are indicated by shallow grooves, the mentolabial sulcus important comparanda for 77.AO.81.25.5 The Getty amber by an indentation. The chin is full and the jawline head-pendant and the two Series A bronzes are all rounded. The figure has large ears and wears round recognizably Ionian in style, as the name given to the earrings. The neck is cylindrical, with a distinct fullness. bronzes by Richardson underlines. Richardson placed Vienna 71 and Copenhagen H224 into different subgroups Above the smooth brow are bangs that divide in the of Series A: Vienna 71 in her Group 2, Tomba del Barone, middle of the forehead and are brushed diagonally to and Copenhagen H224 in her Group 6, Late Korai. The each side; the strands of hair are individuated by diagonal physiognomy of 77.AO.81.25 is most like that of grooves. The figure wears a conical hat, a veil, and a Copenhagen H224 (which is bareheaded), but the dress is crown. The veil covers only the hair, cap, and ears. The more like that of Vienna 71—which, too, is capped, veil has straight pleated folds indicated by modeling on crowned, earringed, and veiled. the back of the head. The tiaralike crown is decorated with a grooved border at all of the edges. The lower edge A comparison to Naples 5532 brings out additional Ionian of the crown is set off from the bangs by an engraved line. and Etruscan aspects of 77.AO.81.25. This bronze kore The crown’s upper edge stands above the head. The sides represents a physical type very much like 77.AO.81.25; of the crown stop just above and in front of the ears. they both have the same “big head and long face.”6 The Discussion votive also provides a model for how 77.AO.81.25 would look if the amber were a complete figure. Richardson There is a parallel for this head-pendant in Munich, one describes the draping of Naples 5532’s veil as “pulled over also modeled fully in the round.1 The Munich amber is the cap so that two ends fall on the shoulders [with] the rest [hanging] in a long panel down the back.”7 This is the drilled with a lateral suspension hole in the top of the same South Ionian fashion of veil worn by the Getty head in the same position as that of 77.AO.81.25. In amberKore,76.AO.77(cat. no. 8). addition, the Munich head has a metal loop (date uncertain) inserted in the top of the head. The two figures NOTES differ in dress: although the Munich head has bangs, a cap, and a veil, it does not have a crown or earrings. 1. Munich, Antikensammlungen 15.003. Variants of this head-pendant’s elements of adornment— 2. Richardson 1983, pp. 258–70. hat, crown, earrings, veil, and styled hair—are characteristic of many other head-pendants worn by 3. Ibid., pp. 275–76. Etruscan Archaic bronze korai, the earliest of which are 4. Ibid., p. 323. in Emeline Richardson’s Middle Archaic series.2 The best Etruscan bronze parallels for the amber are found in 5. For Vienna 71, see ibid., pp. 284–85, fig. 663; for Copenhagen Richardson’s groupings of Late Archaic korai, especially H224 (perhaps made at Capua), ibid., pp. 295–96. Late Archaic Series A, Ionians,3 and a related group of 6. Ibid., p. 323. See also the entry for 77.AO.81.30 (cat. no. 25) for a bronzes, Group 5D, Naples, Museo Archeologico discussion of Richardson’s Group 5D and its relevance for the Nazionale 5532.4 Two bronzes from Series A, one in amber head-pendants. Vienna (Kunsthistorisches Museum 71) and one in 7. Richardson 1983, p. 323. Copenhagen (Ny Carlsberg Glyptotek H224), are a set of Cat. no. 26 197