found it contained burnt bones. Its wooden body, like that of Aylesford, was surrounded by three zones of bronze on which were represented, in repoussé, weird human heads, and fantastic horses like those on the famous sword-sheath from La Tène.
This fanciful style of art was rather Gaulish than British, and may be paralleled with the Gundestrup silver bowl discovered, in 1891, in a peat-bog in Jutland, Denmark—the most magnificent work of Celtic art hitherto found in Europe. The plates of which this very remarkable sacrificial bowl had been constructed represented divinities, processions of warriors and oriental designs—elephants, griffins, ram-headed serpent, a man astride a dolphin—together with the symbol of the boar, the triquetra, torques, crested helmets and oblong shields, forming an unmistakable assemblage of the most characteristic elements of Celtic art.
An important find of Late Celtic antiquities in connection with cremated interments was also made at Welwyn, Herts, which, according to Sir Arthur Evans, is a, complete parallel to those of Aylesford, both as to date (50 b.c.) and character of the relics. These antiquities are now in the British Museum (Proc. Soc. Ant. London, 1912, p. 5).
Chief among inhabited sites of the preRoman period which have yielded Late Celtic remains are Hunsbury Camp, near Northampton; an earthen entrenchment at Stanwick (Yorkshire); and Mount Caburn, near Lewes.
