Bibliography
Brigitte
Fischer
Works authored
Contributions to journals
Fischer, Brigitte, “Quelques aspects des liens entre monnaie et religion en Gaule”, Études Celtiques 39 (2013): 109–122.
abstract:
[FR] L’absence de littérature religieuse en Gaule nous contraint à chercher des informations dans le domaine de l’archéologie. Les monnaies, qui offrent le répertoire le plus riche de l’art celtique, sont pour nous des témoins privilégiés. Elles ont naturellement servi d’offrandes aux dieux et les innombrables décors de leurs deux faces permettent de connaître des éléments de rituel. Certaines images évoquent des récits mythologiques transmis par les textes celtiques tardifs. Des objets très divers : armes, vaisselle, bijoux, sculptures… présentent des décors identiques à ceux des monnaies et permettent de penser que le but de ces représentations est le même, quel que soit le support : transmettre des messages religieux, philosophiques. Dans cette civilisation, il semble que l’enseignement par l’image se substitue à l’enseignement habituellement véhiculé par la littérature.
[EN] Some aspects of the links between coinage and religion in Gaul.
Since there is no religious literature in Gaul, we have to look for information in the archaelogical field. The richest patterns in Celtic art are to be found on the coins, which are especially interesting for us. These coins have been used as offerings for the gods and thanks to their ornamentation on the obverses as well as on the reverses, we get to know some aspects of the ritual. Some scenes seem to be related to mythological stories which were transmitted by the late Celtic literature. Various objects : weapons, table-ware, jewels, sculptures… offer patterns similar to the ones which ornate the coins. So, the aim was probably the same : religious and philosophical messages were transmitted this way. In this civilization, it seems that the pictures replaced the traditional teaching delivered through literature.
[EN] Some aspects of the links between coinage and religion in Gaul.
Since there is no religious literature in Gaul, we have to look for information in the archaelogical field. The richest patterns in Celtic art are to be found on the coins, which are especially interesting for us. These coins have been used as offerings for the gods and thanks to their ornamentation on the obverses as well as on the reverses, we get to know some aspects of the ritual. Some scenes seem to be related to mythological stories which were transmitted by the late Celtic literature. Various objects : weapons, table-ware, jewels, sculptures… offer patterns similar to the ones which ornate the coins. So, the aim was probably the same : religious and philosophical messages were transmitted this way. In this civilization, it seems that the pictures replaced the traditional teaching delivered through literature.
Persée – Études Celtiques, vol. 39, 2013: <link>
abstract:
[FR] L’absence de littérature religieuse en Gaule nous contraint à chercher des informations dans le domaine de l’archéologie. Les monnaies, qui offrent le répertoire le plus riche de l’art celtique, sont pour nous des témoins privilégiés. Elles ont naturellement servi d’offrandes aux dieux et les innombrables décors de leurs deux faces permettent de connaître des éléments de rituel. Certaines images évoquent des récits mythologiques transmis par les textes celtiques tardifs. Des objets très divers : armes, vaisselle, bijoux, sculptures… présentent des décors identiques à ceux des monnaies et permettent de penser que le but de ces représentations est le même, quel que soit le support : transmettre des messages religieux, philosophiques. Dans cette civilisation, il semble que l’enseignement par l’image se substitue à l’enseignement habituellement véhiculé par la littérature.
[EN] Some aspects of the links between coinage and religion in Gaul.
Since there is no religious literature in Gaul, we have to look for information in the archaelogical field. The richest patterns in Celtic art are to be found on the coins, which are especially interesting for us. These coins have been used as offerings for the gods and thanks to their ornamentation on the obverses as well as on the reverses, we get to know some aspects of the ritual. Some scenes seem to be related to mythological stories which were transmitted by the late Celtic literature. Various objects : weapons, table-ware, jewels, sculptures… offer patterns similar to the ones which ornate the coins. So, the aim was probably the same : religious and philosophical messages were transmitted this way. In this civilization, it seems that the pictures replaced the traditional teaching delivered through literature.
[EN] Some aspects of the links between coinage and religion in Gaul.
Since there is no religious literature in Gaul, we have to look for information in the archaelogical field. The richest patterns in Celtic art are to be found on the coins, which are especially interesting for us. These coins have been used as offerings for the gods and thanks to their ornamentation on the obverses as well as on the reverses, we get to know some aspects of the ritual. Some scenes seem to be related to mythological stories which were transmitted by the late Celtic literature. Various objects : weapons, table-ware, jewels, sculptures… offer patterns similar to the ones which ornate the coins. So, the aim was probably the same : religious and philosophical messages were transmitted this way. In this civilization, it seems that the pictures replaced the traditional teaching delivered through literature.
Fischer, Brigitte, “Les animaux sur les monnaies gauloises”, Études Celtiques 37 (2011): 111–117.
abstract:
[FR] Almost every year new articles dealing with the Gundestrup Cauldron occur. The place of origin has been the main issue of the discussion. Two areas have been preferred : present day France and the areas around Lower Danube. The reason for this divergence is the ambivalence of the testimony provided by the cauldron itself : on one hand the style and workmanship is clearly Thracian, on the other, some of the motifs and objects depicted are Celtic. But many of these Celtic features (shields, carnyces, etc.) occur both in Western and SE-Europe. The style and technique however provide more decisive arguments : the cauldron shows so many close similarities with the Thracian art style that it is clear that it must be a piece of Thracian workmanship. Nowhere in the West do we find a well-established tradition of gilded silver repoussé works in the centuries before the birth of Christ. Amongst characteristic details which are typical of Thracian art, one could mention the way of depicting fur on animals. The cauldron displays a perplexing mixture of Celtic and Thracian elements. Its shape is Celtic, the workmanship Thracian. The antlered god is known as a Celtic god, but is wearing a Thracian garment and a Celtic torque and is surrounded by Thracian animals. On other plates we see torques, both Celtic and clearly non-Celtic – and so forth. If we accept this ambiguity in the evidence, we should not try to argue for a Thracian or a Celtic origin, but use the cultural ambiguity which it expresses as a positive base for understanding its cultural and historical background and accept that two different peoples were involved. One should thus ask where there existed an archaeological scenario which can satisfy the Gundestrup Cauldron’s requirement for cultural coexistence between a Celtic and Thracian tribe. Both archaeological evidence and historical sources hint at a cultural mixture or symbiosis between Thracians and the Celtic Scordisci during the 2nd century BC in NE-Bulgaria and SE-Romania.
[EN] The animals are exceptionally numerous on the Gallic coins. They can be realistic, fanciful or completely imagined. Originally, the Greek prototypes were ornated with horses on their reverses. These animals are the most numerous ones, sometimes associated with birds, wolves… The wild boar comes at the second place, followed by the lion, borrowed from the Massilian drachms ; the wolf and the bull are quite numerous too, as well as the birds which appear especially in Central Gaul. It’s mostly as war symbols that these animals were chosen. Some of them suggested fecundity and prosperity. The coins were privileged means of propaganda and a prestige selection was made to ornate them.
[EN] The animals are exceptionally numerous on the Gallic coins. They can be realistic, fanciful or completely imagined. Originally, the Greek prototypes were ornated with horses on their reverses. These animals are the most numerous ones, sometimes associated with birds, wolves… The wild boar comes at the second place, followed by the lion, borrowed from the Massilian drachms ; the wolf and the bull are quite numerous too, as well as the birds which appear especially in Central Gaul. It’s mostly as war symbols that these animals were chosen. Some of them suggested fecundity and prosperity. The coins were privileged means of propaganda and a prestige selection was made to ornate them.
Persée – Études Celtiques, vol. 37, 2011: <link>
abstract:
[FR] Almost every year new articles dealing with the Gundestrup Cauldron occur. The place of origin has been the main issue of the discussion. Two areas have been preferred : present day France and the areas around Lower Danube. The reason for this divergence is the ambivalence of the testimony provided by the cauldron itself : on one hand the style and workmanship is clearly Thracian, on the other, some of the motifs and objects depicted are Celtic. But many of these Celtic features (shields, carnyces, etc.) occur both in Western and SE-Europe. The style and technique however provide more decisive arguments : the cauldron shows so many close similarities with the Thracian art style that it is clear that it must be a piece of Thracian workmanship. Nowhere in the West do we find a well-established tradition of gilded silver repoussé works in the centuries before the birth of Christ. Amongst characteristic details which are typical of Thracian art, one could mention the way of depicting fur on animals. The cauldron displays a perplexing mixture of Celtic and Thracian elements. Its shape is Celtic, the workmanship Thracian. The antlered god is known as a Celtic god, but is wearing a Thracian garment and a Celtic torque and is surrounded by Thracian animals. On other plates we see torques, both Celtic and clearly non-Celtic – and so forth. If we accept this ambiguity in the evidence, we should not try to argue for a Thracian or a Celtic origin, but use the cultural ambiguity which it expresses as a positive base for understanding its cultural and historical background and accept that two different peoples were involved. One should thus ask where there existed an archaeological scenario which can satisfy the Gundestrup Cauldron’s requirement for cultural coexistence between a Celtic and Thracian tribe. Both archaeological evidence and historical sources hint at a cultural mixture or symbiosis between Thracians and the Celtic Scordisci during the 2nd century BC in NE-Bulgaria and SE-Romania.
[EN] The animals are exceptionally numerous on the Gallic coins. They can be realistic, fanciful or completely imagined. Originally, the Greek prototypes were ornated with horses on their reverses. These animals are the most numerous ones, sometimes associated with birds, wolves… The wild boar comes at the second place, followed by the lion, borrowed from the Massilian drachms ; the wolf and the bull are quite numerous too, as well as the birds which appear especially in Central Gaul. It’s mostly as war symbols that these animals were chosen. Some of them suggested fecundity and prosperity. The coins were privileged means of propaganda and a prestige selection was made to ornate them.
[EN] The animals are exceptionally numerous on the Gallic coins. They can be realistic, fanciful or completely imagined. Originally, the Greek prototypes were ornated with horses on their reverses. These animals are the most numerous ones, sometimes associated with birds, wolves… The wild boar comes at the second place, followed by the lion, borrowed from the Massilian drachms ; the wolf and the bull are quite numerous too, as well as the birds which appear especially in Central Gaul. It’s mostly as war symbols that these animals were chosen. Some of them suggested fecundity and prosperity. The coins were privileged means of propaganda and a prestige selection was made to ornate them.
Fischer, Brigitte, “La vie des Gaulois à travers leurs monnaies”, Études Celtiques 35 (2003): 25–32.
abstract:
[FR] Les images monétaires enrichissent nos connaissances sur la civilisation des Gaulois en différents domaines : vie quotidienne, religion, agriculture, élevage, pratiques guerrières et armement. L’interprétation de cette documentation si riche permettra peu à peu de pallier la rareté des textes.
[EN] Gaulish life as seen through their coinage.
Thanks to the coinage iconography, we get to know more about the Gallic civilization in various fields : daily life, religion, agriculture, cattle-breeding, war and weapons. The interpretation of this rich documentation will gradually palliate the lack of littérature.
[EN] Gaulish life as seen through their coinage.
Thanks to the coinage iconography, we get to know more about the Gallic civilization in various fields : daily life, religion, agriculture, cattle-breeding, war and weapons. The interpretation of this rich documentation will gradually palliate the lack of littérature.
Persée – Études Celtiques, vol. 35, 2003: <link>
abstract:
[FR] Les images monétaires enrichissent nos connaissances sur la civilisation des Gaulois en différents domaines : vie quotidienne, religion, agriculture, élevage, pratiques guerrières et armement. L’interprétation de cette documentation si riche permettra peu à peu de pallier la rareté des textes.
[EN] Gaulish life as seen through their coinage.
Thanks to the coinage iconography, we get to know more about the Gallic civilization in various fields : daily life, religion, agriculture, cattle-breeding, war and weapons. The interpretation of this rich documentation will gradually palliate the lack of littérature.
[EN] Gaulish life as seen through their coinage.
Thanks to the coinage iconography, we get to know more about the Gallic civilization in various fields : daily life, religion, agriculture, cattle-breeding, war and weapons. The interpretation of this rich documentation will gradually palliate the lack of littérature.
Fischer, Brigitte, and Paul-Francis Jaquier, “Nouvelles oboles de Narbonnaise”, Études Celtiques 32 (1996): 73–86.
abstract:
[FR] Des petites monnaies d’argent, récemment apparues sur le marché, ont été recueillies sur l'oppidum de Montlaurés et à Ensérune. Elles ont pour modèles des pièces puniques, ampuritaines et massaliotes. Vingt-deux exemplaires sont actuellement connus. Ils ont été réalisés selon deux modes de fabrication : la technique des monnaies à la croix et la méthode traditionnelle des flans coulés, puis frappés. Ce numéraire est de petit module et de poids faible : 0,62 à 0,28 g. Il paraît datable de la fin du IIe siècle avant J.-C. et du début du Ir siècle avant J.-C.
[EN] New Obols from Narbonnensis.
Small new silver coins came out recently. They were found on the hill-fort of Montlaurès and at Ensérune. Their prototypes are coins from the Punic world, Ampurias and Massalia. The 22 coins which are known at the present time have been struck according to two different methods : one is the traditional method of blanks made in a mould and then stamped. This coinage is small and light : the weights range between 0,62 and 0,28g. It seems that it has been issued in the end of the IInd century and the beginning of the Ist century B.C.
[EN] New Obols from Narbonnensis.
Small new silver coins came out recently. They were found on the hill-fort of Montlaurès and at Ensérune. Their prototypes are coins from the Punic world, Ampurias and Massalia. The 22 coins which are known at the present time have been struck according to two different methods : one is the traditional method of blanks made in a mould and then stamped. This coinage is small and light : the weights range between 0,62 and 0,28g. It seems that it has been issued in the end of the IInd century and the beginning of the Ist century B.C.
Persée – Études Celtiques, vol. 32, 1996: <link>
abstract:
[FR] Des petites monnaies d’argent, récemment apparues sur le marché, ont été recueillies sur l'oppidum de Montlaurés et à Ensérune. Elles ont pour modèles des pièces puniques, ampuritaines et massaliotes. Vingt-deux exemplaires sont actuellement connus. Ils ont été réalisés selon deux modes de fabrication : la technique des monnaies à la croix et la méthode traditionnelle des flans coulés, puis frappés. Ce numéraire est de petit module et de poids faible : 0,62 à 0,28 g. Il paraît datable de la fin du IIe siècle avant J.-C. et du début du Ir siècle avant J.-C.
[EN] New Obols from Narbonnensis.
Small new silver coins came out recently. They were found on the hill-fort of Montlaurès and at Ensérune. Their prototypes are coins from the Punic world, Ampurias and Massalia. The 22 coins which are known at the present time have been struck according to two different methods : one is the traditional method of blanks made in a mould and then stamped. This coinage is small and light : the weights range between 0,62 and 0,28g. It seems that it has been issued in the end of the IInd century and the beginning of the Ist century B.C.
[EN] New Obols from Narbonnensis.
Small new silver coins came out recently. They were found on the hill-fort of Montlaurès and at Ensérune. Their prototypes are coins from the Punic world, Ampurias and Massalia. The 22 coins which are known at the present time have been struck according to two different methods : one is the traditional method of blanks made in a mould and then stamped. This coinage is small and light : the weights range between 0,62 and 0,28g. It seems that it has been issued in the end of the IInd century and the beginning of the Ist century B.C.
Fischer, Brigitte, “Les différents monétaires des premières imitations du statère de Philippe II de Macédoine”, Études Celtiques 28 (1991): 137–156.
abstract:
[FR] L’étude des différents monétaires empruntés aux statères de Philippe II de Macédoine qui ornent les premières pièces d’or celtiques, révèle que le début des émissions gauloises est postérieur à la mort du souverain macédonien. A l’origine, les imitations sont parfaites, à l’exception d’une très courte série sur laquelle une légende originale en caractères romains a été substituée à l’inscription ΦΙΛΙΠΠΟΥ. Les prototypes retrouvés en Gaule sont rares. Le type le plus copié, qui comporte le foudre, le monogramme et l’épi de blé, n’a jamais été recueilli sur notre sol.
[EN] The sequence-marks of the first imitations of the stater of Philippus II
Sequence-marks ornate the staters of Philippus II. The study of these patterns, which have been copied on the first Celtic gold coins, shows that the beginnings of the Gallic coinage is datable after the death of this king. The imitations are perfect at first, except for a very limited coinage, on which a Celtic inscription written in Roman letters, replaces the word ΦΙΛΙΠΠΟΥ. The finds of Macedonian staters in Gaul are exceptional. The variety with a thunderbolt, the monogram and the ear of corn is the one which has been the most imitated by the Gauls, it has never been found in France.
[EN] The sequence-marks of the first imitations of the stater of Philippus II
Sequence-marks ornate the staters of Philippus II. The study of these patterns, which have been copied on the first Celtic gold coins, shows that the beginnings of the Gallic coinage is datable after the death of this king. The imitations are perfect at first, except for a very limited coinage, on which a Celtic inscription written in Roman letters, replaces the word ΦΙΛΙΠΠΟΥ. The finds of Macedonian staters in Gaul are exceptional. The variety with a thunderbolt, the monogram and the ear of corn is the one which has been the most imitated by the Gauls, it has never been found in France.
– Études Celtiques, vol. 28, 1991: <link>
abstract:
[FR] L’étude des différents monétaires empruntés aux statères de Philippe II de Macédoine qui ornent les premières pièces d’or celtiques, révèle que le début des émissions gauloises est postérieur à la mort du souverain macédonien. A l’origine, les imitations sont parfaites, à l’exception d’une très courte série sur laquelle une légende originale en caractères romains a été substituée à l’inscription ΦΙΛΙΠΠΟΥ. Les prototypes retrouvés en Gaule sont rares. Le type le plus copié, qui comporte le foudre, le monogramme et l’épi de blé, n’a jamais été recueilli sur notre sol.
[EN] The sequence-marks of the first imitations of the stater of Philippus II
Sequence-marks ornate the staters of Philippus II. The study of these patterns, which have been copied on the first Celtic gold coins, shows that the beginnings of the Gallic coinage is datable after the death of this king. The imitations are perfect at first, except for a very limited coinage, on which a Celtic inscription written in Roman letters, replaces the word ΦΙΛΙΠΠΟΥ. The finds of Macedonian staters in Gaul are exceptional. The variety with a thunderbolt, the monogram and the ear of corn is the one which has been the most imitated by the Gauls, it has never been found in France.
[EN] The sequence-marks of the first imitations of the stater of Philippus II
Sequence-marks ornate the staters of Philippus II. The study of these patterns, which have been copied on the first Celtic gold coins, shows that the beginnings of the Gallic coinage is datable after the death of this king. The imitations are perfect at first, except for a very limited coinage, on which a Celtic inscription written in Roman letters, replaces the word ΦΙΛΙΠΠΟΥ. The finds of Macedonian staters in Gaul are exceptional. The variety with a thunderbolt, the monogram and the ear of corn is the one which has been the most imitated by the Gauls, it has never been found in France.
Fischer, Brigitte, “Le premier monnayage des Sequani”, Études Celtiques 25 (1988): 69–78.
Persée – Études Celtiques, vol. 25, 1988: <link>
Fischer, Brigitte, “Le trésor monétaire gaulois de Levroux (Indre)”, Études Celtiques 22 (1985): 73–80.
Persée – Études Celtiques, vol. 22, 1985: <link>
Fischer, Brigitte, and Fernand Malacher, “Les monnaies gauloises de La Chapelle-Laurent (Cantal)”, Études Celtiques 21 (1984): 119–127.
Persée – Études Celtiques, vol. 21, 1984: <link>
