more independent as the central authority of the empire weakened, the line of development continued until the chaotic late 9th century(Car 1html).
             The characteristics of the Celts construction methods they used are interesting for the light they shed on the means they had at disposal and how they explointed such means. Before they came in contact with roman technology, they, like the ancient Greeks, did not have mortar. Their principal materials were unworked stone and fine hardwood. Little by little, potter's clay, glass, bronze, enamel, amber and coral came to be used, and gold and silver were not lacking. Little is known about their painting and textiles, nor of their work in wicker, straw or leather. They are kown to have engraved iron, a practice that was widespread throughout central Europe, nad they also developed an abstract and miniature form of sculpture(The page43.htm).
             The next millenium was experienced under roman domintation and gradually the representation of the human form was added to the Celtic motifs. Thus a style developed that may be called Celto-Roman. These portraits allow one the first oppurtunity to learn about subjectst that became widespread in a Graeco-Roman religious world, replete with Celtic borrowings. Bianchi Bandinelli has shown how the Celts, whose taste for the flowing form is in keeping with their use of the compass for describing curves, little by little came to use lines and shapes that were sometimes curving, sometimes almost transformed into a geometric style for all their designs, especially the simplist and most lively ones. Subjects given attributes were broken down, abstract elements combined, allusions made by transformation, different subjects-human, animal, vegetable or abstract-turned upside down and backwards, thus it is possible to detect the Celts' consistent and special talent for transforming in!
             to origional creations the numerous and varied motifs of classical an...