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Schmidt, E. 1982. Geschichte der Karyatide: The paper explores the so-called Caryatid from
Funktion und Bedeutung der menschlichen Osor (Apsorus), a marble female statue now pre-
Träger- und Stützfigur in der Baukunst. K. served in the Museo Archeologico Nazionale di
Triltsch. Venezia (inv. no. 162-A) and belonging to the Vene-
Schwab, K., and M. Rose. 2015. ‘Fishtail Braids tian Grimani Collection. Although discovered
and the Caryatid Hairstyling Project: headless, it was later fitted with a head from anoth-
Fashion Today and in Ancient Athens.’ The er statue, subsequently replaced in the 20th centu-
Journal of Fashion, Beauty and Style 4 (2): ry by a plaster cast.
1–24. Standing 2.28 meters high and dressed in
Šmid, K. 2024–2025. ‘Spinario on a Limestone a chiton and diplex, the statue’s unfinished back
Relief in Apsorus.’ Zbornik za umetnostno suggests that it was conceived to stand against a
zgodovino, n. s. 60–61: 9–22. wall rather than as a freestanding figure. Its hair-
Smith, R. R. R. 1996. ‘Typology and Diversity in style – featuring braids falling symmetrically over
the Portraits of Augustus.’ Journal of Roman the chest – recalls archaic korai and, by extension,
Archaeology 9:31–47. the caryatides of the Erechtheion, but its stylistic
Valentinelli, G. 1863. Catalogo dei marmi del and iconographic features align more closely with
Museo Archeologico della Biblioteca Marciana the caryatides Tralles/Cherchell type, whose pro-