File:The arts in early England (1903) (14804554023).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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against this is the fact that the triangle, and also theforked end, are late and are found with obverses of iEthelreddating from the last quarter of VII, PI. iv, 1, 2. The otherside of No. 17, at Middelburg, exhibits an utterly inchoatereminiscence of the c standard type that must be very late.On the whole perhaps a derivation from the she-wolf is themore probable, and it may be claimed as a point in favour ofthis that No. 9 on PI. vn, which has been adduced as an inter-mediate stage, possesses the standard for its reverse, whichis normal for the numerous Frisian examples of this group,PI. vn, 10 to 20. One obverse in the Hunterian, PI. vn, 8,has also a reveise with the standard type, and gives us adesign that has a bearing on this question of derivation.There is no doubt that we have here a degraded form of awolf or other quadruped similar to No. 7 on PI. v. The jawsshow this, and che loss of the legs will not surprise us when VIII facing p. 99 ENGLISH SCEAT COINS WITH ARTISTIC TYPES
Text Appearing After Image:
Silver, enlarged about z diameters CHANGES IN THE SHE-WOLF TYPE 99 we have gone over the next series of types presently to beexamined. The body of this creature gives us the curvedform already discussed and the spines upon its back start fromround dots as the spines do in PL vn, 10 to 20. If the headwere dropped off the remainder would correspond with thecurved form and spines of PI. vn, 10 to 15. There now offers itself for consideration an interestingseries of devices derived from the she-wolf through gradationsthat can clearly be traced, in the course of which the animalform passes through extraordinary morphological changes.On following these one is astonished and delighted at theexuberant fancy of the designer, and the decision with whichhe gives accent to the picturesque features that evolve them-selves successively through the transformations. To vindicatefor the Anglo-Saxon artist of VII and VIII a reputation forvigour and originality nothing is needed but a study of thesescea

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