The middle figure with weight on right leg, left leg bent at knee with slight twist to her body, her left arm around the waist of the left-hand figure, her right arm slung across the torso of the right-hand figure with her hand resting on her shoulder, the figure on the right with her right arm resting on shoulder of middle figure, the figure on left with her right arm resting on the middle figure’s arm and her left arm around her waist, each figure with tendrils of hair falling onto shoulders, in low relief behind are an oinochoe, altar and low stool with phiale.

The Greek Kharites, or Gratiae in their Latin form, were personifications of grace and loveliness, goddesses of both the natural beauty of fertility and the creation of beauty in human arts and actions, together with the resulting pleasures of each. Commonly associated in Classical mythology with Aphrodite, Apollo, and Hera, and also with Hephaestus, the divine artist, the Graces epitomise ideas of gracefulness and gentleness, accompanying the sources of pleasure and delight, whether wisdom, poetry, or a perfect work of art. Hesiod refers specifically to three Graces, named Aglaia (“Splendour”), Euphrosyne (“Mirth”), and Thalia (“Good Cheer”), and it is this number and these names which became canonical, though others exist. Ancient accounts of their genealogy also differ, but they are most commonly considered to be the daughters of Zeus and Eurynome.

The motif of three nude maidens standing in alternating front and back view was a creation of the Hellenistic period, and became increasingly popular in Roman art. Their youthful beauty and innocent virginity is emphasised, together with their sisterly closeness; they often hold attributes of flowers, fruit, or garlands. As with this example, the figures are also often flanked by jars, and these, together with the Graces’ nudity, confirms their relationship with Aphrodite. The rhythmic composition of alternating front and back views also suggests a dance, which alludes to their association with pleasure and the arts. As Harrison has noted, the underlying idea behind the motif ’seems to be the natural attractiveness of young living things, which inspires the loving kindness that they gratefully reward’ (Harrison 1986, p. 200).

On the Graces in general cf. E. B. Harrison, “Charis, Charites”, Lexicon Iconographicum Mythologiae Classicae, II, 1986, pp. 191—203 and H. Sichtermann, Gratae, LIMC, II, 1986, pp. 203—210.