Inventory Number in the Delos Museum

Inventory Number in the Delos Museum: A3306

Previous Publications: Laumonier (1956: 144, pl. 42, no. 382); Hatzidakis (2003: 266, fig. 428, 433, n. 428)

Iconographic type: Nearly intact “Oriental Aphrodite” with multi-tiered crown incorporating vegetal elements and radiate rays (Chapter 4.2.2.2); figurine belongs to the seated, clothed subtype wearing kothournoi and a medallion with a relief bust (Chapter 4.2.2.3) . The facial features are Archaizing (see discussion in Chapters 4 4 3, 5 6 2)

Archaeological Context: Coroplastic workshop in the Agora of the Italians (Chapter 5.6)

Fabric Type: Reddish “Cycladic” fabric, untempered, levigated; visible zoning at breaks (Chapter 2.5.3)

Manufacturing Techniques:

•  Type of temper used (Chapter 3.4.1): Untempered

•  Number of molds used (Chapter 3.4.2): Body is double-molded, while head is single-molded. Articulated arms (now lost) would have been made separately

•  Condition of mold: Fairly good

•  Solid or hollow: Hollow

•  Presence of vents (Chapter 3.4.3)? No

•  Presence of separate base? No

•  Presence of visible fingerprints? No

•  Evidence of reworking (Chapter 3.4.3)? Possibly some minimal retooling; piercing of hole through shoulders to hold a rod for the attachment of articulated arms

•  Handmade applique elements present (Chapter 3.4.2)? Earrings, radiate rays surrounding face, projecting blob of clay at back of head

•  Method of attachment of head, limbs, etc. (Chapter 3.4.2): Head probably attached via a peglike projection (Chapter 3 . 4.2.3) . A rod, probably wooden, would have affixed the now-lost articulated arms to the body.

•  Evidence of “bubbles” created by plaster mold (Chapter 3.4.2)? No

•  Appearance of back of figurine: Roughly modeled; clay projection at the back of head may have been designed for the coroplast to grip while removing figurine from mold

•  Presence of preserved slip, self-slip, and/or limewash (Chapters 3.4.4, 3.4.5)? Limewash

•  Presence of preserved paint (Chapter 3.4.5)? Most of the chiton is pink (MICHEL color: 25-23-3), as is the bow at the waist. A vertical band of yellow paint (10YR 6/8) runs down the center of the chiton, outlined by two thinner bands of white paint (10YR 8/1) . The hem of the chiton displays two horizontal bands of white and yellow. Yellow also colors the medallion, the band from which it hangs, and the dentellated necklace. The figurine’s eyes are also yellow. Pink traces (5R 7/4) lie atop the yellow paint on the globular fruits or flowers, in between radiate rays and figurine’s hair. Dark red (10R 3/6) traces appear on the hair, painted on top of yellow The bow ties and clasps of the shoes display traces of yellow paint, while the platforms of the shoes show traces of red (7.5R 5/8) . Traces of gilding appear on the top of the crown, the relief medallion, and the chain from which the medallion hangs. (On the color scheme, see also Chapter 4.2.2.3 . )

•  Evidence for repair: No evidence for repair in antiquity. Modern restorers have made extensive use of plaster to rejoin several broken pieces of the figurine