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SALAMIS IN THE ISLAND OF CYPRUS.
BY ALEXANDER PALMA DI CESNOLÀ, F.S.A.,
A similar work resembles the "Pudicitia". A female figure stands erect, with large wings displayed and rising above her head, and holding in her right hand a fir cone, which is the frequent emblem of Venus, and in the left hand objects like apples, which cannot now be recognised. An ancient figure of a charming young girl is in the attitude of a Muse playing on a large lyre, which is placed at her side. Her elegantly-disposed draperies bear traces of colour, the toga is still of a pale pink, the tunic is of a redder hue, the sandals are scarlet. It probably represents the Muse Erato, or Polyhymnia (fig. 217). The head of this figure is adorned with a coronal of flower-shaped ornaments, and a cap-like headgear surmounted the coronet. A tall and graceful statuette of this class, which shows a peculiar style of sculpture, being of a somewhat finer, if not more laboured, order of treatment, seems to be in the act of walking towards the temple, because she holds on her left shoulder a large tray, bearing an offering of a cake, and, in her right hand, carries a small hare or rabbit. The drapery of this figure is extremely beautiful, and has been studied byavery accomplished artist. Two seated statuettes of draped women occur. At the side of each is the figure of a winged youth, very closely resembling that which is described above. It is probable that these figures, although those of the females are fully draped, represent Venus and her son. In the lap of one of the seated figures are what look like flowers. A statuette of a draped female wears a helmet, or cap, with a high crest, like a Phrygian cap. At the side .of two figures of women, each of whom holds a bowl, is a pig. The animal looks up, as if it expected to be fed. Both these females have their hair flowing over their shoulders in long tresses, and trained in large coronets above their heads. The one looks slightly downwards, the other has raised her face, and gazes forwards. In another statuette, the hair of a lovely and slender young female is covered with a conical hat. An erect and nearly naked female figure, probably that of Venus, shows strong traces of deep blue on the drapery, a ruddy tint on her flesh. The robe which lies over her shoulder falls behind, and, returning to the front, is thrust between the legs, from whence it issues in full folds. One of her arms is placed akimbo on her left hip, the other hand is on an altar at her side, the left leg is crossed before its fellow. There is a pretty figure of a tall woman draped in a tunic, and walking with a vase upon her head. A garland which is under it is distinctly pink. A lady, the contour of whose figure is very robust, stands erect, her drapery being closely held about her form. She is wearing above her hair a large garland, which is coloured of a deep reddish tint. The face and general style of this statuette are of peculiarly lovely Greek type, and of a noble and pure kind of art.1 Another charming statuette stands fully draped, the toga being held at each shoulder by a fibula, at the side of a tall pedestal, on which her left hand is placed. As this hand is, unfortunately, broken, we cannot say if it originally held anything, or if it is only drapery which seems to fall from over the wrist. On her head is a lofty lunette-shaped coronet. A larger figure is standing fully
See Plate, facing page 182.
draped, the ample toga being thrown over the head so as to form a veil. Her mature form suggests that she is a widow; or this may be the winter costume of a noble Cypriote lady. This example seems to have been painted pure white over the flesh, as well as the garments. There are two other similarly clad figures, one of which is enveloped over the head and its lofty coronet, while her hands are covered by the toga; the other, the matronly proportions of which have perfect dignity, while the attitude has the freest and most graceful movement, is bareheaded. Over the forehead rises a tallcoronet. The face of this work has been finished with unusual care, and possesses great sweetness of expression, with suavity and beauty of features. Among these effigies of draped females, none is more interesting than that of the young woman who stands almost entirely wrapped in her toga, having drawn part of its edge over her mouth and nostrils, as if to keep out cold air. There is an almost exactly similar figure of a girl, who has thus, but not quite so closely, wrapped herself up. Another figure wears a toga folded about her head, and falling closely over both her loins. The iconic statuette of a lady (fig. 218), whose toga is gracefully disposed in
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