Celtic Mythology: History of Celts, Religion, Archeological Finds, Legends & Myths. T. W. Rolleston

monuments to be built. This is not a powerful argument!⁹³²

As has been seen, some purely Celtic images existed in Gaul. The Gauls, who used nothing but wood for their houses, probably knew little of the art of carving stone. They would therefore make most of their images of wood—a perishable material. The insular Celts had images, and if, as Cæsar maintained, the Druids came from Britain to Gaul, this points at least to a similarity of cult in the two regions. Youthful Gauls who aspired to Druidic knowledge went to Britain to obtain it. Would the Druids of Gaul have permitted this, had they been iconoclasts? No single text shows that the Druids had any antipathy to images, while the Gauls certainly had images of worshipful animals. Further, even if the Druids were priests of a pre-Celtic folk, they must have permitted the making of images, since many "menhir-statues" exist on French soil, at Aveyron, Tarn, and elsewhere.⁹³³ The Celts were in constant contact with image-worshipping peoples, and could hardly have failed to be influenced by them, even if such a priestly prohibition existed, just as Israel succumbed to images in spite of divine commands. That they would have been thus influenced is seen from the number of images of all kinds dating from the period after the Roman conquest.

Incidental proofs of the fondness of the Celts for images are found in ecclesiastical writings and in late survivals. The procession of the image of Berecynthia has already been described, and such processions were common in Gaul, and imply a regular folk-custom. S. Martin of Tours stopped a funeral procession believing it to be such a pagan rite.⁹³⁴ Councils and edicts prohibited these processions in Gaul, but a more effectual way was to Christianise them. The Rogation tide processions with crucifix and Madonna, and the carrying of S. John's image at the Midsummer festivals, were a direct continuation of the older practices. Images were often broken by Christian saints in Gaul, as they had been over-turned by S. Patrick in Ireland. "Stiff and deformed" many of them must have been, if one may judge from the Groah-goard or "Venus of Quinipily," for centuries the object of superstitious rites in Brittany.⁹³⁵ With it may be compared the fetich-stone or image of which an old woman in the island of Inniskea, the guardian of a sacred well, had charge. It was kept wrapped up to hide it from profane eyes, but at certain periods it was brought out for adoration.⁹³⁶

The images and bas-reliefs of the Gallo-Roman period fall mainly into two classes. In the first class are those representing native divinities, like Esus, Tarvos Trigaranos, Smertullos, Cernunnos, the horned and crouching gods, the god with the hammer, and the god with the wheel. Busts and statues of some water-goddesses exist, but more numerous are the representations of Epona. One of these is provided with a box pedestal in which offerings might be placed. The Matres are frequently figured, usually as three seated figures with baskets of fruit or flowers, or with one or more infants, like the Madonna. Images of triple-headed gods, supposed to be Cernunnos, have been found, but are difficult to place in any category.⁹³⁷

To the images of the second class is usually attached the Roman name of a god, but generally the native Celtic name is added, but the images themselves are of the traditional Roman type. Among statues and statuettes of bronze, that of Mercury occurs most often. This may point to the fact that Cæsar's simulacra of the native Mercury were images, and that the old preference for representing this god continued in Roman times. Small figures of divinities in white clay have been found in large numbers, and may have been ex votos or images of household lararia.⁹³⁸

      SYMBOLS.

Images of the gods in Gaul can be classified by means of their symbols—the mallet and cup (a symbol of plenty) borne by the god with the hammer, the wheel of the sun-god, the cornucopia and torque carried by Cernunnos. Other symbols occur on images, altars, monuments, and coins. These are the swastika and triskele, probably symbols of the sun;⁹³⁹ single or concentric circles, sometimes with rays;⁹⁴⁰ crosses; and a curious S figure. The triskele and the circles are sometimes found on faces figured on coins. They may therefore have been tattoo markings of a symbolic character. The circle and cross are often incised on bronze images of Dispater. Much speculation has been aroused by the S figure, which occurs on coins, while nine models of this symbol hang from a ring carried by the god with the wheel, but the most probable is that which sees in it a thunderbolt.⁹⁴¹ But lacking any old text interpreting these various symbols, all explanations of them must be conjectural. Some of them are not purely Celtic, but are of world-wide occurrence.

      CULT OF WEAPONS.

Here some reference may be made to the Celtic cult of weapons. As has been seen, a hammer is the symbol of one god, and it is not unlikely that a cult of the hammer had preceded that of the god to whom the hammer was given as a symbol. Esus is also represented with an axe. We need not repeat what has already been said regarding the primitive and universal cult of hammer or axe,⁹⁴² but it is interesting to notice, in connection with other evidence for a Celtic cult of weapons, that there is every reason to believe that the phrase sub ascia dedicare, which occurs in inscriptions on tombs from Gallia Lugdunensis, usually with the figure of an axe incised on the stone, points to the cult of the axe, or of a god whose symbol the axe was.⁹⁴³ In Irish texts the power of speech is attributed to weapons, but, according to the Christian scribe, this was because demons spoke from them, for the people worshipped arms in those days.⁹⁴⁴ Thus it may have been believed that spirits tenanted weapons, or that weapons had souls. Evidence of the cult itself is found in the fact that on Gaulish coins a sword is figured, stuck in the ground, or driving a chariot, or with a warrior dancing before it, or held in the hand of a dancing warrior.⁹⁴⁵ The latter are ritual acts, and resemble that described by Spenser as performed by Irish warriors in his day, who said prayers or incantations before a sword stuck in the earth.⁹⁴⁶ Swords were also addressed in songs composed by Irish bards, and traditional remains of such songs are found in Brittany.⁹⁴⁷ They represent the chants of the ancient cult. Oaths were taken by weapons, and the weapons were believed to turn against those who lied.⁹⁴⁸ The magical power of weapons, especially of those over which incantations had been said, is frequently referred to in traditional tales and Irish texts.⁹⁴⁹ A reminiscence of the cult or of the magical power of weapons may be found in the wonderful "glaives of light" of Celtic folk-tales, and the similar mystical weapon of the Arthurian romances.

901. Lucan, Pharsalia, iii. 399 f.

902. Dio Cass. lxii. 7; Tac. Ann. xiv. 30.

903. Strabo, xii. 51. Drunemeton may mean "great temple" (D'Arbois, Les Celtes, 203).