CULTURE AND SKILLS OF ANCIENT BRITONS
From “The Drama of the Lost Disciples”
Strange as it may seem, it was the enemies of ancient Britain who  wrote  at length  with  candour the  most faithful description of the early Britons, showing that they possessed an ad-mirable culture, a patriarchal re-ligion, and an epochal history that extended far beyond that of Rome. Modern writers also confirm their testimony.
E.O. Gordon, in Prehistoric London, states that the city of London (Llandn) was founded two hundred and seventy years before Rome, in 1020 B.C.
The famed  British archaeologist, Sir Flinders Petrie, discovered, at Old Gaza  gold  ornaments and enamelware of Celtic origin, dated  1500 B.C., and  in reverse found Egyptian beads at Stonehenge.
The art of enameling is early identified with Britain as is the production of tin. ‘The ancient  Briton was  the inventor of enameling. He was so perfect in this craft that relics reposing in the British Museum, and the Glastonbury Museum,  such as the famous Glastonbury bowl (over two thousand  years old), and the beautiful Desborough mirror are as perfect as the day they were made. They are magnificent examples of “La Tene” art as the Celtic design is named, their geometric beauty and  excellence being  beyond  the ability of modern craftsmen to duplicate.
In Early Britain, by Jacquetta Hawkes, … we read: “These Yorkshire Celts, beyond all other groups seem to have been responsible ‘for establishing  the tradition of La Tene art’. . .. Nearly all the finest pieces are luxuries reflecting the taste of warriors who enjoyed  ‘personal magnificence and  the trapping out of their wives and horses. Brooches to fasten the Celtic cloak, bracelets, necklaces, pins, hand mirrors, harness fittings; bits and horse armour,  helmets,  sword  scabbards and shields were among the chief vehicles of La Tene art. They show on the one  hand strong  plastic modeling,  and  on the other decorative design incised, in low relief, or picked out in colored  enamel. Both plastically and  in flat the Celtic work shows an extraordinary assurance, often a kind of wild delicacy, far surpassing its Greek prototypes. In these the finest artists achieved  a marvelous control of balanced symmetry  in the design and equally in its related spaces.”
S.E. Winbold,  in Britain  B.C., writes:  “The Celtic curvilinear art, circa 300 B.C. and of which the famous Glastonbury bowl is a good example, reached its zenith development in Britain.”
Roman testimony states that captive Britons taught the Romans the craft of enameling.
Herodotus, father of profane history circa 450 B.C., wrote of’ the British Isles and its people, under the name of Cassiterides,  remarking  on their talent in the metal industry. Julius Caesar, following his campaign in Britain, 55 B.C., wrote with admiration of culture, their sterling character,  ingenuity in commerce and craftsmanship.
Courtesy of BIWF
Copyright 1966 by Covenant Publishing Company  Ltd.,  121 Low Ether1ey, Bishop Auckland,  Co Durham,  DL14  OHA
