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59 where female dress is discussed. See also the "Table of Pre-Greek and Greek Dress," adapted from M. Bieber, Encyclopedia of World Art 4 (1961) 1926, in L. Bonfante, Etruscan Dress (Baltimore, 1975) 9-10. 13. Congdon, p. 7, n. 3. Usually the "jacket" is taken to be the apoptygma; cf. R. M. Cook, "The Peplos Kore and Its Dress," JWalt 37 (1978) 84-87. 14. Harrison, "Daedalic Dress," especially p. 48, for a historical summary according to Herodotean terminology. Harrison does not state that the Daedalic dress is a peplos but that it shared with the classical peplos both the type of fabric (wool) and the possibility of minor adjustments through pinning and belting (p.
Euthydikos' Kore, Akr. 686 + 609: Boardman, Archaic Period (supra, note 20) 86, figs. 160a-c. 41. Congdon, 141-142, no. 21, pi. 19. The statuette is Louvre Br. 1689. 42. FKP I, 238-239, no. 42f, pi. 167. Note that Tolle-Kastenbein's entire group 42 is formed by transitional and noncanonical renderings. ) This is the period par excellence of the canonical peplos, a garment which seems virtually devised to hide the body rather than to reveal it. Many Greek originals, both in the round and in relief and almost exclusively in marble, repre- The Fashion of the Elgin Kore 41 sent the dress in monumental sculpture.
I have also used the following: Congdon: L. O. K. Congdon, Caryatid Mirrors of Ancient Greece (Mainz, 1981). FKP I: R. Tolle-Kastenbein, Fruhklassische Peplosfiguren — Originale (Mainz, 1980). Harrison, "Daedalic Dress": E. B. Harrison, "Notes on Daedalic Dress,"]Walt 36 (1977, Essays in Honor of Dorothy Kent Hill) 37-48. Ridgway, "Peplos Kore": B. S. Ridgway, "The Peplos Kore, Akropolis 679,"JH^/f 36 (1977) 49-61. For ease in reference and to avoid lengthy bibliographical citation, I have often used my own books as a source of illustrations and brief commentary: Archaic Style: B.
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