by Mary Harrsch © 2025
Another interesting terracotta figurine that I photographed at the British Museum in 2017 is this youth carrying a quiver with the pommel shaped like a swan made in Myrina, Turkey and dated to between 50 BCE - 30 CE.
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| Funerary terracotta figurine of a youth carrings a quiver with a swan-shaped pommel 50 BCE - 30 CE produced in Myrina, Turkey. Photographed by Mary Harrsch at the British Museum. |
ChatGPT observed: "Swan Symbolism in Funerary Contexts
Swans were frequently associated with transitions, especially the journey from life to death. Their connection to water, liminal spaces, and gracefulness made them potent symbols of the soul's passage to the afterlife.
In Greek tradition, swans were also thought to sing a final, beautiful song before death, embodying notions of a serene and poetic departure. This imagery could resonate strongly in a funerary setting, particularly for a youth, suggesting purity and peace in passing.
Youth and the Swan: The swan’s associations with beauty, love, and music (via Apollo or Aphrodite) could reflect aspirations for the youth’s idealized qualities in the afterlife.
The inclusion of the quiver suggests the youth's potential or aspirations, aligning with the heroic imagery often seen in depictions of young men in classical art. It might evoke the youthful spirit, courage, or readiness to take on life's challenges—even in the symbolic context of the afterlife.
Role of Terracotta Figurines in Funerary Practices: Myrina terracotta figurines were often placed in graves as personal, protective, or symbolic items. Such objects could serve as companions for the deceased, reflecting their identity, interests, or social ideals.
A figurine of this kind may have been intended to protect or guide the youth in the afterlife, with the swan acting as a mediator between worlds or a symbol of divine guardianship.
Cultural and Emotional Significance: Grave goods often reflected the hopes and wishes of the living for the deceased. This figurine could symbolize the family’s desire for the youth’s soul to be carried gracefully to the afterlife, mirroring the swan’s serene elegance.
The figurine's craftsmanship and iconography would also convey the family’s care and reverence for the deceased, commemorating their life and aspirations.
This figurine’s combination of a youthful figure and the swan’s layered symbolism makes it an especially poignant choice for a grave good, reflecting both the youth’s life and the family’s hopes for their peaceful journey into the afterlife.
Swan Iconography in other Youth Grave Goods:
Terracotta and Bronze Figurines: Figurines of youths with swans, or swans alone, have been found in Greek and Roman graves, particularly for young individuals. These items symbolized purity, grace, and the transition to the afterlife.
In some cases, the swan served as a psychopomp—a guide for the soul—associated with deities like Apollo or Hermes who were responsible for leading souls to the underworld.
Loutrophoros Vases: While not directly swan-shaped, loutrophoroi (vases used for funerary and nuptial rites) sometimes featured swan motifs. These vases were placed in graves of unmarried youths to symbolize their unfulfilled life stages, and swans’ connection to love and beauty complemented these themes.
Jewelry and Personal Items: Swans appear in jewelry and small decorative items, such as pendants or engraved gems, often buried with young girls. These may symbolize beauty, grace, and divine protection in the afterlife.
In some funerary contexts, swan motifs on jewelry have been linked to Aphrodite, emphasizing themes of love and untimely loss.
Swan Motifs in Mythology and Their Funerary Relevance
Apollo and Youth: Swans were sacred to Apollo, a god frequently associated with youths and transitions (life to death, childhood to adulthood). Grave goods featuring swans could signify the youth’s connection to the divine or an invocation of Apollo’s protection.
Leda and the Swan: While the myth of Leda and Zeus (in swan form) is more associated with eroticism and fertility, its use in funerary contexts could convey themes of transformation or divine encounter. Such motifs may reflect the hope for a divine blessing in the afterlife.
Orpheus and the Swan Song: The concept of the "swan song" is tied to the myth of Orpheus, who used music to cross between life and death. This imagery is fitting for youths, as it reflects both beauty and the melancholy of a life cut short.
Archaeological Examples:
Graves in Myrina: Myrina, known for its terracotta production, often crafted figurines of youths with swans or other animal companions. These figurines were frequently found in the graves of children and adolescents, emphasizing themes of innocence and protection.
Hellenistic Burial Sites: In Hellenistic Greece, swan motifs appeared on sarcophagi, stelae, and figurines, especially in graves of the young. These swans likely served as mediators between the mortal and divine realms.
Roman Funerary Art: Roman graves occasionally featured swan imagery in frescoes or reliefs, often in conjunction with pastoral or idyllic scenes. These might reflect an idealized view of the afterlife, particularly for youths."
Myrina was noted for its particularly colorful figurines and I see the boy's himation still retains traces of its original rose-madder color. I asked ChatGPT if rose-madder had a particular symbolism besides its vibrance.
ChatGPT observed: "Rose-madder (a pigment derived from the roots of the Rubia tinctorum plant) was a widely used dye in the ancient Mediterranean and had particular connotations in art and textiles.
1. Symbolic Significance of Rose-Madder
Vitality and Youthfulness: The reddish hue of rose-madder may symbolize vitality, life, and youth, making it particularly appropriate for depicting a young figure. In funerary contexts, such colors might represent the lost vigor and potential of the deceased.
Transition and Sacrifice: Red tones were often associated with transitions, such as the movement between life and death. Rose-madder’s gentle hue might soften the mournful tone, emphasizing a serene rather than tragic passing.
Connection to the Divine: In Greek and Roman art, red and its variants were often used to highlight important figures, divine beings, or heroic qualities. The use of rose-madder on the himation could suggest the youth’s elevated status in the afterlife or their closeness to the divine.
2. Cultural and Artistic Context
Prestige and Expense: Rose-madder was considered a luxurious pigment due to the labor-intensive process of extracting the dye. Its presence on the figurine’s clothing may reflect the importance of the deceased or the family’s care in providing high-quality grave goods.
Common Use in Himation Depictions: Artists often used reddish hues to depict garments in terracotta figurines, as the color created visual contrast and added warmth. This enhanced the figurine’s lifelike and decorative appeal.
Fading Over Time: Rose-madder pigments were prone to fading, so what appears as a soft rose color today might have originally been brighter and more vivid, further amplifying its aesthetic and symbolic impact.
3. Funerary Context
Mourning Colors: While black and white were common mourning colors in ancient Greece, red was occasionally used in funerary art and rituals, particularly in association with offerings and sacrifices. The rose-madder on the himation may evoke a protective or commemorative function.
Hope for Renewal: The use of color on grave goods, particularly soft and warm tones like rose-madder, may symbolize hope for renewal and beauty in the afterlife. It could reflect the family’s wish for a peaceful transition and an idealized existence beyond death.
4. Gender and Youth:
Association with Femininity or Innocence: Lighter reddish hues like rose-madder were often associated with youthfulness and femininity in Greek and Roman iconography. Even when depicting males, the use of rose-madder could evoke innocence or idealized beauty.
Ceremonial Overtones: In some contexts, reddish hues on clothing were linked to ceremonial or festive attire, perhaps highlighting the symbolic importance of the figure in both life and death.
In conclusion: The traces of rose-madder pigment on the youth’s himation contribute to the figurine’s layered meaning. The color’s associations with vitality, luxury, and transition enhance its appropriateness as a funerary object for a youth, reflecting both the deceased’s identity and the family’s hopes for their afterlife."
This particular figurine was donated to the British Museum by British archaeologist George Dennis in 1893 near the end of his consular service in Smyrna. According to ClaudeAI, excavations at Myrina, particularly focusing on its famous terracotta figurines, took place in the 1880s. Major work was conducted by French archaeologists Edmond Pottier and Salomon Reinach during this period. Given Dennis's position as consul in Smyrna and his known archaeological interests (he had previously done significant work in Etruria), he would have been well-placed to visit or maintain awareness of these excavations.
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