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Interlace, which is still seen as a "Celtic" form of decoration—somewhat ignoring its Germanic origins and equally prominent place in Anglo-Saxon and Scandinavian medieval art—has remained a motif in many forms of popular design, especially in Celtic countries, and above all Ireland, where it remains a national style signature.
The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
Lacertines, most commonly found in Celtic, Anglo-Saxon, and Insular art, are interlaces created by zoomorphic forms. [ 1 ] [ 2 ] [ 3 ] While the term "lacertine" itself means "lizard-like," [ 4 ] its use to describe interlace is a 19th-century neologism and not limited to interlace of reptilian forms.
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These designs found their way into early Christian manuscripts and artwork with the addition of depictions from life, such as animals, plants and even humans. In the beginning, the patterns were intricate interwoven cords, called plaits , which can also be found in other areas of Europe , such as Italy , in the 6th century.
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Aidan Meehan is an Irish artist and author of 18 books on Celtic art and design. [1] [2] including the eight-volume Celtic Design series and Celtic Alphabets, Celtic Borders, The Book of Kells Painting Book, The Lindisfarne Painting Book and Celtic Knots, all published by Thames & Hudson
Continental Celts were the Celtic peoples that inhabited mainland Europe.In the 3rd and 2nd centuries BC, Celts inhabited a large part of mainland Western Europe and large parts of Western Southern Europe (Iberian Peninsula), southern Central Europe and some regions of the Balkans and Anatolia.
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