1. Rear view of the Caryatids from the south porch of the Erechtheion. c. 415 BC (Acropolis Museum- Athens).
2.Copy of original Caryatids in the Erechtheion (Acropolis - Athens ).
3. Original Caryatids in the British Museum, it was located in the empty space in the first image (London).

In Greek mythology, the walnut appears in the story of Carya, with whom the god Dionysus fell in love. Carya was a daughter of the Laconian king Dion and Amphithea, daughter of Pronax. When visiting King Dion, the god Dionysus fell in love with Carya and secretly lay with her. After falling in love with her, he soon returned. Carya’s sisters tried to keep the god from her, but this was a violation against the gods, so he struck both her sisters with madness. They went to Mt Tagyetus and became rocks and Carya was turned into a walnut tree. The goddess Artemis carried the news to Carya’s father and commanded that a temple be built in her memory. Its columns, sculpted in wood in the form of young women, were called caryatides, or nymphs of the walnut tree - so the tree furnished the image for a famous Greek architectural form

My New Favorite Story from History

So there’s this guy Cleisthenes in ancient Greece, with a beautiful daughter Agarista, and he’s like “oh man, only the best for my daughter” so he goes to the olympics and announces “alright if you want to marry my daughter come back to my place and I’ll pick the coolest guy after judging you all.” He’s serious about this, he builds some sports stuff to check out how good these guys are.

And so a bunch of dudes go to his house, and stay with him for a year, and he comes to like this guy Hippocleides in particular, so at the end of the year he announces that he has chosen Hippocleides to marry his daughter Agarista, and they all throw a wild party.

And Hippocleides busts out his funkiest dance moves. He does the Laconian, he does the Attic, and Cleisthenes starts to get mad because evidently these are some inappropriate funky dance moves, but Cleisthenes just kind seethes with disapproval and sits, but then Hippocleides busts out his ultimate move, and that’s when it gets real.

Hippocleides does a handstand (with no underwear, because that wasn’t a thing in ancient greece) and starts clapping his legs to the beat, in the air. And Cleisthenes, when he sees the upside down man with legs clapping and balls flapping says “you have danced away your marriage!” And Hippocleides says, (and I’m quoting the text here,) “Hippocleides doesn’t care.” And Herodotus, our heroic narrator, notes that this is where the phrase “Hippocleides doesn’t care” comes from. 

Thanks, Ancient Greece.

Ancient Art

A Greek Late Archaic Bronze Kore From a Candelabrum or Thymiaterion

Bronze, Late Archaic, early third quarter of the 6th century B.C.E., South Ionian?, Allegedly from Ionia

H. 16.2 cm. (statue); 6.75 cm. (base)

Solid-cast by the lost wax process, carefully worked in the cold.

The Kore was the main element of a candelabrum or thymiaterion - the bowl would have been affixed to the flat top of her head.

Her general stance and attitude are the same, in her upraised right hand she holds an open lotus flower, whereas it is closed on our example. Other features, in spite of differences, evoke a similar feeling, in part because they fulfil a similar function.

For instance, the cylindrical cushion elements above her head and below her feet; on the Berlin piece the moulding on the elements is divided by three vertical incisions and on ours by a raised ridge.

The Berlin statuette is acknowledged as a typical Laconian bronze, but here the face and short thorax are very different as to the volume which is both rounded and compact.

Furthermore, the Berlin figure is sober in comparison to our more voluptuous eastern Kore with the flaring element under its feet carrying a stylized lotus and palmette pattern, and other details such as the more complicated folds of her clothing and the rich engraving on her sleeves.

In conclusion, these differences lead us to believe that the Kore is one of what must have been numerous East Greek prototypes responsible for so many features of Laconian artistic production of the period and responsible for influencing other areas as well [3].

She probably comes from an artistic centre in the Miletus-Didyma region.

A possible comparison, though it is only a fragment, in marble, different in many details and later in date, is the Kore from Didyma

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