Matres and Genii Cucullati

Blog post by Fiona Beeston

Blog post written by Fiona Beeston, a student at King’s College, London, studying Classical Studies with English. Read on to discover more about the Matres and the Genii Cucullati and their roles and symbolism in Roman Britain.

Prominent figures of worship in Roman Britain were the Matres, or the Mother Goddesses, and the Genii Cucullati, translated as the Hooded Spirits. Portrayed in carvings both separately and together, these figures struck me as unusual deities with remarkable questions surrounding their image. This blog offers an insight into the Mothers and these spirits and what I find so fascinating about their legacy in Corinium.

Romano-British limestone votive relief depicting three cloaked godlets (genii cucullati), found in Cirencester, probably in the Ashcroft area, in 1892.

A recurring feature within the images of the Mothers and the Genii Cucullati is triplism, or the significance of the number three. Given the consistency of which this emerges, it is apparent that the number three was of great importance and value. Although its direct symbolism remains unknown, the sacred nature of triplism cannot be denied. The Mothers and the Genii Cucullati would often appear in groups of three, or with the number three as a prominent feature of the image. Miranda Aldhouse-Green insightfully points out how this tripling can be aligned with aspects of shamanism. The number three may hold significance as it reflects a triple layered view of the world and the cosmos: the underworld, middle earth and the spirits above. Further analysis suggests that the number three represents the intertwining of time and age, and the three ages of people (childhood, middle age and old age). Some images of the Matres may reflect these differing ages, but with few inscriptions to confirm this we will never truly know the artist’s intent. To me, binding these spirits to nature’s power and the intangible forces of the cosmos and time are the most captivating analyses for the presence of the number three.

Both the Mothers and the Genii Cucullati are believed to have been fertility spirits. Whilst there is no evidence confirming this for the Genii Cucullati, they were often pictured beside Mother Goddesses, a reflection of the relationship between the two forms of deity. An emphasis in images of the Mothers is what they hold. Some hold children whilst others hold produce such as fruit or bread; underlying both of these is the idea of fertility, both humanly and in nature, and how the Mothers were viewed as deities of prosperity. Soldiers worshipping the Mothers indicate how they were not limited to this role: they were also viewed as protectors and guides through battle.

A prominent feature of the Genii Cucullati is the hooded cloak, worn by each figure. Several ideas lend themselves to what this may have symbolised. To some, the hood reflects Telesphrous, the minor child-god of healing, who wore a cloak and symbolised recovery from illness; others may view the cloak as a symbol of darkness or death. The analysis of the hood as a symbol of secrecy and control is one I favour. A carving from Cirencester depicts three hooded figures in movement; they are the genii cucullate, but the viewer is unable to see their faces, simply their hoods. What is fascinating is the simplicity of the image, yet the power it still holds. The hoods conceal the faces of the genii, establishing how they wish to shroud themselves from the eyes of those who do not possess the knowledge to truly understand their ritual power. The cloak is used for control: each figure concealing their identity from us also holds the power to remove their cloak and reveal themselves. Perhaps they were believed to have concealed themselves until they truly believed one was worthy of seeing their spiritual power and sharing their ritual knowledge.

To me, a significant and striking feature of both the Matres and Genii Cucullati images is the indication of a fluidity of gender. The Something image displays one of the Mothers wrapped in a cloak typically worn by a male deity; the further suggestion of a beard upon her face may hint of the artist’s open gender expression and willingness to transgress the boundaries of gender. This fluidity is further visible in an image from a healing shrine in Burgundy. Three figures are present: a woman, a hermaphrodite and a figure with antlers and three faces. Alongside the sacred number of three, gender and species are merged, and the boundaries of nature are crossed. Such transgression and fluidity express an openness which was present in this early period, thought to be respected and worshipped. With the complexities surrounding gender identity not wholly accepted by people today, images such as these show early forms of acceptance that our generation are sharing and others should seek to align themselves with. On this topic, Aldhouse-Green spoke of the Paradise Lost quote ‘Spirits can assume any gender they like’. The spirits of the genii cucullati conceal their gender with the cloaks; again, fluidity was constant and there were no social or cultural boundaries for gender expression.

Although the roles and purpose of these deities remain unknown, the discussion and questioning that their images invite is fascinating. Our continuing exploration may someday lead to deeper analysis of what exactly their stories were here in Corinium.