Byzantine Art and Archaeology by O. M. Dalton

By O. M. Dalton

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But whether it was attached to a full, standing figure or to a bust is unclear. A second fragment 29. Enea nel Lazio, pp. 190–195, 230–231, D61–D64, D209. 30. Sgubini Moretti 2001, pp. 71–72, no. 3 (VPS 1). 31. Unpublished; Museo Etrusco di Villa Giulia nos. 2024, 2025. I thank Dr. F. Boitani of the Museo Nazionale Etrusco di Villa Giulia for letting me examine these pieces. 32. Sgubini Moretti 2001, pp. 72–73, 75–76, nos. 8 (VPS 6 and VPV 1951). 33. 4, pp. 104, 237, nos. C189 (MF-12877), H300 (MF-12536), pls.

36, lines 13–17. 119. LSS, p. 206, no. 123, line 4. 120. LSAM, pp. 172–173, no. 74. For the cave, see Chaviara and Chaviara 1911, p. 54. 121. 3, pp. 163–170. PLACEMENT OF THE STATUES 19 Figure 4. The Upper Terrace with central steps (R:19–20): Stepped Theater (S–T:21–22) at upper left, and locations of deposits D and E It is also unclear when the Upper Terrace became an active part of the Sanctuary, since most of the remains take the form of cuttings in bedrock (Fig. 4). Those remains that are built are no earlier than the Hellenistic period.

254, 259–20, fig. 36:E. 137. Pottery lots 4378, 4379. 138. More fragments of this figure were found in other parts of the Sanctuary: his head lay near Pit B in P:24–25 with pottery of the early 3rd century; a join to the head came from grid L–M:28. Additional fragments of the statue were found in grid squares L:26–27, M:17–18, M:23–24, O:23, and O–P:27– 28. , all of the others lay in Roman strata. 22 Introduction a b Figure 5. Upper Terrace, deposit E: (a) 42A, after cleaning; (b) near top, part of 41C below on the Middle Terrace.

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