Piraeus Artemis

Piraeus possessed a primary seaport, Cantharus, and, due to the foreign influence of trade and the mercenary garrison on Munychia hill, the city was also entry point for new cults in Attica.

[3] It has been theorized that this cache was a shipment that may have been overtaken when the Roman general, Sulla, sacked Piraeus in 86 BCE.

Artemis, a virgin goddess who kept away from men and civilization, signifying the wild aspect that was always apparent in Ancient Greek culture, came to be worshipped as a huntress and a sanctifier of solitude.

[7] The statues convey this aspect; though in both depictions Artemis's stance is approachable, she carries her weapon, showing her ability to quickly withdraw favor.

The goddess was both wild and a peaceful, a key aspect of civilization, and these statues reflect this idea by showing her as strong and womanly, approachable and dangerous, capable of protecting or punishing her worshippers.

The taller of the two Artemis statues, a quiver strap runs diagonally over the figure's right shoulder and under her left arm.

Though the Artemis A's design seems to be derived from an archaic model, there are clear Classical terms with which the artist chose to portray the statue.

[12] The goddess wears a peplos; a dress made of one piece of uncut fabric that drapes around the body, falling in folds.

The dress folds at the shoulders, hanging doubled over to her hips and held down by round drapery weights.

In keeping with Greek art, the sculptor took a traditional form and recast it, resulting in a figure with a recognizable but original design.

This goddess also wears a peplos that was made separately from the skirt underneath, as well as a cloak that wraps around her right shoulder and across her back, hanging past her left hip.