It is zoomorphism in which the details are sacrificed to the general effect, as if in the mind of the artist the idea of the ornament was dominant, and the idea of the form of its parts subordinate. No two styles of ornament could be more widely dissimilar. The artist of the Celtic school produced his effects by simple variation of the arrangements of his stereotyped forms. In all the intricate interlacements of his zoomorphic patterns, the typical forms employed to produce the most bewilderingly beautiful combinations are substantially the same, and their parts are the same. His zoomorphism was consistent throughout. If the conventional beast was there at all, his tail was there, and his crest, and his limbs—he was there in unvarying completeness of form and conventionality of feature. But this zoomorphism renders nothing distinctly. There is a suggestion of heads here and wings there, but there may be no bodies and no limbs, or there may be a suggestion of limbs to which no bodies effeir. The Celtic artist built up his patterns with the forms of his conventional beasts laboriously expressed. This artist simply blocks out his pattern and covers it with suggestions of animal forms. ----- Footnote 18: The pins of all the other specimens of this type of brooch that are preserved in the Museum have been of iron, and have consequently disappeared by oxidation. Without the Ballinaby brooches we should not have known the construction of the pin. Footnote 19: See the figure of the Tiree brooch, which is engraved with the upper shell removed from its place, and each shown separately (Fig. 31). ----- But if the art of these brooches is not Celtic, the form differs no less widely from that of the Celtic brooches, which is penannular, with flattened and expanded ends. No brooch of this oval bowl-shaped form occurs within the Celtic area, either ornamented with Celtic art, or associated with objects of exclusively Celtic origin. [Illustration: Fig. 21.—Double Disc of thin Bronze, from grave No. 2 at Ballinaby (7½ inches in length).] [Illustration: Fig. 22.—Silver Hair-Pin, from grave No. 2 at Ballinaby (actual size).]