DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1117#0077
38 COMPARATIVE STUDIES
girdle) B, it is 5-6 cm., or about 5 cm. beneath it, the outline being some-
what oval, c, round the thighs, is 11 cm. at the point shown in Fio-. jg
and 11-8 cm. in the greatest girth.
Compari- The adult bronze figure of the male sex referred to was about
adult 25 centimetres, or 10 inches, in height, and therefore supplies an approximate
"lale standard of comparison. In that case the girth under the armpits1 was
figures. l ° r
about 10 centimetres, as in the case of the chryselephantine female statuette.
The girth round the waist, following the hollow of the girdle, was 7-3 cm.,
or 17 cm.—over a third—greater. Round the buttocks the maximum girth
of the male figure was 14-4 centimetres, or 2-6 cm. more than in the case of
the opposite sex, a tribute to the muscular development of Minoan athletes.
Even in the breadth at the hips the male figure very nearly approached the
female, 4-3 centimetres as against 47.
The measurements of the ' Leaping Youth ', as adapted to a standing
position, from the crown of the head to the heel'work out to 25-6 centimetres,
closely corresponding to the height of the bronze male figure. This, allowing
for a reduction of jj, according to the normal proportions of the two sexes,
would answer to a female figure approximately 23-5 cm., a stature practically
identical with that attributed to our little chryselephantine image when
complete.
This correspondence has certainly a very significant bearing on the
source of this remarkable relic, which, after long years of furtive seclusion,
has, like the others, referred to above, so surprisingly emerged to the light
of day. Whether or not it had belonged to the same ' Deposit of Ivories',
there can be little doubt that it was executed in the same palatial workshop.
Compari- Though the ' Boston Goddess' is on a somewhat smaller scale, points
' Boston of resemblance in style and fabric are also to be observed in that case,
?°d", equally suggestive of a common and contemporary origin. In addition to
the naturalistic treatment of the falling tresses and the delicate modelling
of the back, already noted, the similar conformation of the very prominent
breasts, and the same indication of the nipples by the heads of gold pins at
once strike the eye. Among decorative parallels may be noticed, too, the
embossed disks arranged in two rows on the gold plates of the Goddess s
lowest flounce, as on the collar described above.-
Little doubt can be entertained that in the present case, too, we have
1 For the sections of this see P. of M., iii, motive, shown below to be the peculiar pro-
p. 460, Fig. 321. perty of the 'Snake Goddess' and, in fact
2 The plates of other flounces of the Boston her sacred ' Adder Mark '. See below, p. ror
figurine are adorned with the 'wave and dot' seqq.
girdle) B, it is 5-6 cm., or about 5 cm. beneath it, the outline being some-
what oval, c, round the thighs, is 11 cm. at the point shown in Fio-. jg
and 11-8 cm. in the greatest girth.
Compari- The adult bronze figure of the male sex referred to was about
adult 25 centimetres, or 10 inches, in height, and therefore supplies an approximate
"lale standard of comparison. In that case the girth under the armpits1 was
figures. l ° r
about 10 centimetres, as in the case of the chryselephantine female statuette.
The girth round the waist, following the hollow of the girdle, was 7-3 cm.,
or 17 cm.—over a third—greater. Round the buttocks the maximum girth
of the male figure was 14-4 centimetres, or 2-6 cm. more than in the case of
the opposite sex, a tribute to the muscular development of Minoan athletes.
Even in the breadth at the hips the male figure very nearly approached the
female, 4-3 centimetres as against 47.
The measurements of the ' Leaping Youth ', as adapted to a standing
position, from the crown of the head to the heel'work out to 25-6 centimetres,
closely corresponding to the height of the bronze male figure. This, allowing
for a reduction of jj, according to the normal proportions of the two sexes,
would answer to a female figure approximately 23-5 cm., a stature practically
identical with that attributed to our little chryselephantine image when
complete.
This correspondence has certainly a very significant bearing on the
source of this remarkable relic, which, after long years of furtive seclusion,
has, like the others, referred to above, so surprisingly emerged to the light
of day. Whether or not it had belonged to the same ' Deposit of Ivories',
there can be little doubt that it was executed in the same palatial workshop.
Compari- Though the ' Boston Goddess' is on a somewhat smaller scale, points
' Boston of resemblance in style and fabric are also to be observed in that case,
?°d", equally suggestive of a common and contemporary origin. In addition to
the naturalistic treatment of the falling tresses and the delicate modelling
of the back, already noted, the similar conformation of the very prominent
breasts, and the same indication of the nipples by the heads of gold pins at
once strike the eye. Among decorative parallels may be noticed, too, the
embossed disks arranged in two rows on the gold plates of the Goddess s
lowest flounce, as on the collar described above.-
Little doubt can be entertained that in the present case, too, we have
1 For the sections of this see P. of M., iii, motive, shown below to be the peculiar pro-
p. 460, Fig. 321. perty of the 'Snake Goddess' and, in fact
2 The plates of other flounces of the Boston her sacred ' Adder Mark '. See below, p. ror
figurine are adorned with the 'wave and dot' seqq.