In the process of development of Christian art and architecture we find an advance in the work on the memorials of the dead. The design becomes more complicated, ornamentation more profuse; and there is a change to the minuscule form of the alphabet in the inscriptions. From the rude pillar-stone, marked with the symbol of our Faith enclosed within a circle, the emblem of eternity, the finely-proportioned and elaborately-sculptured crosses of a later period were developed. In the latter, the circle, instead of being simply cut upon the face of the stone, is represented by a ring, binding, as it were, the shaft, arms, and upper portion of the cross together. The top of the shaft is usually in the form of a roof with sloping sides, resembling the shrines of the period for holding the relics of saints. The spaces between the binding ring and the intersecting arms are pierced; and these are finely relieved by rounded bands across the corners of intersection, or on the inner surface of the ring. The whole sculpture thus forms the cross, and is in striking contrast to the Scotch type of memorial, which has the cross carved in relief upon an upright slab. The inscribed crosses were sepulchral, and principally used in covering the grave; but the free standing crosses were erected either to the memory of some famous ecclesiastic or king, or dedicatory, as in the case of the SS. Patrick and Columba Cross at Kells, or terminal, marking the bounds of a sanctuary. Of these ‘high’ crosses forty-five still remain, many of which are in a fair state of preservation. The striking feature of these crosses is the ornamental and pictorial work displayed in the carving. As in the manuscript and metal work, and in the general ornamentation of the churches, this is of a most elaborate character. There is a profusion of spiral pattern, Celtic tracery, and zoomorphic design found on these crosses. The whole body of Christian doctrine finds its expression in their sculpture, intended, no doubt, by means of symbolical representation, to be great object-lessons in the way of faith to every beholder. The central idea on the face of the cross is usually the Crucifixion, and on the back the Resurrection, or Christ in Glory; the remaining spaces in the panels and on the sides being filled with various sacred and other subjects. These highly-sculptured crosses appear to have been very generally erected between the tenth and thirteenth centuries; and there are few examples of a later date remaining, if we except a small number bearing inscriptions in Latin or English, which generally belong to the close of the sixteenth or to the seventeenth century, and which can hardly be looked upon as either Irish or ancient. * * * * *