The figure is elaborately dressed in a chiton (long undergarment), a himation (overgarment), sandals, a diadem, necklaces, earrings, and spiral bracelets with snake terminals. With her left hand she holds both her drapery and the handle of a mirror. She stands on a ledge that abutted on something else in back and that is supported by figures, of which two heads remain. This work figured prominently during the 1880s, which controversy raged over the interventions to which Cesnola had subjected his objects. The piece was clearly once part of a larger whole, and the illogical gesture of holding her garment and a mirror simultaneously indicates that there was also modern recutting.
From Golgoi–Ayios Photios
Cesnola, Luigi Palma di. 1885. A Descriptive Atlas of the Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum of Art, New York, Vol. 1. pl. LVII.365, Boston: James R. Osgood and Company.
Myres, John L. 1914. Handbook of the Cesnola Collection of Antiquities from Cyprus. no. 1262, New York: The Metropolitan Museum of Art.
Karageorghis, Vassos, Joan Mertens, and Marice E. Rose. 2000. Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan Museum of Art. no. 343, p. 213, New York: The Metropolitan Museum of Art.
Karageorghis, Jacqueline. 2005. Kypris: the Aphrodite of Cyprus: Ancient Sources and Archaeological Evidence. p. 166, fig. 166, Nicosia, Cyprus: Foundation Anasatasios G. Leventis.
Hermary, Antoine and Joan R. Mertens. 2013. The Cesnola Collection of Cypriot Art: Stone Sculpture. no. 277, pp. 214–15, Online Publication, New York: The Metropolitan Museum of Art.