For the Dorian Greeks of the Peloponnese and their overseas cousins, the late summer festival of Apollo Karneios (of the Ram) was the most important of the year. They took seriously the prohibition on combat during the Karneia, which was the reason why the Spartans missed the battle of Marathon and sent only a token force to Thermopylai. The festivities involved dances by the young men and women of the community; at Sparta the Karneia grew into a major musical competition. A group of unmarried men known as the Karneatai were chosen by lot to organize and bear the expenses of the festival. They also entered a footrace as staphulodromoi, “grape runners,” and carried fruited vine branches while pursuing a runner decked with wool fillets like a sacrificial victim. If they caught him, it meant good luck for the city in
Figure 7.3 Painted metopes and roof ornaments from the temple of Apollo at Thermon, Aitolia, c. 625. Athens, National Archaeological Museum. Bildarchiv Foto Marburg.
The coming year. In spite of the injunction against warfare during the festival, it celebrated the warlike nature of the Dorians, and their legendary conquest of the Peloponnese, as well as historical colonization efforts. At Sparta, the warriors set up tents and banqueted in honor of the god as if on campaign, and at Kyrene they conducted a dance in armor. The myths surrounding the Spartan festival attributed its origins to the pre-Greek inhabitants. Sometime in the Geometric period, scholars have suggested, Apollo supplanted a pastoral, ram-headed god Karnos, whether of Dorian or indigenous origin, who presided over the seasonal movements of the flocks and led them to new pastures. The journey of the flocks was eventually identified with the mythic Dorian migration and the festival took on a more military character in keeping with the theme of conquest.11
A more clear-cut case of a prehellenic deity whose cult was absorbed by Apollo is Hyakinthos. The - nthos termination of his name is also found in the Luwian language of Anatolia, and reveals a non-Greek origin. He is sometimes thought to be Minoan. The month and festival named after Hyakinthos are common in Dorian cities, but most of our evidence comes from the cult at Amyklai outside Sparta. Here, Hyakinthos was remembered as a hero beloved of Apollo, whom the god accidentally killed with a discus throw. His tomb was located within the base of Apollo’s ancient cult statue, a colossal bronze figure that stood in the open air. It drew on Near Eastern iconography, showing Apollo as a helmeted warrior with a bow in one hand and a spear in the other. This image, created in the late seventh or early sixth century, was unusual for several reasons. It did not possess a fully human shape, but took the form of a huge bronze pillar with sculpted face, feet, and hands. Colossal statues like the Athena Parthenos made by Pheidias were celebrated in the Classical period, but most Archaic cult images were considerably smaller than life-size. The size of the Apollo, estimated by Pausanias at 30 cubits (15 m), explains why there was no temple to house it, for buildings of such height were beyond the technology of the day. Instead of a temple, the image was displayed in an elaborately decorated enclosure known as the “throne,” which was added about a century after the statue was erected.12
The festival itself combined the worship of Apollo Amyklaios and Hyakinthos. The first day was a day of mourning and solemnity, when the blood of sacrificial animals was poured into Hyakinthos’ tomb through a bronze door in the side of the statue base, which also functioned as an altar. The rest of the festival, in contrast, was a joyous celebration. The whole city joined the procession from Sparta to Amyklai, where there were spectacles of music, dance, and horse racing in which both boys and girls took part. Even the slaves joined in the celebrations. Every year, the women of Sparta presented Apollo with a newly woven tunic or chitOin (probably not one large enough for the statue to wear). The high point of the festival was the singing of the paian, the special hymn for Apollo.
Apollo Amyklaios has drawn attention from scholars because his name appears on a bilingual inscription from Idalion in Cyprus, where he was equated with Reshep Mukal. The epithet Mukal, transformed to (A)myklos, was carried at an early date to Gortyn in Krete, and thence to Sparta, supplying a name for both the cult and the town. It illustrates how Cyprus and Krete were conduits for cultural influences from the Near East during the formative period of Greek religion. Excavation of Amyklai revealed evidence for nearly continuous activity from the late Bronze Age, another unusual feature of the site. After serving as a sub-Mycenaean cult place, the sanctuary began to receive dedications again in the ninth century, perhaps the date of Apollo’s introduction.
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