An introduction to the study of prehistoric art . Fig. 290.—Umbo of the Witham shield. in diameter, from the middle of which rises the actualcircular boss which is engraved. The plate bears anembossed design of involved circles, and trumpet endino-curves. The wider parts of this design are engraved with ^ Hurce Ferules, Plate XIV; Archceologia, xxin., p. 96, Plate permission to reproduce Figs. 289, 290, 29], I have to thank theSociety of Antiquaries, 2 8o PREHISTORIC ART a curvilinear pattern. The embossed design is composedin fact of one repeated, and each of the two similar partscon
An introduction to the study of prehistoric art . Fig. 290.—Umbo of the Witham shield. in diameter, from the middle of which rises the actualcircular boss which is engraved. The plate bears anembossed design of involved circles, and trumpet endino-curves. The wider parts of this design are engraved with ^ Hurce Ferules, Plate XIV; Archceologia, xxin., p. 96, Plate permission to reproduce Figs. 289, 290, 29], I have to thank theSociety of Antiquaries, 2 8o PREHISTORIC ART a curvilinear pattern. The embossed design is composedin fact of one repeated, and each of the two similar partscontaining a crude representation of a birds head, evidentlya degraded zoomorphic design. The other shield boss isoval-shaped with a curvilinear pattern in high relief. Thispattern is composed of two similar sets of curves connectedin the middle. The artist has taken the opportunity ofenriching the design by waving the central joining Fig. 2gi.—One of the circular plates of the Withain shield. Each half of the design terminates in a pointed pear-likeenlargement, the surface of which is ornamented with finelyengraved continuous spirals. Fine curvilinear engravingis also found on one of the arms which ends in a doubleembossed spiral suggestive of an animals head. Thestudy ot the designs on these shields suggests that amongthe origins ol Late Keltic designs the zoom()rj)hic mustbe included. Further, it can hardly fail to impress up(jn theleast observant how thoroughly characteristic, individual- LATE KELTIC ART 281 istic, and original was the genius of the Late Keltic shield bosses well illustrate the way in which theartist revelled in curvilinear decoration. Not content withthe elaborate curvilinear embossed design, he proceeds tocover available portions of this with similar engraved de-signs, such as scrolls and detached or continuous spirals.^ 6. T0R(2UES. A spirally twisted piece of gold was worn ro
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Keywords: ., bookcentury1900, bookdecade1910, bookidintroduction, bookyear1915
