THE ARCHAEOLOGY OF CELTIC ART Tempering the much adopted art-historical approach, Harding argues for a broader definition of Celtic art. Contrary to recent attempts to deconstruct the Celts as an ethnic entity altogether, he argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art. Though the La Tène styles represent the summation of achievement of Celtic art, the origin and geographical distribution of Celtic art extend well beyond the La Tène culture zone. Though art-historical considerations remain essential, Harding shows that Celtic art should also be viewed within its broader archaeological context. From Central Europe to the Atlantic west, Celtic art was essentially a social and political art, as well as a religious art, and a medium through which identity could be asserted. It was funda- mentally embedded in Celtic society, custom and belief. This new study will be indispensable for anyone wanting to take a fresh and innovative perspective on Celtic art. Dennis W. Harding is Abercromby Professor of Archaeology at the University of Edinburgh. His most recent book The Iron Age in Northern Britain was published in 2004. THE ARCHAEOLOGY OF CELTIC ART D. W. Harding First published 2007 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Avenue, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library,2007. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 2007 D. W. Harding All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book has been requested ISBN 0-203-69853-3 Mastere-bookISBN ISBN10: 0–415–35177–4 (hbk) ISBN10: 0–415–42866–1 (pbk) ISBN13: 978–0–415–35177–5 (hbk) ISBN13: 978–0–415–42866–8 (pbk) ISBN13: 978–0–203–69853–2 (ebk) CONTENTS List of colour plates vii List of figures ix Preface xiii 1 Definitions, material and context 1 2 ‘An art with no genesis’: later Bronze Age and Hallstatt origins 17 3 The La Tène Early Styles: origins and influences 38 4 The La Tène developed styles 65 5 The art of the swordsmith 93 6 The La Tène later relief styles 118 7 Insular British art to the Roman Conquest 140 8 La Tène and non-La Tène in Ireland 164 9 South-West Europe and the Celtiberians 189 10 Later styles and Romanizing influences 211 11 Later insular art in Britain and Ireland 238 12 Conclusions: archaeology and Celtic art 262 Bibliography 275 Index 291 v LIST OF COLOUR PLATES (The colour plates are located between pages 144 and 145) 1 Later Bronze Age ceremonial ‘hats’ 2a The Dresden–Dobritz hoard 2b Open-work gold of Schwarzenbach bowl 3 The Klein Aspergle grave-group 4a The Glauberg gold torc 4b The Glauberg flagon: detail of lid 5a The Rodenbach arm-ring 5b The Waldalgesheim torc and arm-rings 6a The Erstfeld torcs and arm-rings 6b The Erstfeld torc: detail 7a The Amfreville helmet 7b The Agris helmet 8a The Broighter torc 8b The Aurillac arm-ring 9 The Battersea shield 10a The electrum torc from Snettisham Hoard E 10b Snettisham Hoard L in situ 11 The Book of Durrow, f. 3 v 12 The Book of Durrow, f. 192 v 13 The Book of Kells, f. 7 v 14 The Book of Kells, f. 291 v 15a The Hunterston brooch: front view 15b The ‘Tara’ brooch: back view 16a The Ardagh chalice: detail 16b The Monymusk reliquary vii LIST OF FIGURES 2.1 Late Bronze Age vessels with bird and sun-disc ornament 21 2.2 Late Bronze Age cult vehicles 22 2.3 Strettweg, Austria, cult vehicle 24 2.4 Hallstatt period animal imagery in bronze and pottery 25 2.5 The Urnfield warrior with equipment 28 2.6 A: late Bronze Age cuirass from Marmesses 31 B: Class B Atlantic cauldron from Shipton-on-Cherwell, Oxfordshire 31 2.7 Images from decorated pottery from Sopron district, Hungary 35 3.1 Details from the Klein Aspergle grave-group 39 3.2 Italic imports north of the Alps A: Distribution of beaked flagons 41 B: Distribution of cordoned buckets 41 3.3 Palmette and lotus in early La Tène art 43 3.4 Engraved ornament on the Reinheim and Waldalgesheim flagons 46 3.5 The Somme-Bionne, Marne, open-work disc 50 3.6 Dürrnberg bei Hallein, Grave 44/2: principal grave-goods A: weaponry 52 B: drinking vessels and related items 53 3.7 Face masks in early La Tène art 55 3.8 Sculpture in early La Tène art 56 3.9 Exotic influences in late Hallstatt grave-goods 59 3.10 Belt attachments from north and south of the Alps 60 3.11 The Glauberg bronze torc 64 4.1 Transition towards the Developed La Tène Styles 66 4.2 Phalerae with open-work borders from St Jean-sur-Tourbe 67 4.3 Open-work mount from La Bouvandeau 68 4.4 Engraved decoration of the Besançon bronze flagon 69 4.5 Developed Style in the Champagne 71 4.6 Ornament from Waldalgesheim, Mainz-Bingen, grave-group 73 4.7 Torcs and arm-ring from the Marne region 78 4.8 La Tène decorated pottery from Champagne 80 4.9 Münsingen, Berne A: cemetery plan 82 B: some characteristic brooch types 83 4.10 Scabbards with ‘Vegetal Style’ ornament 85 ix