by Mary Harrsch © 2025
This relief was attached to a bronze hydria found in a tomb on Telos, a small Greek island between Kos and Rhodes. The British Museum notes that it is a rare example of the combination of both bronze casting and hammered sheet metal figures that were silvered to survive antiquity. Its depiction of what is thought to be Eros and Psyche is also one of the earliest depictions of the couple in ancient art.
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| Bronze hydria that uses both cast and hammered techniques to depict one of the earliest representations of Eros and Psyche dated from 325-300 BCE from the island of Telos. Photographed at the British Museum by Mary Harrsch. |
ClaudeAI pointed out, "In the late 4th century BCE, while Eros was very commonly depicted in Greek art (particularly on pottery and metalwork), paired representations of Eros and Psyche were relatively rare during this period.
The iconography of Eros and Psyche evolved significantly from this late 4th century BCE representation through the Hellenistic and Roman periods.
During the Hellenistic period (3rd-1st centuries BCE), we see:
More frequent pairing of the figures together
Introduction of butterfly wings for Psyche in some depictions
Greater emotional expressiveness in their interactions
Appearance on a wider variety of media including terracotta figurines and wall paintings
Increased narrative elements from their developing mythology
The Roman period (particularly after Apuleius's 2nd century CE text [The Golden Ass]) brought major changes:
Full narrative cycles depicting their story, especially in sarcophagi reliefs
Psyche consistently depicted with butterfly wings, symbolizing the soul's transformation
More complex multi-figure compositions showing various episodes from their tale
The theme becoming particularly popular in funerary art, where it symbolized the soul's journey and divine love
Integration into domestic decoration, especially in wall paintings from Pompeii and Herculaneum
This makes this late 4th century BCE hydria particularly interesting as it represents an early stage in their paired iconography, before many of these later conventions were established. The intimate but relatively simple composition, without the later narrative elements or Psyche's butterfly wings, shows us how the artistic representation of their relationship began."
ClaudeAI, though, seemed unsure the female figure is Psyche. I also asked about what appears to be the remnant of a child between the two figures but Claude AI had no suggestion for its identify and the British Museum does not reference it. The museum also did not indicate a possible production workshop for the piece.
Since the island became part of the Seleucid Empire during its production period, I asked ChatGPT about metalworking production centers in Macedon and it replied:
"Bronze funerary art from ancient Macedon, including vessels and other artifacts, demonstrates exceptional craftsmanship, and scholars have debated the origins of these objects and the metalworking techniques they display. Here's a summary of what is known:
Macedonian Bronze Metalworking Centers
Evidence for Local Production in Macedon
Archaeological finds from Macedonian royal tombs, such as those at Vergina (Aegae) and Derveni, suggest the presence of highly skilled metalworkers in ancient Macedon.
The intricate bronzes, including kraters, hydriae, and armor, indicate that workshops in the region produced high-quality metalwork tailored for the elite class. These artifacts were often decorated with reliefs and inlays, techniques seen in bronzes like the British Museum hydria.
The discovery of bronze molds and tools at sites in Macedon supports the idea of local production.
Stylistic Influence from Greece and Beyond
Macedonian metalwork often combines Greek artistic motifs with distinctive local styles. This fusion suggests that Macedonian artisans were influenced by broader Hellenic traditions while developing their own regional aesthetic.
Connections to Asia Minor
Bronze Techniques and Styles from Asia Minor
The hammered and cast techniques used in bronzes, like the British Museum hydria, are consistent with those found in Asia Minor (e.g., Sardis, Ephesus). These techniques were well-developed in Anatolian workshops and may have influenced Macedonian craftsmanship through trade and cultural exchange.
Asia Minor was known for its advanced bronze production as early as the Bronze Age, and these traditions continued into the Classical and Hellenistic periods.
Imports and Mobility of Artisans
It's possible that some bronze objects found in Macedon were imported from Asia Minor or other regions where workshops specializing in such techniques were active.
Alternatively, artisans from Asia Minor may have traveled to Macedon, bringing their skills and techniques with them. This was common in the ancient world, especially in regions like Macedon, where royal patronage provided lucrative opportunities.
Conclusion: A Hybrid Tradition
While a local bronze-working tradition undoubtedly existed in ancient Macedon, it likely drew heavily from influences and techniques originating in Asia Minor and the broader Greek world.
The hammered and cast techniques seen in Macedonian funerary bronzes suggest either:
A hybridization of local and imported methods, or
A continuation of techniques learned from regions like Asia Minor.
The exact origins of specific artifacts often remain speculative without inscriptions or definitive workshop evidence, but the artistic and technological interplay between Macedon and Asia Minor during the late Classical and Hellenistic periods is evident."
I remembered seeing the huge cache of bronze ware found in the tomb thought to be that of King Croesus at an exhibit I photographed at the Penn Museum in Philadelphia. So, I asked ChatGPT about evidence of the combination of the cast and hammered techniques in those grave goods dated to the 6th century BCE.
"Yes, the combination of hammered and cast techniques was employed in the creation of bronze vessels found in the so-called "Tomb of Croesus" in Asia Minor. A notable example is a silver oinochoe from the İkiztepe Tumulus, where the body and foot were hammered separately, and the handle was cast; all parts were then joined by soldering.
"This method of combining hammered and cast components was a hallmark of Lydian metalwork during this period, reflecting the advanced craftsmanship and artistic sensibilities of the time."
Since the British Museum's hydria is dated from 325 - 300 BCE, and was purchased without archaeological context, I was curious how the piece was dated.
ChatGPT suggested: "Dating artifacts like the bronze hydria at the British Museum, especially when they lack an archaeological context, typically relies on several factors:
1. Stylistic Analysis
Motifs and Iconography: The depiction of Eros and Psyche on the hydria is consistent with themes that became popular in the late Classical to early Hellenistic periods. The myth of Eros and Psyche gained prominence during this time, often appearing in art that conveyed emotional and narrative depth.
Relief Style: The style of the figures, including their proportions, clothing, and gestures, reflects trends from the late 4th century BCE. For example, the flowing drapery and detailed anatomy are hallmarks of this period.
2. Technical Features
Metalworking Techniques: The combination of cast and hammered bronze, along with the application of silvering, reflects a high level of craftsmanship typical of late Classical and early Hellenistic workshops.
Construction Methods: The specific techniques used in assembling the hydria (e.g., riveting cast parts to a hammered body) match those seen in other dated artifacts from this timeframe.
3. Comparative Examples
Similar hydriae and bronze vessels with documented archaeological contexts or inscriptions have been securely dated to the late 4th century BCE. These provide a reference for stylistic and technical parallels.
For example, other hydriae using cast and hammered techniques found in Macedonian tombs or other Aegean contexts are dated to roughly the same period.
4. Cultural and Functional Context
The use of hydriae for funerary purposes (libations and ash storage) aligns with practices of the late Classical and early Hellenistic periods, when elaborate burial customs were common.
5. Scientific Analysis (if available)
The museum might have employed scientific techniques, such as isotope analysis of the metal or corrosion studies, to confirm its age. However, these methods are more often used to verify authenticity rather than to refine a precise date.
In the absence of provenance, dating relies heavily on stylistic and technical comparisons with securely dated objects, combined with knowledge of the cultural and artistic trends of the period. For the British Museum's hydria, all these factors collectively point to a date between 325 and 300 BCE."
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