bronze, ivory or gems” was the art called in Latin caelatura.  It 
is significant that in our time we should find it natural to 
observe many ancient productions in Seltman’s way:

     Exciting as are the marbles of the Parthenon and certain 
sensitive tombstones of Attic work, it is not among such things 
that the finest art of the fifth century is to be sought. The 
most admired artists among the Greeks themselves were not 
the masons, nor even the modellers, casters and finishers of 
fine bronzes—but the celators . (p. 72)

The work of the celator  and engraver is much more tactile than 
visual and corresponds to the new bias of our electric age. But 
as regards the present book, the argument of Seltman is most 
relevant, for he traces the art of the celator  all the way through 
Greek and Roman times and through the medieval world in the