If a monument is found in a particular district, it may generally be assumed that it was the art product of the district, unless there is some special reason for thinking otherwise. The number of MSS. and examples of metalwork is comparatively much smaller than the number of monuments, and it is only in a few exceptional cases that a MS. can be traced to the monastic establishment where it was written. In Scotland, for example, although richer than any other part of Great Britain in sculptured monuments, the Book of Deer is the only pre-Norman MS. known to have been written there. Wales, again, can only claim the Psalter of Ricemarchus. I am of opinion that if we are ever to arrive at any definite conclusions with regard to the evolution of early Christian art in Great Britain, it must be by means of a careful examination and comparison of the minute details of the ornament. The science of palæography is entirely founded on the observation of every small variation in the form of each letter, and if the same trouble was taken with ornament equally valuable results would be obtained. We will now proceed to analyse the decorative features of the monuments, and endeavour to find an origin for the component elements which go to make up the style. I must assume the reader to possess a certain amount of acquaintance with the art of the early Christian period, and to know what is meant by most of the technical terms, but I shall give examples of the various classes of patterns in case anyone should be unfamiliar with their appearance. Broadly speaking, early Christian ornament in Great Britain is made up of the following elements, generally arranged in separate panels:— (1) Interlaced-work. (2) Step-patterns. (3) Key-patterns. Geometrical. (4) Spirals. ----------------------------------------------------- (5) Zoömorphic Designs. Suggested by Animal, (6) Anthropomorphic Designs. Human, and Vegetable Forms. (7) Phyllomorphic Designs. Now the question is, what are the possible or probable sources whence each of these different kinds of patterns was derived? First of all, there are the native and imported styles of decorative art existing in Great Britain previous to the introduction of Christianity (_circa_ A.D. 450), comprising the art of the ages of Stone, Bronze, and Iron, and Romano-British art. Next, the external influences which came into play after A.D. 450, and before A.D. 1066, were Italo-Byzantine, Anglo-Saxon, Frankish, and Scandinavian. Early Christian art in Great Britain was produced, in the first instance, by grafting the Italo-Byzantine style upon the native style of the Iron Age (sometimes called Late-Celtic), and was subsequently modified by Anglo-Saxon and Scandinavian influence.