Following the exhibition of Joseph-Marie Vien's painting entitled The Virtuous Athenian presented at the Salon of 1763 (Museum of Fine Arts, Strasbourg), Jean-Henri Eberts employed the term, which designated the woman who carried offerings, to describe the tripod in his article from the French weekly journal, dated 27 September 1773. Finding inspiration in the Antiquity tripods and braziers, this shape was adapted again for large censers (Nissim de Camondo Museum, Paris, inv CAM 37.1 and 2), but also for items of smaller size like censers and incense burners. This presented pair is distinguished by its large size considering the use of marble, rather rare for this type of object, and by the fineness of its mounting. Many collectors requested bronze artisans to mount marble, porphyry, and porcelain. Among them, the personality of the Duke of Aumont appears to be the most important. His sale in 1782 following his death indicates a large number of vases and stones notably mounted by Pierre Gouthière.