ments fully bears out this view. The carvings at Lough Crew are ruder and less artistic than those at Brugh. They are more disconnected, and oftener mere cup markings. The three stones represented in the preceding and following woodcuts (Nos. 75 and 76), are selected from a great many in the Conwell portfolios as fair average specimens of the style of sculpture common at Lough Crew, and with the woodcut No. 73, representing the Hag's Chair, and No. 75, the chamber in cairn L, will convey a fair notion of the whole.
In no one instance does it seem possible to guess what these figures were meant to represent. No animal or vegetable form can be recognized, even after allowing the utmost latitude to the imagination; nor do the circles or waving lines seem intended to convey any pictorial ideas. Beauty of form, as a decoration, seems to have been all the old Celt aimed at, and he may have been thought successful at the time, though it hardly conveys the same impression to modern minds. The graceful scrolls and spirals and the foliage of New Grange and Dowth do not occur there, nor anything in the least approaching to them. Indeed, when Mr. Conwell's book is published, in which they will all be drawn in more or less detail, I believe it will be easy to arrange the whole into a progressive series illustrative of the artistic history of Ireland for five centuries before the advent of St. Patrick.
It would be an extremely dangerous line of argument to apply this law of progressive development to all countries. In India, especially, it is very frequently reversed. The rudest art is often much more modern than the most refined, but in Ireland this apparently never was the case. From the earliest
