Recent research has unveiled that ancient Greco-Roman sculptures were not merely visual masterpieces but also engaged the sense of smell through the use of perfumes. The application of myron, or sweet oil, added a multisensory dimension to the experience of art in antiquity.
A study, led by archeologist Dr. Cecile Brons, explores the integral role of fragrances in ancient art and religious practices. By analyzing literary sources, archaeological findings, and scientific analyses, the research uncovers how scents played a critical role in the aesthetic and symbolic significance of sculptures.
Perfuming Statues: A Ritual of Purity and Divinity
In ancient sanctuaries, the practice of perfuming statues was commonplace and deeply ritualistic. The application of fragrances was believed to purify the statues and create an atmosphere conducive to divine presence. Written records indicate that aromatic substances like myrrh, frankincense, and various oils were frequently used, particularly for mythological and religious sculptures, to reinforce the sacredness of the space.
Rare Greek and Roman amphoras, statues, vases and frescoes are pictured downtown Rome, January 21, 2015. Italian and Swiss police have broken up an art trafficking organisation and recovered more than 5,000 ancient artefacts worth over 50 million euros ($57.92 million), Italy’s culture ministry said on Wednesday. Picture taken on January 21.REUTERS/ Remo Casilli ( ITALY – Tags: CRIME LAW SOCIETY)
Innovative Techniques for Scented Sculptures
The study also highlights the technical methods used to apply perfumes to sculptures. Evidence suggests that some statues were designed with internal cavities to hold and gradually release fragrances, functioning similarly to modern diffusers. This sophisticated approach indicates that ancient artists and religious practitioners carefully integrated scent into the overall artistic and spiritual experience.
A Multisensory Approach to Art
In ancient societies, the sense of smell was closely linked to the divine and the metaphysical. By infusing sculptures with fragrances, artists sought to bridge the gap between mortals and deities, offering worshippers a profound, multisensory connection to the divine.
For nearly two centuries, scholars have primarily focused on the visual aesthetics of ancient sculptures. However, recent archaeological evidence suggests that these works were designed to be immersive experiences, engaging multiple senses. Rather than simply striving for naturalism in the modern sense, ancient artists sought to convey an elevated form of human or divine existence.
Two confiscated Kouros statues are on display inside the National Archaeological Museum in Athens May 18, 2010. The two rare marble Kouros statues were confiscated from antiquities smugglers, who were arrested near Corinth on May 14. The statues date from the 6th century BC, are most likely the work of the same sculptor and bear recent damage from agricultural machinery, the culture ministry said. REUTERS/John Kolesidis (GREECE – Tags: SOCIETY)
Reimagining Ancient Art as It Was Meant to Be Experienced
To truly understand how these sculptures were perceived in antiquity, it is essential to consider the multisensory environments in which they existed. By reconstructing their original sensory staging—including their colors, adornments, and fragrances—we move closer to experiencing these masterpieces as their ancient audiences once did.
