It is no idle boast to say that the Irish were the teachers of Europe from the seventh to the tenth century in art and religion. Mr. Westwood has visited all the great libraries of England and the Continent, and found abundant evidence that Irish art, or Hiberno-Saxon art, was diffused over Europe during that period. The Greek and Latin manuscripts are not illuminated, but are adorned with intercalated pictures ; Irish art differs from them in many respects- amongst others, in having the figures and rich ornamentations printed on the leaves and borders of the book itself. He has given facsimiles from Irish manuscripts now existing in the libraries of Oxford, Cambridge, Durham, Lichfield, Salisbury, Lambeth, the British Museum, and other places ; and, passing to the Continent, has laid under contribution the great libraries of Paris, Rouen, Boulogne, St. Gall, Milan, Rome, Munich, Darmstadt, Stockholm, Copenhagen, and even St. Petersburg, and thus proved the excellence to which Irish artists, or Saxon artists educated in Irish schools, attained more than a thousand years ago. Nor is it strange that Ireland should have been the teacher, considering its early Christianity, which had made some progress amongst the people even in St. Jerome's time ; a little later amongst the Britons ; but at the end of the sixth century Augustine and his monks found the stolid Anglo-Saxons still in the bonds of their ancient paganism and Wodenism. The Celtic race received the Christian faith gladly as early as the fourth century, but it was a difficult matter to bring light to the Saxon soul. It has at all times proved itself rather opaque in nature. The Saxon tribes of Germany did not renounce their idols till forced to it by the strong coercive power and keen sword of Charlemagne, in the latter half of the eighth century.

With Christianity came to Ireland the knowledge of letters ; at least no older inscription has been found than that on the pillar stone of Lugnadon, St. Patrick's nephew, which may still be seen beside the ruin of St. Patrick's oratory in one of the beautiful islands of Lough Corrib ;1 and the oldest manuscript existing in Ireland is the Book of Armagh, a copy of St. Jerome's Latin version of the Gospels written in the old Roman letters, and very valuable for the beauty of the writing and the various drawings it contains. Learning was at once consecrated to the service of God in those early days, and to multiply copies of the Gospels was the praiseworthy and devout task of the first great teachers and missionaries. The Book of Durrow and the Book of Kells, both of the early part of the sixth century, are believed to be the work of St. Columba himself. The latter, the Book of Kells, has filled all critics with wonder and admiration. It is more decorated than any existing copy of the Gospels, and is pronounced by learned authorities to be "the most beautiful manuscript in existence of so early a date, and the most magnificent specimen of penmanship and illumination in the Western World." They are both written in the Latin uncial character, common to Europe at the time ; and here it may be noticed, in passing, that the so-called Irish alphabet is simply the Latin alphabet modified by the first missionaries to suit the Irish sounds, as Ulphila, the apostle of the Goths, invented an alphabet of mingled Greek and Latin characters, in order to enable him to make his translation of the Gospels into Gothic ; and as the Greek missionaries invented the Russian alphabet, which is a modified form of the Greek, for a like purpose. That the Irish should retain the old form of the Latin letters, while most of the other nations of Europe have discarded it, is to be regretted, as nothing would facilitate the study of Irish so much at the present day, when one has so little leisure to spell out with much painful endeavour the barbarous symbols of a bygone age, as the adoption of the modern English alphabet. The first Irish book that was ever printed appeared in 1571, and is now in the Bodleian Library. It is a catechism of Irish grammar, and the Irish alphabet has suffered no modification or improvement since. It was about the end of the sixth century that the fame of Irish learning and the skill of Irish artists began to extend to England, and from thence to the Continent ; and Irish scribes were employed to make copies of the Gospels and teach the splendid art of illumination in the English monasteries. From that period till the end of the ninth century the Irish were a power in Europe from their learning and piety-eminent in Greek as well as Latin, and the great teachers of scholastic theology to the Christian world. The Gospels of Lindisfarne, executed by monks of Iona in the seventh century, and now "the glory of the British Museum," form a most important element in the early history of Celtic art, as this book seems to have been the principal model for succeeding artists.

> See Sir William Wilde's work, " Lough Corrib and its Islands," where a drawing of this inscription is given.

In the splendid folio copy of the Gospels at Copenhagen of the tenth century, supposed to have been brought to Denmark by King Canute, the figure of St. Matthew seated, while another saint draws back a curtain, is copied from the Gospels of Lindisfarne, while the border is in the tenth century style. The Gospels of St. Chad, now in Lichfield Library, are in the Irish style of the eighth century, and are very noticeable as having marginal notes in Latin, Anglo-Saxon, and ancient British, the latter being the oldest specimen of the ancient British language now in existence The illuminations also are copied from the Lindisfarne book. St. Chad, it is known, was educated in Ireland, in the school of St. Finian. There are Irish Gospels at Durham of the eighth century. The Gospels of Mac-Regal are at Oxford, and the Gospels of Mac-Duran, the smallest and most beautiful known, are in the Archbishop's palace at