Etruscan Metalwork: Engraved bronze mirror

Inv. No.: 76.001
Provenance: Etruria (probably Vulci)
Date: 4th century BC
Diameter: 151mm

Gift of Dr Stanley Castlehow.

A bronze Etruscan grip mirror consisting of a round disc with a short tang that projects directly from the disc without any extension. The tang is tapered with straight sides and a rounded end. It would originally have been inserted into a handle of wood, bone or ivory, now missing. The very slightly convex obverse reflecting surface of the disc is smooth and encircled with a narrow decorative beaded border while the slightly convex reverse has an engraved scene with three graceful figures in the medallion and a framing border of ivy leaves. The figures are difficult to identify but include a central seated captive warrior who gazes intently at a winged female, perhaps a lasa, who stands before him. She returns his gaze, her left hand touching his neck as though offering comfort, while behind him stands another warrior or guard armed with a spear. The edge of the disc is slightly raised and the edge profile is offset oblique. This type of tang mirror was commonly manufactured in Vulci. The piece has been conserved and is in good condition, although there is some surface roughness and pitting plus a green patina and some red iron deposits.

Function:
Etruscan mirrors were prestige objects, usually given as a wedding present and used for toiletry purposes during life when the polished obverse surface would have enabled the owner (usually female) to see their reflection. This attribute could be considered quasi magical as well as useful and mirrors were often buried with their owner after death (most extant Etruscan mirrors have been found in a funerary context). The scenes that decorate the reverse usually have themes deriving from Greek mythology and legend, adapted to Etruscan interests and traditions. Sometimes there are genre scenes, but these are unusual.

Manufacture:
Cast using either a stone mould or the lost-wax method, hammered to achieve its final shape and then engraved and polished. Finally, the handle was attached to the tang.

Decoration:

1. The outer edge of the obverse side of the mirror is decorated with a pattern of fine relief beading.
2. On the reverse, the ivy border decoration consists of stems and leaves encircling the central medallion and joined together with an elaborate double knot (Hercules knot) on the far side of the disc, almost directly opposite where the tang joins the disc but slightly to the right.
3. The figural scene decorating the medallion on the reverse consists of a group of three figures set slightly to the left of the tang insertion. In the centre is a young man with a profile head facing right, seated on a shield which is presumably leaning on a rock or mound of earth. His bare feet rest on uneven ground that overlaps the bottom of the shield and his arms are seemingly bound behind his back (his hands are not visible). His hair is short and slightly wavy and his bare chest is shown in three-quarter view. The cupule (a small depression probably made by a pointed tool used to hold the mirror firmly in place whilst it was engraved or polished) is situated just to the right of his waistline. A cloak is draped around his hips and covers his legs. Directly in front of the youth is a standing winged figure shown in profile, facing left and wearing a sleeveless chiton with bare feet. The figure is probably female and has slightly wavy, cap-like hair. Her left hand is placed gently on the neck of the seated figure with fingers curling around his neck and thumb touching beneath his chin. Holding his head thus, she looks intently into his eyes. To the left, standing behind the seated figure, is a standing naked youth who has a cloak hanging down his back. His head is shown in profile, facing right, while his muscular body is in three-quarter view. His hair is wavy, reaching to the base of his neck, and his pose is relaxed with his right leg pushing forward, his left leg bending backwards and his right arm held akimbo. He appears to be leaning on a spear held in his left hand.

Bibliography:
Beazley, J. D., "The World of the Etruscan Mirror", The Journal of Hellenic Studies, LXIX (1949), 1-17.

Brown, D., "Bronze and Pewter", Roman Crafts, eds. D. Strong and D. Brown, New York, New York University Press, 1976, 25-41.

de Grummond, N. T. (ed.), A Guide to Etruscan Mirrors, Tallahassee, Florida, Archaeological News, 1982.

de Grummond, N. T., "Etruscan Mirrors Now", American Journal of Archaeology, 106 (2002), 307-311.

Del Chiaro, M. A., "Etruscan Bronze Mirrors", Archaeology, 27, No. 2 (April 1974), 120-126.

Gerhard, E., Etruskische Spiegel, Berlin, Georg Reimer, 1867, five volumes.

Fine Antiquities, Christie catalogue, Tuesday 6 July 1976, No. 28, Plate 7.

Fischer-Graf, U., Spiegelwerkstätten in Vulci, Berlin, Mann, 1980.

Kanowski, M. G., The Antiquities Collection, catalogue, Department of Classics and Ancient History, The University of Queensland, St. Lucia, 1978, 62.

Serra Ridgway, F. R., "Etruscan mirrors and archaeological context", Journal of Roman Archaeology, 13 (2000), 407-418.

Rebuffat-Emmanuel, D., Le Miroir Étrusque dprès la Collection du Cabinet des Médailles, Rome, École Française de Rome, 1973 (two volumes).

Van der Meer, L. B., Interpretatio Etrusca: Greek Myths on Etruscan Mirrors, Amsterdam, Gieben, 1995.

Comparanda:
Beazley, J. D., "The World of the Etruscan Mirror", The Journal of Hellenic Studies, LXIX (1949), Pl. IX (similar eye-to-eye contact shown between Atunis [Adonis] and Lasa Achununa; similar framing border and mirror type).

de Grummond, N. T. (ed.), A Guide to Etruscan Mirrors, Tallahassee, Florida, Archaeological News, 1982, Fig. 93 (British Museum mirror with comparable figures: winged lasa and seated Amphiaraos with shield but not a captive; c. 350 BC).

Fischer-Graf, U., Spiegelwerkstätten in Vulci, Berlin, Mann, 1980, Abb. 3, V 88 (border decoration), Tafel 8, 3, Tafel 14, 2, Tafel 23, 2 (all have simple tangs).