F13 – Feasting Participant (Male): Archaeological Investigation Report

Anchor Evidence and Scope

This figure type is anchored primarily on situla art depictions of male feasting participants from the Eastern Hallstatt zone (Dolenjska/Slovenia, Lower Austria, Este-Bologna zone) and on the material assemblages from elite feasting contexts in the Western Hallstatt zone (Hochdorf, Heuneburg, Mont Lassois). Feasting is the most common motif in situla art (corpus: 07_situla_art.md, section 3.1; Lucke and Frey 1962; Kastelic 1965; Saccoccio 2023). The figure type cross-cuts Ha C and Ha D but the peak evidence falls in Ha D (c. 620–450 BC), which corresponds to the classic phase of situla art (c. 550–450 BC) and the floruit of Mediterranean imports including wine-service equipment. The prompts generated from this investigation therefore default to Ha D unless otherwise specified.

The feasting participant is not a single figure but a social role that varies by status. Situla art depicts at least three tiers of male feasting figure: (1) the seated elite/host figure on a chair or throne, distinguished by a wide-brimmed hat and the act of being served; (2) standing attendants/servants carrying vessels and food; (3) musicians providing accompaniment. Additionally, boxing contestants shown in conjunction with feasting scenes (Vace situla, Kuffarn situla, Arnoaldi situla) constitute a distinct sub-type – nearly nude fighters competing for a helmet prize. This investigation covers all three sub-types but focuses primarily on the seated elite participant as the “default” feasting male.

Key publications: Dietler 1990, 2010 (commensal politics); Arnold 1999 (“Drinking the feast”); Biel 1985 (Hochdorf); Lucke and Frey 1962 (situla art corpus); Kastelic 1965; Frey 1969; Egg 1996; Saccoccio 2023 (updated catalogue with 306 objects); Lazar 2011 (boxing techniques); Turk 2005 (Slovenian situla art).

Critical methodological note on situla art as evidence: Situla art is NOT a photographic record of Hallstatt life. It is an ideological programme depicting elite activities in a stylised, conventionalised manner, produced primarily in the Este-Bologna and Dolenjska workshop zones (corpus: 07_situla_art.md, section 7.2). Artistic conventions include: exaggerated head-to-body proportions (“dumpy bodies and big heads” – Megaw and Megaw); standardised hat and headgear conventions that may mark social rank rather than depict actual garments; possible Mediterranean (Etruscan/Greek) stylistic influence on figure rendering; and a consistently masculine viewpoint (Megaw and Megaw, in corpus: A8_situla_art_costume.md). All costume details extracted from situla art must be flagged as iconographic evidence rather than direct attestation, and the degree of stylisation versus realism remains debated (Terzan 1997; Saccoccio 2023).

Body-Zone Analysis

HEAD

Hair and hairstyle

Situla art consistently depicts male feasting figures as clean-shaven or with minimal facial hair. Hair is generally shown as short to medium-length, sometimes with a swept-back or curled treatment, but often obscured by headgear. Saccoccio (2023) notes that except for the Italian Benvenuti situla, male figures are depicted “hairless” with stylised heads. This is likely an artistic convention rather than evidence for actual shaving practices, though bronze razors are attested in Hallstatt graves (Kromer 1959; corpus: 06_material_culture.md). ★★ (iconographic evidence, artistic convention probable)

Headgear – the wide-brimmed hat

The wide-brimmed hat is the single most diagnostic costume element of the seated elite male feasting figure in situla art. On the Kuffarn situla (NHM Wien, NHMW-PRAE-17.036), the seated drinking figure wears a conspicuous broad-brimmed hat while holding a bowl – one of the clearest depictions in the entire situla art corpus (corpus: A8_situla_art_costume.md, section 3). On the Vace situla (NMS Ljubljana), the chieftain figure receiving tribute/offerings wears a distinctive hat, though descriptions vary between “conical (Phrygian-style) cap” and a broader form depending on the register examined (corpus: A8_situla_art_costume.md, section 1). The Certosa situla (Museo Civico Archeologico, Bologna) shows armed and processional figures with varied headgear types in its four registers, including hat-wearing figures in the feasting/banquet register (corpus: A8_situla_art_costume.md, section 2; museibologna.it). ★★★ (directly attested in multiple situlae)
Saccoccio (2023) investigates hats and earrings in situla art as “identity valencies” – markers of social rank and political identity. The wide-brimmed hat appears to distinguish the host/elite figure from servants and attendants, who are typically bareheaded or wear simpler caps. [Source: https://link.springer.com/article/10.1007/s10963-023-09174-6]
The Hochdorf chieftain (530 BC, Ha D1) was buried with a conical birch-bark hat decorated with incised patterns matching those on his gold belt plate. This hat matches in shape the hat on the life-size sandstone Hirschlanden warrior statue found near another tumulus, suggesting birch-bark or organic conical hats were real status markers, not just situla art conventions (Biel 1985; corpus: 05_elite_seats.md). ★★★ (directly attested from burial context)
Other headgear types on feasting-scene figures include conical/Phrygian-style caps (on figures of middling rank in the Vace situla) and no headgear at all (servants, attendants). ★★ (iconographic evidence)

Earrings

Saccoccio (2023) documents earrings as visible on some male figures in situla art, interpreted as elite status markers. Bronze and gold ear-clips are attested archaeologically in Hallstatt graves (corpus: A6_jewellery.md). ★★ (attested both iconographically and archaeologically, but not universal)

Evidence gap: The exact material and construction of the wide-brimmed hat is unknown. The Hochdorf birch-bark hat provides one data point, but whether the situla art wide-brimmed hat is the same type, or represents a felt/leather/textile hat, is not determinable from the iconographic evidence alone. The relationship between hat type and regional variant (Eastern vs Western Hallstatt) is also unclear.

NECK

Torcs and neck rings

Gold and bronze neck rings (Halsringe) are attested in Ha D elite male contexts. The Hochdorf chieftain wore a gold neck ring (torc) weighing approximately 600 g total across all gold items (Biel 1985; corpus: 05_elite_seats.md). Bronze torcs are more common and appear in both Eastern and Western Hallstatt elite burials (corpus: A6_jewellery.md; 06_material_culture.md). ★★★ (directly attested from burial contexts)
Situla art does not consistently depict neck ornament on male feasting figures – the scale and style of the repoussee work makes small neck details difficult to render and read. Where visible, some seated figures appear to wear a neckband or torc. ★ (ambiguous in iconographic record)
For a Western Hallstatt Ha D elite feasting participant, a bronze or gold torc is appropriate. For an Eastern Hallstatt variant, bronze torcs are more typical; gold is rarer in the Eastern zone male assemblage (corpus: 10_social_organisation.md). ★★ (regionally variable)

TORSO

Tunic / upper body garment

Situla art consistently shows male feasting figures wearing close-fitting or belted tunics, sometimes with visible vertical or horizontal decoration lines that may represent woven patterns, seams, or decorative borders (corpus: A8_situla_art_costume.md; 07_situla_art.md). The Certosa situla’s second register shows processional/feasting figures in garments that fit close to the body, belted at the waist. ★★★ (consistent iconographic evidence across multiple situlae)
Textile evidence from the Hallstatt salt mines (over 700 fragments) confirms the availability of wool fabrics in tabby (plain weave) and 2/2 twill, with polychrome patterning including checks, stripes, and elaborate tablet-woven border bands. Dyes attested: woad (blue), weld (yellow), iron-tannin black/brown, madder (red), scentless chamomile (yellow-green) (corpus: A1_mine_textiles.md; Gromer 2016). These textiles postdate the Urnfield period and are broadly contemporary with Ha C–D. ★★★ (directly attested textile types)
Reconstruction studies (Gromer 2010; Gromer et al., “Visions of Dress”) suggest a knee-length or slightly above-knee tunic for males, woven as a single piece or assembled from multiple cut pieces as evidenced by seam fragments from the mines. The tunic would have been belted at the waist and likely had tablet-woven decorative borders at hems and neckline (corpus: A2_costume_reconstruction.md). ★★ (scholarly reconstruction)
The Hochdorf chieftain’s textile remains included elaborate woven fabrics with complex patterns, including what Banck-Burgess (1999) interpreted as a tunic or shirt-like garment with decorative embroidery or applique (Biel 1985; Banck-Burgess 1999). ★★★ (directly attested from burial)

Cloak / mantle

Situla art shows some male figures wearing cloaks draped over one shoulder, fastened with a fibula. Cloaks appear on both standing and seated figures, though not universally – some seated elite figures are shown without cloaks, possibly because the cloak was removed for the feast (corpus: A8_situla_art_costume.md; 07_situla_art.md). ★★ (iconographic evidence, variable depiction)
A wool cloak in twill or tabby weave, possibly with decorative tablet-woven borders, is consistent with the textile evidence. The cloak would be pinned at the right shoulder with a fibula, leaving the right arm free (corpus: A2_costume_reconstruction.md). ★★ (inferred from textile + iconographic evidence)

Fibulae

Ha D fibula types for the feasting figure context include: Kahnfibeln (boat fibulae, Ha C–D1), Paukenfibeln (kettledrum fibulae, Ha C–D1), Certosa fibulae (Ha D2–D3, primarily Eastern Hallstatt zone), and serpentine fibulae (Schlangenfibeln, Ha C–D1). The choice of fibula type depends on the sub-phase and regional setting of the prompt (corpus: A3_fibulae.md; 06_material_culture.md). ★★★ (directly attested types with tight chronological control)
Ha D elite male graves typically contain 1–2 fibulae, positioned on the upper chest or at the shoulder for cloak fastening (Hodson 1990; Kromer 1959). A feasting figure who has removed his cloak might display the fibula on the tunic shoulder instead. ★★★ (attested from grave contexts)
For an Eastern Hallstatt Ha D2–D3 feasting scene: Certosa fibulae are the phase-correct type. For Ha D1: Kahnfibeln or Paukenfibeln. For Ha C: two-piece bow fibulae or early serpentine types.

WAIST

Belt

All male feasting figures in situla art wear belts. The belt is one of the most consistently depicted elements – a horizontal band at the waist, sometimes with a visible buckle or hook. Belts served the dual function of cinching the tunic and suspending a dagger or short sword (corpus: A8_situla_art_costume.md; A4_belt_plates.md). ★★★ (universally attested in situla art male figures)
Archaeological evidence: bronze belt hooks (Gurtelhaken) from the Hallstatt cemetery (NHM Wien, 3D scans available on Sketchfab for Graves 208 and 270); decorated belt plates (Gurtelbleche) with repoussee geometric or figural decoration, primarily Eastern Hallstatt zone (corpus: A4_belt_plates.md). In the Western zone, belt hooks and simpler leather-with-metal-fittings belts are more typical for males. ★★★ (directly attested)
The Hochdorf chieftain’s belt was covered with sheet gold decorated with stamped patterns (Biel 1985). This is exceptional; most belts would have been leather with a bronze hook or simple plate. ★★★ (directly attested, elite extreme)

Dagger at belt

Some seated feasting figures in situla art wear a dagger at the belt, visible as a short straight element hanging from the waist. This is consistent with the Ha D pattern of short daggers replacing Ha C long swords as personal weapons (corpus: B6_weapons.md; 06_material_culture.md; Sievers 1982). ★★ (iconographic evidence, consistent with archaeological record)
The Hochdorf chieftain was buried with a dagger with a gold-covered hilt and blade (Biel 1985). An iron or bronze antenna-hilted dagger is the standard Ha D male elite weapon (corpus: B6_weapons.md). ★★★ (directly attested)

ARMS AND HANDS

Arm rings

Bronze arm rings (Armringe) are attested in Ha D male elite graves, though they are more frequently associated with female dress in many Western zone contexts. A single solid or penannular bronze arm ring on one or both wrists is plausible for a Ha D elite male feasting participant (corpus: A6_jewellery.md; Hodson 1990). ★★ (attested but not universal for males)
The Hochdorf chieftain wore a gold arm ring. Gold arm rings are exceptional; bronze is the standard material for the vast majority of arm-ring-wearing males (Biel 1985). ★★★ (directly attested, elite extreme)

Objects held in hands – drinking vessels

The defining gesture of the feasting participant is holding a drinking vessel. Situla art shows seated figures holding handled cups or bowls, often in the act of drinking or being offered a drink by an attendant (corpus: 07_situla_art.md, section 3.1). The Kuffarn situla’s seated figure holds a bowl. ★★★ (universally attested in feasting iconography)
Archaeological drinking vessel types: bronze handled cups, ceramic drinking bowls, and – most distinctively – drinking horns. The Hochdorf burial contained nine drinking horns (the largest, of iron with gold bands, held 5.5 litres; the remaining eight were aurochs horn with gold fittings), hung on the chamber wall (Biel 1985; corpus: B7_feasting_equipment.md). Drinking horns are not clearly depicted in situla art (which shows cups and bowls), but are directly attested from burial contexts and represent the most visually distinctive feasting item for the Western Hallstatt zone. ★★★ (archaeologically attested; iconographic evidence shows cups/bowls instead)

LEGS AND FEET

Leg coverings

Situla art shows male figures with what appears to be tight-fitting leg coverings on some figures, while others appear bare-legged. The bare-leg depiction is likely an artistic convention rather than evidence for actual nudity, particularly given the Alpine climate (corpus: A8_situla_art_costume.md; A2_costume_reconstruction.md). ★ (ambiguous; artistic convention vs reality debated)
No direct textile evidence for Ha D trousers or leg wrappings exists as complete garments. Leg wrappings (Wickelbander) using woven bands are plausible based on the documented tablet-woven bands from the Hallstatt mines and analogy with later La Tene evidence. Loose-fitting trousers or fitted leggings in wool are also possible (corpus: A1_mine_textiles.md). ★ (speculative)

Greaves

Bronze greaves (Beinschienen) are an Eastern Hallstatt zone phenomenon, associated with warrior graves at Sticna, Novo Mesto, and Kleinklein (corpus: B6_weapons.md). They are NOT appropriate for a feasting scene unless the figure is specifically an armed warrior at a feast (as in Certosa situla first register). ★★ (attested for Eastern warriors but not for feasting costume per se)

Footwear

Hallstatt mine leather shoe finds (NHM Wien) include rawhide shoes and constructed leather footwear (corpus: A7_footwear.md). These are from mining contexts but provide evidence for the types of footwear available. Situla art occasionally shows footwear but depictions are inconsistent – some figures appear to wear soft shoes or boots, others appear barefoot. ★ (ambiguous iconographic evidence; archaeological shoe finds from mines)
The Hochdorf chieftain was buried with gold-covered shoes, indicating that shoes were part of the elite costume (Biel 1985). The gold covering was applied over organic (leather?) shoes that did not survive. ★★★ (attested from burial, but gold covering is exceptional)

Evidence gap: The exact form of Ha D elite male leg coverings and footwear is one of the most significant gaps. Situla art is ambiguous, and no complete garments survive. Trousers, leggings, leg wrappings, or even bare legs with soft shoes are all defensible but none is firmly established.

OBJECTS CARRIED / SCENE ELEMENTS

Drinking equipment – the feasting assemblage

Bronze situlae (bucket-shaped vessels) served as mixing/serving vessels for wine, mead, or beer. Multiple situlae are depicted in feasting scenes as the central vessels from which liquid is ladled into individual cups (corpus: B7_feasting_equipment.md; 07_situla_art.md). ★★★
Schnabelkannen (beaked flagons) are Etruscan imports or local imitations used for pouring wine. Found at Hochdorf (Etruscan bronze jug), Vix (Etruscan Schnabelkanne), Kleinaspergle, and numerous other sites (corpus: B7_feasting_equipment.md; 08_trade_networks.md). These are Ha D prestige items par excellence. ★★★
The Hochdorf cauldron (Greek bronze, capacity ~500 litres, originally containing ~400 litres of mead based on pollen analysis) with three lion figures on the rim is the most spectacular feasting vessel known (corpus: B7_feasting_equipment.md; 05_elite_seats.md). ★★★
The Vix krater (Greek bronze, 1.63 m tall, ~208 kg, capacity ~1,100 litres) from the Vix burial is the largest known ancient Greek bronze vessel and served as a wine-mixing vessel (corpus: B7_feasting_equipment.md; 05_elite_seats.md; 04_burials.md). ★★★
Flesh-hooks (Fleischhaken) for retrieving meat from cooking vessels are attested from British and Continental Iron Age contexts (corpus: B7_feasting_equipment.md). ★★
Fire-dogs (Feuerbocke) and roasting spits (Bratspiesze) complete the hearth-cooking equipment (corpus: B7_feasting_equipment.md). ★★
Bronze couch (Kline): the Hochdorf bronze recliner with eight female figurine caryatids on wheels (2.75 m long) is unique in the Hallstatt world and represents the adoption of Mediterranean symposion furniture (corpus: B7_feasting_equipment.md; Biel 1985). ★★★ (unique specimen)

Musical instruments

Situla art depicts musicians playing: syrinx (pan pipes), lyre, and in non-situla-art contexts, aulos (double pipes). Pan pipes appear on Slovenian/Austrian situlae; the lyre is depicted on ceramic and bronze vessels of the Kalenderberg and broader Hallstatt culture. A bone pan-pipe from an early Hallstatt grave consisted of nine sheep-bone tubes bound with strips (musiklexikon.ac.at; corpus: 07_situla_art.md). Musicians in situla art are typically standing, smaller in scale than the seated elite figure, and shown without elaborate headgear – suggesting servant or specialist status rather than elite. ★★ (iconographic + limited archaeological evidence)

Seating

Seated elite figures in situla art sit on chairs or throne-like seats, sometimes with backs, sometimes simple stools. The Hochdorf bronze couch/kline is the only directly attested piece of elite feasting furniture, but it is unique. More typical would be a wooden chair or bench, which would not survive archaeologically (corpus: 07_situla_art.md; B7_feasting_equipment.md). ★★ (iconographic evidence for chairs; Hochdorf kline is unique)

Regional Variants

Eastern Hallstatt Zone (Dolenjska, Este-Bologna, Lower Austria)

This is the primary zone for situla art evidence. The feasting male in this zone is characterised by: wide-brimmed or conical hat; close-fitting belted tunic; Certosa fibula (Ha D2-D3) or Kahnfibel (Ha D1); bronze belt hook; bronze arm ring(s); handled drinking cup or bowl; dagger at belt optional. The feasting scene includes bronze situlae as central vessels, musicians with pan pipes, boxing matches, animal processions, and occasionally chariot parades. The costume details are derived directly from the situla art depictions and supplemented by the warrior-grave assemblages from Sticna, Novo Mesto, Vace, and Magdalenska Gora (corpus: A8_situla_art_costume.md; 04_burials.md; 10_social_organisation.md).

Western Hallstatt Zone (Heuneburg/Hohenasperg/Mont Lassois sphere)

The Western zone feasting male is reconstructed primarily from burial assemblages (Hochdorf, Grafenbuhl, Kleinaspergle) and settlement evidence (Heuneburg amphora concentrations, Mont Lassois “great hall”). Key differences from the Eastern variant: (1) gold ornament is more prominent (Hochdorf gold torc, gold-covered shoes, gold belt plate); (2) Mediterranean imports are more abundant and include Greek/Etruscan vessels rather than locally produced situlae as the prestige feasting equipment; (3) drinking horns are attested (Hochdorf) but not depicted in Eastern situla art; (4) the birch-bark conical hat (Hochdorf) may differ from the situla art wide-brimmed hat type; (5) Massaliote wine amphorae attest to wine consumption at scale at the Heuneburg and Mont Lassois (corpus: 05_elite_seats.md; 08_trade_networks.md; B7_feasting_equipment.md).

Feasting Sub-Types

Sub-type A: Seated Elite Host/Participant

The primary figure. Seated on a chair or throne. Wearing a wide-brimmed hat (Eastern) or conical birch-bark hat (Western). Tunic, belt, dagger optional. Holding a drinking cup, bowl, or drinking horn. Being served by attendants. This figure embodies the “commensal politics” framework (Dietler 1990): the host who derives political authority from the act of providing and controlling the feast.

Sub-type B: Standing Attendant/Servant

Shown carrying vessels (situlae, flagons, bowls) toward the seated figure. Typically bareheaded or wearing a simple cap. Less elaborately dressed than the seated figure – tunic without cloak, simpler belt, no visible jewellery. Smaller in scale in situla art, indicating lower rank (corpus: A8_situla_art_costume.md). This figure is important for scene composition but is not the primary prompt target.

Sub-type C: Musician

Standing figure playing syrinx (pan pipes), lyre, or occasionally horn. Dressed similarly to attendants – simple tunic, often bareheaded. May stand near the seated elite figure or in a separate zone of the scene. Pan pipes are the most archaeologically diagnostic instrument for the situla art zone (bone pan pipe from Hallstatt grave; depictions on Slovenian situlae) (corpus: 07_situla_art.md; musiklexikon.ac.at).

Sub-type D: Boxer/Combatant

Nearly nude – wearing only a belt or loincloth, bareheaded, bare-chested, bare-legged. The contrast between the clothed spectators/officials and the near-nude fighters is deliberate and consistent across multiple situlae (Vace, Kuffarn, Arnoaldi). Fighters hold dumbbell-shaped objects in their fists – interpreted by Lazar (2011) as weighted hand-held implements for striking, not hand-wraps. A crested or Negau-type helmet is placed between the combatants as the prize (Vace situla: the “most famous boxing scene” with two combatants flanking a large helmet; Arnoaldi situla: boxers with crested helmet prize). Seconds or officials stand to either side. This figure type is directly attested in situla art and constitutes the most detailed and consistent costume information in the entire tradition for what people did NOT normally wear, by contrast (corpus: 07_situla_art.md, section 3.3; A8_situla_art_costume.md; Lazar 2011, Arheoloski vestnik 62, 261–288). ★★★

Beverages: What Was Being Drunk

The contents of the feasting vessels are critical for scene accuracy:

Mead: directly attested at Hochdorf (pollen analysis of cauldron residue yielded honey-based fermented beverage; Biel 1985; corpus: 05_elite_seats.md). ★★★
Wine: attested indirectly through Massaliote amphora concentrations at Heuneburg (hundreds of fragments) and Mont Lassois, and through the deposition of Greek/Etruscan wine-service equipment (kraters, Schnabelkannen, oinochoai, kylikes, strainers) in elite graves. The adoption of Mediterranean wine-drinking is central to Brun (1987) and Dietler (1990) models of elite self-differentiation (corpus: 08_trade_networks.md; 10_social_organisation.md). ★★★ (indirectly attested through vessels)
Beer: palaeofaeces evidence from the Hallstatt salt mines contains barley residues consistent with beer consumption (corpus: 02_salt_mining.md). Beer was likely the common beverage; wine and mead were elite alternatives. ★★ (indirect evidence)

Interpretive Debates

1. Are situla art feasting scenes generic or funerary-specific? The dominant view (Kastelic 1965; Terzan 1997; Egg 2013) holds that situla art scenes represent a generalised elite ideological programme – feasting, martial display, procession, and hunting as interconnected facets of aristocratic identity. An alternative view (Egg 1996) argues that at least some scenes specifically depict funerary rituals – the games, processions, and feasts associated with the burial of a great individual. The boxing-for-a-prize scenes in particular recall Homeric funerary games (Iliad Book 23) and Etruscan funerary paintings, raising the possibility of shared funerary ideology. Both interpretations are defensible; the prompts should not commit to one (corpus: 07_situla_art.md, section 7.1). ★★

2. Mediterranean influence vs local practice Did Hallstatt elites actually recline, drink wine, and hold symposia in the Mediterranean manner? Or did they adopt Mediterranean equipment and use it within distinctly local consumption practices? Dietler (2010) argues for selective adoption and creative transformation – Hallstatt elites appropriated exotic drinking equipment as a form of “diacritical feasting” to distinguish themselves from commoners, but the actual feasting practice may have differed substantially from a Greek symposion. The Hochdorf assemblage is suggestive: the cauldron contained mead, not wine; the bronze couch/kline is the only such object north of the Alps; and nine drinking horns suggest communal horn-passing, not individual cup-drinking. Prompts should avoid depicting an explicitly Greek-style reclining symposion and instead emphasize seated/enthroned postures consistent with situla art (corpus: 10_social_organisation.md; Dietler 1990, 2010). ★★

3. Were the boxing scenes real or symbolic? Lazar (2011) argues that situla art boxing was a “technically sophisticated martial art” aimed at physically defeating the opponent, not merely a stylised game. He draws parallels with Greek boxing and English bare-knuckle traditions. Others read the scenes as primarily symbolic or ritual, part of a funerary programme rather than evidence for regular athletic competition. The dumbbell-shaped hand implements are unique to the Hallstatt boxing tradition and have no Mediterranean parallel (corpus: 07_situla_art.md, section 3.3; Lazar 2011). ★★

Evidence Quality Summary

Body Zone	Evidence Quality	Source Type
Head – wide-brimmed hat	★★★	Multiple situlae + Hochdorf birch-bark hat
Neck – torc	★★★ (Western) / ★★ (Eastern)	Burial assemblages
Torso – tunic	★★★	Situla art + mine textiles + Hochdorf
Torso – cloak	★★	Situla art + textile evidence
Torso – fibulae	★★★	Burial assemblages with tight dating
Waist – belt	★★★	Universal in situla art + archaeological
Waist – dagger	★★	Situla art + Ha D burial pattern
Arms – arm rings	★★	Burial assemblages, gender-variable
Hands – drinking vessel	★★★	Situla art + archaeological vessels
Legs – coverings	★	Ambiguous situla art; no direct evidence
Feet – footwear	★	Mine shoes + ambiguous situla art
Boxing contestant – near-nude	★★★	Consistent across multiple situlae
Musical instruments	★★	Situla art + bone pan pipe find
Feasting equipment	★★★	Extensive archaeological + iconographic

Key Corpus File Cross-References

07_situla_art.md – primary iconographic analysis
10_social_organisation.md – feasting as political practice (Dietler, Arnold)
05_elite_seats.md – Hochdorf, Heuneburg, Mont Lassois assemblages
04_burials.md – grave goods typology, feasting equipment in graves
08_trade_networks.md – Mediterranean imports, wine trade
A8_situla_art_costume.md – visual reference links for all major situlae
B7_feasting_equipment.md – visual reference links for vessels, horns, spits
A3_fibulae.md – fibula type-series with dating
A4_belt_plates.md – belt plate decoration
A5_headgear_hair.md – headgear types
A6_jewellery.md – torcs, arm rings, earrings
A7_footwear.md – leather shoe finds
B6_weapons.md – daggers, helmets (Negau type for boxing prize)