Mirror back, carved ivory, the God of Love in his Palace, France (Paris), ca. 1310-1320

The God of Love is shown in the centre of his palace. The architecture is divided into two storeys, with two trees in the awkward curving spaces at the sides. On the upper level are three gabled openings with crockets supported on thin columns; the central one, with an internal trefoil arch, is wider than the others, and above it are two quatrefoil roundels with rosettes and two trefoils. In the centre enthroned and with his right leg crossed over the other, is the God of Love. He supports a falcon on his left wrist and holds an arrow in his right hand, which he points towards the heart of a kneeling young man at the left. A lady, the subject of the young man's ardour, kneels at the right. Both kneeling figures raise their hands as if in prayer. Two further pairs of lovers occupy the spaces on each side: on the left, the lover fondles his lady's chin, while on the right the young man grasps the lady's wrist with his left hand and gestures (as if blessing) with his right. On the lower level, under five crocketed and trefoil arches, three scenes appear to take place in front of the palace, in a garden. On the left a lady holds a small dog, which she seems to offer to her companion; in the centre a young man flanked by two rose bushes offers a rose to a lady, who is embellishing the crown of love (the couronne tressée); and on the right the young man offers his unconditional love to the lady. This last would normally be shown with the gentleman before the standing lady, but here the space available has dictated that he stands and she sits. The border is unusually decorated with small rosettes and four crawling monsters on the rim.

In the collection of Prince Petr Soltykoff, Paris, until 1861; bought by John Webb, London, at the Soltykoff sale (Soltykoff 1861, lot 354); purchased from Webb in 1865 for £75.

This is a mirror case made in Paris in about 1310-1320. The case is carved in ivory and represents the God of Love in his Palace, surrounded by other pairs of lovers expressing their affection.

Ivory combs, together with mirror cases and gravoirs for parting the hair, formed an essential part of the trousse de toilette or étui (dressing case) of the typical wealthy lady or gentleman in the Gothic period.

Gothic ivory mirror backs survive in considerable numbers. The ivory cases themselves, usually between 8 and 14 cm in diameter, consisted of two paired ivory discs (described here as ‘mirror backs’), often with four crawling monsters or lions (or leaves) carved around the outer edge. These ornamental features would transform the circle into a square and make the opening of the case easier, although their vulnerability to breakage is now all too evident.
The majority of the ivory mirror cases and their leather boxes must have been purchased as expensive gifts, to be presented by the wealthy élite to their friends, family and lovers, and often as wedding presents. The subject matter of the mirror backs was almost exclusively secular.

210-1865