ガニュメデス・グループ

ca. 330–300 BCE
On view at The Met Fifth Avenue in Gallery 158
一対の耳飾り、首飾り、4 つのフィブラ(安全ピン)、指輪、そしてふたつの腕輪から成るこの珠玉の宝飾品の一群は、それぞれの様式の違いから、同時に作られたものではないことが分かります。鷲の羽に取り囲まれた若いガニュメデスの細密画が施された耳飾りは秀逸で、彼を酌取りにしたかったゼウスが、鷲に変身して彼をオリンポス山へと連れ去ろうとした神話の場面に取材しています。指輪には、エジプトまたはウラル山脈産のエメラ ルドがはめられており、腕輪は金の針金で装飾された水晶でできています。

Artwork Details

Object Information
  • 題: ガニュメデス・グループ
  • 月日: 紀元前330–前300年頃
  • 文化: ギリシャ
  • 手法: 金、水晶、エメラルド
  • 寸法: 首飾りの長さ 33 cm、耳飾り の長さ6 cm、腕輪の直径 7.9 cm、フィブラの直径 5 cm、指輪の高さ 2.1 cm
  • 提供者: ハリス・ブリズベーン・ディック基金、1937年
  • 受け入れ番号: 37.11.8–.17
  • Curatorial Department: Greek and Roman Art

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Cover Image for 1061. Ganymede jewelry

1061. Ganymede jewelry

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The Macedonians of northern Greece buried their dead with rich grave goods, including meticulously made gold jewelry. This impressive ensemble shows the incredible refinement of Greek gold work in the fourth century B.C. The earrings in this set are of special interest. Each features a solid-cast nude boy in the clutches of a majestic eagle. The boy is the young Trojan prince Ganymede, whom Zeus carried away up to Olympus to be his cup-bearer. The eagle is Zeus’ bird, or Zeus himself, tenderly holding Ganymede in his talons.

The Greek goldsmith treated the earrings as sculpture in miniature and lavished them with a wealth of fine detail. Look at the eagle’s feathers and the delicate wisp of drapery fluttering in the air. The toes of Ganymede’s front foot are flexed; perhaps he is just touching down on Mount Olympus, the home of the gods.

This motif works beautifully for a pair of drop earrings, dangling over the wearer's shoulders. But the goldsmith probably adapted the composition from a piece of large-scale sculpture. The ancient writer Pliny described one such work in these words: “The eagle senses what a prize he is ravishing in Ganymede, and to whom he is carrying him.”

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