The patina is very dark green with underlying layers of red. Some areas appear to be significantly mineralized, but many parts of the surface are well preserved and show the original detail well. The rough texture of the corrosion products in other areas may indicate that these locations were more deeply corroded and did not allow mechanical cleaning to a better-preserved original surface. Although the surface texture varies at the hands, there is no repair in that location; the hands and arms are attached to and integral with the torso. The left foot has a patch-like area (1 x 1 cm) on the back and proper left side that appears to be a repair. Although some modern paint is present, the underlying layers are not soluble using organic solvents and appear to be green and red corrosion layers. The repair, which is slightly raised from the cast surface, could be an ancient repair of a miscast portion of the leg. The left foot points up slightly at the toe, and this could be related to the issues with the repaired leg. This foot was sampled for testing, and there is no question that it is the same casting as the rest of the statuette.
The statuette was examined with a bright light and magnification. There is a layer of underlying cuprite in most or all areas examined. Where the surface has been abraded or chipped, this layer is fairly thick and convincing of long-term burial. The rough, dark texture covering most of the surface is the result of corrosion rather manually adding material to produce a corroded look. This roughness has apparently been cleaned from the head, as might be expected, to improve the visibility of the details in the face.
The object is heavy and must have thick walls; however, it does not seem heavy enough to have been cast solid. Good x-radiography would be difficult due to this thickness. A recessed area at the bottom between the legs reveals brownish-black core material with bits of charcoal. Without knowledge of the shape of the interior, it is difficult to know if the wax model was applied as a thick layer to a prepared core as part of the direct casting process or if wax was poured in quantity into a mold as part of the indirect casting process. In either case, wax may have been added to the bottom under the hem of the garment, partially enclosing the core and allowing attachment of the wax model of the left leg, which is centered in this cavity. The well-preserved features of the face and hair are fluid in texture and appear to have been worked directly into the surface of the wax model.
Henry Lie (submitted 2005, updated 2012 and 2013)