Epona, a revered goddess in Celtic mythology, is intrinsically linked to horses, as her name suggests; “epos” translates to “horse” in Celtic, while the suffix “-ona” implies “on.” She serves as the protector of mares and their foals. The earliest references to this Gallic equine deity can be traced back to the writings of Juvenal in his Satires, where he mentions her in connection to various horse-related themes. Further references emerge in Minucius Felix’s Octavianus, highlighting her significance in Celtic culture.
Inscriptions dedicated to Epona have been unearthed across ancient Gaul, parts of Germany, the Danube provinces, and even in Rome. Many of these inscriptions come from soldiers, indicating that her worship was especially prominent within military contexts, particularly in eastern regions, hinting at a more martial than indigenous cult practice.
Epona was central to Gallic religious life, especially given the horse’s vital role for the Gauls. Notably, the Gallic cavalry played a crucial part in challenging the Roman legions during their conquests, reinforcing the goddess’s importance among soldiers and rural communities alike. Tragically, there are few remnants of a formal cult dedicated to her in urban settings.
The artistic depictions of Epona vary based on their origins but generally feature her adorned and in proximity to horses. Typically represented alone, she is often shown in different poses, exhibiting a wide range of expressions and designs.
In the initial form of representation, especially prevalent in north-eastern Gaul and along the Rhine, Epona is depicted seated on a mare, occasionally accompanied by a foal, evoking themes of death and the afterlife. Her seated imagery on a horse often symbolizes the journey to the underworld, resonating with broader ancient mythological patterns.
A second type of illustration showcases Epona amidst a group of horses, feeding them, which is predominantly found in central Gaul. Other artistic renditions portray her reclining on a horse in a more relaxed, often semi-nude, position, particularly noted in Allerey, Burgundy. Symbolic elements such as a cornucopia or a peg frequently accompany her in these representations, and she is also seen with dogs or various gods and spirits.
When examining a Celtic deity like Epona, it proves beneficial to draw parallels with documented Celtic traditions, particularly those preserved in Irish mythology. Although the records from Celtic Ireland and Wales began primarily in the early Middle Ages, some connections with older Celtic practices can be discerned.
Epona bears notable similarities to the goddess Rhiannon from Welsh mythology, whose name is derived from “Rigantona,” meaning “great queen.” Rhiannon, featured in the Mabinogi narrative of Pwyll, is described as an elusive and speedy rider. As a queen, she was associated with hospitality and song during feasts. Unlike Epona, Rhiannon’s narrative includes significant marital elements, as she is depicted as married to both Pwyll and Manawyddan.
While both goddesses share connections to horses and accompany the dead, they differ significantly in their portrayals and mythological narratives. Epona is often depicted as a solitary figure, while Rhiannon’s identity is intrinsically tied to her royal status and marital relationships. The distinct cultural resonances and contexts imply that while Epona and Rhiannon share similarities, they should not be conflated.
