The Porch of the Caryatids — Attraction in Athens

On the high stylobate of the south porch of the Erechtheion are six maidens, who take the place of columns in supporting the entablature. Now severely weathered and affected by pollution, five of the caryatids were removed to the Acropolis Museum in 1978 and replaced with replicas. The other figure (the second from the left in the first row of four) was appropriated by Lord Elgin, who, between 1801 and 1805, removed about half of the surviving sculptures from the fallen ruins of the Acropolis and from the Parthenon, itself. They were acquired by the British Museum in 1816 and put on public display the following year. Between 1937 and 1938, even the British caryatid, which certainly is in better condition than its sisters, was damaged when masons abraded the surface (as well as that of some of the Parthenon sculptures) in a misguided and unauthorized attempt to brighten them for the opening of the new gallery in which they were to be displayed..

Caryatids are female figures that serve as the architectural support for the entablature of a building. The Greeks called these supporting figures korai, maidens. Caryatides is the first use of the term in Latin and transliterates the Greek word meaning "maidens of Caryae." Rather than commemorating the disgrace of Caryae, the figures more likely represent the young women of the town, where there was a sanctuary of Artemis Caryatis ("Artemis of the Walnut Tree") and an image of the goddess standing in the open air. Here, she was celebrated every year by choral dances (Pausanias, Description of...

The Porch of the Caryatids, on the south side of the Erechtheion, is one of the most iconic and admired features of the Acropolis of Athens. Built in the late 5th century BC, it replaced conventional columns with six sculpted female figures, known as Caryatids, who gracefully support the entablature above them. This bold and innovative design exemplifies the artistic brilliance of classical Athens.

Each Caryatid is both a work of sculpture and a structural element. Dressed in finely carved drapery that falls in rhythmic folds, they embody elegance and strength at once. Their poses are slightly varied, lending a sense of movement and individuality while maintaining harmony within the group. This balance between realism and idealization makes the porch a masterpiece of ancient art.

The symbolism of the Caryatids extends beyond their aesthetic appeal. They were seen as guardians of the sacred space, standing as eternal attendants to Athena. At the same time, they reflect Athens’ ability to merge beauty with function, turning architecture into living sculpture. Their presence elevated the Erechtheion into a monument of both religious devotion and artistic innovation.

Today, five original Caryatids are preserved in the Acropolis Museum, while one remains in the British Museum. Replicas stand on the Erechtheion itself, allowing visitors to appreciate their enduring form. As icons of world heritage, the Caryatids continue to inspire admiration, representing the creativity, grace, and cultural pride of...

🏛️ Porch of the Caryatids – Erechtheion, Acropolis of Athens Location: South side of the Erechtheion, Acropolis, Athens, Greece Era: Classical Greece, c. 421–406 BC Architectural Style: Ionic with sculptural innovation

✨ A Masterpiece of Grace and Symbolism The Porch of the Caryatids is one of the most iconic and captivating architectural features of ancient Greece. Part of the Erechtheion, a temple dedicated to Athena and Poseidon, the porch breaks from the traditional column structure by using six sculpted female figures—the Caryatids—as supporting columns.

It’s a perfect blend of structure and sculpture, where beauty serves function without compromising either. The Caryatids are not just ornaments; they literally carry the weight of the entablature above them, a feat of artistic engineering that continues to inspire awe today.

🗿 The Caryatids Themselves Each figure is slightly different, demonstrating the sculptors’ remarkable attention to detail. Their draped clothing (peplos) falls in vertical folds, mimicking the fluting of traditional Ionic columns, yet their poses are more natural, elegant, and subtly dynamic.

The way they shift their weight onto one leg (contrapposto) gives the figures a graceful realism. Their intricate hairstyles—partly aesthetic, partly structural—help reinforce the neck, enabling the marble statues to support the...