in a peculiar angular form near the top of the front arm. But this also, in the opinion of good judges, is later than the rest of the carving. The harp, therefore, may possibly be older than Petrie’s date. The sound-board is of oak (as ascertained by microscopical examination), but very much decayed. The same case which contains the harp contains also a few gold and silver ornaments of elegant workmanship, and a large spear brooch, which, however, has none of the characteristic Irish work, and is in fact very similar to a Scandinavian brooch figured in M. Du Chaillu’s _Viking Age_, vol. ii., p. 329, but has more ornament. It is 13¾ in. long, 5½ wide across the circle, and weighs 18 oz. It is figured in Vallancey’s _Collectanea_, vol. i., where it is stated that it had recently (1786) been found near Cashel. In the Librarian’s room is the largest of the gold ornaments yet found in Ireland. It is in form like the small fibulae, but weighs 33 oz. 4 dwt. It is adorned with groups of concentric circles and a series of acute angles, with no trace of the spirals so characteristic of Celtic art in Christian times. From this it is inferred that it is of older date. This ornament was found at Clones in 1820, and purchased by the College. The Charter horn of the Kavanaghs, after being in the Library for a century, was a few years ago surrendered to the family. A cast of it is exhibited. A small bas-relief which hangs on one of the pillars calls for some notice. It represents Demosthenes at the altar of Calaureia, where he took the fatal poison. The whole posture, but especially the head, expresses the utmost dejection. The position of the right hand also should be observed; instead of clasping the knee, it hangs idly on one side. There is an engraving of this work in Winckelmann’s _History of Art_, but the engraver, by raising the chin, has quite lost the aspect of dejection, and rather gives the impression that the orator is meditating a speech. It is also engraved in Allen’s _Demosthenes_ and in Stock’s _Demosthenes_. This relief belonged to Dr. Richard Mead, and is said to have been found in the ruins of Hadrian’s Villa. After Mead’s sale in 1755, where it was purchased by a London dealer, it disappeared from view until about 1885, when I had the good fortune to identify it in the centre ornament of a mantelpiece in the room which formerly contained the Museum (now the Front Hall), and which was built in 1759. Certain errors in the arrangement of the drapery have suggested doubts as to its genuineness.[137] On the other hand, in its favour is the fact that the features resemble those of the bust found in Herculaneum in 1753; but it was known in 1737, before the discovery of that bust, and at a time when a wholly different type of face was accepted as that of Demosthenes. Possibly even ancient artists may have erred sometimes.