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 EARLY ARCHAIC SCULPTURE
IN ATHENS
Olga Palagz'a

This paper deals with the inception of monumental marble sculpture in Athens and Attica. Its
aim is to examine the influences that shaped Athenian sculpture and to detect the provenance
of the marbles used in Athens in the late seventh and the first quarter of the sixth century BC.
Greek monumental statuary in marble developed on the Cycladic island of Naxos some-
time in the second half of the seventh century. Naxos is rich in marble quarries and was quick
to develop techniques for quarrying and shipping colossal figures. Naxian products were origi-
nally exported to Delos, Thera and Samos ', where they can be identified thanks to the Naxian
marble employed. The earliest extant Naxian statues were all found outside Naxos; they are
life-size or over, plank-like, with ctDaedalic>>hair, broad shoulders and narrow waist, like the
dedication of Nikandre to the Artemision of Delos, the kouroi found on Delos, and the Naxian
kouroi (Fig. I ) and the kore found on Thera *. Even nude men wear belts in the early examples
and bear metal attachments. The so-called Colossus of the Naxians, dedicated to Apollo on
Delos around 600 B.C., was originally about 9 m high and stood as an advertisement of the
skills of Naxian masons3. A number of unfinished colossal kouroi of the second quarter of
the sixth century abandoned in the quarries of Melanes and Flerio on Naxos indicate that the
figures were blocked out at quarry level 4. Thus were determined their shape, hairstyle and
proportions before shipment. It may be assumed that Naxian sculptors travelled with them to
their final destination, putting the finishing touches in situ. A colossal kore in Naxian marble
found in the cemetery of Sellada on Thera has yet to be published but from personal observa-
tion I believe that it is unfinished. It was presumably going to be completed after it was set up

Fragments of over-life-size Naxian korai from the Heraion of Samos, Vathy, Museum, inv. I 95: Samos
XI,nos. 1-3, pls. 1-2;Karakasi 2002, 18, PIS. 1 and 2; Croissant 2008,315-318, figs. 8-10. For Naxian statuary on
Delos and Thera, see note 2 below.
Athens, National Museum, inv. 1 (Nikandre kore):Jeffery 1961,303, no. 2, pl. 55,2; Pedley 1976, 19-20,
pl. 1; Kokkorou-Alewras 1995, 80, K 1; Boardman 2006, 13, fig. 7; Croissant 2008, 311-315, figs. 1-3. Naxian
kouroi found on Delos: Kokkorou-Alewras 1995,81-82,84, K 5-8,12a; D'Acunto 2008; Bruneau - Ducat 2010,
91-96. Naxian kouroifound on Thera: Kokkorou-Alewras 1995,83,85,88, K 10-11,13,19.Naxian kore found on
Thera: Kokkorou-Alewras 1995,83, K 9; Croissant 2008,314,318, figs. 4-6.
' Delos, Artemision, and London, British Museum, inv. B 322: Pedley 1976, 21-22, pl. 2b, c; Kokkorou-
Alewras 1995,87-88, K 18, pls. 22-23;Bruneau - Ducat 2010,186-192.
Kokkorou-Alewras 1995,90-94,K 20-21,23-24, pl. 21.
Thera, Prehistoric Museum: Karakasi 2002, pl. 76.
 OLGA PALAGIA

on its base but was abandoned on the spot, probably because it was damaged. Her face, hair
and an apron-like area over her skirt remain unfinished and she has no traces of colour.
Early Naxian kouroi have long hair with strands falling over their chests and down their
backs (Fig. 1 )6. Votive statues from the islands can carry dedicatory inscriptions on their
bodies like Nikandre and the twin korai dedicated by Cheramyes at the Heraion of Samos, all
inscribed alongside their skirts '. The colossal kouros of Isches from Samos from about 580 has
a votive inscription on his left thigh Such inscriptions are uncommon in Athens and Attica,
where the dedications were inscribed on the statue bases.
It is generally acknowledged that the impetus for the creation of monumental marble
sculpture came to Athens from the islands of the Cyclades. Naxos is often thought to be the
primary source providing both marble and skilled carvers. The presence of Naxian masons in
Athens in the early sixth century is documented by the existence of roof tiles in Naxian marble
found on the Athenian Acropolis 9. Some are still unfinished, indicating that they were roughed
out for export and completed on the spot once they reached their destination. Traces of colour
on some of the tiles suggest that they were actually employed on an early Archaic temple on
the Acropolis. A number of tiles carry masons' marks. One of them, spelling the beginning of
the name Byzes in the Naxian alphabet, recalls the Naxian Byzes who was said by Pausanias
(5.10.3)to have introduced marble roof tiles in the time of the Lydian Alyattes at the beginning
of the sixth century lo. It is therefore assumed that Byzes and his associates provided the marble
roof for a temple on the Acropolis. An additional point of interest is the detection of claw
chisel marks on the Naxian roof tiles ": this raises the date of the earliest documented appear-
ance of the claw chisel on Greek marble to about 600. The claw chisel was initially employed
for the dressing of limestone and can be found in the Minoan palace of Mallia (Fig. 2). Its
adaptation to marble carving techniques can be tentatively attributed to Naxian masons until
further evidence modifies the picture.
We begin our survey of early Attic sculpture with the female figure. Around the begin-
ning of the sixth century two marble perirrhanteria in Naxian marble were dedicated on the
Athenian Acropolis 12. The best preserved shows six female figures supporting a basin (Fig. 3).
They have long hair falling on their shoulders and linear drapery forming vertical pleats. Ear-
lier basins made in the seventh century like one from Isthmia tend to be supported by women
standing on lions, inspired by Oriental prototypes ". The simplified design and lack of lions
in the Acropolis examples show that we are at the end of the series, therefore within the sixth
century. One of the Acropolis basins carries a dedicatory inscription in Attic script, indicating
that the object was carved by a Naxian mason but inscribed by an Athenian letter-cutter 14.
This rule also applies to a statue base in Naxian marble also from the Acropolis, which car-
ries a dedication to Herakles in Attic script, and is datable to the second quarter of the sixth
century 15.
Naxian presence on the Athenian Acropolis in the second quarter of the sixth century
is further documented by two fragmentary korai wearing a diagonal himation over a chiton

A good example is offered by the kouros in the Thera Museum, inv. 306: Kokkorou-Alewras 1995, 83,
K 11, 17.
Athens, National Museum, inv. 1; korai of Cheramyes: Paris, Musk du Louvre, inv. MA 686 and Samos,
Vathy, Museum; Kyrieleis 1995, figs. 24-25.
Samos, Vathy, Museum: Samos X, 45-46, pls. 7 , ) and 30 (G.Neumann).
Kissas 2008,5-37.
lo Roof tile inscribed BY, Athens, Acropolis Museum, inv. 13852; Kissas 2008, 13, Al, pl. 1,l.
Kissas 2008,8.
l2 Athens, Acropolis Museum, inv. 592,592a, 592b, 7345, 13476; Epigraphical Museum, inv. 6521, 6521a;
Kokkorou-Alewras 1995, 112-115, K 75-76.
I3 Isthmia Museum: Sturgeon 1987,'14-61, pls. A-B, 1-26. Oriental prototypes: Boardman 2006,27.
l4 Athens, Epigraphical Museum, inv. 6521 and 6521a: Raubitschek 1949,402, no. 374; Kokkorou-Alewras
1995,114, K 76.- - -
l5 Athens, Epigraphical Museum, inv. 6317; T G I' 602; Raubitschek 1949, no. 60; Kissas 2000,258, C 21.
 EARLY ARCHAIC SCULPTURE IN ATHENS

(Figs. 4-51 16. The himation covers both breasts and forms a kolpos whose edge hangs lower on
the figure's proper right. Both korai have their left hand over their chest carrying an offering.
Even though no such korai have been found on Naxos itself, their Naxian origin is implied
by the Naxian marble and by the similarity of the head of the kore Acropolis 677 (Fig. 4 )
to the head of the Sphinx of the Naxians dedicated in Delphi in the second quarter of the
sixth century 17. The drapery and style of the Naxian korai on the Acropolis are adapted from
Samian prototypes I*. The Samian kore in diagonal himation with tubular, striated skirt, hold-
ing an offering against her chest, is exemplified by the twin korai dedicated by Cheramyes at
the Heraion of Samos (Fig. 6) 19. This type found no local imitations in Athens, however. The
earliest documented Attic kore made locally in white Pentelic marble is the small-scale funer-
ary kore from Agios Ioannis Rentis from around 580 in the Piraeus Museum (Figs. 7-8) 20. Her
hair is almost Daedalic and she must have been made in Athens under Parian inspiration even
though all Parian comparanda found so far are later 21. She wears no himation and her chiton
forms the twin kolpoi we observe on the kore from Naousa on Paros (Fig.9 )22. Vertical bands
were painted down the sides of her skirt (Fig. 8) and it is very likely that a similar band ran
down her skirt in front by analogy with the kore from Naousa.
The so-called Pomegranate kore on the Athenian Acropolis, dating from around 570 is
also of Pentelic marble (Fig. She holds a pomegranate against her chest and wears a
necklace, a chiton fastened with a belt and a cape-like himation worn symmetrically over her
shoulders and falling over both sides. She is a robust figure retaining the unarticulated effect of
the original block of marble, and lacking the slim waist and tubular lower body of the Naxian
korai dedicated on the Athenian Acropolis (Figs. 4-5). Her appeal depends on the painted
patterns of her drapery. Interestingly, this is the first statue known so far that shows claw chisel
marks 24. They are visible on the left tresses of the long hair falling down her back, which was
left unfinished (Fig. 11).The attribution of this kore to an Athenian sculptor is not in doubt.
But even if the kore type is new, the sculptor probably adopted the marble carving techniques
of Naxian masons.
The impetus for the most popular design of early Attic korai, however, seems to have
come from Paros. All Parian comparanda available so far date no earlier than the second quar-
ter of the sixth century. The torso of a kore in Parian marble found in Moschato near Piraeus
(Fig. 12) wears a plain chiton and holds her left hand against her chest 25. Long tresses of hair
fall over her breasts. A very similar torso also in Parian marble was found on Antiparos and is
now in the Paros Museum 26. We can restore the skirt of this type of kore with a central vertical
band decorated with a maeander pattern along the lines of the kore from Naousa on Paros
(Fig. 9 ) 27. The Parian influence on this Attic kore type which continued to appear through
the third quarter of the sixth century is documented by the grave statue of Phrasikleia, signed

l6 Athens, Akropolis Museum, inv. 677 (Fig. 4 ) and 619 (Fig. 5): Pedley 1976,28-29,pls. 5 (Acr. 677) and 6
(Acr. 619); Kokkorou-Alewras 1995, 108-109,K 69 (Acr. 619) and 70 (Acr. 677); Karakasi 2002, 115, pls. 127-
128; Croissant 2008,319, figs. 12-13 (Acr. 619).
l7 Delphi, Museum, inv. 365: Pedley 1976,26-28, pl. 4; Kokkorou-Alewras 1995,118, K 87.
Croissant 2008,3 19.
l9 Paris, Musk du Louvre, inv. MA 686 with its twin in the Samos, Vathy, Museum: Kyrieleis 1995.
20 Piraeus, Museum, inv. 2530: Karakasi 2002, 116, pls. 108-109,230-233;D'Onofrio 2008,238-241. She is
made of fine-grained, compact marble. Visual inspection suggests that it is Pentelic.
--

ItidgGy 1993,142. '

22 Paros, Museum, inv. 802: Karakasi 2002,83, pl. 79; Croissant 2008,320, fig. 16; Karakasi 2008,288, fig. 6a.
23 Athens, Acropolis Museum, inv. 593: Karakasi 2002,115, pls. 129,238; Kreikenbom 2002,158, fig. 237a-c.
Painted patterns: Brinkmann 2003, no. 46.
24 Palagia - Bianchi 1994, 187, fig. 1; Palagia 2006,252.
zs Athens, National Museum, inv. 3859: Ridgway 1993,142; Karakasi 2002,116, pl. 110; Croissant 2008,322-
323, fig. 28.
Paros, Museum, inv. 791: Karakasi 2002,83, pl. 78.
27 See note 22 above.
 OLGA PALAGIA

by Aristion of Paros 28. The tubular design of Phrasikleia's skirt shows an affinity with Samian
prototypes but Phrasikleia seems to embody a new synthesis, being an Attic creation with
island overtones.
In addition to Pentelic marble, Athenian marble carvers also began to exploit marble
from Mt. Hymettos in the second quarter of the sixth century 29. The employment of local Attic
marble is probably a good reason for attribution of these works to Athenian masons. Grey
Hymettian marble was employed in the Doric frieze of spotted leopards and other decorative
elements, as well as in the Gorgon acroterion of the so-called H-architecture on the Athenian
Acropolis jO. Around the middle of the sixth century free-standing sculptures are also made
in Hymettian marble, notably the Calf-bearer on the Athenian Acropolis and a grave statue
of a horseman from Vari in the Athens National Museum3'. No unfinished sculptures have
been found in the Hymettian marble quarries to date but we do have two unfinished sculp-
tures in Pentelic marble of the second half of the sixth century from the quarry in Dionysos
(Ikaria), a miniature kouros now in the British Museum and a late Archaic lion in the Kephisia
Museum j2. Neither belongs to the early phases of Attic sculpture and they lie outside the scope
of this paper.
More intriguing, however, are the earliest Attic kouroi, all dating from the turn of the
sixth century. They are made of island marble and were obviously roughed out in some island
quarries, being therefore of Cycladic inspiration. Seven early kouroi from Athens and Attica are
known so far. We have three funerary kouroi, two from the Keramelkos cemetery and another
from the Mesogeia in Attica. One of these kouroi, found near the Dipylon Gate at the Kera-
meikos, preserves only the head and right hand and is now in the Athens National Museum
(Figs. 13-14)j3. The second, from the Mesogeia, is now in New York (Fig. 1.5)j4. The third was
recently excavated at the foundations of the Sacred Gate at the Kerameikos (Fig. 16)'I. These
three range in height from 1.84 to 3.20 m, with the New York kouros being the shortest j6. We
also have a group of four votive kouroi (Sounion kouroi A-D) from the sanctuary of Poseidon
at Cape Sounion, ranging in height from 2.30 to 3 m3'. Sounion kouros A survives almost
intact (Figs. 17-19);we have the torso of another (B) (Figs. 20-21), and leg fragments of two
more kouroi. These early Attic kouroi obviously have much in common. Whether they can be
attributed to one or two workshops is a matter of controversy. The funerary kouroi have been
considered purely Attic; the four votive ones from Sounion are thought to be imports or of
Cycladic inspiration 38. The seven kouroi have subtle differences because obviously they were
not carved by one hand; in addition, they may range in date within a decade or two. We do not
have enough evidence to assess their precise chronology.
All seven kouroi are four-square, faithfully following the shape of the marble block and
have clear articulation. They have similar eyes and ears, closed fists and broad shoulders, and

Athens, National Museum, inv. 4889: Kaltsas 2002; Karakasi 2002, 116, pls. 114-115, 235-237; Karakasi
2008.
29 On the employment of Hymettian marble in Archaic sculptures from Athens, see Sturgeon 2006,44-46.
30 Athens, Acropolis Museum, inv. 552 and 554: Trianti 1998, 29, fig. 4. Gorgon acroterion, Acropolis
Museum, inv. 701: Trianti 1998,29, figs. 2-3.
" Calf-bearer: Athens, Acropolis Museum, inv. 624; Trianti 1998, 167, figs. 176-178. Funerary horseman
from Vari (Anagyrous),Athens, National Museum, inv. 79; Schiifer 2002,77-79, P 3, fig. 25.
32 Unfinished kouror in London, British Museum: Bliimel 1969, 16, fig. 11. Lion in the Kephisia Museum, ex
Piraeus Museum, inv. 5760: Korres 1993,89, no. 2.
" Athens, National Museum, inv. 3372 and 3965: Niemeier 2002, figs. 57-59; Vorster 2002, 122-125,
figs. 191a-c;Meyer - Briiggeplann 2007,201, nos. 304 and 304,l; D'Onofrio 2008,220-221, fig. 6.
34 New York, Metropolitan Museum of Art, inv. 32.11.1: Niemeier 2002, figs. 60-62; Vorster 2002, 122-125,
figs. 190a-e;Meyer - Briiggemann 2007, 199, no. 299.
j5 Athens, Kerameikos Museum, inv. 1700: Niemeier 2002,40-45; Meyer - Briiggemann 2007,201, no. 205.

36 For the heights, see D'Onofrio 2008,221,223.

'' Athens, National Museum, inv. 2720 and 3645a, 3645 and 2720a, 3939: Papathanasopoulos 1983,48-58;
Goette 2000, 19-20, pls. 8-9; Vorster 2002, 122-125, figs. 192a-b, 193a-e; Meyer - Briiggemann 2007, 169-171,
nos. 180-183;D'Onofrio 2008,209-245, figs. 1,3a-b, 5a-b. For the heights, see D'Onofrio 2008,245.
js Ridgway 1993,88.
 EARLY ARCHAIC SCULPTURE IN ATHENS

their hair invariably falls down their backs. Their main difference lies in the proportions: the
heads of the funerary kouroi are much larger in proportion to their bodies than those of the
Sounion kouroi, and this gives them a distinctive character. Another important difference is in
the modelling of the hair. Whereas the hair of the funerary kouroi forms globular beads, that
of the Sounion kouroi follows linear patterns, creating horizontal waves in Sounion A (Fig. 18),
and zigzag lines on kouros B (Fig. 21). The hair of all kouroi is tied with a ribbon forming
a Herakles knot at the back. It is interesting that the knot at the back of Sounion kouros A
(Fig. 18) is placed off centre in order to give the impression that he is turning his head left.
In order to enhance this impression, the kouros is placed obliquely on his base (Fig. 17), he
is therefore not entirely frontal. The hair of the same kouros is tied with a pair of ribbons in
front, with the hair locks between them forming large snail shell curls (Fig. 19). The Dipylon
head also wears two hairbands but the bottom one on the forehead is indicated in paint, not
modelled, and the locks between the ribbons remain bead-like (Fig. 14).
The New York kouros and the newly excavated kouros from the Sacred Gate of the
Kerameikos have comparable proportions though the New York kouros is shorter. Both kouroi
carry vertical depressions along the sides of their upper arms. Similar, parallel depressions are
formed on the legs of both the New York kouros and Sounion A39. The New York kouros
wears a ribbon around his neck and this reappears on the Dipylon head, where the ribbon is
incised 40. A star pattern is formed around the nipples of both the kouros from the Sacred Gate
and Sounion B 41. I believe that such patterns and the depressions on the flesh are not merely
decorative but probably represent the vestiges of clothing which would have been painted on
the figures. A similar case of a garment painted not modelled on a marble,statue can be found
on a Severe Style warrior from the Athenian Acropolis who appears to be naked but is in fact
wearing a painted chiton under his corselet 42.
The seven early Attic kouroi form a distinctive group. Their style was clearly developed
in Athens and Attica and they have no predecessors and no followers. Since they are not made
of Attic marble, they must have been quarried on one of the islands of the Cyclades. It is
reasonable to suggest that their sculptors came to Athens along with the roughed-out statues
and finished them in situ, thus devising a new style that dominated the art of Athens for at
least a decade. The provenance of the marble is obviously particularly important because it will
help determine the source of inspiration. The marble of the kouroa' has never been scientifi-
cally tested. Its coarse grains have suggested a Naxian provenance, which was reinforced by
comparison of the twin ribbons and spiral locks of Sounion kouros A (Fig. 19) with a similar
arrangement on the head of a kouros from Naxos now in Copenhagen 43. In addition, only on
Naxos have we found colossal kouroi lying unfinished. Anna Maria D'Onofrio has recently
argued for a Naxian origin of the early Attic kouroi, thus summarising the verdict of many
years of scholarship on the subject 44.
However, the stylistic differences between Sounion kouros A (Fig. 17) and one of the
earliest Naxian kouroi from Thera (Fig. 1) are striking. The Naxian kouros is flat, his torso
flaring upwards from a narrow waist, and his hair falls over his chest. Most Naxian kouroi have
belts and metal attachments. The Sounion kouros is block-like, wears no belt, has no metal
attachments and his hair falls down his back. If the early Attic kouroi came from Naxos, one
would expect more affinities to Naxian products. We need to look for comparanda elsewhere.
Two kouroi found in recent excavations in the sanctuary of Apollo on the island of
Despotiko near Paros ~rovidethe missing link even though they postdate the Sounion group

l9 Niemeier 2002, fig. 60; Vorster 2002, figs. 1%-d.

40 Niemeier 2002, figs. 58 and 60.
41 KOUYOS from the Sacred Gate: Athens, Kerameikos Museum, inv. 1700: Niemeier 2002, fig. 54. Kouros
Sounion B: Athens, National Museum, inv. 3645: Brinkmam 2003, no. 166.
42 Athens, Acropolis Museum, inv. 599: Brinkmann 2003, no. 51.
43 Copenhagen, Ny Carlsberg Glyptotek, inv. 2821: Pedley 1976,30-31, pl. 7; Kokkorou-Alewras 1995, 91,
K 22, pls. 24-25.
" D'Onofrio 2008.
 OLGA PALAGIA

and are under-life-sizewhereas the Sounion kouroi are colossal. The enormous eyes, globular
locks, hair falling down the back and hairband painted on the forehead of Sounion A (Fig. 19)
can be found on the bust of one of the kouroi from Despotiko (Fig. 22), while another, later,
kouros has similar large eyes and spiral hairlocks 45. Finally, the coarse grains of the marble of
the early Attic kouroi can also point to Paros, which produces coarse-grained marble compa-
rable to the Naxian. The kore from Moschato (Fig. 12), for instance, provides a good example
of coarse-grainedParian marble. The marble of Sounion A and the Dipylon head and hand has
a transparent quality that is more akin to Parian than to Naxian. If we associate the early Attic
kouroi with Paros, we open a new perspective in the development of Cycladic sculpture and
its diffusion as well as the influences that shaped the art of Athens. It is true that Parian com-
paranda to both early Attic kouroi and early Attic korai are somewhat later than their Athenian
counterparts, this however must be due to the accident of survival. New finds may m o w the
picture.
 EARLY ARCHAIC SCULPTURE IN ATHENS

Fig. 2 - Claw chisel marks on limestone block. Crete, Minoan Palace of Mallia.
 OLGA PALAGIA

Fig. 3 - Naxian perirrhanterion.

Athens, Acropolis Museuv
inu. 592 + 592a + 5926 + 7345 + 13476

Fig. 4 - Naxian kore.

Athens, Acropolis Museum,
inv. 677.

Fig. 6 - Samian
kore dedicated
Fig. 5 - Naxiai by Cheramyes
kore. Athen1 at the Heraion
Acropolis of Samos. Paris,
Museum, MusPe du Louure,
inv. 619. inu. MA 686.
 EARLY ARCHAIC SCULPTURE IN ATHENS

Figs. 7-8 - Kore from Agios Ioannis Rentis:

fiontal and left side.
Piraeus, Museum, inv. 2530.

Fig. 9 - Parian kore from Naoussa.

Paros, Museum, inv. 802.
 OLGA PALAGIA

Fig. 10 - Pomegranate Kore.

Athens, Acropolis Museum, inv. 593.

Fig. 11 - Claw chisel marks

on the hair of the Pomegranate Kore.
Athens, Acropolis Museum, inu. 593.

Fig. 12 - Kore
bi Moschato.
n
Athens, National Museum,
S*v. 3859.
EARLY ARCHAIC SCULPTURE IN ATHENS

Figs. 13-14 - Head ofkouros from Dipylon,

Kerameikos:frontal and right side.
Athens, National Museum, inv. 3372.

Fig. 15 - Kourosfrom Attica.

New York, Mefropolitan Museum of Art,
!.
 OLGA PALAGIA

I
Fog. 16 - Kouros from the Sacred Gate,
Kerameikos. Athens, Kerameikos Museum, inv. 1700.

Fig. 17 - Kouros Afrom the sanctuary

of Poseidon, Sounion.
Athens, National Museum, inv. 2720.

Figs. 18-19 - Kouros A

horn the sanctuary
of Poseidon, Sounion:
rear view
and right profije.
Athens,
National Museum,
inv. 2720.
 EARLY ARCHAIC SCULPTURE IN ATHENS

Figs. 20-21 - Kouros B fiom the sanctuary of Poseidma, S o ~ n i o n : f i o natid

~ l rear v i m .
Athens, National Museum, inv. 3645.

. ..
1
Fig. 22 - Kouros from the sanctuary ofApollo on Despotiko.
Paros, Museum.
Bliimel 1969 C. Bliimel, Greek sculptors at work, London 196!Y.
Boardman 2006 J. Boardman, Sources and models, in Palagia 2006, 1-31.
Bol2002 P.C. Bol (Hg.), Die Geschichte der antiken Bildhauerkunst, I. Friihgrie-
chische Plastik, Mainz 2002.
Brinkmann 2003 V . Brinkmann, Die Polychromie der archaischen und fiuhklassischen
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