“But, I do not know how it comes to pass, it is the unhappy fashionof our age to derive everything curious and valuable, whether theworks of art or nature, from foreign countries: as if Providencehad denied us both the genius and materials of art, and sent useverything that was precious, comfortable, and convenient, atsecond-hand only, and, as it were, by accident, from charity of ourneighbours.”—Borlase(1754).
“But, I do not know how it comes to pass, it is the unhappy fashionof our age to derive everything curious and valuable, whether theworks of art or nature, from foreign countries: as if Providencehad denied us both the genius and materials of art, and sent useverything that was precious, comfortable, and convenient, atsecond-hand only, and, as it were, by accident, from charity of ourneighbours.”—Borlase(1754).
“But, I do not know how it comes to pass, it is the unhappy fashion
of our age to derive everything curious and valuable, whether the
works of art or nature, from foreign countries: as if Providence
had denied us both the genius and materials of art, and sent us
everything that was precious, comfortable, and convenient, at
second-hand only, and, as it were, by accident, from charity of our
neighbours.”—Borlase(1754).
Homer relates that the gods watched the progress of the siege of Troy from the far-celebrated Mount Ida in Asia Minor: there is another equally famous Mount Ida in Crete, at the foot of which lived a people known as the Idaei. With Homer’s allusion to “spring-abounding Ida’s lowest spurs,” where wandered—
... in the marshy meadRejoicing with their foals three thousand mares,
... in the marshy meadRejoicing with their foals three thousand mares,
... in the marshy mead
Rejoicing with their foals three thousand mares,
may be connoted his reference to “Hyde’s fertile vale,”[506]and there is little doubt that spring-abounding Idas and Hyde Parks were once as plentiful as Prestons, Silverdales, and Kingstons.
The name Ida is translated by the dictionaries as meaningperfect happiness, and Ada asrich gift: we have already seen that the ideal pair of Ireland were Great King Conn and Good Queen Eda, and that it was during thereign of these royal twain that Ibernia, “flowed with the pure lacteal produce of the dairy”.[507]
Hyde Park, now containing Rotten Row at Kensington, occupies the site of what figured in Domesday Book as the Manor of Hyde: the immediately adjacent Audley Streets render it possible that the locality was once known as Aud lea, or meadow, whence subsequent inhabitants derived their surname. Hyde Park is partly in Paddington, a name which the authorities decode into “town of the children of Paeda”. This Paeda is supposed to have been a King of Mercia, but he would hardly have been so prolific as to have peopled a town, and, considered in conjunction with the neighbouring Praed orpere Aedstreet, it is more likely that Paeda was Father Eda, the consort of Maida or Mother Eda, after whom the adjacent Maida Vale and Maida Hill seemingly took their title. By passing up Maida Vale one may traverse St. John’s Wood, Brondesbury or Brimsbury, Kensal Green, Cuneburn, and eventually attain the commanding heights of Caen, or Ken wood, from whence may be surveyed not only “Hyde’s fertile vale,” situated on “spring-abounding Ida’s lowest spurs,” but a comprehensive sweep of greater London.
According to Tacitus “some say that the Jews were fugitives from the island of Crete,”[508]and he continues: “There is a famous mountain in Crete called Ida; the neighbouring tribe, the Idaei, came to be called Judaei by a barbarous lengthening of the national name”. Moderneditors of Tacitus regard this statement as no doubt the invention of some Greek etymologer, but with reference to the Idaei they speak of this old Cretan race as “being regarded as a kind of mysterious half-supernatural beings to whom mankind were indebted for the discovery of iron and the art of working it”.[509]
There is evidence of a similar idealism having once existed among the Britons and the Jews in the second Epistle of Monk Gildas to the following effect: “The Britons, contrary to all the world and hostile to Roman customs, not only in the mass but also in the tonsure, are with the Jews slaves to the shadows of things to come rather than to the truth”.[510]By “truth” Gildas here of course means his own particular “doxy,” and the salient point of his testimony is the assertion that practically alone in the world the British and the Jews were dreamy, immaterial, superstitious idealists. That the Idaeians of Crete, Candia, or Idaea were singularly pure or candid may be judged from the testimony of Sir Arthur Evans: “Religion entered at every turn, and it was, perhaps, owing to the religious control of art that among all the Minoan representations—now to be numbered by thousands—no single example of indecency has come to light”.[511]Referring to British candour, Procopius affirms: “So highly rated is chastity among these barbarians that if even the bare mention of marriage occurs without its completion the maiden seems to lose her fair fame”.[512]
This alleged purity of the British Maid is substantiatedby the wordsprudeandproud, both of which likepretty,purity, andpride, are radically pure Ide. Skeat definesprudeas a woman of affected modesty, and adds “seeprowess”; but prudery has little connection with prowess, and is it really necessary to assume that primitive prudery was “affected”? The JewishJahis translated by scholars as “pure Being”; the passionate adoration of purity is expressed in the prehistoric hymn quotedantepage 183, Hu the Mighty was pre-eminently pure, and it is thus likely that the ancient Pere, Jupiter, or Aubrey meant originally thePure.
We have seen that Jupiter, the divinePower, was conceived indifferently as either a man or an immortal maid: a maid is a virgin, and the wordsmaidormayde, like Maida, is radically “Mother Ida”. According to Skeatmaidis related to Anglo-Saxonmagu, a son or kinsman; and one may thus perhaps account forbrother,bruder, orfrater, as meaning originally the produce or progeny of the samepere—but not necessarily the samepair.
To St. Bride may be assigned not only the termsbrideand bridegroom, or brideman; but likewisebreedandbrood. Skeat connects the latter with the Germanbruhento scald, but a good mother does not scald her brood, and as St. Bride was known anciently as “The Presiding Care”; even althoughbairnis the same word asburn, we may assume that St. Bride did not burn herbrat.
There is a Bridewell and a church of St. Bride in London, but to the modern Londoner this “greatest woman of the Celtic Church” is practically unknown. In Hibernia and the Hebrides, however, St. Bride yet lives, and in the words of a modern writer is “more real than the great names of history. They, pale shadows moving inan unreal world, have gone, but she abides. With each revolving year she flits across the Machar, and her tiny flowers burn golden among the short, green, turfy grass at her coming. Her herald, the Gillebrighde, the servant of Bride, calls its own name and hers among the shores, a message that the sea, the treasury of Mary, will soon yield its abundance to the fisher, haven-bound by the cold and stormy waters of winter. He sees St. Bride, the Foster Mother, but his keen vision penetrates a vista far beyond the ages when Imperial Rome held sway and, in that immemorial past, beholds her still. In the uncharted regions of the Celtic imagination, she abides unchanging, her eyes starlit, her raiment woven of fire and dew; her aureole the rainbow. To him she is older than the world of men, yet eternally young. She is beauty and purity and love, and time for her has no meaning. She is a ministering spirit, a flame of fire. It is she who touches with her finger the brow of the poet and breathes into his heart the inspiration of his song. She is born with the dawn, and passes into new loveliness when the sun sets in the wave. The night winds sing her lullaby, and little children hear the music of her voice and look into her answering eyes. Who and what, then, is St. Bride? She is Bridget of Kildare, but she is more. She is the daughter of Dagda, the goddess of the Brigantes; but she is more. She is the maid of Bethlehem, the tender Foster Mother; but she is more even than that. She is of the race of the immortals. She is the spirit and the genius of the Celtic people.”[513]
St. Bride was known occasionally as St. Fraid, and Brigit, or Brigid, an alternative title of the Fair Ide, may be modernised intoPure Good. With her white wandBrigit was said to breathe life into the mouth of dead Winter, impelling him to open his eyes to the tears, the smiles, the sighs, and the laughter of Spring, whence to Brid, or Bryth of the Brythons, may be assigned the wordbreathe; and as Bride was represented by a sheaf of grain carried joyously from door to door, doubtless in her name we have the origin ofbread.
The name Bradbury implies that many barrows were dedicated to Brad; running into the river Rye of Kent is a river Brede, and as the young goddess of Crete was known to the Hellenes as Britomart, which meanssweet maiden, we may equate Britomart with Britannia. At the village of Brede in Kent the seat now known as Brede Place is also known as the Giant’s House, whence in all probability St. Bride was the maiden Giant, Gennet, or Jeanette.
In the province of Janina in Albania is the town of Berat, and the foundation of either this Berat or else the Beyrout of Canaan was ascribed by the Greek mythologists to a maiden named Berith or Beroë.
Hail Beroë, fairest offering of the Nereids!Beroë all hail! thou root of life, thou boastOf Kings, thou nurse of cities with the worldCoeval; hail thou ever-favoured seat of Hermes ...With Tethys and Oceanus coeval.But later poets feign that lovely BeroëDerived her birth from Venus and AdonisSoon as the infant saw the light with joyOld Ocean straight received her in his arms.And e’en the brute creation shared the pleasure.... In succeeding yearsA sacred town derived its mystic nameFrom that fair child whose birth coeval wasWith the vast globe; but rich Ausonia’s sonsThe city call Berytus.[514]
Hail Beroë, fairest offering of the Nereids!Beroë all hail! thou root of life, thou boastOf Kings, thou nurse of cities with the worldCoeval; hail thou ever-favoured seat of Hermes ...With Tethys and Oceanus coeval.But later poets feign that lovely BeroëDerived her birth from Venus and AdonisSoon as the infant saw the light with joyOld Ocean straight received her in his arms.And e’en the brute creation shared the pleasure.... In succeeding yearsA sacred town derived its mystic nameFrom that fair child whose birth coeval wasWith the vast globe; but rich Ausonia’s sonsThe city call Berytus.[514]
Hail Beroë, fairest offering of the Nereids!
Beroë all hail! thou root of life, thou boast
Of Kings, thou nurse of cities with the world
Coeval; hail thou ever-favoured seat of Hermes ...
With Tethys and Oceanus coeval.
But later poets feign that lovely Beroë
Derived her birth from Venus and Adonis
Soon as the infant saw the light with joy
Old Ocean straight received her in his arms.
And e’en the brute creation shared the pleasure.
... In succeeding years
A sacred town derived its mystic name
From that fair child whose birth coeval was
With the vast globe; but rich Ausonia’s sons
The city call Berytus.[514]
The same poet repeatedly maintains that the age of the city of Beroë was equal to that of the world, and that it could boast an antiquity much greater than that of Tarsus, Thebes, or Sardis. The reference to Beroë or Berith as the ever-favoured seat of Hermes implies the customary equation of Britannia = Athene = Wisdom. The prehistoric car illustrated in the preceding chapter is reproduced from a stone in Perthshire or Perithshire, and in a description written in 1569 this stone was then designated the Thane Stone.[515]That this was an Athene stone is somewhat implied by the further details, “it had a cross at the head of it and a goddess next that in a cart, and two horses drawing her and horsemen under that, and footmen and dogs”. The Thanes of Scotland were probably the official representatives of Athene, or Wisdom, or Justice, and the dogs of the Thane Stone may be connoted with the Hounds of Diana or Britomart, and the greyhounds of the English Fairy Queen.
Athene is presumably the same as Ethne, the reputed mother of St. Columba, and also as Ieithon, the Keltic goddess of speech orprating, after whom Anwyl considers the river Ieithon in Radnorshire was named. This Welsh river-name may be connoted with the river Ythan in Scotland, and the legendIda, found upon the reverse of some of the Ikenian coins of England, may be connoted with the place-name Odestone, or Odstone, implying seemingly a stone of Od, or Odin.
At Oddendale in Westmorland are the remains of a Druidic circle and traces of old British settlements: with the Thanestone may be connoted the carved example illustratedante,page 381, from Dingwall, and also thedecorated “Stone of the Fruitful Fairy,” which exists in Ireland.[516]
The authorities think it possible that the river Idle—a tributary of the Trent—derived its name from being empty, vain, or useless; but it is more probable that this small stream was christened by the Idaeans, and that the resident Nymph or Fruitful Fairy was the idyll, or the idol, whom they idealised. It is not without significance that the starting point of the races at Uffington was Idles Bush: “As many as a dozen or more horses ran, and they started from Idle’s Bush which wur a vine owld tharnin-tree in thay days—a very nice bush. They started from Idle’s Bush as I tell ’ee sir, and raced up to the Rudge-way.”[517]Doubtless there were also many other “Idles Bush’s,” perhaps at some time one in every Ideian town or neighbourhood: there is seemingly one notable survival at Ilstrye orIdelestree, now Elstree near St. Albans.
That the Idaean ideal was Athene is implied by the adjectiveethnic. The wordethicwhich means, “relating to morals,” is connected by Skeat withsitte, the German for custom: there is, however, no seeming connection between German custom and the Idyllic.[518]
The early followers of Britomart are universally described as an industrious and peaceful people who made their conquests in arts and commerce: to them not only was ascribed the discovery of iron and the working of it, but the Cretan treatment of bronze proves that the Idaeans wereconsummate bronzesmiths. In Crete, according to Sir Arthur Evans, “new and refined crafts were developed, some of them like inlaid metal-work unsurpassed in any age or country”.
That the Britons were expert blacksmiths is evident not merely from their chariot wheels, but also from the superb examples of bronze art-craft, found notably in the Thames. For the sum of one shilling the reader may obtainA Guide to the Antiquities of the Iron Age, published by the British Museum, in which invaluable volume two wonderful examples of prehistoric ironmongery are illustrated in colour. One of these, a bronze shield discovered at Battersea, is rightly described by Romilly Allen, as “about the most beautiful surviving piece of late Celtic metal-work”. The Celts, as this same authority observes, had already become expert workers in metal before the close of the Bronze Age; they could make beautiful hollow castings for the chapes of their sword sheaths; they could beat out bronze into thin plates and rivet them together sufficiently well to form water-tight cauldrons; they could ornament their circular bronze shields and golden diadems with repoussé patterns, consisting of corrugations and rows of raised bosses; and they were not unacquainted with the art of engraving on metal.[519]
Not only were the Britons expert in ordinary metal-work but they are believed to haveinventedthe art of enamelled-inlay. Writing in the third century of the present era, an oft-quoted Greek observed: “They say that the barbarians who live in Ocean pour colours on heated bronze and that they adhere, become as hard as stone, and preserve the designs that are made in them”.
It is admitted that nowhere was greater success attained by this art of the early Iron Age than in Britain, and as Sir Hercules Read rightly maintains: “There are solid reasons for supposing this particular style to have been confined to this country”.[520]The art of enamelling was of course practised elsewhere, particularly at Bibracte in Gaul, long before the Roman Conquest, but in the opinion of Dr. Anderson, the Bibracte enamels are the work of mere dabblers in the art compared with the British examples: the home of the art was Britain, and the style of the patterns, as well as the associations in which the objects decorated with it were found, demonstrate with certainty that it had reached its highest stage of indigenous development before it came in contact with the Roman culture.[521]The evidence of the bronze spear-head points to the same remarkable conclusions as the evidence of enamelled bronze, and in the opinion of the latest and best authorities, from its first inception throughout the whole progress of its evolution the spear-head of the United Kingdom has a character of its own, one quite different from those found elsewhere. In no part of the world did the spear-head attain such perfection of form and fabric as it did in these islands, and the old-fashioned notion that bronze weapons were imported from abroad is now hopelessly discredited. “Why, then,” ask the authors ofThe Origin, Evolution, and Classification of the Bronze Spear-Head,[522]“may not a bronze culture have had its birth in our country where it ultimately attained a development scarcely equalled,certainly not surpassed, by that in any other part of the world?”
One of the distinctions of the British spear-head is a certain variety of tang, of which the only parallel has been found in one of the early settlements at Troy. Forms also, somewhat similar, have been discovered in the Islands of the Ægean sea, and in the Terramara deposits of Northern Italy, but it is the considered opinion of Canon Greenwell and Parker Brewis, that whatever may be the true explanation of the history of the general development of a bronze culture in Great Britain and Ireland, “there can be no doubt whatever that the spear-head in its origin, progress, and final consummation was an indigenous product of those two countries, and was manufactured within their limits apart from any controlling influence from outside”.[523]
The magnificent bronze shield andbric a bracfound in London were thus presumably made there, and it is not improbable that the principal smitheries were situated either at Smithfield in the East, or Smithfield in the West in the ward of Farringdon or Farendone.
Stow in hisLondonuses the wordferenoto denote an ironmonger, in old Frenchferonmeant a smith, and wherever the ancient ferenos or smiths were settled probably became known asFarindonesorfereno towns. Stow mentions several eminent goldsmiths named Farendone; fromferon, the authorities derive the surname Fearon, which may be seen over a shop-front near Farringdon Street to-day.
Modern Farringdon Street leads from Smithfield orSmithy field[524]to Blackfriars, and it may be suggested that the original Black Friars were literally freres or brethren, who forged with industrious ferocity at their fires and furnaces. Without impropriety the early fearons might have adopted as their mottoSemper virens: smiting in smithies is smutty work, and all these terms are no doubt interrelated, but not, I think, in the sense which Skeat supposes them,viz.: “Smite,to fling. The original sense was to smear or rub over. ‘To rub over,’ seems to have been a sarcastic expression for ‘to beat’; we findwell anoynted—well beaten.”
The wordbronzewas derived, it is said, from Brundusinum or Brindisi, a town which was famous for its bronze workers. Brindisi is almost opposite Berat in Epirus; the smith orfaberis proverbiallyburly,i.e.,burlike orbrawny, and it is curious that the termsbrass,brasier,burnish,bronze, etc., should all similarly point to Bru or Brut. With St. Bride or St. Brigit, who in one of her three aspects was represented as a smith, may be connotedbright, and with Bress, the Consort of Brigit, may be connotedbrass. And as Bride was alternatively known as Fraid, doubtless to this form of the name may be assignedfer,fire,fry,frizzle,furnace,forge,fierce,ferocious, andforce.
That the island of Bru or Barri in South Wales was a reputed home of the burlyfaber,feuber, or Fire Father, is to be inferred from the statement of Giraldus Cambrensis, that “in a rock near the entrance of the island there is a small cavity to which if the ear is applied a noise is heard like that of smiths at work, the blowing of the bellows, strokes of the hammers, grinding of tools and roaring offurnaces”.[525]It is supposed that Barri island owes its name to a certain St. Baroc, the remains of whose chapel once stood there: that St. Baroc was Al Borak, the White Horse orbrok, upon whom every good Mussalman hopes eventually to ride, is implied by the story that St. Baroc borrowed a friend’s horse and rode miraculously across the sea from Pembrokeshire to Ireland.
On the coast between Pembroke and Tenby is Manorbeer, known anciently as Maenor Pyrr, that is, says Giraldus, “the mansion of Pyrrus, who also possessed the island of Chaldey, which the Welsh call Inys Pyrr, or the island of Pyrrus”. But the editor of Giraldus considers that a much more natural and congenial conjecture may be made in supposing Maenor Pyrr to be derived fromMaenoraManor, and Pyrr, the plural of Por, a lord. I have already suggested a possible connection between the numerousprestones and Pyrrha, the first lady who created mankind out of stones.
Near Fore Street, in the ward of Farringdon by Smithfield, will be found Whitecross Street, Redcross Street, and Cowcross Street: the last of these three cross streets by which was “Jews Garden,” may be connoted with the Geecross of elsewhere. The district is mentioned by Stow as famous for its coachbuilders, and there is no more reason to assume that the wordcoach(Frenchcoche) was derived from Kocsi, a town in Hungary, than to suppose that the first coach was a cockney production and came from Chick Lane or from Cock Lane, both of which neighbour the Cowcross district in Smithfield. The supposition that thegigorcoach(the words are radically the same) was primarily a vehicle used in the festivals to GogtheHigh High, orMighty Mighty, is strengthened by the testimony of the solar chariot illustratedante,page 405.
Not only were the British famed from the dawn of history[526]for their car-driving but from the evidence ofsepulchral chariots and sepulchral harness the authorities are of opinion that the fighting car was long retained by the Kelts, “and its presence in the Yorkshire graves seems to show that it persisted in Britain longer than elsewhere”.[527]
Somewhere in the Smithfield district originally existed what Stow mentions as Radwell, and this well of the Redcross, or Ruddy rood, may be connoted with the Rood Lane a mile or so more eastward. Between Rood Lane and Red Cross Street is Lothbury: the suffixbury(as in Lothbury, and Aldermanbury) is held by Stow, and also by Camden, to mean a Court of Justice, and this definition accords precisely with the theory that the barrow was originally the seat of Justice. At Lothbury the noise orbruitmade by the burly fabers was so vexatious that Stow seriously defines the place-nameLothbury as indicating aloathsome locality.[528]The supposition that Cowcross Street, Jews Garden, and the Redcross or Ruddy rood site were primarily in the occupation of men of Troy or Droia may possibly be strengthened by the fact that here was aTremill brook, and the seat of a Sir Drew Drury. The parish church of Blackfriars is St. Andrews, there is another St. Andrews within a bow-shot of Smithfield, and that the “drews” were a skilled family is obvious from the fact that the name Drew is defined as Teutonicskilful. Both Scandinavians and Germans possess the Trojan tradition; the All Father of Scandinavia was namedBorr, Thor, the Hammer God, was assigned to Troy, and in Teutonic mythology there figure two celestial Smith-brethren named Sindre and Brok.
The cradle of the Cretan Zeus is assigned sometimes not to Mount Ida but to the neighbouring Mount Juktas which is described as an extraordinary “cone”. When the Cretan script is deciphered it will probably transpire that Mount Juktas was associated with Juk, Jock, or Jack, and the name may be connected withjokul, the generic term in Scandinavia for a snow-covered or white-crowned height. Jack is seemingly the same word as the Hebrew Isaac, which is defined as meaninglaughter; Jack may thus probably be equated withjokeandjokulwithchuckle, all of which symptoms are the offspring ofjoyorgaiety. Tokyg, an obsolete adjective meaninglively—and thus evidently a variant ofagog—are assigned by our authorities the surnames Keach, Ketch, Kedge, and Gedge. In connection withkygProf. Weekley quotes the line—
Kyggeor joly,jocundus.
Kyggeor joly,jocundus.
Kyggeor joly,jocundus.
Among the gewgaws found in the sacred shrines of Juktas are numerous bijou gigs, or coaches, all no doubt once veryjuju, or sacred.
To appreciate the outlook of the “half-supernatural” Idaeans one may find a partial key in the words of Aratus: “Let us begin withZeus, let us always call upon and laud his name; all the network of interwending roads and all the busy markets of mankind are full ofZeus, and all the paths and fair havens of the sea, and everwhere our hope is inZeusfor we are also his children”.[529]
Stow mentions the firmly-rooted tradition that the Cathedral of St. Paul stands upon the site of an ancient shrine to Jupiter. It may be merely coincidence that close to St. Paul’s once stood an Ypres Hall:[530]in the immediate vicinity of Old St. Paul’s used also to exist a so-called Pardon Churchyard, perhaps an implication that Ludgate Hill was once known asPar dunorPar Hill. That “Pardon” was equivalent to “Pradon” is evident from the fact that modern Dumbarton was originallyDun Brettan, or the Briton’s Fort. The slope leading from the Southern side of St. Paul’s or Pardon Churchyard, is still named Peter’s Hill, and in view of the Jupiter tradition it is not altogether unlikely that Peter’s Hill was originallyeu Peter’sHill, synonymouslyPere dun. The surname Pardon may still be found in this Godliman Street neighbourhood, where in Stow’s time stood not only Burley House, but likewise Blacksmiths Hall. A funeralpyreis a fire; aphareis a lighthouse, and the intense purity of Bride’s fire, phare, or pyre is implied by the fact that it was not suffered to be blown by human breath but by bellows only. From time immemorial the Fire of Bride was tended by nineteen holy maids, each of whom had the care of the Fire for one night in turn: on the twentieth night the nineteenth maid, having piled wood upon the fire,said: “Brigit, take charge of your own fire, for this night belongs to you”. The tale ends that ever on the twentieth morning the fire had been miraculously preserved.[531]
The patron saint of engineers is Barbara or Varvara, the sacred pyre of Bride was maintained within a circle or periphery of stakes and brushwood, and close at hand were certain very beautiful meadows called St. Bridget’s pastures, in which no plough was ever suffered to turn a furrow. The wordsmeadandmeadoware the same asmaidandmaida, whence it seems to follow that all meadows were dedicated to Bride, the pretty Lady of the Kine. Homer’s “fertile vale of Hyde,” and the Londoner’s Hyde Park, were alike probably idealised and sacred meadows corresponding to the Irish Mag-Ithe or Plains of Ith; it is not unlikely that allheathswere dedicated toIth. To the Scandinavian Ith or Ida Plains we find an ancient poet thus referring: “I behold Earth rise again with its evergreen forests out of the deep ... the Anses meet on Ida Plain, they talk of the mighty earth serpent, and remember the great decrees, and the ancient mysteries of the unknown God”. After foretelling a time when “All sorrows shall be healed and Balder shall come back,” the poet continues: “Then shall Hœni choose the rods of divination aright, and the sons of theTwin Brethrenshall inhabit the wide world of the winds”.[532]
Fig.266.—Etruscan Bucket, Offida, Picenum. FromA Guide to the Antiquities of the Early Iron Age, p. 17.
Fig.266.—Etruscan Bucket, Offida, Picenum. FromA Guide to the Antiquities of the Early Iron Age, p. 17.
In Fig. 266—an Etrurian bucket—two diminutive Twin Brethren are being held by theBona Dea—a winged Ange or Anse—who is surmounted by the symbolic cockle or coquille. The fact that this bucket was found at Offida renders it possible that the mother here represented wasknown to the craftsman who portrayed her asOffi divine, otherwise Hipha, Eve, or Good Iva. It will be noticed that the child on the right is white, that on the left black, and I have elsewhere drawn attention to many otheremblems in which two A’s, Alphas, Alifs, or Elves were similarly portrayed, the one as white, the other as black.[533]The intention of the artist seems to have been to express the current philosophy of a Prime or Supreme supervising both good and evil, light and dark, or day and night. Pliny says that British women used to attend certain religious festivals with their nude bodies painted black like Ethiopians, and there is probably some close connection between this obscure function, and the fact that Diana of the Ephesians, the many-breasted All-mother of Life, was portrayed at times as white, at times as black. There must be a further connection between this black and whiteBona Dea, and the fact that in the Lady Godiva processions near Coventry, which took place at the opening of the Great May Fair festival, there were two Godivas, one of whom was the natural colour but the other was dyed black.[534]
TheBona Deaof Egypt, like the figure on the Etrurian bucket, was represented holding in her arms two children, one white and one black; and the two circles at Avebury, lying within the larger Avereberie or periphery, were probably representative of Day and Night circled by all-embracing and eternal Time.
The Twin Brethren or Gemini are most popularly known as Castor and Pollux, and the propitious figures of these heavenly Twins were carved frequently upon theprowsof ancient ships. The phosphorescent stars or Will-o-the-wisps, which during storms sometimes light upon the masts of ships, used to be known as St. Elmo’s Fires: St. Elmo is obviously St. Alma or St. All Mother, and the St. Helenwith whom she is identified is seemingly St. Alone. It was believed that two stars were propitious, but that a solitary one boded bad luck; according to Pliny a singleSt. Elmo’s fire was called Helen, “but the two they call Castor and Pollux, and invoke them as gods”.
Fig.267.—FromAncient Pagan and Modern Christian Symbolism(Inman, C. W.)
Fig.267.—FromAncient Pagan and Modern Christian Symbolism(Inman, C. W.)
The appearance of the will-o-the-wisps, Castor and Pollux, was held to be an argument that the tempest was caused by “a sulphurous spirit rarefying and violently moving the clouds, for the cause of the fire is a sulphurous and bituminous matter driven downwards by the impetuous motion of the air and kindled by much agitation”. I quote this passage as justifying the suggestion thatsulphur—the yellow and fiery—is radicallyphur, and thatbrimstone, orbrenstoon, as Wyclif has it, may be the stone of Brim or Bren, which burns.
The identification of Castor and Pollux with stars orasters, enables us to equate Castor as the White god or Day god, fordextra, the Latin for right, isde castra,i.e.,good great astra. The white child in Fig. 266 is that on therighthand of theBona Dea: that Pollux was the dark,sinister,sinistra, or left-hand power, is somewhat confirmed by the fact that the Celtic Pwll was the Pluto or deity of the underworld. Possibly the Latincastra, meaning a fort, originated from the idea that Castor was the heroic Invictus who has developed into St. Michael and St. George. Thesinofsinistermay possibly be the Gaelicsen, meaning senile, and the implication follows that the dark twin was the old in contradistinction to the new god.
The French for nightmare iscauchemar, the French for left isgauche, and it is the left-hand mairy, or fairy, in Fig. 266 which is the shady one. Not only doesgauchemeanleft, but it also implies awkward, uncanny, and inept, whence it is to be feared that the Gooches, the Goodges, and their affiliated tribes were originally “Blackfriars,” and followers of the Black God. I have already suggested thatthe Gogs were unpopular among the Greeks, and the intensity of their feeling is seemingly reflected by the Greek adjectivekakos[535](the Englishgagga?), which means evil, dirty, or unpleasant.
Castor and Pollux, or the Fires of St. Helen, were known along the shores of the Mediterranean as St. Telmo’s Fires, the word Telmo being seeminglyt Elmoor Good Alma. By the Italians they are known as the Fires of St. Peter and St. Nicholas; Peter here corresponding probably to theauburnAubrey, and Nicholas to “Old Nick”.
It was fabled that Castor and Pollux were alike immortal, that like day and night they periodically died, but that whenever one of the brothers expired the other was restored to life, thus sharing immortality between them. “There was,” says Duncan, “an allusion to this tradition in the Roman horse-races, where a single rider galloped round the course mounted on one horse while he held another by the rein.”[536]This ceremony becomes more interesting when we find that the cauchemar, the nightmare, or the blackmare used in England to be known as the “ephialtes”.[537]That this ill-omenedhipha, or hobby, was ill-boding Helena, seems somewhat to be confirmed by the custom in Cumberland of allotting to servants the years’ allowance for horse-meat on St. Helen’s, Eline’s, or Elyn’s day.[538]It is believed that horse meat is now taboo in Britain, because the eating of horse was so persistently denounced by Christianity as a heathen rite.
Fig.268.—British Altar. By kind permission of the authorities of the British Museum.[To face page 479.
Fig.268.—British Altar. By kind permission of the authorities of the British Museum.
[To face page 479.
I have shown elsewhere some of the innumerable forms under which the fires of Elmo, or the heavenly Twain, were represented. In England it is evident that a pair of horses served as one form of expression, for among the treasures at the British Museum is an article which is thus described: “Bronze plate representing an altar decorated with blue, green, and red sunk enamels, and evidently unfinished, hence native work of the fourth or fifth century. Found in the river Thames, 1847”. The principal decoration of this bijou altar—significantly 7 inches high—is two winged steeds supporting a demijohn, vase, or phial, the handles of which, in the form ofhandles, are detached from the vase, but are emerging flame-like from the supporters’ heads. The fact of these steeds appearing upon an “altar” is evidence of their sacred character, and one finds apparently the same two beasts delineated on a bucket,videFig. 270. This so termed “barbaric production,” discovered in an Aylesford gravel pit belonging to a gentleman curiously named Wagon, is attributed to the first centuryB.C., and has been compared unfavourably with the Etruscan bucket reproduced onpage 474. The authorities of the British Museum comment upon it as follows: “The effect of barbaric imitation during two or three centuries may be appreciated by comparing the Etruscancistaof thefourth century, with the Aylesford bucket of thefirst centuryB.C.The first thing to be noticed is the absence from the latter of the heavy solid castings that form the feet and handle-attachments of the classical specimen. Such work was beyond the range of the British artificer, who was never successful with the human or animal form, but there is an evident desire to reproduce the salient features of the prototype. The solid uppermostband of the Etruscan specimen is represented by a thin embossed strip at Aylesford, while the classical motives are woefully caricatured. Minor analogies are noticed later, but the degradation of the ornament may fitly bedwelt on here as showing the limitations, and at the same time the originality of the native craftsman.”
Fig.269.—Bronze-mounted bucket, Aylesford. FromA Guide to Antiquities of the Early Iron Age(B.M.).
Fig.269.—Bronze-mounted bucket, Aylesford. FromA Guide to Antiquities of the Early Iron Age(B.M.).
Fig.270.—Embossed frieze of bucket, Aylesford. FromA Guide to Antiquities of the Early Iron Age(B.M.).
Fig.270.—Embossed frieze of bucket, Aylesford. FromA Guide to Antiquities of the Early Iron Age(B.M.).
I confess myself unable either to appreciate or dwell upon the alleged degradation of this design, or the woeful inadequacy of the craftmanship. The bold execution of the spirals proves that the British artist—had such been his intent—could without difficulty have delineated a copybook horse: what, however, he was seemingly aiming at was a facsimile of the heraldic and symbolic beasts which our coins prove were the cherished insignia of the country, and these “deplorable abortions” I am persuaded were no more barbarous or unsuccessful than the grotesque lions and other fantastics which figure in the Royal Arms to-day.
In all probability the Aylesford bucket was made in the neighbourhood where it was found, for at Aylesford used to stand a celebrated “White Horse Stone”. The attendant local legend—that anyone who rode a beast of this description was killed on or about the spot[539]—is seemingly a folk-memory of the time when the severe penalty for riding a white mare was death.[540]The place-name Aylesbury is derived by the authorities frombury, a fortified place of, andAegil, the Sun-archer of Teutonic mythology: the head-dress of the face constituting the hinge of the Aylesford bucket consists of two circles which correspond in idea with the two children in the arms of the Etruscan hinge. That the bucket was originally a sacerdotal and sacred vessel is implied not only by the word but by the ancient custom thus recorded: “First on a pillar was placed a perch on the sharp prickled back whereof stood this idol... in his left hand he held up a wheel, and in his right he carried a pail of water wherein were flowers and fruits”.[541]I have elsewhere reproduced several emblems of Jupiter and Athene each seated on a “sharp prickled back,”i.e., abroccus, saw, or zigzag, symbolic of the shaggy solar rays.
Figs.271 to 273.—British. From Akerman.
Figs.271 to 273.—British. From Akerman.
There is nothing decadent or seriously wrong with the drawing of the steeds delineated in Figs. 271 and 272, although the “what-not” proceeding from the mouth of the Geho is somewhat perplexing. This is seemingly a ribbon or a chain, and like the perfect chain surrounding ourSolidocoins, and the chain which will be noted upon the Trojan spindle whorl illustrated on page 583, was probably intended to portray what the ancients termed Jupiter’s Chain: “All things,” says Marcus Aurelius, “are connected together by a sacred chain, and there is not one link in it which is not allied with the whole chain, for all things have been so blended together as to form a perfect whole, on which the symmetry of the universe depends. There is but one world, and it comprehends everything; one God endued with ubiquity; one eternal matter; and one law, which is the Reason common to all intelligent creatures.”
Figs.274 to 276.—British. From Evans, and from Barthelemy.
Figs.274 to 276.—British. From Evans, and from Barthelemy.
A chain of pearls is proceeding from the mouth of the little figure which appears on some of the Channel Island coins,videtheDruccaexample herewith: students of fairy-tale are familiar with the story of a Maid out of whose mouth, whenso’er she opened it fell jewels, and that this fairy Maid was Reason is implied by the present day compliment in the East, “Allah! you are a wise man, you spit pearls.” TheDruccacoin is officially described as a “female figure standing to the left, her right hand holding a serpent (?)” and it is quite likely that the serpent or symbol of Wisdom was intended by the artist. There is no question about the serpents in the Tyrian coin here illustrated, where on either side of the Maiden they are represented with almost precisely the samehandlesform as thehandlesproceeding from the mouths of the two steeds on the British “altar”. In the latter case the centre is a vase or demijohn, in the former the centre is a Maid or Virgin. Without a doubt thisBervirgin is Beroë or Berith, thepherepolisof Beyrout: in Fig. 278 the two serpents are associated with a phare, fire, or pyre; from the mouthof the British “Jupiters,” illustrated in Figs. 274 and 275, the same two serpentine flames or S’s are emerging.
The wordBer, as has been seen, is equivalent to Vir, and in all probability the wordvirginoriginally carried the same meaning asburgeon. That old Lydgate, the monk ofBery, knew all about Vera and how she made the buds to burgeon is obvious from his lines:—