its sporadic survival. Such are the brooches with
Celtic affinities made (as it seems) near Brough (Verterae) in
Westmorland, and the New Forest urns with their curious leaf ornament
(Fig. 14),[1] and above all the Castor ware from the banks of the Nen,
five miles west of Peterborough. We may briefly examine this last
instance.[2] At Castor and Chesterton, on the north and south sides of
the river, were two Romano-British settlements of comfortable houses,
furnished in genuine Roman style. Round them were extensive pottery
works. The ware, or at least the most characteristic of the wares, made
in these works is generally known as Castor or Durobrivian ware. Castor
was not, indeed, its only place of manufacture. It was produced freely
in northern Gaul, and possibly elsewhere in Britain.[3] But Castor is
the best known and best attested manufacturing centre, and the easiest
for us to examine. The ware directly embodies the Celtic tradition.
It is based, indeed, on classical elements, foliated scrolls,
hunting scenes, and occasionally mythological representations (Figs. 15,
16). But it recasts these elements with the vigour of a true art and in
accordance with its special tendencies. Those fantastic animals with
strange out-stretched legs and backturned heads and eager eyes; those
tiny scrolls scattered by way of decoration above or below them; the
rude beading which serves, not ineffectively, for ornament or for
dividing line; the suggestion of returning spirals; the evident delight
of the artist in plant and animal forms and his neglect of the human
figure--all these are Celtic. When we turn to the rarer scenes in which
man is specially prominent--a hunt, or a gladiatorial show, or Hesione
fettered naked to a rock and Hercules saving her from the
monster[4]--the vigour fails (Fig. 17). The artist could not or would
not cope with the human form. His nude figures, Hesione and Hercules,
and his clothed gladiators are not fantastic but grotesque. They retain
traces of Celtic treatment, as in Hesione's hair. But the general
treatment is Roman. The Late Celtic art is here sinking into the general
conventionalism of the Roman provinces.

[Footnote 1: For the New Forest ware see the _Victoria Hist. of
Hampshire_, i. 326, and _Archaeol. Journal_, xxx. 319. The Brough
brooches have been pointed out by Sir A.J. Evans, whose work on Late
Celtic Art is the foundation of all that has since been written on it,
but have not been discus