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Sometimes I discover pictures of extremely beautiful items of immense interest on the internet, but there isn’t much information with them. That is the case for this gold diadem which was discovered in a Greek tomb at Madytos by the Hellespont. The exquisite beaten gold crown was probably made in 300-350 BC by master goldsmiths of the Hellenic era. It features the marriage of Ariadne (the princess of Crete who rescued Theseus) and Dionysus, the only Olympian deity born of a human mother. Dionysus and Ariadne each hold their own thyrsus, a cult object betokening the divinity of Dionysus (usually they are seen in art in the hands of frenzied maenads, but the royal pair are too august to be thus besotted by sacred wine).
Around the couple are exquisite floral motifs of field, farm, and forest wedded together. A pair of lyre players (one off screen to the left) serenade the apotheosized gods while doves strut at their feet. It is a beautiful crown…however since it has spent 2300 years lying in a tomb there is not much to say of its story other than what you can see for yourself writ in imperishable gold.
“Palo” Diadem (Hellenic artisans ca. 3rd century BC; gold, enamel, glass beads)
Here is the so-called “Palo diadem” a golden diadem manufactured by Greek goldsmiths who worked in Taranto in southern Italy (in Apulia–Italy’s “bootheel”) in the 3rd century BC. The wreath was probably discovered in one of the Lacrasta tombs—noted burial sites from Hellenic Apulia. The piece entered the Louvre collection when it was purchased by the second emperor of the French, Napoleon III, nephew and heir of Napoleon Bonaparte—so its modern history is every bit as interesting as its ancient creation.
This sort of diadem was worn in Hellenic society by women only, and served a purely decorative purpose. Numerous examples have been found from across the Greek world during the time of Macedonian ascension, however this little crown is especially finely made and well-preserved. The headdress is a masterpiece of the goldsmith’s art and consists of extremely fine gold filigree–wire twisted into the shape of intertwined vines, rosettes, and flowers like metal lace. The floral highlights are painted in blue enamel and there are little glass berries made from green, blue, and white pâte de verre.
The goldsmiths of Taranto were the master jewelers of their time. Their work was exported around the Hellenic world, but this diadem seems to have stayed close to home until Napoleon III purchased it. The piece inspired a resurgence of gold filigree work among the 19th century jewelers of Italy and France.
The Sarmatians were a confederation of warlike steppe nomads who flourished on the Pontic-Caspian steppe between the 5th century BC and the 4th century AD (the Pontic-Caspian steppe stretches from the northern shores of the Black Sea to the eastern coast of the Caspian Sea). Archaeologists believe the Sarmatians were an Iranian people who worshipped gods of fire–a cosmology somewhat akin to that of the ancient Persian Zoroastrians.
An artist’s reconstruction of what late Sarmatian Warriors might have looked like
Perhaps you will notice that I have given Sarmatian culture a somewhat loose date range of about a thousand years, and placed them in a vague—but vast–geographic region approximately the size of North America’s Great Plains. This is because the Sarmatians are indeed mysterious. What is known about them comes from unreliable historical accounts from classical antiquity or from excavations of their kurgans (burial chambers covered with earthen mounds).
Sarmatian Kurgan 4th century BC, Fillipovka, South Urals, Russia.
Though built around an ancient Persian kernel, Sarmatian culture seems to have picked up elements from the diverse societies around the Pontic Caspian steppe. Sarmatian artifacts recovered from excavations betray influences from Scythian, Hellenistic, Roman, Siberian, and even Chinese sources. It is quite possible that the Sarmatians did not just pick up ideas from these cultures but assimilated people from them as well. Historians and archaeologists have been arguing about whether the Sarmatians were even a distinct culture at all, or whether it was many different peoples with different histories (hence the use of the word “confederation” in the original description up there at the top). What seems certain is that they were fierce horse-warriors. Some of them raided and traded whereas others settled down and picked up agriculture. Their ways of life endured—as did their political hegemony—until the great upheavals and migrations of the 4th century when they were wiped out/dispersed/intermingled by Ostragoth and Hun hordes.
Sarmatian Diadem found in the burial mound at Khoklach
I am going to leave the ins-and-outs of defining culture to anthropologists and instead show you a magnificent Sarmatian artifact which directly illustrates the remarkable syncretism of their world. Here is a Sarmatian diadem which was discovered at the Khokhlach kurgan (which was excavated near the modern town of Novocherkassk). The crown is a principle treasure of the Hermitage Museum–which does not lack for great treasures–but some of the details of its modern provenance have seemingly been muddled by the upheavals of modern Russian history (which seems appropriate).
The golden headdress presents magnificent deer and ibex gathering around a central tree of life. A Hellenic-looking head carved of semi-precious stone has been incorporated as a centerpiece. The piece is studded with pearls and cabochons of amber and garnet. Ornate golden leaves hang down from it as pendants.
The diadem is exquisite, but at first glimpse it seems to exist outside of human culture—like it came from some strange fantasy realm. Only by carefully studying its individual components does it suddenly take on a coherent historical identity of its own. I wish we knew more about the Sarmatians from written sources, but I feel we know a great deal about them, just by looking at this beautiful blended crown.
During my break from blogging, I visited the Getty Villa on the Malibu coast, which has a tremendous collection of Greco-Roman objects from the classical and pre-classical eras. One of the more lovely artworks in their collection was this first century Roman statue of Pluto carved from marble.
Statue of Pluto (Roman, ca. First Century, Marble)
The Getty’s label for this sculpture reads as follows:
Pluto (Hades to the Greeks) was the Roman god of the Underworld. He is depicted here in the guise of Plouton, a Greek deity associated with wealth and agrarian abundance. The mature bearded figure stands draped in a long cloak. A large cornucopia (now broken) rests in his left arm as a symbol of prosperity. Although sculpted in the Roman era, this statuette is modeled after a Greek work of the Hellenisitic period (323-31 BC)
Like Poseidon, Pluto/Hades was the older brother of Zeus. When he was born he was consumed by his father Cronus. Once rescued from that predicament by Zeus’ cunning, he joined his siblings in the terrible war against the Titans. When the Olympians were triumphant, Zeus gave Pluto suzerainty over the underworld, the dead, and all things within the ground.
Although Pluto appears in many myths, the most important story about him concerns the manner by which he obtained a spouse. The other deities feared and avoided Pluto, who was solitary and gloomy. The goddess Demeter, the goddess of growing things, had a radiant daughter named Persephone, a maiden of unsurpassed loveliness. One day, as Persephone was gathering flowers, Pluto opened a chasm in the world and drove up from the darkness in a chariot drawn by midnight black horses. The god of the underworld captured the trembling girl and bore her down to his opulent palace in the land of the dead. No longer a maiden, Persephone took no joy in the rich jewels and precious metals of Pluto’s great mansion. The only consolation to her was the dark garden of the underworld where she beguiled her time surrounded by the silent weeping shades of the dead.
Rape of Proserpine (Niccolò dell'Abbate, ca. 1571, oil on canvas)
Although Zeus had consented to this arrangement, even he was unprepared for Demeter’s wrath. She withdrew her gift of fertility from the world (a theme seen in both the story of Psyche and the myths concerning Oshun, an Afro-Brazilian love goddess) and everywhere people and animals starved. The world began to wither into a lifeless desert and Zeus was forced to send his messenger, Hermes (Mercury), to retrieve Persephone. But, while in the garden of the underworld, she had eaten four seeds of a pomegranate. Thereafter she was forced to return to the underworld for four months of the year to rule beside Pluto as queen of the dead.
Statues of Hades/Pluto are much less common than statues of the other Olympian deities. Greeks and Romans feared drawing his direct attention but they also feared to anger him by not sacrificing to him in worship. There were therefore a number of euphemisms for the deity such as “rich father” or “giver of wealth”. Additionally, since Pluto ruled all things under the ground, the Plouton identity, seen in the statue, came to be associated with wealth and with agricultural fertility–after all, gold and jewels came from the ground—as did life-giving crops. The Eleusinian Mysteries celebrated a more positive aspect of Pluto–as the god of wealth and the spouse of the life-giving Persephone. It was believed that initiates of these mysteries would enjoy Persephone’s favor in the underworld and would be granted access to the beautiful glowing fields of asphodel which she planted in the underworld.
