The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c9.3

c9.3

When turning over the leaves of the monumental and valuable *Recueil des bas-reliefs, statues et bustes de la Gaule romaine* of M. Espérandieu, we see again and again a figure usually entitled « Abundance » or « Goddess Mother ». Rare in Provence, where apparently it is better concealed under the purely classical features of Demeter and Fortune, it shows itself from time to time in Aquitaine with an appearance already more indigenous; then multiplying itself, it passes into « Lyonnaise », where we have counted it no less than forty times (vols. III-IV) : the sequel of the publication will tell us whether it enjoyed the same favour in Belgian Gaul. Its most usual type, very close to that of the pullulant *Matres*, holds in the left hand a horn of abundance, and in the right a patera. In no. 3225 (Langres) we see moreover on either side of the goddess two little genii, one of whom « dips into a purse placed between her feet ». If it is not she, then it is one of her sisters, who elsewhere is represented with a child in her arms, like a Madonna (nos. 1326-1334, Saintes), or with a sack on her knees, from which drop coins (no. 1367, Ruffec). At times fruits are also placed actually on the lap of the goddess (nos. 2350, Mont Auxois ; 3237, Langres). Lastly, the patera is occasionally replaced by a cake (nos. 1528, Bourges), or, in the more debased pieces, by a goblet of the special form called an olla (nos. 1161, Puy-de-Dôme; 2112, Beaune). These last attributes seem to be only borrowings from another Gallic divinity, or rather two others who are masculine and likewise of frequent occurrence. Their usual attributes are the olla and the purse, often difficult to distinguish from one another; but local and barbarous variants represent them as holding likewise the cake and the sack of money (no. 1555, La Guerche, Cher), or even a child (no. 2882, Auxerre), when they do not in their turn borrow the patera full of fruits (no. 2263, Entrains) or the horn of abundance (nos. 2162, Mâcon; 2166, Chalon-sur-Saône). One of the types is bearded like Jupiter, whose long sceptre it replaces, as we know, by the handle of a mallet. The other, beardless, most often hides his personality under the figure of Mercury. The intimate relationship of both with the goddess, or goddesses, of « Abundance » is certain : for a proof we require only the numerous groups in which they appear in company, standing on the same stele or seated side by side on the same seat. Some represent the god without a beard, and indicate clearly — from the wings on his feet up to the petasus, taking the caduceus en route — his assimilation to Mercury (nos. 1800, Fleurieu-sur-Saône ; 1836, Autun), or give him the appearance of a « local Mars » (no. 1832, Autun). The majority resort to the model of the bearded god with a mallet (nos. 2066, Nuits ; 3441, Dijon etc.). Often they assign to the husband, as mark of office, the same horn of abundance as to his companion, unless they lend to the latter the purse (no. 3382, Châtillon-sur-Seine), or make both place their hands on the same olla (no. 2118, Beaune). In one case a child is playing at their feet (no. 1830, Autun). For the necessities of our case we will I. An engraving borrowed from *Sur la frontière indo-afghane* (Paris, Hachette et Cie, 1901, fig. 11; cf. *Tour du monde*, Nov. 1899, p. 543); executed from the author's photographs. On the left, beyond the ploughed land, is seen the village of Shâhbâz-Garhî. In the background rises the hill of Mekha-Sandha, once sanctified by the legend of prince Viçvantara (cf. *ibid.*, p. 55; *Notes sur la géographie ancienne du Gandhâra*, in *B. É. F. E.-O.*, I, 1901, pp. 347-59; and above, p. 123). Quite to the right stands the rugged hill-side, on which is still to be found the inscription of Açoka (cf. p. 121).