Handles of swords and daggers. Chapes of sword and dagger-sheaths. Bridle-bits. Harness-mountings and rings. Chariot fittings. Collars and armlets. Handles of tankards and mirrors. Spoon-like objects of unknown use. Wrought-bronze was used for— Sword and dagger-sheaths. Shields and helmets. Mountings of wooden buckets and tankards. Caldrons and buckets. Circular discs of unknown use. The ornamental features of the objects of cast bronze were produced chiefly during the process of moulding, although the surface was in many cases further beautified afterwards by chasing, engraving, and enamelling. [Illustration: Late-Celtic Bronze Mirror from Trelan Bahow, Cornwall Now in the British Museum] Objects of wrought-bronze were usually decorated by means of repoussé work, _i.e._ designs in relief hammered up from the back. Occasionally enamel was added (as, for example, on the shield from the Thames, now in the British Museum), in the form of small plaques fixed on with rivets. In place of the more or less crude corrugations and rows of raised pellets of the Bronze Age we get the most marvellous curved surfaces and conchoids, executed with an unerring eye and a skill which it would be difficult to surpass. The repoussé work of the Late-Celtic period is seen in its greatest perfection on the circular discs of unknown use[265] in the Museum of the Royal Irish Academy in Dublin, and the British Museum. Both cast and wrought objects of bronze were decorated with patterns composed of finely engraved lines shaded in places with a peculiar kind of cross-hatching or with dots. The mirror-backs,[266] the sword-sheaths,[267] and the harness-rings[268] afford good examples of this class of work. [265] See p. 121. [266] See list on p. 115. [267] See list on p. 91; especially the one from Lisnacroghera. [268] See list on p. 94; especially those from Polden Hill, Somerset. [Illustration: Upper part of Bronze Sword-sheath from Hunsbury Now in the Northampton Museum] Brazing and soldering appear to have been unknown to the metalworkers of the Late-Celtic period, as they pieced their metalwork together by means of rivets. The practice of riveting was learnt from the artificers who constructed the caldrons of the late Bronze Age already referred to, and they, no doubt, in their turn, acquired their knowledge from a foreign source. The bronze helmet from the Thames at Waterloo Bridge, now in the British Museum, illustrates the riveting of the Late-Celtic period at its best. The rivets generally have pointed conical heads, producing a good decorative effect. The way in which the different pieces of metal are held together is often ingeniously disguised by making the rivet-heads form part of the ornament, or by concealing the head behind a circular disc of enamel.