Ancient Greek and Roman Statues Were Scented!

For centuries, scholars have understood that the pristine white marble statues displayed in museums today do not reflect their original appearance. In antiquity, these sculptures were adorned with rich colours, textiles, and jewellery. Now, new research suggests they were also infused with scent, making them an even more immersive experience for ancient viewers.

A study led by archaeologist Cecilie Brøns, published in the Oxford Journal of Archaeology, highlights that these statues were not just objects of visual admiration but were also designed to be experienced through scent. This challenges the long-standing perception of classical sculptures as purely aesthetic artefacts.

The Role of Scent in Ancient Statues

Brøns, an archaeologist and curator at the Glyptotek museum in Copenhagen, examined classical texts and inscriptions to uncover the significance of perfumed statues in religious and cultural practices. Ancient records reveal that scent played a vital role in the adornment of statues, particularly those depicting deities. The Roman orator Cicero documented the practice of anointing statues with scented oils. In Segesta, Sicily, the statue of Artemis was regularly treated with aromatic ointments as part of religious rituals.

Inscriptions from the Sanctuary of Delos in Greece provide further details about the ingredients used for perfuming statues, including olive oils, beeswax, sodium carbonate (natron), and rose-scented fragrances. The poet Callimachus even described a statue of Queen Berenice II of Egypt as being “moist with perfume,” indicating that this practice extended beyond divine figures to royalty and other esteemed individuals.

Photo Credit: Romaine / Wikimedia Commons

A Multi-Sensory Experience

The application of perfume to statues was not solely a religious act but also enhanced the sensory experience of those who beheld them. During festivals like the Floralia in Rome, fragrant garlands of roses and violets were draped around statues, further heightening the olfactory experience of worshippers and spectators.

Ancient sculptors and caretakers developed specialised techniques to apply and preserve these scents. One such method, known as ganosis, involved coating statues with a mixture of waxes and oils to maintain their colour and sheen while also imparting a pleasant fragrance. Classical authors like Vitruvius and Pliny the Elder mention the use of Pontic wax and specific oils for this purpose.

Another practice, known as kosmesis, went beyond perfuming. Statues were draped in fine fabrics and adorned with precious jewels. The Greek geographer Pausanias recorded that the famed Statue of Zeus at Olympia was regularly anointed with olive oil to protect its ivory elements from the region’s humid climate.

Scientific Evidence Supports Ancient Accounts

While the original perfumes have long since faded, modern scientific analysis has uncovered physical evidence supporting these historical descriptions. Traces of beeswax have been found on a portrait of Queen Berenice II, suggesting it may have been immersed in a scented oil bath. Additionally, archaeological excavations in Delos have revealed the presence of perfume workshops, which likely produced the fragrances used in religious ceremonies.

Brøns’ research challenges the conventional belief that classical sculptures were intended purely as visual objects. Instead, the findings reveal a richer, more immersive sensory experience, where scent played an integral role in the statues’ cultural and religious significance. These perfumes were not merely decorative; they reinforced the spiritual and symbolic connections between the statues and the deities or figures they represented.

This discovery encourages a broader re-evaluation of how ancient audiences engaged with art. By recognising that sculptures were meant to be both seen and smelled, historians and archaeologists gain deeper insights into the role of sensory perception in antiquity. As Brøns aptly puts it, “Admiring a statue in the ancient world was not just a visual experience, but also an olfactory one.”

This research invites us to rethink our understanding of classical art and appreciate it in a more holistic way, just as ancient civilisations once did.