There is no better example of the confluence of mythologies dominating Haitian Vodou than the image of Bosou Two Kon (Bosou Three Horned). You must remember all the various and sundry populations that descended upon St. Domingue in the early part of the 17th century. There's no date available to go back on, but we do know that Celtic France provided the bulk of white colonial populations. And there is good archeological eevidence of a cult of the Bull in France, dating as far back as the early parts of the last millennium. (See Green, Dictionary of Celtic Myth and Legend, 1992, pp 52-53). Were these beliefs then transferred to the Africans of St. Domingue? We do know that the Bretons maintained a far greater interest in their own folklore than their catechisms. And we can appreciate the power of European occultism in St. Domingue ( Sacred Arts, 1995, figure 1.19b). So, let's go out on a limb and say why not?

After all, the Africans had their own cult of the Bull. For the Fon, Bosou is a tohosu, a sacred monster of the royal family, especially associated with Akadja who was said to rule over a kingdom where humans mated with goats and gave birth to the tohosu. But Thompson claims that the importance of horning, both visual and verbal in Petro veves has led to the adoption of a triple horned, hunchback Bosou of Dahomey into the Kongo class of Lwa.(Thompson, Sacred Arts, fig 3.8)

This Celto-African blend attracts triple imagery, such as the triple reyed El Cristos with his tri-fleured corona. Triple imagery abounds in Vodou, both in pakets and in artwork.  It reaches a peak, in my opinion, in the artistry so beautifully demonstrated by the late Pierrot Barra and his triple horned homages to Bosou.

Flag for Bosou, artist unknown

Altar for Bosou by Pierrot Barra (Sacred Arts, p.39)