For centuries, the stark white marble statues of ancient Greece and Rome have been revered as icons of classical beauty. However, these sculptures looked vastly different in antiquity—adorned not only with vivid paint and intricate patterns but also with jewelry and even perfume.
Recent research reveals that these statues were more than just visual masterpieces; they were designed to engage multiple senses. By anointing them with fragrant oils, ancient artisans sought to transform them into lifelike representations of gods, goddesses, and rulers.
Statues That Smelled Like the Divine
“A white marble statue was never meant to appear as mere stone,” explains Cecilie Brøns, an archaeologist and curator at Copenhagen’s Glyptotek Museum. “It was meant to resemble a living deity.”
Drawing on ancient texts, temple inscriptions, and archaeological evidence, Brøns uncovered the ritualistic use of perfumes on statues. Classical writers such as Cicero and Callimachus described how statues were bathed in fragrant oils. In Sicily, a statue of Artemis was ritually anointed with scented oils, while inscriptions from the Greek island of Delos indicate that statues of Artemis and Hera were maintained with rose-scented perfumes.
These aromatic treatments served more than just an aesthetic function. Beeswax, olive oil, and natron may have helped preserve painted surfaces, while the Statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World, was regularly coated in olive oil to protect its ivory finish.
More importantly, these fragrances created an immersive experience for worshippers. Statues were seen as conduits to the divine, and their perfumes—whether floral, resinous, or herbal—added to their spiritual presence.
A Sensory Experience Lost to Time
Today, ancient statues are often displayed in sterile museum settings, stripped of the vibrant colors, fabrics, and adornments that once made them seem almost alive. In their original context, however, they were the focal points of religious ceremonies, decorated with flowers, draped in fine textiles, and ritually perfumed during festivals.
“Experiencing a statue in the ancient world wasn’t just about seeing it,” says Brøns. “It was also about smelling it.”
Though the fragrances have long since faded, traces remain. Residues of beeswax have been found on statues such as that of Queen Berenice II of Egypt, whom Callimachus described as “moist with perfume.” Archaeological evidence from perfume workshops on Delos suggests that ancient artisans blended rose petals, beeswax, and olive oil to create lasting scents.
Reimagining the Past: Should Museums Restore the Scents of Antiquity?
This discovery raises an intriguing question: should museums incorporate ancient perfumes into exhibitions? By restoring not just the colors but also the scents of these statues, we might gain a deeper understanding of how they were originally experienced.
Perhaps one day, visitors will step into a gallery filled with the fragrances of antiquity—bringing the ancient world to life in a way we’ve never known before.
These findings were published in the Oxford Journal of Archaeology.
