Greek Bronze Hand-Mirrors in South Italy: with special reference to Calabria 9780860540564, 9781407348902

Table of contents :
Front Cover
Copyright
Preface
Acknowledgements
Table of Contents
INTRODUCTION
GROUP A: FIGURED HANDLES
GROUP B: DESIGNS INCORPRATING FIGURES
GROUP C: DESIGNS WITHOUT FIGURES
GROUP D: PLAIN DISCS
THE MIRRORS AND THEIR SIGNIFICANCE
CATALOGUE OF RELATED PIECES IN SOUTH ITALIAN MUSEUMS
CATALOGUE OF RELATED PIECES IN EUROPE AND AMERICA
MUSEUM CONCORDANCE
BIBLIOGRAPHY
LIST OF PLATES
PLATES

Citation preview

Greek Bronze Hand-Mirrors in South Italy with special reference to Calabria

Fiona Cameron

B A R International Series 5 8 1 979

B.A.R.,

B.A.R.

122

Banbury Road, Oxford OX2 7BP, England

GENERAL EDITORS A. R. Hands, B.Sc., M.A., D. R. Walker, M.A.

D.Phil.

B.A. R. International Series 58, 1979: "Greek Bronze Hand-Mirrors in South Italy" . ©Fiona Cameron, 1979

The author’s moral rights under the 1988 UK Copyright, Designs and Patents Act are hereby expressly asserted. All rights reserved. No part of this work may be copied, reproduced, stored, sold, distributed, scanned, saved in any form of digital format or transmitted in any form digitally, without the written permission of the Publisher. ISBN 9780860540564 paperback ISBN 9781407348902 e-book DOI https://doi.org/10.30861/9780860540564 A catalogue record for this book is available from the British Library This book is available at www.barpublishing.com

PREFACE

This work i s s ubstan t ia l ly a n M .A. t hesis s ub mi t ted t o B irm ingha m U niversi ty i n 1 976 , w i th c er ta in a ddi tions a nd amend men ts made i n 1 979 . I t was b ased o n r esearch d one i n S ou th I t a ly o n t he a ctua l ma ter ia l a nd a l l t he p ho tographs a re my own . I t was o r ig ina l ly c onceived a s ac orpus o f t he Greek b ronze h and- mirrors which a re s t il l i n t he museu ms o f S ou th I t a ly s ince t hey s ee m t o h ave l arge ly e scaped t he a t ten t ion o f modern s cho larsh ip . There i s a lso a c a ta logue o f r e la ted p ieces which a re i n S ou th I t a l ian museu ms b ut wh ich h ave n o t s ee med t o mer i t a ny d e tai led d iscussion o r e xa m ina t ion . I n o rder t o make t his p ub lished v ersion more u sefu l a s a work o f r efere nce , Ih ave a dded a b r ie f l i st o f Greek h and- m irrors w i th k nown I t a lian p rove nances i n t he ma jor museu ms o f Europe a nd Amer ica , c lass if ied a ccord ing t o my g roups a nd t ypes .

I ts hou ld b e n o ted , h owever , t ha t s ince t h is l i st h as

b een c o mp i led ma in ly f ro m p ub l ished s ources ( wi th t he e xcep tion o f t he mat er ia l i nt he Br i tish Museu m , L ondon a nd t he A sh mo lean Museu m , Ox ford ) , i ti s f ar f ro m e xhaust ive a nd i s mere ly i n tended t o a ct a s ag enera l g uide . Ih ave t aken "h and- mirrors" t o mean t hose m f rrGrc wh ich migh t b e h e ld i nt he h and o r p laced o n at able , b ut wh ich c ou ld b e u sed a s t hey a re , t ha t i s w i thou t o pen ing t he m . Thus, s tand ing mirrors h ave b een i ncluded b ut n o t b ox mirrors a l though r eference h as b een made t o t he e x tre mely r are S ou th I t a lian e xamp les o f t he l a t ter . I n p roducing t his c a ta logue i ts ee med t ha t t he most s tra igh t-forward way o f l i st ing t he p ieces wou ld b e t o g ive t he m n umbers o f my own , e specia l ly a s t hey d o n o t a l l h ave museu m n u mbers. The "Museu m Concordance" c oord ina tes my c a ta logue n u mbers w i th t hose o ft he museu m c o l lect ions, where t hey a re k nown . Reference h as b een made i n t he t ex t t o p ub lica t ions which i nclude s o me o f t hese mirrors a nd c o mparab le e xa mp les f ro m o ther p ar ts o f t he Greek wor ld . Wherever p ossible f oo tno tes h ave b een a voided a nd t hese r eferences h ave b een i ncluded i n t he t ex t .

AC KNO WLEDGE MENTS

Iwou ld l i ke t o e xpress my g ra ti tude t o t he many p eop le who h ave h e lped me t o p u t t h is work t oge ther , b o th a t t he M .A . s tage , a nd , more r ecen t ly, f or p ub lica t ion .

Ih ave r eceived a g ood d ea l o f a dvice , c r i t ic is m, p ract ica l

a ssistance , a nd , most o f a l l, e ncourage men t .

Any mistakes a re my own .

Thanks a re d ue t o t he f o l low ing museu ms who h ave a l lowed me t o e xa m ine a nd s o me times t o p ho tograph mirrors i n t heir c o l lect ions: Museo Naziona le , Regg io d i Ca labr ia An tiquar iu m S tata le , L ocr i Museo Archeo log ico , Nap les Museo Archeo log ico S ta ta le , Crotone An tiqua r iu m , Me tapon to Museo Archeo log ico , Bar i Museo , Paestu m Br i ti sh Museu m , L ondon A sh mo lean Museu m , Ox ford .

CONTENTS

Page Preface A cknow ledgemen ts

i

C on ten ts I n troduct ion

1

Group A :

3

F igured H and les

Group B : Designs I ncorpora t ing F igures

2 3

Group C : Designs Wi thou t F igures

2 9

Group D :

4 4

P la in D iscs

The Mirrors a nd t heir S ign i f icance

5 1

C a ta logue o f Re la ted P ieces i n S ou th I ta lian Museu ms

5 8

Ca ta logue o f Re la ted P ieces i n Europe a nd Amer ica

6 1

Museu m Concordance

6 3

B ib liography

6 5

L ist o f P la tes

6 8

P la tes

7 3

1 11

I NTRODUCTION

Bronze h and- m irrors p roduced i n t he G reek c i t ies o f S ou th I ta ly f ro m t he s ix th t o t he t h ird c en tur ies B .C. a re n ow i n museu m c o l lec t ions a l l o ver t he wor ld , b u t many o f t he b es t a nd mos t i n teres t ing e xa mp les a re s t i l l i n S ou th I ta ly . The v as t ma jor i ty o f t hese a re i n C a labr ia s o t he s tudy o f t hese mus t i nev i tably f or m t he b as is o f a ny r esearch i n t h is f i e ld . The mos t c o mprehens ive c o l lec t ions o f m irrors a re i n t he Museo N aziona le a t R egg io d i C a labr ia a nd t he An t iquar ium S ta ta le a t L ocr i , a l l f ro m t he G reek c i ty o f L ocr i E piz ephyr i i . S evera l o f t he ma in S ou th I ta l ian museums h ad n o G reek mirrors a t a l l i n t he ir c ol lect ions - C a tanzaro , S ybar is , B r ind is i , G ioa d e l C o l le , Ruvo d i Pug l ia , C anosa d i Pug l ia a nd F ogg ia . The mirrors i n t he museu m a t Taran to a re e i ther n o t b ronze , n o t h and- m irrors o r n o t G reek a nd a t t he t ime o f i nv es t iga t ion t he museums a t S a lerno a nd Padu la were c losed a nd a t Po tenza t he s ta f f were o u t o n s tr ike .

I ti s u n l ike ly , i n a ny c ase , t ha t t hese l as t t hree

museums wou ld h ave more t han o ne o r t wo p la in d iscs a t mos t . I n s p i te o f t he f ac t t ha t t h is g roup t ends t o c o me f ro m s uch a l im i ted a rea , i ti nc ludes a w ide v ar ie ty o f t ypes a nd o f q ua l i t ies .

The mirrors f a ll i n to f our

we l l-de f ined g roups wh ich h ave b een d esigna ted A , B , Ca nd D i n t he t ex t . P oss ib ly t he mos t i n teres t ing i s G roup A , i n wh ich t he d isc i s s uppor ted b y a h u man f igure - T ype Ih as a ma le f igure a nd T ype I h as a f e ma le , a l l b u t o ne o f t he f or mer b eing n aked a nd a l l o f t he l a t ter d raped .

I n G roup B , t he mir-

r ors a re n o t s e lf-suppor t ing i n t he ir p resen t f or m , b u t t he d es ign wh ich h as b een u sed t o e f fec t t he o therwise a wkward t rans i t ion b e tween d isc a nd t ang d oes i ncorpora te a f i gure o r f igures - i n T ype It ha t o f ah arpy , i n T ype 1 : a n o penwork p laque , i n t h is i ns tance r epresen t ing a s cene f ro m mytho logy . N ex t t o G roup A , t h is s econd g roup s ee ms t o h ave b een t he mos t c o m mon c ho ice f or i nc lus ion i n t he

c o l lec t ions o f f ore ign museu ms , wh ich mus t h ave

c on tr ibu ted t o t he f ac t t ha t t here a re s o f ew e xa mples l e f t i n S ou th I ta ly.

I n

G roup C , t he t rans i t ion a rea i s o ccup ied i n T ypes Ia nd I b y as tyl ised f lora l d es ign c o mbined w i th v o lu tes , a nd i n T ype I I s i mply b y v o lu tes .

Wi th in t he

t h ird g roup , t here i s ag ood d ea l o f v ar ia t ion o f t he b as ic d es ign a nd i n t he q ua l i ty o f t he work mansh ip , b u t s o me a re o f a n e xcep t iona l ly h igh s tandard a nd i ti s s urpr is ing t ha t s o many h ave e scaped r e mova l f ro m I ta ly. For t he s ake o f s i mp l ic i ty , t he mirrors o f G roup D h ave b een c ol lec t ive ly d escr ibed a s " P la in D iscs" a l though t h is e p i the t i s more a ppropr ia te i n s o me c ases t han i n o thers .

Mos t o f t hose i nc luded i n Type Id o i n f act h ave s o me

k ind o f d ecora t ion a bove t he t ang b u t i tt ends t o b e o f l i t t le s ign i f icance i n t er ms o f impac t , s ize a nd q ua l i ty . g roup f ur ther .

There i s l i t t le v a lue i n d iscuss ing t h is

Whe ther t hese d iscs were o r ig ina l ly p ar t o f more e labora te

u tens i ls made p r inc ipa l ly i n o ther ma ter ia ls h as b een d iscussed i n t he f ina l c hap ter , b u t c an o n ly b e a ma t ter f or c on jec ture .

4

T o t he b as ic c a ta logue o f t he mirrors h ave b een a dded a d iscuss ion o f t he i nd iv idua l p ieces f o l lowed b y ac ons idera t ion o f e ach g roup a s a who le a nd p ar t icu lar ly o f t he d a t ing .

I n t he f ina l c hap ter , a n a t te mp t h as b een made t o

c ons ider t he b roader imp l ica t ions o f t hese mirrors a nd t o a ssess t he ir s ign if icance i n t he g enera l c on tex t o f G reek a r t .

9

GROUP A :

I .

F IGURED HANDLES

MALE F IGURES A l l b u t o ne o f t he mirror-bearers i n t h is g roup a re n aked .

h a irs tyles a nd d isc a t tach men ts v ary a ccord ing t o t he d a tes . f igure a nd d isc h ave b een made s epara te ly .

The p os tures ,

I n a l l c ases t he

The p ieces o ccur i n t he c a ta logue ,

a s f ar a s p oss ib le , i n c hrono log ica l o rder . 1 .

F igure o f n aked y ou th , d isc miss ing . Regg io Museu m .

N o . 4 112 .

He igh t o f f igure : Wid th o f f igure :

G ood p reserva t ion .

2 0 .0 cm

Wid th o f b ase :

7 .0 cm

P la tes 1 -5 .

4 .3 cm

H e igh t o f p a l me t te :

4 .1 cm

Th is f igure s tands i n a n u pr igh t p os i t ion w i th l egs a nd f ee t t oge ther a nd a r ms r a ised t owards t he miss ing d isc .

The f ingers a re c urved o u tward ,

a s t hough t o r ece ive t he c rescen t o r d isc r im .

On t he h ead i s al arge

p a l me t te wh ich w i l l h ave h e ld t he d isc i n p lace . p os i t ion o f t he s to mach musc les .

I nc ised l ines s how t he

The ma in p ar t o f t he h a ir i s p la in a nd

c ap-l ike a nd t he p a l me t te s ee ms t o g row o u t o f t he t op o f i t .

The e dge

o f t he h a ir , h owever , i s c arved a nd i ti s r o l led u p i n to ab eaded b and . Fro m To mb 2 1-23 i n t he Locr i n ecropo l is . v . Ma t t , L . a nd Z ano t t i-B ianco , U ., 1 961 , p . 1 31 ; P ., 1 911 , p . 7 ; 2 .

P la te 1 30 .

Ors i ,

p . 8 , F ig . 5 .

F igure o f n aked y ou th w i th d isc . L ocr i An t iquar iu m . H e igh t o f f igure : Wid th o f f igure :

1 4.0 cm 7 .8 cm

D ia me ter o f b ase : He igh t o f b ase :

N o . 9 16 .

4 .7 cm

F a ir p reserva t ion .

P la tes 6 -8 .

D isc d ia me ter :

1 3 .6 cm

D isc t h ickness :

0 .9 cm

To ta l h e igh t :

3 0 .0 cm

2 .5 cm

The f igure s tands w i th t he we igh t e ven t ly d is tr ibu ted o n to b o th f ee t , wh ich a re p laced s l igh t ly a par t .

The a r ms a re h e ld u p t o t he d isc, w i th t he p a l ms

o f t he h ands f ac ing f orwards . The b ase i s c ircu lar i n s hape a nd i s c o mp osed o f as tand s ec t ion a nd a p la t for m o n t op wh ich b ears t he f igure . The h a ir i s smoo th a nd u ncarved a nd worn s hor t o n t he n eck .

F ro m t he

t op o f h ead c o mes t he d isc a t tach men t i n t he s hape o f ap a l me t te o n a d oub le v o lu te ;

o n ly t he s hape o f t h is i s c as t , t he d e ta i ls a re i nc ised .

There i s ac rescen t b e tween t he f igure a nd t he d isc a nd a l though t he l a t ter s ee ms t o r es t d irec t ly o n t he f igure 's f inger t ips , t hey d o n o t q ui te t ouch .

The d isc i s h eavy a nd marked ly c oncave , w i th a f lu ted e dge

wh ich g ives a b eaded e f fec t o nb o th t he b ack a nd t he f ron t .

Wi th in t he

r im t here i s al ine o f c on t inuous d ecora t ion i n t he f or m o f af la t tened e gg 3

a nd t ongue p a t tern .

Th is f igure i s k nown t o b e f ro m To mb 1 348 i n t he

L ocr i n ecropo l is a nd t he d a te g iven b y t he Museu m i n 5 10-490 B .C . N o r e ferences t raceab le . 3 .

F igure o f n aked y ou th w i th d isc . N ap les Museu m . N o . 5 562 . D isc d ia me ter : 1 4 .8 cm D isc t h ickness :

Fa ir p reserva t ion . P la tes 9 -10 . T o ta l l eng th : 3 2.5 cm

0 .4 cm

The f igure i s i n a n u prigh t p osi t ion w i th t he f eet t ogether a nd a r ms r a ised .

There i s n o c rescen t f or t he d isc t o r est o n a nd o ne e nd o f a

c urving a t tach men t i s h eld i n e ach o f t he f igure 's h ands.

There i s n o

s tand , b u t i nstead , t he f igure i s p o ised o n ad ise mbod ied r am 's h ead. The h a ir i s c o mp letely p la in a nd c o mes a cross t he f orehead a nd f alls d own o nto t he s hou lders a t t he b ack .

The d isc i s c oncave a nd , a part

f ro m a smal l r im , c o mp letely p la in a t t he f ron t.

I t i s h eld i n p lace b y

a n u nusual r ectangu lar a t tach men t w i th t hree sma l l r ivets. J an tzen ( 1937 ) Tafel 3 1, N o. 4 .

1 29.

F igure o f an aked y ou th , d isc missing. L ocri An t iquariu m .

N o.

9 11.

Good p reserva t ion .

H eigh t o f f i gure : 1 5.0 cm Wid th o f f i gure : 6 .9 cm H e ight o fb ase :

P lates 1-13.

Base : 3 .9 x 3 .5 cm Total h eigh t :2 0.0 cm

2 .6 cm

The f igure s tands i n a n u prigh t p osi t ion w i th t he f eet t ogether a nd t he h ands g rasp ing t he v olu tes o f t he a t tach men t.

The s tand i s ar ec tangu lar

s tool o n f our l i on 's f eet , o ne o f wh ich i s m issing. i s p la in b u t t he s ides a re f lu ted .

The t op o f t he s tool

The h a ir i s worn s hort w ith t he p la in

c en tral s ect ion s urrounded b y ar ing o fb ubble c urls, whose d eta ils a re i nc ised.

The a t tach men t wh ich h eld t he d isc i s i n t he s hape o f ar ather

wavy p al met te, w ith t he b ack c arefu l ly c arved .

B elow t h is , t here i s a

c rescen t , whose l ower p art i s e x tended i n to t wo v olu tes, wh ich h ave b een h ol lowed o u t a t t he b ack .

The f ron t o f t he c rescen t a nd t he t wo v olu tes

a re d ecora ted wi th a s i mp le i nc ised p a t tern o f l ines a nd d ots. Th is f igure i s k nown t o b e f ro m To mb 8 26 i n t he L ocri n ecropol is a nd t he d a te g iven b y t he Museu m i s t he b eg inn ing o f t he f if th c en tury B .C . J an tzen , U . O rsi , P . 5 .

1 937 , p .4, N o.

1 913, p 33; p .34.

2 3.

L ang lotz, E .

1 927 , p .190 , N ote 8

F ig. 4 0

F igure o f n aked y ou th w i th d isc . N ap les Museu m .

N o . 4 120 .

G ood p reserva t ion .

D isc d ia meter :

1 7.7 cm

H e igh t o f f igure :

D isc t h ickness :

0 .1 cm

To ta l h e igh t :

P la tes 1 4-16. 1 5 .0 cm

3 3 .2 cm

The f igure s tands i n a n u pr igh t p os i t ion , w i th t he f ee t t oge ther a nd t he a r ms r a ised .

The h a ir i s p la in i n t he c en tre a nd s urrounded b y ar ing

o f b ubb le c ur ls .

I n e ach o f t he f igure 's h ands i s av olu te wh ich h as b een 4

h o l lowed o u t a t t he b ack .

These t wo v o lu tes a re p ar t o f t he n arrow

c rescen t wh ich r es ts o n t he h ead o f t he f igure , r ough ly d ecora ted w i th i nc ised l ines .

The d isc i s c o mple te ly p la in w i th a c oncave f ron t .

I t

i s h e ld i n p lace b y as hape less a t tach men t a t t he b ack wh ich h as s o me r ough ly i nc ised l ines o n i t .

There i s n o b ase .

N o r e ferences t raceab le . 6 .

F igure o f n aked y ou th w i th d isc. Regg io Museu m .

N o.

4 779.

Good p reserva t ion .

P lates 1 7-21.

D isc d ia meter :

1 6.0 cm

Heigh t o f f igure:

1 4.8 cm

D isc t h ickness :

0 .5 cm

Wid th o f f igure :

5 .8 cm

Base : 4 .0 x 4 .5 cm The f igure s tands o n as quarish b ase w i th c urved s ides.

The weight r ests

o n t he l ef t f oot w i th t he r ight l eg s l ight ly b en t a nd t he r igh t f oot a dvanced. The l ef t a rm h angs r elaxed b y t he s ide w ith t he h and l i ght ly c lenched. I n t he e x tended r igh t h and t here i s a sma l l , i nd ist ingu ishable r ound o b ject. The h a ir f al ls i n s tra igh t l i nes f ro m t he c rown w ithou t ap art ing , a nd i s r ol led r ound a b and.

F ro m t he t op o f t he h ead c o mes a smal l a t tach men t

wh ich d evelops i n to a d ouble v olu te, whose o u t l ine i s i nc ised .

The u pper

p art o f t h is a t tach men t i s an arrow c rescen t , u pon wh ich r ests t he d isc, h eld i n p lace b y a n a rrow-shaped a t tach men t a t t he b ack . c oncave a nd h as ab eaded r im r ound t he f ron t .

The d isc i s

J ust i ns ide t he r im t here

i s ac on t inuous l ine o f i nc ised d ecorat ion i n t he f or m o f a n e gg a nd t ongue d esign . Fro m To mb 8 65 i n t he L ocr i n ecropol is. Buschor, E . F ig. 2 4.

a nd Ha mann , R ., -1924, p .39.

F ot i , G ., 1 972, p .58 ; P late V .

p .23; P la te X I . 1 958 (A t t i Me m. J an tzen , U ., 1 937 , p .5, N o.

4 2.

1 961, p .132; P la tes 1 31/2/3. 7 .

S oc.

v .Duhn , F ., 1 921, p .146,

d e F ranc isc is, A ., 1 960 , Mag.

Gr.)

p .211.

v . Mat t , L . a nd Z anot t i-B ianco, U .,

Ors i , P ., 1 913,

P .

3 8; p . 3 9 , F ig.49.

F igure o f d raped man w i th d isc . R egg io Museu m .

N o . 4 490 .

H e igh t o f f igure :

1 4 .0 cm

G ood p reserva t ion .

1 7.0 cm 0 .7 cm

Wid th o f f igure :

5 .0 cm

D isc t h ickness :

H e igh t o f s tand :

2 .0 cm

T o ta l h e igh t :

Th is f igure i s h eav i ly d raped i n at h ick c loak . s tands o n ar ound , r a ised b ase . r igh t i s s l igh t ly a dvanced .

P la tes 2 2-23.

D isc d ia me ter :

3 5 .0 cm I tb ears a l arge d isc a nd

The we igh t r es ts o n t he l e f t l eg a nd t he

The l e f t a rm p u l ls t he c loak a cross t he f ron t

o f t he b ody a nd u p o n to t he l e f t h ip , whence i tf a l ls i n t h ick f o lds .

The

who le o f t he r igh t a rm i s c oncea led b y t he c loak e xcep t f or t he h and , wh ich r ests o n t he h eavy f o lds r ound t he n eck .

The c loak i s t hrown o ver

t he l ef t s hou lder a nd h angs i n l arge p lea ts d own t he b ack .

T here i s a

s ligh t ly r a ised b and r ound t he l ower h em o ft he c loak , a bove t he f ee t , wh ich a re l ef t b are . c arefu l ly c arved .

The h a ir i s d one i n a n e labora te s ty le w i th t he waves

A t t he f ron t , i ti s p ar ted i n t he c en tre a nd d rawn b ack

5

o n e i ther s ide i n to c urls o ver t he e ars.

The r est o f t he h a ir i s p ul led

s tra igh t d own f ro m t he c rown a nd r ol led u p r ound a b and .

Two h alf v olutes

s ee m t o g row f ro m t he t op o f t he h ead , a nd o n t he m r ests a l arge h or izon ta l d ouble v olu te.

Above t h is a ga in , i s ac rescen t , d ecorated w i th a n e gg

a nd t ongue d esign a nd a t tached t o t he d isc b y a n i vy l eaf-shaped a t tach men t a t t he b ack .

The c oncave d isc i s d ecorated w ith a r a ised r im , wh ich h as

ad oub le r a ised l ine j ust i nside i t . F ro m To mb 6 22 i n t he L ocr i n ecropol is. Buschor, E .

a nd Ha mann , R ., 1 924, p .39 .

p .86 ; P la te ) 0 Z I N o.

2 .

d e F ranc isc is, A ., 1 960 , p .34; P la te 1 2. L ang lotz , E . 7 7

,P late 2 .

I l l .

2 3.

J an tzen , U ., 1 937 , p .4, N o.39

a nd H ir mer, M. , 1 965, p .276/7 ;

a nd Z anot t i-Bianco, U ., 1 961, p .132; N o.

Charbonneaux , J ., 1 958 ,

v . Duhn , F ., 1 921, S p .145 I ll.

P late 9 1.

v . Mat t , L .

1 3 4 /5 . Mussche , H ., 1 967 ,

O ber länder , P ., 1 967 , p .113, N ote 7 7.

1 913, p . 1 3-16; p . 1 5 F ig.15; p .16 F ig. 1 6.

Orsi , P .,

R idgway , B . S ., 1 970 ,

p . 67/8 ; F ig. 10. 8 .

Re ma ins o f h and le w i th h ead o f y ou th. L ocri An t iquar iu m. Tota l h eigh t :

N o. 9 12.

Good p reserva t ion .

9 .0 cm

Total w id th ;

P la te 2 4, 2 5.

8 .2 cm

Th is p iece c onsists o f t he h ead o f a male f igure a nd t he a t tach men t f or a d isc.

The r est o f t he b ody a nd t he d isc a re m iss ing.

The h a ir h angs i n

h eavy waves a round t he n eck a nd a cross t he f orehead , c asua l ly c on f ined b y ab and .

On t op o f t he h ead t here a re t wo d ouble v olu tes , p laced

h orizon tal ly a nd j o ined b y ap la in b ar.

The v olutes h ave b een s l igh t ly

e laborated b y t he a dd i t ion o fu ncurled s cro l ls o n t he o u ter p arts.

Below

e ach v olu te h angs a h alf-pa l mette -a nd a bove e ach t here i s a smal l s p iky l eaf .

On t op o f t hese r ests t he c rescen t , d ecora ted w i th a n e gg a nd t ongue

d esign .

The a ttach men t r e ma ins, a nd i s i n t he s hape o f a n i vy l eaf .

Th is f i gure i s k nown t o b e f ro m To mb 7 37 i n t he L ocri n ecropol is a nd t he d a te g iven b y t he Museu m i s t he e nd o f t he f i f th c en tury. Orsi , P ., 1 913, p .25; p .26 F ig 2 9 . The u nreal ist ic p roport ions o f No. 1 make t he f igure l ook , t o t he modern e ye a t l east , more l ike a p ix ie t han a y ou th.

The l egs a nd a r ms a re t oo l ong ,

t he b ody i s t oo s hort a nd t he h ead , h ands a nd f eet a re t oo l arge.

The a r ms a re

r a ised , n ot o n ly t owards t he d isc, b u t i n a n a t t itude o f worsh ip a nd i n f act t he whole b earing o f t he f igure imp l ies a du lat ion .

I ft he s ize o f t he p al met te a t tach-

men t i s a ny th ing t o g o b y , t he d isc must h ave b een t oo b ig f or t he f igure , t hereby worsen ing t he p oor p roport ions. The d eta ils a re a lso p oor ; t he t oes a re n ot i nd ica ted a t a l l ,t hough i t wou ld s ee m u nreasonable t o a ssu me t hat a f igure must b e wearing s hoes when i ti s w earing n oth ing e lse a t a l l .

The h ands,

t oo ,are b arely model led , a nd t he f ingers a re o n ly s eparated a t t he v ery t ips. The h ands must h ave b een b en t b ack a t av ery u n l ikely a ng le, f or t he s ake o f f ol low ing t he s hape o f t he d isc.

6

Ana to m ical ly t h is f igure i s v ery u nconv inc ing.

There a re n o r eal s hou lder

j o in ts o r c ol lar b one, a nd t he muscles o f t he s to mach a re n o t model led b u t i nd ic a ted w ith i nc ised l i nes.

N or a re t here a ny h ips o r k nees t o s peak o f .

There

h as, h owever, b een n o l ack o f c are t aken w i th t h is f igure, a s c an b e s een i n t he d eta iled model l ing o f t he h a ir.

The f ac ia l f eatures a re i nd ist inc t t hough t he f ace

d oes p ossess a c erta in b lank l i vel iness o f e xpression .

The n ose a nd c h in a re

l ong a nd p oin ted a nd t he t hin l ips a re a l most d rawn i n to a n a rcha ic sm ile. Th is f i gure w ou ld a l most c erta in ly h ave o rig ina l ly p ossessed a h igher s tand , wh ich w il l h ave e ased t he p roport ions a l i t t le.

Apart f ro m t he r ather

r ough a nd u neven p a lmet te, t he workmansh ip i s f a irly g ood ; b u t t he a rt ist h as f a i led t o g rasp t he a na to my o f t he h u man b ody a nd t h is i s where t he f igure f al ls d own . I n h is e xcavat ion r eport ( N .D .S . 1 911 S upp l. p . 7 ) , Ors i d escribes t h is mirror b earer a s a n " archa ic y ou th" . He d ates t he t o mb i n wh ich i t was f ound t o t he e nd o f t he s ixth c entury b y t he metal o b jects a nd v essels f ound i n i t , n a mely a p erfume p h iale w ith a nalogous e xamp les i n a rcha ic n ecropoleis o f East S ic i ly a nd Eretr ia ; as ilver r ing w i th a r evolv ing s carab o f at ype c urren t i n G reek c o m merce a t t he e nd o f t he s ix th a nd b eg inn ing i ft he f i f th c en turies B .C.; a nd a n a rcha ic h ydria. The f igure o f t he m irror b earer c o mpares u n favourably w ith a rcha ic l a Duroi f ro m t he ma in land ( e .g.

R ichter P ls.

8 4 a nd 8 5 ) a nd b ears more r elat ion

t o t hose o f t he e arly s ix th c en tury ( Richter P ls.

5 3 a nd 5 4 ).

N evertheless, i t

l acks t he ir s t if fness a nd t he h a ir i s worn b ound r ound a f i l let i n t he way o f t he l a te a rcha ic I muros, s o t hat t he l ong , t h in l egs a nd smal l wa ist less b ody s ee m t o b e e v idence o f p rov inc ial i ty r ather t han d ate.

The s hape o f t he t h ighs a nd

c alves, t he h igh p rotrud ing b u ttocks a nd t he l ong , f l at f eet , c an b e s een o n ma le f i gures i n t he metopes f ro m Te ip le C a t S el inus ( Langlotz a nd H ir mer P ls. 1 4 a nd 1 5 ) u sua l ly d ated t o c .540-530 B .C.

The f ace o f P erseus b ehead ing

Medusa ( Langlotz a nd H ir mer P l . 1 5 ) a lso b ears s o me r ese mblance t o t he f ace o f t h is m irror b earer, e spec ial ly i n t he mou th.

The model l ing o f c heekbones,

e yes a nd mou th c an b e s een a lso i n t he f aces o f s o me o f t he s ea ted g oddesses f ro m S ic i ly, e spec ia l ly i n o ne f ro m Agrigen tu m ( Langlotz a nd H ir mer P1 . 1 9 ), a nd t o s o me e x ten t i n af e male m irror b earer f ro m t he n eighbourhood o f Ro me ( Langlotz a nd H ir mer P l . 2 7 ), d ated b y L ang lotz a nd H ir mer t o c .500 B .C. I n p rof i le, t he f ace r ese mbles a h ead f ro m Taran to c .530 B .C. — ( Lang lotz a nd H ir mer P l . 2 9 ) a nd a nother f ro m t he e nd o f t he s ix th— c en tury f ro m Agr igen tu m ( Lang lo tz a nd H ir mer P ls. 3 6 a nd 3 7 ) w ith t he p o in ted n ose a nd c h in a nd t he way t he f orehead a nd b r idge o f t he n ose r un i n to e ach o ther a l most w i thou t ab reak . Desp i te s o me m is lead ing s igns o f p rov inc ia l i ty , t he g enera l a spect a nd s p ir i t o f t h is f igure s ee m t o a gree w i th Ors i 's v erd ict t ha t i tb e longs t o t he e nd o f t he s ix th c en tury B . C. The p roport ions o f N o. much u gl ier p iece a l together.

2a re s im i lar t o t hose o f N o. 1 , b u t t h is i s a There i s , h owever, e v idence t ha t t he a rt ist i n

t h is c ase, h ad a s l igh t ly b et ter g rasp o f t he h u man f or m a nd i t s p roport ions. The l egs a re a l most t he r igh t l eng th b u t t he a r ms a re s t il l t oo l ong.

I ts ee ms

t ha t t he e arl ier a rt is ts a re i ncl ined t o b e c onfused b y t he o p t ica l e f fec t o f t he a ng le o f t he a r ms, i n to mak ing t he m t oo l ong.

7

There i s a more s uccessfu l

a t te mp t i n t h is f i gure t o p ortray t he c hest a nd s to mach muscles a nd t he h ips a nd wa ist a re s im ilarly more c onv inc ing. There i s a lso g reater a t ten t ion g iven t o d eta i l , a nd t he t oes a nd f i ngers a re p roperly model led , a l though b oth t he f eet a nd t he h ands a re s t il l t oo b ig. I n a dd it ion , t he a rt ist h as m isunderstood t he a rches o f t he f eet , s o t hat , f ro m t he f ron t , t he f i gure a ppears t o b e s tand ing o n t i p-toe. There i s more i n t he way o f s hou lders and c ol lar-bone , a nd t here a re l arge, r ound , a nd s l igh t ly e xaggerated a rm muscles. The f ace, h owever, i s o f p oorer q ua l i ty , a nd t he e xpress ion , i fa ny , i s r a ther d isgrun t led . The f eatures a re s quashed a nd l u mpy a nd t he e yes b arely v isible. The l i ps a re f a t a nd t he b one s truc ture i s v irtual ly n on-ex isten t.

The f orehead i s s ha l low a nd ,

j udg ing b y t he p rof ile, t h is f i gure might h ave b elonged t o a n e n t irely d if feren t r ace t o t ha t o f N o. 1 . The s tand i s p la in a nd c lu msy, l ike t he f i gure. The d isc i s ab it sma l l f or t he s ize o f t he f i gure, b u t i ti s v ery h eavy a nd , i n s p i te o f t he h eavy b ase, al arger d isc w ou ld p robably h ave made t he m irror u nstable. I th as p roved i mposs ible t o t race a n e xcava t ion r eport f or t h is f igure, o r a ny o ther r eferences, s o t hat t he d a te must b e j udged o n s tyl ist ic g rounds. A s i n N o. 1 , t he h a ir o ft h is f i gure s ee ms t ob e b ound u p r a ther t han l ef t h ang ing d own i n t he s tyle o fe arl ier male f i gures. The b ody i s s tock ier t han N o. 1 a nd o n t hese g rounds b ears s o me r ese mblance t o as ix th c en tury C orin th ian f igure f ro m Dodona ( Charbonneaux P la te X I N o. 1 ) a lthough t he h a irs tyle a nd f ac ial f ea tures d if fer. B oth N o. I .a nd N o. 2 a re i n p ostures o f p rayer o r worsh ip , a l though i tc ou ld b e a rgued t ha t t hey a re s i mp ly mean t t o b e g iv ing a dd i t ional s upport t o t he d isc, l ike t he p atera h and le i l lustra ted i n L a mb ( Pl . XL IV d Y. Bu t N o. 2 i s n ot a ctual ly t ouch ing t he d isc , a nd i t may b e t hat N o. 1 was n ot e i ther. I ts ee ms t hen t hat t he mot ives b eh ind t h is p osture may h ave b een e i ther c on fused o rc o mb ined. I ti s c erta in ly t rue t ha t m irror b earers o f l a ter d a te ( e .g. N o. 6 )h ave c eased t o a dop t t h is p osi t ion , a nd i ft he d ate o f t he p iece i s n o t c lear f ro m t he s ty le a lone , t hen t he p osture may c larify i t . There i s a male m irror b earer f ro m L ocri , w h ich i s n ow i n t he L ouvre ( Charbonneaux XX 2 ) wh ich p rov ides s o me i n terest ing c o mparisons t o t hese t wo f igures, a l though C harbonneaux g ives i t s d a te a s t he f i rst h al fo f t he f if th c en tury B .C. I ti s i n t he s a me p osture a s N os. 1 a nd 2 , a nd y et t he h ands d o n ot s ee m t o g rasp t he a t tach men t.

The s a me m istakes h ave b een made w ith

r egard t o t he p roport ions o f t he b ody , a l though i n t h is c ase, t he a r ms a re t oo s hort r a ther t han t oo l ong , a nd t he h ips a re e xaggerated r a ther t han u ndersta ted. L ike N o. 2 , t he f i gure a ppears t o b e s tand ing o n t i ptoe a nd t he l u mpy f ac ial f ea tures a nd b l ank e xpress ion a re s im ilar. The h a irstyle i s s im i lar t o N o. 1 i n t he c arv ing o f t he e dge a nd t he b eaded b and . I ts ee ms l i kely t ha t N os. 1 a nd 2b oth b elong t o t he e nd o f t he s ix th c en tury b u t o r ig inate f ro m d if feren t works hops w ith d if feren t p rov inc ial s tyles. N o. 3 i s a n a no maly. I n t he s hape o f t he b ody , t he a t te mp t t o model t he s to mach muscles a nd i n t he l eng th o f t he t h ighs c o mpared t o t he c alves, i t i s r em in iscen t o f t he l a te s ix th c en tury B .C . ma in land k ouro i.

C are h as b een

t aken o ver t he d eta ils o f t he f i ngers a nd t oes, y et t he h a ir h as b een l ef t p la in . The model l ing r e ma ins f l at a nd l i feless. The f ac ial f ea tures a re s im ilar t o t hose o f N o. 2 a nd t he m irror-bearer i n t he L ouvre ( Charbonneaux 1 958 XX 2 ) , y et h ere, t he h a ir i s l ong.

The d isc a ttach men t i s e ven h arder t o e xp la in . 8

The u nat trac t ive c urved p ieces h eld i n t he f i gure 's h ands a nd t he u nstable r ivet ted p la te a re u n l ike a ny th ing e lse o f t h is t ype made i n S ou th I t aly.

S im ilar

p lates c an b e s een s erv ing a much more s u i table p urpose a s t he h inges o nb ox m irrors. I th as b een s uggested ( Jan tzen 1 937 , p age 8 ) t ha t t h is f i gure was c onverted i n to a m irror f ro m a p atera h and le.

Th is s ee ms a r easonable e xp lanat ion , a nd

i s r einforced b y t he f act t hat t he f i gure s tands o n ar am 's h ead i n t he manner o f many p atera h and les, e .g.

L a mb 1 929 , P late XL IV d .

N o e xcava t ion r eport f or t h is p iece i s a va ilable, s o a n a t te mp t must b e made t o d a te i to n s tyl ist ic g rounds a lone; t h is p resen ts s o meth ing o f ap roble m. The l u mpy , s hape less f ace migh t owe s o me th ing t o l oca l I ta lio te i n f luence b u t t h is i nf luence c an i n n o way b e s een i n t he s uper ior work o f t he b ody . I ti s p oss ib le t ha t t h is p iece was made much l a ter t han t he e nd o f t he s ix th c en tury , when l oca l i nf luence h ad g a ined a c onsiderab le h o ld o n t he a r t o f t he western Greeks, a s s een i n N o . 1 5 ( P la tes 4 1 a nd 4 3 ) a nd t ha t t he r ese mb lance o f t he b ody t o mainl and k ouroi o f t he midd le o r l a te s ix th c en tury was d ue t o d e l ibera te a rcha is m . F or N o . 2h owever , t his e xp lana tion c anno t s tand , f or whi le t he f acia l f ea tures a re s i mi lar , h ere t he b ody i s o f t he s a me l ow s tandard . A more l i ke ly e xp lanat ion f or t hese p ieces migh t b e t ha t t hey b o th b e long t o t he e nd o ft he s ix th o r b eg inn ing o f t he f i f th c en tur ies, a nd t ha t t h is i s e v idence o f a n e ar lier i n trusion o f l oca l i nf luence , wh ich h as g one f ur ther w i th No . 2t han No . 3 .

The l a t ter

p iece c an a l most c er ta in ly b e a t tr ibu ted t o an on-Locr ian workshop . A f ter t he s ix th c en tury t he m irror b earers b eg in t o s how g reater d evelopmen t , a nd No. 4 i s n o e xcep t ion .

The a rt ist s hows a b etter g rasp o f t he h u man

f or m a nd h as managed t o master t he p roport ions.

This f igure h as a wa ist , h ips

a nd s hou lders, a nd t he c hest a nd s to mach musc les a re p roperly model led. t oes a re a lso w el l model led a nd t he f eet a re i n a more n atural p osi t ion .

The

The

f i gure i s s lender, b u t w el l r ounded a nd s hows n o r eal s igns o f p rov inc ial i ty. I ti s f a irly f u l l i n t he f ace a nd t he f ea tures s ee m smal l a nd p o in ted b y c o mpar ison . The c rescen t a nd v olu tes mak e t he t ransi t ion b etween f igure a nd d isc a g reat d ea l l ess c lu msy t han when t he h ands a re c urved b ackwards a s i n N o. 1 , o r j ust l ef t f ac ing o u twards a s i n N o. 2 .

Wh i le, o n t he whole, t h is i s a wel l e xecu ted

a nd a t trac t ive p iece, i ti s b ad ly l e t d own b y t he a t tach men t w i th t he u neven v olu tes a nd r ough i nc ised d ecora t ion .

I ti s p ossible t ha t t he l ess i mportan t

p arts m igh t h ave b een l ef t f or a n a ssistan t t o d o , b u t t h is wou ld n o t r eal ly e xp la in why a c raf ts man s hou ld t ake s o much t rouble o ver h is f i gure a nd t hen l eave i tw ith a s econd r ate a t tach men t.

I t must a lso b e a dm i t ted t ha t t he h ands

a re n o t whol ly s uccessfu l a nd s ee m t o b e f ac ing b oth f orwards a nd b ackwards a t o nce. A c o mparable f i gure i n t ha t i ti s L ocrian a nd o f as im ilar d ate, c an b e f ound i n Charbonneaux , 1 958 , P late XX 2 . Bu t , a part f ro m t he d ate, p rovena nce, a nd t he a dd it ional s im ilari ty o f p osture, t here i s r ea lly n o o ther r ese mb lance.

Th is s econd f i gure i s s a id t o b e t yp ical o f L ocrian work , b u t i ft h is

i s s o t hen N o. 4 must b e i mported ; b u t what p lace was l ess l ikely a t t h is t ime t o i mport a mirror b earer t han L oon.

Charbonneaux 's f igure h as t h ick c lu msy

f ea tures, a nd t he h ip j o in ts a re b ad ly o ver-e mphasised . p or t ions a re p oor a nd t he a t tach men t f i ts b ad ly.

I n a dd i t ion t he p ro-

Rather, i t wou ld s ee m t ha t

t hese d if ferences s hou ld s erve t o s how j ust h ow much v ar iaton i n s tandards o f 9

w orkmansh ip was p ossible among t he a r t ists o f a ny g iven c i ty. N o. 5 i s s o s im ilar t o N o. 4 t ha t i ft he s ta tes o f p reserva t ion d id n ot d if fer t hey wou ld b e h ard t o t e l l a part . The model l ing , p roport ions, f ac ial f eat ures a nd h a irstyles a re t he s a me; t here i s t he s a me i n ferior w orkmansh ip o n t he a t tach men t a nd t he s a me l ack o f s uccess w i th t he h ands.

The f igures a re

i den t ical i n h eigh t a nd t he w id th a t t he w idest p o in t , measured a s t he d istance b etween t he o u tside e dges o f t he v olu tes , d if fers o n ly b y o ne m il l i metre. Apart f ro m t he f ac t t ha t N o. 5 h as n o s tand a nd t he a t tach men t i s c o mp letely d if feren t a t t he b ack , t hey must s urely h ave b een made b y t he s a me h and .

However,

N o. 5 must h ave h ad a s tand o rig inal ly , s ince w i thou t o ne i t wou ld o verbalance, a nd i fi tw as i n tended t o b e l a id d own t he f eet w ou ld n ot h ave b een made a t r igh t a ng les t o t he b ody i n t h is awkward f ash ion , b u t w ou ld h ave b een p o in ted d ownwards. A s r egards what r e ma ins o f t he a t tach men t , t he f ron t p art i s e xac t ly l ike t ha t o fN o. 4 , w ith t he r ough ly d ecorated v olutes, h ol lowed o u t a t t he b ack , a nd t he s im ilari ty i n t he h ands. The b ack o f t he a t tach men t , h owever, c ou ld n ot b e more d if feren t. I tb ears n o r e la t ion t o i t s own f ron t , n or i ndeed t o a ny o ther G reek mirror a t tach men t . I ts hou ld a lso b e n oted , t ha t , u n l ike a l l t he o ther m irror d iscs, t he o ne wh ich b elongs t o t h is f i gure i s c oncave o n t he f ron t a nd n ot o n t he b ack . I ts ee ms l ikely , t herefore, t hat s ince t he o rig inal manufacture o f t he m irror, a d isc , whether i t was t he o r ig ina l o ne o r n ot , was a dded t o t he p iece. Due p erhaps t o t he i gnorance o ft he w orkman c oncerned , t he d isc was p u t o n b ack t o f ron t . I n r ep lac ing t he d isc t he a ttach men t h as b een a ltered c onsiderably f ro m i t s o rig inal f or m.

E i ther t hrough a l ack o f p rec ise k now ledge o f t he o rig-

i nal f or m o r f ro m l ack o f t echn ica l s k il l , t he r esu l t i s c lu L —y a nd s hapeless. I n a dd it ion ,i n t he c ourse o f t h is o pera t ion t he c urls o n t he b ack o f t he f i gure 's h ead s ee m t o h ave b een e rased .

Th is w ou ld a ccoun t f or t he f ac t t ha t t he t wo

f i gures a re s o s tr ik ingly s im i lar a nd y et h ave s uch o bv ious d if ferences. There i s i n Erlangen , ( Jan tzen 1 937 Tafel 4 , N o. 1 6 ) at h ird f igure wh ich I n t h is c ase, o n ly t he u pper p art o f t he b ody

must a ga in b e b y t he s a me h and.

a nd t he a t tach men t r e ma in , b u t t he h eigh t o f t he f i gure c orresponds t o t ha t o f t he o ther t wo , a s d oes t he w id th b etween t he v olu tes. The h air a nd f ac ial f eat ures a re s o s im i lar a s t o b e a l most e nough e v idence o n t heir own , b u t t he p ropor t ions a nd model l ing o f wha t r e ma ins o f t he t orso , i n a dd i t ion t o t he i n ferior a t tach men t , s erve t o c on f ir m t h is c onclus ion . Un l ike N os. 4 a nd 5 , t hese f i gures d o a ctual ly g rasp t heir a t tach men ts a nd c anno t r eal ly b e s aid t o b e i n a t t itudes o f p rayer. N os. 4 a nd 5 a re s o a l ike t hat t hey must h e o f s im ilar d ates a nd w il l t herefore b e c onsidered t ogether.

The museu m g ives t he d a te f or N o. 4 a s

t he b eg inn ing o f t he f i f th c en tury b u t O rsi 's e xcava t ion r eport ofers n o e st i mat i on a t a l l .

The p roble m w i th t hese t wo f i gures i s t hat t hey d o n ot s ee m t o b e-

l ong t o e ither t he a rcha ic p eriod o r t o t he " Severe" s tyle o f t he e arly c lassical p er iod , b u t p art ly t o b oth.

R idgway 's d iscussion o f t he S evere s tyle s ets o u t

as u m mary ( p . 8 f f .) o fg eneral ly a ccep ted c harac terist ics wh ich w il lb e u sed among t he c ri teria f or t he d at ing o f t hese a nd f urther e xa mp les.

1 0

The model l ing o f N os. 4 a nd 5 i s w el l d eveloped a nd t echn ical ly s ound , y et t hey r eta in a s t if f , f or mal , a rcha ic p ose.

Ma in land I muro i whose model l ing

h as r eached t h is s tage o f d evelop men t t end t o a dop t t he more r elaxed e arly c lassical p ose w i th t he w e igh t r est ing o n o ne f oot .

Th is c an b e d e monstra ted

b y ac o mparison w ith t he s o-cal led "Kri t ian Boy" ( Richter P 1 .87 ) a nd a s tatue o f ay ou th f ro m Agrigen tu m ( Langlotz a nd H ir mer P ls. 5 4 a nd 5 5 ).

The v ar ious

d ates g iven b y s cholars f or t hese t wo f i gures p u t t he m i n r ough ly t he s a me p er iod a nd t here a re c onsiderable s im ilari t ies i n p roport ions a nd muscu la ture.

Yet

t he model l ing o f t he K ri t ian b oy i s a l together s of ter, t he w idest p art o f t he h ead i s h igher u p g iv ing a l ess t r iangu lar f ace a nd t he p osture o f t he l egs a nd h ips i s d if feren t , w i thou t e x tend ing t o t he s hou lders wh ich r e ma in h or izon tal.

The

h a irstyle o f t he Agrigen to k ouros i s l ess e labora te a nd R idgway e xp la ins ( p .60 ) t ha t t h is more t rad i t ional s tyle was f avoured i n S ou th I t aly.

These d if ferences

migh t b e e xp la ined i n a ny o ne o f t hree ways o r b y ac o mb ina t ion o f a l l o f t he m . The Agrigen to K ouros may b e t he e arl ier o f t he t wo; o r t hey a re o f t he s a me d a te b u t o ne w as made i n Magna G raec ia whose a rt is ti c d evelopmen t l ags b eh ind t ha t o f t he main land ; o r t he p ersona l s ty les o f t wo d i f feren t masters a re i nvo lved . Whatever t he e xp lana t ion , i ts ee ms u n l ikely t ha t t here i s more t han t en y ears b etween t he m a nd t he v ar ious d a tes e st i mated b y s cho lars wou ld p u t b oth b etween 4 90 a nd 4 70 B .C.

R idgway i s c erta in ( p .60 ) t ha t t he Agrigen to k ouros was made

a round 4 70 B .C. The m irror b earers N os. 4 a nd 5 r ef lect t hese d a tes i n t heir wel l-proport i oned b od ies w i th t he s l igh t ly h igh wa ists a nd j ust a s uggest ion o f p lu mpness, t he smooth , e f fect ive model l ing a nd t rea t men t o f d eta ils s uch a s t he s l igh t e xaggera t ion o f t he h ips.

I nb oth c ases t he h a irstyle s eeins t o c onsist o f a smooth

c en tra l a rea e dged b y aw ide b and o f i nc ised c urls.

I ti s p oss ible t ha t t hese t wo

a re mean t t o b e wearing s o me k ind o f c ap , b u t i ti s more l ik ely t ha t t h is i s a s l igh t s tyl izat ion o f t he t ype s een o n t he K rit ian b oy.

I n a dd i t ion , t he f aces o f

t hese m irror b earers a re g enera l ly p lu mper t han t hose o f e i ther t he K ri t ian b oy o r t he Agrigen to k ouros , b u t w ith sma l l p o in ted f ea tures.

Yet t he whole s tyle

i s much t he s a me a nd , t herefore, i t may b e a rgued , t he d a te.

The d if ferences

a re smal l a nd may b e a t tr ibu ted e i ther t o t he l ocal i ty o r t o t he i nd iv idual t ra i ts o f t he s cu lp tor.

A l lowances must a lso b e made f or t he c onsiderably sma l ler

s ca le i nvolved .

A s t he p os i t ion o f t he Agrigen to k ouros r e ma ins u pright , s o

t he m irror b earers a re s t il l s een i n t he a rcha ic p osture w i th t he ir a r ms r a ised t o t he d isc —both may b e s een a s e v idence o f as l igh t b ackwardness i n w estern s ty les. I n v iew o f t hese c o mparisons , Ns. 4 80 B .C.

4a nd 5 must b e d ated t o a round

N o. 6 s hows a s trong main land i nf luence i n a l l b u t t he f ace a nd h a ir, a nd i ti s p ossible t hat t he a rt ist was a c tual ly t ra ined o n t he ma in land . He h as c ert a in ly c ap tured t he r elaxed c lass ical p ose, a l though a s l igh t s t if fness, wh ich i s n o t s een i n l a ter p ieces , s t i l l r e ma ins i n t he h ips, t he l ef t h and a nd t he s et o f t he s hou lders.

Nevertheless, t h is p iece i s f ar s uperior t o most o f t he S ou th

I t al ian m irror-bearers.

The s pec ial a t trac t ion a bou t t h is f igure i s t he e ase

a nd g race w ith wh ich i tb ears i t s b urden ; t he d isc d oes n ot s ee m t o w eigh t he f igure d own a t a l l , b u t i s l i gh t ly p o ised o n t he h ead.

The h ands a re n ot r a ised

t o t he c rescen t a nd t he r a ther p la in v olu te s erves o n ly t o e ase t he t ransi t ion ,

1

w ithou t t ak ing a ny a t ten t ion f ro m t he f i gure .

Th is whole s ect ion , i nclud ing

t he h a ir, p rov ides a c lever c on trast t o t he p la in s urface o f t he c en tre o f t he d isc a nd t he f igure i t sel f . The v olu te s ee ms t o g row o u t o f t he h ead , a l most t o b e p art o f i t .

I ts ee ms l ikely t ha t t he h oles i n t he v olu te may h ave b een f or

i n lay o f s o me k ind a s may a lso b e t he c ase w i th t he n ipp les.

Th is i dea s upports

t he i mpress ion o fh igh q ual i ty a nd p robable e xpense. Wh i le t he v olu te i s n ot b ad ly made, y et i tl ooks t hough t he a rt ist , a s c an b e s een o n N o. 4 , d id n ot a t tach much i mportance t o t h is p art o f t he p iece, whereas h e h as t aken a l o t more t rouble w ith t he r im o f t he d isc. The d esign u sed o n t he r im o f t he d isc o f t h is p iece a nd t ha t o f N o. 2 a ppears v ery f requen tly a s f i l l ing o rna men t , p a in ted o f t he n ecks o f v ases, b oth f ro m t he ma in land a nd f ro m I t aly. I ta ppears a lso i n many o ther med ia , s uch a s a rch itec ture, whose " egg a nd t ongue" mou ld ing i s ac arved v ersion o f t h is p at tern . The a t tach men t a t t he b ack o f t he d isc w h ich h olds i ti n p lace , i s more f unc t ional t han d ecorat ive, a nd j udg ing b y t he f act t hat t he d isc i s s t il l p resen t , i t may w el lb e e f fec t ive t oo.

The b ase o n wh ich t he f igure s tands may o rig in-

a l ly h ave b een c onsiderably h igher a nd h eav ier t o g ive t he m irror g reater s tab il i ty. The muscu la ture o f t he b ody i n t h is e xamp le i s v ery c onvinc ing , n e i ther s ketchy n or e xaggera ted.

The b u i ld i s s l igh t , n e ither s inewy n or p lu mp , a nd

t he p roport ions a re v ery g ood w i th t he e xcep t ion o f t he l e f t h and wh ich s ee ms al i t t le t oo l arge; t he d eta ils o f t he f i ngers a nd t oes h ave b een c arefu l ly mode l led. The h ead a nd f ace a re w el l s haped , t hough t he e yes l ook u n f in ished a nd may h ave b een a b ase f or s o me o ther materia l s uch a s g lass p aste.

I n s p ite

o f t he s l igh t d a mage t o t he c h in a nd n ose, t he g eneral efec t o f t he f ace i s g ood . The f igure h olds a r ound o b ject i n h is l e f t h and , wh ich Ors i s uggests i s ( 1913. p .39 ) am inu te p a tera , b u t s ince i ta ppears t o b e c o mp lete i n i t sel f , t h is i s a nu n l ikely e xp lana t ion . I nh is e xcava t ion r eport ( N .D .S. 1 913 S upp l . p .38 ) O rs i d a tes t h is f i gure c erta in ly a f ter 5 00 B .C. a nd p robably w el l , f orward i n t he f i rst q uarter o f t he f i f th c en tury B .C.; t he o ther g rave g oods c ons ist o f ab one h and le , ab lack c up c on ta in ing t wo c lay d ol ls o f at ype f ound i n f i f th c en tury t o mbs, a b roken s ta mnos, a sma l lb ow l , a smal l i ron c h isel , a n a labaster a labastron , ab lack h ydr ia a nd f our h undered a nd s even ty n ine " astraga l i" o r k nuck le-bones. Ors i d escr ibes t hese g rave g oods a s g eneral ly f i f th c en tury a nd c o mpares t he g esture a nd a c t o f t he m irror b earer w i th at e tradrach m o fS el inus o f4 66-415 B .C. i s c erta in ly a p roduct o f t he f u l ly d eveloped S evere s tyle.

Th is f i gure

The r elaxed p ose,

t he e cono m ic model l ing a nd t he b rood ing e xpress ion a re a l l i n e v idence.

The

o n ly c haracterist ic o f t he S evere s tyle, a s s et o u tb y R idgway, wh ich i s m iss ing i s t he t h ickened e yel ids. I nf ac t , t here a re n o e yel ids a t a l l o n t h is f igure; a nd i ft he e yes w ere d one i n s o me o ther mater ial wh ich h as s ince b een l ost , t h is may e xp la in i t . F ro m t he f ron t , t he r estra ined c onf idence a nd a ccuracy o f t he model l ing o f t h is f igure , a nd t he t reat men t o f d eta ils e spec ial ly a round t he a r ms , s hou lders, h ips a nd l egs, a re s trong ly r em in iscen t o f t he Apol lo f ro m t he West p ed imen t o f t he Te mp le o f Z eus a tO ly mp ia ( R ichter P l . 17 ). 1 2

F ro m t he b ack , t he p ose

i n g enera l a nd t he t reatmen t o f t he b u ttocks a nd b ack o f t he s hou lders i n p art ic u lar, b ear c ons iderable r ese mblance t o t he " O mphalos Apo l lo" ( Rich ter P l . 18 ). F or a p ara l lel f ro m t he West , t he most o bv ious i s t he b ronze f i gure o f a n a thlete f ro m Adrano ( Langlotz a nd H ir mer P ls. 8 4 a nd 8 5 ) wh ich h as t he s a me p os i t ion a nd a l most t he s a me g esture, t hough t he h a irstyles d if fer.

The

a th lete t oo, i s more h eav ily b u il t a nd l ess e legan t , b u t i n a l l o ther r espects t he t wo p ieces a re v ery much a l ike. The a th lete 's h ead i s i ncl ined s l igh t ly f orward a s i ft o s ee what h e i s d o ing b u t t h is d if ference i s n ot s ign if ican t s ince t he h ead o f am irror b earer must b e u pright t o b ear t he d isc. The f ace a nd h ead o f n o. 6 r e ma in s trong ly S ou th I t al ian a nd c an b ec o mp ared t o t ha t o f Actaeon i nt he metope f ro m Te mp le E a t S el inus ( Lang lotz a nd H ir mer P l . 1 02 ). The h a irstyle g ives l i t t le i nd ica t ion o f d ate a s i ts ee ms t o h ave b een g eneral ly p opu lar a round t h is t ime e spec ial ly i nS ou th I t aly a nd S ic ily a nd c an b e s een o n t he A c taeon a t S el inus a nd o n t he Agrigen to k ouros, wh ich i s c learly o f a n e arl ier s tyle. O f t hese c o mpar isons, o n ly t he Te mp le u f Z eus a t O ly mp ia i s s ecurely d ated , t o 4 70-457 B .C.; t he Te mp le E a t S el inus i s p ost 4 80 B .C. a nd t he b at t le o fH i mera b u t t he e xac t d ate i s d ispu ted; t he a thlete f ro m Adrano i s d ated b y L anglotz a nd H ir mer t o c .460 B .C.; d at ings f or t he Omphalos Apol lo v ary b etween 4 70 a nd 4 50 B .C.

Af urther c o mpar ison may b e made w i th a f e male

h ead f ro m L ocr i ( Lang lotz a nd H ir mer P l . 7 0 ) d ated b y L ang lotz a nd H ir mer t o 4 60 B .C. i n wh ich t he s hape a nd t rea t men t o f t he f ace may b e s een t o b e s im ilar t o t ha t o f t he m irror b earer.

The d evelopmen t a nd s tyle o f t h is p iece c erta in ly

b elong s o mewhere b etween t he K rit ian b oy c .480 B .C. a nd t he Doryphoros ( R idgway F ig . 4 2 ) c .440 B .C. ( a ccord ing t o R idgway p . 3 2 ) . Orsi ' se st ima te o f 4 75-450 B .C. s e i . . . .ns s ound t hough a more p rec ise d a t ing o f a round 4 60 B .0 m igh tb e p ostu lated. N o. 7 i s o ne o f i t s k ind i n t he S ou th I t al ian museu ms a nd t here i s s o me c on troversy a s t o whether t he f igure i s ma le o r f e ma le ; C harbonneaux a nd L amb t end t o a ssu me t he l at ter, wh i le L anglo tz a nd H ir mer f avour t he f or mer e xp lana t ion . The workmansh ip i s o f v ery h igh q ual i ty a nd t he p reservat ion i s g ood e nough t o s how i tu p .

Nor h ave t he d eta ils b een s k i mped , a nd t he h a ir,

i n p art icu lar, must h ave r equ ired a g ood d ea l o f t ime a nd t rouble.

A l l t he d e-

t a ils o f t he v olu tes h ave b een c arefu l ly model led , a nd t here i s ac erta in f u l lness a bou t t he d esign wh ich g ives a n i mpress ion o f l uxury a nd e xpense, wh ich i s a c o mp lete c on trast t o t he more u t il itarian a t tach men t o f N o. 6 . Th is may i nd ic a te a s l ight ly l a ter d a te, when t he s tyle was b eco m ing l ess s evere. I ts ee ms u n l ikely t ha t t h is f igure was f e male.

The r ight h and wh ich a ppears

o ver t he t op o f t he c loak i s t oo l arge, a nd t he n eck i s t oo t h ick .

These f ea tures

may s i mp ly b e e v idence o ft he p rov inc ial c harac ter o f t he p iece , b u t t he q ual ity o f t he r est o f t he f igure s ee ms t o d eny t h is. The o n ly e v idence i n f avour o f i t s b eing f e male i s t he e laborate h a irstyle, b u t e ven t h is i s o n ly a n e laborat ion o f t he s tyle wh ich i s s een o n s o many male f i gures.

The s hape o f t he b ody i s

c learly s hown u nder t he c loak a nd t here i s n oth ing p osit ive t o i nd icate t ha t i t i s mean t t o b e f e male. Nude male f i gures a re o f ten s een c arry ing s im ilar c loaks a nd i n H igg ins 1 967 P la te 4 5f , t he f igure h as o ne d raped a round h i m.

A lso

R ich ter 1 959 P late 2 15, t he p ortra it o fS ophoc les, i s p art icu larly i n terest ing. The p ose i s i den t ical t o N o. 7 , e ven t o t he f ac t o f t he h ead b eing t urned s l igh t ly 1 3

t o t he l ef t.

To s uggest t ha t N o. 7was i nf luenced b y t h is w ou ld p erhaps b e u n-

r easonab le, s ince t he p ortra i t o fS ophocles b elongs t o t he s econd q uarter o f t he f ourth c en tury B .C. A more l ikely e xp lanat ion wou ld b e t hat t h is p os ture a nd s tyle o fw ear ing a c loak was f a irly c o m mon among Greek men b oth o n t he ma inl and a nd i n t he West. I ti s t rue t ha t t here a re n o o ther c loaked ma le f i gures i n t h is g roup b u t i t must a lso b e n o ted t ha tt here a re n o f e ma les d ressed l ik e t h is e i ther. The e xecu t ion o f t he d rapery h ere i s v ery e f fect ive, a nd i ti s c lear t ha t t he c loak i s made o f s o me t h ick mater ial . I tp resen ts a v ery smoo th s urface wh ich c o mb ines w i th t he smooth r ound b ase, a nd t he d isc , t o make a n e f fec t ive c on trast t o t he more c o mp l icated m idd le s ec t ion o f t he p iece wh ich i s made u p o f t he f o lds a t t he t op o ft he c loak , t he f ace, t he v olutes a nd t he d ecora ted e re— s cen t .

The f ace h as w el l e xecu ted f eatures a nd b ears a s l igh t ly r es igned e xpre-

s sion r a ther r em in iscen t o f t he h arpy o n N o. 1 4 ( P la tes 2 9 , 4 0 a nd 4 2 ) . Accord ing t o O rsi ( N .D .S . 1 913 p . 1 3 ), N o. 7 i s f e male a nd i s w ear ing ah i mat ion .

H e n evertheless r elates t he p ose t o t ha t o f aRo man i n at oga a nd

g ives a d ate o f mid-f if th c en tury B .C.

Charbonneaux ( p . 8 6 ) g ives t he d a te o f

t h is f igure a s t he s econd h al f o f t he f i f th c en tury , b u t a ga in , t he f ac t t ha t t he f i gure i s t aken t o b e f e male may h ave c on fused t he i ssue. ( p . 2 76-277 ) h ave d a ted i t more p rec isely t o 4 60 B .C.

L ang lotz a nd H ir mer

P aral lels o f a ny k ind

a re v ery h ard t o f ind f or t h is f i gure a nd d a t ing o n t hese g rounds w ou ld t herefore b e d if f icu l t. D raped ma le f igures d o a ppear i n L ocrian r el iefs, e .g. L anglotz a nd H ir mer P ls. 7 2 a nd 7 3 c .470-460 B .C. a l though i n t h is c ase t here i s n o o ther s im ilarity.

The t rea t men t o f t he f ace migh t b e c o mpared t o s o me h eads

f ro m Te mp le E a t S el inus ( Langlotz a nd H ir mer P ls. 10-113 ) e spec ial ly w i th r egard t o t he c al m , a l most r esigned e xpressions , b u t a ga in t he s im ilari t ies e nd h ere.

R idgway d escribes t h is f i gure a s ma le b u t c o mpares i tw ith t he f e ma le

" Aspasia/Sosandra" t ype.

The c o mparison i s l im i ted , h owever, t o t he a rrang-

men t o f t he c loak a nd g ives n o c lue t o t he d a te. That t h is p iece b elongs t o t he S evere s tyle i s c lear f ro m t he p osture, t he f ace w i th i t s t houghtfu l e xpress ion a nd t h ickened e yel ids a nd f ro m t he t rea t men t o f t he d rapery, a p t ly d escr ibed b y R idgway o n v ar ious o ccas ions a s " doughy". i s more d if f icu l t t o a ssess.

Ap rec ise d ate w ith in t h is p er iod

Ac lose p ara l lel t o t he h a irsty le c an b e s een o n a

Ro man p ortra i t o f An t inoos f ro m t he t ime o f Hadrian ( Ridgway F ig. 1 89 ). R idgway q uotes t h is a s a n e xa mp le o f c lassic ist ic a rt , where a S evere h a irstyle h as b een " superi mposed o n ap ersona l ised f ace" , b u t g oes o n t o s ay t hat t he s ty le i s made u p o fS evere t ra its w i thou t a" spec if ic p ro totype". S ure ly t he m irror b earer N o. 7 p rov ides o ne. Apart f rom c on f ir m ing i t s p lace i n t he S evere s ty le , h owever, t h is c o mparison d oes n o more f or t he c hronology. I n more g eneral t er ms o fa rt ist ic a nd t echn ical a ch ieve men t , model l ing , e tc., am id-f if th c en tury d a te w ou ld c erta in ly f i t a nd 4 60-450 B .C. s ee ms l i kely. The f act t ha t t here i s s o l i t t le l e f t o f No. 8 makes i tr a ther d if f icu l t t o a nalyse.

The w orkmansh ip o f t h is p art , h owever , i s o f ah igh s tandard a nd

i tc an b e r easonably a ssu med t ha t t he r est o f t he f i gure was a t l east a s g ood. The c o mp lex n a ture o f t he a t tach men t may i nd ica te t ha t i ti s af a irly l a te p iece a nd t he d a te g iven b y t he Museu m i s t he e nd o f t he f if th c en tury B .C. The h a irs ty le t oo i s u nusua l . r ound t he h ead .

I n most c ases t he h a ir i s t ucked i n to ab and t o f or m a r ol l

H ere t he f ace i s f ramed b y waves wh ich h ang l oose d own e i ther

1 4

s ide. A l though t he d esign o n t he a t tach men t i s i n ah orizon tal p osi t ion , i ti s s im i lar t o t he d es igns o f Group C , Type I . A ga in , Orsi b el ieves t ha t t h is p iece i s f e male ( N.D.S. 1 913 S uppL p . 2 5 ) a nd t ha t t he h ead r ecal ls t he p ep los f igures o f4 75-450 B .C. a nd S yracusan c o inage o f t he t ransi t ion p eriod. H ere a ga in , p ara l lels a re h ard t o f ind. One p ossib i l ity i s af e male h ead , o ne o f ap a ir i n t erra-cot ta f ro m Medma ( Lang lotz a nd H ir mer P l . 9 4 a bove ) c .460 B .C. a l though t h is i so f f ar i nfer ior q ua li ty . The s hape a nd model l ing o f t he f ace m igh t b e c o mpared t o Apol lo t he A rcher ( Langlotz a nd H ir mer P l . 17 ) wh ich b elong t o t he s econd h al f o f t he f if th c en tu ry.

The l ack o f p ara lle ls a nd t he o bv ious l im ita t ions o f t he p iece i t self , l eave

v ery l i t t le b y wh ich t o d a te i t , b u t i tp robably b elongs t o 4 50-440 B .C. There a re g reat d if ferences o f q ual i ty among t he m irrors i n t h is g roup a nd t he v aria t ions p resumably i nd icate a n umber o f d if feren t workmen . I ti s i n terest ing t o n ote , t herefore, h ow much v ar iety i s p oss ible among o b jects o f t he s a me t ype a nd f ro m t he s a me p lace, wh ich i s n ot n ecessari ly d ue s olely t o d if ferences o f d ate. I .

FE MALE F IGURES The m irror b earers i n t h is g roup a re a l l d raped , a l though t he s tyles o f

d ress a nd t he h a ir v ary a ccord ing t o d ate.

They a l l s tand i n s im ilar p ostures.

I n a l l c ases, t he f igures w ere made s eparately a nd j o ined t o t he d iscs l a ter. 9 .

F igure o f d raped wo man , d isc missing. C rotone Museu m. N o. 2 419. Heigh t o f f igure : 1 8.0 cm

Poor p reserva t ion . P lates 2 6-28. Wid th o f f igure : 6 .8 cm

Th is f i gure s tands i n a n u pright p osi t ion w i th t he f eet t ogether a nd t he w eigh t e ven ly d istribu ted. The c ostu me i s o f ac h i ton a nd t ransverse h ima tion , a l though t he p oor q ua l i ty o f t he model l ing r enders t he d eta i ls l argely i nd ist ingu ishable. The l ef t h and g rasps t he s k irt o f t he c h iton , wh i le t he r igh t f orear m h as b een b roken o f f l eav ing a n emp ty s ocket . Rough ly i nc ised l i nes i nd icate t he p lea ts o n t he u pper p art o f t he c h i ton . B oth a r ms a re c overed t o t he e lbow , t he r igh t b y t he c h i ton , t he l ef tb y t he h i mat ion .

The h i mat ion c rosses t he b ody d iagonal ly f ro m t he r ight

s hou lder t o t he l ef t a r mp i t a nd f a l ls f ro m t he r igh t a rm i n f o lds d own t he f ron t o f t he b ody.

The s k irt o f t he c h i ton i s p u l led smooth a cross t he

b ack o f t he l egs b y t he a ct ion o f t he l ef t h and , b u t o n t he u pper p art , t he f o lds o fb oth g ar men ts a re i nd ica ted b y i nc ised l i nes.

The f eet a re n ot

c lear b u t s ee m t o b e b are. The h a ir i sh eld b ack f ro m t he f ace b y ah eadr ess a nd f al ls i n t wo p la its o n e ach s ide, w ith c urls o ver t he e ars.

A t

t he b ack i tf a l ls s tra igh t o n to t he s hou lders a nd t he w aves a re i nd ica ted b y i nc ised l i nes. Tha t p art o f t he h a ir wh ich i s w i th in t he h eadress i s l ef t p la in . The a t tach men t wh ich o nce h eld t he d isc i n p lace i s i n t he s hape o f ap almet te wh ich h as b een b en t a t t he t op a nd l ooks a s t hough i ti s a l l p art o f t he h eadress. There i s as p ike o n t he b ot to m o f t he f eet t o s ecure t he f i gure t o as tand , wh ich i s n ow m issing.

1 5

Th is f i gure i s k nown t o b e f ro m t he S anctuary o f Hera L ac in ia a t C rotone. N o r eferences t raceable. 1 C .

F igure o f d raped wo man , h ead a nd d isc missing. Regg io Museu m.

N o. 8 825.

H eigh t o f f igure :

1 3.0 cm

G ood p reserva t ion .

P lates 3 2-34.

Wid th o f f igure :

4 .0 cm

Th is f i gure s tands i n a n u prigh t p osture w i th t he we igh t r est ing o n b oth f ee t. The d ress c onsists o f ac h iton a nd t ransverse h i ma t ion , w ith a r ound f astener o n e ach s hou lder. The l ef t h and g rasps t he s k irt o f t he c h i ton , w h ile t he r igh t i s h eld f orward a t ar igh t a ng le t o t he b ody.

The

r igh t h and i s c lenched b u t f or t he t hu mb a nd f i rst t wo f ingers wh ich a re h old ing u p a smal l , i nd ist ingu ishable o b jec t.

The h i ma t ion f al ls i n t wo

f olds o ver t he r igh t s hou lder a nd i n t hree h eavy f o lds d own e ach s ide o f t he r ight a r m.

The c h i ton i s e dged a t t he t op b y t he h i ma t ion wh ich r uns

i n an ea t b and f ro m t he f astener o n t he r igh t s hou lder a nd u nder t he l ef t a r m.

The l ef t h and p u l ls t he s k irt o f t he c h i ton t i gh t a cross t he b ack o f

t he l egs, l eav ing i t smooth.

The h a ir i s c arved i n h eavy waves a nd f a l ls

e n t irely b eh ind t he s hou lders a nd d own t he b ack a l most t o t he wa ist.

The

l ef t a rm i s c overed t o t he e lbow b y t he c h i ton wh ich h as sma l l p leats a l l o ver i t s u pper p art.

The r igh t a rm i s c overed b y t he h i ma t ion , a nd b oth

f orear ms a re l ef t b are.

The f eet a re c lose t ogether a nd a l though t hey

a re n ot model led t hey may b e mean t t o b e b are.

N o b ase h as s urv ived.

O rs i , P . 1 913 p . 5 1, F ig. 6 5. 1 1.

F igure o f d raped wo man , d isc miss ing. Regg io Museu m . H eigh t o f f igure : Wid th o f f i gure :

N o n u mber. 1 3.4 cm

P oor p reservat ion . H eigh t o f t orto ise :

5 .0 cm

He igh t o f a t tach men t :

Wid th o f t orto ise :

3 .0 cm

Total h e igh t :

P lates 2 9-31. 2 .4 cm 5 .0 cm

1 8.8 cm

The f igure w ears a c h i ton a nd t ransverse h i mat ion , a nd s tands u pr igh t w ith t he weigh t e ven ly d istr ibu ted o n to b o th f ee t . The l ef t h and g rasps t he s k irt o f t he c h i ton a nd t he r igh t , wh ich i s b roken of a bove t he w rist , i s e x tended.

B oth a r ms a re c overed t o t he e lbow , i n o ne c ase b y t he

h i ma t ion i n t he o ther b y t he c h i ton . i nc ised r ound t he n eck a nd h em .

The c h i ton h as a d ecora ted b order

B oth g ar men ts a re d ecora ted a l l o ver

t he f ron t w i th i nc ised c rosses, a l though t he b ack h as b een l ef t p la in .

The

h i mat ion , wh ich h as a b eaded b order, c overs t he r igh t s hou lder a nd c rosses t he c hest d iagonal ly , p assing u nder t he l ef t a rm , where i tf a l ls i n smal l p leats , t hen c rosses t he b ack d iagonal ly.

F ro m u nder t he r igh t a rm t he

h i ma t ion f al ls i n t wo f olds a l most t o t he f eet . s ince t he t oes h ave a l l b een model led.

These a re c learly b are,

The f ac ial f ea tures a re s o b ad ly

d a maged a s t o b e a l most i nd ist ingu ishable.

The h a ir i s p arted i n t he

midd le a nd d rawn b ack o ver e i ther s ide o f t he f orehead , t hen r ol led u p s hort o n t he b ack o f t he n eck .

I nc ised l ines i nd icate t he waves, a s t hey

d o t he p lea ts o n t he u pper p ar t o f t he c h i ton . A l l t ha t r e main s o f t he d isc a t tach men t i s h al f o f an arrow c rescen t , whose v olu te h as a h ole i n t he c en tre.

There i s a lso a s hape a bove t h is wh ich 1 6

i s n ei ther i vy l eaf n or p almet te.

Th is f igure s tands o n at orto ise wh ich

h as l ost i t s h ead a nd o ne o f i t s f eet.

There may h ave b een a s tand u nder-

n ea th i tt o make t he f i gure more s table ( s ee J an tzen 1 937 , 3 1, N o.128.) F ro m To mb 1 671 i n t he L ocri n ecropol is. J an tzen , U . 1 937 , p .3, N o.10.

O rsi , P . 1 917 ,

P .

1 40 ; p .141, F igure

4 8. 1 2.

F igure o f d raped wo man , d isc missing. Regg io Museu m .

N o. 4 271,

Heigh t o ff igure :

1 4.9 cm

P oor p reservat ion . Wid th o f f i gure :

P la tes 3 5-38. 5 .0 cm

L ike t he o thers i n t h is g roup , t h is f igure s tands u prigh t , b u t i n t h is c ase t he p osi t ion o ft he a r ms i s r eversed .

I n a dd it ion , t he c ostu me c onsists

s olely o f ap la in , u ndecorated p ep los wh ich f al ls i nh eavy f o lds f ro m t he s hou lders. The f asten ing o f t he p ep los o n t he s hou lders c auses i tt o f a l l l ow r ound t he n eck , l eav ing b oth t he a r ms b are.

The r igh t h and g rasps

t he s k irt , wh i le t he l ef t i s e x tended a nd a pparen t ly c lasped r ound s o me o b jec t wh ich i s n ow m iss ing. The h a ir i s p arted i n t he m idd le a nd d rawn b ack o ver e ither s ide o f t he f orehead , r ound ab and a nd i n to a smal lb un a t t he b ack . There i s a s quar ish h ole i n t he b ack o f t he h ead.

The f eet a re b are a nd t he b ase i s

miss ing. F ro m To mb 2 81 i n t he L ocri n ecropol is. F ranck , E . 1 923/4, p . 3 74. J an tzen , U . 1 937 , p . 4 No. 3 5; p .5 L ang lotz , E . a nd H ir mer, M. 1 965 p . 2 77 ; P late 9 2. Ma iur i , A . p .131, F igure 1 39 R igh t . Orsi , P . 4 . P ou lsen , V . H . 1 937 , p .100.

1 960 ,

1 912, p . 6 , F igure 3 ; p . 7 , F igure

N o. 9h as t he s a me p osture a nd s tyle o f d ress a s N o. 1 0 a nd p robably t he s a me s ort o fh a irsty le t oo , b u t i ti s i n f in i tely i n ferior i nb oth s ty le a nd workmansh ip. I ti s a n u g ly a nd b ad ly made p iece. The whole f i gure i s e x tre mely p rim it ive a nd t he d rapery s ee ms t o b e s cra tched r a ther t han model led. The h ead i s t oo b ig a nd t he p rof i le o f t he f ace i s c lu msy w i th i t s s taring e yes a nd l u mpy n ose. Most o f t he f ac ial f eatures l ook l ike sma l lb lobs o f metal a dded l a ter i n r ough ly a ppropr iate p laces, wh i le t he e yes l ook a s i ft hey h ave b een g ouged . The t op l i p i s miss ing a nd t he c h in h as b een f l a t tened . The s hape o f t he l ef t a rm b ears v ery l i t t le r ese mblance t o l i fe a nd t he h and l ook s more l ike a p aw.

Ra ther t han h old ing t he g ar men t

u p , t he a rm s ee ms t o h ave b een f i xed o n to a p iece o f t he s k irt whose p os it ion owes n oth ing t o t he a c t ion o f t he a r m.

The a rt ist h as p u t t he f o lds i n a s t hey

a re i n N o. 1 0 b u t h as n o t c onnec ted t he m u p t o e ach o ther. I ti s a lmost a s t hough i th as b een c op ied f ro m a nother f i gure w ithou t a ny u nderstand ing o f t he s tructure o f t he g ar men t o r c ause o f t he f o lds.

The g ar men t wh ich h angs f ro m

t he r igh t a rm s hou ld f a l l i n as er ies o f f o lds, b u t t heir p resence i s s i mp ly i nd icated b y t hree c lu msy z ig zags. The f ron t p iece o f t he g ar men t l ooks a s i f i th as b een p lastered o na nd t he f o lds v aguely s cratched i n . The b reasts a re s trangely u neven a nd t he a t te mp t t o c arve t he u pper p art o f t he c h i ton h as b een 1 7

a bandoned h alf way d own . The r est o f t he f ron t i s p la in a nd t he e x istence o f t he l egs u nder t he s k irt i s f a in t ly i nd ica ted . I ti s c lear f ro m t he emp ty s ocket t ha t t he r igh t f orear m was made s eparately a nd j o ined l a ter. b road s hou lders a re t he r e ma ins o f t wo

3t ach men ts

On t he r ather

wh ich w il l a l most c erta in ly

h ave b een t he f eet o f s ubsid iary f i gures, p robab ly s ph inxes o r g ryphons a t t h is p eriod who h elped t o s upport t he d isc. Ap ossible e xp lanat ion f or t he a pparen t s trangeness o f t h is f i gure, i s t ha t i th ad b eco me o ld a nd w orn , a nd s o me i nexpert h and h ad t r ied t o g ive i t an ew l ease o n l i fe b y s cratch ing t he f o lds i n a ga in , a nd r ep lac ing t he f ac ial f eatures w i th n ew p ieces o f metal . Th is i dea i s r ein forced b y t he f ac t t hat c ert a in p arts, e spec ial ly t he h a ir a nd h eadress,have b een f ar more c arefu l ly made t han t he r es t o f t he f i gure. There i s af i gure i n L ondon f ro m L ocr i ( J an tzen 1 937 Tafel 1 , N o. 2 ) whose d ress a nd p ose i s s im i lar t o N o. 9 a nd w h ich h as t he s a me s trangely s hapeless l e f t a r m. There a re t wo more f i gures i n Mun ich ( Jan tzen 1 937 T afel 1 8 , N os. 7 1-73 ) a nd L ondon ( J an tzen 1 937 T afel 1 9 , N os. 7 5-77 ) w h ich a re o f p art icu lar i n terest i n c onnec t ion w i th N o. 9 .

The a n i mals o n t he s hou lders o f

N o. 9 must h ave b een much t he s a me a s t he o nes s hown h ere, j udg ing f ro m what r e ma ins. There i s a nother m irror i n L en ingrad f ro m ma in land G reece ( Charbonneaux 1 958 X IV

1 ) w h ich i s s im ilar i n d ress a l though t he p osi t ion o f

t he a r ms i s s l ight ly d i f feren t. N one o f t hese p ieces a re o f s uch p oor q ual ity a s N o. 9 ; a l l o f t he m h ave t he ir h a ir b eh ind t he ir s hou lders w i th n o p la its a t t he f ron t. Wh i le t h is makes t he m d i f feren t t o a nd p erhaps l a ter t han N o. 9 , i td oes make t he m s im ilar t o N o. 1 0 , a s t hey a l l a re i n d ress a nd p osture. The o vera l l e f fect o f N o . 1 0 i s d ecora t ive r a ther t han r ea list ic, a c o mp le te c on trast t o l a ter f i gures s uch a s N o . 1 2 . I ft h is f i gure b e longs t o t he s ix th c ent ury, a s i t s s ty le o f d ress s uggests, t hen i ti s c er tain ly more a dvanced t han t he ma le f igures i n t h is g roup f ro m t he s ame p er iod . O n t he o ther h and i t may b e o f ah igher s tandard t han w as u sua l . A l though t he f i gure i s al i t t le l i fe less, t he p ropor t ions a re g ood a nd t he workmanship i s e xcep t iona l . The d rapery i s g ood a nd v ery d e tai led a nd whi le i ti sn o t v ery n a tura l, i t makes u p f or t his w i th i t s c lear , c r isp f o lds a nd g enera l n eatness. T he l ef t h and which g rasps t he s k ir t o f t he c h i ton , p u l ls t he ma ter ia l u p i n t h is d irect ion , s o t ha t t he f o lds r un d iagona l ly a cross t he f ron t o f t he l egs, i nstead o f a t r igh t a ng les t o t he m, t hus a void ing wha t wou ld h ave b een a c lumsy c on trast .

A l though

t he d rapery i s f orma lised a nd r a ther s t i f f , i td oes r eta in a c er ta in r ea lis m , t hough p erhaps i ti s made o f v ery t h ick c loth . B y c on trast t he t op o f t he c h i ton s ee ms much t h inner , a nd i s c overed w i th t iny , c arefu l ly c arved p lea ts.

The

h i ma tion h angs r a ther s t i ff ly , a nd t he t wo f o lds o n t he r igh t s hou lder l ook a l i t t le l i ke a rmour p la tes. T hose p ar ts o f t he g armen ts wh ich a re l e f t p lain p rov ide a v ery e f fect ive c on trast t o t he f o lds, a nd t he p lea ts o n t he c hi ton make at h ird t ype o f s ur face .

The b ack o f t he f igure i s c o mp le te ly p lain w i th n o f o lds

a t a l l , b u t t here i s s o me move men t , i n t he way t he s k ir t i s p u l led t i gh t a cross t he b ack o f t he l egs, c lear ly r evea l ing t heir o u t line . The h air , wh ich f a lls a l most t o t he wa ist , i s c arved i n s o me d eta i l a nd c on trasts t hereby w i th t he r est o f t he r ear v iew .

The p ropor t ions a re g ood o n t he who le, a l though t he

l e f t a rm s ee ms a l i t t le t oo s hor t . The f ee t a re n ot mode l led i n a s much d e ta i l a s t he h ands, t hough e ven t hese a re v ague , a nd i ti s n o t c lear whe ther t he f i gure i s mean t t o b e wear ing s hoes.

Nor i s i tp ossib le t o s ay w i th a ny c er ta in ty wha t

1 8

s he i s h o ld ing i n h er r igh t h and , t hough i t may b e a n a t tr ibu te o f s o me s or t . T he p osture i s v ery u pr igh t a nd p osed a nd t he f i gure w i l l o r ig ina l ly h ave s tood o n as tand .

The g enera l e f fect i s d ecora t ive , e legan t a nd c o mposed .

On t he who le No . 1 0 i s a we l l-execu ted p iece , a nd t he c o mposi t ion l i ves u p t o t he workmansh ip . T he s t i f fness o f t he p osture a nd d rapery c an b e a t tr ibut ed t o c urren t s ty le , s i mi lar ly t he d ress a nd h a irsty le . I th as b een s een t ha t t here a re a n u mber o ff e ma le f i gur ines a nd mirror-bearers wh ich a re c o mpara b le i n d ress a nd p osture t o N o . 1 0 , a nd y e t f ew o f t hem h ave r eached t his u nusua l ly h igh s tandard o f workmanship . No . 1 i s r a ther r ough ly made , b u t u n like N o . 9i s d oes h ave a c er ta in c harm .

T his f igure wears t he c h i ton a nd h i ma t ion l i ke N os. 9 a nd 1 0 , b u t t he

p osture i s l ess s t i f f a nd f orma l . The d rapery i s n o t we l l mode lled a nd t he f o lds a re i ncl ined t o b e l i fe less a nd u nconv incing .

Ye t t he a r tist h as o bv iously t aken a g ood d ea l o f t roub le

o ver t h is p eace a nd h as p u t i ncised d ecora t ion , a lbei t r a ther r ough ly , a l l o ver t he f ron t o f t he g armen ts. l ef tp la in .

A s i s u sual w i th t hese p ieces, t he b ack h as b een

I n t his c ase, h owever , t he s k ir t h as b een p u lled r igh t a cross t he

b ack , c oncea l ing r a ther t han r evea l ing t he s hape o f t he l egs.

The p ropor t ions

a re f air ly g ood , b u t t here a re o ne o r t wo d iscrepancies ; t he f ee t a re t oo l arge a nd a re p laced a t a n a ng le wh ich i sn ot q ui te r ea list ic ; t he l e f t ar m i s t oo s hor t a nd t he h and s l igh t ly t oo b ig , b u t u n like No . 9i tr ea l ly d oes s eem t o b e p u l l ing t he g armen t u p a nd c ausing t he f o lds.

I n a dd i t ion , t here i s s o me d ist inction

made b e tween t he c h i ton a nd t he h i ma tion a t t he b ack , wh ich i s n ot t he c ase w i th e i ther N o . 1 0 o r No . 9where t he t wo g armen ts j ust b lend t oge ther . The f ac ia l f eatures a re t oo b lurred t o b e r eadi ly d ist inguishab le , b u t t his i sd ue a s much t o t he s ta te o f p reserva t ion a s t o t he q ua li ty o f t he work mans h ip .

The s hape o f t he h ead i s q ui te g ood , b u t t he n eck i s al i t t le t oo t hick ,

which may b e , c o mb ined w i th t he s ize o f t he f ee t a nd h ands, a s ign o f t he p rov incia li ty o f t he f igure . The e ye s ocke ts a re emp ty, s o t hey were p resu mab ly i n laid .

This i s a lso t he c ase w i th t he c en tre o f t he v o lu te , t hough t his may

h ave b een u sed t o a t tach s o me s ubsid iary o b ject s uch a s as cen t b o t t le ( see L a mb 1 929 P la te 1 , 2 (c) a l though o n af igure wh ich i so therwise r e la t ive ly u nc o mp lica ted , i ti s more l i ke ly t ha t i t was l ef t f or i n lay , o r n ever f i l led a t a l l . Wh i le i th as b een n o ted i n c onnect ion w i th Nos. 9 a nd 1 0 t ha t t h is s ty le o f d ress i s c o m mon e nough , y e t t he f igure f ro m L ocr i i n L ondon ( Jan tzen 1 937 T afe l 1 , No . 2 ) h as t he s ame d esign o f i ncised c rosses o n t he d ress a s t ha t o n t he g armen ts o f N o . 1 1 . No . 1 2 wears a p ep los a nd s tands w i th a q uie t a ir o f c o mposure , s edafe , , b u t n o t s t if f .

The h ead i s s e t d e l ica te ly o n t he n eck , s l igh t ly t urned t o t he

r igh t , a dd ing gr acefu l move men t t o t he p iece . The d rapery i s a lso v ery e f fect ive a nd o bviously we l l u nderstood .

I tf a lls

i n h eavy , c arefu l ly c arved f o lds d own e i ther s ide o f t he f igure , l eav ing t he c en tra l p or t ion p la in p erhaps a s ad e l ibera te c on trast .

The h ang a nd f o lds o f

t he d rapery a re v ery r ea list ic, a nd t he p u l l f ro m t he r igh t h and s uccessfu l ly p reven ts a ny mono tony , b y p rovid ing a r e lief f ro m t he r a ther c o lumnar f o lds c over ing t he l ef t l eg .

Nor d o t he d e tai ls l e t t he r est o f t he f igure d own .

The

h ands a nd a r ms a re we l l-shaped a nd r ea l ist ic a nd t he h a ir h as b een c are ful ly mode l led . 1 9

The s ta te o f p reserva t ion h as l ef t t he f ac ia l f ea tures r a ther b lurred , b u t t he g ood b one s tructure i s s ti l l d iscern ib le .

There a re many f igures wh ich

a re c o mparable i n s ty le o f d ress t o No . 1 2 , ( e .g . J an tzen 1 937 , Ta fe l 2 5, Nos. 1 03 a nd 1 05/6 ;

R ich ter 1 959 3 14 , 3 15, 2 82 ) , b u t v ery f ew h ave t he g race a nd

c harm o f t his f igure . I n a ny a ssess men t o f t he c hrono logy o f d raped f igures, t he s ty le o f d ress a nd t rea t men t o f d rapery p rovide i mpor tan t c r i ter ia i n c o mbina t ion w i th t he h airsty le a nd t reatmen t o f t he f ace .

S ince a l l f our o f t he f e ma le f i gures t o b e

c onsidered h ere a re d raped , t hey w i l l b e c onsidered t oge ther . Most o f t he f e ma le mirror b earers o f t he Archaic p er iod wear t he c hi ton a nd t ransverse h i ma tion , e specia l ly t hose f ro m S ou th I t a ly a nd S ici ly .

There

i s , h owever , t he o ccasiona l e xa mp le wear ing n o th ing b y j ewe l lery , e .g . R ich ter P l . 3 04 .

I n t erra-co t tas, a ccording t o H iggins ( P . 5 3/54) f or most o f t he

s ix th c en tury , s tand ing f e ma le f igures wear t he p ep los a nd t he p o los ;

t owards

t he e nd o f t he s ix th c en tury e astern Greek i n f luence b r ings t he c h i ton a nd t ransv erse h i ma t ion t o t he West .

H e a lso s ays ( p . 8 8 ) t ha t s tand ing wo men i n c h i ton

a nd h ima t ion were f air ly c o m mon i n L ocr i i n t he f irst h a l f o f t he f i f th c en tury , whi le t he p ep los o ccurs r are ly , i fe ver , i n t erra-cot tas o f t his p er iod , a ccordi ng t o h is d a tes.

A s ag enera l r u le i n Greek s cu lpture t he p opu lar i ty o f t he

p ep los s ee ms t o c o incide w i th t he b eg inn ing o f t he S evere s ty le .

I n ma jor works

o f s cu lp ture i n Magna Graec ia , when t he p ep los o ccurs, i t may d o s o i n c onj unc t ion w i th t he c h i ton a nd h i ma tion a s s een i n t he me topes f ro m T e mp le E a t M inus, wh ich i s p ost 4 80 B .C.

I n v ase p a in t ing t oo , t he c h i ton a nd h i ma-

t i on was s o me t i mes r eta ined p ossib ly f or i t s more d ecora t ive p roper t ies .

S uch

Archaic t rai ts may s o me ti mes b e u sed i n t he S evere p er iod a s a mark o f a d e i ty f ro m a s ense o f r e lig ious c onserva tis m . Dur ing t he Archaic a nd S evere p er iods t here s ee m t o h ave b een t hree ma in t ypes o f h a irsty le f or f e ma le f igures .

I n t he f u l l a rchaic p er iod t he h a ir i s worn

l ong d own t he b ack a nd u nna tura l ly s tra igh t a cross t he f orehead , of ten w i th a h eadress a nd w i th p airs o f t h in b raids o r p la i ts h ang ing d own t he f ron t o f t he b ody .

I n t he f u l l S evere p er iod , most c o m mon ly t he h a ir i s t ied u p i n an ea t

c h ignon a t t he b ack a nd p ar ted i n t he c en tre a t t he f ron t i n a more n atura listic way .

S o mewhere b etween t he t wo , p robab ly b e long ing t o al a te Archa ic a nd

e ar ly S evere t ransi t ion p er iod i s as ty le i n wh ich t he h air i s worn l ong b u t b eh ind t he s hou lders a nd w i thou t t he b raids a s i n t he "Ange l i tos K ore"

( Ridgeway

F ig . 3 9 ) . O f t he f our f e ma le mirror b earers i n t his g roup , No . 9 wears t he c hi ton a nd t ransverse h i ma t ion w i th t he h air i n t he f u l l Archaic s ty le a s d escr ibed a bove .

Desp i te t he e x tre me ly p oor q ua li ty o f t he mode ll ing , t hese c r i ter ia ,

a t l east , p u t t his f igure i n to t he Archaic p er iod .

The a t tach men ts o n h er

s hou lders must b e t he r e mains o f t he f ee t o f t wo s ubsidiary f igures s uch a s s ph inxes o r g ryphons, a nd o n t hese g rounds s he may b e c o mpared w i th a mirror b earer f ro m t he ma in land ( Rich ter P l . 3 05) .

This l a t ter f i gure wears

t he s a me d ress a nd s i mi lar h airsty le a nd R ich ter d a tes i t t o c . 5 50-525 B .C . I n l a ter e xa mp les ( Rich ter P ls . 3 14, 3 15) t he s ubsid iary f igures t end t o b e e ro tes r a ther t han s phinxes o r g ryphons a nd a re n o t a ctua l ly a t tached t o t he main f i gure .

The p oor q ua li ty o f t his f i gure may b e a t tr ibu ted t o p rovincia li ty which

makes a ny a t te mp t a t p recise d a t ing d i f f icu l t, b u t i tp robba ly b e longs t o t he l ast q uarter o f t he s ix th c en tury . 2 0

The d a t ing o f N o . 1 0 h as d if feren t p rob le ms, t he c hie f o ne o f t hese b e ing t ha t t he f igure h as n o h ead .

I tc an s ti l l b e s een , h owever , t ha t t he d ress i s

t he c h iton a nd t ransverse h i ma t ion a nd t he h a ir was worn h ang ing l oose a nd w i thou t t he p lai ts a t t he f ron t .

Th is h airsty le c an b e s een i n t he metopes f ro m

t he H eraion a t t he mou th o f t he S e le ( Lang lo tz a nd H ir mer P ls. 3 0 a nd 3 1) o f c . 5 00 B .C. a nd i t may b e t ha t No . 1 0 wore a s i mi lar h eadress.

The e xcep t iona l ly

h igh q ua li ty o f t h is f i gure makes i td i f f icu l t t o f ind p ara l le ls a nd Orsi t se xcavat i on r epor t ( N .D .S . 1 913 S upp l . p . 5 1) s ays o n ly t ha t i t was f ound among "s pora d ic ma ter ia l" a nd c anno t t here fore b e d a ted b y f e l low g rave g oods.

He s ee ms

c er ta in t ha t t his f igure was a mirror b earer , t hough i t migh t b e h ard t o p rove, e specia l ly a s i th as n o a t tach men ts r e main ing , s uch a s t he s uppor t f or a d isc o r t races o f s ubsidiary f igures. The s ti f f , f orma l p osture a nd t he d ress o f t his f igure a re g enera l ly Archa ic b u t t he h airsty le wou ld p lace i tt owards t he e nd o f t his p er iod .

S ince i td oes

n o t wear t he p ep los, h owever , i ti s u n like ly t o b e a s l a te a s t he Ange li tos K ore , wh ich h as t he s a me h a irsty le .

The h igh t echn ica l q ua li ty o f t he mode l l ing a nd

c o mposi t ion w ou ld p lace i ta round t he b eg inn ing o f t he f i f th c entury , when L ocr ian workshops were s tar t ing t o p roduce t heir b est p ieces. A lthough No . 1 1 was f ound i n at o mb , Orsi 's r epor t ( N .D .S . 1 917 p . 1 41) g ives n o i nd ica t ion o f t he d a te .

This f igure wears t he Archaic c hi ton a nd h ima-

t i on b u t i n t his c ase t he h a irsty le i s t he c hignon t ype w i th a c en tre p art ing a t t he f ron t .

R idgeway p oin ts o u t ( p . 1 2 )t ha t t here a re s igns o f t he S evere s ty le

b eg inn ing a s e ar ly a s 5 00 B .C. a nd i t may b e t ha t t his f igure b e longs t o t h is p er iod .

D espi te t he A rchaic d ress, a c er tain s i mp lici ty o f f or m i s b eginn ing t o

t ake o ver h ere a nd t he s p ir i t o f t he p iece i s marg ina l ly more r e laxed .

The f ace

h as b een c onsiderab ly marred b y c orrosion wh ich h as made i th ard t o j udge a nd t he who le f igure i s p rov incia l a nd mediocre , y e t i td oes h ave a c er ta in c har m . I tp robab ly b e longs t o t he e ar ly f if th c en tury when t he S evere s ty le was a bou t t o b eg in .

There i s ap ossibi li ty ,however , t ha t i t may b e s o me t en o r more y ears

l a ter .

The c o mbina t ion o f c hi ton a nd c h ignon c an b e s een a ga in i n aL ocr ian

r e lie f ( H igg ins P l . 3 8d ) o f 4 80-460 B .C. d ep ict ing Persephone , a l though t he h i ma t ion i s n o t t ransverse .

I ft he t or toi se o n wh ich t h is mirror b earer s tands,

i s , i n f act , mean t t o i ndica te t ha t s he r epresen ts Aphrodi te , t hen i t may b e t ha t i n t his c ase , a nd i n t ha t o f t he P ersephone , r e lig ious c onserva t is m h as d icta ted t he s ty le o f d ress. The f ina l f igure i n t his g roup , No . 1 2 , wears a p ep los w i th a c h ignon h airs ty le a nd t here i s n ei ther p rovincia li ty n or d e formi ty t o c on fuse t he i ssue h ere . I n t he e xcava tion r epor t ( N .D .S. 1 912 p . 6 ) Orsi s ays t ha t t h .e f igure i s "p ura Q ua t trocen to" . S ince h e d oes n o t d escr ibe a ny o ther means f or d a ting t he t o mb , i ts ee ms t ha t h e may h ave r eached t his c onc lusion f ro m p ure ly s ty list ic d a ta . L ang lo tz a nd H irmer g ive t he f i gure a d a te o f c . 4 60 B . C. a nd c o mpare i tt o a s ta tue t te o f A thena i n N ap les

( Lang lotz a nd H irmer P l . 9 2 ) , b u t t he s imi lar i t ies

b e tween t he t wo s ee m t o b e n o more t han s uperf icia l .

I ti s t rue t ha t b o th f igures

wear t he p ep los a nd t ha t t he h a ir-sty les a re s i mi lar , b u t t he p osi tions o f t he a rms a re d i f feren t a nd , p erhaps more i mpor tan t , N o . 1 2 h as a l ess r e laxed p osi t ion . C lear ly t h is f igure b e longs t o t he p er iod b e tween 4 75 a nd 4 50 B .C. when t he s evere s ty le was f u l ly d eve loped .

T nng lo tz a nd H irmer ( p . 2 77 ) c o mpare 2 1

t he h ead t o e astern t ypes o f c . 4 60 B .C .

T he s trong f ace , w i th t he s l igh t ly

h eavy j aw a nd t he t rea t men t a nd mode l l ing o f t he f ace a s a who le , a re r emin isc en t o ft he Ar te mis i nt he metope f ro m Te mp le E a t S e l inus ( Tang lotz a nd H irmer P ls. 1 02 a nd 1 03 ) o f4 70-450 B .C. F ur ther s uppor t f or a d ate o f 4 60 B .C. f or t h is f i gure migh t b e g a ined b y ac o mparison w i th t he ma le f igure No . 6( P la tes 1 7-21) .

Whe ther o rn o t 4 60 B .C. i s ac orrect e st ima te o f t he d a te

o ft h is l a t ter p iece , t here a re c onsiderable s im i lar i t ies b e tween t he t wo wh ich s hou ld n ot b e i gnored . T he s e t o f t he h ead a nd s hou lders o f N o . 1 2 , t he s hapes o ft he f ace , a rms a nd h ead , a nd t he who le s p ir i t i s t he s ame . The t rea tmen t o f d e tai ls s uch a s t he h ands a nd f ee t make i tp ossib le t ha t t hese t wo f igures were n ot o n ly o f t he s a me d a te b u t a ctua l ly b y t he s ame h and .

T he move men t

which c haracter ises t he ma le f igures o f t his p er iod i s a lways l ess i n e vidence o n ad raped f igure s ince i ti s s o s l igh t a nd i ti sb are ly d iscern ib le i n No . 1 2 . The s uppor t ing l eg i s s t i l l s l igh t ly c o lu mnar l i ke t he Ange li tos A thena ( R idgeway F ig . 3 9) y e t t here i s more move men t i n o ther ways, a nd t he more s ub t le t rea t men t o ft he d rapery a s we l l a s t he h a irsty le wou ld make i tl a ter .

I ts eems

t o b e l a ter t oo , t han t he "Hestia G iust in ian i" ( Ridgeway F ig . 6 7 ) wh ich R idgeway d a tes t o c . 4 70 B .C. T he f o lds o f t he d rapery a re more n a tura list ic i n No . 1 2 a nd t he who le c oncep t ion i s l ess b locklike . Un l ike l a ter k orai , h owe ver , t he f ree l eg h as n o t y e t b eg in t o b reak u p t he l ine o f t he s k irt t o a ny g rea t e x ten t wh ich c on f ines t he p iece t o b e ing n o l a ter t han c . 4 60 B .C.

I ti s

i n terest ing t o n o te t ha t i n t his v ersion o f t he c h ignon h a irsty le, t he h air s eems t o b e c on f ined b y ap iece o f ma ter ia l , p erhaps a s car f o f s o me k ind .

This c an

b e s een i n s evera l f e ma le f i gures, e .g . t wo L ocr ian r e l iefs ( Tang lotz a nd f irmer P ls. 7 1 a nd 7 5) a nd i n t he s ea ted g oddess f ro m T aren tu m ( Lang lotz a nd f irmer P ls. 5 0 a nd 5 1) . There i s a nother a spec t o f t he mirror b earers i n Group A , wh ich may b e r e la ted t o d a t ing .

Th is i st he d if feren t s hapes o f t he a t tach men ts o n t he h eads

o ft he f igures which h o ld t he d iscs i n p lace . O f t hose mirrors whose o r ig ina l a t tach men ts r e ma in , t he Archaic p ieces N os. 1 , 2a nd 9 h ave p a lmet tes, a s d oes t he n ude f e ma le i n L amb ( P la te XXV I Ia) . d esign o n No . 1 3 h as a p a l met te .

I n a ddi t ion , t he Archaic h arpy

I ti s t herefore r easonab le t o a ssu me t ha t

f or t he Archaic p er iod a t l east , t his t ype o f a t tach men t was p opu lar a nd t ha t af igure s uch a s N o. 1 0 , whose h ead i s missing , may o r ig ina l ly h ave h ad a p a l met te t o s ecure t he d isc . N os. 7a nd 8 , which a re f i f th c en tury i n d a te , h ave a n i vy l eaf-shaped a ttach men t . This t ype o f a t tachmen t i s p reva len t a lso i n Group C , a nd o ccurs a gain o n N o . 1 4 .

N o . 6 , h owever , h as a n a rrow-

s haped a t tach men t a nd N o . 1 2 , whose d isc i s N o . 3 7 , h as a n i vy l eaf . N os. 4 a nd 1 1, wh ich b e long t o at ransi t ion p eriod a round t he e ar ly f if th c entury , h ave a t tach men ts which a re n e i ther t ru ly p a l met te n or i vy l eaf .

I t wou ld s eem,

t herefore , t ha t ap a l me t te a t tach men t was p opu lar i n t he s ix th c en tury, whi le a n i vy l eaf was f avoured i n t he t ransi tion p er iod a nd i n to t he f i f th c en tury a nd l a ter , a s s een i n N o . 1 5. I ti s o f ten a ssu med , a t l east i n t he c ase o f ma in land mirror b earers, t ha t t he f i gure must b e i n tended t o r epresen t ap ar t icular my tho logica l c haracter . Whi le t h is may b e t rue i n s o me c ases, i ti s n o t n ecessar i ly t rue f or o thers, e specia l ly t he S ou th I t a l ian p ieces. Any a t tr ibu tes wh ich may h ave e xisted h ave e i ther v anished a l toge ther o r b eco me i nd ist inguishab le , a nd t here i s n o p osi tive e vidence i n f avour o f t he i n ten tion t o r epresen t ap ar t icu lar d ei ty .

2 2

T he most o bvious e xamp le i s where a f i gure i s s tand ing o n at or toise .

When

t he f igure i s f e ma le , i t migh t b e a ssu med t ha t s he i s Aphrodi te , s ince t his c rea ture i s s acred t o h er .

Ye t t here a re a lso i nstances o f ma le f i gures

s tand ing o n t or toises, ( Jan tzen 1 937 Ta fe l 3 1, N o . 1 28 ; Charbonneaux ) 0 • 217; Note 94. Orsi, P., 1911, p. 23, Fig. 19 right below. Pfuhl, E., 1930, p. 523/4, Ill. 4 right below.

30

2 0 .

Mirror w i th d ecora ted t ang . R egg io Museum .

N o . 4 126.

G ood p reserva t ion .

D isc d ia me ter :

1 6.4 cm

L eng th o f t ang :

D isc t h ickness :

0 .5 cm

L oop :

P la tes 5 2 , 5 3 . 1 0 .5 cm

3 .5 x 2 .5 cm

The b as ic f or m o f t h is mirror i s t he s a me a s t ha t o f No . 1 9 , b u t o ne o f t he l ower s cro l ls h as b een b roken o f f a nd t he d isc i s c racked . I n a dd it ion , t here i s n o l oop o n t he t op .

The d ecora t ion i s l arger i n p ropor t ion

t o t he s ize o f t he d isc a nd t he ma in s cro l ls a re more e labora te. t ang i s w ider a nd more s quared . s l igh t ly l ower r e l ie f .

T he

A lso , t he d ecora t ion i s e xecu ted i n

The d isc a t tach men t i s i n t he s hape o f a n i vy

l ea f . No r e ferences t raceab le . 2 1 .

Mirror w i th d ecora ted t ang . R egg io Museu m .

N o . 4 426.

G ood p reserva t ion .

D isc d ia meter :

1 7.8 cm

L eng th o f t ang :

D isc t h ickness :

0 .8 cm

L oop :

P la tes 5 4 , 5 5 . 1 5 .4 cm

4 .5 x 3 .0 cm

I n t he e xa mp le a ga in , t he b as ic s hape i s t he s a me a s N o . 2 0 , b u t t he d ecora t ion i s s l igh t ly w ider a nd more s pread o u t . b roken a cross t he midd le .

A lso i th as b een

The r e l ie f i s s l igh t ly h igher a nd t here a re

r a ised d o ts i n t he c en tres o f t he ma in s cro l ls .

The d isc a t tach men t

i n t h is c ase , i s i n t he s hape o f a sma l l p a l me t te a nd d oub le v o lu te , t he l a t ter b e ing i nc ised .

The t ang i s l ong a nd t h in .

d e F rancisc is , A ., 1 958 ( Archaeo logy 1 1) p . 2 10 l e f t b e low . Ober länder , P ., 1 967 , p . 9 6 ; p . 1 76 ; 2 2 .

p . 2 17 ;

p l 5 7;

p .98 ;

p . 1 01f f ,

p . 1 11;

p . 1 62 ;

N o te 9 4 .

Mirror w i th d ecora ted t ang L ocr i An t iquar iu m . N o . 6 88 . D isc d ia meter : 1 6 .7 cm D isc t h ickness :

P oor p reserva t ion . P la tes 5 6,57 . L eng th o f t ang : 1 3 . 8 cm

0 .3 cm

This mirror h as t he s a me f or m a s N o . 2 0 , b u t t he l ower s cro l ls a re more s pread o u t a nd t he u pper o nes a re more t igh t ly c ur led . The r el i e f i s s o l ow a s t o b e a l mos t i nc ised .

F ro m t he h or izon ta l b ar wh ich

j oins t he v olu tes , h angs a sma l l i vy l ea f , s erv ing a s a n i n troduc t ion t o t he d ecora t ion . T he d isc h as b een b ad ly d a maged a nd h as n o l oop. Th is p iece i s k nown t o b e f ro m T o mb 2 41 i n t he L ocr i n ecropo l is a nd t he d a te g iven b y t he Museu m i s t he l as t q uar ter o f t he s ix th c en tury . N o r e ferences t raceab le . 2 3 .

Mirror d ecora t ion , d isc a nd t ang miss ing R egg io Museum .

N o . 7 377.

H e igh t o f d ecora t ion : Wid th o f d ecora t ion :

6 .0 cm

P oor p reserva t ion . T o ta l h e igh t :

8 .5 cm

3 1

P la te 5 9

1 0 .0 cm

Th is p iece mus t o r ig ina l ly h ave b een v ery s im i lar t o N o . 2 0 , b u t t he c en tra l p a l me t te i s miss ing a s we l l a s t he d isc a nd t ang .

T he h or izon ta l

b ar wh ich j o ins t he v o lu tes i s e labora ted w i th i nc ised l ines .

Th is p iece

i s k nown t o b e f ro m L ocr i Mane l la . N o r eference t raceab le . 2 4.

Mirror w i th d ecora ted t ang . L ocr i An t iquar iu m .

N o . 8 71.

D isc d ia me ter :

1 6.5 cm

D isc t h ickness :

0 .6 cm

P oor p reserva t ion . L eng th o f t ang :

Th is mirror i s o f as l igh t ly d i f feren t t ype .

P la tes 6 0 , 6 1

1 2 .4 cm

The f or m d i f fers f ro m t ha t

o f N o . 2 0 i n t ha t t he e x tra s cro l ls a re n o t t igh t ly c ur led b u t l e f t t o p rot rude o u twards.

The r e lief i s l ower a nd t he who le d ecora t ion i s

sma l ler a nd more d e lica te .

I n a l l o ther p ar t icu lars t his p iece i s t he

s a me a s No . 2 0 . No r eferences t raceab le . 2 5 .

Mirror w i th d ecora ted t ang . R egg io Museu m .

N o . 4 383 .

P oor p reserva t ion .

D isc d ia me ter :

1 6.4 cm

L eng th o f t ang :

D isc t h ickness :

0 .5 cm

L oop :

P la tes 6 2 , 6 3 1 0 .5 cm

3 .5 x 2 .5 cm

Th is e xa mp le i s v ery s im i lar t o N o . 2 4 .

The h or izon ta l b ar wh ich j o ins

t he v o lu tes i s d ecora ted w i th c r iss-cross i nc ised l ines .

The c en tra l

s ec t ion o f t he p a l me t te a l mos t c o mes t o ap oin t where i t mee ts t he c resc en t .

There i s a lso a l oop o n t he t op o f t he d isc .

N o r e ferences t raceab le . 2 6.

Mirror d ecora t ion , d isc a nd t ang m iss ing . R egg io Museum .

N o . 7 376 .

H e igh t o f d ecora t ion : 6 .0 cm Wid th o f d ecora t ion : 7 .5 cm

P oor p reserva t ion . T o ta l h e igh t :

P la te

5 8 .

1 0 .0 cm

Th is p iece mus t o r ig ina l ly h ave b een s im i lar t o N o . 2 5 , w i th t he s a me d ecora t ion o n t he h or izon ta l b ar wh ich j o ins t he v o lu tes .

I n t h is c ase ,

h owever , t he r e l ief i s s l igh t ly h igher . L ike N o . 2 3 t h is p iece l acks t he d isc a n f i l t he t ang , b u t t he c en tra l p a l me t te i s s t i l l i n p lace . T he r a ised d ots i n t he c en tres o f t he v o lu tes a re s im i lar t o t hose o f N o . 2 1 , b u t t hey h ave b een made b y p ush ing p lugs o f b ronze i n to h o les i n t he d es ign f ro m b eh ind . I n a dd i t ion , t here s ee ms t o h ave b een s o me a t te mp t t o i n troduce t he d ecora t ion w i th i nc ised l ines a t t he t op o f t he t ang . Th is p iece i s k nown t o h ave c o me , l ike N o . 2 3 , f ro m L ocr i Mane l la . N o r e ferences t raceable .

3 2

2 7.

Mirror w i th d ecora ted t ang . R egg io Museu m .

N o . 4 505 .

D isc d ia me ter :

1 6 .8 cm

D isc t h ickness :

1 .0 cm

G ood p reserva tion . L eng th o f t ang :

P la tes 6 4 , 6 5 9 .4 cm

Th is p iece i s s im i lar t o N o . 2 5 i n t ha t t he e x tra v o lu tes a re l e f t u nc ur led , t ha t t he d ecora t ion i s r a ther s p layed o u t , a nd t ha t t here i s a l oop o n t he t op o f t he d isc . t he v olu tes i s l e f t p la in .

I n t h is c ase t he h or izon ta l b ar wh ich j o ins

The r el ie f i s ag ood d ea l h igher a nd t he who le

p iece i s t h icker a nd l ess d e l ica te .

T he d isc h as , a t s o me t ime , b een

b roken i n to f ive p ieces , a nd t here h as b een s o me d a mage t o t he t ang ; i n a dd i t ion , b o th t he l ower s cro l ls a re miss ing .

The c rescen t h as b een

l e f t p la in a nd t he sma l l l eaves wh ich a re d irec t ly b e low i t , a re r a ther more s tubby t han s p iky.

The c en tra l p a l me t te i s t a l l , s o t ha t i th ard ly

n eeds e x tend ing t o r each t he c rescen t .

B e low t he u pper s cro l ls h ang

b unches o f t hree sma l l l eaves , i n p lace o f t he u sua l h a l f-pa l me t te . The t op o f t he t ang s we l ls o u t i n to a r ounded p la t for m o n wh ich t he d ecora t ion r es ts . No r e ferences t raceable . 2 8 .

Mirror w i th d ecora ted t ang R egg io Museu m .

N o . 4 470 .

D isc d ia me ter :

1 7.0 cm

D isc t h ickness :

1 .3 cm

G ood p reserva tion . L eng th o f t ang :

P la tes 6 6 , 6 7 1 1.0 cm

Th is mirror i sv ery s im i lar t o N o . 2 7 , b u t , i fa nyth ing , i ti s s l igh t ly h eav ier a nd t he r e l ie f s l igh t ly h igher .

I n t h is c ase , t here i s as or t o f

r ounded b ud i n p lace o f t he p la t for m a t t he t op o f t he t ang . h or izon ta l b ar j o in ing t he v o lu tes .

There i s n o

Under e ach o f t he u pper s cro l ls

h angs a h al f-pa l me t te i ns tead o f t hree sma l l l eaves , a s i s t rue o f N o . 2 7.

The c rescen t i s p la in a nd t he e nds o f i th ave b een j o ined t o t he t ops

o f t he v o lu tes i n a smoo th l ine . The o u ts ide s cro l ls h ave e x tra l i nes c arved d eep ly i n to t he m . The p a l me t te h as n o t b een e x tended , b u t a sma l l , p o in ted p iece h as b een a dded t o j o in i tt o t he c rescen t . i s n o l oop a t t he t op o f t he d isc .

There

N o r eferences t raceab le . 2 9 .

Mirror w i th d ecora ted t ang R egg io Museu m .

N o . 5 127.

G ood p reserva t ion .

D isc d ia meter :

1 4 .3 cm

L eng th o f t ang :

D isc t h ickness :

0 .3 cm

Loop :

P la tes 6 8 , 6 9 8 .5 cm

3 .0 x 2 .5 cm

Th is mirror i s l ike N o . 1 8 i n t ha t i th as a l oop o n t op a nd t ha t t he e x tra s crol ls o n t he u pper p ar ts o f t he v olu tes c ur l r igh t r ound , e l im ina t ing t he n eed f or h a l f-p lame t tes i n t h is s pace .

Ye t i ti s o f ad i f feren t t ype

i n t ha t t here a re n o e x tra s cro l ls a t a l l o n t he l ower p ar ts o f t he v olu tes . L ike N o . 2 8 , i th as n o h or izon ta l b ar j oin ing t he v o lu tes . i s d ecora ted b u t h as n o p oin ts a t t he e nds .

A t t he t op o f t he t ang , a

s em i—c ircu lar i nc ised l ine i n troduces t he d ecora t ion .

3 3

The c rescen t

I n t h is c ase , t he

r e l ie f i s f a ir ly h igh .

T here a re n o l eaves a t a l l b e tween t he t ops o f

t he v o lu tes a nd t he c rescen t . T he d isc a t tachmen t i s o n ly r ough ly i n t he s hape o f a n i vy l ea f . The f ron t o f t he d isc h as o n ly a s ing le r a ised l ine . N o r e ferences t raceab le . 3 0 .

Mirror w i th d ecora ted t ang . R egg io Museum . N o . 4 651. D isc d ia me ter : 1 5 .1 cm D isc t h ickness :

F a ir p reserva t ion . P la tes 7 0 , 7 1 L eng th o f t ang : 9 .7 cm

0 .5 cm

Th is m irror i s b as ica l ly v ery s im i lar t o N o . 2 9 w i th o n ly af ew sma l l d i f ferences . There i s n o l oop o n t he t op o f t he d isc , a nd t he c rescen t i n t h is c ase h as p oin ted e nds . T he v o lu tes a re j o ined b y t hree h or izont a l b ars a nd t he s cro l ls a re a l i t t le r ounder . I n a dd i t ion t he d isc h as a d oub le r a ised l ine . N o r e ferences t raceable . 3 1.

M irror w i th d ecora ted t ang R egg io Museu m .

N o . 4 629 .

D isc d ia me ter : 2 1.3 cm D isc t h ickness : 0 .9 cm

F a ir p reserva t ion . L eng th o f t ang :

P la te 7 2 1 6.2 cm

Th is mirror h as l i t t le i n c o mmon w i th t he r est o ft he g roup e xcep t t ha t t he d ecora t ion i s as tyl ized f l ora l d es ign , b ased o n t wo d oub le v o lu tes a nd a c en tra l p a l me t te. T he r e l ie f i s g enera l ly l ow , b u t t here i s a r a ised d o t i n t he c en tre o f e very s cro l l . T he b as ic d es ign h as b een g rea t ly e labora ted w i th s cro l ls , h a l f-pa l me t tes a nd c arved l i nes .

The

s p iky l eaves a t t he t op o f t he d es ign a nd t he d ecora ted c rescen t a re i n k eep ing w i th t he r es t o f t he g roup , b u t t he d isc h as many more r a ised l ines t han i s u sua l . The d isc i s v ery b ad ly c orroded a nd t here i s n o l oop o n t he t op o f i t .

The who le p iece i s u nusua l ly l arge .

T he d ecora t ion

c o mes s tra igh t o u t o f t he t ang w i th n o i n troduc t ion , a nd i s i n t he g enera l s hape o f al o tos f l ower , t hough i tb y n o means c on f ines i t sel f t o t h is . I ti s c o mposed , p r inc ipa l ly , o f t wo d oub le v olu tes a round a c en tra l p a lme t te , a nd i s e xecu ted i n l ow r e l ie f .

E ach o f t he d oub le v o lu tes h as

t wo s cro l ls a t t he t op , i ns tead o f o ne , a nd a n e x tra sma l l o ne a dded o n t o e ach . The l ower s cro l ls a re n o t j o ined i n t he c en tre a s i s u sua l , b u t e ach h as a n e x tra sma l l c ur l , l i ke t he u pper o nes . Wi th in t he f ra mework o f t he d oub le v o lu tes , t he p a lme t te r es ts o n y e t a no ther sma l ler d ouble v o lu te . Under e ach o f t he l ower p ar ts o f t he u pper s cro l ls h ang h a l f -pa l met tes , a nd t he s cro l ls a re s epara ted f ro m t hose a bove t he m b y sma l l p a l me t tes . A s piky l ea f p ro trudes f ro m t he t op o f t he d es ign o n e i ther s ide , a nd t he c rescen t , w i th i t s e gg a nd t ongue d ecora t ion , r es ts o n t hese . I n t he c en tre o f a l l t he v o lu tes , ah o le h as b een l e f t , a nd t hen f i l led w i th sma l l p lugs o f b ronze , wh ich c o me o u t a t t he f ron t a s r a ised d o ts . The d isc i s l arge a nd i s h e ld i n p lace b y ap oin ted a t tachmen t a t t he b ack . I ti s c oncave o n t he b ack a nd h as n o l oop . A t t he f ron t i th as ar a ised r im a nd a whole s er ies o f r a ised l i nes w i th in i t . 7 49 i n t he L ocr i n ecropo l is . 3 4

F ro m T o mb

Duca t i , P ., 1 921 , P la te 1 3 .

1 952 ,

P la te 1 41a . p . 2 3. p . 1 76 ;

P .

P .

9 , N ote 2 . 4 8 , F ig . 4 .

d e F ranc isc is , A ., 1 960 ,

J an tzen , U ., 1 937 , p . 6 8 , N o . 4 8 .

Ober länder , P ., 1 967 , p . 9 6; p . 2 47 ;

N o te 9 4 .

P . 2 5,

J acobs tha l , P ., 1 927, p . 1 31; p . 9 8 ;

P .

1 62 ;

Lar izza , P ., 1 930 ,

p . 1 01f ;

Ors i , P ., 1 913 , p . 3 0 ;

p . 1 11;

p . 1 62 ;

p . 3 1 , F ig . 3 5 .

I n N o . 1 8 t he c arving i s i nc l ined t o b e f la t a nd l i feless , b u t t he who le p iece i s v ery n ea t . b e h ard t o p rove .

I ti s p oss ib ly b y t he s a me h and a s N o . 2 2 , b u t t h is wou ld I n f ac t i t s ee ms u n l ike ly , o n t he g rounds t ha t e veryth ing

i n t h is e xa mple s ee ms more s o l id a nd l ess wavery a nd u ncer ta in . C o mpared t o N o . 2 8 t he d ecora t ion o n N o . 1 9 s ee ms r a ther l ong a nd n arrow a s we l l a s b e ing r a ther l arge i n c o mpar ison t o t he s ize o f t he d isc . a t t he t op i s r a ther t h in b u t i ti s s haped i ns tead o f f la t .

The r ing

The d es ign o f t he d e-

c ora t ion i s n ea t a nd c o mpac t a nd t he work mansh ip i s g ood .

The c en tra l p a l-

me t te , h owever , i s l ong a nd n arrow a nd a l i t t le u n t idy. N o . 2 0 i s al arge , f ine p iece wh ich s tands o u t among t he o thers f or i t s h igh q ua l i ty.

The workmansh ip i s v ery g ood a nd t he c arv ing c r isp a nd e ven ,

w i th s l igh t v ar ia t ions i n t he d ep th o f t he r e l ie f .

The d es ign i s al i t t le more

e labora te t han u sua l b u t i s we l l t hough t o u t a nd e f fec t ive . a re n ea t ly c ur led a nd n o t l e f t h ang ing .

The e x tra s cro l ls

The h a l f p a l met tes a t t he s ide b a lance

t he c en tra l p a l me t te e f fec t ive ly a s we l l a s f i l l ing wha t wou ld o therwise b e a n emp ty s pace .

The g enera l e f fect i s v ery g ood i n as o l id , h eavy s or t o f way .

N o . 2 1 i s n o t u n l ike N o . 1 9 b u t t he g enera l s hape i s s quarer . a t t he t op i s f la t a nd u nusua l ly l arge , e ven f or t h is s ize o f mirror .

The r ing The work-

mansh ip i s g ood , w i th c arv ing c lear a nd p rec ise a nd a v ery n ea t c en tra l p a lme t te .

The r a ised d o ts a re o n ly o n t he ma in v o lu tes , t hus a vo id ing t he s ense

o f muddle o f N o . 3 1.

T he f ac t t ha t t he e x tra s cro l ls a re made a l mos t f la t

d oes n o t r ea l ly d e tract f ro m t he e f fect iveness a nd g enera l s uccess o f t he p iece. The t ang i s u nusua lly l arge , b u t i t mus t h ave b een n ecessary t o k eep s uch a l arge mirror s tab le. The a dd i t ion o f a sma l l i vy l ea f t o t he b o t to m o f t he d ecora t ion o n N o . 2 2 e n livens wha t i s o therw ise a r a ther l i fe less d esign . The c en tra l p a l met te i s t a l l a nd wavery w i th e ach s ect ion o n ac lear ly s epara te s te m , a nd a c en tra l s egmen t i n t he s hape o f as pearhead .

The e x tra v o lu tes a re c ur led b u t t hey

h ave b een s wep t u pwards a nd o u twards s o t ha t t he e f fec t i s s t i l l u n t idy . The t wo ma in v o lu tes a re s t i f f a nd s tra igh t , w i thou t t he s l igh t c urve wh ich g ives t he o ther e xa mp les t he ir f l ora l e f fec t .

The impress ion o f l i fe lessness i s

r ein forced b y t he f la t a nd u n insp ired c arv ing . There i s e ven l ess o f N o . 2 3 l e f t t han o f N o . 2 6 , s ince t he who le o f t he c en tra l p a l me t te i s miss ing , b u t t he s ta te o f p reserva t ion i s b e t ter .

I ti s

c lear , h owever , t ha t i ti s s l igh t ly more e labora te t han u sua l w i th e x tra l ines c arved o n t he v o lu tes .

Wha t r e ma ins i s n ea t a nd we l l e xecu ted .

N o . 2 4 i s r a ther s im i lar t o N o . 2 5 , a nd wh i le i tc ou ld b e b y t he s a me h and , t h is wou ld b e d i f f icu l t t o p rove .

I th as t he s a me u ncur led , s l igh t ly

u n t idy l ook a bou t i t , b u t t he d ecora t ion i s s l igh t ly b igger f or t he s ize o f t he d isc a nd t he c en tre o f t he p a l me t te i s n o t p oin ted .

I ns tead i th as b een made

t a l ler s o t ha t i td oes n o t h ave t o b e e x tended t o r each t he c rescen ts.

3 5

There

i s a n a dd i t iona l d i f f icu l ty p resen ted b y t he s ta te o f p reserva t ion o f t h is e xa mp le , wh ich makes i td i f f icu l t t o d iscern t he q ua l i ty o f t he work mansh ip , a l though i t s ee ms t o b e f a ir ly h igh .

On t he who le t h is p iece d oes l ack t he n ea tness a nd

c o mpac tness o f ar ea l ly g ood f or ma l ised d es ign . The d es ign o f N o . 2 5 i s t h in , l igh t a nd s pread o u t .

The e x tra s cro l ls

wh ich h ave b een l e f t u ncur led , c rea te a s l igh t ly u n t idy e f fec t . d ecora t ion i s w ide a nd sma l l i n c o mpar ison t o t he d isc .

The who le

The d es ign i s n o t

t oo we l l t hough t o u t a nd t he p o in ted s egmen t a t t he midd le o f t he c en tra l p a lme t te s tr ikes a r a ther s trange n ote . r a ther t h in .

L ike t he d ecora t ion , t he r ing o n t op i s

H owever , t he work mansh ip i ff a ir ly g ood , i n s p i te o f t he im-

p ress ion c rea ted b y t he s ta te o f p reserva t ion . The s ta te o f p reserva t ion o f N o . 2 6 makes i tr a ther h ard t o j udge , b u t i t s ee ms t ha t t he work mansh ip was i n f act o f a n u nusua l ly h igh s tandard . The c en tra l p a l me t te i s e xcep t iona l ly n ea t a nd t he u ncur led s cro l ls d e trac t o n ly s l igh t ly f ro m t he g enera l e f fec t .

I ti s n o t c lear why t he r a ised d o ts were

made i n t h is way , p oss ib ly t hey were o n ly f i l led i n l a ter . The d ecora t ion o n N o . 2 7 i s s pread o u t b u t n o t t oo u n t idy.

The e x tra

s cro l ls a re n o t c ur led , b u t t hey d o n o t p ro trude s o f ar a nd t he who le t h ing i s t h icker a nd h eav ier t han u sua l s o t ha t t hey s ee m l ess s p iky .

T h is impress ion

i s r e in forced b y t he f ac t t ha t t he l eaves b e tween t he v o lu tes a nd t he c rescen t a re n ot s p iky e i ther , b u t r ounded .

The c en tra l p a l me t te h as c lear ly s epara ted

s egmen ts a nd , b e ing t a l ler , t here i s n o r ea l n eed t o e x tend t he c en tra l s egmen t , g iv ing i t more s y m me try .

The t ang h as b een w idened o u t a t t he t op , wh ich

p rov ides a n i n troduc t ion t o t he d ecora t ion .

Th is i s a much h eav ier p iece a l-

t oge ther , s o t ha t i ti s j us t a s e f fec t ive a s a more c o mpac t d es ign . w i th t h is , t he r ing a t t he t op i s t h icker t oo .

I n k eep ing

T he workmansh ip i s v ery g ood

a nd t he who le p iece i s n ea ter a nd more e f fec t ive t han N o . 2 5 . N o . 2 8 i s s im i lar t o N o . 2 7 a nd may b e b y t he s a me h and , a l though t here a re d i f ferences i n d es ign .

The g enera l s hape o f t he d ecora t ion i s t he s a me ,

t hough h ere i ti s s l igh t ly l arger .

There i s a n i n troduc t ion t o t he d ecora t ion ,

b u t h ere i th as b een f ur ther d eve loped t o l ook l i ke a p iece o f t he p lan t .

A lso ,

i n t h is c ase a sma l l p o in ted p iece h as b een a dded t o t he c en tra l s egmen t o f t he p a l me t te t o r each a s f ar a s t he c rescen t .

T he c rescen ts d i f fer , t oo , f or wh i le

n e i ther i s d ecora ted , t h is o ne h as n o p o in ts . a re v ery n ea t .

I nb o th c ases a l l t he p a l me t tes

There i s t he s a me c lear c arv ing a nd h igh s tandard o f work ,

b u t t h is p iece h as b een e labora ted f ur ther b y t he c arv ing o f d oub le l i nes a round t he u pper a nd l ower p ar ts , a nd t he d es ign h ere s ee ms a l mos t t o b e o n t wo l eve ls .

On t he who le t h is i s av ery e f fec t ive p iece , marred o n ly b y t he r a ther

c lumsy c rescen t wh ich may we l l h ave b een j us t a n e xper i men t , n o t ap er manen t i nnova t ion . On N o . 2 9 , t he c arv ing i s c lear a nd p rec ise a nd t he work mansh ip a s a who le i s v ery g ood .

The r ing a t t he t op i s r a ther t h in a nd t h is t ype o f d ecora-

t ion l ooks ab i t sma l l c o mpared t o t he d isc .

T he p a l me t te h ere i s s l igh t ly

r ounded , a nd i t s ee ms s im i lar e nough t o N o . 3 0 t o b e p erhaps b y t he s a me h and .

There a re d i f ferences i n d es ign , h owever , t he c rescen t o n t h is p iece

h as n o p o in ts , t he v olu tes a re n o t j o ined b y ah or izon ta l b ar , a nd t here i s a n i nc ised l ine t o s tar t t he d ecora tion a t t he t op o f t he t ang .

3 6

N o . 3 0 i s ad e lica te a nd a t tract ive p iece . i s h igh a nd t he c arving c risp .

The s tandard o f workmanship

The c en tra l p a lme t te i s s l igh t ly r ounded i n c on-

t rast t o t he f l a t ter d esign a round i t . t i on .

The d i sc i s al i t t le l arge f or t he d ecora-

The d ecora t ion o n N o . 3 1 d i f fers a g ood d ea l f ro m t he r est o f t he g roup a nd i s s o e labora te t ha t i th ard ly l ooks l i ke t he s ame b asic d esign a t a l l .

The

e f fect v erges o n d ecadence , a nd t his p iece may we l l b e l a ter i n d a te t han t he r est .

I ti s av ery l arge p iece a nd t here a re a who le s er ies o f c oncen tric r ings

o n t he d isc.

Th is i s a ppropr ia te e nough w i th t he more e labora te t ype o f t ang

d ecora t ion .

T he workmanship i s f a ir ly g ood , b u t t here a re s ome p ar ts wh ich

a re u neven .

The g enera l s hape o f t he d ecora t ion b ears l i t t le r esemb lance t o

t he l o tus f l ower d ue t o t he n u mberof e x tra s cro l ls a nd l eaves which h ave b een a dded .

Every s ing le s cro l l h as a r a ised d o t i n t he c en tre , which i ncreases t he

s l igh t i mpression o f mudd le . o thers. I I .

The who le d esign l acks t he c lean l i nes o f t he

HORIZONTA L DOUBLE VOLUTE

T he mirrors i n t his t ype, l i ke Group C , Type I , v ary o n ly i n q ua li ty a nd d e ta i ls. T hey were a l l made i n t wo p ieces a nd j o ined l a ter . 3 2 . M irror w i th d ecora ted t ang R egg io Museu m .

N o . 4 871.

Fa ir p reserva t ion .

P la te 7 3 .

D isc d iame ter :

1 6 .1 cm

Width o f v o lu te :

6 .0 cm

D isc t h ickness :

0 .9 cm

L eng th o f t ang :

8 .8 cm

L oop : 2 .2 x 2 .5 cm The d ecora tion t akes t he f orm o f ad ouble v o lu te , a t t he t op o f t he t ang , o n which t he mirror r ests. The d isc h as a p iece miss ing a bove t he t ang , a c rack n ear t he r im a nd i s g enera l ly r a ther b at tered . The t op o f t he t ang i s f l anked b y t wo s l igh t ly c ur ling l eaves wh ich c o me r ound t he o u tside o f t he v o lu tes, b y way o f a n i n troduct ion . T he d ecora t ion i s e xecu ted i n h igher r e lief t han i su sua l i n a n e xamp le o f t his t ype . The f l a t s pace b et ween t he t wo e nds o f t he v o lu te i s o ccup ied b y t wo sma l l p a lmet tes, o ne o n e ach s ide . T he v o lu te i t se lf i s o ut l ined b y ar aised e dge . A bove t he v o lute t here i s as p iky l ea f o n e ach s ide, a nd o n t hese r ests t he c rescen t , wh ich i s d ecora ted w i th a n e gg a nd t ongue d esign .

The d isc i s h e ld i n

p lace b y a n a t tachmen t o n t he b ack , r ough ly i n t he s hape o f a n i vy l eaf . I ti s c oncave o n t he b ack a nd h as a f l a t l oop o n t he t op , which i s a t tached t o t he d isc b y ac arved s cro l l . A t t he f ron t i th as a r aised r im , a nd a d ouble r aised l i ne w i th in i t . N o r eferences t raceable . 3 3.

Mirror w i th d ecora ted t ang Regg io Museu m .

N o . 4 590 .

D isc d iame ter :

1 6 .0 cm

D isc t hickness:

0 .7 cm

G ood p reserva t ion .

P la te 7 4

Wid th o f v o lu te : 4 .8 cm L eng th o f t ang :

6 .3 cm

This mirror i s v ery s i mi lar t o N o . 3 2 . The d isc a nd t he c rescen t , h owe ver , a re l e f t p la in a nd t he c rescen t i s r a ther sma l l . T he c en tre o f t he 3 7

v o lu te s ags a l i t t le , c ausing t he l eaves b e low i tt o d roop .

I nstead o f

s p iky l eaves a bove t he v o lu te t here a re b unches o f t hree sma l l , s tubby l eaves.

The t ang i s s hor t a nd may h ave b een b roken .

men t i s i n t he s hape o f a n i vy l eaf .

The d isc a t tach-

The r ing o n t he t op o f t he d isc h as b een

b een s l igh t ly d ecora ted b y r a ised s ect ions a t e i ther e nd a nd i n t he midd le . The r e lief o n t he d esign i s s l igh t ly l ower t han t ha t o f No . 3 2 . No r e ferences t raceab le . 3 4 .

Mirror w i th d ecora ted t ang Regg io Museu m .

No . 4 180 .

D isc d ia me ter :

1 8 .0 cm

D isc t h ickness :

1 .0 cm

Poor p reserva t ion .

P la te 7 5

Wid th o f v o lu te :

6 .3 cm

L eng th o f t ang :

6 .5 cm

This p iece i s t he s a me t ype a s No. 3 2 b ut h as c er ta in d if ferences.

The

c rescen t i s u ndecora ted a nd t here i s n o l oop o n t he t op o f t he d isc .

The

v o lu te i s c onvex , r a ther t han c oncave a nd i s o u t l ined b y ar a ised e dge . The sma l l b unches o f l eaves b e low i ta re o n e i ther s ide o f t he t op o f t he t ang , r a ther t han o n i t .

T he r e lief i s g enera l ly much l ower .

Be tween

t he v o lu te a nd t he c rescen t , t he sma l l l eaves a re s tubby r a ther t han s p iky . The d isc a t tach men t i s i n t he s hape o f a n i vy l eaf .

Th is p iece i s k nown

t o b e f ro m To mb 1 10 i n t he L ocr i n ecropo lis. De lbrueck , R ., 1 913 , p . 1 70, I ll. p . 9 , No te 1 . p . 1 02 ;

J an tzen , U ., 1 937 , p . 6 8 .

p . 1 03 ;

p . 1 09 ;

p . 1 11 ;

Orsi , P ., 1 911, p . 2 2 f f .; 3 5 .

2 3 L ef t a bove .

p . 1 12 ;

Duca t i , P ., 1 921,

O ber länder , P ., 1 967 , p . 1 07 ; p . 1 13f .;

p . 1 62 ;

p . 2 17 .

p . 2 3 F ig . 1 9 L ef t a bove .

Mirror w i th d ecora ted t ang L ocr i An t iquar iu m .

N o . 9 19 .

D isc d ia me ter :

1 6 .7 cm

D isc t h ickness :

0 .6 cm

Poor p reserva tion . L eng th o f t ang : L oop :

P la te 7 6 .

6 .5 cm

3 .1 x 3 .0 cm

This i s av ery p la in a nd s i mp le v ersion o f t he t ype . The v o lu te i s c o mp le te ly p la in a nd a l most f l a t . There a re n o l eaves b e low t he c en tre , j ust ap lain r ectangu lar s ect ion o n t op o f t he t ang .

The n arrow c rescen t i s

l ef t p la in a nd t here i s al oop o n t op o f t he r a ther b a t tered d isc .

Between

t he v o lu te a nd t he c rescen t t here i s a sma l l s tubby l ea f o n e i ther s ide . The d isc a t tach men t i s i n t he s hape o f a n i vy l ea f . The mirror i s k nown t o c o me f ro m To mb 1 73 i n t he L ocr i n ecropo lis a nd t he d a te i s g iven b y t he Museu m a s t he e nd o f t he f if th c en tury B .C. No r eferences t raceab le . 3 6.

Mirror w i th d ecora ted t ang L ocr i An t iquar iu m . D isc d ia me ter :

N o . 9 18 .

6 .5 cm

D isc t h ickness: 0 .7 cm

Poor p reserva t ion . L eng th o f t ang : L oop :

3 8

P la te 7 7 .

8 .9 cm

3 .3 x 3 .0 cm

Like No. 35 this piece is very plain. Also like No. 35 it has a loop on the top of the disc. The crescent in this case is decorated, and there is a small spiky leaf underneath it on each side. The volutes are so rounded as to be almost circular. The disc attachment is in the shape of an ivy­ leaf. No references traceable. 37. Mirror wi th decorated attachment Reggio Museum. No. 4272. Fair preservation. Plate 78. Width of volute: 5.8 cm Disc diameter: 16.O cm Disc thickness: 0.8 cm This mirror is similar to No. 35 in that it is completely plain, with no loop on the top of the disc and an undecorated crescent. The volute is slightly concave and above it are two small leaves. But this piece lacks the usual tang. Instead there are a kind of socket and small spike which were almost certainly intended to fit to the head of the figure. The disc attachment is in the shape of an ivy leaf. From Tomb 281 in the Locri necropolis. Maiuri, A., 1960, p. 131, Figure 39 Right. Orsi, P., 1912, p. 6, Fig­ ure 3; p. 7 Figure 4. 38. Mirror with decorated attachment Reggio Museum. No. 4475. Fair preservation. Plate 79. Disc diameter: 16.4 cm Disc thickness: 0. 7 cm This piece does not belong precisely to this group, or to any other. Since there is no tang, but just a hole where it should normally be, it seems likely, either that the tang was made separately or that the disc belonged to a figure like No. 37. The decoration is composed chiefly of four volutes and is executed in very high relief. The volutes (or tendrils) grow up out of three fat leaves, edged with incised lines, which curl backwards.. The first two tendrils are tightly curled in an outward direction, and the other two, which grow up from between them, are much more extendecl, with their ends curled inwards. Between the upper and lower tendrils on each side there hangs a bunch of leav-es.--There is another leafcu iled backwards, between the top two tendrils, and extending from their ends are small uncurled leaves reaching the rim of the disc, since there is no crescent at all. The disc is held in place by an attachment in the shape of an ivy leaf, again curled backwards. It is concave on the back and has no loop on top. There is a raised rim round the f ro nt, and there seems to have been some kind of line within it. From Tomb 612 in the Locri necropolis. de Franciscis, A., 1952, p. 48, Figure 4. Jacobsthal, p., 1927, p. 183; p. 193; Plate 141d. Jantzen, U., 1937, p. 68 2b No. 47. Oberl!nder P., 1967, p. 117; p. 119f.; p. 162; p. 217; Note 85. Orsi, p., 1 91; ' p. 11; p. 12, Figure 12. 39

No . 3 2 i sv ery s i mi lar t o No . 3 3 , b ut t he workmanship i s o f ah igher s tandard . T he c arv ing o n t his p iece i s v ery c lear a nd n ea t , a nd t here i s e nough s pace l e f t a round t he c en tra l b unches o f l eaves t o a l low t he m t o s how u p a nd t o p reven t t he m f ro m l ook ing c rowded .

T he r ing a t t he t op i s p la in

a nd f l a t . N o . 3 3 i s av ery p la in p iece b u t t he g roups o f l eaves b etween t he e nds o f t he v o lu tes a nd b e tween t he v o lutes a nd t he p la in , r a ther t h ick c rescen t , s erve t o r e lieve t he mono tony . These a re we l l d one a nd n ea t , a s i s t he r ing a t t he t op wh ich i s more e labora te t han u sua l . N o . 3 4 i s al arge a nd f air ly p la in p iece . B o th t he v o lu te a nd t he c rescen t a re o u t lined b y a sma l l r aised r i m which p roduces a n e f fect o f n ea tness a nd c lar i ty . The v o lu tes i n t he o ther e xa mp les o f t his g roup a re i ncl ined t o b e c oncave , s o t ha t t he e dge p rov ides a n o u t l ine , b u t i n t his c ase, t he v o lu te i s s l igh t ly c onvex a nd h as a l i t t le r im . The l eaves u nder t he v o lu tes a re v ery sma l l a nd n ea t a nd t he g enera l s tandard o f w orkmanship i s q ui te h igh . N o . 3 5 i s t he p la inest o f t he who le g roup a nd i ti sv ery p lain i ndeed a nd r a ther c lu msy . T he v o lu te i s h ard ly c arved a t a l l a nd i s a bou t a s s quare a s a n e ssen t ia l ly c urvi l inear s hape c an b e . Th is p iece c an o n ly b e s een a s f unct i ona l . No . 3 6 i s u nusua l i n t ha t t he e nds o f t he v o lu tes a re a l most c o mp le te c ircles. I ti s o therwise a p la in a nd r a ther u nexcep t iona l p iece . q u i te g ood a nd t he g enera l e f fect i s r easonab le .

The workmanship i s

N o . 3 7 d oes n o t r ea l ly b e long i n t his g roup , s ince i ta l most c er ta in ly b el ongs t o t he f e ma le f igure N o . 1 2 . A lthough t hese t wo a re n o t d isp layed t og e ther i n t he museu m , t he i l lustra t ions i n O rsi ,s e xcava t ion r epor t i ndica te t ha t t hey were a ctua l ly f ound t oge ther a s o ne mirror ( N .D .S. 1 912 S upp l . p . 6 F igure 3 a nd p . 7F igure 4 ) .

A s i ts tands, h owever , t his i s a mirror w i th a

h or izon ta l d ouble v o lu te a nd h as t herefore b een i nc luded h ere . I ti s av ery p lain v o lu te w i th n o a dd i t ions a t a l l a nd t he c rescen t i s p la in t oo ; t he work mansh ip i s f air ly g ood .

T he t ang i s s hor t , b u t i th as n o t b een

b roken a nd w i l l h ave f i t ted i n to t he h o le i n t he h ead o f t he f igure .

There i s a

h o l low a round t he t ang i n to wh ich t he h ead w i l l h ave f i t ted . N o . 3 8 d oes n o t r ea l ly s eem t o b e long t o a ny g roup e i ther , b u t t his g roup i s p robab ly t he n earest . moun ted a f igure .

I n f act , i ta l most c er ta in ly w i l l h ave o r ig ina l ly s ur-

This s upposi tion c an b e r ein forced b y t he e xistence o f a

h o le where t he t ang wou ld n or ma l ly b e , wh ich may we l l h ave f i t ted o ver a sma l l p ro tuberance o n t he f i gure ' sh ead . The d esign i s more o ne o f c ur ls t han o f v o lu tes a nd s pr ings f ro m t hree v ery p lu mp l eaves. T he workmanship i s g ood , b ut b eside t he o ther e xa mp les i ts eems d ecaden t a nd may b e long t o al a ter d a te . S o me o f t he mirrors i n Group C h ave l oops o n t he t ops o f t he d iscs f or s uspension , whi le o thers d o n o t . T here s eems t o b e n o p art icu lar s ign i f icance i n t h is f ac t . The l oops t he mse lves a re a l l v ery much a like a nd a re h e ld i n p lace b y as cro l l .

4 0

Al o f t hese p ieces, e xcep t f or No. 3 8 , h ave a c rescen t-shaped a t tach men t a t t he f ron t , o n wh ich t he d isc r ests. S o me a re p la in a nd s o me a re d ecora ted , a nd a ga in , t he d if ferences s ee m t o b e i ndiscr imina te .

A l l t hose wh ich a re

d ecora ted b ear t he s a me e gg a nd t ongue d esign . This a lso a pp lies t o Groups . Aa nd B , a nd t he s a me d esign c an s o me t i mes b e f ound r ound t he e dges o f t he d iscs. Apar t f ro m t he t wo mirrors b e long ing t o Type I , a l l t he d iscs i n Group C a re p la in , a nd i n a l l c ases t he b ack o f t he d ecora tion i s l e f t p la in , p resu mab ly b ecause t hey were mean t t o b e l a id d own when n o t i n u se , a nd t he b ack was n ot r ea l ly i mpor tan t . The o r ig in o f t he t ype o f f l ora l d esign u sed i n Type I i s a l most c er ta in ly o r ien ta l .

I tc an b e s een i n v ar ious f orms o f Greek a r t , b u t t he c losest p ara l-

l e ls t o t hese e xa mp les c an p robab ly b e f ound among t he d ecora ted f i n ia ls o f g rave s te la i . I ti s c lear t ha t i n a l l c ases where t here i s a me ta l t ang b enea th t he d ecorat i on , t he mirror h and le was o f a n o rgan ic ma ter ia l a nd h as s ince p er ished o r b een l ost .

Apar t f ro m t he f act t ha t a me ta l t ang wou ld , o n i t s own , make a n

u g ly a nd u nco m for tab le h and le , i ts ee ms u n like ly t ha t a n a r tist who h ad t aken s o much t roub le o ver t he d ecorat ion o f h is mirror , wou ld t hen l eave t he h and le b are . I ti s , h owever , d i f f icu l t t o a scer tain t he e xact s hape o f t hese h and les, b u t t hey may h ave b een made o fb one o r wood . T he p ossible b one h and les which h ave s urvived a re f ew i nn u mber , t herefore i ti s u n like ly t ha t t he ma jor i ty were made o f wood a nd h ave s ince p erished .

There i s , h owever , ab one h and le f ro m

Perug ia , r ectangu lar i n s hape a nd d ecora ted w i th a c arved f i gure .

Th is t ype

wou ld p robab ly h ave b een t oo e labora te f or s o me o f t hese mirrors, a nd t here a re , i n t he museu ms o f S ou th I t a ly , s o-ca l led mirror h and les o f a much more s u i tab le s hape . o b jects.

B u t t here i s s o me i nconsistency i n t he i n terpre ta tion o f t hese

Whi le s o me museu ms c a l l t he m mirror h and les, o thers c a l l t he m ' bone

f l u tes '. T here a re t hree o ft hese i n C ro tone wh ich w ere l abe l led 'mirror h and les ' a nd t he h o les i n t he m c ou ld h ave t hen b een f or r ive ts ( such a s t hose o n N o . 4 4, P la te 8 2) .

N or i s i to bv ious h ow t he h and les h ave b eco me d e tached , e xcep t i n

o ne c ase wh ich s ee ms t o h ave b een made i n t wo p ieces a nd t o h ave c o me a part . On t he who le , t he p urpose o ft hese p ieces o fb one i s d ubious a nd t here i s l i t t le c oncre te e vidence t ha t t hey were a ctua l ly mirror h and les, a nd i fs uch was t he c ase , t hey wou ld s ure ly h ave s hown s o me e vidence o f wear .

F ur ther e vidence c oncern ing t he missing h and les may b e f ound i n South I t a l ian v ase p a in t ing , where f i gures may b e d ep icted l ook ing i n to h and mirrors. H owever, t he a ccuracy o ft hese r epresen ta t ions a nd t heir v a lue a s e vidence must b e c arefu l ly a ssessed .

H ow f ar , f or i nstance, c an o ne a ssume t ha t t he

p a in ter was a ccura te ly r eproduc ing t he f ashions o f t he d ay a nd h ow much c a me e i ther f ro m h is i mag ina t ion o r f ro m o ther mirrors wh ich h e h ad s een? H e migh t h ave s haped h is mirror t o f i t i n to t he c o mposi tion o f h is p icture , o r e labora ted i tt o emphasise t he i mpor tance o f t he f i gure who h o lds i t . I n s o me c ases t he mirror s ee ms t o h ave f i gures o r ad esign o n i t( see C . V . A . L ecce

4 1

2 , T ay . 2 1, N o . 7 , a nd Trenda l l I , 4 0 , No . 6 , a nd 2 08 , No . 7 ) , s o met imes i tc lear ly h as a n o penwork p laque ( see C . V . A . L ecce 2 , Tay . 2 2 , No . 6a nd T ay . 3 8 , No . 6 ) o r as tand ( see Trenda l l I , 1 73 , No . 5a nd C . V . A . L ecce 2 , T ay . 2 3 , N o . 1 ) , a nd i n o ne c ase a t l east a mirror b earer i s c lear ly i nd ica ted ( see C . V . A . L ecce 2 , Tay . 4 2 , No . 6 ) . Among t he p la iner e xamp les s een i n v ase p a in t ings a l arge n u mber h ave t hree p ro ject ions o n t he r im .

The o ne o n t op may b e t he l oop , b u t wha t o f t he

o ther t wo? ( See Trenda l l I , 2 41, N o . 2 .) S ome h ave p ro jections a l l r ound t he d isc a nd may b e i n tended t o r epresen t ma in land i mports w i th r ose t tes a nd a n ima ls a round t he d isc .

The a ccuracy o f t hese r epresen ta t ions must r e main

i n d oub t . The q uestion o f h and les a pp lies s i mi lar ly t o Groups B a nd D .

L a mb s ug-

g ests t ha t t he h arpy i n R egg io ( No . 1 4, P la tes 4 0 a nd 4 2 ) d oes n o t h ave a t ang b u t ab ronze h and le . I ti s t rue t ha t t he b o t to m o f t he f l ower i s c on t inued d own

t he t ang o r h and le w i th i ncised l i nes, y e t i tt ai ls o f ft oo v ague ly t o h ave b een i n-

t ended a s s er ious d ecora t ion .

This i s e specia l ly o bvious when i ti s c o mpared

w i th t he c are t aken o ver t he r est o f t he p iece .

I ts ee ms more l i ke ly t ha t i t

was d one t o e ase t he t ransi t ion b e tween h and le a nd d ecora t ion , a nd t ha t most o f i t was mean t t o b e c overed b y t he h and le . S ince t he p ieces i n t his g roup a re made i nt wo s epara te p ar ts, t here i s a n eed f or s o me k ind o f a t tach men t t o k eep t he d isc i n p lace . t his r u le i s No . 1 6 , wh ich h as n o a t tach men t a t a l l .

The e xcep tion t o

No . 1 7 , which i sv ery

s i mi lar , h as a n a rrow-shaped a t tach men t n o t u n like t ha t o f N o . 6( P la tes 1 72 1) , wh ich i s a ma le f i gure .

A l l b u t af ew o ft he mirrors i n G roup C h ave a t tach-

men ts wh ich a re i n t he s hape o f i vy l eaves.

T he e xcep t ions a re N os . 1 6 a nd 1 7 ,

N o . 2 9 which h as a r a ther s hape less v ersion o ft he i vy l eaf , Nos. 1 9 a nd 3 1 h ave p o in ted a t tach men ts, a nd N o . 2 1 h as a sma l l , n ea t p a l met te .

Wh i le t he a t tach men ts i n Group A s ee m t o g ive s o me c lue t o t he d a tes o f t he p ieces, t hese i n Group C a re h arder t o a ssess. The d a te r ange g iven b y t he Museu m a t Regg io f or a l l t heir mirrors i st he s ix th t o t he f our th c entur ies. T he o n ly c ase i n which a more p recise d a te i s g iven , i s a mirror i n L ocr i , N o . 2 2 , wh ich i s f ro m t he l ast q uarter o f t he s ix th c en tury . ' Th is e xamp le i s t yp ica l o f Type I a nd h as a n i vy l ea f a t tachmen t . The p a lmet te a t tachmen ts i n Group A s eem t o b e long t o t he s ix th c en tury , b u t t he p a l met te o n No . 2 1 i s s o u n l ike a ny o f t hese t ha t i t wou ld b e u nreasonab le t o a ssu me a s i mi lar d a te o n t hese g rounds.

No . 2 1, l i ke No . 2 2 , i s t ypica l o f Type I i n a l l o ther

r espects, a s i s No . 1 9, which h as a p o in ted a t tachmen t . p o in ted a t tach men t b u t i s n ot r ea l ly t yp ica l o f a ny t ype .

No . 3 1 a lso h as a No . 2 9 h as a s hape-

l ess a t tach men t , s i mi lar t o t ha t o f N o . 1 ( P la tes 2 9-31) , af e ma le f i gure , a nd i t may b e t ha t , l i ke No . 1 1 , t h is p iece b e longs t o at ransi t ion p er iod a round t he t urn o f t he c en tury . Ye t N o. 3 0 , wh ich i s a l most i den t ica l t o N o . 2 9 , h as a n i vy l ea f . S o , n o r ea l p at tern h as emerged .

The c onclusion must t herefore b e t ha t

t he a t tach men ts p robably b ear n o r e la tion t o d a t ing i n t his g roup . The r e la t ionsh ips b e tween t he t hree t ypes i s s i mi lar ly d i f f icu l t t o a ssess. I t may b e t ha t Type Ii s o f ad if feren t d a te t o Types I a nd I I , b u t t his i s h ard

4 2

t o p rove .

O n t he o ther h and, i t may j ust b e ac heaper v ersion which was b eing

made a round t he s a me t ime . The d a t ing o f t his g roup p resen ts a c onsiderab le p rob lem a s t here a re s o f ew i nd ica t ions t o g o b y .

Orsi ' se xcava t ion r epor ts o f fer l i t t le o r n o a ssistance

a nd p ara l le ls a re h ard t o f ind , e ven among t he a t tach men ts o f t he f i gured mirr ors, where t he s ty le o ft he f igure migh t g ive s o me c lue . O ber M i lder , t oo , i s v ery v ague o n t his p o in t , t hough K arouzou ( p . 5 71) d a tes wha t s he c a l ls t he "a n the mion t ype" t o t he s econd h a lf o f t he f if th c en tury B .C. i n ac on fusing a nd n o t a l toge ther c onv inc ing d iscussion o f t he s ub ject . An i n terna l, r e la t ive c hrono logy f or t he g roup migh t , h owever , b e p ostu lat ed o n t he g rounds o f d eve lop men t a s f o l lows:Type I —Nos. 1 6 a nd 1 7 a re f l a t a nd p lain a nd t heir d ecora tion i s o n ly i nc ised r a ther t han c ast ; t he d esigns a re v ery s ty lised .

These a re p robab ly t he

e ar l iest . I n Nos. 2 7 a nd 2 8 , t he b asic d esign h as b een f ormu la ted b u t t he s ty le i s s t i l lh eavy , p la in a nd a l i t t le s tark . Nos. 2 4, 2 5 a nd 2 6 h ave a sma l ler , n eater d esign , b u t i ti s s p ind ly a nd n o t y e t p roper ly d eve loped .

Th is i s e specia l ly t rue o f No . 2 6 .

I n Nos. 1 8 , 1 9 a nd 2 2 t he d esign i sn ow f u l ly d eve loped a nd i n N o . 1 9 p erh aps a t i t sb est .

No . 1 8 , h owever , i s ar a ther p la in e xamp le w i th s ha l low

c arv ing a nd l i t t le r e lief a nd w i thou t t he e x tra h a l f-pa l met tes b enea th t he t op s cro l ls. t oo .

N o . 3 5 f ro m T ype I I i s s i mi lar ly u ne labora ted a nd may f i t i n h ere

N os. 2 9 a nd 3 0 s ee m t o b e long h ere f ro m t heir g enera l s tyle a nd mode l-

l i ng , a l though t hey l ack t he l ower p air o f s cro l ls, p roducing a p la iner d esign , wh ich may make t he m e ar lier . I n No . 2 1 r aised d o ts h ave b een a dded i n t he e yes o f t he v o lu tes, a nd i n No . 2 0 more c on trast a dded t o t he d ep th o f r e lief g iv ing t he i mpression t ha t t he n u mber o f l i nes h as b een d oub led . I n b oth c ases t he b asic d esign h as b een v ar ied a nd e labora ted . Fro m Type I I , Nos. 3 2 , 3 3 a nd 3 4 h ave e x tra d e tai ls a dded a nd s ee m t o b e long h ere t oo . S imi lar ly No . 3 7 wh ich a l most c er tain ly b e longs ( a s men tioned a bove ) t o t he f igure No . 1 2 , which wou ld p robab ly d a te i tt o c . 4 60 B .C. Th is p rocess o f e labora t ion c an b e s een i n a more a dvanced s tage i n No . 3 1 wh ich may b e t he l a test o f t he g roup .

I th as d oubled t he l i nes s een i n N o .

2 0 , c o mb ined w i th t he r aised d ots o f No . 2 2 a nd w i th t he a ddi t ion o f e x tra p a lme t tes a nd v o lu tes.

Fro m Type I , Nos. 3 6 a nd 3 8 p robab ly b e long h ere t oo .

This g roup h as n o t b een d ea l t w i th i nt his o rder i n t he t ex t s ince i ti s v er y much a s pecu la t ive a rrange men t a nd i t may b e t ha t t hese a re o n ly d i f ferences o f s ty le among workmen o r workshops a nd n o t r e la ted t o c hrono logy a t a l l . T he o n ly r ea l c lue i s t he c onnect ion b e tween Nos. 1 2 a nd 3 7 a nd i ti s a n i nsuff i cien t b asis f or a c hrono logy o f t he who le g roup .

A s ub ject ive e st ima tion migh t

p u t t he Group C b asica l ly i n to t he f i f th c en tury B .C. ,p erhaps w i th Nos. 1 6 a nd 1 7 s tray ing i n to t he s ix th a nd No . 3 1 i n to t he f our th c en tury B .C. This

4 3

wou ld a gree w i th t he d a t ing o f Nos. 1 2 a nd 3 7 .

The e x tre me ly h igh q ua li ty o f

t he workmanship o f s o me o f t hese mirror s must mean t ha t t hey b e long t o t ha t p er iod when t he L ocr ian workshops were a t t heir b est , which s ee ms t o h ave b een t he f i f th c en tury B .C. Even i ft hese mirrors were s econd i n l uxury a nd e xpanse t o t he f igured mirrors, t hey were n o t n ecessar i ly s econd i n i mpor tance , a nd t here were p robab ly a l o t more o f t he m made .

Even a s t hey a re, w i th t heir o r ig ina l

h and les mi ssing , s o me o f t he m a re e xcep t iona l ly a t tract ive a nd t he s tandard o f work manship i s o f ten v ery h igh .

GROUP D :

PLAIN D ISCS

I . WITH TANG These mirrors w i l l h ave b een f i t ted o n to o rgan ic h and les a s i n Group C , b u t t hese e xa mp les a re o f a much l ower q ua li ty o f d esign a nd work mansh ip . The d ecora t ion , wh ich o ccurs o n a l l b u t t hree o f t he m, i s n o more t han p er funct ory . 3 9 .

S o me a re made i n o ne p iece, o thers i n t wo .

Mirror w i th t ang Regg io Museu m .

No . 5 277 .

D isc d ia meter :

1 5.3 cm

D isc t hickness:

0 .2 cm

Fa ir p reserva t ion . L eng th o f t ang :

No P late .

3 .1 cm

Th is i s ac o mp le te ly p la in mirror , w i th a t h in d isc wh ich h as b een made i n o ne p iece w i th a s hor t n arrow t ang . No r e ferences t raceab le . 4 0 .

Mirror w i th t ang Regg io Museu m .

No . 4 874.

D isc d ia me ter :

1 5 .5 cm

D isc t h ickness:

0 .2 cm

Fa ir p reserva t ion .

No p la te .

L eng th o f t ang : 4 .0 cm

Apar t f ro m s ligh t d i f ferences i n s ta tist ics, t hi s mirror i s e xact ly l i ke No . 3 9 . No r eferences t raceab le . 4 1 .

Mirror w i th t ang L ocr i An t iquar iu m . N o . 6 18 . F a ir p reserva t ion . No p la te . D isc d ia me ter : 1 0 .5 cm D isc t hickness : 0 .1 cm This mirror h as a p la in d i sc a nd a p lain , f l a t t ang . I ta lso h as t he b roken r e ma ins o f a n a t tach men t which was made a l l i n o ne p iece w i th t he d isc . I t i s k nown t o c o me f ro m To mb 1 240 i n t he L ocr i n ecropo lis a nd t he d a te g iven b y t he Museu m i s 5 25-550 B .C. No r eferences t raceab le .

4 4

4 2 .

Mirror w i th t ang Regg io Museu m .

No . 5 058 .

D isc d ia me ter :

1 3 .8 cm

D isc t h ickness:

0 .4 cm

G ood p reserva t ion . L eng th o f t ang :

This mirror i s c o mp le te ly p la in . i s i n o ne p iece w i th t he t ang .

P la te 8 0

6 .2 cm

The d isc i s t h in , s l igh t ly c oncave a nd

The t op o f t he t ang , wh ich i s o therwise t h in

a nd p oin ted , i s r ough ly s e mi-circu lar where i ta d joins t he d isc, w i th a r ectangu lar s ect ion b e low . No r eferences t raceab le . 4 3 .

Mirror w i th t ang Regg io Museu m .

No . 4 530 .

D isc d ia me ter :

1 5.1 cm

D isc t hickness :

0 .3 cm

Good p reserva t ion . L eng th o f t ang :

P la te 8 1

6 .0 cm

Apar t f ro m a sma l l d i f ference i n s ize , t h is p iece i s v ery s i mi lar t o No . 4 2. However , i t was made i n t wo p ieces r a ther t han o ne , a nd t he t op o f t he t ang h as t wo r ectangu lar s ect ions i nstead o f o n ly o ne, b e low t he s e mic ircle . No r eferences t raceab le . 4 4 .

Mirror w i th f la t t ang . Reggio Museu m .

No . 4 286 .

D isc d ia me ter :

1 5 .5 cm

D isc t hickness:

0 .1 cm

Fa ir p reserva t ion . L eng th o f t ang :

P la te 8 2

3 .5 cm

L eng th o f r ive ts:

2 .9 cm e ach

I n t his c ase t he d isc a nd t ang a re b oth t h in a nd f la t a nd were made i n o ne p iece .

There a re t wo h o les i n t he t ang where t he r ive ts a re s t i l l i n p lace .

No r eferences t raceab le . 4 5. Mirror w i th b are ly d ecora ted t ang Regg io Museu m .

No . 7 490 .

D isc d ia me ter :

1 5 .5 cm

D isc t hickness :

0 .2 cm

P oor p reserva t ion . To ta l l eng th :

P la te 8 3

1 7 .5 cm

Th is mirror h as a p la in , f la t d isc made i n o ne p iece w i th a s hor t t ang . On e ach s ide o f t he t ang t here i s a sma l l s e mi-circu lar p ro jec tion f ro m t he e dge o f t he d isc .

On to t his, t here h as b een r ough ly i ncised t wo v olu tes

w i th a c r iss-cross b ar b e tween t he m a nd a p a l met te o n t op . i s k nown t o b e f ro m L ocr i Mane l la . No r eferences t raceab le .

4 5

This p iece

4 6 . Mirror w i th sma l l t ang Reggio Museu m . No . 7 369 . D isc d ia me ter : 1 5 .0 cm D isc t h ickness :

P oor p reserva t ion . P la te 8 4 L eng th o f t ang : 1 .0 cm

0 .5 cm

T his mirror i s c o mp le te ly p la in a par t f ro m t he b eaded r im .

The c on-

c ave d isc h as a s hor t , r ounded t ang j o ined t o i tb y a sma l l a t tachmen t o f n o p ar t icu lar s hape . N ear t he t ang t here i s ah o le i n t he d isc, which was a l most c er ta in ly made a cciden ta l ly . This p iece i s k nown t o b e f ro m L ocr i Mane l la . No r eferences t raceab le . 4 7 .

Mirror w i th t ang L ocr i An tiquar iu m .

N o . 8 77 .

D isc d ia me ter :

1 5 .4 cm

D isc t hickness :

0 .7 cm

P oor p reserva tion . P late 8 5 L eng th o f t ang :

5 .3 cm

I n t his c ase t he d isc a nd t ang were made i n o ne p iece .

A t t he t op o f t he

t ang t here a re t hree v ague p rotuberances o n e ach s ide . The d isc i s c onc ave a nd t he f ron t o f i ti s d ecora ted w i th a c on t inuous d esign o f i ncised l i nes a nd p unctured d o ts. The d a te g iven b y t he Museu m f or t his p iece i s 5 10-490 B .C. N o r eferences t raceab le . 4 8 . Mirror w i th d ecora ted t ang L ocr i An t iquar iu m .

N o . 8 78 .

D isc d ia me ter :

1 5.6 cm

D isc t hickness:

0 .2 cm

P oor p reserva t ion .

P la te 8 7

L eng th o f t ang : 4 .7 cm

H ere a ga in t he d isc a nd t ang h ave b een made i n o ne p iece .

The d isc i s t h in , f l a t a nd p la in , b u t t here i s as l igh t d ecor a tion a t t he t op o f t he t ang i n t he f orm o f t he h ead o f as heep o r g oa t , l i gh t ly i ncised . The s ta te o f p reserva t ion makes t h is d i f f icu l t t o d ist inguish , b u t t here s ee ms t o b e a n o u t l ine f i l led i n w i th a n i ncised f l ora l p at tern . No r eferences t raceab le . 4 9 . Mirror w i th b are ly d ecora ted t ang L ocr i An t iquar iu m . N o . 6 73 . P oor p reserva t ion . P la te 8 6 D isc d ia me ter : 1 6.2 cm D isc t h ickness: 0 .5 cm Th is mirror h as a f l a t h eavy d isc which i s d ecora ted o n t he f ron t w i th a c on t inuous d esign o f i ncised l i nes a nd p unched d o ts. p iece w i th t he t ang .

I t was made i n o ne

A t t he t op o f t he t ang t here i s as e mi-circu lar s ection

o u t l ined w i th a n i ncised l i ne . Wi th in t his t here i s a n i ncised p a l met te r est ing o n ad oub le v olu te , b u t t he s ta te o f p reserva t ion makes t h is d i f f ic u l t t o d ist ingu ish . No r eferences t raceab le . 4 6

5 0 . M irror w i th t ang Regg io Museu m . No . 4 341 . D isc d iame ter : 1 5 .0 cm D isc t h ickness:

P oor p reserva t ion . No p la te L eng th o f t ang : 1 .5 cm

0 ,1 cm

This mirror i sv ery s i mi lar t o N o . 4 4, b u t i nt his c ase t he r ive ts a re n o l onger i n p lace . N o r eferences t raceable . Nos. 3 9 , 4 0 , 4 1, 4 2 a nd 4 3 a re u ndecora ted . C lear ly N o . 4 4 o r ig ina l ly h ad a h and le o f s o me p er ishab le o rgan ic ma ter ia l which h as s ince r o t ted away , l eav ing t he r ive ts s ti l l i n p lace . I ti s i mpossible t o s ay wha t t he h and le was l i ke , b u t i t must h ave b een f air ly f l a t o r t he s hape o f t he t ang w ou ld n o t make s ense .

I t may h ave b een a r ectangu lar h and le w i th

af i gure o r s o me o ther d esign c arved o n t he s ide , l i ke t he h and le o f a mirror f ro m P erug ia which h as s urvived . I ti s al i gh tweigh t d isc r equir ing o n ly a s hor t t ang a nd may we l l h ave s tood u pr igh t when t he h and le was i n p lace . No . 4 5 i s o f av ery p oor q ua li ty i ndeed , a nd wou ld p ossibly h ave l ooked b et ter i fi th ad b een l e f t p lain . T he t ang i s s hor t e nough t o h ave b e longed t o af i gure, b u t i ts ee ms e qua l ly l i ke ly t ha t wha tever i t was t ha t t wisted i t , a lso b roke t he e nd o f f , a nd t ha t i t was o r ig ina l ly t he s ame l eng th a s No . 3 9 a nd No . 4 0 , a nd f i t ted i n to a h and le o f o rganic ma ter ia l . No . 4 6 c ou ld we l l h ave b e longed t o af igure, w i th t he t ang f i t t ing i n to a h o le i nt he h ead .

T here a re s evera l i nstances o f f igures b ear ing d iscs which ,

l i ke t his o ne , h ave a p lain s ur face a nd b eaded r im .

( See R ich ter , P la tes

3 05 a nd 3 14 .) Nos. 4 7 , a nd 4 9 a re v ery u n impressive p ieces, a nd t he s tandard o f workm a nsh ip i s p oor . No . 4 8 i su nusua l among t his g roup . s ome c are .

The d esign h as b een i ncised w i th

As i mi lar h ead , i nt ha t i ti s o vine , c an b e s een w i th in t h is g roup ,

u nder t he f ee t o f N o . 3( P lates 9 a nd 1 0 ) , a nd t he s ub ject i s n o t u nfami liar i n Greek a r t a s a who le . T he s hape o f t he a n ima l ' sh ead f i l ls t his s pace b e tween t he t ang a nd t he d isc n ea t ly a nd d ecora t ive ly , y e t i td oes n o t s ee m t o h ave b een u sed b efore o r s ince . Why i th as b een c hosen h ere i s n ot c lear , t hough t he mirror migh t h ave s o me r e ligious s ign i f icance, p erhaps a v o tive o f fer ing t o ap art icu lar d ei ty . No . 5 0 i sv ery s imi lar t o N o . 4 4 a nd w i l l a l most c er tain ly h ave s erved t he s ame p urpose. These mirrors were o bviously t he c heapest a vai lable , a par t f ro m c o mp le te ly p la in me ta l d iscs.

I ti s p ossib le , h owever , t ha t t he h and les may h ave

b een e labora ted i nstead , a l though i t wou ld b e h ard t o p rove .

A s t hey s tand ,

t hey h ave l i t t le a r t ist ic v a lue , b u t t hey w i l l h ave b een f unctiona l . U n less t he d a tes f or t hese p ieces a re g iven b y t he Museu m , t hey a re i mp ossib le t o j udge .

4 7

I .

WITHOUT TANG A l l t he d iscs i n t h is g roup a re c oncave , a nd a l l b u t t hree o f t he m a re

c o mp le te ly p la in . 5 1 .

Mirror d isc Reggio Museu m . D isc d ia me ter :

No . 4 374 .

F air p reserva t ion .

No p la te

1 0 .5 cm

This i s ap lain d isc w i th a r aised r im .

There a re t wo sma l l h oles i n t he

d isc, 3 .7 cm a par t , wh ich were p resu mab ly i n tended f or r ive ts. No r e ferences t raceab le . 5 2 . Mirror d isc w i th r im d ecora t ion Regg io Museu m .

No n u mber .

D isc d ia me ter :

1 6 .0 cm

D isc t hickness:

0 .5 cm

F air p reserva t ion . L eng th o f s cro l ls:

P la te 8 9

2 .5 cm

Th is d isc h as a b eaded r im , a nd w i th in t h is t here i s al i ne o f i ncised i vy l eaves.

A t tached t o t he r im a re t hree c arved s cro l ls, a nd f our r oset tes,

p osi t ioned a lterna te ly .

One o f t he s cro l ls h o lds a l oop .

No r eferences t raceab le . 5 3 .

Mirror d isc w i th r ose t te Regg io Museu m . D isc d ia me ter :

No . 7 368 . 1 4.9 cm

P oor p reserva t ion . D isc t hickness:

P la te 8 8

0 .6 cm

There i s al arge h o le i n t he c en tre o f t his d isc, b u t i ts ee ms t o b e a ccident a l .

There i s ab eaded r im a t t he f ron t , t o which i s a t tached a s ing le r ose t te .

This p iece i s k nown t o b e f ro m L ocr i Mane l la . No r eferences t raceab le . 5 4 .

Mirror d isc L ocr i An t iquar iu m . No . 5 57 . P oor p reserva t ion . No p la te D isc d ia me ter : 1 4.0 cm D isc t h ickness: 0 .1 cm Th is d isc i s c o mp le te ly p lain .

I t i s k nown t o b e f ro m T o mb 1 164 i n t he

L ocr i n ecropo lis. No r eferences t raceab le . 5 5. Mirror d isc L ocr i An t iquar iu m . No . 5 59 . F air p reserva t ion . No p la te D isc d ia me ter : 1 5.2 cm D isc t hickness: 0 .1 cm This i s ac o mp le te ly p la in d isc w i th a h ole n ear t he e dge . b e f ro m To mb 1 570 i n t he I ßer i n ecropo lis. No r e ferences t raceab le .

4 8

I ti s k nown t o

5 6 .

Mirror d isc Regg io Museu m . D isc d ia me ter :

N o n u mber . 1 3 .0 cm

Fair p reserva t ion . D isc t hickness:

No p la te

0 .2 cm

This i s ac o mp le te ly p lain d isc w i th n o e vidence t hat i te ver h ad a ny a t tach men ts. No r eferences t raceab le . 5 7 .

Mirror d isc Regg io Museu m . D isc d ia me ter :

N o n u mber . 1 2 .0 cm

Fair p reserva t ion . D isc t hickness:

No p la te

0 .2 cm

Aga in a c o mp le te ly p lain d isc . No r eferences t raceab le . 5 8 . Mirror d isc Regg io Museu m . D isc d ia me ter :

N o . 7 492 .

P oor p reserva tion .

1 4 .6 cm

D isc t hickness:

No p la te

0 .2 cm

This i s ap lain d isc w i th a h o le i n i ta nd a p iece which may b e t he r e mains o f at ang . I t i s k nown t o b e f ro m L ocr i Mane lla . No r eferences t raceab le . 5 9 .

M irror d isc Regg io Museu m . D isc d ia me ter :

N o . 7 491.

F a ir p reserva t ion .

1 4 .5 cm

D isc t hickness:

No p la te .

0 .4 cm

This i s ap lain d isc k nown t o b e f ro m L ocr i Mane l la . No r eferences t raceab le . 6 0 .

Mirror d isc Regg io Museu m . D isc d ia me ter :

N o . 7 380 .

F air p reservat ion .

1 4.0 cm .

D isc t hickness:

No p la te .

0 .6 cm

This i s ap la in d isc k nown t o b e f ro m L ocri Mane l la . No r e ferences t raceab le . No . 5 1 h as t wo o bviously d e l iberate h o les i n i t , a nd i tt herefore s eems l i ke ly t ha t i t may h ave h ad s o meth ing f ixed o n t o i t .

T his c ou ld h ave b een a

p iece o f r epousse d ecora t ion , i n which c ase t his d isc may h ave b een p ar t o f ab ox mirror , a l though t here i s n o s ign o f ah inge o r h and le . No . 5 2 i s ap lain d isc a nd t here i s n o e vidence t ha t t here was e ver a n a t tach men t o r t ang o f a ny k ind .

I td oes, h owever , h ave a l oop o n t he t op , s o

i t was p resu mab ly mean t t o h ang .

The i ncised i vy l eaves a re n eat , e ven ,

a nd we l l e xecu ted , t hough t hey a re r a ther o vershadowed b y t he d ecorations a t tached t o t he r im .

There i s n o r eason t o s uppose t ha t t he t wo emp ty s cro l ls 4 9

e ver h e ld r ings o r h ave a ny o ther p urpose t han o f d ecora t ion . There i s n o a t tachmen t o pposi te t he t op r ing , n or a ny o ther i ndica tion t ha t t his d isc migh t o nce h ave b e longed t o af i gure , a s was t he c ase w i th s o me d iscs w i th s i mi lar d ecora t ions r ound t he r im . T hese l a t ter , h owever , were u sua l ly more e labor a te , i nclud ing sma l l a n ima ls, a nd t hey a lso s eem t o b e c on f ined l arge ly t o t he ma in land ( see R ich ter 1 959 , P la te 3 15) .

S o t his s ee ms t o b e ah ang ing mirror .

No . 5 3 a l most c er ta in ly w i l l h ave o r ig ina l ly p ossessed a s eries o f r im d ecora t ions, l i ke N o . 5 2 t hough o n ly o ne r e ma ins.

I ti s p ossib le t ha t t hey were

d e l ibera te ly r e moved , t o b e u sed a gain o n a no ther p iece .

The h ole i nt he r e-

ma in ing r ose t te may h ave b een f or i n lay. I ti s h ard t o s ay h ow t he c o mp le te ly p lain d i scs were u sed .

They may h ave

b een t he c heapest a nd l east l uxur ious, p ure ly f unct iona l t ype o f h and mirror . T hey d id n o t s tand o r h ang .

O n t he o ther h and , i ti sn ot i mpossib le t hat t hey

migh t h ave f i t ted i n to a f ra me o f o rgan ic ma ter ia l wh ich h as n ot s urvived .

S uch

af ra me c ou ld h ave b een d ecora ted e asi ly , a nd t he who le mirror c ou ld h ave b een a s e labora te a nd l uxur ious a s a ny b ronze o ne , w i th t he d i f ference t ha t i t wou ld h ave c ost l ess t o p roduce a nd wou ld h ave b een a l o t l i gh ter t o h o ld . I n v ase p ain t ing , i n a ddi t ion , t here a re o f ten d i f ferences o f c o lour r epres en ted o n a mirror , wh ich may b e i n tended t o s how a d if ference o f ma ter ia ls. I n most c ases t he d ist inct ion i sj ust b e tween d ark a nd l i gh t , b u t o ccasional ly t here a re t hree c o lours. I ti s o n ly i n af ew c ases t ha t t he d i f ferences a re c onf i ned t o t he d ist inc t ion b e tween h and le a nd d isc .

T here a re i nstances where t he

c en tra l p ar t o f t he d isc i s d arker t han t he s urround a nd t he h and le a nd migh t b e t aken f or a b ronze d isc w i th in a f ra me o f b one , i vory o r l i gh t wood ( see Trenda l l I , 1 64, N o . 1 , 6 6 No . 1 , 6 9 N o . 2 , 1 94 N o . 5 , a nd C . V . A . L ecce 2 , T ay . 2 7 , No . 1 0 a nd Tay . 2 8 , No . 4 ) . A s c an b e s een , t here a re a lso i nst ances where t he f rame i s d arker t han t he d isc, i nd ica t ing p erhaps a f ra me o f d ark wood .

H ere a ga in a ccuracy i s h ard t o p rove .

There a re a lso a n u mber o f sma l l , p la in , f l a t mirrors, which may h ave b een f i xed o n to t he l i d o f s o me k ind o f b ox o r v ani ty c ase . T here a re t wo s uch a t Metapon to , N os. 2 a nd 4 , wh ich a re c ircu lar , a nd a r ectangu lar o ne a t B ar i , N o . 3( P la te 1 03 ) . e nough e xp lana t ion .

Un less t hey a re n o t mirrors a t a l l , t hi s s ee ms t o b e al i ke ly A lterna t ive ly t hese may h ave b een sma l l , p or tab le mirrors.

E stab lish ing a c hrono logy f or t hese d iscs i sv ir tua l ly i mpossib le .

Most o f

t hem h ave n o more t han c ursory d ecora t ion s o t ha t t here a re n o c r i ter ia f or d a t ing . O f t he c lass o f p eop le who c ou ld a f ford mirrors, p la in o nes must h ave s erved t he p oorest f or most o f a n tiqui ty .

The p er iod o f g rea test p roduction o f

t he S ou th I t a lian w orkshops, e specia l ly i n L ocr i , s ee ms t o h ave e nco mpassed most o f t he f i f th c entury B .C. a nd p robably p ar t o f t he s ix th a nd f our th c en tur ies B .C . I t i s t o t his e x treme ly w ide c on tex t , t hen , t ha t t hese " p la in d iscs" must b e a t tr ibu ted .

5 0

THE

MIRRORS

AND THEIR

S IGN IFICANCE

A s ap ostscrip t t o t he c a talogue a nd d iscussion o f t he G reek b ronze h andm irrors i nS ou th I t aly , i ti s p roposed i n t h is f i na l c hap ter t o e xa m ine t heir s ign if icance o n a more g enera l l evel. An a t te mp t i s a lso made t o a nswer c erta in g eneral q uest ions a bou t t he m irrors, a l though s uccess i s f ar f ro m g uaran teed . H ow w ere t hese m irrors made a nd f or who m? More i mportan t p erhaps , when w ere t hey made ? S uch a n e xa m ina t ion may p roduce i n for mat i on a bou t S ou th I t a l ian b ronzes o r w estern Greek a rt a s a whole , b u t h ow much a nd o f wha t q ua l i ty? The t echn ical p rocesses i nvolved i n t he manufac ture o f t he m irrors v ari es a ccord ing t o wh ich t ype w as b e ing p roduced. The h u man f i gures o f G roup Aw ere c ast i n s ol id b ronze , p robably b y t he " c ire p erdue" method s ince t here a re n o o bv ious t races o ft he f l ash l i nes u sual ly l e f t b y t wo-p iece mou lds. A l though i ti s p ossible t o p roduce more t han o ne c opy o f af i gure b y t h is method , i tw as n ot g eneral ly p rac t ised a t t h is p eriod a nd , a ccord ing t o R ichter ( 1959 , p . 2 10 ) , i t was n ot u n t i l H el len ist ic t imes t ha t w orkmen b egan t o t ake mou lds f ro m o r ig inal p ieces t o u se f or mass p roduc t ion . A s r egards t h is g roup o f m irrors, t h is i sb orne o u tb y t he f act t hat , o f t hose s o f ar d iscovered , n o t wo a re e xact ly a l ike. This r a ises t he q uest ion o f mass p roduc t ion o f G reek b ronzes g enera l ly a nd s ince t h is was c learly n ot p recluded b y t echn ical p robl e ms , i ts ee ms t o b e t he c oncep t a s a whole wh ich b elongs t o al a ter p er iod . The r eason f or t h is i s n ot im med iately o bv ious b u t t he p ieces may h ave b een c omm issioned f or s pec if ic p uposes o r t he ir v ery i nd iv idual ity o r u n iqueness may h ave i ncreased t he ir v a lue.

On a l ess c o m merc ial l evel , t he c raf ts man

a s a rt ist may h ave f e l t t ha t e ach o ne was a s epara te c reat ion a nd a s s uch , s hou ld n ot o r c ou ld n o t b e r epea ted. The d esigns o f G roups Band C a re a l l f l at o n t he r everse a nd w ere c learly p roduced i n f l a t mou lds. I tw ou ld h ave b een e asy , a nd s urely w orthwh ile t o make a master c ast ing a nd t hen p roduce a s er ies o f d isposable c lay mou lds f ro m i t . S o i ti s t ha t much more s urpr ising t hat t h is t ype d oes n ot s ee m t o h ave b een mass p roduced e i ther . T here a re p a irs o f mirrors i nt his g roup wh ich h ave s tr ik ing s im ilar it ies t o e ach o ther, d ifering o n ly i n d eta ils ( e .g. n os. 2 7 a nd 2 8 a nd n os. 2 9 a nd 3 0 ) b u t a ga in , n o t wo a re q u i te t he s a me. These e xa mp les were p ossibly made b y t he s a me man b u t o bv iously n ot i n t he s a me mou ld . Even among t he d iscs, wh ich w ere a lways made s epara tely , t here i s n o s ign o f mass p roduc t ion . Any d iscuss ion o f t he manu fac ture o f t he m irrors must i nev itably r a ise t he q uest ion o f t he w ork shops i n wh ich t hey w ere made , t he ir o rgan isat ion , o u tpu t a nd s yste m f or r eta il o r t rade. I n d eal ing w ith s uch a s pec ial ised s ubj ec t , i t must b e n oted t ha t t he workshops i n q uest ion w ere p robably p roduc ing a l l k inds o f smal l b ronzes a nd n ot n eccessarily s pec ial ising i n m irrors.

D e-

t a i led i n for ma t ion o n t he s ub jec t i s n ot a va ilable f ro m a s ing le g roup o f o b jec ts

5 1

b u t c erta in s uggest ions a re p ossible. S ince most o f t he s urv iv ing e xa mp les o fS ou th I t al ian G reek m irrors a re f ro m L ocr i Ep izephyr i i , t h is c i ty c an b e u sed a s t he f ocus o f t he d iscussion . There a re s everal q uest ions a bou t t he w orkshops o f L ocri wh ich n eed f urther e xa m inat ion :1 . H ow many w orkshops w ere t here i n t he c i ty? 2 .

H ow w ere t hey o rgan ised?

3 .

Wha t w as t he ir a verage o u tpu t? 4 .

p ercen tage o f t hat o u tpu t was made u p o f m irrors?

5 .

Wha t

What p ercen tage o f

e ach t ype o f m irror was p roduced? Whether t here was o ne l arge w orkshop i n t he c i ty o r s evera l sma l l o nes i s ap o in t o f c on jec ture b u t c erta in ly i tw as n o t av ery l arge p lace a nd t he workshops w i l l i nev itably h ave b een i n f a irly c lose c on tac t w i th o ne a no ther. J an tzen ( 1937 ) s ee ms t o b e a ble t o d iscern a d ef in ite L ocr ian s tyle , d ist ingu ishable f ro m t hose o f Cro tone a nd Taren tu m , f or i nstance. There may h ave b een w orkshops wh ich s pec ial ised i n m irrors o r t here m igh t b e o ne c raf ts man w i th in e ach w orkshop whose r esponsib il ity i tw as t o p roduce m irrors. I ti s more l ikely , h owever , t ha t t her w ere f our o r f i ve master c raf ts men i n L ocri , e ach r unn ing h is own w ork shop p roduc ing a l l k inds o f smal l b ronzes ( and p oss ibly l arger o nes t oo )w ith a t ea m o f a ss istan ts a nd a ppren t ices. The master c raf ts men w ou ld p robably make t he f i gures a nd more i mportan t p ieces t he mselves, v ary ing t he m f or u se o n d iferen t u tensils — m irrors, p a terae , e tc.

The p roduc t ion o f a t tach men ts ( i n t he c ase o f m irrors ma in ly c rescen ts

a nd d iscs ) a nd t he a sse mbly o f t he whole u tens i l w as p robably l ef t t o t he a ssi s tan ts.

L ess i nd iv idual ist ic p ieces s uch a s t hose i n G roup C m igh t a lso h ave

b een e n trusted t o t he m.

Bu t i ft h is w as t he c ase , t he s ty le o f t he mas ter m igh t

b e v is ible i n a l l o f t he p roducts o f t he w orkshop . The f ac t t ha t s uch s tyles a re n ot r ead i ly d iscern ible may i nd icate t hat t he L ocr ian b ronzes d o , i n f act, a l l c o me f ro m o ne l arge w orkshop emp loy ing many w orkmen o f v ary ing a b i l it i es a nd s pec ial isa t ions. The t o tal a nnual o u tpu t o f L ocr ian b ronzes i s e ven h arder t o a ssess. Wi th t he t echn iques c urren t a t t ha t t ime , t he manufac ture o f b ronzes was p robably a f a irly l eng thy p rocess , e spec ial ly w ith t he more d if icu l t p ieces s uch a s f i gur ines. The n u mber o f p ieces p roduced p er w eek c anno t h ave b een v ery g rea t.

N or i s i tl ikely t hat a h igh p ercen tage o f t he o b jec ts made i n

L ocr i d uring t he ' c en turies o fo pera t ion h ave s urv ived . L ike a l l b ronze o b jects , most o f t he m w il l p robably h ave b een mel ted d own i n s ubsequen t p er iods. Enu merat ing t he m irrors wh ich h ave s urv ived i s n o p roble m , b u t i ti s i mpossi b le t o a ssess h ow many w ere o r ig inal ly p roduced , a nd t herefore t he p ercen ta ge o f t he L ocrian b ronzes wh ich t hey r epresen t. S ince t he workshops s ee m t o h ave b een i n o pera t ion f or a l l o f t he f if th c en tury B . C . a s w el l a s p arts o f t he s ix th , f ourth a nd p ossib ly e ven t h ird c en tur ies, i ti s c lear t ha t t he s urv iva l r a te i s n ot h igh .

I ti s s im i larly d if f icu l t t o e st i ma te h ow many o f e ach

t ype o f m irror w as p roduced b u t p resu mably t he g reatest n umber w i l l h ave b een t he p la in d iscs o fG roup D ; f ewer o f G roup C w il l h ave b een made a nd f ewer s t i l l o fG roups A a nd B . There w ou ld h ave b een a much w ider market f or t he p la iner t ypes a nd t hey w i l l h ave b een q u icker a nd e asier t o p roduce. There i s a lso t he q uest ion o f who was mak ing t he b one o r wooden h and les wh ich w ere p resu mably a t tached t o t he metal t angs o n t hese m irrors.

I f many

o f t he h and les h ad b een made o fb one , i ti s o dd t ha t s o f ew h ave s urv ived a nd 5 2

i t may t hus b e c oncluded t ha t t hey w ere more u sual ly made o f wood a nd h ave c onsequen t ly p er ished .

Whether t hey w ere s uf f ic ien t ly e labora te f or t he

w ork shops t o r equ ire t he s erv ices o f as pec ial ist w ood-carver , e i ther o n a c on trac t b as is o r a s ar egu lar emp loyee , i ti s i mpossible t o s ay.

There a re

e xa mp les f ro m ma in land G reece o f m irror h and les i n t he s hape o f c olu mns a nd t h is f or m w ou ld c erta in ly b e f i t t ing f or t he I on ic c ap i tal a t tachmen ts o f G roup C Type I I.

S im i lar s hapes w ou ld b e e qual ly f easible f or t he r es t o f

Group C , b u t t h is w ou ld p robably make t he m i n to s tand ing m irrors ( i f a woode n h and le w ou ld b e h eavy e nough t o k eep t he m u prigh t ) whereas, s ince t he b acks o f a l l t hese m irrors a re f l a t , t hey w ere p resu mably n ot mean t t o b e s een f ro m a l l s ides b u t t o b e l a id d own when n o t i n u se. The s yste m o f r eta i l i nvolved i s a lso o pen t o q uest ion : were t he m irrors s old d irec t ly t o c usto mers a t t he w orkshops o r t hrough a t h ird p arty , p ossibly i n s hops i n t he c i ty ? I ft he w orkshops c ou ld p roduce more t han e nough t o s a ti s fy l ocal d e mand a nd t hey h ad s urp lus t o e xport t o o ther p arts o f I t aly , t hey p robably d eal t w i th merchan ts.

What p roport ion o f t heir p roduc ts m igh t b e

d isposed o f i n t h is way a nd wha t p roport ion was s tr ic t ly f or t he h o me market i s h ard t o s ay.

I tm igh t b e e xpec ted t ha t l oca l d e mand wou ld n ot b e v ery g reat

a nd s evera l b ronzes wh ich J an tzen a t tribu tes t o L ccrian w orkshops ( 1937 , p . 5 ff . )h ave b een f ound i no ther p ar ts o f I t aly , b u t b y f ar t he g rea test n u mber o f m irrors c o me f ro m t he n ecropol is i n L ocr i i t sel f .

F ro m t h is , i tw ould s ee m

t ha t t hese m irrors w ere n ot t raded v ery f ar a f ield a nd t he r eta i l s yste m may h ave b een f a irly i n for ma l a nd p robably c en tred o n t he workshops t he mselves. I ti s a lso n eccessary t o c onsider who w as b uy ing , o r a t a ny r a te , u sing t he m irrors a nd i ti s g eneral ly a ssu med t hat t he c usto mers w ou ld b e e xclusi vely f e ma le.

B oth L ang lotz a nd H ir mer ( 1965, p . 2 76 ) a nd L a mb ( 1929 , p .

1 61) s uggest t hat c erta in s ub jec ts w ere n ot s u itable f or a l ady 's b oudoir —e.g. ab oxer o n p arade ( Lang lotz a nd H ir mer 1 965 P late 9 0 ) o r a n o ld b earded man ( i n N ew York , n o.

7 7 ) o r s o me o f t he my tholog ica l s cenes r epresen ted o n

m irrors a nd t ha t s uch m irrors must h ave b een made s olely f or v o t ive o r f uner ary p urposes. Bu t why s hou ld a m irror wh ich was u nsu i table f or t he l ady 's b edroo m b e s u i table f or h er g rave?

A l terna t ively , i fe i ther v otary o r d ecea-

s ed w ere male, why d id h e o n ly n ow h ave n eed o f a n o b ject h e h ad n ever u sed i n h is l i fe ? There a re t wo p ossible s olu t ions —ei ther t hese k ind o f m irrors w ere a ctual ly u sed b y men n o t w o men o r G reek l ad ies d id n ot h ave t he d el ica te s ensib i l i t ies w i th wh ich s o me modern s cholars s ee m i nc l ined t o c red it t he m . The o f ten b loodcurd l ing s tor ies o f mythology a re p opu lar t he mes i n o ther a rt i s t ic med ia , e spec ial ly v ase-pa in t ing , a nd t he l ad ies i n q uest ion must h ave b een i n c onstan t c on tac t w i th t he m i n t he c ourse o f t heir e veryday l i ves. A b earded o ld man o r ap arading b oxer must h ave p a led b y c o mpar ison . I n ad isc ussion o fb ox- m irrors, R ich ter l i sts ( 1959 , p . 2 23 ) an u mber o f my tho log ica l s ub jects, a t l east o ne o f which a l most c er ta in ly i nvo lved c onsiderab le v io lence , wh ich o bv iously p assed a s "s ui tab le d ecora t ions f or wo men ' su se" . There i s o ne c lass o f mirror , h owever , which i s men tioned b y L a mb ( 1929 , p . 1 26) a s b e ing t oo sma l l t o b e a ny th ing b u t v o t ive . Ow ing t o t he l ack o fg ood e vidence i n e xcava tion r epor ts, t he d a t ing o f t his g roup o f mirrors p oses many p rob le ms.

Most o f t he m a re f ro m t he L ocr i

n ecropol is a nd s o me c an b e d a ted a t l east a pprox i mately , f ro m t he o ther a r te -

5 3

f acts i n t heir r espect ive g rave g roups, b u t f or t he ma jor i ty t he d a tes h ave t o b e j udged a ccord ing t o s tyl ist ic c o mpar isons.

Whether s uch c o mpar isons

s hou ld b e c on f ined t o S ou th I t a ly o r may v a l id ly i nclude ma in land G reek works, i s a mat ter wh ich mer its s o me d iscussion .

There i s p robably n o r ea l r eason

t o a ssu me, a s s o me s cholars h ave d one , t ha t t he a rt ist ic d evelopmen t o f Magna G raec ia was i n a ny way l agg ing b eh ind t hat o f t he G reek ma in land .

Woodhead ,

f or i nstance , ( 1962, p . 1 50 ) s ta tes t ha t t he West was s cu lp tural ly a d ecade o r s o b eh ind t he Greek ma in land , a nd Charbonneaux ( 1958 , p .85) s ays t ha t t he s tyle o f w estern G reek b ronzes was b eh ind t he t imes. The whole q uest ion o f t he a rt ist ic r ela t ionsh ip b etween t he Greek h o mel and a nd t he c olon ies o f S outh I t aly i s i nvolved i n t h is a nd i ti s t oo b road a n i ssue t o b e d eal t w i th h ere. H owever , a n a ssess men t o f h ow t h is r elat ionsh ip i s r ef lected i n t h is g roup o f m irrors i s p oss ib le , w ith p ar t icular r eference t o Groups A a nd B . The s uggest ion s ee ms t o b e t ha t p aral lel d evelop men ts w ere o ccuring i n S ou th I t aly b u t n ot u n t il t en o r t wen ty y ears af ter t hey h ad t aken p lace i n ma inl and Greece;

t he t echn ical a nd a rt ist ic q ua l i ty o f S ou th I t al ian Greek work

i s n ot i n q uest ion .

That t hese mirrors d o e xh ib it c erta in d iferences o f s ty le

i s t rue, b u t i n t he s a me way , A t t ic a nd P eloponnes ian w ork a re e qual ly d ist i ngu ishable f ro m o ne a no ther.

I n s o me f or ms o f a rt t he f ac tors c on tribu t ing

t o d if ferences b etween ma in land Greece a nd t he c olon ies a re t echn ica l o r p rati cal o nes.

The s carc ity o f marble i n Magna G raec ia , f or i nstance , mean t

t ha t most s cu lp ture was d one i n l imestone a nd t he d if feren t mater ial i nev i tably afec ted t he t echn ique a nd p ossibly t he s ty le.

B ronze , h owever , was e as ily

o bta inable i n t h is a rea , s o t ha t s uch t echn ical d if f icu l t ies n eed n o t a pp ly t o t he p roduc t ion o f m irrors.

Moreover, t he t rad i t ions o f t he g ods a nd h eroes

h ad s l igh t v ar iat ions i n t he w estern c olon ies , b u t s ince t he m irror-bearers a re p robably n ot i n tended t o r epresen t p art icu lar d ei t ies , t h is a ga in i s i rrele van t i n t h is c on tex t.

The f ac t t ha t t here a re n o male m irror-bearers f ro m

ma in land Greece a nd n o n ude f e male o nes f ro m S outh I t a ly , s hou ld b e a t tr ibu ted t o d if ferences o f t as te r ather t han s tyle o r d evelop men t.

The d evelop-

men t f ro m s tyl isa t ion t o n a tural is m i n Greek s cu lp ture w as b y n o means u n iv ersal— the Or ien tals n ever a ch ieved i t—and y et i to ccurs i n Magna G raec ia ; whether t hese c hanges t ook p lace a t t he s a me t ime i s q uest ionable , b u t i td oes i nd icate a f a irly c lose r ela t ionsh ip . The o r ig ina l s ources t e l l u s l i t tle a bou t t he r ela t ion s b etween t he c olon ies a nd t heir mother c i t ies, b u t t he c raf ts men who made t hese m irrors p ersist an t ly r esisted l oca l I t al iote i n f luence, p ossibly d ue t o c lose c on tac ts w i th t heir h o meland .

I n h er b ook "Anc ien t I t aly" ( 1955 ) R ich ter s tresses t he i sol-

a t ion o f t hese a rt ists i n t he A rcha ic p er iod a nd a lso p o in ts o u t t hat i n t he s ixt h c en tury B .C. t he l ocal t r ibes were s t il l p roduc ing p ot tery wh ich s howed n o G reek i n f luence, s o t here was o bv iously v ery l i t t le i n terchange o f a rt ist ic i deas a t t h is p er iod .

I n t he l a te s ix th a nd e arly f i f th c en tur ies B .C.

Persian

moves i n t he East A egean p robably d rove many E ast Greeks w estward a nd t he S ou th I t al ian c olon ies w ere c erta in ly w eal thy e nough t o a t trac t a rt ists o f r epu te w i th t he p rospec t o f v aluable c o mm is ions.

Th is w il l h ave w idened t he

g ap b etween t he c olon ists a nd t he i nd igenous p opu la t ion o n a n a rt ist ic l evel a nd t he L ocrian r el ief p laques o f t he e arly f i f th c en tury s how a d ist inc t e aste rn i nf luence. 5 4

A f ter t he d efea t o f t he E truscans a t Cu mae i n 4 74 B .C., t he Greek c o lo n ists were f air ly we l l i n c on trol o f S outh I ta ly a nd a b le t o k eep u p g ood c on tac t w i th t heir h o me land .

Mirrors n o . 6a nd n o . 1 2 ( Pla tes 1 7-21 a nd 3 5-38 r es-

p ect ive ly ) c o me f ro m t h is p er iod a nd a re a rguab ly t wo o f t he b est p ieces i n t he who le g roup a nd c o mpare v ery f avourab ly w i th main land Greek work o f a s i mi lar d a te .

S o , when t he Archaic p er iod i s e nding i n Greece a nd t he e ar ly

C lassica l "d eve loped s ty le"

( Rich ter ) o r "s evere s ty le"

( Ridgway e t a l .) i s

b eginn ing , s i mi lar c hanges a re t ak ing p lace i n I t a ly , b ut h ow c lose t o t he s a me t ime i s n o t c er tain . Tha t t h is a r t ist ic i so la t ion was s o p ersisten t i s i n terest ing a nd p ossibly u nusua l —i t i s f a ir t o a ssu me t ha t among t he p oorer c lasses a t l east , s ocia l c on tact w i th t he n a tive p opu la t ion wou ld i ncrease a s t ime p assed a nd B oardman s uggests ( 1964 , p . 1 94) t ha t a t P oseidon ia ( Paestu m ) t he Greeks a nd t he n at ives may h ave b een l i ving s ide b y s ide b y 5 50 B .C.

L ang lo tz a nd H ir rner

( 1965, p . 1 1) t ake a c o mp le te ly d i f feren t v iew o f t he a r tist ic r e la t ionship —" t he s pir i t o f Greece o f ten c ou ld n o t a void c on ta m ina t ion b y t he c u l ture o f t hese "p reh istor ic" b arbar ians who l i ved o n o utside t he c i ties" —and s uggest t ha t i t was t he mix ture o f b lood wh ich c on tr ibu ted t o t he i ndividua li ty o f western Greek a r t .

The S ou th I t a l ian Greeks a lways s ee m t o h ave h ad a s pec ia l a ppre-

c ia t ion o f t he more s ty lised a nd d ecora t ive e le men ts i n a r t ;

t hi s i s ap ar t icu-

l ar ly o r ien ta l t rai t a nd t hey may h ave b een o pen t o s uch i n f luence v ia Phoen ician t raders.

The o rna men ta t ion a nd e labora t ion o f b ronzes a nd t he u se o f f igures o n

u tensi ls wh ich a re p ar t icu lar ly c o m mon i n western G reek a r t c er ta in ly s ee ms t o owe s o me th ing t o t he O r ien t ;

i ti s most i n e vidence i n t his g roup i n t he u se

o f t he h arpy ( e .g . n os. 1 3 a nd 1 4) a nd t he o penwork p laque t ype ( no . 1 5) where af igure i s i ncorpora ted i n to wha t i s b asica l ly a d esign , a nd i s p ecu l iar t o Magna Graecia .

This i s o ne a spect o f t he i nd ividua li ty o f western Greek a r t

wh ich c lear ly h as n oth ing t o d o w i th I ta l ian i n f luence . Desp i te t his v ar ie ty o f i n f luences, t ha t o f main land Greece s ee ms t o b e t he p r incipa l o ne , e specia l ly d ur ing t he f if th c entury B .C.

Trenda l l p o in ts o u t

( B .M . 1 966, p . 7 ) t ha t t he c o lonies were i mpor t ing A t tic v ases u n t i l t he s econd h a lf o f t he f i f th c en tury B .C. when t hey b egan t o make t he ir own .

I t was n o t

u n ti l t he A then ians were d efea ted b y t he Pe loponnesians i n 4 04 B .C. t ha t t he A t t ic i mpor ts c eased a l toge ther .

S o h ere t here i s e vidence o f a n a r tist ic i n f lu-

e nce c om ing f resh f ro m ma in land Greece r igh t u p t o t he e nd o f t he f i f th c en tury , a nd e ven i fn oth ing e lse was b eing i mpor ted a t a l l , t he c o lonia l a r tists c ou ld b e f am i liar w i th t he l a test d eve lop men ts i n A t tic v ase-pa in t ing . Wi th t he r ise o f Ro me a s ap ower i n I ta ly i n t he f our th a nd t hird c en tur ies B .C., t he Greek ma in land b egan t o l ook t owards t he East , a nd f or t he f irst t ime I t a lio te i n f luence s ee ms t o g ain a f oo thold .

The o penwork p laque mirror ,

n o. 1 5, migh t b e e xpected t o e xh ibi t s o me o f t he r ea list ic, d ra ma tic q ua li ties o f t he Greek a r t o f t he H e l lenistic p er iod , b u t t he d ead e xpression a nd c lu msy f ea tures o f t he f i gure o f E lectra s ee m t o owe more t o n a t ive t rai ts.

There i s

ad ist inct d ivergence f ro m Greek f orms a nd t he ma in land Greek i n f luence s ee ms t o b e weaken ing .

S i mi lar ly , Trenda l l s ays ( B .M . 1 966, p . 8 ) t ha t b y t his t ime

t he v ase-pain t ing o f S ou th I t a ly i s e asi ly d ist inguishab le f ro m t ha t o f t he Greek ma in land .

5 5

Thus, t he i n f luences a t work o n t he S ou th I t a lian c o lonies s ee m t o c ornb one a nd d iverge a ccording t o t he p er iod . T he L ocr ian b ronzeworkers a re k nown t o h ave f l our ished f ro m t he s econd h a l f o f t he s ix th c en tury B .C. o nwards, a nd t he r a ther s evere, c lear c u t s ty le t o b e s een i n p ieces s uch a s n o . 1 0 a nd n o . 1 4 s ee ms t o b e r e lated t o t he c o lonists ' P e loponnesian h o mel and , w i th s o me o f t he Or ien ta l d ecora t ive e lemen t wh ich s ee ms t o p ersist i n t he f l ora l d esigns o f G roup C .

A s t ime g oes p n , t he ma in i n f luence o n

p ieces s uch a s n o . 6a nd n o . 1 2 s ee ms t o b e A t tic , a l though i n c er tain a spects t hey r e ta in a d istinct ly western Greek c haracter .

Ma in land Greek a r t was

i t se lf made u p o f s evera l d ist inct r eg iona l s ty les, n o t w i thou t i n f luence o n e ach o ther , a nd t he v ar ia t ion i n e vidence i n Magna Graecia s hou ld s i mp ly b e n u mbered among t hese o thers. P oor q ua li ty s hou ld n o t b e c onfused w i th p rovincia li ty a nd i ti s e asier t o f i nd c oun terpar ts f or p ieces s uch a s n os. 2 a nd 9 among l esser main land Greek works t han among I t a lio te b ronzes. By t he f our th c en tury B .C. a c ertain amoun t o f l oca l i n f luence i s b e ing f e l t , wh ich c an b e s een i n n o. 1 5, a l though i ts hou ld b e n oted t ha t i ti s n o l onger i n e v idence i n a mirror o f s i mi lar t ype i n t he Br i tish Museu m ( B .M . Ca t , n o . 3 03 ) d a ted t o t he t hird c en tury B .C. Ac er ta in d ist inguishab le L ocr ian s ty le d oes emerge i n t hese mirrors. H owever , t here a re i n suf f icien t e xamp les f rom o ther c i t ies t o make s i mi lar d ist inc t ions w i thin t his g roup ( bu t s ee J an tzen t sa t tr ibu t ions) .

The S ou th

I t a lian mirrors s eem t o p ossess a h eavier , more s olid q ua li ty t han t heir ma in land Greek c oun terpar ts, e specia l ly i n t he f i f th c en tury B .C. ,b u t t o s ay t ha t t hey a re b e t ter o r worse wou ld b e t o make a mean ing less s ub jective j udge men t .

There a re s o me more g enera l c haracterist ics which d ist inguish

t he S ou th I t a lian mirrors f ro m t hose o f ma in land Greece , p ar ticu lar ly among t he f e ma le mirror-bearers, which i s t he f orm most c o mmon t o b oth a reas. The most o bv ious d i f ference i s t ha t t he S ou th I t a lian o nes t end t o l ack t he p rol i fera t ion o f s ubsid iary f i gures —sph inxes, g ryphons o r e rotes a t tached t o t he s hou lders o f t he f igure o r t o t he c rescen t a nd sma l ler a n ima ls, s uch a s h ares, wh ich p ursue o ne a no ther a round t he r im o f t he d i sc . Ac o mpar ison b etween n o . 1 2 a nd t wo ma in land G reek mirrors i n A thens a nd New York ( Rich ter 1 959 , P la tes 3 14 a nd 3 15) i l lustra tes t h is d if ference , a l though n o . 9d oes s eem t o h ave t he r e mains o f s ubsid iary f i gures o n t he s hou lders o f t he main f i gure . F ina l ly, a ny a ssess men t o f t he s ign i f icance o f t his g roup o f mirrors must d epend o n h ow r epresen ta t ive t hey a re o f S ou th I t a l ian G reek mirror t ypes.

I t

h as a lready b een n o ted t ha t s ta tist ics a nd p ercen tages f or workshopou tpu t a nd s urviva l r a tes a re d i f f icu l t t o e stima te , b u t i ti sn ever the less wor th a t te mp ting t o a ssess t he r epresen ta t ion o f t ypes i n t he g roup . Most o f t he k nown mirror t ypes d o s eem t o o ccur h ere , a l though t here a re s ome main land Greek t ypes wh ich a re n o t f ound i n S ou th I t a ly a nd o thers wh ich a re f ound b u t s o r are ly t ha t t hey must h ave b een f ar l ess p opu lar .

The

ma le mirror b earer i s o ne i nstance where t he o pposi te i s t rue a nd t here s eem t o b e n o e xamp les a t a l l f ro m ma in land Greece . There i s at ype o f mirror k nown f ro m t he P e loponnese i n t he Archaic p er iod i n which t he d isc a nd h and le a re b . o th f l a t a nd a re made i n o ne p iece . S ou th I t a ly .

This t ype h as n ot y e t b een f ound i n

S imi lar ly , t he mirror w i th a s uppor t i n t he s hape o f ac o lu mn i s

n ot k nown f ro m S ou th I t a ly , a l though , a s s uggested a bove , s o me o f t he missing wooden h and les may h ave t aken t h is f orm . 5 6

The n ude f e ma le mirror b earer

i n N ew York ( R ich ter 1 959 , P la te 3 04) i s k nown o n ly f ro m t he Greek main land a nd i t s p ossib le c onnect ion w i th t he c u l t o f Ar te mis Or th ia h as b een d iscussed b y L amb ( 1 929 , p . 1 29) . T he who le c oncep t o f t he n ude f e ma le s ee ms t o b e a l ien t o Greek s cu lp ture g enera l ly i n t he Archaic p er iod a nd may h ave b een c on f ined t o S par ta .

T he b ox- mirror t ype, s o p opu lar i n ma in land Greece i n

t he f i f th a nd f our th c en tur ies B .C. d oes o ccur i n S outh I t a ly b u t o n ly r are ly — t here i s ad isc a nd h and le i n P aestu m ( no . 8 3 ) , ad isc i n Reggio ( no . 5 1) a nd a n a ctua l b ox- m irror f ro m Br indisi i n B ar i Museu m ( no . 7 6) . D iscs which p robab ly c o me f ro m s uch mirrors w i th c oncen tric c irc les o n t he b ack a re k nown e .g . n o . 6 1 i n Me tapon to , n o . 7 2 i n B ar i a nd s evera l i n T aran to , a s we l l a s f ragmen ts o f r e l ief d ecora t ion f ro m ab ox- mirror i n t he Br i tish Museu m s a id t o h ave b een o btained i n N ap les" ( B .M . Ca t . n o . 3 07 ) . A ccord ing t o S trong ( 1966 , p . 1 04) t here were a n umber o f sma l l s i lver b ox- mirrors f ound i n A pu lia wh ich may h ave b een made a t Taren tu m a nd C harbonneaux ( 1958 , p . 3 3) i s c er ta in t ha t t his t ype was made i n S ou th I t a ly, a l though h e q uo tes n o s peci f ic e xamp les. Another t ype c o m mon e lsewhere b u t r are i n S ou th I t a ly, i s t he o ne i n which t he d isc h as e ngraved d ecora t ion o n t he b ack .

T here a re s o me e xa mp les

i n S ou th I t a ly b u t t hey a l l a ppear t o b e o f I t a liote manufacture r a ther t han Greek . The d isc a nd t he h and le a re c ast i n o ne p iece a nd t he d ecora t ion u sua l ly i l lustra tes a my tho log ica l s cene . I ti s p ossible t ha t t hese were made i n i mi ta t ion o f i mpor ted G reek e xa mp les b u t n one o f t hese h ave s o f ar b een f ound i n S ou th I t a ly a nd t heir s ource o f i nsp ira t ion was more p robably E truscan . O f t he t ypes which o ccur i n S ou th I t a ly b u t n o t o n t he Greek ma in land , t here i s o f c ourse, t he ma le mirror-bearer b u t i ti s i n terest ing t o n o te t ha t t he o penwork p laque t ype ( Group B , Type I ) i s n o t i n e vidence t here e i ther . T he f ac t t ha t t h is t ype t ends t o d a te f ro m t he f our th c en tury B .C. when b oxmirrors were p opu lar i n main land Greece wou ld s ee m t o i nd ica te t ha t t wo q ui te s epara te a nd v ery d i f feren t b ranches were d evelop ing a t t his p er iod . I ts ee ms t hen , t ha t d espi te t he l arge n u mber o f S ou th I t a lian mirrors which h ave f ound t heir way i n to f ore ign c o l lec t ions, t he r ange o f t ypes i s s t i l l we l l r epresen ted i n t he S ou th I t a lian museu ms. There i s ap ossible e xcep t ion , h owe ver , i nt he A sh mo lean Museu m ( Ca t . n o . 1 928 .321) which i s ad isc f ro m L ocr i w i th a s ty lised d esign o i . t he r everse , r a ther l i ke a meda l lion a nd t h is i s at ype wh ich d oes n o t o ccur i n t his g roup . There may we l l b e o ther s uch d iscrepancies, a t p resen t u nknown . I n c onclusion , t hese mirrors r epresen t a n i mpor tan t b ranch o f S ou th I t a lian b ronzes. They c an make c er ta in c on tr ibu t ions t o o ur k now ledge o f t he s ub ject a nd i ndeed o f western Greek a r t a s a who le , b ut i t must b e emphasised t ha t t hey a re o n ly o ne o f many b ranches o f i t .

Any s pecia list i s i n d anger o f r e la ting t he

w ider c on tex t t o t heir p ar t icu lar i n terest when i ti s t he r everse wh ich i s i mport an t . The a bsorbing s ocia l o r e cono mic q uest ions o f workshop o rgan isa t ion a nd o u tpu t a s we l l a s t rade a nd r e tai ling s yste ms may b e r e la ted t o t his g roup o f mirrors b u t t hey c annot r ea list ica l ly b e a nswered b y s uch a sma l l g roup a nd a ny s uch d iscussion must b e s pecu la t ive .

The e stab lish men t o f f i rm d a t ing

migh t h ave made a s ign i f ican t c on tr ibu tion f or western Greek b ronzes b u t l ack o f c oncre te d a t ing e vidence h as made o n ly a r e la tive c hrono logy f easib le . The p urpose o ft h is work , h owever , h as n ot b een t o p rove t he s pecia l s ign if icance o f S ou th I t a lian Greek mirrors, b u t s i mp ly t o p rovide a c orpus o f t he m , a nd t o o pen u p t he s ub ject f or f ur ther s tudies. 5 7

CATALOGUE OF RELATED P IECES I N SOUTH I TAL IAN MUSE U M S Metapon to , An t iquar iu m Fro m t he a rea o f C asa R ico t ta . 6 1.

c en tre.

Beaded r im o n t he o ther s ide . 0 .4 cm

5 .1 cm

T h ickness :

0 .2 cm

1 4.3 cm

Th ickness :

0 .2 cm

Th ickness :

0 .2 cm

Sma l l p la in d isc D ia meter :

6 5 .

Th ickness :

P la in d isc , b are ly c oncave D ia meter :

6 4.

1 5 .0 cm

Sma l l p la in d isc D ia meter :

6 3.

Da te g iven : e nd o f 4 th c en tury.

D isc w i th c oncen tr ic r ings o n t he c oncave s ide a nd a sma l l b oss i n t he D ia meter :

6 2.

To mb 7 .

5 .3 cm

R e ma ins o f a mirror w i th d ecora ted t ang . Fro m S trada Provinc ia le p er Metapon to . D ia meter :

1 6.3 cm

Th ickness :

G roup : C Da te g iven :

e nd 4 th c en tury.

0 .3 cm

A lso s o me f rag men ts w i th a n i vy l ea f a t tach men t . C rotone , Museo Archaeo log ico S ta ta le Fro m t he S anc tuary o f H era Lacin ia . 6 6.

Bone mirror h and le? L eng th :

9 .7 cm

Ex terna l d ia me ter :

I n terna l d ia meter : 2 .0 cm

Th ickness :

Th is p iece may b e a mirror h and le.

1 .3 cm v arying 0 .5-0.2 cm

I th as a h ole n ear o ne e nd , a nd

s ee ms t o h ave b een made i n t wo p ieces , i ti s d ecora ted w i th h or izon ta l r a ised l ines , g rouped i n p a irs . 6 7.

Par t o f ab one mirror h and le? L eng th :

8 .2 cm

Th ickness :

0 .4 cm

Th is p iece h as a h o le n ear o ne e nd , a nd i s f la t tened o n o ne s ide , i ti s d ecora ted w i th h or izon ta l r a ised l ines , g rouped i n p a irs . 6 8 .

Bone mirror h and le. Leng th :

7 .5 cm

Th ickness c . 0 .6 cm v ary ing

I n terna l d ia meter :

1 .7 cm

Ex terna l d ia me ter :

2 .3 cm

This p iece h as t wo h o les i n i ta nd i s d ecora ted w i th d oub le r aised l i nes w i th r ounded s ect ions i n b e tween e ach p air .

5 8

Bar i , Museo , Archeo log ico 6 9.

Mirror d isc w i th i nc ised d ecora t ion . D ia meter :

1 6.8 cm

Th ickness :

C a ta logue N o . 1 867. 0 .6 cm

Fro m : C anosa Th is mirror d isc i s p robably o f l oca l manu fac ture , r a ther t han G reek . 7 0 .

Sma l l , f la t d isc . D ia me ter :

7 1.

Ca talogue N o. 3 895 .

1 2.4 cm

Th ickness :

Sma ll , r ec tangu lar mirror?

0 .1 cm

Ca ta logue N o . 2 766.

P la te 1 03 .

Fro m :

Canosa . Wid th :

6 .0 cm

Leng th : 7 2.

7 .2 cm

C ata logue N o. 2 989 .

D ia me ter :

1 6.5 cm

Sma l l , f la t d isc . D ia me ter :

7 4.

0 .2 cm

D isc w i th c oncen tr ic c ircles o n c oncave s ide a nd a p unched d ot i n t he c en tre .

7 3.

Th ickness :

Fro m Taran to .

Th ickness :

0 .4 cm

C a talogue N o. 3 557.

1 7.5 cm

Th ickness :

Fro m Taran to.

0 .1 cm

H eavy , p la in d isc w i th o ne c oncave s ide .

Ca ta logue N o . 2 990.

Fro m Taran to. D ia meter : 7 5.

7 6.

1 4.0 cm

Loca l s ty le mirror , D ia me ter :

1 2.4 cm

Th ickness :

0 .5 cm

Th ickness :

Ca ta logue N o . 2 471. Leng th :

Two d iscs f ro m ab ox mirror . ( a )

F ro m Br ind is i .

2 5 .2 cm

C a ta logue N o. 8 588 .

R epoussé d ecora t ion o f N ike c rown ing H erak les . D ia meter :

( b )

0 .2 cm

1 5 .7 cm

Th ickness :

Fro m Br indis i . Wi th l oop t o o pen .

0 .6 cm

Wi th c oncen tr ic c irc les o n o ne s ide . D ia meter :

1 5 . 7 cm

Th ickness :

1 .2 cm

Paestum Paes tu m , Museo Fro m c i ty . 7 7.

P la in d isc w i th t wo p er fora t ions . D ia me ter :

7 8 .

P la in d isc . D ia meter :

1 6.5 cm

Ca ta logue N o . A 3 598 .

Th ickness :

0 .1 cm

C a ta logue N o . A 3 612. 1 7.9 cm

Th ickness :

0 .15 cm

Three s tuds where t he h and le was a t tached , wh ich g o t hrough t o t he r ef lect ing s ide .

One l arge c rack , a nd c on t inuous p er fora t ion i n d isc .

C oncave. 7 9 .

D isc w i th h and le d etached . Praede , S ou th o f c i ty. D ia meter :

1 3.5 cm

Th ickness :

0 .2 cm

C a ta logue N o . 5 215 .

F ro m T e mpa d el

To mb 1 2. Leng th o f h and le: Wid th o f h andle :

1 3 .5 cm 1 .6 cm

Th ickness o f h and le :

5 9

0 .1 cm

8 0 .

P la in d isc . c i ty.

D ia meter : 8 1.

9 .4 cm

P la in d isc . D ia me ter :

8 2.

C a ta logue N o . 6 544.

Th ickness :

Fragmen ts .

0 .1 cm

Ca ta logue N o. 7 92. 1 0 .5 cm

Th ickness :

C ata logue N o. 7 93.

Probab le d ia me ter : 8 3.

Fro m Fusci l lo d is tr ic t , S ou th o f

To mb 1 4 .

0 .1 cm

Fro m S p i lazza 1 920 , To mb 6 .

1 1.1 cm

Th ickness :

D isc w ith h and le f or b ox mirror .

0 .1 cm

N o n umber .

1 3/12/72.

F ro m

S pi lazza , T o mb 8 6. D isc d ia me ter :

1 1.4 cm

L eng th o f l oop :

D isc t h ickness :

0 .1 cm

Wid th o f l oop :

5 .4 cm 2 .6 cm

L ecce , Museo Prov incia le C as tro med iano 8 4 a nd 8 5

Two mirrors o f Messap ian t ype w i th e ngraved mytho log ica l s cenes .

8 6 , 8 7 a nd 8 8 .

Three p la in d iscs o f wh ich o ne was i n t hree p ieces , o ne was

b ad ly b en t .

6 0

CATALOGUE OF RELATED P IECES I N EUROPE AND AMER ICA

GROUP A : TYPE I :

F IGURED

HANDLES

MALE F IGURES F ro m Eas t c oas t o f C a labr ia , a rea

B os ton , Museu m o f F ine Ar ts , N o . o f C rotone. London , Br i t ish Museu m , N o . 5 14.

F ro m S ou th I ta ly .

o . 5 15 . L ondon , Br it ish Museu m , N

Fro m n ear R o me .

London , Br i t ish Museu m , N o . 5 53.

Cas te l lan i C o l lect ion .

Par is , Louvre . TYPE I :

( Charbonneaux 1 958 , P la te XX2) .

FE MALE F IGURES

B er lin , An t iquar iu m .

N o . 7 429.

Fro m Poseidon ia ( Paes tum ).

Ber lin , An t iquar iu m .

N o .

?

Fro m I t a ly .

C openhagen , N a t iona l Museu m .

No . ABa 2 18 .

F ro m Taran to .

London , Br i t ish Museu m .

N o . 1 98 .

F ro m n ear R o me.

L ondon , Br i t ish Museu m .

N o . 2 00.

Fro m L ocr i .

L ondon , Br i t ish Museu m .

N o . 2 38 .

Fro m Nap les .

L ondon , Br i t ish Museu m .

No . 5 48 .

Fro m n ear R o me .

L ondon , Br i t ish Museu m .

N o . 5 52.

F ro m Nap les .

Munchen , Museu m An t iker K le inkuns t .

N o . 1 46.

MUnchen , Museu m An t iker K le inkuns t .

C o l l . Loeb .

Ox ford , Ash mo lean Museum.

GROUP B : TYPE I :

1 924.71.

Fro m C ro tone .

F ro m C ro tone .

DESIGNS I NCORPORATING F IGURES

HARP IES

B os ton , Museu m o f F ine Ar ts . C h icago , Ar t I ns t i tu te .

N o . 3 56.

Bough t i n R o me .

F ro m E trur ia .

Ha mburg , Museu m f ür Kuns t u nd G ewerbe. TYPE I :

F ro m I t a ly .

I nv . 1 917, 9 03.

Fro m I t a ly.

OPEN WORK PLAQUES

Frank f t ir t am Ma in , L ieb ieghaus , N o . 4 51. London , Br i t ish Museu m .

N o . 3 03.

Wien , Kuns th is tor isches Museu m .

Fro m N aples .

Fro m L ocr i . No . 3 006.

Eros . 6 1

Eros w i th b ow.

A phrod i te a nd Adon is .

Fro m Cu mae .

Aphrod i te a nd

GROUP D : Ox ford , Ash mo lean Museum.

PLAIN D ISCS

1 928 .321.

Fro m L ocr i .

D isc w i thou t t ang ,

s tyl ised f l ora l d ecora tion o n r everse , i nscr ip t ion o n f ron t .

6 2

MUSEU M CONCORDANCE

Museu m N o .

C a ta logue N o .

Provenance

R egg io d i C a labr ia , Museo Naziona le 4 112

1

L ocr i N ecropo lis , T o mb 2 1-23

4 126

2 0

4 153

1 7

Locr i N ecropol is . L ocr i N ecropol is .

4 180

3 4

L ocr i N ecropo lis .

To mb 1 10

4 225

1 9

L ocr i N ecropo l is .

4 271

1 2

L ocr i N ecropo l is , T o mb 2 81

4 272

3 7

L ocr i N ecropo l is , To mb 2 81

4 286

4 4

L ocr i N ecropo l is .

4 341

5 0

L ocr i N ecropo l is .

4 374

5 1

L ocr i N ecropo l is .

4 385

2 5

Locr i N ecropo l is .

4 426

2 1

Locr i N ecropo l is .

4 470

2 8

L ocr i N ecropol is .

4 475

3 8

4 490

L ocr i N ecropo l is , To mb 6 12.

7

Locr i N ecropo l is , T o mb 6 22 .

4 496

1 4

4 505

2 7

L ocr i N ecropo l is .

4 522

1 6

L ocr i N ecropo l is .

4 530

4 3

Locr i N ecropo lis .

4 590

3 3

L ocr i N ecropo lis .

4 629

3 1

Locr i N ecropo l is , To mb 7 49.

4 651

3 0

4 779

Locr i N ecropo l is , To mb 6 32.

L ocr i N ecropol is .

6

L ocr i N ecropo l is , To mb 8 65 .

4 834

1 5

4 871

3 2

L ocr i N ecropo l is , To mb 9 75. L ocr i N ecropo l is ,

4 874

4 0

Locr i N ecropo l is .

5 058

4 2

Locr i N ecropo l is .

5 127

2 9

Locr i N ecropo l is . Locr i N ecropo lis.

5 277

3 9

7 368

5 3

Locr i Manel la .

7 369

4 6

Locr i Manel la .

7 376

2 6

L ocr i Manel la .

7 377

2 3

L ocr i Manel la .

7 380

6 0

Locr i Manel la.

7 490

4 5

Locr i Mane l la . L ocr i Mane l la .

7 491

5 9

7 492

5 8

Locr i Mane l la .

8 825

1 0

Locr i N ecropo lis .

6 3

Museu m N o .

C a ta logue N o .

Provenance

N o n o .

1 1

L ocr i N ecropol is , To mb 1 671

No n o .

5 2

L ocr i N ecropo l is .

N o n o .

5 6

L ocr i N ecropo lis .

No n o .

5 7

L ocr i Necropo l is .

5 4

L ocr i N ecropo lis , T o mb 164

L ocr i , An t iquar iu m S ta ta le. 5 57 5 59

5 5

L ocr i Necropo lis , T o mb 1 570

6 18

4 1

L ocr i N ecropo lis , T o mb 1 240

6 73

4 9

L ocr i N ecropo l is .

6 85

1 8

L ocr i N ecropo l is .

6 88

2 2

L ocr i N ecropo l is , T o mb 2 41

8 71

2 4

L ocr i N ecropo l is .

8 77

4 7

L ocr i N ecropo l is .

8 78

4 8

L ocr i N ecropo lis .

9 11

4

L ocr i N ecropo l is , T o mb 8 26

9 12

8

L ocr i N ecropo l is , To mb 7 37

9 15 9 16

1 3 2

L ocr i Necropo l is , To mb 6 45 L ocr i N ecropo lis , T o mb 1 348

9 18

3 6

L ocr i N ecropol is .

9 19

3 5

L ocr i Necropol is , T o mb 1 73

Nap les , Museo Archeolog ico Naziona le 4 120

5

U nknown .

5 562

3

Unknown .

Crotone , Museo Archeolog ico S ta ta le 2 419

9

S anctuary o f H era Lacin ia .

Bar i , Museo Archeolog ico 1 867

6 9

C anosa .

2 471

7 5

B r ind isi .

2 766

7 1

C anosa .

2 989

7 2

Taran to.

2 990

7 4

T anan to .

3 557

7 3

T aran to.

3 895

7 0

Unknown .

8 588

7 6

Br ind is i .

8 1

Unknown .

Paestu m , Museo 7 92

8 2

S p i lazza 1 920 , To mb 6 .

A 3 598

7 93

7 7

C i ty.

A 3 612

7 8

C i ty.

5 215

7 9

T e mpa d e l Praede .

6 544

8 0

Fusc i l lo d is tr ic t , To mb 1 4.

No n o . 1 3/12/72

8 3

6 4S p i lazza , To mb 8 6.

B IBLIOGRAPHY

Amandry , P

' Manches d e Pa tere e t d e Miroir G recs ' , Monu men ts e t

Me moirs Eugene P io t , Vo l . 4 7 , Par is 1 953. Barron , J ., G reek S cu lp ture , L ondon 1 965 . B eazley , J . D .,

' A G reek Mirror i n Dubl in ' , Proceed ings o f t he Roya l I r ish

A cade my , V ol . XLV , 1 939. B oard man , J .,

G reek Ar t , London 1 964.

B oard man , J ., The G reeks Overseas , L ondon 1 964. Buschor , E . a nd Ha mann , R ., D ie S ku lp turen d es Z eus te mpels z u O ly mpia , B er l in 1 924 . C harbonneaux , J ., L es B ronzes G recs , Par is 1 958 . C ongdon , L ., O 'K .

' Me ta l lic Ana lys is o f Three G reek C arya t id Mirrors ',

Amer ican J ourna l o f Archaeo logy , Vo l. 7 1, 1 967. C orpus Vasorum An t iquoru m .

Lecce 2 .

Museo Prov inc ia le.

De lbrueck , R ., Archäo log ischer Anzeiger 1 913 , J ahrbuch d es Deu tschen Archäo log ischen I nst i tu ts. Duca t i , P ., ' Non d i u n g ruppo d i s pecch i d i b ronzo d e l s ecolo I V a . C .' M iscel lanea Orsi , 1 921. v . Duhn , F ., Archäolog ischer Anze iger 1 921, J ahrbuch d es Deu tschen Archäolog ischen I ns t i tu ts . Dunbab in , T . J ., The Wes tern Greeks , Ox ford , 1 948 . F o t i , G ., I l Museo Naziona le d i R egg io Ca labr ia , 1 972. d e F rancisc is , A ., Aga l ma ta

1 960 .

d e F ranc isc is , A ., Archaeology Vo l . I , 1 958 . d e Franciscis , A ., A t t i e Me mor ie d e l la S ocieta Magna G recia , Vo l . 2 , 1 952. d e F rancisc is , A ., A tt i e Me mor ie d e l la S ocieta Magna G recia , Vo l. 8 , 1 958 . Franck , E ., ' Gr iech ische S tandspiegel mi t mensch licher S t f i tzfigur ' t hesis , Ludwig Max im i l ians Un iversi tä t , Mt inchen 1 923 - w i th r ev iew i n Archäolog ischer Anze iger 1 923/4. G jödesen , E ., ' An throp morph ic Hand les ' , A cta Archaeolog ica 1 947/8 . Haynes , S ., ' Bronzen a us Magna Graecia ' , An t ike Kuns t , Vo l . 1 4 , 1 971. H igg ins , R . A ., G reek T erracottas , London 1 967. J acobs tha l , P ., Orna men te G r iech ischer Vasen , B er l in 1 927. 6 5

J acobs tha l , P ., D ie Mel ischen R elie fs , Ber l in 1 931. J an tzen , U .,

' Bronzewerks tä t ten i n G rossgr iechen land u nd S izi l ien ' , J ahrbuch

d es Deu tschen Archäo log ischen I ns t i tu ts , E rganzungshef t 1 3 , 1 937. Karouzou , S . P .,

' A t t ic Bronze Mirrors ' , i n S tud ies p resen ted t o D . M.

Rob inson , Vo l . 1 , Wash ing ton Un iversi ty 1 951. La mb , W., G reek a nd R o man Bronzes , L ondon 1 929. Lang lotz , E . a nd H ir mer , M., Lang lo tz , E .,

Fr t igr iechische

' The Ar t o f Magna G raec ia , London 1 965 . B i ldhauerschu len , 1 927.

Lar izza , P ., L ocr i E pizephyr i i , 1 930 . Ma iur i , A .,

' IG reci i n I ta l ia ' , C onosc i l ' I ta l ia V ol . I V , 1 960 .

Maryon , H .,

' Meta lwork ing i n t he Anc ien t Wor ld ' , Amer ican J ourna l o f

Archaeo logy , V o l . L i l l , 1 949 . v . Mat t , L . a nd Z ano tt i-Bianco , U ., v . Merck l in , E .,

La Magna Grec ia , G enoa 1 964 .

Rö mische Mi t tei lungen Vol . 3 8/39 , 1 923/4.

N eugebauer , K . A .,

' Rei farcha ische Bronzevasen mi t Z ungenmus ter ' ,

R e im ische M i t tei lungen Vo l . 3 8/39 , 1 923/4. Ober länder , P .,

' Gr iech ische Handsp iege l ' Thes is , Ha mburg 1 967.

Ors i , P .,

N ot izie d eg l i S cav i 1 911 ( Supp le men t ).

Ors i , P .,

N o t izie d eg l i S cav i 1 912 ( Supple men t ) .

Ors i , P .,

No tizie d eg l i S cav i 1 913 ( Supple men t ) .

Ors i , P .,

No t izie d eg l i S cav i 1 917.

( Abbrev ia ted t hroughou t t o N .D.S .).

Pa l lo t t ino , M., The Ar t o f t he E truscans , London 1 955 . Payne , H ., Perachora Vo l . I , Ox ford 1 940 . Pern ice , E ., J ahrbuch d es Deu tschen Archäolog ischen I ns t i tu ts , 1 920 . P esce , G ., Bo l le t ino d 'Ar te Vo l . 2 8 , 1 935 . P f t ih l , E ., Archäo log ischer Anzeiger , 1 930 . Pou lsen , V . H ., Pu tor t i , N .,

' Der S trenge S t i l ' , Acta Archaeo log ica V II I , 1 937.

Ticcol i Bronzi d a L ocr i ed a R egg io ' , L 'i ta lia An t ich iss i ma 1 929 .

R ich ter , G . M. A . A Handbook o f Greek Ar t , L ondon 1 959. R ich ter , G . M. A . Ancien t I t a ly , Ann Arbor , 1 955. R ich ter , G . M. A . a nd A lexander .

' A G reek M irror ' , Amer ican J ourna l o f

Archaeology , Vo l . L I n o . 3 , J u ly-Sept . 1 947. d e R idder , A .

' M iro irs Grecs a R e l ie fs ' , Monumen ts e t Me moires E ugene

P io t , Vo l . I V , 1 897. R ideway , B . S .

The S evere S ty le i n G reek S cu lp ture , Pr ince ton 1 970 .

6 6

R ol ley , C .

' Bronzes ' i n H . F . Mussche ( ed .) Monu men ts Graeca e t Ro mana ,

Vo l . V , Fasc. I , L e iden 1 967. S che fo ld , K .

' Gr iechische

S chu macher , K .

S piege l ' , D ie An t ike XVI , 1 940 .

Beschreibung d er S am m lung a n t iker Bronzen , Kar lsruhe

1 890 . d e S tefano , C . A .

' A Bronze Mirror i n Pa ler mo Museu m ' , Archaeolog ica

C lass ica , Vo l . XX I I F asc. I -I I , R o me 1 970 . S trong , E . G .

G reek a nd R o man G o ld a nd S i lver P la te , L ondon 1 966.

T ho mpson , H . A . T renda l l , A . D . T renda l l , A .D.

H esper ia , Vo l . X IX , 1 950 . Paes tan P o t tery , L ondon 1 936. R ed F igure Vases o f Lucan ia , C a mpan ia a nd S ici ly , Vols .

Ia nd I , Ox ford 1 966. Trenda l l , A .D.

S ou th I t a l ian Vase Pa in t ing , Br i t ish Museu m 1 966 .

Wa l ters , H . B .

Ca ta logue o f Bronzes i n t he B ri t ish Museu m , L ondon 1 899.

Woodhead , A . G .

The G reeks i n t he Wes t , L ondon 1 962 .

Wu i l leu m ier , P .

L e Tresor d e Taren te , Taren te 1 930 .

Wu i l leu m ier , P .

Taren te , d es Or ig ines a l a C onque te R o ma ine , P ar is 1 939.

Z ano t t i-B ianco , U .

' S ma ll Bronzes f ro m Bruzio a nd Lucan ia ' , J ourna l o f

H e l len ic S tud ies , Vo l . 5 9 , 1 939. Z uchner , W.

' Gr iech ische Ka lppsp iegel ' , J ahrbuch d es Deu tschen Archäblo-

g ischen I ns t i tu ts , Ergänzungshef t 1 4 , Ber l in 1 942.

6 7

L IST OF PLATES

Page 7 3f f .

P la te Group A : 1 ,2 ,3 ,4 & 5

F igured H and les

Ma le mirror-bearer .

Ca ta logue No . 1

Regg io d i C a labr ia , Museo Naziona le No . 4 112 L ocr i Necropo lis, To mb 2 1-23 6 , 7& 8

Ma le mirror-bearer .

C a ta logue No . 2

L ocr i , An tiquar iu m S tata le , N o . 9 16 L ocr i Necropolis, To mb 1 348 9& 1 0

Ma le mirror-bearer .

C a ta logue N o . 3

Nap les, Museo Archeo log ico Naziona le No . 5 562 Provenance u nknown 1 1 ,12 & 1 3

Ma le mirror-bearer .

Cata logue No . 4

L ocr i , An tiquar iu m S ta ta le N o . 9 11 L ocr i Necropo lis, T o mb 8 26 1 4 ,15 & 1 6

Ma le mirror-bearer , Ca ta logue N o . 5 Nap les, Museo Archeo logico Naziona le No . 4 120 Provenance u nknown

1 7 ,18 ,19 ,2 0 &2 1

Ma le mirror-bearer .

Ca ta logue No . 6

Regg io d i Ca labr ia , Museo Naziona le No. 4 779 L ocr i Necropo lis, T o mb 8 65

2 2 &2 3

Draped ma le mirror-bearer .

C a ta logue N o . 7

Reggio d i C a labr ia , Museo Naziona le No . 4 490 L ocr i Necropo l is, T o mb 6 22 2 4 &2 5

Ma le mirror-bearer .

Ca ta logue N o . 8

L ocr i , An tiquar iu m S ta ta le No . 9 12 L ocr i Necropo lis, To mb 7 37 2 6,27 & 2 8

F e ma le mirror-bearer .

Ca ta logue No . 9

Cro tone, Museo Archeo log ico S ta ta le No . 2 419 S anctuary o f Hera L acin ia, Cro tone 2 9 ,30 & 3 1

F e ma le mirror-bearer .

Ca ta logue No . 1 1

Reggio d i C a labr ia , Museo Naziona le No n o . L ocr i Necropo lis, T o mb 1 671 3 2 ,33 & 3 4

F e ma le mirror-bearer .

Ca ta logue No . 1 0

Regg io d i C a labr ia , Museo Naziona le No . 8 825 L ocr i Necropolis 3 5,36,37 &3 8

F e ma le mirror-bearer .

C a ta logue N o . 1 2

Reggio d i Ca labr ia , Museo Naziona le No . 4 271 L ocr i Necropo lis, To mb 2 81 6 8

P la te Group B : 3 9

Designs I ncorpora t ing F igures

Harpy Mirror .

Ca ta logue N o . 1 3

L ocr i , An tiquar iu m S ta ta le No . 9 15 L ocr i N ecropo lis, To mb 6 45 4 0

Harpy mirror .

Ca ta logue N o . 1 4

Reggio d i C a labr ia , Museo Naziona le N o . 4 496 L ocr i Necropo lis, To mb 6 32 4 1

Openwork p laque mirror .

Ca ta logue N o . 1 5

Regg io d i C a labr ia , Museo Naziona le No . 4 834 L ocr i N ecropo l is, To mb 9 75 4 2

Harpy mirror , d e tai l .

Ca ta logue No . 1 4

Reggio d i Ca labr ia , Museo Naziona le No . 4 496 L oc r i N ecropol is, To mb 6 32 4 3

Openwork p laque mirror , d e tai l . Ca ta logue No . 1 5 Regg io d i C a labr ia , Museo Naziona le N o . 4 834 L ocr i N ecropo lis, To mb 9 75 Group C : Designs w i thou t F igures

4 4 &4 5

Mirror .

C a ta logue No. 1 6

Regg io d i Ca labr ia , Museo Naziona le N o . 4 522 L ocr i Necropo l is 4 6 &4 7

Mirror .

Ca ta logue No . 1 7

Reggio d i Ca labr ia , Museo Naziona le No . 4 153 L ocr i Necropo lis 4 8 &4 9

Mirror .

Ca ta logue No. 1 8

L ocr i , An tiquar iu m S tata le N o . 6 85 L ocr i Necropo lis 5 0 &5 1

Mirror .

C a ta logue No. 1 9

Reggio d i Ca labr ia , Museo Nazionale N o. 4 225 L ocr i Necropo iis 5 2 &5 3

Mirror .

C ata logue No. 2 0

Reggio d i Ca labr ia , Museo Naziona le N o . 4 126 L ocr i Necropo lis 5 4 &5 5

Mirror .

C a ta logue No . 2 1

Reggio d i C a labr ia , Museo Naziona le N o . 4 426 L ocr i Necropo lis 5 6 &5 7

Mirror .

C a ta logue No. 2 2

L ocr i , An t iquar iu m S tata le No . 6 88 L ocr i Necropoli s, To mb 2 41 5 8

Mirror .

C a ta logue No . 2 6

Reggio d i C a labr ia , Museo Nazionale No . 7 376 L ocr i Mane lla 6 9

P la te 5 9

Mirror .

C ata logue No . 2 3

R egg io d i Ca labria , Museo Naziona le No . 7 377 L ocr i Mane l la 6 0 &6 1

Mirror .

Ca ta logue No . 2 4

L ocr i , An t iquar iu m S tata le , N o . 8 71 L ocr i Necropo l is 6 2 &6 3

M irror .

Ca ta logue No . 2 5

Reggio d i C a labr ia , Museo Naziona le No . 4 385 L ocr i Necropo li s 6 4 &6 5

M irror .

C a ta logue N o . 2 7

Reggio d i C a labr ia , Museo Naziona le No . 4 505 L ocr i Necropol is 6 6 &6 7

Mirror .

C a ta logue No . 2 8

Reggio d i C a labr ia , Museo Naziona le No . 4 470 L ocr i Necropo lis 6 8 &6 9

Mirror .

Ca ta logue No . 2 9

Reggio d i Ca labr ia, Museo Naziona le No . 5 127 L ocr i Necropo lis 7 0 &7 1

Mirror .

Ca ta logue No . 3 0

Regg io d i Ca labr ia , Museo Naziona le No . 4 651 L ocr i Necropo lis 7 2

Mirror .

C a ta logue No . 3 1

Regg io d i Ca labr ia , Museo Naziona le No . 4 629 L ocr i Necropo lis, To mb 7 49 7 3

Mirror .

Ca ta logue No . 3 2

Regg io d i Ca labr ia , Museo Naziona le No . 4 871 L ocr i Necropo lis 7 4

Mirror .

Ca ta logue No . 3 3

Regg io d i Ca labr ia , Museo Naziona le No . 4 590 L ocr i N ecropo l is 7 5

Mirror .

Ca ta logue No . 3 4

Reggio d i Ca labr ia , Museo Naziona le No . 4 180 L ocr i Necropo lis, To mb 1 10 7 6

Mirror .

Cata logue No . 3 5

L ocr i , An tiquar iu m S ta ta le , No . 9 19 L ocr i Necropol is, To mb 1 73 7 7

Mirror .

Ca ta logue No . 3 6

L ocr i , An t iquar iu m S tata le , No . 9 18 L ocr i Necropo lis 7 8

Mirror .

Ca ta logue No. 3 7

Regg io d i Ca labr ia , Museo Naziona le No . 4 272 L ocr i Necropolis, To mb 2 81

P la te 7 9

Mirror . Ca ta logue No . 3 8 R eggio d i Ca labr ia , Museo Naziona le N o . 4 475 L ocr i Necropo lis, To mb 6 12 Group D :

8 0

Mirror .

P lain D iscs

C a ta logue No . 4 2

Regg io d i Ca labr ia , Museo Naziona le No . 5 058 L ocr i Necropo lis 8 1

Mirror .

Ca ta logue No . 4 3

Reggio d i Ca labr ia , Museo Naziona le No . 4 530 L ocr i Necropo lis 8 2

Mirror .

Ca ta logue No . 4 4

Reggio d i Ca labr ia , Museo Naziona le No . 4 286 L ocr i Necropol is 8 3

Mirror .

Cata logue No . 4 5

Reggio d i Ca labr ia , Museo Naziona le No. 7 490 L ocr i Mane l la 8 4

Mirror .

Ca ta logue No . 4 6

Reggio d i Ca labria , Museo Naziona le No . 7 369 L ocr i Mane l la 8 5

Mirror .

Ca ta logue No . 4 7

L ocr i An t iquar iu m S ta ta le, No . 8 77 L ocr i Necropolis 8 6

Mirror .

Ca ta logue No. 4 9

L ocr i , An t iquar iu m S ta ta le No . 6 73 L ocr i Necropolis 8 7

Mirror .

Ca ta logue No . 4 8

L ocr i , An t iquar iu m S ta ta le, No . 8 78 L ocr i Necropolis 8 8

Mirror d isc .

Ca ta logue No . 5 3

Regg io d i Ca labr ia , Museo Naziona le No . 7 368 L ocr i Mane l la 8 9

Mirror d isc .

Cata logue No . 5 2

Reggio d i Ca labr ia , Museo Naziona le N o . u nknown L ocri Necropol is

N

10

11

12

15

c o

m

24

25

26

29

27

30

28

31

40

42

43

e i t

i n

e

48

49

51

52

53

54

55

I n

C I I D

C o I D

61

62

63

64

67

0 >

K i m

h

72

73

74

75

76

77

78

79

82 84

83

85

87

86

88

89