Volume II. Guth na Bliadhna ' leabhar II.]

a' sruthadh o 'lotan air a' chrois.

Aig Memento Domine, far am beil an Sagart a' guidhe air son anmannan nan marbhchreideach, tha Iosa ag ùrnaigh air son an t-sluaigh a bha 'ga chèusadh. An uair a tha 'n Sagart a' bualadh 'uchd, agus ag ràdh, "Nobis quoque peccatoribus," tha fear de na mèirlich a chaidh a chèusadh maille ri Crìosta, a' tionndadh gu aithreachas. Far am beil an Sagart ag ràdh " Urnaigh an Tighearna," tha sin a' ciallachadh nam facal mu dheireadh a labhair Iosa air a' chrois.

Aig Agnus Dei, tha sinn ag ràdh, " Uain Dhè a tha 'toirt air falbh peacannan an t-saoghail, dean tròcair oirnn!" agus aig Domine non sum dignus, tha sinn ag ràdh, " A Thighearna, cha'n fhiach mise gu'n tigeadh tu stigh fo'm fhàrdaich, ach abair am facal a mhàin, 's bithidh m' anam sàbhailte ",

An uair a tha 'n Sagart ag gabhail Sàcramaid Corp agus Fuil Chrìosta, tha e ag cur an cuimhne dhuinn, gu'n d'thug Iosa suas an deò air a' chrois, gus ar saoradh o'r peacannan, a rèir briathran Phòil, "Cho tric 's a dh'itheas sibh an t-aran so, 's a dh'òlas sibh a' chailis, taisbeanaidh sibh bàs an Tighearna, gus an tig e" (1 Cor. xi. 26). An uair a tha 'n Sagart ag cuibhrigeadh na cailise, tha Corp Chrìosta, 'ga chur anns an uaigh, comh­daichte le lìonanart. An uair a tha 'n Sagart a' tionndadh ris a' phobull, agus ag ràdh Dominvs xobiscum, tha Iosa ag eiridh o na mairbh, 's ga 'fhiachainn fèin do na deisciobuill. An uair a tha 'n Sagart a' leughadh ùrnaigh dheireanach na h-Aifrinne, tha Iosa rè dà fhichead latha ann an cuideachda nan Ostal, agus nan deisciobul eile, 'gan soilleireachadh anns gach nì a thaobh creidimh. An uair a tha 'n Sagart a' deanamh comharradh na croise air a' phobull, agus a' toirt a bhean­nachd dhaibh, tha Iosa a' togail suas a làmhan, agus a' toirt a bheannachd do na deisciobuill agus a dol suas do fhlathanas 'nam fianais. Aig leugh­adh Soisgeul Naomh Eoin anns am beil mòrachd is diadhachd Iosa Chrìosta gu sònraichte air an dearbhadh, tha ar Tighearna Iosa Crìosta 'na shuidhe gu glòr mhòr air deas làimh an Athar shìorraidh.

A nis, tha 'n Altair, 's gach ball a bhuineas dhi, a' chulaidh-aifrinn, na modhannan a thathas ag cleachdadh an àm na h-Iobairte, a' fiachainn dhuinn pais agus bàs Mhic Dhè.

Tha na h-anartan a tha 'còmhdach na h-Altarach 'nan comharradh air an lìonaodach leis an do phais-geadh column phrìseil Chriosta 'nuair a chuireadh 'san uaigh e.

Tha na coinnlean laiste air an Altair a' cial­lachadh solus a' chreidimh air a thaisbeineadh do na h-Iùdhaich agus do na Cinnich; agus a' cur an cèill dhuinn dealradh a' chreidimh 's nan deagh-bheusan a tha riatanach dhaibhsan a tha 'tairgsinn suas rùin-dhìomhair cho àrd, urramach.

Tha 'n crann-cèusaidh a' cur an cèill dhuinn na buaidhe a choisinn ar Slànair bèannaichte air a bhàs, agus thathas 'ga thogail am meadhon na h-Altarach gus ar cur an cuimhne air pais is bàs Iosa Chrìosta, cuis air an còir smaoineachadh le dùrachd 's le cràbhadh cho tric agus a thairgear an Iobairt Naomh so.

Tha a' chailis 'na samhladh air uaigh naoimh ar Tighearna; agus am Paten, air a' chloich mhòir a charaicheadh gu bial na h-uaghach.

Tha 'n t-anart a tha 'n Sagart a' cur air a cheann, agus a' ceangal a rithisd mu 'amhaich, a' ciallachadh a' bhrèid leis an do dhall na h-Iùdhaich Criosta ar Slànair, 's iad a' magadh air, an uair a bha iad 'ga bhualadh air a leithcheann, 's ag ràdh. " Fàisnich dhuinn, Chrìosta, co e a bhuail thu ?"

Tha 'n t-èideadh geal a' ciallachadh an trusgain ghil a chuir Herod air Criosta, an deigh dha a chur suarach, agus culaidh-mhagaidh a dheanamh dheth.

Tha 'n crios, am maniple, 's an stòl, mar shannV Iadh air na cùird agus na ceanglaichean a chuir na h-Iùdhaich air Criosta. Is samhladh an fhalluinn-uachdarach air an trusgan dhearg-ghorm a chuir na saighdearan air Iosa Criosta; agus tha a' chrois a th'air a dealbhadh air a cùlaobh 'gar cur an cuimhne air a' chrois a ghiùlain Criosta air a ghuaillnean bèannaichte gu Cnoc Chalbharidh.

Daithean na Culaidh-Aifrinn an so: is comhar­radh an Geal air aighir is toil-ìnntinn; agus le sin, 's e culaidh gheal a fhreagras do'n Nollaig, do Dhiardaoin-deasghabhail, do dh'fhèilltean a bhui­neas do Mhoire, do dh'Ainglean, 's do Naomh nach 'eil nam Martairean. Tha 'n Dearg 'na shuaich-eantas fala is dòruinne; agus air an aobhar sin, tha e ri 'chur suas air fèilltean nam Martairean agus nar Ostal, a dh'fhuilig am bàs air son Chrìosta, agus a dhath an trusgan 'am fuil an Uain. -Is comharradh an t-Uaine air fàs agus cin-neachadh, gus a thoirt dhuinn ri thuigsinn gu'm bu chòir dhuinn a h-uile latha fàs na's diadhaidh, 's na's fhèarr. Tha 'n Dearg-ghorm 'na shuaich-eantas air aithreachas, agus mar sin air a chleach­dadh an àm na h-Aidbhein agus a' Charghuis. Is somhladh an Dubh air bròn is mulad, a dh'fhiachainn dhuinn gur e mulad is bròn a nigheas o'n pheacadh sinn. Tha 'n Eaglais a' cleachdadh an duibh aig na h-Aifrionnan air son nam marbh, a dh'fhiachainn na h-èiginn anns am beil iad (Iul a' Chriostaidh, tt. 55, 56).

Is ann mar so, ann am beagan bhriathran, an Aifrionn air a mineachadh. Bha i air a bun­achadh le 'r Tighearna, Iosa criosta a thubhairt, "Deanaibh so mar chuimhneachan ormsa". Ach ged is cuimhneachan iad, cha' 'n 'eil sin an seol air bith dol an aghaidh fuil is feoil Chrìosta a bhith gu fìor a lathair fo riochd na sacramaid, riochd a tha fiachuinn a bhàis. An àite sin, is e so cheart dòigh a dh'àithn' e fèin a leanail, gus a bhàs a chuimhneachadh agus a luidh, le bhith tairgse mar iobairt, 's le bhith gabhail 'san t-sacra-maid na fala 'sna feola sin leis an deach ar saoradh. Tha 'n Aifrionn a' cur an cèill eachdraidh na Pais : tha 'n Eaglais 'ga deanamh mar chuimhneachan air; agus easan aig a bheil cluasan gu cluinntin, cluinneadh e.

Iain Mac an Abba.

_"—

74 Celtic Arts and Industries: Metal Work
CELTIC ARTS AND INDUSTRIES: METAL WORKThe literature of an Art supplies the best intro­duction to the exercise of the same. In our last number we promised to present our readers with a series of papers on the practical side of Celtic arts and industries; but before we proceed to fulfil that promise, it may be proper to make a few observations respecting the literature which the consideration of their historical aspects has called into being, more especially as the appear­ance of the work before us would seem to suggest this as a peculiarly seasonable and appropriate manner in which to inaugurate the promised series.

Mr. Romilly Allen is evidently well qualified to treat of the subject to which his talents, no less than his avocation and opportunities, happily in­cline him. His work, though in the nature of a handbook, is a substantial well-printed volume of over 300 pages. The type is clear, the paper good, and the numerous illustrations wherewith the book is embellished are admirably executed. A Celtic working jeweller or smith would find it indispensable, both as a guide and as a source of inspiration. The attempt to revive Celtic arts —or rather the suggestion of their revival—has been characterised as " Utopian ". The man who after seeing and reading this book remains in that opinion must be a fool.

Mr. Romilly Allen is a trifle ambitious. He

¹

1 Celtic Art in Pagan and Christian Times, by J. Romilly Allen, F.S.A. Methuen & Co., 36 Essex Street, London, W.C.

Celtic Arts and Industries : Metal Work 75

begins his admirable treatise with a brief sketch touching the remote origines of the Celtic peoples, of which we may say he is a skilful and interesting summariBer of conflicting opinions. We are not quite so sure that Mr. Allen is always as clear as he might, and, doubtless, desires to be. " In Great Britain," says he (p. 4), "the once war-like Celt at last became so effete that he fell an easy prey to the Picts, the Scots, the Angles and the Saxons " ; which might be construed in a sense which Mr. Allen would surely be the first to protest against. The Picts and Scots were, of course, Celts; so the sentence lacks perspicuity.

Mr. Allen's summary is, however, on the whole a perfectly "safe" piece of work; and doubtless many will read it with interest and edification who will not be troubled with more detailed perform­ances. Accurate knowledge respecting the early history of our race is at present very much con­fined to "expert" sources. What the general public knows respecting our origines is little in quantity and poor in quality. Any attempt, there­fore, to popularise that knowledge must be regarded with sympathy, especially when, as happens in this case, the benefactor is in a position to establish his claims to a respectful hearing.

"Celtic Art," says Mr. Allen in his preface, " naturally divides itself into two distinct periods, the Pagan and the Christian. With regard to the latter, 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 at. With regard to the Pagan period the case is altogether different, as most of the ' finds' hitherto made have been due to accident, and until the large number of in-

76 Celtic Arts and Industries: Metal Work

habited and fortified sites belonging to this period are systematically excavated our knowledge must necessarily remain incomplete."

The cradle of Celtic Art was undoubtedly that somewhat vague geographical entity which we are apt to denominate "the East". The Celtic people were themselves probably " Eastern " ; so there can be no great harm in believing that their art also partook of that character. Certainly the forms of Celtic Art approximate to Eastern rather than to Western models. It is a mistake, however, to imagine that the Celtic peoples ever themselves originated a distinctive and peculiar form of art. They were expert—almost sublime—imitators and improvers ; but, so far as is known, their art was borrowed. This truth is well expressed by Mr. Allen. " The great difficulty in understanding the evolution of Celtic Art," says he, " lies in the fact that although the Celts never seem to have invented any new ideas, they professed (possessed ?) an extraordinary aptitude for picking up ideas from the different peoples with whom war or commerce brought them into contact. And once the Celt had borrowed an idea from his neighbour, 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 unrecognisable* It was, therefore, the individuality of the Celtic peoples which created Celtic Art; and, possessing much individuality as a race, their genius necessarily impressed itself in remarkable and unmistakable fashion upon their artistic products. The reason why we have no Celtic Art at the present moment is that we have no individuality as a people. In­dividuality is essential to art, which, without it, degenerates at once, and so passes out through

Celtic Arts and Industries: Metal Work 77

the draught of cosmopolitanism to the dung-hill of vulgarity.

Great were the achievements of Pagan Celtic Art, but they cannot be compared with those which distinguished the early Christian period. Christian Celtic Art was essentially symbolic ; and the great immortal truths of religion necessarily supplied an artistic leverage, which, before their introduction into these islands, was necessarily lacking. As in Spain and Italy at a later date, the impulse of religion was applied to the production of the greatest masterpieces—of those marvellous works of art which charm and stagger us by their in­vention and almost superhuman execution. Mr. Romilly Allen states that " early Christian Art in this country is essentially decorative, and to a lesser extent symbolic". We beg to differ from him here. We think that symbolism will be found to supply the groundwork, as it were, of that art, decorative purposes being subsidiary to it. In­deed, we are inclined to think that even Celtic Pagan Art was more symbolic than decorative. The Celtic mind rejoiced in symbol, and the com­ing of Christianity rather increased than diminished, in our opinion, that irresistible tendency. Mr. Allen passes in rapid, though interesting, review the best-known masterpieces of the Celtic artists. " Early Christian Art in Great Britain," says he, " was pro­duced in the first instance by grafting the Italo-Byzantine style upon the native style of the Iron Age"; and in this opinion we quite agree with him. If we could probe to the full the sources which conspire to make Celtic Art, from its be­ginning down to its practical extinction in the thirteenth century, we should probably find that its history consists of a connected series or " waves "

78 Celtic Arts and Industries: Metal Work

of " influences"—foreign for the most part—and that like its own graceful and beautiful scroll-work, it re­presents a continuous movement, seemingly without definite start or finish.

Mr. Romilly Allen does well to insist on the poverty—even crudeness—of much of the Celtic figure-work as compared with the richness, beauty and extraordinary degree of skill which character­ises the scrolls, and other symbolic and decorative ornamentation. The Celtic artists do not seem to have acquired the art of chiselling or modelling a figure with that nicety and precision which, judging by their cleverness in other respects, we are apt to expect from them. It may be, of course, that this defect arose from a general incapacity to do better ; but we are more inclined to think that figure-work was regarded by our Celtic smiths as subsidiary to ornamentation, in which the imagina­tive Celtic temperament loved best to declare itself. Certainly, such past masters as were undoubtedly our Celtic workers in gold, silver, and other metals were capable of the highest achievements; and it is consequently absurd to suppose that they could not fashion a figure with the same skill as they employed in the production of so many other beautiful and more difficult objects.

Necessarily, perhaps, Mr. Allen's book is more concerned with the origines of Celtic Art than with that priceless legacy itself. The literary and purely antiquarian aspects of that enchanting topic are evi­dently more to him than its practical and personal side. We have thus no account of the celebrated artists of antiquity, and we even miss many famous specimens of their art, which, in a work of this kind, we might reasonably expect to find mentioned. Some account, for instance, of that

Celtic Arts and Industries : Metal Work 79

truly exquisite piece of work known as the Cuthach or " Battler" of St. Columba might have been.given; whilst we should have been pleased to see some mention, however brief, of the more famous of our artificers, a numerous and a glori­ous progeny! From the introduction of Christianity until those evil, dreary days when Celtic arts and crafts ceased to be practised, how many men of genius and piety have passed through the shadowy portals of time! We know that St. Patrick had his artificers and embroiderers, men and women who devoted their talents to the glory of God, and to the beautifying of His sacred mysteries. How pure and unselfish was that impulse which seized the early convert artificers, turning their genius from earthly to heavenly things! St. Asicus of Elphin, Essa, Bite, and Tassach, are not these names to conjure with ? Men, as saints, were in earnest in those days. The balancing heroes of to­day, who neither toil nor spin but ceaselessly refine were as yet unborn; and Christianity was a power appealing with irresistible force to the consciences of all. Art was in those far-off happy days truly a " labour of love ". The craftsman laboured prim­arily because he was a Christian, and his heart was in his holy faith—not because he was an hireling, however skilful, working at so much per day or week in order to improve his material circum-tances. The masterpieces of Christian Celtic Art are, therefore, unique. The spirit which, in a later age, stirred up the Crusades and flung all European Christendom at the throat of the infidel, was just that spirit which animated our Christian craftsmen, only it was probably more intense, certainly more intellectual and spiritual. The service of God seemed to the Celtic artist the

8o Celtic Arts and Industries: Metal Work

most appropriate and favourable sphere for the exercise of his talent. Even saints and scholars passed through an honourable apprenticeship of manual labour to those spiritual honours to which their genius, no less than their piety, aspired. Is it wonderful, therefore, given the impulse of holy religion, and a people naturally quick-witted and* resourceful, that Celtic Ireland and Scotland should] have produced these exquisite works ? The wonder rather had been had they not done so. So much zeal and earnestness, joined to genius and piety, were bound to find their artistic expression; and if the fruit of the tree of that knowledge be beau­tiful beyond compare, why should we ignorantly and foolishly marvell There is surely something singularly fatuous in the modern's patronising attitude in respect of the masterpieces of anti­quity—an attitude which seems to say " 'tis really mighty well done: how on earth did the fellowly manage to do it 1" " You forget, shallow worldling of to-day, that within that ancient was the Spirit of the Christian religion. Go thou and do likewise —if you can."

Mr. Allen's book is thus altogether too brief and popular to go into the spiritual sources of Celtic Christian Art. The ethics of his theme, if we may so express ourselves, scarcely seem to interest him, though it may be, of course, that the exigencies of series and of space are