The stones in these crowns, like those in the Charlemagne and Lombard crowns, and other jewellery of the Middle Ages, were "tallow-cut," that is, they were polished in the round or oval shapes, without facets, and were also known under the name of "Cabochons." On one of the crowns of the above treasure - which is now in the Cluny Museum - is the name of "Beccesvinthus Rex" (a.d. 649-672), and another has the letters forming the name of King Suinthila (a.d. 621-631) (Fig. 135). Others of a smaller size were probably those of Spanish queens. The design and work of the articles forming this treasure are in a kind of Romanesque-Gothic. The crown of Charlemagne has already been described under the head of enamels (see Fig. 96). The art of the goldsmith was fostered to a great degree under the rule of Charlemagne. This monarch's great friend and adviser, the prelate Alcuin (735-804), was the chief spirit of his times in founding monasteries, which were, apart from their religious character, also great schools of art, especially in metal working, where all such articles as were required for church uses, as well as shields, swords, and jewellery for the king and nobles, were also made. Charlemagne was buried with most of his treasures about him, but his enamelled sword and crown are the only objects which belonged to him that now remain, both of which are at Vienna. Gold, silver, and bronze were worked in by Franks on the Continent and by the Saxons in England as early as the fifth and sixth centuries, many examples of which, consisting" chiefly of articles of personal adornment, are now in our museums. That the goldsmith's art was practised in England in the days of Alfred (871-900) we have evidence in the famous ring belonging to this king which is described on page 121.

Another gold ring belonging to Ethelwulf, of the early ninth or eighth century, the enamelled vase or situla found in Essex, the golden altar of St. Ambrose at Milan, and the beautiful Irish chalice found at Ardagh have been described in the chapter on enamels, all of which show evidence of the great skill of the European goldsmiths from the seventh to the tenth centuries.

The tenth century was a barren one for Art in Europe, except in some of the monasteries of France, Italy, and in Ireland. In the latter country a great deal of good work was produced - in metals especially - in the ninth and tenth centuries. The amount of personal ornaments, such as torques or collars of gold, bracelets, brooches, belt-clasps, and croziers, shrines for sacred bells, and covers for the Gospels, that were wrought in gold, silver, or alloys must have been prodigious. The astonishing delicacy and intricacy of the Celtic ornamentation bear eloquent testimony to the great skill of the early Irish artists.

The Shrine Of St. Patrick's Bell, Or The Bell Of Armagh

The Shrine Of St. Patrick's Bell, Or The Bell Of Armagh, is a splendid specimen of Irish art (Fig. 136). It forms the cover of the ancient square-mouthed iron bell that formerly belonged to the patron saint of Ireland, and is plated with silver-gilt ornamentation and gold filigree work in both high and low relief. The ornamentation is composed of twisted and interlacing scrolls and knot-work, with some elongated animal forms in the composition. It has crystals and coloured gems set in the angles and other places. The large central stone is set in imbricated work.

There are five of these bells in Ireland and two in Scotland, but none of them are so fine as the St. Patrick bell. Another beautiful example of Irish metal work is the Tara brooch (Figs. 137 and 138). It is made of white metal, a hard bronze composed of tin and copper.

The gold and silver ornamentation on this brooch and on the Ardagh chalice are of the same style of design and workmanship, which would point out that these two fine examples of Irish art were made about the same date, perhaps anterior to the tenth century. The "trumpet pattern," which is not found on Irish work after 1050, occurs on the reverse side of the Tara brooch (Fig. 138)-

The ornamentation is of an extraordinary beauty, both in variety of style and pattern and in the execution. It is riveted or fastened with pins and held by means of slender bars to the foundation.

The Cumdachs Or Book-Cases

The Cumdachs Or Book-Cases used as covers for the books of the Gospels were also important works of the Irish goldsmith's art. The illustration of the book-case or shrine for the cover of Molaise's Gospels is a unique example (Fig. 140). This cumdach is made of plates of bronze, and on this foundation is riveted plates of silver with gilt patterns. In the panels may be seen rude and quaint figures or symbols of the four Evangelists, and in the centre is a cross in a circle. It dates from the first quarter of the eleventh century, and is one of the oldest of these Irish book shrines. Crosses and croziers were also made of bronze, with gold and silver inlays or relief ornamentation.

The Cross Of Cong

The Cross Of Cong, of the twelfth century, now in the museum of the Royal Irish Academy, and the croziers of Lis-more (end of eleventh century) and that of Clonmacnois (Fig. 141) are the most important examples of this kind of work, the latter being a very rich example. A simpler Irish crozier in bronze (Fig. 142) is in the Edinburgh Museum.

Fig. 134. Chair of Dagobert; Seventh Century.

Fig. 135. Votive Crown of King Suinthila; Seventh Century.

Fig. 136. Shrine of St. Patrick's Bell. (S).

Fig. 137. The Tara Brooch. (S).

Fig. 138. Tara Brooch (reverse). (S).

Fig. 139. Irish "Trumpet Pattern".

Fig. 140. Cumdach or Case of Molaise's Gospels. (S).

Fig. 142. Irish Crozier of Bronze, Edinburgh Museum. (S).