The arts and crafts of our Teutonic forefathers . r on the plates of this volume, and a piece ofGreek inlaid work probably of the Ptolemaic periodin Egypt, shown in fig. 126. It is a portion of aplatter at Buda-Pest. We note in it the firm graspof the classical artist on the natural forms that heconventionalizes in such a highly decorative admire the contrast of slight and fuller forms,and the careful distribution which secures a surfacefully covered without crowding, and gives the plainbackground its part to do in the production of theeffect. Celtic art at its best, as we find it f
The arts and crafts of our Teutonic forefathers . r on the plates of this volume, and a piece ofGreek inlaid work probably of the Ptolemaic periodin Egypt, shown in fig. 126. It is a portion of aplatter at Buda-Pest. We note in it the firm graspof the classical artist on the natural forms that heconventionalizes in such a highly decorative admire the contrast of slight and fuller forms,and the careful distribution which secures a surfacefully covered without crowding, and gives the plainbackground its part to do in the production of theeffect. Celtic art at its best, as we find it forexample on the Thames Shield in the BritishMuseum (fig. 125), in the Ardagh Chalice, andsome bronze pieces in the Museum of the RoyalIrish Academy, and on the sumptuous pages ofpure enrichment in the great manuscripts, exhibitsa feeling for distribution and for the value of plainor diapered background that in its self-restraint isalmost classical. Furthermore, in those splendidflamboyant curves with all their swing and freedom, 230 PLATE XXXII.
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Keywords: ., batterseashield, bookcentury1900, booksubjectdec, latenecelticart
