Spirit of Equinox Witches Broth Cauldron Soup Bowl

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The word cauldron is first recorded in Middle English as caudroun (13th century). It was borrowed from Norman caudron [1] ( Picard caudron, French: chaudron). It represents the phonetical evolution of Vulgar Latin *caldario for Classical Latin caldārium "hot bath", that derives from cal(i)dus "hot". [1] On plate g, 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 c.

In addition, there is a piece of iron from a ring originally placed inside the silver tubes along the rim of the cauldron. [1] [2] 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. [1] [2] [4] [5]

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Kaul, Fleming (ed), Thracian Tales on the Gundestrup Cauldron, 1991, Najade Press, ISBN 9073835011, 9789073835016 Another detail that is easily matched to archaeology is the torc 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. [25] The large bust of a bearded figure holding on to a broken wheel is at the centre of plate C. A smaller, leaping figure with a horned helmet is also holding the rim of the wheel. Under the leaping figure is a horned serpent. The group is surrounded by three griffins facing left below, and above, two strange animals who look like hyenas, [19] facing right. The wheel's spokes are rendered asymmetrically, but judging from the lower half, the wheel may have had twelve spokes.

For many years, some scholars have interpreted the cauldron's images in terms of the Celtic pantheon, and Celtic mythology as it is presented in much later literature in Celtic languages from the British Isles. Others regard the latter interpretations with great suspicion. [23] Much less controversially, there are clear parallels between details of the figures and Iron Age Celtic artefacts excavated by archaeology. [24] a b c d e f g h i j k l m n o Nielsen, S; Andersen, J; Baker, J; Christensen, C; Glastrup, J; et al. (2005). "The Gundestrup cauldron: New scientific and technical investigations”, Acta Archaeologica, 76: 1–58. ISSN 0065-101X Is it possible that the cauldron served some magic ritual or religious celebration? The Celts, like other ancient peoples, connected their daily lives to their gods, nature, and magic. Scientists discovered a substance on the inside of the cauldron. After a chemical analysis, it turned out to be beeswax ( Nielsen et al.: 5). In ancient days people often used wax as a waterproofing agent. This may indicate that some kind of liquid was put into the cauldron. What the liquid was is pure speculation. 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 boar crest worn on their helmet by some warriors. These can be related to Celtic artefacts such as a helmet with a raptor crest from Romania, the Waterloo Helmet, Torrs Pony-cap and Horns and various animal figures including boars, of uncertain function. The shield bosses, spurs and horse harness also relate to Celtic examples. [26] Gallo-Roman figure of Taranis/ Jupiter with his wheel and thunderbolt, and carrying torcs By tracing the movements of the Celts, we may be able to glean some information about the potential history of the Gundestrup cauldron. Trade and migrations had been taking place across vast distances between the east and west well before the creation of the cauldron. During the “great Celtic migration” in 279 BCE, the Celts from the west invaded the Balkans, which included Thrace (Bulgaria and parts of Turkey and Greece). From there they moved into Anatolia (Turkey). They established themselves in upper Anatolia, which the locals would call Galatia. Those Celts became known as the Galatians (Gauls). Celtic presence in Galatia was long-lived, and because the Galatians were adept warriors, many regional forces hired Celts to fight battles in the Thracian region and into West Asia Minor.The common translation for ding is often referred to as a cauldron. In Chinese history and culture, possession of one or more ancient dings is often associated with power and dominion over the land. Therefore, the ding is often used as an implicit symbolism for power. The term "inquiring of the ding" (Chinese: 问鼎; pinyin: wèn dǐng) is often used to symbolize the use of divination or for the quest for power. One example of the ding cauldron and gaining power over the traditional provinces of China is the Nine Tripod Cauldrons (whether regarded as myth or history). Koch, John ed., "Gundestrup cauldron" in Celtic Culture: A Historical Encyclopedia, 2006, ABC-CLIO, ISBN 1851094407, 9781851094400, google books

NMD" = "The Gundestrup Cauldron", National Museum of Denmark, web section, accessed on 1 February 2016 On plate B, the large bust of a torc-wearing female is flanked by two six- spoked 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: 125–126). Laings", Lloyd Laing and Jennifer Laing. Art of the Celts: From 700 BC to the Celtic Revival, 1992, Thames & Hudson (World of Art), ISBN 0500202567 a b c d e f g h i j k l m n o p Taylor, Timothy (1992), "The Gundestrup cauldron", Scientific American, 266: 84–89. ISSN 0036-8733

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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. [14] At the time that the Gundestrup cauldron was created, silver was obtained through cupellation of lead/silver ores. [2] By comparing the concentration of lead isotopes with the silverwork of other cultures, it has been suggested that the silver came from multiple ore deposits, mostly from Celtic northern France and western Germany in the pre- Roman 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. [1] [2] Specifically, the circular "base plate" may have originated as a phalera, 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. [5] By an alternative theory, this phalera was not initially part of the bowl, but instead formed part of the decorations of a wooden cover. [5]

a b c d e f g 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", Collection Latomus 162 [Latomus: Bruxelle 1979]. ISBN 2-87031-102-8Their trumpets again are of a peculiar barbarian kind; they blow into them and produce a harsh sound which suits the tumult of war" a b c d e f g h i j k l m n Jouttijärvi, Arne (2009), "The Gundestrup Cauldron: Metallurgy and Manufacturing Techniques”, Materials and Manufacturing Processes, 24: 960–966. ISSN 1042-6914 This section contains an unencyclopedic or excessive gallery of images. Please help improve the section by removing excessive or indiscriminate images or by moving relevant images beside adjacent text, in accordance with the Manual of Style on use of images. ( Learn how and when to remove this template message)