Epona is a prominent goddess from Celtic mythology, closely linked with horses; her name itself suggests this connection, as “epos” translates to “horse” in Celtic, while the suffix “-ona” indicates an association. She is honored as the protector of mares and their offspring. The earliest references to Epona, the Gallic goddess linked to horses, can be traced back to the Roman poet Juvenal, who notes her significance in his works. Another reference appears in a text by Minucius Felix, which further underscores her veneration.
Inscriptions dedicated to Epona have been discovered across the regions that once made up ancient Gaul and Germany, as well as in the Danubian provinces and even in Rome. Many of these inscriptions are attributed to soldiers, raising the possibility that they reflect a military rather than indigenous practice of worship, particularly in the eastern territories.
Epona held considerable significance in Gallic spirituality, reflecting the crucial role horses played in the lives of the Gauls. Notably, the effectiveness of the Gallic cavalry against Roman legions during their conquests demonstrates the importance of these animals. Consequently, Epona’s worship likely remained prevalent within military circles, while rural communities may have revered her more thoroughly in their daily lives. Unfortunately, there is scant evidence of any formal temples or organized worship of Epona in major urban centers.
Artistic representations of Epona reveal a variety of styles and functions that can differ based on their geographic origins. Generally, she is depicted in the company of horses, often portrayed as adorned and solitary. The specifics of her posture and presence alongside her equine companions can vary widely across different artifacts.
One prevalent artistic form, discovered in northeastern Gaul and the Rhine region, depicts the goddess mounted on a mare, often accompanied by a foal. In some funerary contexts, this imagery symbolizes the soul’s journey into the afterlife. This notion of a woman’s image representing a deceased soul resonates with elements found in ancient mythologies.
Another style, primarily located in central Gaul, features Epona surrounded by horses, sometimes shown feeding them. In certain depictions, such as one from Allerey in Burgundy, she is rendered reclining on a horse in a semi-nude state, typically holding a cornucopia or peg as her attributes. Occasionally, she is accompanied by a dog or other deities, such as local interpretations of Mars, Hercules, or Silvanus.
To deepen the understanding of Celtic deities, it is beneficial to connect Epona’s characteristics with those of other Celtic traditions, particularly those represented in mythological texts from Ireland. Although mythological records from Celtic regions like Ireland and Wales largely date back to the early Middle Ages and are primarily found within the British Isles, drawing parallels with older Celtic practices can be insightful.
Epona displays similarities with Rhiannon, a goddess from Celtic lore whose name suggests “great queen.” In the Mabinogi narrative, she is portrayed as an elusive figure who cannot be easily captured while riding. Rhiannon, who is associated with both companionship and the afterlife, was wed to Pwyll and later to Manawyddan.
While both goddesses share connections to horses and accompany the deceased, they operate within different cultural frameworks. Epona is typically recognized as a more solitary figure with a focus on rural worship, while Rhiannon enjoys a prominent narrative function in the rich tapestry of Celtic literature. Thus, while their shared traits highlight fascinating intersections, it is prudent to acknowledge their distinct roles within the mythology.
