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    Plan détaillé Texte intégral 1. Handmade figurines 2. Figurines of mixed technique 3. Clay - Firing - Painted Decoration - Mould 4. Mixed technique: handmade and mould-made Bibliographie Notes de bas de page Auteur

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    Modeling technique of a new coroplastic type of Archaic handmade terracotta figurines from the Athenian Acropolis and from the Sanctuary of the Nymph at the South slope of the Acropolis Hill

    Vassiliki D. Georgaka

    p. 137-147

    Résumés

    Un type coroplathique archaïque peu connu et peu étudié est celui des figurines de terre cuite archaïques modelées. Sur l’Acropole d’Athènes, elles ont été reconnues parmi d’autres découvertes « exhumées » dans les réserves de l’ancien musée de l’Acropole pendant sa période de réaménagement en 1989-1992. Un autre groupe de 105 figurines faites à la main avec des caractéristiques morphologiques similaires a été découvert dans le sanctuaire de la Nymphe pendant les années 1955-1960 lors de fouilles à grande échelle de G. Meliades sur le versant sud de la colline de l’Acropole.
    Ces figurines sont des exemples représentatifs de l’art du modelage attique. Ils constituent une consécration commune dans les sanctuaires de l’Acropole et de ses environs, en particulier ceux voués au culte des divinités féminines du milieu du VIIe s. av J.-C. à la fin des guerres médiques. Leurs caractéristiques morphologiques générales ainsi que le pétrissage de l’argile, la confection de la figure, la couche de préparation contenant du kaolin, la cuisson et l’application d’un décor polychrome peint sont minutieusement présentés dans l’article.

    A less known and less studied coroplastic type of the Archaic period is that of the handmade terracotta figurines. On the Athenian Acropolis Hill, they were identified among other findings in the Old Acropolis Museum storerooms during its rearrangement in 1989-1992. Another group of 105 handmade ones with similar morphological characteristics has been unearthed in the Sanctuary of the Nymph in 1955-60 during G. Meliades’ large-scale excavations at the south slope of the Acropolis Hill.
    These figurines are representative examples of the Attic handmade coroplastic art. They constitue a common popular dedication to the sanctuaries of the Acropolis and its surroundings especially those where female deities were worshipped between the middle of the 7th century BCE to the end of the Persian Wars. Their general morphological characteristics as well as the kneading of the clay, the fashioning of the figure, the covering with a kaolin suspension, the firing and the application of a painted polychrome decoration are discussed in detail in the article.

    Entrées d’index

    Mots-clés : Athènes, archaïque, Acropole, Nymphe, sanctuaire

    Keywords : Athens, Archaic, Acropolis, Nymph, Sanctuary

    Texte intégral 1. Handmade figurines 2. Figurines of mixed technique 3. Clay - Firing - Painted Decoration - Mould Clay Manufacturing Slip Firing Painted polychrome decoration Color 4. Mixed technique: handmade and mould-made Bibliographie Notes de bas de page Auteur

    Texte intégral

    1A less known coroplastic type of the Archaic period, an amount of approximately 411 handmade terracotta figurines have been discovered in the storerooms of the Old Acropolis Museum during rearrangements of the period 1989-19921. Another group of 105 handmade ones with similar morphological characteristics has been unearthed from the Sanctuary of the Nymph between the years 1955-1960 during Giannis Meliades’ large scale excavations at the south slope of the Acropolis Hill2. Both groups are typical examples of a less known handmade terracotta production of the Archaic period and form an important part of the evolution of Attic coroplastic production in Greece3.

    2Extensive bibliographical studies during the last decades revealed that these figurines – although less known – do appear in many Attic sanctuaries in the late 7th century and are kept up to the early 5th century BCE. They are largely widespread in Attica mainly in sanctuaries devoted to female deities4 i.e. Athena, Artemis, Demeter and Kore, Aphrodite, Nymph, Nymphs, Semnes and Erinyes in many Attic sanctuaries such as in the Western Acropolis Hills5, Eleusis6, Piraeus7, Brauron8, Artemida/Loutsa (Halai Araphenides)9, Sounion10, Gerakas11, Kiapha-Thiti12 near Vari, Aegina13 etc.

    3These figurines have been previously classified within a wider context of Attic handmade figurines that Miklos Szabó in his study in 1994 characterized as « Attic primitives »14. They are representative examples of the Attic handmade coroplastic art and constitute a common popular dedication at the sanctuaries of the Athenian Acropolis and its surroundings, i.e. the Sanctuary of the Nymph on the Acropolis south slope, especially where female deities were worshipped between the middle of the 7th century BCE and the end of the Persian Wars (480 BCE).

    4In 2008 a typological classification has been proposed by the author to help researchers easily recognize the groups of Attic handmade figurines15. This typological classification is based strictly on the representation of their morphological characteristics. Handmade figurines were initially divided into handmade ones and those of mixed technique, i.e. partly handmade, partly mould-made. They were further differentiated according to their posture (standing or seated), the shape of their body (cylindrical or flat-bodied) and whether they bear an additional clay strip on their head as a polos or not.

    1. Handmade figurines

    5Group HM Ia,i includes handmade figurines from the Acropolis assemblage that represent standing figures with cylindrical body16 and bird-faced head. This group also includes figurines whose head is not preserved. Therefore, it cannot be determined whether they were wearing a polos or not (fig. 1).

    Fig. 1 – Group HM Ia,i: standing figurine with cylindrical body and bird-faced head (sketch by E. Piskardelis)

    (© Vassiliki Georgaka 2008).

    6Group HM Ia,ii includes figurines of the same type as HM Ia,i, but with an additional clay strip on their head, that resembles a polos. Group HM Ia,i also incorporates figurines whose head terminates in a fan-shaped motif without the addition of a clay strip, because it cannot be determined with certainty whether this motif represents the hair or a polos (fig. 2).

    Fig. 2 – Group HM Ia,ii: standing figurine with cylindrical body and bird-faced head with a polos (sketch by E. Piskardelis)

    (© Vassiliki Georgaka 2008).

    7Group HM Ib,i consists of standing flat-bodied figurines with bird-shaped head. Flat-bodied figurines whose head is not preserved have also been incorporated in this group (fig. 3).

    Fig. 3 – Group HM Ib,i handmade standing flat-bodied figurine with bird-shaped head (sketch by E. Piskardelis)

    (© Vassiliki Georgaka 2008).

    8Group HM Ib,ii comprises of figurines of the same type but with an additional clay strip on their head, resembling a polos. The previous observation regarding the fan-shaped motif on the head of figurines from groups HM Ia,i and HM Ia,ii, also applies to figurines from groups HM Ib,i and HM Ib,ii (fig. 4).

    Fig. 4 – Group HM Ib,ii standing flat-bodied figurine with a polos (sketch by E. Piskardelis)

    (© Vassiliki Georgaka 2008).

    9Handmade seated flat-bodied figurines with bird-shaped face are classified in group HM IIb,ii (fig. 5).

    Fig. 5 – Group HM IIb,ii: seated, flat-bodied figurine with bird-shaped face (sketch by E. Piskardelis)

    (© Vassiliki Georgaka 2008).

    2. Figurines of mixed technique

    10Group MT Ia,ii, which is a variation of group HM Ia,i, includes handmade cylindrical figurines with a mould-made head (fig. 6).

    Fig. 6 – The handmade cylindrical figurine of a standing figure with a mould-made head with inv. no. ΝΑ 1957 Απ.

    324 was unearthed from an apothete of the Sanctuary of the Nymph and is classified in Group MT Ia,ii, variation of group HM Ia,i

    (© Acropolis Museum, 2009, photo: Elias Cosindas).

    11Group MT Ib,ii, which is a variation of group HM Ib,i, includes handmade flat-bodied figurines with a mould-made head (fig. 7). Even in cases where the head is not preserved, the traces of the joining of the mould-made head on the figurines’ shoulders and neck, instead of the handmade modelling of a head, indicate their inclusion into group MT Ib,ii (fig. 8).

    Fig. 7 – Group MT Ib,ii: variation of group HM Ib,i, flat-bodied figurine with a mould-made head (sketch by E.Piskardelis)

    (© Vassiliki Georgaka 2008).

    Fig. 8 – The handmade flat-bodied standing figurine with a mould-made head with inv. no. ΝΑ 1957 Απ.

    361 from the Sanctuary of the Nymph is classified in group MT Ib,ii as there are traces of the joining of the mould-made missing head on the figurines’ shoulders and neck

    (© Vassiliki Georgaka, 2008).

    12Handmade seated flat-bodied figurines with a mould-made head are incorporated in group MT IIb,ii (fig. 9, 14, 15).

    Fig. 9 – Group MT IIb,ii: seated, flat-bodied figurine with a mould-made head (sketch by E. Piskardelis)

    (© Vassiliki Georgaka 2008).

    3. Clay - Firing - Painted Decoration - Mould

    Clay17

    13The clay used for these handmade figurines is pure, fine-grained, without inclusions and generally has a light brown, slightly reddish color18. Its texture and color are therefore characteristic of Attic clay19.

    14Most handmade figurines from the Acropolis have completely or partially lost their painted decoration and bear impact scars at the neck, the arms and underneath the chest, on the cylindrical body, i.e. mainly at places where the clay is particularly thin. On the contrary, figurines from the Sanctuary of the Nymph are very well preserved and have only partially lost their colors. This suggests that they were initially dedicated at the same place where they were found and have not undergone successive stratigraphic rearrangements. Seated flat-bodied figurines with bird-shaped head from the Acropolis are also fragmentarily preserved due to the particularly thin surfaces at the neck, at the point where the arms join the armrests and at the rear support of the three-legged seat. Analogous figurines from the Sanctuary of the Nymph have fewer and smaller fractures at the same places. Finally, flat-bodied seated figurines with mould-made head are mostly fractured at the point where the handmade and the mould-made parts are joined. The same phenomenon also appears on variations of standing cylindrical and flat-bodied figurines with mould-made head.

    Manufacturing

    15The essential preparation for the proper manufacturing of a figurine or a vessel is the kneading of the clay, so that all air pockets are removed, and the clay acquires a uniform composition. The clay that was used for the manufacturing of these figurines was very well processed. This is why there were no cracks after firing. Clay fibers (the term “strings” is used in modern coroplasts vocabulary) have, nonetheless, been observed on some examples from the Acropolis which show that, in these cases, the above procedure was not properly followed.

    16After fashioning the figure, modeling and adding the details, e.g. polos, hormos, the figurines undergo a final stage of drying. The surface is then smoothed with a wet sponge or a piece of leather. This process was carried out on figurines from both the Acropolis and the Sanctuary of the Nymph, given that their surface and especially the pointed parts (polos, nose, base) are very smooth. Four figurines from the Sanctuary of the Nymph20 were not subjected to this process and therefore still preserve on their surface traces of the tool used for the initial processing (jagged tool and chisel) (fig. 10). After the surface is smoothed, the figurine is coated with clay suspensions that serve as a basis for the painted decoration.

    Fig. 10 – The figurine with inv. no. ΝΑ 1957 Απ. 335 from the Sanctuary of the Nymph still preserves on its surface traces of the jagged tool used by the coroplast

    (© Vassiliki Georgaka, 2008).

    Slip

    17The front side, and in rare occasions the entire surface of the figurines, is brushed over with a white, fine grained, thick kaolin suspension21. The same slip, but of thinner composition, has been used on Archaic Attic relief tablets22 of the same period, and in the coroplastic production of the Archaic period in general23. This slip consists of a white kaolin suspension24 that covers the figurine before firing25.

    Firing

    18Handmade figurines of all groups were fired after having been partially covered with or immersed in a thin kaolin suspension and after the slip had dried. The firing is characterized as fairly good –not very good or perfect, because in some cases the material peels off extensively, not only on the surface but on the inside as well. As a result, when a figurine breaks, the fragments are shattered. This fairly good firing is also explained by the figurines’ mass production and their low production cost. Traces of fire are preserved on some of the Acropolis figurines, just as on Attic tablets from the Acropolis, something which possibly indicates that they were found within the stratum of the Persian destruction26.

    Painted polychrome decoration

    19After the figurines were covered with the white kaolin suspension and fired, they were mostly decorated with red and black paint (red/black on white) and, in rare occasions, with raw ochre (yellow dye)27 (fig. 11). This is a very common technique of surface, polychrome painted decoration that applies colored clay suspensions on white slip. This technique was also commonly used on other coroplastic work28, on Attic relief tablets29, as well as on the decoration of Protoattic vases of this period30.

    Fig. 11 – Handmade figurine from the Acropolis assemblage with inv. no. MA 10360 representing a standing figure with cylindrical body and bird-faced head preserves traces of painted decoration with red ochre, yellow raw ochre and black dye (soot)

    (© Acropolis Museum, 2011, photo: Vangelis Tsiamis).

    Color

    20The colors used for the decoration of the figurines are water-based, matte and derive from organic and inorganic combinations. They are limited to the following:

    1. Reddish brown paint (Munsell SCC 10 R 4/6 και 4/8- Red)31 is red ochre. It is the most used and consists of lead oxide (minium).
    2. Yellow raw ochre32 consists of iron oxide.
    3. Black dye (soot)33 is used to draw the eyes with a dot and in rare occasions to decorate the body.

    21Green (malachite) or blue (Egyptian) color was not used, as is the case with other works of coroplastic art of the same period34.

    22Out of a total of 411 Acropolis figurines, 121 preserve traces of painted decoration and 48 figurines from the Sanctuary of the Nymph out of a total of 105. It is interesting to note that reddish brown paint is used on 93 Acropolis figurines (76.9%) and on 38 figurines from the Sanctuary of the Nymph (79.2%). The use of ochre is limited to 19 Acropolis figurines (15.7%) and 9 from the Sanctuary of the Nymph (18.8%). Finally, black paint is even more rarely used, on 9 Acropolis figurines (7.4%) and on only one figurine from the Sanctuary of the Nymph (2%). The percentage of preserved painted decoration with reddish brown, ochre and black paint on handmade figurines of all groups from the Acropolis and the Sanctuary of the Nymph is presented in charts 1 and 2 (fig. 12).

    Fig. 12 – Chart 1: Percentage of preserved painted decoration of reddish brown, black paint and ochre on Acropolis handmade and mixed technique figurines/ Chart 2: Percentage of preserved painted decoration of reddish brown, black paint and ochre on Acropolis handmade and mixed technique figurines from the Sanctuary of the Nymph (Graphic designer: Nikoleta Serra, 2020). Chart 1,2

    (© Vassiliki Georgaka 2020).

    4. Mixed technique: handmade and mould-made

    23It has been observed that a mould was used for manufacturing the figurines heads of the following variation groups: MT Ia,ii of standing cylindrical figurines, MT Ib,ii of standing flat-bodied figurines (fig. 13) and MT IIb,ii of seated flat-bodied figurines (fig. 14, 15). Based on the figurines’ shape and facial features, it has also been observed that many figurines have similar facial features (oval shaped face with emphasized vertical axis) and were probably made with the same mould35. On the contrary, some figurines have different facial features (triangular face with emphasized horizontal axis at the height of the cheekbones) and the head was produced from different moulds36.

    Fig. 13 – Standig with flat-bodied with mould-made face figurine with inv. no. ΝΑ 1957 Απ.

    13 from the Sanctuary of the Nymph. Vassiliki Georgaka, NA 1957 Απ. 13

    (© Acropolis Museum).

    Fig. 14 – The seated flat-bodied figurine with mould-made face with inv.no. MA 10430 from the Acropolis assemblage is a characteristic example of Group MT IIb,ii. Acr. 10430

    (© Acropolis Museum, 2011, photo: Vangelis Tsiamis).

    Fig. 15 – Side view of the seated flat-bodied figurine with mould-made face with inv.no. MA 10430 from the Acropolis assemblage. Acr. 10430

    (© Acropolis Museum, 2011, photo: Vangelis Tsiamis).

    24Among standing handmade flat-bodied figurines with mould-made head of MT Ib,ii variation group from the Sanctuary of the Nymph, the head is differentiated only with regard to the decoration of the wreath (stephane), whereas the oval face was made with the same mould37. It has been observed that the heads of standing cylindrical figurines of the MT Ia,ii variation from the Sanctuary of the Nymph were produced from the same mould. On the contrary, although the modeling of two Acropolis figurines whose head is preserved is very similar, it has been noted that they were made from different moulds.

    25To conclude, Archaic handmade figurines from the Acropolis and the Sanctuary of the Nymph are characteristic representatives of the Archaic handmade coroplastic art from Attica. Numerous examples of this type of coroplastic art were found in sanctuaries of female deities located within the wider area of Archaic Athens and Attica, the finds of which remain mostly unpublished till now. The find spots of these figurines, i.e. deposits within or around the areas of the sanctuaries, indicate that they were used as votive offerings. In addition, the great amount of figurines found in many Archaic sanctuaries in Attica, the strict (in their majority) uniformity of their morphological characteristics, as well as their crude modeling, may indicate the identity of the donation and the donator: these figurines are the mass-product of a wide coroplastic production that appealed to the wider social classes of that time. It is difficult to conclude whether the figurines represent the donator or the deity and if the donation was somehow related to the donator’s gender. Moreover the figurines’ morphological characteristics in combination with the clay fabric and painted decoration lead to the conclusion that these figurines were the products of Attic workshops and not of a home-made industry.

    26Finally, this study has shown that handmade standing and seated human figurines from the Athenian Acropolis cannot be considered as isolated products of local character. This kind of coroplastic art is very widespread geographically, appearing in Greece, Cyprus38 and South Italy39, as well as chronologically, spreading from the end of the 7th until the beginning of the 5th centuries BCE. Based on morphological characteristics, close ties have been observed between the figurines of the present study and those produced by other coroplastic workshops in Greece (Boeotian, Corinthian, Argive, Laconian – both the metropolis and their colonies) and in Cyprus and South Italy as well. This proves that these figurines were not isolated creations but were influenced by stylistic trends of coroplastic production. In addition, the duration of their production spreading from the end of the 7th until the early 5th centuries BCE, suggests that coroplastic art developed at a very slow pace. This slow evolution is characteristic of common type of coroplastic “popular art”. The use of moulds for the rendering of features of the otherwise handmade figurines indicates that group MT Ia,ii, HM Ib,I and MT IIb,ii figurines date after the mid-6th century BCE.

    27Nevertheless, during the 19th century AD these artifacts were treated as unworthy of further comment. Today, however, they are studied, analyzed and classified according to the above-mentioned proposal of typological classification and are further evaluated within the framework of Attic coroplastic art and popular religious practice. It is hoped that the present study will instigate further studies and publications of similar handmade material from other archaeological sites in Attica and from other coroplastic workshops in Greece.

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    Vlassopoulou 2003 : Ch. Vlassopoulou, Ἀττικοί ἀνάγλυφοι πίνακες τῆς Ἀρχαϊκῆς ἐποχῆς, Υπουργείο Πολιτισμού, Δημοσιεύματα του Αρχαιολογικού Δελτίου Αρ. 79 ΤΑΠΑ, Athènes, 2003, 142 p.

    Notes de bas de page

    1I am grateful to Professor Ismini Trianti, former Director of the 1st Ephorate of Prehistoric and Classical Antiquities, as well as to Dr Christina Vlassopoulou, curator of the Acropolis Archaeological Site and Museum, who gave me the permission to study the terracotta handmade figurines from the Acropolis in 2002 as I was working on my PhD dissertation: Georgaka 2008.

    2Meliades 1957, 23-26.

    3Georgaka 2011, 12-13.

    4Georgaka 2008, 121-126.

    5Dourou, Georgaka 2018, 1-5.

    6Noack 1927, 10-12, pl. 3, Mylonas-Kourouniotis 1933, 279-280, fig. 10, Kokkou-Viridis 1999, 105-117, Α 85, Α 97, Α 100, 107, Α 108, Α 126, Α 128, Α 127.

    7Palaiokrassa 1991, 53-54, 103-104, pl. 12-E6-13.

    8Mitsopoulos-Leon 1997, 357-378, Mitsopoulos-Leon 2009, 33-117, pl. 1-34, Kalogeropoulos 2009, 10.

    9Kalogeropoulos 2010, 167-182, pl. 1.

    10Stais 1917, 208, pl. 9, Theodoropoulou-Polychroniadis 2014, 5-8, Theodoropoulou-Polychroniadis 2015, 29-33.

    11Platonos 1997, 90-91, pl. 41 α.3.

    12Küpper 1990, 17–29, pl. 10–12.

    13Spathi 2007, 13-14, inv. no. 14, pl. 5.

    14Szabό 1994, 85-91.

    15Georgaka 2013, 5-6.

    16The term “column-shaped” is also found in the literature.

    17The Munsell Soil Color Chart (Munsell 1975) has been used to describe the color of clay.

    18According to the Μunsell Chart, the colors of the figurines’ fired clay are the following : 5 YR 6/4 (light reddish brown), 2.5 YR 5/6 (red), 7.5 YR 7/2 (pinkish gray), 5 YR 6/3 (light reddish brown) 5 YR 6/2 (pinkish gray), 7.5 YR 6/6 (reddish yellow), 2,5 YR 5/4 (reddish brown), 7.5 YR 7/4 (pink), 7.5 YR 6/4-6/6 (light brown- reddish yellow), 5 YR 6/2 (pinkish gray), 5 YR 7/4 (pink).

    19Fillieres, Harbottle, Sayre 1938, 61.

    20ΝΑ 1957 Απ. 335 (jagged tool), ΝΑ 1957 Απ. 353 (jagged tool), ΝΑ 1957 Απ. 375 (chisel), ΝΑ 1957 Απ. 361 (chisel).

    21In several cases traces of “dripping” of the suspension from the brush are preserved on the back or the sides of a figurine.

    22Vlassopoulou 2003, 32.

    23Higgins, Burn 2001, 308.

    24Lambropoulos 1993, 21.

    25Higgins, Burn 2001, 307, Brooke 1921, 336, Higgins 1970, 272-7.

    26Vlassopoulou 2003, 28.

    27Brooke 1921, 337.

    28Knoblauch 1937, 174-6, 187.

    29Vlassopoulou 2003, n. 78: discussion of the results of the color analyses on samples taken from Acropolis relief tablets (pinakes) on 3/12/1992 by Dr. N. Belogiannis.

    30Vlassopoulou 2003, 31-32.

    31The Μunsell Soil Color Charts (Munsell 1975) was used for describing the red paint as well as the clay.

    32Plinius the Elder, On Ancient Greek Painting, 35th book of «Natural History», Al. Levidis (éd.), Athens, 1994, 43-4, ΧΙΙ.

    33Higgins 1970, 273.

    34Higgins 1970, 272-7, Higgins 1954, 7.

    35ΜΑ 10428, ΜΑ 10430, ΜΑ 10432, ΜΑ 10434 and ΜΑ 10435.

    36ΜΑ 10429, ΜΑ 10431 and ΜΑ 10433.

    37The head is missing from analogous figurines from the Acropolis.

    38Caubet, Fourrier, Queyrel 1998, 259-260, inv. no. 372 and 377-378, inv. no. 628 (AM 1599), 629 (AM 1593), 630 (AM 1586), Lubsen-Admiraal 2003, pl. LXII, no. 543.

    39Ammerman 2002, 33 pl. I,1, Meola 1971, 68, 71-72, pl. 21: a-e.

    Auteur

    • Vassiliki D. Georgaka

      Ephorate of the Antiquities of the Athens, Hellenic Ministry of Culture and Sport, vgeorgaka[at]culture.gr

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    1I am grateful to Professor Ismini Trianti, former Director of the 1st Ephorate of Prehistoric and Classical Antiquities, as well as to Dr Christina Vlassopoulou, curator of the Acropolis Archaeological Site and Museum, who gave me the permission to study the terracotta handmade figurines from the Acropolis in 2002 as I was working on my PhD dissertation: Georgaka 2008.

    2Meliades 1957, 23-26.

    3Georgaka 2011, 12-13.

    4Georgaka 2008, 121-126.

    5Dourou, Georgaka 2018, 1-5.

    6Noack 1927, 10-12, pl. 3, Mylonas-Kourouniotis 1933, 279-280, fig. 10, Kokkou-Viridis 1999, 105-117, Α 85, Α 97, Α 100, 107, Α 108, Α 126, Α 128, Α 127.

    7Palaiokrassa 1991, 53-54, 103-104, pl. 12-E6-13.

    8Mitsopoulos-Leon 1997, 357-378, Mitsopoulos-Leon 2009, 33-117, pl. 1-34, Kalogeropoulos 2009, 10.

    9Kalogeropoulos 2010, 167-182, pl. 1.

    10Stais 1917, 208, pl. 9, Theodoropoulou-Polychroniadis 2014, 5-8, Theodoropoulou-Polychroniadis 2015, 29-33.

    11Platonos 1997, 90-91, pl. 41 α.3.

    12Küpper 1990, 17–29, pl. 10–12.

    13Spathi 2007, 13-14, inv. no. 14, pl. 5.

    14Szabό 1994, 85-91.

    15Georgaka 2013, 5-6.

    16The term “column-shaped” is also found in the literature.

    17The Munsell Soil Color Chart (Munsell 1975) has been used to describe the color of clay.

    18According to the Μunsell Chart, the colors of the figurines’ fired clay are the following : 5 YR 6/4 (light reddish brown), 2.5 YR 5/6 (red), 7.5 YR 7/2 (pinkish gray), 5 YR 6/3 (light reddish brown) 5 YR 6/2 (pinkish gray), 7.5 YR 6/6 (reddish yellow), 2,5 YR 5/4 (reddish brown), 7.5 YR 7/4 (pink), 7.5 YR 6/4-6/6 (light brown- reddish yellow), 5 YR 6/2 (pinkish gray), 5 YR 7/4 (pink).

    19Fillieres, Harbottle, Sayre 1938, 61.

    20ΝΑ 1957 Απ. 335 (jagged tool), ΝΑ 1957 Απ. 353 (jagged tool), ΝΑ 1957 Απ. 375 (chisel), ΝΑ 1957 Απ. 361 (chisel).

    21In several cases traces of “dripping” of the suspension from the brush are preserved on the back or the sides of a figurine.

    22Vlassopoulou 2003, 32.

    23Higgins, Burn 2001, 308.

    24Lambropoulos 1993, 21.

    25Higgins, Burn 2001, 307, Brooke 1921, 336, Higgins 1970, 272-7.

    26Vlassopoulou 2003, 28.

    27Brooke 1921, 337.

    28Knoblauch 1937, 174-6, 187.

    29Vlassopoulou 2003, n. 78: discussion of the results of the color analyses on samples taken from Acropolis relief tablets (pinakes) on 3/12/1992 by Dr. N. Belogiannis.

    30Vlassopoulou 2003, 31-32.

    31The Μunsell Soil Color Charts (Munsell 1975) was used for describing the red paint as well as the clay.

    32Plinius the Elder, On Ancient Greek Painting, 35th book of «Natural History», Al. Levidis (éd.), Athens, 1994, 43-4, ΧΙΙ.

    33Higgins 1970, 273.

    34Higgins 1970, 272-7, Higgins 1954, 7.

    35ΜΑ 10428, ΜΑ 10430, ΜΑ 10432, ΜΑ 10434 and ΜΑ 10435.

    36ΜΑ 10429, ΜΑ 10431 and ΜΑ 10433.

    37The head is missing from analogous figurines from the Acropolis.

    38Caubet, Fourrier, Queyrel 1998, 259-260, inv. no. 372 and 377-378, inv. no. 628 (AM 1599), 629 (AM 1593), 630 (AM 1586), Lubsen-Admiraal 2003, pl. LXII, no. 543.

    39Ammerman 2002, 33 pl. I,1, Meola 1971, 68, 71-72, pl. 21: a-e.

    Quand on a la terre sous l’ongle

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    Référence numérique du chapitre

    Format

    Georgaka, V. (2022). Modeling technique of a new coroplastic type of Archaic handmade terracotta figurines from the Athenian Acropolis and from the Sanctuary of the Nymph at the South slope of the Acropolis Hill. In H. Aurigny & L. Rohaut (éds.), Quand on a la terre sous l’ongle (1‑). Presses universitaires de Provence. https://doi.org/10.4000/13tgl
    Georgaka, Vassiliki D. « Modeling Technique of a New Coroplastic Type of Archaic Handmade Terracotta Figurines from the Athenian Acropolis and from the Sanctuary of the Nymph at the South Slope of the Acropolis Hill ». In Quand on a La Terre Sous l’ongle, édité par Hélène Aurigny et Laura Rohaut. Aix-en-Provence: Presses universitaires de Provence, 2022. https://doi.org/10.4000/13tgl.
    Georgaka, Vassiliki D. « Modeling Technique of a New Coroplastic Type of Archaic Handmade Terracotta Figurines from the Athenian Acropolis and from the Sanctuary of the Nymph at the South Slope of the Acropolis Hill ». Quand on a La Terre Sous l’ongle, édité par Hélène Aurigny et Laura Rohaut, Presses universitaires de Provence, 2022, https://doi.org/10.4000/13tgl.

    Référence numérique du livre

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    Aurigny, H., & Rohaut, L. (éds.). (2022). Quand on a la terre sous l’ongle (1‑). Presses universitaires de Provence. https://doi.org/10.4000/13tio
    Aurigny, Hélène, et Laura Rohaut, éd. Quand on a la terre sous l’ongle. Aix-en-Provence: Presses universitaires de Provence, 2022. https://doi.org/10.4000/13tio.
    Aurigny, Hélène, et Laura Rohaut, éditeurs. Quand on a la terre sous l’ongle. Presses universitaires de Provence, 2022, https://doi.org/10.4000/13tio.
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