A Greek Statuette in Egyptian Dress

A Greek Statuette in Egyptian Dress Author(s): Carol Benson Source: The Journal of the Walters Art Museum, Vol. 59, Focus on the Collections (2001), pp. 7-16 Published by: The Walters Art Museum Stable URL: http://www.jstor.org/stable/20168598 . Accessed: 07/11/2013 02:50 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

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A Greek Statuette in Egyptian Dress CAROL

BENSON

An unusual bronze statuette in theWalters

collection stands

in an Egyptian pose and has Egyptian features in itsdress, but isEast Greek in its style. The unprovenanced works tantalizing hints of stylistic cross-influences between Egypt and the northern cities ofEast Greece prompts a review of relevant art historical and archaeological evidence on this topic.While not conclusive, and stylistic analysis supports the authenticity in its closest has which the work, early parallels importance of the Troad. fifth century B.C., small-scale works from detailed

reliable evidence, in purchases of antiquities.2 Reasonably albums put the form of a series of annotated photograph the work that for Kelekian Walters, suggests together by was offered for sale in 1909. These five albums contain from the ancient of objects primarily photographs and were Islamic? and Roman, Egyptian, world?Greek, sent toWalters when he was considering purchases. The first is dated 1909; the rest are dated 1911, 1912, 1914, and in larger album inexplicably contains items offered the 1913 and 1917. Kelekian apparently acquired items in these albums "on spec" from a wide variety of to be offered for sale. sources and had them photographed

one

both of the toughest challenges facing curators today is the critical re-examination of the works in their col

One

lections that, due to the market and collecting practices of an earlier era, unfortunately lack the invaluable information that

accompanies

a

secure

and

accurate

provenance.

To

perform this taskwith the remarkable antiquities collection is as great an education for the amassed by Henry Walters eye as for the intellect.1 One bronze statuette of awoman (ace. no. 54.970) provides an and especially intriguing example of the excitement frustration that accompany this challenge. The information about the origins of this work

bronze figure in Egyptianizing pose and dress, it is almost without parallel. Any real understanding of the circumstances surrounding the creation and of the remarkable details of

THE

requires

HISTORY

a

thorough

OF

THE

ply "found

in Greece." Of

is labeled sim

the use of this type of character and reputation is

course,

a phrase by dealer of Kelekian's not a reliable indicator of the piece's true origin; it could not know the source a easily be fabrication ifKelekian did it another if he from dealer) or if he acquired (especially did not choose to let his source be known.

lack of reliable

is particularly as the statuette is such a rare composite of different regrettable its that characteristics very authenticity must be investigated and tested; yet its significance, if it could be demonstrated to be an original of the early fifth century B.C.,would be enormous. Its primary stylistic characteristics are Greek, and, as aGreek

the work

is not identified. The photographer The photograph of the bronze statuette

and careful analysis.

STATUETTE

as well as many Henry Walters acquired the statuette, other works of art, from Dikram Kelekian, a prominent on his and active dealer who advised Walters extensively

AN

EXAMINATION

OF

THE WORK

was published by Dorothy Kent (figs. 1-4) in 1949,3 but has since received scant attention. It is solid-cast and stands 13.6 cm. tall. The head of the figure is thoroughly Greek in style, with distinctively "Ionian," or East Greek, features typical of the late sixth to early fifth

The

statuette

Hill

centuries B.C. The stance, however, is an Egyptian one: it has the stiffly frontal pose characteristic of Egyptian figures, the legs and feet entirely straight and tighdy drawn together. The right arm of the figure is also stiffly vertical and held in an Egyptian straight by her side. Her hand is clenched manner. Her left arm is broken away above the elbow and appears to have been drawn slightly forward and away from the body. The existence of corrosion along the break indicates that the damage occurred in antiquity.

The Journal of theWalters Art Museum 59 (2001) 7

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SJ^i?gi-:

Figs.

1-3. Bronze

statuette

of a maiden,

500-480

B.C. Baltimore:

Walters

the knees of the figure, an irregular line marks a discontinuity in the bronze. The lower part of the garment Below

and the legs and feet are smooth, with no decorative details added. On the figures proper right side, just above the garments hem, is an irregular cavity partially filled with lead. The bottoms of the feet have been filed smooth in times, making it impossible to determine whether metal tangs originally extended below them. This lower section has been identified by Walters' modern

as a

conservators

of which

clumsily

achieved,

cast-on

repair,

the date

cannot be determined.4 The metal of the statuette

has numerous

shrinkage to the supposition leading was technically inexpert explanation statuette was

cracks and extensive

pitting,

that the craftsman

responsible in the casting of bronze. One therefore be that the for the repair might cast

incompletely originally, with the casting a repair that was less detailed and the below knees, ending than the main body of the figure was cast onto the partial

Art Museum,

ace. no. 54.970.

it.5 Or it is in antiquity, in order to complete a casting flaw led to a break in this area at a that possible later date, and that the lower part of the figure was cast statuette more onto the statuette to make a damaged more saleable. Pending scientific testing "whole" and thus Statuette

of the content

alloys of the upper and lower us information about whether additional castings may give in the two sections of the statuette could have originated of the metal

the same workshop. The figure also combines details of Greek and Egyptian to emulate an dress, as if a Greek artist wished Egyptian "look" but was confused about the correct arrangement of to be a thin, short-sleeved Egyptian garments. What appears is visible over the breasts, embellished with undergarment closely mantle

set vertical

striations. This

is covered by in a horizontal

a thin

cinch tightly draped down the sides of the just below the breasts. Running characteristic of an Ionic sleeves are the button-fastenings and fastened

8

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PLACING

THE

STATUETTE

IN CONTEXT

As one of the few small-scale

to combine figurai works and Egyptian stylistic characteristics, theWalters' statuette finds its closest parallels in a small group of works

Greek

by Klaus Parlasca in his study of Archaic Greek statuettes from Egypt.6 Parlasca looked atworks in the Greek were that found in Egypt, and that were believed to style

discussed

have

been manufactured statuettes

there as well.

These

include

a fine including example in Cairo carved in "alabaster," now recognized as gypsum, with many parallels from Naukratis.7 A remarkable faience shawabti figure of the late sixth century B.C. with a small-scale

of nude

kouroi,

distinctly Greek bearded head, from Saqqara, now in the Cairo Museum, is an even more intriguing example of the mixture of Greek and Egyptian characteristics.8 Parlasca also included in his discussion a small bronze statuette of a Greek youth wearing the Egyptian kilt that was found inVonitsa in Akarnania in Greece and is now inDresden (figs. 5-7).9 This is the only Greek bronze stat uette of aman to wear Egyptian dress, although a handful of Cypriot bronze figures also wear the Egyptian kilt.10 as recently been analyzed by Glenn Markoe case of Phoenician transmission of special reflecting Egyptian motifs to Cypriot patrons and artisans.11 The Dresden statuette, which cannot be dated more

These Fig. 4. Bronze

statuette

of a maiden

a

(top of head).

a chiton. Three

decorative bands at the echo a typical Egyptian-style banded collar or necklace. The back surface of the piece is not as well pre served as the front; it is basically smooth, although we can still see the lines that continue the bands around the neck, as well as incisions near the shoulders that resemble the "suspender" effect of the simple linen garment worn by Egyptian women. garment neckline

called

The figures hair is combed tightly around the head; it is gathered up from the nape and bound in a wide band of fabric. At the front, locks of hair are formed into the distinctive flattened, semicircular curls worn over the temples, known as "side-curls," that are characteristic of works in the Ionian style of the late sixth and early fifth century B.C. A detail of the top of the piece (fig. 4) shows that these curls are pulled over the band at the front. The

cranial and facial characteristics of theWalters' are also typical of the "Ionian" style. The head is figure an like egg, with its axis running from the chin to shaped the back of the crown. The eyes are almond-shaped and adapted to the curved surface of the head, giving them a somewhat oval, with cheekbones

slanted appearance a sweet and demure

from the front. The

face is

expression, marked by high that curves into a slight as smile the chin projects forward. and a small mouth

have

than the second half of the sixth century B.C., is actually part of an implement, perhaps a mirror support, as the flattened details of the back, with a hole for a rivet

precisely

at the neck, indicate. The relatively unrefined male figure stands in the pose of a kouros, with his left leg advanced before his right. attachment

Parlasca suggested that the works he discussed were the products of a Greek workshop located in Naukratis that was under heavy East Greek influence.12 While this to be it is difficult correct, substantiate, hypothesis may especially for the works found outside of Naukratis. We have no information on how the Dresden bronze came to and how it came to Vonitsa, and its somewhat coarse features offer few leads. By contrast, theWalters' statuette clearly contains detailed and specific stylistic that indicate its possible origins characteristics in the

be made

northern

region of East Greece. The hairstyle and head-covering worn by theWalters' statuette are unusual, but they have parallels inworks from northern Ionia and Thessaly. A head from Atrax inThessaly, while

exhibiting the somewhat later facial characteristics of the second quarter of the fifth century, is a close parallel, with both the wide headband and the flat curls at the temples.13 The famous relief from Pharsalos in Thessaly now in the Louvre, crafted slightly later (mid-fifth century

9

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Figs.

5-7.

Bronze

Kunstsammlungen,

statuette

of

ace. no. Z.V.

a male

wearing

Egyptian

kilt,

second

half

of

the 6th

B.C. Dresden:

century

Skulpturensammlung,

Staatliche

2626.

that B.C.), has a similar but more elaborate head-covering was catches up the hair in the back.14 Thessaly strongly influenced by Ionian styles in this period, as is clear even from these examples. Two more examples from the northern that is Ionian sphere include the Kore from the Akropolis not in style if in origin (Akropolis believed to be Chian 675), has a similar facial structure, and is dated to 520-510 B.C.15 and a coin from Lampsakos, on the northwest coast and Phokaia, of the Troad, a city with close ties toMiletos dated to 500-490 B.C.The coins obverse depicts a janiform

a now inThe British Museum Turkey), (fig. 8),17 has strikingly to structure and smile theWalters' piece. An similar facial Archaic terracotta protome of awoman from Sardis inThe comes from a tomb of Metropolitan Museum of Art (fig. 9), the Lydian period called the "Stele Tomb," after the Greek marble stelae that flanked the entrance.18 Its facial features have many similarities with theWalters' bronze. Dating to the early fifth century B.C., it has been thought to indicate contacts between Lydia and the East Greek city of Rhodes, center on the southern coast. an important Greek trading

head of awoman

with very similar facial features; her hair is bound by a thin band and has flat curls at the temples.16 statuette indicate The stylistic features of theWalters'

GREEK-EGYPTIAN

centers of East Greece (the origin among the artistic west coast of modern region of Greek settlement along the We still know little about the unfortunately day Turkey.)

Parlascas article reflects the fact that the traditional

an

majority of these centers, due to historical circumstances (see below) and the limited extent to which the sites have been excavated. A terracotta banqueter from the Troad (the near Troy in the northwestern region of modern-day region

AND

SIXTH

CONTACTS

FIFTH

CENTURIES

IN THE B.C. focal

in Egypt's relations with point Greece in the Archaic period has been the important site of Naukratis on the Canopic branch of the Nile. This was for scholars

interested

com trading settlement that handled the major transactions between the Egyptians and Greeks.19

the Greek mercial

10

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:-#1

5*?> **< ;Vs% ?**?^ v

Fig. 8. Terracotta

figurine

of a reclining

banqueter

from

the Troad,

the cities that passage identifying the sanctuaries of Naukratis (Hdt. is our best source of information

early 5th century

Herodotos' founded

2.178) about the principal Greek cities active here; he tells us that the Aeginetans built a ternpie to Zeus, theMilesians

the Samians one to Hera, and a temple in honor of Apollo.

^. ?Ji ??T^rj

B.C. London:

The

original

wlEEE?l w?bS&^ K*!s8l

two cultures. As

Greek

trade, and

limited any Greek

ace. no Bl

13.

to this settlement other than that of mercenaries * one site the Archaic period.20 during on the I The lack of information

In addition, the largest sanctuary in J?J?MmS? Naukratis, theHellenion, was built by the 'iSHHH joint effortsof the Ioniansof Chios, Teos, y^gj^^^B Phokaia, and Klazomenai, the Dorians J^^^^B * of Rhodes, Knidos, Halikarnassos, and A^^^^l Phaselis,and theAeolians ofMytilene. jl^^^^l It is this site that presented themost flE$|^^^^H frequentand commonplace opportu- Vfl^^^^^l nities for direct contact between the ffij^^^^^H ^^^^^^^^ iswell known, however, the Egyptians were wary of the Greeks, maintained a tight control over

British Museum,

female protome from Sardis, Fig. 9. Terracotta ca. 500-480 B.C. New York: The Metropolitan Museum of Art, ace. no. 26.164.8.

context

of theWalters'

statuette

its placement within the precludes valuable of material tremendously body as known "Aigyptiaka": the Egyptian that have and Egyptianizing artifacts been

excavated from Greek

cal sites. This

material

archaeologi

was

published by J.D. S. Pendlebury twice and has been updated

originally in 1930, in more

recent times, by Richard Brown in 1975, treatment and again, in an exhaustive in 1994, which by Nancy Skon-Jedele more than 5,000 objects.21 catalogued The number of true Egyptian artifacts that reached Greek lands is substantial, but the objects small items?faience primarily

are

11

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small vessels, scarabs, and beads?that circulated now trade. We know that both Naukratis and

figurines,

through Rhodes had factories

that produced small faience articles in the Egyptian manner to satisfy a demand for these artifacts among Greek curiosity-seekers. Scarce but slowly mounting evidence from the major East Greek sanctuaries, from sites, and from Lydian contexts just east of territories is also beginning to indicate that Egyptian

scattered Greek Greek

influences were

strongly felt inArchaic Greek centers other

than Naukratis. All

of

the bronze

artifacts

discussed the among in style.When Pendlebury purely Egyptian the material, the known bronzes were limited

are

"Aigyptiaka" first published to a statuette of a Seated Horus on

from Athens

and a small

A comparison between this statuette and theWalters' is revealing for the works' maiden stylistic differences. While the Egyptian Neith exhibits the frontal stance and stiff leg position closely imitated

typical of many in the Walters'

statuettes of the goddess, piece, the heads of the

are each fully representative of the very different figures cultures that produced them. The expressive, large-featured Egyptian face of Neith, with the strongly outlined eyes and contrasts with the distinctly Ionian Greek protruding ears, statuette. Moreover, of the of theWalters' head the shape oval face, the shape of the eye, the light-hearted expression with high cheekbones, small mouth, and projecting chin, as well as the treatment of the hair and are head-covering, all characteristics that belong to East Greece and related

excavations Apis Subsequent a few additional examples?a similar Horus revealed only statuette from Argos and amirror from Perachora23?until the spectacular finds from the Sanctuary of Hera at Samos

northern Greek

one excavation, the changed the picture entirely.24With number of Egyptian bronzes from Greek sites had jumped from a handful to more than 140, encouraging scholars to at East hope for similar riches from future excavations

or Aegean. Under Persian rule, Ionia fell within the satrapy, region, administered from Sardis. Because of the upheaval and

bull

Greek

found

Samos.22

sites. In recent years, the list has been expanded by Isis and a falcon-headed implement from the

a bronze

excavations The

atMiletos Egyptian

and a bronze bronze

situla from Samos.25

statuettes

excavated

a very including of the Neith goddess (figs. 10-12), standing figure another of the goddess Mut, and several naked female figures a wearing polos headdress and with separately formed and attached arms.27 They are thought to have been imported in Egypt. Thus into Samos shortly after their manufacture of these statuettes are of women,

fine

our picture of the Heraion on Samos in the Archaic period must now include numerous very fine Egyptian works in the sanctuary, as well as works of Near dedicated a situation by Jantzen,28 origin, also published at any other Greek site. unparalleled The Egyptian goddess Neith was a deity of war and hunting, especially revered in Lower Egypt, her principal cult

statuette can be dated between

500 and 480 B.C., a period of turmoil and upheaval in the region, as the now extended to the advancing Persian empire edge of the

the fact that the Ionian people were subjugated to the Persians, we know few details of Ionian life in this no period, and have comparable bronze statuettes to compare to theWalters' work. But themovement was

in the

Samian Sanctuary of Hera (Heraion) have been identified as to the Kushite period of the by Ulf Jantzen belonging ca. that 719-656 B.C.26A notable is, twenty-fifth dynasty, number

The Walters'

settlements.

to revolt against Persian domination, which to have dire consequences for the region, had begun. The Walters' bronze points toward a greater communi

cation and cross-influence

between Egypt and the northern East Greece of than excavated evidence currently region a on Rhodes That similar supports. exchange took place

and on Samos, the formidable trading powers to the south, has long been recognized. The stimulus of trade was the driving force behind this cultural interaction, and Naukratis was not the only site where this was taking place; an important trade route between Egypt and Greece followed of Palestine, Phoenicia, and Asia Minor. The Egyptian dedications at major East Greek sanctu aries may also have had a greater cultural impact than has one extant previously been recognized, but there is only the coastlines

stone sculpture dating from the twenty-fifth or twenty-sixth dynasties (between 750 and 525 B.C.) excavated from an Aegean context; it is a battered fragment of an

Eastern

Egyptian

center

stone head, less than half life-size, found near the Egyptian of Athena Polias at ICamiros on Rhodes.29 It is hoped temple

at Sais, home of the kings of the twenty being located sixth dynasty, the period between 664-525 B.C.The statuette of the goddess excavated at Samos (figs. 10?12) wears the red crown of Lower Egypt and an incised broad collar necklace inlaid with copper, aswell as a thin net-like garment covered by her falcon-wings, also indicated by incision. Her stance is frontal, with her left foot only slightly advanced before her right. Her right hand hangs straight by her side, while her left arm is bent at the elbow with her hand lifted forward. Both hands are pierced

to hold attributes.

excavations that continuing throughout further valuable evidence. yield also

the region will

The writings of the early Greek historian Herodotos tells us that the Egyptian lend support. Herodotos

to two wooden images of himself king Amasis dedicated in Samos, during the time of the Samian tyrant Hera Polykrates, ca. 540 B.C. (Hdt. 2.182). He also mentions on a by Amasis at Greek sanctuary at Lindos and another at Cyrene on the north coast of Africa.30

dedications Rhodes,

12

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\

Figs.

10-12.

Egyptian

bronze

statuette

of Neith,

from

the Heraion

at Samos,

ca. 700

B.c. Athens,

Deutsches

Archaeological

Institut.

13

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FINAL

ASSESSMENT a

statuette

The Walters'

represents powerfully poignant example of the challenges faced by modern curators. This odd and intriguing work, both literally and figuratively a pastiche of different elements and styles, potentially represents a rarematerial example of cultural dialogue. The works of art from the region and period with which it is associated are few and little-known, to the toll of military largely due over this fertile and strate for dominance campaigns waged region. If its origins could be definitively gically ascertained, the importance of the piece would be staggering. Has the statuette been too compromised by its obvious located

to be considered

modifications more

information

authentic?

It would

than we now have to damn

The lively grace and remarkable delicacy of the piece are the best argument for its authenticity, as are its distinctive East Greek stylistic elements. Knowledge of an early twentieth or century workshop producing forgeries of this kind, scientific testing that proved there is amodern component to the alloy of the upper part of the work, would settle the matter. At present, we must deeply lament the circumstances that have led to the loss of the work's original provenance. At the same time, however, we can carefully note its oddities while celebrating its unique qualities and the suggestion of that the piece represents.

stylistic interrelationships

The Walters

take

it as a false

Art Museum

Baltimore, Maryland

of the comparanda for the piece were not not known, many yet even excavated, by 1909, the date the was to piece apparently offered for sale Henry Walters. The creation. Most

in the bronzes that yielded the Egyptian not most at Hera of Samos did until 1910; Sanctuary begin of the bronzes were not found before the 1920s and not excavations

publicly announced until the 1950s. The Dresden bronze was not published until 1921; Parlasca's article appeared in 1975. Our general knowledge of East Greek styles was still in its infancy in the late 1920s, when Ernst Langlotz published his Fr?hgriechische Bildhauerschulen (Early Greek Sculptural in 1927. Thus it is conceivable but Schools) inN?rnberg these details very unlikely that a false creation combining could have been made by 1909. The corrosion patterns of the metal, including the break surface of the proper left arm, while

it cannot

confirm

the dating,

are consistent

in antiquity. The relatively smooth back of the piece is also inconclusive. at theWalters, Terry Drayman-Weisser, Head of Conservation over inmodern smoothed it have been could suggests that

with manufacture

times, which means we cannot determine whether the lack of incised detail is original or is due to greater weathering and corrosion of this side. As already noted, the cast-on repair, if that iswhat it is, of the lower part is remarkably to the in comparison the result of latermodification.

rest of the work

and may be Such questions about possible alterations need not cloud the assessment of the piece, however, since we already know that it passed through a dealers hands ca. 1909. crude

NOTES article was

1. This Mellon

at

Fellow

me fellowship presented the important collection view

and written

researched

Curatorial

with

I was

while

the Walters

an Andrew

Art

to research

the remarkable

of ancient

opportunity bronzes from

Greek

W. The

Museum.

the point of and style. I

or lack thereof, provenance authenticity, Shreve Simpson for making this and Ellen D. Reeder was at An earlier of this article version possible. presented Art Association in New York on 25 February conference

of condition,

thank Marianna opportunity the College

at a session

2000, 2. W

R.

and

Marianna 3. D.

London,

Shreve

K. Hill,

"Egypt

William

Johnston,

(Baltimore

Gallery

entitled

and Henry

The Reticent see

also

the

Collectors article

by

in this volume. Bronze

of Classical

Catalogue

World."

Walters,

144-47;

1999),

Simpson

(Baltimore,

the Ancient

and

in theWalters Art

Sculpture

pi. 48.

109-10,

1949),

Donna 4. Terry Drayman-Weisser, and Julie Lauffenburger Strahan, the work with me, and I thank them for have examined and discussed their observations 5.

Both

and careful

of portions It is possible

the

consideration. were

statuette

in

made

the

"lost-wax"

is that the original wax model technique. (forming what was a craftsman now the upper of the statuette) by portion produced for the casting or for any subsequent who was not present "repair" work. 6. K. Parlasca, Wandlungen.

"Zur archaisch-Griechishen Studien

Wedeking Gewidmet as Parlasca). 7.

"Alabaster"

Cairo Museum,

zur antiken

und

(Waldsassen-Bayern,

(gypsum) no. CG

27425,

1975),

of a kouros,

statuette H.

aus ?gypten," Ernst Homann

Kleinplastik neueren Kunst, 57?61

from

11.5 cm. Parlasca,

Sais,

(hereafter

cited

ca. 550

B.C.,

57, Taf.

8a; exh.

1978), no. 75. For a new interpretation (Mainz, see I. as a kouroi from Naukratis the gypsum Cypriot product, in Naucratis: The Case for Cypriot Origin," "Archaic Kouroi Jenkins, sees American 105 (2001), 163-79; Jenkins fournal of Archaeology, cat., G?tter-Pharaonen

of

Cypriot majority

carvers as

successfully mimicking of his examples are headless.

14

This content downloaded from 193.227.1.127 on Thu, 7 Nov 2013 02:50:35 AM All use subject to JSTOR Terms and Conditions

Greek

form and style, but

the

8.

Faience

cm. Parlasca,

9.5

2626.

Kunstsammlungen,

V. M?ller,

M?ller,

234-36,

Abb.

Archaeology,

338-40,

Abb.

2; G.

Lebadeia,"

1931,

Anzeiger,

Die

59, n. 26, Taf.

90 n. 9; Parlasca,

n.

417

1987),

(Munich,

I: Die

Plastik

Griechische

10. A. T. Reyes,

10 d-f; W.

and J. Floren,

Fuchs

und Archaische

Geometrische

Plastik

Bronze

"The Anthropomorphic

Statuettes

of Archaic

Idalion,Cyprus," TheAnnual of theBritish SchoolatAthens, 87 (1992), Cyprus: A Study of the Textual and Archaeological 1994), 69-84, esp. 82-84, pi. 11.

Reyes, Archaic

243-57; Evidence

(Oxford,

11. G. E. Markoe,

Male Votive "Egyptianizing 111-22. Levant, 22 (1990),

A Reexamination," 12. Parlasca, between

of one

at Keramos

found

"Ein Archaischer

Grabreliefs 14. Mus?e

of a Kore

from Atrax,

cited as "Kunsthandel,"

(Mainz,

1965),

du Louvre,

from Pharsalos. 17; M.

of Archaeology,

29, no. L 9, Inv. No.

Thessalischen

Les Sculptures

Hamiaux,

1952, 48-59;

2nd quarter 5th century, H. 27 in H. Biesantz, Die Thessalischen

Ma

147, Taf. 701,

30. of a stele,

(Paris

22-23,

no. 36, Taf.

1992),

109, no.

98,

with bibliography. 15. Akropolis Museum, chen Marmorbildwerke Payne, Archaic Marble

Athens,

no. 675, E. Langlotz

der Akropolis

(Frankfurt,

et al., Die

archais

no.

43; H.

1939),

the Acropolis, 2nd Sculpture from G. M. A Richter, Korai: Archaic

ed.

(New York,

Greek maidens; 1951), 31, pis. 49-50; a study of the development of the Kore type in Greek sculpture (London, M. Brouskari, A The Acropolis Museum: 1968), no. 123, figs. 394-97; B. The Archaic S. 65; Descriptive Catalog (Athens, 1974), Style Ridgway, in Greek

Sculpture

Sculpture

Grecque

258-59,

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