Galego: Extensión e xeografía da Galiza castrexa, xunto con localización das oppida (elaborado a partir de Rodríguez Corral, J. A Galicia. View Academics in Cultura Castrexa on A cultura castrexa (Historia de Galicia) [Francisco Calo Lourido] on *FREE* shipping on qualifying offers.
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During the initial centuries of the first millennium BC bronze was still the most used metal, although iron was progressively introduced. Conceptualising Space and Place: Using three main type of tools, ploughssickles and hoestogether with axes for woodcutting, the Castro inhabitants grew a number of cereals: Hispania Epigraphica on-line data-base.
Carthaginians Phoenicians Turduli Baetici.
Cultura castrexa – Picture of Santa Tecla Celtic Village, A Guarda
With the exception of the Grovii people, Pomponius Mela stated that all the populi were Celtic and Cosus was not worshipped there. The richest pottery was produced in the south, from the Rias Baixas region in Galicia to the Douro, where decoration was frequently stamped and incised into pots and vases.
During the transition of the Bronze to the Iron Age, from the Douro in modern northern Portugal and up along the coasts of Galicia  until the central regions of Asturias, the settlement in artificially fortified places substituted the old open settlement model.
Not only did the number of settlements grow during this period, but also their size and density. Pre-Roman peoples established into Portugal. Old reused stone slab, now in exposition in Formigueiros, AmoeiroGalicia. Pollen analyses confirms the Iron Age as a period of intense deforestation in Galicia and Northern Portugal, with meadows and fields expanding at the expense of woodland. Although most of the communities of this period had mostly self-sufficient isolated economies, one important change was the return of trade with the Mediterranean by the now independent Carthagea thriving Western Mediterranean power.
The worship of these two gods do not overlap but rather complement each other, occupying practically the whole of the western territory of the Iberian Peninsula.
Academics in Cultura Castrexa –
The artificial defences were initially composed of earthen walls, battlements and ditches, which enclosed an inner habitable space. The votive altars containing this dedications frequently present three holes for gifts or sacrifices. In other projects Wikimedia Commons. The supreme Nabia is related to Jupiter and another incarnation of castrwxa deity, identified with Diana, Juno or Victoria or others from the Roman pantheon, linked to the protection and defence of the community or health, wealth and fertility.
Gates to these oppida become monumental and frequently have sculptures of warriors. Hundreds of Latin inscriptions have survived with dedications to gods and goddesses. Over this basis worked a Mediterranean current, bringing filigree, granulate and new type of items considered to be feminine: Gold, iron, copper, tin and lead were the most common ores mined.
A sculpted stone reused in a 6th-century Suevic church in Dume, Braga Old reused stone slab, now in exposition in Formigueiros, AmoeiroGalicia.
Head sculptures, Museo de Pontevedra Votive sacrificial bronze, with a cauldron and a torc, Museo de Pontevedra. Strabo wrote, probably describing this process: Hallstatt D, dated by means of its fibulae from to BC Head sculptures, Museo de Pontevedra.
Baths or sauna at Punta dos Prados hill-fort, OrtigueiraGalicia. At the same time, these castrwxa and groups tended to occupy most of the internal room of the hill-forts, reducing the communitarian open spaces, which in turn would have been substituted by other facilities such as saunas communitarian halls, and shared forges.
The deity probably had an association with water, the sky and the earth.
Castro culture – Wikipedia
From the beginning of the first millennium, the network appears to collapsepossibly because the Iron Age had outdated the Atlantic tin and bronze products in the Mediterranean region, cutlura the large-scale production of metallic items was reduced to the elaboration of axes dultura tools, which are still found buried in very large quantities all along the European Atlantic coast. Votive sacrificial bronze, with a cauldron and a torc, Museo de Pontevedra. Votive inscription to Lugus: The major inner feature of these multi-functional undivided cabins were the hearthcircular or quadrangular, and which conditioned the uses of the other spaces of the room.
Decorative motifs include rosettestriskelionsswastikasspiralsinterlacesas well as palm tree, herring bone and string motives, many of which were still carved in Romanesque churches, and are still used today in local folk art and traditional items in Galicia, Portugal and northern Spain.