Although Spartans claimed they built their monuments in flesh—in other words, that their citizens were their greatest monuments—the common assumption that Sparta lacked artistic achievements is incorrect.

Pausanius, traveling through Sparta in the 2nd century AD, recorded hundreds of significant buildings—temples, monuments, tombs and public buildings.

According to contemporary sources, Sparta was particularly renowned for its music and dance.

Spartan sculptors were active in pan-European sites such as Delphi and Olympia.

Spartan bronze works were coveted as gifts and imports.

Spartan poets were admired throughout the ancient world—and it was one of these who wrote the first recorded heterosexual love poems known today.

Architectural Monuments

Looking first at architecture, Sparta was distinguished by its early democracy and prosperity, and by the fact that it was unconquered and un-plundered until relatively late in ancient times. In short, its monuments were built early and there was no compulsion to replace them. (We should not forget that the splendor of the Athenian Acropolis is largely a function of the fact that the Persians destroyed all the older temples on the site. As a result, Pericles was able to carry out a comprehensive "modernization" of the entire acropolis at the very pinnacle of Athenian power, wealth and artistic prominence.)

Sparta did have buildings and temples, however, that were greatly admired in their own time. The most significant of these were the Menelaion and the Amyklaion. The Menelaion, which dates from roughly 700 BC, was erected as a monument or temple to Menelaos and Helen. It is located near the remains of a Mycenaean palace—allegedly the palace of Menelaos—dating roughly from the 15th century BC. The Amyklaion was admired by ancient historians as the most significant temple in all Lacedaemon. It was built in Sparta's "Golden Age"—the 6th century BC. This temple contained a massive bronze statue of Apollo surrounded by lower colonnades and stoa. Particularly worthy of mention is also the Spartan Assembly hall, a monumental stoa built in the mid-6th century and greatly admired by visitors to Sparta. The Persian Stoa, built after the victory over the Persians in the 5th Century, was later added as a counter part on the agora and was also significant. In short, the city of Sparta had a rich, varied and yet urban character—despite the disparaging remarks made by Thucydides.

Sculpture and Crafts in Bronze, Ivory, and Terracotta

There is now significant archaeological as well as historical evidence that Sparta did enjoy an artistic "Golden Age" from roughly 650 to 550 BC. In this period, its artistic achievements were renowned throughout the world. At this time, Spartan sculptors were active not only at home but also in cultural centers such as Olympia and Delphi; at least nine sculptors are known by name. Spartan bronze products were of such high quality that they were viewed as valuable diplomatic gifts and found their way to the far corners of the earth. Laconian pottery was, for a period of roughly 100 years, sufficiently valued to be a significant export. Beautiful examples of Laconian pottery still exist, providing sufficient evidence of the very high quality of both the pottery and the painting—even if classical Athenian vases and painting demonstrate a yet higher quality a century later. Laconian works in ivory were another export product, reflecting the high quality of the craftsmen.

Poetry, Music, and Dance

Without doubt, Sparta was most renowned in its own time for its poetry, music, and dance. We know of four Spartan poets/lyricists whose works were admired throughout the ancient world, although, only fragments of their work have survived the centuries. We know that people traveled great distances to witness the choral and dance contests of the Spartans at their various festivals, particularly the Gymnopaidia and the Hyakinthia. It is also recorded that the Spartans advanced into battle singing. Yet, as with all ancient Greek music and dance, nothing remains for the modern observer to grasp. It is left to our imagination.