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A caryatid (/ ˌ k ɛər i ˈ æ t ɪ d, ˌ k ær-/ KAIR-ee-AT-id, KARR-; [1] Ancient Greek: Καρυᾶτις, romanized: Karuâtis; pl. Καρυάτιδες, Karuátides) [2] is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head.
The Caryatid was removed from Eleusis in 1801 by Englishman Edward Daniel Clarke, who later donated it to the University of Cambridge; it remains on display in the Fitzwilliam Museum. The second Caryatid B , preserved in a better condition than Saint Demetra, was unearthed in Eleusis some ninety years after the other one was taken, and it is ...
Ngongo ya Chintu, known as the Master of Buli (19th century), was a sculptor of Luba art in what is today the Democratic Republic of the Congo. [1] Little is known of his life, but his work has been collected internationally, and he was said to be well respected in his home village.
In ancient Greek religion Artemis Caryatis [1] (Καρυᾶτις) was an epithet of Artemis that was derived from the small polis of Caryae in Laconia; [2] there an archaic open-air temenos was dedicated to Carya, the Lady of the Nut-Tree, whose priestesses were called the caryatidai, represented on the Athenian Acropolis as the marble caryatids supporting the porch of the Erechtheum.
On the south wall of the western naos was an L-shaped staircase which leads to the higher Porch of the Maidens (or Caryatid Porch, or Korai Porch), a prostyle tetrastyle porch, or pteron, having six sculpted female figures as supports, all facing south and standing on a low wall. The only entrance to the Porch of the Maidens was the stairway ...
The Caryatid Porch of the Erechtheion, Athens, 421–407 BC Caryatid A sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. Casement window A window hung vertically, hinged one side, so that it swings inward or outward. Cauliculus, or caulicole
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A fragmentary caryatid from the series, now in the Villa Albani, Rome, is signed by the otherwise unknown Athenian sculptors Kriton and Nikolaos. It was acquired with other purchases from the Villa Montalto in 1787 [ 1 ] by Charles Townley , who bequeathed it to the British Museum in 1805, where its catalogue number is 1805, 0703 44.