The peak sanctuary of Kophinas at Mezzolati flourished during the MM III period. A large number of figurines, representations of humans and animals, were offered as votives. Most of the anthropomorphic figurines are male. A clear distinction between two traditions is defined; the naturalistic and the stylized. As all of the figurines are in a fragmentary state of preservation it is often possible to make observations on the way they were constructed. It is evident that the use of the tenon-and-mortise articulation system is generalized in the naturalistic group thus giving the figurine-makers a variety of options to express their ideal human body.

Although studies have shown that some Kophinas figurine-makers were familiar with the techniques of bronzeworking, it is suggested in this paper that some of them were also familiar with the work of ivory craftsmen whose techniques they might have imitated. The possible existence of this string in a broader network of ideas among craftsmen and artists is discussed here, as well as the significance of this connection since ivory craftsmen are dependent on the palaces and Kophinas is a rural sanctuary, away from any so far known palaces.