,transcriber's ,notes3 ,underscores 80 before and after a word or phrase indicate italics in the original text4 ,equal signs 80 before and after a word or phrase indicate bold in the original text4 ,small capitals have been converted to ,,solid capitals4 ,illustrations and footnotes have been moved so they do not break up paragraphs4 ,deprecated spellings have been preserved4 ,typographical and punctuation errors have been silently corrected4 ,,the ,,antiquary',s ,,books ,,general ,,editor3 ,j4 ,,charles ,,cox1 ,,ll4,d41 ,f4,s4,a4 ,,celtic ,,art ,,in ,,pagan ,,and ,,christian ,,times ,,by ,j4 ,,romilly ,,allen1 ,f4,s4,a4 ,,with ,,numerous ,,illustrations ,,methuen ,,co4 #cf ,,essex ,,street ,w4,c4 ,,london ,first ,published in #aijd ,,contents ,,page ,,preface xv ,,chapter ,i ,,the ,,continental ,,celts ,,and ,,how ,,they ,,came ,,to ,,britain #a ,,chapter ,,ii ,,pagan ,,celtic ,,art ,,in ,,the ,,bronze ,,age #bb ,,chapter ,,iii ,,pagan ,,celtic ,,art ,,in ,,the ,,early ,,iron ,,age #fa ,,chapter ,,iv ,,pagan ,,celtic ,,art ,,in ,,the ,,early ,,iron ,,age #ij ,,chapter ,v ,,pagan ,,celtic ,,art ,,in ,,the ,,early ,,iron ,,age #abi ,,chapter ,,vi ,,celtic ,,art ,,of ,,the ,,christian ,,period #afb ,,chapter ,,vii ,,celtic ,,art ,,of ,,the ,,christian ,,period #bcb ,,chapter ,,viii ,,celtic ,,art ,,of ,,the ,,christian ,,period #bed ,,index #cje ,,list ,,of ,,illustrations ,,in ,,the ,,text ,,page ,the ,hallstatt ,sword #h ,ornament on bronze sword-sheath from ,la ,tne #aa ,gaulish helmet of bronze from ,gorge-,meillet #ab ,chevron patterns of the ,bronze ,age #bg-cf ,bronze spear-heads ornamented with rows of dots #ci ,gold lunula from ,killarney #dj ,longitudinal section of chamber and passage of ,tumulus at ,newgrange1 ,co4 ,meath #de ,plan of chamber and passage of ,tumulus at ,newgrange1 ,co4 ,meath #dg ,spiral ornament at ,newgrange1 ,co4 ,meath #dh ,slab with spiral ornament outside entrance to passage of ,tumulus at ,newgrange1 ,co4 ,meath #di ,spiral ornament on bronze axe-head from ,denmark #ea ,bronze axe-head with spiral ornament from ,sweden #eb ,winding-band 7curved swastika71 sculptured on rock near ,ilkley1 ,yorkshire #eh ,cup-and-ring sculptures on rock at ,ilkley1 ,yorkshire #ei ,bronze sword-sheaths from ,hunsbury #ig ,silver-gilt fibul found in ,northumberland #ajd ,bronze beaded torque from ,lochar ,moss1 ,dumfriesshire #aab ,late-,celtic bronze spoon from ,brickhill ,lane1 ,london #aai ,late-,celtic bronze spoon from ,crosby ,ravensworth1 ,westmoreland #aai ,late-,celtic spoon1 one of a pair1 from ,weston1 near ,bath #abj ,late-,celtic urns from ,shoebury1 ,essex #abc ,late-,celtic bronze mirror from ,trelan ,bahow1 ,cornwall #aca ,bronze sword-sheath from ,hunsbury #acb ,late-,celtic pottery from the ,glastonbury ,lake ,village #adb ,late-,celtic wooden tub found at the ,glastonbury ,lake ,village #adg ,handles of pair of ,late-,celtic spoons from ,weston1 near ,bath #adg ,engraved bone object from ,slieve-na-,caillighe1 ,co4 ,meath #aej ,fibula of bronze-gilt from sica #aeb ,collar from ,broighter1 ,limavady1 ,co4 ,londonderry #aec ,spiral ornament in illuminated ,,ms copied from repouss metalwork #aed ,shading of parallel lines #aef ,cross-hatching placed diagonally #aef ,cross-hatching placed diagonally1 with dots #aeg ,cross-hatching of double lines placed diagonally #aeg ,chequerwork grass-matting shading #aeg ,engine-turned shading #aeh ,dotted shading #aeh ,swastika design on shield from the ,thames #aei ,engraved ornament found at the ,glastonbury ,lake village #afa ,handles of bronze bowl found at ,barlaston1 ,staffordshire #aff ,handle of bronze bowl from ,chesterton-on-,fossway1 ,warwickshire #afg ,handle of bronze bowl from ,chesterton-on-,fossway1 ,warwickshire #afh ,spiral ornament from the ,book of ,durrow #afi ,cross-slab from ,pen-,arthur1 ,pembrokeshire #aha ,erect cross-slab at ,st4 ,madoes1 ,perthshire #ahc ,cross at ,penmon1 ,anglesey #ahe ,great wheel-cross of ,conbelin at ,margam ,abbey1 ,glamorganshire #ahg ,cross at ,neuadd ,siarman1 near ,builth1 ,brecknockshire #ahi ,cross at ,nevern1 ,pembrokeshire #aia ,pin-brooch from ,clonmacnois1 ,king's ,co4 #bba ,pierced marble screen at ,ravenna #bde ,regular plaitwork without any break #bei ,method of making breaks in plaitwork #bei ,regular plaitwork1 with one vertical break and one horizontal break #bfj ,six-cord plait1 with horizontal breaks at regular intervals #bfj ,cross-shaft at ,golden ,grove1 ,carmarthenshire #bfa ,cross-shaft at ,llantwit ,major1 ,glamorganshire #bfa ,eight-cord plaits1 with cruciform breaks #bfb1 #bfc ,six-cord plait1 with cruciform breaks #bfd ,ten-cord plait1 with cruciform breaks #bfd ,knots derived from a three-cord plait #bfd ,diagrams of knotwork #bfe1 #bff ,method of deriving knots ,nos4 #c and #f from a four-cord plait #bfg ,knots ,nos4 #d1 #e1 #g1 and #h derived from a four-cord plait #bfh ,knot ,no4 #a1 derived from either a three-cord or a six-cord plait #bfh ,knots #c and #d1 derived from a six-cord plait #bfi ,evolution of knot ,no4 #a from a six-cord plait #bfi ,evolution of knot ,no4 #g from an eight-cord plait #bga1 #bgb ,diagrams of knotwork #bgc ,knotwork from ,ramsbury1 ,wilts1 and ,nigg1 ,ross-shire #bgd ,circular knotwork from ,tarbet1 ,ross-shire #bgf ,circular knotwork from ,monasterboice1 ,co4 ,louth #bgf ,triangular knotwork from ,ulbster1 ,caithness #bgg ,triangular knotwork from ,dunfallandy1 ,perthshire #bgh ,key-patterns #bhj1 #bhb ,shaft of cross of ,eiudon at ,golden ,grove1 ,carmarthenshire #bhc ,erect cross-slab at ,rosemarkie1 ,ross-shire #bhd ,methods of connecting spirals #bhe ,tree key-pattern1 ,meigle1 ,perthshire #bhf ,key-pattern border from the ,book of ,kells #bhg ,method of connecting spirals #bhh ,,list ,,of ,,plates ---------------------------------------- -------------- ,grave of a ,gaulish warrior at ,sesto-,calende1 ,i4 ,italy ,to face page #h ,bronze fibul of ,la ,tne type from the cemeteries of the ,marne ---------------------------------------- -------------- ,bronze armlet of the ,la ,tne period from ,germany ,,ii4 ,bronze armlet of the ,la ,tne period from 0 #aj ,longirod 7,vaud7 ,bronze armlet of the ,la ,tne period from the cemeteries of the ,marne ---------------------------------------- -------------- ,,iii4 ,gaulish helmet of bronze from ,berru 7,marne7 0 #ab ---------------------------------------- -------------- ,,iv4 ,cinerary urn of ,bronze ,age from ,lake1 ,wilts1 now in the ,british ,museum4 ,height #a ft4 #c ins4 0 #bb ---------------------------------------- -------------- ,bronze ,age urn of 8,incense-,cup0 type from ,aldbourne1 ,wilts1 now in the ,british ,museum4 ,height #c ins4 ,v4 ,bronze ,age urn of 8,food-,vessel0 type from 0 #bd ,alwinton1 ,northumberland1 now in the ,british ,museum4 ,height #e ins4 ---------------------------------------- -------------- ,,vi4 ,bronze ,age urn of 8,drinking-,cup0 type from ,lakenheath1 ,suffolk1 now in the ,british ,museum4 ,height #g ins4 0 #bf ---------------------------------------- -------------- ,spiral ornament on stone ball from ,towie1 ,aberdeenshire1 now in the ,edinburgh ,museum4 ,scale #a_/a linear ,,vii4 ,winding-band curved swastika on sword-hilt from ,denmark 0 #eh ,bronze sword-hilt with winding-band pattern from ,denmark ,bronze sword-hilt with spiral ornament from ,denmark ---------------------------------------- --------------- ,,viii4 ,bronze mirror from ,birdlip1 ,gloucestershire1 now in the ,gloucester ,museum4 ,r4 ,w4 ,dugdale1 photo 0 #fh ---------------------------------------- --------------- ,,ix4 ,iron dagger with bronze hilt and sheath from the ,river ,witham 0 #ib ---------------------------------------- ------------------- ,x4 ,bronze harness-rings from ,polden ,hill1 ,somersetshire1 now in the ,british ,museum4 ,scale linear 0 #id ---------------------------------------- ------------------- ,late-,celtic bronze fibula from ,walmer1 ,kent1 now in the ,british ,museum4 ,scale linear ,late-,celtic fibula from ,ireland1 now in the ,museum of the ,royal ,irish ,academy1 ,dublin ,,xi4 ,enamelled bronze fibula from ,risingham1 0 #ih ,northumberland1 now in the ,newcastle ,museum ,bronze fibula from ,water ,eaton1 ,oxon1 now in the ,british ,museum4 ,scale linear ---------------------------------------- ------------------- ,bronze fibula from ,clogher1 ,co4 ,tyrone1 now in the ,british ,museum4 ,scale #a_/a linear ,late-,celtic bronze fibula 7locality unknown71 now in the ,british ,museum4 ,scale #a_/a linear ,,xii4 ,s-shaped enamel bronze fibula 7locality unknown71 0 #ajj now in the ,british ,museum4 ,scale #a_/a linear ,s-shaped fibula of enamelled bronze from ,norton1 ,e4 ,riding of ,yorkshire1 now in the ,british ,museum4 ,scale #a_/a linear ---------------------------------------- ------------------- ,bronze fibula from ,polden ,hill1 ,somersetshire1 now in the ,british ,museum1 side view4 ,scale linear ,bronze fibula from ,polden ,hill1 ,somersetshire1 now ,,xiii4 in the ,british ,museum1 front view4 ,scale linear ,bronze fibula from ,river ,churn1 now in the 0 #ajb ,british ,museum1 front view4 ,scale #a_/a linear ,bronze fibula from ,river ,churn1 now in the ,british ,museum1 side view4 ,scale #a_/a linear ---------------------------------------- ------------------- ,bronze hook-and-disc ornament from ,ireland1 now in the ,dublin ,museum ,bronze pin enamelled from ,danes' ,graves near ,,xiv4 ,driffield1 ,yorkshire 0 #ajh ,bronze disc fibula with ,late-,celtic ornament from ,silchester1 now at ,strathfieldsaye ,house4 ,s4 ,victor ,white1 of ,reading1 photo ---------------------------------------- ------------------- ,bronze beaded torque from ,mowroad1 near ,,xv4 ,rochdale4 ,scale linear 0 #aaj ,bronze collar from ,wraxhall1 now in the ,bristol ,museum ---------------------------------------- ------------------- ,,xvi4 ,bronze armlets from the ,culbin ,sands1 now at ,altyre1 near ,forres1 ,n4,b4 0 #aab ---------------------------------------- ------------------- ,,xvii4 ,late-,celtic bronze mirror in the ,mayer ,museum1 ,liverpool 7locality unknown7 0 #aad ---------------------------------------- ------------------- ,,xviii4 ,late-,celtic pottery from ,hunsbury1 now in the ,northampton ,museum 0 #abb ---------------------------------------- ------------------- ,late-,celtic pottery from ,yarnton1 ,oxfordshire1 now in the ,british ,museum4 ,scale linear ,,xix4 ,late-,celtic pottery from ,kent's ,cavern near 0 #abd ,torquay1 ,devonshire1 now in the ,british ,museum4 ,scale linear ---------------------------------------- ------------------- ,granite monolith with ,late-,celtic sculpture at ,turoe1 ,co4 ,galway4 ,height of stone #d ft4 ,,xx4 ,reproduced from a photograph by ,mr4 ,a4 ,mc,googan 0 #abh illustrating ,mr4 ,george ,coffey's paper in the ,proceedings of the ,royal ,irish ,academy ---------------------------------------- ------------------- ,cruciform harness-mounting of bronze enamelled 7locality unknown71 now in the ,british ,museum4 ,,xxi4 ,scale #a_/a linear 0 #acf ,bronze enamelled harness-mounting from ,polden ,hill1 ,somersetshire1 now in the ,british ,museum4 ,scale linear ---------------------------------------- ------------------- ,upper part of bronze sword-sheath from ,lisnacroghera ,co41 now in the ,british ,museum ,,xxii4 ,lower part of bronze sword-sheath from 0 #adh ,lisnacroghera ,co41 now in the ,british ,museum ---------------------------------------- ------------------- ,handle of ,late-,celtic bronze tankard1 ,trawsfynydd1 ,merionethshire1 now in the ,mayer ,museum1 ,liverpool ,,xxiii4 ,bridle-bit of bronze enamelled1 from ,rise near 0 #aej ,hull1 now in the ,british ,museum4 ,scale linear ---------------------------------------- ------------------- ,,xxiv4 ,detail of ornament on ,late-,celtic bronze shield from the ,thames at ,battersea1 now in the ,british ,museum 0 #aeb ---------------------------------------- ------------------- ,circular disc of bronze with repouss ornament from ,ireland1 now in the ,british ,museum ,,xxv4 ,bronze enamelled harness-ring from ,westhall1 ,suffolk1 0 #aed now in the ,british ,museum4 ,scale linear ---------------------------------------- ------------------- ,cast of metal object 7locality unknown7 from the ,albert ,way ,collection1 now in the ,museum of the ,,xxvi4 ,society of ,antiquaries1 ,burlington ,house ,cover of the ,stowe ,missal1 in the ,museum of the 0 #agj ,royal ,irish ,academy1 ,dublin 7,a4,d4 #ajbc to #ajeb7 ---------------------------------------- ------------------- ,,xxvii4 ,erect cross-slab in ,aberlemno ,churchyard1 ,forfarshire4 ,john ,patrick1 of ,edinburgh1 photo 0 #ahd ---------------------------------------- ------------------- ,,xxviii4 ,bronze bell with engraved ornament from ,lough ,lene ,castle1 ,co4 ,westmeath1 in the ,museum of the 0 #bjb ,royal ,irish ,academy ---------------------------------------- ------------------- ,,xxix4 ,the shrine of the bell of ,st4 ,patrick's ,will1 in the ,museum of the ,royal ,irish ,academy1 ,dublin 0 #bjd 7,a4,d4 #ajia to #aaje7 ---------------------------------------- ------------------- ,,xxx4 ,head of the ,lismore crozier at ,lismore ,castle1 ,co4 ,waterford 7,a4,d4 #ajij to #aaac7 0 #bjf ---------------------------------------- ------------------- ,celtic quadrangular bell of bronze with zomorphic handles from ,llangwynodl ,church1 ,carnarvonshire1 now in the possession of ,corbet ,yale-,jones ,parry1 ,esq41 of ,madryn ,castle1 ,pwllheli4 ,mr4 ,morgan ,,xxxi4 ,evans1 of ,pwllheli1 photo4 0 #baj ,bronze reliquary from ,lower ,lough ,erne1 now in the possession of ,t4 ,plunkett1 ,esq41 of ,enniskillen4 #g ins4 long by #e ins4 high by #c ins4 wide4 ,r4 ,welch1 of ,belfast1 photo4 ---------------------------------------- ------------------- ,bronze fibula with plaitwork and ,late-,celtic ornament from the ,ardakillen ,crannog1 near ,strokestown1 ,co4 ,roscommon1 now in the ,museum of the ,royal ,irish ,,xxxii4 ,academy1 ,dublin 0 #baf ,detail of ornament on the underside of the foot of the ,ardagh chalice1 in the ,museum of the ,royal ,irish ,academy1 ,dublin ---------------------------------------- ------------------- ,,xxxiii4 ,silver penannular brooch from ,ireland1 now in the ,british ,museum4 ,scale linear 0 #bbb ---------------------------------------- ------------------- ,,xxxiv4 ,biskra woman wearing a pair of penannular brooches1 the ends of the pins pointing upwards 0 #bbd ---------------------------------------- ------------------- ,,xxxv4 ,details of ornaments on the ,tara brooch 0 #bbf ---------------------------------------- ------------------- ,,xxxvi4 ,details of ornaments on the ,tara brooch 0 #bbh ---------------------------------------- ------------------- ,,xxxvii4 ,details of ornament on the ,tara brooch1 in the ,museum of the ,royal ,irish ,academy1 ,dublin 0 #bcj ---------------------------------------- ------------------- ,circular knotwork on slab in church of ,sta4 ,sabina1 ,rome ,,xxxviii4 ,doorway of the chapel of ,s4 ,zeno in the church 0 #bdd of ,s4 ,prassede1 showing broken plaitwork on jambs 7,a4,d4 #ggb to #gie7 ---------------------------------------- ------------------- ,,xxxix4 ,key pattern1 ,s4 ,apollinare ,nuovo1 ,ravenna ,vine 0 #bdf scrolls1 ,s4 ,apollinare ,nuovo1 ,ravenna ---------------------------------------- ------------------- ,plaitwork of ,romano-,british pavement at ,lydney ,park1 ,,xl4 ,gloucestershire 0 #beh ,plaitwork in ciborium in the church of ,san ,clemente1 ,rome 7fifth century7 ---------------------------------------- ------------------- ,,xli4 ,erect cross-slab from ,collieburn1 ,sutherland1 now in the ,dunrobin ,museum 0 #bgd ---------------------------------------- ------------------- ,,xlii4 ,detail of ornament on erect cross-slab at ,nigg1 ,ross-shire 0 #bgf ---------------------------------------- ------------------- ,four men placed swastika fashion on recumbent pavement at ,meigle1 ,perthshire4 ,scale linear ,,xliii4 ,spiral ornament on fragment of sculptured stone 0 #bhh from ,tarbet1 ,ross-shire1 now in the ,edinburgh ,museum ---------------------------------------- ------------------- ,,xliv4 ,detail of ornament on erect cross-slab at ,nigg1 0 #bib ,ross-shire ---------------------------------------- ------------------- ,,preface ,this work is an attempt--whether successful or not the critic must decide--to give a concise summary of the facts at present available for forming a theory as to the origin and development of ,celtic art in ,great ,britain and ,ireland4 ,by ,celtic art is meant the art of the peoples in ,europe who spoke the ,celtic language1 but it must always be borne in mind that although linguistically they were ,celts1 yet racially they were of mixed ,celtic and ,iberian blood1 so that their art was possibly quite as much ,iberian as ,celtic4 ,it is only since the epoch-making discoveries of ,schliemann in ,greece1 of ,flinders ,petrie in ,egypt1 and of ,arthur ,evans in ,crete that it has been possible in a satisfactory manner to connect the culture of ,britain in the ,bronze ,age with the corresponding culture on the ,continent4 ,it is now quite clear that certain characteristic decorative motives1 such as the divergent spiral1 are of foreign origin instead of having been invented in ,ireland1 as was at one time believed4 ,other discoveries made in ,england1 more especially those at ,aylesford1 ,glastonbury1 ,mount ,caburn1 and ,hunsbury1 have thrown an entirely new light on the archology of this country by showing that the ,early ,iron ,age began here two or three centuries at least before the ,roman occupation4 ,lastly1 the explorations made by ,continental antiquaries at ,hallstatt in ,austria1 ,la ,tne in ,switzerland1 and in the ,gaulish cemeteries of the ,marne district in ,france1 point to the sources of the culture to which the late ,sir ,wollaston ,franks gave the name 8,late-,celtic40 ,celtic art naturally divides itself into two distinct periods1 the ,pagan and the ,christian4 ,with regard to the latter1 the remains have been so fully investigated that it is hardly probable any new facts will be brought to light which will seriously alter the conclusions now arrived at4 ,with regard to the ,pagan period the case is altogether different1 as most of the finds hitherto made have been due to accident1 and until the large number of inhabited and fortified sites belonging to this period are systematically excavated our knowledge must necessarily remain incomplete4 ,i have endeavoured to give in the footnotes all the sources whence my information has been obtained1 but ,i should like more especially to acknowledge my indebtedness to ,a4 ,bertrand and ,s4 ,reinach's ,les ,celtes dans les ,valles du ,p et du ,danube2 ,j4 ,anderson's ,scotland in ,pagan ,times and ,scotland in ,christian ,times2 ,arthur ,evans' papers on the ,aylesford1 sica1 and ,limavady finds in the ,archologia2 and ,george ,coffey's papers on the ornament of the ,bronze ,age1 ,newgrange1 etc41 in the ,journal of the ,royal ,society of ,antiquaries of ,ireland1 and in the ,transactions and ,proceedings of the ,royal ,irish ,academy4 ,the theory of the evolution of ,celtic knotwork out of plaitwork 7as explained on pages #beg to #bgh7 is entirely original1 and1 simple as it appears when explained1 took me quite twenty years to think out whilst classifying the patterns that occur on the early ,christian monuments of ,scotland1 ,england1 ,wales1 and ,ireland1 nearly all of which ,i have examined personally4 ,no illustrations are given of the pages of the ,celtic illuminated ,,mss4 on account of the difficulty of making satisfactory reproductions of them on a small scale4 ,i have thought it better to refer the reader either to the ,,mss4 themselves or to the ,publications of the ,palographical ,society and ,professor ,j4 ,o4 ,westwood's ,miniatures of the ,anglo-,saxon and ,irish ,manuscripts4 ,a large number of photographs of ,late-,celtic metalwork in the ,british ,museum have been specially taken for this work by ,mr4 ,h4 ,oldland1 with the kind permission of ,mr4 ,c4 ,h4 ,read1 ,f4,s4,a4 ,i am indebted to the ,rev4 ,canon ,w4 ,bazeley for obtaining a photograph of the ,birdlip mirror in the ,gloucester ,museum1 and to ,mr4 ,george for the loan of ,sir ,h4 ,dryden's drawings of the ,hunsbury sword-sheath in the ,northampton ,museum4 ,mr4 ,george ,coffey1 ,m4,r4,i4,a41 of the ,museum of the ,royal ,irish ,academy1 has also from time to time been good enough to assist me in various ways4 ,the photographs of the cast of the ,nigg cross were taken by ,messrs4 ,m4 and ,t4 ,scott1 of ,edinburgh1 for ,mr4 ,d4 ,j4 ,vallance1 the curator of the ,museum of ,science and ,art at ,edinburgh4 ,for the use of electrotypes of blocks ,i have to give my best thanks to the ,society of ,antiquaries of ,london1#a the ,society of ,antiquaries of ,scotland1#b the ,royal ,society of ,antiquaries of ,ireland1#c the ,royal ,irish ,academy1#d the ,royal ,archological ,institute1#e the ,cambrian ,archological ,association1#f the ,somersetshire ,archological ,society1#g and the publishers of the ,antiquary1#h the ,reliquary1#i and the ,illustrated ,archologist4#aj ,plates ,,xxvi41 ,,xxix41 ,,xxxv41 ,,xxxvi41 and ,,xxxvii4 are from the series of photographs taken by ,mr4 ,w4 ,g4 ,moore1 of ,upper ,sackville ,street1 ,dublin1 for the ,royal ,irish ,academy4 #a ,blocks on pp4 #aab1 #abc1 #aeb1 #aec1 #aff1 #afg1 #afh4 #b ,blocks on pp4 #aed1 #afi1 #ahc1 #bgf to #bgh1 #bgd to #bhh4 #c ,blocks on pp4 #aej1 #bba4 #d ,blocks on pp4 #ci1 #dj1 #de1 #dg4 #e ,blocks on pp4 #aai1 #abj1 #aca1 #adg4 #f ,blocks on pp4 #bg to #cf1 #aha1 #ahe1 #ahg1 #ahi1 #aia1 #bei to #bfi1 #bga to #bgc1 #bhc4 #g ,blocks on p4 #adb4 #h ,blocks on pp4 #adg1 #afa4 #i ,blocks on pp4 #ajd4 #aj ,plate ,,xxxiv4 ,,celtic ,,art ,,in ,,pagan ,,and ,,christian ,,times ,,chapter ,i ,,the ,,continental ,,celts ,,and ,,how ,,they ,,came ,,to ,,britain ,,the ,,celts ,a ,,branch ,,of ,,the ,,aryan ,,family ,,of ,,nations ,all the nations at present inhabiting ,europe1 with the exception of the ,turks1 the ,finns1 the ,magyars1 and the ,basques1 speak ,aryan languages1 and are to a large extent of ,aryan descent1#aa although their blood has been mixed from time to time with that of the ,neolithic non-,aryan aborigines4 ,the ,celts1 therefore1 belong to the ,aryan group of nations1 and came from the same cradle of the race in ,central ,asia as did the ancestors of the ,greeks1 ,italians1 ,teutons1 ,slavs1 ,armenians1 ,persians1 and the chief peoples of ,hindustan4 #aa ,the fallacy that identity of language or of culture necessarily implies identity of race must be carefully guarded against4 ,it has been the fashion amongst persons holding what they suppose to be advanced views to dispute the fact that the cradle of the ,aryans was in ,central ,asia1 but this is neither the time nor the place to discuss the question4 ,it is sufficient for our purpose to note that the successive waves of ,aryan conquest entered ,europe from the east1 and that their general direction was towards the west4 ,,the ,,celt ,,as ,,described ,,by ,,greek ,,and ,,roman ,,authors ,the ,celts make their first appearance in history at the end of the sixth century ,b4,c41 when1 however1 they are referred to not by their name as a people but by the name of the country they occupied4 ,thus1 ,hecatus of ,miletus1 writing about #eji ,b4,c41 mentions ,marseilles as being a ,ligurian city near the ,celtic region4#ab ,herodotus1 writing half a century later1 is the first historian who uses the word 7,celt7 as distinguished from 7the ,celtic region74 ,in the two passages#ac in which the ,celts are mentioned1 ,herodotus says that they inhabited the part of ,europe where the ,danube has its source1 and that the only other people to the westward were the ,cynetes or ,dog-,men4 ,both ,herodotus and ,aristotle erroneously supposed that the source of the ,danube was situated in the ,pyrenees4 ,aristotle#ad describes the country of the ,celts as being so cold that the ass is unable to reproduce his species there4 ,plato1 who lived sixty years after the time of ,herodotus1 classes the ,celts with the ,scythians1 ,persians1 ,carthaginians1 ,iberians1 and ,thracians1 as being warlike nations who like wine1 and drink it to excess4#ae #ab 7,c4 and ,t4 ,muellerus1 ,fragmenta ,historicorum ,grcorum1 ,paris1 #ahda1 vol4 i41 p4 #b1 fragm4 #bb74 #ac ,bk4 ii41 chap1 xxxiii42 and ,bk4 iv41 chap4 xlix4 #ad ,de ,generatione ,animalium4 #ae ,de ,legibus4 ,pytheas 7circa ,b4,c4 #cjj7 is the first author who includes the part of ,europe which was afterwards the ,gaul of ,csar within the ,celtic territory4#af ,according to the earlier historians1 the parts of ,europe occupied by the ,celts at the end of the fourth century ,b4,c4 were the coast of the ,adriatic from ,rimini to ,venice1 ,istria and the neighbourhood of the ,ionian ,gulf1 and the left bank of the ,rhone from the ,lake of ,geneva to the source of the ,danube4#ag ,polybius 7,b4,c4 #bje-abc7 gives more definite and satisfactory information about the ,celts than the somewhat vague references made to them by previous writers4 ,from him we learn#ah #af ,c4 ,elton's ,origins of ,english ,history1 p4 #be4 #ag ,a4 ,bertrand and ,s4 ,reinach's ,les ,celtes1 p4 #ai4 #ah ,ibid41 p4 #bg4 7#a7 ,that the ,celts of upper ,italy did not come from the ,gaul of ,csar1 but from the valley of the ,danube1 and more particularly from the countries which border upon the northern slopes of the ,julian ,alps of ,noricum4 7#b7 ,that these peoples were primarily divided into ,cisalpine ,celts and ,transalpine ,celts1 that is to say1 into the ,celts of the ,alps and of the north of the ,alps4 ,in the third century ,b4,c4 these latter were already called1 more particularly by ,polybius1 by the name of ,galati4 7#c7 ,that the ,cisalpine ,celts1 who from a remote period long before the fourth century ,b4,c4 inhabited the wide plains of ,lombardy from the ,alps to the river ,p1 were1 for the most part1 an agricultural and sedentary race living in luxury and in a state of civilisation without any doubt greatly superior to that which could have existed in ,gaul at that time4 7#d7 ,that the ,galati1 on the contrary1 the ,transalpine ,celts1 although kinsmen to the former mountaineers1 still half nomads1 shepherds and warriors chiefly1 always ready to run the risk of a raid1 armed from the fourth century with an iron sword1 an iron-headed spear and a shield1 lived under the rgime of a sort of military aristocracy1 as proud as they were poor1 such as the inhabitants of the ,caucasus were not half a century ago4 ,the people who were called ,celt by the earlier historians1 and ,galat by the more recent writers1 were also known to the ,romans as ,galli2 but these three separate appellations do not seem to indicate any difference of race1 and indeed they all have the same meaning1 viz4 a warrior4 ,the ,gauls of ,csar's time preferred to call themselves by the name which he wrote1 ,celt4#ai ,all the ,classical authorities are agreed as to the physical characteristics of the ,celts with whom they were acquainted4 ,the ,celts are invariably described as being tall1 muscular men1 with a fair skin1 blue eyes1 and blonde hair tending towards red4#bj ,such were the ,gauls who conquered the ,etruscans of northern ,italy in ,b4,c4 #cif1 took ,rome under ,brennus six years later1 sacked ,delphi in ,b4,c4 #bgi1 and gave their name to ,galatia in ,asia ,minor4 #ai ,prof4 ,j4 ,rhys' ,celtic ,britain1 p4 #b4 #bj ,c4 ,elton's ,origins of ,english ,history1 p4 #aac4 ,it may well be asked what has become of the tall1 fair-haired ,celts who in the fourth century ,b4,c4 were the terror of ,europe8 ,the answer seems to be that being numerically inferior to the races which they conquered1 but did not exterminate1 they after a time became absorbed by the small1 dark ,iberians1 who were the aborigines of ,france and ,spain in the later ,stone ,age4 ,in ,great ,britain the once warlike ,celt at last became so effete that he fell an easy prey to the ,picts1 the ,scots1 the ,angles1 and the ,saxons4 ,,the ,,celts ,,as ,,represented ,,in ,,greek ,,and ,,roman ,,art ,the physical type of the ,celt in ,classical ,sculpture was fixed by the artists of ,pergamos1 who were commissioned to perpetuate the victories of ,attalus ,i4 7,b4,c4 #bda-aig7 and ,eumenes ,,ii4 7,b4,c4 #aig-aei7 over the ,galatians of ,asia ,minor4#ba ,the originals of the statues executed at this period to decorate the acropolis at ,pergamon and at ,athens have since been popularised by means of numerous copies4 ,the statue most familiar to everyone is that wrongly called the ,dying ,gladiator1#bb but which is really a ,gaulish warrior mortally wounded1 as may be seen by the twisted torque round his neck1 and the shape of his shield and trumpet4 ,the other statues of the same class are the group formerly known as ,arria and ,paetus#bc 7representing a ,gaul committing suicide after having killed his wife7 and the figures of an old man with a young man dead#bd and a young man wounded#be from the defeat of the ,gauls by ,attalus4 ,in all these works of art the ,gaulish type is the same1 the men being tall and muscular1 with abundant unkempt locks1 and an energetic1 almost brutal1 physiognomy1 the very opposite of the intellectual beauty of the ideal ,greek4 ,the type thus fixed by eminent artists was handed down from generation to generation1 until the last years of the ,roman empire4 ,it may be recognised on the ,triumphal ,arch at ,orange#bf 7,vaucluse71 in the south of ,france1 and at the sarcophagus of ,ammendola#bg in the museum of the ,capitol at ,rome1 both of which have derived their inspiration from the works of art of the time of the kings of ,pergamon4 ,latterly the ,gaulish type became that of barbarians generally4#bh #ba ,les ,celtes1 p4 #cg2 ,h4 ,b4 ,walters' ,greek ,art1 p4 #ia2 and ,dr4 ,a4 ,s4 ,murray's ,history of ,greek ,sculpture1 vol4 ii41 p4 #cgf4 #bb ,in the ,museum of the ,capitol at ,rome2 cast in the ,south ,kensington ,museum4 #bc ,prof4 ,ernest ,gardner's ,handbook of ,greek ,sculpture1 pt4 ii41 p4 #def2 and ,a4 ,baumeister's ,denkmler1 p4 #abcg4 #bd ,at ,venice4 #be ,in the ,louvre4 #bf ,a4 de ,caumont's ,abcdaire d',archologie 7re ,gallo-,romaine71 ,second edition1 p4 #aid4 #bg ,s4 ,reinach's ,les ,gaulois dans l'art antique4 #bh ,s4 ,reinach's ,les ,celtes1 p4 #ch4 ,,the ,,celt ,,as ,,revealed ,,by ,,arch,,ological ,,research ,from an archological point of view the ,celtic civilisation which existed in ,central ,europe1 certainly as far back as #djj ,b4,c41 and very probably three or four centuries earlier1 was that of the ,iron ,age4 ,the ,continental antiquaries divide the ,iron ,age in this part of ,europe into two periods marked by differences in culture4 ,the culture of the ,early ,iron ,age is prehistoric1 and is called that of 8,hallstatt10 after the great ,alpine cemetery near ,salzburg in ,austria4 ,the culture of the ,later ,iron ,age comes after the time when the ,celts first make their appearance in history1 and is known to ,swiss and ,german archologists as that of 8,la ,tne10 from the ,gaulish ,oppidum at the north end of the ,lake of ,neuchtel in ,switzerland4 ,the ,la ,tne culture in the form it occurs in ,france is called 8,marnian10 and corresponds with the 8,late-,celtic0 culture of ,great ,britain4 ,hallstatt1 from which the ,celtic civilisation of the earlier ,iron ,age takes its name1 is situated thirty miles ,s4,e4 of ,salzburg in ,austria1 amongst the mountains forming the southern boundary of the valley of the ,danube4 ,it was a place of great commercial importance in ancient times1 in consequence of the salt mines in the neighbourhood1 and because it lay on the great trade route by which amber was brought from the mouth of the ,elbe to ,hatria1 at the head of the ,adriatic4#bi #bi ,c4 ,elton's ,origins of ,english ,history1 pp4 #df and #fb1 and ,prof4 ,w4 ,boyd ,dawkins' ,early ,man in ,britain1 pp4 #dag1 #dff1 and #dgc4 ,the pre-,roman necropolis of ,hallstatt was discovered in #ahdf1 and excavations have been going on there at intervals ever since4 ,in #ahfd ,m4 de ,sacken1 curator of the collection of antiquities in the ,vienna ,museum1 published a monograph on the subject1 which still remains the best book of reference4 ,m4 de ,sacken did not superintend the excavations personally1 that task having fallen to the lot of ,george ,ramsauer4 ,copies in ,,ms4 of ,ramsauer's notes on the contents of the tombs1 and sketches of the antiquities discovered in them exist in the ,ashmolean ,museum at ,oxford1 and in the national museums at ,saint-,germain and at ,vienna4 ,the ,hallstatt finds show very clearly the transition from the ,bronze to the ,iron ,age in ,central ,europe4 ,m4 ,salomon ,reinach thus summarises1 in his ,les ,celtes dans les ,valles du ,p et du ,danube 7p4 #abi71 the conclusions arrived at by ,m4 de ,sacken3-- 7#a7 ,two distinct races have been buried at ,hallstatt2 one of which cremated the bodies and the other which practised inhumation2 the former showing themselves to have been much richer than the latter4 7#b7 ,the people1 as represented by their grave-goods1 must have supported themselves1 besides working the salt mines 7their chief industry71 by breeding cattle4 ,the number of bones and teeth of animals found in the tombs show that they possessed herds4 ,their agricultural pursuits are proved by the presence of numerous scythes and sickles in the graves4 ,slag and moulds from founderies indicate that they were metallurgists4 7#c7 ,amongst the individuals who had been burnt the greater part of the men and women displayed a relative luxuriousness of toilet appliances1 a luxuriousness which was ministered to by foreign commerce supplying amber from the ,baltic1 ,phnician glass1 ivory1 embroidery in gold thread and stamped gold-leaf of oriental workmanship1 used in the decoration of the sword-hilts and scabbards4 7#d7 ,on the bronze vessels1 side by side with the old geometrical ornament1 common to them and to the ,cisalpine vases1 are to be seen new combinations of symbolical designs which recur on the ,celtic coinage of ,gaul4 ,amongst the objects most characteristic of the ,hallstatt culture are3-- 7#a7 ,daggers1 or short swords1 with a pointed blade of iron and a bronze handle having two little projections at the top terminating in round knobs and resembling the antenn of an insect4 7#b7 ,long double-edged swords with an iron blade made in imitation of the leaf-shaped swords of the ,bronze ,age1 having the edges slightly curved outwards in the middle1 but not having so sharp a point as the ,bronze ,age sword1 and being much longer4 ,the hilts have a massive pommel encrusted with ivory and amber1 and ornamented with gold-leaf4 7#c7 ,pails1 or situl1 of thin bronze plates ornamented with figure subjects executed in repouss work1 and exhibiting a peculiar style of art which ,dr4 ,arthur ,evans thinks the ,celts borrowed from the ,veneti1 the ancient ,illyrian inhabitants of the north of the ,adriatic1 who1 in their turn1 had come under ,hellenic influence whilst the amber trade route between ,greece and the ,baltic passed through ,hatria4 ,illustration3 ,the ,hallstatt ,sword ,illustration3 ,,grave ,,of ,a ,,gaulish ,,warrior ,,at ,,sesto-,,calende1 ,,italy ,illustration3 ,,bronze ,,fibula ,,of ,,la ,t,,ne ,,type1 ,,from ,,the ,,cemeteries ,,of ,,the ,,marne ,illustration3 ,,bronze ,,fibula ,,of ,,la ,t,,ne ,,type1 ,,from ,,the ,,cemeteries ,,of ,,the ,,marne ,dr4 ,arthur ,evans#cj divides the ,hallstatt remains into an earlier and a later group1 the former dating from about #gej to #eej ,b4,c4 ,during the later period1 from #eej ,b4,c41 he thinks there was a tendency for the typically ,gaulish or ,late-,celtic culture to overlap that of the ,early ,iron ,age4 ,the ,gallo-,italian tomb of a ,celtic chieftain1 found in #ahfg at ,sesto-,calende1#ca at the south end of ,lago ,maggiore1 illustrates the transition from the ,hallstatt to the ,la ,tne culture4 ,amongst the grave-goods were a situla with figure subjects in repouss metalwork and a short pointed iron sword having a handle furnished with antenn1 like those from ,hallstatt4 #cj ,rhind ,lectures on the 8,origins of ,celtic ,art10 ,lecture ,,ii41 as reported in the ,scotsman for ,december #abth1 #ahie4 #ca ,s4 ,reinach's ,les ,celtes1 p4 #di4 ,in addition1 there were the remains of a chariot1 horse-trappings1 a bronze war-trumpet1 helmet and greaves1 and iron lance-head1 such as we should expect to find buried with a ,celtic warrior in the ,iron ,age in ,gaul or ,britain4 ,la ,tne 7which gives its name to the modified and later form of ,hallstatt culture as it existed in ,central ,europe from about #djj ,b4,c41 when the name of the ,gaul superseded that of the ,celt1 to the time of ,csar's conquest7 is a military stronghold1 or oppidum1 situated at the ,n4,e4 end of the ,lake of ,neuchtel1 commanding an important pass between the upper ,rhone and the ,rhine4 ,the remains at ,la ,tne were first explored by ,colonel ,schwab in #aheh1 and subsequently by ,e4 ,vouga in #ahhj4 ,the objects derived from this remarkable site are to be seen in the public museums at ,bienne1 ,neuchtel1 and ,berne2 and in the private collections of ,colonel ,schwab1 ,professor ,desor1 ,e4 ,vouga1 ,dardel ,thorens1 and ,dr4 ,gross4#cb ,according to ,dr4 ,arthur ,evans1 the date of the culminating epoch of ,gaulish civilisation1 as represented by the antiquities from ,la ,tne1 is probably the third century ,b4,c4 ,it was at this period that the earlier foreign elements derived from ,hallstatt1 and even from countries further afield1 became thoroughly assimilated1 and the style of art called ,late-,celtic began to take definite shape4 ,the typical arms found at ,la ,tne are3-- 7#a7 ,a long sword with a double-edged iron blade having a blunt point4 ,the length and flexibility of the blade made it useless for thrusting in the way which was possible with the shorter and more rigid leaf-shaped sword of the ,bronze ,age1 so the pointed end was abandoned4 7#b7 ,lances with an iron point often of a peculiar curved form4#cc 7#c7 ,an oval shield of thin bronze plates ornamented with bosses4 7#d7 ,a horned helmet of bronze4 #cb ,the remains are fully described in ,dr4 ,f4 ,keller's ,lake-,dwellings2 ,dr4 ,r4 ,munro's ,lake-,dwellings of ,europe2 ,e4 ,vouga's ,les ,helvtes la ,tne2 and ,dr4 ,gross' ,la ,tne un ,oppidum ,helvte4 #cc ,with flame-like undulating-edges 8so as to break the flesh all in pieces0 7,c4 ,elton's ,origins of ,english ,history1 p4 #aaf74 ,the characteristic ,la ,tne ornament is found chiefly on the sword-sheaths1 the helmets1 and the shields4 ,the ,la ,tne fibul are derivatives of the 8safety-pin10 and usually have the tail end bent backwards1 as in the ,marnian fibul in ,france and the ,late-,celtic fibul in ,england4 ,illustration3 ,,bronze ,,armlet ,,of ,,the ,,la ,t,,ne ,,period ,,from ,,germany ,illustration3 ,,bronze ,,armlet ,,of ,,the ,,la ,t,,ne ,,period ,,from ,,longirod 7,,vaud7 ,illustration3 ,,bronze ,,armlet ,,of ,,the ,,la ,t,,ne ,,period ,,from ,,the ,,cemeteries ,,of ,,the ,,marne ,the ,gaulish culture in ,france corresponding with that of ,la ,tne in ,switzerland has been called 8,marnian0 by the ,french archologists because the principal remains of this period have been found in the cemeteries of the ,department of the ,marne4 ,a list of seventy-two such ,marnian cemeteries 7some of which contained as many as #dej graves7 is given by ,a4 ,bertrand in his ,archologie ,celtique et ,gauloise1 p4 #ceh4 ,the objects obtained from these cemeteries are fully illustrated in the ,dictionnaire ,archologique de la ,gaule1 and in ,lon ,morel's ,la ,champagne souterraine 7,album74 ,the best collections are those in the ,museum of ,saint-,germain and the ,british ,museum4 ,m4 ,bertrand fixes the date of the ,marnian cemeteries at from #cej to #bjj ,b4,c41 the period between the time when bronze weapons ceased to be used1 and the introduction of a national coinage into ,gaul4 ,illustration3 ,ornament on ,bronze ,sword-sheath from ,la ,tne ,from the point of view of art1 two of the most interesting burials discovered in the ,departement du ,marne are those at ,berru#cd and ,gorge-,meillet#ce of warriors interred with their chariots1 horses1 and complete military equipment1 including two bronze helmets1 which show the kind of decoration prevalent at the period1 and afford a link between the ,marnian style in ,gaul and the ,late-,celtic style in ,britain4 ,the burials at ,berru and ,gorge-,meillet correspond very nearly with those at ,arras1 ,danes' ,graves1 and elsewhere1 in the portion of ,yorkshire occupied by the ,celtic tribe of the ,parisi4 #cd ,a4 ,bertrand's ,archologie ,celtique et ,gauloise1 p4 #cef4 #ce ,e4 ,fourdriguier's ,double ,spulture ,gauloise de la ,gorge-,meillet4 ,illustration3 ,gaulish ,helmet of ,bronze from ,gorge-,meillet ,illustration3 ,,casque ,,de ,,berru4 7,,marne47 d couvert dans la ,creuere ,gaulois4 ,,gaulish ,,helmet ,,of ,,bronze ,,from ,,berru 7,,marne7 ,the ,marnian cemeteries belong to the second ,iron ,age of ,central ,europe after #djj ,b4,c41 but in the commune of ,magny ,lambert 7,cte-d'or71 near the source of the river ,seine1 tumuli have been opened containing long iron swords and bronze situl of distinctly ,hallstatt type4 ,dr4 ,arthur ,evans thinks that the older1 or ,hallstatt1 culture of ,central ,europe was gradually modified and transformed into the ,la ,tne1 ,marnian1 and ,late-,celtic stages of culture1 in consequence of the foreign influence exercised by the continual flow of ,greek commerce into eastern ,gaul from the sixth century ,b4,c4 onwards4 ,ample evidence of this commercial intercourse is afforded by the discovery of tripods1 hydrias1 nochs1 and painted vases of ,greek workmanship associated with ,gaulish burials1#cf as at ,grkwyl1 near ,berne in ,switzerland1 at ,somme-,bionne 7,marne71 at ,rodenbach in ,bavaria1 and at ,courcelles-et-,montagne 7,haute-,marne74 #cf ,a4 ,bertrand's ,archologie ,celtique et ,gauloise1 pp4 #cbh to #cdg2 see also ,l4 ,lindenschmit's ,die ,alterthmer unserer heidnischen ,vorzeit1 ,mainz1 #aheh1 etc4 ,the great difficulty in understanding the evolution of ,celtic art lies in the fact that although the ,celts never seem to have invented any new ideas1 they professed an extraordinary aptitude for picking up ideas from the different peoples with whom war or commerce brought them into contact4 ,and once the ,celt had borrowed an idea from his neighbour1 he was able to give it such a strong ,celtic tinge that it soon became something so different from what it was originally as to be almost unrecognisable4 ,polybius gives the following picture of the ,cisalpine ,gauls3-- 8,these people camp out in villages without walls1 and are absolutely ignorant of the thousand things that make life worth living4 ,knowing no other bed than straw1 only eating flesh1 they live in a half-wild state4 ,strangers to everything which is not connected with war or agricultural labour1 they possess neither art nor science of any description40 ,the tendency of the ,celt to copy rather than invent is brought out most clearly in their coinage4 ,m4 ,a4 ,bertrand#cg says3-- 8,were they settled in ,macedonia they imitated with more or less success the tetradrachms of ,philip and of ,audoleon1 king of ,paeonia2 did they advance towards ,thrace1 they copied the tetradrachms of ,thasos4 ,the ,senones of ,rimini took for their model the ,roman and ,italian aes grave2 in the north of ,italy1 finding themselves in contact with nations who used the monetary system of the drachm and its multiples and divisions1 the ,gauls copied them until the time they were driven back on the ,danube4 ,in ,liguria they copied the drachms of ,massalia4 ,were they encamped on the banks of the ,danube in ,noricum1 or in ,rhaetia1 they again copied the monetary systems of their neighbours4 ,the tetradrachms of the ,boii on which are inscribed the name of #8,,biatec1' one of their chiefs1 reproduced the type of the last ,roman of the family of ,fufia struck between the years #fb and #ei ,b4,c4 ,in a word1 the same habit of imitation is found everywhere in the cradle of ,gaulish numismatics properly so-called2 on the left bank of the ,rhine1 it was the gold staters of ,philip which served as the model for gold pieces and sometimes for silver2 in ,aquitaine1 it was the coins of ,emporia1 ,rhoda1 and ,massalia4 ,armorica and the frontier countries were the first who adopted for their coinage types which can be called national1 although still reflecting those imitated from the ,macedonian staters4 ,let it be noticed that we are in one of the most ,celtic parts of ,gaul3 it is therefore natural that the difference in genius between the two races of ,celts and ,gauls should manifest itself most clearly40 #cg ,archologie ,celtique et ,gauloise1 p4 #chg4 ,,invasion ,,of ,,britain ,,by ,,goidelic ,,celts ,,in ,,the ,,bronze ,,age ,the aborigines of ,europe1 who were driven westward by the successive waves of ,aryan conquest1 appear to have been in the ,neolithic stage of culture1 and they are identified by ,prof4 ,w4 ,boyd ,dawkins with the ,iberians mentioned by ,strabo4 ,prof4 ,w4 ,boyd ,dawkins gives a map in his ,early ,man in ,britain 7p4 #cah7 showing the relative distribution of the ,iberic1 ,celtic1 and ,belgic races in the historic period4 ,in this map the ,iberians occupy the north of ,africa1 the west of ,spain and ,france1 the country round ,marseilles1 the whole of ,wales1 and the south-west of ,ireland4 ,the ,celts follow behind to the eastward1 pressing the ,iberians towards the ,atlantic4 ,in the opening address of the ,antiquarian ,section at the meeting of the ,royal ,archological ,institute at ,scarborough in #ahie1 ,prof4 ,dawkins said3--#ch #ch ,archological ,journal1 vol4 lii41 p4 #cdb4 8,the theory that the ,neolithic inhabitants of the ,british ,isles are represented by the ,basques and small1 dark ,iberic population of ,europe generally1 has stood the test of twenty-five years' criticism1 and still holds the field4 ,from the side of philology it is supported by the fact pointed out by ,inchausp that the ,basque word aitz for stone is the root from which the present names of pick1 knife1 and scissors made of iron are derived4 ,this of itself shows that the ancestors of the ,basques were in the ,neolithic stage of culture4 ,the name of ,ireland1 according to ,rhys1#ci is derived from ,iber-land 7,hibernia71 the land of the ,iberians1 or sons of ,iber4 ,the evidence seems to be clear3 #a4 ,that the ,iberians were the original inhabitants of ,france and ,spain in the ,neolithic age1 and the only inhabitants of the ,british ,isles2 #b4 ,that they were driven out of the south-eastern parts of ,france and ,spain in the ,neolithic age2 7#c7 ,that they are now amply represented by the small dark peoples in the ,iberian ,peninsula1 and in the island which bears their name1 and in various other places in ,western ,europe1 where they constitute1 as ,broca happily phrases it1 #8ethnological islands4' ,the small1 dark1 long-headed ,yorkshiremen form one of these islands40 #ci ,celtic ,britain1 p4 #bfb4 ,let us pause for a moment to consider the stage of culture attained by the ,neolithic aborigines of ,britain whom the ,celts found here on their first arrival4 ,the houses in which ,neolithic man lived are of two kinds3 7#a7 pit dwellings dug to a depth of from seven to ten feet deep in the chalk1 like those at ,highfield1#dj near ,salisbury1 explored by ,mr4 ,adlam in #ahff2 and 7#b7 hut-circles like those at ,carn ,br near ,camborne1#da in ,cornwall1 excavated by ,mr4 ,thurstan ,c4 ,peter1 and on ,dartmoor1#db excavated by the ,rev4 ,s4 ,baring-,gould and ,mr4 ,r4 ,burnard4 ,in many cases the villages are fortified by a wall of rubble stone1 as at ,grimspound1 on ,dartmoor4 ,neolithic dwellings have also been explored by ,mr4 ,george ,clinch1 at ,keston1 in ,kent4#dc ,neolithic man supported himself by the chase and by fishing1 and also was a farmer in a small way1 growing wheat and cultivating flax4 ,he had domesticated the sheep1 goat1 ox1 hog1 and dog4 ,he could spin1 weave1 mine flint1 chip and polish stone implements and make rude pottery4 #dj ,w4 ,boyd ,dawkins' ,early ,man in ,britain1 p4 #bfg2 and ,e4 ,t4 ,stevens' ,flint ,chips1 p4 #eg4 #da ,r4 ,burnard in ,trans4 of ,plymouth ,inst41 #ahie-f2 and ,t4 ,c4 ,peter in ,jour4 ,r4 ,inst4 of ,cornwall1 ,no4 #db4 #db ,reports of ,dartmoor ,exploration ,committee in the ,trans4 of ,devonshire ,assoc4 for ,advancement of ,science4 #dc ,proc4 ,soc4 ,ant4 ,lond41 ser #b1 vol4 xii41 p4 #beh1 and vol4 xvii41 p4 #baf4 ,he buried his dead in long barrows1 chambered cairns1 and dolmens4 ,cremation was not practised1 and it was usual to inter a large number of bodies in a chamber constructed of huge stones4 ,such was the aboriginal inhabitant with whom the first ,celtic invader had to contend4 ,i say first ,celtic invader advisedly1 for there was a second ,celtic invasion at a later period4 ,the vanguard of the ,celtic conquerors are called by ,prof4 ,j4 ,rhys1 in his ,celtic ,britain 7p4 #c71 8,goidels10 to distinguish them from the 8,brythons10 who constituted the second set of invaders4 ,the modern representatives of the ,goidels are the ,gaelic-speaking population of the ,highlands of ,scotland1 ,ireland1 and the ,isle of ,man2 whilst the descendants of the ,brythons now inhabit ,wales1 ,cornwall1 and ,brittany4 ,at the time of the ,roman occupation the ,brythonic tribes inhabited the whole of ,england with the exception of the districts now occupied by ,cumberland1 ,westmoreland1 ,devon1 and ,cornwall4 ,the most important of these ,brythonic tribes were the ,brigantes and ,parisi of ,yorkshire1 the ,catuvelauni of the ,midland ,counties1 the ,eceni of the eastern counties1 the ,attrebates of the ,thames ,valley1 and the ,belg1 ,regni1 and ,cantion in the south4 ,the south of ,scotland was in possession of the ,dumnoni and ,otadini1 who were ,brythons1 as were also the ,ordovices of ,central ,wales4 ,the ,ivernians still held their own in the north of ,scotland4 ,the remainder of ,great ,britain was inhabited either by pure ,goidels or by ,goidels who had mixed their blood with the ,ivernian aborigines4 ,as ,prof4 ,j4 ,rhys has pointed out in his ,celtic ,britain 7p4 #baa71 the soundest distinction between the ,goidels and the ,brythons rests on a peculiarity of pronunciation in their respective languages4 ,in the corresponding words in each language where the ,brythons use the letter ,p1 the ,goidels use ,qv4 ,hence they have been termed the 8,p and ,q ,celts40 ,the most familiar instance of this is where the ,welsh use the word ap to mean son of1 and the ,gaels use mac4 ,the older form of mac found on the ,ogam-inscribed monuments of ,ireland1 ,scotland1 ,wales1 and the ,west of ,england is maqvi1 as in the bi-literal and bi-lingual inscribed stone at ,st4 ,dogmael's1 in ,pembrokeshire1 where the ,latin 8,,sagrani ,,fili ,,cvnotami0 has as an equivalent in ,ogams 8,,sagramni ,,maqvi ,,cynatami40 ,in modern ,welsh map1 or mab1 has been shortened by dropping the m1 and in ,gaelic the v of maqvi has been dropped1 and the q made into c4 ,so much for the philological differences between the ,goidel and the ,brython4 ,they can also be distinguished archologically1 the former as being in the ,bronze ,age stage of culture1 and the latter in the ,early ,iron ,age when he arrived in ,britain4 ,in a subsequent chapter we shall have to deal with the ,brythonic ,celt1 but at present we are concerned exclusively with the ,goidel4 ,the ,neolithic inhabitants of this country1 whom the ,goidelic ,celts found here on their arrival1 were ethnologically a small dark-haired1 black-eyed race1 with long skulls of a type which is still to be seen amongst the ,silurians of ,south ,wales4#dd ,the ethnological characteristics of the ,goidels were entirely different3 they were tall1 fair-haired1 round-headed1 with high cheek-bones1 a large mouth1 and aquiline nose4 ,in studying the past much must necessarily be more or less conjectural1 and we can never hope to see otherwise than 8as in a glass darkly40 ,as far1 however1 as it is possible to ascertain the facts1 it appears probable that the advancing wave of ,goidelic ,celts did not entirely overwhelm the aborigines or drive them before it4 ,most likely the big ,goidels made the small ,iberians 8hewers of wood and drawers of water10 and in time either absorbed them or themselves became absorbed4 #dd ,boyd ,dawkins' ,early ,man in ,britain1 chapter ix4 ,,the ,,chronology ,,of ,,the ,,bronze ,,age ,,in ,,europe ,actual dates in years can only be ascertained by means of historical documents1 and therefore no chronology of the ages of ,stone1 ,bronze1 and ,iron is possible except where contact can be established between the prehistoric 7or non-historic7 races living in those stages of culture in ,northern and ,central ,europe1 and the more advanced civilisations on the shores of the ,mediterranean and in ,asia4 ,long before direct contact took place between the northern barbarians and the ,egyptians1 ,assyrians1 ,phnicians1 ,greeks1 ,romans1 and other great nations of antiquity1 through invasions or immigrations1 a more indirect contact must have existed for centuries1 owing to the trade in such things as amber1 gold1 bronze1 and tin4 ,dates have been fixed approximately by the finding of imported objects in different countries1 and by studying their geographical distribution4 ,other almost untouched fields of investigation which would help to solve many of the problems of prehistoric chronology1 are the migration of symbols and patterns and comparative ornament4 ,the attempts that have been made to fix the duration of the ,ages of ,stone and ,bronze in actual years are at the best mere guesses1 but it may be worth while stating the conclusions arrived at by some of the leading ,european archologists1 so as to give a rough idea of the time at which bronze was in use for the manufacture of implements and weapons in different countries4 ,egypt during the greater part of its existence as a civilised nation was in the ,bronze ,age4 ,the copper mines of the ,sinaitic peninsula were worked as early as the ,fourth ,dynasty1 as is proved by the rock inscriptions of ,sneferu 7,b4,c4 #ciih-cifi7 at ,wady ,maghera4#de ,bronze was certainly used by the ancient ,egyptians in the fourteenth century ,b4,c41 and in the tomb of ,queen ,aah ,hotep1 although bronze weapons were found1 iron was conspicuous by its absence1 indicating that the latter metal had not come into general use in the fifteenth century ,b4,c4 ,the ,mycenan civilisation in the gean was of the ,bronze ,age1 and ,prof4 ,flinders ,petrie places its flourishing period at about #adjj ,b4,c4#df ,bronze continued in use in ,greece until the time of the ,dorian invasion1 ,b4,c4 #hjj4 ,in dealing with the local centres of the bronze industry1 ,prof4 ,boyd ,dawkins#dg recognises three distinct local centres in ,europe4 7#a7 ,the ,uralian1 or ,eastern--,russia4 7#b7 ,the ,danubian1 or ,northern and ,central--,scandinavia1 ,hungary4 7#c7 ,the ,mediterranean1 or ,southern--,greece1 ,italy1 ,france1 ,switzerland4 ,dr4 ,oscar ,montelius#dh gives the following tentative dates for the duration of the ,bronze ,age in these areas3-- #de ,petrie's ,hist4 of ,egypt1 vol4 i41 p4 #ca4 ,article on 8,the ,age of ,bronze in ,egypt10 in ,l',anthropologie for ,january1 #ahij1 translated in the ,smithsonian ,report for #ahij1 p4 #dii4 #df ,jour4 of ,hellenic ,studies1 vol4 xii41 p4 #bjc4 #dg ,early ,man in ,britain1 p4 #dad4 #dh ,matriaux pour l'histoire primitive de l'homme1 pp4 #ajh-aac4 ,the ,caucasus4--,the ,massagete were1 according to ,herodotus1 still using bronze in the sixth century ,b4,c4 ,greece4--,bronze ,age civilisation of ,mycen1 #adjj to #ajjj ,b4,c4 ,italy4--,terramare of ,bronze ,age1 twelfth century ,b4,c4 ,iron introduced in ninth or eighth century ,b4,c4 ,scandinavia and ,germany4--,bronze ,age begun in fifteenth century ,b4,c41 and ended in fifth century ,b4,c4 ,worsaae#di places the beginning of the ,bronze ,age in ,scandinavia five centuries later than ,montelius1 i4e4 #ajjj ,b4,c4 ,dr4 ,naue#ej dates the ,bronze ,age in ,upper ,bavaria from #adjj ,b4,c4 to #ijj ,b4,c4 #di ,the ,industrial ,arts of ,denmark1 p4 #da4 #ej ,dr4 ,arthur ,evans' review of ,dr4 ,julius ,naue's ,die ,bronzezeit in ,obayern in the ,academy for ,april #bgth1 #ahie4 ,as regards ,great ,britain1 there is no reason for supposing that the ,brythonic ,celts of the ,early ,iron ,age arrived in this country much before ,b4,c4 #cjj1 which date would terminate the ,bronze ,age1 at all events in southern ,england4 ,the date of the beginning of the ,bronze ,age in ,britain can only be surmised4 ,if1 as we hope to be able to prove1 much of the art of that period here can be traced to a ,mycenan origin there is no reason why the ,bronze ,age in ,britain should not have commenced shortly after the spiral motive patterns were transferred from ancient ,egypt to the gean1 say1 about #adjj ,b4,c41 and thence to ,hungary1 ,scandinavia1 and other parts of ,europe4 ,it is not impossible1 nay1 it is even probable1 that the ,bronze ,age may have lasted a thousand years in ,britain1 beginning ,b4,c4 #acjj1 and ending ,b4,c4 #cjj4 ,,chapter ,,ii ,,pagan ,,celtic ,,art ,,in ,,the ,,bronze ,,age ,,general ,,nature ,,of ,,the ,,materials ,,available ,,for ,,the ,,study ,,of ,,the ,,art ,,of ,,the ,,bronze ,,age ,,in ,,britain1 ,,and ,,the ,,decorative ,,motives ,,employed ,as we have already observed1 the ,goidelic ,celts were in the ,bronze ,age stage of culture when they landed in ,britain4 ,let us now inquire into the nature of the materials available for the study of the ,pagan ,celtic art in the ,bronze ,age4 ,the remains of this period may be classified1 according to the nature of the finds1 as follows3-- 7#a7 ,sepulchral remains4 7#b7 ,remains on inhabited and fortified sites4 7#c7 ,merchants' and founders' hoards4 7#d7 ,personal hoards1 that is to say1 finds of objects purposely concealed1 either in times of danger1 or buried as ex voto deposits4 7#e7 ,finds of objects accidentally lost4 7#f7 ,sculptured rocks and stones4 ,the art of the ,bronze ,age in ,europe is both of a symbolical and decorative character4 ,the principal symbols employed are3-- ,the ,swastika4 ,the ,ship4 ,the ,triskele4 ,the ,axe4 ,the-,cup-and-,ring4 ,the ,wheel4 ,illustration3 ,,cinerary ,,urn ,,of ,,bronze ,,age ,,from ,,lake1 ,,wilts2 ,,now ,,in ,,the ,,british ,,museum ,,height #a ,,ft4 #c ,,ins4 ,it is probable that most of these were connected with sun-worship4#ea ,the chief decorative art motives which were prevalent during the ,bronze ,age are as follows3-- ,the ,chevron4 ,the ,concentric ,circle4 ,the ,spiral4 ,the ,winding-,band4 ,with the introduction of bronze into ,britain an entire change took place in the burial customs of the people4 ,the long barrows with their megalithic chambers and entrance passages gave place to round barrows containing cists constructed of comparatively small slabs of stone1 and having no approach from the exterior4 ,although burial by inhumation still continued to be practised1 cremation was adopted for the first time4 ,the proportions of unburnt to burnt bodies found in opening barrows in different parts of ,england vary according to ,thurnam#eb thus3-- ,unburnt4 ,burnt4 ,wilts #hb #bgb ,dorset #ba #ia ,derbyshire ,staffordshire #aej #aba ,yorkshire ,yorkshire #eh #ec #ea ,see ,j4 ,j4 ,a4 ,worsaae's ,danish ,arts1 p4 #fh4 #eb ,archologia1 vol4 xliii41 p4 #caj4 ,the survival of the practice of inhumation to so large an extent would seem to indicate that the bronze-using ,goidels amalgamated with the ,neolithic aborigines rather than exterminated them4 ,the unburnt bodies were usually buried in a doubled-up position1 and sometimes an urn was placed near the deceased4 ,when the body was cremated the ashes were placed in a cinerary urn1 and the grave-goods most commonly consisted of smaller pottery vessels1 a bronze dagger or razor1 and a stone wrist-guard4 ,occasionally flint implements and polished stone axe-hammers have been found with burials of this type1 but it does not necessarily follow1 in consequence1 that bronze was unknown at the time4 ,the sepulchral pottery derived from the round barrows of the ,bronze ,age supplies us with ample material for studying the art of the period4 ,the principal collections are to be seen in the ,british ,museum and the museums at ,devizes1 ,sheffield1 ,edinburgh1 and ,dublin4 ,these have been derived from the barrows opened by ,sir ,r4 ,colt ,hoare in ,wiltshire1 ,t4 ,bateman in ,derbyshire and ,staffordshire1 ,rev4 ,canon ,greenwell and the ,rev4 ,j4 ,c4 ,atkinson in ,yorkshire1 ,c4 ,warne in ,dorsetshire1 and ,w4 ,c4 ,borlase in ,cornwall4 ,the pottery from the round barrows exhibits an endless variety of form1 but as regards their suggested use1 they may be divided into four classes1 namely3-- 7#a7 ,cinerary urns4 7#b7 ,food-vessels4 7#c7 ,drinking-cups4 7#d7 ,incense-cups4 ,there is no doubt as to the use for which the cinerary urns#ec were intended1 because they are found filled with burnt human bones1 sometimes placed in an inverted position upon a flat stone1 and sometimes mouth upwards4 ,the cinerary urns vary in height from #f inches to #c feet1 and the most common shape resembles that of an ordinary garden flower-pot1 with a deep rim round the top1 probably to give the vessel greater strength4 #ec ,greenwell's ,british ,barrows1 p4 #ff4 ,illustration3 ,,bronze ,,age ,,urn ,,of 8,,incense-,,cup0 ,,type ,,from ,,aldbourne1 ,,wilts2 ,,now ,,in ,,the ,,british ,,museum ,,height #c ,,ins4 ,illustration3 ,,bronze ,,age ,,urn ,,of 8,,food-,,vessel0 ,,type ,,from ,,alwinton1 ,,northumberland2 ,,now ,,in ,,the ,,british ,,museum ,,height #e ,,ins4 ,the so-called food-vessels#ed have received this name because they are believed to have contained food for the deceased in the next world4 ,in support of this theory it may be mentioned that remains of substances resembling decayed food have been found in some of the vessels in question4 ,urns of the food-vessel type are shaped like a shallow bowl1 and they vary in height from #c to #h inches4 ,they are usually found placed beside the deceased4 ,the use of the so-called drinking-cups#ee is suggested more by the form1 which resembles that of a mug1 or beaker1 slightly contracted in the middle1 than by any actual facts connected with their discovery4 ,they are generally placed near the deceased4 ,the height of the drinking-cups varies from #e to #i inches4 ,the ,hon4 ,j4 ,abercromby1 ,f4,s4,a4 7,scot471 has recently published an elaborate monograph on the drinking-cups of the ,bronze ,age entitled 8,the ,oldest ,bronze ,age ,ceramic ,type in ,britain2 its close ,analogies on the ,rhine2 its ,probable ,origin in ,central ,europe40#ef ,incense-cups were conjectured by ,sir ,r4 ,colt ,hoare and the earlier archologists to have been used for burning some aromatic substance during the funeral rites4 ,the view taken by the late ,mr4 ,albert ,way1 and supported by ,canon ,greenwell1#eg is that they were for carrying burning wood to light the funeral pile4 ,the incense-cups are the smallest of the sepulchral vessels of the ,bronze ,age1 being only from #a to #c inches high4 ,the shape is like that of a little cup4 ,the sides are sometimes perforated4 ,the incense-cups are often found inside the cinerary urns4 #ed ,british ,barrows1 p4 #hd4 #ee ,ibid41 p4 #id4 #ef ,jour4 ,anthropolog4 ,inst41 vol4 xxxii41 p4 #cgc4 #eg ,british ,barrows1 p4 #ha4 ,canon ,greenwell states that the urns of the four different types were found associated with unburnt and burnt bodies in the barrows opened by him on the ,yorkshire wolds in the following proportions3-- ,unburnt4 ,burnt4 ,cinerary urns #ab #i 7of cinerary urn type1 7containing but without ashes7 burnt bones7 ,food-vessels #eg #af ,drinking-cups #bb #b ,incense-cups none #f ,the geographical distribution of the different types of sepulchral urns1 as far as at present ascertained1 is as follows3 ,food-vessels are most common in ,yorkshire1 and most rare in ,wiltshire and the south of ,england generally4 ,drinking-cups are found all over ,great ,britain1#eh and it is the type of urn which varies least4 ,incense-cups are found with greater frequency in the south of ,england than in the north4 #eh ,see map given by the ,hon4 ,j4 ,abercromby in the ,jour4 ,anthropolog4 ,inst41 vol4 xxxii41 pl4 #bd4 ,now as to the decorative features of the sepulchral pottery of the ,bronze ,age in ,great ,britain4 ,the sepulchral urns are made of coarse clay moulded by hand--not turned on a lathe--and imperfectly baked by means of fire4 ,the decoration was executed whilst the clay was moist1 either by 7#a7 ,the finger-nail4 7#b7 ,an impressed cord4 7#c7 ,a pointed implement4 7#d7 ,stamps of wood or bone4 ,illustration3 ,,bronze ,,age ,,urn ,,of 8,,drinking-,,cup0 ,,type ,,from ,,lakenheath1 ,,suffolk2 ,,now ,,in ,,the ,,british ,,museum ,,height #g ,,ins4 ,besides incised patterns produced by these methods1 the ornament was sometimes moulded in relief and sometimes sunk1 and the incense-cups often have ornamental perforations4 ,with the exception of the circles found on the bottoms of some of the incense-cups the decoration consists entirely of straight lines running more often diagonally than either horizontally or vertically4 ,the same preference for diagonal lines will be observed in the key-patterns in the ,irish ,,mss4 of the ,christian period1 and led1 as we shall see in a subsequent chapter1 to those modifications of the ,greek fret which are characteristically ,celtic4 ,illustration3 ,fig4 #a4 7a7 ,party per ,chevron4 7b7 ,party per ,saltire4 7c7 ,chevron4 7d7 ,saltire4 7e7 ,indented4 7f7 ,dancette ,of the hundreds and hundreds of sepulchral urns of the ,bronze ,age that have been found in ,great ,britain no two are exactly the same either in size1 form1 or decoration4 ,the fertility of imagination exhibited in the production of so many beautiful patterns by combining diagonal straight lines in every conceivable way is really amazing4 ,on examination it will be found that1 complicated as the patterns appear to be1 the chevron or zigzag is at the base of the whole of them4 ,we use the heraldic terms for the sake of convenience2 their meaning will be understood by a reference to ,fig4 #a4 ,it will be seen that the chevron consists of two straight lines or narrow bars inclined towards each other so as to meet in a point1 the form thus produced toeing that of the letter ,v4 ,now the chevron1 or ,v1 is capable of being combined in the following ways3-- ,w4--,two chevrons1 with the points facing in the same direction1 placed side by side4 4--,two chevrons1 with the points facing in opposite directions1 placed with the open sides meeting4 ,x4--,two chevrons1 with the points facing in opposite directions1 placed with the points meeting4 ,by repeating the ,w1 1 and ,x1 each in a horizontal row1 the patterns shown on ,fig4 #b are obtained4 ,illustration3 ,fig4 #b4 7a7 ,the ,triangle or ,chevron ,border4 7b7 ,the ,lozenge ,border4 7c7 ,the ,saltire ,border4 7d7 ,the ,hexagon ,border4 ,it will be noticed that the same pattern results from repeating a series of 's in a horizontal line as from repeating a series of ,x's1 so that in order to distinguish the lozenge border from the saltire border1 it is necessary to introduce a vertical line between each pair of ,xs4 ,the hexagon border is derived from the lozenge by omitting every other ,x4 ,it is a principle in geometrical ornament that for each pattern composed of lines there is a corresponding pattern in which bars of uniform width are substituted for lines4 ,another way of stating the same proposition is1 that for each pattern composed of geometrical figures 7squares or hexagons1 for instance7 there is a corresponding pattern produced by moving the figures apart in a symmetrical manner so as to leave an equal interspace between them4 ,this principle is illustrated by ,fig4 #c1 where a zigzag bar is substituted for the zigzag line of the triangle or chevron border4 ,illustration3 ,fig4 #c4 7a7 ,line ,chevron ,border4 7b7 ,bar ,chevron ,border4 7c7 ,surface ,pattern1 produced by repeating either of the preceding4 ,then1 again1 another set of patterns may be derived from those composed of lines or plain bars1 by shading alternate portions of the design as in chequerwork4 ,thus on ,fig4 #d are shown three different ways of shading the chevron border1 and on ,fig4 #e the method of shading the patterns on ,fig4 #c4 ,illustration3 ,fig4 #d4 ,illustration3 ,fig4 #e4 ,fig4 #d4--7;a7 ,line ,chevron ,border4 7b1 c1 and d7 ,different ,methods of ,shading 7a74 ,fig4 #e4--7;a7 ,bar ,chevron ,border4 7b7 ,the same as 7a71 but shaded4 7c7 ,surface ,pattern1 produced by repeating 7b74 ,a few new patterns 7see ,fig4 #f7 may be produced by placing the chevron with the point of the ,v facing to the right or left1 thus1 or 1 instead of upwards or downwards1 thus1 or ,v4 ,illustration3 ,fig4 #f4 7a7 ,chevron ,border1 with ,v's placed thus1 4 7b7 ,the same as 7a71 but with a horizontal line through the points of the ,v's4 7c7 ,the same as 7a71 but shaded4 7d7 ,the same as 7b71 but shaded4 ,figs4 #g to #aj give the triangular patterns1 plain and shaded1 produced by repeating the chevron border 7see ,fig4 #b4 a74 ,illustration3 ,fig4 #g4 ,illustration3 ,fig4 #h4 ,fig4 #g4--7;a7 ,single ,border1 composed of ,triangles4 7b7 ,double ,border1 composed of ,triangles1 with the points of all the ,triangles meeting4 7c7 ,surface ,pattern1 composed of ,triangles1 with the points of all the ,triangles meeting4 ,fig4 #h4--7;a1 b1 and c7 ,the ,patterns shown on ,fig4 #g1 shaded4 ,illustration3 ,fig4 #i4 ,illustration3 ,fig4 #aj4 ,fig4 #i4--7;a7 ,double ,border1 composed of ,triangles1 with the points of the ,triangles in one row falling in the centres of the bases of ,triangles in the row above4 7b7 ,surface ,pattern1 composed of ,triangles1 arranged in the same way as in the preceding4 ,fig4 #aj4--7;a and b7 ,the ,patterns shown on ,fig4 #i1 shaded4 ,the patterns derived from the lozenge are shown on ,figs4 #aa to #ah4 ,illustration3 ,fig4 #aa4 ,fig4 #aa4--7;a7 ,lozenge ,border1 composed of two sets of ,chevrons1 with their points facing in opposite directions4 7b7 ,the same as 7a71 but with the ,chevrons set apart4 7c7 ,the same as 7a71 but with bars substituted for lines4 7d7 ,the same as 7b71 but with bars substituted for lines4 ,illustration3 ,fig4 #ab4 ,fig4 #ab4--7;a7 ,lozenge ,border1 with ,triangles or ,chevrons1 shaded4 7b7 ,lozenge ,border1 with ,lozenges shaded4 7c7 ,the same as ,fig4 #aa 7c71 but shaded4 7d7 ,the same as ,fig4 #aa 7d71 but shaded4 ,illustration3 ,fig4 #ac4 ,fig4 #ac4--7;a7 ,surface ,pattern1 produced by repeating the ,bar ,chevron ,border1 so that the points of all the ,chevrons meet4 7b7 ,the same as 7a71 but with the ,chevrons set apart4 ,illustration3 ,fig4 #ad4 ,fig4 #ad4--7;a7 ,the same as ,fig4 #ac 7a71 but shaded4 7b7 ,the same as ,fig4 #ac 7b71 but shaded4 ,illustration3 ,fig4 #ae4 ,illustration3 ,fig4 #af4 ,fig4 #ae4--7;a7 ,line ,lattice-work ,surface ,pattern1 produced by the repetition of either the ,chevron ,border1 ,fig4 #b 7a71 or the ,lozenge ,border1 ,fig4 #b 7b74 7b7 ,the same as 7a71 but shaded4 ,fig4 #af4--7;a7 ,the same as ,fig4 #ae 7b71 but with shaded ,lozenges of two different sizes4 7b7 ,lattice-work ,surface ,pattern2 the same as ,fig4 #ae 7b71 but with diagonal white bars instead of lines4 ,illustration3 ,fig4 #ag4 ,illustration3 ,fig4 #ah4 ,fig4 #ag4--7;a7 ,bar ,lattice-work-,surface ,pattern2 the same as ,fig4 #ae 7a71 but with diagonal bars instead of lines4 7b7 ,the same as 7a71 but shaded4 ,fig4 #ah4--7;a7 ,surface ,pattern1 produced by repeating ,fig4 #aa 7c74 7b7 ,the same as 7a71 but shaded4 ,the patterns derived from the saltire are shown on ,fig4 #ai4 ,illustration3 ,fig4 #ai4 7a7 ,saltire ,border ,pattern4 7b1 c1 d7 ,saltire ,border ,pattern1 shaded in different ways4 7e7 ,the same as 7a71 but with bars instead of lines4 ,the patterns derived from the hexagon are shown on ,figs4 #bj and #ba4 ,illustration3 ,fig4 #bj4 ,illustration3 ,fig4 #ba4 ,fig4 #bj4--7;a7 ,hexagon ,border ,pattern1 derived from the ,lozenge ,border1 ,fig4 #b 7b71 by leaving out every other ,x4 7b7 ,the same as 7a71 but with the ,triangles shaded4 7c7 ,the same as 7a71 but with the ,hexagons shaded4 7d7 ,surface ,pattern1 composed of ,hexagons and ,triangles2 produced by repeating 7c71 so that the ,hexagons in one horizontal row adjoin the ,triangles in the next4 ,fig4 #ba4--7;a7 ,hexagon ,surface ,pattern1 probably derived from ,fig4 #aa 7b71 by drawing straight lines between the points of each of the ,chevrons4 7b7 ,the same as 7a71 but with bars instead of lines1 and having the ,hexagons shaded4 ,the variations in the practical application of the chevron patterns1 which have been described above1 to the decoration of the sepulchral pottery of the ,bronze ,age1 are produced in the following ways3-- 7#a7 ,by placing the chevrons 7a7 horizontally1 or 7b7 vertically4 7#b7 ,by making the chevrons of different sizes4 7#c7 ,by altering the angle of the chevrons1 i4e4 making the points more acute or more obtuse4 7#d7 ,by shading some parts of the pattern whilst other parts are left plain4 7#e7 ,by using different methods of shading1 such as plain hatching1 cross-hatching1 dotting1 etc4 7#f7 ,by combining the chevrons with horizontal and vertical lines4 7#g7 ,by arranging the patterns in horizontal bands of different widths4 ,in a few cases#ei hexagonal figures occur in the decoration of the urns1 but the patterns do not belong to the true hexagonal system of ornament4 ,the hexagons were arrived at by leaving a space between the triangles of the chevrons1 as on a drinking-cup found at ,rhosbeirio1#fj ,anglesey4 #ei ,ll4 ,jewitt's ,grave-,mounds and their ,contents1 p4 #ajh4 ,folkton1 ,yorkshire4 #fj ,archologia ,cambrensis1 #crd ser41 vol4 xiv41 p4 #bga2 ,british ,barrows1 p4 #gj4 ,the decoration of the urns is generally confined to the exterior1 the only exceptions being the interiors of the lips of some of the examples and the crosses in relief found on the bottoms inside of cinerary urns from ,wilts1 ,dorset1 and ,sussex4 ,the incense-cups have occasionally ornament on the bottoms of them which1 like the crosses just mentioned1 may have a symbolical significance4 ,some of the urns from ,ireland1 ,scotland1 and the ,isle of ,man1 are very beautifully decorated with sunk triangles and ovals4 ,the different types of urns are not all equally highly ornamented4 ,the large flower-pot-shaped cinerary urns have least decoration1 being sometimes quite plain1 but in the majority of cases having a broad band of ornament round the top4 ,the drinking-cups are more elaborately decorated than any other class of sepulchral pottery1 although the food-vessels are also nearly as ornate4 ,the artistic quality of the decoration varies in different parts of ,great ,britain4 ,some of the most beautiful examples come from localities where there was a great mixture of aboriginal blood with that of the ,celtic invaders1 and it is not unlikely that the infusion of new blood may have had something to do with the excellence of the art4 ,the chevron1 although it was more highly developed as a decorative art-motive in the ,bronze ,age than at any other period1 was not unknown to the ,neolithic inhabitants of ,great ,britain1 and it is more than probable that the ,goidelic ,celts got the idea from them4 ,several shallow vessels with a band of chevron ornament round the rim were found in the chambered cairn at ,unstan1#fa ,orkney1 which is of the later ,stone ,age4 ,this particular chevron pattern occurs frequently in the ,bronze ,age4 ,each of the triangles formed by the chevron is filled in with hatched lines running diagonally1 but alternately in directions at right angles to each other 7,fig4 #d1 d1 p4 #cj74 ,the pattern had no doubt a structural origin1 and was suggested by lashing of the description used for the hafting of stone axes1 or by some similar bandaging of cords4#fb #fa ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,bronze and ,stone ,ages1 p4 #bid4 #fb ,prof4 ,a4 ,c4 ,haddon's ,evolution in ,art1 p4 #hg4 ,a similar chevron pattern is to be seen on a bowl from the ,dolmen du ,port-,blanc1 ,saint ,pierre1 ,quiberon1 ,morbihan1 ,brittany4#fc ,possibly this may be the survival of a strengthening band of basketwork round the vessel4 #fc ,paul du ,chatellier's ,la ,poterie aux poques prhistorique et ,gauloise1 pl4 #ab1 fig4 #ab4 ,illustration3 ,bronze ,spear-heads ornamented with rows of dots ,in the ,museum of the ,royal ,irish ,academy1 ,dublin ,the decoration of the bronze implements1 gold lunul1 and jet necklaces of the ,bronze ,age corresponds very nearly with that of the sepulchral pottery4 ,all the designs are founded upon the chevron1 and the only differences are in the methods of execution4 ,on the objects of metal the patterns are produced by the hammer1 punch1 and graver1#fd and on the flat jet beads of the necklaces by a borer4 #fd ,sir ,w4 ,wylde's ,catal4 ,mus4 ,r4 ,i4 ,a41 p4 #chh4 ,illustration3 ,gold ,lunula from ,killarney ,now in the ,museum of the ,royal ,irish ,academy1 ,dublin ,the bronze implements most frequently decorated are celts and razors1 and more rarely dagger-blades and spear-heads4 ,of the three classes of bronze celts1 namely1#fe 7#a7 ,flat celts1 7#b7 ,winged and flanged celts1 7#c7 ,socketed celts1 it is only the first two that are decorated with chevron patterns in the same way as the sepulchral pottery4 ,the socketed celts1 which are later than the others1 are ornamented with concentric circles resembling those on certain ,gaulish terra-cotta figures4#ff ,on some of the bronze spear-heads in the ,museum of the ,royal ,irish ,academy the ornament consists of lines of small dots4 ,the dotted patterns in the ,irish ,,mss4 of the ,christian period may possibly be traced to this source4 ,the greatest number of gold lunul1 most of which exhibit the characteristic chevron-motive decoration of the ,bronze ,age1 have been found in ,ireland4 ,dr4 ,w4 ,frazer has compiled a list of known examples1 which will be found in the ,journal of the ,royal ,society of ,antiquaries of ,ireland4#fg ,the numbers are as follows3-- ,museum of the ,royal ,irish ,academy #cb ,british ,museum #aa ,edinburgh ,museum #d ,belfast ,museum #a ,private ,collections #c ,present owners unknown #i ,found in ,france #b #fe ,early ,man in ,britain1 p4 #cej2 and ,british ,museum ,bronze ,age ,guide1 p4 #dj4 #ff ,archologia ,cambrensis1 ser4 #c1 vol4 xiv41 p4 #cjh4 #fg #eth ser41 vol4 vii41 p4 #da4 ,the decoration consists of very fine lines executed with chisel-edged punches1#fh and it is concentrated on the edges and the two horns of the crescent1 the broad part of the crescent in the middle being quite plain1 as will be seen in the specimen illustrated on page #dj from ,killarney1 now in the ,museum of the ,royal ,irish ,academy in ,dublin4 #fh ,sir ,w4 ,wilde's ,catal4 of ,antiquities of ,gold in ,mus4 ,r4 ,i4 ,a41 p4 #aj4 ,the lunul were probably worn as head-dresses or else round the neck1 and the contrast between the large expanse of burnished gold and the delicately engraved patterns must have been very effective when seen flashing in the bright sunlight4 ,some of the finest examples of jet necklaces have been found with ,bronze ,age burials in ,scotland1 as at ,balcalk1 ,forfarshire2 ,tayfield1 ,fife2 ,torrish1 ,sutherlandshire2#fi ,assynt1 ,ross-shire2#gj ,melfort1 and ,argyllshire4 ,they have also been found occasionally in ,england1 as at ,middleton ,moor1#ga ,derbyshire4 ,the beads of which the necklaces are composed are of three different shapes1 ovoid1 flat triangular plates1 and four-sided flat plates4 ,the flat beads are decorated with chevrons1 triangles1 and lozenges produced by rows of dots4 ,here again we have an instance of a kind of decoration which survived in ,christian times4 ,the last class of remains exhibiting ,bronze ,age decoration are the sculptured rocks and stones4 ,some of the carvings are found on natural rock surfaces and boulders2 others on such megalithic monuments as stone circles1 dolmens1 and chambered cairns2 whilst numerous examples are on the slabs forming the covers or sides of sepulchral cists4 #fi ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,bronze and ,stone ,ages1 pp4 #ec1 #ee1 and #ef4 #gj ,daniel ,wilson's ,prehistoric ,annals of ,scotland4 #ga ,bateman's ,ten ,years' ,diggings1 p4 #be4 ,although the megalithic structures called by the late ,mr4 ,james ,ferguson 8rude stone monuments0 undoubtedly belong as a class to the ,neolithic period1 yet some of them exhibit decorative forms which are characteristic of the ,bronze ,age4 ,this suggests the interesting speculation whether the ornamental patterns used by the ,celts in the ,bronze ,age may not have been to a large extent borrowed from the ,neolithic aborigines1 and also whether the absorption of the ,iberian peoples by the conquering ,goidels may not have had a stimulating effect on decorative art4 ,however this may be1 it is a curious fact that the best specimens of ,bronze ,age ornament sculptured on stone exist in the ,co4 ,meath1 in ,ireland1 where such an admixture of race would be most likely to occur1 and the type of monument on which the carvings are found belongs to the ,neolithic period4 ,in ,ireland1 therefore1 either the erection of dolmens1 chambered cairns1 and other similar structures must have survived during the ,bronze ,age1 or else the characteristic patterns of the ,bronze ,age must have been derived from a ,neolithic source4 ,the wonderful series of chambered cairns at ,newgrange1 near ,drogheda1 and at ,sliabh na ,calliaghe1 near ,oldcastle1 both in the ,co4 ,meath1 have been well known to archologists for many years1 but it is only quite recently that their decorative sculpture has been studied scientifically by ,mr4 ,george ,coffey1 ,m4,r4,i4,a41 the ,curator of the ,museum of the ,royal ,irish ,academy in ,dublin4 ,the following account has been compiled chiefly from ,mr4 ,coffey's admirable monographs on the subject1 published in the ,transactions of the ,royal ,irish ,academy4#gb #gb ,vol4 xxx41 p4 #a4 ,the great prehistoric cemetery1 which has been identified with the ,brugh na ,boinne mentioned in the ,leabhar-na-h-,uidhri and in the ,book of ,ballymote1 is situated five miles west of ,drogheda1 extending thence about three miles along the northern bank of the ,boyne towards ,slane4 ,amongst the most important of the sepulchral remains are the three great tumuli of ,dowth1 ,newgrange1 and ,knowth1 taking them in order from east to west4 ,two of the tumuli certainly contain chambers1 access to which is gained by a passage leading from the exterior1 and the third1 judging from analogy1 probably is also chambered4 ,the ,boyne tumuli are recorded in the ,annals of ,ulster to have been plundered by the ,danes in ,a4,d4 #hfb4 ,the chamber of the ,dowth tumulus has been open since #ahdg2 that of ,newgrange since #afii1 when it was first entered in modern times by ,edward ,lhuyd1 the keeper of the ,ashmolean ,museum at ,oxford2 and that of ,knowth still remains to be explored4 ,illustration3 ,longitudinal section of ,chamber and ,passage of ,tumulus at ,newgrange1 ,co4 ,meath4 ,the sculptures at ,newgrange are of such exceptional interest that it is desirable to give a brief description of the structure upon which they are found4 ,the tumulus stands less than a quarter of a mile north-east of ,newgrange ,house1 the ,dowth tumulus being #a to the north-east1 and the ,knowth tumulus three-quarters of a mile to the north-west4 ,the ,newgrange tumulus is surrounded by a circle of stones originally consisting of thirty-five upright monoliths1 twelve of which may still be traced4 ,four of the standing stones near the entrance are from #f to #g feet in height1 but the remainder are of smaller size4 ,between the circle and the base of the mound is a ditch and a rampart of loose stones4 ,the tumulus is also of loose stones1 surrounded at the base by a continuous curb of great slabs of stone from #h to #aj feet long1 laid on edge1 above which is a retaining wall of dry rubble #e or #f feet high4 ,the tumulus is approximately circular in plan1 #bhj feet in diameter1 and #dd feet high4 ,the area occupied by the mound alone is at least an acre4 ,the entrance to the passage leading to the chamber is on the ,s4,e4 side of the mound1 and the passage runs in a ,n4,w4 direction4 ,the chamber is not in the centre of the mound1 but to the ,s4,e4 side of the centre4 ,the plan of the passage and chamber is irregularly cruciform1 the dimensions being as follows3-- ,feet4 ,inches4 ,length of passage #fb #j ,length from end of passage to back of ,n4,w4 recess #ah #j ,average width of passage #c #j ,width of chamber from back of ,n4,e4 recess to back of ,s4,w4 recess #ba #j ,height of passage varies from #d ft4 #i in4 to #g #aj ,height of chamber #ai #f ,depth of ,n4,e4 recess #h #h 0 ,n4,w4 0 #g #f 0 ,s4,w4 0 #c #d ,the side walls of the passage and chamber are constructed of tall upright stones1 having the interstices filled in with rubble work4 ,the passage is roofed over with single lintel stones4 ,the roof of the chamber is in the form of an irregular six-sided truncated pyramid composed of stones corbelled out until they meet sufficiently near together at the top to be covered by a single slab4 ,the floor was originally paved with carefully selected1 water-rounded pebbles4 ,these with equal originality and care have been removed by the ,irish ,board of ,works1 and placed in the bottom of the pit dug in front of the carved stone at the entrance4 ,there are on the floor four rudely made shallow stone basins1 one in each of the three recesses1 and the fourth in the centre of the chamber4 ,the one in the middle of the chamber was taken from the position it formerly occupied on the top of the basin in the ,n4,e4 recess 7where it was seen by ,edward ,lhuyd in #afii71 and placed where it now is by the over-officious zeal of the ,irish ,board of ,works4 ,the large stones used in the construction of the chamber are of the lower silurian grit of the district4 ,the following stones of the ,newgrange ,tumulus are sculptured3-- ,on exterior of ,mound at ,base4 ,no4 #a4--;,above entrance of passage leading to chamber4 ,no4 #b4--;,front of entrance4 ,no4 #c4--,nearly in a line with axis of passage prolonged to cut circumference of mound on ,n4,w4 side4 ,no4 #d4--,n4 side of mound4 ,in ,passage4 ,n4,e4 side--twenty-one uprights--,nos4 #c1 #ab1 #ah1 and #ba sculptured1 counting from entrance inwards4 ,s4,w4 side--twenty uprights--,nos4 #aj1 #aa1 #ag1 and #bj sculptured1 counting from entrance inwards4 ,illustration3 ,plan of ,chamber and ,passage of ,tumulus at ,newgrange1 ,co4 ,meath ,in ,chamber4 ,seventeen uprights--,nos4 #b1 #c1 #d1 #aj1 and #af sculptured1 commencing at end of passage ,s4,w4 side1 and counting round from right to left4 ,nos4 #b1 #c1 and #d are in ,s4,w4 recess1 where there is also a horizontal stone above ,no4 #c sculptured4 ,no4 #aj forms the ,n4,e4 jamb of the ,n4,w4 recess4 ,no4 #af forms the ,s4,e4 jamb of the ,n4,e4 recess1 which has also a sculptured roofing-stone4 ,the horizontal lintel-stone over the opening of the passage into the chamber is sculptured4 ,illustration3 ,spiral ,ornament at ,newgrange1 ,co4 ,meath4 ,scale linear ,analysing the sculptured decoration of the ,newgrange tumulus1 we find it to consist partly of chevron patterns and chevron derivatives 7such as combinations of the triangle and lozenge71 and partly of spiral ornament1 together with a few designs formed of circles grouped round a lozenge1 and some cups and rings4 ,the chevron patterns have already been noticed on sepulchral urns1 bronze implements1 and jet necklaces of ,great ,britain1 and concentric circles on socketed bronze celts1 but spiral ornament is conspicuous by its absence on any of these classes of objects4 ,spirals are only known to occur on sculptured stones and rock-surfaces in ,great ,britain1 and on a few of the remarkable stone balls with knobs found in ,scotland4 ,the following examples have been recorded3-- ,illustration3 ,slab with ,spiral ,ornament outside entrance to passage of ,tumulus at ,newgrange1 ,co4 ,meath ,from a drawing by ,george ,coffey1 ,m4,r4,i4,a4 ,,england ,,cumberland4 ,maughanby 7,stone circle surrounding cist under tumulus74 ,old ,parks1 ,kirkoswald 7,upright slab under tumulus74 ,,lancashire4 ,calderstones1 near ,liverpool 7,stone ,circle74 ,,northumberland4 ,morwick 7,rock-surface74 ,lilburn ,hill ,farm 7,slabs of stone found in grave74 ,,wales ,,merionethshire4 ,llanbedr 7,slab of stone found near hut-circles1 now in ,llanbedr churchyard74 ,,scotland ,,orkney4 ,eday 7,stone in ,pict's ,house1 now in the ,edinburgh ,museum74 ,firth 7,slab of stone1 now in the ,edinburgh ,museum74 ,,elginshire4 ,strypes 7,standing stone74 ,elgin 7,stone ball74 ,,aberdeenshire4 ,towie 7,stone ball1 now in the ,edinburgh ,museum74 ,lumphanan 7,stone ball1 now in collection of ,hugh ,w4 ,young1 ,esq41 ,f4,s4,a41 ,scot474 ,,argyllshire4 ,achnabreac 7,sculptured rock-surface74 ,,ayrshire4 ,coilsfield 7,cist-cover74 ,blackshaw 7,rock-surface74 ,,peeblesshire4 ,la ,mancha 7,slab of stone1 now in the ,edinburgh ,museum74 ,,wigtonshire4 ,camerot ,muir1 ,kirkdale 7,standing stone74 ,,dumfriesshire4 ,hollows ,tower1 ,eskdale 7,door-sill74 ,,ireland ,,co4 ,,meath4 ,newgrange 7,chambered ,cairn74 ,dowth 7,chambered ,cairn74 ,loughcrew 7,chambered ,cairn74 ,king's ,mountain 7,chambered ,cairn74 ,,co4 ,,louth4 ,killing ,hill1 ,dundalk 7,sepulchral ,chamber74 ,,co4 ,,tyrone4 ,knockmany 7,chambered ,cairn74 ,,co4 ,,fermanagh4 ,castle ,archdall 7,sepulchral ,chamber74 ,,co4 ,,donegal4 ,glencolumbkille 7,sepulchral ,chamber74 ,spiral ornament is as conspicuously absent on the implements and objects of the ,bronze ,age in ,gaul as in ,britain4 ,it is1 then1 to ,scandinavia that we must look for the origin of the ,bronze ,age spirals found in this country4 ,in the museums at ,copenhagen1 ,stockholm1 and ,christiania1 may be seen splendid specimens of bronze axes1 sword-hilts1 and personal ornaments exhibiting spiral decoration in the greatest perfection4 ,these are fully illustrated in ,a4 ,p4 ,madsen's monograph on the ,bronze ,age1 in the works of ,o4 ,montelius and ,j4 ,h4 ,a4 ,worsaae1 and in the ,transactions of the various archological societies in ,sweden and ,denmark4 ,illustration3 ,spiral ,ornament on ,bronze ,axe-head from ,denmark ,the spirals with which the objects of the ,bronze ,age in ,scandinavia are decorated are generally arranged with their centres at equal distances apart1 and connected together by ,s or ,c-shaped curves1 the former being the most common4 ,when spirals are arranged in a single row1 the problem of how to connect the whole together so as to form a continuous running pattern does not present much difficulty1 but if it is required to cover a large surface with spirals in groups of three or of four1 all properly connected1 the solution is not so easy as it appears at first sight4 ,both the metalworkers who made the ,scandinavian bronze implements1 and the artist who designed the sculptured decoration of the ,newgrange tumulus1 seem to have been unable to master the method of arranging the ,s- and ,c-shaped connections of the spirals in proper order1#gc so as to be capable of extension in every direction over a surface of any required size4 ,the difficulty was got over by a most ingenious artifice1 as ,mr4 ,george ,coffey was the first to point out in his monograph on 8,newgrange1 ,dowth1 and ,knowth0 in the ,transactions of the ,royal ,irish ,academy 7vol4 xxx41 p4 #be74 #gc ,that is to say1 the way of placing the centres of the spirals in relation to each other1 and of determining how many ,s- or ,c-shaped curves should run to each centre4 ,illustration3 ,bronze ,axe-head with ,spiral ,ornament from ,sweden ,when the spirals are not arranged and connected together in accordance with the requirements of geometry1 some of the bands which compose the ornament have loose ends1 i4e4 run to nowhere4 ,the question was how to dispose of the loose ends so as to deceive the eye and give the appearance of a continuous pattern4 ,it was effected very simply by carrying the loose ends right round one or more of the other spirals so as to enclose them4 ,good instances of this occur on the sculptured slabs at ,newgrange 7p4 #dh71 and on the carved stone ball from ,towie1 ,aberdeenshire1 now in the ,edinburgh ,museum of ,antiquities4 ,mr4 ,g4 ,coffey's theory1 in which we feel inclined to agree1 is that the spiral motive came to ,ireland from ,scandinavia across ,scotland and the north of ,england4 ,both the geographical distribution of spirals sculptured on stone in ,great ,britain1 and the fact that the same imperfect method of connecting the spirals together for all over surface treatment is found in ,ireland1 ,scotland1 and ,scandinavia certainly lend support to this view4 ,it is now generally admitted by archologists that the spiral decoration of the ,bronze ,age in ,scandinavia is of ,mycenan origin2 and the clearest possible proof is furnished by an associated spiral and lotus motive design upon a bronze celt from ,aarhj1#gd near ,aalborg1 ,jutland1 which finds an exact parallel in the ornament upon a gold pectoral from ,mycen4#ge #gd ,mmoires de la ,socit ,royale des ,antiquaires du ,nord1 #ahhg1 p4 #bei4 #ge ,perrot and ,chipiez's ,art in ,primitive ,greece1 vol4 i41 p4 #cbc4 ,the ,mycenan spiral decoration has furthermore been clearly proved by ,mr4 ,goodyear in his ,grammar of the ,lotus to have been borrowed from ancient ,egypt2 the best instance of the transference of a spiral and lotus motive pattern from ,egypt to the gean being the sculptured ceiling of the beehive tomb at ,orchomenos4 ,in ,egypt1 the spiral is found by itself forming a continuous running border on the scarabs of ,usertesen ,i4#gf 7,twelfth ,dynasty1 ,b4,c4 #bgeh-bgad71 and combined with the lotus on a scarab at ,turin#gg of the same period4 ,the best examples of the use of the spiral as continuous surface ornament are to be seen on the ceilings of ,egyptian tombs of the ,eighteenth ,dynasty 7,b4,c4 #afcc-aejj74gh ,the spiral motive thus was most nourishing in ,egypt from the ,twelfth ,dynasty to the ,eighteenth1 say from ,b4,c4 #bgeh-agjj4gi ,after that it found its way to the gean1 perhaps as early as #adjj ,b4,c41#hj and thence to ,hungary1 ,scandinavia1 and ,great ,britain4 #gf ,flinders ,petrie1 ,egyptian ,decorative ,art1 p4 #ba4 #gg ,ibid41 p4 #bb4 #gh ,prisse d',avennes1 ,histoire de l',art ,egyptien aprs les ,monuments4 #gi ,flinders ,petrie1 ,decorative ,art in ,egypt1 p4 #bh4 #hj ,journal of ,hellenic ,studies1 vol4 xii41 p4 #bjc4 ,the chambered tumuli at ,dowth1 on the ,boyne1 and ,loughcrew1 near ,oldcastle1 ,co4 ,meath1 resemble the ,newgrange tumulus in plan and construction1 but the sculptures upon the stones of the chambers and passages are not so obviously of ,bronze ,age type as those at ,newgrange4 ,the designs seem to be more symbolical than ornamental1 and from the frequent occurrence of star- and wheel-shaped designs may have to do with sun-worship4 ,the ,loughcrew tumuli and their sculptures have been very fully described by ,mr4 ,e4 ,a4 ,conwell1 in the ,proceedings of the ,royal ,irish ,academy 7vol4 ix41 p4 #cee2 and #bnd ser41 vol4 ii41 p4 #gb72 by ,mr4 ,george ,coffey1 in the ,transactions of the same society 7vol4 xxxi41 p4 #bc72 and by ,dr4 ,w4 ,frazer1 in the ,proceedings of the ,society of ,antiquaries of ,scotland 7vol4 xxvi41 p4 #bid74 ,a certain proportion of the sepulchral cists of the ,bronze ,age in ,great ,britain exhibit symbolical or decorative designs4 ,the following is a list of the examples which have been recorded3-- ,,ross-,,shire4 ,bakerhill4 ,,argyllshire4 ,kilmartin4 ,carnbn4 ,,clackmannan4 ,tillycoultry4 ,,linlithgowshire4 ,caerlowrie4 ,craigie ,wood4 ,,lanarkshire4 ,carnwath4 ,,ayrshire4 ,coilsfield4 ,,cumberland4 ,aspatria4 ,redlands1 near ,penrith4 ,,northumberland4 ,ford ,west ,field4 ,,yorkshire4 ,bernaldby ,moor4 ,,co4 ,,tyrone4 ,seskin4 ,the sculpture is usually on the cover-stone of the cist1 but in the case of the examples at ,kilmartin and at ,carnbn it is on the vertical end slabs4 ,the sculptured designs consist of cups and rings1 concentric circles1 lozenges1 triangles1 axe-heads1 curved meandering lines1 and a few patterns composed of straight lines4 ,the carvings show the same pick-marks that were observed at ,newgrange4 ,the axe-heads on the end slab of the cist at ,kilmartin#ha are of the wedge shape common in the early ,bronze ,age4 ,like the stone axes and axe-heads sculptured on the dolmens of ,brittany1 they probably have a symbolical meaning connected with the worship of some axe-bearing deity such as ,zeus4 #ha ,jour4 ,brit4 ,archol4 ,assoc41 vol4 #cf1 p4 #adf4 ,the designs1 composed of triangles alternately covered with dots and left plain1 which occur on the cist-cover from ,carnwath1#hb we have already seen sculptured at ,newgrange and engraved on bronze axes and jet necklaces4 ,the grouped circles on the cist-cover from ,craigie ,wood#hc may also be compared with those on the slabs in the ,newgrange tumulus1 on the stone ball from ,towie in the ,edinburgh ,museum1 and on the chalk drums from ,folkton in the ,british ,museum4 #hb ,proc4 ,soc4 ,ant4 ,scot41 vol4 x41 p4 #fb4 #hc ,ibid41 vol4 vi41 ,appendix1 p4 #bh4 ,in three cases 7viz4 at ,coilsfield1#hd ,carnwath1 and ,tillycoultry7#he elaborately ornamented urns of the food-vessel type have been found in the sculptured cists1 thus clearly proving the period to which the cists belong4 ,sometimes slabs of stone sculptured with cup-marks1 cups and rings1 and spirals1 have been found associated with ,bronze ,age burials1 although not forming parts of a cist4 ,one of the most remarkable discoveries of this kind was made at ,old ,parks1#hf near ,kirk ,oswald1 ,cumberland4 ,in #ahid a barrow composed of loose stones1 #hj feet in diameter and #d feet high1 was opened by the late ,chancellor ,r4 ,s4 ,ferguson1 ,f4,s4,a41 and when the mound was removed a row of five slabs fixed upright in the ground was disclosed4 ,the stones were in a line pointing north and south1 cutting the site of the mound into two halves1 and three of them are sculptured with spirals4 ,as many as thirty-two deposits of burnt bones were found in holes scooped out of the natural surface of the ground1 together with two ornamented urns of incense-cup form1 fragments of several other urns1 and a necklace of cannel-coal beads4 #hd ,ibid41 vol4 vi41 ,appendix1 p4 #bg4 #he ,ibid41 vol4 xxix41 p4 #aij4 #hf ,cumb4 and ,west4 ,ant4 ,soc4 ,trans41 vol4 xiii41 p4 #chi4 ,a slab of stone sculptured with spirals and concentric circles was found in #ahhc on ,lilburn ,hill#hg ,farm near ,wooler1 ,northumberland1 associated with seven deposits of burnt bones buried in small circular pits4 ,stones sculptured with cups1 or cups and rings1 have been found either as cover-stones of urns or associated with burials in round barrows at the following places3-- ,,northumberland4 ,ingoe4 ,black ,hedon4 ,kirk ,whelpington4 ,,cumberland4 ,maughanby4 ,,yorkshire4 ,kilburn4 ,ayton ,moor4 ,claughton ,moor4 ,wykeham ,moor4 ,,derbyshire4 ,elkstone4 ,sheen4 ,,staffordshire4 ,stanton4 ,,dorsetshire4 ,came ,down4 ,,sutherlandshire4 ,dornoch ,links4 ,,aberdeenshire4 ,greenloan1 ,cabrach4 ,a link between the art of the ,bronze ,age in ,britain and the art of ,mycen is afforded by a rock-sculpture at ,ilkley1#hh ,yorkshire1 which takes the form of a curved swastika4 ,it belongs to a peculiar class of patterns composed of winding bands and small bosses or dots1 of which there are numerous examples in the ,scandinavian#hi and ,mycenan#ij metalwork4 ,perhaps some of the ,late-,celtic designs1 in which the arrangement of the long sweeping ,s- and ,c-shaped curves is governed by the position of circular bosses they connect1 may be descended from the winding-band patterns of the ,mycenan period4 ,for instance1 the designs on the enamelled handles of the bowl found at ,barlaston1 ,staffordshire1 and on the ,ilkley rock-sculpture have obvious points in common1 both being founded on the curved swastika4 #hg ,archol4 liana1 ser4 #b1 vol4 x41 p4 #bbj4 #hh ,jour4 ,brit4 ,archol4 ,assoc41 vol4 xxxv41 p4 #ah4 #hi ,a4 ,p4 ,madsen's ,antiquits prhistoriques du ,danemark4 #ij ,schlieman's ,mycen1 pp4 #aff1 #afg1 #afi1 #bfd1 and #bfe4 ,illustration3 ,winding ,band 7curved ,swastika71 sculptured in rock near ,ilkley1 ,yorkshire ,scale linear ,there are in different parts of ,great ,britain a great number of rocks and boulders sculptured with cups1 generally surrounded by concentric rings1 and often having a radial groove leading from the cup outwards4 ,illustration3 ,,spiral ,,ornament ,,on ,,stone ,,ball ,,from ,,towie1 ,,aberdeenshire2 ,,now ,,in ,,the ,,edinburgh ,,museum ,,scale #a_/a ,,linear ,illustration3 ,,winding-,,band ,,curved ,,swastika ,,on ,,sword-,,hilt ,,from ,,denmark ,illustration3 ,,bronze ,,sword-,,hilt ,,with ,,winding-,,band ,,pattern ,,from ,,denmark ,illustration3 ,,bronze ,,sword-,,hilt ,,with ,,spiral ,,ornament ,,from ,,denmark ,illustration3 ,cup-and-ring ,sculptures on rock at ,ilkley1 ,yorkshire ,scale _/ linear ,the best-known instances are at ,ilkley in ,yorkshire1 ,wooler in ,northumberland1 the district on the east side of ,kirkcudbright ,bay between ,kirkcudbright and the ,solway ,firth1 and ,lochgilphead and ,kilmartin in ,argyllshire4 ,in a few cases the cup-and-ring sculptures are associated with the wheel-symbol1 as at ,mevagh1 ,co4 ,donegal1 and at ,cochno1 ,dumbartonshire4 ,such sculptures are more likely to be symbolical than decorative1 but it would take us too far afield to discuss their meaning here4 ,those who wish to pursue the subject further may with advantage consult ,sir ,james ,simpson's valuable paper on 8,ancient ,sculpturings of ,cups and ,concentric ,rings10 forming the ,appendix to vol4 vi4 of the ,proc4 ,soc4 ,ant4 ,scot4 ,the sculptured rock-surfaces of ,great ,britain in some respects resemble the 8,hllristningar0 on the west coast of ,sweden4 ,the cup-and-ring1 the wheel-symbol1 and the curved swastika are common to both1 but the ,swedish sculptures are much more elaborate and include figure-subjects1 ships1 animals1 etc4 ,the age of some of the sculptures is indicated by the characteristic shape of the axes 7evidently of bronze7 held by the figures1 and by the fact that the same set of symbols which occur on the rocks are also to be seen on the engraved knives of the ,bronze ,age found in ,scandinavia4 ,the ,swedish rock-sculptures are fully described and illustrated in ,l4 ,baltzer's ,hllristningar frn ,bohusln1 ,a4 ,holmberg's ,skandinaviens ,hllristningar1 and the ,mmoires of the ,international ,congress of ,prehistoric ,archology at ,stockholm4 ,summing up the results of our investigations1 we find that the peculiarities in the ,pagan ,celtic art of the ,bronze ,age which were transmitted to the ,pagan and ,christian styles of the ,early ,iron ,age are as follows3-- 7#a7 ,the use of the closely coiled spiral4 7#b7 ,the use of rows of dots4 7#c7 ,the use of diagonal lines in preference to those running horizontally or vertically4 7#d7 ,the use of designs founded on the curved swastika4 ,of all these the spiral decorative motive is by far the most important1 as we shall see in a subsequent chapter4 ,,chapter ,,iii ,,pagan ,,celtic ,,art ,,in ,,the ,,early ,,iron ,,age ,,introduction ,,of ,,the ,,use ,,of ,,iron ,,into ,,britain ,,by ,,the ,,brythonic ,,celts1 ,,circa ,b4,c4 #cjj ,in a previous chapter we pointed out the difference between the ,q and the ,p ,celts1 the former being ,goidels in the ,bronze ,age1 and the latter ,brythons in the ,iron ,age1 when they first arrived in ,britain4 ,we will now proceed to consider the nature of the culture introduced with the use of iron into this country from ,gaul by the ,belgic or ,brythonic ,celts4 ,,nature ,,of ,,the ,,circumstances ,,which ,,have ,,led ,,to ,,the ,,finds ,,of ,,objects ,,of ,,the ,,early ,,iron ,,age ,,in ,,great ,,britain ,a great variety of circumstances have led to the discovery of objects of the ,early ,iron ,age4 ,where they have not been buried at any great depth beneath the surface of the ground1 the plough#ia has frequently been the means of bringing them to light4 ,the making of roads#ib and railways1#ic drainage of land for agricultural purposes1#id military fortifications1#ie quarrying#if and mining1#ig have also had their share in helping the archologist4 ,a considerable number of antiquities which have found their way into the beds of rivers have been recovered in the course of dredging operations for the improvement of inland navigation#ih and building of bridge foundations4#ii ,tumuli1#ajj camps1#aja caves1#ajb sites of towns#ajc and villages1#ajd crannogs1#aje etc41 have yielded a plentiful harvest to the scientific explorer4 ,in some cases the denudation of the wind#ajf or the erosion of the sea#ajg has removed the covering of sand by which the traces of the ancient inhabitants have been concealed for centuries4 ,the rabbit1#ajh although the enemy of the farmer1 sometimes becomes the friend of the antiquary by throwing up priceless relics of the past out of his burrow4 ,lastly1 pure accident#aji is now and then the agent by which the position of a long-forgotten hiding-place for valuables is made known4 #ia ,as at ,polden ,hill1 ,somersetshire4 #ib ,as at ,birdlip1 ,gloucestershire4 #ic ,as at cuttings near ,bedford and between ,denbigh and ,corwen4 #id ,as at ,westhall1 ,suffolk4 #ie ,as at ,mount ,batten1 near ,plymouth4 #if ,as at ,hamdon ,hill1 ,somersetshire4 #ig ,as at ,hunsbury1 near ,northampton4 #ih ,as in deepening the ,shannon1 ,thames1 and ,witham4 #ii ,as at ,kirkby ,thore1 on the ,eden1 ,westmoreland4 #ajj ,as at ,arras1 ,yorkshire4 #aja ,as at ,mount ,caburn1 near ,lewes4 #ajb ,as at ,settle1 ,yorkshire2 ,deepdale1 ,derbyshire2 and ,kent's ,cavern near ,torquay4 #ajc ,as at ,great ,chesters and ,silchester4 #ajd ,as at ,glastonbury1 ,somersetshire4 #aje ,as at ,lisnacroghera1 ,co4 ,antrim2 ,strokestown1 ,co4 ,roscommon2 and ,lochlee1 ,ayrshire4 #ajf ,as on the ,culbin ,sands1 ,elginshire1 where in #ahbg a sportsman having lost his gunflint1 found a splendid ,late-,celtic bronze armlet1 whilst seeking for another flint on the site of a ,neolithic settlement covered with blown sand1 except where denuded by the wind4 #ajg ,as at ,hoylake1 in ,cheshire1 where the encroachment of the sea on the portion of the coast lying between the estuaries of the ,dee and the ,mersey washes out antiquities of every period from the submarine forest and the sandhills above it4 #ajh ,a beautiful ,late-,celtic bronze armlet was found at ,stanhope1 ,peeblesshire1 by the tenant of the farm1 whilst searching for a rabbit1 under a large flat stone on the hillside4 #aji ,as in the case of the hoard of gold objects of bullion value1 amounting to #aaj1 found at ,shaw ,hill1 ,peeblesshire1 by a herd-boy who saw something glitter in the ground1 and scraped out the torques and other relics with his foot4 ,,general ,,character ,,of ,,the ,,finds ,,of ,,objects ,,of ,,the ,,early ,,iron ,,age ,the general character of the finds of objects of the ,early ,iron ,age is almost as varied as the circumstances which have led to their recovery from oblivion1 and they may be classified according to their nature1 as follows3-- 7#a7 ,sepulchral remains4 7#b7 ,remains found on inhabited or fortified sites4 7#c7 ,hoards of objects purposely concealed4 7#d7 ,objects accidentally lost4 ,sepulchral ,remains4--,the sepulchral deposits of the ,early ,iron ,age differ greatly1 both as regards the methods of burial adopted in each case1 and the kind of grave-goods placed with the deceased4 ,this is to be accounted for by a difference of time rather than area2 and it is only natural to find the ,bronze and ,iron ,ages merging into one another1 whilst towards the close of the ,late-,celtic ,roman and even ,saxon influence began to be felt4 ,possibly the earliest sepulchral remains of the ,late-,celtic period that have been found in ,england are the burials under mounds at ,arras1 on the ,yorkshire ,wolds1 which were explored by the ,rev4 ,e4 ,w4 ,stillingfleet1 ,d4,d41#aaj in #ahae-ag1 and the ,rev4 ,canon ,w4 ,greenwell#aaa in #ahgf4 ,the bodies were not cremated1 as was generally the case in the ,bronze ,age1 and also subsequently during the ,romano-,british period2 but were buried in excavations in the chalk1 and the place of sepulture marked by a tumulus4 ,the so-called ,queen's ,barrow at ,arras1 when opened by the ,rev4 ,w4 ,stillingfleet1 was found to contain the skeleton of a female1 with the feet gathered up1 and the head to the north4 ,the grave-goods consisted of one hundred glass beads1 two bracelets1 rings of gold and amber1 and a pair of tweezers4 #aaj ,memoirs of the ,meeting of the ,british ,archological ,institute held at ,york in #ahdf1 p4 #bf4 #aaa ,greenwell's ,british ,barrows1 p4 #ded4 ,in another barrow at ,arras1 the ,rev4 ,w4 ,stillingfleet discovered the remains of a warrior resting on the smooth pavement of a circular excavation in the chalk1 #h to #i yards in diameter1 and #a foot #f inches deep1 lying on his back1 with his arms crossed over the breast4 ,he had been interred with his chariot1 a pair of horses completely harnessed1 and two wild boars4 ,a third barrow explored by the ,rev4 ,w4 ,stillingfleet also covered the skeleton of a warrior with the remains of his martial equipment1 consisting of the bosses of his shield1 one wheel of his chariot1 two of his horses' bridle-bits4 ,two wild boars' tusks 7one of which was perforated with a square hole1 and enclosed in a case of thin brass7 were associated with this burial2 indicating1 perhaps1 some religious or superstitious belief connected with this animal4#aab #aab ,a ,late-,celtic boar's head of bronze was found at ,liecheston1 in ,banffshire1 in #ahaf 7see ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #aag74 ,three little bronze figures of boars1 from ,hounslow1 now in the ,british ,museum1 are illustrated in the ,proc4 ,soc4 ,ant4 ,lond4 7#bnd ser41 vol4 iii41 p4 #ij72 and the splendid bronze shield from the ,thames at ,battersea1 in the same collection1 has a boar represented upon it 7see ,kemble's ,hor ,ferales1 pl4 #ad74 ,the boar also occurs on one of the ,scotch symbol-bearing slabs at ,knock-na-,gael1 near ,inverness 7see ,stuart's ,sculptured ,stones of ,scotland1 vol4 i41 pl4 #ch74 ,for a boar on a helmet1 see account of ,benty ,grange tumulus on p4 #fg4 ,a portion of the antiquities mentioned are now in ,york ,museum1 and the ,rev4 ,w4 ,stillingfleet's manuscript notes on his diggings in #ahae-ag are preserved in the ,library of the ,york ,philosophical ,institute4 ,the barrow at ,arras1 opened by the ,rev4 ,canon ,w4 ,greenwell1 covered a circular grave1 #ab feet in diameter1 sunk in the chalk to a depth of #c feet1 on the floor of which was laid the skeleton of a woman1 resting on the left side1 with her left hand up to the face1 and the head to the west4 ,two tame pigs were buried with the deceased1 and the grave-goods comprised an iron mirror1 a bronze harness-ring1 a pair of iron chariot-wheels1 two snaffle-bits1 and what may have been a whip-shank4 ,in #ahge ,canon ,greenwell explored a tumulus near ,beverley1 in ,yorkshire1 which yielded two chariot-wheels and a bridle-bit1 but no human or other bones4 ,in ,july1 #ahig1 ,mr4 ,j4 ,r4 ,mortimer1 of ,driffield1 opened #af out of a group of #agh barrows1 called 8,danes' ,graves10 near ,pockthorpe ,hall1 two miles west of ,kilham1 ,e4 ,r4 ,yorkshire4#aac ,the burial-mounds were from #aj to #cc feet in diameter1 and from #a foot #c inches to #c feet #f inches high1 covering graves1 either oval or oblong with rounded corners1 about #g feet long by #e feet wide by #b feet deep4 ,all the bodies were unburnt and buried in the doubled-up attitude characteristic of the ,neolithic period4 ,a beautiful bronze pin1 inlaid with shell1 was associated with the skeleton of a female in a grave beneath the largest of the mounds1 and in another were found two male skeletons buried with a chariot1 the iron tyres of the wheels and the iron hoops of the naves of which still remained together with the two iron snaffle bridle-bits of the horses4 ,the antiquities derived from the 8,danes' ,graves0 are now in the ,museum of the ,york ,philosophical ,society4 ,the average breadth index of the skulls was #gce4 #aac ,reliquary for #ahig1 p4 #bbd2 ,proc4 ,soc4 ,ant4 ,lond41 #bnd ser41 vol4 xvii41 p4 #aai4 ,the burials just described bear a marked resemblance to those of ,gaulish warriors at ,berru#aad and at ,gorge-,meillet1#aae both in the ,department of the ,marne in ,france1 and may have belonged to the ,celtic tribe of the ,parisi1 who gave their name to ,paris in ,gaul1 and who colonised or conquered parts of ,yorkshire4 ,canon ,greenwell describes the result of opening four barrows of the ,early ,iron ,age in the parish of ,cowlam1#aaf in ,yorkshire1 in all of which were found the skeletons of females1 laid on the natural surface of the ground1 resting on the left side1 with the hands up to the face1 and the head to the north-east4 ,the grave-goods from the first barrow consisted of a bronze armlet1 a bronze fibula with an iron pin1 and seventy exquisite blue glass beads2 and from the second1 of an ornamental armlet4 ,from the remaining two barrows only fragments of pottery were obtained4 ,mr4 ,j4 ,r4 ,mortimer explored a grave dug in the chalk1 but without any mound above it1 in #ahfh1 a quarter of a mile north-east of ,grimthorpe#aag ,house1 near ,pocklington1 in ,yorkshire4 ,it measured #d feet #f inches long1 by #b feet #i inches wide1 by #d feet deep1 and contained the skeleton of a young man1 placed on the floor of the grave1 resting partly on the back1 with the knees and head inclined to the left side1 the lower extremities drawn up1 the hands on the breast1 and the head to the south4 ,associated with the burial were sixteen bone implements1 a sword-sheath1 the umbo of a shield1 a disc of bronze with repouss ornament1 and bits of rude pottery4 #aad ,a4 ,bertrand1 ,archologie ,celtique et ,gauloise1 #bnd ed41 #ahhi1 p4 #cef4 #aae ,e4 ,fourdrignier1 ,double ,spulture ,gauloise de la ,gorge-,meillet4 #aaf ,british ,barrows1 p4 #bjh1 ,nos4 li4 to liv4 ,the results of the exploration are now in the ,british ,museum4 ,the bronze objects are engraved in ,sir ,j4 ,evans' ,ancient ,bronze ,implements1 pp4 #chg1 #chh1 and #djj4 #aag ,reliquary1 vol4 ix41 p4 #ahj1 and ,ll4 ,jewitt's ,grave-,mounds and their ,contents1 pp4 #bcg and #bfc4 ,the number of burials of the ,early ,iron ,age that have been found in ,great ,britain is extremely small as compared with those of the ,ages of ,stone and ,bronze4 ,this would seem to indicate that the period between the introduction of iron into this country and the commencement of the ,roman occupation cannot have been very long2 and that if the new metal was brought in by a foreign invasion rather than by peaceful commercial intercourse1 nothing like the extermination of the native inhabitants1 who used bronze and cremated their dead1 can have taken place4 ,as we have seen1 a large proportion of the sepulchral remains of the ,early ,iron ,age have been derived from ,yorkshire2 but other instances have come to light in ,derbyshire1 ,staffordshire1 ,kent1 ,gloucestershire1 ,devon1 and ,cornwall4 ,the ,rev4 ,mr4 ,pegge has given an account in the ,archologia#aah of the opening of a tumulus on ,garratt's ,piece1 ,middleton ,common1 ,derbyshire1 a mile and a half south-east of ,arbelows1 and ten miles south-east of ,buxton4 ,the body had been laid on the surface of the ground1 lying east and west4 ,with it were found one of the circular enamelled discs to which reference will be made subsequently2 a shallow basin of thin brass1 much broken and crushed2 and part of the iron umbo of a shield4 #aah ,vol4 ix41 p4 #ahi3 letter read ,may #hth1 #aghh2 and ,t4 ,bateman's ,vestiges of the ,antiquities of ,derbyshire1 p4 #bd4 ,at ,benty ,grange1 in ,derbyshire1 eight miles south-east of ,buxton1 on the road to ,ashbourne1 and one mile north-west of ,arbelows1 ,mr4 ,thomas ,bateman#aai excavated a barrow1 about #b feet high1 surrounded by a fosse4 ,the body had all decayed1 except the hair2 but in the spot where it had been deposited was a remarkable assemblage of relics1 consisting of a leathern cup mounted with silver round the edge1 and having wheel- or cross-shaped silver ornaments round the bowl2 three circular enamelled discs of the same class as those from the ,middleton ,common tumulus previously described2 an iron helmet surmounted by the figure of a hog of iron with bronze eyes1 having a small silver cross inlaid on the nasal2 a buckle2 fragments of chains1 etc4 ,this burial1 presenting some ,celtic characteristics1 belongs to a late period1 possibly even after the ,roman occupation4 ,two ,early ,iron ,age burials are recorded as having been discovered in ,staffordshire1 one at ,alstonfield1 the other at ,barlaston4 ,the barrow near ,alstonfield1 called ,steep ,lowe1#abj was composed of loose stones1 and was #ej feet in diameter1 and #ae feet high4 ,the ,iron ,age interment was a secondary one1 the tumulus having been made originally in the ,bronze or ,stone ,age4 ,the body was laid on its back2 and amongst the grave-goods were a spear-head1 a lance-head1 and a knife 7all of iron71 some fragments of a highly ornamented drinking-cup1 a stud of amber1 and ,roman coins of ,constantine and ,tetricus4 ,the burial at ,barlaston1#aba unlike the one just described1 was not in a mound1 but in a grave1 #g feet long by #b feet wide1 by #a foot #c inches deep1 cut in the solid red sandstone rock4 ,with the body were associated a beautifully ornamented flat bronze ring of ,late-,celtic character2 three circular1 enamelled discs of the type found in the barrow on ,middleton ,moor2 some fragments of a bronze bowl1 which ,mr4 ,ll4 ,jewitt erroneously conjectured to have formed portions of a helmet2 and blades of an iron sword and knife4 #aai ,ten ,years' ,diggings1 p4 #bh4 #abj ,bateman's ,vestiges of the ,antiquities of ,derbyshire1 p4 #gf4 #aba ,ll4 ,jewitt's ,grave-,mounds and their ,contents1 p4 #beh2 and ,archologia1 vol4 lvi41 p4 #dd4 ,illustration3 ,,bronze ,,mirror ,,from ,,birdlip1 ,,gloucestershire2 ,,now ,,in ,,the ,,gloucester ,,museum ,r4 ,w4 ,dugdale photo4 ,no discovery of sepulchral remains belonging to the ,late-,celtic period surpasses in interest that made in #ahgi1 between ,birdlip#abb and ,crickley1 on the ,cotteswold ,hills1 seven miles south-east of ,gloucester1 both on account of the completeness of the series of objects buried with the deceased1 and the extreme beauty of some of them as works of art4 ,whilst repairing the road1 ,joseph ,barnfield unearthed three skeletons interred with the feet to the south1 in graves protected by thin slabs of stone placed on edge4 ,the central skeleton was that of a female1 and those on each side males4 ,the following grave-goods were associated with the female3 a bronze bowl 7laid on the face of the deceased72 a silver fibula plated with gold2 a necklace consisting of thirteen amber beads1 two jet beads1 and one marble bead2 a tubular brass armlet2 a brass key-handle2 a bronze knife-handle ornamented with a beast's head1 having small knobs at the ends of the horns2 and last1 but not least1 a superb bronze mirror4 ,another very similar find of skeletons in graves formed of stones placed on edge was made in #ahcc at ,trelan ,bahow1#abc in the parish of ,st4 ,keverne1 in ,cornwall1 ten miles south-east of ,helston4 ,with one of the skeletons was a beautiful bronze mirror1 now in the ,british ,museum4#abb ,see ,john ,bellows1 in ,trans4 of ,bristol and ,gloucestershire ,archol4 ,soc41 vol4 v41 p4 #acg4 ,the objects found are now in the ,gloucester ,museum4 #abc ,see ,j4 ,jope ,rodgers in ,archol4 ,journ41 vol4 xxx41 p4 #bfg4 ,sepulchral deposits of the same period1 which have also yielded mirrors1 were brought to light in the course of military works at ,mount ,batten1#abd near ,plymouth1 in the spring of #ahfe4 ,the burials1 however1 in this case were not in stone-lined graves near the surface1 but in pits from #d feet to #d feet #f inches deep1 excavated in the disintegrated rock4 ,in addition to a bronze mirror and the handles of two others1 the following objects were obtained3 two jointed bronze armlets1 two plain bronze armlets1 four fibul1 three bronze rings1 a bronze cup1 an iron dagger1 and a pair of shears1 black pottery1 and fragments of glass4 ,ancient ,british coins had been found previously at ,mount ,batten1#abe indicating a settlement here1 perhaps in the first century ,b4,c4 ,the exploration of the ,late-,celtic urn-field at ,aylesford1#abf in ,kent1 three miles north-west of ,maidstone1 by ,dr4 ,arthur ,evans1 has been the means of extending our knowledge of the art of this period in a most unexpected manner1 and has supplied the missing links between the culture of ,britain in the first three or four centuries ,b4,c41 and that of ,la ,tne on the ,continent1 which in its turn can be shown to have been strongly influenced by the civilisation of the ancient ,venetian country at the head of the ,adriatic4#abg ,the shape of the tall1 cordoned1 pedestalled vases1 and other peculiarities of the pottery from ,aylesford1 were things entirely unknown to archologists previously1 and enable a distinction now to be drawn between the fictile ware of the ,late-,celtic period and that of the ,romano-,british period4 ,the discovery also of bronze objects of ,italo-,greek manufacture of the second century ,b4,c41 associated with ,late-,celtic burials1 clearly indicates that there must have been a much more intimate trade-intercourse between ,britain and the southern parts of ,europe1 in pre-,roman times1 than has hitherto been suspected4 #abd ,see ,j4 ,spence ,bate in ,archologia1 vol4 xl41 p4 #ejj4 #abe ,sir ,j4 ,evans' ,ancient ,british ,coins1 pp4 #gb and #ajf4 #abf ,archologia1 vol4 lii41 p4 #cae4 #abg ,dr4 ,arthur ,j4 ,evans' third ,rhind ,lecture on the 8,origins of ,celtic ,art10 as reported in the ,scotsman1 ,december #adth1 #ahie4 ,the ,late-,celtic urn-field at ,aylesford was uncovered in #ahhf1 at ,messrs4 ,silas ,wagon and ,son's gravel-pit1 in the course of removing the surface earth which here overlies the old river-deposits to a depth of #c feet or so4 ,one of the first burial-pits which attracted attention was circular1 and about #c feet #f inches deep1 the sides and bottom being coated with a kind of chalky compound4 ,in the pit were found a bronze situla1 or pail1 splendidly ornamented with repouss work in the ,late-,celtic style1 and containing calcined bones2 an nochoe1 or wine-jug2 and patella1 or shallow pan1 of imported ,italo-,greek fabric2 fragments of a second situla2 a bronze fibula2 and fragments of pottery4 ,from another grave1 about #a foot #f inches deep1 situated #bjj yards north-west of ,aylesford ,church1 was obtained a bronze-plated tankard with two handles1 of the same class as the ,trawsfynydd tankard1 surrounded by a circle of five or six earthenware vases1 one of these being the finest pedestalled urn collected from the site4 ,all the antiquities from ,aylesford are now in the ,british ,museum4 ,remains of the ,early ,iron ,age found on ,inhabited or ,fortified ,sites4--,next in importance to the sepulchral remains1 as affording indications of the culture of the ,early ,iron ,age1 come the remains derived from inhabited or from fortified sites4 ,and it may be remarked in passing that it is impossible to separate the inhabited from the fortified sites1 because in these early times the state of the country was so unsettled that no isolated place of residence1 village or town1 could afford to do without some means of defence1 either natural or artificial4 ,the inhabited site which bids fair to rival all others in the varied nature of the relics obtained from it1 and the light they help to throw on the arts and industries of the ,early ,iron ,age in ,great ,britain1 is the ,glastonbury ,marsh ,village4 ,as the explorations begun by ,mr4 ,arthur ,bulleid1 ,f4,s4,a41 in #ahib are still in progress1 it would be premature to pass an opinion upon the finds until they are completely exhausted4 ,for an account of what has been already discovered there1 the reader is referred to ,mr4 ,bulleid's paper on the subject1 which appeared recently in the ,proceedings of the ,somersetshire ,archological ,society4#abh ,a bronze bowl is there illustrated which seems to be of the same kind as those derived from the graves1 but it is ornamented with raised bosses instead of with circular plaques of enamel4 ,the handle of a mirror1 like those from the graves1 was also found at the ,glastonbury ,marsh ,village in #ahif4 ,from the exploration of this settlement we have obtained a knowledge of the peaceful pursuits and methods of life of the ,late-,celtic inhabitants1 which could never have been derived from their sepulchral remains4 ,we now know that they were expert potters1 wood-carvers1 coopers1 and weavers1#abi applying the same beautiful flamboyant forms of decoration that are characteristic of the metalwork of the period to earthenware and wooden vessels4 ,the long-handled weaving-combs1 which are so well known in the ,pictish towers1 or brochs1 of the north of ,scotland1 have been found here also4 ,amongst the iron implements was a billhook for lopping the branches of trees--a most useful appliance for clearing away undergrowth in forests1 procuring firewood1 and building wattled structures4 ,unbaked ovoid clay pellets have been dug up in hundreds4 ,these were probably sling-stones1 indicating that the inhabitants must have been expert fowlers4 #abh ,vol4 xl4 7#ahic74 #abi ,ornamental weaving was1 no doubt1 practised4 ,although we have no absolute proof of this1 the ,la ,tne helmet from ,gorge-,meillet 7,marne71 previously mentioned1 has a sort of swastika pattern upon it1 suggestive of a textile origin4 ,the dwellings appear to have been circular or oval wattled huts1 the rudeness of which stands out in marked contrast to the high artistic taste and technical skill of the inhabitants4 ,a few of the crannogs of ,scotland#acj and ,ireland1#aca whose structure is somewhat analogous to the ,glastonbury ,marsh ,village1 have also yielded ,late-,celtic objects1 but not in such quantities as to give evidence of permanent occupation over a considerable period4 ,hunsbury1#acb two miles south-west of ,northampton1 which has been called the ,english 8,la ,tne10 is a good example of a ,late-,celtic oppidum4 ,the camp is of oval shape in plan1 measuring #efj feet by #dde feet1 and defended by a single earthen rampart and ditch4 ,the area enclosed is about four acres4 ,between #ahhj and #ahhf the whole of the interior was excavated to obtain ironstone1 which lay in a bed #ab feet thick1 at a depth of #g feet #f inches below the natural surface of the ground4 #acj ,at ,lochlee and at ,lochspouts1 ,ayrshire2 ,dowalton1 ,wigtownshire2 and ,hyndford1 ,lanarkshire 7see ,dr4 ,r4 ,munro's ,lake-,dwellings of ,scotland74 #aca ,lisnacroghera and ,craigywarren1 ,co4 ,antrim2 ,strokestown and ,ardakillen1 ,co4 ,roscommon2 ,lagore1 ,co4 ,meath2 and ,ballinderry1 ,co4 ,westmeath 7see ,wood ,martin's ,lake-,dwellings of ,ireland74 #acb ,see ,sir ,henry ,dryden in ,associated ,architectural ,societies' ,reports1 vol4 xviii4 7#ahhe71 p4 #ec4 ,in the course of the excavations about three hundred refuse-pits1 averaging #e feet in diameter1 and dug in the soil overlying the ironstone1 were discovered4 ,amongst the contents of the pits were two bronze sword-sheaths1 one of them highly ornamented in the ,late-,celtic style2#acc three fibul1 bridle-bits and cheek-pieces of bone1 a chariot-wheel1 iron saws1 knives1 spear-heads1 etc42 one hundred and fifty quernstones1 reckoning the upper and lower stones separately2 eight spindle-whorls1 long-handled weaving-combs1 and pottery with ,late-,celtic decoration4 ,all these antiquities are now in the ,northampton ,museum4 ,the camp on ,mount ,caburn1 two miles south of ,lewes1 in ,sussex1 explored by ,general ,pitt-,rivers#acd in #ahgh1 seems to have been an oppidum of the same class as that at ,hunsbury1 and the relics indicated the same kind of culture4 ,the pits found at ,mount ,caburn were some of them oval1 and others oblong1 #e to #g feet in diameter1 and #e feet deep4 ,the objects obtained from the pits included ornamental pottery1 long-handled wearing-combs1 an iron billhook like the one from the ,glastonbury ,marsh ,village1 and three ancient ,british tin coins4 #acc ,engraved in the ,archologia1 vol4 lii41 p4 #gfb4 #acd ,archologia1 vol4 xlvi41 p4 #dbc4 ,the fine collection of ,late-,celtic horse-trappings1 etc41 now in the ,duke of ,northumberland's private ,museum at ,alnwick ,castle1 was found in #ahdd1 in a pit about #e feet deep1 within an earthen entrenchment at ,stanwick1 in ,yorkshire1 seven miles north of ,richmond4#ace ,a few ,late-,celtic objects have been derived from ,roman towns#acf and stations#acg in ,england2 and also from the weems1#ach or underground houses1 and the brochs1#aci or ,pictish towers of ,scotland4 ,the bone-caves which were the permanent habitations of ,palolithic and ,neolithic man in ,britain served as temporary places of refuge for the ,brit-,welsh population during the troublous times immediately succeeding the ,roman evacuation of this country4 ,gildas' account of the ,britons leaving their houses and lands1 and taking shelter in the mountains1 forests and caves1 whence they were able successfully to repel the inroads of the ,picts and ,scots1#adj is fully borne out by archological research4#ada #ace ,memoirs of the ,meeting of the ,archological ,institute of ,great ,britain and ,ireland at ,york in #ahdf1 p4 #hh2 ,dr4 ,j4 ,c4 ,bruce's ,catalogue of the ,antiquities at ,alnwick1 p4 #ch4 #acf ,as in ,silchester4 ,these have not been illustrated1 but are to be seen in the ,reading ,museum4 #acg ,as in sica 7,great ,chesters7 7,archologia liana1 #bnd ser41 vol4 xvii41 p4 xxviii474 #ach ,as at ,castle ,newe1 ,aberdeenshire1 and ,grange of ,conan1 ,forfarshire 7see ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 pp4 #ada and #afj74 #aci ,as at ,okstrow and at ,harray in ,orkney 7,ibid41 pp4 #bai1 #bcf74 #adj ,gildas1 xvii42 ,bede's ,eccl4 ,hist41 bk4 i41 chap4 xiv4 #ada ,prof4 ,w4 ,boyd ,dawkins' ,cave-,hunting1 p4 #ajf4 ,the principal caves which have yielded relics of this period are ,kirkhead#adb ,cave in ,lancashire2 the ,victoria1#adc ,kelko1#add and ,dowkerbottom#ade ,caves in ,yorkshire2 ,poole's#adf ,hole and the ,deepdale#adg ,cave in ,derbyshire2 ,thor's#adh ,cave in ,staffordshire2 and ,kent's#adi ,cavern in ,devonshire4 ,the character of the antiquities derived from the caves does not differ materially from that of the remains from the crannogs and the oppida1 although a few things of peculiar form have been found in some of the caves1 such as the spoon-shaped bone-pins from the ,victoria and ,dowkerbottom ,caves1 and the bone whistles from ,thor's ,cave4 ,the fibul from the ,victoria and the ,deepdale ,caves are of remarkable beauty4 ,evidence of spinning is afforded by the long-handled comb from ,thor's ,cave1 and the numerous spindle-whorls from others4 ,the discovery of ,roman coins and ,samian ware indicate the period at which the ,brit-,welsh sought refuge in these recesses of the rock4 ,hoards of ,late-,celtic ,objects purposely concealed4--,the horse-trappings found in an excavation at the bottom of one of several oblong pits1 #g feet long by #c feet wide by #d feet deep1 at ,hagbourne ,hill#aej in ,berkshire1 two miles south of ,didcot1 seem to have been purposely hidden2 as also the horse-trappings which were discovered in the chink of the rock by quarrymen at ,hamdon ,hill#aea in ,somersetshire1 five miles west of ,yeovil4 ,another instance of intentional concealment is afforded by the beautiful bronze mirror that was found1 with other ornamental pieces of bronze1 wrapped in a cloth1 and covered by the upper stone of a quern1 at ,balmaclellan1#aeb two miles north-east of ,new ,galloway1 ,kirkcudbrightshire4 #adb ,three miles south of ,cartmel1 on the shore of ,morecambe ,bay 7,cave-,hunting1 p4 #abe74 #adc ,a mile and a half north-east of ,settle 7,cave-,hunting1 p4 #ha2 and ,h4 ,eckroyd ,smith in ,trans4 of ,hist4 ,soc4 of ,lancashire and ,cheshire1 vol4 for #ahff1 p4 #aii2 and ,roach ,smith's ,collectanea ,antiqua1 vol4 i41 p4 #fg74 #add ,overlooking ,giggleswick1 one mile north-west of ,settle4 #ade ,between ,kilnsey and ,arncliffe1 ten miles north-east of ,settle 7,proc4 ,geol4 and ,polytech4 ,soc4 of ,w4 ,riding of ,yorksh4 for #ahei1 p4 #de74 #adf ,a mile south-west of ,buxton 7,cave-,hunting1 p4 #abf74 #adg ,three miles south-east of ,buxton 7,derbyshire ,archol4 ,soc4 ,trans41 vol4 xiii41 p4 #aif74 #adh ,near ,grindon1 eight miles north-west of ,ashbourne 7,reliquary1 vol4 vi41 p4 #bja1 and ,trans4 ,midland ,sci4 ,assoc41 #ahfd-e1 p4 #a74 #adi ,one mile north-west of ,torquay4 ,there is a fragment of pottery1 with ,late-,celtic ornament upon it1 from ,kent's ,cavern1 in the ,british ,museum4 #aej ,archologia1 vol4 xvi41 p4 #cdh4 #aea ,ibid41 vol4 xxi41 p4 #ci4 #aeb ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #abf4 ,late-,celtic ,objects accidentally lost4--,besides the ,late-,celtic objects which have been dropped by their original owners on dry land1 and got covered with the soil and thus been preserved1 it is remarkable in how many cases they have been lost whilst crossing or navigating rivers1 especially the ,thames1#aec ,witham1#aed ,tyne1#aee and ,tweed4#aef #aec ,shield 7,archologia1 vol4 xxiii41 p4 #if72 helmet 7in the ,british ,museum72 fibula 7,proc4 ,soc4 ,ant4 ,scot41 #bnd ser41 vol4 xv41 p4 #aia74 #aed ,shield 7,archologia1 vol4 xxiii41 p4 #if72 sword-sheath 7,j4 ,c4 ,bruce's ,catal4 of ,alnwick ,mus472 daggers 7,kemble's ,hor ,ferales1 pl4 #ag74 #aee ,fibul 7,illustrated ,archologist1 vol4 ii41 p4 #aeg74 #aef ,sword-sheath 7,archologia1 vol4 xlv41 p4 #de74 ,,finds ,,of ,,celtic ,,coins ,,in ,,britain ,the earliest native coinage of ,britain belongs to the ,iron ,age1 and dates from #bjj to #aej ,b4,c4 ,sir ,john ,evans has collected together all the known facts relating to the numismatics of this period in his ,coins of the ,ancient ,britons1 and gives excellent maps showing the geographical distribution of the finds4 ,prof4 ,john ,rhys1 in his ,celtic ,britain 7p4 #ai71 says3-- 8,the coinage of ,britain had been modelled in the first instance after that of ,gaul1 which1 in its turn1 can be traced to the ,phocan ,greeks of ,massilia or ,marseilles1 through whom the continental ,gauls became acquainted in the latter part of the fourth century before ,christ with the gold stater of ,philip ,,ii4 of ,macedon4 ,this was a fine coin1 weighing #acc grains1 and having on one side the head of ,apollo wreathed with laurel1 while the other showed a charioteer in a biga1 with ,philip's name underneath4 ,it was imitated by the ,gauls fairly well at first1 but as it got further removed from the original in time and place1 the figures degenerated into very curious and fantastic forms40 ,before the landing of ,julius ,csar in ,britain in #ee ,b4,c4 the ,cantii1 the ,dutoriges1 the ,catuvelauni1 and the ,trinovantes each had coinages of their own1 but entirely devoid of lettering4 ,the lettered coins begin with those of ,commios1 dating from a period some time before #cj ,b4,c41 after which come those of his three sons--,tincommios1 ,verica1 and ,eppillos4 ,prof4 ,j4 ,rhys#aeg says3-- 8,the coins of ,commios1 and some of the earlier ones of ,tincommios1 continued the degenerate imitations of the ,macedonian stater without showing any ,roman influence2 but it was not long after ,augustus became emperor1 in the year #cj1 that ,tincommios copied the ,latin formula1 in which the former styled himself ,augustus ,divi ,filius1 or the son of his adoptive father1 ,julius ,csar1 who had now got to be officially called ,divus1 or the god4 ,so ,tincommios had inscribed on his money the legend ,tinc4 ,commi ,f41 or even shorter abbreviations1 meaning ,tincommios son of ,commios2 and the grotesque traits derived from the stater soon disappear in favour of classical designs of various kinds1 proving very distinctly that the influence of ,roman art was beginning to make itself felt in the south of ,britain40 ,the coins which have been assigned to the ,dobunni 7although their exact date1 place of issue1 and sequence are somewhat doubtful7 belong to the series of the ,macedonian stater1 and show hardly any trace of ,roman influence4 ,their probable date#aeh seems to be between ,a4,d4 #a and #da4 #aeg ,celtic ,britain1 p4 #be4 #aeh ,ibid41 p4 #ce4 ,there was no native ,british coinage either in ,scotland1 ,wales1 or ,ireland1 and in ,england the finds do not extend further north than ,newcastle-upon-,tyne4 ,the greater part of the finds lie to the south of a line drawn from ,wroxeter to the ,wash1 and east of a line drawn from the same place to ,exeter4 ,the geographical distribution of the finds is clearly shown on the map given in ,sir ,john ,evans' ,coins of the ,ancient ,britons4 ,,geographical ,,distribution ,,of ,,finds ,,of ,,objects ,,of ,,the ,,late-,,celtic ,,period ,,in ,,great ,,britain#aei ,in the present state of our knowledge no very satisfactory deductions can be made from a study of the geographical distribution of the finds of this period1 partly because the discoveries have been so imperfectly recorded 7more especially in ,ireland71 and partly because a large number of sites which are probably ,late-,celtic still remain unexplored4 ,another difficulty to be reckoned with is that it is only within the last few years that archologists have been able to distinguish between what is purely ,celtic and what is ,romano-,british4 ,indeed1 in many cases1 in the absence of coins or other evidence1 it is quite impossible to determine whether particular finds are of pre-,roman1 ,roman1 or even post-,roman1 as the ,late-,celtic style of decoration was in vogue throughout the whole of the ,pagan ,iron ,age in ,britain1 and survived in remote districts after the introduction of ,christianity4 ,then1 again1 the fact must not be lost sight of that the greater frequency of finds in some districts than others can be accounted for by their having been covered with lakes where crannogs could be easily constructed1 or on the limestone formation1 where rock-shelters and caves suitable for temporary places of refuge already existed4 #aei ,a complete list of the finds as far as recorded is given in the ,archologia ,cambrensis1 #eth ser41 vol4 xiii41 p4 #cba4 ,we will take the geographical distribution of the sepulchral remains first4 ,it is most remarkable that up to the present no ,late-,celtic burials have been recorded in ,wales1 ,scotland1 or ,ireland1 although finds of objects of the period have been frequent in all three of these countries4 ,the earlier ,bronze ,age burial customs may1 of course1 have survived after the introduction of iron1 or interments of the ,iron ,age may have passed unrecognised owing to the rapid decay of the metal implements accompanying the body4 ,in ,england the greatest number of ,late-,celtic burials have been found in the south-east corner of ,yorkshire1 near ,beverley and ,driffield4 ,in most cases the tumuli covering the graves are in large groups1 those at 8,danes' ,graves10 near ,kilham1 numbering #agh2 those at ,arras1 near ,market ,weighton1 #bjj2 and those in ,scorborough ,park1 near ,beverley1 #agj4 ,the people to whom these extensive cemeteries belonged probably invaded ,britain from the ,continent some few centuries before the ,roman occupation1 and landing at the mouth of the ,humber1 settled permanently on the east coast of ,yorkshire4 ,the people in question had long skulls1 and buried their dead in a doubled-up attitude without cremation1 which has suggested another less probable theory that they were the direct descendants of the more ancient ,neolithic inhabitants of ,yorkshire4 ,in ,derbyshire one undoubted ,late-,celtic burial has been found#afj and there are a few others which seem to belong to the transition towards the end of the ,roman occupation or the beginning of the ,saxon ,pagan period4#afa #afj ,in ,deepdale4 #afa ,at ,benty ,grange1 and on ,middleton ,moor4 ,in ,kent#afb and ,devonshire#afc cemeteries containing a large number of graves have been brought to light4 ,isolated burials have been found in single localities in each of the counties of ,stafford1#afd ,gloucester1#afe ,dorset1#aff and ,cornwall4#afg ,the following lists show the geographical distribution of the inhabited or fortified sites of the ,late-,celtic period in ,great ,britain3-- #afb ,at ,aylesford4 #afc ,at ,mount ,batten4 #afd ,at ,barlaston4 #afe ,at ,birdlip4 #aff ,in the ,isle of ,portland4 #afg ,at ,trelan ,bahow4 ,,caves ,,yorkshire4 ,dowkerbottom ,hole1 ,arncliffe4 ,victoria ,cave1 ,settle4 ,kelko ,cave1 ,settle4 ,,lancashire4 ,kirkhead ,cave4 ,,derbyshire4 ,thirst ,house1 ,deepdale4 ,poole's ,hole1 near ,buxton4 ,,staffordshire4 ,thor's ,cave1 ,dovedale4 ,,devonshire4 ,kent's ,cavern1 ,torquay4 ,,lake-,,dwellings ,,and ,,crannogs ,,somersetshire4 ,glastonbury ,marsh ,village4 ,,lanarkshire4 ,hyndford ,crannog4 ,,ayrshire4 ,lochlee ,crannog4 ,lochspouts ,crannog4 ,,wigtownshire4 ,dowalton ,crannog4 ,,co4 ,,antrim4 ,lisnacroghera ,crannog4 ,craigywarren ,crannog4 ,,co4 ,,roscommon4 ,strokestown ,crannog4 ,ardakillen ,crannog4 ,,co4 ,,westmeath4 ,ballinderry ,crannog4 ,,co4 ,,meath4 ,lagore ,crannog4 ,,pictish ,,towers ,,orkney4 ,broch of ,harray4 ,broch of ,okstrow4 ,,caithness4 ,broch of ,kettleburn4 ,,selkirkshire4 ,broch of ,torwoodlee4 ,,underground ,,houses ,,aberdeenshire4 ,castle ,newe4 ,,forfarshire4 ,grange of ,conan4 ,,celtic ,,oppida ,,and ,,fortified ,,villages ,,yorkshire4 ,stanwick4 ,,northamptonshire4 ,hunsbury4 ,,kent4 ,bigbury ,camp4 ,,sussex4 ,mount ,caburn4 ,,berkshire4 ,northfield ,farm1 ,long ,wittenham4 ,,dorsetshire4 ,hod ,hill4 ,hambledown ,hill4 ,maiden ,castle4 ,rotherley4 ,,somersetshire4 ,ham ,hill4 ,,nairnshire4 ,burghead4 ,,perthshire4 ,abernethy4 ,,ayrshire4 ,seamill ,fort4 ,,cardiganshire4 ,castell ,nadolig4 ,,carnarvonshire4 ,treceiri4 ,,romano-,,british ,,stations ,,and ,,towns ,,northumberland4 ,great ,chesters 7sica74 ,risingham 7,habitancum74 ,,westmoreland4 ,brough4 ,kirkby ,thore4 ,,lancashire4 ,ribchester4 ,,yorkshire4 ,new ,malton4 ,,northampton4 ,wellingborough4 ,,surrey4 ,farley ,heath4 ,,hampshire4 ,silchester4 ,,perthshire4 ,ardoch4 ,,dumfries4 ,birrenswark4 ,a study of the above lists discloses some interesting facts4 ,it will be noticed that the caves are confined exclusively to the limestone districts of the counties of ,york1 ,lancaster1 ,derby1 ,stafford1 and ,devon4 ,the lake-dwellings are found chiefly in the south-west of ,scotland and the north-east and central part of ,ireland1 there being only one example in ,england and none in ,wales4 ,the brochs and weems 7or underground houses7 are ,pictish structures1 and therefore do not occur anywhere except in ,scotland1 chiefly in its north-eastern counties4 ,the ,celtic oppida are most common in the south of ,england where the ,belgic settlements predominated1 but there are a few examples in ,scotland4 ,probably a more systematic examination of the hill-forts throughout ,great ,britain would show that those in which large areas are enclosed by double and triple ramparts of stone or earth#afh belong to the ,late-,celtic period4 ,at the present time practically nothing is known as to the age of the stone forts and earthen raths in ,ireland or ,wales4 ,most of the ,romano-,british fortified sites which have yielded works of art of ,late-,celtic type1 although executed under ,roman influence1 are in the south of ,scotland or in the north of ,england1 on or near the ,wall of ,hadrian1 or along the lines of the military roads leading to it4#afi ,at ,farley ,heath1 near ,guildford1 ,surrey1 numerous specimens of ,kelto-,roman enamelled bronze objects have been found1 and this site would no doubt produce a plentiful harvest of antiquities of a similar nature if properly explored4 ,the great difficulty1 however1 as we have already pointed out in dealing with the ,romano-,british sites1 is to determine to what extent the style of the art of the objects found there can be shown to be definitely ,celtic4 ,in our lists we have only included sites from which have been procured antiquities exhibiting ,celtic enamel and flamboyant ornament1 or fibul of known ,celtic type4 #afh ,i refer here to defensive works in which the whole of the summit of the hill is enclosed4 ,these forts are usually of approximately oval shape1 and follow the conformation of the hill4 #afi ,as1 for instance1 at ,risingham 7,habitancum7 on the road going north from the ,wall into ,scotland1 and at ,brough and ,kirkby ,thore on the road from ,york to ,carlisle1 which passes through upper ,teesdale1 and thence into the valley of the ,eden4 ,if to the sepulchral deposits and inhabited sites just described be added all the miscellaneous finds of objects accidentally lost or purposely concealed1 it will be observed that there is hardly a single county throughout ,england1 ,wales1 ,scotland1 and ,ireland which cannot show one or two such ,late-,celtic finds at least4 ,some counties are nevertheless richer than others1#agj as1 for instance1 ,aberdeen1 ,forfar1 ,perth1 ,ayr1 ,kirkcudbright1 and ,dumfries1 in ,scotland2 ,antrim1 ,meath1 and ,roscommon1 in ,ireland2 ,denbighshire1 in ,wales2 and ,northumberland1 ,durham1 ,yorkshire1 ,derbyshire1 ,suffolk1 ,middlesex1 ,kent1 ,gloucestershire1 ,oxfordshire1 ,berks1 ,wilts1 ,dorset1 ,hants1 and ,somerset1 in ,england4 #agj i4e4 have from four to ten localities where ,late-,celtic finds have been made4 ,,evidence ,,as ,,to ,,dates ,,of ,,finds ,,of ,,objects ,,of ,,the ,,early ,,iron ,,age ,,in ,,great ,,britain ,the finds of objects of the ,early ,iron ,age to which an approximate date can be assigned are as follows3-- 7#a7 ,finds associated with burials of a particular kind4 7#b7 ,finds associated with objects of the ,bronze ,age4 7#c7 ,finds associated with objects of early ,hallstatt type4 7#d7 ,finds associated with fibul or other objects of ,la ,tne type4 7#e7 ,finds of objects associated with imported articles of ,grco-,italic fabric4 7#f7 ,finds of objects associated with ,ancient ,british coins4 7#g7 ,finds of objects1 7a7 on ,romano-,british inhabited or fortified sites1 7b7 associated with ,roman coins1 and 7c7 associated with articles of ,roman manufacture4 ,there are at least three different methods of burial characteristic of the ,late-,celtic period in ,great ,britain4 7#a7 ,uncremated burials in excavated graves beneath barrows in which the deceased is generally found with his chariot and horses1 as at ,arras1 ,yorkshire4 7#b7 ,cremated burials in pits without any exterior mound1 the ashes being contained in cinerary urns and the burials in groups1 as at ,aylesford1 ,kent4 7#c7 ,uncremated burials in graves formed of slabs of stone placed on edge1 without any exterior mound1 as at ,birdlip1 ,gloucestershire4 ,the first class of burials correspond with those at ,berru and ,gorge-,meillet1 ,department of the ,marne1 and probably belong to the same period as these earlier ,gaulish interments which1 from the associated ,greek and ,etruscan relics1#aga are known on the ,continent to belong to the third1 fourth1 and fifth centuries ,b4,c4#agb ,the second1 or ,aylesford urn-field type of burial1 is dated by associated vessels of ,italo-,greek fabric at from #bjj to #aej ,b4,c4#agc ,implements of the ,bronze ,age have been occasionally discovered with objects of ,late-,celtic character1 as at ,hagbourn ,hill1#agd ,berks1 where a ,late-,celtic bridle-bit and harness-rings were associated with some small spear-heads and a socketed celt2 and at ,hounslow1#age ,middlesex1 where three figures of boars and two of other animals were found with celts and gouges of the ,bronze ,age4 #aga ,such as the ,grcwyl bronze vase now in the ,berne ,museum2 the bronze nochoe and ,etruscan cup from ,somme-,bionne 7,marne72 and the two-handled cup from ,rodenbach1 ,bavaria 7described and illustrated in ,a4 ,bertrand's ,archologie ,celtique et ,gauloise1 pp4 #cbh to #cdg74 #agb ,arthur ,evans in ,archologia1 vol4 lii41 p4 #gb4 #agc ,ibid41 vol4 lii41 p4 #ff4 #agd ,archologia1 vol4 xvi41 p4 #cdh4 #age ,proc4 ,soc4 ,ant4 ,lond41 #bnd ser41 vol4 iii41 p4 #ij4 ,up to the present time1 no specimen has yet been found in this country of the great iron sword of ,hallstatt type1 with its massive ivory handle encrusted with amber4#agf ,of the smaller ,hallstatt sword with an iron blade and a bronze handle1 having antenn-like projections at the top1#agg one specimen from the ,thames is to be seen in the ,british ,museum1 and there are about half a dozen others in the ,museum of the ,royal ,irish ,academy in ,dublin4 ,tall vessels made of thin sheets of bronze riveted together and furnished with two round ring-handles at the top have been found in ,ireland 7at ,montiaghs1#agh ,co4 ,armagh2 and ,dowris1#agi ,king's ,co47 and in ,scotland 7at ,cardross1#ahj ,dumbartonshire72 the form of these vessels shows that they are akin to the situl of the late ,hallstatt or early ,la ,tne period on the ,continent4 ,in the instances where other objects have been associated either with the swords antennes or situl in ,great ,britain they have been of purely ,bronze ,age type1 showing that the ,hallstatt period on the ,continent was earlier than the ,late-,celtic period in this country4 #agf ,a4 ,bertrand and ,s4 ,reinach's ,les ,celtes dans les ,valles du ,p et du ,danube1 p4 #abe4 #agg ,ibid41 p4 #he4 #agh ,jour4 ,royal ,soc4 ,ant4 ,ireland1 ser4 #e1 vol4 vii41 p4 #dcg4 ,another example found in ,ireland is figured in ,sir ,w4 ,wylde's ,catal4 ,mus4 ,r4,i4,a41 p4 #eca4 #agi ,now in the ,british ,museum4 ,evans' ,ancient ,bronze ,implements1 p4 #daj4 #ahj ,r4 ,munro's ,prehistoric ,scotland1 p4 #dj4 ,the forms of the fibul associated with ,late-,celtic finds afford specially valuable evidence as to date4 ,the pre-,roman1 or ,la ,tne1 type of fibula was made in one piece on the same principle as the modern safety-pin1 and therefore differed from the ,roman ,provincial harp1 or bow-shaped fibula1 in which the pin was separate from the back and worked on a hinge4 ,fibul of the earlier kind have been found with ,late-,celtic burials at ,cowlam1 ,yorkshire2 ,aylesford1 ,kent2 and ,birdlip1 ,gloucestershire2 and on inhabited and fortified sites at ,hod ,hill1 and ,rotherley1 ,dorset4 ,the fibul from the ,stamford ,hill ,cemetery1 near ,plymouth1 and the ,polden ,hill hoard of horse-trappings belong to the later class4 ,as the forms of the different fibul will be discussed subsequently1 no more need be said on the subject here4 ,ancient ,british coins have been found near the ,late-,celtic cemeteries at ,aylesford1#aha ,kent1 and ,stamford ,hill1#ahb near ,plymouth2 also within the fortifications of the ,late-,celtic oppida at ,mount ,caburn1#ahc near ,lewes1 ,sussex1 and ,hod ,hill1#ahd near ,blandford1 ,dorset4 ,general ,pitt-,rivers came across ancient ,british coins during his excavations on the site of the ,romano-,british village at ,rotherley#ahe in ,cranbourne ,chase1 ,dorset1 and numerous specimens 7especially of the coins of ,verica1 one of the three sons of ,commios7 have turned up from time to time at ,farley ,heath1#ahf near ,guildford1 ,surrey4 #aha ,archologia1 vol4 lii41 p4 #cae4 #ahb ,ibid41 vol4 xl41 p4 #ejj4 #ahc ,ibid41 vol4 xlvi41 p4 #dbc4 #ahd ,archol4 ,jour41 vol4 lvii41 p4 #eb4 #ahe ,excavations in ,cranbourne ,chase1 vol4 ii41 p4 #ahh4 #ahf ,f4 ,martin ,tupper's ,farley ,heath1 p4 #aj4 ,the ,romano-,british inhabited or fortified sites from which objects of ,late-,celtic character have been derived1 have already been specified4 ,the following lists show the instances where ,late-,celtic finds have been associated with ,roman coins or with objects of ,roman manufacture3-- ,late-,celtic ,finds associated with ,roman ,coins4 ---------------------------------------- -------------------------- ,place4 ,nature of ,find4 ,date of ,coins4 ---------------------------------------- -------------------------- ,victoria ,cave1 ,settle1 ,inhabited ,site ,trajan to ,constans1 ,yorkshire ,a4,d4 #ih-cec4 ,kelko ,cave1 ,giggleswick1 ,inhabited ,site 787 ,yorkshire ,dowkerbottom ,cave1 ,inhabited ,site ,claudius ,gothicus ,arncliffe1 ,yorkshire to ,tetricus1 ,a4,d4 #bfh-bgc ,kirkhead ,cave1 ,cartmel1 ,inhabited ,site ,domitian1 ,a4,d4 #ha-if ,lancashire ,poole's ,cavern1 ,inhabited ,site 787 ,buxton ,thirst ,house1 ,deepdale1 ,inhabited ,site ,antoninus ,pius to ,derbyshire ,gallienus1 ,a4,d4 #ach-bfh ,thor's ,cave1 ,staffordshire ,inhabited ,site 787 ,broch of ,torwoodlee1 ,fortified ,tower ,vespasian1 ,a4,d4 #fi-gi ,selkirkshire ,rotherley1 ,dorset ,british ,village ,trajan to ,gallienus1 ,a4,d4 #ih-bfh ,kirkby ,thore1 ,westmoreland ,vespasian to ,severus1 ,a4,d4 #fi-baa ,hod ,hill1 ,dorset ,fortified ,site ,augustus to ,trajan1 ,b4,c4 #bg-;,a4,d4 #aag sica1 ,northumberland ,romano-,british ,mark ,antony to ,station ,magnentius1 ,b4,c4 #cb-;,a4,d4 #cec ,farley ,heath ,british ,village 787 ,alstonfield1 ,staffordshire ,burial ,tetricus and ,constantine1 ,a4,d4 #bfh-ccg ,ham ,hill1 ,somerset ,fortified ,site ,valerian to ,theodosius ,i41 ,a4,d4 #cgi-cie ,westhall1 ,suffolk ,horse-trappings ,faustina ,chorley1 ,lancashire ,fibul ,hadrian1 ,a4,d4 #aag-ach ,backworth1 ,northumberland ,fibul ,antoninus ,pius1 ,a4,d4 #ach-afa ,kingsholm1 ,horse-trappings ,claudius1 ,a4,d4 #da-ed ,gloucestershire ,castlethorpe1 ,bucks ,silver ,armlet ,verus1 ,a4,d4 #afa-afi ---------------------------------------- -------------------------- ,late-,celtic ,finds associated with ,samian ,ware4 ,place4 ,nature of ,find4 ,broch of ,okstrow1 ,orkney ,pictish ,tower4 ,lochlee ,crannog4 ,lochspouts ,crannog4 ,settle1 ,yorkshire ,cave4 ,deepdale1 ,derbyshire ,cave4 ,thor's ,cave1 ,staffordshire ,cave4 ,isle of ,portland ,burial4 ,westhall1 ,suffolk ,horse-trappings4 ,late-,celtic ,finds associated with ,objects of ,roman ,manufacture4 ---------------------------------------- ----------------------- ,nature of ,place4 ,late-,celtic ,class of ,roman ,find4 ,object4 ---------------------------------------- ----------------------- ,dowalton1 ,wigtownshire ,crannog ,saucepan ,stanhope1 ,peeblesshire ,armlet ,saucepan ,polden ,hill1 ,somersetshire ,horse-trappings ,fibul ,stamford ,hill1 near ,cemetery ,fibul ,plymouth ,castlethorpe1 ,bucks ,armlet sica1 ,northumberland ,fibul ,silver necklace1 etc4 ,hay ,hill1 ,cambridgeshire ,fire-dog ,amphora ,mount ,bures1 ,essex ,fire-dog ,six amphor1 glass1 etc4 ,stanfordbury1 ,bedfordshire ,fire-dog ,bronze jug1 ,samian ware1 etc4 ---------------------------------------- ----------------------- ,,chapter ,,iv ,,pagan ,,celtic ,,art ,,in ,,the ,,early ,,iron ,,age ,,general ,,nature ,,of ,,the ,,materials ,,available ,,for ,,the ,,study ,,of ,,the ,,decorative ,,art ,,of ,,the ,,early ,,iron ,,age ,,in ,,great ,,britain ,the materials available for the study of ,late-,celtic art in this country may be classified as follows3-- ,,metalwork4 ,arms of ,offence and ,defence4 ,horse-trappings4 ,chariot ,fittings4 ,personal ,ornaments4 ,toilet ,appliances4 ,domestic ,appliances4 ,musical ,instruments4 ,objects for ,religious ,use4 ,objects of ,unknown ,use4 ,,pottery ,,and ,,glass4 ,sepulchral ,urns4 ,vessels for ,domestic ,use4 ,beads for ,necklaces4 ,,woodwork ,,and ,,bonework4 ,vessels for ,domestic ,use4 ,dress-fasteners4 ,spatul4 ,,stonework4 ,sculptured ,monuments4 ,the arms of offence and defence of the ,late-,celtic period are made of metal2 the sword-blades1 dagger-blades1 and lance-heads being of iron2 and the sword-sheaths1 dagger-sheaths1 shields1 and helmets of bronze4 ,in this country the bronze objects only are ornamented4#ahg #ahg ,a lance-head of iron from ,la ,tne1 in ,switzerland1 is ornamented with engraved patterns1 but nothing of a similar kind has been found in ,great ,britain 7,e4 ,vouga1 ,les ,helvtes ,la ,tne1 pl4 #e74 ,bronze sword- and dagger-sheaths have been found in considerable numbers in ,england1 and also less frequently in ,scotland and ,ireland1 as will be seen from the lists given below4 ,list of ,localities in ,great ,britain where ,bronze ,sword-sheaths of the ,late-,celtic ,period have been found4 ,carham ,northumberland4 ,embleton ,cumberland4 ,houghton le ,skerne ,co4 ,durham4 ,sadberge ,co4 ,durham4 ,warton ,lancashire4 ,stanwick ,yorkshire4 ,catterdale ,yorkshire4 ,flasby ,yorkshire4 ,grimthorpe ,yorkshire4 ,lincoln ,lincolnshire4 ,hunsbury ,northamptonshire4 ,amerden ,buckinghamshire4 ,water ,eaton ,oxfordshire4 ,dorchester ,oxfordshire4 ,boxmoor ,hertfordshire4 ,london ,middlesex4 ,battersea ,middlesex4 ,icklingham ,suffolk4 ,hod ,hill ,dorsetshire4 ,moreton ,hall ,midlothian4 ,glencotho ,peeblesshire4 ,bargany ,house ,ayrshire4 ,lisnacroghera ,co4 ,antrim4 ,list of ,localities in ,great ,britain where ,bronze ,dagger-sheaths of the ,late-,celtic ,period have been found4 ,river ,witham ,lincolnshire4 ,north ,hinksey ,oxfordshire4 ,wandsworth ,surrey4 ,southwark ,surrey4 ,cookham ,berkshire4 ,athenry ,co4 ,galway4 ,some of these sheaths are elaborately ornamented1 more especially the specimens from ,hunsbury1 ,lisnacroghera1 and the ,river ,witham4 ,the shape of the sheaths was evidently derived from a foreign source1 as may be seen by comparing those found in ,great ,britain with the examples from ,hallstatt and ,la ,tne4 ,bronze shields of the ,late-,celtic period are not by any means common1 but the ,british ,museum is fortunate enough to possess the only two perfect specimens now in existence4 ,one of these came out of the ,river ,thames at ,battersea1 and the other from the ,river ,witham1 near ,lincoln4 ,the former is1 perhaps1 on the whole1 the most beautiful piece of ,late-,celtic metalwork that has survived to the present time4 ,it is of oblong shape with rounded corners like the ,gaulish shields1#ahh and is made out of plates of thin hammered bronze1 strengthened all round the edge by a roll moulding4 ,the body of the shield consists of a plain plate upon which are riveted three circular pieces of ornamental repouss work1 the largest one in the centre1 and the other two smaller ones at the top and bottom4 ,in the middle of each of the circular pieces of ornament is a raised boss1 the annular space surrounding which is filled in with gracefully flowing ,s- and ,c-shaped curves raised above the rest of the surface1 and starting from and returning to small circular plaques of enamel with a swastika design on each4 ,no written description can give any idea of the subtle decorative effect produced by the play of light on the surfaces of the flamboyant curves as they alternately expand and contract in width and rise and fall above the surrounding level background4 ,the drawing of the curves is simply exquisite1 and their beauty is greatly enhanced by the sharp line used in all cases to emphasise the highest part of the ridge4 ,it will be observed that the design is set out with regard to small circular bits of enamel placed in definite positions symmetrically round a central boss4 ,if closely coiled spirals like those of the ,bronze ,age were to be substituted for the enamelled discs1 we should then have a style of decoration exactly similar to that of the ,christian ,celtic ,,mss4 ,the metalworker who made this shield seems to have possessed the true artistic feeling which told him instinctively exactly how much plain surface of shining bronze should be left to set off the ornament to the greatest advantage4 ,the other shield in the ,british ,museum1 from the ,river ,witham1 is very inferior to the one just described1 and is probably of later date4 #ahh ,see article on the ,gaulish statue from ,montdragon 7,vaucluse7 now in the ,muse ,calvet at ,avignon in the ,revue ,archologique1 ,n4,s41 vol4 xvi4 7#ahfg71 p4 #fi2 also ,diodorus1 bk4 #e1 ch4 #cj4 ,illustration3 ,,iron ,,dagger ,,with ,,bronze ,,hilt ,,and ,,sheath ,,from ,,river ,,witham ,reproduced from ,kemble's 8,hor ,ferales0 ,late-,celtic bronze helmets are of great rarity4 ,there are two in the ,british ,museum1 one from the ,thames at ,london1 and the other from an unknown locality4 ,a third from ,torrs1 ,kirkcudbrightshire1 is now preserved at ,abbotsford1 near ,melrose4 ,the specimen from the ,thames is furnished with two conical horns terminating in small turned knobs1 all the different pieces of wrought metal being riveted together with extreme neatness4 ,the front of the helmet is ornamented with small1 round enamelled discs and repouss work in very low relief4 ,the other helmet in the ,british ,museum is shaped like a jockey's cap1 and is particularly ugly in appearance4 ,the helmet at ,abbotsford has been so fully described by ,dr4 ,joseph ,anderson in his ,scotland in ,pagan ,times3 ,the ,iron ,age 7p4 #aac7 that it will not be necessary to say more about it here4 ,decorated bronze helmets of the ,la ,tne period have been found in ,france at ,berru#ahi 7,marne7 and ,gorge-,meillet#aij 7,marne74 #ahi ,a4 ,bertrand's ,archologie ,celtique et ,gauloise1 #bnd ed41 #ahhi1 p4 #cef4 #aij ,e4 ,fourdrignier's ,double ,spulture ,gauloise de la ,gorge-,meillet4 ,it will be seen from the list given below how extremely common finds of ,late-,celtic horse-trappings have been4 ,list of ,localities in ,great ,britain where ,late-,celtic ,horse-trappings have been found4 ,south ,shields ,co4 ,durham4 ,stanwick ,yorkshire4 ,arras ,yorkshire4 ,rise ,yorkshire4 ,danes' ,graves ,yorkshire4 ,kirkby ,thore ,westmoreland4 ,hunsbury ,northamptonshire4 ,locality unknown ,lincolnshire4 ,leicester ,leicestershire4 ,the ,fens ,cambridgeshire4 ,saham ,toney ,norfolk4 ,westhall ,suffolk4 ,norton ,suffolk4 ,london ,middlesex4 ,canterbury ,kent4 ,bapchild ,kent4 ,stouting ,kent4 ,alfriston ,sussex4 ,chessell ,down ,isle of ,wight4 ,hagbourn ,hill ,berkshire4 ,polden ,hill ,somersetshire4 ,hamdon ,hill ,somersetshire4 ,abergele ,denbighshire4 ,neath ,glamorganshire4 ,clova ,aberdeenshire4 ,crichie ,aberdeenshire4 ,ardoch ,perthshire4 ,middleby ,dumfriesshire4 ,kirriemuir ,forfarshire4 ,henshole ,roxburghshire4 ,torwoodlee ,selkirkshire4 ,stanhope ,peeblesshire4 ,lochlee ,ayrshire4 ,dowalton ,wigtownshire4 ,birrenswark ,dumfriesshire4 ,auchendolly ,kirkcudbrightshire4 ,ballycostello ,co4 ,mayo4 ,clooncunra ,co4 ,roscommon4 ,emlagh ,co4 ,roscommon4 ,tara ,co4 ,meath4 ,ballynaminton ,king's ,co4 ,kilkeeran ,co4 ,monaghan4 ,illustration3 ,,bronze ,,harness-,,rings ,,from ,,polden ,,hill1 ,,somersetshire ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,under the head of horse-trappings are included a large number of miscellaneous objects1 such as bridle-bits1 harness-rings1 -buckles1 and -mountings1 pendants1 head ornaments1 etc4 ,in fact1 the term has been much abused by museum curators1 who1 when in doubt1 say horse-trappings4 ,much the most important finds1 consisting in each case of a large number of objects1 have been those made at ,polden ,hill1 ,somersetshire1 in #ahja2 ,hagbourne ,hill1 ,berks1 in #ahjc2 ,westhall1 ,suffolk2 ,stanwick1 ,arras1 and ,rise1 ,yorkshire2 all the objects being now in the ,british ,museum4 ,the specimens from the ,saham ,toney find1 which was equally important1 are to be seen in the ,norwich ,museum4 ,other smaller finds are preserved in the museums at ,edinburgh and ,dublin4 ,nearly all the big finds of horse-trappings have included several bridle-bits4 ,these are usually quite plain1 but there are1 at least1 four highly ornamented examples known 7#a7 from ,rise1#aia ,yorkshire1 now in the ,british ,museum2 7#b7 from ,birrenswark1#aib ,dumfriesshire1 in the ,edinburgh ,museum2 7#c7 found near ,tara1#aic ,co4 ,meath1 now in the ,dublin ,museum2 and 7#d7 from ,kilkeeran1#aid ,co4 ,monaghan1 also at ,dublin4 ,these bridle-bits are formed of three or four separate pieces linked together1 as in a modern one1 and the decoration1 which is concentrated on the terminal rings1 consists of the usual ,late-,celtic trumpet-shaped expansions and coloured champlev enamels4 #aia ,magazine of ,art for #ahhe1 p4 #def4 #aib ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #abd4 #aic ,sir ,w4 ,wilde's ,catal4 of ,mus4 ,r4 ,i4 ,a41 p4 #fje4 #aid ,journ4 ,r4 ,hist4 and ,archol4 ,assoc4 of ,ireland1 ,n4,s41 vol4 i41 p4 #dbc4 ,in nearly all the finds of horse-trappings rings of various shapes and sizes are of frequent occurrence4 ,they were probably used for passing the reins or other parts of the harness through1 and perhaps also to act as strap buckles4 ,most of the rings are round in cross-section1 except a segment separated from the rest by projecting flanges1 the cross-section of which is made rectangular1 apparently to enable the ring to be more rigidly fixed to the harness4 ,the decoration of the rings usually consists of curious projections of various shapes1 some resembling pairs of mushrooms placed with the convex tops together and the stems inclined at an angle2 whilst others are more like segments of an orange4 ,many of the rings are ornamented with engraved patterns composed of lines and dots1 or are enamelled4 ,the best specimens in the ,british ,museum have been derived from the finds already described at ,stanwick1 ,yorkshire2 ,polden ,hill1 ,somerset2 and ,westhall1 ,suffolk4 ,illustration3 ,lower ends of ,bronze ,sword-sheaths from ,hunsbury ,now in the ,northampton ,museum ,the harness-mountings are either in the form of a cross or a sort of rosette1 with petals like a flower1 some pointed and some round4 ,at the back of the mounting are a pair of rectangular loops for passing a strap through4 ,the front is1 in many cases1 beautifully enamelled4 ,there is an extremely pretty little cruciform mounting of this kind in the ,british ,museum1 but unfortunately the locality whence it came is unknown4 ,two similar specimens have been recorded1 one in the ,uffizi ,museum at ,florence1#aie and another from ,saham ,toney1#aif ,norfolk1 now in the ,norwich ,museum4 ,the most elaborately decorated harness-mounting of the rosette type is the one from ,polden ,hill1#aig ,somersetshire1 in the ,british ,museum4 ,a large number of objects found in ,ireland1 resembling a spur or the merry-bone of a chicken in shape1 have been conjectured to be horses' head ornaments4#aih ,one of them was found near ,tara1 ,co4 ,meath1 with the bridle-bit already mentioned4 #aie ,kemble's ,hor ,ferales1 pl4 #ai1 fig4 #e4 #aif ,norfolk ,archology1 vol4 ii41 p4 #cih4 #aig ,kemble's ,hor ,ferales1 pl4 #ai1 fig4 #c4 #aih ,there are more than thirty-two in the ,museum of the ,royal ,irish ,academy 7see ,wilde's ,catal41 p4 #aji74 ,others have been found in the counties of ,roscommon1 ,sligo1 and ,cork 7see ,proc4 ,r4 ,i4 ,a41 vol4 vii41 p4 #afa2 ,vallancey's ,coll4 de ,rebus ,hibernicis1 vol4 iv41 p4 #ed2 and ,wood ,martin's ,pagan ,ireland1 p4 #dfb74 ,iron tyres of chariot-wheels have been found at ,stanwick1 ,arras1 ,beverley1 and ,danes' ,graves in ,yorkshire1 and ,hunsbury1 ,northamptonshire2 but the bronze objects associated with them1 which are believed to be the fittings of the chariots1 do not afford sufficiently characteristic decoration to need description here4 ,illustration3 ,,late ,,celtic ,,bronze ,,fibula ,,from ,,walmer1 ,,kent2 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,illustration3 ,,late ,,celtic ,,fibula ,,from ,,ireland2 ,,now ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy1 ,,dublin ,illustration3 ,,enamelled ,,bronze ,,fibula ,,from ,,risingham1 ,,northumberland2 ,,now ,,in ,,the ,,newcastle ,,museum ,illustration3 ,,bronze ,,fibula1 ,,water ,,eaton1 ,,oxon2 ,,now ,,in ,,the ,,british ,,museum ,,scale #a_/a ,,linear ,the personal ornaments of the ,late-,celtic period consist chiefly of fibul1 pins1 collars1 and armlets1 usually of bronze1 but in rare instances of gold or silver4 ,the evolution of the ,roman ,provincial type of fibula from earlier ,la ,tne type can be nowhere better studied than in this country during the transition from the ,late-,celtic to the ,romano-,british period4 ,to anyone who is acquainted with the elaborate studies#aii made by ,scandinavian archologists on the origin and development of the various forms of fibul found in northern ,europe it must be a matter of surprise that up to the present no attempt has been made to do the same thing for our own country4 ,with the exception of ,dr4 ,arthur ,evans' paper in the ,archologia1#bjj absolutely nothing has been written on the subject in ,england1 nor do the curators of our public museums make the faintest attempt to classify the different kinds of fibul of the ,romano-,british period according to their shapes4 #aii ,hans ,hildebrand's ,industrial ,arts of ,scandinavia2 ,oscar ,montelius' 8,spnnen frn bronsldern0 in the ,antiquarisk ,tidskrift fr ,sverige2 and ,o4 ,almagren's ,studien ber norden europische ,fibelformen4 #bjj ,vol4 lv41 p4 #agi4 ,looked at from a purely mechanical point of view1 a fibula1 or brooch1 belongs to the same class of appliances as an ordinary door-lock2 being1 in fact1 a device for fastening applied to dress4 ,the fibula was probably in its earlier stages evolved from a simple pin by endeavouring to invent some way by which the pin might be prevented from slipping out once it had been inserted in the fabric of the dress4 ,a sufficiently obvious plan for effecting this is to connect the head of the pin with the point by means of a rigid bar sufficiently bent into the shape of an arch to avoid pressing too closely upon the portion of the dress between it and the pin4 ,when fixed in its place the brooch forms a complete ring1 so that a locking and unlocking contrivance is necessary in order to enable it to be removed when not in use4 ,the modern safety-pin1 which is also one of the most ancient inventions1 is perhaps the simplest kind of dress-fastener1 and yet it is the parent of the almost endless series of ,european fibul from the ,bronze ,age to the present time4 ,it can be constructed in the easiest possible manner out of a single piece of metal wire of uniform thickness by making a coil in the middle of its length to act as a spring and a point at one end and a hook at the other4 ,the pointed end is then bent round until it catches in the hook1 and the thing is complete4 ,there are two other classes of brooches which do not belong to the safety-pin type or its descendants1 namely1 7#a7 the ,celtic penannular brooch2#bja and 7#b7 the ,northern ,bronze ,age brooch1#bjb which has a pin with a hole through the head enabling it to slide1 turn1 and move about loosely on the body of the brooch4 ,with these we are not concerned at present4 #bja ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #bnd ser41 p4 #g4 #bjb ,j4 ,j4 ,a4 ,worsaae's ,industrial ,arts of ,denmark1 p4 #ib4 ,illustration3 ,,bronze ,,fibula ,,from ,,clogher1 ,,co4 ,,tyrone2 ,,now ,,in ,,the ,,british ,,museum ,,scale #a_/a ,,linear ,illustration3 ,,late-,,celtic ,,bronze ,,fibula1 ,,locality ,,unknown2 ,,now ,,in ,,the ,,british ,,museum ,,scale #a_/a ,,linear ,illustration3 ,s-,,shaped ,,enamelled ,,bronze ,,fibula1 ,,locality ,,unknown2 ,,now ,,in ,,the ,,british ,,museum ,,scale #a_/a ,,linear ,illustration3 ,s-,,shaped ,,fibula ,,of ,,enamelled ,,bronze1 ,,from ,,norton1 ,e4 ,,riding ,,of ,,yorkshire2 ,,now ,,in ,,the ,,british ,,museum ,,scale #a_/a ,,linear ,although the safety-pin type of fibula was1 in its earlier stages1 made out of a single piece of wire1 it may be considered to consist of four different parts1 each of which performs a function of its own1 namely1 7#a7 the head1 containing the spring or hinge2 7#b7 the tail1 containing the catch1 or locking apparatus2 7#c7 the body or framework1 connecting the head with the tail2 and 7#d7 the pin1 moving on a hinge or spring at one end and with the pointed end fitting into the catch4 ,in all fibul derived from the safety-pin the pin is straight and the body bent into a more or less arched shape1 like a bow4 ,an infinite variety of forms were produced 7#a7 by increasing the number of coils in the spring and their size2 7#b7 by expanding the tail end into a thin triangular plate2 and 7#c7 by increasing the thickness of the body1 or by making a coil in the middle of its length to act as a secondary spring4 ,much the most important modifications1 however1 in the safety-pin brooches were those which gradually led up to the harp-shaped1 ,t-shaped1 and cruciform fibul of the ,romano-,british period4 ,dr4 ,arthur ,j4 ,evans1 in his paper in the ,archologia 7vol4 lv41 p4 #agi7 on 8,two ,fibul of ,celtic ,fabric from sica10 has traced the evolution of the harp-shaped fibula from the bow-shaped fibula in a most interesting way4 ,the different stages in the process appear to have been as follows3-- 7#a7 ,the tail end of the fibula was extended and bent backwards so as to make an ,s-shaped curve with the bow2 7#b7 the retroflected end of the tail was fixed to the middle of the convex side of the bow by means of a small collar1 made in a separate piece2 7#c7 the whole of the back was formed out of one piece of metal1 with the collar surviving as a mere ornament2 and 7#d7 the triangular opening at the tail1 bounded by the retroflected end1 part of the bow1 and the catch for the point of the pin1 was filled in solid with a thin plate4 ,it will be noticed that during this process of evolution the extended and retroflected end of the tail has become part of the continuous curve of the convex side of the bow1 whilst what was previously one-half of the outside of the bow is now on the inside of the triangular plate at the tail end4 ,this1 together with the expansion of the head to suit the increased number of coils in the spring1 produced the characteristic harp-shape of the ,romano-,british fibula1 in many of which the knob ornament in the middle of the back is the last survival of the collar for fixing the retroflected end of the tail in its place4 ,the cruciform and ,t-shaped fibul1 which began in ,roman times and continued to be used by the ,anglo-,saxons1 resulted from extending the coils of the spring at the head symmetrically on both sides of the pin4 ,in this class of fibula the two outside ends of the coil were joined by a loop passing through the inside of the bow so as to give extra leverage to the spring1 or sometimes serving merely as a loop for suspension by means of a chain4 ,a specimen of silver was found at the ,warren1#bjc near ,folkestone1 and is now in the ,british ,museum4 ,the lower portion is1 unfortunately1 broken off1 but the retroflected end of the tail remains1 with the little ornamental knob which is the survival of the practically useful collar for securing it to the back of the bow4 ,the coils of the spring on each side of the pin and the connecting loop are clearly seen1 together with the loose ring passing through the coils of the spring and a portion of the chain for suspension4 #bjc ,the ,reliquary for #aija1 p4 #aig4 ,an exceedingly pretty pair of harp-shaped fibul of silver1 with a well-wrought chain for suspension1 were found near ,chorley1 ,lancashire1 with ,roman coins dating from ,galba to ,hadrian1 and are now in the ,british ,museum4 ,at the top of each fibula is a loop for attachment to the chain1 and the bodies are beautifully ornamented with ,late-,celtic flamboyant patterns4 ,the knob1 which is the survival of the collar already referred to1 has here assumed a highly ornamental form resembling two floriated capitals of columns placed together4 ,illustration3 ,,bronze ,,fibula ,,from ,,polden ,,hill1 ,,somersetshire2 ,,now ,,in ,,the ,,british ,,museum ,,side ,,view1 ,,scale ,,linear ,illustration3 ,,bronze ,,fibula ,,from ,,polden ,,hill1 ,,somersetshire2 ,,now ,,in ,,the ,,british ,,museum ,,front ,,view1 ,,scale ,,linear ,illustration3 ,,bronze ,,fibula ,,from ,,river ,,churn2 ,,now ,,in ,,the ,,british ,,museum ,,side ,,view1 ,,scale #a_/a ,,linear ,illustration3 ,,bronze ,,fibula ,,from ,,river ,,churn2 ,,now ,,in ,,the ,,british ,,museum ,,front ,,view1 ,,scale #a_/a ,,linear ,the specimen represented on p4 #ajd is one of a pair of silver-gilt fibul1 similar to the preceding1 but larger and without the chain1 although possessing the loops for suspension4 ,they were purchased in ,newcastle about the year #ahaa1 and are now in the ,british ,museum4 ,it is stated in ,hodgson's ,history of ,northumberland 7vol4 iii41 ,appendix x41 p4 #ddj7 that the locality from whence they came was somewhere in the county north-east of ,backworth4 ,the fibul were discovered in a silver patera bearing a dedicatory inscription to the ,de ,matres1 and containing1 in addition-- #e gold rings4 #a silver ring4 #b gold chains with wheel pendants4 #a gold bracelet4 #c silver spoons4 #a mirror4 #bhj denarii4 #b large brass coins of ,antoninus ,pius4 ,a full account of the find is given in ,e4 ,hawkins' 8,notice of a remarkable collection of ornaments of the ,roman period1 connected with the worship of the ,de ,matres1 and recently purchased for the ,british ,museum0 in the ,archological ,journal 7vol4 viii41 p4 #ce74 ,illustration3 ,one of a pair of silver-gilt ,fibul found in ,northumberland1 with ,denarius of ,antoninus ,pius 7,a4,d4 #aci7 ,drawn by ,c4 ,praetorius ,we may here call attention to the intensely ,celtic character of the fibul just described4 ,the wearing of brooches in pairs with a chain attachment was a ,celtic and not a ,roman custom1 as has already been pointed out in a previous volume of ,the ,reliquary 7for #ahie1 p4 #aeg74 ,a pair of bronze fibul1 of the same kind as the one from the ,warren1 ,folkestone1 fastened together by a double chain1 was found in one of the ,gaulish cemeteries in the ,department of ,marne#bjd in ,france1 and is now to be seen in the museum of ,st4 ,germain1 near ,paris4 ,it may1 therefore1 be fairly assumed that all the fibul found in this country with chains attached to them or with loops for a chain at the top are more ,celtic than ,roman4 #bjd ,engraved in the ,dictionnaire ,archologique de la ,gaule4 ,other examples from the cemeteries of ,somme-,bionne1 ,courtois1 ,bussy-le-,chteau1 and ,sommesous in the ,department of the ,marne1 are given in the ,album accompanying ,l4 ,morel's ,la ,champagne souterraine 7pls4 #ac1 #bi1 #cd1 and #dj74 ,amongst the ,late-,celtic antiquities in the ,british ,museum are three specimens which illustrate the evolution of the harp-shaped fibula very well4 ,one ornamented with a coral boss and gold stud1 probably from the ,marne district1 was presented by the late ,sir ,a4 ,w4 ,franks2 another came from a chalk pit near ,walmer1 ,kent2 and the third was found at ,clogher1 ,co4 ,tyrone4 ,broadly speaking1 it may be said that the safety-pin type of fibula made in one piece is earlier in date than the ,roman occupation of ,britain1 and the specimens found in this country are obviously either imported from abroad or copied from foreign originals1 such as those found at ,la ,tne1 in ,switzerland1 and in the ,champagne district of ,france4 ,the fibula in use in ,britain1 after it became a province of the ,roman ,empire1 has a massive harp or bow-shaped back made in a separate piece from the pin and spring4 ,in the earlier1 or ,la ,tne type of the fibula1 the catch for the end of the pin forms one side of a triangular opening1 which1 as we have already mentioned1 is filled in with a thin plate in the later or ,roman ,provincial fibula4 ,there is also a sort of transitional kind1 with ornamental piercings in the plate4 ,there was yet another description of fibula belonging to the ,romano-,british period1 having a flat plate for the body in the shape of a circular disc1 or sometimes in the shape of a fish or animal4 ,the different classes of ,late-,celtic fibul are given in the following lists4 ,list of ,localities in ,great ,britain where ,late-,celtic ,fibul have been found4 ,,la ,t,,ne ,,and ,,marnian ,,type1 ,,with ,,tail ,,bent ,,backwards4 ,cowlam 7,brit4 ,mus47 ,yorkshire4 ,hammersmith 7,brit4 ,mus47 ,middlesex4 ,avebury 7,brit4 ,mus47 ,wiltshire4 ,water ,eaton 7,brit4 ,mus47 ,oxfordshire4 ,clogher 7,brit4 ,mus47 ,co4 ,tyrone4 ,,la ,t,,ne ,,and ,,marnian ,,type1 ,,with ,,tail ,,bent ,,backwards ,,and ,,attached ,,to ,,bow4 ,aylesford 7,brit4 ,mus47 ,kent4 ,folkestone 7,brit4 ,mus47 ,kent4 ,walmer 7,brit4 ,mus47 ,kent4 ,locality not given 7,liverpool ,mus47 ,kent4 ,datchet ,oxfordshire4 ,,la ,t,,ne ,,and ,,marnian ,,type1 ,,with ,,flattened ,,and ,,expanded ,,bow4 ,ringham ,low ,derbyshire4 ,hod ,hill 7,brit4 ,mus47 ,dorsetshire4 ,london 7,guildhall ,mus47 ,middlesex4 ,bonville 7,brit4 ,mus47 ,co4 ,armagh4 ,navan ,rath 7,mus4 ,r4,i4,a47 ,co4 ,armagh4 ,locality unknown 7,mus4 ,r4,i4,a47 ,ireland4 ,hunsbury 7,northampton ,mus47 ,n'hamptonshire4 ,,transitional ,,type1 ,,with ,,ornamental ,,head ,,and ,,either ,,plain ,,or ,,pierced ,,tail-,,plate4 ,birdlip 7,gloucester ,mus47 ,gloucestershire4 ,london 7,guildhall ,mus47 ,middlesex4 ,,roman ,,provincial ,,type1 ,,with ,,harp-,,shaped ,,profile1 ,t-,,shaped ,,top1 ,,or ,,spring-,,case1 ,,and ,,pierced ,,tail-,,plate4 ,polden ,hill 7,brit4 ,mus47 ,somersetshire4 ,stamford ,hill1 ,plymouth ,devonshire4 ,cricklade 7,brit4 ,mus47 ,wiltshire4 ,,roman ,,provincial ,,type1 ,,with ,,harp-,,shaped ,,profile1 ,,expanded ,,trumpet-,,shaped ,,top1 ,,and ,,floriated ,,knob ,,in ,,middle ,,of ,,bow4 ,backworth 7,brit4 ,mus47 ,northumberland4 ,chorley 7,brit4 ,mus47 ,lancashire4 ,great ,chesters 7,newcastle ,mus47 ,northumberland4 ,river ,tyne 7,newcastle ,mus47 ,northumberland4 ,risingham 7,newcastle ,mus47 ,northumberland4 ,ribchester ,lancashire4 ,farley ,heath ,surrey4 ,,kelto-,,roman ,,disc-,,shaped ,,type1 ,,with ,,repouss ,,ornament4 ,brough 7,brit4 ,mus47 ,westmoreland4 ,victoria ,cave1 ,settle ,yorkshire4 ,silchester 7,strathfieldsaye ,house7 ,hampshire4 ,,kelto-,,roman ,s-,,shaped ,,or ,,zo,,morphic ,,type1 ,,with ,,enamelled ,,ornament4 ,kirkby ,thore ,westmoreland4 ,dowkerbottom ,cave1 ,settle ,yorkshire4 ,malton ,yorkshire4 ,thirst ,house ,cave1 ,deepdale ,derbyshire4 ,kilnsea ,yorkshire4 ,cirencester ,gloucestershire4 ,locality unknown 7,brit4 ,mus47 ,metal pins do not seem to have been much used as dress-fasteners during the ,late-,celtic period1 judging from the number to be seen in our public museums4 ,one of the most beautiful pins of this period now in existence is the one found with the burial previously mentioned at ,danes' ,graves1#bje near ,driffield1 ,yorkshire1 and now in the ,york ,museum4 ,the pin is of bronze1 with a peculiar crook near the top and a circular head 7resembling a chariot-wheel with four spokes7 inlaid with shell1 or1 according to another account1 enamelled4 ,two bronze pins1 with plain turned heads1 were amongst the objects derived from the ,thirst ,house ,cave1#bjf ,deepdale1 ,derbyshire4 #bje ,proc4 ,soc4 ,ant4 ,lond4 ser4 #b1 vol4 xvii41 p4 #abj4 #bjf ,the ,reliquary for #ahig1 p4 #if4 ,several pins of the class known as 8hammer-headed0 have been discovered from time to time1 chiefly in ,ireland and ,scotland4 ,these pins are of considerable size1 some being ten inches long1 and have semicircular heads with the convex side facing downwards4 ,the top of the pin is bent at right angles1 and the head fixed on in front of it4 ,at the top of the head are usually from three to five projecting studs1 and the face of the head is enamelled with ,late-,celtic designs4 ,from the associations in which such pins have been found and the style of their decoration1 they would seem to belong to the transition period between ,paganism and ,christianity4 ,there is one in the ,british ,museum from ,moresby1 ,cumberland1 which was associated with a small bronze ornament of ,late-,celtic character2 another in the same collection from ,craigywarren1#bjg ,co4 ,antrim1 has spiral patterns upon it2 whilst a third in the ,edinburgh ,museum1 from ,norrie's ,law1#bjh ,forfarshire1 was associated with coins of the seventh century1 and silver leaf-shape pendants engraved with the same mysterious symbols which occur so frequently on the early ,christian sculptured stones of ,scotland4 ,a hammer-headed pin of silver from ,gaulcross1#bji ,banffshire1 has spiral designs upon the head1 but of a kind more nearly resembling that found on the ,christian crosses of about the ninth century in ,argyllshire than the ,late-,celtic flamboyant designs of ,pagan times4 ,other examples of pins of this kind have been found at ,lagore1#baj ,co4 ,meath1 ,urquhart1#baa ,elginshire1 on the ,culbin ,sands1 ,nairnshire1 and in the island of ,pabbay1 ,hebrides4 #bjg ,wood ,martin's ,lake-,dwellings of ,ireland1 p4 #aaj4 #bjh ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #bnd ser41 p4 #cf4 #bji ,dr4 ,j4 ,stuart's ,sculptured ,stones of ,scotland1 vol4 ii41 pl4 #i4 #baj ,wood ,martin's ,lake-,dwellings of ,ireland4 #baa ,proc4 ,soc4 ,ant4 ,scot41 vol4 xxxv41 p4 #bgi4 ,illustration3 ,,bronze ,,hook-,,and-,,disk ,,ornament ,,from ,,ireland2 ,,now ,,in ,,the ,,dublin ,,museum ,illustration3 ,,bronze ,,pin1 ,,enamelled1 ,,from ,,danes ,,graves1 ,,near ,,driffield1 ,,yorkshire2 ,,now ,,in ,,the ,,york ,,museum ,illustration3 ,,bronze ,,disc ,,fibula ,,with ,,late-,,celtic ,,ornament1 ,,from ,,silchester2 ,,now ,,at ,,strathfieldsaye ,,house ,s4 ,victor ,white1 of ,reading1 photo4 ,unquestionably the finest ,late-,celtic personal ornaments are the collars for wearing round the neck1 of which1 at least1 two in gold and about ten in bronze are known to exist4 ,being larger than any other class of personal ornament1 they naturally afford greater scope for the display of the elaborate forms of flamboyant designs in which the art metalworker of the period used to revel4 ,one of the gold collars just referred to came from ,broighter1 on the western shore of ,lough ,foyle1 near ,limavady1 ,co4 ,londonderry4 ,it was in the ,british ,museum1 but has recently been removed to ,dublin4 ,the collar1 which formed part of one of the most valuable finds of gold ornaments yet made in ,great ,britain1 is unique both as regards its form and the extraordinary artistic skill displayed in its decoration4 ,the hoard was accidentally brought to light in #ahif whilst ploughing a field on the farm occupied by ,mr4 ,j4 ,l4 ,gibson4 ,we give a list of the various objects comprising the find below4 ,list of ,objects in the ,limavady ,find of ,gold ,ornaments4 7#a7 ,model of a boat1 #g inches long by #c inches wide1 weighing #c ozs4 #e dwts41 with benches and rowlocks for eighteen oarsmen 7nine on each side7 and rowlock for steering-paddle in the stern4 7#b7 ,boat-fittings in miniature1 consisting of fifteen oars1 one grappling-iron1 three forked implements1 one yard-arm1 and one small spar4 7#c7 ,bowl1 #c inches in diameter by #b inches deep1 weighing #a oz4 #e dwts4 #ab grs41 provided with four small rings for suspension4 7#d7 ,two twisted necklets 7one broken71 the perfect one #e inches in diameter1 weighing #c ozs4 #g dwts4 #i grs4 7#e7 ,two chains of plaited wire1 one #a foot #b inches long1 weighing #b ozs4 #g dwts41 and the other #a foot #d inches long1 weighing #f dwts4 #ab grs4 7#f7 ,late-,celtic collar1 #g inches in diameter1 made of a tubular ring #a inch in diameter4 ,the collar must have had a joint of some kind1 which is now missing2 and the fastening is a most peculiar one1 consisting of a ,t-shaped projection on the end1 one-half of the tubular ring fitting into a slot in the end of the other half of the ring4 ,the locking is effected by giving the slotted end a half turn after the ,t-shaped projection has been inserted4 ,the whole of the exterior surface of the tube is decorated with long sweeping curves1 narrow in the middle and with trumpet-shaped expansions at each end1 combined with helixes resembling a snail-shell4 ,the background is shaded with a sort of engine-turned pattern of fine lines drawn with a pair of compasses4 ,this remarkable gold collar has been fully described and illustrated by ,dr4 ,arthur ,evans in the ,archologia 7vol4 lv41 p4 #cig71 and the facts relating to its discovery are related in detail by ,mr4 ,r4 ,cochrane1 ,f4,s4,a41 in a paper in the ,journal of the ,royal ,society of ,antiquaries of ,ireland 7vol4 xxxiii41 p4 #baa74 ,an account of the evidence given by ,mr4 ,c4 ,h4 ,read1 ,f4,s4,a41 before the committee appointed to inquire into the respective rights of the ,british ,museum and the ,museum of the ,royal ,irish ,academy at ,dublin to the possession of the hoard of gold ornaments will be found in the report of the inquiry in the ,blue ,book issued in #ahii4 ,illustration3 ,,bronze ,,beaded ,,torque1 ,,from ,,mowroad1 ,,near ,,rochdale1 ,,lancashire ,,scale ,,linear ,illustration3 ,,bronze ,,collar ,,from ,,wraxhall1 ,,somersetshire2 ,,now ,,in ,,the ,,bristol ,,museum ,a second collar of gold now in the ,museum of the ,royal ,irish ,academy in ,dublin1 said to have come from ,clonmacnois1 ,king's ,co41 is illustrated in ,sir ,w4 ,wilde's ,catalogue of ,antiquities of ,gold in ,museum ,r4,i4,a41 p4 #dg4 ,it consists of a plain hollow ring #e inches in diameter with an ornamental bulb on each side1 one of which seems to be made in imitation of one of the glass beads of the period4 ,the ,bristol ,museum possesses a perfect flat-jointed bronze collar1 of a different kind from any of those just described1 from ,wraxhall1#bab ,somerset1 and a portion of another from ,llandyssyl1#bac ,cardiganshire4 ,in the ,british ,museum there are two similar collars1 one from ,trenoweth1#bad ,cornwall1 and the other from the ,isle of ,portland1#bae ,dorsetshire4 ,the ,edinburgh ,museum has also an exceedingly good example from ,stitchell1#baf ,roxburghshire4 ,all these collars are elaborately ornamented in the ,late-,celtic style4 ,the date of the collar from the ,isle of ,portland is approximately fixed by its having been associated with a dish of ,samian ware4 ,the existence of other ,late-,celtic collars has been recorded at ,mowroad1#bag near ,rochdale1 ,lancashire2 ,embsay1#bah near ,skipton1 ,yorkshire2 ,perdeswell1#bai ,worcestershire2 ,lochar ,moss1#bbj ,dumfriesshire2 and ,hyndford ,crannog1#bba near ,lanark4 ,these five belong to a special class of what are not inaptly called 8beaded torques10 because rather more than one-half the collar is composed of bronze beads of two different shapes1 7one convex and the other concave7 strung alternately on an iron rod of square cross-section1 so as to prevent the beads from revolving4 ,the remaining and smaller segment of the circle consists of a bronze tube of rectangular cross-section1 ornamented on the exterior with a ,late-,celtic flamboyant design4 ,the ,perdeswell collar is incomplete1 and the part which remains is formed of twenty beads resembling vertebr strung on to an iron wire or bar1 as in the case of the ,lochar ,moss collar4 #bab ,archologia ,cambrensis1 ser4 #f1 vol4 i41 p4 #hc4 #bac ,ibid4 #bad ,archologia1 vol4 xvi41 p4 #abg4 #bae ,ibid41 vol4 liv41 p4 #dif4 #baf ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times4 #bag ,h4 ,fishwick's ,history of the ,parish of ,rochdale1 p4 #e4 #bah ,archologia1 vol4 xxxi41 p4 #eag4 #bai ,ibid41 vol4 xxx41 p4 #eed4 #bbj ,d4 ,wilson's ,prehistoric ,annals of ,scotland1 vol4 ii41 p4 #ada1 and ,archologia1 vol4 xxxiii41 p4 #cdg4 #bba ,proc4 ,soc4 ,art4 ,scot41 vol4 xxxiii41 p4 #che4 ,illustration3 ,bronze ,beaded ,torque from ,lochar ,moss1 ,dumfriesshire ,now in the ,british ,museum ,illustration3 ,,bronze ,,armlet ,,from ,,the ,,culbin ,,sands2 ,,now ,,at ,,altyre1 ,,near ,,forres1 ,n4,b4 ,illustration3 ,,bronze ,,armlet ,,from ,,the ,,culbin ,,sands2 ,,now ,,at ,,altyre1 ,,near ,,forres1 ,n4,b4 ,the last class of personal ornaments of the ,late-,celtic period to be noticed are the armlets4 ,the most remarkable of these are of the ,scottish type1 as it may fairly be called1 only one specimen having been found outside ,scotland4#bbb ,the armlets of this type are very heavy and massive1 and their general form appears to have been suggested by a coiled serpent2 as in the one from the ,culbin ,sands1 ,nairnshire1 the ends of the coil terminate in actual serpents' heads4 ,the armlets are usually found in pairs1 and are highly ornamented with flamboyant work1 and in some cases enamelled4 ,although they are of cast bronze1 the style of the decoration is evidently copied from the repouss designs of the wrought metalwork of the period4 ,dr4 ,j4 ,anderson has devoted a considerable portion of his ,rhind ,lectures on ,scotland in ,pagan ,times3 ,iron ,age1 to the examination of the ,scottish group of armlets1 most of which are in the ,edinburgh ,museum4 ,the following is a list of the known examples3-- #bbb ,at ,newry1 ,co4 ,down4 ,list of ,localities where ,armlets of the ,scottish ,type have been found4 ,culbin ,sands1 ,nairnshire4 ,bunrannoch1 ,perthshire4 ,auchenbadie1 ,banffshire4 ,seafield ,tower1 ,fifeshire4 ,castle ,newe1 ,aberdeenshire4 ,stanhope1 ,peeblesshire4 ,belhelvie1 ,aberdeenshire4 ,plunton ,castle1 ,kirkcudbrightshire4 ,aboyne1 ,aberdeenshire4 ,pitalpin1 ,forfarshire4 ,locality unknown4 ,grange of ,conan1 ,forfarshire4 ,newry1 ,co4 ,down4 ,pitkelloney1 ,perthshire4 ,the armlet from ,stanhope1 ,peeblesshire1 was associated with a ,romano-,british saucepan1 which suggests that this type belongs to the later part of the ,celtic ,pagan ,iron ,age4 ,bronze armlets of ,la ,tne1 or continental type1 have been derived from the burial mounds at ,cowlam and ,arras1 ,yorkshire4 ,the bronze armlet from the ,stamford ,hill ,cemetery1 near ,plymouth1 is jointed like the collars1 and decorated with flamboyant work4 ,a pair of penannular ring armlets of silver terminating in serpents' heads1 which may possibly be ,late-,celtic1 was disposed of at the sale of the ,bateman ,collection from ,lomberdale ,house1 ,derbyshire4 ,they were found at ,castlethorpe1#bbc ,buckinghamshire1 in #ahbg1 in a small urn containing ,roman silver and brass coins1 none later than the reign of ,verus 7,a4,d4 #afa-afi71 and a massive silver ring set with a carnelian engraved with a figure of ,bonus ,eventus4 ,a similar pair of base silver armlets were found near the ,carlswark ,cavern1#bbd in ,middleton ,dale1 ,derbyshire4 ,three very elegant armlets of twisted and looped bronze wire were associated with a ,late-,celtic burial outside ,thirst ,house ,cave1#bbe ,deepdale1 ,derbyshire4 ,armlets of the same make are illustrated in ,lidenschmit's ,alterthmer1 7vol4 ii41 pt4 #e1 pl4 #c74 #bbc ,the ,reliquary1 vol4 xiii41 pl4 #ah2 and ,jour42 and ,brit4 ,archol4 ,assoc41 vol4 ii41 p4 #cec4 #bbd ,the ,reliquary1 vol4 #ahfg1 p4 #aac4 #bbe ,ibid41 #ahig1 p4 #aja4 ,the ,late-,celtic toilet accessories are of three kinds1 namely1 hand-mirrors1 hair-combs1 and chtelaines4 ,the mirrors are of bronze and circular in shape1 with an ornamental handle4 ,the back1 or unpolished face of the mirror1 is in nearly all cases decorated with incised circles of different sizes1 combined with curved lines and a peculiar sort of background filled in with cross-hatching4 ,a list of mirrors such as those described is given below4 ,illustration3 ,,late-,,celtic ,,bronze ,,mirror1 ,,in ,,the ,,mayer ,,museum1 ,,liverpool2 ,,locality ,,unknown ,list of ,localities where ,late-,celtic ,mirrors have been found4 ,warden 7,bedford ,mus47 ,bedfordshire4 ,stamford ,hill1 near ,plymouth 7,plymouth ,mus47 ,devonshire4 ,birdlip 7,gloucester ,mus47 ,gloucestershire4 ,trelan ,bahow 7,british ,mus47 ,cornwall4 ,balmaclellan 7,edinburgh ,mus47 ,kirkcudbrightshire4 ,locality unknown 7,liverpool ,mus47 ,unornamented mirrors have been found with burials at ,arras1#bbf ,yorkshire1 and ,gilton1#bbg ,kent4 ,the hair-combs are of bone1 and will therefore be described subsequently when dealing with bonework4 ,the chtelaines of the ,late-,celtic period are pretty little objects of bronze1 generally enamelled4 ,at the top is a loop for suspension2 there is a little rod below1 from which are hung tweezers1 picks1 files1 etc4 ,specimens have been discovered in the ,thirst ,house ,cave1#bbh ,deepdale1 ,derbyshire1 and at ,canterbury1#bbi and ,craven ,arms1#bcj ,shropshire4 #bbf ,w4 ,greenwell's ,british ,barrows1 p4 #ded4 #bbg ,b4 ,faussett's ,inventorium ,sepulchrale1 p4 #cj4 #bbh ,the ,reliquary for #ahig1 p4 #ie4 #bbi ,proc4 ,soc4 ,ant4 ,lond41 ser4 #b1 vol4 vi41 p4 #cgf4 #bcj ,archologia ,cambrensis1 ser4 #e1 vol4 vi41 p4 #ij4 ,the domestic utensils and cooking appliances of the ,late-,celtic period include wooden tankards and buckets with bronze mountings1 bronze bowls and saucepans1 and iron fire-dogs4 ,some of the riveted caldrons possibly also belong to this period1 but as they cannot be distinguished from those of the ,bronze ,age it will be unnecessary to describe them here4 ,there is a very perfect wooden tankard mounted with bronze in the ,mayer ,museum1 ,liverpool1 from ,trawsfynydd1#bca ,merionethshire1 having a handle ornamented in the ,late-,celtic style with flamboyant tracery1 which might easily be mistaken for ,gothic work of the fourteenth century were it not for the trumpet-shaped expansions which occur in the details4 ,handles of similar tankards have been found at ,aylesford1#bcb ,kent2 ,elveden1#bcc ,essex2 ,okstrow1#bcd ,orkney2 and ,carlingwark ,loch1#bce ,kirkcudbrightshire4 ,late-,celtic wooden buckets with bronze mountings are of the greatest rarity1 so much so that only two are known to exist1 one from ,aylesford1#bcf ,kent1 in the ,british ,museum1 and the other from ,marlborough1#bcg ,wilts1 in the ,devizes ,museum4 ,they are both decorated with repouss designs representing men1 animals1 etc41 treated much in the same way as on the ,ancient ,british and ,gaulish coins of the same period4 ,bronze bowls have been frequently found on ,late-,celtic inhabited sites and with ,late-,celtic burials4 ,a quite plain but extremely well-made bronze bowl is to be seen in the ,british ,museum side by side with the beaded torque from ,lochar ,moss1#bch ,dumfriesshire1 which accompanied it4 ,there is another plain bowl in the ,gloucester ,museum which was associated with the burial at ,birdlip1#bci ,gloucestershire1 already described4 ,a bronze bowl ornamented with projecting bosses is amongst the objects derived from the ,glastonbury#bdj ,marsh ,village2 and a bowl in the ,dublin ,museum from ,keshkerrigan1#bda ,co4 ,leitrim1 has a very characteristic ,late-,celtic handle in the form of a beast made up of flamboyant curves4 ,a special type of bronze bowls with zomorphic handles and enamelled decorations will be dealt with subsequently4 #bca ,archologia ,cambrensis1 ser4 #e1 vol4 xiii41 p4 #bab4 #bcb ,archologia1 vol4 lii41 p4 #dd4 #bcc ,ibid41 vol4 lii41 p4 #de4 #bcd ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #bdb4 #bce ,proc4 ,soc4 ,ant4 ,scot41 vol4 vii41 p4 #g4 #bcf ,the ,reliquary for #ahig1 p4 #ce4 #bcg ,sir ,r4 ,colt ,hoare's ,ancient ,wilts4 #bch ,d4 ,wilson's ,prehistoric ,annals of ,scotland1 vol4 i41 p4 #dfe1 pl4 #i4 #bci ,trans4 of ,bristol and ,gloucestershire ,archol4 ,soc41 vol4 v41 p4 #acg4 #bdj ,proc4 of ,somersetshire ,archol4 ,soc41 vol4 xl41 p4 #adi4 #bda ,reliquary for #aijj1 p4 #bdg4 ,most of the saucepans in use during the ,late-,celtic period were either imported from ,italy and ,gaul or were so nearly copied by local metalworkers as to be indistinguishable from the originals4 ,none of these saucepans1 as far as ,i am aware1 have ,celtic decoration upon them1 although several are inscribed with ,celtic names1 and others are highly enamelled4 ,two specimens in the ,british ,museum are of exceptional interest1 one of bronze enamelled and inscribed with the name 8,,bodvogenvs10 from ,prickwillow1#bdb near ,ely1 ,cambridgeshire1 and the other of silver1 with a highly ornamented inscribed handle1 which was found at ,backworth1#bdc ,northumberland1 with the pair of ,kelto-,roman fibul previously mentioned4 ,the more elaborate saucepans were probably used in connection with religious ceremonies and not for cooking1 as is borne out by the dedicatory inscriptions upon the handles and the circumstances under which many of them have been found4 ,a list has already been given of the saucepans associated with finds of ,late-,celtic objects4 #bdb ,archologia1 vol4 xxviii41 p4 #dcf4 #bdc ,archol4 ,jour41 vol4 viii41 p4 #ci4 ,the metalworkers of the ,late-,celtic period were not only capable of executing some of the finest pieces of repouss bronze that the world has ever seen1 but they also excelled in producing works of art in wrought-iron of great merit4 ,as an example of their skill in this direction we have the remarkable pair of fire-dogs from ,capel ,garmon1 ,denbighshire1#bdd now in the possession of ,colonel ,wynne ,finch of ,pentre ,voelas1 near ,bettws-y-coed4 ,the fire-dogs consist of two upright bars1 each surmounted by the head of a beast with horns1 and standing on an arched foot1 connected near the bottom by a horizontal bar on which to rest the logs of wood used for the fire4 ,the uprights are ornamented on each side with thinner pieces of iron bent into undulations and scrolls1 and fixed to the uprights at intervals with rivets having large round heads4 ,each of the beasts' heads has a very curious sort of crest ornamented with a row of circular holes and round knobs4 ,other fire-dogs of the same kind1 made of plain iron bars1 and with horned beasts' heads on the top of the uprights 7each horn terminating in a round knob71 have been found at ,mount ,bures1#bde ,essex1 ,hay ,hill1#bdf near ,cambridge1 and ,stamfordbury1#bdg ,bedfordshire1 associated with ,romano-,british burials4 ,the only objects of the ,late-,celtic period which may conjecturally have been used for religious purposes are the little bronze figures of animals from ,hounslow1#bdh ,middlesex1 now in the ,british ,museum4 #bdd ,archologia ,cambrensis1 ser4 #f1 vol4 i41 p4 #dj4 #bde ,c4 ,roach ,smith's ,collectanea ,antiqua1 vol4 ii41 p4 #be4 #bdf ,archologia1 vol4 xix41 p4 #eg4 #bdg ,publications of ,cambridge ,ant4 ,soc4 for #ahde4 #bdh ,proc4 ,soc4 ,ant4 ,lond41 ser4 #b1 vol4 iii41 p4 #ij4 ,under the head of musical instruments come the bone flutes from ,thor's ,cave1 ,staffordshire1 and the magnificent bronze trumpet found in #agid at ,loughnashade1 ,co4 ,armagh1 and now in the ,museum of the ,royal ,irish ,academy at ,dublin4 ,most of the trumpets of this kind are of the ,bronze ,age1 but the style of the decoration on the annular disc at the mouth of the one from ,loughnashade shows clearly that it is of the ,iron ,age4#bdi #bdi ,sir ,w4 ,wilde's ,catal41 pp4 #fbg and #fca4 ,amongst the objects of unknown use of the ,late-,celtic period are certain so-called spoons1 some peculiar disc-and-hook ornaments1 and a few highly ornamented circular pieces of repouss bronze with a cup-shaped depression nearly in the centre4 ,illustration3 ,late ,celtic ,brone ,spoon from ,brickhill ,lance1 ,london ,illustration3 ,late ,celtic ,bronze ,spoon from ,crosby ,ravensworth1 ,westmoreland ,the spoon-like objects have been very fully dealt with in a paper by ,mr4 ,albert ,way in the ,archological ,journal 7vol4 xxvi41 p4 #eb71 and below is given a list of all the known specimens4 ,illustration3 ,late ,celtic ,spoon4 ,one of a pair from ,weston1 near ,bath4 ,now in the ,edinburgh ,museum4 ,scale #a_/a linear ,list of ,localities where ,spoon-like ,objects with ,late-,celtic ,decoration have been found4 ,crosby ,ravensworth 7,british ,mus47 ,westmoreland4 ,london1 ,brickhill ,lane 7,british ,mus47 ,middlesex4 ,london1 ,thames 7,british ,mus47 ,middlesex4 ,weston1 near ,bath 7,edinburgh ,mus47 ,somersetshire4 ,llanfair 7,edinburgh ,mus47 ,denbighshire4 ,penbryn 7,ashmolean ,mus47 ,cardiganshire4 ,locality unknown 7,liverpool ,mus47 ,ireland4 ,locality unknown 7,dublin ,mus47 ,ireland4 ,walmer ,kent4 ,the body of these objects is shaped like a very shallow spoon with a pointed end1 and the handle 7if such it may be called7 is circular or nearly circular1 in many cases with two little round ears or projections at each side4 ,the so-called spoons are generally found in pairs1 one spoon having a cruciform design in the middle of the bowl2 whilst its fellow has a small hole bored through the edge of the bowl4 ,the handles of the spoons are always ornamented1 sometimes on the front only1 but more commonly on the back as well4 ,there are specimens of the other ,late-,celtic objects of unknown use--namely1 the hook-and-disc ornaments#bej and the circular pieces of repouss metalwork with a cup-shaped depression--in the ,british ,museum#bea and the ,dublin ,museum4#beb #bej ,the ,reliquary for #aija1 p4 #ef4 #bea ,proc4 ,soc4 ,ant4 ,scot41 vol4 xix41 p4 #bed4 #beb ,sir ,w4 ,wylde's ,catal4 ,mus4 ,r4,i4,a41 p4 #fcg4 ,no satisfactory explanation has been given of the use of certain wheel and triskele pendants of which examples have been found in ,berkshire1 ,kingsholm1 near ,gloucester1 ,hunsbury1 ,n4 ,hants1 ,seamill ,fort1 ,ayrshire1 and ,treceiri1 ,carnarvonshire4 ,,pottery ,,and ,,glass ,the pottery of the ,late-,celtic period differs from that of the ,bronze ,age in being turned on a wheel instead of being handmade4 ,the firing is also better done1 and the quality of the ware superior in every way4 ,since the discovery of the ,aylesford cemetery in ,kent1 in #ahhf1 it has been possible to differentiate ,late-,celtic pottery from ,romano-,british by the peculiar forms of the vases4 ,dr4 ,arthur ,evans has dealt with this subject pretty exhaustively in his paper in the ,archologia 7vol4 lii41 p4 #cae74 ,the most characteristic of the ,aylesford urns is tall1 with a narrow base and wide mouth4 ,the base is in the shape of a low truncated cone1 the top of which is the narrowest part of the vase1 and from this point it gradually gets wider until the top rim is nearly reached1 when it contracts again slightly4 ,the curve thus produced is of such extreme elegance as to at once suggest a classical origin4 ,the exterior surface of some of these pots is plain1 but in many cases it is divided into bands by horizontal projecting bead mouldings4 ,dr4 ,a4 ,evans does not find much difficulty in showing that the peculiarities of form can be directly traced to the metal situl from which the vases were copied4 ,with regard to this1 he says3-- ,illustration3 ,,late-,,celtic ,,pottery ,,from ,,hunsbury2 ,,now ,,in ,,the ,,northampton ,,museum ,illustration3 ,,late-,,celtic ,,pottery ,,from ,,hunsbury2 ,,now ,,in ,,the ,,northampton ,,museum ,illustration3 ,late ,celtic urns from ,shoebury1 ,essex ,now in the ,colchester ,museum 8,in most cases these 7i4e4 the ,aylesford7 vases1 which for elegance of form may almost vie with the ceramic products of ,italy or ,greece1 are divided into zones by the small raised ridges or cordons described above1 the zones themselves being1 in turn1 decorated with finely incised linear striations4 ,this type of vase1 beautiful as it is in itself1 is still more interesting from the comparisons to which it inevitably leads us4 ,no one familiar with the ceramic forms of an important group of ,north-,italian cemeteries1 belonging1 for the most part1 to the fourth or fifth centuries before our era1 and of which the whole series of objects so admirably excavated and arranged by ,professor ,prosdocimi at ,este#bec forms the most splendid illustration1 can fail to be struck with the manifold points of resemblance presented by the urns before us with the most characteristic of the vase-types there represented4 ,the contour of the type referred to1 with its shoulders sometimes angular1 sometimes abruptly rounded off1 its inverted conical body divided into vertical zones by raised cordons1 and tapering off to a pedestal below1 can only be described as identical with that of some of the finest of the ,aylesford specimens4 ,the only perceptible difference is that1 whereas the ,british urns are almost uniformly covered with a black or brown coating--the colouring matter may have been supplied by pounded charcoal--zones of the ,euganean cineraries are coloured alternately with bands of graphite and red ochre4 ,some of the earlier of the ,este vases are1 however1 of plain dark brown bucchero1 and others1 again1 of later date1 of an uniform red or grey4 ,these ,north-,italian parallels have a still further value1 inasmuch as they throw the clearest possible light on the actual genesis of this type4 ,the cordoned vases of ,este are1 in fact1 nothing more than copies in clay of certain forms of bronze situl2 the commonest form of these1 which is distributed through the whole of the geographical area where these vases are discovered1 is zoned in the same way as the pots1 the zones answering to an universal method of early metal industry1 in accordance with which vessels were built up of bands of thin metal riveted together at the edges1 each zone being often1 in turn1 defined by cordons or beads of metal4 ,these cordons themselves in their more prominent form represent the wooden rings that surrounded and kept together the framework of wooden staves1 to which in early times the metal plates themselves were riveted40 #bec ,notizie degli ,scavi1 etc41 #ahhb1 pp4 #e-cg4 ,besides the pedestalled vases from ,aylesford1#bed made in imitation of the cordoned situl of bronze from the ,north-,italian region1 there are others1 perhaps derived from them1 with elegantly formed bases4 ,there are also vases without pedestals1 and having somewhat globular bodies as well as bowl-shaped and saucer-shaped pots4 ,most of these are now in the ,british ,museum4 #bed ,a fine example of this type from ,sandy1 ,beds1 is illustrated in ,t4 ,fisher's ,bedfordshire4 ,the following list gives the finds of pottery of a similar kind3-- ,list of ,localities where ,finds of ,late-,celtic ,pottery of the ,aylesford ,type have been made4 ,kit's ,coty ,house 7,maidstone ,mus47 ,kent4 ,allington 7,maidstone ,mus47 ,kent4 ,northfleet ,kent4 ,elveden ,essex4 ,shoebury ,essex4 ,braintree ,essex4 ,locality unknown 7,cambridge ,mus47 ,hitchin ,herts4 ,aston ,clinton 7,aylesbury ,mus47 ,bucks4 ,abingdon 7,ashmolean ,mus47 ,berks4 ,whitechurch 7,dorchester ,mus47 ,dorset4 ,weymouth 7,british ,mus47 ,dorset4 ,illustration3 ,,late-,,celtic ,,pottery ,,from ,,yarnton1 ,,oxfordshire2 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,illustration3 ,,late-,,celtic ,,pottery ,,from ,,kent',s ,,cavern1 ,,near ,,torquay1 ,,devonshire2 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,another class of pottery is recognised to belong to the ,late-,celtic period1 not so much by the forms of the vases 7because most of them are in a very fragmentary condition7 as by the patterns upon them1 which consist of incised curved lines1 circles1 dots1 and different kinds of cross-hatching and shading4 ,a list of the finds is given below4 ,list of ,localities where ,finds of ,late-,celtic ,pottery1 ornamented with ,incised ,lines1 ,circles1 ,dots1 and ,shading1 have been made4 ,hunsbury 7,northampton ,mus47 ,northamptonshire4 ,mount ,caburn 7,pitt-,rivers ,coll47 ,sussex4 7,british ,mus47 ,brighton 7,brighton ,mus47 ,sussex4 ,highfield ,pits1 near ,salisbury 7,blackmore ,mus41 ,salisbury7 ,wiltshire4 ,kent's ,cavern1 ,torquay 7,british ,mus47 ,devonshire4 ,glastonbury ,marsh ,village 7,glastonbury ,mus47 ,somersetshire4 ,kingsholm 7,ashmolean ,mus47 ,gloucestershire4 ,yarnton 7,british ,mus47 ,oxfordshire4 ,those who wish to compare the ,late-,celtic pottery of ,britain with ,gaulish pottery of the same character may1 with advantage1 consult the ,dictionnaire ,archologique de la ,gaule1 and ,paul du ,chatellier's ,la ,poterie aux poques prhistoriques et gauloise en ,armorique4 ,as far as the available evidence goes1 glass does not seem to have been used for any other purpose by the ,late-,celtic people except the manufacture of personal ornaments1 the most important of which were beads for necklaces4 ,some of the beads from ,ireland and ,scotland1 specimens of which may be seen in the museums at ,dublin and ,edinburgh1 are most artistically fashioned from twisted rods of glass of variegated colour bent into peculiar shapes4 ,they have been obtained from the ,irish crannogs at ,lagore1 ,co4 ,meath1 and ,lough ,ravel4 ,a bracelet of green glass1 with a cable-like ornament in white and blue strands surrounding its outer surface1 was found a few years ago in the crannog at ,hyndford1 ,co4 ,lanark4 ,,woodwork1 ,,bonework1 ,,and ,,the ,,kimmeridge ,,shale ,,industry ,owing to the perishable nature of the material very few examples of carved woodwork of the ,late-,celtic period are now in existence4 ,those which we do possess have been derived from the ,glastonbury ,marsh ,village and from the crannog at ,lochlee1 ,ayrshire4 ,mr4 ,arthur ,bulleid1 ,f4,s4,a41 has illustrated three specimens in an article on 8,some ,decorated ,woodwork from the ,glastonbury ,lake ,village0 in the ,antiquary for ,april1 #ahie1 p4 #aji4 ,no4 #a was dug up from the peat at a depth of #f feet #f inches below the surface1 near the south-east edge of the village4 ,it is a rectangular piece of wood dressed smooth all over1 #a foot #g inches long by #c inches wide by inch thick1 decorated on one side with a step-pattern shaded after the fashion of chequerwork1 with a cross-hatching of diagonal lines4 ,no4 #b is the stave of a small bucket1 which1 when complete1 must have been #g inches high by #e inches in diameter1 decorated with a lozenge pattern shaded with parallel straight lines4 ,no4 #c is a portion of a tub #f inches high by #a foot in diameter1 cut out of a solid piece of ash1 and having its exterior surface decorated with flowing lines of extreme beauty1 resembling scrolls of foliage converted into geometrical ornament by successive copying4 ,where the flowing lines diverge1 the trumpet-shaped expansions are shaded with diagonal cross-hatching and dots4 ,there is a good model of this tub in the ,british ,museum4 ,the designs on the woodwork from ,glastonbury are produced by incising the surface with some fine sharp-pointed tool1 and afterwards burnt in by passing a heated piece of metal along the incisions4 ,the specimen from the ,lochlee crannog1 which is illustrated in ,dr4 ,r4 ,munro's ,ancient ,scottish ,lake-,dwellings 7p4 #acd71 is a piece of ash #e inches square1 ornamented on one side with a triple spiral1 and on the other with ,late-,celtic flamboyant work4 ,a wooden bowl with a carved handle1 found in a bog near ,rathconrath1 ,co4 ,westmeath1 and now in the ,museum of the ,royal ,irish ,academy in ,dublin1 may possibly belong to the same category4 ,amongst the objects of bone belonging to the ,late-,celtic period the most remarkable are the spatul1 or flakes1 of which no less than #e1jjj are said to have been derived from cairn ,h of the ,slieve-na-,caillighe series1 near ,oldcastle1 ,co4 ,meath4 ,these chambered cairns were in the first instance erected as burial-places at the end of the ,neolithic ,age or the beginning of the ,bronze ,age1 and the one marked ,h on the plan given in the ,proc4 ,soc4 ,ant4 ,scot4 7vol4 xxvi41 p4 #bid7 appears to have been used as a workshop by an artificer in bone during the ,early ,iron ,age4 ,ninety-one of the bone spatul from the cairn in question were engraved by compass1 with circles1 curves1 and ornamental puncturings1 and twelve were decorated on both sides4 ,unfortunately the whole of the bones have been lost1 and we only know what they were like from the illustrations in ,e4 ,conwell's ,tomb of ,ollamh ,fodhla 7p4 #ec74 ,a fragment of one of these bones which had been overlooked by the previous explorers of the cairn has recently been brought to light by ,mr4 ,e4 ,crofton ,rotheram4#bee ,perhaps the most interesting feature connected with the bones from ,slieve-na-,caillighe is the discovery with them of the pair of iron compasses used in producing the incised designs upon them4 #bee ,journ4 ,r4 ,soc4 ,ant4 ,ireland1 ser4 #e1 vol4 vi41 p4 #beg4 ,besides the bones just described1 the other principal objects of the same material belonging to the ,late-,celtic period are certain toilet-combs and spoon-shaped fibul1 or dress-fasteners4 ,bone combs with ,late-,celtic ornament have been found on the inhabited site at ,ghegan ,rock1 near ,seacliff1 ,haddingtonshire1 and in the crannogs at ,lagore1#bef ,co4 ,meath1 ,ballinderry1#beg ,co4 ,westmeath2 and at ,longbank crannog on the ,clyde1 near ,glasgow4 ,spoon-shaped fibul of bone have been derived from the ,victoria ,cave1 ,settle1 the ,kelko ,cave1 ,giggleswick1 and ,dowkerbottom ,cave1 ,arncliffe1 ,yorkshire4 ,the ornament upon them consists of concentric circles and dots4#beh ,in addition to wood and bone1 the ,late-,celtic people used ,kimmeridge shale for the manufacture of objects1 chiefly turned vases with cordons1 like the ,aylesford pots previously described4 ,vessels of this kind have been found at ,old ,warden1#bei ,bedfordshire1 ,great ,chesterford#bfj and ,colchester1#bfa ,essex1 and ,corfe ,castle1#bfb ,dorset4 #bef ,sir ,w4 ,wilde's ,catal4 ,mus4 ,r4,i4,a41 p4 #bga1 fig4 #agf4 #beg ,ibid41 p4 #bga1 fig4 #agg4 #beh ,prof4 ,w4 ,boyd ,dawkins' ,cave-,hunting1 pp4 #ia and #aca4 #bei 8,on the ,materials of ,two ,sepulchral ,vessels found at ,warden1 ,co4 ,beds01 by the ,rev4 ,j4 ,s4 ,henslow 7,cambridge ,ant4 ,soc4 ,publ41 #ahdf74 #bfj ,archol4 ,jour41 vol4 xiv41 p4 #he4 #bfa ,henslow1 loc4 cit41 p4 #hg4 #bfb ,archol4 ,jour41 vol4 xxv41 p4 #cja4 ,,stonework ,only three sculptured monuments decorated with ,late-,celtic patterns are known to exist at present4#bfc ,they are all in ,ireland and are fully described by ,mr4 ,g4 ,coffey in the ,proceedings of the ,royal ,irish ,academy 7vol4 xxiv41 sect4 c1 p4 #beg74 #bfc ,at ,mullaghmast1 ,co4 ,kildare2 ,castle ,strange1 ,co4 ,roscommon2 and ,turoe1 ,co4 ,galway4 ,illustration3 ,,granite ,,monolith1 ,,with ,,late-,,celtic ,,sculpture1 ,,at ,,turoe1 ,,co4 ,,galway4 ,,height ,,of ,,stone1 #d ,,ft4 ,reproduced from a photograph by ,mr4 ,a4 ,mc,googan illustrating ,mr4 ,george ,coffey's paper in the 8,proceedings of the ,royal ,irish ,academy0 ,,chapter ,v ,,pagan ,,celtic ,,art ,,in ,,the ,,early ,,iron ,,age ,,technical ,,processes ,,employed ,,during ,,the ,,early ,,iron ,,age ,,in ,,britain ,the fact must never be lost sight of that the picture presented to our mind of any particular prehistoric stage of culture must necessarily be extremely imperfect1 since the extent of our knowledge is limited entirely by the number of relics which specially favourable circumstances have preserved from destruction4 ,of the textile fabrics of the ,late-,celtic period1 for instance1 hardly anything is known1 although we are certain that spinning and weaving must have been extensively practised from the quantities of long-handled weaving-combs1 spindle-whorls1 and loom-weights that have been found on almost every inhabited site4 ,a people who showed such a high capacity for decorative design could not have failed to produce good artistic effects by means of pattern-weaving4#bfd ,what such textile patterns may have been can only be guessed at by survivals 7like the ,scottish tartans7 or by ornament of a textile character occurring on objects made of less perishable materials 7like the step-pattern on a piece of wood from the ,glastonbury ,marsh ,village74 #bfd 8,the cloth was covered with an infinite number of little squares and lines as if it had been sprinkled with flowers1 or was striped with crossing bars which formed a chequered design4 ,their favourite colour was red or a pretty crimson40 ,c4 ,elton's ,origins of ,english ,history1 p4 #aad1 quoting ,pliny and ,diodorus ,siculus4 ,the ,celts had already become expert workers in metal before the close of the ,bronze ,age2 they could make beautiful hollow castings for the chapes of their sword-sheaths2 they could beat out bronze into thin plates and rivet them together sufficiently well to form water-tight caldrons2 they could ornament their circular bronze shields and golden diadems with repouss patterns1 consisting of corrugations and rows of raised bosses2 and they were not unacquainted with the art of engraving on metal4 ,the ,celt of the ,early ,iron ,age attained to a still higher proficiency in metallurgy than his predecessor of the ,bronze ,age4 ,casting in bronze was applied to a much larger number of objects than before1 such as-- ,handles of swords and daggers4 ,chapes of sword and dagger-sheaths4 ,bridle-bits4 ,harness-mountings and rings4 ,chariot fittings4 ,collars and armlets4 ,handles of tankards and mirrors4 ,spoon-like objects of unknown use4 ,wrought-bronze was used for-- ,sword and dagger-sheaths4 ,shields and helmets4 ,mountings of wooden buckets and tankards4 ,caldrons and buckets4 ,circular discs of unknown use4 ,the ornamental features of the objects of cast bronze were produced chiefly during the process of moulding1 although the surface was in many cases further beautified afterwards by chasing1 engraving1 and enamelling4 ,illustration3 ,late-,celtic ,bronze ,mirror from ,trelan ,bahow1 ,cornwall ,now in the ,british ,museum ,objects of wrought-bronze were usually decorated by means of repouss work1 i4e4 designs in relief hammered up from the back4 ,occasionally enamel was added 7as1 for example1 on the shield from the ,thames1 now in the ,british ,museum71 in the form of small plaques fixed on with rivets4 ,in place of the more or less crude corrugations and rows of raised pellets of the ,bronze ,age we get the most marvellous curved surfaces and conchoids1 executed with an unerring eye and a skill which it would be difficult to surpass4 ,the repouss work of the ,late-,celtic period is seen in its greatest perfection on the circular discs of unknown use#bfe in the ,museum of the ,royal ,irish ,academy in ,dublin1 and the ,british ,museum4 ,both cast and wrought objects of bronze were decorated with patterns composed of finely engraved lines shaded in places with a peculiar kind of cross-hatching or with dots4 ,the mirror-backs1#bff the sword-sheaths1#bfg and the harness-rings#bfh afford good examples of this class of work4 #bfe ,see p4 #aba4 #bff ,see list on p4 #aae4 #bfg ,see list on p4 #ia2 especially the one from ,lisnacroghera4 #bfh ,see list on p4 #id2 especially those from ,polden ,hill1 ,somerset4 ,illustration3 ,upper part of ,bronze ,sword-sheath from ,hunsbury ,now in the ,northampton ,museum ,brazing and soldering appear to have been unknown to the metalworkers of the ,late-,celtic period1 as they pieced their metalwork together by means of rivets4 ,the practice of riveting was learnt from the artificers who constructed the caldrons of the late ,bronze ,age already referred to1 and they1 no doubt1 in their turn1 acquired their knowledge from a foreign source4 ,the bronze helmet from the ,thames at ,waterloo ,bridge1 now in the ,british ,museum1 illustrates the riveting of the ,late-,celtic period at its best4 ,the rivets generally have pointed conical heads1 producing a good decorative effect4 ,the way in which the different pieces of metal are held together is often ingeniously disguised by making the rivet-heads form part of the ornament1 or by concealing the head behind a circular disc of enamel4 ,the evidence of both history and archology tends to show that the art of enamelling on metal was1 in the first instance1 a ,british one4 ,the historical evidence is confined to an oft-quoted passage from the ,icones of ,philostratus 7a ,greek sophist in the court of ,julia ,domna1 wife of the ,emperor ,severus71 which is as follows3-- 8,they say that the barbarians who live in the ocean pour these colours on heated brass1 and that they adhere1 become hard as stone1 and preserve the designs that are made upon them40 ,philostratus wrote this at the beginning of the third century ,a4,d42 and by 8the barbarians who live in the ocean0 7 7 he no doubt meant the ,britons rather than the ,gauls1 as some ,french writers have assumed4#bfi #bfi ,a4 ,w4 ,franks in ,kemble's ,hor ,ferales1 p4 #ahf4 ,the earliest enamels are those which occur on objects decorated in the pure ,late-,celtic style without any trace of ,roman influence1 such as-- ,bridle-bits from ,rise1 near ,hull1 ,yorkshire2 and ,birrenswark1 ,dumfriesshire4 ,harness-rings and mountings from-- ,norton ,suffolk4 ,westhall ,suffolk4 ,alfriston ,sussex4 ,polden ,hill ,somersetshire4 ,london ,middlesex4 ,saham ,toney ,norfolk4 ,uffizi ,museum ,florence4 ,british ,museum ,locality unknown4 ,armlets from ,castle ,newe1 ,aberdeenshire2 and ,pitkelloney1 ,perthshire4 ,handles of bowl from ,barlaston1 ,staffordshire4 ,next1 in order of age1 come objects which from their general form or from the associations they were found in are known to belong to the ,romano-,british period1 but yet have ,late-,celtic decoration upon them1 such as-- ,harp-shaped fibul from ,risingham1 ,northumberland1 ,river ,tyne1 in the ,newcastle ,museum4 ,s-shaped fibul from ,norton1 ,yorkshire1 and other places 7see list on p4 #ajg74 ,seal-box from ,lincoln1 in the ,british ,museum4 ,four-legged stand1 with round hole in the top1 from ,silchester1 in the ,reading ,museum4 ,lastly1 there are survivals of the use of discs of ,late-,celtic enamel in the decoration of bowls of early ,saxon1 and therefore post-,roman1 age1 the following examples of which have been found3-- ,list of ,localities where ,bowls of the ,saxon ,period1 but with ,late-,celtic enamelled decoration1 have been found4 ,crosthwaite 7,british ,mus47 ,cumberland4 ,middleton ,moor 7,sheffield ,mus47 ,derbyshire4 ,over-,haddon ,derbyshire4 ,benty ,grange ,derbyshire4 ,chesterton 7,warwick ,mus47 ,warwickshire4 ,caistor 7now lost7 ,lincolnshire4 ,oxford 7,pitt-,rivers ,collection7 ,oxfordshire4 ,needham ,market 7now lost7 ,suffolk4 ,barrington 7,sir ,john ,evans' ,collection7 ,cambridgeshire4 ,lullingstone 7,sir ,w4 ,hart ,dyke's ,collection7 ,kent4 ,greenwich 7,mr4 ,j4 ,brent's ,collection7 ,kent4 ,kingston ,down ,kent4 ,the hammer-headed pins1 a list of which has already been given on page #ajh1 are also instances of the use of ,celtic enamel in post-,roman times4 99 99 99 99 99 ,before going further it may be as well to say a few words about the art of enamelling in general1 so as to show the position occupied by the ,late-,celtic examples4 ,the term enamel is used to designate a particular kind of mixture or paste which can be applied to the surface of metals or other materials1 so that when it has been vitrified by the application of heat1 and afterwards cooled1 it forms a decoration of great beauty and durability4 ,the base of all enamels is a flux composed of silica 7in the shape of silver sand or powdered flint71 red lead1 and potash4 ,to this flux are added certain metallic oxides to produce different colours1 and1 if necessary1 oxide of tin to render it opaque4 ,the materials are mixed together1 fused in a crucible1 reduced to a fine powder when cold1 made into a paste with water1 and then applied to the surface of metal to be decorated4 ,after vitrifaction in a furnace and polishing1 the enamel is complete4 ,mr4 ,a4 ,w4 ,franks#bgj divides enamels into the following classes3-- #bgj ,afterwards ,sir ,wollaston ,franks2 see ,glass and ,enamel1 by ,j4 ,b4 ,waring and ,a4 ,w4 ,franks4 7#a7 ,inlaid ,enamel1 where the outlines are formed by metal divisions4 7#b7 ,transparent ,enamel1 where the outlines and all the markings are produced by variations of depth in the sculptured ground over which the vitreous material is floated4 7#c7 ,painted ,enamel1 where the outlines are made by a difference in the tint of the enamel itself1 which completely conceals the metal base beneath4 ,the divisions between each of the colours in inlaid enamel are produced in two different ways1 namely3-- 7a7 ,champlev ,enamel1 where the field 7champ7 or area to be occupied by each colour is dug out and removed 7lev71 so as to leave a very narrow band of metal at the level of the original surface to form the dividing line between the fields4 7b7 ,cloisonn ,enamel1 where the divisions or partitions 7cloison7 between the fields consist of thin strips of metal bent into the required shape and fixed to the surface to be enamelled4 ,all the enamels of the ,late-,celtic period belong to the champlev kind4 ,the colours used are bright red1 yellow and blue1 and the designs are more often curvilinear than not1 like those on the repouss metalwork4 ,the patterns were probably traced on the surface of the metal to be decorated with a finely pointed instrument1 and the hollows to receive the enamel dug out with a scooping tool1 in the case of small work1 or with a long thin chisel and a chaser's hammer where the work was larger4 ,illustration3 ,,cruciform ,,harness-,,mounting ,,of ,,bronze ,,enamelled4 ,,locality ,,unknown2 ,,now ,,in ,,the ,,british ,,museum ,,scale #a_/a ,,linear ,illustration3 ,,bronze ,,enamelled ,,harness-,,mounting ,,from ,,polden ,,hill1 ,,somersetshire2 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,the late ,sir ,wollaston ,franks1 than whom no better authority can be quoted1 always maintained the ,celtic origin of the art of enamelling in ,western ,europe1 and gave the distinctive name of opus ,britannicum to the special kind of enamel which was produced in greater perfection by the ,celts inhabiting the ,british ,isles than by any other people4 ,the art of enamelling in the purely ,celtic style commenced before the arrival of the ,romans in this country1 and after continuing throughout the whole period of their occupation1 survived for some centuries after their departure from our shores4 ,there are1 however1 numerous enamels which1 though very possibly of ,celtic workmanship1 are altogether ,roman as far as the ornamental patterns upon them are concerned4 ,dr4 ,joseph ,anderson has described an exquisitely enamelled patera of this kind found in ,linlithgowshire1 and now in the ,museum of ,antiquities of ,edinburgh4 ,he says of it3--#bga #bga 8,notice of an enamelled cup or patera of bronze found in ,linlithgowshire1 recently purchased for the ,museum10 in the ,proc4 ,ant4 ,scot41 vol4 xix41 p4 #de4 8,apart from the singular beauty of its decoration it is possessed of this special interest1 that it is the only vessel of its kind and character known to exist in ,scotland4 ,it is1 however1 one of a class of objects1 which1 though few in number1 are pretty widely distributed over the area1 which may be termed the outskirts of the ,roman ,empire1 towards the north and west--that is ,britain1 ,north ,germany1 and ,scandinavia4 ,we look in vain for anything like it within the area of the ,roman ,empire proper1 and it may therefore be regarded as a product of a culture of some portion of the area of north-western ,europe1 where it was touched and modified by the ,roman culture40 ,other similar examples of enamelled vessels have been found at ,braughing1#bgb near ,standon1 ,herts2 the ,bartlow ,hills1#bgc ,essex2 ,maltbeck1#bgd ,denmark2 and ,pyrmont1#bge in the ,rhine valley4 ,in addition to these we have two other enamelled vessels1 but differing in their style of ornament1 one from ,rudge1#bgf ,wilts1 now in the ,duke of ,northumberland's private museum at ,alnwick ,castle1 and the other from ,prickwillow1#bgg ,cambridgeshire1 now in the ,british ,museum4 #bgb ,proc4 ,soc4 ,ant4 ,lond41 #bnd ser41 vol4 iv41 p4 #ead4 #bgc ,archologia1 vol4 xxvi41 p4 #cjj4 #bgd ,mm4 de la ,soc4 ,royale des ,antiquaires du ,nord1 #ahff-ga1 p4 #aea4 #bge ,jahrbcher des ,vereins von ,alterthumsfreunden in ,rheinlande1 heft #ch1 p4 #dg4 #bgf ,catal4 of ,mus4 of ,r4 ,archol4 ,inst4 at ,edinburgh1 #ahef4 #bgg ,archologia1 vol4 xxviii41 p4 #dcf4 ,of the art of enamelling as carried on elsewhere than in ,britain ,dr4 ,anderson says3--#bgh #bgh ,loc4 cit41 p4 #di4 8,the ,gauls as well as the ,britons--of the same ,celtic stock--practised enamel-working before the ,roman conquest4 ,the enamel workshops of ,bibracte1 with their furnaces1 crucibles1 moulds1 polishing-stones1 and with the crude enamels in their various stages of preparation1 have been recently excavated from the ruins of the city destroyed by ,csar and his legions4 ,but the ,bibracte enamels are the work of mere dabblers in the art compared with the ,british examples4 ,the home of the art was ,britain1 and the style of the patterns as well as the associations in which the objects decorated with it were found1 demonstrate with certainty that it had reached its highest stage of indigenous development before it came in contact with the ,roman culture40 ,a full account of the discoveries made at ,bibracte will be found in ,j4 ,g4 ,bulliot's ,fouilles de ,mont ,beuvray4 ,several beautiful enamels have been derived from the ,belgo-,roman cemetery at ,presles4 ,romano-,british enamels1 without distinctively ,celtic patterns upon them1 have been dug up at many places in ,great ,britain1 but more especially at ,prickwillow4 ,we shall see in a subsequent chapter how the divergent spiral patterns on the circular discs of enamel used to decorate the bronze bowls of the end of the ,late-,celtic period were transferred bodily to the pages of the early ,irish illuminated ,,mss4 of the ,gospels4 ,another method of ornamenting metalwork besides enamelling was by means of settings of different materials fixed in place by small pins or rivets4 ,as instances we have the bronze shield from the ,river ,witham1#bgi now in the ,british ,museum1 set with red coral2 the bronze fibula from ,datchet1 ,oxon1#bhj set with amber and blue glass2 and most curious of all1 a bronze object of unknown use from ,carlton1#bha ,northamptonshire1 now in the ,northampton ,museum1 inlaid with portions of the stem of a fossil encrinite4 ,a very effective kind of decorative metalwork may be made out of wire1 bent so as to form a series of loops1 of which we have ,british examples in the bracelets from the ,early ,iron ,age burial in ,deepdale1#bhb ,derbyshire2 and a foreign specimen in a fibula from the cemetery of the ,la ,tne period at ,jezerine1#bhc in ,bosnia-,herzegovina4 #bgi ,j4 ,kemble's ,hor ,ferales1 p4 #ad1 and pl4 #ae4 #bhj ,proc4 ,soc4 ,ant4 ,lond41 ser4 #b1 vol4 xv41 p4 #aia4 #bha ,ibid41 ser4 #b1 vol4 xvii41 p4 #aff4 #bhb ,the ,reliquary for #ahig1 p4 #aja4 #bhc ,r4 ,munro's ,boznia-,herzegovina1 p4 #agj4 ,more or less akin to the looped wirework just mentioned are certain gold and silver chains made of fine wire4 ,dr4 ,arthur ,evans has gone pretty fully into this subject in his paper in the ,archologia 7vol4 lv41 p4 #cid71 describing the find of gold ornaments at ,broighter1 near ,limavady1 ,co4 ,londonderry1 amongst which were two chains of the kind referred to4 ,the art of making these chains was no doubt of foreign origin1 as they have been found in ,etruscan tombs of the fifth century ,b4,c4 in ,italy2 with burials of the ,la ,tne period in the cemetery of ,jezerine1 in ,bosnia2 and in a tomb in the ,gaulish cemetery of ,ornovasso1 in the province of ,turin4 ,in ,britain such chains were used during the period of the ,roman occupation for the attachment of fibul worn in pairs1 as in the case of those from ,chorley1#bhd ,lancashire1 and from ,newcastle-on-,tyne1#bhe ,northumberland4 ,we shall see in a subsequent chapter that the manufacture of these finely wrought chains of silver survived in early ,christian times in ,ireland1 the best-known examples being those attached to the ,tara brooch1#bhf and to an enamelled pin from ,clonmacnois4#bhg ,with regard to the date of the chains1 ,dr4 ,arthur ,evans says3--#bhh 8,it thus appears that these fine chains were in use among the ,celtic peoples during the first two centuries before and after our era4#bhi ,in ,britain1 however1 the finest class is1 as far as ,i am aware1 confined to the latter half of this period2 the chains attached to the earlier ,british fibul1 like the one in the ,british ,museum from the ,warren1#bij near ,folkestone1 which may date from the second century ,b4,c41 being1 like those referred to from the ,champagne#bia cemeteries1 of simpler and coarser construction40 #bhd ,the ,reliquary for #aija1 p4 #aih4 #bhe ,ibid4 for #ahie1 p4 #aeg4 #bhf ,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #ge4 #bhg ,jour4 ,r4 ,soc4 ,ant4 of ,ireland1 ser4 #e1 vol4 i41 p4 #cah4 #bhh ,archologia1 vol4 lv41 p4 #cif4 #bhi ,dr4 ,a4 ,evans appears to have forgotten the ,christian survivals in ,ireland4 #bij ,the ,reliquary for #aija1 p4 #aig4 #bia ,the coarser chains are made of ordinary circular or oval links1 sometimes double 7see illustrations given in the ,dictionnaire ,archologique de la ,gaule of those from the ,marnian cemeteries74 ,ornamental ironwork of the ,late-,celtic period is extremely rare1 either because the smiths were too busily employed in making weapons for the warrior and tools for the artisan to devote their time to decorative work1 or because the specimens of their handiwork have disappeared in consequence of the perishable nature of the material of which they were made4 ,fortunately1 however1 the fire-dogs from ,capel ,garmon1#bib now at ,colonel ,wynne ,finch's house at ,voelas1 are still in existence to show us what fine ornamental ironwork the ,welsh smiths of the ,romano-,british period were capable of producing4 ,turning now from the metalwork to the pottery of the ,late-,celtic period1 we find it to consist of unglazed vessels made on a wheel1 fired in a kiln1 and ornamented either by mouldings or by patterns engraved on the surface with a pointed instrument4 ,the technical processes employed in its manufacture do not seem to have differed essentially from those of the ,romano-,british potters1 except that slip-ware was unknown4 ,as far as ,i am aware1 no painted pottery like that from ,mont ,beuvray#bic 7,bibracte71 nor vessels incrusted with pebbles and polished with graphite like the one from ,plouhinec#bid 7,finistre7 now in ,m4 ,paul du ,chatellier's collection at the ,chteau de ,kernuz1 near ,quimper1 have yet been discovered in this country4 #bib ,archologia ,cambrensis1 ser4 #f1 vol4 i41 p4 #ci4 #bic ,see ,j4 ,g4 ,bulliot's ,fouilles de ,mont ,beuvray4 #bid ,see ,revue ,archologique for #ahhc1 p4 #aa4 ,as far as the existing evidence goes no ornamental glasswork was made during the ,late-,celtic period in ,britain except certain beads and armlets already described4 ,the technical process of manufacturing these beads consisted in twisting together fine rods of different coloured glass1 and then bending the composite rod into loops round a mandril so as to form the bead4 ,illustration3 ,late-,celtic ,pottery from the ,glastonbury ,lake ,village ,the art of the ornamental worker in wood in the ,late-,celtic period is displayed at its best in the tankards1 buckets1 and tubs of which1 fortunately1 a few interesting specimens have been preserved4 ,the tankard from ,trawsfynydd1#bie ,merionethshire1 now in the ,liverpool ,museum1 shows great ingenuity of construction1 the staves of which it is composed being kept together at the bottom by a corrugated wire let into the ends of the staves4 ,another tankard1 belonging to ,mr4 ,t4 ,layton1#bif ,f4,s4,a41 has the staves fastened together with wooden dowels and pins4 #bie ,archologia ,cambrensis1 ser4 #e1 vol4 xiii41 p4 #bab4 #bif ,archologia1 vol4 lii41 p4 #cei4 ,we have already described how the engraved patterns were produced on the ornamental woodwork from the ,glastonbury ,marsh ,village by a finely pointed instrument1 and afterwards burnt in4 ,ornamental objects were also made out of bone and ,kimmeridge shale during the ,late-,celtic period1 but there is nothing special to call for any comment in the technical methods employed1 except to mention that the patterns on the bone objects were often engraved by means of a pair of compasses1 and that the vessels of ,kimmeridge shale were turned on a lathe4 ,of the basketry in which the ,celts excelled in the time of ,csar#big no specimens are now extant1 but no doubt their natural talent for decorative art showed itself in this native industry of ,britain1 as in all others4 #big ,c4 ,elton's ,origins of ,english ,history1 p4 #abb4 ,,leading ,,characteristics ,,of ,,the ,,late-,,celtic ,,style ,,of ,,art ,once the eye of a trained archologist has become familiar with the general appearance of the art products of the ,late-,celtic school1 it is comparatively easy for him to recognise other products of the same school almost by intuition2 but he would find it a much more difficult task if he were asked to define exactly what the peculiarities are by which he is enabled to distinguish this particular style from any other4 ,most of the decorative elements composing the style are of so fantastic and original a nature as to impress themselves first on the retina of the eye1 and then on the mind2 yet1 on that very account1 they seem to elude the descriptive powers of the writer4 ,the motives employed are neither purely geometrical in character nor have they been obviously arrived at by conventionalising natural forms1 but are something between the two1 being 7like the designs on the ancient ,british coins7 the result of successive copying4 ,we will1 however1 notwithstanding the difficulties that have been pointed out1 endeavour to analyse the decoration of the ,late-,celtic period as far as it is possible to do so4 ,unlike the art of the ,bronze ,age1 the art of the ,late-,celtic period does not appear to have been in any way influenced by religious symbolism1 and therefore must be looked upon as purely decorative4 ,the designs may be divided into three classes as regards the method of their execution1 namely3-- 7#a7 ,designs engraved on a flat surface4 7#b7 ,designs in relief on a flat surface4 7#c7 ,designs in the round4 ,the designs themselves may be classified as follows3-- 7#a7 ,anthropomorphic designs4 7#b7 ,zomorphic designs4 7#c7 ,designs derived from foliage4 7#d7 ,curvilinear geometrical designs4 7#e7 ,rectilinear geometrical designs4 ,anthropomorphic and zomorphic designs are extremely rare in ,late-,celtic art in ,great ,britain1 and the two best-known examples--the buckets from ,marlborough#bih and ,aylesford#bii--;have1 according to ,dr4 ,arthur ,evans1 been imported from ,gaul4 ,the ,marlborough bucket is encircled by four horizontal metal bands1 the upper three of which are decorated with human heads and pairs of animals in repouss work4 ,the projections at each side of the rim1 to which the crossbar at the top is attached1 have pairs of human heads upon them4 ,the mountings of the ,aylesford bucket consist of three bronze bands1 the lower two of which are plain and the uppermost one ornamented with pairs of animals and a peculiar kind of scrollwork4 ,each of the attachments for the handle at the top has upon it a single human head surmounted by a sort of crested helmet4 #bih ,sir ,r4 ,c4 ,hoare's ,ancient ,wilts1 vol4 ii41 p4 #cd1 and ,w4 ,cunnington's ,catal4 of ,stourhead ,coll4 in ,devizes ,museum1 p4 #hh4 #bii ,archologia1 vol4 lii41 p4 #cgd4 ,the style of the art of the two buckets is the same1 and corresponds in some respects with that of the ,gaulish coins1#cjj and in others with that of the sword-sheaths from ,la ,tne#cja and the bronze situl from ,hallstatt1 ,watsch1 and ,certosa4#cjb ,dr4 ,arthur ,evans has dealt so exhaustively with the details of these buckets and the origins of the art they exhibit in his paper on the ,aylesford find in the ,archologia1#cjc that there is really little more to be said on the subject4 ,it may1 however1 be worth while directing attention to the scrolls hanging down from the mouths of one of the pairs of beasts on the ,marlborough bucket4 ,anyone unacquainted with the origin of these scrolls would probably mistake them for the animal's tongue protruding from its mouth1 but on comparing the designs on the ,marlborough bucket with those on the situl just referred to1 the scrolls will be seen to be simply degraded copies of the branch of a tree on which the animal is feeding4 ,the art metalworkers who made the situl were1 in fact1 in the habit of using a simple convention for emphasising the difference between the herbivorous and carnivorous animals by showing1 in one case1 the branch of a tree1 and in the other the leg of its prey protruding from its mouth4 ,the ,celtic copyists were either ignorant of this convention or disregarded it1 so that in their hands both the branches and legs were soon converted into meaningless scrolls bearing hardly any resemblance to the original4 ,throughout the whole range of ,celtic art there is displayed a tendency when dealing with plants and animals to transform first the details and afterwards the whole thing represented into curvilinear geometrical ornament4 #cjj ,dictionnaire ,archologique de la ,gaule4 #cja ,e4 ,vouga1 ,les ,helvtes ,la ,tne4 #cjb ,illustrated in the second edition of ,dr4 ,r4 ,munro's ,boznia-,herzegovina1 p4 #djg4 #cjc ,vol4 lii41 p4 #cfj4 ,besides the buckets just described1 there are a few other examples of zomorphic designs in ,late-,celtic art1 amongst which are the small bronze figures of animals found at ,hounslow1#cjd ,middlesex1 now in the ,british ,museum2 the bronze armlet1 terminating in serpents' heads1 from the ,culbin ,sands1#cje ,elginshire2 the knife-handle1 terminating in a bull's head1 from ,birdlip1#cjf ,gloucestershire2 the iron fire-dogs1#cjg with uprights terminating in horned beasts' heads1 from ,mount ,bures1 ,essex1 ,hay ,hill1 ,cambridgeshire1 and ,shefford1 ,bedfordshire2 the horned bronze helmet from ,torrs1#cjh ,kirkcudbrightshire1 now at ,abbotsford2 the swine's head from ,liechestown1#cji ,banffshire1 now in the ,banff ,museum2 and the bull's head from ,ham ,hill1#caj ,somerset1 in the ,taunton ,museum4 #cjd ,proc4 ,soc4 ,ant4 ,lond41 ser4 #b1 vol4 iii41 p4 #ij4 #cje ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #aef4 #cjf ,trans4 ,bristol and ,gloucestersh4 ,archol4 ,soc41 vol4 v41 p4 #acg4 #cjg ,archologia ,cambrensis1 ser4 #f1 vol4 i41 p4 #da4 #cjh ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #aac4 #cji ,ibid41 p4 #aag4 #caj ,proc4 ,somersetsh4 ,archol4 ,soc41 ser4 #c1 vol4 viii41 p4 #cc4 ,illustration3 ,engraved ,ornament on ,late-,celtic ,wooden ,tub found at the ,glastonbury ,lake ,village ,illustration3 ,ornament on backs of handles of pair of ,late-,celtic ,spoons from ,weston1 near ,bath ,scale #a_/a linear ,the heads of the bull on the knife-handle from ,birdlip1 and the beasts on the fire-dogs from ,hay ,hill and ,shefford1 have horns with round knobs on the end of each4 ,beasts with knobbed horns of this kind are represented on the ,scandinavian gold bracteates#caa of the ,early ,iron ,age1 generally associated with the swastika symbol4 ,similar horns are to be seen on the helmet of a small bronze figure found in ,denmark2#cab on a figure depicted on the silver bowl from ,gundestrup1#cac ,jutland2 and on the handles of gold vessels from ,rnninge1#cad ,boeslund1#cae and ,fyen1#caf ,denmark4 ,the horns probably have some religious significance4 #caa ,prof4 ,g4 ,stevens' ,old ,northern ,runic ,monuments4 #cab ,j4 ,j4 ,a4 ,worsaae's ,industrial ,arts of ,denmark1 p4 #aji4 #cac ,sophus ,mller in ,nordiske ,fortidsminder1 pt4 #b1 pl4 #aj4 #cad ,a4 ,p4 ,madsen's ,bronze ,age1 ii41 pl4 #be4 #cae ,industrial ,arts of ,denmark1 p4 #aje4 #caf ,p4 ,b4 ,du ,chaillu's ,viking ,age1 vol4 i41 p4 #ig4 ,foliage so slightly conventionalised as to be easily recognised as such cannot be said to exist in ,late-,celtic art1 yet the foliageous origin of many of the designs at once betrays itself in the undulating curves with scrolls repeated at regular intervals on each side of what may be called the stem-line4 ,we cannot select any better examples as illustrating this than the two beautiful bronze sword-sheaths from the crannog at ,lisnacroghera1#cag ,co4 ,antrim4 ,here the portions of the designs which represent the principal stem consist of two lines running close together parallel to each other until they reach the point where a smaller stem branches off1 when they diverge4 ,the smaller stems1 like the principal stem1 consist of parallel lines running close together1 and these1 again1 diverge to form what represents the leaf4 ,the ends of the leaves terminate in small spirals and their general shape resembles that of what are known as arabesques4 ,we thus get the long sweeping ,s-shaped curves and the alternate contractions and expansions of the space between the two boundary lines which are common to nearly all ,late-,celtic ornament4 ,now1 for some inscrutable reason1 the natural forms of plant life never seem to have appealed to the ,celtic mind in the way they did1 for instance1 to the ecclesiastical sculptors of the twelfth and thirteenth centuries4 ,consequently the designs which were in the first instance copied from foliage soon became transformed into a succession of beautiful flamboyant curves1 pleasing to the eye unquestionably1 but suggesting but little to the mind as to their meaning4 ,in reference to this1 ,dr4 ,arthur ,evans remarks3--#cah #cag ,jour4 ,r4 ,hist4 and ,a4 ,a4 of ,ireland1 ser4 #d1 vol4 vi41 pp4 #chd-ij4 ,the decoration of a wooden tub found at the ,glastonbury ,marsh ,village affords another very good instance of a ,late-,celtic pattern derived from foliage4 #cah ,archologia1 vol4 lv41 p4 #djd4 ,illustration3 ,,upper ,,part ,,of ,,bronze ,,sword-,,sheath1 ,,from ,,lisnacroghera1 ,,co4 ,,antrim2 ,,now ,,in ,,the ,,british ,,museum ,illustration3 ,,lower ,,part ,,of ,,bronze ,,sword-,,sheath1 ,,from ,,lisnacroghera1 ,,co4 ,,antrim2 ,,now ,,in ,,the ,,british ,,museum 8,the tendency of all ,late-,celtic art was to reduce all naturalistic motives borrowed by it from the classical world to geometrical schemes4444 ,yet the whole history of ,late-,celtic art instructs us that this geometrical scheme1 elaborate as it is1 was originally based on ornaments of a naturalistic kind40 ,once the foliageous origin of the flamboyant patterns was lost sight of or disregarded1 it became easy to elaborate fresh designs by placing the forms derived from the leaves and stems of plants in all sorts of unnatural positions relatively to each other1 as1 for instance1 on the pair of bronze spoon-like objects from ,weston1 near ,bath1 which are now in the ,edinburgh ,museum of ,antiquities1 and in a particular class of pierced ornaments1 several of which are illustrated in ,l4 ,lindenschmit's ,die ,alterthmer unserer heidnischen ,vorzeit4#cai #cai ,vol4 i41 pt4 x41 pl4 #f2 vol4 ii41 pt4 viii41 pl4 #e2 vol4 iii41 pt4 vii41 pl4 #f4 ,compare these with the ornament found at ,silchester1 illustrated in the ,archologia1 vol4 liv41 p4 #dgj4 ,a still further transformation resulted from the practice of drawing the various curves by means of a pair of compasses1 and once this mechanical method had been adopted the temptation to introduce complete circles of different sizes into the designs would follow as a matter of course4 ,this is very clearly seen on the ornamented bone spatul from ,slieve-na-,caillighe1 ,co4 ,meath1 already referred to as having been found with a pair of iron compasses2 and also on backs of the bronze mirrors1 of which a list is given on p4 #aae4 ,it is most remarkable that the ,late-,celtic artists should have succeeded in doing what has baffled everyone else before or since1 namely1 in producing 8sweet0 curves by means of a combination of circular arcs4 ,illustration3 ,engraved ,bone object from ,slieve-na-,caillighe1 ,co4 ,meath ,illustration3 ,,handle ,,of ,,late-,,celtic ,,bronze ,,tankard ,,from ,,trawsfynydd1 ,,merionethshire2 ,,now ,,in ,,the ,,mayer ,,museum1 ,,liverpool ,illustration3 ,,bridle-,,bit ,,of ,,bronze ,,enamelled ,,from ,,rise1 ,,near ,,hull1 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,lastly1 when the patterns which had thus been evolved from natural foliage on a flat surface were transferred to the relief of the repouss metalwork1 and raised bosses1 volutes1 and round plaques of enamel substituted for the complete flat circles1 an entirely new style of decoration was brought into existence4 ,the most appropriate name that can be given to this particular kind of ,celtic ornament is flamboyant work4 ,the ,french word flamboyer means to blaze1 and the ,gothic window tracery of the fourteenth century1 in which ,s-shaped curves predominate1 is called flamboyant on account of its resemblance to tongues of flame4 ,the handle of the ,late-,celtic tankard from ,trawsfynydd1#cbj ,merionethshire1 now in the ,liverpool ,museum1 if reproduced in stone on a larger scale1 would certainly be mistaken for a piece of ,gothic tracery1 so that it may almost be looked upon as a blasphemous anticipation of ,christian art by the ,pagan ,celt4 #cbj ,archologia ,cambrensis1 ser4 #e1 vol4 xiii41 p4 #bab4 ,the best examples of the ,late-,celtic flamboyant work1 for purposes of study1 are the bronze shield from the river ,thames1 a circular disc of unknown use from ,ireland1 both in the ,british ,museum2 the gold collar from ,limavady1 ,co4 ,londonderry1 in the ,museum of the ,royal ,irish ,academy1 ,dublin2 and the sica fibula1 in the ,newcastle ,museum4 ,there is also a disc in the ,dublin ,museum of similar design to the one in the ,british ,museum1 which is worth comparing with it4 ,the whole design of the shield from the ,thames is arranged with a due regard to symmetry4 ,the small circular plaques of enamel1 which are a leading feature in the scheme of decoration1 are placed in definite positions1 in groups of four and eight1 around a central plaque within a raised boss4 ,the plaques are connected by ,s-shaped curves in relief1 which vary in width and in height above the background in different places4 ,the highest part of the curve is emphasised by a sharp ridge which does not traverse the whole length of the curve midway between the margins1 but at one place approaches near one edge1 and a little further on approaches the other4 ,an extremely complicated solid1 bounded by curved surfaces1 is thus formed1 the appearance of which can only be realised by seeing the thing itself or a model of it4 ,illustration3 ,fibula of ,bronze-,gilt from sica ,now in the ,newcastle ,museum4 ,scale #a_/a linear ,illustration3 ,,detail ,,of ,,ornament ,,on ,,late-,,celtic ,,bronze ,,shield ,,from ,,the ,,thames ,,at ,,battersea2 ,,now ,,in ,,the ,,british ,,museum ,illustration3 ,flamboyant ,ornament on ,collar from ,broighter1 ,limavady1 ,co4 ,londonderry ,the circular bronze discs and the gold collar from ,ireland exhibit a class of flamboyant work which is somewhat different from that on the shield from the ,thames1 and is still further removed from the original foliage motive designs4 ,here conchoids take the place of the circular enamelled plaques arranged in symmetrical positions1 and the curves connecting them with each other have the trumpet-shaped terminal expansions1 which are so characteristic of the ,late-,celtic style1 very highly developed4 ,a further modification that disguises the foliageous origin of the design is the substitution of two ,c-shaped curves meeting at an angle for the more gracefully flowing ,s-shaped curves4 ,examples of a running pattern composed of ,c-shaped curves meeting at an angle in the way described1 occur on a bronze collar from ,lochar ,moss1#cba ,dumfriesshire1 now in the ,british ,museum 7see p4 #aab74 ,a running pattern composed of ,c and ,s-shaped curves alternately meeting at an angle occurs on the enamelled mounting of a bronze bowl from ,barlaston1#cbb ,staffordshire4 ,we have pointed out the changes due to copying in relief a design engraved on a flat surface2 but curiously enough when the decoration of the repouss metalwork was again transferred to a flat surface1 as in the enamelled fittings of the bronze bowls and in the spiral ornamentation of the illuminated ,,mss4 of the ,christian period1 it did not return to what it was before1 but became still more unlike its foliageous prototype4 ,it will be noticed that the ends of the trumpet-shaped expansions on the bronze discs and gold collar being in the highest relief catch the light4 ,in the ,,mss4 and enamels this effect is imitated by small almond-shaped spots of a different colour from the rest4 ,the beautiful repouss ornament on the bronze mirror from ,balmaclellan1#cbc ,kirkcudbrightshire1 now in the ,edinburgh ,museum of ,antiquities1 supplies us with another instance of little raised bosses which were afterwards reproduced on the flat by means of colour in the ,christian ,,mss4 #cba ,archologia1 vol4 xxxiii41 p4 #cdg4 #cbb ,ibid41 vol4 lvi41 p4 #dd4 #cbc ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #abg4 ,illustration3 ,spiral ,ornament in ,illuminated ,,ms4 copied from repouss metalwork ,illustration3 ,,circular ,,disc ,,of ,,bronze ,,with ,,repouss ,,ornament ,,from ,,ireland2 ,,now ,,in ,,the ,,british ,,museum ,illustration3 ,,bronze ,,enamelled ,,harness-,,ring ,,from ,,westhall1 ,,suffolk2 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,many of the curvilinear ,late-,celtic patterns which are used to fill a circular space are based upon the triskele and the swastika4 ,a good example of a curved swastika pattern occurs on each of the three enamelled handles of a bronze bowl found at ,barlaston1#cbd ,staffordshire4 ,triskele designs are much more common1 especially on the round disc fibul1 specimens of which have been found at ,silchester1#cbe ,hampshire2 ,brough1#cbf ,westmoreland2 and in the ,victoria ,cave1#cbg near ,settle1 ,yorkshire4 ,there are other instances on the bronze tankards from ,elveden1#cbh ,essex1 and ,trawsfynydd1#cbi ,merionethshire2 on the bronze shield from the ,thames1#ccj now in the ,british ,museum2 on a bronze disc-and-hook ornament in the ,dublin ,museum2#cca on a bronze plate in the ,welshpool ,museum2#ccb on some bronze harness-mountings 787#h from ,south ,shields2#ccc on bronze wheel-shaped pendants from ,seamill ,fort1#ccd ,ayrshire1 from ,berkshire1 now in the ,british ,museum1 from ,kingsholm1#cce near ,gloucester1 and from ,treceiri1 ,carnarvonshire4 ,these designs may have had a symbolical origin1 as the triskele was a well-known sun symbol in the ,bronze ,age4 ,the triskele arrangement of three spirals round a central spiral survived in the decoration of the illuminated ,,mss4 of the ,christian period4 #cbd ,archologia1 vol4 lvi41 p4 #dd4 #cbe ,now at ,strathfieldsaye ,house4 #cbf ,proc4 ,soc4 ,ant4 ,lond41 ser4 ,i1 vol4 iv41 p4 #abi4 #cbg ,historic ,soc4 of ,lanc4 and ,cheshire1 ,trans4 for #ahff1 p4 #aii4 #cbh ,archologia1 vol4 lii41 p4 #cei4 #cbi ,archologia ,cambrensis1 ser4 #e1 vol4 xiii41 p4 #bab4 #ccj ,kemble's ,hor ,ferales1 pl4 #ae4 #cca ,the ,reliquary for #aija1 p4 #ef4 #ccb ,unpublished4 #ccc ,jour4 ,brit4 ,archol4 ,assoc41 vol4 xxxix41 p4 #ij4 #ccd ,r4 ,munro's ,prehistoric ,scotland1 p4 #cgh4 #cce ,douglas' ,nenia ,britannica1 p4 #acd4 ,in the repouss metalwork of the ,late-,celtic period certain portions of the design are thrown into relief in order to enable them to be distinguished from the rest which is not in relief4 ,much the same artistic effect can be obtained when the design is engraved on a flat surface by means of shading1 and in the case of enamelled plaques1 by employing different colours4 ,in fact1 by the use of relief1 shading1 or colour1 the decorative effect of a pattern is doubled1 because there are two things for the mind to comprehend1 namely1 the shape of the pattern itself and the shape of the background4 ,anyone who endeavours to realise both shapes simultaneously will find it an impossibility4 ,several different kinds of shading are used in ,late-,celtic art1 chiefly in ornament engraved on metal1 wood1 bone1 and pottery1 as will be seen by the following list3-- ,list showing different kinds of shading used in ,late-,celtic ,art1 and the objects on which they occur4 7#a7 ,shading of parallel lines4 ,illustration ,on spoon-like bronze objects from ,crosby ,ravensworth1 ,westmoreland1 and ,ireland4 ,on bronze mirror from ,stamford ,hill1 near ,plymouth4 ,on engraved pottery from ,glastonbury ,marsh ,village4 ,on bronze sword-sheath from ,embleton4 7#b7 ,cross-hatching placed diagonally4 ,illustration ,on engraved piece of wood and engraved pottery from the ,glastonbury ,marsh ,village4 7#c7 ,cross-hatching placed diagonally1 with dots in each of the square meshes4 ,illustration ,on engraved wooden tub from the ,glastonbury ,marsh ,village4 7#d7 ,cross-hatching of double lines placed diagonally4 ,illustration ,on engraved piece of wood from the ,glastonbury ,marsh ,village4 7#e7 ,chequerwork grass-matting shading4 ,illustration ,on bronze sword-sheath from crannog at ,lisnacroghera4 ,on bronze mirrors from ,trelan ,bahow1 ,cornwall2 ,birdlip1 ,gloucestershire2 from unknown locality1 now in the ,liverpool ,museum2 and from ,stamford ,hill1 near ,plymouth4 7#f7 ,engine-turned shading4 ,illustration ,on gold collar from ,limavady4 7#g7 ,dotted shading4 ,illustration ,on bronze spoon-like objects in the ,dublin ,museum4 ,on bronze harness-ring from ,polden ,hill1 ,somersetshire4 ,on silver armlet from ,stony ,middleton1 ,bucks4 ,besides the ,late-,celtic objects just described1 which exhibit curvilinear surface decoration derived from foliage1 there are others with very peculiar forms 8in the round40 ,amongst these are the harness-rings with projecting knobs from ,polden ,hill1 ,somersetshire2 ,stanwick1 ,yorkshire1 and elsewhere2 the beaded torques from ,lochar ,moss1 ,dumfriesshire2 ,hynford1 ,lanark2 and the beaded bracelets from ,arras and ,cowlam1 ,yorkshire4 ,the projections on the harness-rings generally occur at three points round the circumference1 and their shapes will be better understood from the illustrations than from any written description4 ,it is not easy to say what the meaning or origin of these projections can be1 as they bear no obvious resemblance to any natural or artificial object4 ,the beaded torques mentioned are composed of separate metal beads 7usually of two different shapes7 strung on a square iron rod1 so that they cannot rotate or rattle about4 ,the bracelets are1 however1 cast in one piece1 and made in imitation of a string of beads4 ,this style of bracelet is of foreign origin1 as specimens have been found in ,france#ccf and ,germany1#ccg many of which are elaborately ornamented with spiralwork in high relief4 #ccf ,dictionnaire ,archologique de la ,gaule4 #ccg ,lindenschmit's ,alterthmer4 ,illustration3 ,swastika design on ,shield from the ,thames ,rectilinear patterns are of comparatively rare occurrence in ,late-,celtic art1 as the designers of the period appear to have had a rooted objection to using straight lines if they could possibly be avoided4 ,there are1 however1 a few exceptions4 ,the small circular enamelled plaques with which the bronze shield from the ,thames1 now in the ,british ,museum1 is decorated1 have a swastika pattern on each4 ,the swastika was probably a foreign importation1 as it is used in the decoration of the ,gaulish bronze helmet from ,gorge-,meillet#cch 7,marne71 and of the iron lance-head from ,la ,tne1#cci ,switzerland4 ,the step-pattern in ,late-,celtic art may have had a textile origin1 i4e4 have been copied from a woven belt or other fabric4 ,instances of it occur on a piece of engraved wood from the ,glastonbury#cdj ,marsh ,village2 on the bronze mountings of a shield from ,grimthorpe1#cda ,yorkshire1 now in the ,british ,museum2 on the bronze ferrule of a spear-shaft from the ,crannog at ,lisnacroghera1#cdb ,co4 ,antrim2 and on a sculptured monolith at ,turoe1 ,co4 ,galway4 ,the step-pattern survived after the ,pagan period in the ,christian enamels1 as in the bowl from ,mklebust1#cdc ,norway1 and the fragment at ,st4 ,columba's ,college1#cdd ,dublin4 ,the key-pattern1 or ,greek fret1 is unknown in ,late-,celtic art4 ,the chequerwork pattern may also have had a textile origin4 ,there is an example of it on the bronze sword-sheath from ,embleton1#cde ,cumberland1 now in the ,british ,museum4 ,the chevron and lozenge patterns are possibly survivals from the preceding ,bronze ,age4 ,we have instances of the chevron pattern on the bronze mirror from ,trelan ,bahow1#cdf ,cornwall1 and on a potsherd from the ,glastonbury#cdg ,marsh ,village2 and of the lozenge on the stave of a bucket#cdh from the same site4 #cch ,a4 ,bertrand's ,archologie ,celtique et ,gauloise1 p4 #cfg4 #cci ,e4 ,vouga's ,les ,helvtes ,la ,tne1 pl4 #e4 #cdj ,the ,antiquary for #ahie1 p4 #aaj4 #cda ,ll4 ,jewitt's ,grave-,mounds and their ,contents1 p4 #bdf4 #cdb ,jour4 ,r4 ,hist4 and ,archol4 ,assoc4 of ,ireland1 ser4 #d1 vol4 vi41 p4 #cid4 #cdc ,mm4 de la ,soc4 ,ant4 du ,nord1 #ahij1 p4 #ce4 #cdd ,j4 ,b4 ,waring's ,manchester ,fine ,art ,treasures ,exhibition4 #cde ,kemble's ,hor ,ferales1 pl4 #ah1 fig4 #c4 #cdf ,archol4 ,jour41 vol4 xxx41 p4 #bfg4 #cdg ,proc4 ,somersetsh4 ,archol4 ,soc41 vol4 xl4 #cdh ,the ,antiquary for #ahie1 p4 #aaj4 ,illustration3 ,engraved ,step ,ornament on piece of wood found at the ,glastonbury ,lake ,village ,drawn by ,arthur ,bulleid1 ,f4,s4,a4 ,,chapter ,,vi ,,celtic ,,art ,,of ,,the ,,christian ,,period 7,a4,d4 #dej to #ajff7 ,,the ,,introduction ,,of ,,christianity ,,into ,,britain1 ,,and ,,its ,,effect ,,on ,,native ,,art ,it must always be borne in mind that the conversion of the inhabitants of ,britain from ,paganism to ,christianity was a very gradual process1 extending over a period of two hundred years at least4 ,it seems probable that during the last hundred years or so of the ,roman occupation of ,britain the ,christian faith may have been accepted by a limited number of the native population2 but almost as soon as the new religion began to take root in ,england it was entirely swept away by the ,saxon conquest1 and the few converts who were not exterminated by the ruthless ,pagan invaders fled for refuge to ,wales and ,cornwall4 ,the archological evidence of the existence of ,romano-,british ,christianity is extremely scanty4 ,out of the hundreds and hundreds of inscribed and sculptured monuments belonging to the period of the ,roman occupation of ,britain there is not one which bears a ,christian symbol or shows a trace of ,christian art4 ,there are only two instances of the occurrence of a ,christian symbol on a ,romano-,british structure1 namely1 7#a7 at ,chedworth1#cdi where the ,chi-,rho ,monogram is carved twice upon a stone in the foundation of the steps leading into the corridor of a ,roman villa there2 and 7#b7 at ,frampton1#cej ,dorsetshire1 where the same ,monogram forms part of the decoration of a mosaic pavement in one of the rooms of a ,roman villa4 ,as ,romano-,british ,christianity produced no effect on the art of this country1 we are not further concerned with it4 #cdi ,journ4 ,brit4 ,archol4 ,assoc41 vol4 xxiii41 p4 #bbh4 #cej ,s4 ,lysons' ,reliqui ,brittanico ,roman1 ,no4 #c1 pl4 #e4 ,whilst ,england remained under the dominion of ,saxon ,pagandom for a century and a half in some parts1 and for nearly two centuries in others1 ,christianity spread rapidly from ,gaul to ,cornwall1 ,wales1 and the south-west of ,scotland1 and thence to ,ireland4 ,after the ,saxons were converted by ,st4 ,augustine1 in ,a4,d4 #eig1 there was a return wave of ,celtic ,christianity from ,ireland to ,iona1 and from ,iona to ,lindisfarne1 in ,northumbria1 which was founded ,a4,d4 #fce4 ,the localities where ,christianity was first planted in ,britain are indicated archologically by the geographical distribution of monuments bearing the ,chi-,rho ,monogram1 which is as follows3-- ,,cornwall4 ,st4 ,just4 ,st4 ,helen's ,chapel4 ,phillack4 ,southill4 ,,carnarvonshire4 ,penmachno4 ,,wigtownshire4 ,kirkmadrine4 ,whithorn4 ,as the ,chi-,rho ,monogram does not occur on the early inscribed stones of ,ireland1 but in place of it the cross with equal arms expanded at the ends1 enclosed in a circle1 which is derived from the ,monogram1#cea it naturally follows that ,irish ,christianity is later than that of ,cornwall1 ,wales1 and the south-west of ,scotland4 #cea ,see ,j4 ,r4 ,allen's ,christian ,symbolism1 p4 #id4 ,the ,chi-,rho ,monogram occurs on inscribed monuments in ,gaul between ,a4,d4 #cgg and #dic4 ,setting aside the vague and unsatisfactory statements of the mythical period 7such as the one about the presence of three ,british at the ,council of ,arles in ,a4,d4 #cad71 we find that the real history of the ,christianising of this country begins with the opening years of the fifth century1 and that it followed directly from the foundation of the school of learning and centre of missionary enterprise by ,st4 ,martin at ,tours1 in ,france4 ,in ,a4,d4 #cig ,st4 ,martin died1 and not long after1 in ,a4,d4 #dab1 his disciple1 ,st4 ,ninian1 built a stone church dedicated to his master at ,whithorn1 ,wigtownshire4 ,in ,a4,d4 #dbi ,germanus1 ,bishop of ,auxerre1 and ,lupus1 ,bishop of ,troyes1 visited ,britain in order to suppress the ,pelagian heresy4 ,about the same time the conversion of ,ireland is believed to have been commenced by either ,st4 ,patrick or by ,st4 ,palladius 7circa ,a4,d4 #dcb74 ,the sixth century witnessed the foundation of the great school of ecclesiastical learning at ,llantwit ,major1 ,glamorganshire1 where ,st4 ,david1 ,st4 ,samson1 and ,gildas the historian were educated2 but an event of even greater importance was the landing of ,st4 ,columba at ,iona in ,a4,d4 #efc1 and the subsequent conversion of the northern ,picts4 ,the sixth century ends with the conversion of ,kent by ,st4 ,augustine in ,a4,d4 #eig4 ,it was eighty-four years more before the ,south ,saxons accepted ,christianity and the conversion of ,england became complete4 ,in the meantime the differences between the ,saxon and ,celtic ,churches had been settled in favour of the former at the ,synod of ,whitby in ,a4,d4 #ffd4 ,reviewing the historical facts just mentioned1 it appears that for about #bjj years 7from ,a4,d4 #dej to #fej7 there was a separate ,celtic ,church in ,britain1 which may appropriately be called the pre-,augustinian ,church4 ,the question now naturally suggests itself1 to what extent did the introduction of ,christianity influence the native art of ,britain during the #bjj years which followed the departure of the ,romans from its shores8 ,the answer supplied by archology is that before about ,a4,d4 #fej there was no distinctively ,christian art existing in this country4 ,the monuments belonging to the pre-,augustinian ,church consist of rude pillar-stones with incised crosses of early form1 or with ,latin inscriptions in debased ,roman capitals1 sometimes with ,celtic inscription in ,ogams in addition4 ,the monuments of this class do not1 as a rule1 show any trace of ornament or sculpture beyond the crosses and inscriptions4 ,the only recorded exceptions are-- ,an ,ogam-inscribed stone from ,pentre ,poeth1#ceb ,brecknockshire1 now in the ,british ,museum1 having on one face a bishop with his crozier1 ,st4 ,michael and the ,dragon1 and very rude zigzag ornament4 ,an ,ogam-inscribed stone from ,glenfahan1#cec ,co4 ,kerry1 now in the ,dublin ,museum1 with rude spiral ornament1 a figure of a man1 a looped pattern1 and several crosses4 ,an ,ogam-inscribed stone at ,killeen ,cormac1#ced ,co4 ,kildare1 lying prostrate near the entrance gate1 with a bust of ,christ carrying the cross over the right shoulder4 ,st4 ,gobnet's ,stone at ,ballyvourney1#cee ,co4 ,cork1 with a cross enclosed in a circle1 surmounted by the figure of a bishop holding his crozier4 ,a stone1 with a minuscule inscription1 at ,reask1#cef ,co4 ,kerry1 having on the same face a cross in a circle1 with incised spiral ornament at each side of the shaft4 #ceb ,archologia ,cambrensis1 ser4 #f1 vol4 i41 p4 #bdj4 #cec ,trans4 ,royal ,irish ,academy1 vol4 xxxi41 p4 #cah4 #ced ,journ4 ,r4 ,hist4 and ,a4 ,a4 of ,ireland1 ser4 #d1 vol4 ii41 p4 #edf4 #cee ,archol4 ,jour41 vol4 xii41 p4 #hf4 #cef ,archologia ,cambrensis1 ser4 #e1 vol4 ix41 p4 #adg4 ,the stones1 with incised symbols of unknown meaning1 which are so common in the north-east of ,scotland1 possibly belong to the same early period4 ,the ornament on some of them has a very marked ,late-,celtic character4 ,illustration3 ,enamelled ,handles of ,bronze ,bowl found at ,barlaston1 ,staffordshire ,now in the possession of ,miss ,amy ,wedgwood4 ,scale #a_/a linear ,illustration3 ,enamelled ,handle of ,bronze ,bowl from ,chesterton-on-,fossway1 ,warwickshire ,now in the ,warwick ,museum4 ,scale #a_/a linear ,there are no ,celtic ,,mss4 with illuminations or ornament of any kind to which a date earlier than ,a4,d4 #fej can be assigned1 but there are a certain number of metal objects which illustrate the overlap of the ,pagan and ,christian styles of ,celtic art4 ,amongst the most important of these are the bronze bowls with enamelled mountings and zomorphic handles which have been described at some length by the author in the ,archologia 7vol4 lvi41 p4 #dc74 ,the chief peculiarities of the bowls is the hollow moulding just below the rim and the three or four handles with rings for suspension4 ,the upper part of each handle is like a hook1 terminating in a beast's head1 which rests on the rim of the bowl and projects inwards over it4 ,the lower part of each handle is circular1 or in the shape of the body of a bird1 and is fixed to the convex sides of the bowl4 ,the circular form is most common in the examples found in ,england1 and the disc is either ornamented with champlev enamel#ceg or with piercings1 giving a cruciform appearance4#ceh #ceg ,as in the specimens from ,barlaston1 ,staffordshire2 ,chesterton-on-the-,fossway1 ,warwickshire2 ,barrington1 ,cambridgeshire2 ,crosthwaite1 ,cumberland2 ,middleton ,moor1 ,derbyshire2 ,oxford2 and ,greenwich4 #ceh ,as in the specimens from ,wilton1 ,wilts2 and ,faversham1 ,kent4 ,illustration3 ,enamelled ,handle of ,bronze ,bowl from ,chesterton-on-,fossway1 ,warwickshire ,now in the ,warwick ,museum4 ,scale #a_/a linear ,the earliest of the series from ,barlaston1 ,staffordshire1 now in the possession of ,miss ,wedgwood1 has three handles all alike1 ornamented with discs of enamel1 the designs on which are distinctly ,late-,celtic in style1 and consist of small circles connected by ,c- and ,s-shaped curves4 ,in the case of the enamelled handles of the other specimens1 closely coiled spirals of the ,bronze ,age type take the place of the circles1 and by this trifling alteration the character of the design is so completely changed as to be almost identical with the spiral decoration of the ,book of ,durrow and other ,irish ,,mss4 of the same period4 ,we see here exactly when and how the flamboyant ornament of ,pagan ,celtic art became transformed into the spiralwork of the ,christian illuminated ,,mss4 which was afterwards applied to the decoration of the sculptured crosses and ecclesiastical metalwork4 ,the circumstances under which the bowls have been found show that they belong to the ,pagan ,saxon period between ,a4,d4 #dej and #fjj4 ,illustration3 ,spiral ,ornament from the ,book of ,durrow ,in the museum of the ,society of ,antiquaries at ,burlington ,house there is the cast of an object from the collection of ,mr4 ,albert ,way1 the well-known antiquary1 which exhibits a curious mixture of styles4 ,where the original is1 or where it came from1 is unfortunately not known1 but it has every appearance of having been of metal4 ,in the middle of the object is a square panel of triangular pierced work1 exactly like that on the cover of the ,stowe ,missal#cei 7made ,a4,d4 #ajbc to #ajeb72 whilst at each of the rounded ends are curved designs with trumpet-shaped expansions of pronounced ,late-,celtic type4 ,plaitwork1 which is1 of course1 one of the leading motives of ,celtic art of the ,christian period1 occurs occasionally in association with ,pagan flamboyant ornament1 as on a brooch from the ,ardakillen#cfj crannog1 near ,stokestown1 ,co4 ,roscommon 7now in the ,dublin ,museum71 and on a gold armlet from ,rhayader1#cfa ,radnorshire 7now in the ,british ,museum74 ,amongst objects belonging to the early ,christian ,celtic period before ,a4,d4 #fjj1 may probably be classed the leaf-shaped silver plates engraved with symbols from ,norrie's ,law1#cfb ,forfarshire1 and the terminal link of a silver chain1 also engraved with symbols1 from ,crawfordjohn1#cfc ,lanarkshire 7all in the ,edinburgh ,museum of ,antiquities74 ,the hammer-headed pins also1 a list of which has already been given 7p4 #ajh71 seem1 from the enamelled designs upon them1 to belong to the transitional period between ,celtic ,paganism and ,christianity4 #cei ,miss ,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #ib4 ,the ,stowe ,missal is in the ,museum of the ,r4,i4,a4 at ,dublin4 #cfj ,sir ,w4 ,wilde's ,catal4 ,mus4 ,r4,i4,a41 p4 #efi4 #cfa ,archologia ,cambrensis1 ser4 #e1 vol4 xvi41 p4 #bfa4 #cfb ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #bnd ser41 p4 #ch4 #cfc ,ibid41 p4 #dd4 ,illustration3 ,,cast ,,of ,,metal ,,object 7,,locality ,,unknown7 ,,from ,,the ,,albert ,,way ,,collection2 ,,now ,,in ,,the ,,museum ,,of ,,the ,,society ,,of ,,antiquaries1 ,,burlington ,,house1 ,,london ,illustration3 ,,cover ,,of ,,the ,,stowe ,,missal ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy1 ,,dublin 7,a4,d4 #ajbc ,,to #ajeb7 ,although1 as we have just seen1 the introduction of ,christianity into ,britain did not immediately affect the native ,pagan art to any appreciable extent1 yet as soon as the ,saxons were converted and communication with the ,continent became easier and therefore more frequent1 an entirely new style of decoration came into existence with extraordinary rapidity4 ,the flamboyant designs of the ,late-,celtic period were modified by combining them with the closely coiled spiral of the ,bronze ,age1 and several new motives1 such as interlaced-work1 key-patterns1 zomorphs1 and foliage1 were introduced from foreign sources4 ,at the same time a complete revolution took place in the class of objects to the decoration of which the skill of the artificer was applied4 ,the priest took the place of the warrior as the patron of the fine arts1 and monopolised all the available time of the metalworker and enameller in making beautiful vessels for the service of the church4 ,then1 too1 with ,christianity came the art of writing and illuminating ecclesiastical ,,mss41 which was unknown to the ,pagan ,celt4 ,the influence of the draughtsman upon other arts was now possible for the first time1 and the introduction of ,,mss4 soon worked far-reaching changes4 ,fresh motives could be more easily transferred from one art centre to another1 and decorative designs could be combined and elaborated in a way that was impossible when working in such intractable materials as metal or stone instead of drawing on parchment with a facile pen4 ,the new ,celtic style of the ,christian period soon took a definite shape1 and after the patterns had been fully developed in the illuminated ,,mss4 they were afterwards applied to decorative work in stone and metal4 ,,general ,,nature ,,of ,,the ,,materials ,,available ,,for ,,the ,,study ,,of ,,celtic ,,art ,,of ,,the ,,christian ,,period ,,in ,,great ,,britain ,the materials available for the study of ,celtic ,art of the ,christian period may be divided into four classes1 namely3-- 7#a7 ,illuminated ,,mss4 7#b7 ,sculptured ,stones4 7#c7 ,metalwork4 7#d7 ,leatherwork1 ,woodwork1 and ,bonework4 ,the most important collections of ,irish and ,hiberno-,saxon ,,mss4 in this country are in the libraries of ,trinity ,college1 ,dublin2 of the ,royal ,irish ,academy1 ,dublin2 and the ,british ,museum1 ,london4 ,there are other smaller collections1 or in some cases single volumes only1 in the ,university and ,college libraries of ,oxford and ,cambridge2 in the ,cathedral libraries at ,durham1 ,lichfield1 and ,hereford2 and in the ,archiepiscopal library at ,lambeth4 ,the chief libraries on the ,continent which are fortunate enough to possess specimens of ,irish calligraphy and illumination 7either acquired by purchase or still the property of monasteries originally founded by ,irish missionaries7 are at ,stockholm1 ,st4 ,petersburg1 ,paris1 ,st4 ,gall and ,basle in ,switzerland1 and at ,nuremberg1 ,fulda1 and ,trves in ,germany4 ,the ,irish ,,mss4 from the monastery founded by ,st4 ,columbanus in ,a4,d4 #fac at ,bobio1 in ,piedmont1 are distributed over the libraries at ,milan1 ,turin1 and ,naples4 ,for descriptions and illustrations of these ,,mss4 the reader may be referred to ,prof4 ,j4 ,o4 ,westwood's ,palographia ,pictoria ,sacra and ,miniatures of the ,anglo-,saxon and ,irish ,,mss42 ,c4 ,purton ,cooper's ,report on ,rymer's ,fdera1 ,appendix ,a1 ,sir ,h4 ,james' ,facsimiles of the ,national ,,mss4 of ,ireland2 ,publications of the ,palographical ,society2 ,miss ,margaret ,stokes' ,early ,christian ,art in ,ireland2 ,dr4 ,j4 ,stuart's ,book of ,deer1 published by the ,spalding ,club of ,aberdeen2 ,j4 ,a4 ,bruun's ,illuminated ,manuscripts of the ,middle ,ages2 and ,dr4 ,w4 ,reeve's paper on 8,early ,irish ,calligraphy0 in the ,ulster ,journal of ,archology1 vol4 viii41 p4 #baj4 ,the following is a list of ,irish ,,mss4 selected on account of the beauty of their illuminated pages3-- ,,gospels ,book of ,lindisfarne ,british ,museum 7,nero ,d4 iv474 ,book of ,kells ,trinity ,college1 ,dublin4 ,book of ,durrow ,ibid4 ,book of ,armagh ,royal ,irish ,academy1 ,dublin4 ,book of ,st4 ,chad ,lichfield4 ,book of ,mac,regol ,bodleian1 ,oxford4 ,book of ,mac,durnan ,lambeth4 ,book of ,deer ,public ,library1 ,cambridge4 ,codex ,no4 #ea ,st4 ,gall1 ,switzerland4 ,golden ,gospels ,royal ,library1 ,stockholm4 ,gospels ,imperial ,library1 ,st4 ,petersburg4 ,gospels of ,st4 ,arnoul1 ,metz ,nuremberg4 ,,psalters ,vespasian ,a4 i4 ,british ,museum4 ,vitellius ,f4 xi4 ,ibid4 ,psalter of ,st4 ,john's ,college ,cambridge4 ,psalter of ,ricemarchus ,trinity ,college1 ,dublin4 ,some of the above ,,mss4 can be dated by means of entries giving the name of the scribe or other person1 who can be identified by contemporary or nearly contemporary historical record4 ,the oldest ,,ms4 with illuminations in the ,hiberno-,saxon style which can be thus dated is the ,lindisfarne ,book4 ,it contains two entries written in an ,english hand of the tenth century1 which show that the volume was written by ,eadfrith1 ,bishop of ,lindisfarne2 that thilwold1 ,bishop of ,lindisfarne1 made the cover for it2 that ,billfrith1 the anchorite1 wrought the metalwork for it2 and that ,aldred1 the priest1 over-glossed it in ,english for the love of ,god and ,st4 ,cuthbert4 ,eadfrith held the see of ,lindisfarne from ,a4,d4 #fih to #gba1 and was then succeeded by thilwold1 who held the bishopric of the island until his death in ,a4,d4 #gdj4 ,the ,book of ,lindisfarne1 therefore1 must have been written either during the last two years of the seventh century or the first twenty-one years of the eighth century4 ,this may be looked upon as the starting-point of all ,hiberno-,saxon art1 and its origin may be fairly traced to ,lindisfarne1 where the ,scotic and ,anglo-,saxon schools were able to mingle1 each reinvigorating the other to their mutual advantage4 ,the ,book of ,kells makes its first appearance in history in ,a4,d4 #ajjf1 during which year it is recorded in the ,annals of the ,four ,masters that the ,great ,gospels of ,columkille was stolen4 ,although the name of the scribe who wrote and illuminated this book is unknown1 it is probable1 from the style of the decoration and lettering1 that it belongs to about the same period as the ,lindisfarne ,book1 but somewhat later1 as the ,book of ,kells contains foliage amongst the ornament1 and is altogether more elaborate4 ,the ,book of ,durrow was written by a scribe named ,columba1 who can hardly have been the celebrated ,saint of that name1 as his time is far too early for it4 ,since the spiral patterns in the ,book of ,durrow approximate more nearly to the flamboyant designs of the ,pagan ,celtic metalwork than those in any other ,,ms41 it cannot be dated later than the eighth century4 ,the ,book of ,st4 ,chad should more properly be called the ,book of ,st4 ,teilo1 as it contains an entry stating that the volume was purchased by ,gelhi1 son of ,arihtuid1 from ,cingal for his best horse1 and dedicated to ,god and ,st4 ,teilo4 ,before it was at ,lichfield it lay on the altar of ,teilo1 at ,llandaff4 ,this ,,ms4 has also a good claim to be of the eighth century4 ,the ,book of ,armagh and the ,golden ,gospels of ,stockholm are of the ninth century4 ,the former was written by ,ferdomnach1 8a sage and choice scribe of ,armagh10 who died in ,a4,d4 #hdd4 ,the ,stockholm ,gospels contains a deed of gift1 which shows that the volume was bought by the ,earl lfred and ,wetburg his wife from a ,viking1 and presented by them to the ,cathedral of ,canterbury4 ,the deed is signed by lfred1 ,wetburg1 and their daughter ,alhtryth1 who have all been identified by the will of lfred1 which is attested by ldered1 ,archbishop of ,canterbury1 from ,a4,d4 #hga-i4 ,the ,gospels of ,mac,regol also belongs to the ninth century1 if the identification of the scribe who wrote it with 8,mac,riagoil nepos ,magleni1 ,scriba et ,episcopus ,abbas ,biror0 can be relied upon4 ,his death is recorded in the ,irish ,annals under the year ,a4,d4 #hbj4 ,the ,gospels of ,mac,durnan is of the tenth century4 ,it has an inscription on one of the blank pages of the ,,ms4 showing that the book was either written for1 or was in the possession of1 ,maelbrigid ,mac,durnan1 and that it was given by ,king ,athelstan to the city of ,canterbury4 ,maelbrigid ,mac,durnan was ,abbot of ,derry in the ninth century1 and was afterwards promoted to the see of ,armagh in ,a4,d4 #ibg4 ,he died in ,a4,d4 #ibg4 ,athelstan reigned from ,a4,d4 #ibe to #ida4 ,the ,psalter of ,ricemarchus is of the eleventh century4 ,it contains a ,latin poem1 from which we gather that the book was written by ,ricemarch ,sulgenson1 with the assistance of ,ithael1 8whose name makes learning golden10 and that the initial letters were illuminated by ,john4 ,ricemarch1 or ,rhyddmarch1 succeeded his father ,sulgen in the see of ,st4 ,davids in ,a4,d4 #ajhi1 and died in ,a4,d4 #ajif4 ,the examples given afford a very good series arranged in chronological order1 showing the modifications which the style underwent in the course of the four centuries between ,a4,d4 #fej and #ajej4 ,we are somewhat sceptical as to there having been any fine illuminated ,hiberno-,saxon ,,mss4 before ,a4,d4 #gjj2 but assuming that there may have been some which are no longer in existence1 the best period is from ,a4,d4 #fej to #hej2 then from ,a4,d4 #hej to #iej there is a middle period of rather inferior excellence2 and1 lastly1 from ,a4,d4 #iej to #ajej a distinct period of decline which went on with increasing decadence for a century or two after the ,norman ,conquest4 ,the number of illuminated pages in the different ,,mss4 varies considerably1 sometimes because the volumes are imperfect1 but also because they were less lavishly illustrated in the first instance4 ,the illuminated pages in the copies of the ,gospels are of the following kinds3-- 7#a7 ,initial pages4 7#b7 ,ornamental or ,cross-pages4 7#c7 ,symbols of the ,evangelists4 7#d7 ,portraits of the ,evangelists4 7#e7 ,scenes from the ,life of ,christ4 7#f7 ,tables of ,eusebian ,canons4 ,as an instance of a very completely illustrated ,,ms4 of the ,gospels we may take the ,lindisfarne ,book1 which contains twenty-three full pages of illumination as specified below3-- ,four portraits of the ,evangelists with their ,symbols1 one for each ,gospel4 ,five ornamental pages1 one before ,st4 ,jerome's ,epistle and one before each ,gospel4 ,six ,initial pages1 namely-- 8,novum opus10 commencing ,st4 ,jerome's ,epistle4 8,liber generationis10 commencing ,st4 ,matthew's ,gospel4 8,,xpi autem generatio10 commencing the ,genealogy of ,christ in ,st4 ,matthew's ,gospel4 8,initium ,evangelii10 commencing ,st4 ,mark's ,gospel4 8,quoniam quidem10 commencing ,st4 ,luke's ,gospel4 8,in principio erat10 commencing ,st4 ,john's ,gospel4 ,eight pages of tables of ,eusebian ,canons4 ,the ,book of ,durrow has sixteen illuminated pages1 namely1 four of the ,symbols of the ,evangelists2 six ornamental pages1 one at the frontispiece1 one before the ,preface of ,st4 ,jerome1 and one before each ,gospel2 and the usual six initial pages4 ,the ,book of ,kells is more profusely illustrated than any other ,irish ,,ms4 in existence4 ,besides innumerable large and small initials1 it contains three portraits of the ,evangelists1 three combined symbols of the ,four ,evangelists1 three scenes from the ,life of ,christ--namely1 the ,virgin and ,child1 ,christ seized by the ,jews1 and the ,temptation of ,christ1 and eight pages of ,eusebian ,canons4 ,the ,st4 ,gall ,gospels 7,codex ,no4 #ea7 has twelve full pages of illumination1 namely1 four portraits of the ,evangelists1 five initial pages1 one ornamental cross-page1 and two scenes from the ,life of ,christ--the ,crucifixion and ,christ in ,glory4 ,as an instance of the method of illustrating the ,irish ,,mss4 of the ,psalter we may take the one in the library of ,st4 ,john's ,college1 ,cambridge4 ,this has six illuminated pages1 namely-- 7#a7 8,beatus vir10 commencing the #ast ,psalm4 7#b7 8,quid gloriaris0 0 0 #east 0 7#c7 8,dne exaudi0 0 0 #ajast 0 7#d7 ,miniature of the ,crucifixion4 7#e7 0 ,david and ,goliath4 7#f7 0 ,david and the ,lion4 ,the ,vit4 ,f4 xi4 ,psalter in the ,british ,museum has two initial pages and two miniatures1 namely1 ,david and ,goliath1 and ,david playing the harp4 ,the ,vesp4 ,a4 i4 ,psalter in the ,british ,museum has only one miniature1 namely1 ,david playing the harp2 but it has a great number of extremely beautiful initial letters ornamented with spiralwork of the best quality4 ,figure subjects 7one of ,david and the ,lion7 are introduced in the initials of the #bfth1 #ebnd1 #fhth1 #igth1 and #ajith ,psalms4 ,the details of the ornamental patterns in the ,,mss4 will be dealt with when we come to consider the leading characteristics of the style2 all that we need do now1 therefore1 is to point out the manner in which the patterns are distributed4 ,the treatment of the miniatures of the ,evangelists and of the scenes from the ,life of ,christ and the ,life of ,david is very simple2 the picture is enclosed within a rectangular frame divided into panels1 each filled in with a separate piece of ornament complete in itself4 ,sometimes1 as in the case of the miniatures of ,christ seized by the ,jews in the ,book of ,kells1 and ,david playing the harp in the ,vesp4 ,a4 i4 ,psalter1 the figures are placed beneath an arch supported by columns at each side4 ,the architectural origin of the design is entirely concealed by converting the columns and the arch into pieces of flat ornament arranged in panels4 ,the pages of ,eusebian ,canons are also treated architecturally1 the tables being placed under arcading so disguised by the incrustations of ornament as to be almost unrecognisable4 ,the initial pages of the ,gospels are only partially surrounded by a rectangular frame1 so as to allow the tops of the large capital letters to project beyond the frame into the margin4 ,the incomplete portion of the frame on the right side of the page is converted into a zomorph in a characteristically ,celtic manner by adding the head of a monster at the top and a fish-like tail at the bottom4 ,the frame and the larger initials within it are covered with panels of ornament4 ,the pages of ornament are generally arranged in rectangular panels1 so as to give the appearance of a cross2 or sometimes1 as in the ,book of ,durrow1 there is a small equal-armed cross within a circle in the middle of the page1 the remainder of which is entirely filled up with ornament4 ,in many cases where the miniatures1 etc41 are surrounded by a rectangular frame the outer margins are extended and formed into ornamental knots at each of the four corners4 ,after the ,celtic style of decorative art of the ,christian period had been fully developed in the ,irish and ,hiberno-,saxon illuminated ,,mss4 of the eighth century1 it was afterwards applied to sculptured stonework in the ninth1 tenth1 and eleventh centuries4 ,there are so few details of pre-,norman ,celtic buildings#cfd which afford examples of ornamental sculpture that they are hardly worth considering1 so that we need only take cognisance of the sepulchral and other monuments4 ,these are of the following different kinds3-- 7#a7 ,recumbent cross-slabs4 7#b7 ,recumbent hog-backed and coped stones4 7#c7 ,erect cross-slabs4 7#d7 ,erect wheel-crosses4 7#e7 ,erect free-standing crosses4 7#f7 ,erect pillar crosses1 with shafts of round or square cross-section4 #cfd ,the sculptured architectural details of the ,round ,towers and early churches in ,ireland and ,scotland consist chiefly of crosses or crucifixes over the doorways and terminal heads4 ,the recumbent cross-slabs are confined almost exclusively to ,ireland1 although there are one or two in ,cornwall1 ,wales1 and ,scotland4 ,much the largest collection is at ,clonmacnois1 ,king's ,co41 where there are not far short of #bjj sepulchral cross-slabs with inscriptions in ,irish minuscule letters1 giving the name of the deceased and requesting a prayer for his or her soul4 ,a considerable number of the names on the slabs have been identified on sufficiently satisfactory evidence1 thus giving reliable dates for a series arranged in chronological order4 ,clonmacnois was founded by ,st4 ,ciaran in ,a4,d4 #eed1 but the greater part of the dated cross-slabs belong to the ninth1 tenth1 and eleventh centuries4 ,the earliest of these inscribed cross-slabs which exhibits any decorative features is that of ,tuathgal1#cfe who has been identified with the seventh abbot of ,clonmacnois4 ,the death of abbot ,tuathgal took place in ,a4,d4 #hjf4 ,there are1 therefore1 no ornamental cross-slabs at ,clonmacnois older than the beginning of the ninth century4 ,the best examples of recumbent cross-slabs with ,celtic ornament in ,ireland to which reliable dates can be assigned are those of ,suibine ,mc,mailhumai#cff at ,clonmacnois 7,a4,d4 #hhg71 and ,st4 ,berechtir#cfg at ,tullylease1 ,co4 ,cork4 ,the latter is specially interesting as having upon it a combination of interlaced-work1 key-patterns1 and spiral ornament4 #cfe ,petrie's ,christian ,inscriptions in the ,irish ,language1 vol4 i41 pl4 #ab1 ,no4 #bi4 #cff ,ibid41 vol4 i41 pl4 #ca1 ,no4 #hb4 #cfg ,ibid41 vol4 ii41 pl4 #cj4 ,illustration3 ,cross-slab from ,pen-,arthur1 ,pembrokeshire ,now in ,st4 ,david's ,cathedral4 ,scale linear ,outside the limits of ,ireland there are slabs of the same type1 but of unknown date1 at ,camborne1#cfh ,cornwall2 ,pen-,arthur#cfi 7now in ,st4 ,david's ,cathedral71 ,pembrokeshire2 and ,baglan1#cgj ,glamorganshire4 ,the recumbent hog-backed or coped stones are more likely to be of ,anglian or ,scandinavian origin than ,celtic4 ,they are most common in the north of ,england2 there are one or two in ,wales1 and none in ,ireland4 ,as instances of coped stones with ,celtic ornament we have those at ,meigle1#cga ,perthshire2 and ,lanivet1#cgb ,cornwall4 ,the erect cross-slabs are1 with a few unimportant exceptions1 peculiar to ,scotland and the ,isle of ,man4 ,they are probably older than the free-standing crosses1 because the erect cross-slabs are not treated architecturally 7as the high crosses of ,ireland are71 but resemble more nearly than anything else ornamental pages from the ,celtic illuminated ,,mss4 directly transferred to stone with hardly any modification whatever to suit the requirements of the new material to which the decoration was applied4 ,a particularly good instance of this is afforded by the erect cross-slab at ,nigg1#cgc ,ross-shire4 ,on one side of the monument is a cross with the ornament arranged in rectangular panels exactly as it is in the cross-pages of the ,irish ,gospels2 and on the other a figure subject 7,david and the ,lion7 surrounded by a frame1 also divided into panels1 as in those of the miniatures in the ,book of ,kells4 #cfh ,archologia ,cambrensis1 ser4 #e1 vol4 vi41 p4 #ceg4 #cfi ,prof4 ,j4 ,o4 ,westwood's ,lapidarium ,walli1 pl4 #fj4 #cgj ,ibid41 pl4 #ad4 #cga ,dr4 ,j4 ,stuart's ,sculptured ,stones of ,scotland1 vol4 ii41 pl4 #aca4 #cgb ,a4 ,g4 ,langdon's ,old ,cornish ,crosses1 p4 #dab4 #cgc ,dr4 ,j4 ,stuart's ,sculptured ,stones of ,scotland1 vol4 i41 p4 #bh4 ,see also casts in the ,south ,kensington and ,edinburgh ,museums4 ,illustration3 ,erect ,cross-,slab at ,st4 ,madoes1 ,perthshire ,scale _/ linear ,the following is a list of some of the best specimens of erect cross-slabs in ,scotland3-- ,,northern ,,pict-,,land ,papil 7now at ,edinburgh7 ,shetland4 ,ulbster 7now at ,thurso7 ,caithness4 ,farr ,sutherland4 ,golspie 0 ,hilton of ,cadboll 7now at ,invergordon7 ,ross-shire4 ,nigg 0 ,rosemarkie 0 ,shandwick 0 ,brodie ,elginshire4 ,forres 0 ,aboyne ,aberdeenshire4 ,dyce 0 ,the ,maiden ,stone 0 ,migvie 0 ,,southern ,,pict-,,land ,aberlemno ,forfarshire4 ,cossins 0 ,farnell 0 ,glamis 0 ,inchbrayock 7now at ,montrose7 0 ,invergowrie 0 ,monifieth 7now at ,edinburgh7 0 ,st4 ,vigeans 0 ,woodwray 7now at ,abbotsford7 0 ,st4 ,madoes ,perthshire4 ,meigle 0 ,rossie ,priory 0 ,dunfallandy 0 ,,dalriadic ,,scotland ,ardchattan ,argyllshire4 ,illustration3 ,,erect ,,cross-,,slab ,,in ,,aberlemno ,,churchyard1 ,,forfarshire ,john ,patrick of ,edinburgh1 photo4 ,illustration3 ,front ,illustration3 ,back ,cross at ,penmon1 ,anglesey ,drawn by ,harold ,hughes ,scale _/ linear ,the erect cross-slabs of the ,isle of ,man show a mixture of ,celtic and ,scandinavian art1 but there are a few which appear to be purely ,celtic1 as1 for instance1 those at ,kirk ,maughold#cgd 7on the village green7 and at ,kirk ,bride4#cge ,the erect free-standing cross seems to have been evolved from the erect cross-slab by removing one part of the background of the cross after another1 until at last nothing but the cross itself was left4 ,we see the first stage in the ,papil stone from ,shetland1 now in the ,edinburgh ,museum of ,antiquities4 ,here the top of the slab is rounded to suit the curve of the circle1 within which the head of the cross is enclosed4 ,the wheel-cross comes next1 in which the portion of the background of the cross on each side of the shaft is dispensed with1 as in the specimens at ,margam#cgf and ,llantwit ,major1#cgg both in ,glamorganshire4 ,then the ends of the arms of the cross are allowed to project beyond the circular ring1 as at ,penmon1#cgh ,anglesey4 ,lastly1 the portions of the background of the cross between the quadrants of the ring and the arms are pierced right through the slab1 thus giving us the 8four-hole0 cross of ,cornwall#cgi and the typical ,high ,cross of ,ireland4#chj #cgd ,j4 ,g4 ,cumming's ,runic ,remains of the ,isle of ,man4 #cge ,ibid4 #cgf ,prof4 ,j4 ,o4 ,westwood's ,lapidarium ,walli1 pl4 #ae4 #cgg ,ibid41 pl4 #e4 #cgh ,ibid41 pl4 #hd4 #cgi ,a4 ,g4 ,langdon's ,old ,cornish ,crosses4 #chj ,h4 ,o',neill's ,ancient ,crosses of ,ireland4 ,we have used the term 8wheel-cross0 to describe the class of monuments with a round head and a shaft of less width than the diameter of the head rather because it is convenient than on account of its appropriateness4 ,perhaps 8disc-cross0 would be more accurate1 but in order to avoid confusion it may be as well to adhere to the term 8wheel-cross10 which has been adopted by previous writers on the subject4 ,illustration3 ,great ,wheel-,cross of ,conbelin at ,margam ,abbey1 ,glamorganshire ,drawn by ,worthington ,g4 ,smith ,scale _/ linear ,the wheel-crosses are peculiar to ,wales1 ,cornwall1 and the ,isle of ,man1 there being none either in ,ireland or ,scotland4 ,the wheel-crosses of ,wales and the ,isle of ,man have round heads of large diameter and very short shafts2 those of ,cornwall have heads of much smaller diameter with a taller shaft4 ,the best examples of wheel-crosses are at ,margam and ,llantwit ,major1 ,glamorganshire2 and at ,kirk ,braddan and ,lonan1 ,isle of ,man4 ,the free-standing crosses1 in which the outline of the stone corresponds with the outline of the cross1 are the most highly developed type of ,celtic sculptured monument of the ,christian period1 and are therefore presumably the latest1 with the exception of those of the decadent period just before and after the ,norman ,conquest4 ,the free-standing crosses show the influence of the architect rather than that of the monkish scribe who embellished the early ,irish and ,hiberno-,saxon illuminated ,,mss4 ,the sculpture is less flat1 and the mouldings round the panels of ornament are more elaborate than on the earlier erect cross-slabs4 ,the free-standing crosses also1 instead of being monolithic1 are constructed of two or more separate pieces of stone fixed together by means of mortice and tenon joints4 ,in the larger of the ,high ,crosses of ,ireland the base forms one block1 the shaft another1 the head a third1 and sometimes the top arm a fourth4 ,illustration3 ,front ,illustration3 ,back ,cross at ,neuadd ,siarman1 near ,builth1 ,brecknockshire ,scale _/ linear ,the ,high ,crosses of ,ireland are in most cases associated with a characteristic set of ecclesiastical structures consisting of a ,round ,tower and several small churches4 ,this class of monument consequently belongs to the time when the artistic talents of the ,celtic monks1 which had been previously entirely absorbed in illuminating ,,mss41 was directed into the new channel of architecture4 ,the ,high ,cross of ,muiredach#cha at ,monasterboice1 ,co4 ,louth1 and that of ,king ,fland#chb at ,clonmacnois1 ,king's ,co41 are proved by the inscriptions upon them to have been erected during the first quarter of the tenth century4 ,there is such a general family likeness between most of the ,high ,crosses of ,ireland that they are probably all of about the same date4 ,there is a peculiarity in the design of some of the ,high ,crosses of ,ireland which should not pass unnoticed1 namely1 the semicircular projection in each of the four hollows between the arms4#chc ,in a stone cross these projections have no use or meaning1 but in the metal crosses of the same period projections of this kind serve to disguise the rivets by means of which the metal plates on each side of the cross are held together4#chd ,from this it would appear that the art of the worker in metal to some extent influenced the sculptors by whom the stone crosses were made4 ,some of the ,cornish crosses have triangular projections in a similar position1 giving an appearance not unlike the cusping in ,gothic window tracery4 #cha ,petrie's ,christian ,inscriptions in the ,irish ,language1 vol4 ii41 p4 #ff4 #chb ,ibid41 vol4 i41 p4 #dc4 #chc ,as on the crosses at ,monasterboice1 ,co4 ,louth1 and ,durrow1 ,king's ,co4 #chd ,as on the ,cross of ,cong in the ,dublin ,museum1 and on the pectoral cross of ,st4 ,cuthbert in the ,library of ,durham ,cathedral4 ,illustration3 ,cross at ,nevern1 ,pembrokeshire ,scale _/ linear ,the free-standing crosses of ,wales and ,cornwall differ from those of ,ireland in having heads of much smaller diameter in proportion to the height of the shaft1 and bases are the exception rather than the rule4 ,in the ,welsh and ,cornish crosses figure-sculpture is made altogether subordinate to ornament1 whilst in the ,irish crosses exactly the reverse is the case4 ,the fronts and backs of the ,irish crosses1 and sometimes the sides also1 are entirely covered with panels of symbolical figure subjects forming a cycle1 which does not occur in the illuminated ,,mss41 although evidently borrowed from a ,byzantine source4 ,the subordination of ornament to figure subjects on the ,irish crosses shows that they are further removed from the ,,mss4 than the ,welsh1 ,cornish1 and ,scottish crosses1 and therefore of later date4 ,the free-standing crosses of ,scotland seem to belong to the ,irish group4 ,the following list gives the best examples of free-standing crosses3-- ,,ireland ,kells ,co4 ,meath4 ,monasterboice ,co4 ,louth4 ,termonfechin ,co4 ,louth4 ,clonmacnois ,king's ,co4 ,durrow ,king's ,co4 ,castle ,dermot ,co4 ,kildare4 ,moone ,abbey ,co4 ,kildare4 ,kilklispeen ,co4 ,kilkenny4 ,kilfenora ,co4 ,clare4 ,drumcliff ,co4 ,sligo4 ,,scotland ,iona ,argyllshire4 ,kildalton ,islay4 ,barrochan ,renfrewshire4 ,dupplin ,perthshire4 ,,wales ,penmon ,anglesey4 ,maen ,achyfan ,flintshire4 ,neuadd ,siarman ,brecknockshire4 ,llanbadarn ,fawr ,cardiganshire4 ,llantwit ,major ,glamorganshire4 ,margam 0 ,carew ,pembrokeshire4 ,nevern 0 ,penally 0 ,the shafts of the erect free-standing crosses which have just been described are rectangular in section1 but there are a few exceptional monuments with shafts of square section or of round section1 or partly of square and partly of round section4 ,as an instance of a cross of square section we have the one at ,llandough1 ,glamorganshire4 ,at ,llantwit ,major1 in the same county1 is a cylindrical pillar with a vertical groove down one side of it1 the use of which has caused much futile speculation amongst antiquaries4 ,the pillar of ,eliseg at ,valle ,crucis1 ,denbighshire1 is round at the bottom and square at the top1 thus corresponding in shape to a well-known type of monument which is common in ,mercia4 ,these round pillar crosses usually occur in pairs4 ,there are a few unique monuments that cannot be classed with any of those already described1 such as the ornamented stone coffin at ,govan1 ,renfrewshire1 and the altar tomb at ,st4 ,andrews1 ,fifeshire4 ,descriptions and illustrations of nearly all the monuments mentioned will be found in ,dr4 ,j4 ,stuart's ,sculptured ,stones of ,scotland 7published by the ,spalding ,club of ,aberdeen72 ,dr4 ,j4 ,anderson and ,j4 ,r4 ,allen's ,early ,christian ,monuments of ,scotland 7published by the ,society of ,antiquaries of ,scotland72 ,r4 ,c4 ,graham's ,carved ,stones of ,islay2 ,h4 ,o',neill's ,sculptured ,crosses of ,ancient ,ireland2 ,dr4 ,petrie's ,christian ,inscriptions in the ,irish ,language 7published by the ,r4 ,soc4 ,ant4 of ,ireland72 ,miss ,m4 ,stokes' ,early ,christian ,art in ,ireland2 ,prof4 ,j4 ,o4 ,westwood's ,lapidarium ,walli2 ,a4 ,g4 ,langdon's ,old ,cornish ,crosses2 ,j4 ,g4 ,cumming's ,runic ,remains of the ,isle of ,man4 ,the ,celtic metalwork of the ,christian period may be arranged under the following heads3-- ,bells4 ,book-shrines4 ,croziers4 ,relic shrines4 ,chalices4 ,plaques for book-covers4 ,processional crosses4 ,penannular brooches4 ,bell-shrines4 ,hammer-headed pins4 ,with a few exceptions all the existing specimens are now preserved in the ,museum of the ,royal ,irish ,academy in ,dublin1 the ,national ,museum of ,antiquities of ,scotland in ,edinburgh1 and the ,british ,museum in ,london4 ,ecclesiastical bells are of two different kinds1 namely1 7#a7 portable bells1 sufficiently light to be carried in the hand2 and 7#b7 fixed bells1 whose weight renders a trussed framework of wood necessary for their support4 ,each kind of bell can be rung in two separate ways1 namely1 7#a7 by holding the bell stationary and striking it on the outside with a hammer2 or 7#b7 by providing the bell with a tongue1 or clapper1 suspended from the inside and swinging the bell backwards and forwards1 so as to cause the clapper to strike against the interior and thus produce sound4 ,the method of bell-ringing by means of a hammer is frequently illustrated in the illuminated psalters of the thirteenth and fourteenth centuries1 and is also to be seen on the sculptured capitals in the ,abbey of ,st4 ,george's de ,boscherville1#che in ,normandy4 ,the great bells of the ,kremlin at ,moscow1 and in other ,greek churches throughout ,russia1 are rung in this fashion4 ,portable bells with clappers have a handle at the top1 by which they can be swung backwards and forwards in the hand1 in the manner depicted upon the ,bayeux ,tapestry4#chf ,fixed bells with clappers have loops at the top for suspension by iron bands to a horizontal wooden axle or rocking bar working in bearings supported on a trussed framework of timber1 usually within a masonry tower4 ,the required rocking motion is given by a lever and rope or a grooved wheel and rope4 ,the bells used in the ,celtic ,church seem to have belonged exclusively to the class of portable bells rung by hand4 ,during the earlier period of ,christianity in ,ireland1 when the monks lived together in small isolated communities1 bells which were intended to carry sound to a great distance would be unnecessary1 so that the absence of belfries in connection with the primitive dry-built stone oratories of the sixth and seventh centuries is easily explained4 ,when1 however1 at a later period1 the congregations became larger and more widely scattered1 the lofty tower served a useful purpose in greatly increasing the area over which the sound of the bell could be heard4 #che ,didron's ,annales ,archologiques1 vol4 vi41 p4 #cae4 #chf ,f4 ,r4 ,fowke's ,bayeux ,tapestry1 pl4 #ca4 ,the commencement of the building of belfries in ,ireland coincides with the introduction of ,lombardo-,byzantine architecture into that country1 and the ,irish round tower is obviously nothing more than a local variety of the ,italian campanile4 ,the ,viking invasions at the same time gave an additional impetus to the erection of structures which could be used not only for ecclesiastical purposes1 but also as watch-towers to detect the approach of the enemy1 as bell-towers to alarm the neighbourhood1 and as towers of defence to secure the lives and property of the congregation4 ,the fact that the ,irish round towers are called by the name of cloiccthec1 or bell-house1 in the ancient annals is sufficient proof they were used as belfries1 but it does not appear to be known whether the bells were rung by swinging in the hand or fixed to a framework and swung on pivots4 ,at any rate1 no ,irish bells of this period 7,a4,d4 #hjj to #ajjj7 have survived except the portable hand-bells4 ,if any mechanical appliance was employed for bell-ringing in the ,irish round towers it was probably constructed by fixing an ordinary hand-bell to a horizontal axle-bar of wood or iron1 working in two bearings1 and swung backwards and forwards by means of a rocking lever with a rope attached to it1 as is done in many village churches at the present day4 ,the large1 heavy metal bells made specially with a view to being fixed in a tower and rung by a grooved wheel and cord belong to a much later period1 after the ,norman ,conquest1 when the art of making castings in bronze of great size had been learnt4 ,the portable bell of the early ,celtic ,church is merely an ordinary cattle bell1#chg such as would1 no doubt1 be common in ,pagan times1 adapted to ecclesiastical purposes and slightly modified to suit the requirements of the monks4 ,it differs hardly at all1 except as regards size1 from the common sheep-bell still to be found in many parts of ,england4 ,dr4 ,joseph ,anderson tersely sums up the peculiarities of the ,celtic ecclesiastical bell1 as regards its material1 manufacture1 form1 and size1 in his ,scotland in ,early ,christian ,times 7first series71 p4 #ahc1 somewhat as follows3-- #chg ,probably the earliest representation of a cow-bell in ,great ,britain is on the pre-,norman cross at ,fowlis ,wester1 near ,crieff1 ,perthshire4 7#a7 ,material--iron coated with bronze4 7#b7 ,manufacture--hammered and riveted2 coating of bronze put on by means of a process analogous to tinning4 7#c7 ,form--tall1 narrow1 tapering1 four-sided2 ends flattened2 sides bulged4 7#d7 ,size--portable2 provided with handle so as to be easily swung by hand4 ,the original home of ecclesiastical bells of this type was in ,ireland1 where there are still the greatest number in existence1 and thence they spread to ,scotland1 ,wales1 ,england1 ,brittany1 ,france1 and ,switzerland4 ,the largest iron bell of this kind is preserved in the ,church of ,birnie1 near ,elgin1 ,n4,b4 ,it is #a foot #b inches high1 and #g inches by #e inches at the bottom1 tapering to #d inches by #c inches at the top4 ,it is riveted down each of the narrow sides with four rivets1 and the handle is fixed to the top by four much smaller rivets4 ,as a rule1 however1 the height of such bells rarely exceeds #a foot or is less than #h inches4 ,the ,celtic ecclesiastical bell of wrought-iron was afterwards copied in cast bronze4 ,it is reasonable to suppose that the bronze bells are of later date than those of iron 7#a7 because the rectangular shape is useless and meaningless in the case of a bronze bell1 and results from copying an iron bell1 in which the rectangular shape is necessitated by its method of construction2 7#b7 because the bronze bells are of more refined shape and better manufacture than those of iron2 and 7#c7 because the bronze bells are in many cases ornamented4 ,celtic ecclesiastical bells of cast bronze may be divided into the following classes3-- 7#a7 ,bronze bells without ornament4 7#b7 ,bronze bells without ornament1 but inscribed4 7#c7 ,bronze bells with ornamented handles4 7#d7 ,bronze bells with ornamented bodies4 ,examples of ,celtic quadrangular bells of cast bronze without ornament have been recorded at the following places3-- ,,wales-- ,llanrhyddlad1 ,anglesey 7,archologia ,cambrensis1 #dth ser41 vol4 ii41 p4 #bge74 ,llangystenyn1 ,carnarvonshire2 now in the ,powysland ,museum at ,welshpool 7,montgomeryshire ,collections1 vol4 xxv41 p4 #cbg74 ,,scotland-- ,eilean ,finan1 ,loch ,shiel1 ,argyllshire 7,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #ast ser41 p4 #aih74 ,insh1 near ,kingussie1 ,inverness-shire 7,ibid41 p4 #aie74 ,little ,dunkeld1 ,perthshire 7,proc4 ,soc4 ,ant4 ,scot41 vol4 xxiii41 p4 #aai74 ,forteviot1 ,perthshire 7,ibid41 vol4 xxvi41 p4 #dcd74 ,,ireland-- ,garton1 ,co4 ,donegal 7,rev4 ,h4 ,t4 ,ellacombe's ,church ,bells of ,devon--,supplement1 p4 #cdb74 ,lower ,badony1 ,co4 ,tyrone 7,ibid41 p4 #cdd74 ,scattery ,island1 ,co4 ,clare2 now in the ,british ,museum 7,ibid41 p4 #cdd74 ,kilbroney1 ,rostrevor1 ,co4 ,down 7,r4 ,welch1 photo4 ,no4 #a1icb2 ,jour4 ,r4 ,soc4 ,ant4 of ,ireland1 vol4 xxxiii41 ,p4 #ee74 ,kilmainham 7,jour4 ,r4 ,soc4 ,ant4 of ,ireland1 #eth ser41 vol4 x41 p4 #da74 ,cappagh1 ,co4 ,tyrone 7,jour4 ,r4 ,soc4 ,ant4 of ,ireland1 vol4 xxxiii41 p4 #eb74 ,drumragh1 ,co4 ,tyrone 7,ibid41 vol4 xxxiii41 p4 #ed74 ,,france-- ,goulien1 ,finistre 7,ibid41 #eth ser41 vol4 viii41 p4 #afg74 ,as has already been pointed out1 the bells of cast bronze are copies in another material of the wrought-iron bells1 the quadrangular form of which had its origin in the method of construction out of a thin sheet of metal with riveted joints being still adhered to in the bronze bell1 where joints were not required4 ,the only difference in the shape of the iron and the bronze bells is that the latter have in most cases a flange1 or an expansion and thickening of the metal round the mouth4 ,the handles vary from those which are almost rectangular to those which are quite round4 ,the bell still preserved in the church at ,insh1 near ,kingussie1 ,inverness-shire1 may be taken as a fair sample of the ,celtic quadrangular bell of cast bronze without ornament4 ,it is #aj inches high1 and measures #i inches by #g inches at the mouth4 ,the handle is oval and the mouth expanded4 ,the remaining bells of the same class vary from #d inches to #aa inches in height1 with their other dimensions in proportion4 ,there are three ,celtic quadrangular bells of cast bronze without ornament1 but inscribed1 at the following places3-- ,,ireland-- ,clogher1 ,co4 ,tyrone 7,h4 ,t4 ,ellacombe's ,church ,bells of ,devon--,supplement1 p4 #cfi74 ,armagh2 now in the ,museum of the ,r4,i4,a4 at ,dublin 7,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #fe74 ,,brittany-- ,stival 7,mmoires de l',institut ,impriale de ,france2 ,acadmie des ,inscriptions et ,belles-,lettres1 vol4 xxiv41 pt4 ii41 p4 #chg74 ,the bell of ,clogher is inscribed1 in one horizontal line1 with ,roman capital letters-- ,,patrici ,the bell of ,armagh is inscribed1 in three horizontal lines1 with ,hiberno-,saxon minuscules-- oroit ar chu mascach ailello 8 ,a prayer for ,cumascach1 son of ,ailell40 ,the bell of ,stival is inscribed1 in one vertical line1 with ,carlovingian minuscules-- pirtur ficifti 8,pirtur made this0 7874 ,or1 according to the ,vicomte ,hersart de la ,villemarqu3 pir turfic is ti 8,sweet-sounding art thou40 ,the ,cumascach mentioned on the bell of ,armagh was probably the steward of ,armagh1 who1 according to the ,annals of the ,four ,masters1 died in ,a4,d4 #ijd1 thus fixing the date of at least one of the bells of this class4 ,celtic quadrangular bells of cast bronze with ornamented handles exist at the following places3-- ,,wales-- ,llangwynodl1 ,carnarvonshire2 now in the possession of ,w4 ,c4 ,yale-,jones-,parry1 ,esq41 of ,madryn ,castle1 ,pwllheli1 ,carnarvonshire 7,archologia ,cambrensis1 #ast ser41 vol4 iv41 p4 #afg2 and #dth ser41 vol4 ii41 p4 #bgd74 ,,scotland-- ,strathfillan 7,bell of ,st4 ,fillan71 ,perthshire2 now in the ,national ,museum at ,edinburgh 7,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #ast ser41 p4 #ahf74 ,,ireland-- ,lorrha 7,bell of ,st4 ,ruadhan71 ,co4 ,tipperary2 now in the ,british ,museum 7,h4 ,t4 ,ellacombe's ,church ,bells of ,devon--,supplement1 p4 #cdd74 ,,france-- ,st4 ,pol de ,lon 7,bell of ,st4 ,meriadec7 7,rohault de ,fleury's ,la ,messe1 vol4 vi41 pl4 ,,cdxviii42 ,ellacombe1 p4 #chc74 ,the ornament on the handles is of two kinds--zomorphic and phyllomorphic4 ,the former consists of the head of a beast at each end of the loop handle where it joins the body of the bell1 and the latter of a leaf in the same position4 ,the bell of ,llangwynodl#chh has a good typical example of a zomorphic handle1 and the bell of ,st4 ,pol de ,lon is the only one with leaf terminations to the handle4 ,the ,llangwynodl bell is #e inches high1 and measures #f inches by #d inches across the mouth2 and the ,st4 ,pol de ,lon bell is #i inches high1 and measures #f inches across the mouth4 ,st4 ,fillan's bell is #a foot high1 and ,st4 ,ruadhan's bell only #b inches or #c inches high4 #chh ,we are indebted to ,mr4 ,w4 ,corbet ,yale-,jones-,parry1 of ,madryn ,castle1 ,pwllheli1 the present owner of the ,bell1 for permission to reproduce the photograph4 ,celtic quadrangular bells of cast bronze with ornamented bodies exist at the following places3-- ,,ireland-- ,lough ,lene ,castle1 ,co4 ,westmeath2 now in the ,museum of the ,r4,i4,a4 at ,dublin2 ,bangor1 ,co4 ,down 7,ulster ,journal of ,archology1 vol4 i41 p4 #agi2 ,ellacombe1 p4 #cdj74 ,cashel2 now at ,adare ,manor 7,lady ,dunraven's ,memorials of ,adare ,manor1 p4 #aeb2 ,ellacombe1 p4 #cdj74 ,by the courtesy of ,mr4 ,george ,coffey1 ,m4,r4,i4,a41 of the ,museum of the ,royal ,irish ,academy1 we are able to illustrate the bell from ,lough ,lene ,castle4 ,it is #a foot #a inches high1 including the handle1 and measures #h inches by #g inches across the mouth4 ,the shape of the body of the bell resembles that of the iron quadrangular bells1 but exhibits much greater refinement in the delicate and almost imperceptible curves of the sides4 ,the handle is semicircular4 ,the cross of the well-known ,irish type1 with a border of key-pattern below1 round the mouth of the bell1 on one of the border faces2 and a border of angular interlaced-work in a similar position on each of the narrower faces4 ,the bell of ,bangor was found at the place of that name1 in ,co4 ,louth1 and was subsequently in the possession of ,dr4 ,stephenson1 of ,belfast4 ,it now belongs to ,colonel ,mac,cance1 of ,knocknagoney ,house1 ,holywood1 ,co4 ,down4#chi ,it is #a foot #b inches high1 and measures #i inches by #h inches across the mouth4 #chi ,mr4 ,r4 ,welch1 of ,belfast1 tells me that it is kept in a fire-proof safe1 and that over #cjj was refused for it4 ,this bell is also ornamented with a cross and key-patterns1 like the one just described1 the only difference being that the cross is not combined with a circular ring1 and the design of the key-pattern is not quite the same4 ,illustration3 ,,bronze ,,bell ,,with ,,engraved ,,ornament ,,from ,,lough ,,lene ,,castle1 ,,co4 ,,westmeath1 ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy ,the bell of ,cashel was found at the place of that name1 in ,co4 ,tipperary1 in #ahdi1 and is now preserved at ,lord ,dunraven's house at ,adare ,manor1 ,co4 ,limerick4 ,it resembles the bell of ,bangor almost exactly1 except that there are four round dots in the hollows between the arms of the cross4 ,the handle is broken off1 and without this the bell is #a foot high4 ,its dimensions across the mouth are #i inches by #f inches4 ,these three bells are so nearly alike as regards their size1 shape1 and ornamentation that they are probably all the same date1 and may even have been the work of one artificer in metal4 ,a peculiarity occurs in the key-patterns on the bells from ,lough ,lene ,castle and from ,bangor which may perhaps help to fix the date4 ,it will be noticed that the square spaces in the middle of the key-patterns are filled in with an almond-shaped figure4 ,this is also a feature of the key-patterns in the ,irish ,gospels 7,codex ,no4 #ea7 at ,st4 ,gall1 in ,switzerland4#cij #cij ,r4 ,purton ,cooper's ,appendix ,a to ,rymer's ,fdera1 p4 #ij and pl4 #g 7,st4 ,mark miniature71 and pl4 #aj 7initial page of ,st4 ,john's ,gospel74 ,there is in the ,british ,museum a ,celtic quadrangular bell of iron with an ornamental bronze cap fixed to the top of it1 but it is not clear whether the cap forms part of the original design or was added subsequently4 ,this bell is called the ,bell of ,conall ,gael1 and came from ,inishkeel1 in the ,barony of ,boylagh1 ,co4 ,donegal4 ,it was enclosed within a metal shrine in the fifteenth century4 ,all the other ,celtic ecclesiastical bells which have been enshrined are entirely of iron1 a fact tending to show that the bronze bells are of later date than the iron ones1 because the enshrined bells were those belonging as a general rule to the saint who founded the church4 ,the bronze bells probably came into use long after most of the older churches had been founded4 ,it may be interesting to give a list of the bell-shrines still in existence3-- ,,ireland-- ,shrine of the ,bell of ,st4 ,patrick's ,will2 now in the ,museum of the ,r4,i4,a4 at ,dublin 7,h4 ,o',neill's ,fine ,arts of ,ancient ,ireland1 p4 #df74 ,shrine of the ,bell of ,st4 ,culan1 called the ,barnaan ,cuilaun2 now in the ,british ,museum 7,transactions of the ,royal ,irish ,academy1 vol4 xiv41 p4 #ca74 ,shrine of the ,bell of ,st4 ,mogue4 ,shrine of the ,bell of ,maelbrigde 7,miss ,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #fg74 ,shrine of the ,bell of ,st4 ,mura1 from the ,abbey of ,fahan1 ,co4 ,donegal 7,ulster ,journal of ,archology1 vol4 i41 p4 #bgd74 ,shrine of the ,bell of ,conall ,gael1 from ,inishkeel1 ,co4 ,donegal2 now in the ,british ,museum 7,h4 ,t4 ,ellacombe's ,church ,bells of ,devon--,supplement1 p4 #cfe74 ,,scotland-- ,bell-shrine of ,kilmichael ,glassary1 ,argyllshire1 dug up on ,torrebhlaurn ,farm in #ahad2 now in the ,national ,museum at ,edinburgh 7,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #ast ser41 p4 #bjg74 ,bell-shrine1 preserved at ,guthrie ,castle1 ,forfarshire 7,ibid41 p4 #bji74 ,illustration3 ,,the ,,shrine ,,of ,,the ,,bell ,,of ,,st4 ,,patrick',s ,,will ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy1 ,,dublin ,a4,d4 #ajia ,,to #aaje ,the bells of the ,celtic ,church1 whether they be of iron or bronze1 whether devoid of lettering or inscribed1 ornamented or plain1 possess a far higher interest than that attaching to ordinary museum specimens1 because most of them have an authentic history1 going back in some cases to the time when ,christianity was first introduced into this country4 ,the bell1 the book1 and the crozier which belonged to the ,celtic saints who founded churches1 were always looked upon with the highest veneration1 and were used for a variety of superstitious purposes1 such as healing the sick1 procuring victory in battle1 and the solemnising of oaths4 ,the relics of the saints of the fifth1 sixth1 and seventh centuries were enclosed in costly metal shrines1 generally a few hundred years after the death of the saint1 and an hereditary keeper was appointed to be responsible for the safety of the relics when borrowed for effecting cures and other purposes4 ,the shrines and their contents were thus handed down from generation to generation1 and in most cases sold by their last hereditary keepers to collectors of antiquities1 from whom they were acquired by the national museums of ,england1 ,scotland1 and ,ireland4 ,the relics still bear the names of the saints to whom they originally belonged2 the names of their hereditary keepers are well known1 and they have been obtained from the localities where the saint founded his church1 and where the relics remained for centuries afterwards undisturbed4 ,no class of antiquities1 therefore1 possesses a better record or a more satisfactory pedigree4 ,the ,irish and ,scottish bell-shrines which have been enumerated are cases of metal of the same shape as the bell they contain1 having four sloping sides and an arched top4 ,the sides are usually made of bronze plates ornamented with gold1 silver1 enamel1 and settings of crystal and precious stones4 ,two features which are characteristic of the ornamental bronze bells are repeated in the shrines1 namely1 the zomorphic terminations of the handles and the cross on the body of the bell4 ,in the two ,scottish bell-shrines the ,crucifixion takes the place of the ,cross4 ,the ornament on the bell-shrines is much further removed in style from that of the illuminated ,,mss4 than is the case with the sculptured stones4 ,this is only what might be expected1 considering the late date of the bell-shrines as compared with that of the crosses4 ,on two of the bell-shrines ,scandinavian influence may be clearly detected in the ornament upon them4 ,thus on the ,shrine of the ,bell of ,st4 ,patrick's ,will the pear-shaped eyes of the beast's heads on each side of the arched top are placed with the point outwards in the ,scandinavian fashion2 and on the ,shrine of the ,bell of ,st4 ,mura the 8tendril pattern10 which is so common on the ,rune-inscribed monuments of the ,isle of ,man1 may be noticed4 ,the dates of three of the bell-shrines have been ascertained by means of the inscriptions upon them1 namely1 ,maelbrigde's ,bell-shrine1 circa ,a4,d4 #ied2 the ,shrine of the ,bell of ,st4 ,patrick's ,will1 ,a4,d4 #ajia to #aaje2 and the ,guthrie ,bell-shrine1 #adth century4 ,judging merely from the style of the ornament1 the ,shrine of the ,bell of ,st4 ,culanus should be of the twelfth century1 and the ,shrines of the ,bell of ,st4 ,mura and of ,kilmichael ,glassary perhaps as late as the beginning of the thirteenth century4 ,the metal croziers of the ,celtic ,church are in reality shrines enclosing the wooden pastoral staffs of the different saints1 whose names most of them still bear4 ,the chief peculiarity of the ,celtic crozier is the shape of the head1 which is like the hook of a modern walking-stick1 but with a remarkable flattened end4 ,the inside curve of the hook is nearly circular1 but the outside curve is only partially semicircular1 and suddenly changes to a nearly vertical straight line just before the end of the crook is reached4 ,at the bottom of the crozier is a pointed ferrule1 and the straight portion consists of two cylindrical tubes of thin metal joined together in the middle by a bulbous collar4 ,the upper tube is joined to the head at the top by a similar bulbous collar1 and the lower tube is joined to the ferrule at the bottom by a third bulbous collar4 ,illustration3 ,,head ,,of ,,the ,,lismore ,,corzier ,,at ,,lismore ,,castle1 ,,co4 ,,waterford ,a4,d4 #ajij ,,to #aaac ,one of the most perfect of the ,irish croziers is preserved at ,lismore ,castle1#cia ,co4 ,waterford4 ,it bears an inscription showing that it was made by ,nectan1 the artisan1 for ,niall1 son of ,mac,aeducain4 ,mac ,mic ,aeducain was ,bishop of ,lismore from ,a4,d4 #ajij to #aaac4 ,another fine crozier in the ,british ,museum#cib has an inscription asking a prayer for ,maelfinnia and ,condulig4 ,the former was ,bishop of ,kells1 and died in ,a4,d4 #ifg4 ,condulig was an ecclesiastic of the same monastery1 and died in ,a4,d4 #ajdg4 ,the best examples of uninscribed croziers are the croziers of ,clonmacnois#cic and of ,st4 ,berach in the ,museum of the ,royal ,irish ,academy in ,dublin1 and a crozier now in the possession of the ,roman ,catholic ,bishop of ,killarney4 ,besides the complete croziers mentioned there are several heads and other portions of croziers in the ,museum of the ,royal ,irish ,academy1 and in the ,edinburgh ,museum of ,antiquities may be seen the head of the crozier of ,st4 ,fillan1#cid which has an unusually interesting history4 #cia ,petrie's ,christian ,inscriptions in the ,irish ,language1 vol4 ii41 p4 #aah2 and ,h4 ,o',neill's ,fine ,arts of ,ancient ,ireland1 p4 #db4 #cib ,petrie's ,christian ,inscriptions in the ,irish ,language1 vol4 ii41 p4 #aaf4 #cic ,miss ,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #aje4 #cid ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #ast ser41 p4 #bai4 ,the decoration of the ,celtic croziers is concentrated on the head1 the ferrule1 and the collars round the straight portion of the staff4 ,most of the croziers have a zomorphic cresting#cie on the outside curve of the head1 sometimes consisting of a procession of beasts one behind the other1 and sometimes only having terminal beasts' heads at each end4#cif ,the flat portion of the crook of the crozier at the end is decorated in some cases with the head of the saint or bishop1 and a crystal setting below4#cig ,zomorphism enters very largely into the ornamentation of the ,celtic croziers1 and the beasts with only two toes instead of three on the ,crozier of ,clonmacnois obviously betray their ,scandinavian origin by this detail4 ,the decoration of the heads of the croziers is treated in at least three different ways3 7#a7 the head of the ,lismore crozier is divided into rectangular panels with raised bosses of enamel at the intersections of the bands1 which form the divisions between the panels2 7#b7 the heads of the croziers of ,dysert1 ,blathmac1 and ,st4 ,fillan are divided into lozenge-shaped panels by a sort of raised lattice-work2 and 7#c7 the head of the crozier of ,clonmacnois is not divided into panels1 but the surface entirely covered with zomorphic strapwork4 #cie ,as on the croziers of ,lismore1 ,clonmacnois1 and ,dysert4 #cif ,as on ,st4 ,fillan's crozier4 #cig ,as on ,st4 ,fillan's crozier4 ,the croziers are all of the eleventh century or later1 and their decoration has little in common with that of the early illuminated ,,mss4 8,cumdachs10 or book-shrines1 are peculiar to ,ireland4 ,three ,,mss4 still in existence are known1 from historical evidence1 to have had cumdachs1 although they have been lost4 ,these are3-- ,the ,book of ,durrow enshrined ,a4,d4 #hgg to #iad4 ,the ,book of ,armagh 0 ,a4,d4 #ich4 ,the ,book of ,kells 0 before ,a4,d4 #ajjg4 ,the existing cumdachs are as follows3-- ,in the ,museum of the ,royal ,irish ,academy4 ,cumdach of ,molaise's ,gospels ,a4,d4 #ajja to #ajbe4 0 0 the ,stowe ,missal ,a4,d4 #ajbc4 0 0 ,columba's ,psalter ,a4,d4 #ajhd4 0 0 ,st4 ,patrick's ,gospels4 ,in the ,library of ,trinity ,college1 ,dublin4 ,cumdach of ,dimma's ,book ,a4,d4 #aaej4 ,the cumdachs are simply rectangular boxes1 sufficiently large to hold the ,,ms41 made either of wood or bronze and plated with silver4 ,the decoration of the principal face of the cumdach is generally arranged in the form of a cross1 the treatment being much the same as in the ornamental pages of the ,,mss4 of the ,gospels4 ,the cross on the cumdach of ,molaise's ,gospels is formed of a flat silver plate with panels pierced right through the thickness of the metal1 and filled in with interlaced patterns in filigree-work4 ,the cross in the middle is surrounded by the ,symbols of the ,four ,evangelists1 with their names inscribed at the side of each4 ,the centre of the cross and the ends of the four arms are ornamented with settings of crystal4 ,on one of the narrow faces of this cumdach are some very curious figures of two ecclesiastics1 one holding a bell and the other a pastoral staff2 and a harper1 with an angel above his head1 between them4 ,the cumdach of the ,stowe ,missal has upon the principal face a cross within a rectangular frame4 ,the centre of the cross is ornamented with a crystal setting1 and the recessed panels of the background are filled in with a peculiar kind of triangular and square chequerwork made of pierced metal plates4 ,the cumdach of ,dimma's ,book has also on the principal face a cross surrounded by a rectangular frame1 and ornamented with thirteen crystal settings4 ,the four recessed panels of the background of the cross are filled in with zomorphic designs in the same style as those on the ,high ,cross of ,tuam1#cih ,co4 ,galway1 which is of about the same period1 having been erected in ,a4,d4 #aabc4 ,the relic shrines of the ,celtic ,church are of two kinds1 namely1 7#a7 those made in the shape of the portion of the body of the saint enshrined2 and 7#b7 those made in the shape of a small oratory or house with a steep pitched roof having hipped ends4 ,as an example of the first kind we have the ,shrine of ,st4 ,lachtin's ,arm4#cii #cih ,h4 ,o',neill's ,sculptured ,crosses of ,ancient ,ireland1 pl4 #ab4 #cii ,vetusta ,monumenta1 vol4 vi41 pl4 #ai4 ,illustration3 ,,celtic ,,quadrangular ,,bell ,,of ,,bronze ,,with ,,zo,,morphic ,,handles ,,from ,,llangwynodl ,,church1 ,,carnarvonshire2 ,,now ,,in ,,the ,,possession ,,of ,w4 ,,corbet ,,yale-,,jones-,,parry1 ,,esq41 ,,of ,,madryn ,,castle1 ,,pwllheli ,w4 ,morgan ,evans1 of ,pwllheli1 photo4 ,illustration3 ,,bronze ,,reliquary ,,from ,,lower ,,lough ,,erne2 ,,now ,,in ,,the ,,possession ,,of ,t4 ,,plunkett1 ,,esq41 ,,of ,,enniskillen #g ,,ins4 ,,long ,,by #e ,,ins4 ,,high ,,by #c ,,ins4 ,,wide ,r4 ,welch1 of ,belfast1 photo4 ,the most beautiful and perfect example of a reliquary in the form of a small oratory is the one now in the possession of ,sir ,archibald ,grant1 and preserved at ,monymusk ,house1#djj ,aberdeenshire4 ,it is a wooden box1 hollowed out of the solid1 and covered with plates of bronze and silver4 ,it is decorated with enamel1 settings of precious stones1 and raised circular medallions and rectangular plaques of interlaced-work on a chased background of zomorphic designs4 ,another reliquary of the same kind was found in ,lough ,erne1#dja between ,enniskillen and ,belleek1 in #ahia1 and belongs to ,mr4 ,t4 ,plunkett1 of ,enniskillen4 ,it is #g inches long by #c inches wide by #e inches high1 and is made of plates of bronze covering an inner box scooped out of two solid pieces of yew-wood4 ,the decoration1 which consists of interlaced-work1 is concentrated upon the ridge-piece of the roof2 upon a band concealing the joint between the eaves of the roof and the sides2 upon six circular raised medallions1 one on each of the longest sloping faces of the roof and two on each of the longest sides2 and upon the hinges at each end of the box to which the bars for suspending the shrine round the neck of its hereditary keeper were attached4 ,there is a third reliquary1 like the two just described1 from ,norway1 in the ,copenhagen ,museum4#djb ,it has raised circular medallions arranged in the same way as on the ,lough ,erne shrine1 but they are decorated with spiral designs1 and the background1 instead of being plain1 is covered with elaborate interlaced-work4 ,an inscription in later ,runes on this shrine reads 8,ranvaig owns this casket40 ,the ,edinburgh ,museum possesses a fourth shrine of the same class found in the ,shannon#djc in a very dilapidated condition4 #djj ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #ast ser41 p4 #bdi4 #dja ,journ4 ,r4 ,soc4 ,ant4 of ,ireland1 #eth ser41 vol4 ii4 7#ahib71 p4 #cdi4 #djb ,j4 ,j4 ,a4 ,worsaae's ,nordiske ,oldsager i det ,kongelige ,museum i ,kjbenhavn1 p4 #abi1 ,fig4 #ebd4 #djc ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #ast ser41 p4 #bdf4 ,dr4 ,j4 ,anderson#djd has pointed out the identity of the form of the ,temple at ,jerusalem1 as represented in the ,book of ,kells1 with the form of this particular class of reliquary4 ,the ,breac ,moedoc1#dje or shrine of ,st4 ,mogue1 from ,drumlane1 now in the ,museum of the ,royal ,irish ,academy at ,dublin1 resembles the reliquaries of the ,monymusk type in shape except that the roof is gabled instead of being hipped1 and the method of applying the decoration also is entirely different4 ,it is #g inches long by #h inches wide by #c inches wide1 and is made of bronze1 with decorations of bronze-gilt1 enamel1 and glass4 ,the front is divided into rectangular panels1 each containing a group of figures of male and female saints numbering twenty-one altogether2 and on one of the gabled ends is a bearded figure playing a harp on which a bird is perched4 ,the back and bottom of the shrine are ornamented with cruciform patterns in pierced work1 as on the shrines of the ,bell of ,st4 ,patrick's ,will1 of the ,stowe ,missal1 and of ,dimma's ,book4 #djd ,ibid41 p4 #bdg4 #dje ,archologia1 vol4 xliii41 p4 #aca4 ,the relic-shrine of ,st4 ,manchan#djf differs from all those previously described in being considerably larger1 and in being shaped like the gabled roof of a house1 but without any house2 that is to say1 it has two rectangular faces meeting in a horizontal ridge and two nearly vertical triangular ends4 ,it was formerly in the keeping of the ancient ,irish family of ,mooney1 of the ,doon1 but it is now preserved in the ,roman ,catholic ,church of ,boher1 in the parish of ,lemanaghan1 near ,clara1 ,king's ,co4 ,the ,shrine of ,st4 ,manchan is #a foot #aa inches long by #a foot #a inch wide by #a foot #g inches high4 ,the framework of the shrine is made of yew boards4 ,the front and back are each ornamented with an equal-armed cross having large circular raised bosses in the centre1 and on the ends of the four arms4 ,the four spaces forming the background of each of the crosses are filled in with rows of small figures fixed to the bronze plate behind with rivets4 ,the front1 back1 and two ends of the shrine are partially surrounded by a border of zomorphic ornament4 ,the bosses in relief of the crosses on the front and back1 and the recessed triangular panels on the two ends are also elaborately decorated with zomorphs4 ,at each of the four corners of the base is a circular ring1 probably for carrying the shrine about4 ,the clamps of the rings1 the borders round the bottom of the shrine1 and the narrow parts of the arms of the crosses have step-patterns in red and yellow enamel upon them4 ,the whole of the bronze was originally gilt4 ,the style of the ornament is so similar to that on the ,cross of ,cong that we shall not be far wrong if we attribute the shrine of ,st4 ,manchan to the same period1 namely1 the twelfth century4 #djf ,the ,reliquary1 vol4 xv4 7#ahge71 p4 #aic4 ,there is only a single example of a processional cross belonging to the ,celtic ,church now in existence1 namely1 the ,cross of ,cong#djg in the ,museum of the ,royal ,irish ,academy at ,dublin4 ,it is #b feet #f inches high by #a foot #f inches across the arms by #a inches thick4 ,the cross is of oak covered with copper plates1 and has a boss of rock-crystal in the centre1 beneath which the portion of the true cross was enshrined4 ,the outer margin of the cross is formed by a roll moulding of silver1 with eighteen small enamelled knobs at intervals to emphasise the cuspings of the outline of the cross4 ,the face of the cross within the margin is divided into two rows of panels by a narrow longitudinal band in the middle of the arms1 with enamelled bosses of enamel in relief and circular silver discs alternately marking the points where the cross-bars branch off at right angles to the central stem1 so as to divide the surface into panels4 ,the eight panels surrounding the boss of rock-crystal in the centre of the cross are filled in with scrolls of gold filigree-work1 and the remaining thirty-eight panels on the arms and shaft are filled in with zomorphic designs in cast bronze gilt1 riveted to the copper plates beneath4 ,at the bottom of the cross is a beast's head with a bulbous projection between it and the socket to receive the staff4 ,the bulbous portion is ornamented with small bosses of blue enamel and panels of zomorphic designs4 ,the general effect of the whole is extremely rich1 and shows great artistic feeling4 ,the prevalence of the zomorphic element in the design and the arrangement of the panels reminds us of the croziers of the same period1 more especially the one at ,lismore ,castle1 ,co4 ,waterford4 #djg ,proc4 ,r4,i4,a41 vol4 ii41 p4 #aac1 and vol4 iv41 p4 #egb2 ,petrie's ,christian ,inscriptions in the ,irish ,language1 vol4 ii41 p4 #aah2 ,miss ,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #ajh2 and ,journ4 ,r4 ,soc4 ,ant4 ,ireland1 vol4 xxxi4 7#aija71 p4 #dj4 ,the inscriptions on the ,cross of ,cong1 of which the first is in ,latin 7twice repeated7 and the remaining four in ,irish1 may be thus rendered in ,english3-- 7#a7 8,this ,cross covers the ,cross on which the ,saviour of the ,world suffered40 7#b7 8,pray for ,murdoch ,o',duffy1 the ,senior of ,ireland40 7#c7 8,pray for ,turloch ,o',connor1 for the ,king of ,ireland1 for whom this shrine was made40 7#d7 8,pray for ,donnell ,m',flannagan ,o',duffy1 for the ,bishop of ,connaught1 for the successor of ,coman and ,ciaran1 under whose superintendence this shrine was made40 7#e7 8,pray for ,maeljesu ,mac,bratdan ,o',echan1 who made this shrine40 ,murdoch ,o',duffy1 ,archbishop of ,connaught1 died in ,a4,d4 #aaej1 and it is recorded in the ,annals of ,innisfallen that in the year #aabc a bit of the true cross came into ,ireland and was enshrined by ,turlogh ,o',connor1 thus fixing the date of the ,cross of ,cong some time in the first half of the twelfth century4 ,the cross was removed from ,tuam to ,cong either by ,archbishop ,o',duffy or ,king ,roderic ,o',conor1 and was found there in #ahci1 when it was purchased by ,prof4 ,mac ,cullach and presented by him to the ,museum of the ,royal ,irish ,academy4 ,chalices of earlier date than the ,norman ,conquest are of extreme rarity either in ,great ,britain or on the ,continent4 ,perhaps the three most ancient specimens abroad are 7#a7 the chalice1 found with gold coins of ,justinian 7,a4,d4 #ejh to #ebg71 at ,gourdon1#djh ,chalons-sur-,sane1 and now in the ,national ,library at ,paris2 7#b7 the chalice of ,tassilo1#dji ,duke of ,bavaria 7,a4,d4 #geg to #gha71 at ,kremsmnster in ,lower ,austria2 and 7#c7 the chalice of ,st4 ,gozlin#daj of ,toul 7,a4,d4 #ibb to #ifb71 now in the treasury of the ,cathedral of ,nancy4 ,the first and last of these have two handles4 ,the chalice of ,tassilo1 however1 has no handles4 ,it is profusely decorated with interlaced-work1 zomorphic designs1 and figure subjects1 and has round the foot the following inscription in capital letters1 not unlike those used in the ,hiberno-,saxon ,,mss3-- 8 ,,tassilo ,,dvx ,,fortis ,,lvitpirc ,,virga ,,regalis40 #djh ,de ,caumont's ,abcdaire d',archologie ,architecture ,religieuse1 p4 #aag4 #dji ,dr4 ,r4 ,munro's ,boznia-,herzegovina and ,dalmatia1 p4 #bib4 #daj ,de ,caumont1 loc4 cit41 p4 #aah4 ,the lady referred to was ,luitberga1 wife of ,duke ,tassilo1 and daughter of ,desiderius1 the last king of the ,lombards4 ,the chalice is #aj inches high and is made of copper ornamented with gold1 silver1 and niello4 ,the figures are placed in oval medallions round the bowl and the base4 ,the principal figure is that of ,christ giving the benediction1 and the remainder appear to be those of saints4 ,the style of the decoration resembles that of the ,irish metalwork to a certain extent1 and the chalice of ,tassilo may very possibly have been made abroad under the direction of some ,irish monk4 ,only one metal chalice of undoubted ,irish work has been preserved until the present time1 namely1 the ,ardagh ,chalice#daa in the ,museum of the ,royal ,irish ,academy at ,dublin4 ,it was found in #ahfh in a rath in the townland of ,reerasta1 in the parish of ,ardagh1 ,co4 ,limerick4 ,the chalice belongs to the two-handled type1 and has a hemispherical bowl1 a very short cylindrical stem1 and a conical base with a flat rim round the bottom4 ,it is #g inches high by #i inches in diameter at the top1 and #f inches in diameter at the bottom1 the bowl being #d inches deep and of sufficient capacity to hold three pints of liquid4 ,the chalice is composed of gold 7#a oz4 #b dwts471 silver 7#bj ozs4 #ac dwts471 bronze 7#i ozs471 lead1 enamel1 glass1 amber1 and mica4 ,no less than #ced different pieces1 including #bj rivets1 are used in the construction of the vessel4 #daa ,petrie's ,christian ,inscriptions in the ,irish ,language1 vol4 ii41 p4 #abc2 ,trans4 ,r4,i4,a41 vol4 xxiv41 p4 #dcc2 ,miss ,m4 ,stokes' ,early ,christian ,art in ,ireland1 p4 #hc4 ,the exterior of the bowl of the ,ardagh chalice is inscribed with the names of the ,twelve ,apostles in ,hiberno-,saxon capitals1 finely engraved on the silver4 ,the forms of the letters correspond with those used in the ,books of ,kells1 ,dimma1 ,st4 ,chad1 ,durham1 and ,mac,regol4 ,illustration3 ,,bronze ,,fibula ,,with ,,plaitwork ,,and ,,late-,,celtic ,,ornament ,,from ,,the ,,ardakillen ,,crannog1 ,,near ,,strokestown1 ,,co4 ,,roscommon2 ,,now ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy1 ,,dublin ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,under ,,side ,,of ,,the ,,foot ,,of ,,the ,,ardagh ,,chalice ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy1 ,,dublin ,the raised decoration of the chalice1 which is made in separate pieces and fixed on with rivets1 is concentrated on the following parts3-- 7#a7 ,a horizontal band just below the rim and running through the handles4 7#b7 ,the two handles4 7#c7 ,two circular medallions on the lower side of the bowl midway between the handles4 7#d7 ,the stem4 7#e7 ,the flat rim at the bottom of the base4 7#f7 ,the under side of the flat rim round the base4 7#g7 ,the circular medallion in the centre of the under side of the conical base4 ,the ornament consists of interlaced-work1 step-patterns1 key-patterns1 spiralwork1 zomorphic designs1 and scrollwork1 arranged in panels after the usual ,celtic fashion4 ,the step-patterns are confined to the plaques and bosses of enamel1 and the other patterns are executed in delicate gold filigree-work on a repouss background of gold4 ,on the under side of the flat rim round the base panels of most beautifully plaited silver wire are introduced4 ,amber is used on the handles for the borders round the raised bosses of enamel1 and there is a narrow ring of the same material between the concentric rings of ornament in the middle of the under side of the base4 ,the heads of the rivets by which the circular medallions on the sides of the bowl are fixed are concealed by two small bosses of blue glass and two of amber4 ,the heads of the rivets for securing the two handles in place are disguised in a similar manner4 ,the stem and supports of the chalice are of bronze gilt1 highly ornamented4 ,they are attached to the bowl by a bronze-gilt ball1 with a strong square tang1 and most ingeniously fastened by an iron bolt which secures all together4 ,a plate of lead is inserted between the upper and under sides of the flat rim round the base to give weight and stability4 ,the flat rim round the base is ornamented with gold and bronze-gilt plaques of open work on a background of mica1 in order to show up the beauty of the patterns4 ,the flat rim round the base has on its under side1 between the panels of ornament1 rectangular tablets of blue glass1 underneath which are decorated pieces of wrought-silver1 which give a brilliant appearance in a strong light4 ,in the centre of the under side of the base is a circular setting of rock-crystal4 ,the rim of the bowl of the chalice is of brass4 ,enough has been said of the elaborate nature of the construction and ornamentation of the ,ardagh ,chalice to show that it is a masterpiece of ,celtic art metalwork of the best period4 ,the style of the lettering of the inscription upon it and the general character of the decorative features indicate that it belongs to the same school as the ,book of ,kells1 the ,durham ,book1 ,st4 ,chad's ,gospels1 and the ,tara ,brooch1 and cannot consequently be of much later date than the eighth century4 ,it will be noticed that in the decoration of the ,ardagh ,chalice spiral patterns of the best quality are present1 and that the zomorphs are kept under proper restraint so as not to swamp the whole design4 ,both these points are an indication of early date4 ,there are at least three examples known of bronze plaques with representations upon them of the ,crucifixion treated in the archaic ,irish fashion4 ,the most interesting of these was found at ,athlone1#dab and is now in the ,museum of the ,irish ,academy in ,dublin4 ,the ,saviour is shown wearing a tunic1 the surface of which is almost entirely covered with spirals1 key-patterns1 and interlaced-work4 ,another smaller and less ornamental plaque with the ,crucifixion may be seen in the same museum2#dac and a third1 belonging to ,mr4 ,m4 ,j4 ,arketell1 has been illustrated by ,prof4 ,j4 ,o4 ,westwood in his ,miniatures and ,ornaments of the ,anglo-,saxon and ,irish ,,mss4#dad #dab ,dr4 ,j4 ,stuart's ,sculptured ,stones of ,scotland1 vol4 ii41 pl4 #aj4 #dac ,miniatures1 pl4 #ea4 ,fig4 #g4 #dad ,pl4 #ea1 ,fig4 #h4 ,leaving ,celtic ecclesiastical metalwork1 we come to personal ornaments1 which1 although exhibiting the same style of decoration1 were not necessarily intended to be worn by persons taking part in the ceremonies of the ,church4 ,these personal ornaments consist of pins1 brooches1 and buckles4 ,we have previously given a list of the hammer-headed pins1 which may either be ,pagan or ,christian4 ,another peculiarly ,celtic type of pin consisted of three parts1 namely1 7#a7 a long pin2 7#b7 a kite-shaped pendant2 and 7#c7 a short bar hinged at one end to the top of the pin1 and at the other to the rounded top of the pendant4 ,a remarkably fine pin of this description was found about #ahhc at ,clonmacnois1#dae ,king's ,co41 and is now in the possession of the ,rev4 ,timothy ,lee1 of ,limerick4 ,the pin is #g inches long1 the coupling-bar inch long1 and the kite-shaped pendant #b inches long by #a inches wide by inch thick4 ,the whole is of silver1 decorated with gold filigree1 enamel1 niello1 and settings of claret-coloured glass or precious stone4 ,the coupling-bar has on one side a lozenge-shaped panel of filigree-work1 and on the other an interlaced pattern in niello4 ,the front of the pendant is ornamented with a cross having a large rectangular setting of glass in the centre1 three smaller rectangular settings at the ends of the top and two side arms1 and a small triangular setting at the bottom of the shaft4 ,the background of the cross consists of four panels of interlaced filigree-work1 three of which are missing4 ,the point of the kite-shaped pendant terminates in a beast's head4 ,on the back of the pendant there is a cross of similar shape to that on the front1 but with an ornamental border of spiralwork round it1 and the whole design executed in niello4 ,at the pointed end at the bottom is fixed a small ring through which passes a silver plaited chain of ,trichinopoly-work1 like the one attached to the ,tara ,brooch4 ,there is another pin of similar shape ornamented with zomorphic designs in the ,museum of the ,royal ,irish ,academy1#daf in ,dublin4 #dae ,journ4 ,r4 ,soc4 ,ant4 ,ireland1 ser4 #e1 vol4 i4 7#ahij-a71 p4 #cah4 #daf ,r4,i4,a4 photo1 ,a #afe4 ,dr4 ,hans ,hildebrand1 in his excellent ,south ,kensington handbook of ,the ,industrial ,arts of ,scandinavia 7p4 #ba71 remarks that 8every work of human art1 higher as well as lower1 has its shape determined by two agents3 the end which it is to serve1 and the taste of the people and the time of which it is a fruit40 ,in other words1 there is a utilitarian as well as an ornamental side to almost every object fashioned by man to satisfy his wants4 ,the form of an object must depend primarily upon the practical use to which it is intended to be put1 and the decorative features generally follow afterwards in due course4 ,the function of the decorative features1 however1 should be to add grace and beauty to the original form of the object1 but not to attempt to disguise the utilitarian purpose it fulfils4 ,no relics of antiquity are more deserving of study than personal ornaments1 and of all personal ornaments perhaps the brooch is the most important as affording an insight into the character of the people by whom it was worn4 ,their ingenuity can be measured by the perfection of the mechanism of the working parts1 their culture by the refinement of the ornament1 and their skill as craftsmen by the finish of the workmanship4 ,much1 again1 is to be learnt of the habits of the people by investigating the different methods of wearing the brooch4 ,thus it is that almost every age and every country possesses its typical form of brooch4 ,illustration3 ,pin-brooch from ,clonmacnois1 ,king's ,co4 ,now in the possession of the ,rev4 ,timothy ,lee1 of ,limerick ,drawn by ,r4 ,cochrane1 ,f4,s4,a4 ,looked at from its practical side1 a brooch is a contrivance for fastening together temporarily any two points on a garment4 ,it is obviously a higher development of the pin4 ,going back to first principles1 the pin may have been suggested by the natural spikes1 or thorns1 found in the vegetable world4 ,it would not require much intelligence to see that a small knob added to the blunt end of the pin would facilitate its removal from the fabric when it was required to be withdrawn1 and would also prevent the pin going further than was desirable through the fabric4 ,the problem which was solved by the invention of the brooch1 however1 was one of much greater complexity1 namely1 how to secure the pin in position so as to prevent it from slipping out of the fabric in the direction of the head4 ,this might have been effected either by fixing a removable knob1 or stop of some kind1 on the pointed end after it had been inserted in the fabric1 or by connecting the head with the point temporarily1 so as to form a complete ring for the time being4 ,in the brooch the latter alternative is chosen4 ,the pin must necessarily be straight1 so as to pierce the fabric with the least amount of resistance1 and the temporary connection between the head and the point has to be approximately semicircular1 the whole forming a ring shaped like a bow1 the pin corresponding to the string and the body of the brooch to the bow4 ,illustration3 ,,silver ,,penannular ,,brooch ,,from ,,ireland2 ,,now ,,in ,,the ,,british ,,museum ,,scale ,,linear ,in order to be able to remove the brooch from the fabric at pleasure1 some contrivance must be hit upon by which a gap1 or break1 can be made in the ring1 and be closed up again whenever it is desired to do so4 ,the opening is attained by placing a hinge where the head of a pin joins the body of the brooch1 and the closing by having a groove-shaped catch at the opposite extremity4 ,a spring is also required to prevent the pin coming unfastened accidentally from the catch4 ,these different contrivances constitute the essential parts of a brooch1 which1 divested of its ornamental appendages1 is represented by the ordinary 8safety-pin0 of the present day4 ,if the rigid bow-like connection between the head and point of the pin be doubled we get an annular brooch1 and if the central portion of the ring be filled in we get the discoidal brooch4 ,in these cases the ring or disc is placed parallel to the plane of the fabric instead of at right angles to it4 ,the somewhat dry disquisition just inflicted upon the unsuspecting reader is necessary in order to place him in a position to fully understand the mechanism of the typical ,celtic brooch1 the leading characteristics of which are that the ring has a break in its continuity 7whence the name 8penannular071 and that the length of the pin considerably exceeds the diameter of the ring4 ,the object of the break in the continuity of the ring is that it enables the spring-catch to be dispensed with1 the method of fixing the brooch in the dress being as follows3 ,first1 the long pin is inserted in the fabric at two points close together1 in such a manner that the apex goes right through it and appears again above the surface2 the pin is then forced through the break1 and the ring is given a turn through a right angle in the plane of the fabric1 thus fixing the brooch by the friction produced by the drag of the weight of the garment on the pin4 ,we are now brought face to face with the question as to how the ,celtic penannular brooch was worn4 ,this can not only be conjecturally determined by an examination of the specimens to be found in museums1 but fortunately can be settled beyond a shadow of a doubt in two ways1 each of which confirms the other4 ,first1 there are at least two contemporary representations of persons actually wearing a penannular brooch 7one on a cross at ,monasterboice1 ,co4 ,louth1 and the other on a cross at ,kells1 ,co4 ,meath1 in ,ireland72 and this ancient form of fibula has survived1 and is in use at the present time in ,algeria and elsewhere4 ,the example at ,monasterboice#dag is on the bottom panel of the side of the shaft of the cross of ,muiredach 7or ,murdoch71 which was erected in ,a4,d4 #ibd4 ,the scene represented on the panel has been conjectured by the late ,prof4 ,j4 ,o4 ,westwood1 from its similarity to a miniature in the ,book of ,kells at ,trinity ,college1 ,dublin1 to be intended for ,christ seized by the ,jews4 ,if this be so1 the central figure is our ,lord1 and on each side is a soldier armed with a drawn sword4 ,the sculpture is in good preservation1 considering its great age1 and the details of the costume1 which are very elaborate1 can be made out fairly well4 ,our ,lord wears a sort of cloak with a penannular brooch fixed on ,his right shoulder4 ,the split in the ring of the brooch faces downwards1 and the pin is inclined upwards at an angle of about #cj degrees to the horizontal1 the point being outwards4 ,probably the heavy head of the pin is placed downwards because its weight would always tend to bring it to this position1 as the one of most stable equilibrium1 but it may also have been to avoid injury from the point of the long pin4 #dag ,illustrated ,archologist for #ahic1 p4 #afd4 ,illustration3 ,,biskra ,,woman ,,wearing ,a ,,pair ,,of ,,penannular ,,brooches1 ,,the ,,ends ,,of ,,the ,,pins ,,pointing ,,upwards ,the second example is on the bottom panel of the side of the broken cross-shaft in ,kells#dah churchyard4 ,the exact date of this monument is unknown1 but it is probably of the ninth or tenth century4 ,the subject on the panel is the ,baptism of ,christ1 with the sources of the two imaginary rivers1 ,jor and ,dan1 which1 when united1 were supposed to contribute their waters to the ,jordan1 indicated conventionally in a most remarkable manner4 ,john the ,baptist pours the water over the head of ,christ with a sort of ladle4 ,above is the ,holy ,dove1 and on the left are two figures wearing penannular brooches exactly in the same manner as on the ,monasterboice cross1 with the pin pointing upwards4 ,in the case of the figure furthest to the left1 the end of the long pin is inserted a second time into the fabric of the dress1 beyond the ring4 ,the method of wearing the penannular brooch at the present day in ,algeria is clearly indicated on the reproduction of a photograph#dai here given4 ,the only difference in the way of wearing the brooch in ,algeria and in ancient ,ireland is1 that in the former case they are worn in pairs instead of singly1 and there is a connecting chain with a small pendant scent-box hung from the middle4 ,the size of the box is exaggerated out of all proportion by being placed nearer the camera than the rest of the figure4 #dah ,illustrated ,archologist for #ahic1 p4 #afe4 #dai ,obtained from ,albert ,hautecur1 #b1 ,boulevard des ,capucines1 ,paris4 ,in ,great ,britain the penannular brooches appear to have been worn singly1 as they are never found in pairs2 thus offering a contrast to the ,scandinavian bowl-shaped brooches1 which are always found in pairs1 and were connected by a chain1 as in the case of the ,algerian brooches4 ,it would be interesting to know how the penannular form of brooch was first introduced into this country1 for its seems hardly conceivable that it could have been invented here1 or else it would not be found in ,algeria1 which never had any connection with ,great ,britain1 it being extremely unlikely that so peculiar a type of brooch was evolved independently in the two countries4 ,the most probable suggestion is that the ,algerians and the ancient ,irish got it from a common source1 namely1 the ,east1 and that its introduction into our own islands dates from the time when the traffic in silver bullion from the ,east commenced4 ,the existence of a trade route which was made use of by the dealers in silver bullion is made clear by the number of finds of ,mahomedan silver coins associated with ingots1 rings1 and ornaments of silver1 made both in ,scandinavia and in ,great ,britain4 ,dr4 ,hans ,hildebrand1 in his ,industrial ,arts of ,scandinavia 7p4 #ha71 informs us that 8considerable stores of such coins1 most of them of the ,samanid dynasty1 have been found in ,sweden4 ,it is satisfactorily proved by ,russian finds1 that these coins were brought from states near the ,caspian ,sea1 through ,russia to the shores of the ,baltic ,sea1 and thence to the commerce established by the inhabitants of ,gotland over to that island4 ,from ,gotland1 and probably also by direct intercourse with ,russia1 the ,mahomedan coins were spread over ,scandinavia1 being of course more common in the eastern provinces of ,sweden than in the western and in ,norway40 ,no less than #bj1jjj ,mahomedan silver coins have already been discovered in ,sweden1 mostly dating between ,a4,d4 #hhj and #iee1 the latest belonging to the year ,a4,d4 #ajaj4 ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,tara ,,brooch ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,tara ,,brooch ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,tara ,,brooch ,penannular brooches have been found in association with ,mahomedan coins of the ninth and tenth centuries1 at ,skaill1 in ,orkney2 at ,storr1 in ,skye2 and at ,cuerdale1 near ,preston1 in ,lancashire4 ,although the general form of the penannular brooch is probably of ,eastern origin1 the decorative features vary according to the race of people who adopted it4 ,thus the examples from ,algeria have ,mahomedan ornament2 those from ,gotland1 ,scandinavian patterns2 whilst those from ,ireland and ,scotland are thoroughly ,celtic in design4 ,with the decoration of the foreign specimens we are not now concerned1 but a few words with regard to the various types found in ,great ,britain will form a fitting conclusion to this article4 ,the finest collections of penannular brooches are to be seen in the ,british ,museum1 the ,national ,museum of ,antiquities of ,scotland1 in ,edinburgh1 and in the ,museum of the ,royal ,irish ,academy in ,dublin4 ,a few good specimens are in private hands1 and there is a splendid one from ,orton ,scar1#dbj in ,westmoreland1 in the ,museum of the ,society of ,antiquaries at ,burlington ,house4 #dbj ,reliquary for #aijc1 p4 #bjc4 ,the portions of the brooch1 the forms of which are altered so as to adapt them better to the reception of ornament1 are the head of the pin and the two terminations of the ring1 where the break occurs4 ,the two chief ways of altering the shapes of these parts are 7#a7 by making them spherical1 and 7#b7 by expanding into a wide flat surface2 the object in both cases being to increase the area available for decoration4 ,sometimes1 also1 the ring and the long end of the pin are flattened and widened for a similar purpose4 ,as an example of a penannular brooch with bulbous terminations to the ring and head of the pin1 we have one from ,co4 ,kildare in ,ireland 7,r4,i4,a4 photo1 ,b #agb74 ,the knobs are covered with a prickly ornament produced by incised lines drawn diagonally in two directions1 crossing each other1 giving the whole the appearance of the head of a thistle4 ,several brooches of this kind have been obtained from different localities in ,ireland1 and there was one along with the three brooches of the type with flattened and expanded ends found with the ,ardagh ,chalice--a hoard of objects of purely ,irish types--but their ornamentation appears to be more ,scandinavian than ,celtic4 ,one of the best specimens from ,skaill1 in ,orkney1 now in the ,edinburgh ,museum1 has a pin #a foot #c inches long1 and the bulbous ends covered with zomorphic designs similar to those on the ,manx crosses1 and on an iron axe-head inlaid with silver from the ,mammen ,how1#dba ,denmark4 #dba ,dr4 ,j4 ,anderson's ,scotland in ,pagan ,times3 ,iron ,age1 p4 #ig4 ,we next come to brooches with discoidal terminations1 of a date not later than the beginning of the ninth century1 as the simplest example of which may be taken one from ,croy1 in ,inverness-shire 7,scotland in ,early ,christian ,times1 #bnd ser41 p4 #bc74 ,another1 found near ,perth 7ibid41 p4 #ba71 has three raised heads on each disc2 whilst one from ,rogart1 in ,sutherlandshire 7ibid41 p4 #g71 has four raised heads outside the circumference of the disc1 so that the terminations are altered into the shape of a quatrefoil4 ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,tara ,,brooch ,,in ,,the ,,dublin ,,museum ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,tara ,,brooch ,,in ,,the ,,dublin ,,museum ,lastly1 we have brooches with flat expanded ends to the ring1 of which kind three specimens in the ,museum of the ,royal ,irish ,academy at ,dublin are illustrated1 in order to show the way of ornamenting the expansions with one1 four1 and five raised bosses1 having zomorphic designs on the background 7,r4,i4,a4 photos1 ,b #afc and ,b #afd74 ,the area of the head of the pin available for decoration is increased by making it into a cylindrical tube4 ,in the final stage of the development of the penannular brooch in ,ireland it ceased to be penannular1 if we may be permitted to use such an ,irish expression4 ,the break in the ring was entirely filled up1 although its position can still be traced by the method of arranging the pattern1 which survived in its old form long after the split had disappeared4 ,the celebrated ,tara ,brooch1 in the ,museum of the ,royal ,irish ,academy 7,r4,i4,a4 photo1 ,a #afa71 affords a striking example of this4 ,the doing away of the break in the ring must have entirely defeated the original purpose the brooch was intended to serve1 and it would1 therefore1 appear that these highly decorated brooches were made rather for ceremonial use1 than to be of any practical value as dress-fasteners4 ,it may be pointed out that all the characteristic modifications of the form of the penannular brooch made by the ,celtic artist arose from his desire to provide more space for the ornamental patterns1 which were the very salt of his existence4 ,dr4 ,joseph ,anderson contributes the following note apropos of the long pin3-- 8,in the ,brehon ,laws1 vol4 iii41 p4 #bia1 men are exempted from liability to fine for injury from the pin of their brooch 7in a crush8 or at a fair87 if they have the brooch on their shoulder so as not to project beyond it4 ,women also are exempt if they have their brooch similarly on their bosom40 ,vol4 iv41 p4 #cbc1 8a precious brooch worth an ounce of silver8 is enumerated among the customary insignia of a chief40 ,the ,tara ,brooch#dbb was found in #ahej by some children whilst playing on the strand near ,drogheda1 ,co4 ,meath4 ,it was offered by the mother of the children to a dealer in metals in ,drogheda1 but he refused to purchase it1 after which she took it to a watchmaker in the town1 who gave her a trifle for it4 ,the watchmaker cleaned it up1 and subsequently sold it to ,messrs4 ,waterhouse1 of ,dame ,street1 ,dublin4 ,the ,tara ,brooch is now in the ,museum of the ,royal ,irish ,academy4 ,the body of the brooch is made of an alloy of copper and tin called white bronze1 and the decorations with which it is encrusted consist of gold filigree in small recessed panels1 niello1 enamel1 and settings of amber and glass4 ,the ornament includes interlaced-work1 spirals1 step-patterns1 scrollwork1 zomorphs1 and anthropomorphs4 ,the spiralwork is of the best kind1 such as is only found in ,,mss4 like the ,book of ,kells4 ,the designs on the back of the brooch appear to be chased or cut into the solid metal of the body1 and not composed of plaques fixed on with rivets4 ,attention should be particularly directed to the rows of birds1 each biting the leg of the one in front of it1 on the back of the brooch4 ,similar designs occur in the ,lindisfarne ,gospels#dbc and on a cross-shaft from ,aberlady1#dbd now at ,carlowrie ,castle1 near ,kirkliston1 ,linlithgowshire1 clearly showing ,northumbrian influence1 as bird-motived ornament of this kind is in no way characteristic of pure ,irish work4 #dbb ,h4 ,o',neill's ,fine ,arts of ,ancient ,ireland1 p4 #di4 #dbc ,publication of the ,palographical ,soc41 and ,g4 ,f4 ,warner's ,illuminated ,manuscripts in the ,british ,museum1 #crd series4 #dbd ,allen and ,anderson's ,early ,christian ,monuments of ,scotland1 p4 #dbh4 ,illustration3 ,,detail ,,of ,,ornament ,,on ,,the ,,tara ,,brooch ,,in ,,the ,,museum ,,of ,,the ,,royal ,,irish ,,academy1 ,,dublin ,there are several beautiful penannular brooches in the ,national ,museum of ,antiquities of ,scotland1 at ,edinburgh1 most of which are described and illustrated in ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times series4 ,the finest of these is the ,hunterston ,brooch1#dbe which has a ,runic inscription upon it and is decorated with interlaced-work1 zomorphs1 and spiralwork almost equal to that on the ,tara ,brooch4 ,the ,cadboll ,brooch#dbf from ,rogart1 ,sutherlandshire1 and a brooch from ,perth#dbg are also very beautiful examples4 ,the best examples of early ,irish ornamental leatherwork are the satchel of the ,book of ,armagh#dbh in the ,library of ,trinity ,college1 ,dublin1 and the satchel of ,st4 ,moedog's reliquary#dbi in the ,museum of the ,royal ,irish ,academy4 ,the patterns on the former consist of interlaced-work and zomorphs1 and those on the latter of interlaced-work only4 ,there are also specimens of leather shoes in the ,museum of the ,royal ,irish ,academy with ,celtic ornament upon them4#dcj ,there are very few objects of wood or bone now in existence which exhibit ,celtic ornament of the ,christian period4 #dbe ,dr4 ,j4 ,anderson's ,scotland in ,early ,christian ,times1 #bnd ser41 p4 #b4 #dbf ,ibid41 p4 #g4 #dbg ,ibid41 p4 #ba4 #dbh ,rev4 ,j4 ,p4 ,mahaffy's ,book of ,trinity ,college4 #dbi ,archlogia1 vol4 xliii41 p4 #aca4 #dcj ,sir ,w4 ,wilde's ,catal4 ,mus4 ,r4,i4,a41 p4 #bhd4 ,,chapter ,,vii ,,celtic ,,art ,,of ,,the ,,christian ,,period ,,technical ,,processes ,,and ,,materials ,,employed ,,during ,,the ,,christian ,,celtic ,,period ,,in ,,great ,,britain ,ecclesiastical and other ,,mss4 written on sheets of vellum and bound up in the form of a book were introduced into this country with ,christianity4 ,the materials and tools used by the ,celtic scribes and illuminators probably did not differ to any great extent from those used throughout ,europe during the ,middle ,ages4 ,the parchment of the ,irish ,,mss4 is1 however1 generally much thicker#dca than that of the ,carlovingian and other foreign ,,mss4 ,the letters in the ,irish ,,mss4 of the best period1 such as the ,book of ,kells1 are composed partly of extremely fine lines1 drawn with a firm hand1 which gradually expand in width to form the other parts of the letters4 ,these could hardly have been made with a reed or a brush1 so that it is probable that the pens of the ,irish scribes were made from the quills of swans1 geese1 crows1 and other birds4 ,the black ink used in the ,irish ,,mss4 is remarkable for its blackness and durability2 and ,bede1 the historian1 speaks highly in praise of the colours prepared in ,ireland1 and especially of the brilliancy and permanence of the red made from whelks4#dcb ,some colours1 such as yellow1 are put on thin and transparent2 whilst others1 such as red1 have a thick body made of titurated earth or other skilfully prepared material1 mixed with some strong binding material of the nature of gum or varnish4#dcc #dca ,sir ,e4 ,m4 ,thompson's ,greek and ,latin ,palography1 p4 #ch4 #dcb ,bede's ,eccl4 ,hist41 bk4 i41 chap4 #a4 #dcc ,dr4 ,ferdinand ,keller in the ,ulster ,journal of ,archology1 vol4 viii4 ,the material employed for the highly ornamented sculptured monuments of the ,christian ,celtic period was generally that most readily procurable on the spot1 but a preference was always shown for a freestone1 which could be easily worked4 ,the greater proportion of the best crosses are carved in a fine-grained sandstone4 ,in ,cornwall granite was most generally used1 although ,polyphant stone was also used4 ,in the ,isle of ,man nearly all the crosses are of slate4 ,hard1 volcanic rocks were avoided where possible on account of the difficulty of working4 ,there are1 however1 crosses of trap-rock at ,carew1 ,pembrokeshire1 and ,moel ,siarman1 ,brecknockshire4 ,on some of the crosses the marks of the tool with which they were carved can still be clearly seen1 as on the ,cross of ,iltyd at ,llantwit ,major1 and the cross-base at ,llangevelach1 both in ,glamorganshire4 ,as far as it is possible to judge from the tool-marks1 either a pick or a pointed chisel must have been employed by the early ,christian ,celtic stone-carvers4 ,similar tool-marks have been observed on the cup-and-ring sculptures of the ,bronze ,age4 ,in the churchyard at ,kells1 ,co4 ,meath1 there is an unfinished cross which is of great interest as showing the exact methods used in the construction and decoration of this class of monument4 ,the stone was first squared and the design roughly set out upon it4 ,draughts were then cut across the faces1 leaving certain portions standing out in high relief1 upon which the figure subjects were afterwards sculptured4 ,the unfinished cross at ,kells was formerly lying on the ground1 but it has recently been erected on its original base1 which is also unfinished4 ,when the crosses are constructed of two or more pieces they are fitted together by means of mortice and tenon joints4 ,sometimes the quadrants of the circular ring connecting the arms were made in separate pieces1 as in the case of the large broken cross at ,iona4#dcd ,the metals in use during the ,christian ,celtic period were gold1 silver1 copper1 lead1 bronze1 brass1 and other alloys4 ,these were cast and wrought and ornamented by means of enamelling1 niello1 plating1 gilding1 repouss work1 chasing1 engraving1 piercing1 inlaying1 filigree-work1 ,trichinopoly chainwork1 and settings of precious stones1 amber1 and glass4 ,the different pieces of the metal objects were fixed together by rivets1 and if soldering and brazing were known1 they were certainly not employed to any great extent4 ,even when the specimens can be removed from their show-cases in museums and examined carefully by an expert it is not always possible to be certain of the exact technical processes by which the various decorative effects have been produced1 and unless the objects can be dissected many of the constructive features must necessarily be a matter for conjecture4 ,the ,ardagh ,chalice and the ,tara ,brooch illustrate nearly all the materials1 technical processes1 and methods of construction used at this period4 #dcd ,proc4 ,soc4 ,ant4 ,scot41 vol4 xxxv41 p4 #ij4 ,three different kinds of enamel are used in the decoration of the ,ardagh ,chalice1 namely1 7#a7 a peculiar variety of cloisonn in which the compartments1 or cloisons1 are all cut out of a single piece of metal and the open framework thus formed is pressed into the surface of the enamel when soft until it rises up and fills each compartment2 7#b7 a combination of cloisonn and champlev enamel in which the compartments are all cut out of a single piece of metal1 some being pierced right through and the remainder only sunk partially through the thickness of the metal2 the framework is pressed into the enamel when soft1 thus filling up the open compartments1 as in the first kind just described1 and the remaining dug-out compartments are filled with fusible enamel as in champlev2 and 7#c7 a species of champlev enamel1 in which the surface of a piece of glass was engraved with a design in intaglio and the hollows filled up with an enamel of a different colour4 ,the ,celtic enamels of the ,christian period usually occur in the form of small round bosses1 of which there are good instances on the ,ardagh ,chalice1 the ,ardagh ,brooch1 the ,tara ,brooch1 the ,lismore ,crozier1 and the ,cross of ,cong4 ,the use of bands of silver with borders of niello is well illustrated by the head of a crozier#dce formerly belonging to the late ,dr4 ,w4 ,frazer1 ,m4,r4,i4,a41 of ,dublin4 ,portions of the silver have been stripped1 showing how the surface of the metal into which it was inlaid was roughened with a pointed tool to make the inlay adhere better4 ,niello is a black composition made of silver1 lead1 sulphur1 and copper1 which is reduced to powder and placed in cavities or lines cut for its reception in the surface of the metal1 and afterwards incorporated with it by being passed through the furnace4 ,niello probably found its way to ,ireland from the ,east4 ,it was used by the ,byzantines as early as the beginning of the ninth century4#dcf #dce ,proc4 ,r4,i4,a41 #crd ser41 vol4 i41 p4 #bjg4 #dcf ,j4 ,h4 ,pollen's ,gold and ,silver1 p4 #ec4 ,a peculiar kind of decoration which is specially characteristic of the early ,irish ecclesiastical metalwork consists of plates perforated with triangles1 squares1 and crosses1 so as to form a geometrical pattern4 ,the plates are usually of bronze covered with silver1 and the contrast between the bright surface of the white silver and the pierced portions through which the dark bronze below can be seen gives the general appearance of chequerwork4 ,there are good instances of this class of decoration on the ,shrine of the ,bell of ,st4 ,patrick's ,will1 and the ,cumdachs of ,dimma's ,book1 the ,stowe ,missal1 and the ,shrine of ,st4 ,mogue4 ,cruciform pierced work of a similar kind also occurs on an ivory of the tenth century representing the raising of the widow of ,nain's son1 in the ,british ,museum2#dcg on an ivory of the tenth century1 representing ,christ in the ,temple1 in the ,royal ,library at ,berlin2#dch and on the chair of the image of ,st4 ,faith1 in the treasury of ,conques#dci 7,aveyron74 ,the wards of ecclesiastical keys are often made to form cruciform patterns1 as in the case of those of ,netley ,abbey1 ,st4 ,serrais ,maestricht1 and ,lige4#ddj ,the cruciform patterns on the west face of the cross at ,dysert ,o',dea1#dda ,co4 ,clare1 seem to be copied from metalwork4 #dcg ,j4 ,o4 ,westwood's ,catal4 of ,fictile ,ivories in ,s4 ,k4 ,mus4 #dch ,ibid4 #dci ,annales de la ,socit ,archologique de ,bruxelles1 vol4 xv4 7#aija71 p4 #dcd4 #ddj ,le ,chanoine ,rensens' lments d',archologie ,chrtienne1 #bnd ed4 7,aix1 #ahhe71 vol4 i41 pp4 #bda and #bfb4 #dda ,jour4 ,r4 ,soc4 ,ant4 ,ireland1 ser4 #e1 vol4 ix41 p4 #bea4 ,filigree-work of gold wire is used to make the panels of interlaced-work1 scrollwork1 and zomorphic designs with which some of the best specimens of ,christian ,celtic metalwork are decorated1 such as the ,ardagh ,chalice1 the ,tara ,brooch1 the ,hunterston ,brooch1 and the ,clonmacnois ,pin4 ,the filigree-work is often covered with minute granulations1 which add greatly to the richness of the effect produced by their texture4 ,we have already referred to the ,trichinopoly chainwork of silver wire used in the ,ardagh ,chalice1 the ,tara ,brooch1 and the ,clonmacnois ,pin4 ,this kind of chainwork can be traced back to the ,pagan ,celtic period1 as chains of similar character were found with the ,late-,celtic gold collar at ,limavady1 ,co4 ,londonderry1 and with the pair of silver-gilt ,kelto-,roman fibul from ,chorley1 ,lancashire1 now in the ,british ,museum4 ,settings of coral and enamel were1 as we have seen1 employed for the decoration of the ,late-,celtic metalwork1 but in the ,christian ,celtic period numerous other substances were also employed1 such as glass1 rock crystal1 amber1 and other precious stones4 ,in some cases the settings of stones and glass were rectangular with a flat top and bevelled edges1 but they were more generally round1 oval1 or almond-shaped and 8tallow-cut10 i4e4 polished without facets4 ,the process used for producing the patterns on the leather satchels and shoes previously mentioned was probably of the same nature as that by which the cuir bouilli cases of later times were decorated4 ,objects of wood1 bone1 ivory1 and pottery and textile fabrics of the ,christian ,celtic period are so rare that there is really nothing to be said about the technical processes involved in their manufacture4 ,,the ,,origin ,,and ,,development ,,of ,,early ,,christian ,,art ,,in ,,great ,,britain ,attention has been recently directed to the problem of how decorative art was evolved1 in the first instance1 by the primitive races of mankind in remote ages4 ,mr4 ,henry ,balfour1 ,mr4 ,c4 ,h4 ,read1 and ,dr4 ,colley ,march have shown us how much light may be thrown on this difficult question by a critical examination of the various forms of ornament used by the savage--or1 rather1 the uncultured--peoples existing at the present day in countries where they have had only limited opportunities of coming in contact with modern civilisation4 ,there is1 however1 at least as difficult a problem nearer our own doors awaiting solution1 namely1 that of the origin and development of early ,christian decorative art in the ,british ,isles4 ,this problem is not one of a wholly uncultured race left to itself to work out its own ideas1 as suggested by external natural objects or otherwise1 but it is a problem of a race already in a state of semi-culture being brought suddenly face to face with a higher civilisation1 through the introduction of a new religion1 and afterwards influencing1 or being influenced by1 other conquering races--also in a state of semi-culture--whom they converted by missionary enterprise4 ,that is to say1 the ,celts of ,ireland1 ,scotland1 the ,isle of ,man1 ,wales1 and ,cornwall became acquainted with ,italo-,byzantine art when they were first ,christianised1 about the middle of the fifth century4 ,in the seventh century they came in contact with the ,anglo-,saxons1 and in the ninth with the ,norsemen and ,danes4 ,it is the object of the present inquiry to determine in what measure the ,christian art of this country before the ,norman ,conquest was affected by the absorption of these new racial elements4 ,the style of art we are now dealing with was formerly1 quite wrongly1 called ,runic1 because some of the monuments on which characteristic forms of ornament occur bear ,runic inscriptions4 ,later authorities have called the style ,hiberno-,saxon1 ,kelto-,northumbrian1 ,celtic1 and ,irish1 but this is simply begging the whole question4 ,the term we have chosen1 namely1 early ,christian1 is scientifically correct1 and does not commit us to the assumption of any unproved facts4 ,early ,christian art in this country is essentially decorative1 and to a lesser extent symbolic4 ,the figure subjects are obviously barbarous copies of ,byzantine originals1 for no matter how they are disguised by bad drawing or incrusted with ornament1 the conventional grouping and accessories still remain to prove their origin4 ,the miniature of the ,temptation of ,christ in the ,book of ,kells is perhaps the most remarkable instance of a ,byzantine design ,celticised1 if one may use the expression4 ,comparing this with a miniature in the ,psalter of ,misselinda 7,a4,d4 #ajff7 in the ,british ,museum 7,add4 #ai1ceb71 we find all the essential features of the scene the same1 even to the black ,devil2 but in the ,book of ,kells the ,temple with its ,byzantine cupolas has been converted into an ,irish stone-roofed oratory1 shaped like a metal shrine of the period1 and covered with ornament2 the ,devil1 too1 has been decorated with spiral curves after the ,celtic fashion4 ,the miniatures of the ,evangelists1 with their symbols1 which form the frontispieces of the ,irish ,gospels1 are also taken from a ,byzantine source and similarly disguised1 although not so effectually as to conceal their derivation4 ,the ,irish illuminator put as much local colour into his copy as a ,chinaman or a ,japanese would1 but in a different way1 if told to make a replica of an ,english picture4 ,in distilling the original ,byzantine idea through the alembic of the mind of the ,irish scribe it has absorbed so much of his individuality that it assumes an archaic and semi-barbarous appearance which is very misleading at first sight4 ,we hope to be able to show that some of the elements of the ornament may be traced to a ,byzantine source1 and that the only obstacle in the way of our at once recognising whence the ,irish designer received his inspiration is his marvellous power of adaptation and skill in evolving fresh combinations of simple elements4 ,the ancient ,irish artists appear in some respects to have resembled the ,japanese in the rapidity with which they absorbed new ideas and turned them to good account in their decorative designs4 ,the materials available for the study of early ,christian art in ,britain consist of illuminated ,,mss41 ecclesiastical and other metalwork1 sculptured monuments1 and a few miscellaneous objects4 ,i propose now to direct attention chiefly to the sculptured monuments1 because they afford a much more certain means than any other of determining the characteristics of the various local styles throughout the country4 ,if a monument is found in a particular district1 it may generally be assumed that it was the art product of the district1 unless there is some special reason for thinking otherwise4 ,the number of ,,mss4 and examples of metalwork is comparatively much smaller than the number of monuments1 and it is only in a few exceptional cases that a ,,ms4 can be traced to the monastic establishment where it was written4 ,in ,scotland1 for example1 although richer than any other part of ,great ,britain in sculptured monuments1 the ,book of ,deer is the only pre-,norman ,,ms4 known to have been written there4 ,wales1 again1 can only claim the ,psalter of ,ricemarchus4 ,i am of opinion that if we are ever to arrive at any definite conclusions with regard to the evolution of early ,christian art in ,great ,britain1 it must be by means of a careful examination and comparison of the minute details of the ornament4 ,the science of palography is entirely founded on the observation of every small variation in the form of each letter1 and if the same trouble was taken with ornament equally valuable results would be obtained4 ,we will now proceed to analyse the decorative features of the monuments1 and endeavour to find an origin for the component elements which go to make up the style4 ,i must assume the reader to possess a certain amount of acquaintance with the art of the early ,christian period1 and to know what is meant by most of the technical terms1 but ,i shall give examples of the various classes of patterns in case anyone should be unfamiliar with their appearance4 ,broadly speaking1 early ,christian ornament in ,great ,britain is made up of the following elements1 generally arranged in separate panels3-- 7#a7 ,interlaced-work4 7#b7 ,step-patterns4 7#c7 ,key-patterns4 ,geometrical4 7#d7 ,spirals4 ---------------------------------------- ------------- 7#e7 ,zomorphic ,designs4 ,suggested by ,animal1 7#f7 ,anthropomorphic ,designs4 ,human1 and ,vegetable ,forms4 7#g7 ,phyllomorphic ,designs4 ,now the question is1 what are the possible or probable sources whence each of these different kinds of patterns was derived8 ,first of all1 there are the native and imported styles of decorative art existing in ,great ,britain previous to the introduction of ,christianity 7circa ,a4,d4 #dej71 comprising the art of the ages of ,stone1 ,bronze1 and ,iron1 and ,romano-,british art4 ,next1 the external influences which came into play after ,a4,d4 #dej1 and before ,a4,d4 #ajff1 were ,italo-,byzantine1 ,anglo-,saxon1 ,frankish1 and ,scandinavian4 ,early ,christian art in ,great ,britain was produced1 in the first instance1 by grafting the ,italo-,byzantine style upon the native style of the ,iron ,age 7sometimes called ,late-,celtic71 and was subsequently modified by ,anglo-,saxon and ,scandinavian influence4 ,of the forms of decoration used in the ,stone ,age in this country we know hardly anything1 and therefore they will not come within the scope of our investigations4 ,the ornamental patterns of the ,bronze ,age1 as far as we are acquainted with them from a study of the sepulchral urns1 implements1 personal ornaments1 and sculptured cists and chambered tumuli1 are of a very simple description1 consisting chiefly of chevrons1 concentric circles1 and rudely drawn spirals4 ,the latter may have been the forerunners of the beautifully designed volutes of the ,iron ,age1 the nearest approach to perfection being on the sculptured slab at the entrance to the ,new ,grange tumulus1 ,co4 ,meath1 and on the slabs forming the sides of a chambered cairn at ,clover ,hill1 ,co4 ,sligo4 ,when we come down to the ,iron ,age we find a very beautiful and refined system of decoration applied to bronze objects1 such as hand-mirrors1 shields1 helmets1 sword-sheaths1 and horse-trappings1 the leading motif of which is the divergent1 or trumpet-shaped spiral4 ,this style of decoration has received the name ,late-,celtic in this country1 and ,la ,tne on the ,continent4 ,no one can fail to be struck with the similarity between the ,late-,celtic spiral ornament and that found in the early ,irish ,,mss41 the patterns in some cases being absolutely identical4 ,it is thus possible to trace this particular element in the decorative art of the early ,christian period to a native ,pagan source4 ,late-,celtic objects have been found in all parts of the ,united ,kingdom1 but probably the style of decoration only survived into ,christian times in ,ireland1 although there is really no reason why it should not have done so elsewhere--in the north of ,scotland1 for instance1 which was quite as much cut off from civilisation as ,ireland during the ,saxon conquests4 ,the closest resemblance between the spiral decoration of the ,pagan period and that of the ,christian period is to be found on the discoidal ornaments with patterns in champlev enamel1 forming the attachments of the handles of certain bronze bowls1 several examples of which have been discovered from time to time in different parts of ,england4#ddb #ddb ,archologia1 vol4 lvi41 p4 #dc4 ,i believe that the only element in early ,christian decorative art in this country that can be traced to a native ,pagan source is the divergent spiral4 ,it has been suggested that the ,irish and ,saxon designers derived some of their ideas from the ,roman pavements1 but ,i can see nothing in the decoration of the ,,mss4 on monuments of the pre-,norman period that can be fairly attributed to a ,romano-,british origin4 ,we have now to consider the external influences which came into play after the introduction of ,christianity 7circa ,a4,d4 #dej74 ,first amongst these was the influence of ,italy1 and thus more indirectly that of ,byzantium4 ,it is to this source that it is possible to trace the interlaced-work and scrolls of foliage which occur so frequently on the early sculptured monuments in ,great ,britain4 ,we can refer to no better text-book whilst dealing with this portion of our investigation than ,l',architettura in ,italia1 by ,professor ,raffaele ,cattaneo 7,venezia1 #ahhh71 who1 by a careful study of the subject1 has been able to divide early ,italian ecclesiastical architecture into the following styles and corresponding periods3-- 7#a7 ,latino-,barbaro ,a4,d4 #cjj to ,a4,d4 #fjj4 7#b7 ,bizantino-,barbaro ,a4,d4 #fjj to ,a4,d4 #hjj4 7#c7 ,italo-,bizantino ,a4,d4 #hjj to ,a4,d4 #ajjj4 ,as an example of the first period we have the ,ciborium in the ,church of ,san ,clemente at ,rome 7,a4,d4 #ead-bc71 decorated with plaitwork and foliage1 both evidently of ,classical origin4 ,belonging to the second period we have the ,ciborium of ,san ,giorgio di ,valpolicella#ddc 7,a4,d4 #gab71 decorated with broken plaitwork1 and the ,baptistery of ,cividale 7,a4,d4 #gcg71 with fully developed knotwork4 ,and belonging to the third period the ,ciborium of ,sant' ,apollinare in ,classe1 near ,ravenna 7,a4,d4 #hjf-af71 with interlaced-work and foliage1 and a slab over the altar of ,san ,giacomo1 at ,venice 7,a4,d4 #hbi71 with circular knotwork4#ddd #ddc ,also the jambs of the doorway of the chapel of ,s4 ,zeno in the church of ,s4 ,prassede1 ,rome 7,a4,d4 #ggb-ie74 #ddd ,slabs of circular knotwork are also to be seen in the church of ,sta4 ,sabina1 ,rome4 ,illustration3 ,,circular ,,knotwork ,,on ,,slab ,,in ,,church ,,of ,,sta4 ,,sabina1 ,,rome ,illustration3 ,,circular ,,knotwork ,,on ,,slab ,,in ,,church ,,of ,,sta4 ,,sabina1 ,,rome ,illustration3 ,,doorway ,,of ,,the ,,chapel ,,of ,s4 ,,zeno ,,in ,,the ,,church ,,of ,s4 ,,prassede ,,at ,,rome1 ,,showing ,,broken ,,plaitwork ,,on ,,jambs 7,a4 ,d4 #ddb ,,to #gie7 ,illustration3 ,pierced ,marble ,screen at ,ravenna ,a careful examination of these specimens shows that the plait was the first kind of interlaced-work employed for decorative purposes1 and that it was of ,classical origin4 ,the plait as a decorative motive must have been well known to the inhabitants of this country during the ,roman occupation and immediately after1 from the numerous examples which occur on ,roman pavements1 as at ,lydney ,park1 ,gloucestershire1 and elsewhere4 ,knotwork was gradually evolved from the plait by introducing breaks at regular intervals during the ,bizantino-,barbaro period 7,a4,d4 #fjj to #hjj72 and subsequent to this we find still more complicated forms of interlaced patterns were introduced1 which ,i propose to call circular knotwork and triangular knotwork4 ,the evidence gathered from dated examples of interlaced-work in ,italy tends to show that there was a gradual advance in the elaboration of the patterns as time went on4 ,consequently the style could not have been borrowed en bloc by ,ireland from ,italy1 or vice vers1 at one time2 but interlaced ornament must have been a prevalent form of decoration throughout the whole of the ,west of ,europe1 and the style advanced in all the different countries simultaneously1 there being always a constant communication between ,rome and the centres of religious activity abroad4 ,some races1 like those in ,great ,britain1 who appear to have had a special gift for inventing new patterns and combining them with a sense of artistic fitness1 may have made more rapid strides than their neighbours and have influenced the development of the style in consequence1 but that is all that can be said4 ,illustration3 ,,key ,,pattern1 ,s4 ,,apollinare ,,nuovo1 ,,ravenna ,illustration3 ,,vine ,,scrolls1 ,s4 ,,apollinare ,,nuovo1 ,,ravenna ,two special peculiarities of the ,italian interlaced-work1 as compared with that in ,great ,britain1 are the ornamenting of the interlaced bands with two incised lines instead of one1 and the twisting together two bands at frequent intervals1 thus-- ,illustration ,the latter feature1 which is clearly ,classical1 occurs frequently in circular knotwork in this country1 showing that circular knotwork is of ,italian origin4 ,the reason why interlaced-work is characteristic of early ,christian decoration almost throughout the whole of ,europe1 whilst spirals1 key-patterns1 foliage1 etc41 are confined to particular limited areas1 ,i believe to be partly because the number of distinct patterns that can be produced from interlaced-work is far greater than those which can be got from any other class of ornament4 ,it is hardly necessary1 perhaps1 to enlarge much upon the subject of the foliage of the early ,christian period in ,great ,britain4 ,the scrolls with conventionalised bunches of grapes are no doubt descendants of the ,classical vine2 the involved birds1 beasts1 etc41 being a later addition#dde of the ,bizantino-,barbaro1 or ,italo-,bizantino periods4 ,foliage is unknown in the ,pagan ,saxon1 ,scandinavian1 or ,late-,celtic art1 and the only other source it could have been derived from is ,italian art4 #dde ,or a substitution of later forms for the ,cupids1 etc41 of the ,classical style4 ,we lastly have to consider the parts played in the development of early ,christian art in ,great ,britain by the ,anglo-,saxon and the ,scandinavian invaders4 ,there does not seem to be much evidence to show that the ,saxons were ever gifted with any great capacity for ornamental design1 although their workmanship often reached a high pitch of excellence4 ,in looking through the plates of the most recent work on ,the ,industrial ,arts of the ,anglo-,saxons1 by the ,baron ,j4 de ,baye1 one is struck with the extremely limited range of imagination displayed in the design of the patterns4 ,interlaced-work 7but of a debased kind7 occurs on some of the sword-hilts and buckles1 the latter evidently bearing a remarkable affinity to the ,merovingian buckles4 ,a radiated fibula found at ,searby1 in ,lincolnshire1 exhibits a diagonal key-pattern similar to that found in the ,irish ,,mss4 ,far the most beautiful specimens of ,saxon jewellery1 however1 are the circular brooches with cloisonn ornament4 ,the disc-shaped surface of these brooches is broken up into little compartments1 which are filled in with thin slabs of coloured glass1 garnets1 etc4 ,the narrow bands of gold which separate the compartments from each other are zigzagged at right angles1 or stepped1 and it is quite possible that the idea of the stepped patterns within circles1 which occur in the decoration of the ,irish ,,mss4 and on the circular enamelled bosses on the ,irish ecclesiastical metalwork1 may have been taken from the circular cloisonn ,saxon brooch4 ,it is only fair1 however1 to mention that circular ornaments of cloisonn enamel1 with an approximation to a stepped-pattern1 are used in the decoration of the magnificent ,late-,celtic shield found in the ,thames at ,battersea1 and now in the ,british ,museum4 ,it has been suggested that ,irish interlaced-work was derived from the rude interlaced patterns on the ,saxon and ,merovingian buckles1 but this appears to me most unlikely4 ,m4 ,paul du ,chaillu1 in his ,viking ,age1 has endeavoured to show that the ,anglo-,saxons derived their art such as it is from ,northern rather than from ,central or from ,western ,europe2 but his views will not receive favour at the hands of the scientific archologist who relies on hard facts to make good his contentions4 ,the forms and ornamental details of the buckles and other objects found with ,saxon burials in the south of ,england undoubtedly show more affinity with ,merovingian grave-goods than with anything emanating from ,norway1 ,sweden1 or ,denmark4 ,although no trace of ,scandinavian influence can be detected in the ornamental patterns of the ,anglo-,saxons--at all events1 in the period preceding the ,viking conquests in the ninth and tenth centuries--,i am not quite so sure that one of the elements of early ,christian decorative art in ,great ,britain may not possibly be of ,northern origin1 namely1 the zomorphic element4 ,i put forward this suggestion with the greatest diffidence1 and merely as a tentative theory until something better can be found to take its place4 ,zomorphism is not a marked characteristic of ,pagan ,saxon decorative art1 and therefore1 in order to account for the predominance of so-called dragonesque designs in the early ,irish illuminated ,,mss41 we must fall back on one of the following alternatives3 7#a7 that these patterns are of native origin1 and were invented by the ,irish2 7#b7 that like the spirals1 they are of ,late-,celtic origin2 and 7#c7 that they are of ,italo-,byzantine derivation4 ,general ,pitt-,rivers and ,mr4 ,henry ,balfour have given us an insight of the manner in which animal forms1 by repeated copying1 may degenerate into mere ornament2 and at one time ,i thought that early ,christian zomorphism might have been the result of a process of a reverse nature4 ,it is possible to 8see snakes0 when looking at a piece of interlaced-work without necessarily suffering from excess of alcoholism4 ,thus zomorphic designs might have been evolved from interlaced-work by making the bands terminate in heads and tails1 the limbs following in due course later on4 ,such may have been the process by which the ,irish illuminator arrived at his zomorphism1 unless it can be shown that he got it in some other way4 ,animal forms are comparatively rare in ,late-,celtic art1 and they are not interlaced1 so that it is almost useless to seek for the original inspiring idea in this direction4 ,birds1 beasts1 reptiles1 and other creatures--often used symbolically--are frequently seen in ,byzantine art1 both in the decorative features of churches and in the borders of the ,,mss4 ,if it was thence that the early ,christian zomorphs in this country took their origin1 ,i fancy the interlacements must have been arrived at either by placing the creatures in pairs symmetrically facing each other1 or by contorting their bodies into unnatural attitudes4 ,in the case of beasts arranged in pairs1 the first step towards interlacement is to raise their paws and then to make them cross4 ,the beasts may also be placed with their necks crossed2 their tails may gradually curl round until they pass over the body1 and may be looped or knotted to fill in a blank space2 and in endless other ways the most complicated forms of zomorphic interlaced-work may be evolved from simple beginnings4 ,dr4 ,hans ,hildebrand1 in his ,industrial ,arts of ,scandinavia 7p4 #ej71 explains in a most ingenious manner how the lion couchant1 which so often appears in ,roman art1 forms the basis of the earlier kinds of zomorphic ornament in ,scandinavia4 ,the question is1 did the ,irish evolve their zomorphs independently in a similar way from a ,classical or ,byzantine lion1 or did they get the idea from the ,scandinavians after they had so transformed the ,roman lion couchant that all resemblance to the original had disappeared8 ,the difficulty in settling this point is the absence of accurately dated specimens of ,scandinavian art workmanship4 ,the panels of zomorphic ornament on some of the fibul of the ,later ,iron ,age1 illustrated in ,dr4 ,hans ,hildebrand's work already referred to 7pp4 #eh-fe71 bear a very considerable general resemblance to the panels of interlaced beasts in the ,irish ,,mss41 although the details are worked out differently4 ,the whole question turns on the exact date of the ,gotland brooches4 ,if they can be proved to be earlier than the time when zomorphism first appears in the ,irish ,,mss41 and if it is possible that the communication between ,ireland and ,gotland can be accounted for by the trade in silver objects and bullion existing between this country and the ,east1 then there is something to be said for the ,scandinavian origin of zomorphism in ,ireland4 ,i believe1 however1 that from the evidence of the coins found with hoards of silver objects1 this trade did not begin until about ,a4,d4 #hjj4 ,attention must here be called to two points which are common to the zomorphic and anthropomorphic designs of ,scandinavia and of ,great ,britain1 namely1 7#a7 the introduction of spiral curves to represent conventionally the folds of the skin where a limb joins the body2 and 7#b7 the introduction of figures of men grasping birds and beasts1 or arranged swastica-wise grasping each other's limbs4 ,here1 again1 it is not easy to decide whether these features were invented independently1 or whether they were borrowed by the ,irish from ,scandinavia1 or by the ,scandinavians from ,ireland4 ,whatever may be thought of the possibility of the existence of ,scandinavian influence on ,christian art in this country in its earlier phases1 there is plenty of evidence of the development of an ,anglo-,scandinavian style in particular districts where the ,norse element was strong1 as in the ,isle of ,man1 and the adjoining coasts of ,cumberland1 ,lancashire1 and ,north ,wales1 and in ,orkney and ,shetland4 ,the specially ,scandinavian characteristics of the sculptured monuments in the districts specified are as follows3-- 7#a7 ,there is a predominance of patterns formed of chains of rings4 7#b7 ,the bands of the interlaced-work have a tendency to bifurcate and break off into scroll-like terminations4 7#c7 ,the beasts in the zomorphic designs have two toes1 instead of three2 the bodies are covered with scales2 the attitude is peculiar1 the head being bent back and a crest issuing from it with fin-like appendages in places2 and the junction of the limbs with the body is conventionally indicated by spirals4 7#d7 ,amongst the figure-subjects scenes from the mythic-heroic ,eddaic poems1 such as ,sigurd ,fafni's bane1 ,thor fishing for the ,midgard-worm1 ,weyland ,smith1 etc4 ,even in ,norman times ,scandinavian influence is exhibited in the details of the tympana at ,hoveringham1 and ,southwell ,minster1 ,notts1 and ,st4 ,nicholas1 ,ipswich4 ,the only element in early ,christian decorative art the origin of which we have not succeeded in running to earth in the preceding investigation is the key-pattern4 ,i venture to think that this may have been suggested by the ,greek or ,roman fret1 and that the essentially ,celtic character imparted to it was the placing of the guiding lines in a diagonal direction with regard to the margin1 instead of parallel to it4 ,i believe the reason for this to be that exactly the same setting-out diagram was used both for the interlaced-work and the key-pattern4 ,it is often possible to trace the origin of key-patterns to the necessities of the methods of weaving textile fabrics2 but with regard to the ones we are now considering ,i am inclined to think that their beginnings are due to the geometrical conditions imposed by the arrangement of the setting-out lines4 ,in conclusion1 ,i wish to emphasise the fact that the beauty and individuality of the ornamental designs found in early ,christian art in ,great ,britain are due chiefly to the great taste with which the different elements are combined and the exquisite finish lavished upon them4 ,i cannot see that it in the least detracts from the praise due to the originators of the style if it can be shown that the ideas underlying many of the patterns were suggested by a pre-existing native style or adapted from a foreign one4 ,interlaced-work1 key-patterns1 spirals1 and zomorphs are to be found separately in the decorative art of many races and many periods1 but nowhere and at no time have these different elements been used in combination with such consummate skill1 as in the early ,christian period in ,great ,britain and ,ireland4 ,,chapter ,,viii ,,celtic ,,art ,,of ,,the ,,christian ,,period ,,the ,,leading ,,characteristics ,,of ,,celtic ,,art ,,of ,,the ,,christian ,,period ,,in ,,great ,,britain1 ,,and ,,the ,,general ,,nature ,,of ,,its ,,decorative ,,and ,,symbolic ,,elements ,the leading characteristics of ,celtic art of the ,christian period are as follows3-- 7#a7 ,the prominence given to the margin or frame within which the whole design is enclosed4 7#b7 ,the arrangement of the design within the margin in panels1 each containing a complete piece of ornament4 7#c7 ,the use of setting-out lines for the ornament1 placed diagonally with regard to the margin4 7#d7 ,the use of interlaced-work1 step-patterns1 key-patterns1 spirals1 and zomorphs in combination4 7#e7 ,the geometrical perfection of all the ornament4 7#f7 ,the superiority of the decorative designs to the figure drawing4 ,there are in the world two distinct schools of decorative art1 one which entirely ignores the shape of the surface to be ornamented1 and the other which allows the contour of the margin to influence the whole design4 ,japanese art belongs to the first of these1 and ,celtic art to the second4 ,in the ,irish illuminated ,,mss4 the rectangular shape of the page determines the setting-out of the design1 which is universally enclosed within a rectangular margin composed of lines of various thicknesses1 or within an ornamental panelled frame4 ,the only exception is in the case of the initial pages of the ,four ,gospels1 where the margin is incomplete1 so as to allow the extremities of the letters to project more nearly to the edge of the page4 ,this prominence given to the margin often greatly influences the designs within it1 more especially the key-patterns with diagonal setting-out lines4 ,in sculptured stonework either roll-mouldings or flat bands form the margin1 and in metalwork the margins are raised and the panels sunk4 ,the panels within the margin are generally rectangular1 but sometimes they are circular1 annular1 segmental1 triangular1 etc4 ,the ornament in adjoining panels is seldom of a similar kind1 and the patterns are often arranged on the principle of chequerwork1 so that if there is a panel of interlaced-work at the left-hand upper corner of the page of a ,,ms41 and a panel of key-pattern at the left-hand lower corner1 the order will be reversed on the opposite side of the page1 and the key-pattern will be at the right-hand upper corner and the interlaced-work at the right-hand lower corner4 ,the diagonal setting-out lines are chiefly confined to the key-patterns1 and1 as we shall see subsequently1 are the origin of the peculiar form of ,celtic key-pattern which was developed from the ,greek fret4 ,the various motives that have been specified--namely1 interlaced-work1 step-patterns1 key-patterns1 spirals1 and zomorphs--are not always found in combination1 except in the ,,mss41 sculptured stones1 and metalwork of the best period4 ,the step-patterns are1 as a rule1 only found in the early ,,mss4 and on the enamelled settings of metalwork4 ,foliage is a distinctly non-,celtic element1 and wherever it occurs it is a proof of ,anglian influence from ,northumbria4 ,as the decadence of ,celtic art set in the spirals disappeared first1 and then the key-patterns1 leaving only interlaced-work and zomorphs1 which survived even after the ,norman conquest4 ,key-patterns survived in a debased form in the architectural details of the churches of the twelfth century in ,ireland1 but not in ,scotland or ,wales4 ,by the geometrical perfection of the ,celtic ornament is meant that there are hardly ever any mistakes in the setting-out and complete execution of the designs4 ,thus in the interlaced-work every cord laps under and over with unfailing regularity 7never over two or under two71 and all the cords are joined up so as not to leave any loose ends4 ,all the details of the spiralwork are executed with the minutest care1 and there is never a broken line or pseudo-spiral4 ,in the zomorphic designs the beasts are all provided with the proper number of limbs and are complete in every respect down to the smallest detail4 ,the inferiority of the figure drawing in ,christian ,celtic art to the ornament will be dealt with subsequently in its proper place4 ,we will now proceed to examine in detail the different motives made use of in the ,celtic art of the ,christian period in ,great ,britain4 ,,interlaced-,,work ,the interlaced ornament used in ,celtic art may be divided into the following classes3-- 7#a7 ,regular plaitwork1 without any breaks4 7#b7 ,broken plaitwork1 with breaks made in an irregular way4 7#c7 ,knotwork4 7#d7 ,circular knotwork4 7#e7 ,triangular knotwork4 7#f7 ,ringwork or chainwork4 ,interlaced-work is the predominant motive of the ,celtic style of the ,christian period4 ,it lasted longer in time than any other motive1 and its geographical distribution extends over a larger area4 ,it is very seldom that one motive is used by itself for the decoration of a stone monument1 metal object1 or page of a ,,ms42 but where this is the case the motive chosen is invariably interlaced-work1 and not a key-pattern1 spiral1 or zomorph4 ,as instances of sculptured monuments decorated entirely with interlaced-work we have the cross at ,neuadd ,siarman1 ,brecknockshire1 and the cross-shaft at ,st4 ,neot1 ,cornwall4 ,the evolution of knotwork from plaitwork cannot better be studied anywhere than in the decoration of the ,welsh crosses4 ,let us now endeavour to trace the various stages in the process by which the higher forms of ,celtic interlaced-work were arrived at4 ,in ,egyptian1 ,greek1 and ,roman decorative art the only kind of interlaced-work is the plait1 without any modification whatever2 and the man who discovered how to devise new patterns from a simple plait by making what ,i term breaks laid the foundation of all the wonderfully complicated and truly bewildering forms of interlaced ornament found in such a masterpiece of the art of illumination as the ,book of ,kells in the library of ,trinity ,college1 ,dublin4 ,although we do not know who made this discovery of how to make breaks in a plait1 we know pretty nearly when it was made4 ,in the decoration of the mosaic pavements in ,great ,britain belonging to the period of the ,roman occupation1 no instance1 as far as ,i can ascertain1 exists of the introduction of a break in a plait2 nor is there any break in the plaitwork on the marble screen and the capitals of the columns of the ciborium in the ,church of ,san ,clemente at ,rome 7which are dated by ,r4 ,cattaneo#ddf between ,a4,d4 #ead and #ebc74 ,in the eighth century1 however1 there are several examples with well-authenticated dates of the use of true knotwork 7as distinguished from plaitwork7 in the decoration of churches in ,italy2 namely1 on the ciborium of ,san ,giorgio at ,valpolicella#ddg 7,a4,d4 #gab72 on the ,baptistery of ,calistus at ,cividale#ddh 7,a4,d4 #gcg72 and on the jambs of the doorway of the ,chapel of ,san ,zeno in the ,church of ,san ,prassede at ,rome#ddi 7,a4,d4 #ggb-gie74 #ddf ,l',architettura in ,italia1 pp4 #bi and #ca4 #ddg ,ibid41 p4 #hj4 #ddh ,ibid41 p4 #hg4 #ddi ,archologia1 vol4 xl41 p4 #aia4 ,it would appear1 then1 that the transition from plaitwork to knotwork took place between the ,lombard conquest of ,italy under ,alboin in ,a4,d4 #efc1 and the extinction of the ,lombard monarchy by ,charlemagne in ,a4,d4 #ggd2 possibly during the reigns of ,luitprand 7,a4,d4 #gab-gcf7 and ,rachis 7,a4,d4 #gdd73 for the name of the former king is mentioned in the inscriptions on the ,baptistery at ,cividale and the ciborium of ,san ,giorgio at ,valpolicella1 and the latter on the altar at ,cividale4 ,illustration3 ,,plaitwork ,,on ,,romano-,,british ,,pavement ,,at ,,lydney ,,park1 ,,gloucestershire 7,,sixth ,,century7 ,illustration3 ,,plaitwork ,,on ,,ciborium ,,in ,,the ,,church ,,of ,,san ,,clemente1 ,,rome ,i now propose to explain how plaitwork is set out1 and the method of making breaks in it4 ,when it is required to fill in a rectangular panel with a plait the four sides of the panel are divided up into equal parts 7except at the ends1 where half a division is left71 and the points thus found are joined1 so as to form a network of diagonal lines4 ,the plait is then drawn over these lines1 in the manner shown on the accompanying diagram4 ,the setting-out lines ought really to be double so as to define the width of the band composing the plait1 but they are drawn single on the diagram in order to simplify the explanation4 ,illustration3 ,regular plaitwork without any break ,illustration3 ,method of making breaks in plaitwork ,if now we desire to make a break in the plait any two of the cords are cut asunder at the point where they cross each other1 leaving four loose ends ,a1 ,b1 ,c1 ,d4 ,to make a break the loose ends are joined together in pairs4 ,this can be done in two ways only3 7#a7 ,a can be joined to ,c and ,d to ,b1 forming a vertical break2 or 7#b7 ,a can be joined to ,d and ,c to ,b1 forming a horizontal break4 ,the decorative effect of the plait is thus entirely altered by running two of the meshes between the cords into one4 ,by continuing the process all the knots most commonly used in ,celtic decorative art may be derived from a simple plait4 ,illustration3 ,regular plaitwork1 with one vertical break and one horizontal break ,illustration3 ,six-cord plait1 with horizontal breaks at regular intervals #dej ,this occurs on the second panel of the cross at ,llanbadarn ,fawr4 ,let us proceed to trace the process of the evolution of knotwork out of plaitwork by actual instances taken from the ,welsh crosses4 ,we have1 to start with1 good examples of plaits of four1 six1 and ten cords#dea without any breaks at ,nevern1 ,pembrokeshire2 and ,llantwit ,major1 and ,margam1 ,glamorganshire4 ,next1 plaits with a single break only are to be seen at ,carew1 ,pembrokeshire1 and ,llantwit ,major1 ,glamorganshire2 then plaits with several breaks1 made quite regardless of symmetry or order1 at ,golden ,grove1 ,carmarthenshire2 and1 lastly1 breaks made at regular intervals1 at ,neuadd ,siarman1 ,brecknockshire4 ,when the breaks are made symmetrically at regular intervals1 and brought sufficiently near together1 the plait ceases to be the most prominent feature in the design1 and in its place we get a pattern composed entirely of what 7for want of a better name7 are called knots4 ,on some of the ,welsh crosses 7as at ,carew and ,nevern1 ,pembrokeshire71 however1 the breaks are made with sufficient regularity and proximity to produce knots1 and yet the knots themselves are not symmetrically placed4 ,the result is a class of interlaced-work1 intermediate between plaitwork with irregular breaks and knotwork4 ,the same kind of thing is to be seen on the crosses at ,coppleston1 ,devonshire2 and ,st4 ,neot1 ,cornwall4 #dea ,plaits of an uneven number of cords are seldom used1 because they produce lopsided patterns4 ,illustration3 ,cross-shaft at ,golden ,grove1 with panels of irregular broken plaitwork ,scale _/ linear ,illustration3 ,cross-shaft at ,llantwit ,major 7,no4 #e71 ,glamorganshire4 ,eight-cord plait1 with cruciform breaks ,scale _/ linear ,illustration3 ,eight-cord plaits1 with cruciform breaks ,illustration3 ,eight-cord plaits1 with cruciform breaks ,illustration3 ,six-cord plait1 with cruciform breaks 7,occurring at ,llanbadarn ,fawr7 ,illustration3 ,ten-cord plait1 with cruciform breaks 7,occurring at ,st4 ,neuadd ,siarman7 ,illustration3 ,knots derived from a three-cord plait ,if two horizontal breaks and two vertical breaks are made next to each other in a plait1 a space in the shape of a cross is produced4 ,a large number of the interlaced patterns used in ,celtic decorative art are derived from a plait by making cruciform breaks at regular intervals4 ,there are examples of this in ,wales1 at ,neuadd ,siarman1 ,brecknockshire2 ,llanbadarn ,fawr1 ,cardiganshire2 and ,llantwit ,major1 ,glamorganshire4 ,it is not unlikely that symbolism had something to do with the frequent use of the cruciform break4 ,there are eight elementary knots which form the basis of nearly all the interlaced patterns in ,celtic decorative art1 with the exception of those already described4 ,two of the elementary knots are derived from a three-cord plait1 and the remaining six from a four-cord plait4 ,illustration3 ,knot ,no4 #a ,illustration3 ,knot ,no4 #b ,knot ,no4 #a is derived from a three-cord plait by making horizontal breaks on one side of the plait only1 and ,no4 #b by making horizontal breaks alternately on one side and the other4 ,knot ,no4 #c is derived from a four-cord plait by making horizontal breaks in the middle of the plait4 ,knot ,no4 #d is derived from ,no4 #c by making a horizontal break at ,a2 and ,no4 #e from ,no4 #d by making a vertical break at ,b and ,c4 ,knot ,no4 #f is derived from a four-cord plait by making horizontal breaks in the middle of the plait1 in the same way as in the case of knot ,no4 #c1 but closer together4 ,illustration3 ,knot ,no4 #d ,illustration3 ,knot ,no4 #c ,illustration3 ,knot ,no4 #e ,illustration3 ,knot ,no4 #g ,illustration3 ,knot ,no4 #f ,illustration3 ,knot ,no4 #h ,knot ,no4 #g is derived from ,no4 #f by making a vertical break at ,b2 and ,no4 #h from ,no4 #f by making vertical breaks at ,b and ,c4 ,if a series of knots repeated in a single row can be derived from a plait of n bands1 a series of the same knots repeated in a double row can be derived from a plait of #bn bands4 ,thus a pattern composed of knot ,no4 #a arranged in a double row would be derived from a plait of six cords4 ,knots like ,nos4 #c and #d1 which are longer than they are broad1 can be placed either horizontally or vertically4 ,thus ,no4 #c placed with its longer axis vertical can be derived from a four-cord plait1 but if placed horizontally it would be derived from a six-cord plait4 ,illustration3 ,method of deriving ,knots ,nos4 #c and #f from a four-cord plait ,knot ,no4 #b does not occur on the ,welsh crosses1 and ,no4 #a only in a double row1 as at ,neuadd ,siarman1 ,brecknockshire4 ,this pattern is derived from a six-cord plait by making horizontal breaks in the two edges of the plait1 and vertical breaks in the middle1 the stages being shown on the annexed diagram4 ,knot ,no4 #c1 in a single row placed with its longer axis vertical1 occurs at ,llandough1 ,glamorganshire1 and1 in a single row placed the other way1 at ,margam1 ,glamorganshire4 ,illustration3 ,knots ,nos4 #d1 #e1 #g1 and #h1 derived from a four-cord plait ,illustration3 ,knot ,no4 #a1 derived from either a three-cord or a six-cord plait ,illustration3 ,knots #c and #d1 derived from a six-cord plait ,illustration3 ,evolution of ,knot ,no4 #a from a six-cord plait ,examples of the two knots1 ,nos4 #d and #e1 which are derived from ,no4 #c1 are to be seen at ,baglan1 ,glamorganshire1 and ,penally1 ,pembrokeshire4 ,knot ,no4 #f1 in a single row1 occurs at ,llantwit ,major1 ,glamorganshire1 and its second derivative1 ,no4 #h1 at ,llantwit ,major1 and also at ,neuadd ,siarman1 ,brecknockshire4 ,its first derivative1 ,no4 #g1 is only used in a double row on the ,welsh crosses1 as at ,silian and ,maes ,mynach1 ,cardiganshire1 and at ,penally1 ,pembrokeshire1 where the knots have an extra spiral twist4 ,the direction of the twist of the spirally bent cord is the same in both the right-hand and left-hand vertical row of knots1 although the positions of the knots are different4 ,the more usual arrangement is to make the cords twist in opposite directions1 as on the annexed diagram1 in which the evolution of the pattern is shown4 7,page #bga47 ,the clearest proof that the spiral knot ,no4 #g was developed from plaitwork in the manner explained is that on stones at ,llangenydd1 ,glamorganshire2 ,whithorn1 ,wigtownshire2 ,abercorn1 ,linlithgowshire2 and ,aycliffe1 ,co4 ,durham2 the successive stages of development can be easily traced4 ,illustration3 ,evolution of ,knot ,no4 #g from an eight-cord plait ,illustration3 ,evolution of ,knot ,no4 #g from an eight-cord plait ,i have coined the term circular knotwork to describe a particular class of interlaced-work1 in which the circular curves made by the cords give the pattern its distinctive appearance4 ,the best example of circular knotwork in any of the ,hiberno-,saxon ,,mss4 occurs on one of the ornamental cross-pages of the ,book of ,durrow4#deb ,circular knotwork is not used in the decoration of the ,irish ecclesiastical metalwork1 probably because it is only suitable for application to larger surfaces than are to be found on comparatively small metal objects4 ,circular knotwork is characteristic of the ,irish and ,scottish sculptured monuments of the best period2 it is unknown in ,cornwall and the ,isle of ,man and there is only one instance of its occurrence in ,wales4 ,very good examples of circular knotwork may be seen on sculptured monuments in ,ireland#dec at ,kells1 ,co4 ,meath2 ,monasterboice and ,termonfechin1 ,co4 ,louth2 ,boho1 ,co4 ,fermanagh2 ,kilfenora1 ,co4 ,clare2 and ,drumcliff1 ,co4 ,sligo2 and in ,scotland#ded at ,collieburn1 ,sutherland 7now in the ,dunrobin ,museum72 ,tarbet 7now at ,invergordon ,castle71 ,brodie1 ,elginshire2 ,nigg1 ,ross-shire2 ,aberlemno1 ,monifieth 7now in the ,edinburgh ,museum71 and ,eassie1 ,forfarshire2 and ,rossie ,priory and ,st4 ,madoes1 ,perthshire4 #deb ,j4 ,r4 ,allen and ,j4 ,anderson's ,early ,christian ,monuments of ,scotland1 p4 lxxviii42 ,j4 ,a4 ,bruun's ,illuminated ,manuscripts of the ,middle ,ages1 pt4 ,i1 8,celtic ,,mss410 p4 #h4 #dec ,h4 ,o',neill's ,crosses of ,ancient ,ireland4 #ded ,allen and ,anderson's ,early ,christian ,monuments of ,scotland4 ,illustration3 ,evolution of ,knot ,no4#g from an eight-cord plait ,the most common kinds of circular knotwork appear to have been evolved in the following manner4 ,it has already been shown how knot ,no4 #c can be derived from a four-cord plait by making a series of horizontal breaks at regular intervals1 leaving two crossing-points of the cords between each break2 and how knot ,no4 #d can again be derived from knot ,no4 #c by making a horizontal break at the point ,a4 ,illustration3 ,knot ,no4 #c ,illustration3 ,knot ,no4 #d ,now if a pair of knots like ,no4 #d be placed opposite each other thus-- ,illustration ,illustration and repeated in a vertical row1 we get the pattern shown below4 ,illustration ,illustration3 ,sections of pattern shown on p4 #bgc ,illustration3 ,knotwork from ,ramsbury1 ,wilts1 and ,nigg1 ,ross-shire ,by making pointed ends to the loops forming the knots and 8sweetening0 the curves of the bands between each knot the appearance of the whole is changed1 and its development from the plait disguised4 ,almost all geometrical ornament is capable of conveying several different impressions to the mind according to the way it is observed by the eye for the time being1 and the intellectual pleasure which a pattern gives is most probably dependent on the infinite variety of these kaleidoscopic changes4 ,taking this pattern for example1 if the attention is concentrated upon the portions of the pattern between each of the points where the bands cross in the centre1 it will seem as if the whole was formed of repetitions of knot ,no4 #d2 but if the attention be now directed towards the portions lying between the middle points of each of the knots1 the pattern will appear to consist entirely of circular curves with two diameters crossing each other diagonally4 ,illustration3 ,,erect ,,cross-,,slab ,,from ,,collieburn1 ,,sutherland1 ,,now ,,in ,,the ,,dunrobin ,,museum ,photograph supplied by the ,rev4 ,j4 ,m4 ,joass1 ,,ll4,d41 ,honorary ,curator ,when the circular knot thus obtained is repeated in a double row we get a comparatively simple pattern1 in which the circular curves assume much greater prominence4 ,more complicated forms of circular knots can be derived from the elementary circular knot by combining it with a circular ring1 either a larger one enclosing the four loops in the middle entirely1 or a smaller one interlaced through the loops thus3-- ,illustration ,further variations can again be produced from these by severing the bands in places1 and joining parts of the loops to the rings on the same principle that breaks can be made in a plait4 ,illustration ,the connection between the different knots will at once become clear if they are drawn on separate pieces of tracing paper and placed one over the other4 ,another kind of circular knotwork is formed by enclosing the simpler sort of knots derived directly from plaitwork within a circular band1 which crosses over in one or two places and turns inwards to form the enclosed knots4 ,illustration3 ,circular knotwork from ,tarbet1 ,ross-shire ,the illustrations of the different kinds of circular knotwork from actual examples show the process of development4 ,illustration3 ,circular knotwork from ,monasterboice1 ,co4 ,louth ,illustration3 ,,detail ,,of ,,ornament ,,on ,,erect ,,cross-,,slab ,,at ,,nigg1 ,,ross-,,shire ,from photographs of the cast in the ,science and ,art ,museum1 ,edinburgh1 supplied by ,mr4 ,vallance1 ,curator ,by the term triangular knotwork is meant interlaced patterns1 the setting-out lines of which form triangles only or triangles and lozenges4 ,the patterns are made by distorting the simple knots derived from plaitwork1 so as to adapt them to the triangular shape4 ,this species of knotwork is very seldom seen except in a few of the ,hiberno-,saxon ,,mss4 and on some of the sculptured stones of ,ireland and ,scotland4 ,the best examples are at ,kilfenora1 ,co4 ,clare2 ,ulbster 7now at ,thurso ,castle71 ,sutherlandshire2 and ,dunfallandy1 ,perthshire4 ,illustration3 ,triangular knotwork from ,ulbster1 ,caithness ,under the head of ringwork and chainwork are included all patterns composed of circular1 oval1 and looped rings interlaced symmetrically round a centre1 or arranged so as to form a long chain4 ,patterns of this kind are not found in the best ,celtic work1 and when they occur it is generally an indication either of ,scandinavian influence or of the style being debased4 ,a certain number of modifications of the interlaced-work already described are produced by adapting the patterns so that they will fit into circular or annular spaces4 ,instances of this may be seen on the erect cross-slabs at ,hilton of ,cadboll 7now at ,invergordon ,castle7 and ,nigg1 ,ross-shire2 ,glamis1 ,forfarshire2 and ,rossie ,priory1 ,perthshire2 and on the ,lough ,erne and ,monymusk ,reliquaries4 ,illustration3 ,triangular knotwork from ,dunfallandy1 ,perthshire ,,step-,,patterns ,a step-pattern is one which is formed of straight lines bent backwards and forwards at right angles so as to resemble a flight of steps4 ,the lines are often arranged symmetrically round a centre1 so as to make cruciform and swastika designs1 and the different parts are also generally shaded alternately black and white on the principle of chequerwork4 ,step-patterns hardly ever occur in ,christian ,celtic art except on the enamelled bosses of metalwork and in a few of the illuminated ,,mss41 such as the ,lindisfarne ,gospels1 the ,st4 ,gall ,gospels 7,codex ,no4 #ea71 the ,gospels of ,mac,regol1 the ,book of ,kells1 and the ,book of ,durrow4 ,the step-patterns in the ,,mss4 so nearly resemble those on the enamelled bosses on the ,ardagh ,chalice1 the ,tara ,brooch1 and the ,cross of ,cong1 that there can be but little doubt the illuminators copied their designs from the enamels4 ,in the ,pagan ,celtic enamels the ornament is nearly always curvilinear2 but in the ,christian ,celtic enamels it is rectilinear1 the arrangement of the cloisons being very similar to that on the ,anglo-,saxon disc brooches incrusted with small slabs of garnet1 glass1 etc4 ,instances have already been given in a previous chapter of the use of step-patterns by the ,pagan ,celts on the engraved woodwork from the ,glastonbury ,marsh ,village 7p4 #afa74 ,the only instances ,i have met with of step-patterns on the sculptured stones of the early ,christian period in this country are at ,bradford-on-,avon1 ,wilts2 and ,dysert ,o',dea1 ,co4 ,clare4 ,,key-,,patterns ,the term key-pattern is used to describe a particular kind of rectilinear ornament which bears a certain amount of resemblance to the perforations in a key to allow it to pass the wards of a lock4 ,the best-known key-pattern is the ,greek fret4 ,this is composed of what may be appropriately called straight-line spirals2 that is to say1 straight lines 7or1 to speak more accurately1 narrow straight bars7 bent round into a series of right angles in the same direction4 ,the space between the lines 7or narrow bars7 is generally about the same width as that of the line itself4 ,illustration3 #a #b ,illustration3 #c #d ,key-patterns 7#a7 ,aberlady1 ,haddingtonshire 7#b7 ,abercorn1 ,linlithgowshire 7#c7 ,st4 ,andrews1 ,fifeshire 7#d7 ,collieburn1 ,sutherlandshire ,the key-patterns used in ,christian ,celtic art may be classified as follows3-- 7#a7 ,square key-patterns1 in which the lines run horizontally and vertically parallel to the margins4 7#b7 ,diagonal key-patterns1 in which the lines run vertically parallel to the right and left margins1 and diagonally in two directions at an angle of #de to the margins4 7#c7 ,diaper key-patterns1 in which the lines run horizontally and vertically parallel to the margins1 and diagonally in two directions at an angle of #de to the margins4 ,the essential difference between the key-patterns used by the ,egyptians1 ,greeks1 and ,romans and those used by the ,christian ,celts consists in the introduction of diagonal lines by the latter4 ,square key-patterns 7i4e4 those of the ,greek fret type7 were very seldom used in ,christian ,celtic art4 ,there is1 however1 a very good example on one of the crosses at ,penmon1 ,anglesey4 ,the first step in the evolution of the ,celtic key-pattern was to turn the ,greek fret round through an angle of #de so as to make the lines run diagonally with regard to the margins instead of parallel to them4 ,key-patterns in this stage of development are to be seen in the ,lindisfarne ,gospels1 the ,st4 ,gall ,gospels 7,codex ,no4 #ea71 and an ,anglian cross-shaft from ,aberlady1 ,haddingtonshire1 now at ,carlowrie ,castle1 near ,kirkliston1 ,midlothian4 ,it will be observed1 however1 that the result of changing a square key-pattern into a diagonal one is to leave a series of unornamented triangles all round the edge 7p4 #bhj74 ,when these triangles are filled in by bending the ends of the diagonal lines round through an angle of #de1 so as to run parallel to the margins1 we get such a characteristically ,celtic key-pattern as the one on the great cross-shaft at ,st4 ,andrews1 ,fifeshire4 ,lastly1 when the opposite ends of the diagonal lines in the middle of the panel are bent round in a similar manner1 the most typical of all the ,celtic key-patterns is arrived at1 of which there is a very good example on the erect cross-slab at ,farr1 ,sutherlandshire4 ,illustration3 #a #b ,illustration3 #c #d ,key-patterns 7#a7 ,rosemarkie1 ,ross-shire 7#b7 ,farr1 ,sutherlandshire 7#c7 ,gattonside1 ,roxburghshire 7#d7 ,nigg1 ,ross-shire ,illustration3 ,shaft of ,cross of ,eiudon1 at ,golden ,grove1 ,carmarthenshire ,the filling in of the sharp corners made by the lines inclined to each other at an angle of #de1 with small black triangles 7if in a ,,ms47 or with sunk triangles 7if on a sculptured stone7 gives a decorative finish to the pattern1 and still further adds to its distinctively ,celtic character4 ,next to interlaced-work the key-pattern is the most common motive made use of in the decorative art of the ,christian ,celtic period4 ,it occurs in nearly all the ,hiberno-,saxon illuminated ,,mss4 and on a large proportion of the sculptured monuments in ,ireland1 ,scotland1 and ,wales4 ,key-patterns and interlaced-work in combination1 but without any other decorative motive1 may be seen on the ,welsh crosses at ,carew and ,nevern1 ,pembrokeshire2 ,golden ,grove1 ,carmarthenshire2 and ,llantwit ,major and ,margam1 ,glamorganshire4 ,on the metalwork of the period key-patterns seldom occur1 except on the bronze bells1 on a strap-buckle from ,islandbridge1 near ,dublin1 and on the ,crucifixion plaque of repouss bronze from ,athlone1 now in the ,dublin ,museum4 ,illustration3 ,detail of ornament on erect cross-slab at ,rosemarkie1 ,ross-shire ,,spiral ,,ornament ,illustration3 ,methods of connecting spirals ,the spiral is the only decorative motive used in ,christian ,celtic art that can be proved to have been borrowed from the ,pagan ,celtic art of the preceding period4 ,although spiral ornament appears to be so complicated when it is completed1 the geometrical process of setting it out is simplicity itself4 ,all that it is necessary to do is to fill in the surface to be decorated with circles of any size1 leaving about the same distance between each2 then connect the circle with ,s- or ,c-shaped curves2 and1 lastly1 fill in the circles with spirals working from the tangent points1 where the ,s or ,c curves touch the circles1 inwards to the centre4 ,as the size of the circles is a matter of no importance1 a surface of irregular shape may be covered with spiral ornament just as easily as one of symmetrical shape4 ,in the flamboyant ornament of the ,pagan ,celtic period we have the same ,s- and ,c-shaped curves1 but the circles were occupied either by a disc of enamel 7as on the bronze shield from the ,thames71 or by raised conchoids 7as on the gold necklet from ,limavady1 ,co4 ,londonderry74 ,in the spiral ornament of the ,christian ,celtic period closely coiled spirals like those of the bronze age were substituted for the discs of enamel or raised conchoids4 ,the background of the spirals1 however1 retained several of the prominent features of the repouss metalwork1 the effect of the light shining on the raised trumpet-shaped expansions of the ,s and ,c curves being imitated in black and white or coloured by almond-like dots4 ,in the later and less refined spiral ornament of the ,christian period this background disappears altogether1 and the spirals are made all the same size and placed close together4 ,illustration3 ,tree key-pattern1 ,meigle1 ,perthshire ,as the spiral was the earliest decorative motive in ,christian ,celtic art1 so it was also the first to disappear1 and its disappearance marks the decadence of the style4 ,we have in a previous chapter traced the spiral motive from the ,pagan metalwork through the enamelled disc ornaments of the bronze bowls of the ,transition period to the illuminated ,,mss4 of ,christian times4 ,spiral ornament in its best form is to be found in the following ,,mss43-- ,the ,lindisfarne ,gospels ,a4,d4 #gbj4 ,the ,book of ,kells #hth century4 ,the ,gospels of ,st4 ,chad 0 0 ,the ,book of ,durrow 0 0 ,the ,book of ,armagh ,a4,d4 #gej-hjh4 ,the ,gospels of ,willibrod ,a4,d4 #gci4 ,the ,gospels of ,st4 ,gall #hth or #ith century4 ,the ,gospels of ,mac,regol ,a4,d4 #hbj4 ,the ,gospels of ,stockholm ,a4,d4 #hga4 ,the ,vespasian ,a4 i4 ,psalter #hth century4 ,illustration3 ,spiral ornament1 with key-pattern border1 from the ,book of ,kells ,in metalwork spiral ornament is less common than in the ,,mss41 there being good examples on the ,ardagh ,chalice1 the ,tara ,brooch1 the ,hunterston ,brooch1 the ,monymusk ,reliquary1 and the ,athlone ,crucifixion ,plaque4 ,spiral ornament of the best kind is found on the sculptured stone monuments only in ,ireland and ,scotland4#dee ,in ,wales1 ,cornwall1 and the ,isle of ,man spiral ornament is extremely rare1 and when it does occur it is of debased character4 ,typical examples of spiral ornament may be seen on the sculptured monuments in ,ireland at ,kells1 ,co4 ,meath2 ,monasterboice1 ,co4 ,louth2 ,clonmacnois1 ,king's ,co42 and ,kilklispeen1 ,co4 ,kilkenny2 and in ,scotland at ,nigg1 ,shandwick1 ,hilton of ,cadboll 7now at ,invergordon ,castle71 all in ,ross-shire2 the ,maiden ,stone1 ,aberdeenshire2 ,st4 ,vigeans1 ,forfarshire2 ,meigle and ,dunfallandy1 ,perthshire2 and ,ardchattan1 ,argyllshire4 #dee ,chiefly in the ,pictish districts of the north-east of ,scotland4 ,illustration3 ,method of connecting spirals ,judging from the evidence afforded by the dated specimens1 the best kind of spiral ornament seems to have disappeared entirely from ,christian ,celtic art after the first quarter of the tenth century4 ,illustration3 ,,four ,,men ,,placed ,,strastika ,,fashion ,,on ,,recumbent ,,monument ,,at ,,meigle1 ,,perthshire ,,scale ,,linear ,illustration3 ,,spiral ,,ornament ,,on ,,fragment ,,of ,,sculptured ,,stone ,,from ,,tarbet1 ,,ross-,,shire2 ,,now ,,in ,,the ,,edinburgh ,,museum ,,zo,,morphic ,,designs ,animal forms are used in ,celtic art of the ,christian period in three different ways1 namely1 7#a7 pictorially1 7#b7 symbolically1 and 7#c7 decoratively4 ,as cases of the first kind of treatment we have the hunting scenes1#def battle scenes1#deg men driving in chariots#deh drawn by horses1 groups of animals1#dei etc41 on the erect cross-slabs of ,scotland and on the bases of some of the ,irish and ,welsh crosses4 ,although these subjects may have some symbolism behind them1 yet all the living creatures represented are treated realistically1 and not conventionally4 ,as cases of the second kind of treatment we have the ,symbols of the ,four ,evangelists1 which1 although consisting of the figures of a man1 a lion1 a bull1 and an eagle1 are generally highly conventionalised4 ,lastly1 we have the decorative use of animal forms1 where the zological species of the creatures represented becomes of so little importance that it is altogether ignored4 ,the creatures can certainly be divided into beasts1 birds1 fishes1 and reptiles2 but the artist has taken such liberties with the shapes of their bodies1 limbs1 heads1 tails1 and other details1 that he would be a bold man who would say of any one of the beasts whether it was intended for a lion1 a tiger1 a dog1 a wolf1 or a bear4 ,the quadruped most in favour with the ,christian ,celtic artist may1 as has been already suggested1 have been degraded by successive copying from the ,classical lion4 ,anyway1 it has a head something like that of a dog1 with pointed ears1 an attenuated body1 four legs terminating in paws with claws1 and a long tail4 ,the head and the paws are never misrepresented for decorative purposes1 but the body1 limbs1 ears1 and tail may be extended to any given length or bent in any desired direction4 ,the beasts and other creatures are generally shown in profile1 and only rarely in plan4 #def ,as on the erect cross-slab at ,hilton of ,cadboll 7now at ,invergordon ,castle71 ,ross-shire4 #deg ,as on the erect cross-slab at ,aberlemno1 ,forfarshire4 #deh ,as on the base of the cross in the churchyard of ,kells1 ,co4 ,meath4 #dei ,as on the erect cross-slabs at ,shandwick1 ,ross-shire2 and ,st4 ,vigeans1 ,forfarshire2 and on the base of the cross at ,castledermot1 ,co4 ,kildare4 ,in the simplest kind of zomorphic ornament a single beast is used to fill a panel1 the different attitudes being as follows3-- 7#a7 ,with the head looking forwards4 7#b7 ,with the head bent backwards4 7#c7 ,with the head bent backwards1 biting the middle of the body4 7#d7 ,with the head bent backwards1 biting the end of the tail4 7#e7 ,with the tail curled up over the back4 7#f7 ,with the tail curled up under the belly4 ,if the beasts are in pairs1 they may be placed in the following positions3-- 7#a7 ,symmetrically facing towards each other1 or face to face4 7#b7 ,symmetrically facing away from each other4 7#c7 ,in a horizontal row one in front of the other4 7#d7 ,in a vertical row one below the other4 ,when there are three or four beasts1 besides being arranged in rows1 they may be placed after the fashion of the triskele or the swastika round a centre4 ,interlaced zomorphic ornament can be made with a single beast by extending the length of its tail and ear1 and forming them into knots at intervals1 crossing over the body and limbs where necessary4 ,sometimes the tail alone is knotted4 ,in this sort of ornament the shape of the beast is seen distinctly and the knots occupy the background4 ,a more complicated design can be made from a single beast by twisting its body and limbs into knots as well as the ears and tail4 ,the panels of zomorphic ornament in ,christian ,celtic art are1 however1 usually composed of two or more beasts placed symmetrically with regard to each other and having their bodies and limbs crossed over and interlaced4 ,the ears and tails may also be extended and formed into knots in combination with the bodies and limbs4 ,the designs thus produced will be seen to consist apparently of two sets of bands crossing each other diagonally1 the wide bands being the bodies of the beasts and the narrow bands1 the limbs1 tails1 and ears4 ,the bands are nearly straight1 or if bent at all only gently curved4 ,when the beasts are not placed in opposite symmetrical positions1 but in horizontal rows one in front of the other1 or in vertical rows one below the other1 the bodies are often bent round spirally in one direction or twisted into ,s-shaped spirals in two directions4 ,a favourite device with the ,celtic artist was to make the beasts bite their own bodies1 limbs1 or tails1 or the body1 limbs1 or tail of the beast immediately in front of it4 ,the zomorphic designs composed of birds were arranged on the same principles as those composed of beasts4 ,reptiles or serpentine creatures with bodies of nearly the same width throughout were converted into interlaced zomorphic ornament by twisting1 plaiting1 looping1 or knotting the bodies together4 ,this class of ornament is1 in fact1 the ordinary interlaced patterns derived from the plait1 with heads added at one end and tails at the other4 ,a very ingenious zomorphic design is made by filling in a long narrow panel with the body of a serpentine creature undulating from side to side4 ,the head of the creature is at the top of the panel1 and the body remains about the same width until it reaches the bottom of the panel1 where its width is greatly reduced and its direction reversed4 ,on its return journey it makes a series of ,stafford knots1 which fill in the spaces between the undulations of the body and the sides of the panel1 and the end of the tail is finally received into the mouth of the reptile4#dfj ,there are two kinds of zomorphic designs which are peculiar to the ,,mss4 of the period1 namely1 initial letters made in the form of a bird or beast1 and the incomplete frames round the initial pages of the ,gospels terminating in a beast's head at one end and a fish-like tail at the other4 ,the only thing of a similar kind which occurs on the sculptured monuments is the zomorphic margin round some of the erect cross-slabs of the east of ,scotland4#dfa ,the margin is formed by two beasts1 the heads of which appear at the top facing each other and the tails at the bottom4 #dfj ,instances of this occur at ,lanherne and ,sancreed1 ,cornwall4 #dfa ,at ,cossins and ,monifieth1 ,forfarshire2 and ,meigle1 ,dunfallandy2 and ,st4 ,madoes1 ,perthshire4 ,the arched top of the frame round the miniature of ,christ seized by the ,jews1 in the ,book of ,kells1 is treated in exactly the same way as the pedimented tops of the erect cross-slabs4 ,in the second table of ,eusebian ,canons1 in the ,book of ,kells1 the head and arms of ,christ are placed between the two beasts' heads4 ,zomorphs are found throughout the whole range of ,christian ,celtic art2 they form an important feature in the decoration of nearly all the ,hiberno-,saxon illuminated ,,mss42 they are particularly characteristic of the ,irish ecclesiastical metalwork2 and they are of frequent occurrence on the sculptured monuments of ,ireland and ,scotland4 ,on the crosses of ,wales and ,cornwall zomorphs are comparatively rare4 ,some of the best instances of zomorphic designs in the ,,mss4 are to be seen in the cross-pages of the ,book of ,durrow1 the ,gospels of ,lindisfarne1 the ,book of ,kells1 the ,gospels of ,st4 ,chad1 and the ,st4 ,gall ,gospels 7,codex ,no4 #ea72 in metalwork on the ,ardagh ,chalice1 the ,tara ,brooch1 the ,hunterston ,brooch1 the ,shrine of the ,bell of ,st4 ,patrick's ,will1 the ,cross of ,cong1 and the ,shrine of ,st4 ,manchan2 and on sculptured monuments at ,termonfechin1 ,co4 ,louth2 ,kells1 ,co4 ,meath2 ,tihilly1 ,king's ,co42 ,dysert ,o',dea1 ,co4 ,clare2 ,nigg1 ,ross-shire2 ,aberlemno and ,invergowrie1 ,forfarshire2 ,st4 ,madoes1 ,perthshire2 ,penally1 ,pembrokeshire2 and ,sancreed and ,lanherne1 ,cornwall4 ,illustration3 ,,detail ,,of ,,ornament ,,on ,,erect ,,cross-,,slab ,,at ,,nigg1 ,,ross-,,shire ,sometimes key-patterns and spirals are converted into zomorphic designs by the addition of animals' heads1 as at ,penmon1 ,anglesey2 and ,termonfechin1 ,co4 ,louth4 ,the centres of spirals are also often made zomorphic1 as in the ,gospels of ,lindisfarne1 on the cross at ,kilklispeen1 ,co4 ,kilkenny1 and on an erect cross-slab at ,st4 ,vigeans1 ,forfarshire4 ,probably the most wonderful tour de force in the way of zomorphic sculpture is a pair of panels on the erect cross-slab at ,nigg1 ,ross-shire4 ,each panel is ornamented with a series of raised bosses arranged symmetrically4 ,the whole of the convex surfaces of the bosses is covered with intricate knotwork1 and the background is composed of serpents1 the tails of which coil spirally round the bases of the bosses1 and in each case enter the circumference at three points to form the interlaced-work on the boss4 ,after innumerable crossings under and over1 the tails again diverge at three other points round the base of the boss1 and finally terminate in small spirals in different parts of the background4 ,,anthropomorphic ,,designs ,under the above heading are classed all designs in which the complete figure of a man1 or portions of a man are used for purposes of decoration4 ,human heads occur in metalwork in the decoration of the ,tara ,brooch#dfb and in sculptured stonework on the cross of ,muiredach1 at ,monasterboice1 ,co4 ,louth1 and on a cross-head from the crannog at ,drumgay ,loch4 #dfb ,a pin-brooch ornamented with a human head1 from ,woodford ,river1 ,co4 ,cavan1 is illustrated in ,sir ,w4 ,wilde's ,catal4 of the ,mus4 ,r4,i4,a41 p4 #efe4 ,the most remarkable instances of the decorative use of the complete figures of men in the illuminated ,,mss4 are to be found in the ,book of ,kells4 ,the figures are generally arranged in pairs facing each other1 in groups of three triskele fashion1 and in nearly all cases the attitudes are extremely uncomfortable with the knees drawn up close against the stomach4 ,the limbs of the different figures are crossed over and interlaced1 as in zomorphic ornament1 and the hands are shown grasping either the limbs1 hair1 or beard of one of the other figures4 ,sometimes the human figures are combined with figures of birds or beasts4 ,we have already referred to the incomplete frames of the initial pages of the ,gospels with zomorphic terminations4 ,in the 8,nativitas ,,xpi0 initial page in the ,book of ,kells the incomplete frame terminates in a human head at one end and two legs at the other4 ,another initial page in the same ,,ms4--that of ,st4 ,mark's ,gospel--has a zomorphic frame1 but the beast's head is holding a man between its jaws1 whilst the man is tugging at the beast's tongue with his hand4 ,groups of four human figures arranged swastika fashion1 interlaced and each grasping the limbs1 wrists1 hair1 or beard of one of the other figures1 occur on crosses in ,ireland at ,kilkispeen1 ,co4 ,kilkenny2 ,monasterboice1 ,co4 ,louth2 and ,kells1 ,co4 ,meath2 and in ,scotland on a recumbent monument at ,meigle1 ,perthshire4 ,a human figure interlaced with a bird occurs in two instances on sculptured stones in ,scotland1 namely1 at ,monifieth1 ,forfarshire 7now in the ,edinburgh ,museum of ,antiquities72 and at ,meigle1 ,perthshire4 ,,foliage ,leaf and plant motive decoration is entirely foreign to the spirit of purely ,celtic ,christian art1 and whenever it occurs it is generally to be traced to ,northumbrian influence4 ,the ,book of ,kells and the ,stockholm ,gospels are the only ,hiberno-,saxon illuminated ,,mss4 in which any trace of foliage can be detected4 ,there are panels of foliage on the ,irish crosses at ,kells1 ,co4 ,meath2 ,monasterboice1 ,co4 ,louth2 and ,clonmacnois1 ,king's ,co4 ,in ,wales there is an instance of foliage on the crosses at ,penally1 ,pembrokeshire4 ,in ,scotland the only sculptured monuments with foliage upon them 7excluding1 of course1 those in the ,northumbrian districts of the south7 are the erect cross-slabs at ,hilton of ,cadboll and ,tarbet1 ,ross-shire 7both now at ,invergordon ,castle72 ,st4 ,vigeans1 ,forfarshire2 and ,crieff1 ,perthshire2 on crosses at ,camuston1 ,forfarshire2 ,dupplin1 ,perthshire2 and on a cross-shaft at ,st4 ,andrews1 ,fifeshire4 ,the foliage may in all cases be traced back to the ,classical vine1 the well-known symbol of ,christ4 ,it is often much degraded by successive copying1 and although the forms of the leaves are often altered beyond recognition the bunches of grapes can always be made out4 ,,symbolical ,,figure-,,subjects ,we have already mentioned most of the figure-subjects to be found in the ,hiberno-,saxon illuminated ,,mss41 and on the ,irish ecclesiastical metalwork4 ,it remains therefore only now to take the sculptured monuments into consideration4 ,it was in ,ireland alone that a recognised cycle of scriptural figure subjects was adopted for the decoration of the crosses and that in nearly all cases the ornament was relegated to a subordinate position4 ,in ,scotland and ,wales1 on the contrary1 ,scripture scenes are seldom represented on the sculptured monuments2 in ,cornwall the only figure subject which occurs on the crosses is the ,crucifixion2 and in the ,isle of ,man the figure-subjects are mostly taken from the ,pagan ,norse mythology4 ,the following table shows the ,scriptural subjects on the sculptured monuments of ,ireland1 ,scotland1 ,wales1 and ,cornwall1 and the frequency with which they occur3-- ---------------------------------------- ---------------------- ,ireland4,scotland4,wales4,cornwall4 ---------------------------------------- ---------------------- ,old ,testament-- ,adam and ,eve #ae #b -- -- ,noah in the ,ark #b #a -- -- ,sacrifice of ,isaac #i #a -- -- ,three ,children in ,furnace #d -- -- -- ,daniel in ,den of ,lions #h #i -- -- ,david and ,harp #f #b -- -- ,david and ,lion #f #b -- -- ,david and ,goliath #c -- -- -- ,jonah and ,whale -- #c -- -- ,ascent of ,elijah -- #a -- -- ---------------------------------------- ---------------------- ,new ,testament-- ,virgin and ,child -- #e -- -- ,adoration of ,magi #b #a -- -- ,flight into ,egypt #a -- -- -- ,baptism of ,christ #b -- -- -- ,miracle of ,loaves and ,fishes #d #a -- -- ,raising of ,lazarus -- #a -- -- ,crucifixion #af #e #c #dj ,christ in ,glory #e #a -- -- ,last ,judgment #a -- -- -- ,annunciation -- -- #a -- ,christ seized by the ,jews #b -- #a -- ,twelve ,apostles #a -- -- -- ,agnus ,dei #b -- -- -- ,dextera ,dei #b -- -- -- ---------------------------------------- ---------------------- ,in addition to the above there are the following1 which are sacred or ecclesiastical1 but not1 strictly speaking1 ,scriptural3-- ---------------------------------------- --------------------- ,ireland4,scotland4,wales4,cornwall4 ---------------------------------------- --------------------- ,symbols of ,four ,evangelists -- #d -- -- ,cherubim -- -- #a -- ,angels -- #bb -- -- ,saints -- -- -- -- ,oranti -- #a #c -- ---------------------------------------- --------------------- ,it appears1 then1 that the ,scriptural subjects of most frequent occurrence in ,ireland are the ,crucifixion1 ,adam and ,eve1 the ,sacrifice of ,isaac1 ,daniel in the ,lions' ,den1 and the scenes from the ,life of ,david2 and in ,scotland1 the ,crucifixion1 ,daniel in the ,lions' ,den1 the ,virgin and ,child1 and the symbols of the four ,evangelists4 ,the subjects common to both ,ireland and ,scotland are ,adam and ,eve1 ,noah 7871 ,sacrifice of ,isaac1 ,daniel in the ,lions' ,den1 ,david and the ,harp1 ,david and the ,lion1 ,adoration of the ,magi1 ,flight into ,egypt1 ,miracle of ,loaves and ,fishes1 ,crucifixion1 ,christ in ,glory1 ,agnus ,dei1 ,angels4 ,the subjects which occur in ,ireland1 but not in ,scotland1 are the ,three ,children in the ,furnace1 ,david and ,goliath1 ,baptism of ,christ1 ,resurrection1 ,last ,judgment1 ,dextera ,dei1 ,twelve ,apostles4 ,and those which occur in ,scotland1 but not in ,ireland1 are ,ascent of ,elijah1 ,raising of ,lazarus1 ,jonah and the ,whale1 ,annunciation1 ,salutation1 ,miracle of ,healing the ,blind1 ,christ and ,mary ,magdalene1 ,lazarus4 ,of the subjects on the early sculptured stones of ,ireland and ,scotland the following belong to the cycle of subjects found on the paintings in the ,catacombs and the ,sculptured ,sarcophagi 7,a4,d4 #ej to #dej73-- ,adam and ,eve4 ,daniel in the ,lions' ,den4 ,noah4 ,jonah and the ,whale4 ,sacrifice of ,isaac4 ,adoration of ,magi4 ,three ,children in the ,furnace4 ,adoration of ,magi4 ,ascent of ,elijah4 ,miracle of ,healing the ,blind4 ,the following subjects belong to the ,lombardo-,byzantine period 7,a4,d4 #gjj-aajj73-- ,david4 ,christ in ,glory4 ,baptism of ,christ4 ,last ,judgment4 ,crucifixion4 ,agnus ,dei4 ,resurrection4 ,dextera ,dei4 ,flight into ,egypt4 ,twelve ,apostles4 ,virgin and ,child 7apart from ,magi74 ,symbols of the ,four ,evangelists4 ,christ and ,mary ,magdalene4 ,angels4 ,thus the early ,sculptured ,stones and the ,hiberno-,saxon ,,mss4 of ,great ,britain1 and the ,carlovingian ,ivories afford a connecting link between the older symbolism of the primitive ,christianity of the ,catacomb period and the more strictly ecclesiastical art of medival times4 ,quite apart from the fact that ,king ,david was a type of ,christ1 and that his pictures formed the illustrations of the ,psalter1 it is not surprising that he should have been an object of popular worship amongst the warlike and musical ,celts1 to one side of whose character his heroic deeds in rending the jaws of the lion and slaying the giant ,goliath1 would appeal as strongly as his talent as a harper would to the other4 ,a small ,,ms4 ,irish ,psalter in the ,british ,museum 7,vit4 ,f4 i47#dfc contains two very curious miniatures1 one of ,david ,playing the ,harp and the other of ,david and ,goliath4#dfd ,the former is interesting1 because ,i think it helps to explain the meaning of a figure sitting on the back of a beast and playing a harp1#dfe sculptured on one of the panels of the cross at ,clonmacnoise4 ,as ,i hold1 this is intended for ,david2 and my reason for supposing this is1 because the throne on which ,david is seated in the miniature in the ,psalter is conventionally treated as a beast4 #dfc ,westwood's ,miniatures1 pl4 #e4 #dfd ,in the miniature of ,david and ,goliath in the ,psalter ,david holds a sling in one hand and a beast-headed club in the other4 ,the resemblance between this club and the beast's-head symbol1 which occurs on the ,norrie's ,law silver ornaments and on several of the early incised slabs in ,scotland1 may be only accidental1 but it is worth noting as a possible clue to the scriptural interpretation of the symbol4 #dfe ,o',neil1 pl4 #bd;,a4 ,i am not quite sure whether the boat with men in it1 on the stone at ,cossins1 is intended for ,noah's ,ark or not1 but a boat of just the same kind is represented on a carved wooden pillar at ,olaf's ,church1#dff ,nesland1 where it is associated with other ,scriptural subjects1 amongst others the creation of ,eve1 ,samson and ,delilah1 and ,david and ,goliath4 ,in this case there can be little doubt but that the boat is intended for ,noah's ,ark1 so that probably the boat at ,cossins has the same meaning4 ,the angels are cherubim1 with four wings1 and spirals where the wings join on to the body1 representations of which are to be seen on the stones at ,eassie1 ,glamis1 and elsewhere in ,scotland4 ,they do not occur on any of the sculptured crosses in ,ireland2 but there are instances of angels or the symbols of the four evangelists treated in the same fashion in the ,st4 ,gall ,gospels1 ,codex ,no4 #ea1dfg and on the ,book ,shrine of ,st4 ,molaise's ,gospels1#dfh in the ,museum of the ,royal ,irish ,academy in ,dublin1 and also on a bronze plaque#dfi of the ,crucifixion1 in the same collection4 ,i have recently discovered a very curious instance of an angel of this kind1 with three wings on a cross-slab1 with interlaced-work1 in ,st4 ,david's ,cathedral1 given in ,westwood's ,lapidarium ,walli 7pl4 #fc1 fig4 #d71 but the wings and spirals only shown1 and the head of the angel omitted4 #dff ,l4 ,h4 ,s4 ,dietrichsen1 ,de ,norske ,stavkirker1 p4 #cfb4 #dfg ,c4 ,purton ,cooper's 8,appendix ,a to ,report on ,rymer's ,fdera10 pl4 #e4 #dfh ,archologia1 vol4 xliii41 p4 #aca4 #dfi ,westwood's ,miniatures1 pl4 #ea4 ,the pair of ecclesiastics1 sometimes standing1 sometimes enthroned1 sometimes kneeling1 with a bird holding a circular disc in its mouth between them1 is a subject common to the early sculptured stones of both ,scotland#dgj and ,ireland1#dga but the exact meaning of it has yet to be ascertained if we are not to take the instance on the ,ruthwell cross as an authoritative explanation of the whole4 #dgj ,as at ,nigg and ,st4 ,vigeans4 ,dr4 ,j4 ,anderson regards the ,nigg example as being intended for ,st4 ,paul and ,st4 ,anthony4 #dga ,as at ,kells1 ,moone ,abbey1 ,clonca4 ,as ,i have already pointed out in my ,rhind ,lectures on ,christian ,symbolism1 there is a nearer affinity between the subjects chosen to decorate the bases of the ,irish crosses and the representations of hunting scenes1 horsemen1 chariots1 etc41 on the upright cross-slabs of the north-east of ,scotland1 than the more strictly ,scriptural scenes on the shafts of the ,irish crosses4 ,the best examples illustrating this are to be seen on the bases of the crosses at ,kells 7,figs4 #e and #f71 ,monasterboice1 ,clonmacnois1 ,castle ,dermot 7,fig4 #g71 and ,kilklispeen4 ,the chariot on the ,meigle slab1 now lost1 may be compared with the chariots to be seen on the shaft of the cross at ,killamery1 and on the bases of the crosses at ,monasterboice1 ,kilklispeen1 and in ,kells churchyard2 on the base of the cross in the street at ,kells we have the eagle and fish1 as on the 8,drosten0 stone at ,st4 ,vigeans1#dgb and as in the ,book of ,armagh2 and on the base of this same cross1 and on the cross of ,muredach at ,monasterboice1 centaurs occur1 in some respects like those on the slabs at ,aberlemno1 ,meigle1 and ,glamis4 #dgb ,another remarkable instance of the eagle and fish has recently been found on a stone with an ,ogam inscription1 at ,latheron1 near ,keiss1 ,caithness4 ,on the base of the ,kilklispeen cross is portrayed a procession of ecclesiastics taking part in a most remarkable ceremony4 ,on the south side of the base is to be seem a priest carrying a processional cross1 and followed by a man leading a horse1 on the back of which is laid the headless trunk of a man1 with two birds of prey1 or carrion crows1 perched on the top4 ,on the north side of the base are two ecclesiastics on horseback1 followed by two more in a chariot drawn by a pair of horses4 ,on the east side are several beasts1 birds1 and a man4 ,on the west side is a central figure1 perhaps a bishop1 with three ecclesiastics holding croziers on each side of him4 ,these scenes can hardly be ,scriptural2 and if they are not taken from the life of some saint1 it is difficult to see what explanation remains to be suggested1 except that an event of local importance is here commemorated4 ,the bases of the pillar-cross at ,llandough and of the great wheel-cross at ,margam1 both in ,glamorganshire1 are the only ones with figures of horsemen upon them in ,wales4 ,the symbolism of the shafts of the ,irish crosses is so strictly biblical that secular subjects may have been placed on the bases by way of contrast1 to indicate the actual world or earth on which the cross stood representing the spiritual world4 ,the eagle and fish may personify the ocean1 and the centaur the desert1 for which we have the authority of the bestiaries and the legendary life of ,st4 ,anthony4 ,the points of similarity between the ornamental patterns on the stones of ,ireland and ,scotland raise questions of too much intricacy to be dealt with here2 but it may be remarked that figure-sculpture forms the chief feature of the ,irish crosses--geometrical1 zomorphic1 and foliageous designs being only as a rule applied to the decoration of the smaller panels on the sides of the shafts and to the rings connecting the arms4 ,the upright cross-slabs of ,scotland1 more particularly those in ,ross-shire1 approach much more nearly in style--and therefore probably in age--to the illuminated pages of the ,hiberno-,saxon ,,mss4 of the best period1 than do any of the ,irish crosses4 ,in conclusion1 ,i consider the so-called ,celtic style to be a local variety of the ,lombardo-,byzantine style1 from which the figure-subjects1 the interlaced-work1 the scrolls of foliage1 and many of the strange real and fabulous creatures were apparently borrowed4 ,the ,lombardo-,byzantine style was introduced into this country after the ,saxons had become ,christians2 and being grafted upon the ,pagan art of the ,late-,celtic period1 was developed in different ways in different parts of ,great ,britain4 ,however1 it in no way detracts from the artistic capacity of the ,celt that he should have adapted certain decorative motives belonging to a foreign style instead of evolving them out of his own inner consciousness4 ,although his materials may not all have been of native origin1 they were so skilfully made use of in combination with native designs1 and developed with such exquisite taste1 that the result was to produce an entirely original style1 the like of which the world had never seen before4 ,,index ,abercorn1 cross-shaft1 #bfi ,abergele1 horse-trappings1 #ie ,aberlemno1 erect cross-slab1 #ahd ,abernethy1 #hb ,abingdon1 pottery1 #abd ,aboyne1 armlet1 #aac -- erect cross-slab1 #ahd ,achnabreac1 spirals at1 #ej gean1 spiral ornament in the1 #ed sica1 #hb -- fibula1 #aeb ,alfriston1 horse-trappings1 #id -- enamelled harness-ring1 #acd ,algeria1 penannular brooch1 #bbe ,allington1 pottery1 #abd ,alstonfield1 ,iron ,age burial at1 #fh ,amber settings1 #bcg ,amerden1 sword-sheath1 #ia ,ammendola1 sarcophagus of1 #f ,andrews1 ,st41 sarcophagus1 #aic ,angels1 #cjj ,animals1 figures of1 #adf ,antenn1 swords with1 #hf ,anthony1 ,st41 #cjb ,anthropomorphic designs1 ,late-,celtic1 #add ,anthropomorphs in ,celtic ,christian art1 #bid ,apollinare in ,classe1 ,sant'1 ,ravenna1 #bdd ,archdall1 ,castle1 spirals at1 #ea ,ardagh1 chalice1 #baf1 #bce ,ardakillen ,crannog1 #ha -- -- fibula1 #agj ,ardchattan1 erect cross-slab1 #ahd ,ardoch1 #hb -- horse-trappings1 #ie ,aristotle1 #b ,armagh1 bell1 #aii -- ,book of1 #age -- shrine of ,book of1 #bjh ,armlets1 enamelled1 #acd -- ,late-,celtic1 #aac -- of glass1 ,late-,celtic1 #ada ,arria and ,paetus1 #e ,arras1 armlet1 #aad -- horse-trappings1 #id -- ,iron ,age burials at1 #fc -- mirror1 #aae ,aryans1 #a ,aspatria1 sculptured cist1 #ee ,assynt1 jet necklace from1 #db ,aston ,clinton1 pottery1 #abd ,athenry1 dagger-sheath1 #ib ,athlone1 ,crucifixion1 #bah ,auchendolly1 horse-trappings1 #ie ,auchenbadie1 armlet1 #aac ,avebury1 fibula1 #ajf ,axe-head of bronze with spirals1 #eb -- sculptures1 #ee ,aycliffe1 cross-shaft1 #bfi ,aylesford1 bucket1 #aaf1 #ade -- fibula1 #ajf -- ,iron ,age cemetery at1 #gj -- pottery1 #abb -- tankard1 #aaf ,ayton ,moor1 cup-marks at1 #eg ,backworth1 pair of fibul1 #ajc -- saucepan1 #aag ,badony1 ,lower1 bell1 #aih ,baglan1 cross-slab1 #ahb ,bakerhill1 sculptured cist1 #ee ,balcalk1 jet necklace from1 #db ,ballinderry ,crannog1 #ha -- -- comb1 #abh ,balmaclellan1 ,late-,celtic finds at1 #gg -- mirror1 #aae ,balls1 stone1 of ,bronze ,age1 #ej ,ballycostello1 horse-trappings1 #ie ,ballynaminton1 horse-trappings1 #ie ,bandaging patterns1 #ch ,bangor1 bell1 #bja ,bapchild1 horse-trappings1 #id ,bargany house1 sword-sheath1 #ia ,barlaston1 bowl1 #eh1 #aff ,barlaston1 ,iron ,age burial at1 #fh ,barrington1 enamelled bowl1 #ace ,barrochan1 cross1 #aib ,bartlow ,hills1 enamelled vessel1 #ach ,basketry1 ,late-,celtic1 #adc ,battersea1 shield1 #ib -- sword-sheath1 #ia ,beaded torques1 #aei ,beads1 ,late-,celtic1 #abe1 #ada ,belhelvie1 armlet1 #aac ,bells1 ,celtic1 #aid ,bell-shrines1 #bjd ,benty ,grange1 enamelled bowl1 #acd -- ,iron ,age burial at1 #fg ,berkshire1 triskele pendant1 #aba ,bernaldby ,moor1 sculptured cist1 #ee ,berru1 helmet from1 #ab ,beverley1 ,iron ,age burials at1 #fe ,bibracte1 enamels from1 #ach ,bigbury ,camp1 #hb ,birdlip1 bowl1 #aaf -- fibula1 #ajf -- ,iron ,age burials at1 #fi -- mirror1 #aae ,birnie1 bell1 #aih ,birrenswark1 #hb ,birrenswark1 horse-trappings1 #ie ,biskra1 penannular brooch1 #bbe ,black ,hedon1 cup-marks at1 #eg ,blackshaw1 spirals at1 #ej ,blathmac1 crozier1 #bjh ,boars' tusks from ,arras1 #fd ,bones1 engraved1 #aej ,bonework1 ,late-,celtic1 #abg ,bonville1 fibula1 #ajf ,book-shrines1 #bjh ,bowl1 ,barlaston1 #aff -- ,chesterton1 #afg -- enamelled1 ,mklebust1 #afj ,bowls1 ,late-,celtic1 #aaf -- with enamelled handles1 #acd ,boxmoor1 sword-sheath1 #ia ,braddan1 ,kirk1 wheel-cross1 #ahh ,braintree1 pottery1 #abd ,braughing1 enamelled vessel1 #acg ,brazing1 #acb ,breac ,moedoc1 #baa ,breaks in plait1 #bei ,bride1 ,kirk1 cross1 #ahf ,bridle-bit1 enamelled1 ,rise1 #acc -- -- ,birrenswark1 #acc ,brighton1 pottery1 #abe ,brodie1 erect cross-slab1 #ahd ,broighter1 ,limavady1 find of gold ornaments1 #aji ,brooch1 penannular1 #bbc ,bronze ,age burials1 #bc -- -- ,celtic art in1 #bb -- -- ,celts1 #ae -- -- chronology of1 #ai -- -- patterns which survived into the ,iron ,age1 #fj ,brough1 #hb ,brough1 fibula1 #ajg1 #aed ,brythons1 #ag ,buckets1 #ade -- ,late-,celtic1 #aaf ,burghead1 #hb ,burials of ,iron ,age1 #fe ,bunrannoch1 armlet1 #aac ,byzantine art1 #bci1 #bdd ,caburn1 ,mount1 ,late-,celtic oppidum at1 #gd ,caistor1 enamelled bowl1 #ace ,calderstones1 spirals at1 #ej ,camborne1 cross-slab1 #ahb ,came ,down1 cup-marks at1 #eg ,camerot ,muir1 spirals at1 #ej ,canterbury1 chtelaine1 #aae -- horse-trappings1 #id ,capel ,garmon1 fire-dogs1 #aah1 #ada ,cappagh1 bell1 #aii ,carew1 cross1 #aic ,carham1 sword-sheath1 #ia ,carlingwark ,loch1 tankard1 #aaf ,carlswark ,cavern1 armlet1 #aad ,carlton1 inlaid object1 #aci ,carnbn1 sculptured cist1 #ee ,carn ,br1 #af ,carnwath1 sculptured cist1 #ee ,cashel1 bell1 #bja ,castell ,nadolig1 #hb ,casting metal1 ,iron ,age1 #acj ,castle ,dermot1 #aib ,castle ,newe1 armlet1 #aac -- -- weem at1 #hb -- -- enamelled armlets1 #acd ,castlethorpe1 armlet1 #aad ,catterdale1 sword-sheath1 #ia ,cauldrons of bronze1 #hf ,caves inhabited by ,brit-,welsh1 #ge1 #ha ,celt1 #d ,celtic ,tribes in ,britain1 #ag ,celt in classical sculpture1 #e ,celts of bronze1 #da ,centaur1 #cjb ,certosa situl1 #ade ,chad1 ,st41 ,book of1 #age ,chains1 #bcg -- of gold and silver1 ,late-,celtic1 #aci ,chalices1 ,celtic1 #bae ,chalk drums from ,folkton1 #ef ,champlev enamel1 #acf ,characteristics of ,celtic ,christian style1 #bed -- ,late-,celtic style1 #adc ,chariots1 #cja -- wheels1 #ih -- wheels from ,arras1 #fd ,chtelaines1 ,late-,celtic1 #aae ,chedworth1 ,chi-,rho ,monogram1 #afb ,chequerwork1 ,late-,celtic1 #afj ,cherubim1 #cjj ,chesterford1 ,great1 ,kimmeridge shale vessel1 #abh ,chesters1 ,great1 fibula1 #ajg ,chesterton1 bowl1 #afg -- enamelled bowl1 #ace ,chevron patterns1 #bh -- -- ,late-,celtic1 #afj ,chi-,rho ,monogram1 #afc ,chorley1 chains1 #adj -- pair of fibul1 #ajb ,christianity in ,britain1 #afb ,chronology of ,bronze ,age1 #ai ,circles1 concentric1 in ,bronze ,age1 #ee ,circular knotwork1 #bgc ,cirencester1 fibula1 #ajg ,cists of ,bronze ,age with sculpture1 #ee ,cividale1 ,baptistery of ,calistus1 #beh ,claughton ,moor1 cup-marks at1 #eg ,clemente1 ,san1 ,rome1 #bdd1 #beh ,clogher1 fibula1 #aje -- bell1 #aii ,cloisonn enamel1 #acf ,clonmacnois1 #aij -- cross-slabs1 #ahj -- crozier1 #bjg -- gold collar1 #aaa -- pin1 chains1 #adj -- pin1 #bai ,clooncunra1 horse-trappings1 #ie ,clova1 horse-trappings1 #ie ,clyde ,crannog1 comb1 #abh ,coins1 ancient ,british1 #gg -- with ,late-,celtic finds1 #hh ,cookham1 dagger-sheath1 #ib ,colchester1 ,kimmeridge shale vessel1 #abh ,commios1 coins of1 #gh ,corfe ,castle1 ,kimmeridge shale vessel1 #abh ,cowlam1 fibula1 #ajf ,cochno1 wheel-symbol at1 #ei ,coffey1 ,george1 theory on spiral ornament1 #ec ,coffins1 stone1 #aic ,coilsfield1 spirals at1 #ej -- sculptured cist1 #ee ,coinage1 ,celtic1 #ad ,collar1 ,late-,celtic1 #aec ,collars1 ,late-,celtic1 #aji ,colours used by celtic scribes1 #bcc ,columba's ,psalter1 shrine of1 #bji ,compass-work in ,late-,celtic art1 #aej ,cong1 cross1 #bac ,coped stones1 #ahb ,copenhagen1 reliquary1 #baa ,coral settings1 #bcg ,cossins1 erect cross-slab1 #ahd ,courcelles-et-,montagne1 #ac ,cowlam1 armlet1 #aad -- ,iron ,age burials at1 #fe ,craigie ,wood1 sculptured cist1 #ee ,craigywarren1 pin1 #aj ,crannogs1 #ha ,craven ,arms1 chtelaine1 #aae ,crawfordjohn1 silver chains1 #agj ,cremation in ,bronze ,age1 #bc ,crichie1 horse-trappings1 #ie ,cricklade1 fibula1 #ajf ,crosby ,ravensworth1 spoons1 #abj ,cross1 ,celtic1 evolution of1 #ahf -- processional1 #bac ,cross-slabs1 #aha ,crossthwaite1 enamelled bowl1 #acd ,croy1 penannular brooch1 #bbh ,croziers1 ,celtic1 #bjf ,cruciform breaks in plait1 #bfb -- patterns1 #bcf ,crucifixion plaques1 #bah ,crystal settings1 #bcg ,cuerdale1 penannular brooch1 #bbg ,culan1 ,st41 bell-shrine1 #bjd ,culbin sands1 armlet1 #aac ,cumdachs1 #bjh ,cup-and-ring sculpture at ,ilkley1 #ei -- -- ,wooler1 #ei -- -- ,kirkcudbright1 #ei -- -- ,lochgilphead1 #ei -- -- ,kilmartin1 #ei ,cup-marked stones1 #eg ,danes' ,graves1 horse-trappings1 #id -- -- ,iron age burials1 #fe -- -- pin1 #ajg ,dartmoor1 #af ,datchet1 fibula1 #ajf1 #aci ,dates of ,late-,celtic finds1 #he ,decorative motives in ,bronze ,age1 #bc ,delphi sacked by the ,gauls1 #d ,denmark1 spiral ornament in1 #ea ,deepdale cave1 #gf1 #ha -- looped wire armlets1 #aci ,diagonal lines1 use of1 #fj -- setting-out lines1 #bee ,dimma's ,book1 shrine of1 #bji ,discs of repouss bronze1 late-,celtic1 #aba ,dogmael's1 ,st41 #ah ,dogs1 fire-1 #ada -- -- ,late-,celtic1 #aah ,dorchester1 sword-sheath1 #ia ,dornoch ,links1 cup-marks at1 #eg ,dots1 rows of1 in decoration1 #ci -- use of1 #fj ,dowalton ,crannog1 #ha -- horse-trappings1 #ie ,dowkerbottom ,cave1 fibula1 #ajg ,dowth1 spirals at1 #ej ,drinking-cup urns1 #be ,drumcliff1 cross1 #aib ,drumragh1 bell1 #aii ,dunfallandy1 erect cross-slab1 #ahd1 #bgg ,dunkeld1 ,little1 bell1 #aih ,dupplin1 cross1 #aib ,durrow1 cross1 #aib -- ,book of1 #afi1 #agd -- shrine of ,book of1 #bjh ,dyce1 erect cross-slab1 #ahd ,dysert1 crozier1 #bjh ,eagle and fish1 #cja ,ecclesiastics1 #cja ,eday1 spirals at1 #ej ,egypt1 spiral ornament in1 #ed ,eilean ,finan1 bell1 #aih ,eliseg's ,pillar1 ,valle ,crucis1 #aic ,elkstone1 cup-marks at1 #eg ,elveden1 pottery1 #abd -- tankard1 #aaf ,embleton1 sword-sheath1 #ia ,embsay1 collar1 #aaa ,emlagh1 horse-trappings1 #ie ,enamelling1 ,iron ,age1 #acc -- process of1 #ace ,enamels of ,christian ,celtic period1 #bce ,engraved patterns1 ,iron ,age1 #acb ,eppillos1 coins of1 #gh ,essex1 pottery1 #abb ,evolution of ,celtic cross1 #ahf ,farley heath1 #hb -- fibula1 #ajg ,farnell1 cross-slab1 #ahd ,farr1 erect cross-slab1 #ahd ,fens1 the1 horse-trappings1 #id ,fibula1 evolution of1 #ii -- from sica1 #aeb ,fibul1 enamelled1 #acd -- disc-shaped1 #aed -- worn in pairs with chain1 #ajd ,figure drawing in ,celtic ,christian art1 #bef ,figure-subjects in ,celtic ,christian art1 #bif ,filigree-work1 #bcg ,finds1 ,late-,celtic1 dates of1 #he -- -- geographical distribution of1 #gi -- -- with coins1 #hh -- of ,iron ,age1 nature of1 #fa ,fire-dogs1 #ada -- ,late-,celtic1 #aah ,firth1 spirals at1 #ej ,flamboyant ornament1 ,late-,celtic1 #aej ,flasby1 sword-sheath1 #ia ,flutes1 ,late-,celtic1 #aah ,foliage in ,celtic ,christian art1 #bdg1 #bid -- in ,late-,celtic art1 #adh ,folkton1 chalk drums from1 #ef ,food-vessel urns1 #be ,ford ,west ,field1 sculptured cist1 #ee ,forres1 erect cross-slab1 #ahd ,forteviot1 bell1 #aih ,frampton1 ,chi-,rho ,monogram1 #afc ,galati1 #d ,gall1 ,st41 ,gospels of1 #agg ,galli1 #d ,garton1 bell1 #aih ,gaulcross1 pin1 #ajh ,gauls1 ,cisalpine1 #ac ,geographical distribution of ,late-,celtic finds1 #gi ,ghegan ,rock1 comb1 #abh ,giacomo1 ,san1 ,venice1 #bde ,gilton1 mirror1 #aae ,giorgio1 ,san1 di ,valpolicella1 #bdd1 #beh ,gladiator1 the ,dying1 #e ,glamis1 erect cross-slab1 #ahd ,glass1 ,late-,celtic1 #abe1 #ada -- settings1 #bcg ,glastonbury ,lake-,dwellings1 #gb1 #ha -- ,lake ,village1 pottery1 #adb -- -- -- woodwork1 #adg1 #afa -- ,marsh ,village1 pottery1 #abe -- -- -- woodwork1 #abf -- -- -- bowl1 #aag ,glencolumbkille1 spirals at1 #ea ,glencotho1 sword-sheath1 #ia ,glenfahan1 ,ogam stone1 #afe ,gobnet1 ,st41 stone of1 #afe ,goidelic ,celts1 #ae ,goidels1 #ag ,golden ,grove1 cross1 #bfa -- -- cross-shaft1 #bhb ,golspie1 erect cross-slab1 #ahd ,gorge-,meillet1 helmet from1 #ab ,gospels1 #agc ,goulien1 bell1 #aii ,gourdon1 chalice1 #bae ,govan1 sarcophagus1 #aic ,grkwyl1 #ac ,grange of ,conan1 weem at1 #hb -- -- armlet1 #aac ,greenloan1 cup-marks at1 #eg ,greenwich1 enamelled bowl1 #ace ,grimspound1 #af ,grimthorpe1 ,iron ,age burial at1 #fe -- sword-sheath1 #ia ,guthrie ,castle1 bell-shrine1 #bjd ,hagbourne ,hill1 horse-trappings1 #ie -- -- ,late-,celtic finds at1 #gf ,hllristningar1 #fj ,hallstatt1 cemetery of1 #g -- situl1 #ade -- type1 objects of1 found in ,great ,britain1 #hf ,hambledown ,hill1 #hb ,ham hill1 #hb ,hamdon ,hill1 horse-trappings1 #ie -- -- ,late-,celtic finds at1 #gf ,hammer-headed pins1 #ajh ,hammersmith1 fibula1 #ajf ,hand-grasping figures1 #bid ,harness-mountings1 #ih -- enamelled1 #acd ,harness-rings1 enamelled1 #acd -- ,late-,celtic1 #if ,harray1 broch of1 #hb ,haughton-le-,skerne1 sword-sheath1 #ia ,hay ,hill1 fire-dogs1 #aah ,head ornaments for horses1 #ih ,hecatus1 #b ,helen's1 ,st41 ,chi-,rho ,monogram1 #afc ,helmet from ,berru1 #ab -- from ,gorge-,meillet1 #ab ,helmets1 ,late-,celtic1 #ic ,henshole1 horse-trappings1 #ie ,herodotus1 #b ,hexagon patterns1 #cf ,high ,crosses1 #ahh ,highfield ,pits1 pottery1 #abe ,hilton of ,cadboll1 erect cross-slab1 #ahd ,hinksey1 ,n41 dagger-sheath1 #ib ,hitchin1 pottery1 #abd ,hod ,hill1 #hb -- -- fibula1 #ajf -- -- sword-sheath1 #ia ,hollows ,tower1 spirals at1 #ej ,hook-and-disc ornaments1 ,late-,celtic1 #aba ,horns with terminal knobs1 #adh ,horse's head ornaments1 #ih ,horse-trappings from ,arras1 #fd -- ,late-,celtic1 #id ,hounslow1 figures of animals1 #adf ,hunsbury1 fibula1 #ajf -- ,late-,celtic oppidum at1 #gc -- pottery1 #abe -- sword-sheath1 #acb -- sword-sheath1 #ia1 #ig -- triskele pendant1 #aba ,hunterston1 brooch1 #bca ,hyndford ,crannog1 #ha -- -- collar1 #aab ,iberians1 #ae ,icklingham1 sword-sheath1 #ia ,ilkley1 cup-and-ring sculpture1 #ei -- rock-sculptures at1 #eg ,incense-cup urns1 #be ,inchbrayock1 erect cross-slab1 #ahd ,ingoe1 cup-marks at1 #eg ,inhumation in ,bronze ,age1 #bc ,inishkeel1 bell1 #bjc ,ink used by ,celtic scribes1 #bcb ,insh1 bell1 #aih ,interlaced-work1 #bdf -- evolution of1 #beg ,invergowrie1 erect cross-slab1 #ahd ,iona1 cross1 #aib ,ireland1 spoons1 #aba ,italo-,greek objects found at ,aylesford1 #ga ,iron ,age finds1 #fa ,jet necklaces1 #db ,jezerine1 chains1 #adj ,just1 ,st41 ,chi-,rho ,monogram1 #afc ,kells1 ,book of1 #agd ,kells1 cross1 #aib1 #bbd1 #bcc -- crozier1 #bjg -- shrine of ,book of1 #bjh ,kelko cave1 #gf1 #ha ,kent's ,cavern1 #gf1 #ha -- -- pottery1 #abe ,keshkerrigan1 bowl1 #aag ,keston1 #af ,kettleburn1 broch of1 #hb ,key-patterns1 #bgh ,kilbroney1 bell1 #aih ,kilburn1 cup-marks at1 #eg ,kildalton1 cross1 #aib ,kildare1 ,co41 penannular brooch1 #bbh ,kilfenora1 cross1 #aib ,kilkeeran1 horse-trappings1 #ie ,kilklispeen1 cross1 #aib ,killarney1 crozier1 #bjg -- gold lunula from1 #dj ,killeen ,cormac1 ,ogam stone1 #afe ,killing ,hill1 spirals at1 #ea ,kilmainham1 bell1 #aih ,kilmartin1 cup-and-ring sculpture1 #ei -- sculptured cist1 #ee ,kilmichael ,glassary1 bell-shrine1 #bjd ,kilnsea1 fibula1 #ajg ,kimmeridge shale objects1 ,late-,celtic1 #abh ,kingsholm1 pottery1 #abe ,kingsholm1 triskele pendant1 #aba ,king's ,mountain1 spirals at1 #ej ,kingston ,down1 enamelled bowl1 #ace ,kirkby ,thore1 fibula1 #ajg ,kirkcudbright1 cup-and-ring sculpture1 #ei ,kirkhead ,cave1 #ge1 #ha ,kirkly ,thore1 #hb ,kirkmadrine1 ,chi-,rho ,monogram1 #afc ,kirk ,whelpington1 cup-marks at1 #eg ,kirriemuir1 horse-trappings1 #ie ,kit's ,coty ,house1 pottery1 #abd ,knobs on horns of beasts1 #adh ,knockmany1 spirals at1 #ea ,knot1 spiral1 #bgj ,knots used in ,celtic art1 #bfe ,knotwork1 circular1 #bgc -- triangular1 #bgf ,lactin's1 ,st41 arm1 shrine of1 #baj ,lagore crannog1 #ha -- -- beads1 #abe -- -- comb1 #abh -- pin1 #ajh ,lake-dwellings1 #ha ,lake-dwellings at ,glastonbury1 #gb ,lanivet1 coped stone1 #ahb ,lashing patterns1 #ch ,late-,celtic finds1 dates of1 #he -- -- geographical distribution of1 #gi -- -- with coins1 #hh -- style1 #adc ,la ,tne1 oppidum of1 #i ,latheron1 eagle and fish1 #cja ,lattice-work patterns1 #cd ,leatherwork1 #bcg ,leicester1 horse-trappings1 #id ,lilburn ,hill1 spirals at1 #ej ,limavady1 gold chains1 #aci ,limavady1 gold collar1 #aji1 #aec ,lincoln1 sword-sheath1 #ia ,lindisfarne ,book1 #agg ,linlithgowshire1 enamelled patera1 #acg ,lismore1 crozier1 #bjg ,lisnacroghera ,crannog1 #ha -- -- sword-sheath1 #adh -- sword-sheath1 #ia ,llanbadarn ,fawr1 cross1 #aic ,llanbedr1 spirals at1 #ej ,llanfair1 spoons1 #aba ,llandough1 cross1 #aic ,llandyssyl1 collar1 #aaa ,llangenydd1 cross-shaft1 #bgj ,llangystenyn1 bell1 #aih ,llangwynodl1 bell1 #bjj ,llanrhyddlad1 bell1 #aih ,llantwit ,major1 cross1 #ahf1 #bfa ,lochar ,moss1 bowl1 #aaf -- -- collar1 #aaa ,lochgilphead1 cup-and-ring sculpture1 #ei ,lochlee ,crannog1 #ha -- -- woodwork1 #abg -- horse-trappings1 #ie ,lonan1 ,kirk1 wheel-cross1 #ahh ,london1 enamelled harness-ring1 #acd -- fibula1 #ajf -- horse-trappings1 #id -- spoons1 #abj -- sword-sheath1 #ia ,looped wirework1 #aci ,lorrha1 bell1 #bja ,loughcrew1 spirals at1 #ej ,lough ,erne1 reliquary1 #baj ,lough ,lene ,castle1 bell1 #bja ,loughnashade1 trumpet1 #aah ,lough ,ravel ,crannog1 beads1 #abe ,lozenge patterns1 #cb -- -- ,late-,celtic1 #afj ,lullingstone1 enamelled bowl1 #ace ,lunul1 gold1 #da ,lumphanan1 stone ball from1 #ej ,mac,durnan1 ,gospels1 #age ,mac,regol1 ,gospels of1 #age ,madoes1 ,st41 erect cross-slab1 #ahc ,maen ,achyfan1 cross1 #aic ,maes ,mynach1 cross-shaft1 #bgj ,magny ,lambert1 #ab ,maiden ,castle1 #hb ,maiden ,stone1 erect cross-slab1 #ahd ,maltbeck1 enamelled vessel1 #ach ,malton1 fibula1 #ajg ,malton1 ,new1 #hb ,marlborough1 bucket1 #aaf ,mancha1 ,la1 spirals at1 #ej ,manchan1 ,st41 shrine of1 #bab ,manuscripts1 illuminated1 #agc ,margam1 cross1 #ahf ,marlborough bucket1 #add ,marne1 ,la1 cemeteries of1 #aa ,materials for study of ,celtic art in ,bronze ,age1 #bb ,materials for study of ,celtic art in ,iron ,age1 #ij ,materials for study of ,celtic ,christian art1 #agb ,materials used by ,celtic sculptors1 #bcc ,maughanby1 cup-marks at1 #eg -- spirals at1 #ej ,maughold1 ,kirk1 cross1 #ahf ,meigle1 coped stone1 #ahb -- erect cross-slab1 #ahd ,melfort1 jet necklace from1 #db ,metallurgy1 ,iron ,age1 #acj ,metals used by ,christian ,celts1 #bcd ,metalwork1 ,christian ,celtic1 #aid ,methods employed by ,celtic sculptors1 #bcc ,methods employed by ,celtic metalworkers1 #bcd ,mevagh1 wheel and symbol at1 #ei ,middleby1 horse-trappings1 #ie ,middleton ,common1 ,iron ,age burial at1 #fg ,middleton ,moor1 enamelled bowl1 #acd -- -- jet necklace from1 #db ,migvie1 erect cross-slab1 #ahd ,mirrors1 ,late-,celtic1 #aae ,mirror1 ,trelan ,bahow1 #aca ,mogue1 ,st41 bell-shrine1 #bjd ,mklebust1 enamelled bowl1 #afj ,molaise's ,gospels1 shrine of1 #bji ,monasterboice1 cross1 #aij1 #bbd ,monifieth1 erect cross-slab1 #ahd ,monogram1 ,chi-,rho1 #afc ,moone ,abbey1 cross1 #aib ,mont ,beuvray1 enamels from1 #ach -- -- pottery1 #ada ,monuments1 sculptured1 of ,christian period1 #ahj ,monymusk1 reliquary1 #baj ,moresby1 pin1 #ajh ,moreton ,hall1 sword-sheath1 #ia ,morwick1 spirals at1 #ej ,motives1 decorative1 in ,bronze ,age1 #bc ,motives used in ,christian ,celtic art1 #bdb ,mount ,batten1 ,iron ,age cemetery at1 #gj ,mount ,bures1 fire-dogs1 #aah ,mount ,caburn1 pottery1 #abe ,mountings for harness1 #ih ,mowroad1 collar1 #aaa ,mura1 ,st41 bell-shrine1 #bjd ,mycenan art1 #eg ,nancy1 chalice1 #bae ,navan ,rath1 fibula1 #ajf ,necklaces of jet1 #db ,needham ,market1 enamelled bowl1 #ace ,neolithic dwellings1 #af ,neuadd ,siarman1 cross1 #aij ,nevern1 cross1 #aia ,newcastle1 chains1 #adj ,newgrange tumulus1 #dc ,newry1 armlet1 #aac ,niello1 #bce ,nigg1 erect cross-slab1 #ahb ,norrie's law1 leaf-shaped plates1 #agj -- -- pin1 #ajh ,northfield1 ,late-,celtic village1 #hb ,norton1 enamelled fibula1 #acd -- enamelled harness-rings1 #acd -- horse-trappings1 #id ,ogam-inscribed stones1 #afe ,okstrow1 broch of1 #hb -- tankard1 #aaf ,old ,parks1 tumulus1 #ef ,orange1 ,triumphal ,arch of1 #e ,orchomenos1 spiral ornament at1 #ed ,origin of early ,christian art1 #bch ,ornovasso1 chains1 #adj ,orton ,scar1 penannular brooch1 #bbg ,over-,haddon1 enamelled bowl1 #acd ,oxford1 enamelled bowl1 #ace ,pails1 ,late-,celtic1 #aaf ,p and ,q ,celts1 #ah ,panels1 ornament arranged in1 #bee ,papil1 erect cross-slab1 #ahd ,parisi1 #ab ,patera1 enamelled1 #acg ,patrick's ,will1 ,st41 bell-shrine1 #bjd ,patrick's1 ,st41 ,gospels1 shrine of1 #bji ,penally1 cross1 #aic ,penannular brooch1 #bbc ,pen-,arthur1 cross-slab1 #aha ,penbryn1 spoons1 #aba ,penmachno1 ,chi-,rho ,monogram1 #afc ,penmon1 cross1 #ahe ,pens used by ,celtic scribes1 #bcb ,pentre ,poeth1 ,ogam stone1 #afe ,perdeswell1 collar1 #aaa ,perfection of details of ,celtic ornament1 #bef ,perforated metal plates1 #bcf ,pergamos1 #e ,perth1 penannular brooch1 #bca ,philostratus1 #acc ,pins1 ,celtic1 #bai -- hammer-headed1 #ajh -- ,late-,celtic1 #ajg ,pitalpin1 armlet1 #aac ,pitkelloney1 armlet1 #aac -- enamelled armlets1 #acd ,plait1 cruciform breaks in1 #bfb -- horizontal and vertical breaks in1 #bei ,plaques with ,crucifixion1 #bah ,plato1 #b ,plaitwork1 #bei ,plunton castle1 armlet1 #aac ,polden ,hill1 enamelled harness-ring1 #acd -- -- fibula1 #ajf -- -- horse-trappings1 #ie ,pol de ,lon1 ,st41 bell1 #bja ,polybius1 #c ,poole's cave1 #gf1 #ha ,port-,blanc1 dolmen1 #ci ,portland1 ,isle of1 collar1 #aaa ,pottery1 ,late ,celtic1 #aba1 #adb -- painted1 ,mont ,beuvray1 #ada -- sepulchral1 in bronze age1 #bd ,prassede1 ,san1 ,rome1 #beh ,presles1 enamels from1 #ach ,prickwillow1 saucepan1 #aag ,processes1 technical1 in ,celtic ,christian art1 #bcb -- -- iron age1 #abi ,psalter of ,st4 ,john's ,college1 ,cambridge1 #agh -- ,vesp4 ,a4 i41 #agh -- ,vit4 ,f4 xi41 #agh ,psalters1 #agf ,pyrmont1 enamelled vessel1 #ach ,pytheas1 #c ,rathconrath1 wooden bowl1 #abg ,ravenna1 screen1 #bde ,reask1 inscribed stone1 #aff ,rectilinear patterns in ,late-,celtic art1 #aei ,redlands1 sculptured cist1 #ee ,relic shrines1 #baj ,repouss metalwork1 ,iron ,age1 #acb ,rhayader1 gold armlet1 #agj ,ribchester1 #hb -- fibula1 #ajg ,ricemarchus1 ,psalter of1 #agf ,ringham ,low1 fibula1 #ajf ,rings for harness1 #if ,rise1 horse-trappings1 #id ,risingham1 #hb -- enamelled fibula1 #acd -- fibula1 #ajg ,riveting1 ,iron ,age1 #acb ,rock-sculpture in ,scandinavia1 #fj ,rodenbach1 #ac ,rogart1 penannular brooch1 #bbh ,rome taken by the ,gauls1 #d ,rosemarkie1 erect cross-slab1 #ahd1 #bhc ,rossie ,priory1 erect cross-slab1 #ahd ,rotherley1 #hb ,round towers1 #aif ,sadberge1 sword-sheath1 #ia ,safety-pin type of fibula1 #ajj ,saham ,toney1 cruciform harness-mounting1 #ih -- -- enamelled harness-mounting1 #adc -- -- horse-trappings1 #id ,saltire patterns1 #ce ,sandy1 pottery1 #abd ,sarcophagi1 #aic ,saucepans1 ,kelto-,roman1 #aag ,scandinavia1 rock-sculpture in1 #fj -- spiral ornament in1 #ea ,scandinavian features in ,celtic art1 #beb ,scattery ,island1 bell1 #aih ,scribes1 pens1 ink1 etc41 used by1 #bcb ,scripture subjects in ,celtic art1 #bif ,sculptured monuments of ,christian period1 #ahj ,sculptured stone at ,newgrange1 #di ,sculptured stones1 ,late-,celtic1 #abh ,sculpture on ,bronze ,age cists1 #ee ,seafield ,tower1 armlet1 #aac ,seal-box1 enamelled1 #acd ,seamill ,fort1 #hb -- -- triskele pendant1 #aba ,sepulchral remains of ,iron ,age1 #fc ,seskin1 sculptured cist1 #ee ,sesto-,calende1 #i ,settings of coral1 amber1 glass1 and crystal1 #bcg ,shading1 kinds of1 in ,late-,celtic art1 #aef ,shandwick1 erect cross-slab1 #ahd ,sheen1 cup-marks at1 #eg ,shields1 ,late-,celtic1 #ib -- ,south1 horse-trappings1 #id ,shoebury1 pottery1 #abd ,shrines of bells1 #bjd -- of books1 #bjh -- of relics1 #baj ,silchester1 #hb -- enamelled stand1 #acd -- fibula1 #ajg1 #aed ,silian1 cross-shaft1 #bgj ,silures1 #ah ,situl1 ,hallstatt1 #ade -- ,late-,celtic1 #aaf -- of bronze1 #hf ,skaill1 penannular brooch1 #bbg ,sliabh na ,calliaghe1 #dc -- -- -- bonework1 #abg -- -- -- engraved bones1 #aej ,soldering1 #acb ,somme-,bionne1 #ac ,southill1 ,chi-,rho ,monogram1 #afc ,southwark1 dagger-sheath1 #ib ,spear-head of bronze age1 #ci ,spiral1 closely coiled1 #fj -- knot1 #bgj -- ornament at ,newgrange1 #dh -- -- at ,orchomenos1 #ed -- -- in ,bronze ,age1 #ej -- -- in ,egypt1 #ed -- -- in ,scandinavia1 #ea ,spirals in ,celtic ,christian art1 #bhd -- ,late-,celtic1 #aed -- from ,book of ,durrow1 #afi ,spoons1 ,late-,celtic1 #aai ,stamfordbury1 fire-dogs1 #aah ,stamford ,hill1 armlet1 #aad -- -- fibula1 #ajf -- -- mirror1 #aae ,stand1 enamelled1 #acd ,standon1 enamelled vessel1 #ach ,stanhope1 armlet1 #aac ,stanton1 cup-marks at1 #eg ,stanwick1 horse-trappings1 #id -- ,late-,celtic finds at1 #ge -- sword-sheath1 #ia ,step-patterns1 #bgg -- in ,late-,celtic art1 #afj ,stitchell1 collar1 #aaa ,stival1 bell1 #bjj ,stockholm1 ,gospels1 #age ,stones1 sculptured1 ,late-,celtic1 #abh ,storr1 penannular brooch1 #bbg ,stowe ,missal1 cover of1 #agj -- -- shrine of1 #bji ,strathfillan1 bell1 #bja ,strokestown ,crannog1 #ha -- -- fibula1 #agj ,strypes1 spirals at1 #ej ,style1 ,late-,celtic1 #adc ,swastika anthropomorphs1 #bid -- curved1 at ,ilkley1 #eh -- -- on ,barlaston bowl1 #eh -- --1 #fj -- designs1 ,late-,celtic1 #aed ,sweden1 bronze axe-head with spirals from1 #eb ,sword1 ,hallstatt1 #h ,sword-sheath from ,la ,tne1 #aa -- ,hunsbury1 #acb ,sword-sheaths1 ,late ,celtic1 #ia ,swords with antenn1 #hf ,symbols used in ,bronze ,age1 #bb ,tankard1 ,late-,celtic1 #adb1 #aea ,tankards1 ,late-,celtic1 #aaf ,tara brooch1 #bbi -- -- chains1 #adj -- horse-trappings1 #ie -- horse's head ornament1 #ih ,tassilo1 chalice of1 #bae ,tayfield1 jet necklace1 #db ,technical processes1 ,iron ,age1 #abi -- -- in ,celtic ,christian art1 #bcb ,termonfechin1 cross1 #aib ,textile patterns1 ,iron ,age1 #abi ,thames1 river1 helmet1 #ic -- -- ,late-,celtic finds in1 #gg ,thirst ,house ,cave1 armlet1 #aad -- -- -- chtelaine1 #aae -- -- -- fibula1 #ajg ,thor's ,cave1 #gf1 #ha -- -- flutes1 #aah ,tillycoultry1 sculptured cist1 #ee ,tincommios1 coins of1 #gh ,trawsfynydd1 tankard1 #adb1 #aea ,treceiri1 #hb -- triskele pendant1 #aba ,trelan ,bahow1 mirror1 #aae1 #aca -- -- ,iron ,age burials at1 #fi ,trenoweth1 collar1 #aaa ,triangle patterns1 #ca ,triangular knotwork1 #bgf ,triskele anthropomorphs1 #bid -- designs1 ,late-,celtic1 #aed -- pendants1 ,late-,celtic1 #aba ,torques1 beaded1 #aei ,torrish1 jet necklace from1 #db ,torrs1 helmet1 #ic ,torwoodlee1 broch of1 #hb -- horse-trappings1 #ie ,towers1 round1 #aif ,towie1 stone ball from1 #ej ,trumpet1 ,late-,celtic1 #aah ,tuam1 cross1 #baj ,tullylease1 cross-slab1 #aha ,tumulus at ,newgrange1 #cd -- at ,old ,parks1 #ef ,turoe1 ,late-,celtic sculpture1 #abh ,tweed1 river1 ,late-,celtic finds in1 #gg ,tyne1 fibula1 #ajg -- river1 ,late-,celtic finds in1 #gg ,uffizi ,museum1 cruciform harness-mounting1 #ih -- -- enamelled harness-mounting1 #acd ,ulbster1 erect cross-slab1 #ahd1 #bgf ,unstan1 urn from1 #ch ,urns1 cinerary1 #bd ,urquhart1 pin1 #ajh ,victoria ,cave at ,settle1 #gf1 #ha -- -- fibula1 #ajg1 #aed ,vigeans1 ,st41 erect cross-slab1 #ahd ,verica1 coins of1 #gh ,walmer1 fibula1 #aje -- spoon1 #aba ,wandsworth1 dagger-sheath1 #ib ,warden1 mirror1 #aae ,warden1 ,old1 ,kimmeridge shale vessel1 #abh ,warren1 ,folkestone1 fibula1 #ajb ,warton1 sword-sheath1 #ia ,water ,eaton1 fibula1 #ajf -- -- sword-sheath1 #ia ,watsch situl1 #ade ,wellingborough1 #hb ,westhall1 horse-trappings1 #id -- enamelled harness-rings1 #acd ,weston1 spoons1 #aba1 #adg ,weymouth1 pottery1 #abd ,wheel-crosses1 #ahh ,wheel-symbol in ,bronze ,age1 #ei ,whitechurch1 pottery1 #abd ,winding-band patterns1 #eg ,witham1 river1 dagger-sheath1 #ib -- -- ,late-,celtic finds in1 #gg -- -- shield1 #ib1 #aci ,whithorn1 ,chi-,rho ,monogram1 #afc -- cross-shaft1 #bgj ,woodwork1 ,late-,celtic1 #abf ,woodwray1 erect cross-slab1 #ahd ,wooler1 cup-and-ring sculpture1 #ei ,wraxhall1 collar1 #aaa ,wrought metalwork1 ,iron ,age1 #acj ,wykeham ,moor1 cup-marks at1 #eg ,zomorphic designs1 ,late-,celtic1 #add ,zomorphs in ,celtic ,christian art1 #bdi1 #bhg ,,plymouth ,,william ,,brendon ,,and ,,son ,,printers ,,the ,,antiquary',s ,,books ,messrs4 ,methuen will shortly begin the issue of a series of volumes dealing with various branches of ,english ,antiquities4 ,it is confidently hoped that these books will prove to be comprehensive and popular1 as well as accurate and scholarly2 so that they may be of service to the general reader1 and at the same time helpful and trustworthy books of reference to the antiquary or student4 ,the writers will make every endeavour to avail themselves of the most recent research4 ,the series will be edited by the well-known antiquary1 ,j4 ,charles ,cox1 ,,ll4,d41 ,f4,s4,a41 ,member of the ,royal ,archological ,institute1 and ,corresponding ,member of the ,british ,archological ,association4 ,each book will be entrusted to an expert in the selected subject1 and the publishers are fortunate in having secured the services of distinguished writers4 ,a special feature will be made of the illustrations1 which will vary1 according to the requirement of the subjects1 from #ej to #aej4 ,some will be in colour4 ,the type will be large and clear1 the length of each volume will be about #cbj pages1 and the size will be demy #hvo4 ,the volumes will be issued at the price of #gs4 #f;d4 net4 ,,the ,,first ,,volumes ,,are ,,english ,,monastic ,,life ,,abbot ,,gasquet1 ,o4,s4,b41 ,d4,d41 ,,ph4,d41 ,d4,,litt4 ,in these pages the daily round of the old life of ,english monks and nuns is fully set forth1 together with interesting details as to their various officials and methods of administration4 ,illustrations are given of the habits of the various orders1 as well as plates taken from old ,,mss41 ground plans of important houses1 and maps showing the distribution of the different monasteries4 ,a full and accurate list of the whole of the ,english religious houses 7including the hospitals7 suppressed at the ,reformation is for the first time set forth1 together with indications of the cases in which there are extant remains4 ,,remains ,,of ,,the ,,prehistoric ,,age ,,in ,,england ,,prof4 ,b4 ,c4 ,a4 ,,windle1 ,d4,,sc41 ,f4,r4,s4 ,this book is intended to give an account of the present state of knowledge respecting the relics of prehistoric man in this country4 ,though chiefly dealing with objects found in ,england1 where necessary1 descriptions have been given of discoveries made in other parts of the kingdom and of the world4 ,the object of the writer has been to confine himself1 as far as possible1 to ascertained facts1 and to leave theories aside1 but matters of present controversy1 such as the question of eoliths and that of the transition between the ,palolithic and ,neolithic periods1 have been fully dealt with4 ,lists of the most important objects of large size have been added to the chapters dealing with them1 and there is also a list of museums in this country in which collections of the smaller objects are on view4 ,the book is illustrated by nearly one hundred figures1 all of which have been specially drawn for it1 and most of which have not previously appeared elsewhere4 ,,old ,,service ,,books ,,of ,,the ,,english ,,church ,,christopher ,,wordsworth1 ,m4,a41 ,,and ,,henry ,,littlehales ,a clear description of the plan and contents of all the various service books in use in the ,english ,church before the ,reformation4 ,the descriptions have been written mainly from the books themselves1 often from those known to have been formerly in use in specified parish churches4 ,one whole page of every important service-book is given in facsimile1 and reproductions of illuminations have also been supplied1 some of which depict services taking place4 ,,celtic ,,art ,j4 ,,romilly ,,allen1 ,f4,s4,a4 8,celtic ,art0 embodies the results of the most recent researches with regard to the peculiarly ,celtic phases of 8,hallstatt0 and 8,la ,tne0 culture on the continent of ,europe and their extension to ,great ,britain in the ,ages of ,bronze and ,iron4 ,an endeavour is made to show the effects produced in the art of the ,celtic peoples in ,pagan times1 by their coming in contact on the one hand with the lower culture of the ,neolithic aborigines of ,britain1 and on the other with higher civilisations of the ,mediterranean nations4 ,lastly1 it is explained how the decorative motives which the ,pagan ,celt had absorbed from various sources were incorporated in the art of the ,christian period4 ,,arch,,ology ,,and ,,false ,,antiquities ,,robert ,,munro1 ,m4,d41 ,,ll4,d4 ,the main object of this work is to show how modern methods of ,comparative ,archology may be utilised as a means of detecting erroneous conclusions1 whether founded on imperfect observations1 false statements1 or the actual forgery of objects4 ,a brief account is given of a number of discoveries in various parts of the world which have become the subject of controversy1 as well as some notable forgeries4 ,then follows a criticism of the so-called 8idols10 8totems10 8churingas10 etc41 recently found in the ,clyde valley1 which are still the subject of acute controversy4 ,the concluding chapter deals with the lessons to be derived from the above narrative of the results of ignorance1 fraud1 and imposture4 ,,shrines ,,of ,,british ,,saints ,j4 ,,charles ,,wall 8,shrines of ,british ,saints0 deals with a class of monuments which1 throughout the ,middle ,ages1 was of magnetic attraction1 largely governing the social and religious life of the nation1 but which has all but ceased to exist in the ,british ,isles4 ,from illumined page and fragmentary sculpture the style and structure of shrines is here set forth4 ,the art bestowed upon them1 the influence they had upon the designs of cathedrals and great churches1 and the legends surrounding them1 form a subject of no mean value in the life of ,englishmen4 ,,these ,,volumes ,,will ,,follow ,,folk-,,lore ,,in ,,early ,,british ,,history ,g4 ,,laurence ,,gomme1 ,f4,s4,a4 ,,the ,,roman ,,occupation ,,john ,,ward1 ,f4,s4,a4 ,,village ,,geography ,w4 ,,ryland ,d4 ,,adkins1 ,b4,a4 ,,church ,,furniture ,j4 ,c4 ,,cox1 ,f4,s4,a1 ,,and ,,alfred ,,harvey1 ,m4,b4 ,,english ,,seals ,j4 ,,harvey ,,bloom1 ,m4,a4 ,,forests ,,and ,,forestry ,j4 ,,charles ,,cox1 ,f4,s4,a4 ,,manors ,,and ,,manorial ,,records ,,nathaniel ,j4 ,,hone ,,castles ,,and ,,walled ,,towns ,,of ,,england ,,alfred ,,harvey1 ,m4,b4 ,other ,volumes are in course of arrangement ,illustration3 ,,benedictine ,,nuns ,,in ,,choir ,a ,,catalogue ,,of ,,books ,,published ,,by ,,methuen ,,and ,,company3 ,,london #cf ,,essex ,,street ,w4,c4 ,,contents ,,page ,,general ,,literature1 #b-bd ,,antiquary',s ,,books1 #be ,,business ,,books1 #be ,,byzantine ,,texts1 #be ,,churchman',s ,,bible1 #be ,,churchman',s ,,library1 #be ,,classical ,,translations1 #be ,,commercial ,,series1 #bf ,,connoisseurs ,,library1 #bf ,,library ,,of ,,devotion1 #bf ,,illustrated ,,pocket ,,library ,,of ,,plain ,,and ,,coloured ,,books1 #bf ,,junior ,,examination ,,series1 #bh ,,methuen',s ,,junior ,,school ,,books1 #bh ,,leaders ,,of ,,religion1 #bh ,,little ,,biographies1 #bh ,,little ,,blue ,,books1 #bh ,,little ,,books ,,on ,,art1 #bi ,,little ,,galleries1 #bi ,,little ,,guides1 #bi ,,little ,,library1 #bi ,,methuen',s ,,miniature ,,library1 #cj ,,rariora1 #cj ,,school ,,examination ,,series1 #cj ,,social ,,questions ,,of ,,to-,,day1 #ca ,,textbooks ,,of ,,technology1 #ca ,,handbooks ,,of ,,theology1 #ca ,,university ,,extension ,,series1 #ca ,,westminster ,,commentaries1 #cb ,,fiction1 #cb-ci ,,books ,,for ,,boys ,,and ,,girls1 #ci ,,novels ,,of ,,alexandre ,,dumas1 #ci ,,methuen',s ,,one ,,shilling ,,novels1 #ci ,,the ,,novelist1 #dj ,,sixpenny ,,library1 #dj ,,september #aijd ,a ,,catalogue ,,of ,,messrs4 ,,methuen',s ,,publications ,colonial ,editions are published of all ,messrs4 ,,methuen',s ,novels issued at a price above #bs4 #f;d41 and similar editions are published of some works of ,general ,literature4 ,these are marked in the ,catalogue4 ,colonial editions are only for circulation in the ,british ,colonies and ,india4 ,,part ,i4--,,general ,,literature ,abbot 7,jacob74 ,,the ,,beechnut ,,book4 ,edited by ,e4 ,v4 ,,lucas4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,acatos 7,m4 ,j474 ,see ,l4 ,a4 ,sornet4 ,adams 7,frank74 ,,jack ,,spratt4 ,with #bd ,coloured ,pictures4 ,pott #dto4 #bs4 ,adeney 7,w4 ,f471 ,m4,a4 ,see ,bennett and ,adeney4 schylus4 ,,agamemnon1 ,,ch,,ephoroe1 ,,eumenides4 ,translated by ,,lewis ,,campbell1 ,,ll4,d41 late ,professor of ,greek at ,st4 ,andrews4 #es4 ,classical ,translations4 sop4 ,,fables4 ,with #chj ,woodcuts by ,,thomas ,,bewick4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,ainsworth 7,w4 ,harrison74 ,,windsor ,,castle4 ,with #bb ,plates and #hg ,woodcuts in the ,text by ,,george ,,cruikshank4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,,the ,,tower ,,of ,,london4 ,with #dj ,plates and #eh ,woodcuts in the ,text by ,,george ,,cruikshank4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,alexander 7,william71 ,d4,d41 ,archbishop of ,armagh4 ,,thoughts ,,and ,,counsels ,,of ,,many ,,years4 ,selected by ,j4 ,h4 ,,burn1 ,b4,d4 ,demy #afmo4 #bs4 #f;d4 ,alken 7,henry74 ,,the ,,analysis ,,of ,,the ,,hunting ,,field4 ,with #g ,coloured ,plates and #dc ,illustrations on wood4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,,the ,,national ,,sports ,,of ,,great ,,britain4 ,with descriptions in ,english and ,french4 ,with #ea ,coloured ,plates4 ,royal ,folio4 ,five ,guineas net4 ,,the ,,national ,,sports ,,of ,,great ,,britain4 ,with ,descriptions and #ea ,coloured ,plates by ,,henry ,,alken4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper1 #cjs4 net4 ,this book is completely different from the large folio edition of #8,national ,sports' by the same artist1 and none of the plates are similar4 ,illustrated ,pocket ,library4 ,see also ,nimrod and ,egan4 ,allen 7,jessie74 ,,durer4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,allen 7,j4 ,romilly71 ,f4,s4,a4 ,,celtic ,,art4 ,with numerous ,illustrations and ,plans4 ,demy #hvo4 #gs4 #f;d4 net4 ,antiquary's ,books4 ,almack 7,e474 ,,bookplates4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,amherst 7,lady74 ,a ,,sketch ,,of ,,egyptian ,,history ,,from ,,the ,,earliest ,,times ,,to ,,the ,,present ,,day4 ,with many ,illustrations1 some of which are in ,colour4 ,demy #hvo4 #ajs4 #f;d net4 ,anderson 7,f4 ,m474 ,,the ,,story ,,of ,,the ,,british ,,empire ,,for ,,children4 ,with many ,illustrations4 ,crown #hvo4 #bs4 ,andrewes 7,bishop74 ,,preces ,,privatae4 ,edited1 with ,notes1 by ,f4 ,e4 ,,brightman1 ,m4,a41 of ,pusey ,house1 ,oxford4 ,crown #hvo4 #fs4 ,aristophanes4 ,,the ,,frogs4 ,translated into ,english by ,e4 ,w4 ,,huntingford1 ,m4,a41 ,professor of ,classics in ,trinity ,college1 ,toronto4 ,crown #hvo4 #bs4 #f;d4 ,aristotle4 ,,the ,,nicomachean ,,ethics4 ,edited1 with an ,introduction and ,notes1 by ,,john ,,burnet1 ,m4,a41 ,professor of ,greek at ,st4 ,andrews4 ,demy #hvo4 #aes4 net4 ,ashton 7,r474 ,,the ,,peeles ,,at ,,the ,,capital4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,the ,little ,blue ,books4 ,,mrs4 ,,barberry',s ,,general ,,shop4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,the ,little ,blue ,books4 ,asquith 7,h4 ,h471 ,the ,right ,hon41 ,m4,p4 ,,trade ,,and ,,the ,,empire4 ,an ,examination of ,mr4 ,chamberlain's ,proposals4 ,demy #hvo4 #f;d4 net4 ,atkins 7,h4 ,g474 ,,goethe4 ,with #ab ,illustrations4 ,fcap4 #hvo4 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,nearly ,ready4 ,atkinson 7,t4 ,d474 ,a ,,short ,,history ,,of ,,english ,,architecture4 ,with over #bjj ,illustrations by the ,author and others4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,austen 7,jane74 ,,pride ,,and ,,prejudice4 ,edited by ,e4 ,v4 ,,lucas4 ,two ,volumes4 ,small ,pott #hvo4 ,each volume1 cloth1 #as4 #f;d4 net42 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,northanger ,,abbey4 ,edited by ,e4 ,v4 ,,lucas4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net42 leather1 #bs4 #f;d4 net4 ,little ,library4 ,bacon 7,francis74 ,,the ,,essays ,,of4 ,edited by ,,edward ,,wright4 ,small ,pott #hvo4 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,baden-,powell 7,r4 ,s4 ,s471 ,major-,general4 ,,the ,,downfall ,,of ,,prempeh4 ,a ,diary of ,life in ,ashanti1 #ahie4 ,with #ba ,illustrations and a ,map4 ,third ,edition4 ,large ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,,the ,,matabele ,,campaign1 #ahif4 ,with nearly #ajj ,illustrations4 ,fourth and ,cheaper ,edition4 ,large ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,baker 7,w4 ,g471 ,m4,a4 ,,junior ,,geography ,,examination ,,papers4 ,fcap4 #hvo4 #as4 ,junior ,exam4 ,series4 ,baker 7,julian ,l471 ,f4,i4,c41 ,f4,c4,s4 ,,the ,,brewing ,,industry4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,balfour 7,graham74 ,,the ,,life ,,of ,,robert ,,louis ,,stevenson4 ,second ,edition4 ,two ,volumes4 ,demy #hvo4 #bes4 net4 ,a ,colonial ,edition is also published4 ,bally 7,s4 ,e474 ,a ,,french ,,commercial ,,reader4 ,with ,vocabulary4 ,second ,edition4 ,crown #hvo4 #bs4 ,commercial ,series4 ,,french ,,commercial ,,correspondence4 ,with ,vocabulary4 ,third ,edition4 ,crown #hvo4 #bs4 ,commercial ,series4 ,a ,,german ,,commercial ,,reader4 ,with ,vocabulary4 ,crown #hvo4 #bs4 ,commercial ,series4 ,,german ,,commercial ,,correspondence4 ,with ,vocabulary4 ,crown #hvo4 #bs4 #f;d4 ,commercial ,series4 ,banks 7,elizabeth ,l474 ,,the ,,autobiography ,,of ,a #8,,newspaper ,,girl4' ,with ,portrait of the ,author and her ,dog4 ,second ,edition4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,barham 7,r4 ,h474 ,,the ,,ingoldsby ,,legends4 ,edited by ,j4 ,b4 ,,atlay4 ,two ,volumes4 ,small ,pott #hvo4 ,each volume1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,baring-,gould 7,s474 ,author of #8,mehalah1' etc4 ,,the ,,life ,,of ,,napoleon ,,bonaparte4 ,with over #dej ,illustrations in the ,text1 and #ab ,photogravure ,plates4 ,gilt top4 ,large quarto4 #cfs4 ,,the ,,tragedy ,,of ,,the ,c,,sars4 ,with numerous ,illustrations from ,busts1 ,gems1 ,cameos1 etc4 ,fifth ,edition4 ,royal #hvo4 #aes4 ,a ,,book ,,of ,,fairy ,,tales4 ,with numerous ,illustrations and ,initial ,letters by ,,arthur ,j4 ,,gaskin4 ,second ,edition4 ,crown #hvo4 ,buckram4 #fs4 ,a ,,book ,,of ,,brittany4 ,with numerous ,illustrations4 ,crown #hvo4 #fs4 ,uniform in scope and size with ,mr4 ,baring-,gould's well-known books on ,devon1 ,cornwall1 and ,dartmoor4 ,,old ,,english ,,fairy ,,tales4 ,with numerous ,illustrations by ,f4 ,d4 ,,bedford4 ,second ,edition4 ,cr4 #hvo4 ,buckram4 #fs4 ,a ,colonial ,edition is also published4 ,,the ,,vicar ,,of ,,morwenstow3 ,a ,biography1 a new and ,revised ,edition4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,a completely new edition of the well-known biography of ,r4 ,s4 ,hawker4 ,,dartmoor3 a ,descriptive and ,historical ,sketch4 ,with ,plans and numerous ,illustrations4 ,crown #hvo4 #fs4 ,,the ,,book ,,of ,,the ,,west4 ,with numerous ,illustrations4 ,two volumes4 ,vol4 ,i4 ,devon4 ,second ,edition4 ,vol4 ,,ii4 ,cornwall4 ,second ,edition4 ,crown #hvo4 #fs4 each4 ,a ,,book ,,of ,,north ,,wales4 ,with numerous ,illustrations4 ,crown #hvo4 #fs4 ,this book is uniform with ,mr4 ,baring-,gould's books on ,devon1 ,dartmoor1 and ,brittany4 ,a ,,book ,,of ,,south ,,wales4 ,with many ,illustrations4 ,cr4 #hvo4 #fs4 ,a ,,book ,,of ,,ghosts4 ,with many ,illustrations4 ,cr4 #hvo4 #fs4 net4 ,a ,colonial ,edition is also published4 ,,brittany4 ,illustrated by ,j4 ,a4 ,,wylie4 ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,old ,,country ,,life4 ,with #fg ,illustrations4 ,fifth ,edition4 ,large ,cr4 #hvo4 #fs4 ,,an ,,old ,,english ,,home4 ,with numerous ,plans and ,illustrations4 ,cr4 #hvo4 #fs4 ,,yorkshire ,,oddities ,,and ,,strange ,,events4 ,fifth ,edition4 ,crown #hvo4 #fs4 ,,strange ,,survivals ,,and ,,superstitions4 ,second ,edition4 ,cr4 #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,a ,,garland ,,of ,,country ,,song3 ,english ,folk ,songs with their ,traditional ,melodies4 ,collected and arranged by ,s4 ,,baring-,,gould and ,h4 ,f4 ,,sheppard4 ,demy #dto4 #fs4 ,,songs ,,of ,,the ,,west3 ,traditional ,ballads and ,songs of the ,west of ,england1 with their ,melodies4 ,collected by ,s4 ,,baring-,,gould1 ,m4,a41 and ,h4 ,f4 ,,sheppard1 ,m4,a4 ,in #d ,parts4 ,parts ,i41 ,,ii41 ,,iii41 #bs4 #f;d4 each4 ,part ,,iv41 #ds4 ,in ,one ,volume1 ,french ,morocco1 #ajs4 net4 ,barker 7,aldred ,f471 ,author of #8,pattern ,analysis1' etc4 ,,an ,,introduction ,,to ,,the ,,study ,,of ,,textile ,,design4 ,with numerous ,diagrams and ,illustrations4 ,demy #hvo4 #gs4 #f;d4 ,barnes 7,w4 ,e471 ,d4,d4 ,,isaiah4 ,with an ,introduction and ,notes4 ,two ,vols4 ,fcap4 #hvo4 #bs4 net each4 ,with ,map4 ,churchman's ,bible4 ,barnett 7,mrs4 ,p4 ,a474 ,a ,,little ,,book ,,of ,,english ,,prose4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,baron 7,r4 ,r4 ,n471 ,m4,a4 ,,french ,,prose ,,composition4 ,crown #hvo4 #bs4 #f;d4 ,key1 #cs4 net4 ,barron 7,h4 ,m471 ,m4,a41 ,wadham ,college1 ,oxford4 ,,texts ,,for ,,sermons4 ,with a ,preface by ,canon ,,scott ,,holland4 ,crown #hvo4 #cs4 #f;d4 ,bastable 7,c4 ,f471 ,m4,a41 ,professor of ,economics at ,trinity ,college1 ,dublin4 ,,the ,,commerce ,,of ,,nations4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,batson 7,mrs4 ,stephen74 ,a ,,book ,,of ,,the ,,country ,,and ,,the ,,garden4 ,illustrated by ,f4 ,,carruthers ,,gould and ,a4 ,c4 ,,gould4 ,demy #hvo4 #ajs4 #f;d4 ,a ,,concise ,,handbook ,,of ,,garden ,,flowers4 ,fcap4 #hvo4 #cs4 #f;d4 ,beaman 7,a4 ,hulme74 ,,pons ,,asinorum2 ,,or1 ,a ,,guide ,,to ,,bridge4 ,second ,edition4 ,fcap4 #hvo4 #bs4 ,beard 7,w4 ,s474 ,,junior ,,arithmetic ,,examination ,,papers4 ,second ,edition4 ,fcap4 #hvo4 #as4 ,with or without ,answers4 ,junior ,examination ,series4 ,,junior ,,general ,,information ,,examination ,,papers4 ,fcap4 #hvo4 #as4 ,junior ,examination ,series4 ,,easy ,,exercises ,,in ,,arithmetic4 ,arranged by4 ,cr4 #hvo4 ,without ,answers1 #as4 ,with ,answers1 #as4 #c;d4 ,beckford 7,peter74 ,,thoughts ,,on ,,hunting4 ,edited by ,j4 ,,otho ,,paget1 and ,illustrated by ,g4 ,h4 ,,jalland4 ,second and ,cheaper ,edition4 ,demy #hvo4 #fs4 ,beckford 7,william74 ,,the ,,history ,,of ,,the ,,caliph ,,vathek4 ,edited by ,e4 ,,denison ,,ross4 ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,beeching 7,h4 ,c471 ,m4,a41 ,canon of ,westminster4 ,,lyra ,,sacra3 ,a ,book of ,sacred ,verse4 ,with an ,introduction and ,notes4 ,pott #hvo4 ,cl41 #bs42 leather1 #bs4 #f;d4 ,library of ,devotion4 ,behmen 7,jacob74 ,,the ,,supersensual ,,life4 ,edited by ,,bernard ,,holland4 ,fcap4 #hvo4 #cs4 #f;d4 ,belloc 7,hilaire74 ,,paris4 ,with ,maps and ,illustrations4 ,crown #hvo4 #fs4 ,bellot 7,h4 ,h4 ,l471 ,m4,a4 ,,the ,,inner ,,and ,,middle ,,temple4 ,with numerous ,illustrations4 ,crown #hvo4 #fs4 net4 ,see also ,l4 ,a4 ,a4 ,jones4 ,bennett 7,w4 ,h471 ,m4,a4 ,a ,,primer ,,of ,,the ,,bible4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,bennett 7,w4 ,h47 and ,adeney 7,w4 ,f474 ,a ,,biblical ,,introduction4 ,second ,edition4 ,crown #hvo4 #gs4 #f;d4 ,benson 7,archbishop74 ,,god',s ,,board3 ,communion ,addresses4 ,with ,introductory ,note by ,mrs4 ,benson4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,benson 7,a4 ,c471 ,m4,a4 ,,tennyson4 ,with #h ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 ,leather1 #ds4 net4 ,little ,biographies4 ,benson 7,r4 ,m474 ,,the ,,way ,,of ,,holiness3 a ,devotional ,commentary on the #aaith ,psalm4 ,crown #hvo4 #es4 ,bernard 7,e4 ,r471 ,m4,a41 ,canon of ,salisbury4 ,,the ,,english ,,sunday4 ,fcap4 #hvo4 #as4 #f;d4 ,bertouche 7,baroness de74 ,,the ,,life ,,of ,,father ,,ignatius4 ,with ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 net4 ,a ,colonial ,edition is also published4 ,bethune-,baker 7,j4 ,f471 ,m4,a41 ,fellow of ,pembroke ,college1 ,cambridge4 ,a ,,history ,,of ,,early ,,christian ,,doctrine4 ,demy #hvo4 #ajs4 #f;d4 ,handbooks of ,theology4 ,bidez 7,m474 ,see ,parmentier4 ,biggs 7,c4 ,r4 ,d471 ,d4,d4 ,,the ,,epistle ,,to ,,the ,,philippians4 ,with an ,introduction and ,notes4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,churchman's ,bible4 ,bindley 7,t4 ,herbert71 ,b4,d4 ,,the ,,oecumenical ,,documents ,,of ,,the ,,faith4 ,with ,introductions and ,notes4 ,crown #hvo4 #fs4 ,a historical account of the ,creeds4 ,binyon 7,laurence74 ,,the ,,death ,,of ,,adam1 ,,and ,,other ,,poems4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 net4 ,blair 7,robert74 ,,the ,,grave3 a ,poem4 ,illustrated by #ab ,etchings executed by ,,louis ,,schiavonetti1 from the original inventions of ,,william ,,blake4 ,with an ,engraved ,title ,page and a ,portrait of ,blake by ,t4 ,,phillips1 ,r4,a4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper with ,india ,proofs and a duplicate set of plates4 #aes4 net4 ,illustrated ,pocket ,library4 ,blake 7,william74 ,,illustrations ,,of ,,the ,,book ,,of ,,job4 ,invented and ,engraved by4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper with ,india proofs and a duplicate set of plates4 #aes4 net4 ,illustrated ,pocket ,library4 ,,selections4 ,edited by ,m4 ,,perugini4 ,small ,pott #hvo4 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,blaxland 7,b471 ,m4,a4 ,,the ,,song ,,of ,,songs4 ,being ,selections from ,,st4 ,,bernard4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,bloom 7,t4 ,harvey71 ,m4,a4 ,,shakespeare',s ,,garden4 ,with ,illustrations4 ,fcap4 #hvo4 #bs4 #f;d42 leather1 #cs4 #f;d4 net4 ,boardman 7,j4 ,h474 ,see ,w4 ,french4 ,bodley 7,j4 ,e4 ,c74 ,author of #8,france4' ,,the ,,coronation ,,of ,,edward ,,vii4 ,demy #hvo4 #bas4 net4 ,by ,command of the ,king4 ,body 7,george71 ,d4,d4 ,,the ,,soul',s ,,pilgrimage3 ,devotional ,readings from his published and unpublished writings4 ,selected and arranged by ,j4 ,h4 ,,burn1 ,b4,d41 ,f4,r4,s4,e4 ,pott #hvo4 #bs4 #f;d4 ,bona 7,cardinal74 ,a ,,guide ,,to ,,eternity4 ,edited with an ,introduction and ,notes1 by ,j4 ,w4 ,,stanbridge1 ,b4,d4 ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,borrow 7,george74 ,,lavengro4 ,edited by ,f4 ,,hindes ,,groome4 ,two ,volumes4 ,small ,pott #hvo4 ,each volume1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,romany ,,rye4 ,edited by ,,john ,,sampson4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,bos 7,j4 ,ritzema74 ,,agricultural ,,zoology4 ,translated by ,j4 ,r4 ,,ainsworth ,,davis1 ,m4,a4 ,with an ,introduction by ,,eleanor ,a4 ,,ormerod1 ,f4,e4,s4 ,with #aee ,illustrations4 ,crown #hvo4 ,third ,edition4 #cs4 #f;d4 ,botting 7,c4 ,g471 ,b4,a4 ,,junior ,,latin ,,examination ,,papers4 ,fcap4 #hvo4 ,second ,ed4 #as4 ,junior ,examination ,series4 ,,easy ,,greek ,,exercises4 ,cr4 #hvo4 #bs4 ,boulton 7,e4 ,s474 ,,geometry ,,on ,,modern ,,lines4 ,crown #hvo4 #bs4 ,bowden 7,e4 ,m474 ,,the ,,imitation ,,of ,,buddha3 ,being ,quotations from ,buddhist ,literature for each ,day in the ,year4 ,fourth ,edition4 ,crown #afmo4 #bs4 #f;d4 ,bowmaker 7,e474 ,,the ,,housing ,,of ,,the ,,working ,,classes4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,boyle 7,w474 ,,christmas ,,at ,,the ,,zoo4 ,with ,verses by ,w4 ,,boyle and #bd ,coloured ,pictures by ,h4 ,b4 ,,neilson4 ,pott #dto4 #bs4 ,brabant 7,f4 ,g471 ,m4,a4 ,,sussex4 ,illustrated by ,e4 ,h4 ,,new4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,the ,,english ,,lakes4 ,illustrated by ,e4 ,h4 ,,new4 ,small ,pott #hvo4 ,cloth1 #ds42 leather1 #ds4 #f;d4 net4 ,little ,guides4 ,brodrick 7,mary7 and ,morton 7,anderson74 ,a ,,concise ,,handbook ,,of ,,egyptian ,,arch,,ology4 ,with many ,illustrations4 ,crown #hvo4 #cs4 #f;d4 ,brooke 7,a4 ,s471 ,m4,a4 ,,slingsby ,,and ,,slingsby ,,castle4 ,with many ,illustrations4 ,cr4 #hvo4 #gs4 #f;d4 ,brooks 7,e4 ,w474 ,see ,f4 ,j4 ,hamilton4 ,brown 7,p4 ,h471 ,fraser ,professor of ,ancient 7,scottish7 ,history at the ,university of ,edinburgh4 ,,scotland ,,in ,,the ,,time ,,of ,,queen ,,mary4 ,demy #hvo4 #gs4 #f;d4 net4 ,brownell 7,c4 ,l474 ,,the ,,heart ,,of ,,japan4 ,illustrated4 ,third ,edition4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,browning 7,robert74 ,,selections ,,from ,,the ,,early ,,poems ,,of4 ,with ,introduction and ,notes by ,w4 ,,hall ,,griffin4 ,small ,pott #hvo4 #as4 #f;d4 net42 leather1 #bs4 #f;d4 net4 ,little ,library4 ,buckland 7,francis ,t474 ,,curiosities ,,of ,,natural ,,history4 ,with ,illustrations by ,,harry ,b4 ,,neilson4 ,crown #hvo4 #cs4 #f;d4 ,buckton 7,a4 ,m474 ,,the ,,burden ,,of ,,engela3 a ,ballad-,epic4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 net4 ,,eager ,,heart3 ,a ,mystery ,play4 ,crown #hvo4 #as4 net4 ,budge 7,e4 ,a4 ,wallis74 ,,the ,,gods ,,of ,,the ,,egyptians4 ,with over #ajj ,coloured ,plates and many ,illustrations4 ,two ,volumes4 ,royal #hvo4 #c1 #cs4 net4 ,bull 7,paul71 ,army ,chaplain4 ,,god ,,and ,,our ,,soldiers4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,bulley 7,miss74 ,see ,lady ,dilke4 ,bunyan 7,john74 ,,the ,,pilgrim',s ,,progress4 ,edited1 with an ,introduction1 by ,c4 ,h4 ,,firth1 ,m4,a4 ,with #ci ,illustrations by ,r4 ,,anning ,,bell4 ,cr4 #hvo4 #fs4 ,,grace ,,abounding4 ,edited by ,c4 ,s4 ,,freer1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,burch 7,g4 ,j471 ,m4,a41 ,f4,r4,s4 ,a ,,manual ,,of ,,electrical ,,science4 ,with numerous ,illustrations4 ,crown #hvo4 #cs4 ,university ,extension ,series4 ,burgess 7,gelett74 ,,goops ,,and ,,how ,,to ,,be ,,them4 ,with numerous ,illustrations4 ,small #dto4 #fs4 ,burn 7,a4 ,e471 ,d4,d41 ,prebendary of ,lichfield4 ,,an ,,introduction ,,to ,,the ,,history ,,of ,,the ,,creeds4 ,demy #hvo4 #ajs4 #f;d4 ,handbooks of ,theology4 ,burn 7,j4 ,h471 ,b4,d41 ,a ,,manual ,,of ,,consolation ,,from ,,the ,,saints ,,and ,,fathers4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,burn 7,j4 ,h471 ,b4,d4 ,a ,,day ,,book ,,from ,,the ,,saints ,,and ,,fathers4 ,with an ,introduction and ,notes4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,burnand 7,sir ,f4 ,c474 ,,records ,,and ,,reminiscences1 ,,personal ,,and ,,general4 ,with many ,illustrations4 ,demy #hvo4 ,two ,volumes4 ,third ,edition4 #bes4 ,a ,colonial ,edition is also published4 ,burns 7,robert71 ,,the ,,poems ,,of4 ,edited by ,,andrew ,,lang and ,w4 ,a4 ,,craigie4 ,with ,portrait4 ,third ,edition4 ,demy #hvo1 gilt top4 #fs4 ,burnside 7,w4 ,f471 ,m4,a4 ,,old ,,testament ,,history ,,for ,,use ,,in ,,schools4 ,crown #hvo4 #cs4 #f;d4 ,burton 7,alfred74 ,,the ,,military ,,adventures ,,of ,,johnny ,,newcome4 ,with #ae ,coloured ,plates by ,t4 ,,rowlandson4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,,the ,,adventures ,,of ,,johnny ,,newcome ,,in ,,the ,,navy4 ,with #af ,coloured ,plates by ,t4 ,,rowlandson4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illus4 ,pocket ,library ,caldecott 7,alfred71 ,d4,d4 ,,the ,,philosophy ,,of ,,religion ,,in ,,england ,,and ,,america4 ,demy #hvo4 #ajs4 #f;d4 ,handbooks of ,theology4 ,calderwood 7,d4 ,s471 ,headmaster of the ,normal ,school1 ,edinburgh4 ,,test ,,cards ,,in ,,euclid ,,and ,,algebra4 ,in three packets of #dj1 with ,answers1 #as4 each4 ,or in three ,books1 price #b;d41 #b;d41 and #c;d4 ,cambridge 7,ada7 ,mrs4 ,cross4 ,,thirty ,,years ,,in ,,australia4 ,demy #hvo4 #gs4 #f;d4 ,a ,colonial ,edition is also published4 ,canning 7,george74 ,,selections ,,from ,,the ,,anti-,,jacobin2 with additional ,poems4 ,edited by ,,lloyd ,,sanders4 ,small ,pott #hvo1 cloth1 #as4 #f;d4 net42 leather1 #bs4 #f;d4 net4 ,little ,library4 ,capey 7,e4 ,f4 ,h474 ,,erasmus4 ,with #ab ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d4 net2 leather1 #ds4 net4 ,little ,biographies4 ,carlyle 7,thomas74 ,,the ,,french ,,revolution4 ,edited by ,c4 ,r4 ,l4 ,,fletcher1 ,fellow of ,magdalen ,college1 ,oxford4 ,three ,volumes4 ,crown #hvo4 #ahs4 ,,the ,,life ,,and ,,letters ,,of ,,oliver ,,cromwell4 ,with an ,introduction by ,c4 ,h4 ,,firth1 ,m4,a41 and ,notes and ,appendices by ,mrs4 ,s4 ,c4 ,,lomas4 ,three ,volumes4 ,demy #hvo4 #ahs4 net4 ,carlyle 7,r4 ,m4 and ,a4 ,j471 ,m4,a4 ,,bishop ,,latimer4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,chamberlin 7,wilbur ,b474 ,,ordered ,,to ,,china4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,channer 7,c4 ,c47 and ,roberts 7,m4 ,e474 ,,lace-,,making ,,in ,,the ,,midlands1 ,,past ,,and ,,present4 ,with #af full page ,illustrations4 ,crown #hvo4 #bs4 #f;d4 ,chesterfield 7,lord71 ,,the ,,letters ,,of1 ,,to ,,his ,,son4 ,edited1 with an ,introduction1 by ,c4 ,,strachey1 and ,notes by ,a4 ,,calthrop4 ,two ,volumes4 ,cr4 #hvo4 #abs4 ,christian 7,f4 ,w474 ,,the ,,caroline ,,islands4 ,with many ,illustrations and ,maps4 ,demy #hvo4 #abs4 #f;d4 net4 ,cicero4 ,,de ,,oratore ,i4 ,translated by ,e4 ,n4 ,p4 ,,moor1 ,m4,a4 ,crown #hvo4 #cs4 #f;d4 ,classical ,translations4 ,,select ,,orations 7,pro ,milone1 ,pro ,murena1 ,philippic ,,ii41 ,in ,catilinam74 ,translated by ,h4 ,e4 ,d4 ,,blakiston1 ,m4,a41 ,fellow and ,tutor of ,trinity ,college1 ,oxford4 ,crown #hvo4 #es4 ,classical ,translations4 ,,de ,,natura ,,decorum4 ,translated by ,f4 ,,brooks1 ,m4,a41 late ,scholar of ,balliol ,college1 ,oxford4 ,crown #hvo4 #cs4 #f;d4 ,classical ,translations4 ,,de ,,officiis4 ,translated by ,g4 ,b4 ,,gardiner1 ,m4,a4 ,crown #hvo4 #bs4 #f;d4 ,classical ,translations4 ,clarke 7,f4 ,a471 ,m4,a4 ,,bishop ,,ken4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,cleather 7,a4 ,l47 and ,crump 7,b474 ,,richard ,,wagner',s ,,music ,,dramas3 ,interpretations1 embodying ,wagner's own explanations4 ,in ,four ,volumes ,fcap #hvo4 #bs4 #f;d4 each4 ,,vol4 ,i4--,,the ,,ring ,,of ,,the ,,nibelung4 ,,vol4 ,,ii4--,,parsifal1 etc4 ,clinch 7,g474 ,,kent4 ,illustrated by ,f4 ,d4 ,,bedford4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,the ,,isle ,,of ,,wight4 ,illustrated by ,f4 ,d4 ,,bedford4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,clough 7,w4 ,t47 and ,dunstan 7,a4 ,e474 ,,elementary ,,experimental ,,science4 ,,physics by ,w4 ,t4 ,,clough1 ,a4,r4,c4,s4 ,,chemistry by ,a4 ,e4 ,,dunstan1 ,b4,,sc4 ,with #b ,plates and #aed ,diagrams4 ,crown #hvo4 #bs4 ,junior ,school ,books4 ,coast 7,w4 ,g71 ,b4,a4 ,,examination ,,papers ,,in ,,vergil ,crown #hvo4 #bs4 ,cobb 7,t474 ,,the ,,castaways ,,of ,,meadowbank4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,,the ,,treasury ,,of ,,princegate ,,priory4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,,the ,,lost ,,ball4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,collingwood 7,w4 ,g471 ,m4,a4 ,,the ,,life ,,of ,,john ,,ruskin4 ,with ,portraits4 ,second and ,cheap ,edition4 ,cr4 #hvo4 #fs4 ,also a ,poplar ,edition4 ,cr4 #hvo4 #bs4 #f;d4 net4 ,collins 7,w4 ,e471 ,m4,a4 ,,the ,,beginnings ,,of ,,english ,,christianity4 ,with ,map4 ,cr4 #hvo4 #cs4 #f;d4 ,churchman's ,library ,colonna4 ,,hypernotomachia ,,poliphili ,,ubi ,,humana ,,omnia ,,non ,,nisi ,,somnium ,,esse ,,docet ,,atque ,,obiter ,,plurima ,,scitu ,,sane ,,quam ,,digna ,,commemorat4 ,an edition limited to #cej copies on handmade paper4 ,folio4 ,three ,guineas net4 ,combe 7,william74 ,,the ,,tour ,,of ,,dr4 ,,syntax ,,in ,,search ,,of ,,the ,,picturesque4 ,with #cj ,coloured ,plates by ,t4 ,,rowlandson4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper1 #cjs4 net4 ,illustrated ,pocket ,library4 ,,the ,,tour ,,of ,,dr4 ,,syntax ,,in ,,search ,,of ,,consolation4 ,with #bd ,coloured ,plates by ,t4 ,,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,the ,,third ,,tour ,,of ,,dr4 ,,syntax ,,in ,,search ,,of ,a ,,wife4 ,with #bd ,coloured ,plates by ,t4 ,,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,the ,,history ,,of ,,johnny ,,quae ,,genus3 ,the ,little ,foundling of the late ,dr4 ,syntax4 ,with #bd ,coloured ,plates by ,,rowlandson4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,the ,,english ,,dance ,,of ,,death1 from the ,designs of ,,thomas ,,rowlandson1 with ,metrical ,illustrations by the ,author of #8,doctor ,syntax4' ,with #gd ,coloured ,plates4 ,two ,volumes4 ,fcap4 #hvo4 #is4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,the ,,dance ,,of ,,life3 a ,poem4 ,illustrated with #bf ,coloured ,engravings by ,,thomas ,,rowlandson4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,cook 7,a4 ,m471 ,m4,a4 ,see ,e4 ,c4 ,marchant4 ,cooke-,taylor 7,r4 ,w474 ,,the ,,factory ,,system4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,corelli 7,marie71 ,,the ,,passing ,,of ,,the ,,great ,,queen3 ,a ,tribute to the ,noble ,life of ,victoria ,regina4 ,small #dto4 #as4 ,a ,,christmas ,,greeting4 ,sm4 #dto4 #as4 ,corkran 7,alice74 ,,leighton4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,cotes 7,rosemary74 ,,dante',s ,,garden4 ,with a ,frontispiece4 ,second ,edition4 ,fcap4 #hvo4 cloth #bs4 #f;d42 leather1 #cs4 #f;d4 net4 ,,bible ,,flowers4 ,with a ,frontispiece and ,plan4 ,fcap4 #hvo4 #bs4 #f;d4 net4 ,cowley 7,abraham7 ,,the ,,essays ,,of4 ,edited by ,h4 ,c4 ,,minchin4 ,small4 ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,cox 7,j4 ,charles71 ,,ll4,d41 ,f4,s4,a4 ,,derbyshire4 ,illustrated by ,j4 ,c4 ,,wall4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,hampshire4 ,illustrated by ,m4 ,e4 ,,purser4 ,small ,pott #hvo4 ,cloth1 #cs43 ,leather1 #cs4 #f;d4 net4 ,little ,guides4 ,cox 7,harold71 ,b4,a4 ,,land ,,nationalization4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,crabbe 7,george71 ,,selections ,,from ,,the ,,poems ,,of4 ,edited by ,a4 ,c4 ,,deane4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,craigie 7,w4 ,a474 ,a ,,primer ,,of ,,burns4 ,crown #hvo4 #bs4 #f;d4 ,craik 7,mrs474 ,,john ,,halifax1 ,,gentleman4 ,edited by ,,annie ,,matheson4 ,two ,volumes4 ,small ,pott #hvo4 ,each ,volume1 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,crashaw 7,richard71 ,,the ,,english ,,poems ,,of4 ,edited by ,,edward ,,hutton4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,crawford 7,f4 ,g474 ,see ,mary ,c4 ,danson4 ,crouch 7,w474 ,,bryan ,,king4 ,with a ,portrait4 ,crown #hvo4 #cs4 #f;d4 net4 ,cruikshank 7,g47 ,,the ,,loving ,,ballad ,,of ,,lord ,,bateman4 ,with #aa ,plates4 ,crown #afmo4 #as4 #f;d4 net4 ,from the edition published by ,c4 ,tilt1 #ahaa4 ,crump 7,b474 ,see ,a4 ,l4 ,cleather4 ,cunliffe 7,f4 ,h4 ,e471 ,fellow of ,all ,souls' ,college1 ,oxford4 ,,the ,,history ,,of ,,the ,,boer ,,war4 ,with many ,illustrations1 ,plans1 and ,portraits4 ,in #b vols4 ,vol4 ,i41 #aes4 ,cutts 7,e4 ,l471 ,d4,d4 ,,augustine ,,of ,,canterbury4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,daniel 7,g4 ,w471 ,m4,a4 ,,bishop ,,wilberforce4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,danson 7,mary ,c47 and ,crawford 7,f4 ,g474 ,,fathers ,,in ,,the ,,faith4 ,small #hvo4 #as4 #f;d4 ,dante4 ,,la ,,commedia ,,di ,,dante4 ,the ,italian ,text edited by ,,paget ,,toynbee1 ,m4,a41 ,d4,litt4 ,crown #hvo4 #fs4 ,,the ,,inferno ,,of ,,dante4 ,translated by ,h4 ,f4 ,,cary4 ,edited by ,,paget ,,toynbee1 ,m4 ,a41 ,d4,litt4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,purgatorio ,,of ,,dante4 ,translated by ,h4 ,f4 ,,cary4 ,edited by ,,paget ,,toynbee1 ,m4,a41 ,d4,litt4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,paradiso ,,of ,,dante4 ,translated by ,h4 ,f4 ,,cary4 ,edited by ,,paget ,,toynbee1 ,m4,a41 ,d4,litt4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,see also ,paget ,toynbee4 ,darley 7,george71 ,,selections ,,from ,,the ,,poems ,,of4 ,edited by ,r4 ,a4 ,,streatfeild4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,davenport1 7,cyril74 ,,mezzotints4 ,with #dj ,plates in ,photogravure4 ,wide ,royal #hvo4 #bes4 net4 ,connoisseurs ,library4 ,,jewellery4 ,with numerous ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,dawson 7,a4 ,j474 ,,morocco4 ,being a bundle of jottings1 notes1 impressions1 tales1 and tributes4 ,with many ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 net4 ,deane 7,a4 ,c74 ,a ,,little ,,book ,,of ,,light ,,verse4 ,with an ,introduction and ,notes4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,delbos 7,lon74 ,,the ,,metric ,,system4 ,crown #hvo4 #bs4 ,demosthenes2 ,,the ,,olynthiacs ,,and ,,philippics4 ,translated upon a new principle by ,,otho ,,holland4 ,crown #hvo4 #bs4 #f;d4 ,demosthenes4 ,,against ,,conon ,,and ,,callicles4 ,edited with ,notes and ,vocabulary1 by ,f4 ,,darwin ,,swift1 ,m4,a4 ,fcap4 #hvo4 #bs4 ,dickens 7,charles74 ,,the ,,pickwick ,,papers4 ,with the #dc ,illustrations by ,,seymour and ,,phiz1 the two ,buss ,plates and the #cb ,contemporary ,onwhyn ,plates4 #cs4 #f;d4 net4 ,this is a particularly interesting volume1 containing1 as it does1 reproductions of very rare plates4 ,illustrated ,pocket ,library4 ,dickinson 7,emily74 ,,poems4 ,first ,series4 ,crown #hvo4 #ds4 #f;d4 net4 ,dickinson 7,g4 ,l471 ,m4,a41 ,fellow of ,king's ,college1 ,cambridge4 ,,the ,,greek ,,view ,,of ,,life4 ,third ,edition4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,dickson 7,h4 ,n471 ,f4,r4,s4,e41 ,f4,r4,met4 ,soc4 ,,meteorology4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,dilke 7,lady71 ,bulley 7,miss71 and ,whitley 7,miss74 ,,women',s ,,work4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,dillon 7,edward74 ,,porcelain4 ,with many ,plates in ,colour and ,photogravure4 ,wide ,royal #hvo4 #bes4 net4 ,connoisseurs ,library4 ,ditchfield 7,p4 ,h471 ,m4,a41 ,f4,s4,a4 ,,english ,,villages4 ,illustrated4 ,crown #hvo4 #fs4 ,,the ,,story ,,of ,,our ,,english ,,towns4 ,with ,introduction by ,,augustus ,,jessopp1 ,d4,d4 ,second ,edition4 ,crown #hvo4 #fs4 ,,old ,,english ,,customs3 ,extant at the ,present ,time4 ,an ,account of ,local ,observances1 ,festival ,customs1 and ,ancient ,ceremonies yet ,surviving in ,great ,britain4 ,crown #hvo4 #fs4 ,dixon 7,w4 ,m471 ,m4,a4 ,a ,,primer ,,of ,,tennyson4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,,english ,,poetry ,,from ,,blake ,,to ,,browning4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,dole 7,n4 ,h474 ,,famous ,,composers4 ,with ,portraits4 ,two ,volumes4 ,demy #hvo4 #abs4 net4 ,dowden 7,j471 ,d4,d41 ,lord ,bishop of ,edinburgh4 ,,the ,,workmanship ,,of ,,the ,,prayer ,,book3 ,its ,literary and ,liturgical ,aspects4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,churchman's ,library4 ,driver 7,s4 ,r471 ,d4,d41 ,canon of ,christ ,church1 ,regius ,professor of ,hebrew in the ,university of ,oxford4 ,,sermons ,,on ,,subjects ,,connected ,,with ,,the ,,old ,,testament4 ,crown #hvo4 #fs4 ,,the ,,book ,,of ,,genesis4 ,with ,notes and ,introduction4 ,second ,edition4 ,demy #hvo4 #ajs4 #f;d4 ,westminster ,commentaries4 ,duguid 7,charles71 ,city ,editor of the ,morning ,post1 author of the #8,story of the ,stock ,exchange1' etc4 ,,the ,,stock ,,exchange4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,duncan 7,s4 ,j47 7,mrs4 ,,cotes71 ,author of #8,a ,voyage of ,consolation4' ,,on ,,the ,,other ,,side ,,of ,,the ,,latch4 ,second ,edition4 ,crown #hvo4 #fs4 ,dunn 7,j4 ,t471 ,d4,sc41 and ,mundella 7,v4 ,a474 ,,general ,,elementary ,,science4 ,with #aad ,illustrations4 ,crown #hvo4 #cs4 #f;d4 ,dunstan 7,a4 ,e471 ,b4,sc4 ,see ,w4 ,t4 ,,clough4 ,durham 7,the ,earl of74 ,a ,,report ,,on ,,canada4 ,with an ,introductory ,note4 ,demy #hvo4 #gs4 #f;d4 net4 ,dutt 7,w4 ,a74 ,,norfolk4 ,illustrated by ,b4 ,c4 ,,boulter4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,a ,,popular ,,guide ,,to ,,norfolk4 ,medium #hvo4 #f;d4 net4 ,,suffolk4 ,illustrated by ,j4 ,,wylie4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,the ,,norfolk ,,broads4 ,with coloured and other ,illustrations by ,,frank ,,southgate4 ,large ,demy #hvo4 #bas4 net4 ,earle 7,john71 ,bishop of ,salisbury4 ,,microcosmographie1 ,,or ,a ,,piece ,,of ,,the ,,world ,,discovered2 ,,in ,,essayes ,,and ,,characters4 ,post #afmo4 #bs4 net4 ,rariora4 ,reprinted from the ,sixth ,edition published by ,robert ,allot in #afcc4 ,edwards 7,clement74 ,,railway ,,nationalization4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,edwards 7,w4 ,douglas74 ,,commercial ,,law4 ,crown #hvo4 #bs4 ,commercial ,series4 ,egan 7,pierce74 ,,life ,,in ,,london1 ,,or ,,the ,,day ,,and ,,night ,,scenes ,,of ,,jerry ,,hawthorn1 ,,esq41 ,,and ,,his ,,elegant ,,friend1 ,,corinthian ,,tom4 ,with #cf ,coloured ,plates by ,i4 ,r4 and ,g4 ,,cruikshank4 ,with numerous designs on wood4 ,fcap4 #hvo4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,real ,,life ,,in ,,london1 ,,or ,,the ,,rambles ,,and ,,adventures ,,of ,,bob ,,tallyho1 ,,esq41 ,,and ,,his ,,cousin1 the ,hon4 ,,tom ,,dashall4 ,with #ca ,coloured ,plates by ,,alken and ,,rowlandson1 etc4 ,two ,volumes4 ,fcap4 #hvo4 #is4 net4 ,illustrated ,pocket ,library4 ,,the ,,life ,,of ,,an ,,actor4 ,with #bg ,coloured ,plates by ,,theodore ,,lane1 and several designs on wood4 ,fcap4 #hvo4 #ds4 #f;d4 net4 ,illustrated ,pocket ,library4 ,egerton 7,h4 ,e471 ,m4,a4 ,a ,,history ,,of ,,british ,,colonial ,,policy4 ,demy #hvo4 #abs4 #f;d4 ,a ,colonial ,edition is also published4 ,ellaby 7,c4 ,g474 ,,rome4 ,illustrated by ,b4 ,c4 ,,boulter4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,ellerton 7,f4 ,g474 ,see ,s4 ,j4 ,stone4 ,ellwood 7,thomas71 ,,the ,,history ,,of ,,the ,,life ,,of4 ,edited by ,c4 ,g4 ,,crump1 ,m4,a4 ,crown #hvo4 #fs4 ,engel 7,e474 ,a ,,history ,,of ,,english ,,literature3 ,from its ,beginning to ,tennyson4 ,translated from the ,german4 ,demy #hvo4 #gs4 #f;d4 net4 ,fairbrother 7,w4 ,h471 ,m4,a4 ,,the ,,philosophy ,,of ,t4 ,h4 ,,green4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,,felissa2 ,,or1 ,,the ,,life ,,and ,,opinions ,,of ,a ,,kitten ,,of ,,sentiment4 ,with #ab ,coloured ,plates4 ,post #afmo4 #bs4 #f;d4 net4 7#e #c74 ,from the edition published by ,j4 ,harris1 #ahaaahag84 ,farrer 7,reginald71 ,,the ,,garden ,,of ,,asia4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,ferrier 7,susan74 ,,marriage4 ,edited by ,miss ,,goodrich-,,freer and ,lord ,,iddesleigh4 ,two ,volumes4 ,small ,pott #hvo4 ,each volume1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,inheritance4 ,two ,volumes4 ,small ,pott #hvo4 ,each ,volume1 cloth1 #as4 #f;d4 net42 leather1 #bs4 #f;d4 net4 ,little ,library4 ,finn 7,s4 ,w471 ,m4,a4 ,,junior ,,algebra ,,examination ,,papers4 ,fcap4 #hvo4 ,with or ,without ,answers1 #as4 ,junior ,examination ,series4 ,firth 7,c4 ,h471 ,m4,a4 ,,cromwell',s ,,army3 ,a ,history of the ,english ,soldier during the ,civil ,wars1 the ,commonwealth1 and the ,potectorate4 ,crown #hvo4 #gs4 #f;d4 ,fisher 7,g4 ,w471 ,m4,a4 ,,annals ,,of ,,shrewsbury ,,school4 ,with numerous ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 ,fitz,gerald 7,edward74 ,,the ,,rub',,aiy,t ,,of ,,omar ,,khayy,m4 ,from the ,first ,edition of #ahei4 ,second ,edition4 ,leather1 #as4 net4 ,miniature ,library4 ,,the ,,rub',,aiy,t ,,of ,,omar ,,khayy,m4 ,printed from the ,fifth and last ,edition4 ,with a ,commentary by ,mrs4 ,,stephen ,,batson1 and a ,biography of ,omar by ,e4 ,d4 ,,ross4 ,crown #hvo4 #fs4 ,,euphranor3 a ,dialogue on ,youth4 ,demy #cbmo4 ,leather1 #bs4 net4 ,miniature ,library4 ,,polonius3 or ,wise ,saws and ,modern ,instances4 ,demy #cbmo4 ,leather1 #bs4 net4 ,miniature ,library4 ,fitz,gerald 7,e4 ,a474 ,,the ,,highest ,,andes4 ,with #b ,maps1 #ea ,illustrations1 #ac of which are in ,photogravure1 and a ,panorama4 ,royal #hvo4 #cjs4 net4 ,flecker 7,w4 ,h471 ,m4,a41 ,d4,c4,l41 ,headmaster of the ,dean ,close ,school1 ,cheltenham4 ,,the ,,students' ,,prayer ,,book4 ,part #a4 ,,morning ,,and ,,evening ,,prayer ,,and ,,litany4 ,with an ,introduction and ,notes4 ,crown #hvo4 #bs4 #f;d4 ,flux 7,a4 ,w471 ,m4,a41 ,william ,dow ,professor of ,political ,economy in ,m',gill ,university1 ,montreal3 sometime ,fellow of ,st4 ,john's ,college1 ,cambridge1 and formerly ,stanley-,jevons ,professor of ,political ,economy in the ,owens ,coll41 ,manchester4 ,,economic ,,principles4 ,demy #hvo4 #gs4 #f;d4 net4 ,fortescue 7,mrs4 ,g474 ,,holbein4 ,with #cj ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,fraser 7,j4 ,f474 ,,round ,,the ,,world ,,on ,a ,,wheel4 ,with #ajj ,illustrations4 ,third ,edition ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,french 7,w471 ,m4,a41 ,principal of the ,storey ,institute1 ,lancaster4 ,,practical ,,chemistry4 ,part ,i4 ,with numerous ,diagrams4 ,crown #hvo4 #as4 #f;d4 ,textbooks of ,technology4 ,french 7,w471 ,m4,a41 and ,boardman 7,t4 ,h471 ,m4,a4 ,,practical ,,chemistry4 ,part ,,ii4 ,with numerous ,diagrams4 ,crown #hvo4 #as4 #f;d4 ,textbooks of ,technology4 ,freudenreich 7,ed4 von74 ,,dairy ,,bacteriology4 ,a ,short ,manual for the ,use of ,students4 ,translated by ,j4 ,r4 ,,ainsworth ,,davis1 ,m4,a4 ,second ,edition4 ,revised4 ,crown #hvo4 #bs4 #f;d4 ,fulford 7,h4 ,w471 ,m4,a4 ,,the ,,epistle ,,of ,,st4 ,,james4 ,with ,notes and ,introduction4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,churchman's ,bible4 ,c4 ,g41 and ,f4 ,c4 ,g4 ,,john ,,bull',s ,,adventures ,,in ,,the ,,fiscal ,,wonderland4 ,by ,,charles ,,geake4 ,with #df ,illustrations by ,f4 ,,carruthers ,,gould4 ,second ,ed4 ,crown #hvo4 #bs4 #f;d4 net4 ,gambado 7,geoffrey1 ,esq474 ,,an ,,academy ,,for ,,grown ,,horsemen3 ,containing the completest ,instructions for ,walking1 ,trotting1 ,cantering1 ,galloping1 ,stumbling1 and ,tumbling4 ,illustrated with #bg ,coloured ,plates1 and adorned with a ,portrait of the ,author4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,gaskell 7,mrs474 ,,cranford4 ,edited by ,e4 ,v4 ,,lucas4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,gasquet1 the ,right ,rev4 ,abbot1 ,o4,s4,b4 ,,english ,,monastic ,,life4 ,with ,coloured and other ,illustrations4 ,demy #hvo4 #gs4 #f;d4 net4 ,antiquary's ,books4 ,george 7,h4 ,b471 ,m4,a41 ,fellow of ,new ,college1 ,oxford4 ,,battles ,,of ,,english ,,history4 ,with numerous ,plans4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,a ,,historical ,,geography ,,of ,,the ,,british ,,empire4 ,cr4 #hvo4 #cs4 #f;d net4 ,gibbins 7,h4 de ,b471 ,litt4,d41 ,m4,a4 ,,industry ,,in ,,england3 ,,historical ,,outlines4 ,with #e ,maps4 ,third ,edition4 ,demy #hvo4 #ajs4 #f;d4 ,a ,,companion ,,german ,,grammar4 ,crown #hvo4 #as4 #f;d4 ,,the ,,industrial ,,history ,,of ,,england4 ,tenth ,edition4 ,revised4 ,with ,maps and ,plans4 ,crown #hvo4 #cs4 ,university ,extension ,series4 ,,the ,,economics ,,of ,,commerce4 ,crown #hvo4 #as4 #f;d4 ,commercial ,series4 ,,commercial ,,examination ,,papers4 ,crown #hvo4 #as4 #f;d4 ,commercial ,series4 ,,british ,,commerce ,,and ,,colonies ,,from ,,elizabeth ,,to ,,victoria4 ,third ,edition4 ,crown #hvo4 #bs4 ,commercial ,series4 ,,english ,,social ,,reformers4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,gibbins 7,h4 de ,b471 ,litt4,d41 ,m4,a41 and ,hadfield 7,r4 ,a471 of the ,hecla ,works1 ,sheffield4 ,a ,,shorter ,,working ,,day4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,gibbon 7,edward74 ,,the ,,decline ,,and ,,fall ,,of ,,the ,,roman ,,empire4 ,a ,new ,edition1 edited with ,notes1 ,appendices1 and ,maps1 by ,j4 ,b4 ,,bury1 ,m4,a41 ,litt4,d41 ,fellow of ,trinity ,college1 ,dublin4 ,in ,seven ,volumes4 ,demy #hvo4 ,gilt top1 #hs4 #f;d4 each4 ,also1 ,crown #hvo4 #fs4 each4 ,,memoirs ,,of ,,my ,,life ,,and ,,writings4 ,edited1 with an ,introduction and ,notes1 by ,g4 ,,birkbeck ,,hill1 ,,ll4,d4 ,crown #hvo4 #fs4 ,gibson 7,e4 ,c4 ,s471 ,d4,d41 ,vicar of ,leeds4 ,,the ,,book ,,of ,,job4 ,with ,introduction and ,notes4 ,demy #hvo4 #fs4 ,westminster ,commentaries4 ,,the ,,xxxix4 ,,articles ,,of ,,the ,,church ,,of ,,england4 ,with an ,introduction4 ,fourth ,edition in ,one ,vol4 ,demy #hvo4 #abs4 #f;d4 ,handbooks of ,theology4 ,,john ,,howard4 ,with #ab ,illustrations4 ,fcap #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,gilbert 7,a4 ,r474 ,see ,w4 ,wilberforce4 ,godfrey 7,elizabeth74 ,a ,,book ,,of ,,remembrance4 ,demy #afmo4 #bs4 #f;d4 net4 ,godley 7,a4 ,d471 ,m4,a41 ,fellow of ,magdalen ,college1 ,oxford4 ,,lyra ,,frivola4 ,third ,edition4 ,fcap4 #hvo4 #bs4 #f;d4 ,,verses ,,to ,,order4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,,second ,,strings4 ,fcap4 #hvo4 #bs4 #f;d4 ,a new volume of humorous verse uniform with ,lyra ,frivola4 ,goldsmith 7,oliver74 ,,the ,,vicar of ,,wakefield4 ,with #bd ,coloured ,plates by ,t4 ,,rowlandson4 ,royal #hvo4 ,one ,guinea net4 ,reprinted from the edition of #ahag4 ,burlington ,library4 ,also ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,also ,fcap4 #cbmo4 ,with #aj ,plates in ,photographure by ,,tony ,,johannot4 ,leather1 #bs4 #f;d4 net4 ,goudge 7,h4 ,l471 ,m4,a41 ,principal of ,wells ,theological ,college4 ,,the ,,first ,,epistle ,,to ,,the ,,corinthians4 ,with ,introduction and ,notes4 ,demy #hvo4 #fs4 ,westminster ,commentaries4 ,graham 7,p4 ,anderson74 ,,the ,,rural ,,exodus4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,granger 7,f4 ,s471 ,m4,a41 ,litt4,d41 ,,psychology4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,,the ,,soul ,,of ,a ,,christian4 ,crown #hvo4 #fs4 ,gray 7,e4 ,m',queen74 ,,german ,,passages ,,for ,,unseen ,,translation4 ,crown #hvo4 #bs4 #f;d4 ,gray 7,p4 ,l471 ,b4,sc41 formerly ,lecturer in ,physics in ,mason ,university ,college1 ,birmingham4 ,,the ,,principles ,,of ,,magnetism ,,and ,,electricity3 an ,elementary ,text-,book4 ,with #aha ,diagrams4 ,crown #hvo4 #cs4 #f;d4 ,green 7,g4 ,buckland71 ,m4,a41 ,assistant ,master at ,edinburgh ,academy1 late ,fellow of ,st4 ,john's ,college1 ,oxon4 ,,notes ,,on ,,greek ,,and ,,latin ,,syntax4 ,crown #hvo4 #cs4 #f;d4 ,green 7,e4 ,t471 ,m4,a4 ,,the ,,church ,,of ,,christ4 ,crown #hvo4 #fs4 ,churchman's ,library4 ,greenidge 7,a4 ,h4 ,j471 ,m4,a4 ,a ,,history ,,of ,,rome3 ,during the ,later ,republic and the ,early ,principate4 ,in ,six ,volumes4 ,demy #hvo4 ,vol4 ,i4 7#acc-ajd ,b4,c474 #abs4 #f;d4 net4 ,greenwell 7,dora71 ,,the ,,poems ,,of4 ,from the edition of #ahdh4 ,leather1 #bs4 net4 ,miniature ,library4 ,gregory 7,r4 ,a474 ,,the ,,vault ,,of ,,heaven4 ,a ,popular ,introduction to ,astronomy4 ,with numerous ,illustrations4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,gregory 7,miss ,e4 ,c474 ,,heavenly ,,wisdom4 ,selections from the ,english ,mystics4 ,pott #hvo4 ,cloth #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,nearly ,ready4 ,greville ,minor4 ,a ,,modern ,,journal4 ,edited by ,j4 ,a4 ,,spender4 ,crown #hvo4 #cs4 #f;d4 net4 ,grinling 7,c4 ,h474 ,a ,,history ,,of the ,,great ,,northern ,,railway1 #ahde-ie4 ,with ,illustrations4 ,revised1 with an additional chapter4 ,demy #hvo4 #ajs4 #f;d4 ,grubb 7,h4 ,c74 ,,builders' ,,quantities4 ,with many ,illustrations4 ,crown #hvo4 #ds4 #f;d4 ,textbooks of ,technology4 ,guiney 7,l4 ,i474 ,,richard ,,hurrell ,,froude4 ,illustrated4 ,demy #hvo4 #ajs4 #f;d4 net4 ,gwynn 7,m4 ,l474 ,a ,,birthday ,,book4 ,royal #hvo4 #abs4 ,hackett 7,john71 ,b4,d4 ,a ,,history ,,of ,,the ,,orthodox ,,church ,,of ,,cyprus4 ,with ,maps and ,illustrations4 ,demy #hvo4 #aes4 net4 ,haddon 7,a4 ,c471 ,,sc4,d41 ,f4,r4,s4 ,,head-,,hunters1 ,,black1 ,,white1 ,,and ,,brown4 ,with many ,illustrations and a ,map4 ,demy #hvo4 #aes4 ,hadfield 7,r4 ,a474 ,see ,h4 de ,b4 ,gibbins4 ,hall 7,r4 ,n47 and ,neal 7,w4 ,g474 ,,the ,,ancient ,,ruins ,,of ,,rhodesia4 ,with numerous ,illustrations4 ,second ,edition1 revised4 ,demy #hvo4 #ajs4 #f;d4 net4 ,hall 7,r4 ,n474 ,,the ,,great ,,zimbabwe4 ,with numerous ,illustrations4 ,royal #hvo4 #bas4 net4 ,hamilton 7,f4 ,j471 ,d4,d41 and ,brooks 7,e4 ,w474 ,,zachariah ,,of ,,mitylene4 ,translated into ,english4 ,demy #hvo4 #abs4 #f;d4 net4 ,byzantine ,texts4 ,hammond 7,j4 ,l474 ,,charles ,,james ,,fox3 a ,biographical ,study4 ,demy #hvo4 #ajs4 #f;d4 ,hannay 7,d474 ,a ,,short ,,history ,,of ,,the ,,royal ,,navy1 ,,from ,,early ,,times ,,to ,,the ,,present ,,day4 ,illustrated4 ,two ,volumes4 ,demy #hvo4 #gs4 #f;d4 each4 ,vol4 ,i4 #abjj-afhh4 ,hannay 7,james ,o471 ,m4,a4 ,,the ,,spirit ,,and ,,origin ,,of ,,christian ,,monasticism4 ,crown #hvo4 #fs4 ,,the ,,wisdom ,,of ,,the ,,desert4 ,crown #hvo4 #cs4 #f;d4 net4 ,hare1 7,a4 ,t471 ,m4,a4 ,,the ,,construction ,,of ,,large ,,induction ,,coils4 ,with numerous ,diagrams4 ,demy #hvo4 #fs4 ,harrison 7,clifford74 ,,reading ,,and ,,readers4 ,fcap4 #hvo4 #bs4 #f;d4 ,hawthorne 7,nathaniel74 ,,the ,,scarlet ,,letter4 ,edited by ,,percy ,,dearmer4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,health1 ,,wealth ,,and ,,wisdom1 ,crown #hvo4 #as4 net4 ,heath 7,dudley74 ,,miniatures4 ,with many ,plates in ,photogravure4 ,wide ,royal #hvo4 #bes4 net4 ,connoisseurs ,library4 ,hedin 7,sven71 ,gold ,medallist of the ,royal ,geographical ,society4 ,,through ,,asia4 ,with #cjj ,illustrations from ,sketches and ,photographs by the ,author1 and ,maps4 ,two ,volumes4 ,royal #hvo4 #cfs4 net4 ,hello 7,ernest74 ,,studies ,,in ,,saintship4 ,translated from the ,french by ,v4 ,m4 ,,crawford4 ,fcap #hvo4 #cs4 #f;d4 ,henderson 7,b4 ,w471 ,fellow of ,exeter ,college1 ,oxford4 ,,the ,,life ,,and ,,principate ,,of ,,the ,,emperor ,,nero4 ,with ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 net4 ,henderson 7,t4 ,f474 ,a ,,little ,,book ,,of ,,scottish ,,verse4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,robert ,,burns4 ,with #ab ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,henley 7,w4 ,e474 ,,english ,,lyrics4 ,crown #hvo4 ,gilt top4 #cs4 #f;d4 ,henley 7,w4 ,e47 and ,whibley 7,c474 ,a ,,book ,,of ,,english ,,prose4 ,crown #hvo4 ,buckram1 gilt top4 #fs4 ,henson 7,h4 ,h471 ,b4,d41 ,canon of ,westminster4 ,,apostolic ,,christianity3 ,as ,illustrated by the ,epistles of ,st4 ,paul to the ,corinthians4 ,crown #hvo4 #fs4 ,,light ,,and ,,leaven3 ,,historical ,,and ,,social ,,sermons4 ,crown #hvo4 #fs4 ,,discipline ,,and ,,law4 ,fcap4 #hvo4 #bs4 #f;d4 ,,the ,,education ,,act--,,and ,,after4 ,an ,appeal addressed with all possible respect to the ,nonconformists4 ,crown #hvo4 #as4 ,herbert 7,george74 ,,the ,,temple4 ,edited1 with an ,introduction and ,notes1 by ,e4 ,c4 ,s4 ,,gibson1 ,d4,d41 ,vicar of ,leeds4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,herbert of ,cherbury 7,lord71 ,,the ,,life ,,of4 ,written by himself4 ,leather1 #bs4 net4 ,from the edition printed at ,strawberry ,hill in the year #agfd4 ,miniature ,library4 ,hewins 7,w4,a4,s471 ,b4,a4 ,,english ,,trade ,,and ,,finance in ,,the ,,seventeenth ,,century4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,heywood 7,w474 ,,palio ,,and ,,ponte3 a ,book of ,tuscan ,games4 ,illustrated4 ,royal #hvo4 #bas4 net4 ,hilbert 7,t474 ,,the ,,air ,,gun3 or1 ,how the ,mastermans and ,dobson ,major nearly lost their ,holidays4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,hill 7,clare71 ,registered ,teacher to the ,city and ,guilds of ,london ,institute4 ,,millinery1 ,,theoretical1 ,,and ,,practical4 ,with numerous ,diagrams4 ,cr4 #hvo4 #bs4 ,textbooks of ,technology4 ,hill 7,henry71 ,b4,a41 ,headmaster of the ,boy's ,high ,school1 ,worcester1 ,cape ,colony4 ,a ,,south ,,african ,,arithmetic4 ,crown #hvo4 #cs4 #f;d4 ,this book has been specially written for use in ,south ,african schools4 ,hobhouse 7,emily74 ,,the ,,brunt ,,of ,,the ,,war4 ,with ,map and ,illustrations4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,hobhouse 7,l4 ,t471 ,fellow of ,c4,c4,c41 ,oxford4 ,,the ,,theory ,,of ,,knowledge4 ,demy #hvo4 #bas4 ,hobson 7,j4 ,a471 ,m4,a4 ,,problems ,,of ,,poverty3 ,an ,inquiry into the ,industrial ,condition of the ,poor4 ,fourth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,,the ,,problem ,,of ,,the ,,unemployed4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,,international ,,trade3 ,a ,study of ,economic ,principles4 ,crown #hvo4 #bs4 #f;d4 net4 ,hodgkin 7,t471 ,d4,c4,l4 ,,george ,,fox1 ,,the ,,quaker4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,hogg 7,thomas ,jefferson74 ,,shelley ,,at ,,oxford4 ,with an ,introduction by ,r4 ,a4 ,,streatfeild4 ,fcap4 #hvo4 #bs4 net4 ,holden-,stone 7,g4 de74 ,,the ,,automobile ,,industry4 ,fcap4 #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,holdich 7,sir ,t4 ,h471 ,k4,c4,i4,e4 ,,the ,,indian ,,borderland3 being a ,personal ,record of ,twenty ,years4 ,illustrated4 ,demy #hvo4 #aes4 net4 ,holdsworth 7,w4 ,s471 ,m4,a4 ,a ,,history ,,of ,,english ,,law4 ,in ,two ,volumes4 ,vol4 ,i4 ,demy #hvo4 #ajs4 #f;d4 net4 ,holyoake 7,g4 ,j474 ,,the ,,co-,,operative ,,movement ,,to-,,day4 ,third ,edition4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,hoppner1 ,a ,,little ,,gallery ,,of4 ,twenty examples in photogravure of his finest work4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,galleries4 ,horace3 ,,the ,,odes ,,and ,,epodes4 ,translated by ,a4 ,d4 ,,godley1 ,m4,a41 ,fellow of ,magdalen ,college1 ,oxford4 ,crown #hvo4 #bs4 ,classical ,translations4 ,horsburgh 7,e4 ,l4 ,s471 ,m4,a4 ,,waterloo3 ,a ,narrative and ,criticism4 ,with ,plans4 ,second ,edition4 ,crown #hvo4 #es4 ,,savonarola4 ,with ,portraits and ,illustrations4 ,second ,edition4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,horton 7,r4 ,f471 ,d4,d4 ,,john ,,howe4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,hosie 7,alexander74 ,,manchuria4 ,with ,illustrations and a ,map4 ,second ,edition4 ,demy #hvo4 #ajs4 #f;d4 net4 ,how 7,f4 ,d474 ,,six ,,great ,,schoolmasters4 ,with ,portraits4 ,demy #hvo4 #gs4 #f;d4 ,howell 7,g474 ,,trade ,,unionism--,,new ,,and ,,old4 ,third ,edition1 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,hudson 7,robert74 ,,memorials ,,of ,a ,,warwickshire ,,village4 ,with many ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 net4 ,hughes 7,c4 ,e474 ,,the ,,praise ,,of ,,shakespeare4 ,an ,english ,anthology4 ,with a ,preface by ,,sidney ,,lee4 ,demy #hvo4 #cs4 #f;d4 net4 ,hughes 7,thomas74 ,,tom ,,brown',s ,,schooldays4 ,with an ,introduction and ,notes by ,,vernon ,,rendall4 ,leather4 ,royal #cbmo4 #bs4 #f;d4 net4 ,hutchinson 7,horace ,g474 ,,the ,,new ,,forest4 ,described by4 ,illustrated in colour with #ej ,pictures by ,,walter ,,tyndale and #d by ,miss ,,lucy ,,kemp ,,welch4 ,large ,demy #hvo4 #bas4 net4 ,hutton 7,a4 ,w471 ,m4,a4 ,,cardinal ,,manning4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,hutton 7,r4 ,h474 ,,cardinal ,,newman4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,hutton 7,w4 ,h471 ,m4,a4 ,,the ,,life ,,of ,,sir ,,thomas ,,more4 ,with ,portraits4 ,second ,edition4 ,crown #hvo4 #es4 ,,william ,,laud4 ,with ,portrait4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,hyett 7,f4 ,a74 ,a ,,short ,,history ,,of ,,florence4 ,demy #hvo41 #gs4 #f;d4 net4 ,,hyperotomachia ,,poliphili ,,ubi ,,humana ,,omnia ,,non ,,nisi ,,somnium ,,esse ,,docet ,,atque ,,obiter ,,plurima ,,scitu ,,sane ,,quam ,,digna ,,commemorat4 ,an edition limited to #cej copies on handmade paper4 ,folio4 ,three ,guineas net4 ,ibsen 7,henrik74 ,,brand4 ,a ,drama4 ,translated by ,,william ,,wilson4 ,third ,edition4 ,crown #hvo4 #cs4 #f;d4 ,inge 7,w4 ,r471 ,m4,a41 ,fellow and ,tutor of ,hertford ,college1 ,oxford4 ,,christian ,,mysticism4 ,the ,bampton ,lectures for #ahii4 ,demy #hvo4 #abs4 #f;d4 net4 ,,light1 ,,life1 ,,and ,,love3 ,a ,selection from the ,german ,mystics4 ,with an ,introduction and ,notes4 ,small ,pott #hvo4 ,cloth #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,innes 7,a4 ,d471 ,m4,a4 ,a ,,history ,,of ,,the ,,british ,,in ,,india4 ,with ,maps and ,plans4 ,crown #hvo4 #gs4 #f;d4 ,jackson 7,s471 ,m4,a4 ,a ,,primer ,,of ,,business4 ,third ,edition4 ,crown #hvo4 #as4 #f;d4 ,commercial ,series4 ,jackson 7,f4 ,hamilton74 ,,sicily4 with many ,illustrations by the ,author4 ,small1 ,pott #hvo4 ,cloth1 #cs42 ,leather1 #cs4 #f;d4 net4 ,little ,guides4 ,jacob 7,f471 ,m4,a4 ,,junior ,,french ,,examination ,,papers4 ,fcap4 #hvo4 #as4 ,junior ,examination ,series4 ,jeans 7,j4 ,stephen74 ,,trusts1 ,,pools1 ,,and ,,corners4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,jeffreys 7,d4 ,gwyn74 ,,dolly',s ,,theatricals4 ,described and ,illustrated with #bd ,coloured ,pictures4 ,pott #dto4 #bs4 #f;d4 ,jenks 7,e471 ,m4,a41 ,reader of ,law in the ,university of ,oxford4 ,,english ,,local ,,government4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,jessopp 7,augustus71 ,d4,d4 ,,john ,,donne4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,jevons 7,f4 ,b471 ,m4,a41 ,litt4 ,d41 ,principal of ,hatfield ,hall1 ,durham4 ,,evolution4 ,crown #hvo4 #cs4 #f;d4 ,churchman's ,library4 ,,an ,,introduction ,,to ,,the ,,history ,,of ,,religion4 ,second ,edition4 ,demy #hvo4 #ajs4 #f;d4 ,handbooks of ,theology4 ,johnston 7,sir ,h4 ,h471 ,k4,c4,b4 ,,british ,,central ,,africa4 ,with nearly #bjj ,illustrations and ,six ,maps4 ,second ,edition4 ,crown #dto4 #ahs4 net4 ,jones 7,h474 ,a ,,guide ,,to ,,professions ,,and ,,business4 ,crown #hvo4 #as4 #f;d4 ,commercial ,series4 ,jones 7,l4 ,a4 ,atherley71 ,k4,c41 ,m4,p41 and ,bellot 7,hugh ,h4 ,l474 ,,the ,,miners' ,,guide ,,to ,,the ,,coal ,,mines' ,,regulation ,,acts4 ,crown #hvo4 #bs4 #f;d4 net4 ,nearly ,ready4 ,julian 7,lady7 of ,norwich4 ,,revelations ,,of ,,divine ,,love4 ,edited by ,,grace ,,warrack4 ,crown #hvo4 #cs4 #f;d4 ,juvenal1 ,,the ,,satires ,,of4 ,translated by ,s4 ,g4 ,,owen4 ,crown #hvo4 #bs4 #f;d4 ,classical ,translations4 ,kaufmann 7,m474 ,,socialism ,,and ,,modern ,,thought4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,keating 7,j4 ,f471 ,d4,d4 ,,the ,,agape ,,and ,,the ,,eucharist4 ,crown #hvo4 #cs4 #f;d4 ,keats 7,john71 ,,the ,,poems ,,of4 ,with an ,introduction by ,l4 ,,binyon1 and ,notes by ,j4 ,,masefield4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,keats4 ,,the ,,poems ,,of4 ,edited with ,introduction and ,notes by ,e4 ,,de ,,selincourt1 ,m4,a4 ,demy #hvo4 #gs4 #f;d4 net4 ,keble 7,john74 ,,the ,,christian ,,year4 ,with an ,introduction and ,notes by ,w4 ,,lock1 ,d4,d41 ,warden of ,keble ,college4 ,illustrated by ,r4 ,,anning ,,bell4 ,second ,edition4 ,fcap4 #hvo4 #cs4 #f;d2 padded morocco1 #es4 ,,the ,,christian ,,year4 ,with ,introduction and ,notes by ,,walter ,,lock1 ,d4,d41 ,warden of ,keble ,college4 ,second ,edition4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,,lyra ,,innocentium4 ,edited1 with ,introduction and ,notes1 by ,,walter ,,lock1 ,d4,d41 ,warden of ,keble ,college1 ,oxford4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,kempis 7,thomas 74 ,,the ,,imitation ,,of ,,christ4 ,with an ,introduction by ,,dean ,,farrar4 ,illustrated by ,c4 ,m4 ,,gere4 ,second ,edition4 ,fcap4 #hvo4 #cs4 #f;d42 padded morocco1 #es4 ,,the ,,imitation ,,of ,,christ4 ,a ,revised ,translation1 with an ,introduction by ,c4 ,,bigg1 ,d4,d41 late ,student of ,christ ,church4 ,third ,edition4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,a practically new translation of this book which the reader has1 almost for the first time1 exactly in the shape in which it left the hands of the author4 ,,the ,,same ,,edition ,,in ,,large ,,type4 ,crown #hvo4 #cs4 #f;d4 ,kennedy 7,james ,houghton71 ,d4,d41 ,assistant ,lecturer in ,divinity in the ,university of ,dublin4 ,,st4 ,,paul',s ,,second ,,and ,,third ,,epistles ,,to ,,the ,,corinthians4 ,with ,introduction1 ,dissertations and ,notes4 ,crown #hvo4 #fs4 ,kestell 7,j4 ,d474 ,,through ,,shot ,,and ,,flame3 ,being the ,adventures and ,experiences of ,j4 ,d4 ,,kestell1 ,chaplain to ,general ,christian de ,wet4 ,crown #hvo4 #fs4 ,kimmins 7,c4 ,w471 ,m4,a4 ,,the ,,chemistry ,,of ,,life ,,and ,,health4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,kinglake 7,a4 ,w474 ,,eothen4 ,with an ,introduction and ,notes4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,kipling 7,rudyard74 ,,barrack-,,room ,,ballads4 #gcrd ,thousand4 ,cr4 #hvo4 ,twentieth ,edition4 #fs4 ,a ,colonial ,edition is also published4 ,,the ,,seven ,,seas4 #fbnd ,thousand ,ninth ,edition4 ,crown #hvo1 gilt top1 #fs4 ,a ,colonial ,edition is also published4 ,,the ,,five ,,nations4 #dast ,thousand4 ,second ,edition4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,,departmental ,,ditties4 ,sixteenth ,edition4 ,crown #hvo4 ,buckram4 #fs4 ,a ,colonial ,edition is also published4 ,knowling 7,r4 ,j471 ,m4,a41 ,professor of ,new ,testament ,exegesis at ,king's ,college1 ,london4 ,,the ,,epistle ,,of ,s4 ,,james4 ,with ,introduction and ,notes4 ,demy #hvo4 #fs4 ,westminster ,commentaries4 ,lamb 7,charles and ,mary71 ,,the ,,works ,,of4 ,edited by ,e4 ,v4 ,,lucas4 ,with ,numerous ,illustrations4 ,in ,seven ,volumes4 ,demy #hvo4 #gs4 #f;d4 each4 ,,the ,,essays ,,of ,,elia4 ,with over #ajj ,illustrations by ,a4 ,,garth ,,jones1 and an ,introduction by ,e4 ,v4 ,,lucas4 ,demy #hvo4 #ajs4 #f;d4 ,,elia1 ,,and ,,the ,,last ,,essays ,,of ,,elia4 ,edited by ,e4 ,v4 ,,lucas4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,king ,,and ,,queen ,,of ,,hearts3 ,an #ahje ,book for ,children4 ,illustrated by ,,william ,,mulready4 ,a new edition1 in facsimile1 edited by ,e4 ,v4 ,,lucas1 #as4 #f;d4 ,lambert 7,f4 ,a4 ,h474 ,,surrey4 ,illustrated by ,e4 ,h4 ,,new4 ,small ,pott #hvo1 cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,lambros 7,professor74 ,,ecthesis ,,chronica4 ,edited by4 ,demy #hvo4 #gs4 #f;d4 net4 ,byzantine ,texts4 ,lane-,poole 7,stanley74 ,a ,,history ,,of ,,egypt ,,in ,,the ,,middle ,,ages4 ,fully ,illustrated4 ,crown #hvo4 #fs4 ,langbridge 7,f471 ,m4,a4 ,,ballads ,,of ,,the ,,brave3 ,poems of ,chivalry1 ,enterprise1 ,courage1 and ,constancy4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,law 7,william74 ,a ,,serious ,,call ,,to ,a ,,devout ,,and ,,holy ,,life4 ,edited1 with an ,introduction1 by ,c4 ,,bigg1 ,d4,d41 late ,student of ,christ ,church4 ,small ,pott #hvo1 cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,this is a reprint1 word for word and line for line1 of the ,editio ,princeps4 ,leach 7,henry74 ,,the ,,duke ,,of ,,devonshire4 ,a ,biography4 ,with #ab ,illustrations4 ,demy #hvo4 #abs4 #f;d4 net4 ,a ,colonial ,edition is also published4 ,lee 7,captain ,melville74 ,a ,,history ,,of ,,police ,,in ,,england4 ,crown #hvo4 #gs4 #f;d4 ,leigh 7,percival74 ,,the ,,comic ,,english ,,grammar4 ,embellished with upwards of #ej characteristic ,illustrations by ,,john ,,leech4 ,post #afmo4 #bs4 #f;d4 net4 ,lewes 7,v4 ,b471 ,m4,a4 ,,air ,,and ,,water4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,lisle 7,miss ,f4 de74 ,,burne-,,jones4 ,with #cj ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,littlehales 7,h474 ,see ,c4 ,wordsworth4 ,lock 7,walter71 ,d4,d41 ,warden of ,keble ,college4 ,,st4 ,,paul1 ,,the ,,master-,,builder4 ,crown #hvo4 #cs4 #f;d4 ,,john ,,keble4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,locker 7,f474 ,,london ,,lyrics4 ,edited by ,a4 ,d4 ,,godley1 ,m4,a4 ,small ,pott #hvo1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,longfellow1 ,,selections ,,from4 ,edited by ,,lilian ,m4 ,,faithfull4 ,small ,pott #hvo1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,lorimer 7,george ,horace74 ,,letters ,,from ,a ,,self-,,made ,,merchant ,,to ,,his ,,son4 ,eleventh ,edition4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,lover 7,samuel74 ,,handy ,,andy4 ,with #bd ,illustrations by the ,author4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,e4 ,v4 ,l4 and ,c4 ,l4 ,g4 ,,england ,,day ,,by ,,day3 ,or1 ,the ,englishman's ,handbook to ,efficiency4 ,illustrated by ,,george ,,morrow4 ,fourth ,edition4 ,fcap4 #dto4 #as4 net4 ,a burlesque ,year-,book and ,almanac4 ,lucian4 ,,six ,,dialogues 7,nigrinus1 ,icaro-,menippus1 ,the ,cock1 ,the ,ship1 ,the ,parasite1 ,the ,lover of ,falsehood74 ,translated by ,s4 ,t4 ,irwin1 ,m4,a41 ,assistant ,master at ,clifton2 late ,scholar of ,exeter ,college1 ,oxford4 ,crown #hvo4 #cs4 #f;d4 ,classical ,translations4 ,lyde 7,l4 ,w471 ,m4,a4 ,a ,,commercial ,,geography ,,of ,,the ,,british ,,empire4 ,third ,edition4 ,crown #hvo4 #bs4 ,commercial ,series4 ,lydon 7,noel ,s474 ,a ,,junior ,,geometry4 ,with numerous diagrams4 ,crown #hvo4 #bs4 ,junior ,school ,books4 ,lyttelton 7,hon4 ,mrs4 ,a474 ,,women ,,and ,,their ,,work4 ,crown #hvo4 #bs4 #f;d4 ,m4 ,m4 ,,how ,,to ,,dress ,,and ,,what ,,to ,,wear4 ,crown #hvo1 #as4 net4 ,macaulay 7,lord74 ,,critical ,,and ,,historical ,,essays4 ,edited by ,f4 ,c4 ,,montague1 ,m4,a4 ,three ,volumes4 ,cr4 #hvo4 #ahs4 ,the only edition of this book completely annotated4 ,m',allen 7,j4 ,e4 ,b471 ,m4,a4 ,,the ,,principles ,,of ,,bookkeeping ,,by ,,double ,,entry4 ,crown #hvo4 #bs4 ,commercial ,series4 ,mac,culloch 7,j4 ,a474 ,,comparative ,,theology4 ,crown #hvo4 #fs4 ,churchman's ,library4 ,mac,cunn 7,f474 ,,john ,,knox4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,mc,dermott1 7,e4 ,r471 ,editor of the ,railway ,news1 ,city ,editor of the ,daily ,news4 ,,railways4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,m',dowall 7,a4 ,s474 ,,chatham4 ,with #ab ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,mackay 7,a4 ,m474 ,,the ,,churchman',s ,,introduction ,,to ,,the ,,old ,,testament4 ,crown #hvo4 #cs4 #f;d4 ,churchman's ,library4 ,magnus 7,laurie71 ,m4,a4 ,a ,,primer ,,of ,,wordsworth4 ,crown #hvo4 #bs4 #f;d4 ,mahaffy 7,j4 ,p471 ,litt4,d4 ,a ,,history ,,of ,,the ,,egypt ,,of ,,the ,,ptolemies4 ,fully ,illustrated4 ,crown #hvo4 #fs4 ,maitland 7,f4 ,w474 ,,ll4,d41 ,downing ,professor of the ,laws of ,england in the ,university of ,cambridge4 ,,canon ,,law ,,in ,,england4 ,royal #hvo4 #gs4 #f;d4 ,malden 7,h4 ,e471 ,m4,a4 ,,english ,,records4 ,a ,companion to the ,history of ,england4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,english ,,citizen3 ,,his ,,rights ,,and ,,duties4 ,crown #hvo4 #as4 #f;d4 ,marchant 7,e4 ,c471 ,m4,a41 ,fellow of ,peterhouse1 ,cambridge4 ,a ,,greek ,,anthology4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,marchant 7,e4 ,c471 ,m4,a41 and ,cook 7,a4 ,m471 ,m4,a4 ,,passages ,,for ,,unseen ,,translation4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,marr 7,j4 ,e471 ,f4,r4,s41 ,fellow of ,st4 ,john's ,college1 ,cambridge4 ,,the ,,scientific ,,study ,,of ,,scenery4 ,second ,edition4 ,illustrated4 ,crown #hvo4 #fs4 ,,agricultural ,,geology4 ,with numerous ,illustrations4 ,crown #hvo4 #fs4 ,marvell 7,andrew74 ,,the ,,poems ,,of4 ,edited by ,,edward ,,wright4 ,small ,pott #hvo4 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,maskell 7,a474 ,,ivories4 ,with many plates in ,collotype and ,photogravure4 ,wide ,royal #hvo4 #bes4 net4 ,connoisseurs ,library4 ,mason 7,a4 ,j471 ,d4,d4 ,,thomas ,,cranmer ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,massee 7,george74 ,,the ,,evolution ,,of ,,plant ,,life3 ,lower ,forms4 ,with ,illustrations4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,masterman 7,c4 ,f4 ,g471 ,m4,a4 ,,tennyson ,,as ,a ,,religious ,,teacher4 ,crown #hvo4 #fs4 ,may 7,phil74 ,,the ,,phil ,,may ,,album4 ,second ,edition4 #dto4 #as4 net4 ,mellows 7,emma ,s474 ,a ,,short ,,story ,,of ,,english ,,literature4 ,crown #hvo4 #cs4 #f;d4 ,michell 7,e4 ,b74 ,,the ,,art ,,and ,,practice ,,of ,,hawking4 ,with #c ,photogravures by ,g4 ,e4 ,,lodge1 and other ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 ,millais 7,j4 ,g474 ,,the ,,life ,,and ,,letters ,,of ,,sir ,,john ,,everett ,,millais ,president of the ,royal ,academy4 ,with #cai ,illustrations1 of which #i are in ,photogravure4 #b vols4 ,royal #hvo4 #bjs4 net4 ,millais4 ,a ,,little ,,gallery ,,of4 ,twenty examples in ,photogravure of his finest work4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,galleries4 ,millis 7,c4 ,t471 ,m4,i4,m4,e41 ,principal of the ,borough ,polytechnic ,college4 ,,technical ,,arithmetic ,,and ,,geometry4 ,with ,diagrams4 ,crown #hvo4 #cs4 #f;d4 ,textbooks of ,technology4 ,milne 7,j4 ,g471 ,m4,a4 ,a ,,history ,,of ,,roman ,,egypt4 ,fully ,illustrated4 ,crown #hvo4 #fs4 ,milton1 ,john1 ,,the ,,poems ,,of1 ,,both ,,english ,,and ,,latin1 ,compos'd at several times4 ,printed by his true ,copies4 ,the ,songs were set in ,musick by ,mr4 ,,henry ,,lawes1 ,gentleman of the ,kings ,chappel1 and one of ,his ,majesties ,private ,musick4 ,printed and publish'd according to ,order4 ,printed by ,,ruth ,,raworth for ,,humphrey ,,moseley1 and are to be sold at the signe of the ,princes ,armes in ,pauls ,churchyard1 #afde4 ,,the ,,minor ,,poems ,,of ,,john ,,milton4 ,edited by ,h4 ,c4 ,,beeching1 ,m4,a41 ,canon of ,westminster4 ,small ,pott #hvo1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,minchin 7,h4 ,c471 ,m4,a4 ,a ,,little ,,gallery ,,of ,,english ,,poets4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,galleries4 ,mitchell 7,p4 ,chalmers71 ,m4,a4 ,,outlines ,,of ,,biology4 ,illustrated4 ,second ,edition4 ,crown #hvo4 #fs4 ,a text-book designed to cover the ,schedule issued by the ,royal ,college of ,physicians and ,surgeons4 #8,moil 7,a74' ,,mining ,,and ,,mining ,,investments4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,moir 7,d4 ,m474 ,,mansie ,,wauch4 ,edited by ,t4 ,f4 ,,henderson4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,moore 7,h4 ,e474 ,,back ,,to ,,the ,,land3 ,an ,inquiry into the cure for ,rural ,depopulation4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,morfill 7,w4 ,r471 ,oriel ,college1 ,oxford4 ,a ,,history ,,of ,,russia ,,from ,,peter ,,the ,,great ,,to ,,alexander ,,ii4 ,with ,maps and ,plans4 ,crown #hvo4 #gs4 #f;d4 ,morich 7,r4 ,j471 late of ,clifton ,college4 ,,german ,,examination ,,papers ,,in ,,miscellaneous ,,grammar ,,and ,,idioms4 ,sixth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,a ,,key1 issued to ,tutors and ,private ,students only1 to be had on application to the ,publishers4 ,second ,edition4 ,crown #hvo4 #fs4 net4 ,morris 7,j4 ,e474 ,,the ,,north ,,riding ,,of ,,yorkshire4 ,illustrated by ,r4 ,j4 ,s4 ,,bertram1 ,small ,pott #hvo4 cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,morton 7,miss ,anderson74 ,see ,miss ,brodrick4 ,moule 7,h4 ,c4 ,g471 ,d4,d41 ,lord ,bishop of ,durham4 ,,charles ,,simeon4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,muir 7,m4 ,m4 ,pattison71 ,m4,a4 ,,the ,,chemistry ,,of ,,fire4 ,the ,elementary ,principles of ,chemistry4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,mundella 7,v4 ,a471 ,m4,a4 ,see ,j4 ,t4 ,dunn4 ,naval ,officer 7,a74 ,,the ,,adventures ,,of ,a ,,post ,,captain4 ,with #bd coloured plates by ,mr4 ,,williams4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,neal 7,w4 ,g474 ,see ,r4 ,n4 ,hall4 ,newman 7,j4 ,h47 and others4 ,,lyra ,,apostolica4 ,with an ,introduction by ,,canon ,,scott ,,holland1 and ,notes by ,,canon ,,beeching1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,nichols 7,j4 ,b4 ,b474 ,a ,,little ,,book ,,of ,,english ,,sonnets4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,nicklin 7,t471 ,m4,a4 ,,examination ,,papers ,,in ,,thucydides4 ,crown #hvo4 #bs4 ,nimrod4 ,,the ,,life ,,and ,,death ,,of ,,john ,,mytton1 ,,esq4 ,with #ah ,coloured ,plates by ,,henry ,,alken and ,t4 ,j4 ,,rawlins4 ,third ,edition4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,the ,,life ,,of ,a ,,sportsman4 ,with #ce ,coloured ,plates by ,,henry ,,alken4 ,fcap4 #hvo4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,norway 7,a4 ,h471 ,author of #8,highways and ,byways in ,devon and ,cornwall4' ,,naples3 ,,past ,,and ,,present4 ,with many ,illustrations4 ,crown #hvo4 #fs4 ,novalis4 ,,the ,,disciples at ,,sa,s ,,and ,,other ,,fragments4 ,edited by ,miss ,,una ,,birch4 ,fcap4 #hvo4 #cs4 #f;d4 ,oliphant 7,mrs474 ,,thomas ,,chalmers4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,oman 7,c4 ,w471 ,m4,a41 ,fellow of ,all ,souls'1 ,oxford4 ,a ,,history of ,,the ,,art ,,of ,,war4 ,vol4 ,,ii43 ,the ,middle ,ages1 from the ,fourth to the ,fourteenth ,century4 ,illustrated4 ,demy #hvo4 #bas4 ,ottley 7,r4 ,l471 ,d4,d41 ,professor of ,pastoral ,theology at ,oxford and ,canon of ,christ ,church4 ,,the ,,doctrine ,,of ,,the ,,incarnation4 ,second and ,cheaper ,edition4 ,demy #hvo4 #abs4 #f;d4 ,handbooks of ,theology4 ,,lancelot ,,andrewes4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,overton 7,j4 ,h471 ,m4,a4 ,,john ,,wesley4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,owen 7,douglas71 ,barrister-at-,law1 ,secretary to the ,alliance ,marine and ,general ,assurance ,company4 ,,ports ,,and ,,docks4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,oxford 7,m4 ,n471 of ,guy's ,hospital4 ,a ,,handbook ,,of ,,nursing4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,pakes 7,w4 ,c4 ,c74 ,,the ,,science ,,of ,,hygiene4 ,with numerous ,illustrations4 ,demy #hvo4 #aes4 ,parkinson 7,john74 ,,paradisi ,,in ,,sole ,,paradisus ,,terristris1 ,,or ,a ,,garden ,,of ,,all ,,sorts ,,of ,,pleasant ,,flowers4 ,folio4 #b1 #bs4 net4 ,also an ,edition of #bj copies on ,japanese vellum4 ,ten ,guineas net4 ,parmenter 7,john74 ,,helio-,,tropes1 ,,or ,,new ,,posies ,,for ,,sundials1 #afbe4 ,edited by ,,percival ,,landon4 ,quarto4 #cs4 #f;d4 net4 ,parmentier 7,prof4 ,lon7 and ,bidez 7,m474 ,,evagrius4 ,demy #hvo4 #ajs4 #f;d4 net4 ,byzantine ,texts4 ,pascal1 ,,the ,,thoughts ,,of4 ,with ,introduction and ,notes by ,c4 ,s4 ,,jerram4 ,small ,pott #hvo4 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,paston 7,george74 ,,authors ,,and ,,artists ,,of ,,english ,,coloured ,,books4 ,illustrated4 ,fcap4 #hvo4 #bs4 #f;d4 net4 ,,romney4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,patterson 7,a4 ,h474 ,,notes ,,of ,,an ,,east ,,coast ,,naturalist4 ,illustrated in ,colour by ,f4 ,,southgate4 ,cr4 #hvo4 #fs4 ,peacock 7,miss74 ,,millet4 ,with #cj ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,pearce 7,e4 ,h471 ,m4,a4 ,,the ,,annals ,,of ,,christ',s ,,hospital4 ,with many ,illustrations4 ,demy #hvo4 #gs4 #f;d4 ,peary 7,r4 ,e471 ,gold ,medallist of the ,royal ,geographical ,society4 ,,northward ,,over ,,the ,,great ,,ice4 ,with over #hjj ,illustrations4 #b vols4 ,royal #hvo4 #cbs4 net4 ,peel 7,sidney71 late ,fellow of ,trinity ,college1 ,oxford1 and ,secretary to the ,royal ,commission on the ,licensing ,laws4 ,,practical ,,licensing ,,reform4 ,second ,edition4 ,crown #hvo4 #as4 #f;d4 ,peters 7,j4 ,p471 ,d4,d4 ,,the ,,old ,,testament ,,and ,,the ,,new ,,scholarship4 ,cr4 #hvo4 #fs4 ,churchman's ,library4 ,petrie 7,w4 ,m4 ,flinders71 ,d4,c4,l41 ,,ll4,d41 ,professor of ,egyptology at ,university ,college4 ,a ,,history ,,of ,,egypt1 ,,from ,,the ,,earliest ,,times ,,to ,,the ,,present ,,day4 ,fully ,illustrated4 ,in six volumes4 ,crown #hvo4 #fs4 each4 ,,vol4 ,i4 ,,prehistoric ,,times ,,to ,,xvith ,,dynasty4 ,fifth ,edition4 ,,vol4 ,,ii4 ,,the ,,xviith ,,and ,,xviiith ,,dynasties4 ,fourth ,edition4 ,,vol4 ,,iv4 ,,the ,,egypt ,,of ,,the ,,ptolemies4 ,j4 ,p4 ,,mahaffy1 ,litt4,d4 ,,vol4 ,v4 ,,roman ,,egypt4 ,j4 ,g4 ,,milne1 ,m4,a4 ,,vol4 ,,vi4 ,,egypt ,,in ,,the ,,middle ,,ages4 ,,stanley ,,lane-,,poole1 ,m4,a4 ,,religion ,,and ,,conscience ,,in ,,ancient ,,egypt4 ,fully ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,,syria ,,and ,,egypt1 ,,from ,,the ,,tell ,,el ,,amarna ,,tablets4 ,crown #hvo4 #bs4 #f;d4 ,,egyptian ,,tales4 ,illustrated by ,,tristram ,,ellis4 ,in ,two ,volumes4 ,crown #hvo4 #cs4 #f;d4 each4 ,,egyptian ,,decorative ,,art4 ,with #abj ,illustrations4 ,crown #hvo4 #cs4 #f;d4 ,phillips 7,w4 ,a474 ,,canning4 ,with #ab ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,phillpotts 7,eden74 ,,my ,,devon ,,year4 ,with #ch ,illustrations by ,j4 ,,ley ,,pethybridge4 ,large ,crown #hvo4 #fs4 ,pienaar 7,philip74 ,,with ,,steyn ,,and ,,de ,,wet4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,plautus4 ,,the ,,captivi4 ,edited1 with an ,introduction1 ,textual ,notes1 and a ,commentary1 by ,w4 ,m4 ,,lindsay1 ,fellow of ,jesus ,college1 ,oxford4 ,demy #hvo4 #ajs4 #f;d4 net4 ,plowden-,wardlaw 7,j4 ,t471 ,b4,a41 ,king's ,coll4 ,cam4 ,,examination ,,papers ,,in ,,english ,,history4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,pocock 7,roger74 ,a ,,frontiersman4 ,third ,edition4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,podmore 7,frank74 ,,modern ,,spiritualism4 ,two ,volumes4 ,demy #hvo4 #bas4 net4 ,a ,history and a ,criticism4 ,poer 7,j4 ,patrick ,la74 ,a ,,modern ,,legionary4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,pollard 7,alice7 and ,birnstingl 7,ethel74 ,,corot4 ,with #cj ,illustrations4 ,demy #afmo4 ,little ,books on ,art4 ,pollard 7,a4 ,w474 ,,old ,,picture ,,books4 ,with many ,illustrations4 ,demy #hvo4 #gs4 #f;d4 net4 ,pollard 7,eliza ,f474 ,,greuze ,,and ,,boucher4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,pollock 7,david71 ,m4,i4,n4,a41 ,author of ,modern ,shipbuilding and the ,men engaged in it etc41 etc4 ,,the ,,shipbuilding ,,industry4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,potter 7,m4 ,c471 ,m4,a41 ,f4,l4,s4 ,a ,,text-,,book ,,of ,,agricultural ,,botany4 ,illustrated4 ,second ,edition4 ,crown #hvo4 #ds4 #f;d4 ,university ,extension ,series4 ,potter ,boy 7,an ,old74 ,,when ,i ,,was ,a ,,child4 ,crown #hvo4 #fs4 ,pradeau 7,g474 ,a ,,key ,,to ,,the ,,time ,,allusions ,,in ,,the ,,divine ,,comedy4 ,with a ,dial4 ,small quarto4 #cs4 #f;d4 ,prance 7,g474 ,see ,r4 ,wyon4 ,prescott 7,o4 ,l474 ,,about ,,music1 ,,and ,,what ,,it ,,is ,,made ,,of4 ,crown #hvo4 #cs4 #f;d4 net4 ,price 7,l4 ,l471 ,m4,a41 ,fellow of ,oriel ,college1 ,oxon4 ,a ,,history ,,of ,,english ,,political ,,economy4 ,fourth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,primrose 7,deborah74 ,a ,,modern ,b,,otia4 ,cr4 #hvo4 #fs4 ,nearly ,ready4 ,,protection ,,and ,,industry4 ,by various ,writers4 ,crown #hvo4 #as4 #f;d4 net4 ,pugin and ,rowlandson4 ,,the ,,microcosm ,,of ,,london1 ,,or ,,london ,,in ,,miniature4 ,with #ajd ,illustrations in colour4 ,in ,three ,volumes4 ,small #dto4 8,q40 ,,the ,,golden ,,pomp4 ,a ,procession of ,english ,lyrics4 ,arranged by ,a4 ,t4 ,,quiller ,,couch4 ,crown #hvo4 ,buckram4 #fs4 ,,quevedo ,,villegas1 ,,the ,,visions ,,of ,,dom ,,francisco ,,de1 ,knight of the ,order of ,st4 ,james4 ,made ,english by ,r4 ,l4 ,from the edition printed for ,h4 ,herringman1 #affh4 ,leather1 #bs4 net4 ,miniature ,library4 ,g4 ,r4 and ,e4 ,s4 ,,the ,,woodhouse ,,correspondence4 ,crown #hvo4 #fs4 ,rackham 7,r4 ,b471 ,m4,a4 ,,the ,,acts ,,of ,,the ,,apostles4 ,with an ,introduction and ,notes4 ,demy #hvo4 ,new and ,cheaper ,ed4 #ajs4 #f;d4 ,westminster ,commentaries4 ,randolph 7,b4 ,w471 ,d4,d41 ,principal of the ,theological ,college1 ,ely4 ,,the ,,psalms ,,of ,,david4 ,with an ,introduction and ,notes4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,rannie 7,d4 ,w471 ,m4,a4 ,a ,,student',s ,,history ,,of ,,scotland4 ,cr4 #hvo4 #cs4 #f;d4 ,rashdall 7,hastings71 ,m4,a41 ,fellow and ,tutor of ,new ,college1 ,oxford4 ,,doctrine ,,and ,,development4 ,crown #hvo4 #fs4 ,rawstorne 7,lawrence1 ,esq474 ,,gamonia3 or1 ,the ,art of ,preserving ,game2 and an ,improved ,method of making plantations and covers1 explained and illustrated by4 ,with #ae ,coloured ,drawings by ,t4 ,,rawlins4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,a ,real ,paddy4 ,,real ,,life ,,in ,,ireland1 or ,the ,day and ,night ,scenes of ,brian ,boru1 ,esq41 and his ,elegant ,friend1 ,sir ,shawn ,o',dogherty4 ,with #ai ,coloured ,plates by ,,heath1 ,,marks1 etc4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,reason 7,w471 ,m4,a4 ,,university ,,and ,,social ,,settlements4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,redfern 7,w4 ,b471 ,author of #8,ancient ,wood and ,iron ,work in ,cambridge1' etc4 ,,royal ,,and ,,historic ,,gloves ,,and ,,ancient ,,shoes4 ,profusely ,illustrated in colour and half-tone4 ,quarto1 #b1 #bs4 net4 ,reynolds1 ,a ,,little ,,gallery ,,of4 ,twenty examples in photogravure of his finest work4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,galleries4 ,roberts 7,m4 ,e474 ,see ,c4 ,c4 ,channer4 ,robertson1 7,a471 ,d4,d41 ,lord ,bishop of ,exeter4 ,,regnum ,,dei4 ,the ,bampton ,lectures of #aija4 ,demy #hvo4 #abs4 #f;d4 net4 ,robertson 7,c4 ,grant71 ,m4,a41 ,fellow of ,all ,souls' ,college1 ,oxford1 ,examiner in the ,honour ,school of ,modern ,history1 ,oxford1 #aija-aijd4 ,,select ,,statutes1 ,,cases1 ,,and ,,constitutional ,,documents1 #affj-ahcb4 ,demy #hvo4 #ajs4 #f;d4 net4 ,robertson 7,sir ,g4 ,s471 ,k4,c4,s4,i4 ,,chitral3 ,the ,story of a ,minor ,siege4 ,with numerous ,illustrations1 ,map and ,plans4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,robinson 7,a4 ,w471 ,m4,a4 ,,the ,,epistle ,,to ,,the ,,galatians4 ,with an ,introduction and ,notes4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,churchman's ,bible4 ,robinson 7,cecilia74 ,,the ,,ministry ,,of ,,deaconesses4 ,with an ,introduction by the late ,archbishop of ,canterbury4 ,crown #hvo4 #cs4 #f;d4 ,rochefoucauld 7,la71 ,,the ,,maxims ,,of4 ,translated by ,,dean ,,stanhope4 ,edited by ,g4 ,h4 ,,powell4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,rodwell 7,g471 ,b4,a4 ,,new ,,testament ,,greek4 ,a ,course for ,beginners4 ,with a ,preface by ,,walter ,,lock1 ,d4,d41 ,warden of ,keble ,college4 ,fcap4 #hvo4 #cs4 #f;d4 ,roe 7,fred74 ,,ancient ,,coffers ,,and ,,cupboards3 ,their ,history and ,description4 ,with many ,illustrations4 ,quarto4 #c1 #cs4 net4 ,rogers 7,a4 ,g4 ,l471 ,m4,a41 ,editor of the last volume of ,the ,history of ,agriculture and ,prices in ,england4 ,,the ,,agricultural ,,industry4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,romney4 ,a ,,little ,,gallery ,,of4 ,twenty examples in ,photogravure of his best work4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,galleries4 ,roscoe 7,e4 ,s474 ,,robert ,,harley1 ,,earl ,,of ,,oxford4 ,illustrated4 ,demy #hvo4 #gs4 #f;d4 ,this is the only life of ,harley in existence4 ,,buckinghamshire4 ,illustrated by ,f4 ,d4 ,,bedford4 ,small ,pott #hvo41 ,cloth1 #cs42 leather1 #cs4 #f;d4 ,little ,guides4 ,rose 7,edward74 ,,the ,,rose ,,reader4 ,with numerous ,illustrations4 ,crown #hvo4 #bs4 #f;d4 ,also in #d ,parts4 ,parts ,i4 and ,,ii4 #f;d4 each2 ,part ,,iii4 #h;d42 ,part ,,iv4 #aj;d4 ,rubie 7,a4 ,e471 ,m4,a41 ,head ,master of ,college1 ,eltham4 ,,the ,,gospel ,,according ,,to ,,st4 ,,mark4 ,with three ,maps4 ,crown #hvo4 #as4 #f;d4 ,junior ,school ,books4 ,,the ,,acts ,,of ,,the ,,apostles4 ,crown #hvo4 #bs4 ,junior ,school ,books4 ,,the ,,first ,,book ,,of ,,kings4 ,with ,notes4 ,crown #hvo4 #as4 #f;d4 ,junior ,school ,books4 ,russell 7,w4 ,clark74 ,,the ,,life ,,of ,,admiral ,,lord ,,collingwood4 ,with ,illustrations by ,f4 ,,brangwyn4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,st4 ,anselm1 ,,the ,,devotions ,,of4 ,edited by ,c4 ,c4 ,j4 ,,webb1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,st4 ,augustine1 ,,the ,,confessions ,,of4 ,newly ,translated1 with an ,introduction and ,notes1 by ,c4 ,,bigg1 ,d4,d41 late ,student of ,christ ,church4 ,third ,edition4 ,small ,pott #hvo4 ,cloth1 #bs2 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 #8,saki' 7,munro ,h474 ,,reginald4 ,fcap4 #bs4 #f;d4 net4 ,sales 7,st4 ,francis de74 ,,on ,,the ,,love ,,of ,,god4 ,edited by ,w4 ,j4 ,,knox-,,little1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,salmon 7,a4 ,l474 ,,cornwall4 ,illustrated by ,b4 ,c4 ,,boulter4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,a ,,popular ,,guide ,,to ,,devon4 ,medium #hvo4 #f;d4 net4 ,sargeaunt 7,j471 ,m4,a4 ,,annals ,,of ,,westminster ,,school4 ,with numerous ,illustrations4 ,demy #hvo4 #gs4 #f;d4 ,sathas 7,c74 ,,the ,,history ,,of ,,psellus4 ,demy #hvo4 #aes4 net4 ,byzantine ,texts4 ,schmitt 7,john74 ,,the ,,chronicle ,,of ,,morea4 ,demy #hvo4 #aes4 net4 ,byzantine ,texts4 ,seeley 7,h4 ,g47 ,f4,r4,s4 ,,dragons ,,of ,,the ,,air4 ,with many ,illustrations4 ,crown #hvo4 #fs4 ,sells 7,v4 ,p471 ,m4,a4 ,,the ,,mechanics ,,of ,,daily ,,life4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,selous 7,edmund74 ,,tommy ,,smith',s ,,animals4 ,illustrated by ,g4 ,w4 ,,ord4 ,second ,edition4 ,fcap4 #hvo4 #bs4 #f;d4 ,settle 7,j4 ,h474 ,,anecdotes ,,of ,,british ,,soldiers4 ,crown #hvo4 #cs4 #f;d4 net4 ,a ,colonial ,edition is also published4 ,shakespeare 7,william74 ,,the ,,four ,,folios1 #afbc2 #afcb2 #affd2 #afhe4 ,each ,four ,guineas net1 or a complete set1 ,twelve ,guineas net4 ,the ,arden ,shakespeare4 ,demy #hvo4 #c4 #f;d4 each volume4 ,general ,editor1 ,w4 ,j4 ,,craig4 ,an ,edition of ,shakespeare in single ,plays4 ,edited with a full ,introduction1 ,textual ,notes1 and a ,commentary at the foot of the page4 ,,hamlet4 ,edited by ,,edward ,,dowden1 ,litt4 ,d4 ,,romeo ,,and ,,juliet4 ,edited by ,,edward ,,dowden1 ,litt4 ,d4 ,,king ,,lear4 ,edited by ,w4 ,j4 ,,craig4 ,,julius ,c,,sar4 ,edited by ,m4 ,,macmillan1 ,m4,a4 ,,the ,,tempest4 ,edited by ,,morton ,,luce4 ,,othello4 ,edited by ,h4 ,c4 ,,hart4 ,,cymbeline4 ,edited by ,,edward ,,dowden4 ,,titus ,,andronicus4 ,edited by ,h4 ,b4 ,,baildon4 ,,the ,,merry ,,wives ,,of ,,windsor4 ,edited by ,h4 ,c4 ,,hart4 ,,midsummer ,,night',s ,,dream4 ,edited by ,h4 ,,cuningham4 ,,king ,,henry ,v4 ,edited by ,h4 ,a4 ,,evans4 ,,titus ,,andronicus4 ,edited by ,h4 ,b4 ,,baildon4 ,,all',s ,,well ,,that ,,ends ,,well4 ,edited by ,w4 ,o4 ,,brigstocke4 ,,the ,,taming ,,of ,,the ,,shrew4 ,edited by ,r4 ,m4 ,,bond4 ,the ,little ,quarto ,shakespeare4 ,pott #afmo4 ,leather1 price #as4 net each volume4 ,,two ,,gentlemen ,,of ,,verona4 ,a ,,comedy ,,of ,,errors4 ,,the ,,tempest4 ,,the ,,merry ,,wives ,,of ,,windsor4 ,,measure ,,for ,,measure4 ,,love',s ,,labour',s ,,lost4 ,a ,,midsummer ,,night',s ,,dream4 ,,much ,,ado ,,about ,,nothing4 ,,as ,,you ,,like ,,it4 ,,the ,,merchant ,,of ,,venice4 ,,all',s ,,well ,,that ,,ends ,,well4 ,a ,,winter',s ,,tale4 ,,the ,,taming ,,of ,,the ,,shrew4 ,,twelfth ,,night4 ,,king ,,john4 ,,king ,,richard ,,ii4 ,,king ,,henry ,,iv4 ,part ,i4 ,,king ,,henry ,,iv4 ,part ,,ii4 ,,king ,,henry ,v4 ,,king ,,henry ,,vi4 ,part ,i4 ,,king ,,henry ,,vi4 ,part ,,ii4 ,,king ,,henry ,,vi4 ,part ,,iii4 ,,king ,,richard ,,iii4 ,,king ,,henry ,,viii4 ,,troilus ,,and ,,cressida4 ,,coriolanus4 ,,titus ,,andronicus4 ,,romeo ,,and ,,juliet4 ,,timon ,,of ,,athens4 ,,julius ,c,,sar4 ,sharp 7,a474 ,,victorian ,,poets4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,sharp 7,mrs4 ,e4 ,a474 ,,rembrandt4 ,with #cj ,illustrations1 ,demy #hvo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,shedlock 7,j4 ,s474 ,,the ,,pianoforte ,,sonata3 ,its ,origin and ,development4 ,crown #hvo4 #es4 ,shelley 7,percy ,b474 ,,adonais2 an ,elegy on the death of ,john ,keats1 ,author of ,endymion1 etc4 ,pisa4 ,from the types of ,didot1 #ahba4 #bs4 net4 ,sherwell7,arthur71 ,m4,a4 ,,life ,,in ,,west ,,london4 ,third ,edition4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,sichel 7,walter74 ,,disraeli3 ,a ,study in ,personality and ,ideas4 ,with #c ,portraits4 ,demy #hvo4 #abs4 #f;d4 net4 ,a ,colonial ,edition is also published4 ,,beaconsfield4 ,with #ab ,illustrations4 ,fcap4 #hvo1 cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,sime 7,j474 ,,reynolds4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,simonson 7,g4 ,a474 ,,francesco ,,guardi4 ,with #cb ,plates4 ,royal folio4 #b1 #bs4 net4 ,sketchley 7,r4 ,e4 ,d474 ,,watts4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,skipton 7,h4 ,p4 ,r474 ,,hoppner4 ,with numerous ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,sladen 7,douglas74 ,,sicily4 ,with over #bjj ,illustrations4 ,crown #hvo4 #es4 net4 ,small 7,evan71 ,m4,a4 ,,the ,,earth4 ,an ,introduction to ,physiography4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,smallwood1 7,m4 ,g474 ,,vandyck4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,smedley 7,f4 ,e474 ,,frank ,,fairlegh4 ,with #bh ,plates by ,,george ,,cruikshank4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,smith 7,adam74 ,,the ,,wealth ,,of ,,nations4 ,edited with an ,introduction and numerous ,notes by ,,edwin ,,cannan1 ,m4,a4 ,two volumes4 ,demy #hvo4 #bas4 net4 ,smith 7,horace and ,james74 ,,rejected ,,addresses4 ,edited by ,a4 ,d4 ,,godley1 ,m4,a4 ,small ,pott #hvo1 cloth1 #as4 #f;d4 net42 leather1 #bs4 #f;d4 net4 ,little ,library4 ,snell 7,f4 ,j474 ,a ,,book ,,of ,,exmoor4 ,illustrated4 ,crown #hvo4 #fs4 ,sophocles4 ,,electra ,,and ,,ajax4 ,translated by ,e4 ,d4 ,a4 ,,morshead1 ,m4,a41 ,assistant ,master at ,winchester4 #bs4 #f;d4 ,classical ,translations4 ,sornet 7,l4 ,a471 and ,acatos 7,m4 ,j471 ,modern ,language ,masters at ,king ,edward's ,school1 ,birmingham4 ,a ,,junior ,,french ,,grammar4 ,crown #hvo4 #bs4 ,junior ,school ,books4 ,south 7,wilton ,e471 ,m4,a4 ,,the ,,gospel ,,according ,,to ,,st4 ,,matthew4 ,crown #hvo4 #as4 #f;d4 ,junior ,school ,books4 ,southey 7,r47 ,,english ,,seamen4 ,vol4 ,i4 7,howard1 ,clifford1 ,hawkins1 ,drake1 ,cavendish74 ,edited1 with an ,introduction1 by ,,david ,,hannay4 ,second ,edition4 ,crown #hvo4 #fs4 ,vol4 ,,ii4 7,richard ,hawkins1 ,grenville1 ,essex1 and ,raleigh74 ,crown #hvo4 #fs4 ,spence 7,c4 ,h471 ,m4,a41 ,clifton ,college4 ,,history ,,and ,,geography ,,examination ,,papers4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,spooner 7,w4 ,a471 ,m4,a41 ,warden of ,new ,college1 ,oxford4 ,,bishop ,,butler4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,leaders of ,religion4 ,stanbridge 7,j4 ,w471 ,b4,d41 late ,canon of ,york1 and sometime ,fellow of ,st4 ,john's ,college1 ,oxford4 ,a ,,book ,,of ,,devotions4 ,second ,edition4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 #8,stancliffe4' ,,golf ,,do',s ,,and ,,dont',s4 ,second ,edition4 ,fcap4 #hvo4 #as4 ,stedman 7,a4 ,m4 ,m471 ,m4,a4 ,,initia ,,latina3 ,easy ,lessons on ,elementary ,accidence4 ,sixth ,edition4 ,fcap4 #hvo4 #as4 ,,first ,,latin ,,lessons4 ,eighth ,edition4 ,crown #hvo4 #bs4 ,,first ,,latin ,,reader4 ,with ,notes adapted to the ,shorter ,latin ,primer and ,vocabulary4 ,sixth ,edition revised4 #ahmo4 #as4 #f;d4 ,,easy ,,selections ,,from ,c,,sar4 ,the ,helvetian ,war4 ,second ,edition4 #ahmo4 #as4 ,,easy ,,selections ,,from ,,livy4 ,part ,i4 ,the ,kings of ,rome4 #ahmo4 ,second ,edition1 #as4 #f;d4 ,,easy ,,latin ,,passages ,,for ,,unseen ,,translation4 ,ninth ,edition4 ,fcap4 #hvo4 #as4 #f;d4 ,,exempla ,,latina4 ,first ,exercises in ,latin ,accidence4 ,with ,vocabulary4 ,third ,edition4 ,crown #hvo4 #as4 ,,easy ,,latin ,,exercises ,,on ,,the ,,syntax ,,of ,,the ,,shorter ,,and ,,revised ,,latin ,,primer4 ,with ,vocabulary4 ,ninth and ,cheaper ,edition1 re-written4 ,crown #hvo4 #as4 #f;d4 ,,key1 #cs4 net4 ,original ,edition4 #bs4 #f;d4 ,,the ,,latin ,,compound ,,sentence3 ,rules and ,exercises4 ,second ,edition4 ,crown #hvo4 #as4 #f;d4 ,with ,vocabulary4 #bs4 ,,notanda ,,quaedam3 ,miscellaneous ,latin ,exercises on ,common ,rules and ,idioms4 ,fourth ,edition4 ,fcap4 #hvo4 #as4 #f;d4 ,with ,vocabulary4 #bs4 ,key1 #bs4 net4 ,,latin ,,vocabularies ,,for ,,repetition3 ,arranged according to ,subjects4 ,eleventh ,edition4 ,fcap4 #hvo4 #as4 #f;d4 ,a ,,vocabulary ,,of ,,latin ,,idioms4 #ahmo4 ,second ,edition4 #as4 ,,steps ,,to ,,greek4 ,second ,edition1 revised4 #ahmo4 #as4 ,a ,,shorter ,,greek ,,primer4 ,crown #hvo4 #as4 #f;d4 ,,easy ,,greek ,,passages ,,for ,,unseen ,,translation4 ,third ,edition1 revised4 ,fcap4 #hvo4 #as4 #f;d4 ,,greek ,,vocabularies ,,for ,,repetition4 ,arranged according to ,subjects4 ,third ,edition4 ,fcap4 #hvo4 #as4 #f;d4 ,,greek ,,testament ,,selections4 ,for the use of ,schools4 ,with ,introduction1 ,notes1 and ,vocabulary4 ,third ,edition4 ,fcap4 #hvo4 #bs4 #f;d4 ,,steps ,,to ,,french4 ,sixth ,edition4 #ahmo4 #h;d4 ,,first ,,french ,,lessons4 ,sixth ,edition1 revised4 ,crown #hvo4 #as4 ,,easy ,,french ,,passages ,,for ,,unseen ,,translation4 ,fifth ,edition1 revised4 ,fcap4 #hvo4 #as4 #f;d4 ,,easy ,,french ,,exercises ,,on ,,elementary ,,syntax4 ,with ,vocabulary4 ,fourth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,,key1 #cs4 net4 ,,french ,,vocabularies ,,for ,,repetition3 ,arranged according to ,subjects4 ,twelfth ,edition4 ,fcap4 #hvo4 #as4 ,,french ,,examination ,,papers ,,in ,,miscellaneous ,,grammar ,,and ,,idioms4 ,twelfth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,a ,,key1 issued to ,tutors and ,private ,students only1 to be had on application to the ,publishers4 ,fifth ,edition4 ,crown #hvo4 #fs4 net4 ,,general ,,knowledge ,,examination ,,papers4 ,fifth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,,key 7,third ,edition7 issued as above4 #gs4 net4 ,,greek ,,examination ,,papers ,,in ,,miscellaneous ,,grammar ,,and ,,idioms4 ,seventh ,edition4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,,key 7,third ,edition7 issued as above4 #fs4 net4 ,,latin ,,examination ,,papers ,,in ,,miscellaneous ,,grammar ,,and ,,idioms4 ,twelfth ,edition4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,,key 7,fifth ,edition7 issued as above4 #fs4 net4 ,steel 7,r4 ,elliott71 ,m4,a41 ,f4,c4,s4 ,,the ,,world ,,of ,,science4 ,including ,chemistry1 ,heat1 ,light1 ,sound1 ,magnetism1 ,electricity1 ,botany1 ,zoology1 ,physiology1 ,astronomy1 and ,geology4 #adg ,illustrations4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,,physics ,,examination ,,papers4 ,crown #hvo4 #bs4 #f;d4 ,school ,examination ,series4 ,stephenson 7,c471 of the ,technical ,college1 ,bradford1 and ,suddards 7,f47 of the ,yorkshire ,college1 ,leeds4 ,,ornamental ,,design ,,for ,,woven ,,fabrics4 ,illustrated4 ,demy #hvo4 ,second ,edition4 #gs4 #f;d4 ,stephenson 7,j471 ,m4,a4 ,,the ,,chief ,,truths ,,of ,,the ,,christian ,,faith4 ,crown #hvo4 #cs4 #f;d4 ,sterne 7,laurence74 ,a ,,sentimental ,,journey4 ,edited by ,h4 ,w4 ,paul4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,sterry 7,w471 ,m4,a4 ,,annals ,,of ,,eton ,,college4 ,with numerous ,illustrations4 ,demy #hvo4 #gs4 #f;d4 ,steuart 7,katherine74 ,,by ,,allan ,,water4 ,second ,edition4 ,crown #hvo4 #fs4 ,stevenson 7,r4 ,l474 ,,the ,,letters ,,of ,,robert ,,louis ,,stevenson ,,to ,,his ,,family ,,and ,,friends4 ,selected and ,edited1 with ,notes and ,introductions1 by ,,sidney ,,colvin4 ,sixth and ,cheaper ,edition4 ,crown #hvo4 #abs4 ,,library ,,edition4 ,demy #hvo4 #b vols4 #bes4 net4 ,a ,colonial ,edition is also published4 ,,vailima ,,letters4 ,with an ,etched ,portrait by ,,william ,,strang4 ,third ,edition4 ,crown #hvo4 ,buckram4 #fs4 ,a ,colonial ,edition is also published4 ,,the ,,life ,,of ,r4 ,l4 ,,stevenson4 ,see ,g4 ,balfour4 ,stevenson 7,m4 ,i471 ,,from ,,saranac ,,to ,,the ,,marquesas4 ,being ,letters written by ,mrs4 ,m4 ,i4 ,,stevenson during #ahhg-h to her sister1 ,miss ,,jane ,,whyte ,,balfour4 ,with an ,introduction by ,,george ,w4 ,,balfour1 ,m4,d41 ,,ll4,d41 ,f4,r4,s4,s4 ,crown #hvo4 #fs4 net4 ,a ,colonial ,edition is also published4 ,stoddart 7,anna ,m474 ,,st4 ,,francis ,,of ,,assisi4 ,with #af ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,stone 7,e4 ,d471 ,m4,a41 late ,assistant ,master at ,eton4 ,,selections ,,from ,,the ,,odyssey4 ,fcap4 #hvo4 #as4 #f;d4 ,stone 7,s4 ,j474 ,,poems ,,and ,,hymns4 ,with a ,memoir by ,f4 ,g4 ,,ellerton1 ,m4,a4 ,with ,portrait4 ,crown #hvo4 #fs4 ,straker 7,f471 ,assoc4 of the ,institute of ,bankers1 and ,lecturer to the ,london ,chamber of ,commerce4 ,,the ,,money ,,market4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,streane 7,a4 ,w471 ,d4,d4 ,,ecclesiastes4 ,with an ,introduction and ,notes4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,churchman's ,bible4 ,stroud 7,h471 ,d4,sc41 ,m4,a41 ,professor of ,physics in the ,durham ,college of ,science1 ,newcastle-on-,tyne4 ,,practical ,,physics4 ,fully ,illustrated4 ,crown #hvo4 #cs4 #f;d4 ,textbooks of ,technology4 ,strutt 7,joseph74 ,,the ,,sports ,,and ,,pastimes ,,of ,,the ,,people ,,of ,,england4 ,illustrated by many engravings4 ,revised by ,j4 ,charles ,cox1 ,,ll4,d41 ,f4,s4,a4 ,quarto4 #bas4 net4 ,stuart 7,capt4 ,donald74 ,,the ,,struggle ,,for ,,persia4 ,with a ,map4 ,crown #hvo4 #fs4 ,suckling 7,sir ,john74 ,,fragmenta ,,aurea3 a ,collection of all the ,incomparable ,peeces1 written by4 ,and published by a friend to perpetuate his memory4 ,printed by his own copies4 ,printed for ,,humphrey ,,moseley1 and are to be sold at his shop1 at the sign of the ,princes ,arms in ,st4 ,paul's ,churchyard1 #afdf4 ,suddards 7,f474 ,see ,c4 ,stephenson4 ,surtees 7,r4 ,s474 ,,handley ,,cross4 ,with #ag ,coloured ,plates and #ajj ,woodcuts in the ,text by ,,john ,,leech4 ,fcap4 #hvo4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,mr4 ,,sponge',s ,,sporting ,,tour4 ,with #ac ,coloured ,plates and #ij ,woodcuts in the ,text by ,,john ,,leech4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,jorrocks' ,,jaunts ,,and ,,jollities4 ,with #ae ,coloured ,plates by ,h4 ,,alken4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,,ask ,,mamma4 ,with #ac ,coloured ,plates and #gj ,woodcuts in the ,text by ,,john ,,leech4 ,fcap4 #hvo4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,illustrated ,pocket ,library4 ,nearly ,ready4 ,swift 7,jonathan74 ,,the ,,journal ,,to ,,stella4 ,edited by ,g4 ,a4 ,,aitken4 ,crown #hvo4 #fs4 ,symes 7,j4 ,e471 ,m4,a4 ,,the ,,french ,,revolution4 ,second ,edition4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,syrett 7,netta74 ,a ,,school ,,year4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,tacitus4 ,,agricola4 ,with ,introduction1 ,notes1 ,map1 etc4 ,by ,r4 ,f4 ,,davis1 ,m4,a41 late ,assistant ,master at ,weymouth ,college4 ,crown #hvo4 #bs4 ,,germania4 ,by the same ,editor4 ,crown #hvo4 #bs4 ,,agricola ,,and ,,germania4 ,translated by ,r4 ,b4 ,,townshend1 late ,scholar of ,trinity ,college1 ,cambridge4 ,crown #hvo4 #bs4 #f;d4 ,classical ,translations4 ,tauler 7,j474 ,,the ,,inner ,,way4 ,being ,thirty-six ,sermons for ,festivals by ,,john ,,tauler4 ,edited by ,a4 ,w4 ,,hutton1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,taunton 7,e4 ,l474 ,a ,,history ,,of ,,the ,,jesuits ,,in ,,england4 ,with ,illustrations4 ,demy #hvo4 #bas4 net4 ,taylor 7,a4 ,e474 ,,the ,,elements ,,of ,,metaphysics4 ,demy #hvo4 #ajs4 #f;d4 net4 ,taylor 7,f4 ,g471 ,m4,a4 ,,commercial ,,arithmetic4 ,third ,edition4 ,crown #hvo4 #as4 #f;d4 ,commercial ,series4 ,taylor 7,miss ,j4 ,a474 ,,sir ,,walter ,,raleigh4 ,with #ab ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,taylor 7,t4 ,m471 ,m4,a41 ,fellow of ,gonville and ,caius ,college1 ,cambridge4 ,a ,,constitutional ,,and ,,political ,,history ,,of ,,rome4 ,crown #hvo4 #gs4 #f;d4 ,tennyson 7,alfred1 ,lord74 ,,the ,,early ,,poems ,,of4 ,edited1 with ,notes and an ,introduction1 by ,j4 ,,churton ,,collins1 ,m4,a4 ,crown #hvo4 #fs4 ,,in ,,memoriam1 ,,maud1 ,,and ,,the ,,princess4 ,edited by ,j4 ,,churton ,,collins1 ,m4,a4 ,crown #hvo4 #fs4 ,,maud4 ,edited by ,,elizabeth ,,wordsworth4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,in ,,memoriam4 ,edited by ,h4 ,c4 ,,beeching1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,early ,,poems ,,of4 ,edited by ,j4 ,c4 ,,collins1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,the ,,princess4 ,edited by ,,elizabeth ,,wordsworth4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,terry 7,c4 ,s474 ,,the ,,young ,,pretender4 ,with #ab ,illustrations4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,terton 7,alice74 ,,lights ,,and ,,shadows ,,in ,a ,,hospital4 ,crown #hvo4 #cs4 #f;d4 ,thackeray 7,w4 ,m474 ,,vanity ,,fair4 ,edited by ,,stephen ,,gwynn4 ,three ,volumes4 ,small ,pott #hvo4 ,each volume1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,pendennis4 ,edited by ,,stephen ,,gwynn4 ,three ,volumes4 ,small ,pott #hvo4 ,each volume1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,esmond4 ,edited by ,,stephen ,,gwynn4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,christmas ,,books4 ,edited by ,,stephen ,,gwynn4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,theobald 7,f4 ,w471 ,m4,a4 ,,insect ,,life4 ,illustrated4 ,crown #hvo4 #bs4 #f;d4 ,university ,extension ,series4 ,thompson 7,a4 ,h474 ,,cambridge ,,and ,,its ,,colleges4 ,illustrated by ,e4 ,h4 ,,new4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,tileston 7,mary ,w474 ,,daily ,,strength ,,for ,,daily ,,needs4 ,fcap4 #hvo4 #cs4 #f;d4 ,also editions in superior binding #es4 and #fs4 ,tompkins 7,h4 ,w471 ,f4,r4,h4,s4 ,,hertfordshire4 ,illustrated by ,e4 ,h4 ,,new4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,townley 7,lady ,susan74 ,,my ,,chinese ,,note-,,book4 ,with #af ,illustrations4 ,demy #hvo4 #ajs4 #f;d4 net4 ,a ,colonial ,edition is also published4 ,toynbee 7,paget71 ,m4,a41 ,d4,litt4 ,,dante ,,studies ,,and ,,researches4 ,demy #hvo4 #ajs4 #f;d4 net4 ,,dante ,,alighieri4 ,with #ab ,illustrations4 ,second ,edition4 ,fcap4 #hvo4 ,cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,little ,biographies4 ,trench 7,herbert74 ,,deirdre ,,wed3 and ,other ,poems4 ,crown #hvo4 #es4 ,trevelyan 7,g4 ,m471 ,fellow of ,trinity ,college1 ,cambridge4 ,,england ,,under ,,the ,,stuarts4 ,demy #hvo4 #ajs4 #f;d4 net4 ,troutbeck 7,g4 ,e474 ,,westminster ,,abbey4 ,illustrated by ,f4 ,d4 ,,bedford4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,tuckwell 7,gertrude74 ,,the ,,state ,,and ,,its ,,children4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,twining 7,louisa74 ,,workhouses ,,and ,,pauperism4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,tyler 7,e4 ,a471 ,b4,a41 ,f4,c4,s4 ,a ,,junior ,,chemistry4 ,crown #hvo4 #bs4 #f;d4 ,junior ,school ,books4 ,tyrell-,gill 7,frances74 ,,turner4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,vaughan 7,henry71 ,,the ,,poems ,,of4 ,edited by ,,edward ,,hutton4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,voegelin 7,a471 ,m4,a4 ,,junior ,,german ,,examination ,,papers4 ,fcap4 #hvo4 #as4 ,junior ,examination ,series4 ,wade 7,g4 ,w471 ,d4,d4 ,,old ,,testament ,,history4 ,with ,maps4 ,second ,edition4 ,crown #hvo4 #fs4 ,this book presents a connected account of the ,hebrew people during the period covered by the ,old ,testament2 and has been drawn up from the ,scripture records in accordance with the methods of historical criticism4 ,wagner 7,richard74 ,see ,a4 ,l4 ,,cleather4 ,wall 7,j4 ,c47 ,,devils4 ,illustrated by the ,author4 ,demy #hvo4 #ds4 #f;d4 net4 ,walters 7,h4 ,b474 ,,greek ,,art4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,walton 7,izaac7 and ,cotton 7,charles74 ,,the ,,compleat ,,angler4 ,with #ad ,plates and #gg ,woodcuts in the ,text4 ,fcap #hvo4 #cs4 #f;d4 net4 ,illustrated ,pocket ,library4 ,this volume is reproduced from the beautiful edition of ,john ,major of #ahbd-e4 ,,the ,,compleat ,,angler4 ,edited by ,j4 ,,buchan4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,warmelo 7,d4 ,s4 ,van74 ,,on ,,commando4 ,with ,portrait4 ,crown #hvo4 #cs4 #f;d4 ,waterhouse 7,mrs4 ,alfred74 ,a ,,little ,,book ,,of ,,life ,,and ,,death4 ,selected4 ,fourth ,edition4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,,with ,,the ,,simple-,,hearted3 ,little ,homilies to ,women in ,country ,places4 ,fcap4 #hvo4 #bs4 net4 ,weatherhead 7,t4 ,c471 ,m4,a4 ,,examination ,,papers ,,in ,,horace4 ,crown #hvo4 #bs4 ,,junior ,,greek ,,examination ,,papers4 ,fcap4 #hvo4 #as4 ,junior ,examination ,series4 ,webb 7,w4 ,t474 ,a ,,book ,,of ,,bad ,,children4 ,with #ej ,illustrations by ,h4 ,c4 ,,sandy4 ,demy #afmo4 #bs4 #f;d4 ,little ,blue ,books4 ,webber 7,p4 ,c474 ,,carpentry ,,and ,,joinery4 ,with many ,illustrations4 ,third ,edition4 ,crown #hvo4 #cs4 #f;d4 ,wells 7,sidney ,h474 ,,practical ,,mechanics4 ,with #ge ,illustrations and ,diagrams4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,textbooks of ,technology4 ,wells 7,j471 ,m4,a41 ,fellow and ,tutor of ,wadham ,college4 ,,oxford ,,and ,,oxford ,,life4 ,by ,members of the ,university4 ,third ,edition ,crown #hvo4 #cs4 #f;d4 ,a ,,short ,,history ,,of ,,rome4 ,fifth ,edition4 ,with #c ,maps4 ,cr4 #hvo4 #cs4 #f;d4 ,this book is intended for the ,middle and ,upper ,forms of ,public ,schools and for ,pass ,students at the ,universities4 ,it contains copious ,tables1 etc4 ,,oxford ,,and ,,its ,,colleges4 ,illustrated by ,e4 ,h4 ,,new4 ,fifth ,edition4 ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,wetmore 7,helen ,c474 ,,the ,,last ,,of ,,the ,,great ,,scouts 7#8,buffalo ,bill'74 ,with ,illustrations4 ,second ,edition4 ,demy #hvo4 #fs4 ,whibley 7,c474 ,see ,henley and ,whibley4 ,whibley 7,l471 ,m4,a41 ,fellow of ,pembroke ,college1 ,cambridge4 ,,greek ,,oligarchies3 ,,their ,,organisation ,,and ,,character4 ,crown #hvo4 #fs4 ,whitaker 7,g4 ,h471 ,m4,a4 ,,the ,,epistle ,,of ,,st4 ,,paul ,,the ,,apostle ,,to ,,the ,,ephesians4 ,with an ,introduction and ,notes4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,churchman's ,bible4 ,white 7,gilbert74 ,,the ,,natural ,,history ,,of ,,selborne4 ,edited by ,l4 ,c4 ,,miall1 ,f4,r4,s41 assisted by ,w4 ,,warde ,,fowler1 ,m4,a4 ,crown #hvo4 #fs4 ,whitfield 7,e4 ,e474 ,,precis ,,writing ,,and ,,office ,,correspondence4 ,second ,edition4 ,crown #hvo4 #bs4 ,commercial ,series4 ,,commercial ,,education ,,in ,,theory ,,and ,,practice4 ,crown #hvo4 #es4 ,commercial ,series4 ,an introduction to ,methuen's ,commercial ,series treating the question of ,commercial ,education fully from both the point of view of the teacher and of the parent4 ,whitehead 7,a4 ,w474 ,,coligny4 ,with many ,illustrations4 ,demy #hvo4 #abs4 #f;d4 net4 ,whitley 7,miss74 ,see ,lady ,dilke4 ,whyte 7,a4 ,g471 ,b4,sc41 ,editor of ,electrical ,investments4 ,,the ,,electrical ,,industry4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,wilberforce 7,wilfrid7 and ,gilbert 7,a4 ,r474 ,,velasquez4 ,with many ,illustrations4 ,demy #afmo4 #bs4 #f;d4 net4 ,little ,books on ,art4 ,wilkins 7,w4 ,h471 ,b4,a4 ,,the ,,alien ,,invasion4 ,crown #hvo4 #bs4 #f;d4 ,social ,questions ,series4 ,williamson 7,w474 ,,the ,,british ,,gardener4 ,illustrated4 ,demy #hvo4 #ajs4 #f;d4 ,williamson 7,w471 ,b4,a4 ,,junior ,,english ,,examination ,,papers4 ,fcap4 #hvo4 #as4 ,junior ,examination ,series4 ,a ,,junior ,,english ,,grammar4 ,with numerous passages for parsing and analysis1 and a chapter on ,essay ,writing4 ,crown #hvo4 #bs4 ,junior ,school ,books4 ,a ,,class-,,book ,,of ,,dictation ,,passages4 ,eighth ,edition4 ,crown #hvo4 #as4 #f;d4 ,junior ,school ,books4 ,,easy ,,dictation ,,and ,,spelling4 ,third ,edition4 ,fcap4 #hvo4 #as4 ,wilmot-,buxton 7,e4 ,m474 ,,the ,,makers ,,of ,,europe4 ,crown #hvo4 ,second ,edition4 #cs4 #f;d4 ,a ,text-book of ,european ,history for ,middle ,forms4 ,,the ,,story ,,of ,,the ,,ancient ,,world4 ,with ,maps and ,illustrations4 ,crown #hvo4 #cs4 #f;d4 ,wilson 7,bishop74 ,,sacra ,,privata4 ,edited by ,a4 ,e4 ,,burn1 ,b4,d4 ,small ,pott #hvo4 ,cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,library of ,devotion4 ,wilson 7,a4 ,j471 ,editor of the ,investor's ,review1 ,city ,editor of the ,daily ,chronicle4 ,,the ,,insurance ,,industry4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,wilson 7,h4 ,a474 ,,law ,,in ,,business4 ,crown #hvo4 #bs4 #f;d4 net4 ,books on ,business4 ,willson 7,beckles74 ,,lord ,,strathcona3 the ,story of his ,life4 ,illustrated4 ,demy #hvo4 #gs4 #f;d4 ,a ,colonial ,edition is also published4 ,wilton 7,richard71 ,m4,a4 ,,lyra ,,pastoralis3 ,songs of ,nature1 ,church1 and ,home4 ,pott #hvo4 #bs4 #f;d4 ,a volume of devotional poems4 ,winbolt 7,s4 ,e471 ,m4,a41 ,assistant ,master in ,christ's ,hospital4 ,,exercises ,,in ,,latin ,,accidence4 ,crown #hvo4 #as4 #f;d4 ,an elementary book adapted for ,lower ,forms to accompany the ,shorter ,latin ,primer4 ,,latin ,,hexameter ,,verse3 ,an ,aid to ,composition4 ,crown #hvo4 #cs4 #f;d4 ,,key1 #es4 net4 ,windle 7,b4 ,c4 ,a471 ,d4,sc41 ,f4,r4,s4 ,,shakespeare',s ,,country4 ,illustrated by ,e4 ,h4 ,,new4 ,second ,edition4 ,small ,pott #hvo4 cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,the ,,malvern ,,country4 ,illustrated by ,e4 ,h4 ,,new4 ,small ,pott #hvo4 ,cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,little ,guides4 ,,remains ,,of ,,the ,,prehistoric ,,age ,,in ,,england4 ,with numerous ,illustrations and ,plans4 ,demy #hvo4 #gs4 #f;d4 net4 ,antiquary's ,books4 ,,chester4 ,illustrated by ,e4 ,h4 ,,new4 ,crown #hvo4 #cs4 #f;d4 net4 ,ancient ,cities4 ,winterbotham 7,canon71 ,m4,a41 ,b4,sc41 ,,ll4,b4 ,,the ,,kingdom ,,of ,,heaven ,,here ,,and ,,hereafter4 ,crown #hvo4 #cs4 #f;d4 ,churchman's ,library4 ,wood 7,j4 ,a4 ,e474 ,,how ,,to ,,make ,a ,,dress4 ,illustrated4 ,third ,edition4 ,cr4 #hvo4 #as4 #f;d4 ,textbooks of ,technology4 ,wordsworth 7,christopher71 ,m4,a41 and ,littlehales 7,henry74 ,,old ,,service ,,books ,,of ,,the ,,english ,,church4 ,with ,coloured and other ,illustrations4 ,demy #hvo4 #gs4 #f;d4 net4 ,antiquary's ,books4 ,wordsworth 7,w474 ,,selections4 ,edited by ,,nowell ,c4 ,,smith1 ,m4,a4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,wordsworth 7,w47 and ,coleridge 7,s4 ,t474 ,,lyrical ,,ballads4 ,edited by ,,george ,,sampson4 ,small ,pott #hvo4 ,cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,little ,library4 ,wright 7,arthur71 ,m4,a41 ,fellow of ,queen's ,college1 ,cambridge4 ,,some ,,new ,,testament ,,problems4 ,crown #hvo4 #fs4 ,churchman's ,library4 ,wright 7,sophie74 ,,german ,,vocabularies ,,for ,,repetition4 ,fcap4 #hvo4 #as4 #f;d4 ,wylde 7,a4 ,b474 ,,modern ,,abyssinia4 ,with a ,map and a ,portrait4 ,demy #hvo4 #aes4 net4 ,wyndham 7,g471 ,m4,p4 ,,the ,,poems ,,of ,,william ,,shakespeare4 ,with an ,introduction and ,notes4 ,demy #hvo4 ,buckram1 gilt top4 #ajs4 #f;d4 ,wyon 7,r47 and ,prance 7,g474 ,,the ,,land ,,of ,,the ,,black ,,mountain4 ,being a description of ,montenegro4 ,with #dj ,illustrations4 ,crown #hvo4 #fs4 ,a ,colonial ,edition is also published4 ,yeats 7,w4 ,b474 ,,an ,,anthology ,,of ,,irish ,,verse4 ,revised and ,enlarged ,edition4 ,crown #hvo4 #cs4 #f;d4 ,yendis 7,m474 ,,the ,,great ,,red ,,frog4 ,a ,story told in #dj ,coloured ,pictures4 ,fcap4 #hvo4 #as4 net4 ,young 7,filson74 ,,the ,,complete ,,motorist4 ,with many ,illustrations4 ,demy #hvo4 #abs4 #f;d4 net4 ,young 7,t4 ,m474 ,,the ,,american ,,cotton ,,industry3 ,a ,study of ,work and ,workers4 ,with an ,introduction by ,,elijah ,,helm1 ,secretary to the ,manchester ,chamber of ,commerce4 ,crown #hvo4 ,cloth1 #bs #f;d42 paper boards1 #as4 #f;d4 ,antiquary's ,books1 ,the ,general ,editor1 ,j4 ,,charles ,,cox1 ,,ll4,d41 ,f4,s4,a4 ,,english ,,monastic ,,life4 ,by the ,right ,rev4 ,abbot ,gasquet1 ,o4,s4,b4 ,illustrated4 ,demy #hvo4 #gs4 #f;d4 net4 ,,remains ,,of ,,the ,,prehistoric ,,age ,,in ,,england4 ,by ,b4 ,c4 ,a4 ,windle1 ,d4,sc41 ,f4,r4,s4 ,with numerous ,illustrations and ,plans4 ,demy #hvo4 #gs4 #f;d4 net4 ,,old ,,service ,,books ,,of ,,the ,,english ,,church4 ,by ,christopher ,wordsworth1 ,m4,a41 and ,henry ,littlehales4 ,with ,coloured and other ,illustrations4 ,demy #hvo4 #gs4 #f;d4 net4 ,,celtic ,,art4 ,by ,j4 ,romilly ,allen1 ,f4,s4,a4 ,with numerous ,illustrations and ,plans4 ,demy #hvo4 #gs4 #f;d4 net4 ,business1 ,books on ,crown #hvo4 #bs4 #f;d4 net4 ,the first ,twelve volumes are-- ,,ports ,,and ,,docks4 ,by ,douglas ,owen4 ,,railways4 ,by ,e4 ,r4 ,mc,dermott4 ,,the ,,stock ,,exchange4 ,by ,chas4 ,duguid4 ,second ,edition4 ,,the ,,insurance ,,industry4 ,by ,a4 ,j4 ,wilson4 ,,the ,,electrical ,,industry4 ,by ,a4 ,g4 ,whyte1 ,b4,,sc4 ,,the ,,shipbuilding ,,industry4 ,by ,david ,pollock1 ,m4,i4,n4,a4 ,,the ,,money ,,market4 ,by ,f4 ,straker4 ,,the ,,agricultural ,,industry4 ,by ,a4 ,g4 ,l4 ,rogers1 ,m4,a4 ,,law ,,in ,,business4 ,by ,h4 ,a4 ,wilson4 ,,the ,,brewing ,,industry4 ,by ,julian ,l4 ,baker1 ,f4,i4,c41 ,f4,c4,s4 ,,the ,,automobile ,,industry4 ,by ,g4 de ,h4 ,stone4 ,,mining ,,and ,,mining ,,investments4 ,by ,a4 ,moil4 ,byzantine ,texts ,edited by ,j4 ,b4 ,,bury1 ,m4,a41 ,litt4,d4 ,,zachariah ,,of ,,mitylene4 ,translated by ,f4 ,j4 ,hamilton1 ,d4,d41 and ,e4 ,w4 ,brooks4 ,demy #hvo4 #abs4 #f;d4 net4 ,,evagrius4 ,edited by ,lon ,parmentier and ,m4 ,bidez4 ,demy #hvo4 #ajs4 #f;d4 net4 ,,the ,,history ,,of ,,psellus4 ,edited by ,c4 ,sathas4 ,demy #hvo4 #aes4 net4 ,,ecthesis ,,chronica4 ,edited by ,professor ,lambros4 ,demy #hvo4 #gs4 #f;d4 net4 ,,the ,,chronicle ,,of ,,morea4 ,edited by ,john ,schmitt4 ,demy #hvo4 #aes4 net4 ,churchman's ,bible1 ,the ,general ,editor1 ,j4 ,h4 ,,burn1 ,b4,d41 ,f4,r4,s4,e4 ,the volumes are practical and devotional1 and the text of the ,authorised ,version is explained in sections1 which correspond as far as possible with the ,church ,lectionary4 ,,the ,,epistle ,,to ,,the ,,galatians4 ,edited by ,a4 ,w4 ,robinson1 ,m4,a4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,,ecclesiastes4 ,edited by ,a4 ,w4 ,streane1 ,d4,d4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,,the ,,epistle ,,to ,,the ,,philippians4 ,edited by ,c4 ,r4 ,d4 ,biggs1 ,d4,d4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,,the ,,epistle ,,of ,,st4 ,,james4 ,edited by ,h4 ,w4 ,fulford1 ,m4,a4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,,isaiah4 ,edited by ,w4 ,e4 ,barnes1 ,d4,d41 ,hulsaean ,professor of ,divinity4 ,two ,volumes4 ,fcap4 #hvo4 #bs4 net each4 ,with ,map4 ,,the ,,epistle ,,of ,,st4 ,,paul ,,the ,,apostle ,,to ,,the ,,ephesians4 ,edited by ,g4 ,h4 ,whitaker1 ,m4,a4 ,fcap4 #hvo4 #as4 #f;d4 net4 ,churchman's ,library1 ,the ,general ,editor1 ,j4 ,h4 ,,burn1 ,b4,d41 ,f4,r4,s4,e4 ,,the ,,beginnings ,,of ,,english ,,christianity4 ,by ,w4 ,e4 ,collins1 ,m4,a4 ,with ,map4 ,crown #hvo4 #cs4 #f;d4 ,,some ,,new ,,testament ,,problems4 ,by ,arthur ,wright1 ,m4,a4 ,crown #hvo4 #fs4 ,,the ,,kingdom ,,of ,,heaven ,,here ,,and ,,hereafter4 ,by ,canon ,winterbotham1 ,m4,a41 ,b4,sc41 ,,ll4,b4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,workmanship ,,of ,,the ,,prayer ,,book3 ,its ,literary and ,liturgical ,aspects4 ,by ,j4 ,dowden1 ,d4,d4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,,evolution4 ,by ,f4 ,b4 ,jevons1 ,m4,a41 ,litt4,d4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,old ,,testament ,,and ,,the ,,new ,,scholarship4 ,by ,j4 ,w4 ,peters1 ,d4,d4 ,crown #hvo4 #fs4 ,,the ,,churchman',s ,,introduction ,,to ,,the ,,old ,,testament4 ,edited by ,a4 ,m4 ,mackay1 ,b4,a4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,church ,,of ,,christ4 ,by ,e4 ,t4 ,green1 ,m4,a4 ,crown #hvo4 #fs4 ,,comparative ,,theology4 ,by ,j4 ,a4 ,mac,culloch4 ,crown #hvo4 #fs4 ,classical ,translations ,edited by ,h4 ,f4 ,,fox1 ,m4,a41 ,fellow and ,tutor of ,brasenose ,college1 ,oxford4 ,crown #hvo4 ,,schylus--,agamemnon1 ,choephoroe1 ,eumenides4 ,translated by ,lewis ,campbell1 ,,ll4,d4 #es4 ,,cicero--,de ,oratore ,i4 ,translated by ,e4 ,n4 ,p4 ,moor1 ,m4,a4 #cs4 #f;d4 ,,cicero--,select ,orations 7,pro ,milone1 ,pro ,mureno1 ,philippic ,,ii41 in ,catilinam74 ,translated by ,h4 ,e4 ,d4 ,blakiston1 ,m4,a4 #es4 ,,cicero--,de ,natura ,deorum4 ,translated by ,f4 ,brooks1 ,m4,a4 #cs4 #f;d4 ,,cicero--,de ,officiis4 ,translated by ,g4 ,b4 ,gardiner1 ,m4,a4 #bs4 #f;d4 ,,horace--,the ,odes and ,epodes4 ,translated by ,a4 ,godley1 ,m4,a4 #bs4 ,,lucian--,six ,dialogues 7,nigrinus1 ,icaro-,menippus1 ,the ,cock1 ,the ,ship1 ,the ,parasite1 ,the ,lover of ,falsehood74 ,translated by ,s4 ,t4 ,irwin1 ,m4,a4 #cs4 #f;d4 ,,sophocles--,electra and ,ajax4 ,translated by ,e4 ,d4 ,a4 ,morshead4 ,m4,a4 #bs4 #f;d4 ,,tacitus--,agricola and ,germania4 ,translated by ,r4 ,b4 ,townshend4 #bs4 #f;d4 ,,the ,,satires ,,of ,,juvenal4 ,translated by ,s4 ,g4 ,owen4 ,crown #hvo4 #bs4 #f;d4 ,commercial ,series1 ,methuen's ,edited by ,h4 ,,de ,b4 ,,gibbins1 ,litt4,d41 ,m4,a4 ,crown #hvo4 ,,commercial ,,education ,,in ,,theory ,,and ,,practice4 ,by ,e4 ,e4 ,whitfield1 ,m4,a4 #es4 ,an introduction to ,methuen's ,commercial ,series treating the question of ,commercial ,education fully from both the point of view of the teacher and of the parent4 ,,british ,,commerce ,,and ,,colonies ,,from ,,elizabeth ,,to ,,victoria4 ,by ,h4 de ,b4 ,gibbins1 ,litt4,d41 ,m4,a4 ,third ,edition4 #bs4 ,,commercial ,,examination ,,papers4 ,by ,h4 de ,b4 ,gibbins1 ,litt4,d41 ,m4,a4 #as4 #f;d4 ,,the ,,economics ,,of ,,commerce4 ,by ,h4 de ,b4 ,gibbins1 ,litt4,d41 ,m4,a4 #as4 #f;d4 ,a ,,german ,,commercial ,,reader4 ,by ,s4 ,e4 ,bally1 ,with ,vocabulary4 #bs4 ,a ,,commercial ,,geography ,,of ,,the ,,british ,,empire4 ,by ,l4 ,w4 ,lyde1 ,m4,a4 ,third ,edition4 #bs4 ,a ,,primer ,,of ,,business4 ,by ,s4 ,jackson1 ,m4,a4 ,third ,edition4 #as4 #f;d4 ,,commercial ,,arithmetic4 ,by ,f4 ,g4 ,taylor1 ,m4,a4 ,third ,edition4 #as4 #f;d4 ,,french ,,commercial ,,correspondence4 ,by ,s4 ,e4 ,bally4 ,with ,vocabulary4 ,third ,edition4 #bs4 ,,german ,,commercial ,,correspondence4 ,by ,s4 ,e4 ,bally4 ,with ,vocabulary4 #bs4 #f;d4 ,a ,,french ,,commercial ,,reader4 ,by ,s4 ,e4 ,bally4 ,with ,vocabulary4 ,second ,edition4 #bs4 ,,precis ,,writing ,,and ,,office ,,correspondence4 ,by ,e4 ,e4 ,whitfield1 ,m4,a4 ,second ,edition4 #bs4 ,a ,,guide ,,to ,,professions ,,and ,,business4 ,by ,h4 ,jones4 #as4 #f;d4 ,,the ,,principles ,,of ,,book-,,keeping ,,by ,,double ,,entry4 ,by ,j4 ,e4 ,b4 ,m',allen1 ,m4,a4 #bs4 ,,commercial ,,law4 ,by ,w4 ,douglas ,edwards4 #bs4 ,connoisseurs ,library1 ,the ,wide ,royal #hvo4 #bes4 net4 ,the first volumes are-- ,,mezzotints4 ,by ,cyril ,davenport4 ,,miniatures4 ,by ,dudley ,heath4 ,,porcelain4 ,by ,edward ,dillon4 ,,ivories4 ,by ,a4 ,maskell4 ,devotion1 ,the ,library of ,with ,introductions and 7where necessary7 ,notes4 ,small ,pott #hvo1 cloth1 #bs42 leather1 #bs4 #f;d4 net4 ,,the ,,confessions ,,of ,,st4 ,,augustine4 ,edited by ,c4 ,bigg1 ,d4,d4 ,third ,edition4 ,,the ,,christian ,,year4 ,edited by ,walter ,lock1 ,d4,d4 ,second ,edition4 ,,the ,,imitation ,,of ,,christ4 ,edited by ,c4 ,bigg1 ,d4,d4 ,second ,edition4 ,a ,,book ,,of ,,devotions4 ,edited by ,j4 ,w4 ,stanbridge1 ,b4,d4 ,second ,edition4 ,,lyra ,,innocentium4 ,edited by ,walter ,lock1 ,d4,d4 ,a ,,serious ,,call ,,to ,a ,,devout ,,and ,,holy ,,life4 ,edited by ,c4 ,bigg1 ,d4,d4 ,second ,edition4 ,,the ,,temple4 ,edited by ,e4 ,c4 ,s4 ,gibson1 ,d4,d4 ,a ,,guide ,,to ,,eternity4 ,edited by ,j4 ,w4 ,stanbridge1 ,b4,d4 ,,the ,,psalms ,,of ,,david4 ,edited by ,b4 ,w4 ,randolph1 ,d4,d4 ,,lyra ,,apostolica4 ,edited by ,canon ,scott ,holland and ,canon ,h4 ,c4 ,beeching1 ,m4,a4 ,,the ,,inner ,,way4 ,edited by ,a4 ,w4 ,hutton1 ,m4,a4 ,,the ,,thoughts ,,of ,,pascal4 ,edited by ,c4 ,s4 ,jerram1 ,m4,a4 ,,on ,,the ,,love ,,of ,,god4 ,by ,st4 ,francis de ,sales ,edited by ,w4 ,j4 ,knox-,little1 ,m4,a4 ,a ,,manual ,,of ,,consolation ,,from ,,the ,,saints ,,and ,,fathers4 ,edited by ,j4 ,h4 ,burn1 ,b4,d4 ,,the ,,song ,,of ,,songs4 ,edited by ,b4 ,blaxland1 ,m4,a4 ,,the ,,devotions ,,of ,,st4 ,,anselm4 ,edited by ,c4 ,c4 ,j4 ,webb1 ,m4,a4 ,,grace ,,abounding4 ,by ,john ,bunyan4 ,edited by ,s4 ,c4 ,freer1 ,m4,a4 ,,bishop ,,wilson',s ,,sacra ,,privata4 ,edited by ,a4 ,e4 ,burn1 ,b4,d4 ,,lyra ,,sacra3 ,a ,book of ,sacred ,verse4 ,edited by ,h4 ,c4 ,beeching1 ,m4,a41 ,canon of ,westminster4 ,a ,,day ,,book ,,from ,,the ,,saints ,,and ,,fathers4 ,edited by ,j4 ,h4 ,burn1 ,b4,d4 ,,heavenly ,,wisdom4 ,a ,selection from the ,english ,mystics4 ,edited by ,e4 ,c4 ,gregory4 ,,light1 ,,life1 ,,and ,,love4 ,a ,selection from the ,german ,mystics4 ,edited by ,w4 ,r4 ,inge1 ,m4,a4 ,illustrated ,pocket ,library of ,plain and ,coloured ,books1 ,the ,fcap4 #hvo4 #cs4 #f;d4 net to #ds4 #f;d4 net each volume4 ,a series1 in small form1 of some of the famous illustrated books of fiction and general literature4 ,these are faithfully reprinted from the first or best editions without introduction or notes4 ,,coloured ,,books ,,the ,,life ,,and ,,death ,,of ,,john ,,mytton1 ,,esq4 ,by ,nimrod4 ,with #ah ,coloured ,plates by ,henry ,alken and ,t4 ,j4 ,rawlins4 ,third ,edition4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,life ,,of ,a ,,sportsman4 ,by ,nimrod4 ,with #ce ,coloured ,plates by ,henry ,alken4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,handley ,,cross4 ,by ,r4 ,s4 ,surtees4 ,with #ag ,coloured ,plates and #ajj ,woodcuts in the ,text by ,john ,leech4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,mr4 ,,sponge',s ,,sporting ,,tour4 ,by ,r4 ,s4 ,surtees4 ,with #ac ,coloured ,plates and #ij ,woodcuts in the ,text by ,john ,leech4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,jorrocks' ,,jaunts1 ,,and ,,jollities4 ,by ,r4 ,s4 ,surtees4 ,with #ae ,coloured ,plates by ,h4 ,alken4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,this volume is reprinted from the extremely rare and costly edition of #ahdc1 which contains ,alken's very fine illustrations instead of the usual ones by ,phiz4 ,,ask ,,mamma4 ,by ,r4 ,s4 ,surtees4 ,with #ac ,coloured ,plates and #gj ,woodcuts in the ,text by ,john ,leech4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,analysis ,,of ,,the ,,hunting ,,field4 ,by ,r4 ,s4 ,surtees4 ,with #g ,coloured ,plates by ,henry ,alken1 and #dc ,illustrations on ,wood4 #cs4 #f;d4 net4 ,,the ,,tour ,,of ,,dr4 ,,syntax ,,in ,,search ,,of ,,the ,,picturesque4 ,by ,william ,combe4 ,with #cj ,coloured ,plates by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,tour ,,of ,,doctor ,,syntax ,,in ,,search ,,of ,,consolation4 ,by ,william ,combe4 ,with #bd ,coloured ,plates by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,third ,,tour ,,of ,,doctor ,,syntax ,,in ,,search ,,of ,a ,,wife4 ,by ,william ,combe4 ,with #bd ,coloured ,plates by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,history ,,of ,,johnny ,,quae ,,genus3 the ,little ,foundling of the late ,dr4 ,syntax4 ,by the ,author of #8,the ,three ,tours4' ,with #bd ,coloured ,plates by ,rowlandson4 #cs4 #f;d4 net4 #ajj copies on large ,japanese paper4 #bas4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,english ,,dance ,,of ,,death1 from the ,designs of ,t4 ,rowlandson1 with ,metrical ,illustrations by the ,author of #8,doctor ,syntax4' ,two ,volumes1 #is4 net4 ,this book contains #gf ,coloured ,plates4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,the ,,dance ,,of ,,life3 ,a ,poem4 ,by the ,author of #8,doctor ,syntax4' ,illustrated with #bf ,coloured ,engravings by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,life ,,in ,,london3 or1 the ,day and ,night ,scenes of ,jerry ,hawthorn1 ,esq41 and his ,elegant ,friend1 ,corinthian ,tom4 ,by ,pierce ,egan4 ,with #cf ,coloured ,plates by ,i4 ,r4 and ,g4 ,cruikshank4 ,with numerous ,designs on ,wood4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,,real ,,life ,,in ,,london3 or1 the ,rambles and ,adventures of ,bob ,tallyho1 ,esq41 and his ,cousin1 ,the ,hon4 ,tom ,dashall4 ,by an ,amateur 7,pierce ,egan74 ,with #ca ,coloured ,plates by ,alken and ,rowlandson1 etc4 ,two ,volumes4 #is4 net4 ,,the ,,life ,,of ,,an ,,actor4 ,by ,pierce ,egan4 ,with #bg ,coloured ,plates by ,theodore ,lane1 and several ,designs on ,wood4 #ds4 #f;d4 net4 ,,the ,,vicar ,,of ,,wakefield4 ,by ,oliver ,goldsmith4 ,with #bd ,coloured ,plates by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs net4 ,a reproduction of a very rare book4 ,,the ,,military ,,adventures ,,of ,,johnny ,,newcome4 ,by an ,officer4 ,with #ae ,coloured ,plates by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,,the ,,national ,,sports ,,of ,,great ,,britain4 ,with ,descriptions and #ea ,coloured ,plates by ,henry ,alken4 #ds4 #f;d4 net4 ,also a limited edition on large ,japanese paper4 #cjs4 net4 ,this book is completely different from the large folio edition of #8,national ,sports' by the same artist1 and none of the plates are similar4 ,,the ,,adventures ,,of ,a ,,post ,,captain4 ,by ,a ,naval ,officer4 ,with #bd ,coloured ,plates by ,mr4 ,williams4 #cs4 #f;d4 net4 ,,gamonia3 or1 the ,art of ,preserving ,game2 and an ,improved ,method of making ,plantations and ,covers1 explained and illustrated by ,lawrence ,rawstorne1 ,esq4 ,with #ae ,coloured ,plates by ,t4 ,rawlins4 #cs4 #f;d4 net4 ,,an ,,academy ,,for ,,grown ,,horsemen3 ,containing the completest ,instructions for ,walking1 ,trotting1 ,cantering1 ,galloping1 ,stumbling1 and ,tumbling4 ,illustrated with #bg ,coloured ,plates1 and adorned with a ,portrait of the ,author4 ,by ,geoffrey ,gambado1 ,esq4 #cs4 #f;d4 net4 ,,real ,,life ,,in ,,ireland1 or the ,day and ,night ,scenes of ,brian ,boru1 ,esq41 and his ,elegant ,friend1 ,sir ,shawn ,o',dogherty4 ,by a ,real ,paddy4 ,with #ai ,coloured ,plates by ,heaths1 ,marks1 etc4 #cs4 #f;d4 net4 ,,the ,,adventures ,,of ,,johnny ,,newcome ,,in ,,the ,,navy4 ,by ,alfred ,burton4 ,with #af ,coloured ,plates by ,t4 ,rowlandson4 #cs4 #f;d4 net4 ,,plain ,,books ,,the ,,grave3 ,a ,poem4 ,by ,robert ,blair4 ,illustrated by #ab ,etchings executed by ,louis ,schiavonetti from the ,original ,inventions of ,william ,blake4 ,with an ,engraved ,title ,page and a ,portrait of ,blake by ,t4 ,phillips1 ,r4,a4 #cs4 #f;d4 net4 ,the ,illustrations are reproduced in photogravure4 ,also a limited edition on large ,japanese paper1 with ,india proofs and a duplicate set of the plates4 #aes4 net4 ,,illustrations ,,of ,,the ,,book ,,of ,,job4 ,invented and engraved by ,william ,blake4 #cs4 #f;d4 net4 ,these famous ,illustrations--#ba in number--are reproduced in photogravure4 ,also a limited edition on large ,japanese paper1 with ,india proofs and a duplicate set of the plates4 #aes4 net4 ,,sop',s ,,fables4 ,with #chj ,woodcuts by ,thomas ,bewick4 #cs4 #f;d4 net4 ,,windsor ,,castle4 ,by ,w4 ,harrison ,ainsworth4 ,with #bb ,plates and #hg ,woodcuts in the ,text by ,george ,cruikshank4 #cs4 #f;d4 net4 ,,the ,,tower ,,of ,,london4 ,by ,w4 ,harrison ,ainsworth4 ,with #dj ,plates and #eh ,woodcuts in the ,text by ,george ,cruikshank4 #cs4 #f;d4 net4 ,,frank ,,fairlegh4 ,by ,f4 ,e4 ,smedley4 ,with #cj ,plates by ,george ,cruikshank4 #cs4 #f;d4 net4 ,,handy ,,andy4 ,by ,samuel ,lover4 ,with #bd ,illustrations by the ,author4 #cs4 #f;d4 net4 ,,the ,,compleat ,,angler4 ,by ,izaak ,walton and ,charles ,cotton4 ,with #ad ,plates and #gg ,woodcuts in the ,text4 #cs4 #f;d4 net4 ,this volume is reproduced from the beautiful edition of ,john ,major of #ahbd4 ,,the ,,pickwick ,,papers4 ,by ,charles ,dickens4 ,with the #dc ,illustrations by ,seymour and ,phiz4 the two ,buss ,plates1 and the #cb ,contemporary ,onwhyn ,plates4 #cs4 #f;d4 net4 ,junior ,examination ,series ,edited by ,a4 ,m4 ,m4 ,,stedman1 ,m4,a4 ,fcap4 #hvo4 #as4 ,,junior ,,french ,,examination ,,papers4 ,by ,f4 ,jacob1 ,b4,a4 ,,junior ,,latin ,,examination ,,papers4 ,second ,edition4 ,by ,c4 ,g4 ,botting1 ,m4,a4 ,,junior ,,english ,,examination ,,papers4 ,by ,w4 ,williamson1 ,b4,a4 ,,junior ,,arithmetic ,,examination ,,papers4 ,by ,w4 ,s4 ,beard4 ,second ,edition4 ,,junior ,,algebra ,,examination ,,papers4 ,by ,s4 ,w4 ,finn1 ,m4,a4 ,,junior ,,greek ,,examination ,,papers4 ,by ,t4 ,c4 ,weatherhead1 ,m4,a4 ,,junior ,,general ,,information ,,examination ,,papers4 ,by ,w4 ,s4 ,beard4 ,,junior ,,geography ,,examination ,,papers4 ,by ,w4 ,g4 ,baker1 ,m4,a4 ,,junior ,,german ,,examination ,,papers4 ,by ,a4 ,voegelin1 ,m4,a4 ,junior ,school ,books1 ,methuen's ,edited by ,o4 ,d4 ,,inskip1 ,,ll4,d41 and ,w4 ,,williamson1 ,b4,a4 ,a ,,class-,,book ,,of ,,dictation ,,passages4 ,by ,w4 ,williamson1 ,b4,a4 ,eighth ,edition4 ,crown #hvo4 #as4 #f;d4 ,,the ,,gospel ,,according ,,to ,,st4 ,,matthew4 ,edited by ,e4 ,wilton ,south1 ,m4,a4 ,crown #hvo4 #as4 #f;d4 ,,the ,,gospel ,,according ,,to ,,st4 ,,mark4 ,edited by ,a4 ,e4 ,rubie1 ,m4,a41 ,headmaster of ,college1 ,eltham4 ,with ,three ,maps4 ,crown #hvo4 #as4 #f;d4 ,a ,,junior ,,english ,,grammar4 ,by ,w4 ,williamson1 ,b4,a4 ,with numerous passages for parsing and analysis1 and a chapter on essay writing4 ,crown #hvo4 #bs4 ,a ,,junior ,,chemistry4 ,by ,e4 ,a4 ,tyler1 ,b4,a41 ,f4,c4,s41 ,science ,master at ,swansea ,grammar ,school4 ,with #gc ,illustrations4 ,crown #hvo4 #bs4 #f;d4 ,,the ,,acts ,,of ,,the ,,apostles4 ,edited by ,a4 ,e4 ,rubie1 ,m4,a41 ,headmaster of ,college1 ,eltham4 ,crown #hvo4 #bs4 ,,the ,,first ,,book ,,of ,,kings4 ,edited by ,a4 ,e4 ,rubie1 ,m4,a4 ,crown #hvo4 #as4 #f;d4 ,a ,,junior ,,french ,,grammar4 ,by ,l4 ,a4 ,sornet and ,m4 ,j4 ,acatos1 ,modern ,language ,masters at ,king ,edward's ,school1 ,birmingham4 ,cr4 #hvo4 #bs4 ,,elementary ,,experimental ,,science4 ,,physics by ,w4 ,t4 ,clough1 ,a4,r4,c4,s4 ,,chemistry by ,a4 ,e4 ,dunstan4 ,b4,sc4 ,with #b ,plates and #aed ,diagrams4 ,crown #hvo4 #bs4 ,a ,,junior ,,geometry4 ,by ,noel ,s4 ,lydon4 ,with #bci ,diagrams4 ,crown #hvo4 #bs4 ,leaders of ,religion ,edited by ,h4 ,c4 ,,beeching1 ,m4,a41 ,canon of ,westminster4 ,with ,portraits4 ,crown #hvo4 #cs4 #f;d4 ,a series of short biographies of the most prominent leaders of religious life and thought of all ages and countries4 ,,cardinal ,,newman4 ,by ,r4 ,h4 ,hutton4 ,,john ,,wesley4 ,by ,j4 ,h4 ,overton1 ,m4,a4 ,,bishop ,,wilberforce4 ,by ,g4 ,w4 ,daniell1 ,m4,a4 ,,cardinal ,,manning4 ,by ,a4 ,w4 ,hutton1 ,m4,a4 ,,charles ,,simeon4 ,by ,h4 ,c4 ,g4 ,moule1 ,d4,d4 ,,john ,,keble4 ,by ,walter ,lock1 ,d4,d4 ,,thomas ,,chalmers4 ,by ,mrs4 ,oliphant4 ,,lancelot ,,andrewes4 ,by ,r4 ,l4 ,ottley1 ,m4,a4 ,,augustine ,,of ,,canterbury4 ,by ,e4 ,l4 ,cutts1 ,d4,d4 ,,william ,,laud4 ,by ,w4 ,h4 ,hutton1 ,m4,a4 ,,john ,,knox4 ,by ,f4 ,mac,cunn4 ,,john ,,howe4 ,by ,r4 ,f4 ,horton1 ,d4,d4 ,,bishop ,,ken4 ,by ,f4 ,a4 ,clarke1 ,m4,a4 ,,george ,,fox1 ,,the ,,quaker4 ,by ,t4 ,hodgkin ,d4,c4,l4 ,,john ,,donne4 ,by ,augustus ,jessopp1 ,d4,d4 ,,thomas ,,cranmer4 ,by ,a4 ,j4 ,mason1 ,d4,d4 ,,bishop ,,latimer4 ,by ,r4 ,m4 ,carlyle and ,a4 ,j4 ,carlyle1 ,m4,a4 ,,bishop ,,butler4 ,by ,w4 ,a4 ,spooner1 ,m4,a4 ,little ,biographies ,fcap4 #hvo4 ,each volume1 cloth1 #cs4 #f;d42 leather1 #ds4 net4 ,,dante ,,alighieri4 ,by ,paget ,toynbee1 ,m4,a4 ,d4,litt4 ,with #ab illustrations4 ,second ,edition4 ,,savonarola4 ,by ,e4 ,l4 ,s4 ,horsburgh1 ,m4,a4 ,with #ab ,illustrations4 ,second ,edition4 ,,john ,,howard4 ,by ,e4 ,c4 ,s4 ,gibson1 ,d4,d41 ,vicar of ,leeds4 ,with #ab ,illustrations4 ,,tennyson4 ,by ,a4 ,c4 ,benson1 ,m4,a4 ,with #i ,illustrations4 ,,walter ,,raleigh4 ,by ,j4 ,a4 ,taylor4 ,with #ab ,illustrations4 ,,erasmus4 ,by ,e4 ,f4 ,h4 ,capey4 ,with #ab ,illustrations4 ,,the ,,young ,,pretender4 ,by ,c4 ,s4 ,terry4 ,with #ab ,illustrations4 ,,robert ,,burns4 ,by ,t4 ,f4 ,henderson4 ,with #ab ,illustrations4 ,,chatham4 ,by ,a4 ,s4 ,m',dowall4 ,with #ab ,illustrations4 ,,st4 ,,francis ,,of ,,assisi4 ,by ,anna ,m4 ,stoddart4 ,with #af ,illustrations4 ,,canning4 ,by ,w4 ,a4 ,phillips4 ,with #ab ,illustrations4 ,,beaconsfield4 ,by ,walter ,sichel4 ,with #ab ,illustrations4 ,,goethe4 ,by ,h4 ,g4 ,atkins4 ,with #ab ,illustrations4 ,little ,blue ,books1 ,the ,general ,editor1 ,e4 ,v4 ,,lucas4 ,illustrated4 ,demy #afmo4 #bs4 #f;d4 #a4 ,,the ,,castaways ,,of ,,meadowbank4 ,by ,t4 ,cobb4 #b4 ,,the ,,beechnut ,,book4 ,by ,jacob ,abbott4 ,edited by ,e4 ,v4 ,lucas4 #c4 ,,the ,,air ,,gun4 ,by ,t4 ,hilbert4 #d4 ,a ,,school ,,year4 ,by ,netta ,syrett4 #e4 ,,the ,,peeles ,,at ,,the ,,capital4 ,by ,roger ,ashton4 #f4 ,,the ,,treasure ,,of ,,princegate ,,priory4 ,by ,t4 ,cobb4 #g4 ,,mrs4 ,,barberry',s ,,general ,,shop4 ,by ,roger ,ashton4 #h4 ,a ,,book ,,of ,,bad ,,children4 ,by ,w4 ,t4 ,webb4 #i4 ,,the ,,lost ,,ball4 ,by ,thomas ,cobb4 ,little ,books on ,art ,demy #afmo4 #bs4 #f;d4 net4 ,,greek ,,art4 ,h4 ,b4 ,walters4 ,,bookplates4 ,e4 ,almack4 ,,reynolds4 ,j4 ,sime4 ,,romney4 ,george ,paston4 ,,watts4 ,miss ,r4 ,e4 ,d4 ,sketchley4 ,,leighton4 ,alice ,corkran4 ,,velasquez4 ,wilfrid ,wilberforce and ,a4 ,r4 ,gilbert4 ,,greuze ,,and ,,boucher4 ,eliza ,f4 ,pollard4 ,,vandyck4 ,m4 ,g4 ,smallwood4 ,,turner4 ,f4 ,tyrell-,gill4 ,,durer4 ,jessie ,allen4 ,,hoppner4 ,h4 ,p4 ,k4 ,skipton4 ,,holbein4 ,mrs4 ,g4 ,fortescue4 ,,millet4 ,miss ,n4 ,peacock4 ,,burne-,,jones4 ,miss ,f4 de ,lisle4 ,,rembrandt4 ,mrs4 ,e4 ,a4 ,sharp4 ,,corot4 ,alice ,pollard and ,ethel ,birnstingl4 ,little ,galleries1 ,the ,demy #afmo4 #bs4 #f;d4 net4 ,a ,,little ,,gallery ,,of ,,reynolds4 ,a ,,little ,,gallery ,,of ,,romney4 ,a ,,little ,,gallery ,,of ,,hoppner4 ,a ,,little ,,gallery ,,of ,,millais4 ,a ,,little ,,gallery ,,of ,,english ,,poets4 ,little ,guides1 ,the ,small ,pott #hvo1 cloth1 #cs42 leather1 #cs4 #f;d4 net4 ,,oxford ,,and ,,its ,,colleges4 ,by ,j4 ,wells1 ,m4,a4 ,illustrated by ,e4 ,h4 ,new4 ,fourth ,edition4 ,,cambridge ,,and ,,its ,,colleges4 ,by ,a4 ,hamilton ,thompson4 ,illustrated by ,e4 ,h4 ,new4 ,,the ,,malvern ,,country4 ,by ,b4 ,c4 ,a4 ,windle1 ,d4,sc41 ,f4,r4,s4 ,illustrated by ,e4 ,h4 ,new4 ,,shakespeare',s ,,country4 ,by ,b4 ,c4 ,a4 ,windle1 ,d4,sc41 ,f4,r4,s4 ,illustrated by ,e4 ,h4 ,new4 ,second ,edition4 ,,sussex4 ,by ,f4 ,g4 ,brabant1 ,m4,a4 ,illustrated by ,e4 ,h4 ,new4 ,,westminster ,,abbey4 ,by ,g4 ,e4 ,troutbeck4 ,illustrated by ,f4 ,d4 ,bedford4 ,,norfolk4 ,by ,w4 ,a4 ,dutt4 ,illustrated by ,b4 ,c4 ,boulter4 ,,cornwall4 ,by ,a4 ,l4 ,salmon4 ,illustrated by ,b4 ,c4 ,boulter4 ,,brittany4 ,by ,s4 ,baring-,gould4 ,illustrated by ,j4 ,wylie4 ,,hertfordshire4 ,by ,h4 ,w4 ,tompkins1 ,f4,r4,h4,s4 ,illustrated by ,e4 ,h4 ,new4 ,,the ,,english ,,lakes4 ,by ,f4 ,g4 ,brabant1 ,m4,a4 ,illustrated by ,e4 ,h4 ,new4 #ds42 leather1 #ds4 #f;d4 net4 ,,kent4 ,by ,g4 ,clinch4 ,illustrated by ,f4 ,d4 ,bedford4 ,,rome4 ,by ,c4 ,g4 ,ellaby4 ,illustrated by ,b4 ,c4 ,boulter4 ,,the ,,isle ,,of ,,wight4 ,by ,g4 ,clinch4 ,illustrated by ,f4 ,d4 ,bedford4 ,,surrey4 ,by ,f4 ,a4 ,h4 ,lambert4 ,illustrated by ,e4 ,h4 ,new4 ,,buckinghamshire4 ,by ,e4 ,s4 ,roscoe4 ,illustrated by ,f4 ,d4 ,bedford4 ,,suffolk4 ,by ,w4 ,a4 ,dutt4 ,illustrated by ,j4 ,wylie4 ,,derbyshire4 ,by ,j4 ,charles ,cox1 ,,ll4,d41 ,f4,s4,a4 ,illustrated by ,j4 ,c4 ,wall4 ,,the ,,north ,,riding ,,of ,,yorkshire4 ,by ,j4 ,e4 ,morris4 ,illustrated by ,r4 ,j4 ,s4 ,bertram4 ,,hampshire4 ,by ,j4 ,c4 ,cox4 ,illustrated by ,m4 ,e4 ,purser4 ,,sicily4 ,by ,f4 ,h4 ,jackson4 ,with many ,illustrations by the ,author4 ,little ,library1 ,the ,with ,introductions1 ,notes1 and ,photogravure ,frontispieces4 ,small ,pott #hvo4 ,each ,volume1 cloth1 #as4 #f;d4 net2 leather1 #bs4 #f;d4 net4 ,,vanity ,,fair4 ,by ,w4 ,m4 ,thackeray4 ,edited by ,s4 ,gwynn4 ,three ,volumes4 ,,pendennis4 ,by ,w4 ,m4 ,thackeray4 ,edited by ,s4 ,gwynn4 ,three ,volumes4 ,,esmond4 ,by ,w4 ,m4 ,thackeray4 ,edited by ,s4 ,gwynn4 ,,christmas ,,books4 ,by ,w4 ,m4 ,thackeray4 ,edited by ,s4 ,gwynn4 ,,selections ,,from ,,george ,,crabbe4 ,edited by ,a4 ,c4 ,deane4 ,,john ,,halifax1 ,,gentleman4 ,by ,mrs4 ,craik4 ,edited by ,annie ,matheson4 ,two ,volumes4 ,,pride ,,and ,,prejudice4 ,by ,jane ,austen4 ,edited by ,e4 ,v4 ,lucas4 ,two ,volumes4 ,,northanger ,,abbey4 ,by ,jane ,austen4 ,edited by ,e4 ,v4 ,lucas4 ,,the ,,princess4 ,by ,alfred1 ,lord ,tennyson4 ,edited by ,elizabeth ,wordsworth4 ,,maud4 ,by ,alfred1 ,lord ,tennyson4 ,edited by ,elizabeth ,wordsworth4 ,,in ,,memoriam4 ,by ,alfred1 ,lord ,tennyson4 ,edited by ,h4 ,c4 ,beeching1 ,m4,a4 ,,the ,,early ,,poems ,,of ,,alfred1 ,,lord ,,tennyson4 ,edited by ,j4 ,c4 ,collins1 ,m4,a4 ,a ,,little ,,book ,,of ,,english ,,lyrics4 ,with ,notes4 ,,the ,,inferno ,,of ,,dante4 ,translated by ,h4 ,f4 ,cary4 ,edited by ,paget ,toynbee1 ,m4,a41 ,d4,litt4 ,,the ,,purgatorio ,,of ,,dante4 ,translated by ,h4 ,f4 ,cary4 ,edited by ,paget ,toynbee1 ,m4,a41 ,d4,litt4 ,,the ,,paradiso ,,of ,,dante4 ,translated by ,h4 ,f4 ,cary4 ,edited by ,paget ,toynbee4 ,m4,a41 ,d4,litt4 ,a ,,little ,,book ,,of ,,scottish ,,verse4 ,edited by ,t4 ,f4 ,henderson4 ,a ,,little ,,book ,,of ,,light ,,verse4 ,edited by ,a4 ,c4 ,deane4 ,a ,,little ,,book ,,of ,,english ,,sonnets4 ,edited by ,j4 ,b4 ,b4 ,nichols4 ,,poems4 ,by ,john ,keats4 ,with an ,introduction by ,l4 ,binyon1 and ,notes by ,j4 ,masefield4 ,a complete ,edition4 ,,the ,,minor ,,poems ,,of ,,john ,,milton4 ,edited by ,h4 ,c4 ,beeching1 ,m4,a4 ,,the ,,poems ,,of ,,henry ,,vaughan4 ,edited by ,edward ,hutton4 ,,selections ,,from ,,wordsworth4 ,edited by ,nowell ,c4 ,smith4 ,,selections ,,from ,,the ,,early ,,poems ,,of ,,robert ,,browning4 ,edited by ,w4 ,hall ,griffin1 ,m4,a4 ,,the ,,english ,,poems ,,of ,,richard ,,crashaw4 ,edited by ,edward ,hutton4 ,,selections ,,from ,,william ,,blake4 ,edited by ,m4 ,perugini4 ,,selections ,,from ,,the ,,poems ,,of ,,george ,,darley4 ,edited by ,r4 ,a4 ,streatfeild4 ,,lyrical ,,ballads4 ,by ,w4 ,wordsworth and ,s4 ,t4 ,coleridge4 ,edited by ,george ,sampson4 ,,selections ,,from ,,longfellow4 ,edited by ,lilian ,m4 ,faithfull4 ,,selections ,,from ,,the ,,anti-,,jacobin2 with ,george ,canning's additional ,poems4 ,edited by ,lloyd ,sanders4 ,,the ,,poems ,,of ,,andrew ,,marvell4 ,edited by ,edward ,wright4 ,a ,,little ,,book ,,of ,,life ,,and ,,death4 ,edited by ,mrs4 ,alfred ,waterhouse4 ,fourth ,edition4 ,a ,,little ,,book ,,of ,,english ,,prose4 ,edited by ,mrs4 ,p4 ,a4 ,barnett4 ,,eothen4 ,by ,a4 ,w4 ,kinglake4 ,with an ,introduction and ,notes4 ,,cranford4 ,by ,mrs4 ,gaskell4 ,edited by ,e4 ,v4 ,lucas4 ,,lavengro4 ,by ,george ,borrow4 ,edited by ,f4 ,hindes ,groome4 ,two ,volumes4 ,,the ,,romany ,,rye4 ,by ,george ,borrow4 ,edited by ,john ,simpson4 ,,the ,,history ,,of ,,the ,,caliph ,,vathek4 ,by ,william ,beckford4 ,edited by ,e4 ,denison ,ross4 ,,the ,,compleat ,,angler4 ,by ,izaak ,walton4 ,edited by ,j4 ,buchan4 ,,marriage4 ,by ,susan ,ferrier4 ,edited by ,miss ,goodrich-,freer and ,lord ,iddesleigh4 ,two ,volumes4 ,,the ,,inheritance4 ,by ,susan ,ferrier4 ,edited by ,miss ,goodrich-,freer and ,lord ,iddesleigh4 ,two ,volumes4 ,,elia1 ,,and ,,the ,,last ,,essays ,,of ,,elia4 ,by ,charles ,lamb4 ,edited by ,e4 ,v4 ,lucas4 ,,the ,,essays ,,of ,,abraham ,,cowley4 ,edited by ,h4 ,c4 ,minchin4 ,,the ,,essays ,,of ,,francis ,,bacon4 ,edited by ,edward ,wright4 ,,the ,,maxims ,,of ,,la ,,rochefoucauld4 ,translated by ,dean ,stanhope4 ,edited by ,g4 ,h4 ,powell4 ,a ,,sentimental ,,journey4 ,by ,laurence ,sterne4 ,edited by ,h4 ,w4 ,paul4 ,,mansie ,,wauch4 ,by ,d4 ,m4 ,moir4 ,edited by ,t4 ,f4 ,henderson4 ,,the ,,ingoldsby ,,legends4 ,by ,r4 ,h4 ,barham4 ,edited by ,j4 ,b4 ,atlay4 ,two ,volumes4 ,,the ,,scarlet ,,letter4 ,by ,nathaniel ,hawthorne4 ,edited by ,p4 ,dearmer4 ,,rejected ,,addresses4 ,by ,horace and ,james ,smith4 ,edited by ,a4 ,d4 ,godley1 ,m4,a4 ,,london ,,lyrics4 ,by ,f4 ,locker4 ,edited by ,a4 ,d4 ,godley1 ,m4,a4 ,a reprint of the ,first ,edition4 ,miniature ,library1 ,methuen's ,,euphranor3 a ,dialogue on ,youth4 ,by ,edward ,fitz,gerald4 ,from the edition published by ,w4 ,pickering in #ahea4 ,demy #cbmo4 ,leather1 #bs4 net4 ,,polonius3 or ,wise ,saws and ,modern ,instances4 ,by ,edward ,fitz,gerald4 ,from the edition published by ,w4 ,pickering in #aheb4 ,demy #cbmo4 ,leather1 #bs4 net4 ,,the ,,rubaiyat ,,of ,,omar ,,khayy,m4 ,by ,edward ,fitz,gerald4 ,from the #ast edition of #ahei4 ,second ,edition4 ,leather1 #as4 net4 ,,the ,,life ,,of ,,edward1 ,,lord ,,herbert ,,of ,,cherbury4 ,written by himself4 ,from the edition printed at ,strawberry ,hill in the year #agfd4 ,medium #cbmo4 ,leather1 #bs4 net4 ,,the ,,visions ,,of ,,dom ,,francisco ,,de ,,quevedo ,,villegas1 ,knight of the ,order of ,st4 ,james4 ,made ,english by ,r4 ,l4 ,from the edition printed for ,h4 ,herringman1 #affh4 ,leather1 #bs4 net4 ,,poems4 ,by ,dora ,greenwell4 ,from the edition of #ahdh4 ,leather1 #bs4 net4 ,school ,examination ,series ,edited by ,a4 ,m4 ,m4 ,,stedman1 ,m4,a4 ,crown #hvo4 #bs4 #f;d4 ,,french ,,examination ,,papers4 ,by ,a4 ,m4 ,m4 ,stedman1 ,m4,a4 ,twelfth ,edition4 ,a ,,key1 issued to ,tutors and ,private ,students only1 to be had on application to the ,publishers4 ,fifth ,edition4 ,crown #hvo4 #fs4 net4 ,,latin ,,examination ,,papers4 ,by ,a4 ,m4 ,m4 ,stedman1 ,m4,a4 ,twelfth ,edition4 ,,key 7,fourth ,edition7 issued as above4 #fs4 net4 ,,greek ,,examination ,,papers4 ,by ,a4 ,m4 ,m4 ,stedman1 ,m4,a4 ,seventh ,edition4 ,,key 7,second ,edition7 issued as above4 #fs4 net4 ,,german ,,examination ,,papers4 ,by ,r4 ,j4 ,morich4 ,fifth ,edition4 ,,key 7,second ,edition7 issued as above4 #fs4 net4 ,,history ,,and ,,geography ,,examination ,,papers4 ,by ,c4 ,h4 ,spence1 ,m4,a41 ,clifton ,college4 ,second ,edition4 ,,physics ,,examination ,,papers4 ,by ,r4 ,e4 ,steel1 ,m4,a41 ,f4,c4,s4 ,,general ,,knowledge ,,examination ,,papers4 ,by ,a4 ,m4 ,m4 ,stedman1 ,m4,a4 ,fourth ,edition4 ,,key 7,third ,edition7 issued as above4 #gs4 net4 ,,examination ,,papers ,,in ,,english ,,history4 ,by ,j4 ,tait ,plowden-,wardlaw1 ,b4,a4 ,social ,questions of ,to-day ,edited by ,h4 ,,de ,b4 ,,gibbins1 ,litt4,d41 ,m4,a4 ,crown #hvo4 #bs4 #f;d4 ,,trade ,,unionism--,,new ,,and ,,old4 ,by ,g4 ,howell4 ,third ,edition4 ,,the ,,co-,,operative ,,movement ,,to-,,day4 ,by ,g4 ,j4 ,holyoake4 ,second ,edition4 ,,problems ,,of ,,poverty4 ,by ,j4 ,a4 ,hobson1 ,m4,a4 ,fourth ,edition4 ,,the ,,commerce ,,of ,,nations4 ,by ,c4 ,f4 ,bastable1 ,m4,a4 ,third ,edition4 ,,the ,,alien ,,invasion4 ,by ,w4 ,h4 ,wilkins1 ,b4,a4 ,,the ,,rural ,,exodus4 ,by ,p4 ,anderson ,graham4 ,,land ,,nationalization4 ,by ,harold ,cox1 ,b4,a4 ,a ,,shorter ,,working ,,day4 ,by ,h4 de ,b4 ,gibbins and ,r4 ,a4 ,hadfield4 ,,back ,,to ,,the ,,land3 ,an ,inquiry into ,rural ,depopulation4 ,by ,h4 ,e4 ,moore4 ,,trusts1 ,,pools1 ,,and ,,corners4 ,by ,j4 ,stephen ,jeans4 ,,the ,,factory ,,system4 ,by ,r4 ,w4 ,cooke-,taylor4 ,,the ,,state ,,and ,,its ,,children4 ,by ,gertrude ,tuckwell4 ,,women',s ,,work4 ,by ,lady ,dilke1 ,miss ,bulley1 and ,miss ,whitley4 ,,socialism ,,and ,,modern ,,thought4 ,by ,m4 ,kauffmann4 ,,the ,,housing ,,of ,,the ,,working ,,classes4 ,by ,e4 ,bowmaker4 ,,the ,,problem ,,of ,,the ,,unemployed4 ,by ,j4 ,a4 ,hobson1 ,m4,a4 ,,life ,,in ,,west ,,london4 ,by ,arthur ,sherwell1 ,m4,a4 ,third ,edition4 ,,railway ,,nationalization4 ,by ,clement ,edwards4 ,,workhouses ,,and ,,pauperism4 ,by ,louisa ,twining4 ,,university ,,and ,,social ,,settlements4 ,by ,w4 ,reason1 ,m4,a4 ,technology1 ,textbooks of ,edited by ,,professor ,j4 ,,wertheimer1 ,f4,i4,c4 ,fully ,illustrated4 ,,how ,,to ,,make ,a ,,dress4 ,by ,j4 ,a4 ,e4 ,wood4 ,third ,edition4 ,crown #hvo4 #as4 #f;d4 ,,carpentry ,,and ,,joinery4 ,by ,f4 ,c4 ,webber4 ,third ,edition4 ,crown #hvo4 #cs4 #f;d4 ,,practical ,,mechanics4 ,by ,sidney ,h4 ,wells4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,,practical ,,physics4 ,by ,h4 ,stroud1 ,d4,sc41 ,m4,a4 ,crown #hvo4 #cs4 #f;d4 ,,millinery1 ,,theoretical ,,and ,,practical4 ,by ,clare ,hill4 ,crown #hvo4 #bs4 ,,practical ,,chemistry4 ,by ,w4 ,french1 ,m4,a4 ,crown #hvo4 ,part ,i4 ,second ,edition1 #as4 #f;d4 ,part ,,ii4 ,,technical ,,arithmetic ,,and ,,geometry4 ,by ,c4 ,t4 ,millis1 ,m4,i4,m4,e4 ,with ,diagrams4 ,crown #hvo4 #cs4 #f;d4 ,,builder',s ,,quantities4 ,by ,h4 ,c4 ,grubb4 ,with many ,illustrations4 ,crown #hvo4 #ds4 #f;d4 ,theology1 ,handbooks of ,,the ,,xxxix4 ,,articles ,,of ,,the ,,church ,,of ,,england4 ,edited by ,e4 ,c4 ,s4 ,gibson1 ,d4,d4 ,third and ,cheaper ,edition in ,one ,volume4 ,demy #hvo4 #abs4 #f;d4 ,,an ,,introduction ,,to ,,the ,,history ,,of ,,religion4 ,by ,f4 ,b4 ,jevons1 ,m4,a41 ,litt4,d4 ,second ,edition4 ,demy #hvo4 #ajs4 #f;d4 ,,the ,,doctrine ,,of ,,the ,,incarnation4 ,by ,r4 ,l4 ,ottley1 ,m4,a4 ,second and ,cheaper ,edition4 ,demy #hvo4 #abs4 #f;d4 ,,an ,,introduction ,,to ,,the ,,history ,,of ,,the ,,creeds4 ,by ,a4 ,e4 ,burn1 ,b4,d4 ,demy #hvo4 #ajs4 #f;d4 ,,the ,,philosophy ,,of ,,religion ,,in ,,england ,,and ,,america4 ,by ,alfred ,caldecott1 ,d4,d4 ,demy #hvo4 #ajs4 #f;d4 ,a ,,history ,,of ,,early ,,christian ,,doctrine4 ,by ,j4 ,f4 ,bethune-,baker1 ,m4,a41 ,fellow of ,pembroke ,college1 ,cambridge4 ,demy #hvo4 #ajs4 #f;d4 ,university ,extension ,series ,edited by ,j4 ,e4 ,,symes1 ,m4,a41 ,principal of ,university ,college1 ,nottingham4 ,crown #hvo4 ,price 7with some exceptions7 #bs4 #f;d4 ,a series of books on historical1 literary1 and scientific subjects1 suitable for extension students and home-reading circles4 ,each volume is complete in itself1 and the subjects are treated by competent writers in a broad and philosophic spirit4 ,,the ,,industrial ,,history ,,of ,,england4 ,by ,h4 de ,b4 ,gibbins1 ,litt4,d41 ,m4,a4 ,tenth ,edition4 ,revised4 ,with ,maps and ,plans4 #cs4 ,a ,,history ,,of ,,english ,,political ,,economy4 ,by ,l4 ,l4 ,price1 ,m4,a4 ,third ,edition4 ,,victorian ,,poets4 ,by ,a4 ,sharp4 ,,the ,,french ,,revolution4 ,by ,j4 ,e4 ,symes1 ,m4,a4 ,,psychology4 ,by ,f4 ,s4 ,granger1 ,m4,a4 ,second ,edition4 ,,the ,,evolution ,,of ,,plant ,,life3 ,lower ,forms4 ,by ,g4 ,massee4 ,illustrated4 ,,air ,,and ,,water4 ,by ,v4 ,b4 ,lewes1 ,m4,a4 ,illustrated4 ,,the ,,chemistry ,,of ,,life ,,and ,,health4 ,by ,c4 ,w4 ,kimmins1 ,m4,a4 ,illustrated4 ,,the ,,mechanics ,,of ,,daily ,,life4 ,by ,v4 ,p4 ,sells1 ,m4,a4 ,illustrated4 ,,english ,,social ,,reformers4 ,by ,h4 de ,b4 ,gibbins1 ,litt4,d41 ,m4,a4 ,second ,edition4 ,,english ,,trade ,,and ,,finance ,,in ,,the ,,seventeenth ,,century4 ,by ,w4 ,a4 ,s4 ,hewins1 ,b4,a4 ,,the ,,chemistry ,,of ,,fire4 ,by ,m4 ,m4 ,pattison ,muir1 ,m4,a4 ,illustrated4 ,a ,,text-,,book ,,of ,,agricultural ,,botany4 ,by ,m4 ,c4 ,potter1 ,m4,a41 ,f4,l4,s4 ,illustrated4 ,second ,edition4 #ds4 #f;d4 ,,the ,,vault ,,of ,,heaven4 ,a ,popular ,introduction to ,astronomy4 ,by ,r4 ,a4 ,gregory4 ,with numerous ,illustrations4 ,,meteorology4 ,by ,h4 ,n4 ,dickson1 ,f4,r4,s4,e41 ,f4,r4 ,met4 ,soc4 ,illustrated4 ,a ,,manual ,,of ,,electrical ,,science4 ,by ,george ,j4 ,burch1 ,m4,a41 ,f4,r4,s4 ,illustrated4 #cs4 ,,the ,,earth4 ,an ,introduction to ,physiography4 ,by ,evan ,small1 ,m4,a4 ,illustrated4 ,,insect ,,life4 ,by ,f4 ,w4 ,theobald1 ,m4,a4 ,illustrated4 ,,english ,,poetry ,,from ,,blake ,,to ,,browning4 ,by ,w4 ,m4 ,dixon1 ,m4,a4 ,second ,edition4 ,,english ,,local ,,government4 ,by ,e4 ,jenks1 ,m4,a4 ,,the ,,greek ,,view ,,of ,,life4 ,by ,g4 ,l4 ,dickinson4 ,third ,edition4 ,westminster1 ,commentaries ,the ,general ,editor1 ,,walter ,,lock1 ,d4,d41 ,warden of ,keble ,college1 ,dean ,ireland's ,professor of ,exegesis in the ,university of ,oxford4 ,,the ,,book ,,of ,,genesis4 ,edited with ,introduction and ,notes by ,s4 ,r4 ,driver1 ,d4,d41 ,canon of ,christ ,church1 and ,regius ,professor of ,hebrew at ,oxford4 ,second ,edition4 ,demy #hvo4 #ajs4 #f;d4 ,,the ,,book ,,of ,,job4 ,edited by ,e4 ,c4 ,s4 ,gibson1 ,d4,d4 ,demy #hvo4 #fs4 ,,the ,,acts ,,of ,,the ,,apostles4 ,edited by ,r4 ,b4 ,rackham1 ,m4,a4 ,demy #hvo4 ,second and ,cheaper ,edition1 #ajs4 #f;d4 ,,the ,,first ,,epistle ,,of ,,paul ,,the ,,apostle ,,to ,,the ,,corinthians4 ,edited by ,h4 ,l4 ,goudge1 ,m4,a4 ,demy #hvo4 #fs4 ,,the ,,epistle ,,of ,,st4 ,,james4 ,edited by ,r4 ,j4 ,knowling1 ,m4,a4 ,demy #hvo4 #fs4 ,,part ,,ii4--,,fiction ,marie ,corelli's ,novels4 ,crown #hvo #fs4 each4 ,a ,,romance ,,of ,,two ,,worlds4 ,twenty-,fourth ,edition4 ,,vendetta4 ,twentieth ,edition4 ,,thelma4 ,thirtieth ,edition4 ,,ardath3 ,,the ,,story ,,of ,a ,,dead ,,self4 ,fifteenth ,edition4 ,,the ,,soul ,,of ,,lilith4 ,twelfth ,edition4 ,,wormwood4 ,thirteenth ,edition4 ,,barabbas3 ,a ,,dream ,,of ,,the ,,world',s ,,tragedy4 ,thirty-,ninth ,edition4 #8,the tender reverence of the treatment and the imaginative beauty of the writing have reconciled us to the daring of the conception4 ,this 8,dream of the ,world's ,tragedy0 is a lofty and not inadequate paraphrase of the supreme climax of the inspired narrative4'--,dublin ,review4 ,,the ,,sorrows ,,of ,,satan4 ,forty-,eighth ,edition4 #8,a very powerful piece of work4444 ,the conception is magnificent1 and is likely to win an abiding place within the memory of man4444 ,the author has immense command of language1 and a limitless audacity4444 ,this interesting and remarkable romance will live long after much of the ephemeral literature of the day is forgotten4444 ,a literary phenomenon 444 novel1 and even sublime4' --,w4 ,t4 ,,stead in the ,review of ,reviews4 ,,the ,,master ,,christian4 #afeth ,thousand4 #8,it cannot be denied that 8,the ,master ,christian0 is a powerful book2 that it is one likely to raise uncomfortable questions in all but the most self-satisfied readers1 and that it strikes at the root of the failure of the ,churches--the decay of faith--in a manner which shows the inevitable disaster heaping up4444 ,the good ,cardinal ,bonpr is a beautiful figure1 fit to stand beside the good ,bishop in 8,les ,misrables40 ,it is a book with a serious purpose expressed with absolute unconventionality and passion4444 ,and this is to say it is a book worth reading4' --,examiner4 ,,temporal ,,power3 ,a ,,study ,,in ,,supremacy4 #aejth ,thousand4 #8,it is impossible to read such a work as 8,temporal ,power0 without becoming convinced that the story is intended to convey certain criticisms on the ways of the world and certain suggestions for the betterment of humanity4444 ,if the chief intention of the book was to hold the mirror up to shards1 injustice1 dishonesty1 cruelty1 and neglect of conscience1 nothing but praise can be given to that intention4'--,morning ,post4 ,,god',s ,,good ,,man3 ,a ,,simple ,,love ,,story4 ,anthony ,hope's ,novels4 ,crown #hvo4 #fs4 each4 ,,the ,,god ,,in ,,the ,,car4 ,ninth ,edition4 #8,a very remarkable book1 deserving of critical analysis impossible within our limit2 brilliant1 but not superficial2 well considered1 but not elaborated2 constructed with the proverbial art that conceals1 but yet allows itself to be enjoyed by readers to whom fine literary method is a keen pleasure4'--,the ,world4 ,a ,,change ,,of ,,air4 ,sixth ,edition4 #8,a graceful1 vivacious comedy1 true to human nature4 ,the characters are traced with a masterly hand4'--,times4 ,a ,,man ,,of ,,mark4 ,fifth ,edition4 #8,of all ,mr4 ,hope's books1 8,a ,man of ,mark0 is the one which best compares with 8,the ,prisoner of ,zenda0' --,national ,observer4 ,,the ,,chronicles ,,of ,,count ,,antonio4 ,fifth ,edition4 #8,it is a perfectly enchanting story of love and chivalry1 and pure romance4 ,the ,count is the most constant1 desperate1 and modest and tender of lovers1 a peerless gentleman1 an intrepid fighter1 a faithful friend1 and a magnanimous foe4'--,guardian4 ,,phroso4 ,illustrated by ,h4 ,r4 ,,millar4 ,sixth ,edition4 #8,the tale is thoroughly fresh1 quick with vitality1 stirring the blood4'--,st4 ,james's ,gazette4 ,,simon ,,dale4 ,illustrated4 ,sixth ,edition4 #8,there is searching analysis of human nature1 with a most ingeniously constructed plot4 ,mr4 ,hope has drawn the contrasts of his women with marvellous subtlety and delicacy4'--,times4 ,,the ,,king',s ,,mirror4 ,fourth ,edition4 #8,in elegance1 delicacy1 and tact it ranks with the best of his novels1 while in the wide range of its portraiture and the subtilty of its analysis it surpasses all his earlier ventures4'--,spectator4 ,,quisante4 ,fourth ,edition4 #8,the book is notable for a very high literary quality1 and an impress of power and mastery on every page4' --,daily ,chronicle4 ,,the ,,dolly ,,dialogues4 ,w4 ,w4 ,jacobs' ,novels ,crown #hvo4 #cs4 #f;d4 each4 ,,many ,,cargoes4 ,twenty-,seventh ,edition4 ,,sea ,,urchins4 ,tenth ,edition4 ,a ,,master ,,of ,,craft4 ,illustrated4 ,sixth ,edition4 #8,can be unreservedly recommended to all who have not lost their appetite for wholesome laughter4'--,spectator4 #8,the best humorous book published for many a day4' --,black and ,white4 ,,light ,,freights4 ,illustrated4 ,fourth ,edition4 #8,his wit and humour are perfectly irresistible4 ,mr4 ,jacobs writes of skippers1 and mates1 and seamen1 and his crew are the jolliest lot that ever sailed4'--,daily ,news4 #8,laughter in every page4'--,daily ,mail4 ,lucas ,malet's ,novels ,crown #hvo4 #fs4 each4 ,,colonel ,,enderby',s ,,wife4 ,third ,edition4 ,a ,,counsel ,,of ,,perfection4 ,new ,edition4 ,,little ,,peter4 ,second ,edition4 #cs4 #f;d4 ,,the ,,wages ,,of ,,sin4 ,fourteenth ,edition4 ,,the ,,carissima4 ,fourth ,edition4 ,,the ,,gateless ,,barrier4 ,fourth ,edition4 #8,in 8,the ,gateless ,barrier0 it is at once evident that1 whilst ,lucas ,malet has preserved her birthright of originality1 the artistry1 the actual writing1 is above even the high level of the books that were born before4'--,westminster ,gazette4 ,,the ,,history ,,of ,,sir ,,richard ,,calmady4 ,seventh ,edition4 ,a ,limited ,edition in ,two ,volumes4 ,crown #hvo4 #abs4 #8,a picture finely and amply conceived4 ,in the strength and insight in which the story has been conceived1 in the wealth of fancy and reflection bestowed upon its execution1 and in the moving sincerity of its pathos throughout1 8,sir ,richard ,calmady0 must rank as the great novel of a great writer4'--,literature4 #8,the ripest fruit of ,lucas ,malet's genius4 ,a picture of maternal love by turns tender and terrible4'--,spectator4 #8,a remarkably fine book1 with a noble motive and a sound conclusion4'--,pilot4 ,gilbert ,parker's ,novels ,crown #hvo4 #fs4 each4 ,,pierre ,,and ,,his ,,people4 ,fifth ,edition4 #8,stories happily conceived and finely executed4 ,there is strength and genius in ,mr4 ,parker's style4' -- ,daily ,telegraph4 ,,mrs4 ,,falchion4 ,fourth ,edition4 #8,a splendid study of character4'--,athenum4 ,,the ,,translation ,,of ,a ,,savage4 ,second ,edition4 ,,the ,,trail ,,of ,,the ,,sword4 ,illustrated4 ,eighth ,edition4 #8,a rousing and dramatic tale4 ,a book like this is a joy inexpressible4'--,daily ,chronicle4 ,,when ,,valmond ,,came ,,to ,,pontiac3 ,the ,story of a ,lost ,napoleon4 ,fifth ,edition4 #8,here we find romance--real1 breathing1 living romance4 ,the character of ,valmond is drawn unerringly4' --,pall ,mall ,gazette4 ,,an ,,adventurer ,,of ,,the ,,north3 ,the ,last ,adventures of #8,pretty ,pierre4' ,third ,edition4 #8,the present book is full of fine and moving stories of the great ,north4'--,glasgow ,herald4 ,,the ,,seats ,,of ,,the ,,mighty4 ,illustrated4 ,thirteenth ,edition4 #8,mr4 ,parker has produced a really fine historical novel4'--,athenum4 #8,a great book4'--,black and ,white4 ,,the ,,battle ,,of ,,the ,,strong3 a ,romance of ,two ,kingdoms4 ,illustrated4 ,fourth ,edition4 #8,nothing more vigorous or more human has come from ,mr4 ,gilbert ,parker than this novel4'--,literature4 ,,the ,,pomp ,,of ,,the ,,lavilettes4 ,second ,edition4 #cs4 #f;d4 #8,unforced pathos1 and a deeper knowledge of human nature than he has displayed before4'--,pall ,mall ,gazette4 ,arthur ,morrison's ,novels ,crown #hvo4 #fs4 each4 ,,tales ,,of ,,mean ,,streets4 ,sixth ,edition4 #8,a great book4 ,the author's method is amazingly effective1 and produces a thrilling sense of reality4 ,the writer lays upon us a master hand4 ,the book is simply appalling and irresistible in its interest4 ,it is humorous also2 without humour it would not make the mark it is certain to make4'--,world4 ,a ,,child ,,of ,,the ,,jago4 ,fourth ,editon4 #8,the book is a masterpiece4'--,pall ,mall ,gazette4 ,,to ,,london ,,town4 ,second ,edition4 #8,this is the new ,mr4 ,arthur ,morrison1 gracious and tender1 sympathetic and human4'--,daily ,telegraph4 ,,cunning ,,murrell4 #8,admirable4444 ,delightful humorous relief 444 a most artistic and satisfactory achievement4'--,spectator4 ,,the ,,hole ,,in ,,the ,,wall4 ,third ,edition4 #8,a masterpiece of artistic realism4 ,it has a finality of touch that only a master may command4' -- ,daily ,chronicle4 #8,an absolute masterpiece1 which any novelist might be proud to claim4'--,graphic4 #88,the ,hole in the ,wall0 is a masterly piece of work4 ,his characters are drawn with amazing skill4 ,extraordinary power4'--,daily ,telegraph4 ,eden ,phillpotts' ,novels ,crown #hvo4 #fs4 each4 ,,lying ,,prophets4 ,,children ,,of ,,the ,,mist4 ,fifth ,edition4 ,,the ,,human ,,boy4 ,with a ,frontispiece4 ,fourth ,edition4 #8,mr4 ,phillpotts knows exactly what school-boys do1 and can lay bare their inmost thoughts2 likewise he shows an all-pervading sense of humour4'--,academy4 ,,sons ,,of ,,the ,,morning4 ,second ,edition4 #8,a book of strange power and fascination4'--,morning ,post4 ,,the ,,striking ,,hours4 ,second ,edition4 #8,tragedy and comedy1 pathos and humour1 are blended to a nicety in this volume4'--,world4 #8,the whole book is redolent of a fresher and ampler air than breathes in the circumscribed life of great towns4' --,spectator4 ,,the ,,river4 ,third ,edition4 #88,the ,river0 places ,mr4 ,phillpotts in the front rank of living novelists4'--,punch4 #8,since 8,lorna ,doone0 we have had nothing so picturesque as this new romance4'--,birmingham ,gazette4 #8,mr4 ,phillpotts's new book is a masterpiece which brings him indisputably into the front rank of ,english novelists4' --,pall ,mall ,gazette4 #8,this great romance of the ,river ,dart4 ,the finest book ,mr4 ,eden ,phillpotts has written4'--,morning ,post4 ,,the ,,american ,,prisoner4 ,third ,edition4 ,s4 ,baring-,gould's ,novels ,crown #hvo4 #fs4 each4 ,,arminell4 ,fifth ,edition4 ,,urith4 ,fifth ,edition4 ,,in ,,the ,,roar ,,of ,,the ,,sea4 ,seventh ,edition4 ,,cheap ,,jack ,,zita4 ,fourth ,edition4 ,,margery ,,of ,,quether4 ,third ,edition4 ,,the ,,queen ,,of ,,love4 ,fifth ,edition4 ,,jacquetta4 ,third ,edition4 ,,kitty ,,alone4 ,fifth ,edition4 ,,no,,mi4 ,illustrated4 ,fourth ,edition4 ,,the ,,broom-,,squire4 ,illustrated4 ,fourth ,edition4 ,,dartmoor ,,idylls4 ,,the ,,pennycomequicks4 ,third ,edition4 ,,guavas ,,the ,,tinner4 ,illustrated4 ,second ,edition4 ,,bladys4 ,illustrated4 ,second ,edition4 ,,domitia4 ,illustrated4 ,second ,edition4 ,,pabo ,,the ,,priest4 ,,winifred4 ,illustrated4 ,second ,edition4 ,,the ,,frobishers4 ,,royal ,,georgie4 ,illustrated4 ,,miss ,,quillet4 ,illustrated4 ,,little ,,tu',,penny4 ,a ,new ,edition4 #f;d4 ,,chris ,,of ,,all ,,sorts4 ,,in ,,dewisland4 ,robert ,barr's ,novels ,crown #hvo4 #fs4 each4 ,,in ,,the ,,midst ,,of ,,alarms4 ,third ,edition4 #8,a book which has abundantly satisfied us by its capital humour4'--,daily ,chronicle4 ,,the ,,mutable ,,many4 ,second ,edition4 #8,there is much insight in it1 and much excellent humour4'--,daily ,chronicle4 ,,the ,,countess ,,tekla4 ,third ,edition4 #8,of these medival romances1 which are now gaining ground 8,the ,countess ,tekla0 is the very best we have seen4'--,pall ,mall ,gazette4 ,,the ,,lady ,,electra4 99 99 99 99 99 ,albanesi 7,e4 ,maria74 ,,susannah ,,and ,,one ,,other4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,,the ,,blunder ,,of ,,an ,,innocent4 ,crown #hvo4 #fs4 ,,capricious ,,caroline4 ,crown #hvo4 #fs4 ,,love ,,and ,,louisa4 ,crown #hvo4 #fs4 ,,peter1 ,a ,,parasite4 ,crown #hvo4 #fs4 ,anstey 7,f471 ,author of #8,vice ,vers4' ,a ,,bayard ,,from ,,bengal4 ,illustrated by ,,bernard ,,partridge4 ,third ,edition4 ,crown #hvo4 #cs4 #f;d4 ,bacheller 7,irving71 ,author of #8,eben ,holden4' ,,darrel ,,of ,,the ,,blessed ,,isles4 ,third ,edition4 ,crown #hvo4 #fs4 ,bagot 7,richard74 ,a ,,roman ,,mystery4 ,third ,edition4 ,crown #hvo4 #fs4 ,balfour 7,andrew74 ,,vengeance ,,is ,,mine4 ,illustrated4 ,crown #hvo4 #as4 net4 ,balfour 7,m4 ,c74 ,,the ,,fall ,,of ,,the ,,sparrow4 ,crown #hvo4 #fs4 ,baring-,gould 7,s474 ,see page #cd and #as4 ,novels4 ,barlow 7,jane74 ,,the ,,land ,,of ,,the ,,shamrock4 ,crown #hvo4 #fs4 ,,from ,,the ,,east ,,unto ,,the ,,west4 ,crown #hvo4 #as4 net4 ,barr 7,robert74 ,see page #ce and #as4 ,novels4 ,begbie 7,harold74 ,,the ,,adventures ,,of ,,sir ,,john ,,sparrow4 ,crown #hvo4 #fs4 ,belloc 7,hilaire74 ,,mr4 ,,burden1 ,,dealer ,,in ,,hardware4 ,with #cf ,illustrations by ,g4 ,k4 ,,chesterton4 ,crown #hvo4 #fs4 ,benson 7,e4 ,f474 ,,dodo3 ,a ,detail of the ,day4 ,crown #hvo4 #fs4 ,,the ,,capsina4 ,crown #hvo4 #as4 net4 ,benson 7,margaret74 ,,subject ,,to ,,vanity4 ,crown #hvo4 #cs4 #f;d4 ,besant 7,sir ,walter74 ,a ,,five ,,years' ,,tryst1 and ,other ,stories4 ,crown #hvo4 #as net4 ,bowles 7,c4 ,stewart74 ,a ,,stretch ,,off ,,the ,,land4 ,crown #hvo4 #fs4 ,bullock 7,shan4 ,f474 ,,the ,,squireen4 ,crown #hvo4 #fs4 ,,the ,,red ,,leaguers4 ,crown #hvo4 #fs4 ,burton 7,j4 ,bloundelle74 ,,the ,,year ,,one3 a ,page of the ,french ,revolution4 ,illustrated4 ,crown #hvo4 #fs4 ,,denounced4 ,crown #hvo4 #fs4 ,,the ,,clash ,,of ,,arms4 ,crown #hvo4 #fs4 ,,across ,,the ,,salt ,,seas4 ,crown #hvo4 #as4 net4 ,,the ,,fate ,,of ,,valsec4 ,cr4 #hvo4 #fs4 ,a ,,branded ,,name4 ,crown #hvo4 #fs4 ,capes 7,bernard71 ,author of #8,the ,lake of ,wine4' ,,the ,,extraordinary ,,confessions ,,of ,,diana ,,please4 ,crown #hvo4 #fs4 ,chesney 7,weatherby74 ,,the ,,baptist ,,ring4 ,crown #hvo4 #fs4 ,,the ,,tragedy ,,of ,,the ,,great ,,emerald4 ,crown #hvo4 #fs4 ,,the ,,mystery ,,of ,a ,,bungalow4 ,crown #hvo4 #fs4 ,clifford 7,hugh74 ,a ,,free ,,lance ,,of ,,to-,,day4 ,crown #hvo4 #fs4 ,cobb 7,thomas74 ,a ,,change ,,of ,,face4 ,crown #hvo4 #fs4 ,cobban 7,j4 ,maclaren74 ,,the ,,king ,,of ,,andaman3 ,a ,saviour of ,society4 ,crown #hvo4 #fs4 ,,wilt ,,thou ,,have ,,this ,,woman8 ,crown #hvo4 #fs4 ,,the ,,angel ,,of ,,the ,,covenant4 ,crown #hvo4 #fs4 ,corbett 7,julian74 ,a ,,business ,,in ,,great ,,waters4 ,crown #hvo4 #fs4 ,corelli 7,marie74 ,see page #cb4 ,cotes 7,mrs4 ,everard74 ,see ,s4 ,j4 ,duncan4 ,crane 7,stephen7 and ,barr 7,robert74 ,,the ,o',,ruddy4 ,crown #hvo4 #fs4 ,crockett 7,s4 ,r471 ,author of #8,the ,raiders1' etc4 ,,lochinvar4 ,illustrated4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,standard ,,bearer4 ,cr4 #hvo4 #fs4 ,croker 7,b4 ,m474 ,,angel4 ,third ,edition4 ,crown #hvo4 #fs4 ,,peggy ,,of ,,the ,,bartons4 ,fifth ,edition4 ,crown #hvo4 #fs4 ,a ,,state ,,secret4 ,third ,edition4 ,crown #hvo4 #cs4 #f;d4 ,,johanna4 ,second ,edition4 ,cr4 #hvo4 #fs4 ,,the ,,happy ,,valley4 ,crown #hvo4 #fs4 ,doyle 7,a4 ,conan71 ,author of #8,sherlock ,holmes1' #8,the ,white ,company1' etc4 ,,round ,,the ,,red ,,lamp4 ,ninth ,edition4 ,crown #hvo4 #fs4 ,duncan 7,sara ,jeannette7 7,mrs4 ,everard ,cotes71 ,author of #8,a ,voyage of ,consolation4' ,,those ,,delightful ,,americans4 ,illustrated4 ,third ,edition4 ,crown #hvo4 #fs4 ,,the ,,path ,,of ,a ,,star4 ,illustrated4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,pool ,,in ,,the ,,desert4 ,crown #hvo4 #fs4 ,a ,,voyage ,,of ,,consolation4 ,cr4 #hvo4 #cs4 #f;d4 ,fenn 7,g4 ,manville74 ,,an ,,electric ,,spark4 ,crown #hvo4 #fs4 ,a ,,double ,,knot4 ,crown #hvo4 #bs4 #f;d4 ,findlater 7,j4 ,h474 ,,the ,,green ,,graves ,,of ,,balgowrie4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,a ,,daughter ,,of ,,strife4 ,crown #hvo4 #as4 net4 ,findlater 7,mary74 ,,over ,,the ,,hills4 ,second ,edition4 ,crown #hvo4 #fs4 ,,betty ,,musgrave4 ,second ,edition4 ,crown #hvo4 #fs4 ,a ,,narrow ,,way4 ,third ,edition4 ,crown #hvo4 #fs4 ,,the ,,rose ,,of ,,joy4 ,second ,edition4 ,crown #hvo4 #fs4 ,fitzstephen 7,gerald74 ,,more ,,kin ,,than ,,kind4 ,crown #hvo4 #fs4 ,fletcher 7,j4 ,s474 ,,the ,,builders4 ,crown #hvo4 #fs4 ,,lucian ,,the ,,dreamer4 ,crown #hvo4 #fs4 ,,david ,,march4 ,crown #hvo4 #fs4 ,francis 7,m4 ,e474 ,,miss ,,erin4 ,second ,edition4 ,crown #hvo4 #as4 net4 ,fraser 7,mrs4 ,hugh71 ,author of #8,the ,stolen ,emperor4' ,,the ,,slaking ,,of ,,the ,,sword4 ,crown #hvo4 #fs4 ,gallon 7,tom71 ,author of #8,kiddy4' ,,rickerby',s ,,folly4 ,crown #hvo4 #fs4 ,gaunt 7,mary74 ,,deadman',s4 ,crown #hvo4 #fs4 ,,the ,,moving ,,finger4 ,crown #hvo4 #cs4 #f;d4 ,gerard 7,dorothea71 ,author of #8,lady ,baby4' ,,the ,,conquest ,,of ,,london4 ,second ,edition4 ,crown #hvo4 #fs4 ,,holy ,,matrimony4 ,second ,edition4 ,crown #hvo4 #fs4 ,,things ,,that ,,have ,,happened4 ,crown #hvo4 #fs4 ,,made ,,of ,,money4 ,crown #hvo4 #fs4 ,,the ,,bridge ,,of ,,life ,cr4 #hvo4 #fs4 ,gerard 7,emily74 ,,the ,,herons' ,,tower4 ,crown #hvo4 #fs4 ,gilchrist 7,r4 ,murray74 ,,willow-,,brake4 ,crown #hvo4 #fs4 ,gissing 7,george71 ,author of #8,demos1' #8,in the ,year of ,jubilee1' etc4 ,,the ,,town ,,traveller4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,crown ,,of ,,life4 ,crown #hvo4 #fs4 ,glanville 7,ernest74 ,,the ,,despatch ,,rider4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,inca',s ,,treasure4 ,illustrated4 ,crown #hvo4 #cs4 #f;d4 ,gleig 7,charles74 ,,bunter',s ,,cruise4 ,illustrated4 ,crown #hvo4 #cs4 #f;d4 ,goss 7,c4 ,f474 ,,the ,,redemption ,,of ,,david ,,corson4 ,third ,edition4 ,crown #hvo4 #fs4 ,harrison 7,mrs4 ,burton74 ,a ,,princess ,,of ,,the ,,hills4 ,illustrated4 ,crown #hvo4 #fs4 ,herbertson 7,agnes ,g474 ,,patience ,,dean4 ,crown #hvo4 #fs4 ,hichens 7,robert71 ,author of #8,flames1' etc4 ,,the ,,prophet ,,of ,,berkeley ,,square4 ,second ,ed4 ,crown #hvo4 #fs4 ,,tongues ,,of ,,conscience4 ,second ,edition4 ,crown #hvo4 #fs4 ,,felix4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,,the ,,woman ,,with ,,the ,,fan4 ,fifth ,edition4 ,cr4 #hvo4 #fs4 ,,byeways4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,garden ,,of ,,allah4 ,crown #hvo4 #fs4 ,hobbes 7,john ,oliver71 ,author of #8,robert ,orange4' ,,the ,,serious ,,wooing4 ,crown #hvo4 #fs4 ,hope 7,anthony74 ,see page #cb4 ,hough 7,emerson74 ,,the ,,mississippi ,,bubble4 ,illustrated4 ,crown #hvo4 #fs4 ,housman 7,clemence74 ,,scenes ,,from ,,the ,,life ,,of ,,aglovale4 ,illustrated4 ,crown #hvo4 #cs4 #f;d4 ,hunt 7,violet74 ,,the ,,human ,,interest4 ,crown #hvo4 #fs4 ,hyne 7,c4 ,j4 ,cutcliffe71 ,author of #8,captain ,kettle4' ,,mr4 ,,horrocks1 ,,purser4 ,third ,edition4 ,crown #hvo4 #fs4 ,jacobs 7,w4 ,w474 ,see page #cc4 ,james 7,henry71 ,author of #8,what ,maisie ,knew4' ,,the ,,soft ,,side4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,better ,,sort4 ,crown #hvo4 #fs4 ,,the ,,ambassadors4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,golden ,,bowl4 ,crown #hvo4 #fs4 ,janson 7,gustaf74 ,,abraham',s ,,sacrifice4 ,crown #hvo4 #fs4 ,lawless 7,hon4 ,emily74 ,,traits ,,and ,,confidences4 ,crown #hvo4 #fs4 ,,melcho4 ,crown #hvo4 #as4 net4 ,lawson 7,harry71 ,author of #8,when the ,billy ,boils4' ,,children ,,of ,,the ,,bush4 ,crown #hvo4 #fs4 ,linden 7,annie74 ,a ,,woman ,,of ,,sentiment4 ,crown #hvo4 #fs4 ,linton 7,e4 ,lynn74 ,,the ,,true ,,history ,,of ,,joshua ,,davidson1 ,christian and ,communist4 ,twelfth ,edition4 ,medium #hvo4 #f;d4 ,long 7,j4 ,luther71 ,co-,author of #8,the ,darling of the ,gods4' ,,madame ,,butterfly4 ,crown #hvo4 #fs4 ,,sixty ,,jane4 ,crown #hvo4 #fs4 ,lorimer 7,norma74 ,,mirry ,,ann4 ,crown #hvo4 #fs4 ,,josiah',s ,,wife4 ,crown #hvo4 #fs4 ,lyall 7,edna74 ,,derrick ,,vaughan1 ,,novelist4 #dbnd ,thousand4 ,crown #hvo4 #cs4 #f;d4 ,m',carthy 7,justin ,h471 ,author of #8,if ,i were ,king4' ,,the ,,lady ,,of ,,loyalty ,,house4 ,crown #hvo4 #fs4 ,mackie 7,pauline ,bradford74 ,,the ,,voice ,,in ,,the ,,desert4 ,crown #hvo4 #fs4 ,macnaughtan 7,s474 ,,the ,,fortune ,,of ,,christina ,,macnab4 ,third ,edition4 ,crown #hvo4 #fs4 ,malet 7,lucas74 ,see page #cc4 ,mann 7,mrs4 ,m4 ,e474 ,,olivia',s ,,summer4 ,second ,edition4 ,crown #hvo4 #fs4 ,a ,,lost ,,estate4 ,a ,new ,edition4 ,crown #hvo4 #fs4 ,,the ,,parish ,,of ,,hilby4 ,a ,new ,edition4 ,crown #hvo4 #fs4 ,,the ,,parish ,,nurse4 ,crown #hvo4 #fs4 ,,gran',,ma',s ,,jane4 ,crown #hvo4 #fs4 ,,mrs4 ,,peter ,,howard4 ,cr4 #hvo4 #fs4 ,a ,,winter',s ,,tale4 ,crown #hvo4 #fs4 ,,there ,,was ,,once ,a ,,prince4 ,illustrated4 ,crown #hvo4 #cs4 #f;d4 ,,when ,,arnold ,,comes ,,home4 ,illustrated4 ,crown #hvo4 #cs4 #f;d4 ,marriott 7,charles71 ,author of #8,the ,column4' ,,genevra4 ,crown #hvo4 #fs4 ,marsh 7,richard74 ,,marvels ,,and ,,mysteries4 ,crown #hvo4 #fs4 ,,the ,,twickenham ,,peerage4 ,second ,edition4 ,crown #hvo4 #fs4 ,a ,,metamorphosis4 ,crown #hvo4 #fs4 ,,garnered4 ,crown #hvo4 #fs4 ,a ,,duel4 ,crown #hvo4 #fs4 ,mason 7,a4 ,e4 ,w471 ,author of #8,the ,courtship of ,morrice ,buckler1' #8,miranda of the ,balcony1' etc4 ,,clementina4 ,illustrated4 ,crown #hvo4 ,second ,edition4 #fs4 ,mathers 7,helen71 ,author of #8,comin' thro' the ,rye4' ,,honey4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,,griff ,,of ,,griffithscourt4 ,crown #hvo4 #fs4 ,,the ,,ferryman4 ,crown #hvo4 #fs4 ,meade 7,l4 ,t474 ,,drift4 ,crown #hvo4 #fs4 ,,resurgam4 ,crown #hvo4 #fs4 #8,miss ,molly' 7,the ,author of74 ,,the ,,great ,,reconciler4 ,crown #hvo4 #fs4 ,mitford 7,bertram74 ,,the ,,sign of the ,,spider4 ,illustrated4 ,sixth ,edition4 ,crown #hvo4 #cs4 #f;d4 ,,in ,,the ,,whirl ,,of ,,the ,,rising4 ,second ,edition4 ,crown #hvo4 #fs4 ,montresor 7,f4 ,f471 ,author of #8,into the ,highways and ,hedges4' ,,the ,,alien4 ,third ,edition4 ,crown #hvo4 #fs4 ,morrison 7,arthur74 ,see page #cd4 ,nesbit 7,e474 7,mrs4 ,e4 ,bland74 ,,the ,,red ,,house4 ,illustrated4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,,the ,,literary ,,sense4 ,cr4 #hvo4 #fs4 ,norris 7,w4 ,e474 ,,the ,,credit ,,of ,,the ,,county4 ,illustrated4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,embarrassing ,,orphan4 ,crown #hvo4 #fs4 ,,his ,,grace4 ,third ,edition4 ,cr4 #hvo4 #fs4 ,,the ,,despotic ,,lady4 ,crown #hvo4 #fs4 ,,clarissa ,,furiosa4 ,crown #hvo4 #fs4 ,,an ,,octave4 ,second ,edition4 ,crown #hvo4 #fs4 ,,nigel',s ,,vocation4 ,crown #hvo4 #fs4 ,,jack',s ,,father4 ,crown #hvo4 #bs4 #f;d4 ,,lord ,,leonard ,,the ,,luckless4 ,crown #hvo4 #as4 net4 ,oliphant 7,mrs474 ,,the ,,two ,,marys4 ,crown #hvo4 #fs4 ,,the ,,lady',s ,,walk4 ,crown #hvo4 #fs4 ,,the ,,prodigals4 ,crown #hvo4 #as4 net4 ,ollivant 7,alfred74 ,,owd ,,bob1 ,,the ,,grey ,,dog ,,of ,,kenmuir4 ,sixth ,edition4 ,crown #hvo4 #fs4 ,oppenheim 7,e4 ,phillips74 ,,master ,,of ,,men4 ,third ,edition4 ,crown #hvo4 #fs4 ,oxenham 7,john71 ,author of #8,barbe of ,grand ,bayou4' ,a ,,weaver ,,of ,,webs4 ,crown #hvo4 #fs4 ,pain 7,barry74 ,,three ,,fantasies4 ,crown #hvo4 #as4 ,,lindley ,,kays4 ,crown #hvo4 #fs4 ,parker 7,gilbert74 ,see page #cc4 ,pemberton 7,max74 ,,the ,,footsteps ,,of ,a ,,throne4 ,illustrated4 ,second ,edition4 ,crown #hvo4 #fs4 ,i ,,crown ,,thee ,,king4 ,with ,illustrations by ,frank ,dadd and ,a4 ,forrestier4 ,crown #hvo4 #fs4 ,penny 7,mrs4 ,f4 ,e474 ,a ,,mixed ,,marriage4 ,crown #hvo4 #as4 net4 ,phillpotts 7,eden74 ,see page #cd4 ,pickthall 7,marmaduke74 ,,sa,d ,,the ,,fisherman4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,pryce 7,richard74 ,,the ,,quiet ,,mrs4 ,,fleming4 ,crown #hvo4 #cs4 #f;d4 #8,q1' ,author of #8,dead ,man's ,rock4' ,,the ,,white ,,wolf4 ,second ,edition4 ,crown #hvo4 #fs4 ,queux 7,w4 le74 ,,the ,,hunchback ,,of ,,westminster4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,closed ,,book4 ,crown #hvo4 #fs4 ,rhys 7,grace74 ,,the ,,wooing ,,of ,,sheila4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,prince ,,of ,,lisnover4 ,crown #hvo4 #fs4 ,rhys 7,grace7 and ,another4 ,,the ,,diverted ,,village4 ,with ,illustrations by ,,dorothy ,,gwyn ,,jeffreys4 ,crown #hvo4 #fs4 ,ridge 7,w4 ,pett74 ,,lost ,,property4 ,second ,edition4 ,crown #hvo4 #fs4 ,,secretary ,,to ,,bayne1 ,m4,p4 ,crown #hvo4 #fs4 ,,erb4 ,second ,edition4 ,crown #hvo4 #fs4 ,a ,,son ,,of ,,the ,,state4 ,crown #hvo4 #cs4 #f;d4 ,a ,,breaker ,,of ,,laws4 ,cr4 #hvo4 #cs4 #f;d4 ,,mrs4 ,,galer',s ,,business4 ,crown #hvo4 #fs4 ,ritchie 7,mrs4 ,david ,g474 ,,the ,,truthful ,,liar4 ,crown #hvo4 #fs4 ,roberts 7,c4 ,g4 ,d474 ,,the ,,heart ,,of ,,the ,,ancient ,,wood4 ,crown #hvo4 #cs4 #f;d4 ,russell 7,w4 ,clark74 ,,my ,,danish ,,sweetheart4 ,illustrated4 ,fourth ,edition4 ,crown #hvo4 #fs4 ,,abandoned4 ,second ,edition4 ,crown #hvo4 #fs4 ,sergeant 7,adeline74 ,author of #8,the ,story of a ,penitent ,soul4' ,,the ,,master ,,of ,,beechwood4 ,crown #hvo4 #fs4 ,,barbara',s ,,money4 ,second ,edition4 ,crown #hvo4 #fs4 ,,anthea',s ,,way4 ,crown #hvo4 #fs4 ,,the ,,yellow ,,diamond4 ,second ,edition4 ,crown #hvo4 #fs4 ,,under ,,suspicion4 ,crown #hvo4 #fs4 ,,the ,,love ,,that ,,overcame4 ,crown #hvo4 #fs4 ,,the ,,enthusiast4 ,crown #hvo4 #fs4 ,,accused ,,and ,,accuser4 ,crown #hvo4 #fs4 ,,the ,,progress ,,of ,,rachel4 ,cr4 #hvo4 #fs4 ,shannon 7,w4 ,f474 ,,the ,,mess ,,deck4 ,crown #hvo4 #cs4 #f;d4 ,,jim ,,twelves4 ,second ,edition4 ,crown #hvo4 #cs4 #f;d4 ,sonnichsen 7,albert74 ,,deep ,,sea ,,vagabonds4 ,crown #hvo4 #fs4 ,strain 7,e4 ,h474 ,,elmslie',s ,,drag-,,net4 ,crown #hvo4 #fs4 ,stringer 7,arthur74 ,,the ,,silver ,,poppy4 ,crown #hvo4 #fs4 ,sutherland 7,duchess of74 ,,one ,,hour ,,and ,,the ,,next4 ,third ,edition4 ,crown #hvo4 #as4 net4 ,swan 7,annie74 ,,love ,,grown ,,cold4 ,second ,edition4 ,crown #hvo4 #as4 net4 ,swift 7,benjamin74 ,,siren ,,city4 ,crown #hvo4 #fs4 ,tanqueray 7,mrs4 ,b4 ,m474 ,,the ,,royal ,,quaker4 ,crown #hvo4 #fs4 ,thompson 7,vance74 ,,spinners ,,of ,,life4 ,crown #hvo4 #fs4 ,waineman 7,paul74 ,a ,,heroine ,,from ,,finland4 ,crown #hvo4 #as4 net4 ,,by ,a ,,finnish ,,lake4 ,crown #hvo4 #fs4 ,,the ,,song ,,of ,,the ,,forest4 ,crown #hvo4 #fs4 ,watson 7,h4 ,b4 ,marriott74 ,,alarums ,,and ,,excursions4 ,cr4 #hvo4 #fs4 ,,captain ,,fortune4 ,cr4 #hvo4 #fs4 ,wells 7,h4 ,g474 ,,the ,,sea ,,lady4 ,crown #hvo4 #fs4 ,weyman 7,stanley71 ,author of #8,a ,gentleman of ,france4' ,,under ,,the ,,red ,,robe4 ,with ,illustrations by ,r4 ,c4 ,,woodville4 ,eighteenth ,edition4 ,crown #hvo4 #fs4 ,white 7,stewart ,e474 ,author of #8,the ,blazed ,trail4' ,,conjuror',s ,,house4 ,a ,romance of the ,free ,trail4 ,second ,edition4 ,crown #hvo4 #fs4 ,williamson 7,mrs4 ,c4 ,n471 ,author of #8,the ,barnstormers4' ,,papa4 ,second ,edition4 ,crown #hvo4 #fs4 ,,the ,,adventure ,,of ,,princess ,,sylvia4 ,crown #hvo4 #cs4 #f;d4 ,,the ,,woman ,,who ,,dared4 ,crown #hvo4 #fs4 ,,the ,,sea ,,could ,,tell4 ,second ,edition4 ,crown #hvo4 #fs4 ,williamson 7,c4 ,n4 and ,a4 ,m474 ,,the ,,lightning ,,conductor3 ,being the ,romance of a ,motor ,car4 ,illustrated4 ,sixth ,edition4 ,crown #hvo4 #fs4 ,,the ,,princess ,,passes4 ,cr4 #hvo4 #fs4 ,yeats 7,s4 ,levett74 ,,orrain4 ,crown #hvo4 #fs4 ,boys and ,girls1 ,books for ,crown #hvo4 #cs4 #f;d4 ,,the ,,icelander',s ,,sword4 ,by ,s4 ,baring-,gould4 ,,only ,a ,,guard-,,room ,,dog4 ,by ,edith ,e4 ,cuthell4 ,,the ,,doctor ,,of ,,the ,,juliet4 ,by ,harry ,collingwood4 ,,master ,,rockafellar',s ,,voyage4 ,by ,w4 ,clark ,russell4 ,,syd ,,belton3 ,or1 the ,boy who would not go to ,sea4 ,by ,g4 ,manville ,fenn4 ,,the ,,red ,,grange4 ,by ,mrs4 ,molesworth4 ,a ,,girl ,,of ,,the ,,people4 ,by ,l4 ,t4 ,meade4 ,,hepsy ,,gipsy4 ,by ,l4 ,t4 ,meade4 #bs4 #f;d4 ,,the ,,honourable ,,miss4 ,by ,l4 ,t4 ,meade4 ,dumas1 ,the ,novels of ,alexandre ,price #f;d4 ,double ,volume1 #as4 ,,the ,,three ,,musketeers4 ,with a long ,introduction by ,andrew ,lang4 ,double volume4 ,,the ,,prince ,,of ,,thieves4 ,second ,edition4 ,,robin ,,hood4 ,a ,sequel to the above4 ,,the ,,corsican ,,brothers4 ,,georges4 ,,crop-,,eared ,,jacquot4 ,,twenty ,,years ,,after4 ,double volume4 ,,amaury4 ,,the ,,castle ,,of ,,eppstein4 ,,the ,,snowball4 ,,cecile2 ,,or1 ,,the ,,wedding ,,gown4 ,,act4 ,,the ,,black ,,tulip4 ,,the ,,viscomte ,,de ,,bragelonne4 ,,the ,,convict',s ,,son4 ,,the ,,wolf-,,leader4 ,,nanon2 ,,or1 ,,the ,,women',s ,,war4 ,,pauline2 ,,murat2 ,,and ,,pascal ,,bruno4 ,,the ,,adventures ,,of ,,captain ,,pamphile4 ,,fernande4 ,,gabriel ,,lambert4 ,,the ,,reminiscences ,,of ,,antony4 ,,catherine ,,blum4 ,,the ,,chevalier ,d',,harmental4 ,,conscience4 ,illustrated ,edition4 ,,the ,,three ,,musketeers4 ,illustrated in ,colour by ,frank ,adams4 ,,the ,,prince ,,of ,,thieves4 ,illustrated in ,colour by ,frank ,adams4 ,,robin ,,hood ,,the ,,outlaw4 ,illustrated in ,colour by ,frank ,adams4 ,,the ,,corsican ,,brothers4 ,illustrated in ,colour by ,a4 ,m4 ,m',lellan4 ,,fernande4 ,illustrated in ,colour by ,munro ,orr4 ,,the ,,black ,,tulip4 ,illustrated in ,colour by ,a4 ,orr4 ,,act4 ,illustrated in ,colour by ,gordon ,browne4 ,,georges4 ,illustrated in ,colour by ,munro ,orr4 ,,the ,,castle ,,of ,,eppstein4 ,illustrated in ,colour by ,a4 ,orr4 ,,twenty ,,years ,,after4 ,illustrated in ,colour by ,frank ,adams4 ,,the ,,snowball ,,and ,,sultanetta4 ,illustrated in ,colour by ,frank ,adams4 ,,the ,,vicomte ,,de ,,bragelonne4 ,illustrated in ,colour by ,frank ,adams4 ,,amaury4 ,illustrated in ,colour by ,gordon ,browne4 ,,crop-,,eared ,,jacquot4 ,illustrated in ,colour by ,gordon ,browne4 ,methuen's ,universal ,library ,,edited ,,by ,,sidney ,,lee4 ,in ,sixpenny ,volumes4 ,,messrs4 ,,methuen are preparing a new series of reprints containing both books of classical repute1 which are accessible in various forms1 and also some rarer books1 of which no satisfactory edition at a moderate price is in existence4 ,it is their ambition to place the best books of all nations1 and particularly of the ,anglo-,saxon race1 within the reach of every reader4 ,all the great masters of ,poetry1 ,drama1 ,fiction1 ,history1 ,biography1 and ,philosophy1 will be represented4 ,mr4 ,sidney ,lee will be the ,general ,editor of the ,library1 and he will contribute a ,note to each book4 ,the characteristics of ,,methuen',s ,,universal ,,library are five3-- #a4 ,,soundness ,,of ,,text4 ,a pure and unabridged text is the primary object of the series1 and the books will be carefully reprinted under the direction of competent scholars from the best editions4 ,in a series intended for popular use not less than for students1 adherence to the old spelling would in many cases leave the matter unintelligible to ordinary readers1 and1 as the appeal of a classic is universal1 the spelling has in general been modernised4 #b4 ,,completeness4 ,where it seems advisable1 the complete works of such masters as ,milton1 ,bacon1 ,ben ,jonson and ,sir ,thomas ,browne will be given4 ,these will be issued in separate volumes1 so that the reader who does not desire all the works of an author will have the opportunity of acquiring a single masterpiece4 #c4 ,,cheapness4 ,the books will be well printed on good paper at a price which on the whole is without parallel in the history of publishing4 ,each volume will contain from #ajj to #cej pages1 and will be issued in paper covers1 ,crown #hvo1 at ,sixpence net4 #d4 ,,clearness ,,of ,,type4 ,the type will be a very legible one4 #e4 ,,simplicity4 ,there will be no editorial matter except a short biographical and bibliographical note by ,mr4 ,sidney ,lee at the beginning of each volume4 ,where it is possible1 each separate book will be issued in one volume1 but the longer ones must be divided into several volumes4 ,the volumes may also be obtained in cloth at ,one ,shilling net1 and where a single book is issued in several ,sixpenny volumes it may be obtained in cloth in a double or treble volume4 ,thus ,,gil ,,blas may be bought in two ,sixpenny volumes1 or in one cloth volume at #as4 #f;d4 net1 and ,,shakespeare will be given in ten ,sixpenny volumes1 or in five cloth volumes at #as4 #f;d4 each4 ,the ,library will be issued at regular intervals after the publication of the first six books1 all of which will be published together4 ,due notice will be given of succeeding issues4 ,the order of publication will be arranged to give as much variety of subject as possible1 and the volumes composing the complete works of an author will be issued at convenient intervals4 ,the early ,books are in the ,press4 ,novelist1 ,the ,,messrs4 ,,methuen are issuing under the above general title a ,monthly ,series of ,novels by popular authors at the price of ,sixpence4 ,each number is as long as the average ,six ,shilling ,novel4 ,the first numbers of #8,,the ,,novelist' are as follows3-- #a4 ,,dead ,,men ,,tell ,,no ,,tales4 ,by ,e4 ,w4 ,hornung4 #b4 ,,jennie ,,baxter1 ,,journalist4 ,by ,robert ,barr4 #c4 ,,the ,,inca',s ,,treasure4 ,by ,ernest ,glanville4 #d4 ,a ,,son ,,of ,,the ,,state4 ,by ,w4 ,pett ,ridge4 #e4 ,,furze ,,bloom4 ,by ,s4 ,baring-,gould4 #f4 ,,bunter',s ,,cruise4 ,by ,c4 ,gleig4 #g4 ,,the ,,gay ,,deceivers4 ,by ,arthur ,moore4 #h4 ,,prisoners ,,of ,,war4 ,by ,a4 ,boyson ,weekes4 #i4 ,a ,,flash ,,of ,,summer4 ,by ,mrs4 ,w4 ,k4 ,clifford4 #aj4 ,,veldt ,,and ,,laager3 ,tales of the ,transvaal4 ,by ,e4 ,s4 ,valentine4 #aa4 ,,the ,,nigger ,,knights4 ,by ,f4 ,norreys ,connel4 #ab4 ,a ,,marriage ,,at ,,sea4 ,by ,w4 ,clark ,russell4 #ac4 ,,the ,,pomp ,,of ,,the ,,lavilettes4 ,by ,gilbert ,parker4 #ad4 ,a ,,man ,,of ,,mark4 ,by ,anthony ,hope4 #ae4 ,,the ,,carissima4 ,by ,lucas ,malet4 #af4 ,,the ,,lady',s ,,walk4 ,by ,mrs4 ,oliphant4 #ag4 ,,derrick ,,vaughan4 ,by ,edna ,lyall4 #ah4 ,,in ,,the ,,midst ,,of ,,alarms4 ,by ,robert ,barr4 #ai4 ,,his ,,grace4 ,by ,w4 ,e4 ,norris4 #bj4 ,,dodo4 ,by ,e4 ,f4 ,benson4 #ba4 ,,cheap ,,jack ,,zita4 ,by ,s4 ,baring-,gould4 #bb4 ,,when ,,valmond ,,came ,,to ,,pontiac4 ,by ,gilbert ,parker4 #bc4 ,,the ,,human ,,boy4 ,by ,eden ,phillpotts4 #bd4 ,,the ,,chronicles ,,of ,,count ,,antonio4 ,by ,anthony ,hope4 #be4 ,,by ,,stroke ,,of ,,sword4 ,by ,andrew ,balfour4 #bf4 ,,kitty ,,alone4 ,by ,s4 ,baring-,gould4 #bg4 ,,giles ,,ingilby4 ,by ,w4 ,e4 ,norris4 #bh4 ,,urith4 ,by ,s4 ,baring-,gould4 #bi4 ,,the ,,town ,,traveller4 ,by ,george ,gissing4 #cj4 ,,mr4 ,,smith4 ,by ,mrs4 ,walford4 #ca4 ,a ,,change ,,of ,,air4 ,by ,anthony ,hope4 #cb4 ,,the ,,kloof ,,bride4 ,by ,ernest ,glanville4 #cc4 ,,angel4 ,by ,b4 ,m4 ,croker4 #cd4 ,a ,,counsel ,,of ,,perfection4 ,by ,lucas ,malet4 #ce4 ,,the ,,baby',s ,,grandmother4 ,by ,mrs4 ,walford4 #cf4 ,,the ,,countess ,,tekla4 ,by ,robert ,barr4 #cg4 ,,drift4 ,by ,l4 ,t4 ,meade4 #ch4 ,,the ,,master ,,of ,,beechwood4 ,by ,adeline ,sergeant4 #ci4 ,,clementina4 ,by ,a4 ,e4 ,w4 ,mason4 #dj4 ,,the ,,alien4 ,by ,f4 ,f4 ,montresor4 #da4 ,,the ,,broom-,,squire4 ,by ,s4 ,baring-,gould4 #db4 ,,honey4 ,by ,helen ,mathers4 #dc4 ,,the ,,footsteps ,,of ,a ,,throne4 ,by ,max ,pemberton4 #dd4 ,,round ,,the ,,red ,,lamp4 ,by ,a4 ,conan ,doyle4 #de4 ,,lost ,,property4 ,by ,w4 ,pett ,ridge4 #df4 ,,the ,,twickenham ,,peerage4 ,by ,richard ,marsh4 #dg4 ,,holy ,,matrimony4 ,by ,dorothea ,gerard4 #dh4 ,,the ,,sign ,,of ,,the ,,spider4 ,by ,bertram ,mitford4 #di4 ,,the ,,red ,,house4 ,by ,e4 ,nesbit4 #ej4 ,,the ,,hole ,,in ,,the ,,wall4 ,by ,a4 ,morrison4 #ea4 ,a ,,roman ,,mystery4 ,by ,richard ,bagot4 #cb4 ,,the ,,credit ,,of ,,the ,,county4 ,by ,w4 ,e4 ,norris4 #ec4 ,a ,,moment',s ,,error4 ,by ,a4 ,w4 ,marchant4 #ed4 ,,phroso4 ,by ,anthony ,hope4 #ee4 ,i ,,crown ,,thee ,,king4 ,by ,max ,pemberton4 #ef4 ,,johanna4 ,by ,b4 ,m4 ,croker4 #eg4 ,,barbara',s ,,money4 ,by ,adeline ,sergeant4 #eh4 ,a ,,newspaper ,,girl4 ,by ,mrs4 ,c4 ,n4 ,williamson4 #ei4 ,,the ,,goddess4 ,by ,richard ,marsh4 #fj4 ,,mrs4 ,,peter ,,howard4 ,by ,m4 ,e4 ,mann4 ,sixpenny ,library ,,the ,,matabele ,,campaign4 ,by ,major-,general ,baden-,powell4 ,,the ,,downfall ,,of ,,prempeh4 ,by ,major-,general ,baden-,powell4 ,,my ,,danish ,,sweetheart4 ,by ,w4 ,clark ,russell4 ,,in ,,the ,,roar ,,of ,,the ,,sea4 ,by ,s4 ,baring-,gould4 ,,peggy ,,of ,,the ,,bartons4 ,by ,b4 ,m4 ,croker4 ,,the ,,green ,,graves ,,of ,,balgowrie4 ,by ,jane ,h4 ,findlater4 ,,the ,,stolen ,,bacillus4 ,by ,h4 ,g4 ,wells4 ,,matthew ,,austin4 ,by ,w4 ,e4 ,norris4 ,,the ,,conquest ,,of ,,london4 ,by ,dorothea ,gerard4 ,a ,,voyage ,,of ,,consolation4 ,by ,sara ,j4 ,duncan4 ,,the ,,mutable ,,many4 ,by ,robert ,barr4 ,,ben ,,hur4 ,by ,general ,lew ,wallace4 ,,sir ,,robert',s ,,fortune4 ,by ,mrs4 ,oliphant4 ,,the ,,fair ,,god4 ,by ,general ,lew ,wallace4 ,,clarissa ,,furiosa4 ,by ,w4 ,e4 ,norris4 ,,cranford4 ,by ,mrs4 ,gaskell4 ,,no,,mi4 ,by ,s4 ,baring-,gould4 ,,the ,,throne ,,of ,,david4 ,by ,j4 ,h4 ,ingraham4 ,,across ,,the ,,salt ,,seas4 ,by ,j4 ,bloundelle ,burton4 ,,the ,,mill ,,on ,,the ,,floss4 ,by ,george ,eliot4 ,,peter ,,simple4 ,by ,captain ,marryat4 ,,mary ,,barton4 ,by ,mrs4 ,gaskell4 ,,pride ,,and ,,prejudice4 ,by ,jane ,austen4 ,,north ,,and ,,south4 ,by ,mrs4 ,gaskell4 ,,jacob ,,faithful4 ,by ,captain ,marryat4 ,,shirley4 ,by ,charlotte ,bront4 ,,fairy ,,tales ,,re-,,told4 ,by ,s4 ,baring-,gould4 ,,the ,,true ,,history ,,of ,,joshua ,,davidson4 ,by ,mrs4 ,lynn ,linton4 ,a ,,state ,,secret4 ,by ,b4 ,m4 ,croker4 ,,sam',s ,,sweetheart4 ,by ,helen ,mathers4 ,,handley ,,cross4 ,by ,r4 ,s4 ,surtees4 ,,anne ,,mauleverer4 ,by ,mrs4 ,caffyn4 ,,the ,,adventurers4 ,by ,h4 ,b4 ,marriott ,watson4 ,,dante',s ,,divine ,,comedy4 ,translated by ,h4 ,f4 ,cary4 ,,the ,,cedar ,,star4 ,by ,m4 ,e4 ,mann4 ,,master ,,of ,,men4 ,by ,e4 ,p4 ,oppenheim4 ,,the ,,trail ,,of ,,the ,,sword4 ,by ,gilbert ,parker4 ,,those ,,delightful ,,americans4 ,by ,mrs4 ,cotes4 ,,mr4 ,,sponge',s ,,sporting ,,tour4 ,by ,r4 ,s4 ,surtees4 ,,ask ,,mamma4 ,by ,r4 ,s4 ,surtees4 ,,grimm',s ,,fairy ,,stories4 ,illustrated by ,george ,cruikshank4 ,,george ,,and ,,the ,,general4 ,by ,w4 ,pett ,ridge4 ,,the ,,joss4 ,by ,richard ,marsh4 ,,miser ,,hoadley',s ,,secret4 ,by ,a4 ,w4 ,marchmont4