area and several necklaces composed of glass-paste eye beads, Collection (7676): Masterpieces from Central Africa: Royal bone pendants, and amber beads and pendants. Although the Museum for Central Africa, Tervuren, exh. cat., ed. G. Verswijver necklace ambers are in poor condition, two hitherto et al. (New York, 1996). For more examples of beads and unidentified pendants (a ram’s head and a siren; no known inv. pendants in amber and other materials that show evidence of nos.) show evidence of pulling wear at the suspension holes: use, see R. K. Liu, Collectible Beads (Vista, CA, 1995), pp. 35–37 Ornamenti e lusso 2000, p. 57; Treasures 1998; and “La tomba and passim. 952 di Forentum” (undated pamphlet, Melfi museum, above). 177. Some classes of amulet wearers deserving closer study include 174. For the amber ram’s head from Adria, see Due donne 1993. For the Laconian acrobats and dancers; babies and toddlers; the Bolognese (Certosa) material, see A. Zannoni, Gli scavi della Cypriot temple boys; and certain female divinities. Among the Certosa di Bologna (Bologna, 1876); and G. Muffatti, “Paste last are seated divinities from Sicily (Gela, the extraurban vitree, alabastri, oggetti in osso, avorio e ambra,” StEtr 35 sanctuary of Predio Sola; Selinus, the Malophoros Sanctuary) (1967): pl. 77a. For other ambers from the area, including and southern Italy (Metaponto, San Biagio). The amulets worn recent and previously unpublished older finds, see L. Malnati, by youngsters and athletic young women (on mirror supports) “L’ambra in Emilia Romagna durante l’età del Ferro: I luoghi include many time-honored fertility subjects: the crescent della redistribuzione e della produzione,” in Ambre 2007, esp. moon, lotus blossoms, lotus flowers, and the sun. pp. 122–29, 152–59. 178. For examples of these two gods adorned with pendants, see L. 175. The female head from Tomb 90 at Latronico–Colle dei Greci is Bonfante, “Fufluns Pacha: The Etruscan Dionysus,” in Masks of Policoro, Museo Nazionale 216349: Ambre 2007, p. 239. E. Brizio, Dionysus, ed. T. H. Carpenter and C. Faraone (Ithaca, NY, 1993), “Verucchio, scoperta di sepolchri tipo Villanova,” NSc 10 (1898): pp. 224–31, figs. 21, 24. The Naples mirror is Museo 373, reported that an amber ring from Tomb 11 at Verucchio Archeologico Nazionale ES, pl. 82; the Berlin mirror is was repaired in antiquity with “sewing stitches.” Antikenmuseum Fr. 36, ES, pl. 83. 176. Amber pendants are not alone in showing signs of use wear— 179. For the Tarquinian Tomb of Hunting and Fishing, see, most from touching, rubbing, kissing, or other kinds of abrasion as recently, Steingräber 2006. On p. 95, he notes the importance the objects came into contact with the body or clothing. See of Dionysian elements in the tomb. Haynes 2000, p. 229, Ritner 1993 on kissing, spitting, and other acts in Egyptian interprets the tomb as Dionysian; compare Simon 1998, who ritual magic. Ritual washing may also have been a cause of the reiterates her belief that its plants are laurel and signify it as uneven wear. The Africanist Zoë Strother (pers. comm., August the grove of Apollo. Brown 1960, p. 106, was the first to make 2005) recounts her interview with a Central Pende man who the connection between the painted images and excavated described how he washed his ivory pendant in river sand to gold animal-head pendants. keep it white. Compare the ivory mask in the Tervuren Amber Medicine, Amber Amulets 59