by Mary Harrsch © 2025
This repoussé relief is thought to have come from a large box mirror featuring a scene of Anchises with his dog and Aphrodite accompanied by two erotes. The couple became the parents of Aeneas. It is said to be dated from 350-320 BCE and discovered in Paramythia in ancient Epirus.
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| Repoussé relief thought to have come from a large box mirror featuring a scene of Anchises with his dog and Aphrodite accompanied by two erotes. The couple became the parents of Aeneas. It is said to be dated from 350-320 BCE and discovered in Paramythia in ancient Epirus. Photographed at the British Museum by Mary Harrsch. |
"Yes, depictions of the myth of Aphrodite and Anchises have been found in Greece from the 4th century BCE, particularly in vase painting and relief work. One notable example is a red-figure krater attributed to the so-called "Mannheim Painter," which depicts Aphrodite approaching a reclining Anchises. Other examples include Campanian and Apulian vases that emphasize the romantic and divine aspects of their encounter.
"Reliefs, like the repoussé mirror relief you shared, are rarer but not unprecedented. The presence of Erotes in such compositions was common in 4th-century BCE Greek art, as the theme of love and divine union was a popular subject. The discovery in Paramythia aligns with other instances of mythological scenes appearing on luxury items, particularly in Macedonian and Epiran contexts."
Studying the relief, I was a little confused by what looked like an indication of female breasts on the Anchises figure and its hairstyle with long spiral curls. So, I asked about those attributes of a figure said to be male.
"The figure on the left, often assumed to be Anchises due to the presence of the dog and the reclining posture, does appear to have rounded features that suggest breasts...Some late Classical and early Hellenistic Greek artworks depict young male figures with soft, rounded features, especially in idyllic or erotic contexts. It’s possible that Anchises was depicted in an unusually androgynous manner."
As for Anchises' long ringlet of hair clearly visible on the relief, ChatGPT observed:
"Trojan heroes in Greek art were often depicted with long, flowing hair, sometimes in elaborate ringlets. This stylistic choice aligned with several broader artistic and cultural trends:
1. Trojan vs. Greek Iconography
Trojan heroes were often distinguished by their hair: In Attic vase painting and relief sculpture, Trojans—especially Paris and Aeneas—were frequently depicted with long, wavy, or curled hair, sometimes adorned with a Phrygian cap. This contrasted with the shorter, often more restrained hairstyles of Greek warriors like Achilles and Ajax.
The Eastern Influence: The Trojans were sometimes depicted with "Asiatic" elements, including long ringlets, elaborate robes, and even Persian-style trousers (anaxyrides) in later art. This was part of a broader Greek artistic tendency to differentiate foreign or semi-foreign peoples.
2. Aeneas and Anchises in Greek Art
Aeneas, in particular, is often shown with long, wavy hair in red-figure vase paintings, especially in scenes of his flight from Troy while carrying Anchises.
Anchises, when depicted youthful, can also have long curls: While in most cases he is represented as an older, bearded man, certain representations, particularly in luxury objects, show him with a more idealized youthful appearance, potentially influenced by depictions of eastern heroes.
Paris is another clear example: He is frequently shown with long, often elaborately styled hair, emphasizing his Trojan heritage and sometimes making him appear more effeminate compared to the rugged Greek warriors.
3. Macedonian and Epirote Art Influences
Macedonian and Epirote depictions of heroes tended to be more luxurious: The ruling elite embraced an opulent aesthetic, favoring elaborate curls and intricate detailing in hair and clothing. If the repoussé mirror you shared was made for an aristocratic patron, the choice to depict Anchises (or another hero) with long ringlets might reflect this trend rather than strict adherence to earlier, more austere Greek artistic conventions.
Conclusion:
"If the figure on the relief does have long ringlets, this would be consistent with Trojan iconography, particularly for heroes like Aeneas or Paris. However, if the figure is indeed meant to be Anchises, the long curls might be an artistic convention influenced by the luxurious aesthetic of the late Classical and early Hellenistic periods rather than strict adherence to traditional depictions. It would be worth comparing this relief to other repoussé mirror covers from the 4th century BCE to see if the hairstyle follows a broader trend."
I did notice the figure identified as Anchises also seems to be wearing trousers and boots. The female figure (Aphrodite) appears to be barefooted. So, I asked, "Could the trousers also be an indicator of a Trojan figure? Are Trojans sometimes depicted with trousers in 4th century BCE art?"
"Yes, trousers (anaxyrides) and boots are strong indicators of a Trojan or an "Asiatic" figure in Greek art, particularly in the 4th century BCE. This was part of a long-standing artistic convention that differentiated Trojans and other Eastern figures (such as Persians, Phrygians, and Amazons) from Greeks.
Trousers as an Ethnic Marker in Greek art
"Trojan and Phrygian Associations: In Greek art from at least the 5th century BCE, non-Greek figures—especially Trojans, Persians, and Phrygians—are often shown wearing trousers (anaxyrides) and soft boots. This visual cue helped Greek audiences distinguish foreign figures from Greek warriors, who were typically shown in tunics or hoplite armor with bare legs.
Paris as an Example: The Trojan prince Paris is frequently depicted in vase paintings and reliefs wearing a Phrygian cap and sometimes trousers, reinforcing his Eastern identity.
Amazons as a Parallel: Amazons, who were also associated with the eastern fringes of the Greek world, are often shown wearing patterned trousers and boots similar to those worn by Trojans in art.
4th Century BCE Representations of Trojans in Trousers
By the 4th century BCE, the artistic representation of non-Greek figures in trousers continued, particularly in luxury objects like metalwork and painted vases.
Macedonian Art and Luxury Styles: Macedonian and Epirote art embraced more elaborate and exotic depictions of heroic figures, and repoussé mirror covers often show highly detailed clothing. If the figure is wearing trousers and boots while Aphrodite is barefoot, this would reinforce their identity as a non-Greek, likely Trojan, figure.
Conclusion: The presence of trousers and boots on the rightmost figure strongly suggests that they are a Trojan or another eastern figure rather than a Greek. In a 4th-century BCE repoussé mirror relief, this visual detail would align with well-established artistic conventions distinguishing Trojans from Greeks."
So, I asked ChatGPT to evaluate the image and give its opinion of whether the figure said to be Anchises is dressed as a male or female and it replied:
"The attire of the figure next to the dog appears ambiguous, but certain elements suggest it may be male rather than female:
1. Trousers and Boots
The figure is wearing trousers and boots, which are not typical for Greek women but are commonly associated with Eastern or non-Greek (often Trojan, Persian, or Thracian) male figures in Greek art.
In Greek art from the 4th century BCE, Trojans, Phrygians, and Amazons are often depicted wearing long-sleeved tunics, tight-fitting trousers (anaxyrides), and boots, distinguishing them from bare-legged Greeks.
If this scene is meant to depict Anchises, the trousers could indicate his Trojan identity, aligning with other artistic conventions where Trojan warriors or noblemen are shown in non-Greek attire.
2. The Figure's Pose and Upper Body
The reclining position, with one arm raised, is often a banquet or symposium posture, typically used for men in Greek art. While some reclining female figures do exist, they are usually Aphrodite or other goddesses depicted in a sensual context, rather than clothed in long sleeves and trousers.
The upper body does seem to show some chest definition that might resemble breasts, but this could also be an effect of drapery or an idealized youthful male torso. Some late Classical and early Hellenistic depictions of young men show softer, less muscular chests.
The gesture (hand raised to the head) could indicate a relaxed or introspective pose, common in scenes of mortal men interacting with deities.
3. Comparison to Other Trojan Figures
In 4th-century BCE Greek art, Trojan men—especially Paris and other noble Trojans—are sometimes depicted wearing long-sleeved garments and trousers, differentiating them from Greek warriors, who are typically in short tunics or armor.
In Macedonian and Epirote art, Persian or Trojan influences are sometimes incorporated to emphasize connections to legendary eastern ancestry.
Given that Anchises is a Trojan prince, his portrayal in Eastern-style dress would be consistent with Greek artistic conventions for non-Greek male figures.
4. The Dog as a Clue
While Artemis is commonly depicted with dogs, noble men—especially heroes, hunters, and kings—are also sometimes shown reclining with a loyal dog at their side.
In scenes of Anchises, it would not be unusual for him to have a dog as a symbol of status or companionship.
"Conclusion: The trousers, boots, and reclining pose strongly suggest male attire, likely Trojan or Eastern-style clothing rather than a Greek female garment. If this scene does represent Anchises and Aphrodite, the depiction aligns with Greek artistic traditions that distinguish Trojan figures from Greeks through their clothing. Despite the softness of the figure’s chest, the overall iconography points to this being a male figure, probably Anchises, rather than a female one."
Just out of curiosity, since I have seen Artemis depicted with hunting dogs (outside of the Actaeon myth), I asked about the possibility the figure with the dog is Artemis and the symbolism of such a scene with Athena and Artemis together. ChatGPT responded,
1. Artemis with hunting dogs
"In Greek art, particularly on vases and reliefs, Artemis is sometimes depicted accompanied by hunting dogs, especially in scenes emphasizing her role as a huntress.
The François Vase (circa 570 BCE) shows Artemis leading a hunting dog among other mythological figures.
Several 4th-century BCE Apulian red-figure vases depict Artemis with dogs, often in dynamic hunting poses.
2. Artemis as Mistress of Animals (Potnia Theron)
In earlier Archaic and Orientalizing art, Artemis appears as a "Potnia Theron" (Mistress of Animals), holding or flanking animals, sometimes including dogs alongside lions, deer, or panthers.
While deer are more common in this context, some 6th-century BCE bronzes from Laconia depict Artemis with canines.
3. Artemis with Dogs in Literature
In Callimachus’ Hymn to Artemis (3rd century BCE), Artemis is described as having a pack of hunting dogs given to her by Pan.
Pausanias (2nd century CE) mentions statues of Artemis with dogs in sanctuaries.
4. Artemis and the Molossian Hounds (Epirote Connection?)
Epirus, where your repoussé relief was found, was famous for its Molossian hunting dogs, a breed associated with royalty and warfare.
If this relief is from Epirus or Macedonia, the inclusion of a dog could reflect a regional emphasis on Artemis as a patron of hunting dogs, linking her to local aristocratic hunting traditions.
"While the Actaeon myth is the most famous instance of Artemis with dogs, she is also shown with hunting dogs in vase paintings, bronzes, and literature—especially in her role as a huntress. Given the Epirote origin of your artifact, the dog could reflect a local hunting or Molossian dog tradition. If the reclining figure is indeed Anchises, then the presence of a dog might be symbolic rather than mythologically prescriptive.
"A scene featuring both Aphrodite and Artemis would carry strong symbolic contrasts, as these goddesses represent opposing but complementary forces in Greek mythology and religion. Their presence together in art could signify themes of duality, conflict, reconciliation, or balance between love and chastity, civilization and the wild, or beauty and strength. Here are some possible interpretations:
1. The Opposition of Love and Chastity
Aphrodite represents erotic love, desire, and fertility, while Artemis embodies chastity, virginity, and independence.
In mythology, these two deities often stand in contrast, as seen in Hippolytus' tragedy (Euripides), where his devotion to Artemis and rejection of Aphrodite leads to his downfall.
A visual depiction of Aphrodite and Artemis together could symbolize the tension between passion and purity, or the coexistence of love and restraint.
2. Nature and Civilization
Artemis is a goddess of the wilderness, the hunt, and untamed nature, whereas Aphrodite is more associated with human relationships, marriage, and seduction.
Their juxtaposition might highlight the duality of nature—the untamed vs. the cultivated, or the wild beauty of Artemis vs. the refined beauty of Aphrodite.
This would be particularly relevant in a Macedonian or Epirote context, where elite hunting culture (associated with Artemis) coexisted with luxury and courtly life (linked to Aphrodite).
3. Marriage and Maidenhood
Artemis is closely associated with young girls and their transition to adulthood, as seen in her role at Brauron, where Athenian girls performed rites before marriage.
Aphrodite, on the other hand, presides over adult love, marriage, and reproduction.
A depiction of these two goddesses together could reflect a transitionary phase, such as a woman's journey from maidenhood (Artemis) to marriage and motherhood (Aphrodite).
4. Divine Harmony or Protection of Heroes
In some myths, Artemis and Aphrodite are not simply opposed but coexist in divine harmony.
If your repoussé relief depicts Aeneas or Anchises, Aphrodite would be there as his divine mother, while Artemis might symbolize protection or a connection to his Trojan heritage.
The presence of both goddesses could imply divine guidance over the hero’s fate, especially if the scene had political or dynastic significance in Macedonian or Epirote culture.
5. Local Cult Connections in Epirus or Macedon
In Macedonian and Epirote religion, both Aphrodite and Artemis were highly revered.
Artemis was worshipped in her huntress and protector roles, tied to aristocratic hunting traditions.
Aphrodite, especially in Macedonia, was sometimes seen as a warrior goddess (Aphrodite Areia), linking her to conquest and rulership.
If this relief came from a royal or noble context, it could reflect the merging of divine influences, reinforcing the legitimacy of a ruler or noble family who saw themselves under the patronage of both goddesses.
Conclusion: If this scene truly shows Aphrodite and Artemis together, it could symbolize:
The contrast between love and chastity, passion and restraint
The balance of nature and civilization, or the wild and the refined
A transitionary phase in a woman’s life (maiden to bride)
Divine protection over a heroic figure like Anchises or Aeneas
A local religious or political statement in an Epirote or Macedonian context
"This unusual pairing raises fascinating questions about regional artistic traditions and how mythological figures were interpreted differently outside of Attic-centered narratives."
Thinking about this artifact as a mirror relief, I thought the image interpreted as Athena and Artemis in roles depicting transition from maiden to womanhood may have more meaning to a female than the Athena/Anchises image would but maybe I'm looking at it with too much of a 21st century perspective! I noticed the curator at The British Museum museum did comment that the relief is so large, it may have come from a chest or piece of furniture, though, instead of a mirror.
Lastly, since this was not a Roman-period artifact, I asked, "Why would the relationship of Aphrodite and Anchises be important in Epirus or Macedon compared to Attica or the Peloponnese?"
ChatGPT replied: "The relationship between Aphrodite and Anchises would have held special significance in Epirus and Macedon for several reasons, particularly in connection with royal ideology and the legitimization of rulership.
1. Ancestral Claims and Royal Propaganda
The Trojan Connection: The Molossian royal house of Epirus, to which Alexander the Great’s mother Olympias belonged, claimed descent from Neoptolemus, son of Achilles. Since Aeneas, the son of Aphrodite and Anchises, was a prominent Trojan hero who escaped to found a new lineage, myths involving his ancestry could have been politically relevant. The ruling elite of Epirus and Macedon often sought to link themselves to heroic or divine figures to justify their rule.
Aeneas as a Model: In the Hellenistic period, rulers across the Greek world and beyond used Trojan ancestry as a means of legitimizing their authority, much as the Romans would later do. If there was already an awareness of Aeneas’ significance in the region by the late 4th century BCE, a depiction of his parents could serve to reinforce this connection.
2. Aphrodite’s Role in Kingship and Fertility
Aphrodite as a Divine Benefactor: In Macedonian and Epirote royal ideology, Aphrodite was associated with power, fertility, and divine favor. Her union with Anchises, a mortal, could be seen as a parallel to how gods supposedly blessed certain ruling families with semi-divine ancestry.
Aphrodite and Olympias: Olympias, the mother of Alexander the Great, was closely linked to divine imagery, often associating herself with Dionysus and other powerful deities. Given that Aphrodite was also tied to ideas of dynasty and legitimacy, her presence in Macedonian iconography might have reflected royal ambitions.
3. Regional Artistic Trends and the Macedonian Love for Opulence
Luxury Objects and Mythology:
The 4th century BCE saw a rise in elaborate repoussé mirror reliefs and luxury items in Macedonian and Epirote aristocratic culture. Mythological themes celebrating love, divine favor, and heroic ancestry were common. A scene featuring Aphrodite and Anchises, with Erotes symbolizing their union and fertility, would align well with the aesthetic and ideological concerns of elite patrons in the region.
Contrast with Attica and the Peloponnese: While Athens and the Peloponnesian city-states had strong civic identities rooted in their own local myths (e.g., Theseus in Athens, Heracles in Argos and Sparta), Epirus and Macedon placed greater emphasis on heroic ancestry tied to pan-Hellenic figures like Achilles, Aeneas, and Heracles.
"Conclusion: Aphrodite and Anchises' myth would have been especially relevant in Epirus and Macedon due to its implications for royal lineage, divine favor, and the region’s strong ties to Trojan ancestry myths. While Attica and the Peloponnese had their own local mythological focuses, the northern Greek regions used myth as a political tool to strengthen their claims to divine descent and legitimacy on the broader stage of Greek and Hellenistic power struggles."
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