Some context: She was born in Farnborough, Hampshire, England, the daughter of Edward Digby, 11th Baron Digby, and his wife, Constance Pamela Alice, the daughter of Henry Campbell Bruce, 2nd Baron Aberdare. Pamela was educated by governesses in the ancestral home at Minterne Magna in Dorset, along with her three younger siblings. Her great-great aunt was the nineteenth-century adventurer and courtesan Jane Digby (1807-1881), notorious for her exotic travels and scandalous personal life. Pamela was to follow in her ancestor's footsteps, being frequently cited as "the 20th-century's greatest courtesan."
Beside two additional marriages, Pamela Harriman had numerous affairs with men of prominence and wealth. During her marriage to Randolph Churchill, she had romantic involvements with men such as: W. Averell Harriman, who much later became her third husband; Edward R. Murrow; and John Hay "Jock" Whitney. Notable consorts after her divorce included Prince Aly Khan, Alfonso de Portago, Gianni Agnelli, and Baron Elie de Rothschild. Churchill became well known for her attention to detail with men. When involved romantically with a man, she paid extremely close attention to his desires, his preferences, and went to any lengths necessary to satisfy his needs during the affair. William S. Paley, briefly a consort during the war, said: "She is the greatest courtesan of the century", meaning it more as a compliment than a detraction. The more critical Max Hastings said, acerbically, "she was ... described as having become 'a world expert on rich men's bedroom ceilings'." After her divorce from Randolph Churchill, she moved to Paris and in 1948 began her five-year-long affair with Gianni Agnelli. She described this as the happiest period of her life. Agnelli, however, was not faithful in this relationship. In 1952, Pamela found him with a young woman, Anne-Marie d'Estainville, and complained strongly about this, despite her own past behaviour. Agnelli sustained a severe leg injury in a car accident while bringing d'Estainville home. Pamela nursed him through his injury, and later became pregnant (although it was never confirmed that this was by Agnelli), but had an abortion in Switzerland. Later, Princess Marella Caracciolo di Castagneto became pregnant by Agnelli, and Pamela Churchill ended the affair. Her next significant relationship was with Baron Elie de Rothschild, who was married. He supported her financially, and she was schooled in art history and wine-making during this clandestine and short relationship. During this time she also entertained an affair with the writer Maurice Druon and with the shipping magnate Stavros Niarchos.
Did she have a lot of affairs?
A: Beside two additional marriages, Pamela Harriman had numerous affairs with men of prominence and wealth.

Some context: Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages. Celtic art is a difficult term to define, covering a huge expanse of time, geography and cultures. A case has been made for artistic continuity in Europe from the Bronze Age, and indeed the preceding Neolithic age; however archaeologists generally use "Celtic" to refer to the culture of the European Iron Age from around 1000 BC onwards, until the conquest by the Roman Empire of most of the territory concerned, and art historians typically begin to talk about "Celtic art" only from the La Tene period (broadly 5th to 1st centuries BC) onwards. Early Celtic art is another term used for this period, stretching in Britain to about 150 AD.
The ancient peoples now called "Celts" spoke a group of languages that had a common origin in the Indo-European language known as Common Celtic or Proto-Celtic. This shared linguistic origin was once widely accepted by scholars to indicate peoples with a common genetic origin in southwest Europe, who had spread their culture by emigration and invasion. Archaeologists identified various cultural traits of these peoples, including styles of art, and traced the culture to the earlier Hallstatt culture and La Tene culture. More recent genetic studies have indicated that various Celtic groups do not all have shared ancestry, and have suggested a diffusion and spread of the culture without necessarily involving significant movement of peoples. The extent to which "Celtic" language, culture and genetics coincided and interacted during prehistoric periods remains very uncertain and controversial. Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages. The term "Celt" was used in classical times as a synonym for the Gauls (Keltoi, Celtae). Its English form is modern, attested from 1607. In the late 17th century the work of scholars such as Edward Lhuyd brought academic attention to the historic links between Gaulish and the Brythonic--and Goidelic--speaking peoples, from which point the term was applied not just to continental Celts but those in Britain and Ireland. Then in the 18th century the interest in "primitivism", which led to the idea of the "noble savage", brought a wave of enthusiasm for all things Celtic and Druidic. The "Irish revival" came after the Catholic Emancipation Act of 1829 as a conscious attempt to demonstrate an Irish national identity, and with its counterpart in other countries subsequently became the "Celtic Revival".
What is Celtic art ?
A:
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe