22. For the bronze kore from Volterra, now in Munich pendant B.C. in New York, it compares well with the Ionizing (Antikensammlungen 3678), see Richardson 1983, pp. 268–69. sixth-century B.C. sculpture of the Chiusine area, as is shown by Paraphrasing Richardson, the figure wears a properly comparison with a bronze kore in Paris, Bibliothèque nationale, understood Ionian chiton, a rarity among Etruscan korai, a dress Cabinet des Médailles 204: see Richardson 1983, pp. 265–66, that illustrates a drapery style of some competence, contrasting figs. 605–6. That the child of the New York pendant is carried in with her “thoroughly un-Greek” heavy, round head, ugly ears, a sitting position might indicate that the subject is one of and broad, smiling face. Hair peeks out from under the hat brim presentation or abduction. in front and back. The conical hat has a similar turned-up rim 28. For the kourotrophos, see T. Hadzisteliou Price, Kourotrophos: with diagonal markings and is wrapped (clockwise) with a long Cults and Representations of the Greek Nursing Deities (Leiden, strip of cloth in a pattern distinct from that of the above- 1978); V. Tran Tam Tinh, Isis Lactans (Leiden, 1973), with a review mentioned Middle Archaic korai. Richardson singles out the by L. Bonfante, AJA 80 (1976): 104–15; L. Bonfante, “Dedicated Munich kore as one of the finest of the Mannerist korai, as well Mothers,” in Visible Religion III: Popular Religion (Leiden, 1984), p. as the biggest. Her unparalleled costume, a mixture of Ionian 13; L. Bonfante, “Daily Life and Afterlife,” in Bonfante 1986, p. and Etruscan fashion, her pose, and her (perhaps) youthful 240; L. Bonfante, “Votive Terracotta Figures of Mothers and proportions of large head and smaller body, characterized by a Children,” in Italian Iron Age Artefacts in the British Museum: rather planklike modeling, also set the kore apart. Might the Papers of the Sixth British Museum Classical Colloquium, ed. J. Munich bronze be an updated reflection of an early statue, or Swaddling (London, 1986), pp. 195–201; I. E. M. Edlund, “Man, phenotype, of Artemis? Nature, and the Gods: A Study of Rural Sanctuaries in Etruria The face of the adult figure is very like those of two sculptures in and Magna Graecia from the Seventh to the Fourth Century the British Museum, a bronze statue of a woman from the B.C.,” in Papers in Italian Archaeology IV: The Cambridge Polledrara cemetery “Isis Tomb” who holds a horned bird (GR Conference, Part IV, Classical and Medieval Archaeology, BAR 1850.2–27.15), and a gypsum statue of a woman said to be from International Series 246, ed. C. Malone and S. Stoddart (Oxford, the same tomb (GR 1850.2–27.1). As is the case for 77.AO.84 and 1985), pp. 21–32; and Smithers 1988, esp. chap. 2. the other five ambers, the gypsum statue shows the influence of 29. On the ubiquity of the kourotrophos, Brendel 1995, p. 240, prototypes from Greece, particularly Crete and the summarizes: “An unnamedkourotrophosoccurs quite Peloponnese, as well as from Phoenicia and the Near East. For frequently among the artless statuettes which worshippers the “Isis Tomb” sculptures, see Roncalli 1998; and S. Haynes, deposited as ex-votos, to please the sacred spirits of the place.” “The Bronze Bust from the ‘Isis Tomb’ Reconsidered,” StEtr 57 He lists the kourotrophoi of Italy, among them Diana, Mater (1991): 39, where she proves that Roncalli’s theoretical Matuta, Minerva, Persephone, Turan, and Uni, and in Greece, reconstruction of the bust is untenable. Artemis, Athena, Demeter, Eileithyia, Eirene, Ge, Hekate, Hera, 23. Florence, Museo Archeologico Nazionale 74913. The standing Hestia, Ino/Leukothea, Leto, and Persephone. (Ino/Leukothea’s (perhaps) figure on the apex of the kyathos handle wears a role as the young Dionysos’s nurse probably gave her the chiton, a conically shaped hat under a veil, and boots, and holds character of a protectress of small children.) On Leukothea, see what looks like a small raptor on her right hand. G. C. Cianferoni I. Krauskopf, “Leukothea nach den antiken Quellen,” in Akten des in World of the Etruscans 2001, pp. 26, 91, no. 165, dates it to the Kolloquiums zum Thema “Die Göttin von Pyrgi,” Tübingen, last decades of the sixth century B.C. 16.–17.1.1979, Bibliotheca di Studi Etruschi 12 (Florence, 1981), 24. More needs to be understood about the “wrapped” conical hat, pp. 137–48. the headdresses made from cloth bands, and the so-called 30. A headless terracotta kourotrophos from the San Biagio twisted hat. Bonfante 2003, pp. 142–43, has unraveled much, sanctuary, with the image of a standing child scratched into its including the occasions for wearing such headgear and the planklike body, is a unicum: Olbrich 1979, no. B14b. gender of the wearers. 31. This reference comes from Callimachus’s Hymn to Artemis. At 25. For Florence 561 from Brolio, see n. 9, above. 3.128, Artemis is called out for inflicting her grievous anger 26. The unpublished amber pendant in a London private collection when she causes wives “to give birth to children of whom none is similar in physiognomy and style to two amber pendants of stands on upright ankle.” The Getty kourotrophos pendants, women from the Circolo dei Monili, Vetulonia (see, for example, thus interpreted, could be amulets of the “frightening-the- Bissing 1931, pp. 49–52), and very like several of the bronzes in demons” type. Here, too, the apotropaic nature of amber Richardson’s Geometric Overlap Series C and Orientalized reinforces the subject. Although she writes of objects of a later Geometric Series A, B, and C. period, Stephanie Leitch’s explanation is relevant: “Demons can see and the pagan prescriptions for avoiding evil, most notably, 27. New York, Metropolitan Museum of Art 17.230.52, Rogers Fund, were prescriptions that were activated through sight and 1917: Art of the Classical World 2007, pp. 295, 473, no. 340; and seeing…. Among the methods chosen for foiling an evil force Richter 1940, p. 32, figs. 104–5. Although there are no known was the use of a bright and dazzling object” to distract it from amber parallels for the style and format of the fifth-century its intended victim. S. Leitch, “Seeing Objects in Private Devotion,” in Pious Journeys: Christian Devotional Art and Practice 100 ORIENTALIZING GROUP