5. The human figure is frequently introduced, but it is subjected to the rigidity of the curved lines noticeable in the interlacings and spirals. Herein Irish art, which is primarily ornamental, differs from classic art, which is representative. The Irish artist aimed at symmetry and hence the right side of the face is generally a reproduction of the left.
6. In nearly all the art of the period under consideration the ground is divided into panels, or geometrical compartments—an arrangement whereby the artist whether working on vellum, metal, leather or stone was free to introduce any of the foregoing characteristics without marring the harmony and uniformity of the design.[445]
Irish art attained its highest excellence in four branches, namely, writing and illumination of manuscripts, metal work and stone carving. In a previous chapter were discussed the characteristics of the Irish style of handwriting and the part played by the monastic schools in its development so we pass on to consider the other three departments of art work.
ILLUMINATION:
Shortly after the Irish monks became skilled penmen they began to illuminate their books with brilliant colours which they learned to combine into elaborate and harmonious designs. This art reached its most perfect stage of development at the close of the eighth or beginning of the ninth century. The monks were wont to lavish all the wealth of their artistic skill on books containing the whole or portions of the Holy Scriptures. As instances of this style of illuminated MSS. the Psalter of ColmCille, the Book of Dimma, the Book of Armagh, and, above all, the Book of Kells should be mentioned. While each of these books has many merits the book which has compelled the admiration yet defied the imitation of every European artist is the Book of Kells. Describing this venerable volume which was written and illuminated about the middle of the ninth century, Sir Edward O’Sullivan writes as follows:[446] “Its weird and commanding beauty; its subdued and goldless colouring; the baffling intricacy of its fearless designs; the clean unwavering sweep of rounded spiral; the creeping undulations of serpentine forms that writhe in artistic profusion throughout the mazes of its decorations; the strong and legible minuscule of the text; the quaintness of its striking portraiture; the unwearied reverence and patient labour which brought it into being, all of which combined to make the Book of Kells, have raised this ancient volume to a position of abiding pre-eminence amongst the illuminated MSS. of the world.”
Other artists are equally emphatic in their praises of the work of Irish artists during the period under consideration.
Westwood writes: “Ireland may justly be proud of the Book of Kells. … At a period when the fine arts may be said to be almost extinct in Italy and other parts of the Continent, nearly from the fifth to the end of the eighth century, the art of ornamenting MSS. had a perfection almost miraculous in Ireland. … The invention and skill displayed, the neatness, precision, and delicacy far surpass all that is found in MSS. executed by Continental artists.”[447]
Referring to the interlaced style of ornament introduced in the seventh and eighth century Coffey[448] informs us that this new style with all its intricacy was brought to a marvellous perfection in the Irish monastic schools. The same writer further assures us that the Irish MSS. (with which he would class the Hiberno-Saxon MSS. in the production of which the Irish scribes took such important a part) admittedly stand in quite the first place among early MSS. for the excellence of their penmanship and illustrations.
As showing that the Irish style of art had more than a local influence the testimony of another art critic, Mr. Digby Wyatt, is worth quoting. He says: “In close connection with the Irish church existed a school of art remarkable for its sense of the graceful and grotesque, and for its superiority in point of ornamental design to any other style of the same period. That its influence extended much farther than is generally supposed would appear certain, and not only did Scotland, Wales, Cornwall, the North of England and Scandinavia adopt its peculiar system of ornament, but some of the MSS. in the libraries of Europe are now discovered to have emanated from this school.”[449]