The magical world of Welsh mythology deserves to be better known outside its homeland, with its cast of heroes and tricksters, animals that can talk and change shape, and magicians and witches who can bring disaster or triumph to the people in their paths. Enchanted Wales is an invitation to voyage through the key stories of Welsh mythic literature, exploring not just their medieval texts but also their ancient roots, which can be glimpsed in sculptures, carvings and other artefacts from at least a thousand years earlier. These stories are more than epic entertainments: they allow us to explore our deepest questions about life and death, war and peace, and good and evil, secure in the knowledge that a skilful storyteller will guide us safely to the end of the tale. On this journey, you will encounter severed heads that speak, birds that can tell the future, cauldrons with magical properties, quests that are as intricate and exciting as the Labours of Hercules, and ghostly underworlds where strange and frightening things happen to the humans who visit them. Enter these pages, and prepare to discover a weird, wonderful and Narnia-like world of dreams – the world of enchanted Wales.

A timely and up-to-date account of religion in Roman Britain. Two thousand years ago, the Romans sought to absorb into their Empire what they regarded as a remote, almost mythical island on the very edge of the known world – Britain. The expeditions of Julius Caesar and the Claudian invasion of AD 43, and the continuing Roman presence up to the 5th century AD, brought fundamental and lasting changes to the island. Not least among these was the introduction of a new pantheon of Classical deities and religious systems, along with a clutch of exotic Eastern cults including Christianity. But what of Britannia and her own home-grown deities? What cults and cosmologies did the Romans encounter, and how did they react to them? Under Roman rule, the old gods and their adherents were challenged, adopted, adapted, absorbed and reconfigured. In Britain no inscriptions predate the Roman period, apart from brief coin-legends, and the divine imagery that adorned temples in the Roman world was largely lacking. But with the Romans, religion becomes much more visible. In this fresh and innovative new account Miranda Aldhouse-Green balances literary, archaeological and iconographic evidence (and scrutinizes their shortcomings) to illuminate the complexity of religion and belief in Roman Britain, and the two-way traffic of cultural exchange and interplay between imported and indigenous cults. Despite the remoteness of this period, on the cusp between prehistory and history, many of the forces, tensions, ideologies and issues of identity at work are still relevant today, as Sacred Britannia skilfully reveals.

Using archaeology and social anthropology, and more than 100 original line drawings and photographs, An Archaeology of Images takes a fresh look at how ancient images of both people and animals were used in the Iron Age and Roman societies of Europe, 600 BC to AD 400 and investigates the various meanings with which images may have been imbued. The book challenges the usual interpretation of statues, reliefs and figurines as passive things to be looked at or worshipped, and reveals them instead as active artefacts designed to be used, handled and broken. It is made clear that the placing of images in temples or graves may not have been the only episode in their biographies, and a single image may have gone through several existences before its working life was over. Miranda Aldhouse Green examines a wide range of other issues, from gender and identity to foreignness, enmity and captivity, as well as the significance of the materials used to make the images. The result is a comprehensive survey of the multifarious functions and experiences of images in the communities that produced and consumed them. Challenging many previously held assumptions about the meaning and significance of Celtic and Roman art, An Archaeology of Images will be controversial yet essential reading for anyone interested in this area.

When Roman troops threatened to seize the wealth of the Iceni people, their queen, Boudica, retaliated by inciting a major uprising, allying her tribe with the neighbouring Trinovantes. The ensuing clash is one of the most important - and dramatic - events in the history of Britain, standing testament to what can happen when an insensitive colonial power meets determined resistance from a subjugated people head-on. In this fascinating account of a legendary figure, Miranda Aldhouse-Green raises questions about female power, colonial oppression, and whether Boudica would be seen today as a freedom fighter, terrorist or martyr.

From gods, heroes, and monsters to Druids, sorcerers, and talking animals, Celtic Myths explores every aspect of Irish and Welsh myths in this appealing and authoritative guide. Besides vividly retelling the tales, Miranda Aldhouse-Green brings her expertise in the archaeology of the Iron Age and particularly shamanism to bear on the mythical world she describes, with evidence as diverse as the Gundestrup Cauldron and the famous bog bodies. Starting with a discussion of how myths are transmitted and by whom, Aldhouse-Green continues with an account of Irish and Welsh myths, their key actors and motifs, and themes such as heroes, animals, women, environment, and the Otherworld. The book concludes with a look at the influence of monastic chroniclers on the tales, which they preserved and adapted. Boxed features, quotes from primary texts and contemporary sources, two-color illustrations, photographs, and drawings all come together to create a comprehensive guide for anyone interested in Celtic history or the history of myth as well as anyone who simply loves a good story.

Using archaeology and social anthropology, and more than 100 original line drawings and photographs, An Archaeology of Images takes a fresh look at how ancient images of both people and animals were used in the Iron Age and Roman societies of Europe, 600 BC to AD 400 and investigates the various meanings with which images may have been imbued. The book challenges the usual interpretation of statues, reliefs and figurines as passive things to be looked at or worshipped, and reveals them instead as active artefacts designed to be used, handled and broken. It is made clear that the placing of images in temples or graves may not have been the only episode in their biographies, and a single image may have gone through several existences before its working life was over. Miranda Aldhouse Green examines a wide range of other issues, from gender and identity to foreignness, enmity and captivity, as well as the significance of the materials used to make the images. The result is a comprehensive survey of the multifarious functions and experiences of images in the communities that produced and consumed them. Challenging many previously held assumptions about the meaning and significance of Celtic and Roman art, An Archaeology of Images will be controversial yet essential reading for anyone interested in this area.

When Roman troops threatened to seize the wealth of the Iceni people, their queen, Boudica, retaliated by inciting a major uprising, allying her tribe with the neighbouring Trinovantes. The ensuing clash is one of the most important - and dramatic - events in the history of Britain, standing testament to what can happen when an insensitive colonial power meets determined resistance from a subjugated people head-on. In this fascinating account of a legendary figure, Miranda Aldhouse-Green raises questions about female power, colonial oppression, and whether Boudica would be seen today as a freedom fighter, terrorist or martyr.

Celtic Wales is about the beginnings of Wales and how the period from the Iron Age to medieval times helped shape and define the modern nation of Wales. Early Wales has a spectacular archaeological, literary and mythical heritage. This book uses archaeology and early historical documents to discuss all aspects of early Welsh society, from war to farming and from drinking habits to Druids.

It is time for a new book about bog bodies: the number of known bodies is growing. Lindow Man, the famous 'Pete Marsh' discovered in Cheshire in the 1980s, has been joined by new finds from Ireland and elsewhere. Who were these unfortunate people, and why were they killed? Archaeologists, armed with the latest analytical techniques, are today investigating these cold cases to reveal much about our distant past. Forensic science allows us to deduce the age, physical condition, status, cause and time of death of these ancient victims, helping to answer the fundamental questions that they pose: were these people executed, simply murdered, or victims of human sacrifice? Who selected them? Who delivered the killing blow, and why? Drawing on all the latest evidence and research, Miranda Aldhouse-Green has written an engrossing detective story, uncovering the hidden truths behind these murder mysteries.

Ancient chroniclers, including Julius Caesar himself, made the Druids and their sacred rituals infamous throughout the Western world. But in fact, as Miranda Aldhouse-Green shows in this fascinating book, the Druids' day-to-day lives were far less lurid and much more significant. Exploring the various roles that Druids played in British and Gallic society during the first centuries B.C. and A.D.--not just as priests but as judges, healers, scientists, and power brokers--Aldhouse-Green argues that they were a highly complex, intellectual, and sophisticated group whose influence transcended religion and reached into the realms of secular power and politics. With deep analysis, fresh interpretations, and critical discussions, she gives the Druids a voice that resonates in our own time.

Ancient Classical authors have painted the Druids in a bad light, defining them as a barbaric priesthood, who 2,000 years ago perpetrated savage and blood rites in ancient Britain and Gaul in the name of their gods. Archaeology tells a different and more complicated story of this enigmatic priesthood, a theocracy with immense political and sacred power. This book explores the tangible 'footprint' the Druids have left behind: in sacred spaces, art, ritual equipment, images of the gods, strange burial rites and human sacrifice. Their material culture indicates how close was the relationship between Druids and the spirit-world, which evidence suggests they accessed through drug-induced trance.