The fine order and the noise of the Celtic host terrified the Romans, for there were countless trumpeters and horn-blowers, and since the whole army was shouting its war-cries at the same time there was such a confused sound that the noise seemed to come not only from the trumpeters and soldiers but also from the country-side which was joining in the echo.
(Polybius, Histories II.29)
This tactical use of noise is variously described as wild outbursts, hideous songs, and a thoroughly terrifying sound; in Asia Minor, their yells and their leaping, the dreadful noise of arms as they beat their shields in some traditional custom was orchestrated to terrify the enemy. The Carthaginians also, when attempting to cross the Rhone, saw the Gallic warriors come surging to the bank howling and singing as was their custom, shaking their shields above their heads and brandishing their spears (Livy, History I.37; XXXVIII.17; XXI.28).
According to Caesar’s description of the Gauls they were no less demonstrative. ‘In their usual custom they raised their shout of triumph {ululatus) and broke our ranks; elsewhere the same words are used in a less triumphant situation when the Gauls encouraged their comrades with shouts and yells (clamore et ululatu)’ (Caesar, De Bello Gallico V.37; VII.80). There was also the noise of the trumpeters and horn-blowers. ‘They had trumpets peculiar to them and barbaric in sound: for when they blew upon them, they produced a harsh sound, suitable to the tumult of battle’ (Diodorus Siculus, History V.30.3). The trumpet (or carnyx) is represented on Celtic coinage, on classical sculpture, notably at Pergamon in Asia Minor, at Orange, on an altar from Nimes, both in southern France, as well as on the Gundestrup Cauldron; a few fragments have survived, most notably the boar-shaped trumpet-mouth from Deskford in Banffshire (Piggott 1959) and a bronze duck-shaped carnyx from Castiglione delle Stiviere, Mantua (de Marinis 1977).
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