by Mary Harrsch © 2025 D
This collection of horse trappings was found in a tomb in Elis, Greece. It has been dated by the British Museum from 325-300 BCE. The museum points out that the iconography appears to possibly depict Persians, an Amazon and satyrs with menacing faces intended to strike fear into the enemy. The piece depicting a couple riding in a four-horse chariot is tentatively identified as either Pelops and Hippodamia or, because of the armed nature of the woman, Athena accompanied by Diomedes. The museum noted that the pieces appeared to parallel similar grave goods found in southern Russia.
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| Bronze decorative fragment of horse harness from a tomb in Elis, Greece dated between 325-300 BCE. Suggested interpretations include Pelops and Hippodamia or Diomedes and Athena. Photographed at the British Museum by Mary Harrsch. |
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| Bronze decorative fragment of horse harness from a tomb in Elis, Greece dated between 325-300 BCE. Suggested interpretation is an Amazon. Photographed at the British Museum by Mary Harrsch |
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| A satyr on a bronze roundel from a horse harness found in a tomb in Elis, Greece dated between 325-300 BCE. Photographed at the British Museum by Mary Harrsch |
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| A satyr on a bronze roundel from a horse harness found in a tomb in Elis, Greece dated between 325-300 BCE. Photographed at the British Museum by Mary Harrsch |
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| A satyr on a bronze roundel from a horse harness found in a tomb in Elis, Greece dated between 325-300 BCE. Photographed at the British Museum by Mary Harrsch |
I hoped to gain a little more insight into the identification of the chariot couple so I uploaded an image of that fragment to ChatGPT. Initially it leaned toward the identification as Pelops and Hippodamia but when it asked me for more context and I uploaded pictures of the Amazon warrior and roundel with fierce satyr face, it changed its mind.
"The additional artifacts you uploaded provide strong contextual clues. The presence of a relief featuring what appears to be an Amazon, along with satyr-adorned roundels, suggests a theme related to warfare, myth, and possibly heroism.
"If the Amazon identification is correct, that could further support the interpretation of the first piece as Athena and Diomedes rather than Pelops and Hippodamia. Athena was often depicted assisting heroes in battle, and Diomedes, in particular, had a close connection with her in the Trojan War. The presence of satyrs may indicate a Dionysian or theatrical aspect, but they also appear in military contexts as decorative elements.
"Given these connections, I now lean more toward the Athena and Diomedes interpretation, but I still wouldn't completely rule out the Pelops and Hippodamia theory. The combination of Greek, possibly Thracian or Scythian, and war-related imagery suggests this tomb belonged to someone of high status—perhaps a warrior or a chieftain with connections to multiple cultural traditions."
Still not satisfied, I pointed out that chariots were no longer used in battle in the 4th century BCE and ChatGPT replied:
"Correct! By the 4th century BCE, chariots had largely fallen out of use as battlefield weapons in Greece. They were primarily used for ceremonial purposes, including games, funerary rites, and elite displays of status. In earlier periods, such as the Late Bronze Age (Mycenaean era), chariots were part of warfare, but by the Classical and Hellenistic periods, cavalry had replaced them in actual combat.
"This makes the Pelops and Hippodamia interpretation stronger because their myth specifically revolves around a chariot race. The association with horse trappings and a tomb also fits well with the idea of heroic or aristocratic funerary symbolism rather than a military context. On the other hand, if this piece were meant to depict Athena and Diomedes, one might expect a battle scene rather than a chariot ride.
Given the stylistic and cultural connections, it seems plausible that the object reflects elite funerary traditions incorporating both Greek and steppe influences. The Amazons and satyrs suggest a mythological narrative rather than a purely military one. If this was meant for a warrior's tomb, the choice of an Amazon figure could reflect admiration for heroic combat rather than literal battlefield use."
I then asked, "Are you aware of other 4th century BCE depictions of Pelops and Hippodamia on grave goods?"
ChatGPT replied: "Depictions of Pelops and Hippodamia are relatively rare on 4th-century BCE grave goods, but there are some comparable funerary representations of their myth, particularly in vase paintings and relief sculpture. While I am not aware of another direct parallel in metal horse harness decorations, I can suggest some related examples:
Comparable Funerary Representations of Pelops and Hippodamia
South Italian Red-Figure Vases (Apulian and Campanian, 4th Century BCE)
Several Apulian kraters and volute-kraters depict the chariot race between Pelops and Oenomaus, often emphasizing divine intervention (e.g., Poseidon aiding Pelops or Myrtilus sabotaging Oenomaus' chariot).
These vases were frequently placed in tombs and associated with aristocratic funerary iconography, much like your harness piece.
The Darius Painter and other prominent Apulian vase painters depicted complex mythological narratives on funerary vases, and the Pelops story occasionally appears among them.
Reliefs and Funerary Stelae
Some 4th-century BCE funerary reliefs and painted chamber tombs depict chariot scenes, though often in a more generic aristocratic or heroic context rather than specifically tied to Pelops and Hippodamia.
Thessalian funerary stelae sometimes depict chariots, as the region maintained strong equestrian traditions. However, these tend to focus on local elite identities rather than mythological narratives.
Vergina Tombs (Macedonia, Late 4th Century BCE)
The painted frieze in the Great Tumulus at Vergina, associated with Philip II of Macedon, includes chariot imagery. While this doesn’t explicitly depict Pelops, it aligns with the broader trend of heroic and mythological chariot scenes in elite burials.
Why This Object is Unusual
Your harness decoration, if indeed depicting Pelops and Hippodamia, would be an unusual example of this myth in metal grave goods from this period. The influence from Southern Russia (Scythian or Thracian styles) noted by the British Museum could also indicate that this piece reflects a blending of Greek and steppe traditions, possibly through elite mercenaries or cross-cultural exchanges."
I then asked, "Even though the collection record indicates a date of 350 BCE, the gallery card lists the date between 325-300 BCE. This places its production nearer to Alexander the Great's military activities. Did Alexander employ Scythian or Thracian cavalry contingents in his forces?"
ChatGPT replied, "Yes, Alexander the Great did employ Scythian and Thracian cavalry contingents in his forces, particularly as auxiliary units. The later dating of the harness decoration (325–300 BCE) aligns well with the period when Thracian and Scythian cavalry played key roles in Hellenistic military campaigns.
Scythian and Thracian Cavalry in Alexander’s Army
Thracian Cavalry
Thracians were well-integrated into the Macedonian army as both infantry and cavalry. Alexander’s father, Philip II, had already incorporated Thracian cavalry, and Alexander continued to use them, particularly in Balkan campaigns and the early Persian campaigns (334–331 BCE).
They were known for their light cavalry tactics, using javelins and hit-and-run maneuvers rather than direct charges like the heavy Companion Cavalry.
Scythian Cavalry
Scythians were renowned for their mounted archery and were frequently employed as mercenaries by Greek and Persian rulers.
While they did not form a large, organized part of Alexander’s army, there is evidence of Scythian mercenaries in Persian service before and during Alexander’s campaigns. Some may have later entered his forces.
In 329 BCE, Alexander fought against the Scythians near the Jaxartes River, defeating a Scythian cavalry force. Afterward, some Scythians may have been absorbed into his army.
Post-Alexander (Hellenistic Period)
After Alexander’s death, his generals (the Diadochi) continued to use Thracian and Scythian cavalry in their wars. The dating of the harness (325–300 BCE) fits into this transition period, meaning it could have been made for a cavalry officer serving under Alexander or one of his successors.
How This Connects to the Harness Decoration
If this piece was indeed found with a mix of Amazon and Satyr iconography, it could reflect the hybrid cultural influences of Alexander’s diverse army. The Scythians revered Amazons in their own mythology, and the Greeks often associated Scythian warriors with Amazons.
Given that elite cavalry officers often decorated their horse gear with symbolic imagery, this harness could have belonged to a Thracian or Scythian officer who served in Hellenistic campaigns."
I didn't think Scythians ever used chariots, though, and I've never seen any Scythian art that depicted chariots so I mentioned this to ClaudeAI. It responded:
"The British Museum's note about parallels to horse trappings found in southern Russia (Scythian territories) seemed at first to support either mythological interpretation, but actually it raises an important challenge:
Scythians were renowned horseback riders and warriors, but they weren't chariot users in this period. Their art and artifacts overwhelmingly show mounted horsemen rather than chariots. They were famous for their mastery of mounted archery and cavalry tactics."
I then asked ChatGPT, "Since this piece was found in a tomb in Elis, the city in control of the Olympic games, did the Thracians participate in the Olympic games?"
ChatGPT replied, "Yes, Thracians did participate in the Olympic Games, but their involvement was somewhat limited due to their regional status and political relationships with the Greek city-states. Here’s what we know:
Thracians and the Olympic Games
Greek Perception of Thracians
The Greeks saw Thracians as "barbarians" (non-Greek speakers), but this did not automatically exclude them from the Olympic Games.
Greek colonies in Thrace (e.g., Abdera, Maroneia, and Amphipolis) were culturally integrated with the Hellenic world, and some Thracians became Hellenized over time.
Thracians in the Olympics
Thracian aristocrats and rulers who had Greek connections or had been granted citizenship in a Greek polis could compete.
There is evidence that some Thracian athletes participated, especially in equestrian events, since Thrace was well known for its horse-rearing culture.
Famous Thracians in Greek Athletics
The Odrysian Thracian kings (who ruled much of Thrace in the Classical period) adopted Greek customs, including participation in Greek festivals and possibly athletic contests.
Kotys I (r. 383–359 BCE) and Seuthes III (r. 330–300 BCE) were both known to have cultivated ties with Greece and may have sponsored athletes or horses for the games.
Thracian cavalry units in Alexander the Great’s army were among the best horsemen of the era, so it's likely that Thracians participated in Olympic equestrian events, even if not as frequently as Greeks from major city-states.
Connection to This Burial in Elis
Since Elis controlled the Olympic Games, it is possible that this tomb belonged to someone involved in equestrian events—perhaps a Thracian mercenary or cavalry officer who settled in Greece. The presence of horse-related burial goods, including harness decorations, supports this theory.
If the Amazonian and satyr motifs were part of a Thracian identity, it could suggest that the deceased was a Thracian with strong Greek ties, possibly even a competitor in Olympic equestrian events."
Then I asked, "Has there been any Thracian grave goods found depicting Pelops and Hippodamia?"
ChatGPT replied: "Depictions of Pelops and Hippodamia are relatively rare in Thracian grave goods. While the myth of Pelops and Hippodamia was significant in Greek culture, particularly in connection with the Olympic Games, it does not appear to have been a prominent motif in Thracian art or burial practices. Thracian grave goods often feature local deities, animal motifs, and scenes reflecting their own cultural narratives. The absence of Pelops and Hippodamia imagery in known Thracian burials suggests that this particular myth was not commonly adopted or represented in Thracian funerary contexts."
So, I asked, "Did Thracian funerary art of the 4th century BCE depict chariots?"
ChatGPT replied: "Yes, Thracian funerary art from the 4th century BCE does include depictions of chariots, reflecting the significance of chariots in Thracian culture and their association with elite status and the afterlife.
"Thracian Tomb of Kazanlak: Dating to the late 4th century BCE, this tomb features intricate wall paintings, including scenes of chariots. The murals depict a noble couple in a chariot, possibly representing a journey to the afterlife or a display of their high status.
"Ostrusha Tomb: Located in the "Valley of the Thracian Rulers," the Ostrusha Tomb complex, dating to the mid-4th century BCE, includes a chamber with painted scenes. While specific depictions of chariots in this tomb are not detailed in the available sources, the complex artistry and themes suggest the importance of chariots in Thracian funerary practices.
"These examples illustrate that chariots were a prominent motif in Thracian funerary art during the 4th century BCE, symbolizing power, prestige, and the journey to the afterlife."
"So in Thracian funerary art of the 4th century, chariots symbolized conveyance to the afterlife?" I asked.
"Yes, in 4th-century BCE Thracian funerary art, chariots often symbolized conveyance to the afterlife, as well as status, power, and heroic identity. This aligns with broader Indo-European traditions where chariots were linked to both warfare and divine journeys.
Symbolism of Chariots in Thracian Funerary Contexts
Journey to the Afterlife
"Chariots were commonly depicted in Thracian tombs, often carrying a noble or warrior figure. This suggests a belief in a continued existence beyond death, where the deceased was transported to the realm of the afterlife in a grand procession.
"Similar beliefs appear in Greek and Scythian traditions, where chariots were seen as vehicles for heroic or divine passage.
Elite Status and Heroic Identity
"The presence of chariots in tomb paintings and grave goods indicates that the deceased was likely a high-ranking warrior, noble, or even a ruler.
"The Tomb of Kazanlak (late 4th century BCE) depicts a chariot scene where a noble and his consort are shown in a ceremonial or afterlife journey.
"The Sveshtari Tomb (early 3rd century BCE but reflecting earlier traditions) also emphasizes chariot-related themes in its reliefs.
Funerary Rituals Involving Chariots
"In some Thracian burials, actual horse skeletons and chariot remains have been found, indicating that chariots were sometimes physically buried with the deceased to facilitate their journey to the afterlife.
"This practice is comparable to Scythian and Celtic burials, where elite warriors were interred with their horses and weapons.
Connections to Greek Mythology and Olympic Themes
"If your artifact from Elis (home of the Olympic Games) depicts a chariot race or charioteer, it could reference Pelops and Hippodamia, whose myth centers on a deadly chariot contest. Given Thracian exposure to Greek culture, it’s possible that Greek mythological themes merged with Thracian funerary symbolism."
So, although I learned a lot of really fascinating information, none of my inquiries narrowed the identification significantly. I tried one more time with my observation that the male bearded figure appeared to be wearing either a Phrygian cap or a Macedonian-style helmet. I asked ClaudeAI (I was out of processing time for ChatGPT) about that possibility and it said:
"If that's a Phrygian cap on the bearded figure, that's a strong identifier for Pelops, who was known to be from Phrygia. Combined with:
The findspot in Elis
The Olympic connection (Pelops was considered the founder of the Olympic Games)
The presence of horses (key to the chariot race myth)
The dramatic expressions fitting the life-or-death nature of the race
The right figure potentially being Hippodamia rather than bearded
The Hellenistic date when such dramatic scenes were popular
The fact that this was found in a Greek rather than Scythian context
...I'm now much more confident this depicts Pelops and Hippodamia during their famous chariot race. The Phrygian cap is really the clinching detail - it's a clear identifier for Pelops that helps disambiguate this from other possible mythological scenes."
[On the other hand,] "A Macedonian helmet would be particularly appropriate for the 325-300 BCE date, right after Alexander's campaigns. That could shift us back toward the Diomedes and Athena interpretation, since:
"The date aligns with the period of strong Macedonian influence
What I was seeing as a Phrygian cap could indeed be a Macedonian helmet on Diomedes
"The right figure, which we established isn't necessarily bearded, could be Athena
"The dramatic expressions would fit a martial/heroic scene
The horses below would be appropriate for both deities (Athena as a military goddess, Diomedes as a hero associated with horses)
"The Macedonian helmet identification also helps explain the British Museum's note about parallels with finds in southern Russia, as Macedonian military equipment and artistic styles spread extensively into those regions during this period."
AI usage note: Today, with all of the publicity surrounding Deepseek, the Chinese-developed AI tool, I gave it a try but it was incapable of analyzing an uploaded image except to extract text from it (in other words, it had character recognition but that's all). For my work with art history, this lack of ability was a major shortcoming. This may also be one of the reasons why Deepseek was able to be developed relatively quickly compared to more graphically aware tools like ChatGPT or ClaudeAI.
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