Marble imitations of wicker baskets that served as cinerary urns were popular in Rome in the Early Imperial period. They were often associated with female burials, and it is attractive to see this example as representing the weaving basket that the deceased may have used in life. Weaving was regarded as one of the activities that a virtuous Roman matron should pursue.
Alexander, Christine. 1938. "Recent Accessions in the Greek and Roman Department." Bulletin of the Metropolitan Museum of Art, 33(2): p. 52, fig. 3.
Waywell, Geoffrey B. 1986. The Lever and Hope Sculptures: Ancient Sculptures in the Lady Lever Art Gallery, Port Sunlight and a Catalogue of the Ancient Sculptures Formerly in the Hope Collection, London and Deepdene. p. 106 n. 85, fig. 31, pl. 68, Berlin: Mann.
Metropolitan Museum of Art. 1987. Greece and Rome. no. 100, p. 131, New York: The Metropolitan Museum of Art.
Kleiner, Diana and Susan B. Matheson. 1996. I Claudia: Women in Ancient Rome p. 202, fig. 153, New Haven: Yale University Art Gallery.
Peterson, Lauren Hackworth. 2003. "The Baker, His Tomb, His Wife, and Her Breadbasket: The Monument of Eurysakes in Rome." The Art Bulletin, 85(2): pp. 250, pl. 26.
Picón, Carlos A. 2007. Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome no. 422, pp. 364, 488, New York: The Metropolitan Museum of Art.
Jenkins, Ian. 2008. "The Past as a Foreign Country: Thomas Hope's Collection of Antiquities." Thomas Hope: Regency Designer, David Watkin and Philip Hewat-Jaboor, eds. p. 117, fig. 7-18, New York: Wurtzburger Collection, Baltimore Museum of Art.