Manufacturing Techniques

•  Type of temper used (Chapter 3.4.1): Possible use of crushed limestone as temper (see above, n. 257)

•  Number of molds used (Chapter 3.4.2): Double-molded

•  Condition of mold: Very good

•  Solid or hollow: Hollow body (arms appear to be solid)

•  Presence of vents (Chapter 3.4.3)? Roughly circular vent, 22.5 x 21. 5 mm in size, on back of figurine

•  Presence of separate base? Too fragmentary to determine

•  Presence of visible fingerprints? No

•  Evidence of reworking (Chapter 3.4.3)? Some retooling; stippling of hair, wreath; surface smoothing

•  Handmade applique elements present (Chapter 3.4.2)? Arms, wreath, roll of cloth at waist, possibly some of the hair

•  Method of attachment of head, limbs, etc. (Chapter 3.4.2): Small round hole at top of left shoulder may have been used for the attachment of a separately-made part of figurine

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

•  Appearance of back of figurine: Modeled

•  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)? Reddish-yellow paint (5YR 7/8) on skin, hair, and wreath1166 . Multiple layers of paint on roll of cloth at waist: the first layer consists of a mixture of reddish-yellow (5YR 7/8) and yellow (10YR 8/8) colors, which were later covered over by another layer of limewash. Atop that limewash is another speck of mixed reddish-yellow paint (5YR 7/8) and yellow (10YR 8/8) paint. The two layers of limewash and paint seem to suggest that at some point, this figurine was repainted

•  Evidence for repair: Probable repainting (see above) However, since the figurine was found in a shop (see below), this repainting may suggest not repair after some period of use, but perhaps an attempt by the original painter to cover over some mistake in his first attempt at decorating the figurine Additionally, the figurine has seen some alteration in modern times, as museum restorers have glued it permanently to a plastic base for display

Photograph: Figs. F9, F10, D65

B545

Inventory Number in the Delos Museum: B545

•  Display number in vitrine: 111

•  Field number (written on underside of object): So faded as to be nearly illegible; perhaps 6441? Unclear.

Previous Publications: Hatzidakis (2003: 268, 433 n. 439, fig. 439)

Height: 45.5 mm

Iconographic type: Plastic vase in the form of a Sothic dog (Chapters 4.2.3, 4.7.2)

Archaeological Context: Unknown (Chapter 5.10.1)

Fabric Type: Gray levigated fabric, origin uncertain (Chapter 2.5 . 4)

Manufacturing Techniques:

•  Type of temper used (Chapter 3.4.1): Untempered

•  Number of molds used (Chapter 3.4.2): Double-molded

•  Condition of mold: Fairly good

•  Solid or hollow: Hollow

•  Presence of vents (Chapter 3.4.3)? Holes in mouth of strainer would also have served to vent the plastic vase during firing

•  Presence of separate base? Too fragmentary to tell

•  Presence of visible fingerprints? No

•  Evidence of reworking (Chapter 3.4.3)? Piercing of three holes in mouth of strainer

•  Handmade applique elements present (Chapter 3.4.2)? Handle may have been separately molded and then attached, but B545 is too fragmentary to be certain of this.

•  Method of attachment of head, limbs, etc. (Chapter 3.4.2): Head and body of dog appear to have come from the same double mold

•  Evidence of “bubbles” created by plaster mold (Chapter 3.4.2)? Some possible, though inconclusive, “bubbles” within the fur at the upper front part of dog’s head

•  Appearance of back of figurine: B545 is quite fragmentary, but all preserved parts of the figurine—including what remains of the back side—show detailed modeling

•  Presence of preserved slip, self-slip, and/or limewash (Chapters 3.4.4, 3.4.5)? All-over black slip on exterior surface (10YR 2/1); see above, n. 264, on the common relationship between this surface treatment and the gray levigated fabric type

•  Presence of preserved paint (Chapter 3.4.5)? No

•  Evidence for repair: No evidence for repair in antiquity. Modern restorers originally affixed the object to a plastic base by gluing an orange spongy substance to the interior of B545, and then gluing that substance to the plastic display base. The glue between the spongy substance and the plastic base has now worn away, but the spongy substance is still permanently attached to B545’s interior

B584

Previous Publications: Zapheiropoulou (1998: 288, fig. 219); Hatzidakis (2003: 265, 433 n. 426, fig. 426, 2004a: 386, pl. 169at, no. 083 .N)

Height: Difficult to be certain of height, because of the extensive use of modern plaster. As far as is visible, the preserved original parts of the figurine have a height of 188 mm—though it is possible that the modern plaster conceals some portion more of the original.

Iconographic type: Plastic vase (Chapter 4.7.2) in the form of Bes-Silenos (Chapter 4 6 1 3)

Archaeological Context: Private house in the Theater Quarter (Chapter 5.3.2) . Fabric Type: Reddish “Cycladic” fabric, untempered, levigated (Chapter 2.5.3)

Manufacturing Techniques:

•  Type of temper used (Chapter 3.4.1): Untempered

•  Number of molds used (Chapter 3.4.2): Double-molded

•  Condition of mold: Very good

•  Solid or hollow: Hollow

•  Presence of vents (Chapter 3.4.3)? No, although plastic vase is of course open at its mouth

•  Presence of separate base? Ring base, heavily reconstructed with modern plaster. For illustrations of such base types, see Figs. S2, S3 (bases of B3629 and B4730)

•  Presence of visible fingerprints? Possible partial prints at small of back and at left side of base

•  Evidence of reworking (Chapter 3.4.3)? Some marks of smoothing with a fine cloth, visible under the black slip. Possibly some very minimal retooling, though this is uncertain

•  Handmade applique elements present (Chapter 3.4.2)? No

•  Method of attachment of head, limbs, etc. (Chapter 3.4.2): Head and limbs come from the same double mold as body

•  Evidence of “bubbles” created by plaster mold (Chapter 3.4.2)? Possible, though uncertain, plaster blisters on vine leaves at left temple

•  Appearance of back of figurine: Modeled, with some attention to detail

•  Presence of preserved slip, self-slip, and/or limewash (Chapters 3.4.4, 3.4.5)? Probable self-slip. Above that, black slip (7.5YR 2.5/1) all over figurine’s exterior

•  Presence of preserved paint (Chapter 3.4.5)? No

•  Evidence for repair: No repair in antiquity, but modern restorers have glued sherds of broken figurine together and used plaster to fill in missing pieces of base.