Pillar of the Boatmen in the context of "Celtic polytheism"

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⭐ Core Definition: Pillar of the Boatmen

The Pillar of the Boatmen (French: Pilier des nautes) is a monumental Roman column erected in Lutetia (modern Paris) in honour of Jupiter by the guild of boatmen in the 1st century AD. It is the oldest monument in Paris and is one of the earliest pieces of representational Gallo-Roman art to carry a written inscription.

The Roman name for the monument is Nautae Parisiaci (the sailors of the Parisii, who were a tribe of Gauls). It was found re-used in the 4th century city wall on the Île de la Cité and is now displayed in the frigidarium of the Thermes de Cluny.

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Pillar of the Boatmen in the context of Celtic paganism

Ancient Celtic religion, commonly known as Celtic paganism, was the religion of the ancient Celtic peoples of Europe. Because there are no extant native records of their beliefs, evidence about their religion is gleaned from archaeology, Greco-Roman accounts (some of them hostile and probably not well-informed), and literature from the early Christian period. Celtic paganism was one of a larger group of polytheistic Indo-European religions of Iron Age Europe.

While the specific deities worshipped varied by region and over time, underlying this were broad similarities in both deities and "a basic religious homogeneity" among the Celtic peoples. Widely worshipped Celtic gods included Lugus, Toutatis, Taranis, Cernunnos, Epona, Maponos, Belenos, and Sucellos. Sacred springs were often associated with Celtic healing deities. Triplicity is a common theme, with a number of deities seen as threefold, for example the Three Mothers.

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Pillar of the Boatmen in the context of Celtic deities

The gods and goddesses of the pre-Christian Celtic peoples are known from a variety of sources, including ancient places of worship, statues, engravings, cult objects, and place or personal names. The ancient Celts appear to have had a pantheon of deities comparable to others in Indo-European religion, each linked to aspects of life and the natural world. By a process of syncretism, after the Roman conquest of Celtic areas, most of these became associated with their Roman equivalents, and their worship continued until Christianization. Epona was an exception and retained without association with any Roman deity. Pre-Roman Celtic art produced few images of deities, and these are hard to identify, lacking inscriptions, but in the post-conquest period many more images were made, some with inscriptions naming the deity. Most of the specific information we have therefore comes from Latin writers and the archaeology of the post-conquest period. More tentatively, links can be made between ancient Celtic deities and figures in early medieval Irish and Welsh literature, although all these works were produced well after Christianization.

The locus classicus for the Celtic gods of Gaul is the passage in Julius Caesar's Commentarii de Bello Gallico (The Gallic War, 52–51 BC) in which he names six of them, together with their functions. He says that Mercury was the most honoured of all the deities and many images of him were to be found. Mercury was regarded as the inventor of all the arts, the patron of travellers and of merchants, and the most powerful deity in matters of commerce and gain. After him, the Gauls honoured Apollo, who drove away diseases, Mars, who controlled war, Jupiter, who ruled the heavens, and Minerva, who promoted handicrafts. He adds that the Gauls regarded a god he likened to Dis Pater as their ancestor.

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Pillar of the Boatmen in the context of Cernunnos

Cernunnos is a Celtic god whose name is only clearly attested once, on the 1st-century CE Pillar of the Boatmen from Paris, where it is associated with an image of an aged, antlered figure with torcs around his horns.

Through the Pillar of the Boatmen, the name "Cernunnos" has been used to identify the members of an iconographic cluster, consisting of depictions of an antlered god (often aged and with crossed legs) associated with torcs, ram-horned (or ram-headed) serpents, symbols of fertility, and wild beasts (especially deer). The use of the name this way is common, though not uncontroversial. As many as 25 depictions of the Cernunnos-type have been identified. Though this iconographic group is best attested in north-eastern Gaul, depictions of the god have been identified as far off as Italy (Val Camonica) and Denmark (Gundestrup).

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