really the origin of these ornaments and their travels from one country to another show quite the contrary to be the case. Investigation has shown that early civilization, advancing along primitive trade routes, or, more generally, on the lines of communication between different countries or races, was responsible for the diffusion of many arts that have been wrongly ascribed as having been born in one locality or another. Scandinavia, Greece, Egypt, and even farther east, all contributed something, no doubt, to what afterward became known as Celtic art; just how much, or by what process, is the question to decide.
At any rate, the result achieved by the artisans who carved these ancient Irish crosses, whatever may have been their source of inspiration, indicates that they were the work of no “‘prentice hand.” It is evident that no mere underling or stone-cutter chiseled out spiral, fret, and knot, and twisted zoomorph, which one sees on these crosses. It was a master-mind that planned and a master-hand that drew the same patterns on many an Irish vellum. And it was in the depth of the dark ages, too, that Ireland set this bright example to Europe. In the twelfth century one of her books, then perhaps four hundred years old, compelled the admiration of Gerald of Wales, in most things her detractor. “If you examine the drawings closely,” he says, “you will find them so delicate and exquisite, so finely drawn, and the work of interlacing so elaborate, while the colours with which they are illuminated are so blended, and still so fresh, that you will be ready to assert that all this is the work of angelic, and not human skill.” This is certainly high praise; but, within its limits, the early Irish school of decorative art, in its best products, whether on parchment, metal, or stone, has, of its kind, been hitherto unsurpassed by man.
Though the market-cross of Kells is not perfectly preserved—its top is broken off—it may be considered, with that at Monasterboice, to be a remarkable expression of the art of stone-carving. There are a notable richness and elaboration of detail most curious and quite unique.
In the churchyard are three other crosses of lesser importance, though one of them is over eleven feet in height.
