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The Caryatids: Pillars of History, Politics, and Art in Ancient Greece
Culture Explorer
August 16, 2024 • Estimated Reading Time: 12 minutes
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The Caryatids are amongst the most iconic elements of ancient Greek architecture, known for their graceful, yet powerful presence. These draped female figures, used as columns, are most notably seen on the Erechtheion temple in Athens. The name "Caryatid" comes from the Greek word "Karyatides," meaning "maidens of Karyai," a town known for its temple to Artemis. According to Vitruvius, these figures represented women enslaved as punishment for their town’s betrayal during the Persian Wars. However, their significance goes beyond this origin story.
The Caryatid porch of the Erechtheion in Athens, Greece. These are now replicas. The originals are in the Acropolis Museum (with one in the British Museum). Photo courtesy of Wikimedia. Credit: Wikimedia CC BY-SA 3.0.
The Caryatids on the Erechtheion are not just decorative; they carry deep political symbolism. Scholar Michael Vickers suggests that they might have been a reminder to Athenians of the consequences of betrayal, particularly reflecting tensions between Athens and Sparta during the Peloponnesian War. These figures could represent a subtle political message against Spartan treachery and the importance of loyalty to Greek ideals.
Renaissance Revival caryatids on the Jenners, department store, Edinburgh, UK, by William Hamilton Beattie, 1894. Photo by Kim Traynor - Wikimedia, CC BY-SA 3.0.
In addition to their political symbolism, the Caryatids also played a role in Greek religious rituals. Some were depicted holding phialai, or libation bowls, used in offerings to the gods, indicating their participation in sacred ceremonies. This dual role—as both structural supports and religious figures—highlights the complex layers of meaning associated with the Caryatids.
The caryatid taken by Elgin from the Erechtheion, standing in contrapposto, displayed at the British Museum. Photo by I, Sailko, CC BY-SA 3.0. Wikimedia.
The location of the Caryatids on the Erechtheion is also significant. The temple was built during a time of economic strain in Athens, and its construction on the Acropolis, a site previously destroyed by the Persians, may have been a deliberate choice to evoke memories of Persian aggression and Greek resilience. The Caryatids, standing within the ruins left by the Persians, symbolize Athens’ endurance and victory over its enemies.
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Interestingly, the Caryatids may also be linked to specific historical events. Vickers proposes that the six Caryatids on the Erechtheion might correspond to six Spartan invasions of Attica during the Peloponnesian War, each figure embodying the weight of these events. This interpretation, while speculative, reflects the Greek tendency to infuse their art with multiple layers of meaning, often tied to their socio-political context.
Las Incantadas, a group of Roman sculptures from a portico that once adorned the Roman Forum of Thessalonica, 150-230 AD, marble, Louvre. Photo by Carole Raddato from FRANKFURT, Germany - Louvre Museum Uploaded by Marcus Cyron, CC BY-SA 2.0.
The use of Caryatids spread beyond Athens, appearing in other parts of the Greek world and even in Roman architecture. For instance, the tomb of Pericles of Limyra features Caryatids holding rhyta, vessels associated with Persian customs. These variations show how the symbol of the Caryatid was adapted to different cultural contexts, sometimes representing subjugation, other times embodying cultural ideals.
Renaissance caryatids of the musicians' loft in the Louvre Palace, Paris, by Jean Goujon, 1550. By Roi Roiability - Paris 2016, CC BY-SA 2.0. Wikimedia.
In literature, Caryatids are also depicted as dancers serving Artemis Caryatis, adding another dimension to their interpretation. This connection to dance and ritual highlights their dual role as participants in sacred rites and as symbols of broader cultural and political narratives. For example, a ring featuring dancing Caryatids given by the Spartan Clearchus to Ctesias, as mentioned in ancient texts, suggests a blend of political and personal symbolism.
Ancient Greek caryatids of the Cnidian Treasury, c.550 BC, probably marble, Delphi Archaeological Museum, Delphi, Greece. Courtesy of Wikimedia. Public Domain.
The Caryatids have evolved in their symbolism over time, especially during the 19th century, when they became emblematic of the Greek struggle against Ottoman rule. Western philhellenes romanticized the Caryatids, viewing them as symbols of Greek resistance and heritage. The story of their lamentation when one was removed by Lord Elgin’s agents in the early 19th century added a layer of tragedy and resistance, contrasting the “noble” Greek heritage with the “barbaric” Ottoman occupation.
Caryatides, ca. 1865; from the Nicholas Catsimpoolas Collection of the Boston Public Library. Courtesy of Wikimedia. Public Domain.
Vitruvius’s account of the Caryatids as symbols of betrayal has been debated and reinterpreted over the centuries. The Caryatids on the Erechtheion are not just architectural ornaments; they are complex symbols deeply embedded in the political and cultural narratives of ancient Greece. Scholars like Vickers suggest that these figures were more than decorative - they were powerful reminders of the cultural and political anxieties of their time.
Postmodern caryatids of the Supreme Court of Poland, Warsaw, by Marek Budzynski and Zbigniew Badowski, 1996-1999. Photo by Wojciech Muła - Wikimedia, CC BY-SA 4.0.
The Caryatids are much more than elegant statues holding up a temple porch. They are embodiments of a complex interplay of art, politics, and religion in ancient Greece. Whether seen as reminders of betrayal, participants in sacred rituals, or symbols of resilience, the Caryatids continue to fascinate and provoke debate, reminding us that even the most familiar works of art can carry layers of meaning waiting to be uncovered.
Architecture
Baroque caryatids on the upper part of the Pavillon de l'Horloge on the Cour Carrée of the Louvre Palace. Photo by Jastrow - Wikimedia, CC BY 3.0.
The Baroque caryatids on the Pavillon de l'Horloge, located in the Cour Carrée of the Louvre Palace, are a remarkable example of 17th-century architectural sculpture. These caryatids, sculpted as draped female figures, support the upper part of the pavilion, replacing traditional columns with their graceful, yet robust forms. Their dynamic poses and intricate detailing are characteristic of the Baroque style, which sought to evoke emotion and movement in art.
These caryatids do more than just support the structure; they contribute to the overall grandeur of the Louvre. The use of such elaborate figures as architectural elements reflects the period's desire to merge functionality with artistic expression. Positioned prominently on the facade, they add a sense of drama and elegance, enhancing the visual impact of the Pavillon de l'Horloge and emphasizing the artistic richness of the Louvre Palace.
Travel
Photograph of the Odeon of Herodes Atticus, taken from the Acropolis while in full sunlight - April 24, 2019. By Salvador Calyso - Wikimedia, CC BY-SA 4.0
Athens, the birthplace of theater, is where drama, tragedy, and comedy first came to life, shaping the future of Western performance art. Among its many historic venues, the Odeon of Herodes Atticus is a standout. This stone theater, built in 161 AD by the Roman senator Herodes Atticus in memory of his wife, Regilla, sits on the southwest slope of the Acropolis. Originally designed for musical performances, it could seat about 5,000 people and featured a wooden roof made of cedar.
Today, the Odeon remains a vibrant cultural venue, especially during the Athens Festival. Its semi-circular design and tiered seating create a stunning atmosphere with the Acropolis as a backdrop. The theater’s exceptional acoustics and historical significance make it a favorite spot for concerts and performances, keeping the rich theatrical tradition of Athens alive.
“The architect should be equipped with knowledge of many branches of study and various kinds of learning… Let him be educated, skilled with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinion of jurists, and be acquainted with astronomy and theory of the heavens.
A wide knowledge of history is necessary – he says – because architects oten in- corporate many ornamental features in the designs of their works, of which they must be able to give a reasoned account, when asked why they added them. For example, if anyone erects marble statues of robed women, which are called Caryatids (statuas marmoreas muliebres stolatas, quae caryatides dicuntur), instead of columns on his building, and places mutules and crowning members (mutulos et coronas) above them, this is how he will explain them to enquirers.
Caryae, a city in the Peloponnese, allied herself with the Persian enemy against Greece. Later the Greeks were rid of their war by a glorious victory and made common cause and declared war on the Caryates. And so, the town was captured, the males were killed and the Caryan state publicly humiliated. The victors led the matrons away into captivity, but did not allow them to lay aside their robes or matronly ornaments (stolas neque ornatus matronales deponere). Their intention was not to lead them on one occasion in a triumph, but to ensure that they exhibited a permanent Caryatids on the Erechtheum at Athens… picture of slavery (aeterno seruitutis exemplo), and that in the heavy mockery they suffered they should be seen to pay the penalty for their city. So, the architects of those times designed images of them for public buildings specially placed to up- hold a load, so that well-known punishment of the Caryates’ wrongdoing might be handed down to posterity.”
Art
Baroque caryatids in the Apollo and Attendants Flaying Marsyas tapestry, 17th century, wool and silk, Minneapolis Institute of Art, Minneapolis, US. Wikipedia. Public Domain.
The Apollo and Attendants Flaying Marsyas tapestry features Baroque caryatids that add a touch of elegance and drama to the scene. These caryatids, depicted as sculpted female figures, frame the central action, drawing the viewer’s eye while enhancing the rich, dynamic composition typical of the Baroque style. They serve not just as decorative elements but also as symbolic pillars that reflect the intense emotions and the grandeur of the mythological story being depicted, making the tapestry both visually stunning and thematically powerful.
Interior Design
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