Some of the human figures sculptured on the Scottish and Manx stones, are so executed as to suggest that they also are reproductions from originals formed of twigs. This is particularly the case with a fragment at Forteviot,[30] the ancient Celtic capital of Scotland, on which four men, some animals and a cross are carved with curious rudeness; and with a portion of another crucifixion from the Isle of Man.[31] Both of these have a considerable resemblance to the rustic work of rough twigs with which many gardeners of the present day delight to ornament their summer houses and garden seats. These examples suggest a common origin with the extraordinary illuminations which Mr. Westwood has reproduced from ancient manuscripts, particularly with those engraved in the _Journal of the Archæological Institute_,[32] it being remembered that the sculpture and the illuminations were both probably enriched with colour and gilding. I have made careful copies of very numerous examples of ancient interlaced ornaments, and placed them in the hands of various artisans, particularly basket-makers, straw-plaiters, wire-workers, and plaiters of ornamental hair. They all inform me that with a few exceptions the devices may be worked out in their respective materials, and several thanked me for putting new patterns before them, which they said would be useful in their business. Some of these drawings I gave to my own workpeople, who reproduced the devices very effectively in braid-work and embroidery. They tell me they could, with time and patience, copy many of the most elaborate devices. I must guard myself, however, against being supposed to assert that _all_ the interlaced devices found on the old crosses may be reproduced in modern plait work; such is not the case. Many of them may claim some other and very different origin, and there are others which the sculptor has doubtless modified and altered. The first Corinthian capital is said to have been modelled from a flower-pot covered with a tile between which the leaves of an acanthus had forced themselves, an arrangement which skilful architects have varied a hundred different ways, though retaining still the expression of the original idea. In the same spirit the ancient Briton treated the panels of basket-work, when he reproduced them on his crosses of stone.