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A new study published in the
Oxford Journal of Archaeology has shed light on an often-overlooked aspect of ancient Greek and Roman art:
the use of perfumes and aromatic substances in the adornment of sculptures.Led by archaeologist Cecilie Brøns, this research challenges the long-held belief that these iconic statues were merely visual objects, revealing a rich tapestry of sensory experiences that ancient audiences engaged with.
For centuries, scholars have recognized that the pristine white marble statues we see in museums today were originally painted in vibrant colors and adorned with textiles and jewelry. However, Brøns' study takes this understanding a step further by highlighting the significance of scent in the ancient world.
Drawing from classical texts and inscriptions, the research illustrates how these sculptures were not only visual spectacles but also olfactory experiences that enveloped worshippers and spectators alike.The study emphasizes the ritualistic role of perfume in the adornment of statues, particularly those representing deities. Historical accounts, such as those from the Roman orator
Cicero, describe the practice of anointing statues with fragrant oils. In the ancient sanctuary of Delos, inscriptions detail the costs and ingredients of perfumes used to maintain the statues of gods like Artemis and Hera, including olive oils, beeswax, and rose-scented fragrances.
Moreover, the poet Callimachus provides insight into the practice, describing the statue of Queen
Berenice II of Egypt as "moist with perfume," indicating that this tradition extended beyond divine figures to include royalty and esteemed individuals. Festivals, such as the Floralia in Rome, further enriched the sensory experience, as fragrant garlands of roses and violets adorned these statues, creating an immersive atmosphere for worshippers.
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