The eras of art in the history of nations have been marked by the same changing characteristics; light has invariably been succeeded by darkness; there are shadows ever following the bright rays of the sun. This day of imagery and sculpture, feeble at its dawn, radiant in its morning, powerful in the glory and effulgence of its meridian, deteriorated as evening advanced, faded in the twilight, was at last veiled in the long period of decadence--the Middle Ages, the night of art. These people, so credulous and so trusting in these token-stones, by degrees formed themselves into groups, at first of two or three, with ties of pious friendship; subsequently these associations gradually increased in the numbers of their adherents until the growing fanatic idea of closing one’s eyes on the sinful world was the incentive which formed at first asylums, and soon after monasteries; and the monastic life became popular; wavering men, feeling themselves too weak to face the temptations of the world, resorted to these holy retreats and there sought God. Few reasonable men can be truly happy without occupation, and, happily for us, these recluses saw the importance and the historic interest of engraved gems. Many interesting intaglios were thus spared from loss and destruction. The numerous orders of monks during this barbarous epoch collected all that possibly could be saved from the destroying avalanche, and with great diligence transcribed on parchment types of the existing literature. The laborers in the limited field of art in the Middle Ages were these dwellers in monasteries. To them we are indebted for some rude fibres in the fabric with which this period of darkness is canopied; they walked under it in the simplicity of monastic life; and to us at least it conveys the lesson that man has forgotten so much, knows so little, and has so much to learn. Their intaglios were generally of a spiritual and devotional character, though some of them relieved the tedium of cloister life by creating in _basso-rilievo_ on bone and ivory the most ludicrous and mirth-provoking designs. The subjects of the engraved gems of the eighth, ninth, tenth, and eleventh centuries are to a great extent unmeaning figures and heads--portraits of unknown personages, now and then reproductions of ancient Roman emperors and military heroes of historic renown, yet poorly rendered and bad in execution.