Ancient Greek and Roman statues, often perceived as stark white relics, held a vibrant, multi-sensory experience for their original viewers. Beyond their sculpted forms, these statues were adorned with brilliant colors, jewelry, garments, and as recent research suggests, even perfumes. This challenges the modern, visually-dominant interpretation of these ancient artworks and reveals a richer, more immersive experience.
Unveiling the Scented Past of Greco-Roman Sculpture
Archaeologist and curator Cecilie Brøns of the Ny Carlsberg Glyptotek in Copenhagen argues that perfume played a significant role in the experience of Greco-Roman statues. Her research, published in the Oxford Journal of Archaeology, delves into ancient texts to uncover evidence of this aromatic practice. Brøns challenges the prevailing “smellblindness” in the study of ancient art, suggesting that this modern perspective overlooks a crucial element of how these sculptures were originally perceived.
Textual Evidence of Aromatic Adornment
Brøns’s research draws upon various textual sources. Cicero, the Roman writer, described a ritual involving the statue of Artemis in Segesta. He recounts women anointing the statue with precious unguents, crowning it with flowers, and accompanying it with frankincense and burning perfumes. This vividly portrays the integration of scent into the veneration of the statue.
The Greek poet Kallimachos described the statue of Queen Berenice II as “yet wet with perfume,” further supporting the practice of perfuming statues. Similarly, philosopher Proklos’s commentary on Plato’s Republic mentions pouring perfume over statues in sacred shrines, highlighting the ritualistic and symbolic importance of scent.
Inscriptions from Delos: Uncovering the Costs of “Kosmesis”
Inscriptions from Delos, dating back to the 4th and 2nd centuries BCE, detail the expenses associated with the “kosmesis,” or adornment, of temple statues. These records list materials like sponges, oil, linen, wax, and notably, rose perfume. While the exact application methods remain unclear, the inclusion of perfume underscores its significance in the presentation of these sculptures.
Floral Decorations: A Natural Source of Fragrance
Beyond applied perfumes, the use of floral decorations also contributed to the olfactory experience of ancient statues. Both written sources and archaeological artifacts attest to this practice. While not perfume in the strictest sense, the fragrance of fresh flowers added another layer of sensory richness to the statues’ presence.
Reimagining the Sensory Experience of Ancient Sculpture
Brøns emphasizes the importance of engaging our imagination and understanding the olfactory dimensions of ancient sculpture. By considering the role of scent, we can gain a more complete appreciation of how these artworks were originally experienced. This encourages a shift away from the purely visual interpretation that has dominated the study of ancient art.
A Multi-Sensory Masterpiece
The next time you encounter an ancient Greco-Roman statue, imagine the interplay of visual and olfactory elements. Beyond the marble form, envision the vibrant colors, the delicate jewelry, the fragrant flowers, and the lingering scent of perfume. This holistic perspective reveals a multi-sensory masterpiece, far richer and more immersive than the silent, white forms we see in museums today.
