The Horned God as Wicca presents him is a mid twentieth century composite rather than a continuously worshipped ancient figure. Gerald Gardner, building on Margaret Murray's witch cult hypothesis, itself now regarded by historians as unsupported by the evidence Murray cited, drew on a scatter of older horned imagery, the Gaulish god Cernunnos known chiefly from a handful of Romano-Celtic reliefs, the Greek god Pan, and the English folkloric figure Herne the Hunter, to furnish Wicca with a male god to stand beside its Goddess. Ronald Hutton's Triumph of the Moon, the standard scholarly history of the religion, is explicit that this is assembly and reuse rather than an unbroken survival, and that no continuous horned god cult connects Gardner's Wicca to the pre-Christian religions whose imagery it borrows.
That historical judgment does not make the figure any less real to Wiccan practice; it changes what kind of claim can honestly be made about him. The Horned God functions within Wicca as a fully modern theological synthesis that presents itself in the visual and conceptual language of much older material, a pattern common to new religious movements and treated by Hutton as a subject in its own right rather than as evidence against the religion's sincerity.