Ca. 330—300 BCE. Inv. No. 06.1217.1—13.New York, Metropolitan Museum of Art
The Madytos Jewelry: pediment-shaped diadem, pair of earrings with disk and boat-shaped pendants, snake ring, seven rosettes, strap necklace with pendants, necklace of beads and tubes.
Ca. 330—300 BCE.
New York, Metropolitan Museum of Art.
Rogers Fund, 1906.
Set of jewelry
This group of jewelry is said to be from Madytos on the European side of the Hellespont. The gold diadem is richly worked in repoussé with an elaborate floral pattern. Dionysos, the god of wine, and his wife Ariadne sit in the center; muses playing musical instruments perch among vines along the sides. The tiny figure of a muse playing a lyre also appears just above the crescent form on each of the boat-shaped earrings. The seedlike pendants of the earrings are identical to those on the elaborate necklace.
Gold diadem (S11), gold ring (S12), gold beads from a necklace (S13), seven gold rosettes (S14—
Said to be from a tomb at Madytos, on the Hellespont.
Greek, late fourth century B. C.
S11: length 36. 8 cm. (14
S12: diameter 2.2 cm. (
S13: length, of each type of bead, 2.2 cm. (
S14-S20: diameter 1.9 cm. (
S23: length 32.3 cm. (12
The Metropolitan Museum of Art. Rogers Fund, 1906. 06.12.17.1—
Madytos (modern Maïto) was an important port on the European side of the Hellespont, opposite Abydos. This gold jewelry is said to have been found in a tomb. The gold diadem (S11) is richly decorated with many figures and ornaments worked in repoussé. In the center, where the diadem rises to an apex, Dionysos and Ariadne are shown like pedimental figures, back to back, but their heads turned toward each other. Each holds a thyrsos and sits on an elaborate acanthus from whose center a large flower rises. The floral motives also dominate the tapering ends of the diadem, each of which shows, on a smaller scale, five Muses seated on the stalks of vines that terminate at intervals in elaborate scrolls. The Muses face Dionysos and Ariadne. While composed symmetrically, each figure is worked individually with no mere duplication. Starting from the center, the first Muse plays a harp, the second holds auloi (flutes), the third is a lyre-player, the fourth sings while holding a scroll in her hands, and the last has a long, stringed instrument that has been identified as a psalterium. The design is further enriched with flowers, birds, and a grasshopper. Equally elaborate is the pair of earrings (S21—
E. Robinson in MMA Bulletin I (1905—
C. Alexander, Jewelry (1928), passim.
Alexander, Christine. 1928. Jewelry: The Art of the Goldsmith in Classical Times as Illustrated in the Museum Collection. p. 52, fig. 114, New York: The Metropolitan Museum of Art.
Metropolitan Museum of Art. 1936 . A Guide to the Collections, Part 1: Ancient and Oriental Art, 2nd ed. New York: The Metropolitan Museum of Art.
Richter, Gisela M. A. 1953. Handbook of the Greek Collection. pp. 156, 289, Cambridge, Mass.: Harvard University Press.
von Bothmer, Dietrich and Joan R. Mertens. 1982. The Search for Alexander: Supplement to the Catalogue. no. S12, pp. 6—
Williams, Dyfri and Jack Ogden. 1994. Greek Gold: Jewelry of the Classical World. no. 66, p. 114, New York: Harry N. Abrams, Inc.
Castriota, David. 1995. The Ara Pacis Augustae and the Imagery of Abundance in Later Greek and Early Roman Imperial Art. pp. 52, 75—
Picón, Carlos A. 2007. Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome. no. 168, pp. 149, 436, New York: The Metropolitan Museum of Art.
Brøns, Cecilie. 2017. Gods and Garments: Textiles in Greek Sanctuaries in the 7th to the 1st Centuries B. C.. pp. 113—
Holcomb, Melanie. 2018. Jewelry: The Body Transformed pp. 106, 109, pl. 86, New Haven: The Metropolitan Museum of Art.