- Richard Daniel De Puma –
these mirrors were made expressly for tomb use, and in some cases this is possible. At
present, however, there is no defi nite proof of this practice for mirrors; in fact, many show
evidence of repairs made in antiquity and thus demonstrate that they were used over long
periods of time, perhaps by more than one owner.
Dioskouroi mirrors are especially diffi cult to understand because there are several
variations on the common theme. Some representations are naturalistic, others are highly
abstract. A variety of iconographical attributes accompany the fi gures and, in many cases,
they are depicted in the presence of related mythical characters like Helen, Minerva,
or others who cannot be easily identifi ed. They are rarely shown in a specifi c mythical
narrative, but rather appear simply grouped in “sacred conversation” scenes. Many of
these groupings are formulaic and the fi gures seem interchangeable.^43
Lasa mirrors are equally problematic. We know that this mythical Etruscan character
is often depicted as a nude, winged female on late Etruscan mirrors. But sometimes Lasa
can be a male fi gure (Fig. 58.11) and, on at least one mirror (Fig. 58.12) a group of both
male and female Lasae appear together.^44 Some Lasae are named on mirrors (for example,
Fig. 58.4) and we thus know that Lasa is really the designation for a large group of
beings comprised of sometimes specifi c individuals. One can think of them like angels,
a large group, with specifi c members (for example Michael, the Archangel). Lasae can
appear nude or clothed, usually but not always winged, wearing elaborate jewelry and
shoes, slippers or Phrygian hats, and carrying various attributes including alabastra and
perfume-dipsticks. The late Etruscan mirrors with Lasae are a far cry from the elegant and
complex depictions on the St. Petersburg mirror (Fig. 58.12). A typical range of examples
will illustrate “the good, the bad and the ugly” for this common subject. A fi ne Lasa is
engraved on a damaged tang mirror in Princeton (Fig. 58.13).^45 The running or fl ying pose
is ubiquitous on Lasa mirrors, but in this case the fi gure carries no attributes. A handle
Figure 58.11 Handle mirror with male Lasa, from the Tomb of Fastia Velsi, Chiusi, circa 240–200 bc.
(Museum of Fine Arts, Boston, inv. 13.2889). From De Puma 1993, no. 22. Drawing by the author.