Fig. 74.
Roman Gods and Impersonations.—It is hardly brought out in the history books that the inhabitants of Britain possessed a great classical inheritance. I would say possess, but we do not seem to have determined whether we are British or only English. For a thousand years before the Teutonic invasions of the fifth century A.D. Britain had been in touch with Greek and Roman cultures, and for centuries before that again some overflow from Mediterranean lands had reached this island, and the Celts themselves were a great European race. During five centuries from 100 B.C. to A.D. 400 Britain became fully Romanised. After that time it was probably only some small balance of forces which gave us a Teutonic language, while France under somewhat similar circumstances retained a Latin tongue. Greek gods and, doubtless, Greek stories were known here long before the Roman occupation, as the British coins (the most beautiful money ever coined in these islands) show. Already when Ptolemy wrote his geography, Hartland Point, in Devonshire, was the promontory of Herakles, and this is evidence which, together with figures of Hercules on the British coins, strongly suggests that some Hercules story became localised in Britain. Possibly, as the seas beyond the Gibraltar Straits became better known, the “Pillars of Hercules” were shifted to the headland facing the Atlantic. Hercules rescuing Hesione appears as a subject on Castor pottery. “This, and the corresponding scene of Perseus and Andromeda, were popular in Britain and Gaul,” says Dr. Haverfield, and adds: “Whether the scenes conveyed any symbolic meaning in these lands I should greatly doubt.” I incline the other way. It is to be remarked that several altars dedicated to Hercules have been found in Britain: one at Corbridge is inscribed in Greek to the Syrian Hercules—that is, the same who had the famous temple at Gades.
During the Roman rule, the Olympian gods and minor classical genii were, of course, fully adopted, and the monuments show interesting transitions of thought. Jove became a single supreme deity, while the most of the other chief gods were associated with the planets and the days of the week—1 Sol, 2 Luna, 3 Mars, 4 Mercury, 5 Jupiter, 6 Venus, 7 Saturn. This stage of thought is represented by the Jove and Giant Pillars before described.
Fig. 75.
On the fragment from Chesterford at the British Museum we have Mercury with his wand, Jupiter with bearded face, and Venus with a mirror. These figures can be completed by comparison with others. There is a relief of Mercury at Gloucester. Another, illustrated by Espèrandieu, is of the same sort; he seems always to have carried a pouch in his right hand (Fig. [75]). At the Goldsmiths’ Hall is a little altar having a relief of Diana on the front, a group of sacrificial utensils on the back, and simple reliefs of two trees on the returns. The figure is charming, graceful and well proportioned. The pose and setting in the panel are very similar to the soldier relief at Colchester, and I should date it about the same time, A.D. 100-150. The figure is very like a small bronze found near St. Paul’s, of which Allen gave an illustration; that also held a bow, and with the lifted right hand took an arrow from the quiver behind her shoulder. The objects carved on the back of the altar are a table of offerings (compare the leg of a piece of furniture in Leicester Museum), a jug and probably a dipper (Fig. [76]). Archer, who published etchings of the reliefs, thought he saw a hare here, but this was a misreading of the obscure forms. This altar must have belonged to some temple or shrine. As Dr. Haverfield says of a somewhat similar relief of Diana found near Bath: “We need not doubt that passers-by worshipped Diana of the Romans.”
Fig. 76.
At the Guildhall is the upper part of a terra-cotta image of Ceres, and fragments of a Hercules, perhaps from a tomb, were found at Ludgate in 1806. There are many small bronze figures in our museums—altogether quite a Pantheon could be made up of images found in Britain, and these, I feel, belong to us in a special way.
In the form of impersonations of the days, the seven gods might still be available in a modern art language if we had sufficient sense to construct such an Esperanto.[[2]]