The Hallstatt period ran roughly from 1200 BC to 475 BC.  It was charicterized by geometric designs such as chevrons, lines and concentric circles.  Animal and human representation is rare in the Hallstatt style, whether through preference or religious taboo is unknown.  And, while the Hallstatt style is identified with the Celts, there were probably other peoples who shared in its development and use.

Art did not develop in a vacuum.  Even in the earliest days, there was an active trade between the peoples of Europe.  Hallstatt was a salt-mining center which exported quantities of salt to the rest of the area for food preservation.  The salt mines of Hallstatt were active at least as early as 1000 BC.

Close to the end of the Hallstatt period, around 600 BC, there was a westward shift possibly associated with the establishment of the Greek colony of Massalia, modern-day Marseilles.  Rich princedoms have been found on the water trade routes leading to that area, with increasing imported works in the graves.  Amphorae, Attic black-figure ware, kraters, wine strainers and so on have been found in graves presumed to belong to the heads of these trading centres.  The grave of the Princess of Vix at Mont Lassois, one of the settlements along the trade routes, has yielded up a spectacular imported wine krater five feet high, for instance.

It was during this period that the shift from Hallstatt style to La Tene began.  475 is considered to be the beginning of the La Tene period.

La Tene art is charicterised by swirling geometric forms and more anthropomorphic representations in design.  Human heads attatched to animal bodies, faces with moustaches, vegetable designs taken from Etruscan and other cultures' motifs and adapted to the Celtic style.  Artisans probably used compass in the creation of the intricate patterns.

While other cultures shared in the development and use of Hallstatt style, La Tene is more closely associated with the Celts.  Two cauldrons found in bogs in Denmark, while outside of the traditional Celtic world, show La Tene design and patterns. The Gundestrup Cauldron, made of silver, shows Deity figures and scenes.  The Rynkeby Cauldron shows a torque-wearing figure and cattle-heads.

La Tene is also shown in the illuminated manuscripts from Irish monasteries from the early Christian period.  The decorative letters and swirling tendrils climbing the pages are still emulated today.

Modern Celtic artists carry on the Celtic tradition of taking the available and improving upon it.  There are several places on the internet which spotlight the work of Celtic computer artisans who are still carrying on their ancient craft. 

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