The myth of Europa is one which has come to us across thousands of years. Europa and her companion white bull feature on Greek vases; and on Roman mosaics. In more recent centuries, many painters have portrayed the myth, as have writers and poets. The details of the story have of course altered over time. This version, taken from loggia.com gives the story's modern form:
Painting: The Abduction of Europa Titian
Europa was one of the god Zeus's many love interests in Greek mythology. She was a beautiful mortal woman, and the noble daughter of a King Agenor (according to some sources, Agenor was the king of Phoenicia).
The legend of Europa and Zeus begins when the ruler of the Olympian gods glimpses the young woman one day. At first sight of Europa, Zeus is instantly overcome by her beauty and grace. Not being one to ignore his desires, the god immediately comes up with a plan - he assumes the form of a glorious white bull and swims to the shore on which Europa and her female companions are playing (it should be noted that in some versions of the story, rather than disguising himself, Zeus sends a real white bull to lure the girl). The bull is so sleek and handsome, not to mention gentle, that the maidens all take turns stroking and petting the pretty creature.
In time, Europa feels comfortable enough with the bull to climb upon his back for a little ride. However, as soon as she is safely seated, the bull moves toward the sea, carrying the object of his affection with him. They together cross the water. Their strange but compelling journey leads them eventually to the island of Crete.
Upon arriving in Crete, Zeus finally casts off his disguise and reveals his divine identity to Europa. The mortal woman then becomes yet another of the god's lovers. Ultimately, Europa gives birth to a trio of sons - Minos, Rhadamanthys, and Sarpedon.
It was said that Zeus so loved Europa that he gave her three priceless presents. The first was Talos, a magical man made of bronze, who served as a guard on Crete. The second was Laelaps, a dog that excelled at the hunt. And the third and final gift was a javelin that always hit its target. In addition, as a last poetic touch, it is worth mentioning that the bull that "stars" in this story was transformed into the constellation Taurus.
Painting: The Abduction of Europa by Antonio Carracci
Who is abducting whom? The goddess was queen of the sea and of all things in it, so it is unlikely that she could be carried away by that route, without her approval.
In interpreting this myth, we might simply conclude that it is a metaphor for woman's historical subjection to man, but as we examine it further it appears that Europa is not the victim she appears to be. As the Renaissance painters were apparently aware, the cherubim (flying babies) and the boy on dolphin (Palaemon) are the companions of Venus, the goddess who ruled the sea. Venus (her Roman name) or Aphrodite (her Greek name) appeared originally as the goddess of the sea-faring Minoans, whose culture and traditions were passed to us via the Greeks following a vast calamity (the Krakatoa-like explosion of the island of Kythera circa 1500 BC). This identifies Europa as yet another of the many guises of the Great Goddess of the Minoans. The presence of the white bull confirms this association. The white bull also appears in the story of Pasiphaë, which is also set in Crete, and which also involves sexual relations between the supreme male deity and the leading lady:
Pasiphae
The daughter of Helios and Perse, and wife of King Minos. She was the mother of Glaucus, Andogeus, Phaedra, and Ariadne. When Minos had the misfortune of insulting Poseidon, the god kindled a passionate love in Pasiphae for a bull. She had Daedalus design a construction so that she could mate with the bull, and thus she became the mother of the Minotaur.
The mention of the Minotaur invokes a third myth related to the Great Goddess of Crete, that of the adventure of Perseus, a Greek who was sent captive to Minos; who aided by Ariadne (another guise of the goddess)defeats the Minotaur in the Labyrinth (a maze symbolic of the Cretan palace/temple) and escapes to Greece with Ariadne but abandons her halfway. This may refer to the Greeks recognising that their religion and culture was based on that of the earlier culture on Crete, and that something was lost in the transition.
In this detail from a Roman mosaic, Europa is shown with a gauzy cloak billowing behind her forming the outline of a crescent moon. This symbol confirms that she is the moon-goddess, queen of heaven.
The white bull in these myths would have been immediately recognised by the Minoans. It was the companion of the goddess; its white colour is that of the moon, and its horns are the crescent of the waxing or waning moon. The sacrifice of a bull was the central rite in the Palace of Knossos, and its spirit was believed to ascend to the goddess' starry realm where it resided as the constellation we call Taurus. Many students of this ancient religion have suggested that this principle was applied to an annual human sacrifice, and that the willing victim became a god through this rite. A corollary of this view is that the supreme male god was the creation of the goddess, and that he owed his position to her. A further corollary, as this was an annual rite, is that the male god aged, and that he was replaced each year by a new god.
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left: detail from Greek vase
right: detail from Roman mosaic
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All three myths present the goddess as being in an inferior position to the male god, but this was not so in earlier representations. The Greek vase shows the goddess as being quite happy to be carried by her companion, as does the Roman mosaic.
In more recent times, painters and poets inspired by an interest in the lore of the goddess have attempted an enlightened view of the Europa myth. For example, the symbolist Gustave Moreau shows the goddess and her white bull in a relaxed and intimate relationship.
Painting (detail): Europa and the Bull Gustave Moreau circa 1869
