[308] Dr. J. Anderson’s _Scotland in Pagan Times: Iron Age_, p. 113. [309] _Ibid._, p. 117. [310] _Proc. Somersetsh. Archæol. Soc._, ser. 3, vol. viii., p. 33. [Illustration: Engraved Ornament on Late-Celtic Wooden Tub found at the Glastonbury Lake Village] [Illustration: Ornament on backs of handles of pair of Late-Celtic Spoons from Weston, near Bath Scale 1/1 linear] The heads of the bull on the knife-handle from Birdlip, and the beasts on the fire-dogs from Hay Hill and Shefford, have horns with round knobs on the end of each. Beasts with knobbed horns of this kind are represented on the Scandinavian gold bracteates[311] of the Early Iron Age, generally associated with the swastika symbol. Similar horns are to be seen on the helmet of a small bronze figure found in Denmark;[312] on a figure depicted on the silver bowl from Gundestrup,[313] Jutland; and on the handles of gold vessels from Rönninge,[314] Boeslund,[315] and Fyen,[316] Denmark. The horns probably have some religious significance. [311] Prof. G. Stevens’ _Old Northern Runic Monuments_. [312] J. J. A. Worsaae’s _Industrial Arts of Denmark_, p. 109. [313] Sophus Müller in _Nordiske Fortidsminder_, pt. 2, pl. 10. [314] A. P. Madsen’s _Bronze Age_, ii., pl. 25. [315] _Industrial Arts of Denmark_, p. 105. [316] P. B. Du Chaillu’s _Viking Age_, vol. i., p. 97. Foliage so slightly conventionalised as to be easily recognised as such cannot be said to exist in Late-Celtic art, yet the foliageous origin of many of the designs at once betrays itself in the undulating curves with scrolls repeated at regular intervals on each side of what may be called the stem-line. We cannot select any better examples as illustrating this than the two beautiful bronze sword-sheaths from the crannog at Lisnacroghera,[317] Co. Antrim. Here the portions of the designs which represent the principal stem consist of two lines running close together parallel to each other until they reach the point where a smaller stem branches off, when they diverge. The smaller stems, like the principal stem, consist of parallel lines running close together, and these, again, diverge to form what represents the leaf. The ends of the leaves terminate in small spirals and their general shape resembles that of what are known as arabesques. We thus get the long sweeping =S=-shaped curves and the alternate contractions and expansions of the space between the two boundary lines which are common to nearly all Late-Celtic ornament. Now, for some inscrutable reason, the natural forms of plant life never seem to have appealed to the Celtic mind in the way they did, for instance, to the ecclesiastical sculptors of the twelfth and thirteenth centuries. Consequently the designs which were in the first instance copied from foliage soon became transformed into a succession of beautiful flamboyant curves, pleasing to the eye unquestionably, but suggesting but little to the mind as to their meaning. In reference to this, Dr.