Ancient Greek and Roman Sculptures Had Aromatic Qualities Beyond Visual Appeal: Perfumed Statues
Step into the realm of ancient Greece and Rome, where statues bore a vibrant splendor their museum counterparts could only dream of. Far from the pristine white marble we see today, these statues were a dazzling spectacle of vibrant colors, adorned with jewelry, and even infused with the delicate scents of perfume. A groundbreaking study by archaeologist and Ny Carlsberg Glyptotek curator, Cecilie Brøns, suggests that the olfactory dimension may have been a crucial, albeit overlooked, aspect of these artworks.
Brøns, in her Oxford Journal of Archaeology study published on March 3, posits that the use of scents would have provided viewers with a multi-dimensional experience, challenging the narrow view that these statues were solely visual artistic expressions. She contends that our modern understanding of ancient Greco-Roman sculpture has been shaped by centuries of scholarly focus on shape and form, leading us to the belief that these artifacts have always been scentless - a notion she terms "modern 'smellblindness'."
While physical evidence of ancient perfumes on statues is scarce, Brøns delved into textual sources for clues. One such example comes from the Roman writer Cicero who described a ritual treatment of a statue of Artemis in Segesta, where women anointed her with precious oils, crowned her with flowers, and attended her with burning perfumes.
Brøns also cites a text by the Greek poet and scholar Kallimachos, which speaks of the wetness of perfume on the statue of Ptolemaic Egyptian Queen Berenice II. Additionally, Greek philosopher Proklos' commentary on Plato's Republic makes mention of perfume being poured over statues in holy shrines.
Ancient inscriptions from the Greek island of Delos, dating between the fourth and second centuries BCE, detail the costs of materials used for the "kosmesis," or adornment, of temple statues. These texts mention items like sponges, oil, linen, wax, and rose perfume but do not specify how the kosmesis was applied or by whom. However, as ancient perfumes were typically imbued in plant oils, they were likely applied like creams.
Brøns also points to the fragrance emitted by floral decorations used to amp up the appeal of Greco-Roman statues - a practice testified by both written sources and some archaeological artifacts. Although fresh flowers are not quite the same as perfume, their scents would have undeniably contributed to the overall olfactory experience of ancient statues.
In conclusion, Brøns advises that to truly appreciate the ancient experience of sculptures, we must engage not only our eyes but also our imagination, knowledge about the olfactory dimensions, and the sensory staging. Perhaps the next time you gaze upon an ancient Greek or Roman statue, you may find yourself drawn not just by its stunning form but also by the captivating essence that once filled the air around it.
So, the next time you're struck by the beauty of an ancient Greco-Roman statue, remember that its scent may have been as enchanting as its appearance, mesmerizing its viewers thousands of years ago.
- Archaeologist Cecilie Brøns, in her Oxford Journal of Archaeology study, suggested that the use of scents in ancient Greco-Roman sculptures was a crucial, often overlooked aspect.
- Brøns posits that our modern understanding of these artworks has been shaped by a focus on shape and form, leading to the belief they have always been scentless, which she referred to as "modern 'smellblindness'."
- According to Brøns, ancient texts describe rituals where statues were anointed with precious oils, crowned with flowers, and attended with burning perfumes, providing evidence for the use of scents in sculptures.
- Brøns also researched ancient inscriptions from Delos, which detailed costs for adorning temple statues with items like oil, linen, wax, and rose perfume, suggesting that these scents were intentionally applied to enhance the olfactory experience of viewers.
