Many of the curvilinear Late-Celtic patterns which are used to fill a circular space are based upon the triskele and the swastika. A good example of a curved swastika pattern occurs on each of the three enamelled handles of a bronze bowl found at Barlaston,[324] Staffordshire. Triskele designs are much more common, especially on the round disc fibulæ, specimens of which have been found at Silchester,[325] Hampshire; Brough,[326] Westmoreland; and in the Victoria Cave,[327] near Settle, Yorkshire. There are other instances on the bronze tankards from Elveden,[328] Essex, and Trawsfynydd,[329] Merionethshire; on the bronze shield from the Thames,[330] now in the British Museum; on a bronze disc-and-hook ornament in the Dublin Museum;[331] on a bronze plate in the Welshpool Museum;[332] on some bronze harness-mountings (?)8 from South Shields;[333] on bronze wheel-shaped pendants from Seamill Fort,[334] Ayrshire, from Berkshire, now in the British Museum, from Kingsholm,[335] near Gloucester, and from Treceiri, Carnarvonshire. These designs may have had a symbolical origin, as the triskele was a well-known sun symbol in the Bronze Age. The triskele arrangement of three spirals round a central spiral survived in the decoration of the illuminated MSS. of the Christian period. [324] _Archæologia_, vol. lvi., p. 44. [325] Now at Strathfieldsaye House. [326] _Proc. Soc. Ant. Lond._, ser. I, vol. iv., p. 129. [327] _Historic Soc. of Lanc. and Cheshire, Trans._ for 1866, p. 199. [328] _Archæologia_, vol. lii., p. 359. [329] _Archæologia Cambrensis_, ser. 5, vol. xiii., p. 212. [330] Kemble’s _Horæ Ferales_, pl. 15. [331] _The Reliquary_ for 1901, p. 56. [332] Unpublished. [333] _Jour. Brit. Archæol. Assoc._, vol. xxxix., p. 90. [334] R. Munro’s _Prehistoric Scotland_, p. 378. [335] Douglas’ _Nenia Britannica_, p. 134. In the repoussé metalwork of the Late-Celtic period certain portions of the design are thrown into relief in order to enable them to be distinguished from the rest which is not in relief. Much the same artistic effect can be obtained when the design is engraved on a flat surface by means of shading, and in the case of enamelled plaques, by employing different colours. In fact, by the use of relief, shading, or colour, the decorative effect of a pattern is doubled, because there are two things for the mind to comprehend, namely, the shape of the pattern itself and the shape of the background. Anyone who endeavours to realise both shapes simultaneously will find it an impossibility. Several different kinds of shading are used in Late-Celtic art, chiefly in ornament engraved on metal, wood, bone, and pottery, as will be seen by the following list:— _List showing different kinds of shading used in Late-Celtic Art, and the objects on which they occur._ (1) Shading of parallel lines. [Illustration] On spoon-like bronze objects from Crosby Ravensworth, Westmoreland, and Ireland.