312 
tury on the Continent, but was not generally adopted in England till a 
century afterwards, during the reign of Henry II., 1154. In the 
succeeding reigns of John, Henry III., and the first Edwards, it 
gradually came more and more into use, and it reached its full develop- 
ment in the reign of Edward III., from 1330 to 1877. 
Ido not suppose that our antiquaries will claim for Ireland the 
originating of this peculiar feature in monumental art, as it evinces a 
state of society more luxurious and refined than that which obtained 
amongst the primitive Irish in the pre-Anglo-Norman period of their 
history. If, therefore, we ever find the mortuary cushion introduced 
into Irish monuments, we may safely conclude that they partake of a 
decided admixture of the Anglo-Norman element. 
Fig. 13. This illustration represents the door of the old church of 
Annagh, near Tralee, and, though simple, is characteristic of the least 
decorated style of architecture during the close of the thirteenth century. 
The form of the arch is equilateral, and the hood or drip-moulding is 
carried completely round it, and prolonged down the sides of the door, 
where it forms a distinct member in its mouldings. This style of door 
is very unusual in Ireland, and it forms a link connecting the Anglo- 
Norman taste in architecture with ours. 
Fig. 14. The form of door represented in this illustration is also very 
unusual in Ireland. It is from the old church of Brigown at Mitchels- 
town in the county of Cork, and though the arch in this instance is 
semicircular, its moulding is uninterruptedly prolonged down each side 
of the doorway, after the manner of the door of Annagh Church, the 
narrow rib which projects from the moulding all along its inner edge 
being clearly indicative of early thirteenth-century taste. 
Fig. 15. We have here a sketch of the doorway of the old church at 
Cloghaun, a miserable village of four or five cabins, situated on the 
S.W. shore of Brandon Bay, in the county of Kerry ; its form is rectan- 
gular, and very much that of the early Irish Church. It is, however, 
too wide for its height, and the angle of the stones is chamfered off all 
round, and the stones themselves are all of small proportions. From 
this I argue that the work is not of any great antiquity, possibly the 
‘fourteenth century, but it bears, however, the stamp of genuine Irish 
taste about it, and on that account may not be uninteresting. 
Fig. 16. In this illustration we have all the characteristics of the 
pure Anglo-Norman art. It represents a dgorway in the tower of the 
Abbey of Kildare; its design is very tasteful and unusual, and I think we 
may assign its\age to the latter part of the thirteenth century. 
Fig. 17. This drawing is offered as a characteristic example of the 
doorways of most of our old churches, which are so plentifully scattered 
over the eastern and south-eastern portions of Ireland. It is taken from 
the old church of Tullaghmelan, near Knocklofty, Co. Tipperary; the arch 
is of the depressed pointed form, the drip-moulding very prominent and 
broad ; the entire door-head consists of only six stones, viz., two for the 
principal arch, and four for the drip moulding surmounting it. At the ~ 
apex of the arch is a somewhat rude representation of the head of a bishop, 
crowned with a mitre of an exceedingly old form, and which was most 
