The French word psyché (meaning, as in English, both "the mind" and the ancient goddess beloved of Cupid) also designates a full-length mirror, invented in the late eighteenth century, that can be moved up and down or tilted on its chassis.

The painting's title alludes to multiple things, most notably the myth of Psyche and Cupid and the type of large mirror depicted on the left.

A full-length mirror with chassis was invented in the late eighteenth century and took its name, psyché, from the aforementioned legend of Cupid and Psyche, a story that thematizes looking.

Such a large mirror, wherein one can see oneself fully, is a piece of furniture typical of the second half of the nineteenth century and, as mentioned, it was also called psyché.

[2] The title of the painting, however, also refers through the furtive glance of the young woman to the myth of Psyche, who was forbidden to look at her beloved Amor, but secretly could not resist.

In the painting, in a witty transposition, Stevens’ model takes a break from posing and peeks around the psyché that stands in for the canvas on an easel.

The artist's presence is implied by his cigarette butt, ash, and extinguished match on the floor (Stevens was a heavy smoker).

Stevens was an early collector, and he advocated Japonisme, which became increasingly available after a treaty opened Japan to international trade in 1854.