Myths & Legends of the Celtic Race. T. W. Rolleston
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of loose stones, now overgrown, as we have said, with grass and bushes. It is in the interior of this mound that the interest of the monument lies. Towards the end of the seventeenth century some workmen who were getting road-material from the mound came across the entrance to a passage which led into the interior, and was marked by the fact that the boundary stone below it is richly carved with spirals and lozenges. This entrance faces exactly south-east. The passage is formed of upright slabs of unhewn stone roofed with similar slabs, and varies from nearly 5 feet to 7 feet 10 inches in height; it is about 3 feet wide, and runs for 62 feet straight into the heart of the mound. Here it ends in a cruciform chamber, 20 feet high, the roof, a kind of dome, being formed of large flat stones, overlapping inwards till they almost meet at the top, where a large flat stone covers all. In each of the three recesses of the cruciform chamber there stands a large stone basin, or rude sarcophagus, but not traces of any burial now remains.
Symbolic Carvings at New Grange
The stones are all raw and undressed, and were selected for their purpose from the river-bed and elsewhere close by. On their flat surfaces, obtained by splitting slabs from the original quarries, are found the carvings which form the unique interest of this strange monument. Except for the large stone with spiral carvings and one other at the entrance to the mound, [pg 71] the intention of these sculptures does not appear to have been decorative, except in a very rude and primitive sense. There is no attempt to cover a given surface with a system of ornament appropriate to its size and shape. The designs are, as it were, scribbled upon the walls anyhow and anywhere.45 Among them everywhere the spiral is prominent. The resemblance of some of these carvings to the supposed finger-markings of the stones at Gavr'inis is very remarkable. Triple and double spiral are also found, as well as lozenges and zigzags. A singular carving representing what looks like a palm-branch or fern-leaf is found in the west recess. The drawing of this object is naturalistic, and it is hard to interpret it, as Mr. Coffey is inclined to do, as merely a piece of so-called “herring-bone” pattern.46 A similar palm-leaf design, but with the ribs arranged at right angles to the central axis, is found in the neighbouring tumulus of Dowth, at Loughcrew, and in combination with a solar emblem, the swastika, on a small altar in the Pyrenees, figured by Bertrand.
Entrance to Tumulus at New Grange
Photograph by R. Welch, Belfast
The Ship Symbol at New Grange
Another remarkable and, as far as Ireland goes, unusual figure is found sculptured in the west recess at New Grange. It has been interpreted by various critics as a mason's mark, a piece of Phoenician writing, a group of numerals, and finally (and no doubt correctly) by Mr. George Coffey as a rude representation of a ship with men on board and uplifted sail. It is noticeable that just above it is a small circle, forming, apparently, part of the design. Another example occurs at Dowth.
[pg 72]
Solar Ship (with Sail?) from New Grange, Ireland
The significance of this marking, as we shall see, is possibly very great. It has been discovered that on certain stones in the tumulus of Locmariaker, in Brittany,47 there occur a number of very similar figures, one of them showing the circle in much the same relative position as at New Grange. The axe, an Egyptian hieroglyph for godhead and a well-known magical emblem, is also represented on this stone. Again, in a brochure by Dr. Oscar Montelius on the rock-sculptures of Sweden48 we find a reproduction (also given in Du Chaillu's “Viking Age”) of a rude rock-carving showing a number of ships with men on board, and the circle quartered by a cross—unmistakably a solar emblem—just above one of them. That these ships (which, like the Irish example, are often so summarily represented as to be mere symbols which no one could identifiy as a ship were the clue not given by other and more elaborate representations) were drawn so frequently in conjunction with the solar disk merely for amusement or for a purely decorative object seems to me most [pg 73] improbable. In the days of the megalithic folk a sepulchral monument, the very focus of religious ideas, would hardly have been covered with idle and meaningless scrawls. “Man,” as Sir J. Simpson has well said, “has ever conjoined together things sacred and things sepulchral.” Nor do these scrawls, in the majority of instances, show any glimmering of a decorative intention. But if they had a symbolic intention, what is it that they symbolise?
Solar Ship from Loc mariaker, Brittany
(After Ferguson)
Solar Ship from Hallande, Sweden
(After Montelius)
The Ship Symbol in Egypt
Now this symbol of the ship, with or without the actual portrayal of the solar emblem, is of very ancient and [pg 74] very common occurrence in the sepulchral art of Egypt. It is connected with the worship of Rā, which came in fully 4000 years B.C. Its meaning as an Egyptian symbol is well known. The ship was called the Boat of the Sun. It was the vessel in which the Sun-god performed his journeys; in particular, the journey which he made nightly to the shores of the Other-world, bearing with him in his bark the souls of the beatified dead. The Sun-god, Rā, is sometimes represented by a disk, sometimes by other emblems, hovering above the vessel or contained within it. Any one who will look over the painted or sculptured sarcophagi in the British Museum will find a host of examples. Sometimes he will find representations of the life-giving rays of Rā pouring down upon the boat and its occupants. Now, in one of the Swedish rock-carvings of ships at Backa, Bohuslän, given by Montelius, a ship crowded with figures is shown beneath a disk with three descending rays, and again another ship with a two-rayed sun above it. It may be added that in the tumulus of Dowth, which is close to that of New Grange and is entirely of the same character and period, rayed figures and quartered circles, obviously solar emblems, occur abundantly, as also at Loughcrew and other places in Ireland, and one other ship figure has been identified at Dowth
Egyptian Solar Bark, XXII Dynasty
(British Museum)
[pg 75]
Egyptian Solar Bark, with god Khnemu and attendant deities
(British Museum)
In Egypt the solar boat is sometimes represented as containing the solar emblem alone, sometimes it contains the figure of a god with attendant deities, sometimes it contains a crowd of passengers representing human souls, and sometimes the figure of a single corpse on a bier. The megalithic carvings also sometimes show the solar emblem and sometimes not; the boats are sometimes filled with figures and are sometimes empty. When a symbol has once been accepted and understood, any conventional or summary representation of it is sufficient. I take it that the complete form of the megalithic symbol is that of a boat with figures in it and with the solar emblem overhead. These figures, assuming the foregoing interpretation of the design to be correct, must clearly be taken for representations of the dead on their way to the Other-world. They cannot be deities, for representations of the divine powers under human aspect were quite unknown to the Megalithic People, even after the coming of the Celts—they first occur in Gaul under Roman influence. But if these figures represent the dead, then we have clearly before us the origin of the so-called “Celtic” doctrine of immortality. The carvings in question are pre-Celtic. They are found where no Celts ever penetrated. Yet they point to the existence of just that Other-world doctrine which, from the time of Cæsar [pg 76] downwards, has been associated with Celtic Druidism,