Sporting subjects, such as are mentioned by Conyers, are plentifully represented in our museums. In Fairholt’s sketch-book I find a drawing of a pot found in Cateaton Street (Fig. 137). There is also a sketch of a fragment of a similar urn found at Chesterford (Fig. 138). Compare the sculpture, Fig. 62. The piece engraved in Wright’s book as an example of a British hunting dog was also from a sketch by Fairholt of a London fragment. He also drew a piece found in Bishopsgate Street, which shows the heads of four horses, one over the other. This is explained by a complete pot at the British Museum, from Colchester, which has reliefs of racing chariots as mentioned before (p. 51). On another Colchester vase are Gladiators with their names scratched above. The eagle (Fig. 139) is from a fragment at Silchester. [Illustration: FIG. 139. ] [Illustration: FIG. 140. ] After having identified the pottery actually made in London, and the other native sources from which other wares were brought, we might go on to determine how far this native pottery is Celtic and how far Roman. Fig. 140, restored from a large fragment of very coarse make in the London Museum, and said to have been found at Mortlake, must have been made long before the Roman invasion. Figs. 135 and 136 are urns of Upchurch ware, carefully made and of lustrous black surface. The forms of these are not Roman. The “spirit” of all is of Bronze Age and Mycenæan character. The black pottery with “carinated” profiles found in London, and now in our museums, may be Upchurch ware, but from Conyers’ account and sketches it seems probable that black and grey pottery was made locally. In the museums, there are a few examples which seem to be clearly Celtic, as, for example, a large fragment at the British Museum with white stripes over a grey fabric. There seems, however, to have been a curious disinclination to recognise Celtic art, and a desire to call all Roman.