery through the Dark Ages, that Ireland touched the summit of her artistic and spiritual development—and a lofty summit it was!

Her art was of home growth, uninfluenced from any outside source, and it was admirable. Her schools and monasteries were so famous that students from all over Europe flocked to them, as the recognised centres of learning. Scholars were revered and books were holy things—so holy that beautiful shrines were made to hold them, of gold or silver, set with precious stones. Five or six of them, nine hundred years old and more, are preserved in this collection.

The bells used by the early Irish saints in the celebration of the Mass were also highly venerated, and, cracked and worn by centuries of use, were at last enclosed in shrines. Most holy of all, of course, was the rude little iron bell used by St. Patrick, and recovered from his grave in 552. The exquisite shrine made for it by some master artist about 1100 is here, as is also the bell itself. There is a picture of the shrine opposite the next page; the bell is merely a rude funnel made of two bent iron plates rivetted together and then dipped in molten bronze—not much to look at, but an evoker of visions fifteen centuries old for them who have eyes to see!

I should like to say something of the croziers, of the brooches, of the chalices which are gathered here; but I must hasten on to the chief treasure, the Cross of Cong. It is perhaps the very finest example of early Irish art in existence anywhere. It was made to enshrine a fragment of the True Cross, sent from Rome in 1123 to Turlough O'Conor, King of Ireland, and it is called the "Cross of Cong" because Rory O'Conor, the last titular King of all Ireland, took it with him to the Abbey of Cong, at the head of Lough Corrib, when he sought sanctuary there in his last years, and it was by the Abbots of Cong that it was preserved religiously through the long centuries. The last Abbot died about a hundred years ago, and the museum acquired the cross by purchase.

There is a picture of it opposite the next page, which gives some faint idea of its beauty. It was in a cavity behind the central crystal that the fragment of the True Cross was placed; but it is not there now, and nobody seems to know what became of it. Perhaps it doesn't matter much; at any rate, all that need concern us here is the fact that, eight hundred years ago in Ireland, there lived an artist capable of producing a masterpiece like this.

THE CROSS OF CONG THE SHRINE OF ST. PATRICK'S BELL

It is of oak, covered with plates of bronze and silver, washed in places with a thick coating of gold, and with golden filigree work of the most exquisite kind around the central crystal. It is elaborately carved, front and back, with the intertwined pattern characteristic of Irish ornamentation, and every detail is of the finest workmanship. It is inscribed with a Latin verse,

Hac cruce crux tegitur qua passus conditor orbis,

"In this cross is the cross enclosed upon which suffered the Founder of the world"; and there is also a long inscription in Irish which bids us pray, among others, for Turlough O'Conor, King of Erin, for whom the shrine was made, and for Maelisu MacBraddan O'Echon, the man who fashioned it. Thus is preserved the name of a great artist, who has been dust for eight centuries.