The Ritual Year of Athena: The Agricultural Cycle of The Olive, Girls' Rites of Passage, and Official Ideology

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The Ritual Year of Athena: The Agricultural Cycle of the Olive, Girls' Rites of
Passage, and Ofﬁcial Ideology
Article in Journal of Religious History · June 2012

DOI: 10.1111/j.1467-9809.2011.01169.x
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Journal of Religious History

Vol. 36, No. 2, June 2012
doi: 10.1111/j.1467-9809.2011.01169.x
EVY JOHANNE HÅLAND
The Ritual Year of Athena: The Agricultural

Cycle of the Olive, Girls’ Rites of Passage,
and Official Ideology
Through the ritual year of ancient Athens, many festivals were dedicated to Athena.
The Panathenaia was the most important festival. It has been regarded as a political
festival, but the importance of agriculture is also illustrated through the offerings and
rituals carried out during this main festival dedicated to the Goddess of the olive crop.
All Athena’s festivals were related to the olive, the third main crop of the Athenians,
and protected by her, as her festivals were celebrated in the crucial period for the olive
crop, from the flowering of the olive tree, growing period of the fruit, until the
gathering in winter. The summer festivals, particularly, may be related to the impor-
tance of securing the dew for the growing fruit. Many rituals during the festivals
reflect the daily activities of women, several rituals are also important to the rite of
passage undergone by girls at puberty to prepare them for marriage.
Introduction
Throughout the ritual year of ancient Athens, many festivals were dedicated to
the protecting city Goddess, Athena. The Panathenaia (i.e., “the Festival of all
the Athenians”) was the most important of these. It was celebrated in the
middle of August, by the end of the first month (i.e., Hekatombaion, July–
August) of the official political Athenian year. It celebrated the birth of the
polis (“city-state,”) but the importance of agriculture is also illustrated by this
main festival dedicated to the Goddess of the olive crop. Many rituals during
the festivals reflect the daily activities of women and several rituals are par-
ticularly important in connection with the rite of passage undergone by girls at
puberty to prepare them for marriage.1
1. I would like to thank Dr Marie Wells for useful recommendations on conveying my thoughts
and helping to clarify my English. I would also like to thank the two readers of the article for useful
recommendations. All the remaining errors are, of course, my own. The transliteration of modern
and ancient Greek follows the rules of the Nordic Library, Athens. Greek names are not Latinized
with the letter c which does not exist in the Greek alphabet. The article is based on “The Ritual Year
Evy Johanne Håland is a Marie Curie Intra-European Fellow at the National and Kapodistrian
University of Athens, Greece.
256
© 2012 The Author
Journal of Religious History © 2012 Religious History Association
THE RITUAL YEAR OF ATHENA 257
When visiting the Parthenon, most tourists learn that the “warrior” Goddess,
Athena, was worshipped there. Few, however, would have any idea that women
played significant roles in the rituals performed there. Similarly, traditional
scholarship on Greek religion, with some notable exceptions, has not focused
on women’s roles in the rituals for Goddesses and their relation to the agri-
cultural year.2 This article intends to focus on women’s roles in the rituals for
Athena and to relate these rituals to the agricultural year, (i.e., the cultivation
of the olive).
The first part of the article will give an outline of the ritual year of Athena,
while particularly focusing on the most important festival, its preliminary
rituals, and women’s roles in these rituals. The second part of the article will
delve further into the agricultural year in general and the year of the olive in
particular, while simultaneously focusing on the gendered aspect from a
methodological/theoretical approach to women and gender research in which
fieldwork is important. In this way I will also discuss gender bias. In the latter
part of the article, I broaden the field of reference to include modern Greece to
make my contention that modern Greek society can, by means of a comparative
approach, shed light on ancient Greek society. Although the article focuses on
ancient Greece, the research also draws on fieldwork that I have conducted on
religious festivals and life-cycle passages in Greece since the beginning of the
1980s, combining fieldwork results with ancient sources, the most important
findings being that fertility is crucial in the rituals and that women have an
important role in carrying out the fertility cult.
The importance of the fertility aspect of the ritual year has also been
emphasized by modern anthropologists and ethnologists working on agricul-
tural societies, but this approach has been criticized by many classical scholars
who seem to forget that ancient societies were critically dependent on the
agricultural yield, and, in my opinion, festivals were primarily celebrated to
of Athena: The agricultural cycle of the olive, girls’ passage rites, and official ideology,” (keynote
address presented at the Third Conference of the SIEF Working Group on The Ritual Year, The
Ritual Year and History, Stražnice, Czech Republic, 26 May 2007); and E. J. Håland, Greek
Festivals, Modern and Ancient: A Comparison of Female and Male Values (Kristiansand: Nor-
wegian Academic Press, 2007). An English version, translated by Dr Marie Wells and to be
published by Cambridge Scholars Publishing is forthcoming, in which chapters 5–6 give a
comprehensive presentation and discussion of the Panathenaia, primary sources and secondary
literature. Space does not permit me to reproduce the whole discussion here. See also E. J. Håland,
“The Ritual Year as a Woman’s Life: The Festivals of the Agricultural Cycle, Life-Cycle Passages
of Mother Goddesses and Fertility-Cult,” in First International Conference of the SIEF Working
Group on The Ritual Year. In Association with The Department of Maltese, University of Malta,
Junior College, Msida, Malta, 2005: Proceedings, edited by G. Mifsud-Chircop (Malta: Publish-
ers Enterprises Group Ltd, 2006), 303–26; E. J. Håland, “Athena’s Peplos: Weaving as a Core
Female Activity in Ancient and Modern Greece,” Cosmos: The Journal of the Traditional Cos-
mology Society 20 (2006): 155–82.
2. The latter is represented by A. C. Brumfield, The Attic Festivals of Demeter and their Relation
to the Agricultural Year (Salem, NH: The Ayer Company, 1981), but her focus is on Demetrian
festivals. On women’s roles in rituals to Goddesses, see J. E. Harrison, Themis (London and
Cambridge: Merlin, 1977, or. 1912), J. E. Harrison, Prolegomena to the Study of Greek Religion
(London and Cambridge: Merlin, 1980, or. 1903) is an early exception, while contemporary studies
are more frequent; see for example J. B. Connelly, Portrait of a Priestess: Women and Ritual in
Ancient Greece (Princeton: Princeton University Press, 2007). See also n.1 supra and infra.
© 2012 The Author

258 J O U R N A L O F R E L I G I O U S H I S T O RY
secure the food (i.e., fertility). By researching women’s ritual activities in

modern Greece where the fertility aspect is also important, and by relating
these to ancient Greek ritual behaviour, we are allowed to reinterpret many of
the classical sources. We learn that the religious festivals of Athena follow a
ritual calendar where celebrations were performed in connection with impor-
tant phases during the ritual year of the olive. Furthermore, the fertility cult is
of focal importance in these festivals and also in life-cycle transitions, and
women are the central performers of the fertility rituals. The multivalence of
the rituals and their openness to several interpretations is also important to
note, since rituals, ancient and modern, operate on several levels.3
The Athenian Festivals of Athena

Athena Polias (i.e., “of the city”), as a Goddess, was entitled to expect to have
a new dress (a peplos), annually. The peplos was woven by a team of maidens,
the Ergastinai (i.e., workers), who were chosen from the aristocratic families of
Athens. The warp was set on the loom on the last day of the month Pyanepsion
(i.e., October–November), around the time of sowing and the gathering of the
olive crop, during the festival of the Chalkeia, which honoured Athena as
Goddess of handicraft. The work of setting up the loom was done by the
priestess of Athena together with the Arrēphoroi, girls between the ages of
seven and ten or twelve. When the workers had finished the weaving, Athena
was offered her new peplos during the yearly summer festival, the Panathanaia.
Once the peplos was completed, it was borne to the Akropolis and presented to
the Goddess by the Praxiergidai, an Athenian clan whose ancestral privileges
included the washing of the cult statue and its garments.4
Two months before the Panathenaia festival, in the last week of Thargelion
(i.e., May–June), the purification of the holiest of all the images of Athena,
3. The problems and fruitfulness of working with anthropological comparative approaches to

ancient society (such as using material from modern Mediterranean and particularly Greek civi-
lization as models) are examined further in Håland, Greek Festivals, Modern and Ancient; cf. also
J. J. Winkler, The Constraints of Desire: The Anthropology of Sex and Gender in Ancient Greece
(New York and London: Routledge, 1990). For shorter presentations and discussions of my
methodological/theoretical approach to women and gender research, see E. J. Håland, “Greek
Women and Death, Ancient and Modern: A Comparative Analysis,” in Women, Pain and Death:
Rituals and Everyday-Life on the Margins of Europe and Beyond, edited by E. J. Håland (New-
castle upon Tyne: Cambridge Scholars Publishing, 2008), 34–62; E. J. Håland, “Greek Women,
Power and the Body: From Fieldwork on Cults Connected with the Female Sphere Towards a
Deconstruction of Male Ideologies, Modern and Ancient,” Mediterranean Review 3, no. 1 (2010):
31–57. In addition to Håland, Greek Festivals, Modern and Ancient, ch. 6; see also E. J. Håland,
“Rituals of Magical Rain-Making in Modern and Ancient Greece: A Comparative Approach,”
Cosmos: The Journal of the Traditional Cosmology Society 17, no. 2 (2005): 197–251 for the
importance of the agricultural aspect in Greek festivals. See further n. 64 infra and part two of this
article.
4. E. J. W. Barber, “The Peplos of Athena,” in Goddess and Polis. The Panathenaic Festival in
Ancient Athens, edited by J. Neils (Princeton: Princeton University Press, 1992), 113. For a
discussion of the age of the Arrēphoroi, see W. Burkert, “Kekropidensage und Arrhephoria,” [“The
myth about the Kekropidai and the Arrephoria”] Hermes 94, no. 1 (1966): 3–6; cf. W. Burkert,
Homo Necans. The Anthropology of Ancient Greek Sacrificial Ritual and Myth (Berkeley, Los
Angeles, and London: University of California Press, 1983), 150; J. Neils, “The Panathenaia: An
Introduction,” in Neils, Goddess and Polis, 17; F. I. Zeitlin, “Cultic Models of the Female: Rites of
Dionysus and Demeter,” Arethusa 15, no. 1, 2 (1982): 129–57.
© 2012 The Author

Athena Polias, was celebrated. It was housed in the Erekhtheion temple.5

According to Liddel, Scott and Jones (LSJ)6 s.v. Kallynteria, this was a festival
held on 19 Thargelion when the statue of Athena Polias was freshly adorned.
Based on the lexica, earlier scholars have generally agreed that the Kallynteria
(i.e., “adorning festival”) preceded the festival of the Plynteria (i.e., “washing
festival”). I follow Robertson, who has argued convincingly that the Plynteria
preceded the Kallynteria, as it is normal to wash the statue before it is
adorned.7 Women from the Praxiergidai clan removed the ornaments from this
ancient cult image of Athena Polias, veiled it, and performed secret rites.8 The
adornment of her statue of olive wood, believed to have fallen from heaven,
was a practice said to have started with Aglauros, the daughter of the mythical
Athenian king, Kekrops, when she was made priestess of Athena. On her death,
the sacred garments of the image were not washed for one year; neither did the
women of Athens wash their clothes. After their year-long grief for Aglauros
ended, the festival of the Plynteria was established to clean Athena’s robe and
their own clothes. On 25 Thargelion the statue was disrobed and wrapped in a
shroud, as a sign of mourning for Aglauros. Two noble girls, the loutrides
(“washers,” cf. louō, “washing a person”) or plyntrides (cf. plynō, “washing
clothes”), washed the Goddess’s robes, and later the statue itself. The order of
everyday life was interrupted. The Goddess was veiled with a cloth and it was,
therefore, regarded as an unlucky day; the sanctuaries were closed and no
sacrifices were offered. On the following day, the 26 Thargelion, the statue was
unveiled, probably sponged off or bathed. It might also have been carried in
procession to a nearby well to be bathed. Afterwards it was dressed again with
the cleaned garments. The end of the period of grieving and the cleaning of the
statue indicate that it was a time of revival and renewal of hope. The Goddess
was participating in the general renewal characteristic of the season, and by her
participation, involving her citizens too.9 This ancient wooden statue of Athena
5. Pausanias, Description of Greece, vols 1–2, translated by W. H. S. Jones (London: Heinemann,

1939–1954, or. 1918, 1926) (hereafter cited as Paus.), 1.26,6.
6. Liddel, H. G./Scott, R./Jones, H. S., A Greek-English Lexicon (Oxford: Clarendon Press,
1996, or. 1883). N. Robertson, “Athena’s Shrines and Festivals,” in Worshipping Athena: Panath-
enaia and Parthenon, edited by J. Neils (Madison, WI: University of Wisconsin Press, 1996),
48–52.
7. N. Robertson, Athena’s Shrines and Festivals. In J. Neils, ed., Worshipping Athena: Panath-
enaia and Parthenon (Madison: Univ. of Wisconsin Press, 1996), 48–52.
8. Plutarch, Lives, vol. 4, translated by B. Perrin (Cambridge MA: Harvard University Press,
1950, or. 1916) (hereafter cited as Plut. Vit. Alc.), 34.1.
9. E. Simon, Festivals of Attica: An Archaeological Commentary (Madison, WI: University of
Wisconsin Press, 1983), 46–48; W. Burkert, Greek Religion. Archaic and Classical (Cambridge,
MA: Basil Blackwell and Harvard University Press, 1985), 228; R. Parker, Miasma. Pollution and
Purification in Early Greek Religion (Oxford: Clarendon, 1985), 26–28; B. S. Ridgway, “Images
of Athena on the Acropolis,” in Neils, Goddess and Polis, 124, cf. 120–27 for the following. For
another focus, see the androcentric description of statues given by R. Osborne, “Looking on Greek
style: Does the Sculpted Girl Speak to Women too?” in Classical Greece: Ancient Histories and
Modern Archaeologies, edited by I. Morris (Cambridge: Cambridge University Press, 1994):
81–96, who nevertheless does not mention the most holy statue of Athena. For Athena, see also
Connelly, Portrait of a Priestess, although she has different focus to mine, discussed in Håland,
“Greek Women and Death, Ancient and Modern”; and “Greek Women, Power and the Body.”
Connelly’s focus is also found in B. E. Goff, Citizen Bacchae: Women’s Ritual Practice in Ancient
Greece (Berkeley: University of California Press, 2004), who has a traditional feminist perspective
© 2012 The Author

might have been seated, looking like a “woman’s Goddess.” Due to its gar-
ments, and the rituals surrounding it, the statue was probably life-sized.10
Women also played a major role during the other festivals dedicated to
Athena, particularly during parts of the Panathenaia and its preliminary rituals.
Aristophanes’ Lysistrata11 tells how the Athenian girls moved up from behind-
the-scenes preparation for the Panathenaic festival to actual participation in the
procession. “When I was seven, I was Arrēphoros. At ten I was Aletris” (i.e.,
ground grain for the sacred cakes for Athena.12 “Next, as a fair young girl, I was
Kanephoros” (i.e., bearer of a basket). The Arrēphoroi were two or four little
girls, selected from aristocratic families by the Archon Basileus (king archon/
magistrate) to live on the Akropolis in a house in, or rather in the neighbour-
hood of 13 the Erekhtheion temple, and to serve Athena for a year. They got their
name, “bearers,”14 or “maidens who carried the symbols of Athena Polias in
procession,” from the fact that they carried closed baskets (kistai) with secret
objects.
Some days after the “washing festival,” on 3 Skirophorion (i.e., June–July),
around 18 June, the mysterious nocturnal festival, the Arrephoria, took place.
According to Pausanias15:
“For a certain time the Arrēphoroi have their living from the Goddess: and when
the festival comes round they have to perform certain ceremonies during the night.
They carry on their heads what Athena’s priestess gives them to carry, and neither
she who gives it nor they who carry it know what it is she gives them. In the city
not far from Aphrodite-in-the-Gardens is an enclosed place with a natural entrance
to an underground descent; this is where the virgin girls go down. They leave down
(i.e., using a traditional Western model, which is lacking in ancient Greece and generally also in
modern; cf. M. Alexiou, After Antiquity: Greek Language, Myth, and Metaphor (Ithaca, NY:
Cornell University Press, 2002).
10. Concerning iconography, although S. Lewis has claimed (The Athenian Woman:
An Iconographic Handbook (London and New York: Routledge, 2002)) that most Athenian
vases were made for export, and are difficult to use to reconstruct Athenian gender ideology, the
pictures are similar to those found on vases not made for export, and might illustrate similar
ancient values.
11. Aristophanes, vol. 1: The Acharnians, The Knights (Eq.), The Clouds, The Wasps (Vesp.), vol.
2: The Peace, The Birds (Av.), The Frogs, vol. 3: The Lysistrata (Lys.), The Thesmophoriazusae, The
Ecclesiazusae (Eccl.), The Plutus, translated by B. B. Rogers (Cambridge MA: Harvard University
Press, 1946, 1950, or. 1924) (hereafter cited as Lys.), 641–48.
12. Cf. Fr. Dübner, Scholia Græca in Aristophanem (Paris: Ambrosio Firmin Didot, 1855)
(hereafter cited as Schol. Ar. Lys.), 643. Some scholars don’t take the lines in Lysistrata literally,
others do, for example Neils, “The Panathenaia: An Introduction”. The same source (Ar. Lys.
642–647) constitutes the point of departure for N. Kaltsas and A. Shapiro, “Introduction,” in
Worshiping Women: Ritual and Reality in Classical Athens, edited by N. Kaltsas and A. Shapiro
(New York: Alexander S. Onassis Public Benefit Foundation, 2008), 13. I have compared the
actual lines with other available sources, such as dedicatory inscriptions from the Akropolis,
Lysias, Menander, Pausanias, Plutarch, references in lexicographers (particularly Harpokratio),
and have given a longer discussion of the available material in Håland, Greek Festivals, Modern
and Ancient, ch. 5; cf. also Burkert, “Kekropidensage und Arrhephoria.” Although there is not
space to detail the whole discussion here, I hope that this article will also illustrate that it should
not be a problem to use, for example, Aristophanes and Pausanias as sources although they were
far from each other in time. In my opinion their usefulness is confirmed by the intermediary
sources.
13. Cf. Plutarch, Moralia, vol. 10, translated by H. N. Fowler (Cambridge MA: Harvard Uni-
versity Press, 1936.) (hereafter, Plut. Mor.), 839c.
14. Cf. Paus. 1.27,3.
15. Paus. 1.27,3.
© 2012 The Author

there what they were carrying, and take another thing and bring it back covered up.
They are then sent away, and other virgin girls are brought to the Akropolis instead
of them.”16
There was an underground enclosure under the Akropolis that was the setting for
a nocturnal ritual during the annual summer ceremony, and it was to this
enclosure the two young Arrēphoroi went during the festival dedicated to
Athena. With Athena, they carried out secret ceremonies during the night; from
the top of the Akropolis they descended a steep stairway which led down to a
spring, and afterwards to a shrine of Eros and Aphrodite (i.e. the “enclosure”
(peribolos) of Aphrodite in her sanctuary dedicated to Aphrodite-in-the-
Gardens (en Kēpois)). The ritual concluded the year the Arrēphoroi lived on the
Akropolis.
Pausanias17 discusses the ritual after he has described the temple dedicated to
Athena Polias and the shrine of the Dew Goddess, Pandrosos, or “all dew”
(drosos, dew), adding that “Pandrosos was the only one of the sisters not to break
her trust.” The daughters of King Kekrops were Pandrosos, Aglauros, and Hersē,
the latter also meaning “dew.” They correspond to the Arrēphoroi in the
Akropolis ritual, because the ritual performed by the Arrēphoroi is connected
with the myth which is explained by Apollodoros.18 The three “Kekropidai,” also
called “Aglauridai” after their mother, were entrusted by Athena with the
carrying of a sacred basket (i.e., kistē), which they were forbidden to open.
Aglauros and Hersē could not restrain their curiosity and one night, by the light
of Athena’s lamp, they opened the holy basket. Inside they saw the mysterious
child, Erichthonios, and a snake. In horror, they leapt to their deaths, down the
steep northern slope of theAkropolis. Erichthonios was begotten by Hephaestos,
who while chasing after Athena, discharged his seed on the virgin Goddess’s
thigh. After Athena had wiped off the seed with wool, she flung the wool to the
earth, which gave birth to the earth child, the phallic snake God, Erichthonios,
who was fostered by Athena, though she probably was his actual mother.19
16. Cf. n.1 and 4 supra, also for the following. See further, A. Motte, Prairies et Jardins de la
Grèce Antique: De la Religion à la Philosophie (Bruxelles: Palais des Académies, 1973), 130, 133
n. 224 for Paus. 1.27,3 ; and cf. the translation by P. Levi, Volume 1: Central Greece (London:
Penguin, 1984); J. Travlos, Pictorial Dictionary of Ancient Athens (London: Thames and Hudson,
1971), 228–32. These and other references are discussed in Håland, Greek Festivals, Modern and
Ancient, ch. 5, n. 261. Arrephoria was dedicated to both Athena and Aphrodite, cf. Simon, Festivals
of Attica, 43.
17. Paus. 1.27,2 f.
18. Apollodorus, The Library, vol. 2, translated by J. G. Frazer (London: Heinemann, 1939,
1946, or. 1921) (hereafter cited as Apollod. Bibl.), 3.14,6; cf. Paus. 1.18,2. See Burkert, Homo
Necans, 151; Zeitlin, “Cultic Models of the Female,” 150 f.; N. Robertson, Festivals and Legends:
The Formation of Greek Cities in the Light of Public Ritual (Toronto, Buffalo, London: University
of Toronto Press, 1992), 109 and n.74 for the connection. For the Dew Goddess, see Burkert, Greek
Religion, 50; cf. Simon, Festivals of Attica, 45, the “dew-sisters.” For dew in ancient Greek religion
in general, see D. D. Boedeker, Descent from Heaven: Images of Dew in Greek Poetry and Religion
(Chico, CA: California Scholars Press, 1984) with a particular focus on dew and Athenian
Authochthony: ch. 5.
19. I have discussed Athena as mother in several other contexts, see for example, Håland, “The
Ritual Year as a Woman’s Life,” Greek Festivals, Modern and Ancient, ch. 6; and “Greek Women,
Power and the Body”; see also discussion of N. Loraux, Les enfants d’ Athéna. Idées athéniennes
sur la citoyenneté et la division des sexes [The children of Athena: Athenian ideas about citizenship
and the division between the sexes] (Paris: La Découverte, 1984), who has another approach.
© 2012 The Author

The death of the “Kekropidai”/“Aglauridai,” may reflect the ending of the

Arrēphoroi’s duties and their journey underground. The young girls’ way of
life had to end, and at the conclusion of their term of priestly service for the
virgin Goddess, the priestess sent them away to Eros and Aphrodite beneath the
earth. The encounter with death, ending the sheltered life of the “virgin,” may
be interpreted as an initiation ritual, the consecration of a maiden in the heart
of the polis.
The crossing of frontiers and thresholds is always hedged about with ritual,
so also is the transition from one social stage to another. In all human societies,
the great majority of ceremonial occasions are “rites of transition,” which mark
the crossing of boundaries between one social category to another.20 A “rite of
passage” or “passage rite” is the symbolic transition from one position to
another; a public announcement that someone is not what he/she was before the
ritual.21 Rites of passage are significant for relating religious beliefs to social
life, and many rituals follow the conceptual pattern of initiation. Initiates are
ritually separated from everyday life into an excluded, separate realm. After
this separation, they are ritually reincorporated into everyday life, in an altered
state. Symbolically, they are reborn. Such rites of passage occur in puberty,
through puberty ceremonies, or other initiations into adult status. Later these
will be followed by weddings, funerals, and other initiation rites.22 A rite of
passage occurs when people take a deliberate step towards a critical and
irreversible act, such as having sexual intercourse, baptizing a child, starting a
new year, planting and sowing.
The Arrēphoroi were aged seven to twelve, and from Aristophanes’ Lysis-
trata,23 we learn about the four ritual roles that young Athenian girls performed,
starting as the “bearers of secret things,” (i.e., being Arrēphoroi). Along with
other sources, several dedicatory inscriptions on the Akropolis from the third
century BCE until the second century CE mention the ritual carried out by the
Arrēphoroi, which was an established institution in Athenian society, based on
the mythical model and the ritual which was re-enacted annually. Public cel-
ebrations connected with the rites of passage of girls were probably long-
lasting and did not easily change as the average age of menarche, as well as a
woman’s first marriage, was fourteen;24 the rites of passage, therefore, followed
biology. Before their marriages, they also went through other stages, or phases.
K. Kerényi, Athene: Virgin and Mother: A Study of Pallas Athena (Woodstock, CT: Spring
Publications, 1978), also focuses on Athena as virgin and mother, but his view concerning
matriarchy is, in my opinion, outdated, see Håland Greek Festivals, Modern and Ancient, 340 f.,
438 f., for discussion. See also infra for Athena as mother.
20. E. Leach, Culture and Communication: The Logic by which Symbols are Connected: An
Introduction to the Use of Structuralist Analysis in Social Anthropology (Cambridge: Cambridge
University Press, 1986), 35.
21. J. P. Spradley and D. W. McCurdy, Anthropology: The Cultural Perspective (New York: Wiley,
1980), 385. On women’s initiation rites, see also B. Lincoln, Emerging from the Chrysalis (New
York: Oxford University Press, 1991).
22. R. M. Keesing, Cultural Anthropology: A Contemporary Perspective (Fort Worth, TX: Holt,
Rinehart and Winston, 1981), 334.
23. Ar. Lys. 641–48.
24. S. B. Pomeroy, Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity (New
York and London: Schocken Books, 1995), 68; cf. Parker, Miasma. Pollution and Purification, 79 f.
© 2012 The Author

At ten they were “corn-grinders for Athena the leader.” Then, they “wore the
saffron to be a bear for Artemis of Brauron”.25 Being “a bear at Brauron” means
that they “tended the shrine” of Artemis for a certain period, concluding their
duties by playing the bear at the festival dedicated to Artemis at Brauron. At the
festival, they wore yellow robes in place of the ancient bearskin, and displayed
their racing and dancing skills.26 Their other ritual roles, including the post of
“basket-bearer,” were connected with the Panathenaia. The ritual at Brauron
and the Arrephoria were particular examples of little girls seeking ritual pro-
tection and preparation before the onset of womanhood, thus representing
stages in a young girl’s initiation.
How can I interpret the rituals involving the Arrēphoroi as puberty rites
when so few girls were involved? One might assume that they were meant to
represent all Athenian girls of that age, although they were from aristocratic
families. The fact, however, that these little girls were honoured in a public
forum and large civic ceremony indicates that their roles in the festival repre-
sent those of all the girls of Athens. The rituals in honour of Artemis at Brauron
seem different, as more girls were involved. Moreover, the civic importance of
the rituals at Brauron was not emphasized in this context, while this was crucial
in the rituals honouring Athena. According to Aristophanes,27 Athenian women
had important roles at all life stages.
In Greek culture animal metamorphosis was commonly connected with
initiation rituals; girls might be bears, deer, or cows; and boys, bulls. Of these,
the bear and the deer are significant as they illustrate the “wilderness” status of
the initiates (i.e., while undergoing a rite of passage they are in the “wilder-
ness,” and caught between two states). “Hippo”, a “horse” name, is typical for
initiatory girls and boys.28
Marriage was conceived of as a rite of initiation. In antiquity marriage was
a prime target for girls’ initiations, but was almost an accessory for boys’
initiations. Marriage, however, led to a more important target — the birth of a
child. In the case of boys and girls, therefore, the real target of marriage was the
perpetuation of the household. The most important ideological goal for women
was glorious motherhood, and the caves dedicated to Artemis were important
at marriage and birth. Before marriage, a woman had to descend into the cave
and make sacrifice to Artemis. A woman’s ritual obligations were threefold:
pre-marital, as a new bride, and as the expectant or new mother. According to
the Cyrene cathartic law from approximately 340 CE, “A bride must go down
to the bride-room to Artemis before marriage,” and a pregnant woman shall go
down and sacrifice to Artemis in the same way as a bride.29 An important part
25. Ar. Lys. 645.
26. K. Dowden, Death and the Maiden. Girls’ Initiation Rites in Greek Mythology (London and
New York: Routledge, 1989), 31 f., see also Håland, Greek Festivals, Modern and Ancient, ch. 6
and infra.
27. Ar. Lys. 641–48.
28. Dowden, Death and the Maiden, 62.
29. F. Sokolowski, Lois Sacrées des Cités Grecques. Supplement, [Holy (sacred) laws of the
Greek city-states] École Française d’Athènes. Fasc. XI (Paris: Boccard, 1962) (hereafter cited as
LSS.), 115.B.1–8, 9–14, 15–23; cf. Parker, Miasma. Pollution and Purification, 344 f.; Dowden,
Death and the Maiden, 113 f.
© 2012 The Author

of the ritual was also to go to a Nympheion (sanctuary of the Nymphs) in the

precinct of Artemis to make sacrifice to the nymphs.
The life-giving cave is linked to a mother’s womb, manifested by the cult
that takes place in the caves. The womb-shaped caves were particularly impor-
tant in girls’ rites of passage, such as the caves at Brauron, where girls went to
prepare for marriage. Boys also had to undergo rituals in a cave, for example,
the cave of Cheiron where select Thessalian youths performed an annual
ceremony.30 For everyone, “rebirth” takes place in the life-giving womb.
The duty of the little prepubescent Arrēphoroi, however, was performed
before their first menstruation and pregnancy. All the details of the rite of the
Arrēphoroi find parallels in initiatory rites: the separation from the parents, the
nocturnal journey, the violation of a taboo, the leap from the cliff. The rite,
therefore, introduces adolescence. Pausanias does not say what they carry, but
according to a commentary to Aristophanes,31 they carry holy, secret objects in
baskets (arrēta en kistais), while another source claims that the arrēta hiera of
the Arrēphoroi — the holy, secret objects — are made from wheat and are
representations of snakes and of male shapes.32 It has also been claimed that
there was a confusion in terminology between “Arrēphoroi” and “Hersēphoroi”
(the latter meaning, “dew-carriers,” based on the fact that the semen of Hep-
haestos is equivalent to hersē, or dew33), and that they in fact carried “dew,”
(symbolizing the semen of Hephaestos) down to the precinct of Aphrodite-in-
the-Gardens and brought back up a wrapped bundle which represented a
baby.34 Dew symbolizes impregnation and new offspring.
Whether the girls carried wheat cakes formed as snakes and the male sex
organs, or dew on the trip down and a baby on the way back up, the aim of the
procession of the Arrēphoroi where they carried the symbols dedicated to
Athena Polias, was to ensure the growth of the fruits of the earth and the
begetting of children. This was a privilege reserved for young virgins after a
preliminary period. The rite of passage aspect is very obvious — girls are put
through a ritual at about eight to ten years of age so that they will be fertile.35
Different researchers have considered the ritual to be “the Thesmophoria of the
unmarried girl,” or “a preparation for adult sexuality and the scenario of
30. Cf. Dowden, Death and the Maiden, 50. “The Cave: The Maternal Womb, the Location for
the Performance of Initiation Rituals,” is discussed at length in Håland, Greek Festivals, Modern
and Ancient, ch. 6.
31. Schol. Ar. Lys. 641.
32. Scholia in Lucianum, [Scholia (commentaries) to Lucian] edited by H. Rabe (Leipzig: In
aedibus Teubneri, 1906) (hereafter cited as Schol. Luc. Dial. Meret.), 2.1, Rabe: 276.13–18.
33. Cf. Nonnus, Dionysiaca, vol. 3, translated by W. H. D. Rouse (Cambridge MA: Harvard
University Press, 1940) (hereafter cited as Nonnus, Dion.) 41.64.
34. Zeitlin, “Cultic Models of the Female,” 152; cf. Burkert, “Kekropidensage und Arrhephoria”
and Homo Necans, 150.
35. E. Ardener, “Belief and the Problem of Women,” in Perceiving Women, edited by S. Ardener
(London: Malaby Press, 1975), 10. See also Schol. Luc. Dial. Meret. 2.1, Rabe: 276.21f. and
13–15; cf. S. Eitrem, “Eleusinia, les mystères et l’agriculture,” Symbolae Osloenses 20 (1940),
144; see also Motte, Prairies et Jardins de la Grèce Antique, 134 f., discussed in Håland, Greek
Festivals, Modern and Ancient, ch. 5. Athenaeus, The Deipnosophists, [The Banquet of the
Learned] vols 1–25, translated by C. B. Gulick (Cambridge MA: Harvard University Press,
1927–1955) (hereafter cited as Ath.) 3.114a–b tells of a particular bread baked for the Arrēphoroi.
Does this indicate a link to the grain harvest?
© 2012 The Author

initiation as the emblem for the renewal of the society at the year’s end,” or,
alternatively, “the exploitation of the cultic value of the little girls and their ritual
for the ideology of the city’s foundation.”36 Despite the fact that the Thesmo-
phoria was dedicated to the Mother Goddess Demeter and Kore, her daughter,
while the ritual of the Arrēphoroi appears to be a preliminary ritual to the
Panathenaia, because of the place where the ritual took place, the priestess
involved, and the Arrēphoroi’s connection with the weaving of Athena’s peplos,
none of the analyses excludes the others.
Several ritual roles preceded marriage, and many sources37 tell of the impor-
tance of serving as basket-bearer (Kanephoros) in the Panathenaic procession,
chastity being integral to the role. The most prestigious position an Athenian
woman could obtain was that of the priestess of Athena Polias, an office held
for life and passed down through the female line of the aristocratic clan known
as the Eteoboutadai. The girls and women involved with the weaving of the
peplos, as well as the Aletrides, the girls who from the age of ten prepared the
offering cakes for the sacrifice to Athena Polias, were all of noble birth.
Although only virgin Athenian women were allowed to be Kanephoroi, metics
(Metoikoi, resident non-Athenians) could carry water jars in the ceremony.
Stool and parasol bearers, Diphrophoroi and Skiaphoroi,38 daughters of metics,
participated in the Panathenaic procession, and accompanied the Kanephoroi,
who had their faces powdered with flour to keep off the sun. The emphasis here
is on citizenship in addition to the roles of women in the Panathenaia, and the
importance of this ethnic and political element parallels with women’s primary
role in Greek religion.39
Several summer-festivals were dedicated to Athena, and she also had a role
in the Skira festival celebrated on 12 Skirophorion. This is the height of the
summer’s heat and of the solstice and threshing and thus the festival is gener-
ally associated with the grain Goddesses. During the festival, the Athenian clan
of the Eteobutadai organized an official procession. Among the participants
were the priestess of Athena, the priest of Poseidon, and the priest of the Sun.
The procession went from the Athenian Akropolis to Skiron, thus re-enacting
the march of the mythical king, Erekhtheus, toward Eleusis, where he was
killed.40 According to a comment cited by Athenaeus,41 during the festival
36. Harrison, Prolegomena to the Study of Greek Religion, 131; Burkert, “Kekropidensage und
Arrhephoria”; cf. Homo Necans, 150–54; Zeitlin , “Cultic Models of the Female,” 150–53.
37. Thucydides, History of the Peloponnesian War, vols 1 and 3, translated by C. F. Smith
(Cambridge MA: Harvard University Press, 1952, or. 1921–1928) (hereafter cited as Thuc.),
6.56–57; Aristotle, The Athenian Constitution, the Eudemian Ethics, On Virtues and Vices trans-
lated by H. Rackham (London: Heinemann, 1952, or. 1935) (hereafter cited as Arist. Ath. Pol.)
18.2; Paus. 1.29,1.
38. Ar. Av. 1550, Eccl. 732–34.
39. Cf. M. Lefkowitz, “Women in the Panathenaic and Other Festivals,” in Neils, Worshipping
Athena, 78–105; C. Vlassopoulou, “113 Cast of Slab V of the East Frieze of the Parthenon,” in
Kaltsas and Shapiro, Worshiping Women, 251; O. Palagia, “Athena: Women in the Cult of Athena,”
in Kaltsas and Shapiro, Worshiping Women, 32.
40. Burkert, Homo Necans, 149; H. W. Parke, Festivals of the Athenians (London: Thames and
Hudson, 1986), 157. See also Håland, Greek Festivals, Modern and Ancient, ch. 5 for a discussion
of the sources. Robertson, “Athena’s Shrines and Festivals,” 52 ff. has an interesting analysis.
41. Ath. 11.495f-496a.
© 2012 The Author

young men bearing vine branches raced from the sanctuary of Dionysos to the
temple of Athena Skiras at Phaleron. The winner was given a drink made of five
ingredients as a prize: wine, honey, cheese, corn, and olive oil. It was probably
a libation of all the fruits that the Goddess, Athena Skiras, was asked to bless.42
On 16 Hekatombaion, the Synoikia (or Synoikesia) celebrated the Synoikism
— the “combining into one community of the people of Attika”.43 The main
festival, however, was the Panathenaia — the age-old annual, or “lesser Pana-
thenaia,” as well as the quadrennial eight-day-long festival of an historical date,
the “greater Panathenaia,” which goes back to approximately 566 BCE.
At the annual Panathenaia, young men were enrolled as citizens at the city
centre. On the night before, during the pannychis (“all-night festival”), they
swore “the ephebic” (military) oath of loyalty in the sanctuary of Aglauros,
then raised the paean on the Akropolis. When the great quadrennial Panath-
enaia came round, they bore arms with other citizens. During the pannychis,
youths and maidens danced and sang hymns of joy.44 The priestess of Aglauros
was responsible for food offerings connected with “mysteries” or secret rituals
for Aglauros and Pandrosos.45
The role of the women, however, is particularly connected with the most
important ritual of the festival that was carried out on 28 Hekatombaion, the
day which represented the original version of the festival and therefore pre-
sented its core elements: the procession with the new peplos of the Goddess
and the following sacrifice. The procession day, which also was Athena’s
birthday,46 was called the presentation of the peplos.47
The procession is shown on the Parthenon frieze, an important source for the
Panathenaic procession (Fig. 1a,b).48 The Ergastinai lead it. Now that their work
is completed, they are empty handed and are given the place of honour at the
head of the procession when the peplos is presented to Athena. Other partici-
pants in the procession carried different offerings, for example green branches49
probably from Athena’s sacred olive trees. Neils has recently suggested that the
42. Håland, Greek Festivals, Modern and Ancient, ch. 5 f. versus S. Scullion, “Festivals,” in A
Companion to Greek Religion, edited by D. Ogden (Malden and Oxford: Blackwell, 2007), 196,
who is not, however, convincing. Paus. 1.1,4 tells about the sanctuaries dedicated to Athena Skiras
and Demeter at Phaleron, cf. 1.36,4.
43. Cf. Thuc. 2.15,2.
44. Cf. Euripides, vol. 1: Iphigenia at Aulis, Rhesus, Hecuba (Hec.), The Daughters of Troy,
Helen, vol. 2: Electra, Orestes, Iphigeneia in Taurica (IT), Andromache, Cyclops, vol. 3: Baccha-
nals, Madness of Hercules, Children of Hercules (Heracl.), Phoenician Maidens, Suppliants, vol.
4: Ion, Hippolytus, Medea, Alcestis translated by A. S. Way (London: Heinemann, 1946–1953, or.
1912) (hereafter cited as Eur. Heracl.), 782.
45. Robertson, Festivals and Legends, ch. 3.
46. Cf. Ath. 3.98b; see Håland, Greek Festivals, Modern and Ancient, 207–19 for discussion of
this and other sources.
47. Cf. W. C. Green, ed., Scholia Platonica [Scholia (commentaries) to Plato] (Haverford PA:
American Philological Association, 1958) (hereafter, Schol. Pl. Resp.) 327a.
48. Cf. Håland, “Athena’s Peplos”; Vlassopoulou, “113 Cast of Slab V.” J. B. Connelly, “Par-
thenon and Parthenoi: A Mythological Interpretation of the Parthenon Frieze,” American Journal
of Archaeology 100 (1996): 53–80, states (not, however, convincingly), that the Parthenon frieze
depicts the sacrifice of the daughters of king Erekhtheus.
49. Cf. Ar. Vesp. 544; Xenophon, vol. 4: Memorabilia and Oeconomicus (Oec.), translated by E.
C. Marchant (Cambridge MA: Harvard University Press, 1938, or. 1923) (hereafter cited as Xen.
Symp.), 4.17.
© 2012 The Author

Figure 1 (a–b) Copies of the peplos ceremony from the Parthenon frieze (the originals, ca. 432
BCE are in the British Museum, London), central group showing the receiving of the peplos.
The new Akropolis Museum, Athens; Photograph by Evy Johanne Håland, August 2005.
matronly women depicted on the frieze could perhaps represent the eponymai,
the wives of the eponymous heroes.50 When the procession came up to the
Akropolis, it culminated in the presentation of the peplos (the rectangular cloth
that is illustrated on the frieze) to the life-sized cult statue. One of the Arrēphoroi
50. J. Neils, “Festivals: Adonia to Thesmophoria: Women and Athenian Festivals,” in Kaltsas and
Shapiro, Worshiping Women, 248. Palagia, “Athena,” 32–36 also gives an alternative and very
interesting analysis of the Ergastinai/Partenoi in the frieze. She argues that the Ergastinai are not
leading the procession, on the other hand, the peplos scene (i.e., the two girls approaching the
priestess of Athena Polias, carrying objects on their head) are leading the procession (Fig. 1b). She
argues that these girls are basket-bearers leading the Panathenaic procession. But could they
perhaps carry the peplos?
© 2012 The Author

is actually depicted on the frieze, assisting the Archon Basileus with handling
the peplos of Athena (Fig. 1a). The Goddess was dressed in her new peplos. The
deposition of the peplos, which was the final event in the procession of the
Panathenaia, was especially important for the Athenians, as attested by Aris-
tophanes51 who stated that a good citizen was considered worthy “of their native
country and of the peplos.” During the greater Panathenaia different contests and
competitions were also important, and the athletic and musical victors received
jars of olive oil.52 The trees that produced it were — among others — the twelve
sacred olive trees found in the Academy, symbolizing the twelve phratries (i.e.,
brotherhoods) that made up the whole of Athens territory.53 The trees were all
supposed to be descended directly from the first olive tree, created by Athena in
her contest with Poseidon for the sovereignty of Attika.54
Different researchers have emphasized different aspects of the Panathenaia:
an annual celebration of the divine child, Erekhtheus, the Attic king after whom
the classical temple of Athena Polias, the Erekhtheion, is named; or a harvest
or new year festival; or the enrolment of Athenian citizens and the bringing of
new fire.55 As all these aspects are found in the festival, none of the different
interpretations excludes the others.
Athena’s primary festival, the Panathenaia, touched the lives of every Athe-
nian, female and male; it demonstrated the community of the polis, appealed to
all levels of society, and involved as many as possible in the worship of the
city’s chief deity. The festival represented several identity-creating elements.
Both sexes underwent rites of passage in connection with the festival — the
Arrēphoroi and the young men who were enrolled. In addition to the core
element, the dedication of the peplos, different rulers enlarged and made more
elaborate the original popular festival, exploiting it for political uses. By
building the Odeion (concert hall), and encouraging the musical contests
during the Panathenaia, Perikles could satisfy great parts of the voting popu-
lace with rich gifts, paralleling the way later Roman emperors made use of
“bread and circus.”56 The Battle of the Gods and Giants, where the Olympian
51. Ar. Eq. 566.

52. Pindarus, The Odes of Pindar, translated by J. Sandys (London: Heinemann, 1919, or. 1915)
(hereafter cited as Pind. Nem.) 10.35 f.; Arist. Ath. Pol. 60.2–3.
53. Robertson, Festivals and Legends, 108, discussed in Håland, Greek Festivals, Modern and
Ancient, ch. 5; see also Arist. Ath. Pol. Fr. 5; Aristotle, Politics translated by H. Rackham (London:
Heinemann, 1944, 1950, or. 1932) (hereafter, Pol.), 6.1319b; Ath. Pol. 21; C. W. Hedrick Jr.,
“Phratry Shrines of Attica and Athens,” Hesperia 60 (1991): 241–68. In fact, we know from Arist.
Ath. Pol. 60.2–3 and Lysias, Orationes [Orations] translated by W. R. M. Lamb (London: Heine-
mann, 1957, or. 1930) (hereafter cited as Lys.), 7, that there were many hundreds of these trees on
private land all over Attica and that over the four-year cycle of the Greater Panathenaia they
produced very large quantities of oil, (cf. L. J. Shear, “Prizes from Athens: The list of Panathenaic
Prizes and the Sacred Oil,” Zeitschrift für Papyrologie und Epigraphik 142 (2003): 96 ff.), much
more than twelve trees could possibly have done. Olives produce a full crop only in alternate years.
54. Paus. 1.24,3; cf. Herodotus, vols 3–4, translated by A. D. Godley (Cambridge MA: Harvard
University Press, 1946, 1950, or. 1922, 1924) (hereafter cited as Hdt.), 8.55.
55. J. D. Mikalson, “Erechtheus and the Panathenaia,” American Journal of Philology 97 (1976):
141–53; A. Mommsen, Feste der Stadt Athen im Altertum, geordnet nach Attischem Kalender
[Festivals of the Ancient city-state of Athens organized after the calendar of Attica] (Leipzig:
Teubner, 1898); Burkert, Homo Necans; Robertson, Festivals and Legends.
56. Cf. P. Veyne, Le Pain et le Cirque: Sociologie historique d’un pluralisme politique [Bread
and circuses: historical sociology and political pluralism] (Paris: Seuil, 1976).
© 2012 The Author

Gods conquered the Giants,57 was one of the motivations for the Panathenaic
festival. The topic had been represented on the pediment of the temple
destroyed by the Persians and was a popular subject on Attic vases, particularly
after the Persian wars had ended victoriously for Athens; but the subject was
also woven into Athena’s peplos.58 The representation thus also became an
Athenian victory over “wild” nature, as illustrated by the union of polis and the
victory over the Persians. If, however, we deconstruct these political manifes-
tations, as well as the “ideological entirety” that officially constitutes a festival
and which therefore a festival is often perceived as, we find more nuanced
perspectives, such as the annual victorious fight against the weather Gods, but
also the relationship between the male polis and the importance of women’s
tasks and participation in the festival. Although knights, charioteers, or other
heroes are depicted on the Parthenon frieze, the aim of the procession was to
dedicate the peplos to the virgin Goddess. The procession was led by the
female weavers, and the dedication was the climax of the festival. In other
words, we see the female-dominated nature of these activities through the
weaving of the peplos, and the fact that the completed cloth, which is also a
wedding dress, is dedicated to a female divinity.59
The Panathenaia dedicated to Athena Polias was the most important ideo-
logical festival in Athens (Fig. 2). The protecting city Goddess was also a
virginal mother, since she was the foster mother of the mythical king of Athens,
Erichthonios, a variant of Erekhtheus,60 son of the divine nature.
Death cults both in the Agora (market place) and the Akropolis were of major
importance to the cult of the Goddess.61 Traditional scholarship has particularly
57. Cf. Schol. Pl. Resp. 327a.

58. Eur. Hec. 465–74; IT. 222–24.
59. Håland, “Athena’s Peplos”; Greek Festivals, Modern and Ancient, ch. 5 f.; cf. for example
Homer, The Odyssey, vol. 2, translated by A. T. Murray (Cambridge MA: Harvard University
Press, 1919) (hereafter cited as Od.), 15.104–10, 123–29; see also J. Scheid and J. Svenbro, Le
metier de Zeus: Mythe du tissage et du tissu dans le monde gréco-romain [The craft of Zeus: myths
of weaving and fabric in the Greco-Roman world] (Paris: Errance, 2003), but from another
approach. For the importance of the weather Gods, see also Robertson, “Athena’s Shrines and
Festivals.”
60. When the child Erichthonios grew up, he became known as Erektheus. Cf. Burkert, Homo
Necans, 156. Cf. also Eur. Ion. 469, 1008 for Erekhtheus, and 269 f., 999 f. for Erichthonios born
from the earth. Concerning figure 2, there are several interpretations of “The Olive Tree Pediment”
from the Akropolis museum of Athens: A. Shapiro, “Heroines: Cults of Heroines in Ancient
Athens,” in Kaltsas and Shapiro, Worshiping Women, 167, figure 6 suggests that “The Olive Tree
Pediment” illustrates the Pandroseion on the Akropolis and that the figures of young women could
themselves be the daughters of Kekrops. According to J. M. Hurwit, The Athenian Acropolis.
History, Mythology and Archaeology from the Neolithic Era to the Present (Cambridge: Cambridge
University Press. 1999), 113–15, it is perhaps a generalized image of the Panathenaic procession
nearing its conclusion at the temple of the Goddess. The female figure may, in that case, perhaps
be one of the Arrēphoroi, perhaps even bearing the sacred peplos itself on her head. Since the
Arrēphoroi were little girls, and this seems to be a woman, I would rather suggest that it may be
an earlier representation of one of the Ergastinai than the one given at the Parthenon frieze from
ca. 432 BCE, or, for example, the priestess of Athena Polias, the most prestigious religious function
an Athenian aristocratic woman could obtain. One may also suggest that this is the Goddess in her
temple waiting for the procession.
61. Cf. Paus.1.26,5 (sacrifices dedicated to Erekhtheus at the altars of Poseidon) and Euripides,
Nova Fragmenta Euripidea. [New fragments of Euripides] In Papyris Reperta edited by C. Austin
(Berlin: Walter de Gruyter and Co, 1968) (hereafter cited as Eur. Erech. Fr.), 65.92–94; see also
Burkert, Homo Necans, 149; Mikalson, “Erechtheus and the Panathenaia,” 143, 147. Cf. H. A.
Thompson, “The Panathenaic Festival,” Archäologischer Anzeiger 76 (1961): 227–31; Neils, “The
© 2012 The Author

Figure 2 “The Olive Tree Pediment,” ca. 550 BCE. Athena Polias in her temple. The old
Akropolis Museum, Athens, cat. no. 52; Photograph by Evy Johanne Håland, August 2005.
focused on the cult dedicated to the earth-born hero, Erichthonios/Erekhtheus.62

Several heroines, nevertheless, were also important to the festival, such as
Pandrosos and Aglauros. Concerning the heroine cult for the “Kekropidai”/
“Aglauridai” on the Akropolis, one may mention the shrine of Pandrosos which
might have been focal in connection with the Arrēphoroi, as Pausanias63 brings
up their ritual when coming to Pandrosos’s temple. The sanctuary of Aglauros,
whose cave has also been identified, was crucial in connection with the enrolling
of the new citizens of Athens.64 She also had a special priestess and the two
heroines, Aglauros and Pandrosos, were dedicated “mysteries” or secret rituals
at the festival (as already mentioned), hence underscoring the importance of
living women and mythical heroines in the cult of Athena.
Rituals performed by women were important in the festival, and women’s
relationship with fertility65 is illustrated by the roles played by women: they
Panathenaia: An Introduction”, 20, discussed in Håland, Greek Festivals, Modern and Ancient, ch.
5 f. For the relation between death and hero cults, see E. J. Håland, “An Historical Analysis of the
Relationship between Greek Death Cult, Today and in the Ancient World,” Historisk Tidsskrift 4,
no. 83 (2004): 559–91; cf. “Greek Women and Death, Ancient and Modern,” 42 n. 20; versus G.
Ekroth, “The Sacrificial Rituals of Greek Hero-Cults in the Archaic to the Early Hellenistic
Periods,” (PhD diss., Stockholm University, 1999).
62. Robertson, Festivals and Legends, ch. 8. Robertson, “Athena’s Shrines and Festivals,” 43, has
also argued that Erekhtheion is a shrine to Athena alone, but must then invent a second olive tree
at Erekhtheus’s “new” shrine.
63. Paus. 1.27,2 f.
64. Cf. Demosthenes, Orationes, [Orations] vol. 1, translated by J. H. Vince (Cambridge MA:
Harvard University Press, 1930) (hereafter cited as Dem.) 19.303 f.
65. M. Dillon, Girls and Women in Classical Greek Religion (London and New York: Routledge,
2002), gives a good account of women’s importance within Greek religion, but has a restricted
view of fertility rituals. The same view is found in Goff, Citizen Bacchae; A. Tzanetou, “Intro-
duction. Ritual and Gender: Critical Perspectives,” in Finding Persephone: Women’s Rituals in the
Ancient Mediterranean edited by M. Parca and A. Tzanetou (Bloomington, IN: Indiana University
© 2012 The Author

were basket-bearers and grinders of the grain for the offering cakes. The
preliminary ritual of the little Arrēphoroi and the symbolism of the central
ritual when the peplos is dedicated, highlight the importance of marriage in the
festival. The divine child, the ritual descent into an underground cavern dedi-
cated to a Goddess, and the ascent with sacred symbols, as parts of the initial
ritual to the festival, are important ceremonies in festivals dedicated to Mother
Goddesses during the ritual year of Athens.66
The Relation of Athena’s Festivals to the Ritual Year in General

The ritual year, considered as a whole, comprises a multifaceted ritual history,
a popular social and economic calendar with a great focus on the fertility of
crops, animals, and women, plus a close attachment to periods of time related
to agricultural work and divinities.67
The popular calendar was a social representation of the order of nature, that
is, of the “natural” year: the perceived order of hot and cold, rain and drought,
germination, fruiting, shedding of leaves, migrations of birds, and so on. The
annual production cycles of agricultural work (sowing, harvesting, pruning,
vintage, gathering of fruits) and stockbreeding activities (shearing, breeding,
milking, pasturing) composed an economic calendar developed from these
perceptions of the natural order. This socio-economic content is integrated with
the narratives of the Gods and Goddesses.
Agriculture was the key element in the ancient economy, and the Greeks
believed that humans had to serve the Gods “for the sake of the produce of the
Press, 2007), 3–26, cf. Håland, Greek Festivals, Modern and Ancient, ch. 6, for a more compre-
hensive view and definition based on modern cultural anthropological theories. Cf. for example, A.
Jacobson-Widding and W. van Beek, eds., The Creative Communion: African Folk Models of
Fertility and the Regeneration of Life (Uppsala: Uppsala Studies in Cultural Anthropology, 1990).
See particularly Håland, Greek Festivals, Modern and Ancient, 332–52 for a discussion of the
topic, “From Death to Fertility: Agricultural Cycle, Life-Cycle Passages of Goddesses and
Fertility-Cult,” and n. 144 also for references discussing the connection between the agricultural
cycle and women, for example Brumfield, The Attic Festivals of Demeter; Zeitlin, “Cultic Models
of the Female,” 140; H. P. Foley, Preface and Acknowledgments. Part 1. The Text and Translation,
Commentary, and Background. Part 2. Interpretive Essay on the Homeric Hymn to Demeter. In
The Homeric Hymn to Demeter: Translation, Commentary, and Interpretive Essays edited by H. P.
Foley (Princeton: Princeton University Press, 1994), xi–xvi, 1–178. Contrary to these, L. Foxhall,
“Women’s Ritual and Men’s Work in Ancient Athens,” in Women in Antiquity: New Assessments,
edited by R. Hawley and B. Levick (London and New York: Routledge, 1995), 97, argues that
although the connection between agriculture, seasonality, fertility, and women may constitute a
significant matrix, their integration, and hence the precise meaning of the matrix, is seriously
problematic. Therefore, she asserts that it is difficult to say anything sensible about what the
significance of the relationships between these elements might be. The same sceptical view is
found in the polemical study of N. J. Lowe, “Thesmophoria and Haloa: Myth, Physics and
Mysteries,” in The Sacred and the Feminine in Ancient Greece, edited by S. Blundell and M.
Williamson (London and New York: Routledge, 1998), 149–73. For more up-to-date views more
relevant to the Greek reality, see Alexiou, After Antiquity; E. Psychogiou, “Maurēgē” kai Elenē:
Teletourgies Thanatou kai Anagennēsēs [“Maurēgē” and Elenē: Chthonic Mythology, Ceremonies
of Death and Rebirth in Contemporary Greece]. Dēmosieumata tou Kentrou Ereunēs tēs Ellēnikēs
Laographias, 24 (Athens: Academy of Athens, 2008). The importance of fertility rituals in rural
communities in general and ancient societies in particular, will also be underscored in the next
section of this article.
66. Cf. Håland, “The Ritual Year as a Woman’s Life”; Greek Festivals, Modern and Ancient.
Athena as a motherly figure is also mentioned by S. Deacy, “Famous Athens, Divine Polis,” in
Ogden, A Companion to Greek Religion, 226, see also n.18 supra.
67. This is similar to the modern reality, cf. Håland, Greek Festivals, Modern and Ancient; see
also “Rituals of Magical Rain-Making in Modern and Ancient Greece,” 197–251, cf. n.3 supra.
© 2012 The Author

earth, both solid and liquid, and for the sake of their cattle, horses and sheep”.68
All festivals were concerned with good offspring generally: animal, vegetable or
human.69
People celebrate particularly before important passages of the agricultural
year in order to secure these passages. The festivals celebrate late summer,
autumn, the middle or end of winter, spring, the end of spring, and summer, or
ploughing, sowing, “greening” of the fields, harvest, threshing, vintage and
pressing, tasting of the wine, and so on. Festivals are celebrated before critical
periods during the agricultural year, particularly before sowing and during
spring, the most decisive periods of the year’s passage. Festivals celebrated at
the end of winter and during spring symbolize the passage from winter to the
part of the agricultural year when the food will ripen and be harvested. This
scheme relates to the grain and wine festivals, but I will argue that festivals
might also be of importance for another essential crop, the olive. In the
Mediterranean it is traditional to speak of the “trinity” of cereals, vines, and
olives as forming the basis of all subsistence agriculture in the region. The olive
and its oil are still staples of the Greek diet and its major source of fat.
It does not seem, however, that the growing of olives had a special festival of
its own in connection with the actual work involved in the production of the
olives, which mainly takes place in the winter period from the end of October
or beginning of November until early spring. The olive is well suited to a dry
climate, having deep roots and thin leaves which lose little moisture, and in
contrast to the vine, the olive needs little care.70 Quoting Androtion, Theo-
phrastos71 states that the olive tree should be fertilized and watered. According
to Isager and Skydsgaard, however, it is not known whether this was typical.72
According to Foxhall young trees should ideally be watered a few times over
the dry and rainless summer months, between June and September, otherwise,
the farmer runs the risk that they will die. Once the trees are several years
old and well established, they do not need to be watered in the summer.73 Greek
water courses, however, tend to dwindle in the hot summer when artificial
irrigation is needed.74 In the case of mature olive trees, the moisture available
in the soil (dependent on the level of winter rains and cultivation practices) is
68. Xen. Oec. 5.19–20.

69. Cf. Håland, Greek Festivals, Modern and Ancient, chs. 5 f; and “Rituals of Magical Rain-
Making in Modern and Ancient Greece,” also the following paragraph.
70. Brumfield, The Attic Festivals of Demeter, 17, cf. 28, 32–34.
71. Theophrastus, Enquiry into Plants and Minor Works on Odours and Weather Signs, vol. 1,
translated by A. Hort (Cambridge MA: Harvard University Press, 1948, or. 1916) (hereafter cited
as Theophr. Hist. Pl.), 2.7,3.
72. S. Isager and J. E. Skydsgaard, Ancient Greek Agriculture. An introduction (London and New
York: Routledge, 1992), 39 f. Trees were already watered in Homer, The Iliad, vols 1–2, translated
by A. T. Murray (Cambridge MA: Harvard University Press, 1946–1947, or. 1924–1925) (hereafter
cited as Il.), 21.257 ff..
73. L. Foxhall, email message to author, 15 March 2004; see also Foxhall, “Women’s Ritual and
Men’s Work in Ancient Athens,” 97–110; and L. Foxhall, Olive Cultivation in Ancient Greece:
Seeking the Ancient Economy (Oxford: Oxford University Press, 2007), 127, for an overview of
agricultural jobs and festivals in Attica.
74. Isager and Skydsgaard, Ancient Greek Agriculture, 112.
© 2012 The Author

critical. In addition, dew falls mostly in late summer and early autumn.75
Summer, therefore, seems to be an important period within the agricultural
cycle of the olive, and the olive and olive tree, the most Attic of all the crops,
have a central place at Athena’s festivals. Burkert claims that the oil in the
eternally burning lamp of Athena (Paus. 1.26,6 f.)76 was renewed at the end of
the year, when the new oil stands ready (i.e., during the Arrephoria).77 Simon
has argued that as the months following Skirophorion are crucial for the olive
crop, which is gathered in the later part of the autumn and in winter, the
Arrephoria in midsummer was a festival to secure the dew that was necessary
during the months from then until the time of harvest if the fruit was to grow
to an adequate size.78 In fact it may be argued that all the festivals dedicated to
Athena were related to the olive, the third main crop of the Athenians, and that
they were protected by her, as her festivals were celebrated in the crucial period
for the olive crop, from the flowering of the olive tree (Thargelion), to the
growing period of the fruit, until the harvest, when the Chalkeia was cel-
ebrated. The festivals celebrated from Skirophorion were particularly impor-
tant, because of the summer heat and dryness. It was no coincidence that
Athena’s sacred olive tree enclosed on the Akropolis, grew in front of the
Erekhtheion (Fig. 3a,b) in the Pandrosion, the open-air sanctuary of the Dew
Goddess, Pandrosos, who was named for dew.79
75. My thanks to Professor C. I. Moutzouris, Director of the laboratory of Harbour Works of the
Civil Engineering Department, National Technical University of Athens (NTUA). Also, my thanks
to V. K. Tsoukala, Dr Civil Engineer, Laboratory of Harbour Works, School of Civil Engineering,
National Technical University of Athens for the information about dew in Greece (“Vicky
Tsoukala, email messages to author, April 5 and 6, 2004”). My thanks also to Endre Skaar,
Researcher, Geophysical Institute, University of Bergen for calculations about dew fall. We had
longer discussions via emails (during spring 2004 when finalizing my PhD-dissertation on which
my book from 2007 is based), and he based his estimations from the following sources: http://
gogreece.about.com/ (weather/Detailed weather links/Athens weather – Charts, The New York
Times Company, i.e. in 2011, last accessed 21 December 2011; http://www.sailingissues.com/
climate.html Greek climate/Weather stations, copyright 2000–2011 Diederik Willemsen, last
accessed 21 December 2011; http://www.crystalinks.com/greekclimate.htm (site discontinued). I
then checked with the aforementioned Greek researchers, formerly published material and ancient
sources. One may, for example, also find further information online at http://hoa.ntua.gr/, i.e. The
Hydrological Observatory of Athens, National Technical University of Athens, i.e. NTUA, last
accessed 21 December 2011. When writing my dissertation I also had access to other websites
which I don’t find today (for example I found figures giving exact information about dew fall)
which is very useful to compare with information from earlier periods (both ancient and later), see
Håland 2007, ch.6 and particularly n.23–25 for available ancient and modern (published) sources
and discussion. cf. also infra. See Harrison 1977, 174 for an invocation of dew on the island of
Imbros.
76. Burkert 1983, 151. L. Deubner, Attische Feste [Festivals of Attica] (Berlin: Akademie-Verlag,
1932), 20 argues that the ritual occur during the Kallynteria/Plynteria, by the end of Thargelion, cf.
supra. See Paus. 1.26,6 f. for the lamp.
77. Burkert, Homo Necans, 151. L. Deubner, Attische Feste [Festivals of Attica] (Berlin:
Akademie-Verlag, 1932), 20, argues that the ritual occurs during the Kallynteria/Plynteria, by the
end of Thargelion, cf. supra. See Paus. 1.26,6 f. for the lamp.
78. Simon, Festivals of Attica, 45. Following Deubner, Attische Feste, 14; cf. Isager and Skyds-
gaard, Ancient Greek Agriculture, 166.
79. Several scholars mention the olive tree on the Athenian Akropolis (for example Burkert,
Greek Religion; Boedeker, Descent from Heaven) which has its mythical background in the contest
between Athena and Poseidon (cf. supra). When they were quarreling for ownership of the land of
Attika, Athena caused this tree to grow and so won Athens for herself, Hdt. 8.55. This strife was
the subject of the west pediment of the Parthenon. According to Hdt. 8.55, the olive tree on the
© 2012 The Author

a b
Figure 3 (a–b) Athena’s sacred olive tree in front of the Erekhtheion in the Pandrosion.
Photograph by Evy Johanne Håland, August 2006.
A vase painting illustrates Athena Promachos, “the warrior” (literally “fight-

ing in the front” and being in full armour), receiving votive gifts (i.e., olive
branches).80 Another vase painting depicts her receiving the same gift as well
as an animal sacrifice.81 The vase paintings probably illustrate actual rituals
during one of her festivals, most likely the Panathenaia, as the olive was
particularly significant at this festival. As Athena’s special tree, the olive played
an important part at the Panathenaia, where it was a central offering: the
branches carried in the procession were gifts to the Goddess, and the prizes
given to the victors of the contests consisted of oil from Athena’s sacred olive
trees. Although it has been claimed that the Panathenaia had no specific
relationship with agriculture, that it was a sort of national festival taking place
at a time when patriotic sentiments ran high, and that it celebrated the syn-
oikism of Athens,82 it was nevertheless celebrated in a period which was crucial
for the ensuing olive harvest.
Therefore, one may argue that the importance of the olive, the olive tree, and
the connection with Athena was neither a political excuse to secure Athena a
role at this period of the agricultural year, nor was Athena’s participation at the
festival celebrated during midsummer a political adjustment to the ancient
agricultural ritual dedicated to the grain Goddess, Demeter, as some research-
Akropolis broke into leaf again after the Persian fire. I am unsure as to whether there is scholarly
treatment of the tree (per se) at the “time of writing,” while Robertson, “Athena’s Shrines and
Festivals,” invents a second tree, cf. n.61 supra.
80. J. D. Beazley, Attic Red-Figure Vase-Painters, vols. 1–2. 2nd Ed. (Oxford: Clarendon Press,
1963), hereafter, Beazley, ARV2 240,42. Concerning offerings, the Gerolanos amphora in the
Piraeus Museum (cat. no. 7341) shows olive oil being poured in the presence of Athena.
81. J. D. Beazley, Attic Black-figure Vase-Painters (Oxford: Clarendon Press, 1956), hereafter,
Beazley, ABV 296,4.
82. Isager and Skydsgaard, Ancient Greek Agriculture, 166. On the other hand, they seem to
agree with Simon, Festivals of Attica, 45 concerning the importance of the period. See also
Burkert, Greek Religion, 50.
© 2012 The Author

ers have claimed.83 Regarding the relationship between olive cultivation and
the production of other crops, such as grain, which is also tied to the festivals
of Athena especially the Skira, one might mention that numerous threshing
floors have been unearthed around the Athenian Akropolis, paralleling those in
other places where Athena was worshipped.84 The Skira was celebrated in
honour of both Goddesses. If Athena was attached to other central rituals of the
annual calendar, the importance of agriculture is highlighted, and although the
main period for the agricultural jobs associated with olive production falls at
another time of the year, it is important to remember that the olive tree
blossoms in May/June, and that the growing period of the fruit follows, which
means that the trees need moisture. In other words, the course of the summer
is of greatest importance to the result. The importance of securing moisture
(i.e., dew) for the olive trees, might be the reason that a cycle of festivals
dedicated to Athena was celebrated in the dry and rainless middle of summer.85
The dates of the festivals might point towards this explanation, although with
the two exceptions of the Arrephoria and the Panathenaia, the rituals in the
other festivals dedicated to Athena do not seem to be explicitly related to olive
growing. The connection between grain and the Demetrian festivals, however,
is clear and easy to see.86 Although it has been claimed that the Panathenaia
was essentially an ideological festival, a political institution in the proper sense
of the word,87 the festival belongs to the cycle of nature, even if this is not so
apparent in the elaborate ritual which was celebrated in classical Athens. The
point is that the festival has several levels of meaning.
When seen in relation to the ritual of the Arrephoria, it appears that the
Panathenaia may have included elements of rain-magic to secure the crop
protected by the Goddess to whom the festival was dedicated. The green
branches and the water jars carried in the procession might, for example, signify
the importance of securing enough moisture for the fruit during the rest of the
summer. Nature is, therefore, assisted by some kind of “sympathetic magic,”
(i.e., magic that depends on a resemblance or perceived similarity between the
object, substance, or action used in performing the magic, and the desired
effect). It was customary to conduct rain-making rituals at midsummer.88
Furthermore,Athena’s sacred olive from theAthenianAkropolis was famous for
83. Brumfield, The Attic Festivals of Demeter, 156. Robertson, “Athena’s Shrines and Festivals,”
28, connects Athena’s festivals with the grain cycle (cf. 36, 52 ff. and see the procession to Skira
as a ritual to avoid rain, 52), but I argue that the olive is more central.
84. I want to thank Elenē Psychogiou, for giving me this information.
85. Cf. Håland, Greek Festivals, Modern and Ancient, ch. 5 f.; Parke, Festivals of the Athenians,
26 f.; Simon, Festivals of Attica, ch. 3.
86. Brumfield, The Attic Festivals of Demeter; cf. Håland, “The Ritual Year as a Woman’s Life”;
and Greek Festivals, Modern and Ancient. Concerning the difference between the year of the grain
and the agricultural year, other crops are included in the latter.
87. L. Gernet, The Anthropology of Ancient Greece (Baltimore and London: John Hopkins,
1981), 17.
88. Cf. Burkert, Greek Religion, 266; D.S. Loukatos, Ta Phthinopōrina [The autumn (customs/
festivals)]. Laographia — Paradosē 4 (Athens: Ekd. Philippotē, 1982), 87 ff. for rain-making
rituals at this period; see also Håland, “Rituals of Magical Rain-Making in Modern and Ancient
Greece.” The water jars might, of course, also be connected with other factors, such as washing the
hands, sprinkling the sacrificial victims, cf. F. van Straten, Hierá kalá: Images of Animal Sacrifice
in Archaic and Classical Greece (Leiden: E. J. Brill, 1995).
© 2012 The Author

its apotropaic effect when the crops failed.89 If there is not enough dew the fruit
remains small, and as the dewfall generally does not increase until late summer,
the magic might also be used to ensure that this does indeed happen, or it might
be a thanks offering that the dew did come in sufficient quantities in the period
after the Arrephoria. Afterall, the three months from June to August have the
least relative humidity and the period between the end of July and the middle of
August is the most precarious, with the smallest amount of dew.90
The rite performed by the little Arrēphoroi was a fertility charm. Its purpose
was the magic strengthening of the olive trees, and at the same time, the life
force of Athens and her people, miraculously represented in the sacred olive on
the Akropolis. Several ceremonies during religious festivals demonstrate rites
of propitiation to different spirits in rituals linked to life-cycle passages, such
as girls entering womanhood and marriage. To guarantee that the transitional
periods will pass properly, communication is necessary, manifested by prayers
and offerings to the relevant divinities in order to secure their help. The
gift-giving is accomplished by way of magic, and at the level of macro-society,
this is demonstrated by seasonal festivals and all their ingredients.91
The festival is an important means of communication, an offering or a gift,
most often dedicated to a deceased guardian of society, alone, or together with
a God(dess); for instance, Athena. According to Homer there existed an annual
sacrifice of rams and bulls to her earth-born son, Erekhtheus,92 which might
have been carried out during the Panathenaia. In this and the other festivals, we
find the fertility cult and death cult as well as healing.
The analysis of the fertility cult demonstrates how fertility is still connected
to the deceased and the powers in the subterranean world where life begins,
according to the cyclical symbolism that is central in Greek culture. The
deceased mediator receives a blood sacrifice, the ritual slaughter of an animal
(e.g., an ox or a lamb) which afterwards is consumed as a communal meal by
the participants of the festival. The communication is presented on several
levels. The dead receives the offering in order to provide for the fertility of the
society through the communication with stronger powers, first and foremost,
Mother Earth. Blood, water, and wine offerings to the earth during festivals
dedicated to other divinities remind us that it is not only important to treat the
living participants who, for example, are given wine and meat during the ritual
passages of the festivals connected with the seasonal calendar, with its empha-
sis on the cycle of natural increase. The dead and the earth also require their
89. Hdt. 5.82–86.
90. Generally, very little dew falls by the end of July and the first part of August. In addition to
the average values, the direction of the wind is important, and this might be changing — northerly
winds from land give dry air, bright weather with strong heating during the day and little dew fall.
For the ancient Etesian winds and the modern Meltemi, cf. J. C. B. Petropoulos, Heat and Lust:
Hesiod’s Midsummer Festival Scene Revisited (Lanham, MD: Rowman and Littlefield, 1994). Cf.
n. 74 supra. Conversely, too much humidity can in fact harm olives, making them more susceptible
to fungal infection and encouraging the destructive olive fly to thrive.
91. Håland, Greek Festivals, Modern and Ancient, ch. 6, also for the following paragraph, see
“Rituals of Magical Rain-Making in Modern and Ancient Greece”; “The Ritual Year as a Woman’s
Life”; “Greek Women, Power and the Body.” One may, of course, assume that this is also relevant
for all societies and not only ancient and modern Greece.
92. Il. 2.546–551.
© 2012 The Author

share. Fertility ceremonies maintain the connection with the year’s passage
through festive engagements that still speak out on behalf of fertility. As
modern anthropology has shown (cf. n. 64), fertility rituals have to do with all
the creative powers in the universe.
Death cult, fertility cult, and healing are connected with important passages
in the cycle of nature and the life of humans. The festivals are, for example,
celebrated in connection with the death of winter and the birth of spring. The
festivals might celebrate the first fruits, the start of the official year and month,
and generally the official ideological rituals are adapted to the agricultural
calendar. Transitional periods are uncertain and “dangerous,” both in the life of
a person and in social life, because we do not know how the transition will turn
out. During festivities, fertility rituals are performed to conciliate the super-
natural beings and persuade them to be favourable. The actual rituals are also
purifying or healing as purification is fundamental to ensure fertility, and the
purification is particularly manifested through various apotropaic symbols.93 In
this way the vitality of nature is renewed and increased, and the same is true of
people generally. Confidence in the power and care of the God(s) and God-
dess(es) is re-established. For humans this occurs at the rituals surrounding
birth, puberty, marriage, and death.
In ancient Greek the same word covers birth, generation and coming into
being, but it never implies “out of nothing.” Hence, a birth is the same as a
transition from one state to another, and the child must die before the adult can
be born. Thus, a person must die so another might be born. The winter dies when
spring is born, and a person is born as a hero or heroine upon her or his death.94
In Greece, the year cycle parallels the life cycle as the transitional periods in
a human’s life cycle parallel those in nature. Ceremonies that accompany each
successive stage of life are rites de passage, ceremonies of transition, of going
out from the old and going into the new. The same is true of nature, its birth,
death, and rebirth, and the seasonal changes in weather and wind, and in the life
of animals and plants, as annual transitions are periods of transition and the
seasons are based on the food supply. The periods of transition from one state to
another occur in all natural phenomena, as illustrated in the different levels of the
festivals. Dangerous magic is particularly active in the transitional periods of the
life cycle and, hence, these periods are surrounded by taboos, and fertility rituals
are crucial. Dangerous periods also coincide with divisions of time, the most
critical periods being midnight and noon, and the passage from one season to
the next, depending on how many seasons the society might divide the year
into: two as shepherds, fishermen, and sailors; alternatively, three or four as
93. Cf. Robertson, “Athena’s Shrines and Festivals,” 29, which identifies the striding Athena
Promachos represented on Panathenaic amphoras as Athena Hygieia. A similar logic is found in
Håland, Greek Festivals, Modern and Ancient, 438 and n. 886.
94. Cf. H. M. Bower, The Elevation and Procession of The Ceri at Gubbio. An Account of the
Ceremonies (London: The Folk-Lore Society, 1896), 41; Leach, Culture and Communication, 79;
Harrison, Themis, ch. 8; and Plato, vol. 1, Euthyphro, Apology, Crito, Phaedo, Phaedrus, translated
by H. N. Fowler (Cambridge MA: Harvard University Press, 1990, 1966, or. 1914) (hereafter cited
as Pl. Phd.), 70c–d, 102e. Cf. Plato, The Last Days of Socrates. Euthyphro, The Apology, Crito,
Phaedo, translated by H. Tredennick (London: Penguin, 1987), 195 n. 12.
© 2012 The Author

peasants.95 Dangerous magic is assumed to be particularly active during the

twelve-day period from Christmas to Epiphany, which is also a period of
transition, both in the year cycle and in the lead up to the baptism of Christ on 6
January. A particularly important transitional period during the agricultural year
occurs around the spring equinox. In the ancient world, the period of spring
germination was also an auspicious time for marriage, because life was about to
come with the spring, and marriage and conception could suitably be linked to
it. On the human level it was the favourite season for weddings, because the
divine model, the sacred marriage of Zeus and Hera in the Theogamia (the
wedding of the Gods), secured a prosperous result for everyone. In popular
custom, marriages continue to take place by preference during a particular time
of the year,96 such as after harvest, and the same concerns other life-cycle
passages. The reason for this is probably the belief that through some sort of
“sympathetic magic,” the two rituals influence or assist each other. Seasonal
festivals symbolize important passages of the agricultural year, and are con-
nected with agricultural fecundity, with fertility, and increase. All the festivals
are connected with important passages in the cycle of nature, important phases
during the agricultural cycle, and important life-cycle passages of divine
persons, such as Athena’s birthday in the ancient world, and, for example,
Panagia’s (the Virgin Mary’s) Dormition in the modern world. As with the little
Arrēphoroi, in Athens as elsewhere in the Greek world, many ritual functions fell
to those who because of their age were necessarily pure. In post-classical
medical and agricultural writing, the virgin and the “uncorrupted boy” are
credited with magical powers that are obviously conceived as deriving from
purity.97
When examining the roles of women and girls in rituals to Athena, one might
ask what power, if any, did women gain? I have discussed these and related
questions in several contexts98 where I emphasize that given the division of
ancient Athenian society — like later Greek society — into a female (domes-
tic) sphere and a male (official) sphere and the way in which labour is therefore
95. In the Orthodox calendar, the birth celebrations of Christ and St John are at opposite points
of the calendrical compass, as are the celebrations of their conceptions, so that together, the four
feasts mark the beginnings of the four seasons: L. K. Hart, Time, Religion, and Social Experience
in Rural Greece (Lanham, MD: Rowman and Littlefield, 1992), 231.
96. See for example, A. Kyriakidou-Nestoros, Oi 12 Mēnes: Ta Laographika [The 12 months: the
folklore] (Athens: Malliarēs-Paideia, 1986), 113, cf. Arist. Pol. 7.1335a36 ff.; Strabo, Geography,
vol. 7, translated by H. L. Jones (London: Heinemann, 1930) (hereafter cited as Strab.), 15.733,17.
Modern and ancient sources in connection with marriage and wedding are discussed in depth in
Håland, Greek Festivals, Modern and Ancient, ch. 6.
97. Parker, Miasma. Pollution and Purification, 79. For Panagia, see E. J. Håland, “The Dormi-
tion of the Virgin Mary, on the Island of Tinos: A Performance of Gendered Values in Greece,”
Journal of Religious History 36 (Forthcoming 2012).
98. E. J. Håland, “Take Skamandros, My Virginity: ‘The Ideas of Water’ in Connection with
Rituals Linked to Life-Cycle Passages in Greece, Modern and Ancient” (paper delivered at the
Third International Water History Association Conference, The History of Water and Civilization:
“The Ideas of Water,” Alexandria, Egypt, 11–14 December 2003). For a recent version, “Take
Skamandros, My Virginity: Ideas of Water in Connection with Rites of Passage in Greece, Modern
and Ancient,” in The Nature and Function of Water, Baths, Bathing, and Hygiene from Antiquity
through the Renaissance, edited by C. Kosso and A. Scott (Leiden: Brill, 2009): 109–48; Håland,
Greek Festivals, Modern and Ancient; “Greek Women and Death, Ancient and Modern”; “Greek
Women, Power and the Body.”
© 2012 The Author

divided between the two sexes, women might originally have created these
rituals to reflect their daily life.
Several aspects of a woman’s life generally were performed in the festivals
of Athena, such as washing the temple and the statue when the olive tree was
flowering; carrying down and up sacred, secret objects, like dew; the dedication
of the wedding dress when the fruit was growing and also when the race run by
young men in honour of the virgin took place; and the warping of the peplos
when the fruit was harvested. Apart from the race, the main actors in the rituals
were little girls and women.
The race, however, was also central in other festivals, such as the Panath-
enaia, where horse and chariot races were important. A torch race also took
place on the night before the procession. The significance of the torch race was
the ritual transfer of new fire.99 It was run by young men from the altar of Eros
in the Academy to another dedicated to Opposite Eros at the foot of the
Akropolis, and may thus be linked to the ritual of the Arrēphoroi where the
sanctuary of Eros and Aphrodite was central. As with the Skira race in honour
of the virgin, these races signified fertility rituals, paralleling other contests
associated with marriages. We have numerous mythical illustrations of fathers
holding races for their daughters’ lovers, the race being an important prenuptial
ritual in the process of wooing and marriage;100 for instance, the marriage of
Pelops and Hippodameia,101 the marriage of Odysseus and Penelope,102 and the
daughters of Danaos, the Danaids.103 In the Greek context, these notorious men
murderers, the Danaids, were also the prime initiators of marriage, and are
further seen as water-carrying well nymphs, irrigating the earth with their
leaky sieves, a well-known fertility symbol. The myth about the Danaids being
on the threshold of marriage, symbolizes an initiation ritual performed by girls
before marriage.104 The fifty Danaids pursued by the fifty “Egyptians” repre-
sent the pre-adult cult dances of two choroi — one of maidens, the other of
youths — and might also parallel the song and dances performed during the
Panathenaic pannychis. The prenuptial dance groups comprised one chorus of
the male youths (the kouretes) preparing for war, and one of maidens (the
kouroi) preparing for marriage. The girls’ dances are particularly linked to the
cult of Artemis. Though initiations leading into the different adult roles of men
and women must treat maidens and youths separately, the youths will be the
husbands of the maidens and, therefore, come into sight not infrequently. Boys’
rites and girls’ rites were likely to follow the same calendrical pattern, also
bringing them into association. In Athens the Apatouria festival — held to
incorporate boys into the phratry — was celebrated at the same time as the
Thesmophoria, the principal rite of women’s society celebrated around the
99. It is worth mentioning that fire is an important purification (cf. healing) remedy in several
cultures.
100. We also have rites of girls racing, such as in connection with Hera’s Games, when a running
match between virgin girls took place, Paus. 5.16,2.
101. Paus. 5.13,7, 5.14,6, 5.17,7.
102. Paus. 3.12,1.
103. Paus. 3.12,2.
104. Dowden, Death and the Maiden.
© 2012 The Author

time of sowing, and an offering called Gamelia at the Apatouria, concerned

marriage. As with the rites of passage of the two sexes at the Panathenaia,
themes such as chase, war, and killing versus love, life, care, and nutrition were
prominent. During Perses’ first sexual experience, he beheads (“castrates”) the
pregnant woman, Medusa.105 From the decapitation, which is associated with
blood sacrifice, killing, and the male power of reproduction, new life burst from
the blood of her genitalized head.106 In many myths we learn about girls, for
instance the Proitids, the daughters of Proitos, who were chased by a set of boys
before marriages were arranged. This might also parallel the contest between
Athena and Hephaestos, although this did not end with a marriage, at least not
officially. Hephaestos also had a share in the Chalkeia. The agōn or contest is
also found in later carnival rituals, and is related to sowing. The concept of the
agōn or contest, this time applied to the seasons, was also illustrated in the
Panathenaia where the meteorological imbalance of dry and wet can be seen as
a contest between the dry and wet in the height of summer.107
The cyclical perspective is central to the festivals of the agricultural year,
and the mid-August festival marks the beginning of the passage to the new
agricultural season. After the dog days, by the end of August, this transition
towards the “female,” wet and fertile period in the agricultural year’s cycle
starts to replace the “male” and dry period, because the woman is looked upon
as the productive partner in a relationship in the Mediterranean area.108
Bourdieu created a “synoptic diagram of pertinent oppositions” as a model to
help him understand the Kabyles of North Africa. This Mediterranean cultural
pattern may be used on Greek material as well. The male–female division, which
he presented in an earlier study, is a structured system of gendered classification,
where the elements of the male–female division, such as male/dry, female/wet,
are inserted in layers.109 The calendar presents the agricultural year and the
relations between humans and nature. It has importance for understanding the
male ideal gendered dichotomy vis-à-vis the actual gendered relations in society.
The model embodies the human and agricultural life cycles related to gender, the
very cosmos. The material on which Bourdieu has based his presentation,
parallels many of the scattered sources we have from ancient Greek men who
mention the agricultural calendar, festivals, and the two sexes in the ancient
world. Hesiod’s110 presentation of the agricultural calendar tells, in its own way,
when the year starts and ends, and the most important aspect of the cyclical
calendar is what people do during the year and when they do it; of particular
105. Hesiod, The Homeric Hymns and Homerica, translated by H. G. Evelyn-White (London:
Heinemann, 1950, or. 1914) (hereafter cited as Hes. Th.), 276–83.
106. E. H. C. Haspels, Attic Black-Figured Lekythoi, vol. 1 (Paris: École Francaise d’Athènes,
1936), hereafter, ABL 235,71.
107. Petropoulos, Heat and Lust; D. S. Loukatos, Ta Kalokairina (Athens: Ekd. Philippotē,
1981). See also supra for the fight against the weather Gods.
108. P. Bourdieu, Le Sens Pratique [The practical reason] (Paris: Les Éditions de Minuit, 1980).
109. P. Bourdieu, “The Sentiment of Honour in Kabyle Society,” in Honour and Shame. The
Values of Mediterranean Society, edited by J. G. Peristiany (Chicago: The University of Chicago
Press, 1966), 191–241; Bourdieu, Le Sens Pratique, ch. 3.
110. Hes. Op. 383–617.
© 2012 The Author

importance are sowing and harvest, and while other sources are more explicit,111
he also indicates that the wet112 woman tackles the warm and dry season better
than men.113 Aristotle tells when people celebrate festivals.114 He connects the
wet, earthly, or physical part of the human couple, the woman, with the nature
and the wet, and men with thought, mind, light, fire, and the dry.115 We meet the
same polar conception of the female and male association with the wet and dry,
inside and outside, body/womb/earth/darkness, and atmosphere/fire/light/
heaven as Bourdieu presented from his research on the Kabyles.
Bourdieu as a man, presents a man’s analysis of men’s historical paths, and
his approach is similar to the presentations given by the ancient male writers.
If, however, we study the calendar in combination with focal features in the
ancient Athenian and modern Greek festival calendars from a non-androcentric
perspective, the result will differ. There is only a male dominance, as he claims,
if we read the calendar from a male perspective. This will automatically be
reproduced if we only base our research on the male ideological sphere and
value system. Many scholars working with ancient Greek society present
similar values.116 On the other hand we can learn that what seemed peripheral
from the male sphere becomes the central, if we look from the female sphere.117
We also find new, or female, values. How do we look from the female sphere?
We do this by conducting fieldwork in modern female and male spheres and
comparing our findings with ancient sources, while simultaneously trying to
view the material from the perspective of Greek women, which is similar to
that of ancient women (as indicated by the few sources we possess and also
from what can be read between the lines or distorted in ancient male state-
ments, for example those of Hesiod, Aeschylus, and Plutarch).118 By taking
account of both spheres, we realize that they are complementary to each other
and that we can create a fuller picture of human experience. Accordingly, the
111. Hippocrates, vol. 4, translated by W. H. S. Jones (1931; repr. London: Heinemann, 1953)
(London: Heinemann, 1953, or. 1931), 27.1–6; Aristotle, Problems, vol. 1, translated by W. S. Hett
(London: Heinemann, 1953, or. 1926) (hereafter cited as Arist. Pr.) 4.879a26–35.
112. Cf. Hes. Op. 519–25.
113. Hes. Op. 582–96, cf. Sc. 393–400 for the season.
114. Aristotle, The Nicomachean Ethics, translated by H. Rackham (London: Heinemann, 1962,
or. 1926) (hereafter cited as Eth. Nic.), 8.1160a19–30.
115. Aristotle, Generation of Animals, translation by A. L. Peck (London: Heinemann, 1963, or.
1942) (hereafter cited as Arist. Gen. An.), 765a35–765b26, see also 716a2–24, 728a19–22,
766a17–30, 783b26–784a12; Aristotle, The Metaphysics, vol. 1: books 1–9, translated by H.
Tredennick (London: Heinemann, 1961, or. 1933) (hereafter cited as Metaph.), 1.5,986a23 ff.; cf.
Plutarch, Moralia, vol. 5, translated by F. C. Babbit (Cambridge MA: Harvard University Press,
1936) (hereafter cited as Plut. Mor.) 370e–f. For more sources and a comprehensive discussion, see
Håland, Greek Festivals, Modern and Ancient, ch. 6; cf. also “The Ritual Year as a Woman’s Life”;
“Greek Women, Power and the Body.”
116. M. Detienne, Les Jardins d’Adonis. La mythologie des aromates en Grèce [The gardens of
Adonis : Spices in Greek mythology] (Paris: Gallimard, 1989); F. I. Zeitlin, “The Dynamics of
Misogyny: Myth and Mythmaking in the Orestia,” in Women in the Ancient World. The Arethusa
Papers, edited by J. Peradotto and J. P. Sullivan (Albany: State University of New York Press,
1984), 159–94. Cf. also Boedeker, Descent from Heaven.
117. Cf. Håland, Greek Festivals, Modern and Ancient; “Greek Women and Death, Ancient and
Modern”; “Greek Women, Power and the Body” for presentation and discussion.
118. That is why their view is ambiguous; for example, when Plutarch severely criticizes women
at the cemetery. We might understand what was going on, and what the women thought about the
process, since similar situations have occurred until modern times, see Håland, “Athena’s Peplos”;
“Greek Women and Death, Ancient and Modern”; “Greek Women, Power and the Body.”
© 2012 The Author

one-sided analysis Bourdieu presents of the diagram must be read from another
approach, from a chthonic perspective (i.e., from the bottom, from below, or
from the inside), thus emphasizing the importance of the wet and “female” part
of the agricultural year — the gestation period — which is also when the
women weave the peplos of Athena.
The period from the Chalkeia (the day on which the priestesses and the
Arrēphoroi warp the peplos) around the time of sowing and the gathering of
the olive crop, until the completed robe is cut in the middle of the summer,
is a parallel to the yearly calendar of the Kabyles in North Africa, as illus-
trated by Bourdieu.119 Among the Kabyles, the “calendar” of the women’s
work complements the farming “calendar,” as the assembly of the loom is
followed by the start of weaving at the time of ploughing and sowing, and the
woven cloth is unfastened, cut, and removed around the time of the grain
harvest. Weaving is the winter activity, which ends with the wet season in
May. This women’s work is completed when the mistress of the house unfas-
tens the woven cloth at the time of harvest, an activity which has to be
completed around the summer solstice, at the highest point of the “male
period.” When the cloth has been removed, the loom is dismantled and put
away for the duration of “the death of the field,” (i.e., the period lasting from
the completion of the grain harvest until the start of ploughing and sowing).
The work, or the production, however, is done in the wet and “female” part
of the agricultural year — the gestation period. Bourdieu emphasizes that the
result of the production is reaped in the “male period,” but the work of
production, which is necessary to complete the woven cloth as well as to
ensure the crop, is mainly carried out in the period associated with the
“female,” “productive part” of the agricultural cycle. To complement Bour-
dieu’s male account, it is worth noting that the olive crop is gathered in the
“female period,” after the central growing period in the “male period” has
ended, and this is when most of Athena’s festivals are also celebrated.
Further, the most important crops, grain, vines, and olives were associated
with female divinities,120 thus, paralleling women’s nurturing role.
There is a female world view and language that differs from men’s. Tradi-
tionally women have used weaving to tell stories. The rituals surrounding the
loom parallel those of the sexual act (marriage), birth, childrearing, and death,
as the life cycle is represented. We meet a world frame constituted by women
within an ostensibly male-dominated society. I have already explored this
female language in connection with the rituals of weaving and the making of
story clothes for Goddesses of which the peplos of Athena was only one.121
Women’s roles in the olive cycle include tending the olive trees. In modern
Greece, if the men have begun ploughing, contemporary women pick the
119. Bourdieu, Le Sens Pratique, ch. 3.

120. Apollon’s son Anios’s daughters provide wine (oino), grain (spermo) and oil (elaïs). The
divinity most closely associated with the vine was Dionysus. This chthonic God, however, also has
female traits, Håland, Greek Festivals, Modern and Ancient, ch. 6; “Athena’s Peplos.”
121. Håland, “Athena’s Peplos.”
© 2012 The Author

olives.122 In classical Athens, as today, physically hard work was most likely
done by men while other tasks were done by women.
The importance of agriculture is illustrated through the offerings in the
festival and rituals carried out as part of Athena’s main festival, but her entire
festival cycle related to securing her crop, the olive, as illustrated by the period
when most of her festivals were celebrated.
The ritual of making the peplos had strong connections with women’s rites
of passages, as was generally the case during the festivals of Athena. It is not
accidental that it took nine months to weave the peplos for the virgin Goddess,
and that young girls played a role in this. Prior to the Panathenaia a ritual was
also carried out that was central in connection with Mother Goddesses, such as
Demeter, Persephone, and Aphrodite. Little girls were the main performers
during the Arrephoria, and the aim of the ritual was to promote the fertility of
both women and agriculture. The relationship between women and agriculture
is also illustrated in the subsequent Skira festival. This was dedicated to the
grain Goddesses, but the olive Goddess also played an important role, and the
main purpose of the festival was to stimulate the fertility of the earth and
humanity. Accordingly, the festivals devoted to Athena and Demeter took place
at the same time because their aims were the same — to promote fertility. Since
the Skira was mainly a women’s festival and was celebrated at the height of
summer, it may, like the preceding Arrephoria, also be recognized as a pre-
liminary ritual to the Panathenaia, which in itself also pointed towards the
Chalkeia, when the olive crop was gathered. Simultaneously, the warp was set
on the loom and the young girls started to weave the new peplos for the
Goddess, which was offered to her on the next Panathanaia. Through the ritual
ploughing and sowing, which was performed during the Skira, the festival also
prepared the new agricultural year. The central act of the secret rituals per-
formed by women during the Skira, Thesmophoria, and Arrephoria, which
were all dedicated to Mother Goddesses, was the descent of certain female
participants into underground caverns, symbolizing the womb of the earth.
These women were carrying down sacred symbolic offerings — fertility
charms symbolizing female and male genitals, dew, and corn. When these
fertility symbols had absorbed the power of fertility from the womb of the
earth, they were brought up and were mixed on the altar with the seed corn
to ensure an abundant crop. The act of carrying down and up indicates sowing
and reaping, thus aiming to promote good offspring — human, animal and
vegetable. In official festivals, fertility rituals performed by the female part of
society are of focal importance.123
Women are also the practical performers of the rituals that are of signifi-
cance in the life-cycle passages, particularly birth, marriage, and death, when
they lament their dead, during and after the washing, anointing, and dressing of
122. Hart, Time, Religion, and Social Experience, 243, cf. 102, 181. In contemporary Mani in the
Peloponnese, urbanized Maniat women return to their natal villages for two events: olive harvest-
ing and mortuary ceremonies, C. N. Seremetakis, The Last Word: Women, Death, and Divination
in Inner Mani (Chicago: The University of Chicago Press, 1991).
123. Cf. Håland, “The Ritual Year as a Woman’s Life”; and “Greek Women, Power and the Body.”
© 2012 The Author

the corpse in clean robes. Men are the performers of most public rituals, but the
point is that these rituals cannot take place before the female-dominated rituals
have finished. The official rituals where men are agents cannot be performed
before women have done the preliminary work. Women, like Goddesses, have
primary control of the processes of production and reproduction, the basic life
processes.124
In the fifth century, Athena’s Parthenon was transformed into a church
dedicated to the Panagia, after the termination of the age-old Panathenaia in
410 CE.125
Conclusion
This article has described the ritual year of the Virgin Goddess, Athena, has
explored the relationship between girls’ rites of passage, the agricultural cycle
of the olive, and the official ideology of the ancient Athenian polis, which is
also important when considering the incorporation of historical events in the
recurring cycle of the ritual year. We learn that although political arrangements
may affect ritual, political explanations can never entirely account for cultic
arrangements. Political arrangements might obviously affect ritual, but my
purpose has been to give an alternative and more comprehensive presentation
of the festival than, for example, Gernet. My aim as also been to focus on the
agricultural and female aspects, instead of seeing everything from a male
political view, which only presents a part of the society which, nevertheless,
depended on the olive crop for its survival.126
The fertility cult, in fact, plays an important role within the official male
value system. Taking account of the female sphere in Greece provides us with
the basis for considering the female part of society, and reconsidering the male
view while simultaneously achieving a more complete analysis of the society,
in which the female point of view is included.
124. According to R. S. Kraemer, Her Share of the Blessings: Women’s Religions among the
Pagans, Jews, and Christians in the Greco-Roman World (New York: Oxford University Press,
1992), 22 Goddesses played a more central role in the religious lives of ancient Greek women than
male deities; cf. Håland, Greek Festivals, Modern and Ancient, ch. 6, also for modern Greek
women who are more devoted to the Panagia than God.
125. Håland, Greek Festivals, Modern and Ancient, ch. 5, discusses the festival from its obscure
origins in c. 566 BCE. There is no special saint in the Orthodox church related to the olive tree and
its oil; however, Panagia has an epithet, Elaiobrytissa (i.e., the one from whom flows/springs the
oil). This particular Panagia is illustrated on an icon in the monastery of Batopedion at Mount
Athos, see T. Koumarianos, “Elaion: ē chrēsē tou stēn orthodoxē Ekklēsia,” [Oil: its use in the
Orthodox church]. In A. Polymerou-Kamilaki, ed., Ē elia kai to ladi apo tēn archaiotēta eōs
sēmera [The Olives and the oil from the ancient time until today]. Praktika Diethnous Synedriou.
Dēmosieumata Kentrou Ereunēs tēs Ellēnikēs Laographias 19 (Athens: Akadēmia Athēnōn, 2003),
113–120, 440, fig.1.
126. My point, then, has been to go deeper than, for example, Gernet, The Anthropology of
Ancient Greece, 17, and also see the ancient world from a perspective other than that seen in
Robertson, Festivals and Legends, where the emphasis is on the male ideological use of the rituals
in ancient society, which, in my opinion, should be reconsidered. This can be done by a new
investigation into the role of women and a consideration of the real importance of folk beliefs.
© 2012 The Author

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Article in Journal of Religious History · June 2012

Evy Johanne Håland

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Journal of Religious History

EVY JOHANNE HÅLAND

The Ritual Year of Athena: The Agricultural

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secure the food (i.e., fertility). By researching women’s ritual activities in

The Athenian Festivals of Athena

3. The problems and fruitfulness of working with anthropological comparative approaches to

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Athena Polias, was celebrated. It was housed in the Erekhtheion temple.5

5. Pausanias, Description of Greece, vols 1–2, translated by W. H. S. Jones (London: Heinemann,

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The death of the “Kekropidai”/“Aglauridai,” may reflect the ending of the

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of the ritual was also to go to a Nympheion (sanctuary of the Nymphs) in the

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51. Ar. Eq. 566.

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57. Cf. Schol. Pl. Resp. 327a.

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focused on the cult dedicated to the earth-born hero, Erichthonios/Erekhtheus.62

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The Relation of Athena’s Festivals to the Ritual Year in General

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68. Xen. Oec. 5.19–20.

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A vase painting illustrates Athena Promachos, “the warrior” (literally “fight-

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peasants.95 Dangerous magic is assumed to be particularly active during the

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time of sowing, and an offering called Gamelia at the Apatouria, concerned

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119. Bourdieu, Le Sens Pratique, ch. 3.

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© 2012 The Author

© 2012 The Author

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