. Journal of the Royal Society of Antiquaries of Ireland. Kildalton Crosi—East Face. which run into bosses, wind up to their centres, and again escape to run off on the flat,and form other bosses, so that the whole of the sculpture is built up on a kind ofuiathematical plan, and every detail is dependent upon and connected with all the rest PKOCEEDINGS. 159 in a system of spiral curves. The elaborate ingenuity of this species of decoration isonly understood after an attempt has been made to reconstruct its details on the flat bythe analogy of similar patterns, which may be studied in the illum
. Journal of the Royal Society of Antiquaries of Ireland. Kildalton Crosi—East Face. which run into bosses, wind up to their centres, and again escape to run off on the flat,and form other bosses, so that the whole of the sculpture is built up on a kind ofuiathematical plan, and every detail is dependent upon and connected with all the rest PKOCEEDINGS. 159 in a system of spiral curves. The elaborate ingenuity of this species of decoration isonly understood after an attempt has been made to reconstruct its details on the flat bythe analogy of similar patterns, which may be studied in the illuminated Book ofLindisfarne, as shown in the Palceographical Societys Kildalton Crosj—West Face. Turning now to the reverie, the two lower panels on the shaft are treated as onedesign symmetrically arninged in two parts, the one of which lepeats and balances theother, but with some variations ia the arrangement and in the details. Each jiart X2 160 ROYAL SOCIETY OF ANTIQUARIES OF IRELAND. consists of a pattern made by four larger and fonr smaller bosses arranged i-ound~acentral boss, with a triplet of still smaller bosses in each of the spaces between thelarger ones. Two of the four larger bosses in each case have an open concavity at thetop, in the centre of which is a little boss, or prominence. All the larger bosses areconstructed of the iuterknotted posterior portions of the bodies of serpents, the anteriorportions of which escape from the bottom of the boss and curve away on the flat to formthe interlacing border lines that enclose and complete the design. The wasting of thestone makes it uncertain whether the smaller bosses are not also made up
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