Symbols of Europe

A number of symbols of Europe have emerged since antiquity, notably the mythological figure of Europa.

Several symbols were introduced in the 1950s and 1960s by the European Council. The European Communities created additional symbols for itself in 1985, which was to become inherited by the European Union (EU) in 1993. Such symbols of the European Union now represent political positions in support of EU policies and European integration as advocated by Europeans.

Europa was used as a geographical term, for one of the great divisions of the known world, by Herodotus (in a reduced geographical scope, referring to parts of Thrace or Epirus, also in the Homeric hymn to Apollo). It became the geographical term for the landmass west of the Tanais in the Roman-era geography by Strabo and Ptolemy. Europa first began to be used in a cultural sense, denoting the territory of Latin Christendom, in the Carolingian period.

Europa is a feminine name, the name of a nymph in Hesiod, and in a legend first related by Herodotus, the name of a Phoenician noble-woman abducted by Greeks (in Herodotus' opinion, Cretans). The classical legend of Europa being abducted not by Greek pirates but by Zeus in the shape of a bull is told in Ovid's Metamorphoses. According to the account, Zeus took the guise of a tame white bull and mixed himself with the herds of Europa's father. While Europa and her female attendants were gathering flowers, she saw the bull, and got onto his back. Zeus took that opportunity and ran to the sea and swam, with her on his back, to the island of Crete. There he revealed his true identity, and Europa became the first queen of Crete. Zeus gave her a necklace made by Hephaestus and three additional gifts: Talos, Laelaps and a javelin that never missed. Zeus later re-created the shape of the white bull in the stars, which is now known as the constellation Taurus.

In addition to generally being a frequent motif in European art since Greco-Roman times, the founding myth of Europa and the bull has frequently been alluded to in relation to the continent and by the modern European Union, and can thus be considered not only a piece of toponymy, but also as a symbol, or national personification of Europe. For instance, statues of Europa and the bull are located outside several of the European Union's institutions, as well as on the Greek €2 coin. Europa's name appeared on postage stamps commemorating the Council of Europe, which were first issued in 1956.^{[citation needed]} Furthermore, the dome of the European Parliament's Paul-Henri Spaak building contains a large mosaic by Aligi Sassu portraying the abduction of Europa with other elements of Greek mythology. The bull is also in the top-left corner of the new design of the residence permit card of all European Union countries.

Europa regina (Latin for Queen Europe) is the cartographic depiction of the European continent as a queen. Introduced and made popular during the mannerist period, Europa Regina is the map-like depiction of the European continent as a queen. Made popular in the 16th century, the map shows Europe as a young and graceful woman wearing imperial regalia. The Iberian Peninsula (Hispania) is the head, wearing a crown shaped like the Carolingian hoop crown. The Pyrenees, forming the neck, separate the Iberian Peninsula from France (Gallia), which makes up the upper chest. The Holy Roman Empire (Germania and other territories) is the centre of the torso, with Bohemia (sometimes Austria in early depictions) being the heart of the woman (alternatively described as a medallion at her waist). Her long gown stretches to Hungary, Poland, Lithuania, Livonia, Bulgaria, Muscovy, Macedonia and Greece. In her arms, formed by Italy and Denmark, she holds a sceptre and an orb (Sicily). In most depictions, Africa, Asia and the Scandinavian peninsula are partially shown, as are the British Isles, in schematic form.

The first map to depict Europe in this manner was made by Johannes Bucius Aenicola (1516–1542) in 1537. Though much about the origination and initial perception of this map is uncertain, it is known that Putsch maintained close relations with Holy Roman Emperor Ferdinand I of Habsburg, and that the map's popularity increased significantly during the second half of the 16th century. Europa Regina was introduced in the 1530s by the Austrian cartographer Johannes Putsch, possibly with the intent of depicting Europe as the spouse of Charles V of Habsburg, who aspired to become the universal monarch of Christendom and reigned over numerous realms including the Holy Roman Empire, Austrian lands, Burgundian territories, and the kingdom of Spain. Arguments in favour of this hypothesis are the westward orientation of the map to have Hispania as the crowned head, said to resemble the face of Charles V's wife, Isabella of Portugal; the use of the Holy Roman Empire's insignia – its Carolingian crown, sceptre and orb – and the portrayal of Habsburg realms (Austria, Bohemia, Hungary, Germany) as the heart and centre of the body; the design of the gown, which resembles the contemporary dress code at the Habsburg court. As in contemporary portraits of couples, Europa regina has her head turned to her right and also holds the orb with her right hand, which has been interpreted as facing and offering power to her imaginary husband, the emperor. More general, Europe is shown as the res publica christiana, the united Christendom in medieval tradition, and great or even dominant power in the world.

Another allegory is the attribution of Europe as the paradise by special placement of the water bodies. As contemporary iconography depicted the paradise as a closed form, Europa regina is enclosed by seas and rivers. The Danube river is depicted in a way that it resembles the course of the biblical river flowing through the paradise, with its estuary formed by four arms. That Europa regina is surrounded by water is also an allusion to the mythological Europa, who was abducted by Zeus and carried over the water. Europa regina belongs to the Early Modern allegory of Europa triumphans, as opposed to Europa deplorans.