One class of ornament in the _Book of Kells_ and in other manuscripts of this class consists of bands or diapers formed with step-like lines enclosing small spaces of brilliant colour. It is this class of pattern which is derived from the _cloisonné_ inlay with bits of transparent carbuncle used in gold jewellery. Other ornaments consist of various spiral forms derived from the application of gold wire to flat surfaces of gold, a class of pattern which appears to have come, as it were, naturally to the gold-workers of many different periods and countries. Many of these spiral designs in the Irish manuscripts are almost identical with forms which occur so frequently among the gold ornaments of the Greek "Mycenean period," one among many examples in the art history of the world, which show the remarkable sameness of invention in the human mind at a certain stage of development whatever the time or the place may be[62]. It should moreover be noticed that this close imitation of metal-work is not limited to the separate details of the manuscripts. The main lines and divisions of the decoration on whole pages are accurately copied from the enamelled and jewelled gold or silver covers in which these precious _Gospels_ were bound. Thus, the same design might appear in delicate goldsmiths' work on the covers of a _Textus_, and also might be seen represented by the illuminator in brilliant colours on a page within. _Trumpet pattern._ One form of ornament, which occurs very frequently in the Irish manuscripts, is what is often called "the trumpet pattern" from its supposed resemblance to a curved metal trumpet. This kind of spiral ornament is used not only in the Celtic manuscripts and goldsmiths' work, but also on bronze shields and other pieces of metal-work on a large scale. This special ornament is not peculiar to the Irish, but was commonly used by the Celtic tribes of Britain from a very early date. _Arab influence._ United with these purely native types of ornament, we find in these Celtic manuscripts one curious class of foreign ornament derived from the patterns on imported pieces of textile stuffs woven in Arab looms[63]. Among many strange forms of serpents, dragons and other monsters of northern origin, other animals, such as lions, eagles and swans, occur which resemble closely those represented with such perfect conventional skill on the rich silk stuffs and early Oriental carpets woven in Syria, in the Arab towns of Sicily and in other Moslem centres. These beautiful stuffs were imported largely into Northern Europe for ecclesiastical purposes, such as for the vestments of priests or to form wrappings round some sacred reliquary[64]. _The human form._ Though these Celtic manuscripts show such marvellous dexterity of touch and unerring firmness of line in every minute and complicated pattern, yet the monastic artist appears to have been absolutely incapable of representing the human form.