Miniature, but delectable! This is a rare survival of chryselephantine (gold and ivory) sculpture from the Hellenistic world, and is a tantalizing glimpse into the level of luxury that was available to the elite.
Here, a komos (the tipsy procession after the symposium) is shown. A young satyr leads the trio playing the aulos (a double flute, requiring the same sort of lung and aperture power the modern oboe does) and those are straps on his face, securing it to his puffed-out cheeks. Ivory is an organic material, and his legs are somewhat deteriorated here, but gilding on his tail and ivy crown remain.
In the center, Dionysos (bearded, curious for the late 4th century B.C.….) weaves his merry way forward, one hand extended and brandishing a torch, and the other around the shoulders of his stalwart companion Ariadne, who supports him. A golden diadem encircles his brow and the tails drape over his shoulders.
Ariadne gazes up at him, garlanded and veiled, and artist’s insane skill is immediately showcased in the diaphanous folds of her chiton, secured under the breasts with a cord and clinging to the body and navel, as well as the thicker mangled gathered around her and swirling behind with a flourish. Those hands!
The ivory was likely an appliqué used to adorn a kline (couch), and was found in the course of the 1980’s excavations of the royal tombs at Vergina – the Macedonian royal capital. Arguments swirl regarding who was buried in the unplundered tomb II, and for years it was hoped that this was indeed the tomb of Philip II (father of Aexander), but it seems more clear now that in fact it was his half-wit half-brother Philip Arrhidaeus and wife Eurydice (incidentally murdered by Alexander’s mother. Oops!)
(This was the piece that made me switch majors to Classical Archaeology: the tombs of Vergina, endlessly fascinating, and David Mitten, endlessly encouraging, even when presented with absolute garbage writing I presented him with. RIP.)
