Lastly, when the patterns which had thus been evolved from natural foliage on a flat surface were transferred to the relief of the repoussé metalwork, and raised bosses, volutes, and round plaques of enamel substituted for the complete flat circles, an entirely new style of decoration was brought into existence. The most appropriate name that can be given to this particular kind of Celtic ornament is _flamboyant_ work. The French word _flamboyer_ means to blaze, and the Gothic window tracery of the fourteenth century, in which =S=-shaped curves predominate, is called _flamboyant_ on account of its resemblance to tongues of flame. The handle of the Late-Celtic tankard from Trawsfynydd,[320] Merionethshire, now in the Liverpool Museum, if reproduced in stone on a larger scale, would certainly be mistaken for a piece of Gothic tracery, so that it may almost be looked upon as a blasphemous anticipation of Christian art by the Pagan Celt. [320] _Archæologia Cambrensis_, ser. 5, vol. xiii., p. 212. The best examples of the Late-Celtic flamboyant work, for purposes of study, are the bronze shield from the river Thames, a circular disc of unknown use from Ireland, both in the British Museum; the gold collar from Limavady, Co. Londonderry, in the Museum of the Royal Irish Academy, Dublin; and the Æsica fibula, in the Newcastle Museum. There is also a disc in the Dublin Museum of similar design to the one in the British Museum, which is worth comparing with it. The whole design of the shield from the Thames is arranged with a due regard to symmetry. The small circular plaques of enamel, which are a leading feature in the scheme of decoration, are placed in definite positions, in groups of four and eight, around a central plaque within a raised boss. The plaques are connected by =S=-shaped curves in relief, which vary in width and in height above the background in different places. The highest part of the curve is emphasised by a sharp ridge which does not traverse the whole length of the curve midway between the margins, but at one place approaches near one edge, and a little further on approaches the other. An extremely complicated solid, bounded by curved surfaces, is thus formed, the appearance of which can only be realised by seeing the thing itself or a model of it. [Illustration: Fibula of Bronze-Gilt from Æsica Now in the Newcastle Museum. Scale 1/1 linear] [Illustration: DETAIL OF ORNAMENT ON LATE-CELTIC BRONZE SHIELD FROM THE THAMES AT BATTERSEA; NOW IN THE BRITISH MUSEUM] [Illustration: Flamboyant Ornament on Collar from Broighter, Limavady, Co. Londonderry]