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By John Creighton

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Extra resources for Coins and Power in Late Iron Age Britain (New Studies in Archaeology)

Sample text

This particular family of serial imagery continued right up to AD 43 in the NE and SW coin series (Stage 1). However in the south-east this imagery gave way to a new series based on British L and Q, around the time of the Gallic wars (Stage 2). In the late Wrst centry BC, this imagery also gave way, in its turn, to a totally new aesthetic dominated by innovation and classical and naturalistic imagery (Stage 3). This early tremendous degree of conservatism has rarely been discussed per se. It is as if copying an original and then slightly modifying it, as one would in a game of Chinese whispers, requires no explanation.

4. In the case of the NE coin series, the coins continued to be made of gold, and the image went through a series of incremental changes. Apollo’s head slowly became increasingly abstract until only the wreath survived, while the horse became disjointed until it was represented only by a series of crescents. In the later stages, when inscriptions appeared on the coin they still Wtted in with the original conception of the imagery, remaining subservient to it. In the SW series, in the territory commonly ascribed to the Durotriges, the image again changed by subtle degrees until the head and horse were represented by an abstract collection of dots and lines.

They were a body of men who hunted and fought during the summer season, then lived oV the country like billeted troops during the winter months. They were not subject to the king, but to their own leaders. When joining the Wana an individual had to go through a whole series of initiation ceremonies; a consequence of joining this band was the severance of ties and obligations with one’s family. No longer was one obliged to avenge wrongs done to one’s own clan, nor could his clan claim compensation for his death.

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