2. This kore pendant is one of two ambers (the other, 101184, is a 17. See, for example, Karakasi 2003, pp. 40–41. bust of a female, possibly a siren) found in the disturbed sixth- 18. Croissant 1983, chap. 2, group B. century B.C. Tomb 21 from the group excavated at Monteleone di Spoleto, Colle del Capitano: see Gens antiquissima Italiae: 19. Berlin, Staatliche Museen Sk 1631: Richter 1968, p. 59, no. 95, Antichità dall’Umbria a New York, exh. cat. (Perugia, 1991), pp. figs. 293–95; and Croissant 1983, passim, pl. 1. 175–76, 356, fig. 3.4. M. C. De Angelis, “La necropoli di Colle del Capitano: Nuove acquizioni,” in Romagna tra VI e IV secolo a.C. 20. Berlin, Staatliche Museen Sk 1874: Karakasi 2003, pl. 19; Richter nel quadro della protostoria dell’Italia centrale: Atti del Convegno 1968, p. 60, no. 98, figs. 30–45. (Bologna, 1985), p. 288, fig. 9, considers the ambers to be local 21. Louvre Ma 4546: Hamiaux 1992, p. 57, no. 49. products influenced by the amber-working of the Basilicata. 3. Heidenreich 1968, p. 655, pl. 9.1 (Bernsteininventar Nr. 1). 22. İzmir Archaeology Museum 15136: Karakasi 2003, pl. 50; and E. Akurgal, Mitteilungen des Deutschen Archäologischen Instituts, 4. Ibid., p. 655. Istanbuler Abteilung 42 (1992): 67ff. 5. Ibid. 23. For the Tanagra terracotta (British Museum 75.39.20), see Richter 1968, p. 102, no. 61, 204–5; for the Copenhagen kore (Ny 6. Palavestra and Krstić 2006, p. 136, no. 47, with earlier bibl. Carlsberg Glyptotek 1544), Johansen 1994, pp. 56–57, no. 13; for 7. Ibid., p. 137, n. 49, with earlier bibl. the mirror stand (British Museum 242), Richter 1968, p. 109, fig. 661; for the New York marble kore (Metropolitan Museum of Art 8. Ibid., p. 137, n. 48, with earlier bibl. 07.286.110), Richter 1968, p. 85, no. 138, figs. 441–44. Also 9. Metropolitan Museum of Art 1992.11.21, Purchase, Renée and compare the torso (from Paros?) in New York (Metropolitan Robert A. Belfer, Philanthropic Foundation, Patti Cadby Birch, Museum of Art 07.306): Richter 1968, p. 89, no. 151, figs. 483–86. and The Joseph Rosen Foundation, Inc. Gifts and Harris Brisbane 24. Ridgway 1977, p. 111. For relevant discussion of the pair from Dick Fund, 1992. the Dodekatheon on Delos, see F. Zafeiropoulou, Dīlos: Martyries 10. Unpublished. apo ta mouseiaka ekthemata (Athens, 1998), p. 225, no. 72; P. Jockey in Sculptures déliennes, ed. A. Hermary et al. (Paris, 1996), 11. Richter 1940, p. 32, figs. 104, 105. pp. 48ff., nos. 18–19; and Fuchs and Floren 1987, p. 167, n. 56. 12. The orientation of the figures may be significant. If the objects 25. For Florence, Museo Archeologico Nazionale 266 (votive deposit were perforated to hang feet upward and head downward, the at Fonte Veneziana, Arezzo), see Richardson 1983, p. 262, figs. orientation may have been purposely danger-averting, as it 588–89; for Florence, Museo Archeologico Nazionale 231, ibid., makes reference to the underworld (the opposite, or mirror, pp. 63–64, figs 597–98; for the Villa Giulia bronze, ibid., p. 264, world of the dead). Alternatively, the orientation may allude to figs. 601–2. the nocturnal rather than just the diurnal phases of the sun or 26. Ridgway 1977, p. 114. moon—that is, to their complete passage. 13. For Berlin, Staatliche Museen 1851, see Richter 1968, p. 93, no. 27. Ibid., p. 112. Karakasi 2003 has made a strong case for the veil 165; for Staatliche Museen 1577, Karakasi 2003, pls. 46 a–b, 47 being worn during religious festivals. c–d; and Richter 1968, p. 92, no. 161; for Staatliche Museen 1744, 28. L. Llewellyn-Jones, Aphrodite’s Tortoise: The Veiled Woman of Karakasi 2003, pl. 22; for Staatliche Museen 1793, Richter 1968, Ancient Greece (Swansea, 2003). See also D. L. Cairns, “The p. 92, no. 162; for London, British Museum B319, Karakasi 2003, Meaning of the Veil in Ancient Greek Culture,” in Llewellyn-Jones pl. 51 a–d; Tuchelt 1970, pp. 127 (L84), 150, 186; and Richter 2002, pp. 73–94; Ridgway 1977; U. Kron in Athen 1986, p. 56, n. 1968, p. 93, no. 167. 30; K. Tuchelt in ibid., pp. 32ff.; and Freyer-Schauenburg 1974, 14. Ridgway 1977, p. 97. passim, on the meaning and interpretation of the veil as it relates to the kore. As Llewellyn-Jones 2003 outlines, the outer 15. The lappets that form on the shoulders of a figure from a relief garment could denote stages in a woman’s life cycle and found in Caltidere (Myrina) in the İzmir museum (which E. appears to have played various social and symbolic roles Akurgal dates to about 570–560 B.C.) are very like those of the throughout Greek culture. In Homeric epic, noblewomen (and in amber kore: see E. Akurgal, “Bemerkungen zur Frage der notable cases their serving women), the focus of the cycles, örtlichen und zeitlichen Einordnung der griechischen wear the veil, and in seventh-century B.C. painting, goddesses archaischen Grossplastik Kleinasiens,” in Studies in Classical Art (Athena and Aphrodite) and well-born wives (Eriphyle and and Archaeology: A Tribute to Peter Heinrich von Blanckenhagen, Helen) are depicted with various types of outergarments worn ed. G. Kopke and M. B. Moore (Locust Valley, NY, 1979), p. 38, pl. over the head. A girl’s passage to womanhood was marked by 8.12. her use of the veil; she offered her veil to Artemis on the eve of her wedding (when the bride comes under the protection of 16. Ridgway 1977, p. 97. Aphrodite) before donning a special matrimonial veil; and as a 142 KORAI