File:The arts in early England (1903) (14782347644).jpg

Identifier: artsinearlyengla03brow (find matches)
Title: The arts in early England
Year: 1903 (1900s)
Authors: Brown, G. Baldwin (Gerard Baldwin), 1849-1932 Webster, A. Blyth (Adam Blyth), 1882-1956 Sexton, Eric H. L. (Eric Hyde Lord), 1902-1980
Subjects: Art Architecture Architecture, Medieval Church architecture Crosses Decoration and ornament, Celtic Inscriptions, Runic
Publisher: London, J. Murray
Contributing Library: Wellesley College Library
Digitizing Sponsor: Boston Library Consortium Member Libraries

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is occupiedwith these, and they may have a passing word before we go onto examine the treatment of certain special animal forms onthe sceattas wherein as we shall see their chief interest andvalue consist. The coin given in No. 12 passed from theMontague collection to the British Museum since the publica-tion of the Catalogue to which reference has so often beenmade. The obverse shows a profile head with uplifted handrendered in a remarkable fashion with a tall cross apparentlylying across the palm. The hand appears on Merovingiantrientes at Clermont and elsewhere. The reverse is sui generisin so far as no similar device is known. At first sight itlooks like a rather careful representation of some definiteobject triangular in plan, but this appearance is probablydeceptive and the type may be simply a result of degradation.The two crosses below appear in the same position in someversions of the well-known standard type, and the three 1 ante, p. 85, note. SCEATTAS. AND A ROMAN PROTOTYPE
Text Appearing After Image:
Silver, enlarged 2 to 2^ diar SOME SPECIAL DEVICES 89 dots in the angle formed by two sweeping lines above can beseen on the particularly good example of the device in theBritish Museum given PI. vi, 21. The three pellets in thedesign under review have been brought into connection withthe three heads, of two Emperors with a Victory above, on afamiliar Roman reverse shown PL 1, 1. In any case how-ever, the motive may be taken as evidence that the Anglo-Saxon designer liked to work towards some more or lessdefinite form, and was not satisfied, like his Gallic predecessor,with the mere disjecta membra of older types. No. 13gives us a minute full face in the centre of the field surroundedwith ten little bosses each within a ring. This reminds us alittle of designs that occur in the tomb furniture of the period(p. 324). No. 14 shows on the obverse a full-face bust withhair on both sides treated after the fashion of the profileshigher up on the same plate, and on the reverse a device ofinte

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