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La Tène culture

Iron Age culture of Europe

  • 27 min read
  • 8 chapters
Overview map of the Hallstatt (yellow) and La Tène (green) cultures. After Atlas of the Celtic World , by John Haywood; London Thames & Hudson Ltd., 2001, pp. 30-37. Map update desirable, see here
Dbachmann · CC BY-SA 3.0

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La Tène culture's territorial extent corresponded to what is now France, Belgium, Switzerland, Austria, England, Southern Germany, the Czech Republic, Northern Italy and Central Italy, Slovenia, Hungary and Liechtenstein, as well as adjacent parts of the Netherlands, Slovakia, Serbia, Croatia, Transylvania (western Romania), and Transcarpathia (western Ukraine). The Celtiberians of western Iberia shared many aspects of the culture, though not generally the artistic style. To the north extended the contemporary Pre-Roman Iron Age of Northern Europe, including the Jastorf culture of Northern Germany and Denmark and all the way to Galatia in Asia Minor (today Turkey).

Centered on ancient Gaul, the culture became very widespread, and encompasses a wide variety of local differences. It is often distinguished from earlier and neighbouring cultures mainly by the La Tène style of Celtic art, characterized by curving "swirly" decoration, especially of metalwork.

It is named after the type site of La Tène on the north side of Lake Neuchâtel in Switzerland, where thousands of objects had been deposited in the lake, as was discovered after the water level dropped in 1857 (due to the Jura water correction).

In the popular understanding, La Tène describes the culture and art of the ancient Celts, a term that is firmly entrenched in the popular understanding, but it is considered controversial by modern scholarship.

Periodization

Extensive contacts through trade are recognized in foreign objects deposited in elite burials; stylistic influences on La Tène material culture can be recognized in Etruscan, Italic, Greek, Dacian and Scythian sources. Datable Greek pottery and analysis employing scientific techniques such as dendrochronology and thermoluminescence help provide date ranges for an absolute chronology at some La Tène sites.

La Tène history was originally divided into "early", "middle" and "late" stages based on the typology of the metal finds (Otto Tischler 1885), with the Roman occupation greatly disrupting the culture, although many elements remain in Gallo-Roman and Romano-British culture. A broad cultural unity was not paralleled by overarching social-political unifying structures, and the extent to which the material culture can be linguistically linked is debated. The art history of La Tène culture has various schemes of periodization.

The archaeological period is now mostly divided into four sub-periods, following Paul Reinecke.

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