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This figural calendar has all the hallmarks of Rateau’s sophisticated aesthetic – the kneeling figure in her stylised classical tunic, the birds and the serpent circling the central roundel, motifs that draw on his favored repertoire from antiquity, and the bronze itself, his signature medium, here part-gilt, part-patinated.
The overall form calls to mind archaic Greek bronze ‘Korai’ (‘Maiden’) hand-mirrors in which caryatid figural handles support the circular mirror, models popular in the sixth and early fifth centuries BC, examples of which Rateau may have seen in the collections of the Louvre.
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