Summary

J. Henry Middleton Illuminated Manuscripts in Classical and Mediaeval Times… (1892)

Celtic art in Britain. In later times, when the Celtic style of illumination was transplanted to England, gold was to some extent introduced, but in the finest Irish manuscripts of the best period, the latter half of the seventh century, gold is completely absent. Nevertheless, so great was the decorative genius of these Irish monks that, even without burnished gold and silver, their illuminated pages quite equal, not only in artistic beauty, but even in mere splendour of effect, any illuminations that have ever been produced.
Source: Wikisource

J. Henry Middleton Illuminated Manuscripts in Classical and Mediaeval Times… (1892)

The Norsemen were far from being a literary race and it was not in the form of manuscript illuminations that Irish art was introduced into Norway and Denmark, but rather in the rich gold and silver jewellery with which the Viking chiefs adorned themselves, and also on a larger scale in the magnificently decorative reliefs which were carved on the wooden planks which formed the frames or architraves of the doors of the Scandinavian wooden churches in the eleventh and twelfth centuries, after the worship of the Thunderer had been replaced by the Faith of the White Christ.
Source: Wikisource

J. Henry Middleton Illuminated Manuscripts in Classical and Mediaeval Times… (1892)

Celtic goldsmiths. Thus it happened that by the middle or latter part of the seventh century the Celtic monks of Ireland had learned to produce goldsmiths' work and manuscript illuminations with such marvellous taste and skill as has never been surpassed by any age or country in the world [2] . Not even the finest Greek or Etruscan jewellery, enriched with enamels and studded with gems, Gold jewellery. can be said to surpass the amazing perfection shown in such a masterpiece of the goldsmith's art as the so-called "Tara brooch" [3] in the Museum of the Royal Irish Academy.
Source: Wikisource

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