Condition: Good. Packed in a BOX with cardboard backing and padding. (See Photos)! Pages: many light wrinkles to intro pages (no stain or odor), not written on, clean, bright, odor free. Cover: clean, bright, small bumping to front top edge. Ships from California. Ships same or next day (weekdays and Saturdays)! ABOUT THIS: INTRODUCTION The practice of dedicating large numbers of stone statues in open-air sanctuaries is known in Cyprus from the seventh century B.C. These statues fall into several types which together make up a repertory of generic votaries that reflects the ways in which worshippers participated in the cults. In terms of style, they show the characteristic Cypriot interest in detailed representations of the human face, an interest that goes well beyond the formulaic treatment of the body. The turn of the fourth to the third century marks a critical stage in the history of these sculptures .The combination of political events that brought Cyprus within the orbit of the Hellenistic koine--Alexander's freeing of the island from Persian domination in 333 B.C., its capture by Ptolemy I in 321 and by Demetrios Poliorketes in 306, and its return to Egyptian dominion by Ptolemy II in 295/4--opened the gates to new influences in both religion and art. Among the most significant is the new emphasis on portraiture, which pervaded the island in a variety of forms: coins bearing royal portraits placed the images of distant kings in the hands of even the most provincial Cypriot, and statues of the Ptolemies were set up in the Panhellenic sanctuary at Paphos. I The intersection of Hellenistic portraiture with the traditional votive sculpture led to significant changes in the practices of Cypriot stone-carving schools, as the generic votary was endowed with an individualized face.