200 
KERAMIC STUDIO 
This art, so fantastic with its endless and tortuous wind- 
ings, its fanciful and distorted forms so drawn as to fill the 
required space regardless of nature, remind us forcibly of Irish 
ingenuity in twisting and ornamenting the truth so as to fit 
the circumstances, until the original form is scarcely recogni- 
zable. And after all we have to admit the artistic effect of 
the distorting of truth as well as of form. 
The colors used are dull blue, dull green, orange, red, 
black, buff and white. 
HISTORICAL ORNAMENT— CELTIC 
ELTic decorative art had its origin in Ireland. 
Many similarities can be found in the art of 
Russia and Scandinavian countries, showing a 
common origin, and it is believed that the 
Irish missionaries carried their art with them 
to these countries. But, without doubt, the 
Celtic form of ornament was the growth of Irish soil. Inter- 
laced ornaments, formed almost the only element of the earliest 
period; this is essentially a primitive method, suggested by 
interlaced cords, the pliancy of this 
medium giving curves instead of an- 
gles as in Arabian geometric designs, 
and making a great variety of de- 
signs from this simple element. 
There is a real charm in follow- 
ing the complications. The skillful 
divisions, clearness of links, ingenuity 
in windings, show a knowledge 
of ornamental construction. There 
is an entire absence of foliage or 
vegetable ornament in the primitive 
Celtic art. The distinguishing pecu- 
liarities are the extreme intricacy 
and excessive minuteness and elabo- No. 1 
ration of the interlaced designs. Later, strange and mon- 
strous birds and animals with long top-knots, tongues and 
tails intertwining in almost endless knots (sometimes called 
Runic knots) served as terminals to principal lines, which 
No. 2 No. 3 
were then made to repesent bodies elongated out of all just 
proportion or probability, from which emerge feet or claws 
corresponding with the head. These fantastic and grotesque 
images constitute a separate art, which interlacings alone 
could never have done, other races using the latter form of 
ornamentation. 
PLATE BY MISS VILAS (PAGE 203) 
Application We would suggest as a treatment for this, 
to Modern a ^ u ^ Dlue design on a dull green ground 
( outlined in black ; or the alternate panels 
*» might have a green design on a blue ground ; 
from the design to the edge of plate should be a buff, either 
light or dark. 
TOBACCO JAR BY MRS. ROBtNEAU 
Ground, buff. Design in dull blue on a black and dull 
green ground ; a touch of red or orange might be used in eyes. 
