This epilogue raises the issue of the provenance of silverware found inside graves of the Macedonian ruling class. It describes the common ‘Macedonian’ features found in small-scale sculptures that differentiate them from others. It considers the Macedonians’ desire for sophistication in the form of their vessels more than in other instruments. It also places forward a re-examination of the process of mercury gilding done by the Macedonians, a technique widely known to come from Rome. It highlights the notion of a certain degree of independence brought by the willing Macedonian craftsmen to be open to inspiration from other centres beyond the Greek world, giving them a repertoire with variety that is also distinct.
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