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A History of Greek Art by Frank Bigelow Tarbell
page 86 of 177 (48%)
that one scruples to put this temple back into the seventh
century, as some would have us do. Like the poros sculptures of
Attica, these Selinus metopes seem to have been covered with
color.

Fig. 85 takes us back again to the island of Delos, where the
statue came to light in 1877. It is of Parian marble, and is
considerably less than life-sized. A female figure is here
represented, the body unnaturally twisted at the hips, as in the
Selinus metopes, the legs bent in the attitude of rapid motion. At
the back there were wings, of which only the stumps now remain. A
comparison of this statue with similar figures from the Athenian
Acropolis has shown that the feet did not touch the pedestal, the
drapery serving as a support. The intention of the artist, then,
was to represent a flying figure, probably a Victory. The goddess
is dressed in a chiton (shift), which shows no trace of folds
above the girdle, while below the girdle, between the legs, there
is a series of flat, shallow ridges. The face shows the usual
archaic features--the prominent eyeballs, cheeks, and chin, and
the smiling mouth. The hair is represented as fastened by a sort
of hoop, into which metallic ornaments, now lost, were inserted.
As usual, the main mass of the hair falls straight behind, and
several locks, the same number on each side, are brought forward
upon the breast. As usual, too, the front hair is disposed
symmetrically; in this case, a smaller and a larger flat curl on
each side of the middle of the forehead are succeeded by a
continuous tress of hair arranged in five scallops.

If, as has been generally thought, this statue belongs on an
inscribed pedestal which was found near it, then we have before us
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