In the final stage of the development of the penannular brooch in Ireland it ceased to be penannular, if we may be permitted to use such an Irish expression. The break in the ring was entirely filled up, although its position can still be traced by the method of arranging the pattern, which survived in its old form long after the split had disappeared. The celebrated Tara Brooch, in the Museum of the Royal Irish Academy (R.I.A. photo, A 161), affords a striking example of this. The doing away of the break in the ring must have entirely defeated the original purpose the brooch was intended to serve, and it would, therefore, appear that these highly decorated brooches were made rather for ceremonial use, than to be of any practical value as dress-fasteners. It may be pointed out that all the characteristic modifications of the form of the penannular brooch made by the Celtic artist arose from his desire to provide more space for the ornamental patterns, which were the very salt of his existence. Dr. Joseph Anderson contributes the following note apropos of the long pin:— “In the _Brehon Laws_, vol. iii., p. 291, men are exempted from liability to fine for injury from the pin of their brooch (in a crush? or at a fair?) if they have the brooch on their shoulder so as not to project beyond it. Women also are exempt if they have their brooch similarly on their bosom.” Vol. iv., p. 323, “a precious brooch worth an ounce [of silver?] is enumerated among the customary insignia of a chief.”