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Studying Prehistoric Archaeoastronomy on the Islands of Malta and Ireland

Astronomic Devices in Prehistoric Malta

The megalithic temples of Malta are one of the most recognized UNESCO’s World Heritage sites ranking amongst the earliest free-standing Neolithic constructions in the world. The so-called Maltese temples display unique developmental characteristics, and while comparing to other megalithic structures, they are of the distinctive nature and achievements of Maltese civilization.

Mnajdra Temple. Copyright©Archaeotravel.

On the other hand, similarly to other megaliths, they were undoubtedly designed to accurately detect and mark the winter and summer solstice together with autumn and spring equinoxes, and other celestial movements. Same as the Stonehenge circle in Britain and Newgrange in Ireland, Maltese temples fulfilled astronomical observation and calendric functions. Among their other possible functions, a connection between astronomy and the temples orientations has constantly been provoking an intense debate since the great publicity given in the second half of the twentieth century by Gerald Hawkins on Stonehenge and the surveys by Alexander Thom on different megalithic structures in England and elsewhere. But it was an astronomer, Sir Norman Lockyer who as early as in 1909 evidently stated that Newgrange is oriented to the winter solstice. Accepting that idea turned out to be difficult for archaeology as it was first presented in the form of folklore and legends in the seventeenth century. In spite of negative opinions of the foremost experts on megalithic structures, interdisciplinary research efforts on the subject have been carried out and quickly augmented, mainly in the study of archeoastronomy, cosmology and archaeology.

Maltese Temples and the Sky

The book by Tore Lomsdalen, entitled Sky and Purpose in Prehistoric Malta: Sun, Moon, and Stars at the Temples of Mnajdra (2014) is the latest attempt to resolve the two-century controversy over the unusual connection between the Maltese temples and the sky. At the same time, it successfully elaborates on the first tentative surveys on temple orientations in Malta. This remarkable work charts the major points of debate on astronomical alignments of the prehistoric megaliths of Maltese archipelago with a special focus on the question of the intentionality of the significant orientation of the Mnajdra Lower or South Temple. The overall conclusions found at the end of the book are thoroughly investigated and supported with accurate factual information drawn from both, the previous interdisciplinary studies on the subject, and results of the wide-ranging and detailed fieldwork done by the author on the sites. Simultaneously, the book contributes to the international research done on the astral connections of megalithic constrictions in different parts of the world, underlying their similarities and uniqueness at the same time.

The author of the book, Tore Lomsdalen is an astrologer working internationally. He was born in Norway and lived in Italy. He holds a MA in Cultural Astronomy and Astrology from the University of Wales Trinity Saint David and a certificate from the Faculty of Astrological Studies in London. While working on the mentioned work, he had already been engaged in a PhD research program with University of Malta on Cosmology in Prehistoric Malta. Through a combination of astronomical analyses and insightful interpretation of the enigmatic ancient monuments, he entirely dedicates himself to the studies on cosmological observations related to Maltese prehistoric sites. He understands the need for revisions in the context of interdisciplinary studies, where the discipline of archeoastronomy blends with the study of archaeology, and specifically prehistory. As he frequently points out in his book, archeoastronomy may contribute to archaeological examination, especially in the reconstructions of the building phases in case of the Mnajdra South.

Loughcrew Megalithic Cairns. Copyright©Archaeotravel.

Similar attitude has been already underlined by Martin Brennan, an Irish-American author who, like Tore Lomsdalen, perceives megalithic monuments as sophisticated calendar devices having been designed by contemporary engineers in order to reflect the sky. Martin Brennan majored in visual communication at the Pratt Institute in Brooklyn and studied prehistoric art  in Mexico. As Lomsdalen,  he was engaged in a series of fieldwork where he gathered overwhelming evidence for his theory which was at that time quite controversial.

Newgrange in the distance and in the mist. Copyright©Archaeotravel.

Martin challenges conventional opinions on presumed purposes of megaliths as tombs and proves their high sophisticated orientation in relation to astronomy. In his book, The Stones of Time. Calendars, Sundials, and Stone Chambers of Ancient Ireland, (1980s) Brennan interprets the real function of Newgrange by means of the unified languages of archaeology, archeoastronomy, architecture and art. That interdisciplinary unity of sciences can be deeply felt when the rising or setting sunlight is being caught by inner chambers of passage tombs at critical times of the year, illuminating only particular patterns among many other engraved on the stone. In such a way abstract symbols, which were thought to have appeared haphazardly, suddenly became the key to the enigmatic language of prehistory connecting with the stars.

Megalithic Art

Although Brennan underlines the importance of megalithic art as a crucial element in relations to astronomical calendar, for Lomsdalen it does not play a vital role. Likewise Brennan, he also points out to architectural areas of the temples illuminated by the sun, such as key thresholds of the side altars and the vertical slabs, yet without elaborated descriptions of artistic decorations of the temples. Lomsdalen realises the significance of the perceivable effect of dichotomy of light and dark created by sunrise illuminations. However, he mostly focuses on his archeoastronomical survey and ably presents the results of his fieldwork juggling with astronomical complex calculations, with particular attention to the alignments of the Mnajdra Temple complex. Lomsdalen also places the Maltese structures in their archaeological context redefining their building sequence, still without clearly stating their purpose in prehistory, as Brennan does while relating to the passage tombs as megalithic observatories. In the matter of fact, Martin Brennan completely rejects the idea that Newgrange and other similar constructions were built as burials and argues that originally they served as astronomical devices.

Dowth – megalithic art inside the so-called passage tomb in Ireland. Copyright©Archaeotravel.

Undeniably, one of the aims of  Lomsdalen’s work is an investigation whether the Mnajdra Temple complex was built as a sacred site in relation to the cosmos, and as a device for celebrating the seasons, but none the less, that research question is a secondary in the conclusions of his book. His major concern is the intentionality behind the astronomical alignments of the Mnajdra Temple complex, which is in turn, the precondition of the hypothesis of religious, sacral and ritual character of the so-called temples. The author’s argument for intentionality is strengthened by the fact that astronomical orientations appeared in the Mnajdra complex throughout successive stages of its construction. In this case, all the claims against his postulate lose substance. The idea of intentionality in prehistoric architecture is also strongly supported by Martin Brennan in case of passage tombs in Ireland. He argues that such precise positioning of stones in an astronomically important context cannot be just coincidental. Both researchers additionally employ similar methodology in their fieldwork. Besides surveying, astronomical observations, and photography, they implement principles of experimental archaeology, or rather archeoastronomy, which involves testing a hypothesis through experiment in order to find evidence of ancient astronomy, apparently practiced by temple builders. Phenomenology, that is to say walking and experiencing the landscape, is another approach to their research.

Malta is “perhaps the best-kept secret in Mediterranean archaeology”. Copyright©Archaeotravel.

Final results of Tore Lomsdalen’s report show new evidence about the architecture of Maltese temples and their link with the sky. Namely, the author confirms the hypothesis of a sky-based intentionality behind the construction of the Mnajdra Temple complex. Not only confirms he the known alignments at the Mnajdra South but also discovers new alignments at the Mnajdra Middle. Furthermore, there is a strong preference of the temples being directed between southeast and southwest, with one remarkable exception of the Mnajdra South or Lower facing east allowing the rising sun to cast a beam of light along its central axis at the equinoxes and cross-jamb illuminations at the solstices. The Temple’s sophisticated solar illuminations is explained by an increasing awareness by its creators of horizon-based astronomy and their better understanding of precise divisions of a solar year, including cross-quarter and the eighth days. The so-called oracle holes in the stones and postholes have also been investigated as supposed devises playing a significant role in aligning the temples to celestial bodies. Finally, the author proposes a redefined building sequence based on both archaeological finds and archaeoastronomical components. He strongly claims that the Mnajdra Temple complex was not built at once but in five successive stages: double apses and other architectural features had been added on for one and half millennia.

Mnajdra Temple Complex

Before moving directly to the matter of his studies, in the first chapter the author starts with a description of the temple culture within a sacred, cosmological, and astronomical context and uncovers “perhaps the best-kept secret in Mediterranean archaeology” in relation to the megalithic constructions on Malta. In Chapter 2 and 3 he introduces readers to the rich Maltese prehistory within the context of the Mediterranean, which is a very important background of the Neolithic temples. He also gives some speculative ideas about the origins of the temples and their mysterious creators. At this stage, he provides a detailed description of the Mnajdra Temple Complex. He stresses the importance of Maltese landscape and its influence on the carefully chosen location of the temple sites. Quite significant for the author is also their relations to land and sea, as in the case of the Mnajdra Temple East – the only one in Malta lacking an orientation towards sunrise, but oriented, and so apparently connected to Filfla islet. Next chapter moves smoothly to the core of the subject, from Maltese cosmology and astronomy in the context of the temple culture to methodology used in this work.

Lomsdalen, T. (2014) “Mnajdra was not built in a day.” Accessed on 17th of July, 2018, on Youtube Channel by Tore Lomsdalen.

In Chapter 5 the author presents the results of his fieldwork in Malta, particularly at the Mnajdra site, and subsequently compare them to other researchers’ findings. After all the results being discussed, Lomsdalen finishes his study with a summary and conclusions of the major findings regarding his hypotheses brought by and cited before. Simultaneously, the author highlights the need for further studies to be conducted, especially in searching for archaeological evidence on the chronological phases of temple construction.

Language of Astronomy

The amount of data gathered, survey measurements and a frequent use of the language of astronomy is impressive from one side, but from the other, it may be confusing to average readers not trained in astronomy. Nevertheless, the author helps a reader to understand a more scientific content by providing an approachable description of some definitions, such as the key difference between “orientation” and “alignment”. Additionally, there is a number of technical drawings and diagrams in order to illustrate the issues being dealt by the author during his studies.

Loughcrew Cairn: Martin Brennan completely rejects the idea that Newgrange and other similar constructions were built as burials and argues that originally they served as astronomical devices. Copyright©Archaeotravel.

What is more, at the end of the book readers can find a glossary and acronyms of temple orientations in Appendix IV, a detailed bibliography for reference, and very interesting discussions of the author with other researchers in Malta, Frank Ventura and Reuben Grima talking on different aspects of the megalithic temple culture. The book is also beautifully illustrated by series of photographs, including archival black-and-white photos from the nineteenth century and colourful pictures taken by the author himself. In general, it is a really comprehensive, consistent work and a very valuable complement to the study of both, archeoastronomy and archaeology. Additionally, Tore Lomsdalen’s innovative idea of dividing the construction of Mnajdra Temple complex into five sequences according to the temples’ alignments with the sun may be carried out at various megalithic sites scattered all over the world, where archeoastronomy together with archaeology can assist in determining successive phases of prehistoric constructions.

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Saint Anne of Nubia – “It Will Make You Specheless.”[1]


[1] An advertising slogan accompanying the painting of Saint Anne and promoting Faras Gallery at the National Museum in Warsaw.

Go, ye swift messengers, to a nation scattered and peeled, to a people terrible from their beginning hitherto; a nation meted out and trodden down, whose land the rivers have spoiled!

Book of Isaiah 18:2

Kazimierz Michałowski during the excavations at Faras (1960s). Photo by Tadeusz Biniewski – National Museum in Warsaw. CC BY-SA 3.0 pl. (modified). Source: “Kazimierz Michałowski” (2020). In: Wikipedia. The Free Encyclopedia.

Saint Anne is a Nubian wall painting estimated to have been painted between the 8th and 9th centuries, by using the technique al secco with tempera on plaster. This early Christian painting was discovered by a Polish archaeological team led by the Professor Kazimierz Michałowski during a campaign undertaken in the 1960s under the patronage of UNESCO (the Nubian Campaign) in Faras. The image itself belongs to a unique collection of wall paintings and architectural elements from the Faras Cathedral, discovered by an archeological mission. Faras Gallery is the only permanent exhibition in Europe featuring Medieval Nubian paintings from the Nile River Valley south of the First Cataract. The collection of over 60 paintings from the 8th to 14th centuries came from the cathedral in the city of Faras, a large urban centre in the Medieval kingdom of Nobadia, in present-day Sudan.

National Museum of Warsaw (2015). “The Faras Gallery 3D. Treasures from the Flooded Desert. The Collection of Nubian Art in the National Museum of Warsaw”. In: Google Arts&Culture.

Nobadian rulers controlling the Nile Valley from the first to the third cataracts converted to Christianity around 548 AD influenced by missionaries sent from Constantinople by the Empress Theodora.

Excavations at Faras – wall painting on site 1960s. Photo by Tadeusz Biniewski – National Museum in Warsaw. CC BY-SA 3.0 pl. (modified). Source: “Faras Gallery at the National Museum in Warsaw” (2020). In: Wikipedia. The Free Encyclopedia.

The first cathedral was erected in the 7th century, when the city was still known as Pachoras, and likely stood at the exact site where Polish archaeologists taking part in the Nubia Campaign discovered the subsequent 8th century cathedral. The Nubia Campaign was an extensive international mission to preserve ancient legacies threatened by flooding from the imminent construction of the Aswan High Dam in Egypt and the resulting formation of the artificial reservoir, Lake Nasser. Since 1964 the painting is in the collection of the National Museum in Warsaw, of which the image has been used as a logo.

National Museum of Warsaw (2015). “The Faras Gallery. Treasures from the Flooded Desert. The Collection of Nubian Art in the National Museum of Warsaw”. In: Google Arts&Culture. Accessed on 12th of July, 2018.

Saint Anne, of David’s house and line, was the mother of Mary and grandmother of Jesus according to apocryphal Christian tradition. Mary’s mother is not named in the canonical gospels. In writing, Anne’s name and that of her husband Joachim come only from New Testament apocrypha, of which the Gospel of James (written perhaps around 150 AD) seems to be the earliest that mentions them. In the painting, St Anne places her finger against her mouth, asking for silence, which may allude to the ‘divine silence’. The finger on the mouth could also indicate that the saint is praying.

Restoration work on the paintings from Faras at the National Museum in Warsaw. Dewaxing the surface of the painting depicting Bishop Petros with Saint Peter the Apostle, and applying compresses in 1960s. Published by National Museum of Warsaw (2016). Public domain (image modified). Source: Wikipedia (2020).

This gesture is rarely visible in Christian art and probably it refers to the tradition of Egyptian Christians (the Copts) who did so while praying undertone. It was believed to ward off evil powers trying to break into a human heart. Personally, I also understand this gesture as a synonym of a mystery and unuttered truth, which remains in silence. Also it is likely that Nubian women, similar to all women in the Christian world, directed their prayers towards St Anne requesting a child and a successful labour.

Featured image: Saint Anne (fragment) (9th c. AD). Nubian wall painting. By Unknown Author. The National Museum in Warsaw. Public domain (image cropped and modified). Source: “Saint Anne (wall painting)” (2020). In: Wikipedia. The Free Encyclopedia

Continue reading Saint Anne of Nubia – “It Will Make You Specheless.”[1]

Lost Myth of the Gundestrup Cauldron – Wild Hunt, Sacrifice and Rebirth

In 1891 a precious silver cauldron appeared during peat-digging in the bog Rævemosen, near Gundestrup in Himmerland. The vessel, which dates back to the first century BC., had been deposited in the bog – an immensely valuable sacrifice to the powers above. Before this occurred, the cauldron had been taken apart. The rim and the large silver plates, which make up its sides, were taken off and placed in the bottom of the vessel. Among them, there was a set of thirteen silver elements: one round, known as the base plate with a decoration of a round medallion in the center of the interior, five interior panels, long and rectangular and seven exterior ones, shorter and rectangular (the eighth one was not found). These elements, made of 97% silver, were partially gold-plated. In 1892, Sophus Müller reconstructed the Cauldron, arranging all the elements in the shape known today, with five shorter ones on the inside, seven long on the outside and a circular plate as the base. Following the idea by Ole Klindt-Jensen’s, the exterior plates are now denoted by lowercase letters from a to g and interior plates by uppercase letters from A to E.

Life-giving cauldron

Magic cauldrons appear as a leading theme in Celtic mythology, both Irish and Welsh. Some, like the one belonging to the god Dagda, never empty themselves as long as they are not used by cowards. Others, like the cauldron of the god Bran, bring the dead back to life. Still others contain an essence of the knowledge called greals. The name itself is reminiscent of the Christian tradition of the Holy Grail, which ultimately turned the miraculous Celtic cauldron into the Christian relic, described on the pages of medieval romances. As such, it promises immortality to those who find their physical and metaphysical way to its holy powers.

Mixture of influences

Surviving pagan Celtic cauldrons are made of bronze, copper or silver and are richly decorated with mythological scenes. The Gundestrup Silver Cauldron is the greatest known example of European Iron Age goldsmithing. All its plates, except the base, are excessively decorated by using a repoussage (repoussé) technique, which consists of hammering from the reverse side beneath to push out desired parts of the front side and, by these means, obtain an image in low relief. “Other techniques were used to add [details with] extensive gilding and some use of inlaid pieces of glass for the eyes of figures. Other pieces of fittings were [also] found. Altogether the weight [of the object] is just under [nine] kilograms” (“Gundestrup cauldron” 2021).

The style and workmanship suggest a Thracian origin, although the ornamentation points to Celtic origins, including such motifs as torques, horned deity, carnyx, decorative leaves in the style of La Tene. Yet, some of the themes are derived from Ionia (the central part of the coast of Asia Minor), like griffins and seahorses. The lion, leopard and elephants were, in turn, influenced by Eastern cultures. Moreover, the scene evoking Hercules’ fight with a lion comes from the Greek mythology. Figures with raised arms refer to motifs and gestures known from Asia Minor. On the other hand, goddesses supporting breasts are associated with representations of a naked goddess from Mesopotamia and Asia Minor.

Who made it and where did it come from?

The variety of themes and influences created a field for various, often contradictory, theories about the Thracian or Gallic origins of the object. A.K. Bergquist and T. F. Taylor propose that the cauldron was made by Thracian artisans, probably commissioned by the Scordisci, a Celtic-Thracian tribe having lived in present-day Serbia, and later fell into the hands of a Germanic tribe of the Cimbri (Jutland), who invaded the Danube basin in 120 BC. G.S. Olmsted, in turn, interprets the iconography of the Cauldron as a prototype of the Irish myth described in Táin Bó Cuailnge, linking the figure of the horned god with Cúchulainn rather than Cernunnos, with whom, however, such a character in central part of the interior plate A is mostly associated.

The image of the horned god Cernunnos surrounded by a deer and a dog or a wolf. It is the most famous representation from Gundestrup Cauldron. interior plate A. Photo by Nationalmuseet (2007). CC BY-SA 3.0. Photo source: “Kocioł z Gundestrup” (2020). Wikipedia. Wolna Encyklopedia.

On the whole, the variety of Cauldron’s motifs draw the observer into an alien universe far from that of the people who deposited it in the bog in north Jutland. Elephants, lions and several unknown gods, represented in a foreign style, indicate that the cauldron originally came from a distant area to the south or southeast. Exactly where it was made is still open to question. Perhaps it was a gift to a great chieftain or could it have been war booty? Most scholars, however, agree that hammered decorations on the Cauldron depict Celtic deities and rituals. It is for this reason and due to its size (69 centimetres in diameter, 42 centimetres in height) that it is believed that Gundestrup Cauldron may have been used for sacrifice by druids. But was it animal or human sacrifice?

The image of the interior plate E and its interpretation

Silver and gilded interior plate E detail, known as the “Warriors and Cauldron” (La Tene III) is one of the most interesting and intriguing scenes hammered into reliefs on the silver Cauldron. It may represent a ceremonial scene with a larger than life god-like figure on the left and three musicians playing and ancient instrument – carnyx, on the right. In front of the god, there is a row of probably dead warriors standing in the underworld. A depicted dog is to symbolize that sphere. They are wearing helmets, spears and shields – so they must have been killed in the fight.

Above them, there’s a horizontally represented plant stem or a tree trunk with bell-like flowers and roots – maybe the Celtic representation of the Tree of Life. At first, it seems as if it was knocked down on the ground. Nevertheless, as it blossoms, it must be alive. Consequently, if the image is turned 90° left, the tree’s roots actually stem from the cauldron itself, and so the walking warriors are walking down, towards the cauldron, and the horse riders going up, along the trunk. Accordingly, the gigantic god and his cauldron would find themselves underground, and the presence of the dog beside the cauldron supports this idea. In turn, the underworld stands for the kingdom of the dead, who by drinking from or being washed in the cauldron find their the way to the afterlife. But only those who deserve it will be revived for entering it. The warriors with shields seem to be the chosen ones, who are waiting in a queue for a reviving bath in the god’s vessel, which may be interpreted as the gateway to their immortality. Can it be just the same cauldron on which the scene is depicted?

In the representation, one of the warriors is just caught by the god, hanging upside down, held by the leg; he is going to be saved from the dead. The riding horsemen above the tree are apparently the already revived in the afterlife. The appearance of a snake above, guiding them ahead, itself indicates the concept of their being restored to life.

Gundestrup Cauldron is composed of internal (A to E) and external silver plates. Here are visible the external plates, from the left: D, E, C, F. Photo by Nationalmuseet (1992). CC BY-SA 3.0. Photo and caption source: “Gundestrup cauldron” (2021). In: Wikipedia. The Free Encyclopedia.

God “of the Tribe”

The mysterious god is sometimes recognized as Teutates or Toutatis, immersing his victim in a liquid-filled cauldron. His name means “of the Tribe” or “of the Whole People”. He is one of the chief early Celtic gods and occupies a significant place in the Gallic pantheon. In Roman times, Teutates  was identified either with the god Mars or Mercury. Although the former evokes warfare, the former serves as the guide of souls to the underworld. Both roles are embodied by the Celtic Teutates. He described by the Roman writer Lucan, who enumerates him as the major Gaulish gods, together with Taranis and Esus, as deities known for their desire for blood.

The problem is, however, there are no known images of Tetuates and his identification with the colossal image of the god from the Cauldron’s scene is a pure speculation. It is only recorded that the god killed his victims by drowning and hence some scholars associate this feature to the described scene, where a supreme figure is holding a smaller one upside down over the huge vessel. On the other side, the Roman records of human sacrifice ascribed to the Celts may have been just a useful propaganda, in order to underline the superiority of the Roman civilization facing the barbarian and blood-thirsty Gauls, who did not deserve to survive.

It is also worth noticing that the mythological cauldron was to revive and not to destroy. Accordingly, the scene may imply hope for an eternal life after serving his tribe as a courageous warrior who died in a fight.

Christian face of the Celtic cauldron

Similar iconography possibly occurs on later monuments on the lands previously owned by the Celts. Namely, on the bases of some of the High Irish Crosses, such as the Market Cross from Kells, the scene from the Gundestrup Cauldron seems to be recalled on its two separate representations. Neither the colossal god or the cauldron is represented there. Nevertheless, there is a fierce battle on the South Side of the Cross, and the horsemen with shields on the East Face, which is usually dedicated to the Resurrection of Christ represented on the High Crosses of Ireland. The East Face scene additionally resemble the horsemen from the upper part of the Cauldron’s Plate E, hovering over the trunk of the Tree of Life, and implies their victorious parade. Is it then the shaft of the cross itself a counterpart of the Tree of Life in the Christian version?

Simultaneously, on the North Side and West Face of the same base of the cross, there are scenes representing the world of fauna in its two different aspects. Whereas on the West Face, analogously to the East Face, the scene indicates a harmony, where in the former it is held between mankind and forest animals, the North Side, as if referring to the South Side, shows a battle expressed by means of a wild hunt led by two centaurs, armed with bows pointed to the animals. Among them, there are also canine figures, as much as in the Cauldron’s scene. 

Moreover, the imagery of the West Face also greatly resembles the scene on the interior plate A of the Cauldron, where the horned anthropomorphic figure, possibly the god Cernunnos, is surrounded by wild animals, such as a deer and a wolf. His calm attitude, open arms and the yogin’s position evokes but peace and harmony among the animals. Similar atmosphere is very tangible in the scene on the base of Christian cross. Possibly this is why it is also believed to represent the narratives of Genesis, either Noah who is gathering animals on the Ark or Adam who is naming the animals in the Garden of Eden.

Providing that images in bas-relief from High Irish Crosses constitute an undecipherable mystery of their own, there can be apparently a direct link between iconographical elements on the verge between the Paganism and Early Christianity in Ireland. Is it then possible to open the unknown Celtic world by the key provided by the Christian symbolism and iconography?

Featured image: The Gundestrup Cauldron. Iron Age, c. 100 BC–AD 1. Found in Gundestrup, northern Jutland, Denmark. National Museum of Denmark.: the interior Plate E: Warriors and Cauldron or a Ritual initiation. By The British Museum. CC BY-NC-SA 4.0. Photo and caption source: The British Museum (2015). “The Gunderstrup Cauldron” (2018) In: britishmuseum.tumblr.com. 

By Joanna
Faculties of English Philology, History of Art and Archaeology.
University of Silesia in Katowice, Poland;
Cardinal Stefan Wyszyński University in Warsaw, Poland;
University College Dublin, Ireland.

BIBLIOGRAPHY:

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Photo by SassyGirlJenna729 (2015). Photo source: “From Review by SassyGirlJenna729 (Feb 2015) : Another Cross!! of The Market High Cross”. In The Market Cross”. In: Trip Advisor. Accessed on 11th, June, 2021. Available at <https://bit.ly/3gqVyrh>.

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The National Museum of Denmark’s video: “The Gunderstrup Cauldron Brought to Life” by National Museum of Denmark posted by Irisharchaeology.ie (2015) on: Facebook. Accessed on 21st, June, 2018. Available at <https://bit.ly/2ywqTGx>.

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