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Vitruvius and the Origins of the Orders: Sacrifice and Taboo in Greek Architectural Myth Author(S): George L

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Vitruvius and the Origins of the Orders: Sacrifice and Taboo in Greek Architectural Myth Author(S): George L Yale University, School of Architecture Vitruvius and the Origins of the Orders: Sacrifice and Taboo in Greek Architectural Myth Author(s): George L. Hersey Source: Perspecta, Vol. 23 (1987), pp. 66-77 Published by: The MIT Press on behalf of Perspecta. Stable URL: http://www.jstor.org/stable/1567108 . Accessed: 29/09/2013 10:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Yale University, School of Architecture and The MIT Press are collaborating with JSTOR to digitize, preserve and extend access to Perspecta. http://www.jstor.org This content downloaded from 147.251.68.32 on Sun, 29 Sep 2013 10:04:13 AM All use subject to JSTOR Terms and Conditions Vitruviusand the Origins of the Orders: Sacrificeand Taboo in Greek Architectural Myth GeorgeL. Hersey WhenVitruvius' myths are analyzed, the origins of the Doric and Ionic orders im- 66 This content downloaded from 147.251.68.32 on Sun, 29 Sep 2013 10:04:13 AM All use subject to JSTOR Terms and Conditions RITUS partgruesome lessons. They are tales of betrayal, enslavement, invasion, colonialism, thoughalso of marriageand procreation. But eventhe Corinthian order, the outcome of thatprocreation, memorializesan unwonteddeath .... The rows of columnsin Greek temples,these 'rhythms'of punishedor exalted ancestors,are figuresfrom a sacred dance or march,figures that hold aloftthe witnesses of sacrifice. 67 This content downloaded from 147.251.68.32 on Sun, 29 Sep 2013 10:04:13 AM All use subject to JSTOR Terms and Conditions TheOrigins of the Orders THE ORIGINS OF THE ORDERS1 The Roman architecturalwriter Vitruvius was esteemedby Renaissance architects, who rightlyhonored his treatiseas the onlysuch book to survivefrom antiquity. But his reputationhas diminishedin thepast one hundredyears or so as thetrue nature of Greekand Roman buildinghas graduallybecome evident.It has been shown thathe had a distortedview of his subject.He ignoredimportant buildings of his own time (the firstcentury A.D.) and incorrectlydescribed Greek buildingshe had apparently not seen. His knowledgeof the now-lost Greek architectural treatises that he quotes or paraphrasesseems secondhand, and his own languageis oftenconfusing. These chargesare well-founded.Yet the factremains that Vitruvius possessed an advantagethat we lack: he was steepedin an architecturalsensibility that vanished two thousandyears ago. For all his narrownessand bias he had at least seen buildings and books, and had encounteredarchitectural ideas, about whichwe know onlywhat he has related.So, in spiteof his faultyGreek and pretensionsto highculture, it be- hooves us to pay attention.Specifically, let us closelyanalyze his mythologyof the orders,about whose originshe tells fivestories that deal with racial or nationalbe- trayal,colonization, and individualdeath. THE CARYATIDS OF SPARTA Thefirst tale in Vitruvius' text is thatof the caryatids (i.z). Inthe strictest sense car- yatidsare not one of the three basic orders, but without question the tale of their ori- ginis part of Vitruvius' scheme. He saysthat caryatids were invented during a Persian invasionof the Peloponnesus-either thatof 490o or that of 480 B.C.' Duringthese in- LouisDuc, Doric capital restoration, The Colosseum,Rome, I829. LouisDuc, Ionic capital restoration, The Colosseum,Rome, 1829. LouisDuc, Corinthian capital restoration, CharlesPercier, P.F. L. Fontaine,Villa Albani, c.179o, caryatid aedicula. TheColosseum, Rome, I82.g. vasions manysmaller Greek statesallied themselveswith the Persians.The town of Caryae, in northernLaconia, was one such. Afterthe Persianswere defeatedand drivenaway, all Greeceturned against the traitor-town: "[It] was capturedand all the menfolkkilled. The marriedwomen were led offin cap- tivity,nor werethey allowed to removethe clothingand ornamentthat showed them to be marriedwomen. They were led throughthe citynot in the mannerof a tri- umphalprocession held on a particularoccasion but ratherwere displayedas perma- nentexamples sustaining a weightof punishmentfor their heavy sins beforethe city. Thus thearchitects of that time designed for public buildings figures of matrons placed to carryheavy burdens; in orderthat the punishment of the sin ofthe Caryaean women mightbe knownto posterityand historicallyrecorded." Erechtheion,Athens, Caryatid, detail. In otherwords, the matronswere set intoa multiplepillory that made themlook like piersor columns. 68 This content downloaded from 147.251.68.32 on Sun, 29 Sep 2013 10:04:13 AM All use subject to JSTOR Terms and Conditions GeorgeHersey But before to this text let us notice the associationsof the word I. turningfully Someof the ideas in this article appeared, in "Caryatid,"which means simply "inhabitant (or child)of Caryae," as theyrefer to the preliminaryform, in my "The Classical Orders ofArchitecture as Totems in Vitruvian Myth," Spartantown of Kapial. Therethere was a famoustemple of Artemis whose priestesses Umanesimoa Roma nel quattrocento (Romeand New York, I984), p. 213ff. or femaleworshippers were called KapudlSeq. The focus of the ceremonieswas an 2.. outdoor statue of the goddess. An annual round-dancecalled the caryatawas per- Herodotus I.I83. formedby the young people.3Kapui--lq was also, naturallyenough, an epithetfor Artemis 3- herself.4 PratinasLyricus, Artemiswas a sternand sometimescruel goddess who in earlytimes demanded Fragmentalyrica, ed.T. Bergk,p. 4. humansacrifices.s Later on surrogatevictims were offered. For example,in Spartaand 4. elsewherevirgin girls offered her goats.6One of the most famousimages of Artemis, Pausanias 8. thestatue in theVilla Albani,shows her as thereceiver of lamb-victims. The philologi- 3.xo.7, 5. cal sourcesand etymologicalorigins for Artemis' name have to do withbutchery, mur- AdolfClaus, der,and A or, evenmore, the of a criminal a scaf- De Dianaeantiquissima apud Graecos natura, hanging. publichanging display bon diss.(Breslau: 1881), p. 36.Friedrich Schwenn, fold,are punishmentsanalogous to thatof the Caryaeanmatrons. "DerKrieg in der griechischen Religion," Archivfir Religionswissenschaft, The caryatisdance is describedin detailby Lucian as a fightingdance, performed 19zz,p. z2; PaulStengel, Diegriechische Kultusaltertimer beforebattles, in whichat theclimax the dancers raise their hands as theyline up rowby (Munich,1898), pp. 3, 133;Walter Burkert, row in battle The neatlines of dancers therows in which GreekReligion formations.7 caryatis predict (Cambridge:1985), p. 151ff. caryatidsare so oftendisplayed. (Rows of columnsin Greek are rhythms.) u0p1a,1 6. That the women in Vitruvius'tale are punishedby beingmade to dance theirnative WalterBurkert, HomoNecans: Interpretationen altgriechischer Opfer- war dance would certainlybe an appropriateirony.' ritenand Mythen (Berlin,1972), p. 77. As to the dancers'raised arms,a fragmentfrom the playwrightLyncaeus shows 7. thatthese could be interpretedas supportingweight. A characterin theplay, Eucrates, Lucian, De saltatione, p. Io. 8. CorpusInscriptionum Graecarum, P. 1444. 9. Lycaeus, Frag.6.241d. IO. Roscher, Lexikon, s.v.,citing Homer, Iliad, 7.308; Plato, D. Magnan,Villa Albani, 1775, aedicula with statue of Artemis. Kratyl., scoffsat some people who are partying ina roomwhose ceiling is collapsing.He says 406b. II. to them:"You eat with your right hands but with your left you have to holdup the Roscher, ceilinglike the caryatids."' The dance's raised arm gesture, in other words, was here Lexikon, s.v. "Artemis," sect. (573 adaptedto support a roof just as theCaryaean matrons do inVitruvius' story. xo ft.). Butthe connection between Caryatids and Artemis goes deeper than this. Ac- cordingto Roscher'sLexikon the common noun cpeprjlq means religious chastity.'o Certainlythe main stories about Artemis-her untouchability andthe taboo against so muchas lookingupon her, which was Actaeon's downfall-reinforce thisidea. When Greekwomen married they often sacrificed a lock of hair to Artemis ina riteknown as the to wardoff her at theirrenunciation of Thismatri- npo eiela, anger virginity." monialtheme is recalled in Vitruvius' account. It is only the married women of Caryae whowere punished, which seems to implysome special culpability. This may have beenlinked to theirProteleia vows. In sum,the associational aura of the word "car- yatid"is verydifferent inGreek (or Latin) from what it is inEnglish. 69 This content downloaded from 147.251.68.32 on Sun, 29 Sep 2013 10:04:13 AM All use subject to JSTOR Terms and Conditions TheOrigins of the Orders THE PERSIAN PORTICO Thethemes ofGreek victories over Persians, and of sacrifice, appear again in Vitruvius' etiologyofthe orders. In the sentence immediately following histale of the Caryaean womenhe records that when, in this same invasion, Spartan troops under a general namedPausanias conquered aninfinitely larger Persian force, as a "trophyofvictory totheir descendants" they built a portico: "Therethey placed statues of their captives in barbaric dress-punishing theirpride withdeserved insults-to support the roof, that their enemies might quake, fearing the workingsofsuch bravery, and that their fellow citizens,
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