Marble female figure

Technical analysis: Multiband imaging, optical microscopy, X-ray radiography
This reclining female figure, carved from a block of fine-grained white marble, is complete with mended breaks at the knees, left calf and between the lower legs. It has an upright, lyre-shaped head with a long, wedge-shaped, well-centered nose. A curved shallow incision delineates the rounded jaw line from an especially thick, ellipsoidal neck, and a similarly curved incision delineates the neck from the torso. The shoulders are broad and slope downward toward softly rounded arms that are folded tightly as if compressing the chest upward. Finely incised lines indicate wrists and fingers on both forearms. The belly beneath is carved flat and smooth. A shallow, slightly upward-curving, incised line describes the top of the pubic triangle, and two diagonal incisions delineate it from the tops of the thighs. A short vertical incision defines the vulva. The legs are flat with a curving silhouette that is full at the hips and tapered at the knees. A deep vertical cleft delineates the upper legs to the point where the calves are carved apart. The ankles are joined and the feet are arched and splay outward. Finely incised lines delineate five toes on each foot.


The back of the torso is carved flat with a wide vertical groove indicating the spine and the separation of the buttocks. Shallow curved incisions define the nape and base of the neck, and the rounded bottom of the buttocks. A short horizontal groove at the back of each leg indicates the concavity of the bent knees. This female figure is of the Spedos type and has been attributed to the "Rogers Master" whose works feature an elongated head, short wide neck, a compressed chest and brief mid-section. (1)


A heavy beige colored encrustation, largely in the form of rootlets, covers most of the surface, especially on the back of the figure. There is a line of accretions on the reverse that may be evidence for hair. There are minor chips on the right arm and upper part of the right thigh, as well as a modern chip on the upper right side of the head. There is no evidence of pigment or paint ghosts.


Georgios Gavalas, Dorothy Abramitis, Linda Borsch, Federico Carò and Elizabeth Hendrix


(1) Fappas, Ioannis D. and Mouseio Kykladikes Technês. 2022. Homecoming : Cycladic treasures on their return journey. no. 13, p. 50, Athens: Nicholas P. Goulandris Foundation, Museum of Cycladic Art.