Celtic Mirrors: Birdlip Grave Group

1st century BC — mid 1st century AD

Discovered in 1879, found in Female burial, Birdlip Gloucestershire.

“Buried with a group of iron-age treasures around AD 50 along with the owner. In 1879 workmen discovered three skeletons in a quarry between Crickley and Birdlip overlooking the Vale of Gloucester. With the bones were some amazing Iron Age artifacts. The most important object is a handheld mirror of bronze.” 

“The Birdlip mirror design on the back of the bronze mirror is etched in to the metal. The pattern is composed of interlocking triskeles which end in groups of two or three flourishes. The handle of the mirror consists of a series of interlocking loops, the final loop, encloses another smaller circle of metal. Red enamel dots can be found on this circle, as well as on the top of the handle, where the handle meets the body of the mirror. This area could be defined as a pelta, or a small mushroom shape, similar in form to the Egyptian lotus bud.”

The front of this was originally highly polished for reflections, but the rear is decorated with flowing patterns worked into the metal. It is one of the finest items of Celtic art to survive in Britain and perhaps the finest example housed outside a national museum. The smaller items are also remarkable. There are fine bronze bowls and bracelets. The stylised face of a bird or animal can be seen in a silver gilt brooch and a bronze knife handle is shaped as the head of a bull or ox. There is also a bead necklace of amber and an exotic stone possible collected from as far away as China.

Celtic Mirrors

Desborough Mirror 

One of the most beautiful items of Celtic treasure are mirrors. These were owned by well-off ladies and were made of bronze. One side was polished brightly for the lady to see herself. The back and handle were usually decorated, with engraved lines and shapes.

Often spaces between lines were filled with 'hatching' - little marks cut into the bronze, to make an area 'darker', so the overall pattern stands out better. It is these decorations that make many Celtic mirrors great works of art.

The Celts are oft portrayed as barbarians only interested in drinking and fighting. This mirror alludes to another facet of Celtic culture: fashion and grooming. This artifact has an intricate swirling design that may have been mapped out with a compass, which is typical of La Tene art. There are several faces hidden in the design that had not been discovered until a while after its initial excavation and examination.

The level of detail certainly indicates the prestige of the owner and also sheds some light on Celtic culture. Roman historians would have us believe that the Celts were an uncultured people, however this artifact proves they also would appear to have an interest in personal hygiene and appearance. Dating to 100 BC, the mirror accentuates the social standing of women in Celtic Society, indicating that they may have had a similar role to that of Anglo Saxon women holding authority over men in certain social situations.

The Great Chesterford Mirror


The Great Chesterford Mirror, though only twenty three and one half centimeters, displays a magnificent design.  This Celtic bronze mirror, much like the Old Warden Mirror from Bedfordshire, contains a design based on three-sided voids, rather than lobe patterns.  Six matted shapes are located around the perimeter of the mirror.  These shapes appear in different form, yet all are connected by the interwoven basket-hatching.

The artist who created this mirror included a Celtic trademark found in many other mirrors, metamorphosis.  First, one bird-like image and one human image appear in the design.  When holding the mirror in hand, a human face emerges near the top of the mirror.  Two closed roundels form the eyes, while the nose is formed by a three-sided void.  After hanging the mirror from the wall, the bird-like image pops out causing the human face to disappear.  Again, a closed roundel forms the eye, while the nose is created with an elongated three-sided void.

Another Celtic trademark included in this design is tripilism.  As mentioned earlier, three-sided voids dominate the mirror back.  Two tiny triskeles are present, one located to the far left of the design and the other located to the far right of the mirror.  These triskeles consist of three appendages.  Four rosettes are present, three of these rosettes have closed roundels while one rosette is open.  Tripilism is also seen in the mirror handle.  Three circle-in-circle figures attach the handle to the mirror.

Nothing about his design is symmetrical, thus making it extremely unique.  At first glance, many other Celtic Mirrors appear symmetrical, however, upon closer examination, the viewer notices slight asymmetry.  The design on the Great Chesterford Mirror does not at all appear to have symmetry.  The mirror handle, on the other hand, does have symmetry; much like handles on Celtic Mirrors.

The Great Chesterford mirror
Essex, England
1st century BCE
British Museum, London

A Celtic solid gold bracelet, Iron Age, circa 1000 B.C. Just sold in London.

LONDON.- An exquisite solid gold bracelet made over 3000 years ago at the dawn of the European Iron Age was among the highlights of the Antiquities sale on Thursday 2 May, at Christie’s South Kensington.

 

The heavy gold bracelet ... features superb works of art that embrace the cultures of Egypt, Greece, Rome and the Near East.

The design of the bracelet, made with over half a kilo of high-purity gold, clearly demonstrates the technological advancements of the Iron Age. The new use of iron around 1000 B.C. brought two huge benefits to the goldsmith. Furnaces capable of achieving the high temperatures necessary for iron production provided craftsmen with the technology to melt larger masses of gold than before, while tools made out of the iron itself allowed craftsmen to become increasingly bold and ambitious with their designs.

The stunning piece of jewellery, featuring an intricate geometric pattern, was originally discovered in Portugal, part of the Iberian Peninsula where other museum-quality pieces were also uncovered during the mid-20th Century.

The Glauberg Gold Torc

On the Glauberg torc no less than ten human face-masks dominate the ring itself, while two grotesque figures with enlarged heads flank the pendant composition. 

The meaning of these faces is not easy to read, though in some instances they could have served as apotropaic symbols.



source: THE ARCHAEOLOGY OF CELTIC ART - D.W. Harding

The Dresden-Dobritz Hoard

The earliest beaten bronze vessels associated with ceremonial and perhaps ritual feasting
and drinking occur in the Bronze D phase of the thirteenth century BC in Central
Europe.

Beaten bronze cups in a succession of variant forms are characteristic of the Urnfield late Bronze Age ... Friedrichsruhe and Fuchsstadt cups, with decorated variants such as those from the Dresden-Dobritz hoard date from the end of Bronze D through Hallstatt A1 and A2




source:THE ARCHAEOLOGY OF CELTIC ART - D.W. Harding
photo: Landesmuseum fur Vorge-schichte, Dresden, copyright Landesmt fur Archaologie Sachsen 

Later Bronze Age Ceremonial Hats

source:THE ARCHAEOLOGY OF CELTIC ART - D.W. Harding
Photo: Peter Haag-Kirchner

Celts - Ornamental Gold Mounts

Schwarzenbach Germany.
About 420 BC

The openwork design shows characteristic early Celtic ornaments. The prototypes were palmettes and lotus-flower popular in Mediterranean antiquity. Original motifs were divided into individual leaves and the rearranged. The reason for displaying the ornaments on a bowl is still unknown, probably served as a drinking horn mounts.