Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
JUDIT LEBEGYEV - ANDRÁS MÁRTON: Early Cycladic Objects in the Collection of Classical Antiquities
from different interactions between the polished marble surface and various pigments. That is, marble, as opposed to clay, does not bind strongly to pigments. 26 The two primary colours observed on the figures are red made of ochre found in the Cyclades or imported cinnabar, 27 and blue obtained from azurite that also occurred in the Cyclades. 28 In addition to the two primary colours, other colours and pigments may have also been used, which disappeared from the surface of marble without any trace, e.g., yellow made from saffron. 2 " After the figures had been put into the soil, their paint and polished surface were subjected to different kinds of damaging forces (subsoil water, different plant acids, etc.). 30 The various pigments protect the surface of the marble in different ways. The red paint disperses and gets in-between the particles of marble. Conversely, azurite and malachite, which have poor covering properties and therefore require stronger and thicker binding medium, remain on the surface forming a protective layer. Dark coloured paint traces merging into the surface may, therefore, be reconstructed with red. On the other hand, the lighter coloured parts that show the original surface of the marble, and which are sometimes smoother and protrude from their surroundings, were originally covered with blue (perhaps green) paint. In addition to the interaction between different kinds of pigments, the surface of marble and external conditions, one more factor could influence the final outcome: the significance of the motifs in the community. Some painted designs may have been prepared for a single event, while others could have been renewed several times or were made originally from durable materials for more permanent use. E. A. Hendrix proposes that the parts painted with blue were intended for the whole lifetime of the figure, while the position of other, non-anatomical parts painted in red may have changed during the use-life of the figure. 31 Here one may find contradiction between the planned lifetime of the painted parts and that of the pigment employed: the parts that were meant for a longer period 23-24 DOKATHISMATA FIGURINE IN UV-LIGHT. BUDAPEST. MUSEUM OF FINE ARTS
