Iron Age Western Europe from c. 800 B.C.
La Tène
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1. Limestone head from Msecke Zebrovice, Bohemia (Prague: National Museum).
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2. Turoe stone, carved in La Tene style, from Galway, Eire. The style derives from Halstatt, with
Scythian and Mediterranean influences.
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3. Silver Gunderstrup Cauldron (Copenhagen: National Museum). Decorated with Celtic divinities.
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4. Silver coin with stylized head on recto, and on the verso a horse and rider. From Romania.
Second century B.C.
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5. Bronze helmet from the chariot burial at La Gorge Meillet (St-Germain-en-Laye: Musé
des Antiquités Nationales). 37 cm. tall.
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6. Bronze helmet in Waldalgesheim style of 4th century, with gold and iron mountings from Amfreville,
Eure, France (Paris: Louvre). 17.5 cm. high. Knobbed finial and cheekguards are missing.
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7. Arm rings and a torc from the chariot grave at Waldalgesheim, Keuznach, Germany (Bonn:
Rheinisches Landesmuseum). This late 4th c. B.C. torc is a type piece for Early La Tene art.
18 cm. dia.
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8. Gold torcs from a hoard at Erstfeld, north of the St. Gotthard Pass, Switzerland (Zurich: Schweizerisches Landesmueum). Ca. 400 B.C. 14.5 cm dia. The imaginative design hides the gap in the torc.
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9. Gold torc (neck bracelet), bracelets, and rings from a woman't grave at Reinheim, Germany
(Saarbrücken: Saarland Museum). Early 4th c. B.C. Torc dia. 17 cm. Such prestige goods suggest
that elite females enjoyed high status in Early La Tene society (mid 5th-4th c. B.C.), perhaps due to
steppe influence, but in time their position declined.
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10. Silver torc from Trichtingen, South Germany (Stuttgart: Würtembergisches Landesmuseum).
25 c. dia. Torcs were gold or bronze (rarely silver) neck bracelets that literally were twisted rods
or tubes, but usually were not. It seems to have been adopted by the Celts from Persian models by
the fifth century B.C. It is possible the torc signified its wearer's religious leadership responsibilities.
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11. Bronze fibula in the form of a man from Manetin Hradek, Bohemia (Pilsen: Zapadoceske
Museum). 9 cm. long. Probably originally inlaid with coral, although in time coral was replaced
by enamel inlays. Southern influences may also be seen in Etruscan style dress. Fibula are large
decorative safety pins to hold a cloak, and go back in Europe to Urnfeld times. They tend to be
stylistically expressive and can be important prestige grave goods.
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12. Early Celtic bronze flagon with human masks and animal figures (Salzburg: Museum Carolini
Augusteum). Late 5th-early 4th c. B.C. grave good from Grave XVI of the Duürnberg cemetery,
Salzburg. 46.5 cm. tall.
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13. Painted pottery recalling the Waldalgesheim style, late 4th or early 3rd c. B.C., from a grave at
Prunay, Cher, France (London: British Museum). 31 cm. tall.
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Romano-Celtic
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1. Bronze mirror back from Desborough, Northants (London: British Museum). In the Early
Celtic art of Britain toward the end of the first millenium there is a development of the
spiral and trumpet decorative theme. 36 cm dia.
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2. Romano-Celtic chalk-cut figure of a club-bearing giant, from Cerne, Abbas, Dorset.. 55 m. tall.
Probably the god Dagda, who was a grotesque giant of immense strength and appetites, who bears
a hugh club and represents rejuvenation, inexhaustibility, and inspiration.
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3. Gallo-roman bronze bust, from Finthen, near Mainz (Mainz: Mittelrheinisches Landesmuseum).
31 cm. high. Celtic women were noteworthy for their height and their bravery.
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4. Gallo-Roman stone figure from Euffigneix, Haute Marne, France (St-Germain-en-Laye: Musée des
Antiquités Nationales). First century B.C. 26 cm. tall. Design anticipates later Irish manuscript
illumination.
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5. Romano-Celtic champlevé cups. The technology of enameling is Roman. In the West, the
enamel is placed on the surface of the bronze, and hence the term "champlevé."
The cup is from from second half of the 2nd century, and the two-piece vase is from the 3rd century.
4.75" tall (New York, Metropolitan Museum)
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