Marble female figure

Technical analysis: Ultraviolet-induced visible luminescence examination, optical microscopy, Raman spectroscopy

The figure is carved from a heteroblastic fine-grained white marble (maximum grain size ≈ 0.7 mm) that contains numerous inclusions of white mica. The figure has lost the head and upper neck but is otherwise intact. A large chip from the upper chest just below the neck has been infilled and carefullyin paintedd using a mixture of hematite and ultramarine blue Buff colored accretions are visible on much of the surface and are thicker and include some in the shape of rootlets on the reverse. There is one large area of visibly thinner accretions on the back of the proper right arm and shoulder. Scattered reddish particles are visible on the proper right front of the chest, waist, lower legs, feet and inner toes. While these particles were identified as hematite, it was not possible to determine if they originate from the burial soil, if they are the result of contamination or intentionally applied as pigment.

The figure is quite flat and plank-like except for the raised widely spaced rounded breasts. The wide sloping shoulders angle down at the arms, which are only indicated by shallow triangular grooves above the waist where the elbows would have bent in. The forearms and hands are not indicated and were perhaps originally shown with paint. The figure has a slightly protruding belly and a large incised pubic triangle and vulva. The incised vertical line of the vulva continues below and creates the division between the legs. A very slight swelling indicates the knees. The feet are distended, and the toes, with seven on the proper right foot, are indicated with incised lines. There are no incisions on the back. The broad shoulders and basic outline recalls works of the Dokathismata type but the lack of arms and the rudimentary carving align it with later postcanonical figures.

Seán Hemingway, Dorothy Abramitis, Linda Borsch, Federico Carò