Breno: Defacto Capitol of Val Camonica

'Breno in Val Camonica and it's castle'

Fidelity House (Italy)

Administrative center of Val Camonica, Breno owes its fame mainly to the Castle, but there are many attractions of the locality: find out more

Breno is a small town in Val Camonica with about 58 square kilometers (14,332 acres) with just under 5,000 inhabitants. Administratively it belongs to the province of Brescia, in Lombardy, and is the administrative center of the Mountain Community of Valle Camonica, also hosting its headquarters.

The territory, located about 340 meters above sea level, is mainly mountainous. To the west it is bordered by the main furrow of the Val Camonica, while to the east it reaches the highest part also includes the Caffaro Valley,until it reaches the border with Trentino Alto Adige. The highest elevation of the municipality of Breno, however, is close to 2,850 meters (9,350 feet), with the Cornone di Blumone, one of the peaks of the Adamella mountain group.

Breno: what to see

In addition to the famous castle, which we will talk about in the next paragraph, there are many attractions present in the Municipality of Breno. First of all its main square, Piazza del Mercato, today dedicated to the memory of General Pietro Ronchi. It is an ancient square, probably born as a place of arms, and is suggestive above all for the splendid palaces that surround it, belonging mainly to the 6th and 7th centuries, such as the Casa Franceschetti.

A detail of the frescoes of the Church of Sant'Antonio di Breno

Very interesting, as far as sacred buildings are concerned, is the Church of Sant'Antonio, inside which every year the Art Prize of the city of Breno is held. It dates back to about 1300, and has a Gothic style with a single nave. Inside the presbytery, of considerable value is a fresco attributed to romanino, while the other ornaments date back mainly to the fifteenth century.

Another important example of sacred art is the Church of San Michele, of which today only the foundations dating back presumably to the Lombard era remain. Also noteworthy is the Parish church of San Salvatore,one of the most important Baroque buildings in the entire Val Camonica; dating back to 1600, stands out in particular for its bell tower, 65 meters high. There are numerous artistic masterpieces inside, considered a small museum.

One of the rooms of the Camuno Museum (or CaMus) in Breno

Also worth visiting is the Camuno Museum in Breno, born at the beginning of the twentieth century and today located on the second and third floors of the 'Palazzo della Cultura' in Breno, where the municipal library is also located. Divided into 10 rooms and a loggia, the museum houses finds and works of art from the prehistoric age up to the twentieth century of the Camunian community (from which derives the name of Val Camonica), with pictorial testimonies, coats of arms and portraits of Camunian families, artifacts concerning liturgical furniture and civil furniture and, precisely, finds dating back to the prehistoric age.

Finally, we recommend a visit to the splendid Villa Gheza, construction of the last century, in arabesque style and 'kitch' so much so that the people of the time, in a period of serious crisis for the area, became indignant and spoke of wasting money. Today, however, it remains a curious and important find of recent history.

The particular 'eastern' structure of villa Gheza in Breno

Castle of Breno

A monument rich in history, the Castle of Breno is the real symbol of the main town of Val Camonica. More than just a castle, it is an intricate complex of buildings, built over the centuries for different purposes. Born under Frederick I Barbarossa (12th-13th centuries), it was transformed into a military stronghold with the Republic of Venice (15th-16th centuries): the current appearance is the result of these historical stratifications, enriched by the fact that it seems that this area was a settlement town already several millennia before the birth of Christ.

The visit to the Castle of Breno starts from the area of the tower, which allows us access to the courtyard, to whose left is located the medieval church, the oldest monument brought to light in Breno. There are many areas in which to observe the historical traces of the castle; we recommend, in particular, the stately two-storey house-tower, and a 1200's palace with a 20-meter tower accessible to visitors. Very interesting, then, the numerous remains of settlements of prehistoric communities of the Paleolithic, Neolithic and Copper Age.

The Tower of The Castle of Breno

Hotels in Breno

Breno is the administrative capital of Val Camonica. A place that has been established for several millennia, in recent decades it has become a tourist destination increasingly sought after by visitors, while also expanding its accommodation, however gaunt compared to demand. In this regard, we recommend two of these facilities in particular.

The first is the Hotel Ristorante La Villetta, a small 2-star structure excellently reviewed by users of the various travel sites. Free private parking, on-site restaurant with Lombard and national specialties, terrace overlooking the mountains and free wifi throughout the property, are just some of the services offered here. Very characteristic are the accommodations, which have flat screen TVs and private bathroom with bidets, bathrobes and courtesy sets, while in some of them you will also have a terrace or panoramic balcony, overlooking the beautiful Val Camonica. Prices more than competitive, highly recommended!

 

The lobby of the Hotel Giardino

About 250 meters (273 yards) from the Breno station is the Hotel Giardino, a beautiful 3-star structure with all the necessary comforts. Very nice rooms, which have clear walls and curtains and have a TV and a private bathroom with hairdryer and courtesy set, as well as free wifi, available throughout the hotel. Free parking, a rich breakfast buffet with sweet and savory foods (including local organic specialties) and on request menus for particular diets, in addition to an on-site restaurant-pizzeria are the services provided in the common areas. Great location, acceptable prices, courteous and attentive staff: vote, 10!

Breno Climate and Weather

The climate of Breno, given the great difference in height of the municipal territory--almost 2,500 meters! (about a mile and a half)--is very difficult to interpret and describe. Of course, what interests us is the climate of Breno and its vicinity, where you will find your accommodation: well, it is a particularly mild climate, with the average temperatures that only in January and February fall below zero. On the other hand, very cool and breezy summers, with the hottest month, July, which has an average of just 20 degrees.

 

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The Legend of Brenno

Brennus, known as Brenno in Italian, is the name of two different Gaulish warlords; one who famously invaded Rome in the 4th century BCE, and another lessor-known Brennus who invaded the Balkans and Greece in the 3rd century BCE. I have heard that the city of Breno possibly may have got its name partly from the first Brennus who invaded Rome, whom was featured in a 1963 Italian film entitled 'Brennus, Enemy of Rome'. At the time of Brennus' invasion of Rome, Cisalpine Gaul would very much have had its allegiance with the Gaulish warlord from north of the Alps, not with Rome. The Camunni were one of the 45 Alpine tribes conquered by the Romans over 300 years later, so Brennus would have been a great hero to all Gaulish peoples. The name of the city of Breno came from the Camunian Bré; also Brenn in old German. However, I wonder if the latter could have been of Langobard, Cimbrian, Celto-German, or even Gaulish origin?

Breno, Lombardy

Brennus: Warlord of the Cisalpine Gauls - Part III

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Cernunnos: The Gundestrup cauldron and the Pillar of the Boatmen

Curators choose their favourite object: the Gundestrup cauldron 

The British Museum

In Curator Julia Farley’s own words, ‘admitting you have a favourite object is kind of like admitting you have a favourite child’. Nevertheless, she tells us why she loves the Gundestrup cauldron and why it’s so exciting to have this remarkable object from Denmark on display in the UK for the first time.

You can find out more about the Gundestrup cauldron in Julia’s blog post:
https://blog.britishmuseum.org/2015/10/13/who-were-the-celts/

What would your favourite Celtic object be? Book now for the exhibition:
http://www.britishmuseum.org/whats_on/past_exhibitions/2015/celts.aspx?fromShortUrl

Gundestrup cauldron

The Gundestrup cauldron is a richly decorated silver vessel, thought to date from between 200 BC and 300 AD, or more narrowly between 150 BC and 1 BC. This places it within the late La Tène period or early Roman Iron Age. The cauldron is the largest known example of European Iron Age silver work (diameter: 69 cm (27 in); height: 42 cm (17 in)). It was found, dismantled with the other pieces stacked inside the base, in 1891 in a peat bog near the hamlet of Gundestrup in the Aars parish of Himmerland, Denmark (56°49′N 9°33′E). It is now usually on display in the National Museum of Denmark in Copenhagen, with replicas at other museums; in 2015-16 it is in exhibitions in London and then Edinburgh on The Celts.

The cauldron is not complete, and now consists of a rounded cup-shaped bottom making up the lower part of the cauldron, usually called the base plate, above which are five interior plates and seven exterior ones; a missing eighth exterior plate would be needed to encircle the cauldron, and only two sections of a rounded rim at the top of the cauldron survive. The base plate is mostly smooth and undecorated inside and out, apart from a decorated round medallion in the centre of the interior. All the other plates are heavily decorated with repoussé work, hammered from beneath to push out the silver. Other techniques were used to add detail, and there is extensive gilding and some use of inlaid pieces of glass for the eyes of figures. Other pieces of fittings were found. Altogether the weight is just under 9 kilograms.

Despite the fact that the vessel was found in Denmark, it was probably not made there or nearby; it includes elements of Gaulish and Thracian origin in the workmanship, metallurgy, and imagery. The techniques and elements of the style of the panels relate closely to other Thracian silver, while much of the depiction, in particular of the human figures, relates to the Celts, though attempts to relate the scenes closely to Celtic mythology remain controversial. Other aspects of the iconography derive from the Near East.

Hospitality on a large scale was probably an obligation for Celtic elites, and although cauldrons were therefore an important item of prestige metalwork, they are usually much plainer and smaller than this. This is an exceptionally large and elaborate object with no close parallel, except a large fragment from a bronze cauldron also found in Denmark, at Rynkeby; however the exceptional wetland deposits in Scandinavia have produced a number of objects of types that were probably once common but where other examples have not survived. It has been much discussed by scholars, and represents a fascinatingly complex demonstration of the many cross-currents in European art, as well as an unusual degree of narrative for Celtic art, though we are unlikely ever to fully understand its original meanings.



Pillar of the Boatmen

The Pillar of the Boatmen (French Pilier des nautes) is a square-section stone bas-relief with depictions of several deities, both Gaulish and Roman. Dating to the first quarter of the 1st century AD, it originally stood in a temple in the Gallo-Roman civitas of Lutetia (modern Paris, France) and is one of the earliest pieces of representational Gaulish art to carry a written inscription (Hatt 1952). It is displayed in the frigidarium of the Thermes de Cluny.

Nation, geography, and the Cernic culture

The Gundestrup cauldron was basically Gaulish in terms of culture, discovered in Denmark (not a Celto-Gaulish region), and "it includes elements of Gaulish and Thracian (ancient Bulgaria) origin in the workmanship, metallurgy, and imagery." It was also thought to have been constructed in the Balkans. That's all a bit confusing, and it's possible that it was just an item of Gaulish origin which was obtained via Gaulish-Teutonic trade. Cernunnos was apparently the chief deity of the Gauls in Gaul (now France) and Cisalpine Gaul (south of the Alps). However, Cernunnos and other regional western European "horned gods" likely originated with the very ancient proto-European stag or horned god.

One mystery is that the cauldron is estimated to have been constructed at least 250 years after the Gaulish nations were conquered by the Romans. Therefore, who was still making Cernic artistry? I could see where the Gaulish-Cernic culture could have continued for a time under Roman rule, but this was approximately 250 to 350 years after Julius Caesar defeated Vercingetorix in the Battle of Alesia. Could some of the Gauls have then migrated into Teutonic areas and continued their culture in exile? It should also be noted that the torc was of Celto-Gaulish cultural origin before disappearing, and only later became popular again within Viking culture.


The classic Cernunnos icon

Plate A shows an antlered male figure seated in a central position, often identified as Cernunnos. In his right hand, he holds a torc, and with his left hand he grips a horned serpent a little below the head. To the left is a stag with antlers that are very similar to the human/divine figure. Surrounding the scene are other canine, feline, and bovine animals, some but not all facing the human, as well as a human riding a dolphin. Between the antlers of the god is an unknown motif, possibly a plant or a tree.

"Sun of the Alps" symbol present on the Gundestrup calderon

On plate B, the large bust of a torc-wearing female is flanked by two six-spoked wheels, what seem to be two elephants, and two griffins. A feline or hound is underneath the bust.

The Pillar of the Boatmen is much more simple as far as origin; it's Gallo-Roman from the first century CE. The Romans, in usual fashion, mixed and conflated their own deities with those of the conquered region. In this case forming a type of "Gallo-Roman religion." In addition, gods and goddesses of each were symbolically "married" together...

In some cases, Gaulish deity names were used as epithets for Roman deities, as with Lenus Mars or Jupiter Poeninus. In other cases, Roman gods were given Gaulish female partners – for example, Mercury was paired with Rosmerta and Sirona was partnered with Apollo. In at least one case – that of the equine goddess Epona – a native Celtic goddess was also adopted by Romans.

The pillar was no exception, featuring both Roman and Gaulish gods... including Cernunnos wearing a torc around each horn. Click "HERE" for a close look at the image and inscription "Cernunno." One earlier Latin inscription reads "Deo Ceruninco"... meaning "to the God Cerunincos."

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Ormhäxan - The snake-witch

Snake-witch stone

The Snake-witch (Ormhäxan), Snake-charmer (Ormtjuserskan) or Smiss stone (Smisstenen) is a picture stone found at Smiss, När parish, Gotland, Sweden. Discovered in a cemetery, it measures 82 cm (32 in) in height and depicts a figure holding a snake in each hand. Above the figure there are three interlaced creatures (forming a triskelion pattern) that have been identified as a boar, an eagle, and a wolf. The stone has been dated to 400–600 AD.

Although many scholars call it the Snake-witch, what the stone depicts—an accurate interpretation of the figures—and whether it derives from Celtic art or Norse art remain debated.

It seems to me that various neopagan concerns have never been certain as what to do with the symbolism on this standing stone/grave marker. First of all, is it Odinic, Druidic, Gaulish polytheistic, proto-European witchcraft, or some combination? This style of standing stone, the serpentine symbolism, and its location would seem to suggest an Odinic origin. However, there was snake symbolism in Gaulish culture, and the Gaulish god Cernunnos was found depicted on the Gundestrup cauldron from some centuries earlier in Denmark. Also, the "snake-witch"--like Cernunnos--is depicted holding a snake; although this artifact may have been obtained in trade between Teutons and Gauls. The snake-witch herself seems to suggest an element of proto-European spiritual influence, such as the pre-Olympian "Snake goddess" of Crete.

Also, just as interesting as the "snake-witch," is the powerful design symbol. To fully appreciate it, you must look at it and fill in the two sections which were somehow chipped off on the animal figure on the upper right. After you do that, then it's clear that this is what I would call a "double-triskellion." The boar, eagle, and wolf are formed as serpentine, with both heads and tails interwoven for this effect. The triskellion or "triple spiral" is found in many ancient European cultures. My guess is that the snake-witch stone is Odinic, with proto-European symbolism. The old Gotlanders, somewhat isolated on an island, probably held onto some aspects of pre-Odinic spirituality. As to whether or not this ties into what is known as "Norse witchcraft," I really don't know at this time. I suppose that there is the possibility or concurrent idea that this was tied to something unique to old Gothic culture and spirituality.


Parallels, interpretations, and speculation

The figure on the stone was first described by Sune Lindquist in 1955. He tried unsuccessfully to find connections with accounts in Old Icelandic sources, and he also compared the stone with the Snake Goddess from Crete. Lindquist found connections with the late Celtic Gundestrup cauldron, although he appears to have overlooked that the cauldron also shows a figure holding a snake.

Arrhenius and Holmquist (1960) also found a connection with late Celtic art suggesting that the stone depicted Daniel in the lions' den and compared it with a depiction on a purse lid from Sutton Hoo, although the stone in question does not show creatures with legs. Arwidsson (1963) also attributed the stone to late Celtic art and compared it with the figure holding a snake on the Gundestrup cauldron. In a later publication Arrhenius (1994) considered the figure not to be a witch but a male magician and she dated it to the Vendel era. Hauk (1983), who is a specialist on bracteates, suggested that the stone depicts Odin in the fetch of a woman, while Görman (1983) has proposed that the stone depicts the Celtic god Cernunnos.

It also has been connected to a nearby stone relief on a doorjamb at Väte Church on Gotland which shows a woman who suckles two dragons, but this was made five centuries later than the picture stone.


Snake symbolism

Snakes were popular as a motif on later picture stones which show snake pits, used as a painful means of execution; this form of punishment also is known through Norse sagas. Snakes are considered to have had an important symbolism during the passage from paganism to Germanic Christianity. They were frequently combined with images of deer, crustaceans, or supernatural beasts. The purpose may have been to protect the stones and to deter people who might destroy them.


See also

Hyrrokkin, a female jötunn in Norse mythology who uses snakes as reins



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3-2-16 ADDITION: I just wanted to add an interesting logo, featuring the Snake-Witch, from a concern called "Heathens and Pagans Against Censorship." Also noteworthy is that this logo---just as with the snake witch/triskellion standing stone---has both proto-European and Teutonic symbolism. However, as covered here before, the proto-Europeans used a different 5-pointed Vehmic rune.

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Badalisc: Camunian folklore - Part III

Pre-Christian Alpine traditions

The central and eastern Alps of Europe are rich in folklore traditions dating back to Pagan (pre-Christian) times, with surviving elements amalgamated from Germanic, Gaulish (Gallo-Roman), Slavic (Carantanian) and Raetian culture.


Survival through the ages

Ancient customs survived in the rural parts of Austria, Switzerland, Bavaria, Slovenia, western Croatia and Italy in the form of dance, art, processions, rituals and games. The high regional diversity results from the mutual isolation of Alpine communities. In the Alps, the relationship between the Roman Catholic Church and paganism has been an ambivalent one. While some customs survived only in the remote valleys inaccessible to the church's influence, other customs were actively assimilated over the centuries. In light of the dwindling rural population of the Alps, many customs have evolved into more modern interpretations.

Krampus

The word Krampus originates from the Old High German word for claw (Krampen). In the Alpine regions, the Krampus is a mythical horned figure represented as accompanying Saint Nicholas. Krampus acts as an anti–Saint Nicholas, who, instead of giving gifts to good children, gives warnings and punishments to the bad children. Traditionally, young men dress up as the Krampus in the first two weeks of December, particularly in the evening of December 5, and roam the streets frightening children and women with rusty chains and whips and bells. This figure is believed to originate from stories of house spirits such as kobolds or elves.


Perchten

Originally, the word Perchten (plural of Perchta) referred to the female masks representing the entourage of an ancient goddess, Frau Perchta, or Pehta Baba as it is known in Slovenia. Some claim a connection to the Nordic goddess Freyja, though this is uncertain. Traditionally, the masks were displayed in processions (Perchtenlauf) during the last week of December and first week of January, and particularly on 6 January. The costume consists of a brown wooden mask and brown or white sheep's skin. In recent times Krampus and Perchten have increasingly been displayed in a single event, leading to a loss of distinction of the two. Perchten are associated with midwinter and the embodiment of fate and the souls of the dead. The name originates from the Old High German word peraht ("brilliant" or "bright").

Regional variations of the name include Berigl, Berchtlmuada, Berchta, Pehta, Perhta-Baba, Zlobna Pehta, Bechtrababa, Sampa, Stampa, Lutzl, Zamperin, Pudelfrau, Zampermuatta and Rauweib. The Roman Catholic Church attempted to prohibit the sometimes rampant practise in the seventeenth and eighteenth centuries but later condoned it, resulting in a revival.

In the Pongau region of Austria large processions of Schönperchten ("beautiful Perchten") and Schiachperchten ("ugly Perchten") are held every winter. Other regional variations include the Tresterer in the Austrian Pinzgau region, the stilt dancers in the town of Unken, the Schnabelpercht ("trunked Percht") in the Unterinntal region and the Glöcklerlaufen ("bell-running") in the Salzkammergut. A number of large ski-resorts have turned the tradition into a tourist attraction drawing large crowds every winter.

Sometimes, der Teufel is viewed to be the most schiach ("ugly") Percht (masculine singular of Perchten) and Frau Perchta to be the most schön ("beautiful") Perchtin (female singular of Perchten).


Badalisc

The Badalisc is a "good" mythological animal who lives in the woods of Andrista, in Val Camonica, Italy. During an annual town festival someone dresses up as the creature and is "captured" and brought to the town. The animal is made to tell the people of the town gossip. At the end of the festival the creature is released until the next year's ceremony.

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The Mystic Druids

The Mystic Druids Part 1

From YouTube channel RealmOfDestiny

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 One question is whether or not there was a Druidic culture in Cisalpine Gaul, as there was in Gaul and the British Isles. I still don't have the answer to this. From the incongruent information which I have looked at, my guess would be that there was some, more in the area of ancient Piedmont. For the most part, the more native spiritual traditions predominated.

My theory is that Druidism--and generally the Celts themselves--came about, over a long period of time, as a result of more paternally-oriented Teutonic-Odinic people merging with more maternally-oriented native Alpine and some Alpinized-Mediterranean people and their magical traditions. The sun people and the moon people.

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The Mystic Druids Part 2


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'Cernunnos' by Deep~Glade

Cernunnos

I first met Cernunnos deep in the Forest of Dean, alone and within a forest glade with the sun filtering down through thee gently rustling leaves, the humming insects but most of all the silence…and there He was! Some might say he was merely a mirage, a spark of my imagination but to me He was, and is, as real as you or I.

Who is Cernunnos? Well, popularly he is A Gaulish god associated with the stag and all hoofed animals, a god of fertility. abundance and the wild. He is probably best known from his image on the Gundestrup Cauldron, found in Denmark, and dating from between 200 BC and 300 AD. But scholars now believe that the name ‘Cernunnos’ doesn’t necessarily refer to one particular god but probably was a name given to many tribal gods that had similar characteristics in an attempt to ‘nationalize’ these gods under one name during Roman rule.

The name ‘Cernunnos’ is now generally believed to be derived from the proto-Indo-European root *krno, which also gives us the Gallic cernon, the Welsh carn, the Latin cornu and the Germanic *hurnaz, all of which mean ‘horn’. We can also see this root in words such as cornucopia and coronet (a small crown). As I’ve mentioned the most dramatic representation of Cernunnos appears on the Gundestrup Cauldron. Here he is seen sitting cross-legged, or crouching, holding a ram-headed serpent in one hand and a torc in the other, he also wears a torc himself and is surrounded by wild animals, including the wolf and the stag. Regarding his sitting position, many have believed that this rather buddha-like position suggests he is a god derived from the far East but when you think about the way the ancient Celts habitually sat we can see that this is merely a representation of their culture. Classical writers reported that the ancient Celtic Gauls did not sit on seats but were to be found sitting on the ground, either in a crouching position or cross-legged. The ram-headed serpent he holds aloft is of special significance as serpents were a symbol of fire coming from the earth; rebirth and renewal (note also that snakes shed their skins in entirety annually) and hibernate during the winter months and then become active again during the spring, thus seen as ‘coming alive’ again. Ram-headed serpents were always seen as symbols of chthonic wisdom and transformation. The torcs were always a sign of power and leadership in Celtic culture, so wearing one and also holding one shows us that Cernunnos was someone of great power and leadership. Leadership over whom? Well the fact that he is surrounded by wild animals gives us a good clue. Generally seen as a god ruling the wild spaces, and animals.

However, there is more to Cernunnos than just a fertility god. In fact he has more to do with hunting, culling, and purification through selection and sacrifice than fertility. He is equated with Herne the Hunter, great lord of Windsor Park who takes the spirits of the dead to the Underworld in what is known as ‘The Wild Hunt’, and also Gwyn ap Nudd and Arawn, who in the Mabinogion is the Lord of Annwn, the Underworld. Moreover, the Romans equated him with Dis Pater, not only a god of abundance but also god of death. So Cernunnos has mastery over the energies of nature but is also what is known as a psychopomp, a gate-keeper god who has province over leading souls of the dead to the underworld.

So what about my experience with Cernunnos? Well it moved me to write a poem in his honour as he has become one of my patron deities.


At the edge of the glade
In liminal places,
Arms branch out, feathered leaves
Rustling in a soft breeze….

Softly green merging with space
Antlers garlanded with grace,
and ‘Who am I?’ written on his face.

A question? Or a statement?
My heart flutters, my soul sings…
Poised on a moment of eternity,
All is within and without.

Was it a voice in my head?
An aching echo of a long distant past?
‘Know me’ he said,
‘Embrace me’ he echoed down the halls of emptiness.
My soul reaches out…

Out into the space, into the trees, into the leaves,
With green and golden tints.
Swallowed up by the coolness of dew,
The musky odour of hide,
The moist earthiness.

And we were one
Cernunnos and I.

 
Written by Deep Glade

 
References

Celtic Gods & Goddesses by R.J. Stewart
Horns of Power: Manifestations of the Horned God by David Rankine
Magic of the Celtic Gods & Goddesses by Carl McColman & Kathryn Hinds

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Senobessus: Gaulish Polytheistic Reconstructionism

Gaulish Polytheistic Reconstructionism, or "Senobessus," is a branch of Celtic Polytheistic Reconstructionism. It focuses on specifically pre-Christian Gaulish paganism. I suppose a simpler way to put it is simply "Gaulish neopaganism." This movement, much of it very recent, has forced me to look hard at the Cernic Rite concept.

It has occurred to me that part of the mild friction between the simple naming of Germanic neopaganism is at work in its Gaulish neopaganist parallel as well. Should it be called "Odinism," or "Asatru?" Odin, while basically the chief god, is still just one of the gods and goddesses. Perhaps a non god-specific name for the pantheon would be more appropriate. The name "Asatru" is of Icelandic origin, making it regionally-specific, which has it's drawbacks as well. Naturally you want a name which includes everyone whom you wish to include. The Odinist/Wotanist story extended far from Iceland. A place like Russia is historically very much part of the "historical Wotanist narrative." Needless to say, the choosing of a name is very important.

Before I go any further, a brief description of the movement from PaganSpace.net (actually from the facebook page):

Senobessus: Gaulish Polytheistic Tribalism

Slania!

Welcome to The Gaulish Polytheism Community!

This group is dedicated to Senobessus

Senobessus, or Gaulish Polytheistic Reconstructionism, is a Celtic Reconstructionist faith that focuses on Pre-Roman Gaulish Religion, and its revival into the modern age. Our faith emphasizes orthopraxy or "right actions" over orthodoxy or "right belief", and cultural relevance or influence over "racial purity" or elitism. We are open to all genders and sexual orientations, ethnic backgrounds, and national affiliations.

Also, this description from nertho.eu:

Senobessus "The Old Custom"

I would like to formally introduce the philosophy and tradition of Senobessus, as a modern reconstruction of "The Old Custom" of Gaulish Religion, as it applies not only to modern spirituality, but the continued research and dedication of those who have been and are getting involved in Gaulish Polytheistic Reconstruction.

The following statements are in dedication of the hard work of the noble few in our tradition who continue to honor the Gods of Gaul...

Mission Statement of Senobessus

Senobessus is a Gaulish word that translates into English as “old custom”, and is the name we have given to our humble religion. It represents how our members honor the Gaulish customs within our communities, and the bonds we share not only with our gods, but the unspoken bond we share with each other.

Our religion is less of an organization and more of a tradition we share with each other. Though many have contributed in the past to the dissemination of Senobessus, no one person is responsible for founding it, as it has always been there in some form or another. More importantly, all members within Senobessus are, despite their different roles, essentially equal.

That being said, The Gaulish Polytheism Community group on Facebook was created on August 30, 2011 as a networking platform for Gaulish Polytheistic Reconstructionists, to focus on the continued development of religion and spirituality within Senobessus, and to study and share the language, history, and culture of Ancient Gaul.

The purpose of Senobessus is the revival of the pre-Christian worldview and spiritual practices of the Gaulish peoples – the ancient Celtic peoples who inhabited and greatly influenced what would become the cultures and nations within central Europe. Senobessus aims to reconstruct Gaulish Polytheism within a modern context, while still respecting what we know about the worldview of the ancient Gaulish people.

Senobessus, or Gaulish Polytheistic Reconstructionism, is a Celtic Reconstructionist faith that focuses on Pre-Roman Gaulish Religion, and its revival into the modern age. Our faith emphasizes orthopraxy or "right actions" over orthodoxy or "right belief", and cultural relevance or influence over "racial purity" or elitism. We are open to all genders and sexual orientations, ethnic backgrounds, and national affiliations.

Before I go any further, I need to address the fifty-ton pink elephant in the living room. I don't see how a bunch of people of a particular culture, celebrating their heritage, is "elitism." I would like to see one of these "cultural apologists" knock on the door of one of the Sikh Temples and ask to join. The ultra-folkish, ancestral-worshiping Sikhs would get quite a kick out've that. I think it's pretty safe to say that they "may not join." It seems to be a phenomena, in the English-speaking world, for individuals to believe that "they can be anything!" Well, you can't be anything. ALL of us face rejection in our lives, and sometimes it's because we do not fit in. That's a basic FACT of life, and there's nothing wrong with it. You cannot be anything you want to be at any time you want to be it, based on your "whim of the moment," "current fad," or "fast value" of the day.

As far as the gay thing; given the types of problems and road blocks that we will face, "gays" would comparatively be a non-issue. The Gaulish spirituality/culture, as with other forms of European spirituality, was based primarily on the "family unit." Women, I believe, had extremely important leadership roles; probably more than in the Teutonic culture. Chiefly in the family, and in the realm of their tribal spirituality. In the area of spirituality, however, it would have been the more special women. In other words, I don't think just any woman can be an "Earth Mother" in the Wiccan sense. Then there's the Druidic element, which may have been predominantly males.

Getting back to choosing a name. Although I don't like this GPR-movement in it's present form; I still like the basic idea of it. Maybe we should run with it. Work within it. We live in a world where many people literally feel guilty for breathing, and are quite eager to give trillionaire international banking concerns a "world tax" to help ease their burden of guilt, so I don't have any problem purging them from any folk-movement that will eventually need to be splintered off. Incessant "guilt" is a Christian concept, not a pagan one, so I think that the universal Christian church is a good place for them. As far as a "Cernic Rite" or "Temple of Cern" name based on the chief Gaulish god; I suppose one could argue that we could just as well name it the "Sironic Rite" or the "Temple of Sirona," based on possibly the chief goddess of the Gauls (as least of the Cisalpine Gauls).

In conclusion, perhaps a landscape with a loose intellectual name "Gaulish Polytheist Reconstructionim," with the almost gratuitous "folkish" and "universalist" subsections, with name like "Temple of Cern" being given to its various local covens? As to whether it should lean more towards the Witches Sabbath or Druidism, I don't know. Since various spiritual traditions overlapped, this becomes a central issue. Personally, I tend to lean more towards the Witches Sabbath. That is the area, more than any other, which needs to be exorcised from the grip of political influence, any political influence. The Gaulish culture was strong in France (Gaul), the northern Italian peninsula, and much of the Iberian peninsula; but since Celtic peoples were present in every part of Europe, it leaves the door open. I just believe that, for example, a Cuban-American--who's also a European-American and a folkish-minded person--ought to feel at home in Gaulish neopaganism. Lastly, I would suggest an eight-pointed star as the chief symbol of this movement. It's perfect, with each point representative of each sabbat in the wheel of the year.

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