Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
JUDIT LEBEGYEV - ANDRÁS MÁRTON: Early Cycladic Objects in the Collection of Classical Antiquities
Erlenmeyer and Erlenmeyer 1965, pl. 20. 1-2; Thimme 1976, 474-475, no. 204. Naxos, Archaeological Museum, inv. no. 4693: Zapheiropoulou 1980, 533, Ehv. 539. The diadem from grave 14, Dokathismata cemetery, Amorgos, must have been made of native silver: Tsountas 1898, Iliv. 8. 1; Zervos 1957, pi. 127; A. C. Renfrew, "Cycladic Metallurgy and the Aegean Early Bronze Age," American Journal of Archaeology 71 (1967), 5-6; Thimme 1976, pis. 106, 130; Papathanasopoulos 1981, 140-141, no. 68. A silver diadem with dotted decoration from ChalandrianiKastri (Syros): J. L. Caskey, "Chalandriani in Syros," in L. Freeman Sandler (ed.), Essays in Memory of Karl Lehmann , New York 1964, 65, n. 14, fig. 5; Thimme 1976, 130, pis. 107; Papathanasopoulos 1981, 132-133, no. 61. While on Crete gold is more frequently used, Caskey ibid., 65, n. 12, (on the gold diadems from Mochlos); in the Cycladic culture the most valuable and almost exclusively used precious metal was silver: Renfrew ibid., 5-7, n. 49. Across the forehead, the Naxos, Archaeological Museum, inv. no. 4182 head preserves a row of painted rhombuses between two stripes, and the lower stripe is bordered by a zigzag motif: Hendrix 2003, 421, fig. 6. The 140-cm high Spedos figure in Athens, N. P. Goulandris Foundation-Museum of Cycladic Art, inv. no. 724, preserves a similar paint motif as the piece in Budapest: A. C. Renfrew, Archaeological Reports 32 (1986), 138-140, figs. 14-18; Getz-Gentle 2001, 158, 3, pis. 64-66c. Contrary to the reconstruction drawings made of the Athens, National Archaeological Museum, inv. no. 6140.19 figure (Getz-Preziosi and Weinberg 1970, 6, fig. 2; Getz-Gentle 2001, 160, no. 2; Hendrix 2003, 417, fig. 5), the colour picture of the piece distinctly displays the upper and lower borders of the diadem: Demakopoulou 1990, 152, no. 157. See also P. Getz-Preziosi, "Cycladic Objects in the Fogg and Farland CoWtcûons" American Journal of Archaeology 70 (1966), 110, no. 7, pi. 30.17. Many figures preserve across the forehead a row of vertical lines in red paint: Thimme 1976, no. 177; Getz-Preziosi 1987, 246-247, no. 81: Goulandris Master; on the head belonging to a large figure: Getz-Gentle 2001, 178, pi. 97a.; the New York, Metropolitan Museum of Art, inv. no. 69.11.5 head shows broad stripes painted red: Hendrix 1997/98, 7-8, figs. 4, 5. The red, horizontal row of dots may represent either a diadem or body paint/tattoo: Thimme 1976, 464-65, no. 162; B. Fellmann, "Frühe Idole in der Münchner Antikensammlungen," Münchner Jahrbuch der bildenden Kunst 32 (1981), 17-18, no. 6, pis. 8-9 as a diadem; Higgins 1972, 118, pis. XLI, XLII as a hairband. Interpreted as a hair depiction: Renfrew 1991, 117, 122. In favour of interpretation as headgear: Zapheiropoulou 1980, 535. Parallels: London, British Museum, inv. no. 1971.5-21.1, Higgins 1972, 118; J. L. Caskey, "Marble Figurines from Agia Inni," Hesperia 40 (1971), 119, no. 22, pis. 21., 22; Getz-Preziosi and Weinberg 1970, 9, figs. 8, 9, pis. 6:2,3 (hair); Getz-Gentle 2001, pis. 66a-c. On a head in a private collection, Getz-Preziosi 1987, 192-193, nos. 46a-d. On the pieces of the Goulandris Master, besides the locks on the sides, vertical wavy lines run down from the back of
