Arts and Crafts in Iron Age East Yorkshire: A holistic approach to pattern and purpose, c. 400BC-AD100

Acknowledgements
Contents
List of Figures
List of Tables
Abstract
1 An Introduction to This Book: What Did Pattern Do?
	1.1. Introduction
	1.2. The Origins of This Book
	1.3. What Is This Book About?
	1.4. Chapter Outline
2 A Brief History of Celtic Art Studies in Britain and Beyond
	2.1. Introduction
	2.2. The Emergence of a Celtic Art Style
		2.2.1. The Idea of the Celts
		2.2.2. The Grammar of Ornament
		2.2.3. Horae Ferales, John Kemble and A.W. Franks
	2.3. Celtic Art in Time and Space
		2.3.1. Synthesis and Chronology in the 20th Century
		2.3.2. The Limitations of Celtic Art
	2.4. Peasant Art and Home-Crafts
		2.4.1. Glastonbury Lake Village and Its Arts and Crafts
		2.4.2. Shifting Models of Iron Age Craft and Value
	2.5. Rethinking Celtic Art
	2.6. Chapter Conclusion
3 A Return to Pattern and Purpose
	3.1. Introduction
	3.2. Formulating the Research Question
	3.3. Pattern and Purpose: A Survey of Early Celtic Art in Britain
	3.4. Defining Pattern
	3.5. Defining Purpose
	3.6. Reintegrating Pattern and Purpose
	3.7. Chapter Conclusion
4 Beyond the Arras Culture: Characterising the Iron Age ofEast Yorkshire
	4.1. Introduction
		4.1.1. Why East Yorkshire?
	4.2. Researching the Iron Age in East Yorkshire
		4.2.1. Antiquarianism
		4.2.2. The Arras Culture
		4.2.3. Searching for Settlements
		4.2.4. Chronological Discussions of Iron Age East Yorkshire
	4.3. Characterising the Middle-Late Iron Age in East Yorkshire
		4.3.1. The Middle Iron Age: 400–100BC
			Cemeteries
			Chariot Burials
			‘Warrior’ Burials
			Settlements
			Material Culture
		4.3.2. The Late Iron Age: 100BC–AD100
			Cemeteries
			Settlements
			Material Culture
	4.4. Pattern, Colour and Society in Iron Age East Yorkshire
		4.4.1. Early Celtic Art (and Other Art) in East Yorkshire
		4.4.2. Significant Materials
		4.4.3. The Functions of Patterned Objects
5 Pattern and Context in the Dataset
	5.1. Introduction
	5.2. The Dataset
		5.2.1. The Sample of Sites
		5.2.2. Data from the Portable Antiquities Scheme
		5.2.3. Dating
		5.2.4. Data Collection
		5.2.5. Pattern in the Dataset
		5.2.6. Context in the Dataset
	5.3. Data Analysis
		5.3.1. Ceramic Sherds
		5.3.2. Patterned and Plain Objects
		5.3.3. Style and Context
		5.3.4. Patterned Object Types
	5.4. Discussion of Data
		5.4.1. The Decision to Decorate
		5.4.2. The Decision to Deposit
		5.4.3. Reflecting on the Limitations of ‘Object Type’ Categories
6 Pattern and Purpose in the Dataset
	6.1. Introduction
		6.1.1. Fox’s Ideas about Purpose
		6.1.2. Augmenting Purpose
	6.2. Data Analysis
		6.2.1. Purpose Categories and Pattern
		6.2.2. Purpose Categories and Deposition
	6.3. Discussion of Data
		6.3.1. Horse and Chariot Gear
		6.3.2. Weapons and Defence
		6.3.3. Personal Ornament
		6.3.4. Mirrors
		6.3.5. Vessels
		6.3.6. Implements
		6.3.7. Ambiguous Objects
	6.4. Chapter Conclusion
7 Iron Age Groupsets in Time and Space
	7.1. Introduction
		7.1.1. Biographies, Itineraries and Beyond
		7.1.2. Iron Age Groupsets
	7.2. Methodology
	7.3. Chariots
		7.3.1. Ferry Fryston (Wakefield Museums and Castles)
		7.3.2. Wetwang Village (British Museum, 2001,0401)
		7.3.3. Wetwang 2 (Hull and East Riding Museum, 2010.8)
		7.3.4. Garton Slack (Hull and East Riding Museum, 1973.32)
		7.3.5. Wetwang 1 (Hull and East Riding Museum, 2010.8)
		7.3.6. Wetwang 3 (Hull and East Riding Museum, 2010.8)
		7.3.7. Kirkburn (British Museum, 1987,0404)
		7.3.8. Garton Station (British Museum, 1985,0305)
		7.3.9. Arras: The Queen’s Barrow (British Museum, 1877,1016)
		7.3.10. Chariots: Discussion
			Raw Materials
			Design and Making
			Use
			Collection, Exchange and Deposition
			Chariots: Summary
	7.4. Swords (and a Single Shield)
	400–100BC
		7.4.1. The Bugthorpe Sword (British Museum, 1905,0717.1)
		7.4.2. The Kirkburn Sword (British Museum, 1987,0404.2)
		7.4.3. Wetwang 1 (Hull and East Riding Museum, KINCM:2010.8.31)
		7.4.4. Wetwang 3 (Hull and East Riding Museum, KINCM:2010.8.65)
		7.4.5. The Grimthorpe Sword and Shield (British Museum, 1876,0208.10)
			The Grimthorpe Shield (British Museum 1876,0208.1and 2)
	100BC–AD100
		7.4.6 The South Cave Hoard (Beverley Treasure House)
			RF40 (2005,99.9)
			RF18 (2005,99.8)
			RF41 (2005,99.10)
			RF17 (2005,99.5)
			RF16 (2005,99.25)
			The South Cave Swords as an Assemblage
		7.4.7. Swords: Discussion
			Raw Materials
			Design
			Making and Repairing Swords
			Use
			Fragmentation and Reassembly
			Deposition
			Sword: Summary
	7.5. Bone and Antler Objects
		7.5.1. Bone and Antler Objects: An Overview
		7.5.2. The Comb Pit (Garton Slack XI, Hull and East Riding Museum)
		7.5.3. Bone and Antler Objects from Rudston Villa East Site
		7.5.4. Bone Points
		7.5.5. Bone and Antler Objects: Discussion
			Making Bone and Antler Objects
			The Decision to Decorate
			Use
			Bone and Antler Objects: Summary
	7.6. Pots
		7.6.1. Raw Materials
		7.6.2. Design
		7.6.3. Use-Wear
		7.6.4. Fragmentation and Deposition
		7.6.5. Exchange
		7.6.6. Pots: Discussion
	7.7. Chapter Conclusion
		7.7.1. Iron Age ‘Kintsugi’
		7.7.2. Pattern as Patina
8 Pattern and Purpose in Iron Age East Yorkshire
	8.1. The Decision to Decorate
	8.2. The Processes of Design and Patterning
	8.3. The Deployment of Pattern
	8.4. The Accumulation of Pattern
	8.5. The Deposition of Patterned Objects
	8.6. What Did Pattern Do?
	8.7. Looking Further Afield: Overlapping Traditions at Different Scales, and Local Interpretations of Wider Artistic Practices
	8.8. Conclusion: A Threefold Purpose of Iron Age Pattern
References
Appendix I
Appendix II