453:
region in which, according to Caesar, the wealthy sea-faring Veneti played a dominant and hegemonic role. Agreeing with this area of production, determined by the art style, is the fact that the "lead isotope compositions of the cauldron plates" mostly included "the same silver as used in northern France for the
Coriosolite coins" (Larsen 2005: 35). Not only does the Gundestrup cauldron enlighten us about this coin-driven art style, where the larger-metalwork smiths were also the mint-masters producing the coins, but the cauldron also portrays cultural items, such as swords, armor, and shields, found and produced in this same cultural area, confirming the agreement between art style and metal analysis. If as Olmsted (2001) and Hachmann (1990) suggest, the Veneti also produced the silver phalerae, found on the Isle of Sark, as well as the Helden phalera, then there are a number of silver items of the type exemplified by the Gundestrup cauldron originating in northwest France, dating to just before the Roman conquest.
891:
784:
775:
766:
757:
800:
1066:
906:
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with MĂĽller's ordering, however. Taylor has pointed out that aside from the two cases of puncturing, the order cannot be determined from the solder alignments. His argument is that the plates are not directly adjacent to each other, but are separated by a 2 cm gap; thus, the plates in this order cannot be read with certainty as the true narrative, supposing one exists. However Larsen (2005: 16, fig. 12) indicates, not only did his study vindicate the order for the inner plates established, by Muller, Klindt-Jensen, and
Olmsted, but the order of the outer plates is also established by the rivet holes, the solder alignments, and the scrape marks.
849:
715:
741:
489:
928:
729:
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ethnic group was responsible for the development of the
Gundestrup cauldron. Instead, the make and art of the cauldron can be thought of as the product of a fusion of cultures, each inspiring and expanding upon one another. In the end, Nielsen concludes that, based on accelerator datings from beeswax found on the back of the plates, the vessel was created within the Roman Iron Age. However, as an addendum to Nielson article indicates (2005: 57), results from the Leibniz Lab on the same bee's wax dated some 400 years earlier.
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34:
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241:
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warriors on horseback with crested helmets and spears ride away to the right, with at the right a horned serpent, fitted in above the tops of the carnyxes, who is perhaps leading them. The two lines are below and above what appears to be a tree, still in leaf, lying sideways. This is now most often interpreted as a scene where fallen warriors are dipped into a cauldron to be reborn into their next life, or afterlife. This can be paralleled in later
75:
629:, and with his left hand he grips a horned serpent a little below the head. To the left is a stag with antlers that are very similar to the human/divine figure. Surrounding the scene are other canine, feline, and bovine animals, some but not all facing the male figure, as well as a human riding a dolphin. Between the antlers of the god is an unknown motif, possibly a plant or a tree, but most likely just the standard background decoration.
306:
370:, which is thicker, can be considered a later repair, as the thinner, purer inlay adheres better to the silver. The adherence of the overall gold is quite poor. The lack of mercury from the gold analysis suggests that a fire-gilding technique was not used on the Gundestrup cauldron. The gilding appears to have instead been made by mechanical means, which explains the function of closely spaced punch marks on the gilded areas.
20:
945:
500:
41:
413:; these rough shapes were then filled with pitch from the back to make them firm enough for further detailing with punches and tracers. The pitch was melted out, areas of pattern were gilded, and the eyes of the larger figures were inlaid with glass. The plates were probably worked in a flat form and later bent into curves to solder them together.
1150:
often includes animals, but not often in fantastic forms with wings and aspects of different animals combined. There are exceptions to this, some when motifs are clearly borrowed, as the boy riding a dolphin is borrowed from Greek art, and others that are more native, like the ram-headed horned snake
416:
It is generally agreed that the
Gundestrup cauldron was the work of multiple silversmiths. Using scanning electron microscopy, Benner Larson has identified 15 different punches used on the plates, falling into three distinct tool sets. No individual plate has marks from more than one of these groups,
408:
The workflow of the manufacturing process consisted of a few steps that required a great amount of skill. Batches of silver were melted in crucibles with the addition of copper for a subtler alloy. The melted silver was cast into flat ingots and hammered into intermediate plates. For the relief work,
227:
have produced a number of objects of types that were probably once common but where other examples have not survived. It has been much discussed by scholars, and represents a fascinatingly complex demonstration of the many cross-currents in
European art, as well as an unusual degree of narrative for
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depicts a bull-slaying scene, with the same composition repeated three times across the plate; the only place where such repetition appears on the cauldron. Three large bulls are arranged in a row, facing right, and each of them is attacked by a man with a sword. A feline and a dog, both running to
528:
ivy that draws from classical Greco-Roman art. The horns of the bull are missing, but there is a hole right through the head where they were originally fitted; they were perhaps gold. The head of the bull rises entirely clear of the plate, and the medallion is considered the most accomplished part
515:
The decorated medallion on the circular base plate depicts a bull. Above the back of the bull is a female figure wielding a sword; three dogs are also portrayed, one over the bull's head and another under its hooves. Presumably all of these figures are in combat; the third dog, located beneath the
456:
Nielsen believes that the question of origin is the wrong one to ask and can produce misleading results. Because of the widespread migration of numerous ethnic groups like the Celts and
Teutonic peoples and events like Roman expansion and subsequent Romanization, it is highly unlikely that only one
452:
According to
Olmsted (2001) the art style of the Gundestrup cauldron is that utilized in Armorican coinage dating to 75-55 BC, as exemplified in the billon coins of the Coriosolites. This art style is unique to northwest Gaul and is largely confined to the region between the Seine and the Loire, a
329:
The
Gundestrup cauldron is composed almost entirely of silver, but there is also a substantial amount of gold for the gilding, tin for the solder and glass for the figures' eyes. According to experimental evidence, the materials for the vessel were not added at the same time, so the cauldron can be
252:
bog) on 28 May 1891. The Danish government paid a large reward to the finders, who subsequently quarreled bitterly amongst themselves over its division. Palaeobotanical investigations of the peat bog at the time of the discovery showed that the land had been dry when the cauldron was deposited, and
171:
The cauldron is not complete, and now consists of a rounded cup-shaped bottom making up the lower part of the cauldron, usually called the base plate, above which are five interior plates and seven exterior ones; a missing eighth exterior plate would be needed to encircle the cauldron, and only two
388:
to be of a soda-lime type composition. The glass contained elements that can be attributed to calcareous sand and mineral soda, typical of the east coast of the
Mediterranean region. The analyses also narrowed down the production time of the glass to between the second century BC and first century
218:
Hospitality on a large scale was probably an obligation for Celtic elites, and although cauldrons were therefore an important item of prestige metalwork, they are usually much plainer and smaller than this. This is an exceptionally large and elaborate object with no close parallel, except a large
437:
The silverworking techniques used in the cauldron are unknown from the Celtic world, but are consistent with the renowned
Thracian sheet-silver tradition. The scenes depicted are not distinctively Thracian, but certain elements of composition, decorative motifs, and illustrated items (such as the
296:
located at the rim of the bowl. In two cases, a puncture mark penetrating the inner and outer plates also helps to establish the order. In its final form, the plates are arranged in an alternation of female-male depictions, assuming the missing eighth plate is of a female. Not all analysts agree
256:
The cauldron was found in a dismantled state with five long rectangular plates, seven short plates, one round plate (normally termed the "base plate"), and two fragments of tubing stacked inside the curved base. In addition, there is a piece of iron from a ring originally placed inside the silver
687:
players. In front of this group a dog leaps up, perhaps holding them back. Behind the dog, at the left side of the scene, a figure over twice the size of the others holds a man upside down, apparently with ease, and apparently is about to immerse him in a barrel or cauldron. On the upper half,
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as a Gaulish version of the "Aided Fraich" episode of the "Tain" where Fraech and his men leap over the fallen tree, and then Fraech wrestles with his father Cu Chulainn and is drowned by him, while his magic horn blowers play "the music of sleeping" against Cu Chulainn. In the "Aided Fraich"
358:
period. The lead isotope studies also indicate that the silver for manufacturing the plates was prepared by repeatedly melting ingots and/or scrap silver. Three to six distinct batches of recycled silver may have been used in making the vessel. Specifically, the circular "base plate" may have
995:
deities and their stories. Scholars are mostly content to regard the former as motifs borrowed purely for their visual appeal, without carrying over anything much of their original meaning, but despite the distance some have attempted to relate the latter to wider traditions remaining from
1195:
Apart from Cernunnos and Taranis, discussed above, there is no consensus regarding the other figures, and many scholars reject attempts to tie them in to figures known from much later and geographically distant sources. Some Celticists have explained the elephants depicted on plate
449:, a Teutonic tribe, went south from the lower Elbe region and attacked the Scordisci in 118 BC. After withstanding several defeats at the hands of the Romans, the Cimbri retreated north, possibly taking with them this cauldron to settle in Himmerland, where the vessel was found.
640:
wheels, what seem to be two elephants, and two griffins. A feline or hound is underneath the bust. In northwest Gaulish coinage from 150 to 50 BC, such wheels often indicate a chariot, so the scene could be seen as a goddess in an elephant biga (Olmsted 1979; 2001:
363:, and it is commonly thought to have been positioned in the bottom of the bowl as a late addition, soldered in to repair a hole. By an alternative theory, this phalera was not initially part of the bowl, but instead formed part of the decorations of a wooden cover.
333:
Silver was not a common material in Celtic art, and certainly not on this scale. Except sometimes for small pieces of jewellery, gold or bronze were more usual for prestige metalwork. At the time that the Gundestrup cauldron was created, silver was obtained through
1182:
borrowed from Ancient Greek art of that of the Near East. On several of the exterior plates the large heads, probably of deities, in the centre of the exterior panels, have small arms and hands, either each grasping an animal or human in a version of the common
253:
the peat gradually grew over it. The manner of stacking suggested an attempt to make the cauldron inconspicuous and well-hidden. Another investigation of Rævemose was undertaken in 2002, concluding that the peat bog may have existed when the cauldron was buried.
561:, the bearded man holds in each hand a much smaller figure by the arm. Each of those two reach upward toward a small boar. Under the feet of the figures (on the shoulders of the larger man) are a dog on the left side and a winged horse on the right side.
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could be interpreted after a Gaulish version of the beginning of the Irish "Tain", where Medb sets out to get the Donn bull after making a circuit around her army in her chariot to bring luck to the "Tain". Olmsted (1979) interprets the scene on Plate
1270:, a lion, a boy on a dolphin, and a bull, can be interpreted after the origin of the bulls of the Irish "Tain", who take on similar animal forms, fighting each other in each form, as indicated in the two lions fighting on the lower right of plate
172:
sections of a rounded rim at the top of the cauldron survive. The base plate is mostly smooth and undecorated inside and out, apart from a decorated round medallion in the centre of the interior. All the other plates are heavily decorated with
1324:
Taylor presents a more pancultural view of the cauldron's images; he concludes that the deities and scenes portrayed on the cauldron are not specific to one culture, but many. He compares Rhiannon, whom he thinks is the figure of plate
1099:, where he is shown as an antlered figure with torcs hanging from his antlers. Possibly the lost portion below his bust showed him seated cross-legged as the figure on the cauldron is. Otherwise there is evidence of a
905:
417:
and this fits with previous attempts at stylistic attribution, which identify at least three different silversmiths. Multiple artisans would also explain the highly variable purity and thickness of the silver.
1266:, the Irish war goddess who often changes into a carrion bird. Olmsted (1979, 1994) sees Cernunnos as Gaulish version of Irish Cu Chulainn. As Olmsted (1979) indicates, the scene on the upper right of plate
984:. Others regard the latter interpretations with great suspicion. Much less controversially, there are clear parallels between details of the figures and Iron Age Celtic artefacts excavated by archaeology.
668:
the left, appear respectively over and below each bull. After the Stowe version of the "Tain", Medb's men run forward to kill the Donn bull after his fight with Medb's "white-horned" bull, whom he kills.
1711:
Olmsted, Garrett S (1979), "The Gundestrup cauldron : its archaeological context, the style and iconography of its portrayed motifs and their narration of a Gaulish version of Táin Bó Cúailnge",
257:
tubes along the rim of the cauldron. It is assumed that there is a missing eighth plate because the circumference of the seven outer plates is smaller than the circumference of the five inner plates.
596:. Her left arm is horizontal, supporting a man and a dog lying on its back. Two birds of prey are situated on either side of her head. Her hair is being plaited by a small woman on the right.
373:
An examination of lead isotopes similar to the one used on the silver was employed for the tin. All of the samples of tin soldering are consistent in lead-isotope composition with ingots from
199:, and imagery. The techniques and elements of the style of the panels relate closely to other Thracian silver, while much of the depiction, in particular of the human figures, relates to the
1039:
worn by several figures, clearly of the "buffer" type, a fairly common Celtic artefact found in Western Europe, most often France, from the period the cauldron is thought to have been made.
1286:
as a Gaulish version of the Irish Tain incidents where Cu Chulainn kicks in the Morrigan's ribs when she comes at him as an eel and then confronts Fergus with his broken chariot wheel.
799:
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considered as the work of artisans over a span of several hundred years. The quality of the repairs to the cauldron, of which there are many, is inferior to the original craftsmanship.
575:, a male figure raises his empty fists. On his right shoulder is a man in a "boxing" position, and on his left shoulder, there is a leaping figure with a small horseman underneath.
603:, the female figure has her arms crossed. On her right shoulder, a scene of a man fighting a lion is shown. On her left shoulder is a leaping figure similar to the one on plate
1321:. Rhiannon is famous for her birds, whose songs could "awaken the dead and lull the living to sleep". In this role, Rhiannon could be considered the Goddess of the Otherworld.
848:
890:
1178:, down to the long garments they wear. The figure is usually the ruler, and the wings belong to a symbolic representation of a deity protecting him. Other plates show
109:
silver work (diameter: 69 cm (27 in); height: 42 cm (17 in)). It was found dismantled, with the other pieces stacked inside the base, in 1891, in a
1780:
679:
bearing spears and shields march to the left, bringing up the rear is a warrior with no shield, bearing a sword, and wearing a boar-crested helmet which resembles
2016:
1042:
Other details with more tentative Celtic links are the long swords carried by some figures, and the horned and antlered helmets or head-dresses and the
1424:
Nielsen, S; Andersen, J; Baker, J; Christensen, C; Glastrup, J; et al. (2005). "The Gundestrup cauldron: New scientific and technical investigations”,
1825:
464:, because the cauldron's metallurgy has been linked to the Black Sea and has elephants on it, the cauldron should no longer be considered Celtic.
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and various animal figures including boars, of uncertain function. The shield bosses, spurs and horse harness also relate to Celtic examples.
1590:
1674:
1163:, whose mobile owners provided a route for the very rapid transmission of motifs and objects between the civilizations of Asia and Europe.
2154:
2139:
660:, facing right. The wheel's spokes are rendered asymmetrically, but judging from the lower half, the wheel may have had twelve spokes.
220:
783:
774:
765:
756:
2129:
1029:"Their trumpets again are of a peculiar barbarian kind; they blow into them and produce a harsh sound which suits the tumult of war
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184:
pieces of glass for the eyes of figures. Other pieces of fittings were found. Altogether the weight is just under 9 kilograms.
714:
2083:
1155:
often shows animals, most often powerful and fierce ones, many of which are also very common in the ancient Near East, or the
366:
The gold can be sorted into two groups based on purity and separated by the concentration of silver and copper. The less pure
2100:
2064:
1065:
740:
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93:, thought to date from between 200 BC and 300 AD, or more narrowly between 150 BC and 1 BC. This places it within the late
381:. The tin used for soldering the plates and bowl together, as well as the glass eyes, is very uniform in its high purity.
342:
with the silverwork of other cultures, it has been suggested that the silver came from multiple ore deposits, mostly from
288:
Since the cauldron was found in pieces, it had to be reconstructed. The traditional order of the plates was determined by
2164:
1648:
1349:, whose depictions are often accompanied by elephants. Wheel gods are also cross-cultural with deities like Taranis and
927:
875:
176:
work, hammered from beneath to push out the silver. Other techniques were used to add detail, and there is extensive
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is also holding the rim of the wheel. Under the leaping figure is a horned serpent. The group is surrounded by three
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818:
224:
33:
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2010:
1992:
1957:
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crest worn on their helmet by some warriors. These can be related to Celtic artefacts such as a helmet with a
834:
2194:
1170:, each with a bird with outstretched wings just above their head, clearly resemble a common motif in ancient
54:
248:
The Gundestrup cauldron was discovered by peat cutters in a small peat bog called Rævemose (near the larger
1628:
Sandars, 252; Megaws, 174–175; Laings, 85, and 68–69 on the even larger, but very fragmentary, Brå cauldron
997:
2149:
1598:
187:
While the vessel was found in Denmark, it was probably not made there or nearby; it includes elements of
2020:
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157:
957:
937:
164:, with replicas at other museums; during 2015–16, it was in the UK on a travelling exhibition called
1207:
Because of the double-headed wolfish monster attacking the two small figures of fallen men on plate
445:
commissioned the cauldron from native Thracian silversmiths. According to classical historians, the
1587:
1059:
840:
1118:
and represented in a number of Iron Age images; there are also many wheels that seem to have been
2159:
1678:
1187:
motif, or held up empty at the side of the head in a way suggesting inspiration from this motif.
1576:
1480:
1433:
728:
2179:
1945:
1978:
1471:
Jouttijärvi, Arne (2009), "The Gundestrup Cauldron: Metallurgy and Manufacturing Techniques”,
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1201:
1166:
In particular, the two figures standing in profile flanking the large head on exterior plate
1096:
699:
384:
Finally, the glass inlays of the Gundestrup cauldron have been determined through the use of
277:
1142:-like felines, and various fantastic animals, as well as animals that are widespread across
2189:
2174:
2169:
1012:
players. The carnyx war horn was known from Roman descriptions of the Celts in battle and
720:
680:
339:
1016:, and a few pieces are known from archaeology, their number greatly increased by finds at
644:
The large bust of a bearded figure holding on to a broken wheel is at the centre of plate
8:
2144:
1077:
1258:. Olmsted also toys with the idea that the female figure flanked by two birds on plate
1255:
2184:
1337:
mythology. In addition, he points to the similarity between the female figure of plate
1013:
385:
292:, the first of many to analyze the cauldron. His logic uses the positions of the trace
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94:
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to be healed by his aunt and wife Morrigan. This incident is depicted on outer plate
1184:
988:
968:
For many years, some scholars have interpreted the cauldron's images in terms of the
915:
882:
360:
106:
488:
1367:
1227:, who was not only a warrior, but one associated with springs and healing besides.
1021:
977:
973:
858:
689:
204:
1523:
Bergquist, A K & Taylor, T F (1987), "The origin of the Gundestrup cauldron",
289:
2026:
Olmsted, Garrett (2001), "Celtic Art in Transition during the First Century BC",
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1171:
1160:
1055:
969:
953:
472:
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621:
shows an antlered male figure seated in a central position, often identified as
397:
2092:
The Gundestrup Cauldron: Cultural-Historical and Social-Historical Perspectives
1372:
949:
98:
90:
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1998:
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Olmsted (1979) interprets the scene with warriors on the lower part of Plate
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143:
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63:
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Among the most specific details that are clearly Celtic are the group of
897:
335:
232:, though we are unlikely ever to fully understand its original meanings.
208:
1263:
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shows a bearded figure holding a stag by the hind quarters in each hand.
441:
Taylor and Bergquist have postulated that the Celtic tribe known as the
425:
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bull and near its tail, seems to be dead, and is only faintly shown in
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the sheet-silver was annealed to allow shapes to be beaten into high
249:
212:
1782:
The Witch's Cauldron: The Craft, Lore & Magick of Ritual Vessels
1294:
episode, Fraech's body is then taken into the underworld by weeping
987:
Other details of the iconography clearly derive from the art of the
305:
1814:
NMD, "The Gundestrup Cauldron – The Cauldron of Fate?"; Megaws, 176
1377:
1314:
1131:
537:
Each of the seven exterior plates centrally depicts a bust. Plates
374:
110:
102:
2045:, Penguin (Pelican, now Yale, History of Art), 1968 (nb 1st edn.)
991:, and there are intriguing parallels with ancient India and later
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A set of careful full-size replicas have been made. One is in the
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1092:, who is named (the only source for the name) on the 1st-century
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A female figure holds a bird in her upraised right hand on plate
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122:
2074:, Inndbrucker Beitrage zur Kulterwissenschaft: Volume 92: 1994:
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facing left below, and above, two strange animals who look like
636:, the large bust of a torc-wearing female is flanked by two six-
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shoelaces on the antlered figure) identify it as Thracian work.
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show bearded male figures, and the remaining three are female.
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Another detail that is easily matched to archaeology is the
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Olmsted relates the scenes of the cauldron to those of the
1043:
1036:
809:
626:
481:
343:
188:
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219:
fragment from a bronze cauldron also found in Denmark, at
1491:
NMD, "The dating and origin of the silver cauldron"; Koch
1742:"Celtic Myths and Legends with Professor Ronald Hutton"
1309:
Both Olmsted and Taylor agree that the female of plate
338:
of lead/silver ores. By comparing the concentration of
244:
The central medallion of the base plate, from a replica
16:
Silver cauldron from Denmark dating to 200 BC to 300 AD
960:
is remarkably similar to the antlered figure of plate
1151:
who appears three times on the cauldron. The art of
1985:
Art of the Celts: From 700 BC to the Celtic Revival
1567:Taylor, Timothy (1992), "The Gundestrup cauldron",
1650:Celtic culture: a historical encyclopedia. Vol. 1-
1519:
1517:
1130:The many animals depicted on the cauldron include
1080:with his wheel and thunderbolt, and carrying torcs
918:motif; the Persian king subduing two Mesopotamian
203:, though attempts to relate the scenes closely to
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1146:, such as snakes, cattle, deer, boars and birds.
529:of the cauldron in technical and artistic terms.
2111:
1850:Ross, Ann (1967), "The Horned God in Britain ",
1223:. Another possibility is the Gaulish version of
1211:, parallels can be drawn to the Welsh character
976:as it is presented in much later literature in
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1106:The figure holding the broken wheel in plate
2072:The Gods of the Celts and the Indo-Europeans
1987:, 1992, Thames & Hudson (World of Art),
1114:, the solar or thunder "wheel-god" named by
207:remain controversial. Other aspects of the
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268:, and several are in France, including the
2023:, web section, accessed on 1 February 2016
1983:"Laings", Lloyd Laing and Jennifer Laing.
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1302:, which is adjacent and opposite to plate
2057:Thracian Tales on the Gundestrup Cauldron
1967:Celtic Culture: A Historical Encyclopedia
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1473:Materials and Manufacturing Processes, 24
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1024:wrote around 60–30 BC (Histories, 5.30):
568:holds in each hand a sea-horse or dragon.
78:Another view; from left, exterior plates
23:The Gundestrup Cauldron; exterior plates
1897:Megaws, 174–177, 160–163; Green, 100–103
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1242:, and the female and two males of plate
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498:
487:
471:
424:
396:
316:
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239:
73:
62:
18:
1778:
1692:
808:4th-century BC buffer-type Celtic
625:. In his right hand, Cernunnos holds a
392:
156:). It is now usually on display in the
2112:
1830:. John Wiley & Sons. p. 204.
1389:
2135:Archaeological discoveries in Denmark
1779:Zakroff, Laura Tempest (2017-05-08).
1760:Megaws, 175–176; NMD, "The bullfight"
1530:
1125:
1003:
589:is flanked by two smaller male busts.
113:near the hamlet of Gundestrup in the
2088:
1844:
1646:
681:helmets from later Germanic cultures
1827:The Blackwell Companion to Hinduism
1190:
648:. A smaller, leaping figure with a
13:
2049:
1952:, 1996, The Everyman Art Library,
1110:is more tentatively thought to be
611:
532:
40:
14:
2206:
2155:Thracian archaeological artifacts
2140:Germanic archaeological artifacts
1906:Green, 78, 135, 137, 147–148, 151
283:
1950:Celtic Art, Reading the Messages
1238:, the bull of the base plate is
1088:has been commonly identified as
926:
904:
889:
874:
847:
833:
817:
798:
782:
773:
764:
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739:
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105:is the largest known example of
39:
32:
2130:1891 archaeological discoveries
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1873:
1864:
1817:
1808:
1799:
1772:
1763:
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1734:
1725:
1667:
1640:
1631:
1262:could be Medb with her pets or
1234:, where the antlered figure is
1202:Hannibal's crossing of the Alps
270:Musée gallo-romain de Fourvière
225:wetland deposits in Scandinavia
1965:ed., "Gundestrup cauldron" in
1769:Sandars, 256; Laings, 83; Koch
1622:
1613:
1604:
1581:
1485:
467:
67:Another view; exterior plates
1:
1939:
1824:Gavin Flood (15 April 2008).
1084:The antlered figure in plate
520:, and the bull may have been
510:
313:with the famous horned figure
300:
274:Musée d'archéologie nationale
1675:"National Museum of Ireland"
1619:NMD; Green, 45, Sandars, 255
998:Proto-Indo-European religion
869:crest, around 4th century BC
792:Interpretation and parallels
386:X-ray fluorescence radiation
235:
7:
2005:, 1989, Thames and Hudson,
1599:National Museum of Scotland
1356:
1219:, a god of the sea and the
896:Thracian disc found in the
671:On the lower half of plate
585:The female figure on plate
492:Detail from interior plate
195:origin in the workmanship,
10:
2211:
2165:Treasure troves in Denmark
2021:National Museum of Denmark
1888:Megaws, 174–176; Green, 99
420:
325:with bull-slaying, replica
262:National Museum of Ireland
223:; however the exceptional
158:National Museum of Denmark
2095:. JIES Monograph No. 63.
2043:Prehistoric Art in Europe
2017:"The Gundestrup Cauldron"
958:Indus Valley civilization
881:Thracian plaque with the
58:Discovery site in Denmark
2125:1st-century BC artifacts
2120:2nd-century BC artifacts
1569:Scientific American, 266
1383:
1060:Torrs Pony-cap and Horns
841:Torrs Pony-cap and Horns
1999:Megaw, Ruth and Vincent
1785:. Llewellyn Worldwide.
1353:, a god from Hinduism.
1103:from several cultures.
683:. Behind him are three
460:According to Professor
2059:, 1991, Najade Press,
1713:Collection Latomus 162
1647:Koch, John T. (2006).
1601:, 10 Mar – 25 Sep 2016
1426:Acta Archaeologica, 76
1081:
965:
507:
496:
485:
434:
405:
326:
314:
245:
89:is a richly decorated
82:
71:
27:
1924:Koch; Megaws, 160–163
1879:Megaws, 174–176; Koch
1097:Pillar of the Boatmen
1068:
947:
914:seal impression with
824:Carnyx head from the
502:
491:
475:
428:
400:
320:
308:
278:Saint-Germain-en-Laye
243:
77:
66:
22:
2195:Ancient art in metal
2084:2019 revised version
2070:Garrett S. Olmsted,
2055:Kaul, Fleming (ed),
1852:Pagan Celtic Britain
721:Boar-helmeted figure
564:The figure on plate
524:. Below the bull is
393:Flow of raw material
55:class=notpageimage|
2089:Salo, Unto (2018).
2041:Sandars, Nancy K.,
2030:: Volume 12: 2001:
1020:in France in 2004.
140: /
87:Gundestrup cauldron
2150:Pre-Roman Iron Age
1969:, 2006, ABC-CLIO,
1593:2016-01-12 at the
1200:as a reference to
1126:Near East and Asia
1082:
1004:Celtic archaeology
966:
938:Ancient Greek vase
508:
497:
486:
435:
406:
327:
315:
246:
83:
72:
28:
2102:978-0-9845383-4-8
2065:978-9-073-83501-6
1870:Koch; Megaws, 176
1363:Celtic polytheism
1185:Master of Animals
989:ancient Near East
916:Master of Animals
883:Thracian horseman
107:European Iron Age
2202:
2106:
1934:
1931:
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1751:
1750:. 9 August 2023.
1738:
1732:
1729:
1723:
1709:
1690:
1689:
1687:
1686:
1677:. Archived from
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1436:
1422:
1368:Migration Period
1256:Fergus mac RĂłich
1232:Táin Bó Cuailnge
1191:Celtic mythology
1022:Diodorus Siculus
978:Celtic languages
974:Celtic mythology
930:
908:
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878:
851:
837:
821:
802:
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690:Welsh literature
359:originated as a
272:at Lyon and the
211:derive from the
205:Celtic mythology
180:and some use of
155:
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145:
144:56.817°N 9.550°E
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97:period or early
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1595:Wayback Machine
1588:Exhibition page
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1359:
1333:, an ogress of
1193:
1161:Eurasian steppe
1128:
1056:Waterloo Helmet
1014:Trajan's Column
1006:
954:Lord of Animals
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2160:Silver objects
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2013:
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1981:
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1946:Green, Miranda
1941:
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1933:Green, 135–139
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1915:Green, 147–149
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1373:Pashupati seal
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972:pantheon, and
950:Pashupati Seal
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99:Roman Iron Age
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2180:Cattle in art
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2028:Archaeolingua
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1681:on 2015-06-28
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290:Sophus MĂĽller
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91:silver vessel
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2002:
1984:
1979:google books
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1683:. Retrieved
1679:the original
1669:
1653:. ABC-CLIO.
1649:
1642:
1633:
1624:
1615:
1606:
1583:
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1525:Antiquity 61
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1157:Scythian art
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857:helmet from
706:
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350:and western
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84:
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68:
24:
2190:Magic items
2175:Deer in art
2170:Dogs in art
1997:"Megaws" =
1475:: 960–966.
1236:CĂş Chulainn
1176:Persian art
1094:Gallo-Roman
1070:Gallo-Roman
1050:crest from
956:) from the
898:Netherlands
812:from France
468:Iconography
377:in western
354:in the pre-
336:cupellation
209:iconography
147: /
2145:Celtic art
2114:Categories
2036:9638046376
2011:0500050503
2003:Celtic Art
1993:0500202567
1963:Koch, John
1958:0297833650
1940:References
1805:Green, 137
1685:2010-08-22
1319:Mabinogion
1221:Otherworld
1148:Celtic art
1101:horned god
1072:figure of
912:Achaemenid
511:Base plate
301:Metallurgy
230:Celtic art
197:metallurgy
162:Copenhagen
119:Himmerland
117:parish of
69:d, e, c, f
47:Gundestrup
2185:Cauldrons
1731:Green, 45
1637:Green, 84
1610:Koch; NMD
1577:0036-8733
1571:: 84–89.
1481:1042-6914
1434:0065-101X
1313:might be
1296:banchuire
1213:Manawydan
1132:elephants
1090:Cernunnos
1018:Tintignac
980:from the
859:Satu Mare
826:Tintignac
641:125–126).
632:On plate
623:Cernunnos
599:On plate
571:On plate
557:On plate
526:scrolling
518:engraving
443:Scordisci
433:, replica
346:northern
250:Borremose
236:Discovery
213:Near East
166:The Celts
2015:"NMD" =
1591:Archived
1527:: 10–24.
1428:: 1–58.
1378:Gutasaga
1357:See also
1345:goddess
1341:and the
1335:Bactrian
1315:Rhiannon
1264:MorrĂgan
1217:Manannán
1180:griffins
1172:Assyrian
677:warriors
654:griffins
411:repoussé
375:Cornwall
193:Thracian
174:repoussé
111:peat bog
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