Muiredach, abbot of Monasterboice, 890-923 AD.; his life and surroundings . Fig. 16.—Panel [27] with interlaced human figures. Fig. 17.—Diagram of the same panel. {Photo and Draiviiig by Mr. Crawford.) in fig. 18. The key-pattern is built up on the same kind of geometricalbasis as the interlacing pattern, except that when the lines meet, insteadof intersecting, they turn so as to avoid intersecting. Specially to be noticedis the combination of the key-pattern with spirals in panel [6i] : the samedevice occurs at Termon Feichin. On each of the four faces of the pedestalthere are two panels end
Muiredach, abbot of Monasterboice, 890-923 AD.; his life and surroundings . Fig. 16.—Panel [27] with interlaced human figures. Fig. 17.—Diagram of the same panel. {Photo and Draiviiig by Mr. Crawford.) in fig. 18. The key-pattern is built up on the same kind of geometricalbasis as the interlacing pattern, except that when the lines meet, insteadof intersecting, they turn so as to avoid intersecting. Specially to be noticedis the combination of the key-pattern with spirals in panel [6i] : the samedevice occurs at Termon Feichin. On each of the four faces of the pedestalthere are two panels end to end, containing an elaborate interlacing andkey-pattern alternately. This shows that the two types of ornament existedas separate classifications in the artists mind. Three of these panels arealmost completely effaced, but it is clear that the pattern of each panel wasdifi^erent from the rest. These panels alone would give the sculptor ofthis Cross a high position among Celtic artists. Plate VII. Diagrams of Interlacing Patterns on the Cross.{Drawing by the Author.) IRELAND 53 Foliage was curiously neglected in early Celtic art—in fact it scarcelyexists. But a distinct floral feeling is to be traced in the divergent
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Keywords: ., bookcentury1900, bookdecade1910, bookidmuiredachabb, bookyear1914
