Ireland, as St Patrick and St Columba. Such traditions are notoriously unstable ground upon which to take up a position. But an examination of certain examples will enable the palaeographer to arrive at certain conclusions. In Trinity College, Dublin, is preserved a fragmentary copy of the Gospels (Nat. MSS. Ireland, i. pl. ii.) vaguely assigned to a period from the 5th to the 7th century, and written in a round half-uncial hand closely resembling the continental hand, but bearing the general impress of its Irish origin. This MS. may perhaps be of the early part of the 7th century.
| |||
| Fig. 40.—Gospels, 7th century. | |||
|
Again, the Psalter (Nat. MSS. Ireland, i. pls. iii., iv.) traditionally ascribed to St Columba (d. 597), and perhaps of the 7th century, is a calligraphic specimen of the same kind of writing. The earliest examples of the continental half-uncial date back, as has been seen above, to the 5th century. Now the likeness between the earliest foreign and Irish MSS. forbids us to assume anything like collateral descent from a common and remote stock. Two different national hands, although derived from the same source, would not independently develop in the same way, and it may accordingly be granted that the point of contact, or the period at which the Irish scribes copied and adopted the Roman half-uncial, was not very long, comparatively, before the date of the now earliest surviving examples. This would take us back at least to the 6th century, in which period there is sufficient evidence of literary activity in Ireland. The beautiful Irish calligraphy, ornamented with designs of marvellous intricacy and brilliant colouring, which is seen in full vigour at the end of the 7th century, indicates no small amount of labour bestowed upon the cultivation of writing as an ornamental art. It is indeed surprising that such excellence was so quickly developed. The Book of Kells has been justly acknowledged as the culminating example of Irish calligraphy (Nat. MSS. Ireland, i. pls. vii.-xvii.; Pal. Soc. pls. 55, 56). The text is written in the large solid half-uncial hand which is again seen in the Gospels of St Chad at Lichfield (Pal. Soc. pls. 20, 21, 35), and, in a smaller form, in the English-written Lindisfarne Gospels (see below). Having arrived at the calligraphic excellence just referred to, the round hand appears to have been soon afterwards superseded, for general use, by the pointed; for the character of the large half-uncial writing of the Gospels of MacRegol, of about the year 800 (Nat. MSS. Ireland, i. pls. xxii.-xxiv.; Pal. Soc. pls. 90, 91), shows a very great deterioration from the vigorous writing of the Book of Kells, indicative of want of practice.
Traces of the existence of the pointed hand are early. It is found in a fully developed stage in the Book of Kells itself (Pal. Soc. pl. 88). This form of writing, which may be termed the cursive hand of Ireland, differs in its origin from the national cursive hands of the Continent. In the latter the old Roman cursive has been shown to be the foundation. The Irish pointed hand, on the contrary, had nothing to do with the Roman cursive, but was simply a modification of the round hand, using the same forms of letters, but subjecting them to a lateral compression and drawing their limbs into points or hair-lines. As this process is found developed in the Book of Kells, its beginning may be fairly assigned to as early a time as the first half of the 7th century; but for positive date there is the same uncertainty as in regard to the first beginning of the round hand. The Book of Dimma (Nat. MSS. Ireland, i. pls. xviii., xix.) has been attributed to a scribe of about A.D. 650; but it appears rather to be of the 8th century, if we may judge by the analogy of English MSS. written in a similar hand. It is not in fact until we reach the period of the Book of Armagh (Nat. MSS. Ireland, pls. xxv.-xxix.), a MS. containing books of the New Testament and other matter, and written by Ferdomnach, a scribe who died in the year 844, that we are on safe ground. Here is clearly a pointed hand of the early part of the 9th century, very similar to the English pointed hand of Mercian charters of the same time. The MS. of the Gospels of MacDurnan, in the Lambeth Library (Nat. MSS. Ireland, i. pls. xxx., xxxi.) is an example of writing of the end of the 9th or beginning of the 10th century, showing a tendency to become more narrow and cramped. But coming down to the MSS. of the 11th or 12th centuries we find a change. The pointed hand by this time has become moulded into the angular and stereotyped form peculiar to Irish MSS. of the later middle ages. From the 12th to the 15th centuries there is a very gradual change. Indeed, a carefully written MS. of late date may very well pass for an example older by a century or more. A book of hymns of the 11th or 12th century (Nat. MSS. Ireland, i. pls. xxxii.-xxxvi.) may be referred to as a good typical specimen of the Irish hand of that period; and the Gospels of Maelbrighte, of A.D. 1138 (Nat. MSS. Ireland, i. pls. xl.-xlii.; Pal. Soc. pl. 212), as a calligraphic one.
In Irish MSS. of the later period, the ink is black, and the vellum, as a general rule, is coarse and discoloured, a defect which may be attributed to inexperience in the art of preparing the skins and to the effects of climate.
When a school of writing attained to the perfection which marked that of Ireland at an early date, so far in advance of other countries, it naturally followed that its influence should be felt beyond it own borders. How the influence of the Irish school asserted itself in England will be presently discussed. But on the Continent also Irish monks carried their civilizing power into different countries, and continued their native style of writing in the monasteries which they founded. At such centres as Luxeuil in France, Würzburg in Germany, St Gall in Switzerland, and Bobbio in Italy, they were as busy in the production of MSS. as they had been at home. At first such MSS. were no doubt as distinctly Irish in their character as if written in Ireland itself; but, after a time, as the bonds of connexion with that country were weakened, the form of writing would become rather traditional, and lose the elasticity of a native hand. As the national styles also which were practised around them became more perfected, the writing of the Irish houses would in turn be reacted on; and it is thus that the later MSS. produced in those houses can be distinguished. Archaic forms are traditionally retained, but the spirit of the hand dies and the writing becomes merely imitative.
English Writing.—In England there were two sources whence a national hand could be derived. From St Columba's foundation in Iona the Irish monks established monasteries in the northern parts of Britain; and in the year 635 the Irish missionary Aidan founded the see of Lindisfarne or Holy Isle, where there was established a school of writing destined to become famous. In the south of England the Roman missionaries had also brought into the country their own style of writing direct from Rome, and taught it in the newly founded monasteries. But their writing never became a national hand. Such a MS. as the Canterbury Psalter in the Cottonian Library (Pal. Soc. pl. 18) shows what could be done by English scribes in imitation of Roman uncials; and the existence of so few early charters in the same letters (Facs. of Anc. Charters, pt. i., Nos. 1, 2, 7), among the large number which have survived, goes to prove how limited was the influence of that form of writing. The famous MS. of the Bible known as the Codex Amiatinus, now at Florence, which was written in uncials at Jarrow in Northumbria, about the year 700, was almost certainly the work of foreign scribes. On the other hand, the Irish style made progress throughout England, and was adopted as the national hand, developing in course of time certain local peculiarities, and lasting as a distinct form of writing down to the time of the Norman Conquest. But, while English scribes at first copied their Irish models with faithful exactness, they soon learned to give to their writing the stamp of a national character, and imparted to it the elegance and strength which individualized the English hand for many centuries to come.
