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the same effect as the high girding of 4th century statues (p. 79). By the same token, however, one could defend an Augustan chronology based on her similarity with Roman statues (e.g. the Livia Orans in the Sala dei Busti, Vatican) which, admittedly, also go back to classical models especially popular in early Imperial times. Miss Herdejiirgen stresses the difficulty of distinguishing true Roman copies from adaptations of post-archaic works, but a similar or even greater difficulty certainly exists in dating archaistic art of the classical period if her chronology can almost consistently be at variance with that suggested in recent studies. It is perhaps fairer to admit that much more work should be done in this field, and in this respect her book is certainly a step in the right direction. Like all books that develop from doctoral dissertations, this suffers from an over-diligent gathering of material without adequate illustration, especially in the case of unpublished pieces, but the few plates show unusual statues of considerable interest. The inclusion of seated figures and terracottas helps our understanding of the diagonal mantle on typical korai, even after the appearance o

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Author

Charles H. Morgan

Publisher

University of Chicago Press

Published

1970

Language

EN

Field

Arts and Humanities (Social Sciences)