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Published online by Cambridge University Press: 23 February 2012
FRAGMENTARY Mycenaean terracottas are unquestionably difficult to interpret, particularly when seen only in photographs. In an attempt to question the identity of the Ugarit figurine now in the Aleppo Museum as a centaur it is claimed that an added strip of clay was attached to the preserved upright portion of the figurine and that the curving sides of the upper section were painted a solid colour. Both observations are incorrect. Since the new identification of this figurine is based on these incorrect observations, the new identification itself remains questionable.
1 See Shear, I.M., JHS 122 (2002) 147–53CrossRefGoogle Scholar, for original identification and K. Pilafidis-Williams, p. 165 above, for questions concerning this identity.
2 Pilafidis-Williams, K., The Sanctuary of Aphaia on Aigina in the Bronze Age (Munich 1998) 67–70Google Scholar, for general discussion of her groups and pl. 53, no. 500, the back of a horse of a chariot group, to be compared to no. 502, the front.
3 This is particularly evident in the figurines from Methana published by Konsolaki, E.: ADelt 46 (1991) pl. 41bGoogle Scholar, and ‘A Mycenaean sanctuary on Methana’, in Hägg, R. (ed.), Peloponnesian Sanctuaries and Cults, Proceedings of the Ninth International Symposium at the Swedish School in Athens (Stockholm 2002)Google Scholar fig. 12.
4 Pilafidis-Williams (n.2) pl. 3, no. 510 (= PLATE 8b) and pl. 54 nos. 510–11.
5 See, for example, Blegen, C.W., Prosymna. The Helladic Settlement Preceding the Argive Heraeum (Cambridge, MA 1937)Google Scholar fig. 617, no. 415.
6 Pilafidis-Williams (n.2) 68.
