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Mistress of Animals
Ancient Greek mythology, religion and art
German Granny Porn Video ((new)) 〈POPULAR - PICK〉
This report examines the landscape of "German Granny" (Oma) content as of early 2026, covering both the media consumed by German grandmothers and the popular digital content featuring them. 1. Media Consumption: What German Grandmothers Watch
German seniors, often referred to in marketing as the "Best Ager" demographic, remain a core audience for traditional linear television and regional cultural events. Television & Film Trends: Classical & Cultural Programming: Large-scale festivals like the Hamburg International Music Festival 2026 and classical tours such as the Traumkonzerte Tour 2026 are major draws for this demographic. Tradition-Based Content:
Shows and movies often focus on the "Perfect Grandparent" archetype—depicting seniors as family mentors or "Golden Agers" who are adventurous and full of zest. Holiday Staples:
"Dinner for One" remains an essential cultural fixture, particularly during New Year's Eve, representing a shared intergenerational humor. Romantic Period Pieces:
2026 marks the 200th anniversary of composer Carl Maria von Weber's death, with major operatic celebrations in Dresden expected to attract significant senior viewership. Representation Challenges:
Research indicates that while positive "Golden Ager" stereotypes exist, older women are still underrepresented in major films (comprising only about 1 in 4 characters over 50) and are frequently portrayed through "frumpy" or "feeble" stereotypes. Wanderlust Travel Magazine 2. "Oma" as Content: Social Media Influencers
A distinct trend has emerged where German grandmothers have become stars of social media, often bridging the gap between traditional values and modern digital humor.
German "Granny" (Oma) culture in entertainment has evolved from traditional domestic roles into a vibrant, multi-generational media phenomenon. Modern German grandmothers are no longer just characters in folktales; they are digital influencers, activists, and icons of "slow entertainment". The Digital Oma: From Bedtime Stories to TikTok Stars
A new wave of grandmothers has transformed the German digital landscape by blending nostalgic traditions with modern platforms. MarmeladenOma ("Jam Grandma"): Helga Sofia Josefa
, an 85-year-old from Germany, became a YouTube and Twitch sensation. Every Saturday, she reads classic fairytales like Snow White to a community she calls her "grandchildren," providing calming, nostalgic content that helps viewers de-stress. Fitness and Lifestyle Icons: Erika Rischko
, at age 81, became a TikTok fitness star by sharing plank challenges and synchronized dance routines with her husband. Similarly, Mamaw Ingeborg
shares old family photos and daily exercise routines, capturing the "European grandma" aesthetic of staying active and stylish as one ages.
Humor and "Super German" Personalities: Content creators like Oma Werner
, an 88-year-old reviewing "matcha lattes" (which he calls "sludge slippers") and going to festivals, highlight a playful clash between Gen Z trends and traditional German sensibilities. Traditional Media and "Kult" Entertainment
For the older generation, media consumption often centers around long-standing television staples and community-focused stories. Granny proves hit with YouTube bedtime tales - DW News
The Evolution of German Granny Entertainment and Media Content
The landscape of German media has undergone a fascinating shift. Gone are the days when the "German Granny"—or Oma—was depicted solely as a background character knitting by the heater. Today, German Granny entertainment and media content is a booming sector, blending traditional values with surprising digital savvy.
From public broadcasting staples to viral TikTok sensations, the representation of elderly women in Germany has moved from the periphery to the center stage.
1. The Television Stalwarts: Public Broadcasting (ARD & ZDF)
For decades, German media for the older generation was synonymous with public broadcasters. These networks have mastered the art of "Comfort TV" (Wohlfühlfernsehen).
Telenovelas and Daily Soaps: Shows like Rote Rosen (Red Roses) and Sturm der Liebe (Storm of Love) specifically target an older female demographic. They often feature mature protagonists navigating romance, family drama, and career shifts later in life.
Crime Dramas (Krimis): Germany’s obsession with crime procedurals like Tatort remains a cross-generational pillar. However, series like Mord mit Aussicht often feature sharp-witted older women who use their "underestimated" status to solve crimes better than the police.
The "Herzkino" Slot: Sunday night movies on ZDF are a cultural institution, offering scenic, emotional stories that provide a reliable escape for millions of viewers. 2. The Rise of the "Gran-Fluencer" German Granny Porn Video
The most significant trend in recent years is the emergence of the German "Gran-fluencer." Breaking the stereotype that technology is for the young, German grandmothers are taking over social media.
Cooking and Baking: Traditional German recipes are being preserved via YouTube and Instagram. Channels like Oma Live or individual grandmas sharing their secrets for the perfect Apfelstrudel have garnered hundreds of thousands of followers.
Authentic Lifestyle: Unlike the highly filtered world of Gen Z influencers, German Granny content thrives on authenticity. They share gardening tips, political opinions, and "day in the life" snippets that resonate because they feel unscripted and nostalgic.
Fashion and "Silver Style": Older German women are increasingly visible in the "Silver Economy." Media content focusing on aging gracefully, sustainable fashion, and "Best Ager" modeling is challenging old-fashioned notions of what an Oma should look like. 3. Podcasts and Audio Content
The "Silver Generation" in Germany is one of the fastest-growing segments for podcast consumption. Content specifically tailored to this demographic often focuses on:
Oral History: Podcasts where grandmothers recount their experiences of post-war Germany, providing a living library of the country’s history.
Grandparenting Advice: Content that helps grandmothers navigate their roles in modern, often digital-first families. 4. Why This Content is Exploding
The surge in German Granny media isn't accidental. It’s driven by two main factors:
Demographics: Germany has one of the oldest populations in the world. The "Silver Society" has significant purchasing power and more free time to consume media.
The "Oma-Effekt": In a fast-paced, digital world, there is a collective yearning for the perceived stability and "coziness" (Gemütlichkeit) associated with the grandmother figure. Conclusion
German Granny entertainment and media content has moved far beyond the stereotypical "knitting grandmother." It is now a diverse field encompassing high-production TV dramas, savvy social media branding, and deep historical storytelling. Whether it’s through a screen or a speaker, the German Oma is proving that she isn't just watching the media—she’s defining it.
Here are some points to consider:
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Content Regulation and Ethics: The production, distribution, and consumption of adult content are regulated by laws in many countries, including Germany. These laws aim to protect individuals from exploitation and ensure that content is produced and shared ethically.
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Social and Cultural Perspectives: The interest in and creation of content featuring older adults can reflect broader societal trends and attitudes towards aging, sexuality, and sexual expression. In some cultures, there's a growing recognition of the sexual agency of older adults, challenging traditional stereotypes about aging and sexuality.
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Impact on Individuals and Society: Discussions around adult content often involve considerations of its potential impacts on individuals (such as body image, sexual expectations, and mental health) and on society more broadly (including aspects related to gender, age, and sexual norms).
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Critical Consumption: For those who engage with adult content, it's crucial to do so critically, considering issues like consent, the treatment of performers, and the potential for exploitation.
If you're exploring this topic out of professional interest, academic research, or personal curiosity, it's beneficial to consult reputable sources and studies that offer insights into the production, consumption, and implications of such content. Libraries, academic journals, and reputable media outlets can be valuable resources for gaining a well-rounded understanding.
The landscape of German Granny entertainment and media content is a unique blend of traditional television dominance and a rapidly growing digital presence where grandmothers—known affectionately as Omas—are becoming influential creators. While older generations in Germany remain the primary audience for classic public broadcasting, a new wave of "Silver Influencers" is redefining the "Oma" image through fitness, storytelling, and political activism. Traditional Media and Television Classics
For many German grandmothers, television remains a central source of entertainment, with a strong preference for domestic productions and long-running series.
Tatort (Crime): A staple of German culture since 1970, this regional crime series remains a Sunday night ritual for millions.
Sturm der Liebe (Storm of Love): A wildly popular "telenovela" or soap opera that has been running since 2005, providing daily romantic drama.
Schwarzwaldklinik & Traumschiff: Nostalgic favorites like The Black Forest Clinic and The Dream Ship continue to be watched for their comforting, high-production-value depictions of healthcare and travel. This report examines the landscape of "German Granny"
The Empress: Historical dramas about German royalty, such as this recent hit, appeal to the generational interest in European history and traditional costume. The Rise of the "Oma" Influencer
A significant shift in German media is the emergence of seniors as active digital creators, often supported by their grandchildren to bridge the technology gap.
MarmeladenOma (YouTube/Twitch): 85-year-old Helga Sofia Josefa became a viral sensation by reading fairytales like Snow White and Hansel and Gretel. Her slow-paced, nostalgic content acts as a "calming" influence for viewers of all ages.
Erika Rischko (TikTok): Known as the "Fitness Granny," Rischko gained international fame during the pandemic by sharing plank challenges, pull-ups, and synchronized dance routines with her husband.
The Oma Way: Authentic blogs and social media channels like The Oma Way focus on passing down traditional values, German recipes, and practical gardening tips. Cultural and Political Content
German grandmothers are also represented in media through their active roles in society, challenging the "defenseless granny" stereotype. German Girl in America - Facebook
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For many German grandmothers (Omas), entertainment is a blend of long-standing traditions and a growing curiosity for digital connection. Whether it’s following the latest plot twists in a beloved Vorabendserie (early evening series) or sharing photos of their garden on WhatsApp, their media consumption reflects a balance of analog comfort and modern adaptation. Popular TV and Magazines
Television remains a cornerstone of daily life for older women in Germany, often serving as a rhythmic marker for the evening. Crime & Drama: Classics like Tatort (the long-running Sunday night crime ritual) and Sturm der Liebe (a daily soap opera) are staples. Medical & Historical Series: Shows like Charité (historical medical drama set in Berlin) or The Empress (Sissi) resonate for their educational and cultural depth.
Lifestyle Magazines: Print culture is still very much alive, with high-circulation titles like (country living and gardening) and Bild der Frau (practical advice and human interest) being widely read. Hobby-Driven Content
German Omas often engage in "slower" media that aligns with their hands-on interests.
Crafting & Gardening: Content related to Handarbeiten (handicrafts) like knitting, crocheting, and sewing is highly popular, often passed down through generations.
Cultural Reading: Books about local history, family sagas, and even heavy topics like the Holocaust are common, as this generation values literature that demands focused attention. The Digital Shift
While they grew up in a world without the internet, German seniors are increasingly "online".
Social Connection: Roughly 81% of senior citizens in Germany now regularly go online, a significant jump since the pandemic.
Preferred Platforms: Facebook remains a leading platform for this age group to keep in touch with family, though many also use WhatsApp for messaging.
Social Media Grandmas: A new trend has emerged where older German women become creators themselves—sharing TikTok videos about traditional cooking or singing, often bridging the gap between generations. Traditional Outings
Beyond the screen, social life often revolves around community and nature.
Kaffee und Kuchen: The tradition of meeting for coffee and cake is a vital social "media" of its own.
Nature & Clubs: Activities like Wandern (hiking) and participating in local Vereine (clubs) provide offline entertainment and community bonding. Social and Cultural Perspectives : The interest in
Title: Oma's Got Talent: The Rise of German Granny Entertainment and Media Content
Introduction:
Germany has a rich cultural heritage, and its entertainment and media industry is no exception. While the country is known for its high-brow art and culture, there's a new trend emerging that's taking the nation by storm: German granny entertainment. Yes, you read that right - German granny entertainment! From comedy shows to YouTube vlogs, German grandmothers, affectionately known as "Omas," are becoming the stars of the show.
The Oma Phenomenon:
In recent years, German media has seen a surge in content featuring older women, particularly grandmothers, as the main attraction. These Omas are not your average seniors; they're feisty, funny, and unapologetically themselves. They're shattering stereotypes and redefining what it means to be a granny in Germany.
TV Shows and Comedy:
One of the most popular examples of German granny entertainment is the TV show "Oma wird zum Hipster" (Granny Becomes a Hipster). The show features a group of older women who are introduced to modern technology and trends, with hilarious results. From trying to use a smartphone to attempting to rap, these Omas are giving younger generations a run for their money.
Another hit show is "Die Oma-Show" (The Granny Show), which features a group of older women competing in various challenges, such as cooking, singing, and dancing. The show is a heartwarming and entertaining look at the lives of these vibrant women.
YouTube and Social Media:
But German granny entertainment isn't limited to TV shows. Many Omas have taken to YouTube and social media to share their talents and personalities with the world. Channels like "Oma's Kitchen" and "Granny's World" feature older women sharing recipes, life stories, and words of wisdom.
One popular YouTuber, Oma Liesel, has gained a massive following for her no-nonsense approach to life and her sharp wit. Her channel features videos on topics ranging from cooking to politics, all presented with a healthy dose of humor and attitude.
Why Oma Content is So Popular:
So, why are German Omas suddenly so popular? One reason is that they represent a refreshing change from the usual youthful fare that's often presented in media. These women have lived through significant historical events, and their perspectives and experiences are invaluable.
Additionally, Oma content taps into a desire for authenticity and warmth in a world that's increasingly digital and superficial. These women are unapologetically themselves, with no pretenses or filters. They're relatable, endearing, and entertaining.
Conclusion:
German granny entertainment and media content is here to stay. With their sharp wit, sassy attitude, and infectious charm, Omas are winning over hearts and minds across the nation. Whether it's through TV shows, YouTube vlogs, or social media, these women are redefining what it means to be a granny in Germany. So, next time you're looking for some entertaining and heartwarming content, be sure to check out what's happening in the world of German granny entertainment!
Some popular German Omas to check out:
- Oma Liesel (YouTube)
- Oma's Kitchen (YouTube)
- Granny's World (YouTube)
- "Oma wird zum Hipster" (TV show)
- "Die Oma-Show" (TV show)
I hope you enjoy this content piece on German Granny Entertainment and Media Content!
Conclusion: More Than Just Tatort and Cake
German Granny Entertainment is not a niche — it’s a cultural pillar. It values patience over plot twists, voice over visuals, and memory over novelty. In a fractured media landscape, these offerings provide a rare thing: unrushed, respectful, and deeply human content. And as younger generations burn out on fast media, they’re increasingly tuning in — for the recipes, the calm, and maybe a little of Oma’s wisdom.
“Früher war nicht alles besser,” says Oma Margret, 79, host of a podcast called Plätzchen & Plauderei. “Aber manches war langsamer. Und das war schön.”
(“Not everything was better in the past. But some things were slower. And that was nice.”)
End of text.
5. Cultural Implications
- The video underscores how stereotypical caricatures can be both a source of humor and a point of contention.
- It highlights the need for media literacy: viewers often assume authenticity, yet the clip was staged for comedic effect.
2. Cross‑Cultural Translation
Humor that relies on accent and exaggerated gestures translates well across languages because it leans on visual comedy rather than wordplay. However, cultural context shapes interpretation—German audiences are more likely to perceive it as self‑deprecating, while foreign audiences treat it as exotic novelty.
4. Social Media: The Grandfluencer Revolution
Contrary to cliché, German grandmas are on social media — in their own way.
- Instagram: Accounts like @oma_lieselotte (112k followers) post photos of cake, dachshunds, and comments on current politics (“Merkel war besser, aber Laschet hat nette Augen”).
- YouTube: Omas gegen Rechts (Grannies Against the Far Right) produce low-tech reaction videos to news clips, filmed on a tablet with a floral sofa backdrop. Their unpolished sincerity goes viral regularly.
- TikTok: The hashtag #OmaTricks shows grandmas demonstrating how to remove red wine stains with salt, fold fitted sheets, or make Rouladen — often watched by homesick students.
Commercial brands have noticed. Dr. Oetker (baking products) runs “Oma’s Kitchen” live streams every Thursday, where an 82-year-old former home economics teacher answers questions in real-time.
4. Influencer Impact
- Three macro‑influencers (combined follower count > 12 M) reposted the clip, each adding a localized caption.
- Network analysis shows these nodes accounted for ≈ 38 % of total shares, confirming the “influencer catalyst” effect.
Beyond “Tatort”: Why “German Granny Entertainment” is the Coziest Genre You’re Not Watching
When most international viewers think of German television, they think of two things: hyper-violent crime scenes (Tatort) or bleak WWII documentaries. But if you dig a little deeper into the German media landscape, you will find a demographic juggernaut that quietly dominates the ratings: The "Omi" (Granny) entertainment complex.
I’m not talking about nursery rhymes. I’m talking about a sophisticated (and surprisingly addictive) ecosystem of content designed for the silver-haired generation—content that is currently teaching Gen Z and Millennials a serious lesson about the art of slow living.
Here is your guide to the world of German Granny media. |
An ivory plaque with a depiction of
the "Mistress of Animals" in the
Peloponnesian tradition. 700-650 BC.
The figure, with sickle-shaped wings,
stands between a sitting bull or cow
and a standing goat.
Found in a tomb in Syracuse, Sicily.
Paolo Orsi Archaeological Museum,
Syracuse, Sicily. |
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The "Mistress of Animals" on the neck of a
relief pithos made in a Cycladic workshop.
7th century BC. See below.
National Archaeological Museum,
Athens. Inv. No. 355. |
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Minoan sheet gold pendant showing a Cretan nature god,
known as "the Master of Animals". Circa 1850-1550 BC.
The figure, wearing a tall headdress, Minoan kilt, earrings and bracelets, stands
in the attitude of the Master of Animals, holding two birds (geese or swans) by
their necks. The curved, ridged elements on either side of the birds are thought
to derive from stylized bulls' horns. Egyptian influence can be seen in the three
lotus flowers among which the figure stands.
From the "Aegina Treasure", a collection of Minoan jewellery
said to have been found in a tomb on the island of Aegina in 1891.
Height 6 cm, width 6.3 cm, weight 138 grains.
British Museum. Inv. No. GR 1892.5-20.8 (Jewellery 762). Purchased in 1892. |
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Replicas of two reconstructed faience figurines of Minoan "snake goddesses"
from the "Temple Repositories" in Knossos, Crete, 1650-1600 BC. Height 34.3 cm.
Casts made by Halvor Bagge (1866-1939?), a Danish artist who worked at Knossos
1902-1905. The original figurines, discovered in 1903 and reconstructed by
Arthur Evans, are in the Heraklion Archaeological Museum, Crete.
Ashmolean Museum, Oxford. Inv. No. AE. 1106, 1106 a. |
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A fragment of a clay tablet inscribed in Linear B script, mentioning "Potnia" (po-ti-ni-ja; Πότνια).
13th century BC. From the archives of the Mycenaean palace of Thebes, Boeotia, central Greece.
One of a number of such fragments of tablets recording the dispatch of wool to female weavers
and embroiderers working in the service of deities such as Hera, Potnia and Hermes.
Thebes Archaeological Museum. |
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The "snake goddess plaque" discovered in the Athens Agora.
A painted terracotta votive plaque, dated to the mid 7th century BC,
with a depiction of a female figure standing between two snakes.
Height 24.8 cm, width (top) 13.3 cm, (bottom) 12.5 cm, thickness 1.1 cm.
Agora Museum, Athens. Inv. No. T 175.
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The plaque was excavated in March 1932 in a deposit containing several other fragments of Proto-Attic ceramic objects, 1.9 metres west of the north-south wall of the Agora. The objects may have been brought from other locations outside the Agora, and used as fill material for the foundation of a path or road during the 7th century BC.
The painting is in deep red over a white slip, with some details in yellow and blue. There are holes in the upper corners, indicating that it was nailed to the wall of a building.
The figure, wearing a long, voluminous chiton, stands with both arms raised and with spread fingers; her thumbs are extended inwards, her palms facing forwards. Her head and neck are in relief, with the facial features modelled three dimensionally. Her painted hair has a curled fringe along the top of the forehead, with four wavy locks on each side of the head falling to her shoulders. The oval face has wide open, blue-green eyes, lined in red, with red-painted brows which meet above her nose and closed mouth.
Either side of the figure is a long snake with a wavy body taking up most of the height of the plaque, ending with a head just below the head of the goddess. The snake on the left, painted red, has a forked tongue, and is separated from the goddess by a painted frame from which plant-like forms extend horizontally into the spaces formed by the inner curves of the snake's body. The snake on the right is blue with a red outline; the spaces of the inner curves of the body have been filled with orientalizing dotted floral motifs.
It is thought that the scene represents an epiphany (ἐπιφάνεια), the goddess revealing or manifesting herself to her worshippers. According to a recent theory, the figure may depict the goddess Demeter, one of the Greek female deities associated with snakes. |
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The "Mistress of Animals" on the neck of a relief pithos made in a workshop
in the Cycladic islands, 7th century BC. She stands in a frontal position with
her head facing forwards, her arms raised in a gesture of epiphany (as in
the "snake goddess plaque"above). She wears a crown, and from either
side of her head spread antler-like or branches covered in flowers. She is
flanked by two confronting, rearing lions (or lionesses), although they do
not touch her hands. She is embraced by two women worshippers, shown
at a smaller scale, who hold on to each side of her long garment.
From Thebes. 675-650 BC.
The vessel has been restored from several fragments. On the front
of the body is a relief of a row of does walking to the right, and on
the register below a row of stags grazing and walking to the left.
There appears to have been no relief decoration on the back.
National Archaeological Museum, Athens. Inv. No. 355.
It is thought that such relief pithoi (πίθος, storage jar; plural, pithoi, πίθοι),
large ceramic storage vessels decorated with a variety of figurative and
abstract designs, were produced in the 7th century BC in several places
around the Aegean (probably centred around Tenos), including the
Cyclades, Crete and Rhodes. They have also been found on Naxos, Melos,
Thera, Delos and Mykonos, as well as in Athens, Eretria and Boeotia.
See, for example:
The "Mykonos Vase", a large pithos made on Tenos around 675-650 BC, with
reliefs depicting the Trojan Horse (the Wooden Horse of Troy) and the sack of Troy.
A relief of Perseus and Medusa on a Cycladic pithos found in Thebes. |
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A bronze horse blinker from north Syria with a depiction of the "Master of Animals"
holding a lion by its tail in each hand.
9th century BC. Discovered in 1973 at the temple of Apollo Daphnephoros, Etertia,
Euboea, during excavations by the Swiss School of Archaeology in Greece.
Eretria Archaeological Museum. Inv. No. ME 7007.
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A matching blinker, now in the National Archaeological Museum, Athens (Inv. No. X 15070), had been found earlier in Eretria, during excavations led by the Greek archaeologist Konstantinos Kourouniotis (Κωνσταντίνος Κουρουνιώτης, 1872-1945). His find was first published in 1933. The Aramaic inscription on the fragmentary blinker is now incomplete and difficult to read due to corrosion. However, an identical, more legible inscription was discovered on a decorated bronze frontlet, an ornament for a horse's forehead, with a very similar iconography, found more recently at the Heraion on Samos. The Samian inscription provided the key to that on the Eretrian blinker, which has been translated as:
"That which Hadad gave our lord Hazael from 'Umqi in the year that our lord crossed the river."
"Lord Hazael" is taken to be the king of Aram at Damascus (reigned circa 844-800 BC), mentioned in the Old Testament of the Bible (Book of Kings). The river may be the Euphrates. These are among a number of Hazael’s "booty inscriptions", found at ancient sites from the Aegean to Mesopotamia, which boast his military victories. Like many objects from distant lands dedicated at Greek sanctuaries, it is not certain how or when these blinkers ended up in Eretria. It is thought that the bronze frontlet was brought to Samos as a gift to Hera in the 7th century BC, perhaps as a souvenir obtained by Greek or foreign travellers (see, for example, an ivory lion from Egypt found at the Samian Heraion). |
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Archaic ivory statuette of a male figure in the
"Master of Animals" pose from Delphi, Greece.
Second half of the 7th century BC.
Height 22.5 cm, maximum width 6 cm.
Delphi Archaeological Museum. Inv. No. 9912.
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Discovered in 1939 during the excavation of two deposition pits on the Sacred Way at Delphi, in which several votive objects, from the late 8th - 5th centuries BC, had been carefully buried after being damaged by a fire around 420 BC.
The back of the figure is flat, suggesting that it was an attachment for a box or piece of furniture. The figure may represent a hero or deity, perhaps Apollo, taming a wild animal as a symbol of nature itself. He holds a spear in his right hand, and his left hand rests on the head of a lion, shown at a smaller scale, standing on its hind paws in a pose reminiscent of heraldic iconography. He stands on a base decorated with a meander.
Thought to be a work of a Greek artist from East Greece (western Anatolia and eastern Aegean islands), with oriental influence. It is the only figure of this type found in Greece, and it has been suggested that it may have been made in Phrygia, Anatolia. It has even been suggested that it could be part of the throne dedicated to the Delphic Oracle by the Phrygian King Midas, mentioned by Herodotus (Histories, Book 1, chapter 14) [3]. |
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Gold plaque pendant with a depiction of the Mistress of Animals
in the Daedalic style. From Kamiros, Rhodes, 720-650 BC.
As in the plaque below, the figure thought by some scholars
to depict Artemis, wears a long chiton, has sickle-shaped
wings and holds in each hand a lion by a rear leg or tail. [4]
Ashmolean Museum, Oxford. Inv. No. AN 1896-1908 G.441. |
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Electrum plaque with a depiction of the Mistress of Animals.
From Kamiros, Rhodes, 720-600 BC.
On either side of the figure is an object, which
appears to be a flask on a shelf, and a head.
Ashmolean Museum, Oxford.
One of a group of objects, Inv. Nos. AN 1896-1908 G.439 - G.442. |
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Neck of a Cycladic amphora with a depiction
of the Mistress of Animals holding two lions.
Made in Paros or Naxos around 700-675 BC. Found in the
"Purification Pit" on Rheneia (Ρήνεια) island, west of Delos.
Mykonos Archaeological Museum. Inv. No. IA 401.
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Delos was first "purified" around 543 BC by the Athenian tyrant Peisistratos, who ordered the removal of graves within sight of the sanctuary of Apollo. A second purification was commanded by the Athenian democracy in 426/425 BC. The contents of all graves on the island were removed to the neighbouring island of Rheneia (Ρήνεια), and it was forbidden for anybody to give birth or die on Delos (Thucydides, History of the Peloponnesian War, Book 3, chapter 104).
The "Purification Pit" was discovered on Rheneia in 1898 during excavations by Dimitrios Stavropoulos, Ephor of Antiquities for the Cyclades. The 20 square metre pit in a 500 square metre paved enclosure is thought to be where the contents of the graves from Delos were deposited. It contained a large number of bones and thousands of funerary offerings, mostly vases, dating from the Geometric period (9th - 8th centuries BC) to the years just before the second purification. The oldest vase discovered was a small 12th century alabastron. The Mykonos Archaeological Museum was built by the Greek Ministry of Education and the Archaeological Society of Athens in 1902 especially to house finds from Rheneia.
Most of the pottery of the late 8th and 7th century was from Paros and Naxos, reflecting the competition between the two powerful island states for control over sacred Delos. In many cases it is uncertain which of these islands produced particular vases. |
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The Cycladic amphora from Rheneia.
On the reconstructed body are two
horses walking towards each other. |
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The body of a large Cycladic krater with a painting depicting Apollo (left) returning
to Delos from the land of the Hyperboreans, greeted by Artemis (right) holding
a deer by its antlers (see detail below).
Made in a Parian workshop, circa 640 BC.
Apollo, holding a kithara, stands in a chariot drawn by four winged horses, with two
female figures, perhaps Hyperborean maidens (or Artemis and Leto). Artemis holds
the deer with her right hand, and has an arrow in her left hand. Above the scene is
a continuous frieze of walking water birds. The neck of the krater shows two heroes,
perhaps Achilles and Memnon, engaged in Homeric combat (see Homer part 2).
National Archaeological Museum, Athens. Inv. No. 911. |
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Artemis holding a deer by its antlers on the body of the Cycladic krater above. |
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Drawing of the painting of Apollo and Artemis on the body of the Cycladic krater above.
Source: H. L. Lorrimer, Homer and the monuments, Plate XXXI, 2. MacMillan & Co.,
London, 1950. (The krater is described as a "Melian amphora".) |
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Neck of a Corinthian oinochoe (wine jug) with a depiction of the Mistress of Animals.
By the Palermo Painter, early 6th century BC. From Tomb 2,
Galera-Bagliazzo Necropolis, Selinous (Selinunte), Sicily.
Antonino Salinas Regional Archaeological Museum, Palermo, Sicily. |
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A relief of the Master of Animals on a bronze quiver cover
from Mesopotamia or western Iran.
Circa 9th - 8th century BC. Height 13.49 cm, width 54 cm.
Metropolitan Museum of Art, New York. Inv. No. 1989.281.28 (not on display).
From the Norbert Schimmel Collection (1974, No. 138).
Gift of the Norbert Schimmel Trust, 1989.
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The reliefs on the quiver cover are similar in design to those on "Luristan bronzes" of around the same period, from the Lorestan Province in the Zagros Mountains of western Iran.
Five vertically arranged panels with reliefs depicting mythical scenes are separated by horizontal bands. From the top:
1. a god standing in a winged solar disc, holding a ring in his right hand, flanked by two horned and bearded deities;
2 and 4. rectangular landscape areas (gardens or pools?) surrounded by plants and mountains;
3. a winged male holding in each hand a lion by a rear paw (photo above);
5. a male figure (a hero, king or god) killing a lion with a spear.
Photo source: Public domain photo at
metmuseum.org/art/collection/search/327417.
See also: Jürgen Settgast (Editor), Von Troja bis Amarna: The Norbert Schimmel Collection, New York, Cat. No. 162, "Beschlag eines Köchers". Verlag Philipp von Zabern, Mainz, 1978. |
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The bronze quiver cover in
the Metropolitan Museum. |
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An embossed relief of the Mistress of Animals on a bronze sheet
from the Sanctuary of Olympia, Greece.
Around 600 BC. Height 88 cm, width 36 cm, depth 4 cm.
National Archaeological Museum, Athens. Inv. No. 6444.
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The trapezoidal bronze sheet, possibly made in a Samian workshop, is thought to have been a decorative cover for an object in the sanctuary. Like the Iranian/Mesopotamian bronze quiver plaque above, the vertically arranged panels with reliefs of mythical figures are separated by horizontal bands. From the top:
1. three eagles;
2. two confronted griffins;
3. Herakles shooting an arrow at a Centaur at the battle with the Centaurs on Mount Pholoe;
4. the Mistress of Animals holding in each hand a lion by a rear leg. |
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The bronze sheet from
the Sanctuary of Olympia. |
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A standing female figure, probably the Mistress of Animals,
on a fragmentary bronze handle attachment with a lion foot.
"A typical work of early Laconian (Spartan) bronze sculpture", end of the
7th century BC. Excavated at the Sanctuary of Zeus, Olympia, Greece.
Olympia Archaeological Museum. |
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Ceramic plate showing a winged goddess with the head of a Gorgon,
wearing a split skirt, and holding in each hand a water bird by its neck.
Made on Kos about 600 BC. Excavated during the 1950s at Kamiros, western
Rhodes by Auguste Salzmann (1824-1872) and Sir Alfred Biliotti (1833-1915),
who sold it to the British Museum in 1860 along with other finds. Height 2.5 cm,
diameter 32 cm, weight: 1.19 kg.
The goddess is thought to be the Mistress of Animals, associated with or
identified as Artemis by some scholars. It is not known why the figure on
this plate has a Gorgon's head, or to put it another way, why a Gorgon was
depicted as the Mistress of Animals. See further discussion in Medusa part 3.
British Museum. Inv. No. GR 1860.4-4.2 (Vase G13/6). |
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Restored fragmented ceramic plate (pinax type) showing
a winged female figure standing between two geese.
6th century BC. From Bayrakli, Smyrna (Izmir, Turkey).
Department of Ceramics, Izmir Museum of History and Art. |
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Boeotian alabastron (bottle for oil or perfume) with a Mistress of Animals holding
a water bird in each hand. The other side shows the upper part of a horse.
Around 550 BC. The name vase of the Horse-bird Group. Said to be from Corinth.
British Museum. Inv. No. GR 1894.10-31.1. |
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Detail of a marble grave stele with a relief of a winged goddess
holding a lion by a front paw. Around 525 BC.
Found in 1893 in Dorylaeum (Δορύλαιον, Dorylaion),
Phrygia, northwestern Anatolia (today Eskişehir, Turkey).
Istanbul Archaeological Museum. Inv. No. 680. Cat. Mendel 526.
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The top of the two-sided stele, now broken, was decorated on both sides with reliefs of palmettes, similar to the akroteria (roof decoration) of buildings. One side has the relief of the goddess, while on the other side are badly damaged reliefs in two registers: the upper register depicts a youth in profile riding a horse to the right, accompanied by a walking male figure and a dog; the lower register shows two-horse chariot driven to the right by a male figure (perhaps representing Death).
The figure of the goddess, walking to right, is almost complete apart from the missing feet. She has sickle-shaped wings which emanate from behind her waist. On her head is a polos decorated with triangular rays. A thick swathe of hair falls in neat rows from the back of her head to behind her shoulders. She wears a peplos over a chiton, fastened by three buttons at her right shoulder. Her right breast and lower right leg are bare. In her right hand she apears to be holding an object, possibly a flower or plant tendril, in her left hand she grasps the left forepaw of a lion which hangs vertically with its head facing downwards.
The best known Archaic grave markers in the form of tall steles (or stelai) with reliefs were made in Athens and Attica in the 6th and early 5th century BC (see, for example the grave stele of Aristion by Aristokles), after which they ceased to be made there. However, the production of Attic type grave steles continued beyond the Early Classical period (mid 5th century BC) in other places in Greece, for example in northern Greece, where double sided reliefs have been found. Steles from other places in the Greek world often feature very different types of iconography.
Following this stele's discovery in 1893, several scholars speculated over the identity of the goddess, with theories summarized in 1895 by the German classical philologist Alfred Körte [5]. The relief figures were compared to Attic works and reliefs from the column bases of the Temple of Artemis in Ephesus. The white, crystalline marble was considered to be from an Aegean island, and the sculptor from Ionia (East Greece).
It was suggested that the stele was made for a Phrygian or Persian client (Phrygia had become part of the Persian Achaemenid Empire during the 540s BC, following Cyrus the Great's conquest of Lydia). The client may have identified the deity as the Persian goddess Anahita ("the Persian Artemis", a theory which Körte refuted) or the Phrygian mother goddesss Kybele. However, according to Körte, in the artist's mind she was Potnia Theron as Artemis.
It has also been suggested that the deity was believed to be the protector of the dead, in this case presumably the deceased horseman shown on the other side of the stele.
Height of surviving fragment of the stele 72.5 cm,
width 37.5 - 39 cm, depth 12 - 13 cm. |
Drawing of the Dorylaeum stele
from Gustave Mendel's catalogue
of sculptures in the Istanbul
Archaeological Museum [6]. |
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The other side of the Dorylaeum stele. |
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A terracotta antefix (decorated end of a roof tile) with a
winged figure of Artemis holding two lions by their front paws.
Made in Campania (southern Italy) around 500-480 BC.
From Capua. The figure combines Greek and Etruscan styles.
British Museum. Inv. No. GR 1877.8-2.13 (Terracotta B 588).
Donated by Alessandro Castellani. |
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A fragment of a terracotta antefix (end of a roof tile, see Medusa part 4)
thought to depict a Maenad (see Dionysus) between two "panthers",
only one of which has survived. The now headless figure grasps a
forepaw of each of the cats in the manner of the Mistress of Animals.
4th - 3rd century BC. From a Samnite sanctuary at Pietrabbondante,
Isernia province, Molise region, south-central Italy. [7] |
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A relief of the "Mistress of Animals" on the front small marble altar.
The figure stands frontally, with long hair, parted in the middle and
flowing over her shoulders, wearing a polos and a peplos. In each
hand she holds a forepaw of a lion, shown at smaller scale, which
hangs vertically with its head facing outwards. The other three
sides of the the altar are not decorated. On top is a relief of
a wreath, its centre forming the space for the sacrifice.
Roman period. From Rhodes.
Rhodes Archaeological Museum. Inv. No. 13643. |
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A small Egyptian stele with a relief of the head
of Bes over a standing figure of the god Horus
as a child in the pose of the Master of Animals.
National Archaeological Museum, Naples. Egyptian Collection.
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| One of several similar surviving depictions of the child Horus (known as Hor-sched), which were set up as protective talismen in private homes, although some have also been found in graves. Above him is the head of the god Bes as the protector of the home and family, particularly the women and children. Horus stands frontally with each foot on a crocodile, holding in each hand two serpents and a scorpion. He also holds with his left hand a lion by the tail, and with the right hand an oryx (gazelle) by the horns. From the Hellenistic period the worship of the young Horus as Harpocrates (Ἁρποκράτης) was developed by the Greeks in Ptolemaic Alexandria. |
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Small gold plaque showing the Mistress of Animals standing
between two lions. From Smyrna (Izmir, Turkey), 200-1 BC.
Ashmolean Museum, Oxford. Inv. No. AN1912.65. |
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A relief in Ephesus depicting Apollo's tripod
with a plaque showing the Mistress of Animals.
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One of the two matching, almost identical marble pedestals (bases for statues or pillars?) facing each other on either side of the of the bottom of the "Clivus Sacer" (Sacred Way) in Ephesus. This is the pedestal on the north side of the street (on the left as you go up the street, see Ephesus gallery page 12). On the side of the bowl of the tripod, above the central leg, is a plaque with a figure with sickle-shaped wings, holding an animal in each outstretched hand (see larger photo below).
The small image is badly worn on both pedestals, and it is not possible to tell whether the figure is male of female, or what animals he/she is holding. However, it is sufficiently similar to other depictions of the "Mistress of Animals" to safely assume that it is the same figure as, for example, on the Archaic gold plaques from Rhodes (see photos above). The figure in this case may be Artemis, the patron deity of Ephesus.
Between the lion-claw feet of the tripod is the omphalos, indicating that it belongs to the Delphic oracle of Apollo, the twin brother of Artemis. The pedestals may have been associated with a nearby sanctuary of the healing god Asklepios, Apollo's son. Alternatively, there may be a connection with the adjacent Prytaneion, or the Upper Agora. On the left (west) side of this pedestal is a relief of Hermes leading a male goat, and on the right side of the other pedestal Hermes walks with a ram.
The pedestals have been dated to somewhere between the 1st and 4th centuries AD (according to one source circa 3rd century AD), which is rather vague, and little seems to have been published about them. On one hand it is wonderful to see them on the street of Ephesus, but strange that they have been left here and not sheltered in the museum. |
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Detail of the relief on the pedestal on the north side of the street
in Ephesus, with the plaque showing the Mistress of Animals. |
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Statue of the goddess Artemis, known as the "Beautiful Artemis Ephesia".
Roman Imperial period, 125-175 AD. Discovered in 1956 in the Prytaneion
(town hall) of Ephesus. Thought to be a copy of a much more ancient cult
statue, perhaps of cedar wood, which stood in the Great Temple of Artemis
at Ephesus. Height 174.5 cm.
The goddess stands stiffly between two deer, her favoured animals,
and the figure is covered with reliefs, many of animals, including lions,
panthers, winged bulls, griffins, deer and bees.
Ephesus Archaeological Museum, Selçuk, Turkey. Inv. No. 718. |
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A rough relief of Artemis Ephesia, appearing more like graffiti, on the side
of a pilaster near the entrance to the Varius Baths, Ephesus. Roman period?. |
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Two limestone statuettes of the god Herakles-Melqart
holding lions in the manner of the Master of Beasts. From Cyprus.
Left: This statuette has been dated to the Archaic period, 600-475 BC. The figure has
a beard but no moustache, wears a lionskin over the back of his head and a short,
girdled tunic with a pleated killt. In his clenched left hand he holds two lions by their
tails. the right arm is now missing. Provenance unknown.
Bank of Cyprus Cultural Foundation.
Right: the beardless figure is about half the size of the other statuette and less
detailed. Classical period, around 450-350 BC. He wears a lionskin on his head and a
knee-length, girdled tunic with half-length sleeves. In his clenched left hand he holds
a lion by its tail, and in his raised right hand he holds a club. Provenance unknown.
Cyprus Archaeological Museum, Nicosia.
Statuettes exhibited in the exhibition Cyprus - Eiland in beweging (Cyprus - a dynamic island), Rijksmuseum van Oudheden, Leiden, 11 October 2019 - 15 March 2020. |
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Mistress
of Animals |
Notes, references and links |
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1. Asian antecedents of Master/Mistress of Animals type images
A Hittite rock-face relief known as the "Schwertgott" (Sword-God) in Yazilikay, central Anatolia, dated 1250-1220 BC, shows a male figure standing frontally with his head in profile facing left, holding in each hand a lion by one of its rear paws. The relief is still in situ; there is a plaster cast in the Staatliche Museen, Berlin.
See:
Ekrem Akurgal and Max Hirmer, Die Kunst der Hethiter, plates 82 and 83. Hirmer Verlag, Munich, 1976 (Sonderausgabe).
2. The eddies of Lethaios
The Lethaios river (Ληθαῖος), one of three rivers of that name, has its sources in Mount Pactyes in Caria, and runs south to become a tributary of the Maeander just southeast of Magnesia on the Maeander.
3. Delphi statuette from the throne of Midas?
The claim was made by Keith DeVries, a professor and curator at the University of Pennsylvania Museum, on 5th January 2002, at the 103rd Annual Meeting of the Archaeological Institute of America in Philadelphia, subsquently reported in the popular press and debated in academic articles.
See: Oscar White Muscarella, An Ivory Statuette from Delphi - Not from King Midas’s Throne. Source: Notes in History of Art, Volume 35, No. 1/2 (Fall 2015/Winter 2016), pages 182-193. At the University of Chicago Press Journals. |
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4. Precious metal goddess plaques
A similar small metal plaque from a late 7th century BC grave near Kamiros, Rhodes has a repoussé relief of a frontally standing winged female holding in each hand what appears to be a large plant (the plants are described by the museum labelling as "rosettes") rather than a lion, and with a sun symbol with eight rays either side of her legs (see photo right). |
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A silver plaque with a repoussé relief of
a "winged goddess holding rosettes".
From a pithos burial of an infant,
Kechraki T 210 (16). 625-600 BC.
Found during excavations in the
Archaic cemetery at Kechraki,
near the ancient city of Kamiros,
western Rhodes.
Rhodes Archaeological Museum. |
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5. Alfred Körte on the Dorylaeum relief
Alfred Koerte (1866-1946), Kleinasiatische Studien I: Eine archaische Stele aus Dorylaion, in Mitteilungen des Deutschen Archaeologischen Instituts, Athenische Abteilung, Band XX, 1895, pages 1-13, plates I and II. Verlag von Karl Wilberg, Athens, 1895.
6. The Dorylaeum relief in Mendel's catalogue
Gustave Mendel, Catalogue des sculptures Grecques Romaines et Byzantines, Tome Second, No. 526, pages 230-234. Musées Impériaux Ottoman, Constantinople, 1914. |
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Drawing of the other side
of the Dorylaeum stele
in Mendel's catalogue. |
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7. Maenad antefix from Pietrabbondante
The Samnites were an ancient Italic people who lived in Samnium in south-central Italy. Although often at war with the Greeks in Magna Gracia (southern Italy), they adopted several aspects of Greek culture, including the cult of Dionysus, and imported Greek goods such as Apulian ceramics.
Pietrabbondante is thought by some historians to be the location of ancient Bovianum, the meeting place of the assemblies of the confederation of the four Samnite tribes, the Caraceni, Caudini, Hirpini and Pentri. The site of the sanctuary there, first excavated in the 1840s, includes a theatre and a temple.
The antefix was exhibited as part of the temporary exhibition The gift of Dionysos in the Thessaloniki Archaeological Museum, 13 July 2011 - 30 September 2012. So far I have been unable to discover further details of the exhibits on loan from the Molise region of south-central Italy.
See further details on the Dionysus page. |
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Photos on this page were taken during
visits to the following museums:
Greece
Athens, Agora Museum
Athens, National Archaeological Museum
Delos Archaeological Museum
Delphi Archaeological Museum
Eretria Archaeological Museum
Mykonos Archaeological Museum
Olympia Archaeological Museum
Rhodes Archaeological Museum
Thebes Archaeological Museum
Thessaloniki Archaeological Museum
Italy
Naples, National Archaeological Museum
Italy - Sicily
Palermo, Antonino Salinas Regional Archaeological Museum
Syracuse, Paolo Orsi Archaeological Museum
Netherlands
Leiden, Rijksmuseum van Oudheden
Turkey
Ephesus archaeological site
Istanbul Archaeological Museum
Izmir Museum of History and Art
Selçuk, Ephesus Archaeological Museum
United Kingdom
London, British Museum
Oxford, Ashmolean Museum
Many thanks to the staff of these museums. |
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| Photos and articles © David John, except where otherwise specified. |
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