Marble female figure

Technical Analysis: Multiband imaging, optical microscopy, Raman spectroscopy


This intact, reclining female figure carved from a piece of fine-grained white marble is of the pre-canonical type. It has an elongated oval head that tilts back, a thick, well-centered nose, with shallow hollows that describe the eyes and mouth. The neck is short and broad with a curvilinear silhouette. Two v-shaped incisions delineate it from the chest.


The voluminous upper torso has rounded shoulders and elongated cylindrical arms that are carved away from the torso. The disproportionate forearms, positioned right over left, somewhat awkwardly slope downward below small rounded breasts. The plasticity of the figure is especially evident when viewed in profile. The left forearm and hand give the impression that they are pressing into the naturalistically rendered, swollen belly. The pubic triangle emerges between the voluminous thighs that are conjoined down to the figure’s softly rounded bent knees. The short rounded calves are carved as separate down to conjoined ankles with only a v-shaped cut indicating that the feet separate where the toes begin. Four short incisions indicate the toes on each foot. The back of the figure’s tilted head shows as somewhat concave. A shallow v-shaped groove indicates where the back of the neck meets the spine. A single vertical groove defines the spine, the separation of the buttocks and the back of the legs. A curved incision underscores the figure’s round buttocks.


This is a unique hybrid type that combines naturalistic elements noted in Plastiras–type figures, such as the rendering of facial features and anatomical details, and elements of canonical figures of the Early Cycladic II period, such as the tilting of the head, folded arms and bent knees. These unique features and the size of the figure indicate that the object requires further analysis. Pat Getz-Gentle in her publication mentions this was said to be found with the MET Museum Harp player (MMA accession number 47.100.1, acquired in 1947) and presents various arguments for its incorporation into Cycladic sculpture as an example of bringing the old and the new traditions.


The front of the head, neck and upper chest are highly pitted. Calcareous worn accretions, some in the shape of rootlets, are scattered over the surface, though thicker on the front of the legs and back of the head. Traces of red pigment, identified as cinnabar, are present in the incision between the fingers and toes, and at the bridge between the back of the feet. There is a grey substance below the arms near the sides of the figure, most likely paint from a mount.





Georgios Gavalas, Dorothy Abramitis and Federico Carò