Haverfield opens his revised edition by framing Romanization as a process visible in everyday objects—tiles, pottery, brooches, and house plans—rather than in grand monuments alone. He contrasts the Glastonbury lake village, where native art persisted with 'no trace of classical workmanship,' with the nearby Romano-British villages excavated by Pitt-Rivers, where 'the monotonous Roman culture meets the eye.' This juxtaposition sets up his central argument: material life is a reliable index of cultural change. The book's eight chapters move from language to local government, each section grounding broad claims in specific finds, such as inscribed tiles from Silchester or Castor ware with hunting scenes. Haverfield writes for a non-specialist audience, avoiding dense Latin, but his prose remains rigorous, often weighing competing interpretations before stating his own conclusion.

Contrasting Villages: Native Art vs. Roman Uniformity

Haverfield's most vivid evidence comes from comparing two sets of excavations. At Glastonbury, the lake village yielded 'Late Celtic' metalwork and pottery with 'a delight in artistic ornament,' but not a single Roman-style fibula with a hinge. In contrast, the villages at Woodcuts and Rotherley, though only eleven miles apart, show 'everywhere the monotonous Roman culture.' He acknowledges that Woodcuts had 'barbaric' features—storage pits doubling as refuse sinks, corpses in 'un-Roman positions'—yet insists these do not undermine the broader pattern. The shift, he argues, is like passing 'from some old timbered village of Kent or Sussex to the uniform streets of a modern city suburb.' The passage reveals his method: using archaeological detail to support a thesis about cultural absorption, while conceding that the villagers 'may well have counted among the less Romanized of the southern Britons.'

The Weight of Material Life

Haverfield directly challenges scholars like M. Loth who dismiss furniture, dress, and architecture as superficial. He counters that 'the external fabric of life is not a negligible quantity but a real factor,' citing Tacitus's observation that Romanization in Britain was already visible in daily habits. He draws a modern parallel: 'the recent growth of stronger national feelings has been accompanied by a preference for home-products.' For Haverfield, the adoption of Roman goods implies a corresponding shift in sentiment—'it is hardly credible that an unromanized folk should adopt so much of Roman things and yet remain uninfluenced.' This section shows his willingness to engage with opposing views, but also his tendency to treat material culture as a straightforward proxy for identity, a premise that later archaeology would complicate.

Pace and Chronology: A Gradual Transformation

The book's seventh chapter, 'Chronology of the Romanization,' is not excerpted here, but earlier passages hint at Haverfield's interest in timing. He notes that the Glastonbury village was occupied into the Roman period, yet its inhabitants 'knew little enough of the Roman civilization in its higher aspects.' This suggests Romanization was uneven and slow, even in southern Britain. He also remarks that the non-Roman burials at Pitt-Rivers's sites find a parallel in a Gaulish will from the first century: a Roman citizen who ordered his hunting gear burned on his pyre, 'betray[ing] the Gaulish habit.' Such details imply that Romanization could coexist with persistent native customs. Haverfield does not offer a simple timeline, but his evidence points to a process that was neither instantaneous nor complete, leaving room for the 'Celtic revival' he addresses in his final chapter.

Readers should approach Haverfield's argument as a product of its time—confident in the link between objects and identity, yet careful in its use of evidence. The footnotes, omitted from this edition, contain much of his scholarly apparatus. Pay attention to how he handles exceptions: the Glastonbury village, the non-Roman burials, the Gaulish will. These moments reveal a historian wrestling with complexity, even as he pushes a clear thesis. The book rewards those who read it alongside the illustrations listed in the contents, which ground his claims in visible artifacts.