
Published online:
16 March 2015
Published in print:
02 August 2012
Online ISBN:
9780191804373
Print ISBN:
9780199548064
Contents
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Settlements: Recent Discussions Settlements: Recent Discussions
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Settlements and Celtic Art: Broad Patterns Settlements and Celtic Art: Broad Patterns
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Introduction to Case Studies 1 and 2 Introduction to Case Studies 1 and 2
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Wessex in the Iron Age Wessex in the Iron Age
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Metalworking in Wessex Metalworking in Wessex
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Celtic Art in Wessex Celtic Art in Wessex
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Case Study 1: The Manufacture of Celtic Art at Gussage all Saints Case Study 1: The Manufacture of Celtic Art at Gussage all Saints
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An Introduction to Gussage An Introduction to Gussage
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Celtic art at Gussage Celtic art at Gussage
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Metalworking Evidence Metalworking Evidence
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Pit 209 Pit 209
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Summary Summary
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Case Study 2: Horse Gear (and Horses) at Bury Hill Case Study 2: Horse Gear (and Horses) at Bury Hill
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An Introduction to Bury Hill An Introduction to Bury Hill
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Celtic Art at Bury Hill Celtic Art at Bury Hill
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Pits P23, P24, P45, and P57 Pits P23, P24, P45, and P57
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Special Deposits? Special Deposits?
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Summary Summary
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Introduction to Case Study 3: Newstead Roman Fort Introduction to Case Study 3: Newstead Roman Fort
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Celtic Art in Roman Forts Celtic Art in Roman Forts
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Case Study 3: Celtic Art and Roman Identities at Newstead Case Study 3: Celtic Art and Roman Identities at Newstead
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An Introduction to Newstead An Introduction to Newstead
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Artefact Assemblages and Interpretations Artefact Assemblages and Interpretations
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Celtic Art at Newstead Celtic Art at Newstead
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Fragmentation, Attrition, and Wear Fragmentation, Attrition, and Wear
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Broader Assemblages Broader Assemblages
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Summary Summary
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Concluding Discussion Concluding Discussion
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Cite
Garrow, Duncan, and Chris Gosden, 'Settlements', Technologies of Enchantment? Exploring Celtic Art: 400 BC to AD 100 (Oxford , 2012; online edn, Oxford Academic, 16 Mar. 2015), https://doi.org/10.1093/acprof:osobl/9780199548064.003.0008, accessed 28 Apr. 2025.
Abstract
This chapter begins with a broad-brush analysis of the patterns evident on settlements. It then looks in detail at the Celtic art objects deposited on three specific sites: the enclosed rural settlement at Gussage All Saints; the hillfort at Bury Hill; and the Roman military fort at Newstead. It concludes that Celtic art was consequential in the ever-present need to create and negotiate community links. While the nature of community changed radically between 400 bc and ad 100, as did the forms of Celtic art, the role of fine metalwork as an ingredient of high importance within social networks and transformations formed a relative constant.
Subject
Prehistoric Archaeology
Collection:
Oxford Scholarship Online
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