We have seen the great Messenger himself founding monasteries, houses of religious study, and churches for his converts, on land given to him by chieftains who were moved by his character and ideals. We can judge of the immediate spread of his teaching if we remember that these churches were generally sixty feet long, thus giving room for many worshippers. They seem to have been built of stone--almost the first use of that material in Ireland since the archaic days. Among the first churches of this type were those at Saul, at Donaghpatrick on the Blackwater, and at Armagh, with others further from the central region of St. Patrick's work. The schools of learning which grew up beside them were universally esteemed and protected, and from them came successive generations of men and women who worthily carried on the work so wisely begun. The tongues first studied were Latin and Irish. We have works of very early periods in both, as, for instance, the Latin epistles of St. Patrick himself, and the Irish poems of the hardly less eminent Colum Kill. But other languages were presently added. [Illustration: Valley of Glendalough and Ruins of the Seven Churches.] These schools and churches gradually made their way throughout the whole country; some of the oldest of them are still to be seen, as at Donaghpatrick, Clonmacnoise and Glendalough. Roofed with stone, they are well fitted to resist the waste of time. An intense spiritual and moral life inspired the students, a life rich also in purely intellectual and artistic force. The ancient churches speak for themselves; the artistic spirit of the time is splendidly embodied in the famous Latin manuscript of the Gospels, called the Book of Kells, the most beautiful specimen of illumination in the world. The wonderful colored initial letters reproduce and develop the designs of the old gold work, the motives of which came, it would seem, from the Baltic, with the De Danaan tribes. We can judge of the quiet and security of the early disciples at Kells, the comfort and amenity of their daily life, the spirit of comity and good-will, the purity of inspiration of that early time, by the artistic truth and beauty of these illuminated pages and the perfection with which the work was done. Refined and difficult arts are the evidence of refined feeling, abundant moral and spiritual force, and a certain material security and ease surrounding the artist. When these arts are freely offered in the service of religion, they are further evidence of widespread fervor and aspiration, a high and worthy ideal of life.