HESPERIA 75 (2006) ACHELO?S Pages 317-32$ PEPLOPHOROS

A Lost Statuette of a River God in Feminine Dress

ABSTRACT

a In this study the author analyzes the iconography of unique Early Classi statuette as a cal bronze that represents the river god Achelo?s peplophoros. Formerly in the National Archaeological Museum inAthens, the statuette is now as a lost. Using the myth of Herakles' peplos parallel, the author argues that Achelo?s is represented wearing women's dress in order to counterbal ance his excessive masculinity. The combination of masculine and feminine serves iconographie attributes to acknowledge the potentially destructive power of the river while also highlighting its life-giving beneficence.

one In the current discussion of cross-dressing in Classical Greece, in a triguing image has been overlooked: small bronze statuette representing the powerful river god Achelo?s wearing women's dress (Fig. I).1 This now statuette, formerly in the National Archaeological Museum but lost, was at near excavated in the early 20th century Oichalia, modern Kyme, on as a man a Euboia.2 It depicts the god standing, bearded wearing chiton a a underneath peplos with kolpos and overfold. In his left hand he holds cornucopia; the right hand is missing. The cornucopia, together with the findspot (see below), confirms the identification as Achelo?s. Identified as a a by Brunilde S. Ridgway unique representation of m?t peplophoros,3.

was an no. notes 1. This paper presented in March 1,1909, by K. Papaioannou, Al) that the location of at earlier form the 2004 Annual who reported his findings in the local the object, formerly in the National . statuette is Meeting of theAmerican Philological newspaper 'H% The Archaeological Museum in Athens, as in was at Association, part of the Lambda mentioned Papavasileiou 1910, p. 34; unknown that time. In response Classical Caucus a in to to statuette in panel "Cross-Dressing photograph appears Papavasileiou my request study the inAntiquity: Art andText." Iwould 1912, p. 133, fig. 15 (reprinted inGais 2004, the Greek Ministry of Culture to statuette not like thank the organizers of the 1978, p. 359, fig. 8; also Ostrowski confirmed that the could panel, Laurel Fulkerson and H. Alan 1991, fig. 18). Lippold (1950, p. 114, be located. No additional information with the other n. cites the without or are Shapiro, together par 3) object, illustra photographs obtainable from for their comments. Thanks tion. The statuette is included in the the ticipants, Ministry. are also due to the two on 46. statu anonymous monograph Achelo?s by Isler (1970, 3. Ridgway 1984, p. The no. ette not Hesperia reviewers, whose critical pp. 60,112,165, 264) and in his is included in the corpus of feedback was most valuable. entry in LIMCl, 1981 (p. 18, no. 77, Early Classical peplophoroi by T?lle 2. The statuette was discovered on s.v. Achelo?s). Weiss (1984, p. 166, Kastenbein (1980).

? The American School of Classical Studies at Athens 3i8 MIREILLE M. LEE

1. bronze statuette Figure Achelo?s, from Oichalia, Euboia. Second In b.c. quarter of the 5th century Formerly National Archaeological Museum, Athens (no inv. no.); current location unknown. Photo

from Papavasileiou 1912, p. 133, fig. 15; drawing G. Fawkes

its transvestism has not previously been explained. Comparative analysis of cross-dressing in both ancient literature and modern dress practices not demonstrates that the cross-dressing Achelo?s only reflects Greek concerns constructions of masculine and feminine gender, but also larger about fertility, protection, and social boundaries. to is Flowing from Epirus the Ionian Sea, the Achelo?s River the longest inGreece.4 In antiquity it comprised the often-contested boundary between Akarnania and Aitolia. Achelo?s was believed to be the source of as a all seas, rivers, and springs, and appears in classical literature synonym river for water (e.g., Eur. Andr. 167; Eur. Bacch. 625; Ar. Lys. 381).5 The was god Achelo?s, offspring of Okeanos and Tethys (Hes. Theog. 340), a worshipped together with his daughters, the nymphs, from very early not in period.6 Achelo?s is named inHomer (//. 21.194), but does feature extant narrative until the early lines of Sophocles' Trachiniae, when Deia came to neira describes her courtship by Achelo?s and how she be the wife of Herakles:

I suffered affliction on the matter of if painful my wedding, any river 4. On the river and god Ache Aitolian woman did. For I had as awooer a river, I mean Achelous, lo?s, see Brewster 1997, pp. 9-14. at some who came in three shapes to ask my father for me, times 5. D'Alessio 2004. as a 6. Larson 98. manifest as a bull, at others darting, coiling serpent, and again 2001, p. ACHELOOS PEPLOPHOROS 319

2. Herakles and Figure Achelo?s, ^xVT ?Or? /> Attic black-figure kylix, attributed to the Painter of Boston C.A., said to be from Thebes. Ca. 560-550 b.c. Henry Lillie Pierce Fund, 99.519. Photo courtesy Museum of Fine Arts, Boston

at others with a man s trunk and a bulls head; and from his shaggy beard there poured streams of water from his springs. Expect a as was ing such suitor that I always praying, poor creature, that I ever near might die before coming his bed. But at the last moment, and to my relief, there came the famous son of Zeus and Alcmene, who contended him in battle and released me. I cannot tell of the manner was of his struggle, for I know nothing of it;whoever sitting there not terrified by the sight, he could tell you.7 women The chorus of fromTrachis reiterate the struggle at lines 508-522, 7. Trach. 7-23, trans. H. Soph. Lloyd but do not how Achelo?s was defeated. A more elaborate 1994. explain ultimately Jones, Cambridge, Mass., version of the is told Ovid in in which 8. Ov. Met 9.98-100, trans. A. D. myth by Metamorphoses 9.1-100, one Melville, Oxford 1986. Herakles defeats the river god by breaking off of his horns. Magically 9. Isler LIMC 12 as 1970; 1,1981, pp. the horn fills with fruits and flowers, the cornucopia. But, Ovid tells 36, s.v. Achelo?s (H. P. Isler). See also us: was was "Humbled though he to lose that elegance, all else sound, and Ostrowski 1991, pp. 16-20. he concealed his loss with willow leaves or reeds and rushes worn upon 10. LIMC 1,1981, pp. 13-17,25 his head."8 27, nos. 1-56,213-228,241-244, s.v. a The of Achelo?s has been examined Hans Achelo?s (Isler). Conversely, iconography thoroughly by as a few images represent the god bull Peter Isler, who traced the development of Achelo?s imagery from the headed man {LIMC 1,1981, 18, b.c. p. 7th century through the Roman period.9 Early Greek images of the nos. 75, 76). On bull imagery generally are god clearly derived from Near Eastern prototypes, in the in the ancient Near East and the east particular man-headed bull 2), which has Sumerian The existence of ern Mediterranean, see Rice 1998. (Fig. origins.10 11. other of the that the bull The shape-changing aspect of zoomorphic images god suggests iconography constant was not so in earlier Alter Achelo?s parallels the fluctua firmly established, especially representations. tion of water. s as moving natively, they may reflect Achelo?s ability to change shape, described as 12. For other images of Achelo?s vase in the early lines of the Trachiniae.11 In painting he is sometimes a see LIMC centaur, 1,1981, pp. 27-28, a once as a represented with the body of centaur (Fig. 3), and triton nos. 246-259, s.v. Achelo?s (Isler). 4).12Most of Achelo?s his 2), 13. For other opponents of Herakles (Fig. images emphasize genitals (e.g., Fig. with see which both and his bestial Some him represented large genitalia, signify fecundity aspect.13 depict ears nose McNiven 1995, pp. 11-13. with the and snub typical of satyrs (e.g., Fig. 4), which likewise 320 MIREILLE M. LEE

Figure 3. Herakles and Achelo?s, Attic neck black-figure amphora, Achelo?s Painter. Early 5th cen b.c. tury Libbey Endowment, 1952.65. Photo courtesy Toledo Museum of Art

emphasize his sexual nature.14 Other early representations include votive masks and pro tomes of a bearded man with the ears and horns of a bull.15 are on as as These images also found coins well gold pendants,16 which per as haps functioned amulets for fertility and protection.17 From the middle a of the 5th century onward, parallel tradition develops in which the god is represented as a nude, bearded, mature man with bulls horns.18 The statuette, dated by Isler to the second quarter of the 5th cen was an tury b.c.,19 found together with inscribed boundary marker delin a eating the limits of local sanctuary of Achelo?s and the nymphs.20 The statuette as secure identification of the the river god is therefore despite the save absence of Achelo?s's usual taurine features, for the cornucopia, which a is kind of symbolic transcription of the older bull imagery. In contrast to are earlier representations of the god, which either zoomorphic images or nude males, the figure is heavily dressed. What is especially curious is that wears a a he distinctly feminine garment, the peplos, together with long worn women chiton, also by in the Classical period.21

14. facial short hair extant Schefold 1992, p. 159. somber, expression, in the photograph, may also 15. and reserved and LIMCl, 1981, pp. 18-20, style, gesture pose. reflect feminine styles of the Early nos. s.v. Achelo?s The rendered with to 80-115, (Isler). peplos, broad, thick, Classical period. The hair appears be 16. ZJMC is itself a in waves E.g., 1,1981, p. 19, drapery folds, hallmark of the parted the middle, with soft nos. s.v. Achelo?s in a 90, 91, (Isler). Early Classical period (Ridgway 1970, framing the face, possibly bound 17. For the func at magico-religious pp. 8-11). chignon the base of the neck. A band tion of see 1991. 20. IGXn 9 135: a a amulets, Kotansky Nvucpcov |AXe encircling the head may be braid, 18. taoioi) LIMCl, 1981, pp. 24-25, (3rd century b.c.); Papavasileiou frequent feature of male figures of this nos. s.v. Achelo?s 34. The and statu 210?212, (Isler). 1910, p. inscription period (e.g., the Artemision bronze). 19. on the basis of ette the sole evidence for the Presumably style. comprise The statuette, however, lacks the bangs The statuette exhibits several of the on in cult of Achelo?s Euboia the 5 th that usually accompany this hairstyle. I basic traits of the Severe outlined Larson thank one of the Style century (see 2001, p. 144). anonymous Hesperia a almost 21. indistinct by Ridgway, including "severe," The hairstyle, though reviewers for these observations. ACHELO?S PEPLOPHOROS 321

Figure 4. Herakles and Achelo?s, Attic red-figure stamnos, Oltos, from Caere. Ca. 520 b.c. E 437. Photo courtesy British Museum, London

can we on How explain the unique appearance of the feminine peplos a no or male figure for whom there is preexisting tradition of drapery dress? It is unlikely that the artist has misunderstood the significance of this gar as an ment. The Early Classical peplos functions iconographically indicator of idealized feminine Hellenic identity, the enveloping garment reflecting ideologies of protection and containment.22 But since the Achelo?s statuette a a is the only example known in Greek art of male figure wearing peplos, no can pattern be established that might indicate its significance. as es Cross-dressing in antiquity is often identified ritual behavior, pecially for rituals of initiation.23 Unfortunately, little is known about the specific cult activities associated with the worship of Achelo?s. Achelo?s was venerated together with the nymphs throughout Greece, especially in caves containing freshwater springs.24 The primary function of these cults was ensure to the proper upbringing of children, especially male children. Jennifer Larson has suggested that the Athenian koureion ritual, inwhich men a young dedicated their hair to local river, reflects the special function of rivers in the maturation rituals of young boys.25 Certainly cross-dressing also features in similar rituals of initiation (for example, the Hellenistic an ekdusia),26 but evidence for cross-dressing in initiation ritual involving Achelo?s is lacking. Nevertheless, the notion that cross-dressing reflects to a liminality is surely relevant the shape-changing Achelo?s, river in constant flux, marking the border between regions.

22. The on Lee 2005. protective Harlow, and Llewellyn-Jones 2005. Achelo?s from the 5th century function of the is underscored 23. in peplos by On cross-dressing antiquity, may be the result of propaganda by the its role in the Panathenaia at Athens as see oracle at Dodona especially Delcourt 1961, pp. 1-16; (D'Alessio 2004, a for Athena Polias. Frontisi-Ducroux and protective garment Lissarrague 1990; p. 32). n. 32. on See below, The scholarship Leitao 1995; Cyrino 1998; Bremmer 25. Larson 2001, p. 98. For the see the ideological significance of women's 1999;Miller 1999; Llewellyn-Jones Koureion, Cole 1984; Golden 1990, dress generally has vasdy increased in 2005. pp. 26-28. the past decade. See Darling 1998; 24. Larson 2001, pp. 98-100,226 26. See Leitao 1995. Llewellyn-Jones 2002,2003; Cleland, 231. The widespread veneration of 322 MIREILLE M. LEE

a As noted above, the Achelo?s statuette is the lone example of male in art. wear in peplophoros Greek Male characters do peploi Greek litera we assume ture, however, and although cannot that the literary peplos corresponds with the garment represented in sculpture,27 the comparison worn is instructive. In early Greek epic and lyric, the peplos is exclusively women by and goddesses. Starting in the Classical period (the date of the Achelo?s statuette), the tragedians manipulate the feminine connotations to s of the peplos convey the emasculation of male characters.28 InAeschylus a Oresteia, Clytemnestra slays Agamemnon after ensnaring him in peplos Eum. in (Ag. 1125-1128; Cho. 999-1000; 633-635). Similarly, Euripides' a to on Bacchae, Pentheus dresses in peplos in order spy the Theban women, wears a with horrible results (Bacch. 821-838,927-938). Hippolytos peplos in Euripides' play to indicate the impropriety of his exclusive worship of wears a in at two Artemis (Hipp. 606,1458). Herakles peplos least plays, Sophocles' Trachiniae (600-613,674,756-776) and Euripides' play about his madness (HF 520, 626-627, 629-630). In each of these cases, the a a adoption of peplos by male character symbolizes his feminization, and therefore his destruction.29 But these examples do not explain the Achelo?s statuette, which, despite the feminine dress (and perhaps the no fruits and flowers in the cornucopia), exhibits signs of emasculation. as Indeed, Ovid notes, Achelo?s remained otherwise unharmed despite the humiliating removal of his horn. Given the literary tradition of male can a figures destroyed by peploi, how Achelo?s retain his virility (even beard!) despite his feminine dress? a Nicole Loraux has explained similar instance of male cross-dressing in her essay "Herakles: The Super-Male and the Feminine."30 Despite his wears a no (in)famous hypermasculinity, Herakles peplos with adverse ef fects. The story is preserved in Diodoros's account of the life of the hero, which, although written during the 1st century b.c., may help explain the constructions of gender at play in the Classical statuette of Achelo?s. Ac cording to Diodoros, when Herakles retired from his life of exploits, "each a one of the gods honored him with appropriate gifts; Athena with peplos, a a Hephaistos with war-club and coat of mail, these two gods vying with one an another in accordance with the arts they practiced, the one with eye to the enjoyment and delight afforded in times of peace, the other looking to his safety amid the perils of war."31 on The peplos is associated with Athena account of the sacred textile was woven woven with scenes of the Gigantomachy, which ritually by women at selected and girls and presented to the goddess the Panathe naia. While the Panathenaic peplos represents the victory of the gods as and the protection of the polis, the literary peplos, discussed above, is as specifically gendered feminine.32 In the Iliad (5.733-737, 8.384-388), removes to Athena herself her peplos in order participate in the fighting,

tenuous is not a 27. For the identification of the peplos gendered garment. Mass., 1935. as a I me the garment conventionally known thank the author for sharing with 32. See Barber 1992, with earlier see Lee an advance draft of his references. For the peplos, 2003. chapter. political significance 30. Loraux 1990. the see 28. Lee 2004. of Panathenaic peplos, Scheid trans, 29. In this I disagree with Llewel 31. Diod. Sic. 4.14.3, adapted and Svenbro 1996, pp. 18-33; Fowler maintains from C. H. lyn-Jones (2005), who that Oldfather, Cambridge, 2000, p. 325. ACHELO?S PEPLOPHOROS 323

war exchanging this feminine garment for the chiton of Zeus. Athena's own as transvestism underscores her gender ambiguity, does her choice of gift to Herakles.33 She is the goddess of weaving, but also of war; why an as to should she select article of clothing her gift Herakles, warrior par excellence?34

The answer, Loraux suggests, lies inHerakles' excessive masculinity.35 excess She proposes that "an of virility leaves Herakles' strength in constant so danger of being exhausted, and it is appropriate for him periodically a more to return to reasonable level of male energy."36 Athena's gift of the to peplos is intended restore the loss of equilibrium that is the result of his exploits.37 The peplos does not therefore feminize him, but, conversely, same underscores the power of his masculinity.38 The may be true for the figure of Achelo?s, who is regularly depicted in excessively masculine terms?so more as excessive, in fact, that he is typically represented part a can beast.39 The representation of the river god wearing peplos therefore as be interpreted emphasizing the benevolent side of his character, which a is also suggested by the cornucopia, symbol of fertility. In this way, the are destructive capacities of the river counterbalanced by its life-giving

aspects.40 an As Marjorie Garber has shown, important function of transvestism is as a means of reconciling contradictions, not only masculine and femi nine gender, but also other fundamental cultural categories such as race a and class.41 She argues that transvestism often represents displacement of other, apparently unrelated, "category crises." Margaret Miller has effec to tively adopted Garber's model demonstrate that the transvestism of the vases so-called Anacreontic dating to the late 6th century reflects broader Athenian anxieties about the breakdown of old, aristocratic institutions.42

33. the of in several in those in On gender ambiguity women's clothing episodes surrounding Herakles the see most is a con Athena, recently Deacy and Greek and Latin literature (see Cyrino literary tradition. But such nection Villing 2001, pp. 15-16, with earlier 1998; Llewellyn-Jones 2005); however, justified, given the fact that are references. artistic representations of Herakles Herakles and Achelo?s adversaries not contest over a 34. Llewellyn-Jones's (2005, p. 60) wearing feminine dress do appear in the Deianeira? In suggestion that the gift of the peplos until the Late Hellenistic period (see study of river-god iconography, Gais as reflects Athena's role patron goddess Schauenburg 1960, esp. fig. 1; Kampen (1978, pp. 367-370) demonstrated that, of textile in production (Athena Ergane) 1996, pp. 237-238, figs. 98,99). while early periods Herakles and not a are is inconsistent with Loraux's read 38. For similar interpretation of Achelo?s conventionally repre vases as ing of this passage (below). the so-called Anacreontic (dis sented combatants, beginning in see b.c. are 35. Loraux (1990, pp. 35-36) cites cussed below), Frontisi-Ducroux the 4th century they conflated as as a means evidence for Herakles' superabun and Lissarrague 1990. iconographically of empha dance his extreme 39. is for of virility sexual Animal imagery unusual sizing the theme of fertility. behavior, coupled (perhaps ironically) Greek gods (see Padgett 2003). The 41. Garber 1992, pp. 16-17. with his misogyny. bull iconography forAchelo?s, while 42. Miller 1999. For earlier inter 36. Loraux see 1990, p. 39. Cyrino derived from Near Eastern sources, is pretations of the costume, Miller to on account (1998) fruitfully expands upon Loraux's likely have been retained 1999, pp. 232-236; also Frontisi in mod of its resonance for the interpretations, citing parallels particular Ducroux and Lissarrague 1990. The ern cinema and basketball concern sports (e.g., Greeks, who associated excessive (espe for the maintenance of proper star with is in Dennis Rodman). cially sexual) behavior animals boundaries similarly reflected the 37. not Though Diodoros does (see Lissarrague 1990). On the Greek Greek practice of ritual transvestism, that wore notion is in cases indicate Herakles actually the of hypermasculinity giving way which all temporary, and the connotations of to see 31. garment, gendered bestiality, duBois 1982, p. underscores the desired preservation of the gift would have been understood by 40.1 have likened the constructions established social categories (Miller an ancient wears of in statuette to audience. Herakles gender the Achelo?s 1999, pp. 241-244). 324 MIREILLE M. LEE

The feminine dress of the Achelo?s figure likewise embodies multiple categories of crisis: animal/human; destructive/beneficent; virile/feminine. a The findspot of the statuette, marking the border of sanctuary, further a suggests concern with the categories of inside and outside, sacred and

profane. The reconciliation of these categories made this votive statuette as especially efficacious for its dedicants, who, devotees of Achelo?s and were the nymphs, presumably concerned with securing fertility. As Marie Delcourt has argued, the combination of masculine and feminine has sex the special effect of bringing about increased fertility, "each receiving something of the powers of the other."43 Achelo?s peplophoros, with his feminine dress and the Freudian removal of his horn, is neither feminized nor to emasculated; he is uniquely equipped bring fertility and abundance to his devotees. 43. Delcourt 1961, p. 16.

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Mireille M. Lee

Macalester College

classics department

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SAINT PAUL, MINNESOTA 55105-1899

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