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An Onyx Cameo from Silchester

The role of the right-hand figure within the group may be clarified by reference to other large votive reliefs with ancillary figures, such as those on several altars from Bonn which were dedicated to the Matronae Aufaniae. In these scenes attendants to the side of the main offerant either carry offerings and vessels or play musical instruments. In one relief an attendant appears to approach from the left while the offering is being made, in a manner similar to that of the attendant on the Sandy relief. Other attendants carrying a variety of offerings are represented on the side panels of some of the Bonn altars. In some scenes a standing deity is represented receiving the offerings, as on the Bedfordshire relief. Elements from scenes of this type are also present in the reliefs from SW England. Several appear to depict a Mother Goddess (or, as in the Wellow relief, a pair) either standing or seated in the presence of other figures who attend the deity. Several of these bring offerings of fruit or eggs. In the Wellow relief a figure, possibly a cupid, approaches from the right. The pose is very similar to the third figure on the Sandy relief but it is executed in a rather two dimensional manner. A relief, now lost, from Easton Grey in Wiltshire depicted three attendant figures, each turned slightly towards the deity and dressed in a short tunic and cloak." In several of these British reliefs, however, the offerants are the triple-hooded Genii Cucullati, lesser gods of fertility and afterlife. The attendant figures on the Sandy sculpture may also be Genii, even though they are perhaps dressed in everyday clothes. Similar uncertainty surrounds the identity of a bronze offerant found at Earith in Cambridgeshire, who is also dressed in Gallic coat and cloak. An inscription from Daglingworth links the Matres with a Genius, and the inscription from the Carrawburgh shrine to nymphis et genio loci is also possibly relevant, indicating the Mother Goddesses' associations with water; the river Ivel which flows past the town of Sandy may thus be significant. The repertoire of conventions employed in the sculpture from Sandy reveals a good working knowledge on the part of the sculptor of the mainstream of classically influenced art of the north west Roman provinces. In particular, the work shows familiarity with funerary and votive reliefs. The quality of the execution, though not equal to the finest British works, suggests that the sculptor was closer to the sources of these conventions than many producers of local work who shared in their use. Perhaps he belonged to a school of craftsmen with contemporary and possibly historical links with sculptors on the continent. At the same time, the relief shows traits of British workmanship and broad similarities in content with other British votive sculpture. With some ingenuity the sculptor devised a figure, possibly to represent a Celtic goddess, which possessed dignity in terms of Roman iconography and integrated it into a scene whose local character is expressed by the everyday costume of the central participant.