Ornaments.
Of our Late Celtic ornaments many are undatable; and while the torques and richly decorated collars which are familiar to all antiquarians are common in early Gaulish graves, those of this country which are most characteristic of Late Celtic art appear to belong to the Roman period:[999] but bronze bracelets set with paste were worn even in Yorkshire; and a penannular bracelet with small tooth-like projections, which closely resembles far earlier specimens from Hallstatt, belongs to the same district.[1000] Of less costly trinkets lathe-turned bangles of Kimmeridge shale,[1001] glass armlets,[1002] and glass beads[1003] can hardly perhaps be classified as works of art; but it is noteworthy that the beads, yellow, green, and blue, with their zigzag patterns and wavy white lines, which have been found at Glastonbury and in Yorkshire barrows, are utterly different from those of the Bronze Age, and belong mainly to a late period of the La Tène culture, though some had analogues in the cemetery of Hallstatt. As Glastonbury has also yielded pieces of glass slag and of crucibles, the beads were probably manufactured on the spot.[1004] For some reason which has not been explained gold ornaments were apparently far rarer both in this country and in Gaul than in the preceding period.[1005]
Woodwork.
Among the finest examples of woodwork are bronze-mounted tankards which have been found in Suffolk[1006] and Merionethshire,[1007] the former being ornamented with circles enclosed between bronze bands, and each containing the mystic three-limbed figure, called the triskele, which seems to have been akin to the swastika; while the handle of the latter is notable for its flamboyant tracery. Specimens of a different kind include a beautiful bowl from Glastonbury, the sweeping curves incised on its surface expanding into circles and trumpet-like projections which enclose diagonal cross-hatching, and a rectangular object from the same site, which has no curves but is engraved with a step-like pattern shaded with cross-hatching of double diagonals.[1008]
Fig. 39. ⅓
Pottery.
Fig. 40. ⅛
Not less interesting is the Late Celtic pottery, which is generally very different from that of the Bronze Age, and the distinctive forms of which were first classified a few years ago by the explorer of the cemetery at Aylesford. Since then numerous examples of the same types have been found in other parts of Kent and in Essex; but the influence was felt as far north as Northamptonshire, and as far west as Dorsetshire. These vessels were turned upon the wheel and were much finer in quality than those of the Bronze Age. The most characteristic of the cinerary urns, which in outline may be likened to a truncated pear, stand upon narrow pedestals and are generally divided into zones by ridges and corresponding grooves; while a few are incised on the bottom with concentric circles. They closely resemble urns found in Belgic cemeteries near St. Valéry-sur-Somme and in the lower valley of the Seine, which are nearly contemporary with them, belonging to the latest period of Gallic independence; but vases of the same form had been deposited three centuries earlier in the cemetery of Somme-Bionne, where the bodies had all been simply interred, whereas the urns of Aylesford were filled with cremated bones. The type, however, was not indigenous in Gaul. Its descent has been traced to vessels of earthenware found in North Italian graves of the fifth and fourth centuries before Christ, which were in their turn derived from bronze vases common on both shores of the Northern Adriatic. The cordons on the bronze vessels were simply survivals of wooden rings that compacted a frame of staves to which metal plates had been riveted.[1009]