Until 2004, fragments of only five carnyces had been preserved, from Scotland, France, Germany, Romania, and Switzerland. However, in 2004 archaeologists led by Christophe Maniquet discovered a first century-BC deposit of seven more of these extraordinary instruments along with over five hundred fragments of iron and bronze objects, under a Gallo-Roman fanum at Tintignac in the Corrèze region of southern France. The archaeologists discovered traces of dense occupation and activity around this sanctuary. Although all seven were ritually dismembered, one was almost complete. Six of these carnyces had boar’s heads, but the seventh was a serpent-like fantasy beast. The find appears to represent a ritual deposit dating to soon after the Roman conquest of Gaul. The Tintignac finds enabled some fragments found decades before at Sanzeno in northern Italy to be identified as coming from two carnyces.
The items found along with the carnyces included unique military and religious objects, which are still the subject of study by Christophe Maniquet’s team, along with conservation and restoration by Materia Viva laboratory in Toulouse. Jean Boisserie, the preeminent dinandier (artist-artisan in beaten metals) in France, has meticulously reconstructed the Tintignac Carnyx using materials and techniques as close to the original as possible.
It is clear from our work in Scotland, France, and Italy that people of Celtic culture all over ancient Europe were fascinated by lip reed instruments and made great horns and trumpets in many forms. The lower parts of the Deskford Carnyx were modelled upon the images of the Gundestrup Cauldron, where we see three men playing the instrument vertically. The structure of the Deskford head makes this interpretation logical – but the Tintignac Carnyx is clearly a different beast. The lower tubes are completely straight, terminating in a fixed, integral mouthpiece. This makes it impossible to play vertically, thus although its head looks like the Gundestrup instruments, it must have been played at an angle closer to horizontal. The magnificent head of the Tintignac features gaping jaws and huge, delicate ears – and yet the structure is far less complex than the Deskford head, with its hinged jaw, sprung tongue, soft palette, and brain cavity. Jean Boisserie’s Tintignac Carnyx reconstruction is made entirely of hand hammered bronze, highly polished to a mirror finish. It is a vibrant, living musical instrument. Both instruments enable a range of almost five octaves, capable of producing volume from a delicate whisper to terrifying roar.