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Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C

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https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. 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Powered by TCPDF (www.tcpdf.org) Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. Apollo, Leto, and Artemis occupy high positions in the Greek pantheon. Leto, the Titaness daughter of Coeus and Phoebe (Hes. theog. 406–408), gave birth to the most glorious children, Apollo and Artemis, who instantly became part of the Olympian family and were worshipped all over the Greek world1. A very common representation on fifth-century vases is one of Leto appearing with her children, the ›Apollonian triad‹, either alone or accompanied by other mainly divine figures, holding phialai and oinochoai and often pouring or about to pour liquids from these vessels onto the ground or onto an altar as will be demonstrated2. The act of pouring a liquid, such as wine3, usually onto an altar or onto the ground – libation – is considered among the most common ritual acts of the ancient Greeks4. Depictions of the Apollonian triad involved in the performance of libations have been interpreted as an artistic representation of Apollo’s atonement for slaying the monster Python, guardian of the oracle at Delphi5. Alternatively, the libation scenes have been understood as religious propaganda, exercised by the Athenians after the formation of the Delian League (478/477 B.C.) because Apollo was regarded as the protector of the newly-formed League centered around the god’s sanctuary on Delos6. In addition, various scholars have used the Apollonian triad motif in libation scenes, along with other ex- amples of gods making libations, to analyse and interpret the ritual act itself in various ways as will be indicated. My survey of 50 Attic vases of the fifth century B.C. depicting the Apol- lonian triad in libation scenes led me to investigate this iconographical motif from a different perspective7. No previous study has given adequate attention An earlier version of this paper was consideration, that is, the Apollonian (e. g. Xen. hell. 7, 4, 36), at the start presented at the Classical Association triad performing libations, is not (yet) of a symposion (e. g. Thgn. Eleg. 1, Annual Conference at the University of attested in other media (e. g. sculpture) 757–764), etc. For the libation ritual Exeter (April 2012). I wish to thank during the fifth century B.C. See most in general, see Burkert 1987, 70–73; Prof. Judith M. Barringer and recently Vikela 2015 for a study of Apollo, ThesCRA I (2004) 237–241 s. v. libations Dr. Carolyn Elliott Xenophontos, who Artemis, and Leto in votive reliefs. (E. Simon); Lissarrague 1985, 3–8. 14; read an earlier version of this text and 3 Wine was a favorite liquid for Lissarrague 1995; Patton 2009, 27–56. offered helpful comments and sugges- libations, but water, milk, oil, or honey 5 Simon 1953, 13–38. tions. I am also grateful to the anonymous have been also reported. See Patton 2009, 6 Tiverios 1986; Shapiro 1996. reader for AA, whose remarks greatly 33. 7 The Attic material has been compiled improved this paper, as well as the edito- 4 Humans offered libations to the gods from a comprehensive study of the rial staff of the Deutsches Archäologisches or heroes on several occasions, such published corpus of Attic vases listed Institut for their guidance and support. as before voyaging (e. g. Hom. Od. 2, in the CVA, the Beazley archive (ABV, 1 E. g. see Burkert 1987, 143–152 and 430 f.), before departing for war (e. g. A RV 2, Beazley, Para., Beazley Addenda2, Larson 2007, 87–113, who list locations Thuk. 6, 32, 1 f.), before any sacri- Beazley Archive Pottery Database where the two deities were worshipped. fice (e. g. Aristoph. Pax 1051–1060), [BAPD] <http://www.beazley.ox.ac. 2 The study is limited to fifth-century as part of prayer (e. g. Hdt. 7, 192), to uk/pottery>), and the LIMC, museum vase paintings given that the motif under seal an oath, a contract or a peace treaty catalogues, monographs and any other AA 2017/1, 63–83 64 Lavinia Foukara to the idea that a divine family8 is represented and instead focused particularly on Apollo. The underlying assumption in this research is that images of Leto with children evoke certain connotations, which are different from those evoked by scenes that show only the two siblings. Therefore, this article does not examine depictions of Apollo and Artemis alone making a libation, that is, without Leto, which are well-attested in Attic vase painting of the fifth century B.C. My aim is to demonstrate that Leto’s presence with her children is more significant than previously thought, that the literary, epigraphic, visual, and archaeological evidence particularly emphasised Leto’s capacity as a mother. Therefore, the inclusion of Leto in the iconographical motif under examina- tion here emphasises Apollo’s and Artemis’ kourotrophic function as gods who preside over children’s growth into adulthood. Leto as Mother Before discussing depictions of Leto with her children in libation scenes on Attic vases of the fifth century B.C., it is essential to acknowledge Leto’s asso- ciation with motherhood. Therefore, I consider Leto’s role in Greek literature, article that includes representations of the motif in question. where her maternal aspects receive special emphasis. Then we shall turn to the 8 It should be noted that this is not a earliest certain depiction of Leto in Greek art, which offers visual evidence for complete family, since Zeus, the father the same perception of the goddess. of Apollo and Artemis, does not appear The close family ties between Apollo, Leto and Artemis are present in the with the divine trio. As far as I know, representations of the Apollonian triad earliest extant Greek literature. Apollo and Artemis are the offspring of Leto together with Zeus pouring libations in and Zeus and their family relations are well attested by the two Homeric fifth-century vase paintings, as well as in poems (eighth century B.C.)9, the Iliad and Odyssey. They fight together as a other media (e. g. sculpture, coins, etc.) family on the side of the Trojans (Il. 20, 38–40) and take part in the battle of the of the same period, have not yet been attested. It seems to me that Zeus’ absence gods (Il. 20, 58–72). When Artemis, beaten by Hera on the battle field (Il. 21, from the iconography should not surprise 480–496), leaves all her weapons behind and runs weeping to her father Zeus us, since the god is hardly attested in in Olympos, it is Leto, who retrieves the weapons of her beloved daughter scenes that show members of Zeus’ family (Il. 21, 497–504). In Iliad 5, mother and daughter take care of the wounded (child/children with its/their mother), such as for example scenes of Demeter Aeneas after Apollo rescued him from the battlefield (445–450). In addition, and Kore. the strong relationship between the mother Leto and her children is well 9 The issue, among others, of when the demonstrated by the myth of Niobe, mentioned in Iliad 24 (605–609). Niobe Iliad and Odyssey were first written down boasted that she had more offspring, namely six sons and six daughters, than has been the focus of scholarly attention and debate.
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