The Forgotten Fragrance of Antiquity: Unveiling the Perfumed World of Greco-Roman Statues
For centuries, we have admired the stark white marble of ancient Greek and Roman statues, their beauty celebrated in museums and art history textbooks. These pristine figures, symbols of classical perfection, have shaped our understanding of ancient aesthetics. However, a growing body of research challenges this visual-centric perspective, suggesting that our modern perception is incomplete. What if the statues we gaze upon today were not always so devoid of color, texture, and even… scent?
Archaeologist Cecilie Brøns, curator of ancient art at the Ny Carlsberg Glyptotek in Copenhagen, proposes a radical shift in how we understand these ancient artifacts. Her recent study, published in the Oxford Journal of Archaeology, delves into the potential for Greco-Roman statues to have been perfumed, adding a new layer of sensory experience to the viewing. By analyzing ancient texts, Brøns argues that scent played a significant role in the perception and appreciation of these sculptures, a dimension largely ignored by modern scholarship.
The prevailing view of Greco-Roman sculpture as solely visual artistic expressions has been shaped by two centuries of scholarly focus on shape and form. This has inadvertently created a kind of "smellblindness," leading us to overlook a potentially crucial aspect of these objects. "The modern perception of ancient Greco-Roman sculpture is influenced by approximately two centuries of scholarly studies, which have focused almost exclusively on shape and form, thus convincing us that these artefacts are—and have always been—scentless," Brøns writes in her study. "This modern ‘smellblindness’ can possibly cause us to miss a major potential attribute of the objects we study."
The challenge in proving the existence of perfumed statues lies in the lack of physical evidence. Unlike visual attributes, scents are ephemeral, leaving behind minimal traces after thousands of years. Thus, Brøns turned to ancient textual sources to unearth clues about the olfactory dimensions of these sculptures.
One of her earliest examples comes from the Roman orator Cicero (106–43 BCE). In his writings, Cicero describes a ritualistic treatment of a statue of Artemis in the city of Segesta, detailing how women "anointed her with precious unguents," "crowned her with chaplets and flowers," and "attended her to the borders of their territory with frankincense and burning perfumes." This vivid description paints a picture of a statue not just visually admired but also treated with fragrant oils and incense, engaging multiple senses in the experience.
Brøns also refers to a text by the Greek poet and scholar Kallimachos (305 to around 240 BCE). Kallimachos described the statue of Ptolemaic Egyptian Queen Berenice II (around 267 to 221 BCE) as "yet wet with perfume." This description suggests that the application of perfume was a deliberate and possibly recurring practice, integral to the presentation of the statue. It provides further evidence that the statues were not only intended to be seen, but also to be smelled.
The Greek philosopher Proklos (410 to 485 CE) further corroborates this notion in his commentary on Plato’s Republic. He writes, "…albeit after pouring perfume over its head, as sacred law requires to be done over the statues in the most holy shrines." This statement implies that perfuming statues was not an isolated incident but a customary practice, prescribed by religious law, particularly in the most sacred spaces.
Inscriptions unearthed on the Greek island of Delos, dating between the fourth and second centuries BCE, provide additional insights. These inscriptions document the costs of materials used for the "kosmesis," or adornment, of temple statues. The texts mention items like sponges, oil, linen, wax, and, significantly, rose perfume. These materials were used to enhance and care for the statues, suggesting that perfume was a regular component of their upkeep.
While the Delos inscriptions offer compelling evidence, they also present limitations. "Unfortunately, the [Delos] inscriptions usually do not specify exactly how the kosmesis was applied or by whom. Neither do they state whether the kosmesis was applied to all or only specific sculptures in the temples, and whether it was used for the entire statue or only some of its parts," Brøns concedes.
Despite these uncertainties, the inscriptions confirm the presence of perfume within the context of temple statuary. Given that ancient perfumes were typically imbued into plant oils or animal fats, it’s likely they were applied as creams or ointments. "Yet they do provide the important information that perfume and thus scent was a significant aspect of the statues in the Delian temples," Brøns asserts.
The olfactory experience of ancient statues may have also been enhanced by the use of floral decorations. Written sources and archaeological artifacts both attest to the practice of adorning statues with fresh flowers. While flowers are distinct from manufactured perfumes, their fragrance would have undoubtedly contributed to the overall sensory experience, adding a layer of natural aroma to the sculptures.
The scents used would have varied depending on the statue’s purpose, deity affiliation, and the occasion. Religious statues might have been imbued with sacred resins and aromatic plants, while statues of rulers or prominent figures may have been adorned with more luxurious and exotic perfumes.
By incorporating the sense of smell into our understanding of ancient statues, we gain a more holistic appreciation of their original impact. It allows us to move beyond the purely visual and imagine the statues as multi-sensory experiences, engaging viewers on a deeper, more emotional level.
Ultimately, Brøns urges us to reconsider our approach to ancient art. "When seeking to approach and understand the ancient experience of sculptures, we need to engage not only our eyes but also our imagination and knowledge about the olfactory dimensions and original sensory staging," she concludes.
Therefore, the next time you find yourself in front of an ancient Greco-Roman statue, remember that its pristine white surface tells only part of the story. Envision the vibrant colors, the shimmering jewelry, and the delicate scent that may have once enveloped it. By engaging our imagination and exploring the forgotten fragrance of antiquity, we can begin to truly appreciate the full sensory richness of these remarkable works of art. The past was not silent or scentless, it was a symphony of sensations waiting to be rediscovered.
