The ancient writers dwelt upon the terrifying effect an army of Celts had on their opponents; their great stature, their wild cries,
their gesticulations and prancings, the clashing of arms and blowing of trumpets - all combined to terrify and confuse the enemy.
As long as these demonstrations of enthusiasm and bravado struck terror into the foe, the Celts would drive all before them.
'For they were always most formidable while they were fresh.' The whole race is war-mad, says Strabo, high-spirited and
quick to fight, but otherwise straightforward and not at all of evil character. When the two armies were arrayed in line, the loud
voice of the Celtic chief could sometimes be heard. 'For they were accustomed ... to come forward before the front line and
challenge the bravest of the enemy drawn up opposite them to single combat, brandishing their weapons and terrifying the
enemy. Whenever one accepts the challenge, they praise in song the manly virtues of their ancestors, proclaiming also their own
brave deeds. At the same time they abuse and belittle their opponent, trying by their words to rob him of his boldness of spirit
beforehand.' The story of how Marcus Claudius Marcellus killed a Gallic leader at Clastidium (222 BC) is typical of such
encounters. Advancing with a smallish army, Marcellus met a combined force of Insubrian Gauls and Gaesatae at Clastidium.
The Gallic army advanced with the usual rush and terrifying cries, and their king, Britomartus, picking out Marcellus by means
of his badges of rank, made for him, shouting a challenge and brandishing his spear. Britomartus was an outstanding figure not
only for his size but also for his adornments; for he was resplendent in bright colours and his armour shone with gold and silver.
This armour, thought Marcellus, would be a fitting offering to the gods. He charged the Gaul, pierced his bright breastplate and
cast him to the ground. It was an easy task to kill Britomartus and strip him of his armour. These spoils Marcellus offered to
Jupiter. This is the only story of its kind in which the name of the Celtic chief is recorded. In their attempts to throw the enemy
into confusion and terror, the Celts made great use of noise. They yelled their war cries as they advanced, howling and singing
and brandishing their spears.
Livy, in two different contexts, distant in time and place, vividly depicts the noise accompanying their mad rush into battle.
Describing the battle of the river Allia, he says: 'they are given to wild outbursts and they fill the air with hideous songs and
varied shouts.' Of the Gauls in Asia he writes: 'their songs as they go into battle, their yells and leapings, and the dreadful noise
of arms as they beat their shields in some ancestral custom - all this is done with one purpose, to terrify their enemies.' In sharp
contrast to the wild onset of the Celts, which was evident also during their invasion of Greece, was the silent, orderly advance
of the Greek army. When the Gauls defeated the Roman army at the river Allia, they marched on Rome. 'They arrived at the
city and entered at first in fear lest there should be some treachery, but then, when they saw that the city was deserted, they
moved forward with equal noise and impetuosity.'
On another occasion the Romans experienced a new form of noisy warfare: 'for standing up in chariots and wagons, the armed
enemies came at them with the great noise of hooves and wheels so that the unfamiliar din terrified the horses of the Romans.'
There was also the noise of trumpets. At the battle of Telamon the number of trumpeters and horn blowers was incalculable.
Diodorus Siculus says they had trumpets peculiar to barbarians: 'for when they blow upon them, they produce a harsh sound,
suitable to the tumult of war.' The Gauls also had their shouts of victory and triumph. 'They shouted "Victory, Victory" in their
customary fashion and raised their yell of triumph (Ululatus)', and at Alesia 'they encouraged their men with shouts of triumph
(Clamore et Ululatu)'. There are several representations of Celtic trumpets on classical sculpture, most notably at Pergamon in
Asia Minor, and on the triumphal arch at Orange in southern France, and a few fragments of actual trumpets have survived. The
mouth of a trumpet shaped in the manner of a boar's head was found in 1816 at Deskford (Banffshire, Grampian); although the
trumpet itself no longer survives, the mouth may be compared with the representations on the cauldron from Gundestrup in
Denmark, where the sectional nature of the trumpet construction is clearly shown. The Deskford trumpet may originally have
had ears and a mane rather like the Gundestrup examples; when first discovered, however, it retained a movable wooden
'tongue' which may have added vibration to the strident sounds blown from it. The Deskford piece is usually dated to the
middle of the first century AD. Among the earlier representations of trumpets are those from the temple of Athena Polias
Nikephoros at Pergamon in Asia Minor dating to about 181 BC and celebrating the victories of Attalus I over the Galatian
tribes in the late third century BC. Trumpets, shields, standards, indeed all the trophies are set out in a great display of spoils of
war on the triumphal arch at Orange. The large number of trumpets shown at Orange underlines the impression of great noise
during battle given by the classical writers. As already mentioned, Polybius describes a contingent of Gaesatae (sometimes
taken as mercenaries, now more often as spearmen, which took part in the battle of Telamon; they came from beyond the Alps
to help the Gauls already in north Italy (for example the Boii and the Insubres).
The Celts of north Italy wore trousers and cloaks, but the Gaesatae fought naked. At the battle of Cannae (216 BC) Polybius
describes the naked Celts and the Iberians with their short linen tunics with purple borders, and Livy speaks of the Gauls naked
from the navel up and of the Iberians with dazzlingly white tunics bordered with purple. The Celts in Asia Minor seem to have
preserved this custom, for they too are described as naked in battle with skin white because they were never exposed except in
battle. Camillus, trying to raise the morale of the Romans after the siege of the Capitol, pointed to some naked Gauls and said:
'These are the men who rush against you in battle, who raise loud shouts, clash their arms and long swords, and toss their hair.
Look at their lack of hardiness, their soft and flabby bodies, and go to it'. Dionysus of Halicarnassus expresses the same
sentiments: 'Our enemies fight bare-headed, their breasts, sides thighs, legs are all bare, and they have no protection except
from their shields; their weapons of defence are thin spears and long swords. What injury could their long hair, their fierce
looks, the clashing of their arms and the brandishing of their arms do us? These are mere symbols of barbarian boastfulness.'
From the Encyclopedia of the Celts.