Artemisia II

1. Family

Artemisia II was the daughter of Hecatomnus from Mylasa, sister and spouse of Mausolus, satrap of Caria. She had no children from her marriage with Mausolus. The couple were succeeded in power by their siblings Idrieus, Ada and Pixodarus.1

2. Activity

During the reign of Mausolus in Caria (377/376-353/352 BC) Artemisia would have actively participated in the administration of the state. One could argue that the couple were, in a way, joint dynasts of Caria. This is confirmed by epigraphical finds – two decrees dating to Mausolus’ reign. The first was unearthed in Labraunda and pertains to the ceding of privileges in Caria by Mausolus and to the Cretans of Cnossos by Artemisia. The second decree was discovered in Erythrae of Ionia, and refers to the granting of honours to Mausolus, who is proclaimed the city’s benefactor. This last inscription, dated to c.357-355 BC, informs us of the setting up of bronze statues of Mausolus and Artemisia in the city’s agora.2

Following Mausolus’ death in 353/352 BC, Artemisia succeeded him on the throne of the Carian satrapy and ruled there until 351/350 BC. Her succession in power would not have caused problems to the Carians, as we have already mentioned she would have acted already as a co-ruler when her husband was still in life. We do not know whether she officially used the title ‘Satrap of Caria’, for the ancient sources give no information on this. Furthermore, it is uncertain whether women could bear this title in the Persian Empire. Nonetheless, it is thought that the main concern of the Persian king Artaxerxes III (359-338 BC) was not the title itself, but the regular payment of taxes by the Hecatomnids.3

In around 351/350 BC, Artemisia managed to bring again the island of Rhodes in the sphere of influence of the Hecatomnid dynasty. More specifically, according to the story cited by Vitruvius, the Rhodians, taking advantage of Mausolus’ death and being unease about the fact that a woman would rule over the entire region of Caria, attacked Halicarnassus, Caria's metropolis.

Artemisia, however, had received early warning of the Rhodians' aggressive plans and managed to deceive the Rhodian fleet that had sailed against her. She hid her fully equipped fleet in a secret harbour of Halicarnassus next to the palace, while the inhabitants of the city gave a hearty reception to the Rhodian fleet and promised to surrender. Thus the Rhodians disembarked and entered the city. At that point Artemisia sailed out with her fleet and captured the Rhodian warships. The Rhodian invaders were forced to surrender and were put to death in the city’s agora. Artemisia then manned the Rhodian vessels with her own troops and sailed off to Rhodes. The Rhodians, believing that their ships carried Rhodian crews returning after their victory in Halicarnassus, allowed them to enter the island’s port, unaware that they were manned by enemy troops. Artemisia ordered the execution of the Rhodian lords and set up two bronze statues as a trophy.4 Later the Rhodians enclosed this trophy with a wall to hide it from sight and called it Abaton.5

Although modern research questions the historicity of the events narrated by Vitruvius, it is believed that the most valid piece of information to be extracted from this is that the Rhodians deemed that the conditions were ripe for overturning the Hecatomnid commercial supremacy and of the Hecatomnid dynasty in general, and thus sought to free themselves from the Carian yoke.6

A passage from Polyaenus possibly referring to Artemisia II (and not to Artemisia I) reveals that Latmus, which had apparently cast off the yoke of the Hecatomnids, was captured again by her. More specifically, it is mentioned that Artemisia used a ruse, a large procession of eunuchs and musicians that headed to Latmus. The citizens exited the city to welcome them, thus leaving it undefended and Artemisia captured it.7

3. Mausoleum

Artemisia continued the construction of the monumental tomb of Mausolus in Halicarnassus, one of the seven wonders of the Ancient world. According to ancient sources, she was responsible for the construction of the entire funerary monument. Her short reign, however, makes this unlikely, and we should suppose that its construction had begun under Mausolus himself. Artemisia invited famous artists from Greece to carry out the decoration of this monument, and during her reign its construction probably advanced considerably. Her portrait is found on one of the colossal statues that decorated it. The construction of the Mausoleum was probably still underway when Artemisia passed away, and the monument was completed by her heirs, Idrieus and Ada.8

4. Musical contests

It is said that Artemisia gave Mausolus a grand burial. According to tradition, prostrate with grief over her husband's death, she mixed his ashes with spices and concocted a powder which she diluted in water and drank it. Apart from this tradition, it is known that she organized musical contests in Halicarnassus, in which all the eminent intellectuals of the time participated. More specifically, Theodectes of Phaselis, Isocrates of Apollonia, Theopompus of Chios and Naucrates of Erythrae participated in them. Theopompus and Theodectes were proclaimed victors in these contests.

The views of modern scholars concerning the time-frame of these competitions vary. Some argue that these were organized in 353 BC, before Mausolus’ interment, others believe they took place long after his death to honour his memory, but primarily to celebrate the construction of his magnificent funerary monument. Irrespective of their precise date, all the evidence points to the fact that the competitions were organized to offer the great dynast honours befitting of a hero thereby rendering his tomb something of a heroon.9

5. Death

Artemisia lived for only two years after Mausolus' death. She passed away in 351/350 BC, having pined away, according to tradition, because of her immense grief. After her death she was succeeded by her siblings Idrieus and Ada.10

6. Assessment

Demosthenes describes Artemisia as “a barbarian and a woman at that”. Judging from this reference it seems that her contemporaries did not view positively her succession on the throne of Caria. Artemisia maintained a cautious and measured policy vis-à-vis the Persians, following the example of Mausolus. Her and her husband’s contribution in the spread of Hellenism and the Hellenization of Caria is noteworthy. At the same time, these two Hecatomnid dynasts preserved the local cultural element.11 The figure of Artemisia inspired artistic creativity in later times.12



1. Diod. Sic. XVI.36.2, 45.7; Harp. see under entry ‘Αρτεμισία’; Hornblower, S., Mausolus (Oxford 1982), p. 4; Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), p. 33.

2. On the inscription from Labraunda see Hornblower, S., Mausolus (Oxford 1982), p. 75, 135; Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), p. 42; Debord, P., L'Asie Mineure au IVe siecle 412-323 a.c. (Bordeaux 1999), p. 139. On the inscription from Erythrae see Hornblower, S., Mausolus (Oxford 1982), p. 338; Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), pp. 42, 72-73; Debord, P., L'Asie Mineure au IVe siecle 412-323 a.c. (Bordeaux 1999), pp. 392-393.

3. OCD 3 (1996), p.184, see under entry ‘Artemisia’ (P. Treves); Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), pp. 100-101.

4. One of them represented a personification of the city of Rhodes, the other was a portrait of Artemisia herself.

5. Vitr. II.8.14; Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), pp. 109-111; Debord, P., L'Asie Mineure au IVe siècle 412-323 a.c. (Bordeaux 1999), σελ. 400.

6. Hornblower, S., Mausolus (Oxford 1982), p. 129; Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC
(Oklahoma 1992), pp. 109-111.

7. Polyaen. VIII.53.4; RE II.2 (1896), column 1441, see under entry ‘Artemisia’ (3) (W. Judeich); Hornblower, S., Mausolus (Oxford 1982), pp. 322-323; Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), p. 51; RE II.2 (1896), στήλ. 1441, βλ. λ. Artemisia (3) (W. Judeich). Mausolus and Artemisia preserved some Persian customs, as can be seen from Polyaenus’ testimony on the presence of eunuchs in their court.  On the debate whether Polyaenus refers to Artemisia I, queen of Halicarnassus, who lived in the early 5th cent. BC see Hornblower, S., Mausolus (Oxford 1982), pp. 322-323; Debord, P., L'Asie Mineure au IVe siecle 412-323 a.c. (Bordeaux 1999), pp. 400-401.

8. Vitr., De arch. II.8- Pliny, HN XXXVI.IV.30; Strabo. 14.2.16-17; Hornblower, S., Mausolus (Oxford 1982), pp. 237-239; Ruzicka, S., Politics of a Persian
Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), p. 51; Hazel, J., Who's Who in the Greek World (London - New York 2000),
p. 41; DGRBMl, pp. 377, see under entry ‘Artemisia’ (2) (L. Schmitz); Waywell, G.B., The Free-Standing Sculpture of the Mausoleum at Halicarnassus (London 1978), σελ. 70-72, 103-105.

9. Gel. Χ.18.3-7. Souda, see under entries ‘Θεοδέκτης’ and ‘Ισοκράτης’; Hornblower, S., Mausolus (Oxford 1982), pp. 253, 258, 333;  Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), pp. 103-104; Hazel, J., Who's Who in the Greek World (London - New York 2000), p. 41; DGRBM Ι, p. 377, see under entry ‘Artemisia’ (2) (L. Schmitz). We do not know whether the famous Athenian orator Isocrates participated in these contests.

10. Harp., see under entry ‘Αρτεμισία’; Diod. Sic. XVI.45; Strabo 14.2.17;

11. Dem., Epistolae 15.23; Hornblower, S., Mausolus (Oxford 1982), p. 221; OCD 3 (1996), p. 184, see under entry ‘Artemisia’ (P. Treves); Ruzicka, S., Politics of a Persian Dynasty. The Hecatomnids in the Fourth Century BC (Oklahoma 1992), pp. 72-73; NPauly 2 (1997), column 59, see under entry Artemisia (2) (P. Hogemann); Debord, P., L'Asie Mineure au IVe siècle 412-323 a.c. (Bordeaux 1999), pp. 400.

12. The painting is by Rembrandt (1634) exhibited in the Museo del Prado and the opera by Domenico Cimarosa (1797).