The Gundestrup cauldron is a richly decorated silver vessel, 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 La Tène period or early Roman Iron Age. The cauldron is the largest known example of European Iron Age 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 peat bog near the hamlet of Gundestrup in the Aars parish of Himmerland, Denmark (). It is now usually on display in the National Museum of Denmark in Copenhagen, with replicas at other museums; it was in the UK on a travelling exhibition called The Celts during 2015–2016. 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 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 repoussé work, hammered from beneath to push out the silver. Other techniques were used to add detail, and there is extensive gilding and some use of inlaid pieces of glass for the eyes of figures. Other pieces of fittings were found. Altogether it weighs just under 9 kilograms (20 lb). While the vessel was found in Denmark, it was probably not made there or nearby; it includes elements of Gaulish and Thracian origin in the workmanship, metallurgy, 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 Celts, though attempts to relate the scenes closely to Celtic mythology remain controversial. Other aspects of the iconography derive from the Near East. 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 fragment from a bronze cauldron also found in Denmark, at Rynkeby; however the exceptional wetland deposits in Scandinavia 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 Celtic art, though we are unlikely ever to fully understand its original meanings.
Discovery
The Gundestrup cauldron was discovered by peat cutters in a small peat bog called "Rævemose" (near the larger "Borremose" 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 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. The cauldron was found in a dismantled state with five long rectangular plates, seven short plates, one round plate (normally called 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 tubes along the rim of the cauldron. It is assumed that an eighth short plate is missing because the circumference of the seven outer plates is smaller than the circumference of the five inner plates. A set of careful full-size replicas have been made. One is in the National Museum of Ireland, and several are in France, including the Musée gallo-romain de Fourvière at Lyon and the Musée d'archéologie nationale at Saint-Germain-en-Laye.
Reconstruction Since the cauldron was found in pieces, it had to be reconstructed. The traditional order of the plates was determined by Sophus Müller, the first of many to analyze the cauldron. His logic uses the positions of the trace solder 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 with Müller's ordering, however. Timothy 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 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.
Metallurgy
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