gold is twisted into a spiral. Other examples twist a bar with a square or X section, or just use round wire, with both types in the three 12th– or 11th-century BC specimens found at Tiers Cross, Pembrokeshire, Wales. The Milton Keynes Hoard contained two large examples of thicker rounded forms, as also used for bracelets. The terminals are not emphasized as in typical Iron Age torcs, though many can be closed by hooking the simple terminals together. Many of these "torcs" are too small to be worn round the neck of an adult, and were either worn as bracelets or armlets, or by children or statues. Archaeologists find dating many torcs difficult, with some believing torcs were retained for periods of centuries as heirlooms, and others believing there were two periods of production. Differing ratios of silver in the gold of other objects—typically up to 15% in the Bronze Age but up to 20% in the Iron Age—can help decide the question. There are several flared gold torcs with a C-shaped section in the huge Mooghaun North Hoard of Late Bronze Age gold from 800 to 700 BC found in County Clare in Ireland. To the East, torcs appear in Scythian art from the Early Iron Age, and include "classicizing" decoration drawing on styles from the east. Torcs are also found in Thraco-Cimmerian art. Torcs are found in the Tolstaya burial and the Karagodeuashk kurgan (Kuban area), both dating to the 4th century BC. A torc is part of the Pereshchepina hoard dating to the 7th century AD. Thin torcs, often with animal head terminals, are found in the art of the Persian Achaemenid Empire, with some other elements derived from Scythian art. Celtic torcs Depictions of the gods and goddesses of Celtic mythology sometimes show them wearing or carrying torcs, as in images of the god Cernunnos wearing one torc around his neck, with torcs hanging from his antlers or held in his hand, as on the Gundestrup cauldron. This may represent the deity as the source of power and riches, as the torc was a sign of nobility and high social status. The famous Roman copy of the original Greek sculpture The Dying Gaul depicts a wounded Gaulish warrior naked except for a torc, which is how Polybius described the gaesatae, Celtic warriors from modern northern Italy or the Alps, fighting at the Battle of Telamon in