[Illustration: Chalice of Ardagh.] We take the following particulars from a description furnished by the late Mr. Johnson to Lord Dunraven:--The bowl is of silver; but gold, bronze, brass, copper, and lead are used in the fittings and ornament. The latter consists of an inscription, interlaced pattern terminating in dogs’ heads, and at the bottom a circular band with Greek pattern. The ornamentation is punched, as is shown by the raised edges. A band of two semi-cylindrical rings of silver ornamented with small annular dots runs round the cup. Twelve plaques of gold _repoussé_ work fill the space between the rings, with beautiful ornamentation of fine filigree work of the usual interlaced pattern. Twelve round enamelled beads are set between the plaques. The handles are also ornamented with enamels and filigree work, but in different designs. On the sides of the bowl are two circular ornaments, with central enamelled bosses surrounded by gold filigree work. The stem and supports of the bowl are of gilt bronze engraved in interlaced pattern. The foot of the bowl is circular; the outer rim of the framework is divided into eight spaces, filled alternately with gold and bronze gilt plaques of open work, the designs of which are clearly shown by pieces of mica set as a background. The inside of the foot is also elaborately executed with a circular piece of crystal in the centre, enamelled spaces and fine filigree work. There are no fewer than 354 pieces of metal, if we include twenty rivets, in the composition of this most remarkable Cup. The inscription, in peculiar square-formed letters, is a remarkable feature, and gives the names of the Twelve Apostles--St. Paul being included. It runs round the cup under the band already mentioned; the letters are not easily legible, as the outline is faint. ‘The spaces between are stippled so as to form a shaded background.’ The late Lord Dunraven in his interesting paper was inclined to attribute the Cup to the ninth or tenth century, taking into account the ornament, lettering, and style of workmanship. We have already referred to the development of the bronze brooch and ring-pin (p. 237), and the process can be clearly traced from the numerous specimens arrayed in the National Museum. The earlier brooch had open and expanded ends between which the pin passed, and the brooch was made fast by twisting it round upon the pin. The ornamentation was Late Celtic, often with enamelled design. In time the enlarged ends were closed by a bar, and in the latest form the ends became a complete plate and the pin of great length, to which a chain was attached for safety. These were highly ornamented with filigree work and enamel; the design is varied and beautiful in elaborate Celtic pattern. [Illustration: The Tara Brooch.]