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A Fourth Order of Greek Architecture?
WB Andrew Niemyer
Grand Lodge of Minnesota

ornament and decoration directly mimic that of the
Ionic column: Volutes as ringlets of hair, fl utes on
columns as folds in robes, and bases as shoes.

Further, these fi gures, whether they be the most
famous, the so-called “Caryatid porch” of the
Erechtheum with six fi gures (420–415 BCE), on the
Acropolis of Athens, or later ones, including Roman
Every Master Mason is well acquainted with the Emperor Hadrian’s villa at Tivoli, all display certain,
three Greek and two Roman orders in architecture, unifying characteristics: Th e Caryatids display features
the application of which gives visual form as well which would become staple elements of Classical
as function to many of the fundamental precepts sculpture: Clothes which cling to the body (the ‘wet
of ancient geometry. Th ere was, however, another look’) and a bold and more dynamic positioning of
complete class of columns and pillars devised and the hips and legs.
utilized by the ancient Greeks, that of the use of the
female form as a supporting structure for a structure’s Although each of the famous Erechtheum caryatids
entablature. Th e name for these is “Caryatid.” wears the same visually pleasing robe—a belted
Doric peplos and short himation—each is uniquely
Caryatid, in classical architecture, is a draped female rendered, a feature particularly noticeable in their
fi gure used instead of a column as a support. Th e intricate plaited hairstyles (best seen from the rear).
male equivalent is termed an “Atlas” or “Telemon.” In Th e arms of the fi gures have unfortunately been lost
marble architecture they fi rst appeared in pairs in three but Roman copies show them holding in their right
small buildings (treasuries) at Delphi (550–530 BC), hands phialai—shallow vessels for pouring libations—
and their origin can be traced back to mirror handles whilst their left hand raised slightly their robe. Th eir
of nude fi gures carved from ivory in Phoenicia and intricately arranged hairstyles serve the crucial
draped fi gures cast from bronze in archaic Greece. architectural purpose of providing static support to
their necks, which would otherwise be the thinnest
Th e name “caryatid” is said by some to have derived and structurally weakest part of the load-bearing
from the Greek word, “karyatides,” which translates to purpose of the sculpture.
“maidens of Karyai.” Karyai, an ancient Peloponnesian
town, featured a temple devoted to Artemis Karyatis, Further, depending on the structure, their intricate
an epithet of the well-known goddess Artemis. To capitals can either be depicted as smooth-sided
honor Artemis Karyatis, Peloponnesian women would baskets or more ornamental and reed-adorned, more
oft en perform folk dances with baskets of plants on in keeping with the Corinthian order of architecture.
their heads—an image that inspired the aesthetic of
the caryatid. Th ese fi gures, aft er disappearing from the builder’s
art during the Middle Ages, saw a revival beginning
Th e Roman writer Vetruvius, however, writing at in the Rennaissance, most noteably in edifi ces like
least 300 years aft er the fi rst of these fi gures were the Doge’s Palace in Venice, and their use spread
devised and used at the Temple at Delphi, claimed across western Europe, being used in both public and
they are actually tragic fi gures, those of mature private buildings. Th us, it is certain that our Masonic
women forced into bondage and carriers of burdens, forebearers saw them, although they chose not to
in their architectural case, that of bearing up under address them in our own materials.
the load of the roof and entablature.
On a more philosophic level, one can easily analogize
No matter what one takes these fi gures to mean, the caryatid/atlas theme in our own life-long eff orts to
he does point out that they are contemporary to the form a more perfect ashlar. We ourselves, by our work,
development and use of the Iconic column and their help serve to support the Masonic entablature and
Montana Freemason Page 14 March/April 2021 Volume 97 No. 2