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Statue of late antique chlamydatus holding mappa, ancient Corinth

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Headless torso together with the plinth re-carved from a female marble statue. It rests on the right leg; the right arm is bent across the chest holding what seems to be a handkerchief i.e. mappa, gathered into a ball. The left arm hangs at the side covered by the chlamys. The long chlamys is fastened over the right shoulder by an elaborate cross-bow fibula. Four similar grooves radiate from the right arm almost to the bottom. Near the ground the system of groove-and-ridge breaks up into smaller folds that look inconsistent with the general appearance of the surface. The long-sleeved tunic opens over the right side and is worn with a wide belt (cingulum). The chlamydatus seems to wear thin-soled, high-tongued shoes. The statue is extremely flat and narrow in profile. The general treatment of the garment is stiff and inorganic, showing little effort to naturalism, except for the folds on the tight sleeve of the tunic, at the very lower part of the chlamys, and below the left hand; the back of the statue is completely unworked. A late fifth/first half of the sixth c. date for this piece, based on stylistic grounds, is now suggested.
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Title: Statue of late antique chlamydatus holding mappa, ancient Corinth
Description:
Headless torso together with the plinth re-carved from a female marble statue.
It rests on the right leg; the right arm is bent across the chest holding what seems to be a handkerchief i.
e.
mappa, gathered into a ball.
The left arm hangs at the side covered by the chlamys.
The long chlamys is fastened over the right shoulder by an elaborate cross-bow fibula.
Four similar grooves radiate from the right arm almost to the bottom.
Near the ground the system of groove-and-ridge breaks up into smaller folds that look inconsistent with the general appearance of the surface.
The long-sleeved tunic opens over the right side and is worn with a wide belt (cingulum).
The chlamydatus seems to wear thin-soled, high-tongued shoes.
The statue is extremely flat and narrow in profile.
The general treatment of the garment is stiff and inorganic, showing little effort to naturalism, except for the folds on the tight sleeve of the tunic, at the very lower part of the chlamys, and below the left hand; the back of the statue is completely unworked.
A late fifth/first half of the sixth c.
date for this piece, based on stylistic grounds, is now suggested.

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