Marble female figure

Technical Analysis: Ultraviolet-induced visible light luminescence examination, optical microscopy

This standing female figure of the Plastiras type has an oval head carved flat and slightly convex at the top. Its long nose is sharp along the bridge and thick at the bottom. The eyes are rendered as deep grooves with deeper circular incisions indicating the pupils. Two long, horizontal incisions indicate the brow and a single smooth groove under the nose indicates the mouth. The ears are rendered as thick, vertical protrusions. A thin groove under the chin delineates it from the beginning of the thick, slightly cylindrical, bulging neck.


The shoulders are broad and slightly rounded. The chest is broad with a deep v-shaped groove that separates the rounded, triangular mounds that are the breasts. They are undercut by a deep horizontal groove above the slightly rounded forearms with hands that meet above the belly. Incised parallel lines indicate five fingers on each. y The hips are full and voluptuous, and the belly is swollen indicating pregnancy. A curvilinear incision below the belly describes the top of the pubic triangle and deeper, angled grooves delineate it from the slightly concave top of the thighs. A small, vertical groove at center indicates the vulva. A sharp, vertical cut separates the relatively short legs with thick knees. The disportionately large, parallel feet are highly arched with incised toes.


The back is carved relatively flat with only the buttocks rendered as broad full, rounded forms separated by an incision at center. Heavy accretions over the surface make it difficult to distinguish any other anatomical details that may have been rendered.


The plasticity of this figure’s anatomical details fits well within the Plastiras type. It has been compared to a similarly-sized figure in the Louvre (Ma 4981). Certain features, like the rendering of the feet and facial features, suggest the need for further examination and analysis. Pat Getz-Gentle discusses these features in relation to the development of the Plastiras type and compares it to a similarly-sized figure in Paris. (1)



There are some small losses to the left top of the head and left first two toes. All toes are abraded at the tips, as are the chin and nose. There are a few bits of accretion on the front; however, the back is covered almost completely. There are areas of deeply ingrained dirt on the breasts, belly and thighs. Back marks, perhaps from a mount or a metal tool used in an attempt to remove the accretion, are visible at the sides of the waist. There is a sticky wax under each foot may be from a previous mounting.


Giorgos Gavalas and Wendy Walker


(1) Getz-Gentle, Pat. Personal Styles in Early Cycladic Sculpture. 2001. p. 12-13, Madison: University of Wisconsin Press.