Some context: Bill Veeck was born on February 9, 1914, in Chicago, Illinois. While Veeck was growing up in Hinsdale, Illinois, his father, William Veeck Sr., became president of the Chicago Cubs. Veeck Sr. was a local sports writer who wrote several columns about how he would have run the Cubs differently, and the team's owner, William Wrigley Jr., took him up on it. While growing up, the younger Veeck worked as a popcorn vendor for the Cubs.
Veeck had been a fan of the Negro Leagues since his early teens. He had also admired Abe Saperstein's Harlem Globetrotters basketball team, which was based in Chicago. Saperstein saved Veeck from financial disaster early on in Milwaukee by giving him the right to promote the Globetrotters in the upper Midwest in the winter of 1941-42.  In the fall of 1942, Veeck met with Gerry Nugent, president of the Philadelphia Phillies, to discuss the possibility of buying the struggling National League team. He later wrote in his memoirs that he intended to buy the Phillies and stock the team's roster with stars from the Negro Leagues. Veeck quickly secured financing to buy the Phillies, and agreed in principle to buy the team from Nugent. While on his way to Philadelphia to close on the purchase, Veeck decided to alert MLB Commissioner Kenesaw Mountain Landis of his intentions. Although Veeck knew Landis was an ardent segregationist, he did not believe Landis would dare say black players were unwelcome while blacks were fighting in World War II. By the time he arrived in Philadelphia, Veeck discovered the Phillies had been officially taken over by the National League and that a new owner was being sought (the Phillies were ultimately sold to lumber baron William D. Cox).  The authors of a controversial article in the 1998 issue of SABR's The National Pastime argued that Veeck invented the story of buying the Phillies and filling their roster with Negro leaguers, claiming Philadelphia's black press made no mention of a prospective sale to Veeck. Subsequently, the article was strongly challenged by the late historian Jules Tygiel, who refuted it point-by-point in an article in the 2006 issue of SABR's The Baseball Research Journal, and in an appendix, entitled "Did Bill Veeck Lie About His Plan to Purchase the '43 Phillies?", published in Paul Dickson's biography, Bill Veeck: Baseball's Greatest Maverick. Joseph Thomas Moore wrote in his biography of Doby, "Bill Veeck planned to buy the Philadelphia Phillies with the as yet unannounced intention of breaking that color line."
Did they welcome the black players to the team?
A: Although Veeck knew Landis was an ardent segregationist, he did not believe Landis would dare say black players were unwelcome
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.
From the 5th to the mid-9th centuries, the art of the Picts is primarily known through stone sculpture, and a smaller number of pieces of metalwork, often of very high quality; there are no known illuminated manuscripts. The Picts shared modern Scotland with a zone of Irish cultural influence on the west coast, including Iona, and the Anglo-Saxon kingdom of Northumbria to the south. After Christianization, Insular styles heavily influenced Pictish art, with interlace prominent in both metalwork and stones.  Pictish stones are assigned by scholars to 3 classes. Class I Pictish stones are unshaped standing stones incised with a series of about 35 symbols which include abstract designs (given descriptive names such as crescent and V-rod, double disc and Z-rod, 'flower' and so on by researchers); carvings of recognisable animals (bull, eagle, salmon, adder and others), as well as the Pictish Beast, and objects from daily life (a comb, a mirror). The symbols almost always occur in pairs, with in about one-third of cases the addition of the mirror, or mirror and comb, symbol, below the others. This is often taken to symbolise a woman. Apart from one or two outliers, these stones are found exclusively in north-east Scotland from the Firth of Forth to Shetland. Good examples include the Dunnichen and Aberlemno stones (Angus), and the Brandsbutt and Tillytarmont stones (Aberdeenshire).  Class II stones are shaped cross-slabs carved in relief, or in a combination of incision and relief, with a prominent cross on one, or in rare cases two, faces. The crosses are elaborately decorated with interlace, key-pattern or scrollwork, in the Insular style. On the secondary face of the stone, Pictish symbols appear, often themselves elaborately decorated, accompanied by figures of people (notably horsemen), animals both realistic and fantastic, and other scenes. Hunting scenes are common, Biblical motifs less so. The symbols often appear to 'label' one of the human figures. Scenes of battle or combat between men and fantastic beasts may be scenes from Pictish mythology. Good examples include slabs from Dunfallandy and Meigle (Perthshire), Aberlemno (Angus), Nigg, Shandwick and Hilton of Cadboll (Easter Ross).  Class III stones are in the Pictish style, but lack the characteristic symbols. Most are cross-slabs, though there are also recumbent stones with sockets for an inserted cross or small cross-slab (e.g. at Meigle, Perthshire). These stones may date largely to after the Scottish takeover of the Pictish kingdom in the mid 9th century. Examples include the sarcophagus and the large collection of cross-slabs at St Andrews (Fife).  The following museums have important collections of Pictish stones: Meigle (Perthshire), St Vigeans (Angus) and St Andrew's Cathedral (Fife) (all Historic Scotland), the Museum of Scotland, Edinburgh (which also exhibits almost all the major pieces of surviving Pictish metalwork), the Meffan Institute, Forfar (Angus), Inverness Museum, Groam House Museum, Rosemarkie and Tarbat Discovery Centre, Portmahomack (both Easter Ross) and Tankerness House Museum, Kirkwall, Orkney.
Were they in Scotland?
A:
The Picts shared modern Scotland with a zone of Irish cultural influence on the west coast,