Celtic Artis the only indigenous British ark form of world significance and this { b00K is 8 graphically elaquent plea for the establishment of this great natio: art to its rightful piece in schools and colleges where the history of ornament is boing tought. Until recently, the clessical orlentates art world hae regarded the abstract, ‘konographic and symbolic siyle of the Celtic artist as something of an enigma, 2 mysterious archaic survival targely ignoced in histories af art, The modern lwends away from realism and the Interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this naw edition seams to indicete is possibie, Wher this book first appeared it was hited as2 “veritable grammar of orn ment.” IC is certainly an indispensable reference book and practical textbook for the art student and ereftsman seek: ing simpio constructional methods for laying out complex omamental schemes, The entice chronology of symbols is embraced from spirals through chew rons, step petterns end keys to knot authentic Celtic letter fermingis and ex: tions in knitwear, carpets, oxemics ‘and other areas in which the author pionocred in his day. ‘Thisbook deals with the Pictish Schoo! of artistcrattsmen who cut pagen symbols fike the Burghead Bull and in ‘the early Christian era designed such superb exemples of monument sculp- ture as the Aberlemno Crose and the counterparts in the Books of Kells and Lindisfarne, the amazing jewellery con ceptions of the Tara and Hunterston Brooches, the Ardagh Chalice and ‘other masterpieces. Knotwork Interlacings, owing much of their perfection and beauty to the use cof mathematical formulae, are unique 0 09 461830 5 £8.95 net SSSI to Pictish Art and are found nowhere flse than the sress occupied by the Ficts, The outstanding achievement of their art was the subtle manner in which they combined artistic, geo ‘metric and mathematical mathods, (often in the manuscript er, 10 stand ards of minuteness and intricacy be- yond the skillsof moderns) with magic, imagination and logic, the function bbeing both to teach and adorn. Although incidental 10 the main educs tions! purpose of this book, there is also an implicit challenge to the art historian and archaeologist. Tho author frankly admits that the evidence suck easarches into tho art have rovesled of @ hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose es many questions as are answered Who were the Picts? Whenoe the Asiatic origins of Celtic Art? How doo: 2 La Téne cloisonné enamel effect glow on. Lindisfarne vellum 2 thousend years lator? Why can a 20,000 8.0. key pattern survive the ciit of migrating tribes through the millenia of archaic craft traditions to appesr in the Book ef Kell and 2 Maya temaie? his elsssrooms, to judge from pupii’s work here illustrated, that thraugh prac tice and application in his methods of constructing decoration, anyone with the initial interest can release this innate instinct to beautify and mark out the impress of their individuality that has been a quality is man since the neo: lithic times of the eave artist and stil finds expression through the sub: concious outlines of the phone-pad doodler ‘Also available from Constable: Colticfairy tates More Celtic fairy tales Edlted by Josephs Jacobs NETS SaN o-p9-469850-5 Celtic design colouring book Tl Edd Sibbett, Jnr Celtic Knotwork | : Iain UD eee 9 °780094"6 18305"The general principles For designing Celtic Knotwork,(Piclish Schoc Freehand knotwork bands may be done if two lines only are crossed at one point and ifeach o the enclosed shapes is large enough to allow For the desired width of the band to be drawn G9) @I rs YEE VRS > agel Stage2. Stage3 /Staget! ages. S55 band maybe cneroe der eget Stee DIT OGQOV ON LBS Thig may be the method [Arch on Be eR PSK EDS Avariety of treatments of the three band plact or’dirk handle twistce) SRA IN Ae eS Plate B 28[The methods of construction for Simple Celtic interlacing Borders, (Pictish School) ™ % Bo BARNA a SAE eye} Stagel.A row of |'Stage2.Arching| Siopey Staged. Break |opeceee SI equidistant points joverpoints Isace.] under points 2 spaces Vand rejoin [3298 Draw Stage Remove centre 222 i eae 22 POF OR LYSATE YSOATR} REFERS ww i ESRF cxerementizremiwrmnatees BS See eS d border o pa Se nel. Thare are numerous variations of the Stoge |. | Stage? Stage3. Stage 4 Stage 5. Stage 28 Equidistant points} Marking 2spaces | Archihg I space |» 3 A spaces, | Make band, Remove centreling, interlace and Fin and space. | above sia ation, Itmay be doubled by caching into a ba 'y crossing lines and meking nd and interlacing them. An even multiple of 3 spaces will’make 2tines? Mitring is done An odd mult 95 shown hare.Tl [The methods of construction and of application to craftwork for simple Celtic interlacing: 24 is unit is nF spaces ea multiple gives Zines. Circles may be Filled by brealcing the lines of the border and rejoining fo interlacings drawn Designs of this nature ore very | EOTHHIG] Stage 4A variation by different breaking ond joi Below, The mathod of applying a border design ir toa cylindrical object. The numberof Spaces required for the unit is arranged in the desired multiple, Divide the circumference into Gequal rts, hen cach Fito parts Mark avertice fine on the bo land one point cireumference Circle on the pe arkad the The methods of construction of Celtic border designs and of their application to circles. = To divide into Sequel parts. cinta equal parts, with centred describe sent efcle ‘Ktog with radios Bee Find parts O.e'> Saf Circumference.“ The division of the circumference ofacircle into. 3.4.68 parts, requires littie explanation : g Absolute accuracy of division oF circle isnot necessary, but in many cases such as the pentagonal division of the underpart af the bas of the Ardagh Chalice’, accuracy is observed The method below mey have been in use before the tir lof Archimedes. 1813 very nearly orcura Mork the required number of 2 \, equal parts on the diameter. Find point 0 and drawa straight line through poin 2 (ehways) on the diamett The intersection with the circle gives, the sige that" divide the circumference in the required number of pa The order is ) Benchevron. WAY Giles or Figures Based on, Sars is ake The peare isYchto the’ " tnd eine equally dividing Seth ts sutended SE FGhC candies th the common bose, Tesaace berween ASRRG Ee the numbsNe @ used singly in varieties of treatments (ISIE ta)2 Methods of Construction for Celtic Int. s, (Pictish School.) | aviation of N¢i Plate B. Itis an cin: 3 us 2 Units are used to show suitability emethods of con. ion for © cing Borders, ( Picte Method For daublin (Pictish School The M, ‘or daubli gs (Pictish Se os : Se Peer reeieen 34(Pict ish School.) vork Borders € methods of mitring C ting may BAER, ESR) (Cora < GAVE VeAG Pictish School.) f 1e methods of mitri g Celtic Knotwork Borders, = 2 Gyn = y (Gi ASS seb SH < ) : < = = <) BNI)ONE OF THE NUMEROUS METHODS USED BY THE PICTISH ARTISTS TO CONSTRUCT THEIR ORNAMENTS, GEORGE BAIN TNTERLACINGS FROM THE MONYHUSK RELIQUARY Stegel, Stagell, Stage, Jrajeined gE An Rioge Finials of the MON YmUSK RELIQUARY., Smuitiples of 5: Smuitgleses slageT”, Stage, Saget Plate CONE OF THE NUMEROUS METHODS USED BY THE PICTISH ARTISTS TO CONSTRUCT THEIR ORNAMENTS, The order of the So-calleavi mmament, From Lewis Royal Commission o ise Pictish Orn Retonstroction Mining Orearen Tide SIE tiled ports ar isning SOK SE REG 3 multiples Numerous original desiqns may be made by the Pictish methods, Suitable for Carving, Metal work, Jewellry. Pottery. Embroidery, Quilting. Leatherwork. ete Plate DFae ee eee Pictish knotwork borders from Gospels of Lindisfarne and Book of Kells. Tindisfarne, EIS and RIA. Compare with Book of Kelle Fate Vi. Studio” E2222. bu CaReaaas fae CIR OR) $2.2 Variations of these orders. %f;2 __Lindisforne, DEIDA PEE ookel flag =a Bes Geeo) 2235 Lindisfarne, Fils. IHFSIAS a SEE ar ie George tain, Lindisfarne F13b. This unit equres 1 spaces. Plate E i i : i | i | i ‘ E i ftPlate FSEE eee Ce eee Sree ee EE aE CELTIC ART. From Goss-slab-Stone, Ulbster, Githness. One Continuous line, probably 3 symbol of Eternity. The continuity is undoubtedly inten! 4. Stage |. ¢ ! Stage! j : Draw diagonal! | Draw lines tlines From i perailel to | pontaatcomers, Poner Square i j I Stage il A : Thou ap sedi 7 and ope at B Stage V Stage V } Oreste A DN X, Draw lines. 20) Remove i - ARE. parallel bo fa centre lines i Vv. lines of Stagelti 7 : stage St Plate GCELTIC ART. Example from Book of Kells. Methods of Construction. One continuous line. Symbolical of Eternity. The continuity is undoubtedly intentional. Stagel., Stagell.-—, aS >< & pa eo Ke) ¢ : * Method of breaking S< ange Stage Ih interlacings on the Goys-siab-stones 6 East Scotland, particularly in Fife, Angus and Perthshire 5 (OE Plote H 43Methods of Construction for 5: Pictish Panels.the proportion ofthe lay-out is notreckengular, itis logengedporc> Stage |. Pictish Proportions L.byd are net used i this example (or Simpl imple Celtic Knotwork Panels (Pictish Sch Stage tl. tage : Methods of Constructio! Pictish Proportions | by# Nn for Simple Celtic Knotwork P 45ye Aspaces 3 spacescat corer RUPE REP inch—> & RARER ie Ke ae SSN Bees OO ERS teeta 8 gn Actval sige rec 4 end inventivenes A ofthe Pictish arts, who successfally j completedthe | problem of | 4 inaking theline @ continuous: one. i {The spaces are) Topandbotto 4e7-E 2 £.g.BS ae Se) A) eFband, we bands. fromthe Strathmartin, stone. 4748ate SISA PEE EI— Plate 9. e Methods of Construction of the Irish-Pictish School of Celtic Knotwork. |thods of Knotwork Construction of the Irish-Pictish School of Celtic Art, | {Weis in one line. sl is mode From the unit of a border of a * \ FEES | [EeX esos Kemi / SSR (POW, SEVIER | i Si8)/\ i CREE SES Zi — yearn ay I <= NS SARWMWV . Ne Tae 58 ee SS aS AS (SS GRE NA ae ay G I SN) me oy) ES IS 2 < ate G Oe Ms 2S a NERIN SONS KAN OR is The Inish-Pictish Designer seems to have used | 13 design to embellish the Cross Symbol. ‘ vevPlate 12) ———— 8 ges 9 and 10 its may be joined as shown neve 50z From the 1a asit developed __ Shandwick Stone Plate 13, ion for Knetwork in Circular Panels, Pictish Art. SANS ay BLE ee PSA Ne CieQEs WS: 51From the Book of Durrow” (Plated Cettic iiluninative Art, ews ft Robinson) “This plate shows the construction orders and he methods of the vorious knols. The succeeding plate shows the final skeges for the completicn of the knctwrork- SATE, " _ CFSE TEE HAG 5 Fihis unit is contoined in a multiple of 5 spaces. IFapplied ws v border of acirclean even multiple of 5will make Zlines, on odd multiple will make line. Pua caer SOR ETIERIS, CEE Four variations of RBRRREESES TEEN. pashemenniete gs 3 AP Stage Stage This order ie Plate 7 «teeters rete fren anniitatnpnpemtiameietec EH Robinson ¢, two snail. The original is not « continue Probably an assistant serise was responsible For this shight stron. The excellence of the constructive methods shaws the cesign tobe the work oF a Great Naster,| ‘Two Simple changes; shown ot Axx, make the whole ofthe knatwork inte one line EQ ie OS CXQ RBELD AK Oy SOP NO OOS OOS : ERD) EXEL EN os “he to changes st WX to make Vek i ; ie ess : i Plate J 53ines “rae “Seder gies Ms ES BS CA K Plate BOOKoF ey, A design from the.Reconstruction of interlacing on Rosste Priory Stone, showing that it isan intentional continous line, = z es Bat a0 Wes oe c) SAL oo wy a Pe memsrae = SeiNermal order woe sice , up theether side Inskeontinosus Sheva bel Hight arm (ROA mA Se Sone Fraps, Wining: Tice Hore|s 2 probiem for Future historions. Ts Spooner depen oe ASK in the (se-celleg) Irish Mss, or in Wee) ca I that the RRS Reincehe ons lle moch seach Plate L 55Spirals (HE Spiral as a symbol and a5 an ora: ment had a beginning at the dawn of ‘man’s intellect. Tt was the development of the inherited impulse that made ‘man construct the fist circular hut. With very few exceptions (if any) the constructions by insects, birds and animals are made by circular motions. The circle may be considered as man's first step in art. As a recapitulative impulse it is every child’s beginning in drawing, and it is as much used by the educated doodier 4s it is by the uneducated female for pipeclay @ecoration on the doorstep. The spiral is an application of its constructional methods that tapidly became magical, It could be performed fo the ihc or to the left, sunwise or anti sunvise ‘The beauty of nature's spi observed by mi st ancestors, for the shell ‘was probably ‘was also the container of his staple food, From the terminating point to the opening in the shell to te food, the movement of the spital is to the right or sunwise and the motion of extracting the food is to the left or anti- unwise. Most of nature's spirals are to the right with notable exception in pairs of horns, which are symmetrical, ‘The Scoitish Highlander's sword dance, being a war dance, is antisunwise, but fishes sunwise symiolical of victory An assessment of the dating of the com: ‘mencement of the use of spirals as an ornamental and magical art may be conjectured frow dhe fact, alteady stated, that highly developed key patterns, engraved on mammoth ivory were found in the Ukraine and in Yugo-Slavia, and are dated from #5,000 B.C. to 15,000 B.C. Key Pattecns are really spirals in straight lines, snl 59 man had to travel Jong in time before he “ in- vented" the square. “Although onecoil spirals are to be found in the arts of most peoples of Europe, Asia, Africa, Polynesia. and the Americas, with the Greek Tonic as the acme, yet the finest developments of spizal ornament were made by the Celtic race, who at an early period found the methods of making two, three, four or moe coils. There is a continuity of the evel tion of the spiral threedimensional art in Scot- and, England, Wales and Ireland from pre- Prehistoric times, commencing with two incised Points continued as two incised coils that have between them a raited spiral line chat revolves Dack upon itself. This double spiral is also found in the metal tronzeage work of the ‘The Mycenaean al mot the cone peoples of the Baltic countries artisteraftsman used the spi manner that suggests one migration of Coltic peoples co Britain and Ireland, The s used spirals as allover motifs from 3000 B.C. to 1500 B. Tt was in Britain and Ireland, however, that spirals found full artistic growth, first, in the enamelled bronze omaments for the horse, the chariot and men, then, in the age of the oma mented stone monuments and the late Pagan and early Christian Jewellers’ Art. ‘The noble spirals of Aberlenmo, Suandwick, ‘Tarbet, Hilton of Cadboll, Nigg, the Tara brooch, and the Ardagh chalice Jed the way t0 the great art of the scribes, who produced the supreme masterpieces of the world’s decoration of books, profusely embellished with spiral art ‘The few survivors of a great artistic period, the books of Durrow, Kells, Lindisfarne, and Se Chad will shed a light for future generations upon the greatness of the art and the other cultures of the Pict and the Briton,heweene THEROOK oF BURREM The ConsrRucrion ofthe Segal GRouPn centveat ABERIEVNO CROSS Reidlanyralats Seurt Stl could ote cue the dean removed orelty fron thetrisle fence TheSeven spiral Groups of three lege com Represmtatan & Srignn coup splsty of ASENLBING Coss oer THe" stuurpKe Syonee SPSedm ANSI tobias oy THE SPALNG CLUB Frets Sra caoue rsraethaaeaeias Tren eae owen Sones eters hate Eevesnge fmt Ruel BEERS re te centre Faucabien | 7 Sas akdcasales Plate M sith nsecuthods of Construction for Spirals of the Pictish School of Celtic Ar = — = aking ia scaled” trompali” " COR YN SS ziCS Gi Le | |onde 2 Ox is : ODS rn 7 ee ‘Sam ee oe i Senthe Hilton of Cad z More thea ATA AOA 4 os aZeltic letters B, Cond D, from the Books of Durrow, Kells and Lindisfarne. 4 @ 3 i fT } 025 40298 ebB 2CCCC Chee CCE CEG SAG te IM DAGHVE LE ct matsa [INHe Celtic Letters U,V, X,Y, Z, from the Books of Durrow, Kells and Lindisfarne 426" Century, | JOUUYOUURU Additions KW.Y. Alphabet, CottonM.S. Vespasian A.|. Late 7° “Century. . Op CRETE oT An Alphabet of straight-line letters from the Book of Kells. ° fons KWAY. UCDELTRIKLENOOOR: CTUVWXUZ EC Plote 10a Kells. zz SEES. Borrow, & rs from the Books of Capital Lette need Celtic Capitals From the Books of Durrow an WA @s mamented celticmamented Capitals From the Book oF Kelle: a hols andi Contractions Fron Celtic poh Fe i [IPEUQBET 3 y E : ly € OP ae ONOVORE ey DROSTEN : PAGAL YS) SALTY Costa yA ae Tae 2ST stay— EI O-L°2- 1: d Me tO unSp “OP “tn * yo “ys “yd : yulstSioonues S25 Q 127g us) 3+ OB dB ‘YS -Yd-YQ “YD “Yq “Ub -B2 ~~9 ‘oa “Ip “QYor n2/douwyziySdaqogp ‘61 gt Zr-o1 “$1 oS ‘VIEL ZI OL NOS elclo N ane “s d s}pqidp> “sanuaquas era Ic1LYSdo Qo qvKG SEhe Use of A nimals as interlacing Ornaments. From the Book of Kelis.uman Male Figures in Ornament from Stone at Clonmacnolse ond Book om XP. Monogram Page, Baok of Kells AG BY| ng Things of the Earth, Man, Beast,Bird and Reptile, Vegetetion excluded. | LHumar BookeF Kells. a va ) cA CE ie Book A wer GBS Plote I. | 7 SS g) ecepee | MG ED On, ay (KES bee a Skeet BRT stage ig‘Same exampl the Faults at coreced as shown DS Book af Kells Plate 1X _——_—__ qabwork adapted to irregular shapes. Te of Pictish 1 Theo! Book of Kells. ther contents are 4 reptiles, with heads, bodies, tails Tha dousle Lap-bnots. Book of Kells, ate Xl. Studio pudication. TheletterT. tis a a bestt, compicte with Tread neck body. tal, ‘wo forelegs and bwo hhinalegs. The interlacing knots J orca the stver on Benibale5 SEAL In theoriginal theres te fouls at B. TAese 22 ‘byan infer artist who w5 Snticated with the corpiction of ihe proparshory werk ofe master] PateIx. Se PEG sige bint> Plate T| | | | |SIS ES (ee Gwenty yearb the mort-claith. Chis’ suld gar ilk ane gruc, sic a dai esa Was his life warth livan? Ay, car jk was. ent. he was blye en wove thegitt a musardri In the time of tyrants he || testified truth, SY] and sae our yirth byde |" sout wi fresh youth ¢ smeddum, kindlines: me, hope and f t = Peel . 2 ou that his corp is by wi it, g* outlive daith. by (IF cd: ‘s D Bet | Oj (Sn Sa eTea wT ist Vessel 0 iameker 44 hie Buddhibe = IS Ze METERS eal el NF 2 Plate, AS | RE: | Zi North England. | | ——OSIE pL Oy OTSA "Ay D085]Danigasd & fronge bun uth adhnawledgenenes fo on unknouin excise oF che Book of Lndisranne Gum S100h Gorm Graidh nan Sardheal file rt deal6h Oo 6heactha. ‘Way the Binds oF futendship or The Ha€l Be VER WOVEN INTO ThE Wes OF YOUR LIFE Plate 11 Design for Greeting Card.Chupa zharris Le aMay your cup | Sléanze a5us sonas. 9} | overflow with health iH . and happiness..% Alt Zghahna a . Gen Miia i Initial B Fram Buchel Kells. Adapted by Ceorge Ba i Plate 13 Design for New Year Greeting Card. HaOran 1s Rath math wa ckudha oxe Fhem 1s 00 churdeachd. May the GLessed charm ANd good Luck of thehorseshoc be much you ANO YOURS. eee eee reece eee Plate 14 Design jor Greeting Card. ne| Cnéum,as 0° Gail AN Arg, ct f ORG Y 6.6 Opp OO AnORNER Steps Re Cops op THE GLOSor™ De stan That P Plate 19 Design for Greeting Cardy GRING Success ie Follow re prow AvoB, IGhe pomerorconcowexacjon on Tay yous upon tie Seeee a Plate 20 Greeting Card adapted from Groudie Stone Isle of ManPlate 40