Imag(in)ing the Celts.

Imag(in)ing the Celts. In the latest of his periodic reviews of Celtic exhibitions in thepages of Antiquity (Megaw 1981; 1992; 1994) Vincent resumes the GrandTour and evaluates a series of such events over the past decade. It is fifteen years since that blockbuster of all Celtic exhibitionblockbusters, I Celti: la prima Europa packed them in to Venice'sPalazzo Grassi Palazzo Grassi (also known as the Palazzo Grassi-Stucky) is an imposing white marble palace on the Grand Canal of Venice. Designed by Giorgio Massari, the building was completed between 1748-1772 for the wealthy Bolognese Grassi family. . While its doorstopper door´stop`pern. 1. same as doorstop.Noun 1. doorstopper - a stop that keeps open doors from movingdoorstop of a catalogue has long since beenout of print, until recently it was still possible to obtain apocket-bursting shrunk version--though without the invaluable catalogueentries of the original (Kruta 1997). In what follows we shall largely restrict ourselves to noting thoseprojects which have involved more than one country. In this context itis Venceslas Kruta, recently retired from the Ecole pratique pra��tique?n.Clearance granted to a ship to proceed into port after compliance with health regulations or quarantine.[French, from Old French practique, from Medieval Latin des HautesEtudes in Paris, who seems to have continued a second career as majorexhibitions co-ordinator, aided by his wife, Luana Kruta Poppi, herselfassociated with a small publishing firm set up with Japanese backing,Kronos B.Y. Editions. Together with other members of what might well betermed 'the early Celtic art Celtic art(kĕl`tĭk, sĕl`–). The earliest clearly Celtic style in art was developed in S Germany and E France by tribal artisans of the mid- to late 5th cent. B.C. mafia', Miklos Szabo in Budapest,Barry Raftery in Dublin and Otto-Herman Frey, formerly of MarburgUniversity and surely the Godfather of early Celtic art studies, Krutadeveloped in 1998 the Japanese connection and was responsible forTreasures of Celtic art, shown at the Tokyo Metropolitan Museum andaccompanied by that rare thing, a catalogue both sumptuous and scholarly(Kruta 1998). However, in the '90s, not everything was flourishing in theworld of representing the Celts. In an extraordinary exhibition--allright, pun intended--of stingy stin��gy?adj. stin��gi��er, stin��gi��est1. Giving or spending reluctantly.2. Scanty or meager: a stingy meal; stingy with details about the past. local government tunnel vision tunnel visionn.Vision in which the visual field is severely constricted.tunnel vision,n a defect in sight in which a great reduction occurs in the peripheral field of vision, as if one is looking through , the Museemunicipal of Epernay, situated amidst some of the richest Champagnehouses of France, was closed to the public and essential repairs to itsfabric postponed indefinitely. Its impressively titled'Conservateur en chef du Patrimoine', Jean-Jacques Charpy, aformer pupil of Kruta's, now finds himself in charge of rows ofempty showcases and one of the most important Iron Age collections inEurope, when not in store, is now perennially on the road; its swan songon home territory was in 1991--certainly a good year for Celticexhibitions (Charpy & Roualet 1991). What is Champagne's losshas been the rest of Europe's gain; thus in 1999 the Museo dellaCeramica in Fiorano Modenese was host to Le arti del fuoco dei Celti(Kruta Poppi 1999) followed by Splendeurs celtes: armes et bijoux bi��joux?n.Plural of bijou. in theMusee du Malgre-Tout at Treignes in Belgium (CEDARC 2001). And there :is one more exhibition where the archaeological riches of Epernay havebeen on view--but we shall leave the best to last. Since I Celti, there have been many other exhibitions investigatingaspects of the European Iron Age. The Italians in fact have something ofa European record for producing megadisplays accompanied by mammothpublications--both usually financially underpinned by an enviable levelof sponsorship. Many volumes have been literally bankrolled (Carratelli1988) and the problem is tracking them down before they go out of print.The Palazzo Grassi--a cultural foundation of the Fiat Group--followedthe Celts by presenting the Etruscans in an exhibition which travelledto Paris and Berlin, once more plugging the European theme (Pallottino1992); next came the Western Greeks (Carratelli 1996). Some otherItalian-originating presentations, dealing with aspects of the Iron Ageof key importance for studying the ethnogenesis Ethnogenesis (From Greek: ethnos(nation)+"genesis(birth), Greek: Εθνογένεσις) is the process by which a group of human beings comes to be understood or to understand themselves as ethnically distinct from the of the region, have alsotravelled north: first Die Picener--ein Volk Europas--there's thatword again--had a dramatic showing in Frankfurt's Schirn Kunsthalle(Schadler 1999). The shadowy Leponti, that Alpine community who appearto hold the key to many aspects of what might be termed proto-Celticculture, have also been well served by exhibitions in Italy, Switzerlandand Germany (de Marinis & Biaggio Simone 2000; SchweizerischesLandesmuseum 2001) as have the Ligurians (de Marinis & Spadea 2004).But the heavyweight title must go to Guerrieri, principi ed eroi, anexhibition mounted in Trento by two of the most energetic archaeologistsin Europe (Marzatico & Gleirscher 2004). Tipping the scales at8kg--beating I Celti by 500g--and with the co-operation of a largenumber of Italian as well as Austrian, German, Slovene and Swissinstitutions, Guerrieri covers the whole of prehistory prehistory,period of human evolution before writing was invented and records kept. The term was coined by Daniel Wilson in 1851. It is followed by protohistory, the period for which we have some records but must still rely largely on archaeological evidence to to the MigrationPeriod but is worth squeezing onto one's shelves just for thesections dealing with the rise of later elites; and, as has become thenorm in Italy, it is beautifully designed and printed. But there is one Iron Age warrior who is better known than anyother--the 'Stone Knight' of the Glauberg (Figure 2). Recentexcavations in the area of the Glauberg in the Wetteraukreis north-eastof Frankfurt have resulted in one of the most important Iron Ageexhibitions of the decade. Culminating in the 1994-6 unearthing of threeearly La Tene La T��ne?adj.Of or relating to a late Iron Age Celtic civilization dating from the fifth to the first century b.c. rich warriors' graves associated with one whole andseveral fragments of life-size warrior-figures, the Glauberg finds havelead to considerable revision of ideas concerning the development of andinteraction between various so-called Furstensitze (Biel & Krausse2005). It is hardly surprising that the legacy of these discoveries hasbeen a tussle between local and wider interests; it has now been decidedthat, with significant Federal support, it is the small town of Glauburg(pop. 3500) rather than the Hessisches Landesmuseum The Hessischen Landesmuseums Darmstadt is an important Museum in Darmstadt, Germany, dating back to 1820. The main building is currently closed until 2011 for building works. It has a wide range of collections, including many important Old Master paintings. at Darmstadt whichis to have a new display permanently to house the Glauberg material.Despite these discoveries forming a central feature of the researchproject 'Fruhe Zentralisierungs- und Urbanisierungsprozesse'funded by the Deutsche Forschungsgemeinschafr let alone that thefinds--in particular 'Glaubi' the stone knight--having hadextensive exposure worldwide, up till now the Glauberg has drawn a blankin the pages of Antiquity. [FIGURE 2 OMITTED] So too has Das Ratsel der Kelten (The riddle of the Celts) mesomewhat cliched cli��ch��dalso cliched ?adj.Having become stale or commonplace through overuse; hackneyed: "In the States, it might seem a little clich��d; in Paris, it seems fresh and original" title of another exhibition at Frankfurt's Schirngallery Taking the Glauberg as the central theme, the object was tounveil at least some of the 'mysteries' of Central and WesternEurope Western EuropeThe countries of western Europe, especially those that are allied with the United States and Canada in the North Atlantic Treaty Organization (established 1949 and usually known as NATO). in the fifth and fourth centuries BC, or early La Tene period.Material was brought together from many other parts of Germany--themajority of the other Fursten- or Furstinnengraber was there togetherwith a selection of finds from sites ranging from Croatia to Belgium.There was ample room to move around the exhibits with only the usualpit-fall for exhibition designers--how to place and particularly how tolight the small-scale pieces which represent most of the artefacts ofthe period. Probably the most arresting feature of the Schirn show wasthe 'sculpture court' comprising not only the statuary stat��u��ar��y?n. pl. stat��u��ar��ies1. Statues considered as a group.2. The art of making statues.3. A sculptor.adj.Of, relating to, or suitable for a statue. fromthe Glauberg but contemporary figures from Italy, the south of France South of Francesouth n the South of France → le Sud de la France, le Midiand the remarkable warrior-figures from Lusitania (northern Portugal).While this last group had had a preview in Italy a few years earlier(Sestieri 2000), the Frankfurt exhibition has as a permanent record avolume which must stand as a model of such things--a series of essays bymost of the usual suspects, almost without exception of lasting valueplus full catalogue entries and a bibliography which lacks only a fewkey English-language references; the whole is well packaged with colourprinting of (mostly) excellent quality (Baitinger & Pinsker 2002). If cult, belief systems, evidence for long-distance trade andsocial stratification Noun 1. social stratification - the condition of being arranged in social strata or classes within a groupstratificationcondition - a mode of being or form of existence of a person or thing; "the human condition" all came together in the fascinating discoveriesof the Glauberg, there have been other shows dealing with aspects ofreligion. Three of the most important have been Kult der Vorzeit in denAlpen (Zemmer-Plank 1997), Die Religion der Kelten (Cain & Rieckoff2002) and, touring from Austria to Germany where it is currently on showat the Keltenmuseum Heuneburg, Donau, Fursten und Druiden(Bayer-Niemeier et al. 2006). Most recently the exhibition mounted atthe Musee Gallo-Romain at Lyon-Fourviere under the title Par Toutatis!La religion des Gaulois was remarkable for its attempts--mostlysuccessful--to draw the visitor through a window into the past and aview which was not just circumscribed by museum cases and sterilelabels. Perhaps Lyon had too much Celtic twilight, not to mention that aprocessional way leading down first to a replica of the Gundestrup, Aarssilver cauldron and then to the central feature--a full-scalereconstruction of the gateway of the Gournay-sur-Aronde sanctuary--waslined with images from Gundestrup. But surely there should by now be ahealth warning prohibiting the use of Gundestrup as an emblem of Celticculture--however defined (on this most disputed of all Iron Age relicssee most recently Nielsen 2005). Although Lyon had no catalogue as suchthere is an associated finely produced volume edited by ChristianGoudineau who is also the author of a splendid polemic, a kind ofSocratic dialogue Socratic dialogue (Greek Σωκρατικός λόγος or Σωκρατικός διάλογος which deconstructs most effectively the concept of along-lasting Gaulish culture (Goudineau 2002; 2006). In July 2006 Christian Goudineau retired from the College de Francecoinciding with celebrations marking the twentieth anniversary of theCentre archeologique europeen at Mont Beuvray (ancient Bibracte, capitalof the Aedui), a project that Goudineau has been associated with sinceits inception. At the conclusion of a whole series of internationalcolloquia col��lo��qui��a?n.A plural of colloquium. five volumes of proceedings have been published offering acomplete overview of Celtic society from its presumed origins to presentday perceptions and misconceptions (Haselgrove 2006; Paunier 2006;Rieckhoff 2006; Szabo 2006; Vitali 2006). At Bibracte itself the Museede la Civilisation celtique, a striking and remarkably airy as well asflexible exhibition space, has been established, tucked into thehill-slope below the oppidum (Romero & Maillier 2006). Apart fromits own evolving display illustrating the pre-Roman and Roman occupationof the site the museum hosts temporary exhibitions, themselvesco-operative affairs, each accompanied by attractive--andsponsored--short guides. In 2006 the theme was Tresors des femmesdisplaying material from not only French but Austrian, Czech, Slovak andSwiss collections, much from the latest and as yet only partiallypublished salvage excavations in advance of the seemingly unstoppableprogress of trunk road and high speed train corridors (ExpositionBibracte 2006). These are virtually re-writing the later prehistory ofWestern and Central Europe. Since the establishment and expansion of the European Union, afeature of many European exhibitions and not just those restricted toarchaeology, is that they have been just that--European. Perhaps it isthat art and archaeology lend themselves to being presented like so manythree-dimensional demonstrations of the EU's motto, In varietateconcordia. One may shift a little uneasily at the subtitle of I Celti,'the first Europeans' but in fact post-World War IIco-operative exhibitions sponsored by the Council of Europe Council of Europe,international organization founded in 1949 to promote greater unity within Europe and to safeguard its political and cultural heritage by promoting human rights and democracy. The council is headquartered in Strasbourg, France. , founded in1948, also looked beyond contemporary political boundaries. How thistrend is evolving is best seen in two recent exhibitions that take us tothe Benelux countries, a geo-political grouping that has itself become ahistorical artefact See artifact. . While no one would think of the Low Countries as the heartland ofancient Celtic society--however defined--there has been considerableinterest in the question of the interrelations of various protohistoricgroups on what might be called the fringe of not so much the Celtic butrather the La Tene culture (for a wide-ranging examination of this topicsee Dobrzanska et al. 2005). Perhaps just because the Low Countries hasalways been on the fringe On The Fringe is a popular Pakistani television show on Indus Music. It is hosted and scripted by the eccentric television host and music critic, Fasi Zaka and directed by Zeeshan Pervez. , debates about later prehistory, identity andethnicity started early here. Kelten in Nederland? was the title of anexhibition held in Amsterdam in 1993 (Jiskoort et al. 1995) when theStichting A.G. van Hamel Ham´elv. t. 1. Same as Hamble. voor Keltische Studies at the University ofUtrecht organised a colloquium col��lo��qui��um?n. pl. col��lo��qui��ums or col��lo��qui��a1. An informal meeting for the exchange of views.2. An academic seminar on a broad field of study, usually led by a different lecturer at each meeting. under the auspices of that grand, perhapstoo grand project, the International Unesco Committee for the Study ofCeltic Cultures (Schmidt 1986). At one corner stands an Iron Age family, at the other a sacred treefrom whose branches hang strips of cloth--shades of the 'clootiewell' in Ian Rankin's The naming of the dead. But this is notthe world of the detective story but rather a glimpse into the LimburgsMuseum in Venlo. Here Wim Huppertz, curator at the Museum and Leo Leo, in astronomyLeo[Lat.,=the lion], northern constellation lying S of Ursa Major and on the ecliptic (apparent path of the sun through the heavens) between Cancer and Virgo; it is one of the constellations of the zodiac. Verhart of the Rijksmuseum voor Oudheden in Leiden were largelyresponsible for Her geheim van de Kelten (The mystery of the Celts) anexhibition centred on evidence for Celts between the Rhine and the NorthSea. Despite its hackneyed title it stands out amongst all others wehave seen in the last 15 years. The display is placed within a strikingnew brick, steel and concrete building designed by the renowned Dutcharchitect, Jeanne Dekkers, which acts as a multi-purpose cultural centrein the middle of town and it comes as no surprise to learn that some 32000 people visited the exhibition during its six months run, from May toNovember 2006. Her geheim van de Kelten offered an innovative andappealing attempt to combine the presentation of a range of artefactsfrom the contiguous regions of the Netherlands The regions of the Netherlands are divided in the North, South, West and East Netherlands. Opposed to common practise in other countries, the Dutch regularly do not define the areas of their country according to position, but on the overall position of the Province, i.e. , Belgium and Germany,with reconstructions--confrontations in many cases--of such stars of theIron Age as the early Hallstatt chieftain of Oss cremated with his swordinlaid in��laid?v.Past tense and past participle of inlay.adj.1. Set into a surface in a decorative pattern: a mahogany dresser with an inlaid teak design.2. with sheet gold. Old familiars (the early La Tene Furstengrab ofEigenbilzen, the Beringen and Niederzer gold hoards and the Nijmegenbronze mirror, this last one of a handful of later British Iron Age In the British Isles, the Iron Age lasted from about the 7th century BC until the Roman conquest and until the 5th century in non-Romanised parts. This period is also called the era of Celtic Britain<ref name=>Celtic Britain (The Iron Age) c. exports to the Continent) were side by side with new finds including anaddition to the very few early La Tene gold torcs of the middleRhineland, found in clearing a building site in Heerlen. The story,which the exhibition retold re��told?v.Past tense and past participle of retell. in sound as well as vision, begins around1000 BC, and continues through the coming of the Romans to the roots ofthe Celtic revival (and of Celtomania). [ILLUSTRATION OMITTED] The Limburgs Museum has a well-deserved reputation for itseducational programme and for attracting a wide cross-section of thelocal community. Its excellent bookshop hosts a range of publicationsassociated with all aspects of Celtic studies. A free if rather basicand unillustrated guide was augmented by a familijmagazin: you start atone end with the question (in Dutch) 'What do you know about theCelts?' and at the other 'Are you a Celt?' Interviewswith a trio of young Goths, a tattooist, a metal detectorist and amuseum curator and short essays on material culture, Celtic linguistics,pop groups and ogham ogham,ogam,or ogum(all: ŏg`əm, ō`əm), ancient Celtic alphabet of one of the Irish runic languages. alphabets, all find a place (Buist et al. n.d.).And for those who wanted a bit more there is now a richly illustratedintroduction to the Celts between the North Sea and the Rhine (Verhart2006). It will be interesting to see how this many-faced picture of theCelts, having travelled in Belgium and Germany, ends up in summer 2007as part of a major exhibition in the Rheinisches Landesmuseum in Bonn,'Kelten--Romer--Germanen', linked to the XIIIth InternationalCongress of Celtic Studies. The last exhibition--or rather two exhibitions--takes us back tothe beginning of this survey; once more a bit of background history isrequired. In 2004 the Civico Museo Archeologico in Varese mounted atwo-part exhibition under the title of Celti dal cuore dell' Europaall'Insubria. Coordinated by Milan Licka, of the Narodni Muzeum inPrague and Vencelas Kruta, and exploiting both the latter's widecircle of Czech contact ands his interest in the Celtic settlement ofItaly, the larger part was devoted to a wide selection of material fromBohemian and Moravian collections (Kruta & Licka 2004). A smallerpart displayed some of the key material from the territory of theInsubres including the principal warrior grave from Sesto Calende (Kruta2004). Both sections were provided with substantial catalogues includingthe fine photography of Dario Bertuzzi who in recent years has enhancedseveral of Kruta's publishing projects. But there is a catch--ithas proved impossible to obtain copies of the catalogues either frombooksellers, the Museum or the publisher who, once more was Kronos; notall is lost however. On the outskirts of the small town of Morlanwelz in the southernBelgian province of Hainaut is the grand park of the former royal palaceof Mariemont. Associated down the centuries with Queen Mary of Hungaryand Louis Quatorze, it owes its present form to a wealthy industrialistand collector, Raoul Warocque (1870-1917). The largely rebuilt chateaubequeathed by Warocque together with his collection and library to theBelgian state was destroyed by a major fire which broke out on ChristmasDay 1960, but miraculously spared the collections themselves. Thepresent-day concrete structure designed by Roger Bastin, architect ofthe Musee d'Art moderne mo��derne?adj.Striving to be modern in appearance or style but lacking taste or refinement; pretentious.[French, modern, from Old French; see modern.]Adj. 1. in Brussels, fits remarkably well into theformal park landscape (Donnay 1995). Warocque was a most eclecticcollector (his collection includes frescos from Pompeii and a fragmentof Beethoven's string quartet op. 135) who also supported localpre- and protohistory pro��to��his��to��ry?n.The study of a culture just before the time of its earliest recorded history.pro and the Museum today devotes a special section to'l'Archeologie du Hainaut'. Responsible for this last is Jacqueline Cession-Louppe and it isshe who, together with Jean-Jacques Charpy and Germaine Leman-Delerivehave revised the Varese exhibition by the addition to the originalselection of Bohemian and Moravian material of some key finds fromBelgium and northern France (Figure 1). Entering the gallery whichhouses the exhibition Celtes, Beiges, Boiens, Remes, Volques we comeface to face with the splendid early third century BC mounts for awooden vessel found in the cemetery of Brno-Malomerice and it is one ofthese that forms the main subject of the publicity material and thecover of the catalogue. There are some ten main sections, commencingwith 'Les "princes" de la Boheme aux VIIIe-VIIe sieclesavant J.-C.' and ending with 'La Champagne et les Remes'.As at Varese, each piece has a serviceable if often over-small linedrawing frequently complemented by more of Bertuzzi's moodphotographs. Swollen to some 400 pages the catalogue--readily availablefrom the Museum (Kruta 2006)--presents a much more balanced and betteredited whole; indeed, to own a copy each of the catalogues for I Celti,Das Ratsel der Kelten and Celtes would go a long way towards having agood grounding in the Iron Age of Europe. [FIGURE 1 OMITTED] But what of the display at Mariemont? Well, the chief quality wasthat the individual pieces were, mostly, well lit, that once more therewas plenty of space to move around and just about sufficient textmaterial to inform the casual visitor who had not yet picked up acatalogue. As in Venlo, the Museum clearly takes its educational roleseriously; a group of well-informed guides seemed to be continuously onthe go as yet another school group appeared. With 30 000 visitors overthe six months it was open (June to December 2006) and 2000 cataloguessold, Celtes attracted numbers very similar to those at Venlo. Yet,divorced of much contextual support, this event, like so many of theother exhibitions noted here, was really one for the specialist, where,as with I Celti, there was a chance to get up close and serious withobjects which one is unlikely ever to see in three dimensions again. ButI wonder how many other visitors were really drawn into the questionsthat all such exhibitions must raise. Specialist though I am supposed tobe, I missed the chance to chat about Celts with Karin, Ingrid andSanne, the three Goths of Venlo. References BAITINGER, H. & B. PINSKER. 2002. Das Ratsel der Kelten vomGlauberg: Glaube--Mythos--Wirklichkeit. Stuttgart: Theiss (exhibitioncatalogue). BAYER-NIEMEIER, E. et al. 2006. Donau, Fursten und Druiden: DieKelten entlang der Donau. Asparn a.d. Zaya: Museum fur Urgeschichte desLandes Niederosterreich (exhibition catalogue). BIEL, J. & F. KRAUSSE (ed.) 2005. Fruhkeltische Furstensitze.Alteste Stadte und Herrschaftszentren nordlich der Alpen?Internationaler Workshop zur keltischen Archaologie inEberdingen-Hochdorf, 12. und 13. September 2003 (ArchaologischeInformationen aus Baden-Wurttemberg 51/Schriften des KeltenmuseumsHochdorf-Enz 6). Esslingen. BUIST, G. et al. n.d. Het geheim van der Kelten. Venlo: LimburgsMuseum (exhibition catalogue). CAIN, H.-U. & S. RIECKHOFF (ed.) 2002. Die Religion der Kelten:fromm--fremd--barbarisch. Mainz: Philipp von Zabern (exhibitioncatalogue). CARRATELLI, G.P. (ed.). 1988. Italia omnium terrarum alumna: Lacivilta dei Veneti, Reti RETI - RTI , Liguri, Celti, Piceni, Umbri, Latini, Campanie Iapigi. Milano: Libri Schweiwiller. --1996. The Western Greeks: Classical civilization in the westernMediterranean. London: Thames & Hudson. CEDARC 2001. Splendeurs celtes: armes et bijoux (Guidesarcheologiques du Malgre-Tout). Treignes (Belgique): CEDARC (exhibitioncatalogue). CHARPY, J.-J. & P. ROUALET. 1991. Les Celtes en Champagne: cinqsiecles d'histoire. Epernay: Musee d'Epernay (exhibitioncatalogue). DE MARINIS, R.C. & S. BIAGGIO SIMONE (ed.). 2000. I Leponti:tra mito e realta. Locarno: Armando Dado. DE MARINIS, R.C. & G. SPADEA. 2004. I Liguri: un antico popoloeuropeo tra Alpi e Mediterraneo. Geneva-Milan: Skira (exhibitioncatalogue). DOBRZANSKA, H., J.V.S MEGAW & P. PLESKA (ed.) 2005. Celts onthe margin: studies in European cultural interaction 7th century BC--1stcentury AD. Dedicated to Zenon Wozniak. Krakow: Institute of Archaeology The Institute of Archaeology is an academic department of University College London (UCL), in the United Kingdom. The Institute is located in a separate building at the north end of Gordon Square, Bloomsbury. and Ethnology ethnology(ĕthnŏl`əjē), scientific study of the origin and functioning of human cultures. It is usually considered one of the major branches of cultural anthropology, the other two being anthropological archaeology and of the Polish Academy of Sciences The Polish Academy of Sciences, headquartered in Warsaw, is one of two Polish institutions, having the nature of an academy of sciences. HistoryThe Polish Academy of Sciences (Polish: Polska Akademia Nauk, abbreviated PAN . DONNAY, G. 1995. Le Musee royal de Mariemont: etablissementscientifique de la communaute francaise de Belqique (Musea nostra 5).Bruxelles: Editions du Credit Communal de Belgique (2nd edition). Exposition Bibracte 2006. Tresors de femmes: enquete archeologiquesur les femmes celtes du VIe avant au Ier siecle apres J.-C. MontBeuvray: Musee de la Civilisation celtique (exhibition catalogue). GOUDINEAU, C. 2002. Par Toutatis! Que reste-t-il de la Gaule?Paris: Seuil. --(ed.) 2006. Religion et societe en Gaule. Paris: Errance. HASELGROVE, C. (ed.) 2006. Les mutations de latin de l'Age duFer = Celtes et Gaulois: l'archeologie face a l'histoire(Bibracte 12/4). Glux-en-Glenne. JISKOORT, J., L. TOORIANS & J.D. FENNEMANS. 1995. Kelten inNederland? Catalogus bij de gelijknamige tentoonstelling in het AllardPierson Museum The Allard Pierson Museum is the archaeological museum of the University of Amsterdam. It is situated at the Oude Turfmarkt 127 in Amsterdam, The Netherlands. Allard Pierson . Amsterdam: Allard Pierson Museum (exhibition catalogue). KRUTA, V. et al. 1997. The Celts. New York New York, state, United StatesNew York,Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of : Rizzoli. --1998. Treasures of Celtic art: a European heritage. Tokyo: AsahiShimbun (exhibition catalogue). --2004. Celti d'Insubria: Guerrieri del territorio di Varese =Celti dal cuore dell'Europa all'Insubria 2. Paris: Kronos B.Y.Editions (exhibition catalogue). --2006. Celtes: Belges, Boiens, Remes, Volques ... Morlanwelz(Belgique): Musee royal de Mariemont (exhibition catalogue). KRUTA, V. & M. LICKA (ed.) 2004. Celti di Boemia e di Moravia =Celti dal cuore dell'Europa all'Insubria 1 Paris: Kronos B.Y.Editions (exhibition catalogue). KRUTA POPPI, L. (ed.) 1999. Le arti del fuoco dei Celti: ceramica,ferro, bronzo e vetro nella Champagne dal V al I secolo a.C. Paris:Kronos B.Y. Editions (exhibition catalogue). MARZATICO, F. & P. GLEIRSCHER (ed.) 2004. Guerrieri, principied eroi fra il Danubio et il Po dalla Peistoria all'Alto Medioevo.Trento: Castello del Buonsonsiglio (exhibition catalogue). MEGAW, J.V.S. 1981. Kelti kommt! (exhibition review). Antiquity 55:125-7. --& M.R. MEGAW 1992. The Celts: the first Europeans? (reviewarticle). Antiquity 66: 254-60. --1994. [Exhibition review]. 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Vincent Megaw, Department of Archaeology, Flinders University, GPOBox 2100, Adelaide 5001, Australia, and Department Of Archaeology,University of Glasgow The University of Glasgow (Scottish Gaelic: Oilthigh Ghlaschu, Latin: Universitas Glasguensis) was founded in 1451, in Glasgow, Scotland. , Glasgow G12 8QQ, UK (Email: vincent,megaw@flinders.edu.au)