The Gallic carnyx, the boar's head battle horn, is the most distinctive element of the Gallic warrior, and is almost always depicted on Roman coins showing Gauls (Crawford, RRC 282/1-5; 448/2a-3), as well as appearing on reliefs on Trajan's Column. The silver Gundestrup cauldron (150 BCE-50 CE) found in Denmark (probably of Celtic-Thracian origin), and fragments of carnyces excavated in Scotland, France, Germany, Romania and Switzerland have enlarged the picture of the carnyx's role in Gallic life. But this understanding was dramatically expanded by the discovery in 2004 of seven carnyces, one almost complete, in a Gallic religious deposit in Tintignac, France, dating to the time of Caesar's conquest. Evidence suggests that these carnyces served an important ritual function within the Gallic sanctuary in which they were found. Using the theories of cultural anthropologist Dan Sperber ( Rethinking Symbolism . 1975), this paper analyzes the ritualistic role of the carnyx, and how its use and function both disturb and transform “the boundaries between 'bodies' and 'objects'” (Gaifman, Platt, Squires. 2018). The player of the carnyx is inevitably conjoined with the instrument in his mouth, creating in the player a ritualistic, religious bond between his person and the carnyx, and, by extension, with the army itself (in war) and the ritual participants in the religious sanctuary (in peace). As an object of ritual, religious significance, the carnyx transforms both the player of the carnyx and those around him, creating a liminal, apotropaic space that provides martial and social victory, success, and prosperity.