A caryatid is an architectural support sculpted in the form of a female figure, most used in classical architecture as a decorative alternative to the basic column support. Perhaps the most famous example can be seen at the Erechtheion or Temple of Athena Polias at the Acropolis in Athens. Although the caryatids currently in place at the Erechtheion are later replicas, five of the originals can be seen at the nearby Acropolis Museum.
The name derives from the Greek word karyatides, meaning ‘maidens of Karyai’, a reference to the ancient town now known as Karyes on the Peloponnese, in Southern Greece. There are two theories for the origin of the term. The first, proposed by the Greek geographer Pausanias (circa 110-180 BC), is that the karyatides were virgin dancers who performed at the temple to Artemis, goddess of nature and fertility, during Karyai’s annual summer festival.
The second, somewhat darker explanation, proposed by the Roman architect Vitruvius (died 15 BC) suggests that the caryatids were enslaved villagers, punished for their role in betraying Sparta to the Persians. Vitruvius believed that the caryatids’ role in architecture of bearing the weight of a structure was intended to symbolise their burden as traitors. Since the use of supports sculpted in female form is documented in Greek architecture well before the Persian Wars, it would seem Vitruvius’s theory is rather more fanciful than factual.
Enriched by their discoveries on the grand tour, wealthy landowners and their architects sparked the emergence of the neoclassical movement in the mid-17th century. Consequently, caryatids can be seen architecturally in important buildings of the era throughout Western Europe and North America.
The caryatid also became a common feature within the home, with Georgian architects incorporating them as ornamentation in the designs of chimneypieces, tables and cabinets, chandeliers, candlesticks and even clocks.
Click here to view examples of caryatids currently available from BADA members.