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Cernunnos on the Pillar of the Boatmen in its present state.

Cernunnos

Name

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Pillar of the Boatmen

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Further information: Pillar of the Boatmen
A reconstruction of the image of Cernunnos on the Pillar of the Boatmen

The Pillar of the Boatmen is a carved pillar discovered in 1711 under the Choir of Notre-Dame de Paris. It is a religious monument with depictions of Roman and Gaulish gods, dedicated by a corporation of boatmen from the city of Lutetia (Roman Paris). It is datable to the reign of Tiberius (14-37 CE).[1]

On one side of the stone, a frowning, bearded figure is depicted from the shoulder's up. His face is human, but his upper head is that of an animal's, with short pointed ears and bifid deer's antlers. A torc hangs on each of his antlers. The lower half of the block is lost, but given its presumed height, the figure could not have been standing. Therefore (in line with similar figures representing Cernunnos) the panel is reconstructed to show him cross-legged.[1]

Above the antlered figure is a one-word legend. When information about the pillar was published in 1711, this legend was reported as "Cernunnos". However, the block is now badly damaged. Many of the letters are only partially visible; the letter "C" is entirely gone.[1] Joshua Whatmough has gone as far to say that in its present state "only 'nn' is certain".[2]: 517  The reading from 1711 has sometimes been mistrusted. Joseph Vendryes and Whatmough argue (following the Dacia inscription) that the theonym is Cernennos.[3]: 335  Françoise Le Roux [fr] was sceptical about the existence of the final "s".[4]: 324  However, David Fickett-Wilbar argues that 18th-century drawings show that the legend clearly read "Cernunnos"[5]: 81 

Other attestations

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A capital with Gaulish καρνονου or καρνομου

A capital found in Aumes (Hérault, France) is inscribed with a short Gaulish text in Greek letters. Michel Lejeune has interpreted this inscription as a dedication to a god καρνονου (translit. karnonou; in English, "Carnonos"), who he tentatively connects with the god Cernunnos. However, both Lejeune's reading and his interpretation of this inscription have been contested. Joshua Whatmough, for example, prefers the reading καρνομου (translit. karnomou); and Emmanuel Dupraz has argued that, instead of describing the god to whom the dedication has been made, the inscription states that an object καρνον (translit. karnon) is being offered.[6][7]: 327 

A wax tablet from Dacia records a decree of 167 CE dissolving one collegi(i) Iovi Cerneni ("collegium of Jupiter Cernunnos"), a funerary association.[8] Fickett-Wilbar identifies this as a reference to Cernunnos, though he comments that it "tells us nothing about the deity other than his name".[5]: 80–81  Michael Altjohann suggests the byname Cerneni derives from a place-name, rather than a theonym.[9]: 70  Le Roux argues that, insofar as this evidences an interpretatio of Cernunnos as the Roman god Jupiter, it cannot be a reference to the Cernunnos known from the Pillar of the Boatmen.[4]: 328 

A bronze tabula ansata (of the late 2nd to early 3rd century CE) from Steinsel, Luxembourg is dedicated to one Deo Ceruninco ("god Cerunincus"). Though close in name to Cernunnos, the editors of L'Année épigraphique argue that the form of the name entails that it must be another (probably Treverian) god.[10][11]

Etymology

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The earliest etymology, proposed by Alfred Holder, connected Cernunnos's name with a Celtic word for horn, a reflex of proto-Indo-European *ḱerh₂- ("horn", "hoof"). This etymology has the advantage of be closely linked with Cernunnos's iconography. However, Ernst Windisch and Leo Weisgerber pointed out that ablaut form of the PIE root in Celtic is *karno rather than *kerno[4]: 325 [12]: 105  (as in Gaulish karnon (Galatian trumpet) and Middle Welsh carn ("hoof")).[13]: 191  Weisgerber proposed a connection with proto-Celtic *karno ("angle", "corner").[12]: 106  Vendryes suggested that the word was cognate with Old Irish cern ("hero").[14]: 162 

Iconography

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It is conventional to apply to the name of "Cernunnos" to images which fit into this cluster of attributes.[citation needed] Some scholars (such as William Sayers) have questioned whether the name given on the Pillar of the Boatmen is appropriate to apply to all these images.[15]: 349  Fickett-Wilbar argues that, given the Pillar gives the names of the other gods depicted on it, it is reasonable to assume that Cernunnos is the name of this god.[5]: 82 

As Jufer and Luginbühl put it, "it is difficult to explain the rarity of this theonym in epigraphy".[a]

Some have argued that such a clearly defined cluster of figures does not exist. Pierre Lambrechts argued that the representations grouped as of Cernunnos were simply regional variations on a multifunctional deity (whom he identified with Esus-Teutates).[17]: 16  Similarly, J.-J. Hatt argued that Cernunnos was a variant of Esus.[18]: fn 3  Altjohann has argued that "a clearly defined, significant deity named Cernunnos did not exist".[b]

Striking iconography. Unaffected by interpretatio romana. List of attributes.

Time distribution. The earliest datable monuments to Cernunnos found in Gaul date to the reign of Tiberius (i.e., 14 to 37 AD).[12]: 104  Valcamonica is very early. de Vries conjecturally connects Cernunnos with some neolithic drawings found in France.[12]: 105  Gundestrup uncertain date. Stuttgart is very late, depictions of the devil in Christian literature.

Talk about devil here[19]


The majority of the images identified as Cernunnos have been found in Gaul, in a fairly limited area around Paris and Reims.[5]: 82  The rock drawing in Valcamonica (Lombardy, Italy), the Gundestrup cauldron (found in Himmerland, Denmark), and some possible depictions of Cernunnos in England and Ireland are conspicuous exceptions.[5]: 82–83  A particular coin type, found predominately in the territory of the British Belgae, has been conjectured to represent Cernunnos by George Boon, but David Fickett-Wilbar disagrees.[5]: 83 [20]: 2 



Interpretation

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Gallo-Roman bronze deer from the Neuvy-en-Sullias treasure [fr].

The Celts and deer.

Lord of the animals: snake, the particular collection of animals. Arguments against from Fickett-Wilbar.

Fertiliy: cornucopia, snake, etc.

The lotus pose has been much commented on. X thought it suggested the influence of the Buddhist East on Celtic design. Y thought it was the characteristic sitting position of the Celts. Bring up Roquerpotuse statues, and that this position is not unique to Cernunnos.

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  • Cernunnos surrounded by animals on the Gundestrup cauldron
    Cernunnos surrounded by animals on the Gundestrup cauldron
  • A Gallo-Roman statue of Cernunnos from Sommerécourt. His horns have been broken off. Two horned snakes feed from a bowl in the figure's hands.
    A Gallo-Roman statue of Cernunnos from Sommerécourt. His horns have been broken off. Two horned snakes feed from a bowl in the figure's hands.
  • Altar from Reims with Cernunnos in between Apollo and Mercury.
    Altar from Reims with Cernunnos in between Apollo and Mercury.
  • The God of Étang-sur-Arroux, probably a depiction of Cernunnos. He has two torc and two holes at the top of his head, probably to receive deer antlers.
    The God of Étang-sur-Arroux, probably a depiction of Cernunnos. He has two torc and two holes at the top of his head, probably to receive deer antlers.
  • Possible depictions of Cernunnos on the Lyon cup (also identified as Apollo). A torc-wearing figure reclines next in between a deer and a dog.
    Possible depictions of Cernunnos on the Lyon cup (also identified as Apollo). A torc-wearing figure reclines next in between a deer and a dog.
  • The God of Bouray. This hooved figure with a torc may represent a non-horned variant of Cernunnos.
    The God of Bouray. This hooved figure with a torc may represent a non-horned variant of Cernunnos.
  • The God of Amiens. This deer-eared god represents a type, perhaps related to Cernunnos.
    The God of Amiens. This deer-eared god represents a type, perhaps related to Cernunnos.
  • Rock carving of an antlered figure in the National park of Naquane, Italy.
    Rock carving of an antlered figure in the National park of Naquane, Italy.
  • Cernunnos in the Stuttgart Psalter (c. 820)
    Cernunnos in the Stuttgart Psalter (c. 820)

Later mythology

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Cernunnos and insular mythology. Le Roux: "Aucune interprétation, si vague, si lâche soit-elle, ne peut l’assimiler à une divinité celtique insulaire quelconque.".[4]: 324 

Notes

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  1. ^ Original French: "Il est difficile d'expliquer la rareté de ce théonyme en epigraphie".[16]: 12 
  2. ^ Original German: "eine fest definierte, bedeutende Gottheit namens Cernunnos nicht existiert hat".[9]: 78 

References

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  1. ^ a b c RIG II.1 L-14 via Recueil informatisé des inscriptions gauloises. Accessed on 9 December 2024.
  2. ^ Whatmough, Joshua (1970). The Dialects of Ancient Gaul: Prolegomena and Records of the Dialects. Cambridge, MA: Harvard University Press.
  3. ^ Olmsted, Garrett S. (2017). The Gods of the Celts and the Indo-Europeans (Revised ed.). Tazewell, VA.{{cite book}}: CS1 maint: location missing publisher (link)
  4. ^ a b c d Le Roux, Françoise (1953). "Cernunnos" (PDF). Ogam. 5: 324–329.
  5. ^ a b c d e f Fickett-Wilbar, David (2003). "Cernunnos: Looking a Different Way". Proceedings of the Harvard Celtic Colloquium. 23: 80–111. JSTOR 25660728.
  6. ^ RIG I G-224 via Recueil informatisé des inscriptions gauloises. Accessed on 9 December 2024.
  7. ^ Evans, D. Ellis (1967). Gaulish Personal Names: A Study of Some Continental Celtic Formations. Oxford: Clarendon Press.
  8. ^ Kloppenborg, John S. (13 December 2018). "[69] Decree Dissolving an Association (167 CE)". Associations in the Greco-Roman World. Retrieved 9 December 2024.
  9. ^ a b Altjohann, Michael (2003). "Cernunnos-Darstellungen in den gallischen und germanischen Provinzen". In Noelke, Peter (ed.). Romanisation und Resistenz in Plastik, Architektur und Inschriften der Provinzen des Imperium Romanum. Neue Funde und Forschungen. Mainz: von Zabern. pp. 67–79.
  10. ^ "No. 772 (Trois Gaules)". L'Année épigraphique 1987. Presses Universitaires de France. 1990. p. 220. JSTOR 25607525.
  11. ^ "No. 542 (Trois Gaules)". L'Année épigraphique 1989. Presses Universitaires de France. 1992. pp. 167–168. JSTOR 25607598.
  12. ^ a b c d de Vries, Jan (1961). Keltische Religion. Stuttgart: W. Kohlhammer.
  13. ^ Matasović, Ranko (2009). Etymological Dictionary of Proto-Celtic. Leiden Indo-European Etymological Dictionary Series. Vol. 9. Leiden / Boston: Brill.
  14. ^ Vendryes, Joseph (1940). "Prydain et Britanni". In Ryan, John (ed.). Féil-sgríbhinn Eóin Mhic Néill : essays and studies presented to Professor Eoin MacNeill. Dublin: Three Candles. pp. 160–166.
  15. ^ Sayers, William (1988). "Cerrce, an archaic epithet of the Dagda, Cernunnos and Conall Cernach". Journal of Indo-European Studies. 16: 341–364.
  16. ^ Jufer, Nicole; Luginbühl, Thierry (2001). Répertoire des dieux gaulois. Les noms des divinités celtiques connus par l'épigraphie, les textes antiques et la toponymie. Paris: Editions Errance.
  17. ^ Bober, Phyllis Pray (January 1951). "Cernunnos: Origin and Transformation of a Celtic Divinity". American Journal of Archaeology. 55 (1): 13–51. doi:10.2307/501179. JSTOR 501179.
  18. ^ Girond, Simon (2011). "Images de dieux, images d'ancêtres: aperçus sur la religion antique dans la cité des Bituriges cube". In Nicolas, Théophane; Salavert, Aurélie; Leduc, Charlotte (eds.). Les images : regards sur les sociétés. Éditions de la Sorbonne. pp. 181–212. doi:10.4000/books.psorbonne.5809.
  19. ^ Deonna, Waldemar (1926). "Du divin au grotesque: Cernunnos et le cocu". Revue d'Ethnographie et des traditions populaires. 7: 28–37.
  20. ^ Rudd, Chris (January 2009). "Horned god or druid priest?" (PDF). Chris Rudd Fixed Price List. 103: 2–5.
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  • Media related to Cernunnos at Wikimedia Commons
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