Bourke Ulick J. Aryan Origin of the Gaelic Race and Language
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320
A
BOOK IN STONE.
garding
the arts
of
writing
manuscripts
and of
illuminat-
ing,
of
coloring
or
dyeing,
and of
painting,
of
building,
of
social
life
and
government
in the
pre-Christian
period
in
Ireland
?
We
shall see.
Books have been
preserved
in
stone
for
upwards
of three
thousand
five
hundred
years,
and
presented
within the
past
three
decades of
years
to the
literary
world
to be
perused
by
scholars skilled
in
archaic
knowledge,
and
by
this means
to tell
the
tale of
life
and
manners
that had
been known
long periods
before the
Trojan
War.
Sir
Henry
Creswick
Eawlinson,
K.C.B., who,
from
1833
to
1840
held offices of
position
and
trust
in
the
kingdom
of
the
Shah,
has
brought
to
Europe
a
brick or
stone of
about
twenty
inches
long
and
ten
wide,
containing
an
entire
treatise on mathematics.
The
writing
was
per-
fectly
illegible
without the aid of
glasses.
"
The
Bock
inscriptions
of
Persia show
what
can
be
achieved
by
the science of
comparative
philology,"
says
Muller,
p.
3,
vol
ii.,
Lecture,
Materials
for
the
Science
of
Language.
"
I
do not
wonder,"
he
adds,
"
that the
dis-
coveries
due
to
the
genius
and the
persevering
industry
of
Grotofend, Burnouf,
Lassen,
and
Rawlinson
should
seem
incredible
to those who
only glance
at
them
from
a
distance.
Their
incredulity
will
hereafter
prove
the
greatest
compliment
to
those
eminent
scholars.
What
we
at
present
call
the
Cuneiform
inscriptions
of
Cyrus,
Darius,
Xerxes,
Artaxerxes
I.,
Darius
II.,
Ar'taxerxes
Mnemon,
&c.,
what
were
they
originally
?
A
mere con-
glomerate
of
wedges,
engraved
or
impressed
on
the
solitary
monument
of
Cyrus
in
the
Murghab,
on
the
ruins
of
Persepolis,
on
the
rocks of
Behistun,
near the
frontiers
of
Media,
and
the
precipice
of
Tan
in
Armenia."
In
1802,
Grotofend
proved
they
wert
letters
;
that
they
A
GREAT
DEAL
TOLD.
321
followed each
other,
as
in
Greek,
from left
to
right.
Tychsen
observed
there was
a
sign
to
separate
the words.
Still
it was
unknown
in
what
language
these
inscriptions
were
composed.
It was
unknown to what
period they
belonged.
All these difficulties
were removed one
after
the
other.
The
proper
names
of
Darius,
Hystaspes,
and
of
their
god,
Ormusd,
were
traced.
With
an
imperfect
alphabet,
other
words
were
deciphered,
which
clearly
shows
that
the
language
of these
inscriptions
was
ancient
Persian.
With
the
help
of
the
Zend,
the
language
of
Persia
previous
to
Darius,
with
the aid
of
modern Per-
sian
and
Sanscrit,
"
outpost
after
outpost,"
says
Muller,
"
was driven
in,
a
practical
breach
effected,
till at
last
the fortress
had
to surrender and
submit
to the
terms
dictated
by
the
science of
language,"
"
The
inscriptions
of
Babylon
and
Nineveh,
the hiero-
glyphics
of
Egypt,
the records
in
the
caves
of
India,
on
the monuments
of
Lycia,
on the
tombs
of
Etruria,
on
the broken
tablets of
Umbria and
Samnium,
want to have
their
spell
broken
or their
riddle read
by
the
student of
language."
p.
6,
vol. ii.
The
testimony,
then,
of the
Oxford
Professor
of
com-
parative
philology
has
been here
presented
to
the
reader
to
confirm
the statement
made
regarding
the
discovery
of
Eawlinson.
The
stone
or
brick
containing
an
entire
treatise
on
mathematics
ore of a
pile
of such
material
brought
from
Persepolis
tells a
great
deal
regarding
the
knowledge
of
the
arts and
sciences
which the
descendants
of
the
Aryans
in
Persia
possessed.
The
material
of
which the
brick
was
composed,
the
manner
in
which it
was
moulded
and
prepared
to
stand the
brunt
of
thousands of
years,
show
the
consummate art
of
the makers. The
skill
which
enabled
the
artificer
to
engrave
or
impress
letters so
small
322
WHAT
CICEBO
HAD.
that
a
microscope
was
required
to
see
their
outlines
in
detail
was wonderful
;
and,
lastly,
the
science
that
enabled
one to
compose
a
treatise,
no matter how
scant,
on
mathe-
matics,
proves
a
proficiency
in
philosophy
and
mathema-
tical
knowledge
such as has
seldom been
realised
since the
foundations
of
Persepolis
had been
first
laid.
It
is
related
of
Cicero
that he
had,
in his
day,
seen
the
entire of
the
Iliad of
Homer,
which is a
poem
as
large
in
the
number
of letters
as
the
New
Testament,
written
on
one sheet
of
parchment,
of material so
fine,
and the
letters,
too,
so
small,
that the whole
was
rolled
up
in a
nutshell.
Of
course,
the
writing
was
imperceptible
to
the
ordinary
eye.
In
modern
times the
Lord's
Prayer
has been fre-
quently
written
on
a
paper
the
size of a
silver
sixpence.
The
declaration
of
American
independence
has been
written
within
the
compass
of a
quarter
of a
dollar. Had
the
Iliad
seen
by
Cicero been
photographed
?
During
the
siege
of
Paris,
the
(London
Times
was transferred on
a
piece
of
paper
four
inches
square,
and
sent,
under
a
dove's
wing,
into
the
beleaguered
city,
where the Parisians
quickly
enlarged
the
copy
and
read the
news.
If
so,
photography
is
no modern
invention.
Apropos
to the winders
of
art in
olden
times,
going
as
far
back
as
the
period
when the
primitivo Aryan
race
flourished,
the
following
passages
from a
lecture on the
Lost
Arts,
delivered
in
March, 1873,
at
New
York,
by
that well-known
American scholar
and
statesman,
Wen-
dell
Philips,
will
be
found
interesting
:
THE ANCIENTS
OUR
MASTERS.
Take
poetry,
painting,
sculpture,
architecture,
the
drama,
and
almost
everything
in works
of
any
form
that
relates to
beauty.
With
regard
to that
whole
sweep,
the
modern
world
gilds
it
with
its
admiration
of the
beautiful.
Take the
very
phrases
that
we
use.
The
artist
says
he
wishes
to
go
to
Rome.
"
For what
?"
t;
To
study
the masters."
Well,
all the
masters
THE ARTS
IX
PAST
TIMES 323
have
been in their
graves
several hundred
years.
We
are
all
pupils.
You
tell
the
poet,
"
Sir,
that line of
yours
would
remind
one
of
Homer,"
and he
is
crazy.
Stand
in
front of a
painting,
in the
hearing
of
the
artist,
and
compare
its
coloring
to that
of
Titian or
Raphael,
and
he re-
members
you
forever.
I
remernbwr
once
standing
in froub
of
a
bit of
marble,
carved
by
Powers,
a
Vermonter,
who
had
a
matchless,
instinctive
love
of
art,
and
perception
of
beauty.
1
said
to
an
Italian,
standing
with me :
"
Well,
now,
that
seems to
me to be
perfection."
The
answer was
:
"
To
be
per-
fection,"
shrugging
his shoulders.
"
Why,
sir,
that
reminds
you
of
Phydias;"
as
if
to remind
you
of that
Greek was a
greater
compliment
than to be
perfection.
ALL MEN
BORROWERS.
Well,
now the
very
choice
of
phrases betrays
a confession
of
inferiority,
and
you
see
it
again creeps
out
in the
amount
we
borrow.
Take the whole
range
of
imaginative
literature,
and
we
are
all
wholesale borrowers.
In
every
matter that relates
to
invention to
use,
or
beauty,
or form
we
are
borrowers.
IN THE AKTS.
You
may
glance
around the furniture
of
the
palaces
of
Europe,
and
you may
gather
all
these
utensils of
art or
use,
and when
you
have fixed the
shapes
and
forms in
your
mind,
I
will take
you
into
the
Museum
of
Naples,
which
gathers
all
remains
of the
domestic
life of the
Romans,
and
you
shall
not
find
a
single
one
of
these modern forms of
art,
or
beauty,
or
use,
that
was
not
anticipated
there. We have
hardly
added
one
single
line
or
sweep
of
beauty
to
the
antique.
SHAKESPEARE
A
BORROWER.
Take
the stories
of
Shakespeare,
who
had,
perhaps,
written
his
forty
odd
plays.
Some
are historical. The
rest,
two-thirds
of
them,
he
did not
stop
to
invent,
but
he found
them.
These
he
clutched,
ready-made
to
his
hand,
from the
Italian
novelists,
who had taken
them
before
from
the East.
Cinderella
and
her
slipper
is
older
than all
history,
like
half
a
dozen
other
baby
legends.
The
annals
of the
world
do not
go
back
far
enough
to
tell
us from
where
they
first
came.
All
the
boys' plays,
like
everything
that
amuses
the
child,
in the
open
air,
are
Asiatic.
Rawlinson
will
show
you
that
3L'i
GLASS BEFORE THE
CHRISTIAN PERIOD
they
came
somewhere from
the
banks
of the
Ganges
or the
suburbs
of
Damascus.
Bulwer borrowed the
incidents
of his
Roman stories
from
legends
of
a thousand
years
before.
Indeed, Dunloch,
who
has
grounded
the
history
of
the
novels
of all
Europe
into
one
essay, says
that in the nations of
modern
Europe,
there
have
been 250
or
300
distinct
stories.
He
says,
at
least,
200 of these
may
be
traced,
before Chris-
tianity,
to
the
other side of
the
Black Sea.
TEACHINGS
FROM
GLASS.
I had heard that
nothing
had been
observed
in ancient
times
which could be
called
by
the
name of
glass;
that there had
been
merely
attempts
to
imitate it. I
thought they
had
proved
the
proposition
;
they
certainly
had
elaborated
it.
In
Pompeii,
a dozen
miles south
of
Naples,
which
was
co-
vered
with
ashes
by
Vesuvius
1800
years ago, they
broke
into
a
room
full of
glass
;
there was
gro'ind
glass,
window
glass,
and
cut
glass,
and
colored
glass
of
every
variety.
It
was
undoubt-
edly
a
glass
-maker's
factory.
So the
lio and
the
refutation
came
face
to
face.
CHEMISTRY.
The
chemistry
of
the
most
ancient
period
had
reached a
point
which
we
have
never even
approached,
and
which
we in
vain
struggle
to reach
to-day.
Indeed,
the
whole
management
of
the
effect
of
light
on
glass
is
still a
matter
of
profound
study.
The
first
two
stories
which
I
have
to
offer
you
are
simply
stories
from
history.
The
first
is from the
letters
of
the
Catholic
priests
who
broke
into
China;
the latter
were
published
in
France
just
200
years
ago.
They
were
shown
a
glass,
transparent
and
colorless,
which
was
filled
with a
liquor
made
by
the
Chinese,
that
was
shown
to
the
observers,
and
appeared
to
be
colorless
like
water.
This
liquor
was
poured
into
the
glass,
and
then,
look-
in
01
through
it,
it seemed to be
filled with
fishes.
They
turned
this out
and
repeated
the
experiment,
and
again
it
was
filled
with
fish.
The
Chinese
confessed
that
they
did
riot
make
them
;
that
they
were the
plunder
of
some
foreign
con-
quest.
This
is
not
a
singular
thing
in
Chinese
history,
for
in
gome
of
their
scientific
discoveries
we
have
found
evidence
that they
did
not
make
them,
but
stole
them.
The
Sicoad
story,
of half
a
dozen,
certainly
five,
relates
to
A
DEAR GEM.
325
the
age
of
Tiberius,
the time of St.
Paul,
and tells of
a Roman
who had
been banished
and
who
returned
to
Rome,
bringing
a
wonderful
cup.
This
cup
he
dashed
upon
the marble
pave-
ment,
and
it was crushed
and
broken
by
the fall. It
was
dented
some,
and with
a
hammer
he
easily
brought
it
into
shape
again.
It was
brilliant,
transparent,
but not brittle.
These are a few
records. When
you go
to Rome
they
will
show
you
a
bit
of
glass
like the solid rim
of
this tumbler
a
transparent
glass,
a
solid
thing,
which
they
lift
up
so
as to
show
that there
is
nothing
concealed,
but
in the centre
of the
glass
is a
drop
of
colored
glass,
perhaps
as
large
as
a
pea,
mettled like a
duck,
finely
mottled
with the
shifting
colored
lines of the
neck,
and which even a
miniature
pencil
could
nob
do more
perfectly.
It
is
manifest
that
this
drop
of
liquid glass
must have been
poured,
because there is
no
joint.
This
must
have been
done
by
a
greater
heat
than
the
annealing
process,
because
that
process
shows
breaks.
GEMS.
The imitation
of
gems.
They
deceived not
only
the
lay
people,
but the connoisseurs
were also
cheated.
Some
of these
imitations,
in
later
years,
have
been
discovered.
He referred
to
the
celebrated vase of
the Geneva
Cathedral,
a
vase which
was
considered
a solid
emerald. The
Roman
Catholic
legend
of it
was,
that
it
was
one of the treasures
that
the
Queen
of Sheba
gave
to
Solomon,
and
that it was
the iden-
tical
cup
out
of which
the
Saviour
ate the Last
Supper.
It
was
venerable
in
his
day
;
it
was
death at that
time for
anybody
to touch
it but a
Catholic
priest.
And when
Napoleon
besieged
Genoa
I mean
the Great
Napoleon
it was
otfered
by
the
Jews
to loan
the Senate
3,000,000
dollars
on
that
single
article as
security.
Napoleon
took
it and
carried it to
France,
and
gave
it to
the
Institute. In
a fool's
night,
somewhat
reluctantly,
the scholars
8
lid
:
"
It is not a stone
;
we
hardly
know what
it is."
In
the Roman
theatre,
the
Colosseum,
which
could
seat
100,000
people
the
Emperor's box,
raised
to the
highest
tier
bore about
the same
proportion
to
the
space
as
this stand does
to
this
hall,
and to
look
down
to
the
centre
of
a, six acre
lot,
was
to look a
considerable
distance.
326
THE
OLD
DAYS.
Pliny
says
that
Nero,
the
tyrant,
had
a
ring
with
a
gem
in
ife
which he looked
through
and
watched
the
sword
play
of
the-
gladiator's
men
who
killed
each
other to
amuse
the
people
more
clearly
than
with
the
naked
eye.
So
Nero
had
an
opera-
So
Mauritius,
the
Sicilian,
stood
on
the
promontory
of
hi
island,
and
could
sweep
over
the
entire
sea
to
the
coast of
Africa
with
his
nauscopite,
which is a
word
derived
from
two
Greek
words,
meaning
"
to
see a
ship."
Evidently Mauritius,
who
was
a
pirate,
had
a
mai-ine
telescope.
You
may
visit
Dr.
Abbott's
museum,
where
you
will see
the
ring
of
Cheops.
Boonsoa
puts
him
at
2,300
years
before
Christ.
The
signet
of the
ring
is
about
the
size of
the
quarter
of
a
dollar,
and the
engraving
is invisible
without
the
aid of
glasses.
No
man
was
ever shown into
the
cabinets of
gems
in
Italy
without
being
furnished with a
microscope
to
look
at
them.
If
you go
to
Parma
they
will
show
you
a
gem
once worn on
the
finger
of
Michael
Angelo,
of
which
the
engraving
is
2,OOO
years
old,
on which there are
the
figures
of
seven
women. You
must
have the aid
of a
glass
in
order
to
distinguish
the
forms
at
all.
I have
a
friend
who
has
a
ring,
perhaps
three-quarters
of
an
inch in
diameter,
and on
it is the
naked
figure
of
Hercules.
By
the aid of
glasses
you
can
distinguish
the
interlacing
mus-
cles,
and
count
every
separate
hair
on
the
eyebrows.
Layard
says
he would be unable to
read
the
engravings
on
Nineveh
without
strong spectacles,
they
are
so
extremely
small.
Now,
if
we
are
unable
to read them
without the aid of
glasses,
you
may suppose
the man
who
engraved
all
this
had
pretty
strong
spectacles.
So the
microscope,
instead of
dating
from our
time,
finds its
brothers
in
the Books of
Mose
and these are infant
brothers.
THE
OLD
DYES.
So
if
you
take
color.
Color
is,
we
say,
an
ornament.
We-
dye
our
dresses and
ornament our
furniture.
It
is
an
orna-
ment to
gratify
the
eye
;
but
the
Egyptians impressed
it
into-
a new
service.
For
them it
was a method of
recording
history.
Some
parts
of
their
history
were
written
;
but
when
they
wanted to elaborate
history they painted
it. Their
colors
are
immortal,
else we
could not know of
it.
We
find
upon
tha
MECHANICAL
MARVELS.
327
stucco
of
their walls
their
kings
holding
court,
their armies
inarching
out,
their craftsmen
in
the
shipyard
with the
ships
floating
in the
dook,
and,
in
fact,
we trace all their
rites and
customs
paintei
in
undying
colors.
The French who
went to
Egypt
with
Napoleon
said
that all
the colors were
perfect
except
the
greenish
white,
which
is the
hardest for
us.
They
had
no
difficulty
with the
Tyrian
purple.
The buried
city
of
Pompeii
was a
city
of
stucco
outside,
and it
is stained
with
Tyrian
purple
the
royal
color of
antiquity.
But
you
never can
rely
on the name
of a colour
after
a thou-
sand
years.
So
the
Tyrian
purple
is
almost a red.
about
the
color of these
curtains.
This is a
city
of all
red.
It
had
been,
buried 1700
years,
and
if
you
take a
shovel now and clear
away
the ashes
this color
flames
up upon
you,
a
great
deal
richer
than
anything
we can
produce.
You can
go
down into the
narrow
vault
which Nero built him
as a retreat
from
the
heat,
and
you
will find
the walls
painted
all over
with
fanciful
designs
in
arabesque,
which have been
buried
beneath the earth
1,500
years
;
but when the
peasants
light
it
up
with
torches
the colors flash out
before
you
as
fresh
as
they
were in
the
days
of
St.
Paul.
Your
fellow-citizen,
Mr.
Page,
spent
twelve
years
in
Venice
studying
Titian's method
of
mixing
colors,
and he
thinks
he
has
got
it. Yet come down
from
Titian,
whose
colors are
won-
derfully
and
perfectly
fresh,
to Sir Joshua
Reynolds,
and
although
his colors are not
yet
a
hundred
years
old,
they
are
fading
;
the color
on his
lips
is
dying
out,
and
the
cheeks
are
loosing
their tints.
He did
not
know
how to mix
well.
ANCIENT MASTER-ARTISANS.
Taking
the
metals,
the Bible
in
its first
chapters,
showed
that
man
first
conquered
metals there
in
Asia,
and
the wonder
is
that on that
spot
co-day
he
can work more wonders
with
these
metals than
we can.
One
of the
surprises
that the
European
artists
received when
the
English plundered
the
Summer
Palace of the
King
of
China,
was the
curiously
wrought
metal
vessels
of
every
kind,
far
exceeding
all the boasted
skill
of
the workmen of
Europe.
EGYPT'S
MECHANICAL
MARVELS.
Taking
their
employment
of
the
mechanical
forces,
and
their
movement
of
large
masses
from
the
earth,
we know
that
they
LITERARY
KNOWLEDGE
IN
PAGAN
IRELAND.
had
the
five,
seven,
or
eight
mechanical
powers,
but
we
cannot
account
for
the
multiplication
and
increase
necessary
to
per-
form the wonders
they accomplished.
In
Boston,
lately,
we have moved the
Pelham
Hotel,
weigh-
ing
50,000
tons,
14
feet,
and are
very
proud
of it
;
and since
then we
moved a whole
block of houses 22
feet,
and
I have no
doubt we will write a
book about it
;
but
there
is
a
book
telling
how
Dominico
Fontana,
of the
sixteenth
century,
set
up
the
Egyptian
obelisk at
Rome,
on
end,
in the
Papacy
of Sixtus V.
Wonderful
! Yet the
Egyptians
quarried
that
stone
and
carried
it
150
miles,
and never said a word about it.
ABIDING PROOFS OP LITERARY KNOWLEDGE
IN
IRELAND.
Is there
any
abiding
record
that a
knowledge
of
writ-
ing
on
stone,
or
on
brick,
or on
vellum,
with
elegance,
and
perfection,
and
beauty
of
outline,
had
been
known
and
practised
in Ireland in the
first
century
of the Christian
period
in
Ireland
?
There
is. The
present
writer has
himself
f
seen
a
work written
in
the
early
part
of fehe sixth
century
just
one
hundred
years
after the
coming
of St.
Patrick to
preach
the
Gospel
to the Irish
people
one
hundred
years
after
the
period
when the
apostle
dis-
tributed
the
Roman
alphabets
to the
Ecclesiastics
of
Ireland.
The work
which,
it was
his
good
fortune to
have seen
and
examined,
is that
written
by
St.
Columba
himself,
and
preserved
to this
day
in
Trinity College,
Dublin.
It
is
now thirteen
centuries since the
skilled,
saintly
hand
of
St.
Columba traced those wondrous
lines,
and
yet
the
letters
are as
perfect
to-day,
and
the
coloring
as
brilliant,
and the
ornamentations as
lustrous,
and
the
figures
as
vivid
as on the
day
in
which
the
wonderful book came from
the
pen
of the
Doctor
of the Irish and
Picts,
as
Mathew
of Westminster calls St.
Columba
Doctor
Scotorum et
Pidorum. Like the ruins
of the
early
Irish
churches,
or
Westminster
Abbey,
or the church
at
Durham,
this
HER
MAJESTY,
THE
QUEEN.
329
glorious manuscript
copy
of.
the
Gospels
is a
living
proof
of the
artistic
knowledge
possessed
by
the old
monks,
through
whose
genius,
skill
and
energy,
such
magnificent
works
had been
perfected.
The Book of Keils
is
in
a
special
manner
a
convincing proof
that,
not
only
the
art
of
writing
had
been
known
in
Ireland
during
the
first
hun-
dred
years
after the
Irish
had
received the
light
of
Chris-
tian
faith,
but that a
knowledge
of
writing
and
illumin-
ating
must
have
been
practised,
as Professor Westwood
of
Oxford,
in
his
splendid
work on
the
art of illuminat-
ing,
shows
(Palaiographia
Sacra
P/cfon'a.)
The
proof
can
be
legitimately urged
further
still with a re-
trospective
bearing
to
show
that
the Irish
must,
before
the
coming
of St.
Patrick,
have
practised
the art of
writing
and
illuminating
to
a
wonder-
ful
extent.
For,
it
is not credible
that in
one
hun-
dred
years
from the
time that St. Patrick
spread
a
knowledge
of
the
Christian
faith,
and with
it
a
know-
ledge
of
the art of
writing,
the
people
of Ireland
would
have
made
such strides
in
the art of
copying
books,
and
of
illuminating
them in a
style
to which there
is
nothing
at
present,
and
at
the time there
existed
nothing
in
Europe
so beautiful.
Her
Majesty,
Queen
Victoria,
came
to
see the
manu-
script
Book of
Kells,
and
expressed
her wonder
at
such
a
magnificent
work
of
human skill. She
gives
it the
highest
praise
in
her
buok.
All amateurs and critics
are
filled with
admiration
and
wonder
at
its
artistic
elegance
and
beauty.
The Book
of Kells is more decorated than
any
other exist-
ing
copy
of the
Gospels,
and it
is
pronounced
by
all to be
the
most beautiful
manuscript
in existence
of so
early
a
date,
and
the most
magnificent
specimen
of
penmanship
and
illumination
in
the western
world.
The
work is
written in
the
Latin uncial
letters
common
at the time.