Broken and put together by four fragments. The inset head, the right inset arm from the middle of the biscep (a dowel hole is preserved on the surface of the marble), the left inset arm from the middle of the forearm (a dowel hole is preserved on the surface of the marble), as well as a small part of the chest to the left of the neck are missing. Smaller breaks and chipping are attested sporadically on the surface of the marble, especially on the drapery. On the latter, in front of the left knee there is an inscription mentioning the name of the artist, the Athenian Eros (cf. S. Kansteiner et al., Der neue Overbeck: die antiken Schriftquellen zu den bildenden Künsten der Griechen, Berlin 2014, no. 4150 [K. Hallof, S. Kansteiner]). The standing, frontal figure wears a long chiton, a long himation that covers almost the entire chest area and left shoulder, and soft leather shoes (calcei muliebres). The right part of the chest is left uncovered. The himation forms an S-shaped elongated mass of drapery, placed diagonally across the chest, from the right armpit to the left shoulder, where it is partially unfolded. A characteristic for the statuary type circular mass of drapery of the himation is also gathered on the left, at waist level, where it is held by the elbow. Faithful replica of the so-called “Ephesos Kore/Persephone” statuary type. According to the inscribed base, preserved in situ in the northern part of the pronaos of the temple of Hera (on the right of the door of the cella), the statue – set up by the city of Elis - depicts Numisia Theisis, daughter of Lusius Vletenus Laenus and Flavia Gorgo (Zoumbaki 2001, 336, no. N26). Numisia Theisis is the granddaughter of Claudia Alcinoa, whose portrait statue was set up in the south side of the pronaos of the temple of Hera (on the left of the door of the cella), some years earlier ({Γ104}; for the Vettuleni family see Zoumbaki 2001, 244-248 with stemma).
G. Treu, Olympia III. Die Bildwerke von Olympia in Stein und Thon, Berlin 1894, 252–255, 258, figs. 288–290, pl. LXIII.4; W. Dittenberg, K. Purgold, Olympia V. Die inschriften von Olympia, Berlin 1896, no. 438; S.C. Stone III, “The Imperial Sculptural Group in the Metroon of Olympia”, AM 100 (1985), 386, pl. 85,2; R. Bol, "Ideal-und Portratplastik der romischen Kaiserzeit in Olympia", Nikephoros 8 (1995), 180-182, pl. 15.3; S. Schmidt, “Uber den Umgang mit Vorbildern. Bildhauerarbeit im 4. Jahrhundert v. Chr.”, AM 111 (1996), 192-193, pl. 33,2; S. Zoumbaki, Elis und Olympia in der Kaiserzeit: das Leben einer Gesellschaft zwischen Stadt und Heiligtum auf prosopographischer Grundlage, Athen 2001, 336, no. Ν26; R. Krumeich, “Vom Haus der Gottheit zum Museum? Zu Ausstattung und Funktion des Heraion von Olympia und des Athenatempels von Lindos”, AntK 51 (2008), 85, pl. 15,5; O. Palagia, “Sculptures form the Peloponnese in the Roman Imperial Period”, in A.D. Rizakis, C.E. Lepenioti eds., Roman Peloponnese III. Society, Economy and Culture under the Roman Empire: Continuity and Innovation, Athens 2010, 437; Ο. Palagia, “An Imperial Portrait from Megara”, in E. Voutiras, E. Papagianni, N. Kazakidi eds., Bonae Gratiae. Μελέτες ρωμαϊκής γλυπτικής προς τιμήν της Καθηγήτριας Θεοδοσίας Στεφανίδου – Τιβερίου, Thessaloniki 2017, 175 (second half of the 1st c. CE); P. Konstantinidis, Γυναικείοι δυναστικοί εικονιστικοί ανδριάντες αυτοκρατορικής περιόδου από την Ελλάδα (τέλη 1ου αι. π.Χ. – 5ος αι. μ.Χ.), Athens 2024, 222 note 181; https://arachne.dainst.org/entity/1193571?fl=20&q=%22Olympia,%20Griechenland%22&resultIndex=4830
