Author(s): Betty L. Schlossman and Hildreth J. York
This article is a preliminary investigation of material which the authors are studying in depth for future publication.
 See Ilse Seibert, Women in the Ancient Near East, New York, 1974, p. 11 and passim, and bibliography, p. 63 ff.
 Bernard V. Bothmer, Egyptian Sculpture of the Late Period, 700 B.C.-A.D. 100, New York, The Brooklyn Museum, 1960, pp. xxx-xxxi.
 The objects which were used to illustrate this paper have been made available through the kindness of Mr. and Mrs. Joseph Ternbach, Forest Hills, New York. Our thanks also to Ms. Nancy Williams for information derived from her work cataloging the Ternbach collection.
 For comparative examples see also E. Douglas Van Buren, Clay Figurines of Babylonia and Assyria, Yale Oriental Series. Researches, Vol. XVI; New Haven: Yale University Press, 1930, pp. 222-23, nos. 1083-1088; pi. LVII, figs. 275-76 (nude woman on couch); pp. 223-24, nos. 1089-1095 (embracing couple on couch); Donald E. McCown and Richard C. Haines, assisted by Donald P. Hansen, Nippur I: Temple of Enlil, Scribal Quarter and Soundings Oriental Institute Publications, Vol. LXXVIII; Chicago: The University of Chicago Press, 1967, p. 94; pi. 144, nos. 2-4 (model beds, one with female pudenda), pi. 144, nos. 5-6 (nude woman on couch).
 R. D. Barnett, A Catalogue of the Nimrud Ivories, London, The British Museum, 1957, pp. 145-51. On this example the earlobes are enlarged as though for earrings. According to Barnett, pp. 147-48, both the earrings and the frontlet worn over the forehead can be associated with Ishtar.
 See comments concerning "scenes of copulation" in ancient art by Otto J. Brendel, "The Scope and Temperament of Erotic Art in the Greco-Roman World," in Studies in Erotic Art, ed. Theodore Bowie and Cornelia V. Christenson, New York, 1970, pp. 7-8 and n. 5. See also Edith Porada, "Iconography and Style of a Cylinder Seal from Kantara in Cyprus," Vorderasiatische Archaologie: Festschrift A. Moortgat, Berlin, 1964, pp. 234-39, especially n. 3 and pi. 33:4. Also Henri Seyrig, "Antiquites syriennes, 60. 'Quelques cylindres orientaux. 4: Scene de hierogamie' ", Syria, 32 (1955), 38-41; Henri Frankfort, Cylinder Seals, London, 1939, pp. 75-76, 77. A related example may be seen in McCown, Haines and Hansen, pl. 137:4.
 For an easily available illustration see W. Stevenson Smith, The Art and Architecture of Ancient Egypt, Harmondsworth, 1958, pl. 92 B; also Edward L. B. Terrace and Henry G. Fischer, Treasures of Egyptian Art from the Cairo Museum, Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, New York, 1970, pp. 101-102.
 Smith, pl. 31 B; for other easily available examples see Kazimir Michalowski, Art of Ancient Egypt, New York, 1968, p. 364, no. 211; Terrace and Fischer, pp. 113-14 (no. 24).
 A bronze female figurine from Beirut in the Louvre in Paris has one of its gold earrings preserved and wears a high polos headdress decorated with knobs. An easily accessible illustration of this can be seen in Henri Frankfort, The Art and Architecture of the Ancient Orient, 1st paperback ed., Harmonds- worth, 1970, p. 259, figs. 299-300. The headdress on the glass head may have been somewhat different in configuration since its upper edge appears to be finished and not broken off and the embossed band above the knobs is vertically hatched.
 Smith, pls. 94 A, 95 A, and p. 135.
 See n. 4 above.
Betty L. Schlossman is an Assistant Professor in the Department of Fine Arts at Montclair State College, Upper Montclair, New Jersey.
Hildreth J. York is an Associate Professor in the Art Department of Rutgers University, Newark College of Arts and Sciences, New Jersey.
Source: Art Journal
Published by: College Art Association
Via Women in Ancient Art