An introduction to the study of prehistoric art . Fig. 210.—Bronze (Two-thirds size.) Figs. 211, 212, 213.—Bronze brace-lets. Reallon, Hautes Alpes. 205, 206). In Britain it is not until the later part ofthe period, when the socketed celt had been evolved, thatthe circle as a motive is seen upon it. These circles arenot engraved, but are in relief, and are connected byraised ribs running in parallel or divergent lines (Figs. 207,208, 209). The chevron is occasionally seen on spear- 1 Goodyear, The Grammar of tlie Lotus, p. 333. 12 * i8o PREHISTORIC ART heads (Fig. 210), but

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An introduction to the study of prehistoric art . Fig. 210.—Bronze (Two-thirds size.) Figs. 211, 212, 213.—Bronze brace-lets. Reallon, Hautes Alpes. 205, 206). In Britain it is not until the later part ofthe period, when the socketed celt had been evolved, thatthe circle as a motive is seen upon it. These circles arenot engraved, but are in relief, and are connected byraised ribs running in parallel or divergent lines (Figs. 207,208, 209). The chevron is occasionally seen on spear- 1 Goodyear, The Grammar of tlie Lotus, p. 333. 12 * i8o PREHISTORIC ART heads (Fig. 210), but it is used much more frequently, andwith greater elaboration, on personal ornaments, as bracelets(Figs. 211, 212, 213). Its employment is nowhere moremarked than on or crescents found in Ireland,Wales, Cornwall, Brittany, and Denmark (see Fig. 247).The horns of these interesting ornaments are often al-most completely covered with very fine engraved lines,.

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Keywords: ., bookcentury1900, bookdecade1910, bookidintroduction, bookyear1915