Phoenix Ancient Art S.A.

The piece consists of two sections, the mirror and its lid. The exterior section of the lid is magnificently decorated in very high relief, while on the interior, is an engraved scene. The ring that would enable one to open and hang the object is preserved.

On the exterior of the lid, three figures are represented:

On the left, a young man sirs on boulders.  Dressed in "Oriental style", he wears a short tunic, (of long sleeves, folded over his chest, and held by a belt) under which are trousers; while on his crown of long hair, falling below his shoulders, he wears a Phrygian bonnet, and on his feet, ankle boots. Both his tunic and trousers are richly decorated with incised flowers. He gazes to the right, at the young woman before him. At his feet lies a dog.

In the centre, Eros stands. His wings are spread, he is turned towards the young man, his right arm touching the latter's left shoulder. 

On the right, a young woman sits on a boulder, symmetrical to the young man. She wears an ankle length chiton, and a coat, which covers her legs and shoulders. In her right hand, she holds a part of the coat, as if to hide herself from the young man' s gaze, a typical gesture of erotic scenes. Her hair is long and with many curls.This scene represents two of the most famous characters of Greek mythology, Helene and Paris, accompanied by a small Eros, symbol of their union.

The young woman could also be identified as Aphrodite, however, this figure's gesture and attitude, full of intimacy and modesty, would suggest a fiancée, rather than the exuberance of the goddess of love. The dog's presence is undoubtedly to identify Paris as a shepherd, as illustrated on other documents of the 5^th and 4^th century B.C., this animal, along with goats and Billy goats, accompany Priam' s son.

The interior of the lid is adorned with an incised scene; the origin of which is undoubtedly from a comedy or satirical theatre, which were very popular in the 4^th century B.C. The landscape is composed of numerous rocks and boulders, all the way to the top of the image, which could be a small sanctuary, most probably near a cave. On the left, a satyr wearing an apron, is about to place a small platter of food offerings (a cake, a loaf of bread, an egg?) on an altar before him. Behind him, kneeling on the rocks, is another nude and ithyphallic satyr, with a gourd hanging from his shoulder.

Thanksgiving offerings (pinakes -small pictures, crowns and garlands) are suspended from the branches in front of him and lay on the ground before him. The lid of the mirror, in particular the exterior in high relief is of an excellent quality and technique: the composition is well balanced, and the details, in plastic and incised, are meticulous and precise.

Chronologically, this object is from the 2^nd half of the 4^th century B.C.. It can be easily compared to the relief bronzes (mirrors, situlas, cheek-pieces on helmets) of this period, for example as made in Corinth, a large and famous centre of production.

For the iconography, see:

• GREIFENHAGEN A. “ in Mitteilungen des deutschen archäologischen Instituts, römische Abteilung, no. 54”, 1939, p. 245 ss, pl. 55
• “Lexicon Iconographicum Mythologiae Classicae”, no. IV, s.v. HELENE, p. 524, no. 135, pl. 315.

For reliefs in bronze, see:

• ROLLEY C., “Les Bronzes grecs”, 1983, p. 162-176; p. 239, no 283.