Giraldus Cambriensis went to Ireland as secretary to Prince John, in 1185, and thus describes the Gospels of Kildare, a book which was similar to the Book of Kells, and his description may apply equally to either volume. "Of all the wonders of Kildare I have found nothing more wonderful than this marvellous book, written in the time of the Virgin St. Bridget, and, as they say, at the dictation of an angel. Here you behold the magic face divinely drawn, and there the mystical forms of the Evangelists, there an eagle, here a calf, so closely wrought together, that if you look carelessly at them, they would seem rather like a uniform blot than like an exquisite interweavement of figures; exhibiting no perfection of skill or art, where all is really skill and perfection of art. But if you look closely at them with all the acuteness of sight that you can command, and examine the inmost secrets of this wondrous art, you will discover such delicate, such wonderful and finely wrought lines, twisted and interwoven with such intricate knots and adorned with such fresh and brilliant colours, that you will readily acknowledge the whole to have been the work of angelic rather than human skill."

At first gold was not used at all in Irish work, but the manuscripts of a slightly later date, and especially of the Anglo-Saxon school, show a superbly decorative use both of gold and silver. The "Coronation Oath Book of the Anglo-Saxon Kings" is especially rich in this exquisite metallic harmony. By degrees, also, the Anglo-Saxons became more perfected in the portrayal of the human figure, so that by the twelfth century the work of the Southern schools and those of England were more alike than at any previous time.

IVY PATTERN, FROM A 14TH CENTURY FRENCH MANUSCRIPT

In the Northern manuscripts of the eleventh and twelfth centuries it is amusing to note that the bad characters are always represented as having large hooked noses, which fact testifies to the dislike of the Northern races for the Italians and Southern peoples.

The thirteenth and fourteenth centuries may be considered to stand for the "Golden Age" of miniature art in all the countries of Europe. In England and France especially the illuminated books of the thirteenth century were marvels of delicate work, among which the Tenison Psalter and the Psalter of Queen Mary, both in the British Museum, are excellent examples. Queen Mary's Psalter was not really painted for Queen Mary; it was executed two centuries earlier. But it was being sent abroad in 1553, and was seized by the Customs. They refused to allow it to pass. Afterwards it was presented to Queen Mary.

At this time grew up a most beautiful and decorative style, known as "ivy pattern," consisting of little graceful flowering sprays, with tiny ivy leaves in gold and colours. The Gothic feeling prevails in this motive, and the foliate forms are full of spined cusps. The effect of a book decorated in the ivy pattern, is radiant and jewelled as the pages turn, and the burnishing of the gold was brought to its full perfection at this time. The value of the creamy surface of the vellum was recognized as part of the colour scheme. With the high polish of the gold it was necessary to use always the strong crude colours, as the duller tints would appear faded by contrast. In the later stages of the art, when a greater realism was attempted, and better drawing had

MEDIÆVAL ILLUMINATION

made it necessary to use quieter tones, gold paint was generally adopted instead of leaf, as being less conspicuous and more in harmony with the general scheme; and one of the chief glories of book decoration died in this change.

The divergences of style in the work of various countries are well indicated by Walter de Gray Birch, who says: "The English are famous for clearness and breadth; the French for delicate fineness and harmoniously assorted colours, the Flemish for minutely stippled details, and the Italian for the gorgeous yet calm dignity apparent in their best manuscripts." Individuality of facial expression, although these faces are generally ugly, is a characteristic of Flemish work, while the faces in French miniatures are uniform and pretty.

One marked feature in the English thirteenth and fourteenth century books, is the introduction of many small grotesques in the borders, and these little creatures, partly animal and partly human, show a keen sense of humour, which had to display itself, even though inappropriately, but always with a true spirit of wit. One might suppose on first looking at these grotesques, that the droll expression is unintentional: that the monks could draw no better, and that their sketches are funny only because of their inability to portray more exactly the thing represented. But a closer examination will convince one that the wit was deliberate, and that the very subtlety and reserve of their expression of humour is an indication of its depth. To-day an artist with the sense of caricature expresses himself in the illustrated papers and other public channels provided for the overflow of high spirits; but the cloistered author of the Middle Ages had only the sculptured details and the books belonging to the church as vehicles for his satire. The carvings on the miserere seats in choirs of many cathedrals were executed by the monks, and abound in witty representations of such subjects as Reynard the Fox, cats catching rats, etc.; inspired generally by the knowledge of some of the inconsistencies in the lives of ecclesiastical personages. The quiet monks often became cynical.