Old SymbolsWhere every symbol began

Plate 1 A curved horn-shaped basket spilling fruit and vegetables

Cornucopia

The cornucopia, or horn of plenty, is a horn overflowing with fruit, grain and flowers, the ancient sign of abundance. It comes from Greek and Roman myth, where it is either the horn of the goat Amalthea who nursed the infant Zeus or the horn Heracles broke from the river god Achelous; in the United States it is a harvest and Thanksgiving decoration.

Thanksgiving symbols. Also called cornucopia meaning, horn of plenty.

Meaning

The name is Latin, cornu and copiae, “horn of plenty” (Index of Medieval Art, Princeton University). In Greek and Roman art the horn is carried by Demeter, Gaia, Persephone and Tyche, the Roman Fortuna, and by Abundantia, the Roman personification of abundance. On the seal Pierre Eugene du Simitiere created for New Jersey in 1777, Ceres, the Roman goddess of grain, holds a cornucopia filled with harvested produce, which New Jersey’s Office of Legislative Services reads as abundance. As a Thanksgiving decoration it spills over, in the Index’s words, “with fruits, vegetables, and flowers suggestive of a generous harvest”.

Origin and history

The ancient writers disagree about whose horn it was. Sir James Frazer’s notes to Apollodorus collect the versions. In one, Amalthea is the goat whose milk fed the infant Zeus, hidden on Crete from his father Cronus, and ambrosia flowed from one of her horns and nectar from the other. In another, Amalthea is the nymph who owned the goat. A third says Zeus, grateful for the milk, set the goat among the stars and gave one of its horns to the nymphs who had reared him, ordaining that it should produce whatever they asked for.

Apollodorus himself tells a different story. Heracles wrestled the river god Achelous, who had taken the shape of a bull, for the hand of Deianira and broke off one of his horns; Achelous got it back by giving Heracles the horn of Amalthea in exchange. In this telling Amalthea is a daughter of Haemonius with a bull’s horn that, according to Pherecydes, could supply “meat or drink in abundance, whatever one might wish”. Ovid’s Metamorphoses makes the horn of plenty Achelous’s own. The river god tells how the Naiads took up his broken horn and filled it with fruit and fragrant flowers, “and the bounteous Goddess, Plenty, is enriched by my horn”; in Henry Riley’s translation the Naiads fill it “with the variety of fruits which Autumn affords”. Riley’s notes add an old reading of the myth as engineering: according to Strabo, breaking the horn meant that Heracles brought both branches of the river into one channel, and the horn of plenty, Riley explains, was the fertile ground the river left behind.

The horn in Roman and medieval art

The horn outlived the myths. The Index of Medieval Art describes a Roman statue of Tyche-Fortuna of the first or second century CE, now in the Metropolitan Museum of Art, holding a ship’s rudder, for the way fortune steers human fate, in one hand and a cornucopia of fruit in the other. The same Fortuna appears on a wall painting in the synagogue at Dura Europos, made by 244 CE. Around the year 1000 the Gospels of Otto III show Germania bringing tribute to the emperor with a golden cornucopia, and personified cities and rivers carry one too. Abundantia with her horn, the Index says, came from Roman tradition and lasted through the Middle Ages.

From Rubens to the Thanksgiving table

In Peter Paul Rubens’s Abundantia, painted about 1630, the goddess spills apples, grapes, figs and other autumn fruit from her horn. The Index of Medieval Art suggests this may be the horn of plenty most familiar to modern viewers, for whom a cornucopia centrepiece means gratitude for good fortune and generosity, the two ideas it places at the core of Thanksgiving.

See also

Autumn leaves and harvest wreaths, Turkey, Pumpkin and pumpkin pie, Flint corn (multicoloured corn), Three Sisters, Cranberry.

Sources

  1. cornucopia, Index of Medieval Art blog, subject essay on the cornucopia, Index of Medieval Art, Princeton University
  2. Apollodorus, The Library, 2.7.5, Translated by Sir James George Frazer, with his notes, 1921, Perseus Digital Library, Tufts University
  3. The Metamorphoses of Ovid, Books VIII–XV, Book IX, Fable I, translated by Henry T. Riley, with his notes, Project Gutenberg
  4. State Seal and Flag, New Jersey Office of Legislative Services
  5. New Jersey State Symbols, About New Jersey, State of New Jersey (NJ.gov)

Last reviewed September 30, 2026 by Rory Hansen. How we research

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