By: Stephanie Semenuk
Girl Power!
They are tall, curvaceous and breathtakingly elegant. No, I am not describing the latest female pop group but rather the stunning Caryatids of ancient Greece. Reaching 7 1/2 feet (2.31m), these beautifully crafted apricot-tinted marble statues were originally built in the late fifth century BC (420 – 415 BC). They were intended to support the architrave at the south porch of Erechtheion, an Ionic Athenian temple, erected on the acropolis of Athens. Five of the original six sculptures are currently displayed in the Acropolis Museum, where the south porch now homes replicas. Caryatid #3 – known as the ‘lost daughter’ was removed by Lord Elgin between 1801-1803, and now resides at the British Museum in London.
Beauty and the Brawn
Visually stunning, these busty marble maidens characterize features that became key elements of Classical sculpture – the ‘wet look’; vertical folds of fabric clinging tightly to the waistline, hips and thighs – following natural curves of the female body and accentuating the womanly figure.
Each marble sister was sculpted with one leg boldly placed in front with the other planted firmly beneath her, creating a provocative stance. A belted Doric peplos and short himation were distinctively crafted for each figure. All six maidens have very thick and detailed plaited hairstyles, best viewed from the back, that were designed for function more than style. The heavily coiffed hair and powerfully built necks supported the entablature above it. Historians believe that each Caryatid was sculpted by various artists under the tutelage of Alcamenes – a student and colleague of Pheidias.
Popularizing the Trend
Who doesn’t like to think of themselves as “one of a kind”? I know I do! However, for the six maidens of the Erechtheion that is not the case – Caryatids first surfaced at Delphi in 550 – 530 BC as paired figures in three buildings. The origin can be linked back to Phoenicia and archaic Greece in which unclothed figures were used as mirror handles and where small draped figures were cast in bronze. Even though the six sisters are not a unique artifact, they still steal the show for most famous Caryatids in ancient Greek architecture!
That Girl’s an Enigma
It remains a mystery to whether or not the Caryatids held any objects – their arms have long been destroyed. However, Roman copies depict the maidens holding ‘phialai’ in their right hands – shallow vessels for pouring libations (a drink poured out as an offering to a deity). Many believe that the south porch of the Erechtheion was built over the tomb of the mythical king Kekrops. One interpretation is that the Caryatids and their libation vessels are a tribute to this king.
Worthy of Attention
The historical and cultural significance of the Caryatids dates back to its earliest reference by architectural writer Vitruvius. It is said that the Caryatids represented the women of Caryae, who had been enslaved as punishment because the town sided with the Persian king Xerxes in 480 BC during his second invasion of Greece. Therefore, the six sisters were built to carry burdens and remind the people of the sin committed by Caryatid women. Other historians suggest that the marble maidens were inspired by young women from the city who danced for the goddess Artemis.
In present-day Greece, the Caryatids have been utilized as symbols of both the nation’s ancient cultural heritage and its current identity on the world stage. In addition to neoclassical architecture (which is also favoured in modern Greek construction) and other classical period monuments, the Caryatid is viewed as a symbol of the importance of the cultural heritage of ancient Greeks to their current descendants, helping to distinguish themselves from other, modern European nations.
I Am Greek and Want to go Home!
The Lost Daughter is one of the adornments removed from the Parthenon to decorate Lord Elgin’s mansion at the start of the 19th century. These ‘Elgin marbles,’ now installed at the British Museum in London, have caused heated disputes and socio-political conflict between Greece and Britain. Both authorities have squabbled over the return of these marbles and the Greeks have been quite vocal about using the Caryatid restoration project – where conservators removed years of thickened pollution with a dual-wavelength laser – to show that the Acropolis museum is ready to support their return. The removal of Caryatid #3 over two centuries ago has left a gap in ancient Greek history.
Schedule the Cross-Examination, Please!
To this day the statues remain nameless and simply go by the letters A, B, C, D, E and F. I hope to find more information about the names of these marbled beauties while visiting the Acropolis Museum on-site in Greece. Now that the Caryatids have been restored, a clearer picture of the past 2,500 years can begin to reveal itself. What trauma did the six sisters undergo? How many battle scars do they have and from what time period? Were they painted, if so, what colours? What do they truly represent? As an artist myself, I look forward to viewing the Caryatids intricate robe and plaited hair or should I say fish braid! It is fascinating that the modern day fish braid can be traced back thousands of years – if those marble maidens can rock it – so can we! I am also curious to see how well the replicas are reproduced from the real Caryatids – are small impressions and designs still seen? I am eager to understand more about the intricate nature of the Caryatids and how aspects of their construction still influence art today.
Works Cited
Alderman, Liz, (2014). Acropolis maidens glow anew. New York Times. p. C1(L). Academic OneFile, go.galegroup.com/ps/i.do p=AONE&sw=w&u=st46245&v=2.1&id=GALE%7CA374043643&it=r&asid=96091d8686 250861b76a80aa214cb456.
Beresford, J.M., (2016). The Caryatids in the New Acropolis Museum: Out of Sight, Out of Light, Out of Mind. Journal of Conservation and Museum Studies. 14(1), p.3.DOI: http://doi.org/10.5334/jcms.130
Cartwright, M. (2012, October 29). Caryatid. Ancient History Encyclopedia. Retrieved from http://www.ancient.eu/Caryatid/
Paglia, Camille, (2012). Six Headstrong Women Confidently Raise Acropolis Roof. Bloomberg View. https://www.bloomberg.com/view/articles/2012-10-07/six-headstrong-women-confidently-raise-acropolis-roof).
Plantzos, Dimitris, (2017). Caryatids lost and regained: Rebranding the classical body in contemporary Greece. Journal of Greek Media and Culture. 3.1, p.3. http://www.intellectbooks.co.uk/journals/view-Journal,id=237/
