This exquisitely modelled figure is shown with serene expression and details of her hair and dress are minutely executed. The exceptionally high standard of the craftsmanship is further accentuated by the inlaid silver eyes and shoulder fibulae. The fine drapery falls in closely observed folds from the shoulders. The drapery of the overfold and lower tunic swirls out to the sides and behind in delicately billowing folds as if caught in a breeze; the fine quality of the material showing the outline of the body beneath.

The figure's pose and the treatment of the texture and multiple folds of the drapery is in the same style as larger late Classical and Hellenistic marble sculptures. We are reminded of the clinging drapery and swirling folds of the Amazons in the frieze of the Temple of Apollo at Bassae, circa 425 B.C.; also of the long tradition of Nike figures including the Nike of Paionios, circa 424 B.C., and the Nike of Samothrace, circa 200 B.C., with their drapery swept backward as if by the wind.

For a similar standard of workmanship in bronze we may look for parallels in some of the 4th Century B.C. bronze reliefs, such as the British Museum's bronze shoulder piece depicting an Amazon, wearing a short swirling chiton, in combat with a Greek and dated to 400-350 B.C., c.f., B. F. Cook, Greek and Roman Art in the British Museum, London, 1976, p. 130, pl. 104.