Celtic art in Pagan and Christian times

John Stuart Mill · en
(1) There is a predominance of patterns formed of
        chains of rings.
    (2) The bands of the interlaced-work have a tendency
        to bifurcate and break off into scroll-like
        terminations.
    (3) The beasts in the zoömorphic designs have two toes,
        instead of three; the bodies are covered with
        scales; the attitude is peculiar, the head being
        bent back and a crest issuing from it with fin-like
        appendages in places; and the junction of the limbs
        with the body is conventionally indicated by spirals.
    (4) Amongst the figure-subjects scenes from the
        mythic-heroic Eddaic poems, such as Sigurd Fafni’s
        bane, Thor fishing for the Midgard-worm, Weyland
        Smith, etc.

Even in Norman times Scandinavian influence is exhibited in the details
of the tympana at Hoveringham, and Southwell Minster, Notts, and St.
Nicholas, Ipswich.

The only element in early Christian decorative art the origin of
which we have not succeeded in running to earth in the preceding
investigation is the key-pattern. I venture to think that this may have
been suggested by the Greek or Roman fret, and that the essentially
Celtic character imparted to it was the placing of the guiding lines
in a diagonal direction with regard to the margin, instead of parallel
to it. I believe the reason for this to be that exactly the same
setting-out diagram was used both for the interlaced-work and the
key-pattern. It is often possible to trace the origin of key-patterns
to the necessities of the methods of weaving textile fabrics; but with
regard to the ones we are now considering I am inclined to think that
their beginnings are due to the geometrical conditions imposed by the
arrangement of the setting-out lines.

In conclusion, I wish to emphasise the fact that the beauty and
individuality of the ornamental designs found in early Christian art
in Great Britain are due chiefly to the great taste with which the
different elements are combined and the exquisite finish lavished
upon them. I cannot see that it in the least detracts from the praise
due to the originators of the style if it can be shown that the ideas
underlying many of the patterns were suggested by a pre-existing native
style or adapted from a foreign one. Interlaced-work, key-patterns,
spirals, and zoömorphs are to be found separately in the decorative art
of many races and many periods, but nowhere and at no time have these
different elements been used in combination with such consummate skill,
as in the early Christian period in Great Britain and Ireland.




CHAPTER VIII

CELTIC ART OF THE CHRISTIAN PERIOD


    THE LEADING CHARACTERISTICS OF CELTIC ART OF THE
        CHRISTIAN PERIOD IN GREAT BRITAIN, AND THE GENERAL
        NATURE OF ITS DECORATIVE AND SYMBOLIC ELEMENTS

The leading characteristics of Celtic art of the Christian period are
as follows:—