[Black Flat Chested Women Pics
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Revolve offers a wide range of lingerie options for small-busted women, with a focus on bras and bralettes in smaller cup sizes. They carry a range of styles including balconette, plunge, and demi-cup bras, as well as bralettes with adjustable straps and light padding for added support. The Marina Bra $64 is a great option and will give you that extra lift. If you want a little bit more coverage go for the Mulberry Keyhole Bralette $62.
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Honey Birdette lingerie is designed to cater to a variety of body types and sizes, including those with smaller busts. The brand offers a range of styles and designs that can help to create the illusion of a larger bust, such as padded and push-up bras. Additionally, Honey Birdette's lingerie is known for its high-quality materials and construction, which can help to create a flattering and supportive fit for those with smaller busts. If you are looking for something more modest and neutral in color, go for the Whitney Push Up Bra $135. This will lift up your babies like no other corset does. Their pieces are pricey, but trust us when we say it's worth every penny. The Push-up bra really pushes up your flat chest making you go from an A-cup to a C-cup real quick.
In conclusion, finding the right lingerie for small busts can be a challenge, but with so many brands catering to this market, there are plenty of options to choose from. Whether you're looking for a comfortable and supportive bra, a stylish and delicate bralette, or a sustainable and eco-friendly option, there is a brand out there for you. Brands like Aerie, For Love & Lemons, Eberjey, Fleur du Mal, Wear Pepper and many others are known for their wide range of sizes, comfortable and breathable fabrics, unique and elegant designs, and emphasis on fit. With so many options to choose from, small-busted women can now find the perfect lingerie that will make them feel comfortable, supported and stylish. Remember to always check the size chart of the brand before making a purchase, and consider trying virtual consultations with a fit expert to make sure you are getting the perfect fit for your unique body shape.
The 'provenance' of an ancient object is its archaeological origin. If an object 'has provenance,' it means that scholars know where it was found and in what context. An object with provenance can usually be used to make arguments about ancient cultures, and so it is of particular value to researchers.
An object without provenance can sometimes be used to study ancient cultures, too, but a researcher must find out the object's story first if he or she can. Many of the objects in this collection have not yet had their stories researched, which is part of what makes this collection so interesting.
Some objects are easier to 'date' than others, because we know about certain changes that took place in the way people made things. For example, at some time in the first two centuries of the Roman Empire (1st-2nd century AD), the Romans began producing glass by blowing it, rather than by casting it in molds. When you look at our two sample glass pieces (OD4 and OD8b), notice how smooth and even and thin they are. This shows you that they were made by blowing, and so we know that they come from a time after the technique was introduced.
Pottery can be even easier to date, because over a long period of time researchers have gradually established a 'pottery chronology' for many parts of the ancient world by figuring out the order in which small changes in style and design took place. A skilled analyst can often date a piece of Greek or Greco-Italian pottery within 10 or 15 years. For an example, look at the entry for OD1, the largest piece of pottery on display. Trendall has dated it to c. 325-310 BC.
OD1. Italian (Campanian) red-figure trefoil oinochoe by the 'Washington' Painter, depicting a nude youth with thyrsus and a maiden
Height, 33.5 cm
c. 325-10 BC
Publication: Trendall 694
Provenance unknown
This kind of vessel was used like an ancient pitcher. Notice how the spout looks, from above, like it has three petals. It was formed when the potter pinched in the sides of a round spout after he had finished shaping the pot on the pottery wheel. The nude youth with the thyrsus (the long staff that looks like a thistle) is probably the ancient Greek god of wine, Dionysus. He is often pictured in this pose, and this kind of staff is one of his symbols. He is often shown accompanied by young women, too, just like this one.
OD2. Italian (probably Campanian) red-figure olpe, 'face vase,' depicting two female heads confronting with a bunch of grapes between
Height, 20 cm
c. 375-25 BC
Publication: Trendall 382. Acquired from Leicester Museum (Leicester 1902/5)
Provenance unknown
You may think that this 'Italian' pottery reminds you of Greek pottery you have seen in museums. Groups of Greeks started founding colonies in Italy, especially in the south and west, as early as the 8th century BC, and they brought their tastes and techniques with them. Even hundreds of years later, Greek descendants and their Italian neighbors liked the look of pottery that used Greek-style shapes and decorations, so they made their own.
OD3a. Attic black-figure fragment from a vessel of unspecified open shape, depicting part of a horse with rider
Diameter, 5.1 cm
Late 6th or (less likely) early 5th century BC
Provenance unknown
OD3b. Attic black-figure fragment, probably from a cup, depicting a bare-chested centaur or satyr
Diameter, 3.9 cm
Second half of the 6th century BC
Provenance unknown
Many people think of Greek pottery as looking like OD1 and OD2, with red figures on a black background. This 'red-figure' pottery was the most common type in Athens by the high classical period, the central-to-later 5th century BC (think of Athenian democracy, Greek tragedy, Pericles, and the Parthenon). But earlier than this, and especially in the 6th century BC, the most common Attic (Attic means 'from Attica,' the larger area of state land which contained the city of Athens) technique was 'black-figure,' which showed black figures and decorations on a red background.
OD3b is the more interesting of our two fragments. We can tell from its shape that it came from a drinking-cup of the kind usually used at symposia, noblemen's social parties. It probably depicts either a satyr (a goat-man) or a centaur (a horse-man), either of which would have been an appropriate decoration for a party cup.
OD4. Roman flask (unguentarium)
Height, 15.5 cm
Blue-green glass
1st-4th century AD
Provenance unknown
Vessels like this one were often used by ancient people to store liquid or semi-liquid cosmetics or scented oil. The name 'unguentarium' means 'holder for ointments,' but the word 'flask' is what describes the shape. Compare this vessel with OD8a and OD8b, which are also unguentaria, but of different materials and shapes. Look back up above to the question about dating for some more information on Roman glass.
OD5. Possible secondary cremation burial (?) in unfooted pottery urn, Egyptian (?)
Diameter, 12 cm
Date unknown
Acquired from Leicester Museum (Leicester 522). Said to have been purchased in Athens and originated in Egypt
Provenance unknown
This object has an interesting story. It was sold to CUA by the Leicester Museum in Britain. The Leicester Museum has records which show it was donated to them in 1881 by Montagu Browne, a famous English taxidermist. Browne said that he bought it in Athens and was told there that it came from Egypt. We are still researching this object's history and trying to figure out whether Browne bought a real Egyptian burial or a fake or mislabeled one!