most vulnerable spots on the body and the place where many Croissant, and the difficulty in isolating specific stylistic elements early single pendants are represented as hanging. raise again the more general problem of defining colonial 6. The amber pendant from Novi Pazar with an amber mounting is styles.” See F. Croissant, “Sybaris: La production artistique,” in Sibari e la sibaritide: Atti del XXXII Convegno di studi sulla Magna discussed in cat. no. 10, n. 16. Ivory and bone examples are the Grecia, ed. A. Stazio and S. Ceccoli (Taranto, 1993), p. 548. This amber faces of the sphinxes of two Laconian relief plaques, one position does not necessarily contradict the Ionian-origin of ivory, the other of bone, from a kline dating to about 600 B.C., hypothesis of C. Sabbione, “L’artigianato artistico a Crotone,” in and the now-lost faces of a divinity and her two “acolytes” set Crotone: Atti del XXIII Convegno di studi sulla Magna Grecia, ed. A. into bone plaques from furniture excavated at Belmonte Piceno, Stazio and S. Ceccoli (Taranto, 1983), p. 272. dating to the early sixth century. For the bone plaques from Belmonte Piceno, see Rocco 1999, pp. 82–85, nos. 135–36, pls. 12. For the London shell and further bibliography, see n. 8 in the XLIV–XLV, where there is fruitful discussion of the identity “Pendants in the Form of the Human Head” introduction. (Potnia Theron? Artemis?). For the two sphinx appliqués with 13. A crown of silver, which appears “brighter and more like amber faces from a couch in the Iron Age Celtic tomb at daylight than gold” (Pliny, Natural History 33.19.9), may, like the Grafenbühl, Asperg (Stuttgart, Würtembergisches amber, establish the figure as divine. The brilliance of the Landesmuseum), seen. 17in the “Pendants in the Form of the materials and the attention to detail no doubt added to its Human Head” introduction. marvelousness as a work worthy to behold (see “Ancient Names 7. Croissant 1983, p. 181. for Amber” in the introduction). 8. Despite the inherent generational transformations in the 14. Ridgway 1990. See also B. Ridgway, “Metal Attachments in terracotta series, the profiles of the amber and the terracottas Greek Marble Sculpture,” in Marble: Art Historical and Scientific are markedly similar. Perspectives on Ancient Sculpture (Papers Delivered at a Symposium 9. For British Museum B89, see Croissant 1983, p. 62 (which he Organized by the Department of Antiquities and Antiquities Conservation and Held at the J. Paul Getty Museum, April 28–30, finds to have a rapport with the Milesian school); for the 1990) (Malibu, 1991), pp. 485–508. Copenhagen siren (Ny Carlsberg Glyptotek 2817), Johansen 1994, pp. 44–45, no. 7; for the Keramos sphinx head (İzmir, 15. Ridgway 1990. Archaeology Museum),Akürgal 1961, figs. 229–32; Tuchelt 1970, 16. Apollonius (Argonautica 4.611–18) refers to a Celtic myth that p. 125 (L 53); and Croissant 1983, pp. 64, 67, pls. 15–16; for the drops of amber were tears shed by Apollo for the death of his Paris Dionysermos (Louvre Ma 3600), Hamiaux 1992, pp. 59–60, son Asclepius when Apollo ventured north in a visit to the no. 51. Hyperboreans. See “Ancient Literary Sources on the Origins of 10. Delphi Museum 10413: Lapatin 2001, no. 33. Amber” in the introduction. 11. As M. Cipriani (Magna Graecia 2002, pp. 122–23) states: “The eclectic character of this production, as cleverly emphasized by Cat. no. 11 161