The Today programme would call her iconic, but since she is a 16.1cm gold and ivory (‘chrys-elephantine’) statuette, it would not be saying much. She stands there, erect, shoulders back, thrusting forward impressive bare breasts (one nipple the tip of a golden nail), both hands holding snakes that, twined round her arms, stretch outwards from her, tongues flickering. The best-known of all the ancient Cretan snake goddesses, she has graced the covers of, and been reproduced in, a thousand books.
It is her face that has caught the imagination. With her pouting lips and deep-set eyes, she has been hailed as ‘charmingly serene’, ‘radiant’, ‘demure’, ‘expressive of individuality’ and ‘arresting’. ‘Rendered with a freedom and naturalness that are exceptional’ she ‘shows all the distinguishing features of Cretan art at its best’ and is a ‘unique’ masterpiece.
For Lacey D. Caskey, curator of the Classical Department at the Museum of Fine Arts in Boston, her acquisition was the ‘event of the year’ (the year was 1914).
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