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ENGRAVED GEMS AND RINGS.

LIVIA,
WIFE OF THE EMPEROR AUGUSTUS-
IN THE CHARACTER OF JUNO.
NO. 164 IN THE COLLEC'HON OF
JOSEPH MAYER, F.8.A.
CATALOGUE
OF THE
ENGRAVED GEMS AND RINGS
IN THE COLLECTION OF
JOSEPH 1\//IAYE R, F.S.A.
BY
CHARLES TINDAL GATTY

q
92%
‘$13
PRINTED FOR
JOSEPH MAYER
BY
BRADBURY, AGNE\V, & CO., \VHITEFRIARS, LONDON.
—
1879.
LONDON :
BRADBURY, AGNEW, & co., PRINTERS, WHITEFRIARS.
PREFACE.
\fwq'xl
MOST of the gems here catalogued, were obtained by
Mr. Mayer from the Hertz collection; a few came from
the collection of Mr. Philip Henry Hope, and the remaining
specimens have been brought together from a variety of
sources during the last fifty years. These gems and rings do
not comprise all those that originally formed Mr. Mayer's
collection, as a considerable number were presented by Mr.
Mayer to the town of Liverpool, with his gift in the year
1867.
The collection contains examples of most of the styles of
gem engraving from the earliest times, and forms a useful series
for a student ; but it does not pretend to rank in quality with
such cabinets as the Marlborough Collection and others,
in which some of the most perfect examples of gem engraving
are to be found.
For the purpose of preparing this Catalogue, the collection
has been divided into groups, and it is hoped that this classifi-
cation will assist towards an intelligent appreciation of its
contents. In the arrangement of any collection of works of
art, where the material, country, date, and nature of the objects
are all of importance, com-promises have to be made, and
vi
something must be sacrificed. In this collection, for example,
the pastes have been kept apart from the precious stones,
by which arrangement a completely satisfactory classification
of subject is sacrificed to that of material.
The determination of the style and date of these gems has
occupied considerable time, and been attended with difficulties.
The writer entered upon an unexplored land of knowledge
when he received the collection, but through Mr. Mayer’s
kindness he has been enabled to consult some of the best
authorities, and obtain from them the elucidation of many
doubtful and difficult points. There is, perhaps, no branch
of art which contains so many successful ancient and modern
imitations as that of gem engraving. Directly the student
passes from the undoubted characteristic pieces of any style,
which carry with them the conviction that they are what they
pretend to be, he passes into a region of uncertainty where it
is difficult to determine whether any violation of the general
characteristics of a style, is to be attributed to the ignorance
of an ancient or modern imitator. Apart from this question
of imitation, it is also found that any work of art so delicate,
and often so subtilely executed as an engraved gem, does not
at once make a due impression on the mind. The first
glance often produces only a hesitation, and it takes con-
siderable time for those not long familiar with the subject to
gain conviction, and give an opinion founded upon good
1' easons.
These difficulties, and others, have retarded the publication
of this Catalogue, and the writer offers his apologies to Mr.
Mayer for the‘ delay ;_he is conscious that the work is still
vii
but imperfectly done; he hopes, however, that in due time
many fresh points of interest will occur to others, and be
discovered by himself, in order to make these pages more
Worthy of Mr. Mayer’s acceptance. The descriptions are
unequally distributed, some departments having had more
attention or suggested more enquiry than others, and it is
only at the last moment when the Work has to be definitely
finished, that discoveries are made of so many points that
have been overlooked and undervalued.
The Writer begs in conclusion to thank Mr. Mayer for
entrusting ‘to him a valuable collection, and giving him the
opportunity of a study full of» interest and instruction. He
begs also to thank Mr. C. W. King and Professor Wright of
Cambridge, Mr. Neville Storey-Maskelyne and Dr. Rieu of
‘the British Museum, Mr. Edward Thomas of London,‘and
Mr. F. P. Marrat of Liverpool, for deciphering inscriptions
and giving translations, and suggesting many interesting
matters which have been incorporated into these pages.
CHARLES TINDAL GATTY.
FREE PUBLIC MUSEUM, LIVERPOOL,
91/; Sepia/finer, 187 9.
INTRODUCTION.
\Jm‘v
THE art of engraving precious stones has existed in all
ages amongst civilised peoples. Its original aim no doubt
was the making of personal seals, bearing the religious or
civil insignia with which the owner accompanied his name, or
through which at any rate he transmitted his authority. This
power of the personal signet, so common in the ancient world,
is made familiar in the case of Jezebel, who used the seal of
Ahab to secure the success of her treachery against Naboth.
At a later date such insignia passed from use into orna-
ment; and though some had little possibly in their form to
recommend them for such a purpose; still, as is the case in
our own heraldry, their long connection with the history and
individual glory of the people, would lead them to survive for
long enough in the national art.
In the first case, however, there is little doubt but that
gems were made for seals, and amongst all ancient peoples
we find the use and power of the szlguez‘. The history and
antiquities of Egypt, Assyria, Palestine, Greece, and Rome
all attest this. In the British Museum is a clay seal from an
Egyptian document, inscribed with the name Naifaarut, of
the time of the 29th Dynasty, B.C. 399—393. “The Letters,”
says Dr. Birch (Guide to the Egyptian Rooms in the British
Museum), “and documents were rolled up into cylinders,
placed in leather cases for safe transmission. Letters were
accompanied by seals of clay placed on the cylindrical fold,
and bearing impressions from scarabmi.” In the Mayer Col-
X
lection there is a gold revolving signet ring bearing the name
and titles of Amenophis II. of the 18th Dynasty, BC. 1525—
I 324. There are also in the same collection the neck of a
terra-cotta amphora on which are impressions from a seal,
and a brick bearing an impressed-name of Hesiemkheb, a
high priest of Amen-Ra. It was in the capacity of steward
that joseph received from Pharaoh his ring, evidently the
signet to be attached to official documents, a practice still
in use amongst modern nations.
The custom was as common in Assyria and. Babylonia as
in Egypt. Numbers of cylindrical seals are to be seen in
any collection of such remains. These were the personal
seals, which we see from the sculptures were worn round the
wrist suspended on a cord. The subjects are generally of a
religious character, a priest and worshipper before some deity,
and possibly a few lines of dedication on behalf of the owner.
In the book of Daniel we read that Darius sealed with his
own signet and with the signet of his lords, the stone which
guarded the entrance of the lion's den, in which the prophet
was enclosed. There are a number of Babylonian cylindrical
seals in the Mayer Collection, and in the British Museum is
a vast collection in various stones, some of them bearing the
names of kings and important historical characters.
There are some interesting records in the Bible also of such
signets. The signet of judah is mentioned, Gen. xxxviii. 18;
and in the directions given for the jewels that were to decorate
the vestments of the Hebrew High Priest (Exodus xxviii. II,
21, 36, and xxxix. 6, I4, 30), we are told that the names of
the Children of Israel were to be engraved upon precious
stones set in gold, “ with the work of an engraver in stone,
like the engravings of a signet.” In the book of Jeremiah
(xxii. 24) there is a mention of wearing the signet on the
right hand ; and in the book of Nehemiah is given a very
- extensive list of the Priests, Levites, and Chiefs of the
Hebrews, whose seals were attached to a solemn covenant to
the Lord.
xi
In Professor Becker’s “ Charicles ” and “ Gallus ” some
interesting particulars are given with reference to the use of
the signet amongst the Greeks and Romans. Important
documents were both sealed up, and also attested by a seal
affixed beneath the writing. Forgeries of seals appear to have
occurred in early times, as Solon enacted a law against them,
but there is no mention of the use of seals at all in Homer.
The z‘abellce upon which the Romans wrote their letters, grav-
ing the characters on wax, were tied up with thread which was
sealed with wax or the sealing-earth. Sometimes the signet
bore the name of the owner, as No. 242 in this Catalogue,
“ Q ' PONPONIIVS ' FAVSTVS ;” at other times there was
a group of symbols, signifying the profession, and possibly
with a play upon the name of the owner. There is a chapter
on remarkable signets of antiquity in King's “ Antique Gems,”
which gives some very interesting information, and reference
should be made to the section “Working in Precious Stones”
in Muller’s “Ancient Art and its Remains.”
Muller says that States as well as individuals had signets,
which he conjectures may account for the frequent similarity
between the designs on gems and on coins.
The use of signets continued into Mediaeval times, and
amongst the rings in this collection are a few very charming
examples. Nos. 882 and 88 3 are set with antique gems,
but the mountings are as early as the 14th century, and one
bears the name of the owner, “The seal of Philip Poole.”
During the present century the use of personal signets has
very much declined, letters are seldom sealed, and signet
rings are worn more for ornament than use.
Whilst the writer offers these few notes upon signets, it
must be remembered that the majority of the gems in this
collection have served an ornamental rather than a useful end.
They have been worn in rings, and several will be found in
the “ Finger Ring” section still preserved undisturbed in their
original mountings. All the Greeks and Romans of any social
position wore a ring, and sometimes, in later ages, several.
xii
The devices engraved upon such stones are very numerous,
arising from an immense variety of religious, political and
social associations, and the meaning of these subjects is one
of the most interesting features of a collection such as this,
in which the artistic power is not of the highest quality.
The first and chief group of these subjects is formed of the
religious class, such as representations of the deities under
various aspects ; and this class would have been considerably
larger, and arranged with more interest, if the writer could
have duly appreciated the bearings on this matter of many
of the apparently miscellaneous subjects. It is, indeed, a
very interesting study, for we learn the familiar aspect of
the religion, from knowing what the worshippers cared to
have figured on their personal ornaments. We get the
characteristics ascribed to the deities, the legends attached to
their lives, the influence they were supposed to have over
human affairs, and the insignia by which they ‘were known.
Other matters also appear connected with religious worship,
such as the gems adapted for votive purposes, which were in
some cases actually offered in religious service; others which
were worn as emblems of the protection of certain deities,
Mercury for those engaged in commerce, XEsculapius for the
sick, Mars for the soldier, etc. These subjects also illustrate
some interesting phases in the history and development of the
ancient mythologies. They give the varied traditions con-
cerning the gods as found at different epochs and localities.
They show also the mingling of the various mythologies, the
influence of the Egyptian and Greek religions upon the
Roman pantheon, and in later days the extraordinary
medley of mythology which will be found upon the Gnostic
amulets.
Amongst the miscellaneous subjects there are some very
interesting illustrations‘ of the details of ancient life. Such
matters as the arrangements of the hair at different epochs,
the various kinds of armour and dress worn; the altars and
other details connected with religious offices; the games and
xiii
amusements, and the pursuits of agriculture, pot-making, and
various other employments. Some gems, again, were com-
memorative or memorial of marriage, victory, and national
events; in many cases also of important national characters,
emperors, statesmen, philosophers, and the like, giving their
portraits. In some of these cases the person would be deified
for the time, the emperor would be depicted with the- attri-
butes of Hercules or Jupiter.
Upon the gems of the Musulman period nothing will be
found but inscriptions, figure work being against the spirit of
‘that religion; but these inscriptions have an interest of their
own. Nearly all of them imply a real confidence in the
immediate protection of God, and represent some of the
strong religious enthusiasm of the Musulmans. In some
cases they give the 'owner’s name with an invocation, such as
“Accomplish, O my God, the desire of Mohammed” (No.
435), on others there are such touching religious sentiments
as “My hope is Forgiveness of my Master” (No. 417), or, “ He
who believes good of others, his life is sweet” (No. 405), or,
“Place thy confidence in God, it will be enough” (No. 411).
Nearly all the inscriptions are from the Koran.
A curious phase of superstition appears amongst the gems
of the Musulman period, which, though difficult to trace
everywhere, has played a part at all times amongst all peoples.
I allude to the supernatural properties which are supposed by
some to reside in particular kinds of precious stones. Mr.
King gives a chapter on this subject in his “Antique Gems,”
and some extraordinary Mediaeval superstitions relative to it.
In our own time there are some current traditions allied to it
with which all are familiar, such as that opals are unlucky, or
change with the donor’s sentiments; and something similar
is also said of the turquoise. The Koh-i-noor diamond again
has been considered an ‘unlucky national possession.
The Musulman gems are nearly all of'carnelian, Mo-
hammed having expressed himself very strongly as to the
virtues inherent in that stone. No. 416 bears an inscription,
xiv
-
“In the name of God the healer,” and was evidently worn
in sickness. Illustrations of this superstition amongst the
Roman gems are difficult to find, though it may be noticed
that in some cases certain subjects prevail upon particular
stones, as the figures of the Sun-god upon the bloodstone, see
page 24.
The subjects upon the gems of the Cinquecento and later
periods, have all of them the fatal drawback to their interest,
that they are for the most part attempted reproductions of
the antique. Many of course are direct forgeries, made to
deceive collectors; but those that are not so, however
exquisite their engraving, can never rank as high amongst
works of art as their antique rival, for they are not original
studies.
Many points of artistic interest are suggested by an
examination of these engraved gems, such as how far a
gem is a satisfactory medium for any artist, and whether the
labour and ingenuity required for engraving it do not hope-
lessly impede his freedom. Certainly it does occur to the
student sometimes, that what is gained is barely a compensa-
tion for the trouble taken. Very wonderful it is of course
that so much should 'be condensed into so small a space, but
the marvellous and the ingenious should not be the only
excellences in artistic productions.
The differences in the various styles of subject and engrav~
ing are also interesting to notice. In the early antique gems
we see a small surface and very simple treatment, but the
artists of the Cinquecento and later periods indulged in com-
plicated subjects of a large size.
The finger-rings are placed together in a group atthe end
of the series; they are a miscellaneous assortment from
ancient Egyptian times down to the mourning rings of the
Duke of \Vellington. A few of them are very interesting,
such as the Greek bronze ring, No. 820, and the Greek gold
ring, No. 822. Amongst the Roman rings are two bet'rothal
rings, Nos. 849 and 50, and an Early Christian gold ring, No.
XV
852. The Mediaval gold ring, No. 881, is a beautiful example
of 14th century work, and the posy rings, Nos. 899—903,
give some of the curious and touching mottoes commonly
inscribed upon them.

T he following VVorZes 0n Gems can be cansulz‘ed in the Liverpool
Free Public Library :—
“ANTIQUE GEMS.” By C. W. KING. Murray. 1860.
“HANDBOOK OF ENGRAVED GEMS.” By c. w. King. B611
& Daldy. 1866.
“THE NATURAL HISTORY OF PRECIOUS STONES, GEMS,
AND PRECIOUS METALS.” By C. W. King. Bell&Daldy. 1865-
“THE GNOSTICS.” By C. W. King. Bell & Dalcly. 1864.
“DACTYLIOTHECA” OF ABRAHAM GORZEI.
“THE FLORENTINE MUSEUM.”
“WORLEDGE’S GEMS.”
“FINGER-RING LORE.” By W. JONES.
“MONUMENS MUSSULMAN.” Reinaud.
“ANCIENT ART AND ITS REMAINS.” Miiller.
ENGRAVED GEMS.
PHGZNICIAN, GREEK, AND ETRUSCAN.
THIS group of gems, representing the early periods of gem-
engraving, is placed at the commencement of the entire series, and
separated from the Roman and Oriental Gems, as it illustrates a
style of art of a very superior order, executed at a time long anterior
to the majority of the antique gems in this collection.
These gems were most of them produced either directly or in-
directly under the influence of Greek art, although some of the rude
Etruscan specimens can be hardly considered more than barbaric
imitations of better works.
The style of these gems forms a striking contrast to the modern
type. The size is small, the design simple, and the treatment
powerful.
Several are in the shape of the srambczus, or sacred beetle of Egypt,
and it might be inferred from the original gold mounting attached to
No. 2 that these were more probably worn as pendants than as the
settings of finger rings. The scarab form was imported into Etruria
and Phoenicia from Egypt, together with many other religious
emblems and practices. See King’s “Antique Gems,” page 118, for
a description of these scarabaei and the uses to which they were
applied.
1 AN APE, walking on all fours.
Intaglz'a on [be base of a round grz’m jasper smr'abreus.
Probably P/zwnz'rz'an. T75 in. x if, in.
2 PROFILE PORTRAIT, probably of a Queen, wearing the Egyptian
At)’ head-dress, viz., two horns, surmounted by erect
uraei with disks on their heads; also the vulture head-
B
2
attire, and an Egyptian collar; the whole being surrounded
by a guilloche border.
This interesting portrait is fine!) cut in intaglio on the base of
a red carnelian scarabceus, to which is attachea7 the original
gold ring mounting.
Probably Phoenician worh. g in. x in
3 FAUN, kneeling on his right knee; surrounded by a guilloche
border.
Intaglio on the base of a sara’ scarabaus.
Etruscan—fine work. 3} in. x i in.
4 Two WARRIORS (P), standing; surrounded by a border.
[ntaglio on the base of a red carnelian scarabceus; somewhat
imperfect.
Etruscan. g in. x i— in.
5 A NEoRo’s HEAD; surrounded by a border.
Intaglio on the base of a red carnelian scarabaus.
Etruscan. ' 1-73 in. x g- in.
6 A MAN HOLDING A Bow; very rudely drawn.
[ntaglio on a red carnelian.
Etruscan style. 2 in. x ~116- in.
7 A MAN DRIVING THREE HORSES.
[ntaglio on the base of a sara’ scarabceus.
Etruscan. 15% in. x ~3— in.
8 CAPANEUS STRUCK DOWN BY THE FIRE 0F ZEUS ; surrounded
by a guilloche border.
fntaglio on the base of a white carnelian scarabceus.
Etruscan. ii in. x g in.
The antiquity of thisgern has been doubted.
9 A BULL.
[ntaglio on the base of a red carnelian scarabceus.
Etruscan. g in. x g in.
3
10 AN ANIMAL ; rudely executed.
Intaglio on fire base of an agate scarabeeus.
Etruscan. % in. x g in.
11 AN ANIMAL ; rudely executed.
lntaglio on t/ze base of a red carnelian scarabceus.
Etruscan. % in. x a1 in.
12 A DEER WITH A ROE; rudely executed.
[ntaglz'o on tbe base of a rat carnelian scarabceus.
Etruscan. in. x T"? in.
13 A DRAGON.
[ntaglio on t/ze base of a supp/tire scarabaus.
Etruscan (P). %in. x g- in.
14 A MAN WALKING, leaning with his right hand upon his staff,
and carrying in his left arm an object, possibly a musical
instrument ; this gem is a fine example of early good
work, the walking movement in the figure is cleverly given
with great truth.
[ntaglio on an agate, zo/zz'cb lzas been burnt.
Etruscan. % in. x 15? in.
15 A HARUsPEx, carrying the 1ituus or divination staff, and
leaning over an altar past which a serpent (symbol of
the genius loci) is gliding away from him.
Intaglio on a carnelian.
Etruscan. % in. x g in.
16 CEDIPUs coNQUERING THE SPHINx.
[ntaglio on an on ya agate.
Etruscan or [ta/o-Greeb work. T"? in. x 15,-, in.
17 FIGURE OF A MAN CARRYING A FILLETED ROD, approaching
towards an altar, round which is coiled a serpent (symbol
of the genius loci); the man’s hand is extended towards
an urn standing on the altar, from which projects a
B 2
4
18
19
20
21
22
23
branch ; doubtless an olive or myrtle branch, with which
he is going to sprinkle some of the water in the urn to
lustrate or purify something.
[ntaglz'o on an agate onyx.
Etruscan or Halo-Greek war/e. Z} in. x 1% in.
Hit-l
SEATED FIGURE OF A MAN, sleeping, and resting his head
upon his hands, which are clasped over his right knee ;
surrounded by a border.
[ntaglz'o on a carnelzczn, very good work.
Etruscan. J
1:,- in. x :13» in.
GROUP, consisting of a bull, a dragon—like horse, and a coiled
serpent, grotesquely executed.
In z'ntaglz'o on a lentz'cular (lens-slzaloed) gem in z'era’e antique
porp/zyry.
Early Greek work. Dia. 3% in.
HEAD OF HERCULES, laureated.
[ntaglz'o on a dark jacz'ntn.
Gree/e work. 393 in. x in.
On the lack of t/zz's gem is the commencement of another z'ntaglz'o
representing a standing draped figure.
HEAD OF PRIAM, so called, but more probably the portrait of
some Persian satrap; on the helmet is a hippocampus
in relief.
Dztaglzo on a carnelian.
.Fz'ne Greek work. 393 in. x f; in.
TRAGIC FEMALE MAsK, surrounded by a border.
[ntaglz'o on a carnelian.
Greek. 12» in. x ~2- in.
PROFILE HEAD OF A MAN, possibly of Morpheus; the hair
and beard are so arranged as to yield to close obser-
vation the representation of two birds, while at the back
of the head is a head or mask something like a mask
5
24
25
26
27
28
29
30
31
of Pan, with two tall upright horns apparently attached
to it. The gem is exquisitely fine, and the work
admirable.
.lnz‘aglz'o on a carnelian.
Greek.
cop-l
o 3 I
111. X "-6111.
MASK OF THE HEAD or AN OLD MAN.
[niaglz'o on a clark brown jasper.
Greek. 12* in. X T5; in.
MASK OF THE HEAD OF A MAN ; below it a pedum or crooked
stick.
[nz‘aglz'o on a clzalcea’ony.
Greek. 32- in.
HEAD OF A MAN, wearing a cap.
[nz‘aglz'o on a carnelian.
Greek.
I 8 I
-§,=1n. x -8— In.
PROFILE HEAD OF A WOMAN, the hair very neatly dressed.
[nz‘aglzo on a c/zalcea’ony.
Greek.
PROFILE HEAD OF A WOMAN, in rude style, cut in intaglio
upon the base of an onyx scarabaeus.
Insular Greek (P) in. x g in.
A FAUN CARRYING A THYRSUS, and another object.
[nz‘aglz'o on a carnelian.
Greek. 2m. x 1% in.
A FAUN PLAYING WITH PAN-PIPES.
[ntaglz'o on a carnelian.
Greek. *3 in. x J— in.
SEATED FIGURE OF A CAPTIvE, with his hands bound behind
him ; near him is a spear (symbolic of sale) stuck into the
ground.
[nlaglzo on a carnelian.
Gram-Roman work, very beaulzfnlly executed. 393 in. x T7? in,
32
31
35
36
PEGASUS, standing.
[ntaglio on a striped agate.
TRAGIC MASK, a. man’s head.
[ntaglio on a carnelian,
Late Greek work.
TRAGIC MASK, a man’s head.
[ntaglio on a carnelian.
Late Greek work.
TRAGIC MASK, a man’s head.
[ntaglio on a carnelian.
Late Greek work.
A Cow, advancing.
Intaglio on a chrysoprase.
Gram-Roman work, very well executed.
-% in. X T45 in.
% in. x 1'73 in.
1-1; in. x g in.
g in. X 153 in.
%in. x i in.
ENGRAVED GEMS OF THE ROMAN
PERIOD.
THE engraved gems of the Roman period represent a
considerable extent of time, and illustrate many interesting
mythological and other subjects.
They are inferior as works of art to the earlier Greek
gems, although no doubt many of them are the Work of
the late Greek artists employed by the Roman people.
I What makes these gems especially important to the
student of history, is that we possess a great quantity of
literature, contemporary with their production, which serves
to throw light upon their meaning and purpose, and gives
a considerable interest to the study of them.
These gems have no doubt been found in all parts of the
Roman world, in Italy, France, Germany, England, Asia
Minor, Egypt, and elsewhere. They served in their day to
carry the religious myths, the political events and portraits,
and the social traditions of the Roman people, to the utmost
parts of their great empire.
JUPITER.
THE god Jupiter, as the lord of heaven and earth, was supposed
to command all the affairs of the gods and men, and was invested in
ancient times with a variety of offices, with the direction of the
seasons, and the fruits Of the earth, and was connected with the
political, military, and social affairs of mankind. In late Roman
times he became identified with the Egyptian deity Amen-Ra, and
8
as such he is represented with ram’s horns attached to his head, the
ram being in Egypt the living emblem of the god Amen-Ra. Jupiter
also became identified with the Egyptian divinity Serapis, and as
such wears the modius or Roman dry-measure on his head, a symbol
of plenty.
37 jUPI'I‘ER, standing, holding a staff, with the eagle beside him,
pointing towards three Roman legionary standards, on
the other side of which is a figure of Mercury holding
the purse (sign of a donative to the soldiers) and caduceus.
[ntaglz'o on a carnelian.
Roman. % in. x % in.
38 HEAD OF JUPITER AMMoN OR AMEN-RA.
[ntaglz'o on a stone w/zz'c/z kas been knrnt w/zz'te.
Roman. lzl in. x i in.
39 JUPITER SERAPIs, seated in a temple, the eagle at his feet; at
the sides of the temple are figures of Castor and Pollux.
[ntaglz'o on a carnelian.
Late Roman work. 3} in. x 3,; in.
40 JUPITER SERAPIS AND MINERVA, standing, with Horus between
them holding a cornucopia.
' [ntaglz'o on a carnelian.
Late Roman (Alexandrz'czn) work. Dia. 51 in.
41 HEAD OF JUPITER SERAPIS, below which is the eagle, holding
a dead hare in his claws (symbolic of victory); and on
either side a column (P) surmounted on one side by the
sun, and on the other by the moon.
[ntaglz'o on a smoky wkzte carnelzan.
Late Roman (Alexandrzan) work. % in. x % in,
42 STANDING FIGURE OF JUPITER SERAPIs [ntaglz'o on an onyx. '
Late Roman (Alexandria/z) work. .L in, X iii? in_
9
43 JUPITER SERAPIS, seated on a throne, holding a sceptre in his.
left hand, and extending his right hand towards the eagle
who is seated by his side.
Znlaglio on a zo/ziz‘e carnelian.
Roman. % in. x T"? in.
44 THE EAGLE OF JUPITER, standing on the thunderbolt.
lnz‘aglio on a plasma.
Roman. 5% in. x {F in.
ARISTREUS.
ARIsT1EUs, a Greek divinity, was identified with Zeus in the island
of Ceos. He was worshipped as the protector of flocks and shep-
herds, and he taught men to hunt and keep bees. (Smith's Diet. Gr.
and Rom. Biog.)
45 SEATED FIGURE, possibly meant for the god Aristaeus, drawing a
bee towards a nest (P) which is placed before him on the
ground; behind him are two com-stalks, and overhead
the eagle of Zeus on the sceptre.
[ntaglio on a carnelian.
Roman. % in. x Ti,- in.
CASTOR AND POLLUX.
46 CASTOR AND PoLLUx, called the Dioscuri or sons of Jupiter,
represented helmeted, each with a star over his helmet,
and holding a spear.
[ntaglio on an onyx.
Roman. {45 in. x -?;~ in.
PEGASUS.
PEGAsUs was a winged horse, in ancient mythology the offspring of
Poseidon and Medusa, who dwelt in the palace of Zeus, for whom he
carried lightning and thunder.
Pegasus is represented as taking part in the fight between
Bellerophon and the Cbimaera, and in late times as the horse of the
Aluses
10
47 PEGAsUs, flying.
[ntaglio on an onyx.
Roman. % in. x l in.
48 PEGASUS, flying.
[ntag'lio on a very beautzful small carnelian.
Roman. 1-7-5 in. x g in.
CERES, FORTUNA, AND BONUS EVENTUS.
THE worship of the goddess Ceres was derived by the Romans
from Greece, where it had existed from ancient times. The Greeks
called the goddess Demeter. Amongst both peoples she was re-
garded as the beneficent giver of the food of mankind, and in ancient
art, her representation is generally accdmpanied by such emblems
as corn-ears, fruit baskets, swine, etc.
_- The goddess Fortuna presided over the luck or destiny of man-
kind. She is represented with the modius and cornucopia, emblems
of good fortune, and with the helm in her hand as guiding the course
of human affairs. _
The god Bonus Eventus, or Good Fortune, is represented as a
young man, with such emblems as a patera, corn-ear, cornucopia, etc.
CERES
49 SEATED FIGURE OF CEREs (P) holding a patera in her right
hand : before her is a basket of fruit (P); in the field the
legend 0 COR SEVERI, i.e., of Caius Cornelius Severus.
[ntaglio on a stone which has been burnt.
Roman. % in. x T5; in.
FORTUNA.
50 STANDING FIGURE OF FORTUNA, with the modius on her head,
holding the helm in her right hand, and a cornucopia in
her left.
[ntaglio on an onyx.
Roman. 5 in. x g in.
11
51
52
53
55
56
57
BONUS EVENTUS.
BONUS EvENTUs, standing, holding a bunch of corn ears in his
left hand, and a box, possibly a dice box, in his right.
[ntaglio on a rea'jasper. ‘
Roman. g in. x l in.
BONUS EvENTUs, standing, holding corn-ears in his left hand and
- a patera in his right hand ; in the field the legend E AVO.
Jntaglio on a plasma.
Roman. {a in. x :16- in.
BoNUs EvENTUs (P) OR A YOUTH, standing, wearing a Phrygian
cap and carrying a pedum and a vase.
lntaglio on a nicolo w/zic/z Izas been burnt.
Late Roman. 2 in. x T7,,- in.
ISIS.
IsIs NURSING HORUs, surrounded by a border.
[ntaglz'o on a carnelian.
Late Romano-Egyptzan. {3 in. x 3‘- in.
APOLLO, ETC.
APOLLO (P), standing, holding bow and arrows ; in front of him
is a deer raised on its hind legs.
Intaglio on a nz'colo, burnt. _
Roman $ in. X T7? in.
APOLLO, STANDING, WITH A N YMPH BESIDE HIM, holding a cup
in her left hand, and with her right drawing Apollo towards
her ; between them is a tall reed (P) (sign of a water
nymph) growing. .
[ntaglio on a nz'colo.
Rude Roman work. ~11’? in. x {£6 in.
THE MUsE TERPSICHORE.
[ntaglio on a nicolo, imperfect and repaired with gold.
Roman. & in. x % in.
MIN ERVA.
A ROMAN divinity who became identified with the Greek Athena,
and like her appears in ancient art with a shield and spear, as the
guide and protector of men engaged in war.
58 MINERVA, helmeted, standing, holding lance and shield.
[ntaglz'o on an onyx.
Roman. 19; in. x g in.
59 MINERVA STANDING OPPOSITE TO A RoMAN CoNsUL(P) ; between
them is the prow of a ship, commemorating some naval
victory.
[ntaglz'o on a carnelian.
Roman. % in. x T"; in.
MARS.
MARs was a favourite divinity with the Roman people, since he
was regarded as the father of Romulus and Remus, the founders of
ancient Rome. His connection with the goddess Venus points to a
well-known legend, that she also was identified with the origin of the
Roman people. In ancient art Mars is represented in armour as the
god of battle, and as such was identified with the Greek divinity
Ares.
60 STANDING FIGURE OF MARs, helmeted, holding a sword, and
leaning upon a terminal figure 5 his spear and shield are
on the ground before him. :
fntaglz'o on a nz'colo.
Roman. % in. x % in.
61 STANDING FIGURE OF MARs, armed and leaning upon his spear;
a small helmeted figure is apparently adjusting the armour
to the right leg.
[ntaglz'o on a carnelian.
Roman. . 12~ in. x ~3- in.
13
62 MARS, STANDING, WITH VENUS.
[ntaglio on a carnelian.
Roman. g in. x in.
VENUS.
VENUS, the goddess of love, was claimed as patroness by votaries
of both the higher and lower ideals of that passion. She is identified
with the Greek Aphrodite.
The purpose of most of the representations of Venus, in ancient
art, Seems to have been the illustration of the grace and beauty of
the woman's form, to the power of which over the hearts of men, the
ancient mind appears to have attributed the origin and force of love.
63 HEAD OF VENUS, profile to left.
[nz‘aglio on a carnelian, imperfect and restored wit/z gold.
I 5 .
Roman. v 1-"? In. x W- in.
64 VENUS, standing, holding out a patera in her right hand.
On each side of her is a Cupid; beyond these are palm
trees with Cupids in each, who help to support a circa
mysz‘ica over the head of Venus; the cista is held up from
above by two flying Cupids.
[niaglio on an anzez‘lzyst.
Roman. T9,; in. x 1-76 in.
65 VENUS ANADvoMENE, WITH CUPID AT HER SIDE.
Jnz‘aglio on an onyx.
Roman % in. x T95 in.
66 VENUS ANADYOMENE.
.lnz‘aglzo on an onyx.
Roman. i- in. x %in.
67 VENUS ANADYOMENE, wITH CUPID AT HER SIDE.
.lntaglio on a plasma.
Roman. 7 . in_ X .1. in_
14
68 VENUS VIcTRIx, leaning on a pillar against which rests a shield,
and holding out in her right hand a small figure of Victory;
before her is Cupid holding up a helmet.
[ntaglio on a chrysoprase Roman. T7,; in. x g; in.
EROS, CUPID, AND GUARDIAN GENII.
THE Roman deity Cupid, was identified with the ancient Greek
god Eros, the god of love, although there is very little resemblance
between them. The early Greek conception of Eros was of a power-
ful deity, who, according to the Greek cosmogony, brought into har-
mony the conflicting elements. According to Mr. Rich, the Genius
(ayado'o‘acpow) was a “ guardian angel of the male sex, believed to spring
into being with every mortal at his birth, and to die with him, after
having attended him, directed his actions, and watched over his
welfare through life. He is represented as a beautiful boy, entirely
naked, with the exception of the youthful chlanzys on his shoulder,
and furnished with a pair of bird’s-wings.” See Rich’s Dict. Ant.
69 CUPID OR GENIUS, with a two-pronged fork raised above his
' head, killing a serpent which he holds down with his foot.
Intaglio on a fine jacinth.
Roman, or possibly late Greek work. % in. x 1} in.
70 GENIUS, carrying a vase.
[ntaglio on a jacinth.
Roman. T"? in. x 3} in.
71 CUPID, applying a burning torch to a Butterfly, a symbol of
love inflaming the soul.
Intaglio on an amethyst.
Good Roman work. in. x T7; in.
72 GENIUS, in a combative attitude, carrying a sword, or weapon of
some kind. i
Intaglio on an onyx.
Roman. in. x i- in.
15
73
74
75
76
77
78
79
80
GENIUS, standing crying before a broken amphora.
[ntaglio on a carnelian.
Roman. 15-; in. x g in.
GENIUS, carrying a branch and a basket of fruit.
Intaglio on a nicolo.
in.
Roman. % in. x
alto
GENIUs, seated on the ground, extending his arms towards a
bird seated on a cage.
[ntaglio on a carnelian.
Roman.
GENIUS, carrying the club and lion’s skin of Hercules, also a
lantern
[ntaglio on a carnelian.
Roman.
GENIUS, advancing, and carrying in his right hand a hare
(symbol of success), and in his left a ram’s head ; in the
field are the signs of the sun and crescent moon.
[ntaglio on a nicolo.
Roman.
CUPID, sacrificing at a Temple of Venus. The temple is a
dome supported by columns, under which is a figure of
Venus.
Intaglio on a pale onyx.
Roman. % in. x g in.
A similar subject to the last ; in the tree over the temple is an
eagle apparently killing a lizard [ntaglio on a brown carnelian.
Roman. % in. square.
GENIUS, carrying a bunch of grapes in his right hand, and a
patera of fruit on his left shoulder.
[ntaglio on a nicolo.
Good Roman work. in. X g in.
16
81 Two GENII, playing, one riding on a flying swan and playing
on two reeds, the other running below and guiding the
swan with reins.
[ntaglz'o on a plasma. 51 in. x J?— in.
82 Two GENII, one lying down, apparently sleeping, or dead ;
.the other standing above him and holding a branch.
fntaglz'o on a garnet. '
Roman. ‘‘ 1-5., in. x in.
83 GENIUS, riding on a boat, shaped like a bird.
[ntaglz'o on a nz'colo.
Roman. g in. x in.
84 Two GENII, one of them holding a bird (P) over an altar
which is between them; over the altar is the crescent
moon.
[ntaglz'o on a carnelian.
Roman. % in. x l in.
THE THREE GRACES.
85 THE THREE GRAcEs.
[ntaglz'o on a plasma.
Roman. in. x i} in.
MERCURY.
THE Roman god Mercury was identified with the ancient Greek
deity Hermes, who was looked upon as one of the sources of the
natural blessings of the fruits of the earth. “But,” Miiller remarks,
“the Tellurian god of bounty was gradually converted into an econo-
mical and mercantile deity of gain and traffic ; he was now honoured
of all others by heralds who were the medium of intercourse in
the ancient world, and were skilled in many of the affairs of life.”
From very early times this god presided over the Gymnasia, and he
also figures in ancient art as an institutor' of sacrifices, and as
inventor of the lyre.
vThe attributes by which this deity is to be recognized in ancient
17
art are chiefly, the caduceus, a rod, originally an olive branch, with
the leafage at the end turned into two snakes twisted ; the purse, an
emblem of his care of commercial matters; the talaria or small
winged sandals attached to his feet, and the petasas, a winged cap,
emblems of his position as aerial messenger of the gods.
Besides these attributes Mercury is also represented with the ram,
the cock, and the tortoise. The ram, no doubt, emblematical of his
office as institutor of sacrifices; the cock, having reference to his
connection with the contests in the Gymnasia ; and the tortoise, in
allusion to the tradition that he was the inventor of the lyre, and was
said to have formed it of a tortoise-shell with, gut-strings stretched
over It.
86 MERCURY, standing, and holding the purse in his extended right
hand, and with the caduceus and chlamys in his left hand;
at his side the cock. i
[ntaglio on a nicolo.
Roman. , ‘ g in. x T% in.
87 MERCURY, standing, wearing a modius on his head, and holding
the caduceus in his left hand and a palm branch in his
right, probably referring to his presiding over the Gymnasia ;
behind him is a cock
[ntaglio on a lapis-laznli.
Late Roman. {A in. x {E in.
88 MERCURY, standing, and holding the caduceus and purse.
[ntaglio on an onyx.
Roman. 33 In. x if’? m.
89 MERCURY, standing, and holding the purse and caduceus;
beside him the cock.
[ntaglio on a nicolo.
Roman. f3’:- in. x 1% in.
90 MERCURY, standing, and holding the purse and caduceus ; in the
field the inscription I'IPOOY MQY,
jntaglio on w/zite carnelian. ‘
Roman. l in. X i.- in.
18
91
92
93
94
95
96
97
98
MERCURY, standing, holding the caduceus ; the subject sur-
rounded by a border in the Etruscan style.
[ntaglio on a carnelian.
Late Roman work. 17? in. x 3 in.
MERCURY, standing, holding a staff in his right hand, and resting
his left arm on a column ; in his left hand is a ram’s head,
probably referring to this deity’s office as institutor of
sacrifice ; in front of the column is a cock.
[ntaglio on a carnelian. '
Roman. 195 in. x 15 in.
MERCURY, wearing va brimmed cap, seated on a rock, holding
his caduceus; before him is a faun jumping up towards
some Pan’s pipes hanging on a tree.
[ntaglio on a rea’jasper. _
Roman. g in. x 127 in.
MERCURY, seated on a rock ; beside him is the cock.
[ntaglio on a carnelian.
Roman. % in. x ~3- in.
MERCURY, seated on a rock, holding wheat ears ; in front of him
is a tortoise.
fntaglio on a bloodstone.
Roman.
MERCURY, seated on a rock, holding the purse and caduceus.
[ntaglio on a nicolo.
Roman. g in. x g in.
MERCURY, holding purse and caduceus, riding on a ram.
[ntaglio on a carnelian.
Roman. — in. x g in.
EMBLEMS or MERCURY’: two cocks, facing a basket in which
are placed a caduceus, wheat-ear, and poppy branch.
[ntaglio on a nicolo.
Roman. % in. x % in.
19
BACCHUS.
BAccHUs, or Dionysus, was worshipped by the ancients as the god
who taught men the cultivation of the vine and the use of wine, and
as such is depicted in ancient art more or less under its influence.
He is represented sometimes as a youth with a very feminine appear-
ance, and sometimes as a bearded man. His principal attributes
are, the t/zyrsus, a rod terminating in a pine-cone, the cone being
used in wine-making; also, a wreatk 0]’ ioy or nine round his head ;
and he frequently carries a drinking-cup, and is associated with the
panther and the ass.
In the mythic life of Bacchus, he is described as wandering about
various eastern countries in a state of madness, accompanied by Pans,
Satyrs, and Bacchantes, teaching the inhabitants the mysteries con-
nected with his worship. Silenus was the principal amongst the
Satyrs in his retinue.
Pan, with horns and goat-feet, is described as “the amusing
buffoon in the cycle of Dionysus, the impetuous lover of nymphs,
but also the teacher of the youthful Olympus on the syrinx.”
Faunus, the father of Latinus, was connected with the mythical
history of Latium, and was worshipped after death as the god of
fields and shepherds. In later times his personalityibecame multi-
plied, and the Fauns, so constantly seen in Roman art, became
identified with the Greek Pans and Satyrs.
99 BAccHUs, standing, holding the thyrsus in his right hand, and
an oenochoé in his left; in the field are three flying owls.
[ntaglio on a carnelian.
Roman. g in. x g in.
100 BAccHUs, standing, leaning on, a thyrsus, and carrying in his
right hand a vase ; by his side walks the panther.
[ntaglio on a carnelian.
Roman. T75 in. x g in.
101 BAccHUs, standing under a twining vine, leaning on a thyrsus,
and holding a vase in his right hand; at his feet is the
panther.
[ntaglio on a nicolo.
Roman. l} in. :< in.
20
102
103
104
105
106
107
.108
109
BAccHUs (P), a bearded head, ivy-wreathed.
[ntaglz'o on a brown carnelian.
Roman. Dia. in.
FULL-FACE HEAD or A BAccHANT oR F AUN, with laughing
expression.
[ntaglz'o on an onyx.
Roman. % in. x % in.
HEAD or A BAccHANT, wreathed with vine; behind it is a
thyrsus.
[ntaglz'o on an onyx.
Roman. % in. x in.
THE PANTHER or BACCHUS, with the thyrsus.
[ntaglz'o on an onyx.
Roman. i in. x g in.
SI LEN US.
SILENUs, standing, holding a cup; before him is a pedestal
with a vase upon it.
[ntaglz'o on a .rapp/n'rc.
Roman. g in. x g in.
SILENUs, riding on a goat, flourishing a thyrsus.
[ntaglz'o on a carnelian.
Roman.
SILENUs, riding sideways upon an ass.
Intaglz'o on a nz'colo.
Roman. in. x 3 in.
THE T HYRSUS, with two Bacchanalian masks attached to it.
[ntaglz'o on an anzetkyst.
o O 0
Roman. T5 In. x 356 In
110
111
112
113
'114
115
116
117
FA UNS, ETC.
FAUN, playing on reeds, seated before a Priapic terminal figure
with a thyrsus.
[ntaglio on a carnelian.
Roman. Dia. ‘3 in.
PAN, seated on a rock under a tree, teaching the youthful
Olympus to play on the syrinx.
[ntaglio on a plasma. '
Ronzan. T9‘ in. x% in.
FAUN, playing on a flute; on his extended left knee sits a
child, probably the youthful Bacchus, with his body thrown-
back and his arms stretched out.
[ntaglio on a nicolo.
Roman.
F AUN (P), seated on an amphora, holding a Pan’s pipes (P).
intaglio on a brown jasper.
Roman. 12 in. x {a in.
F AUN, kneeling on one knee, and holding a cymbal.
[ntaglio on a brown carnelian.
M09
Roman. in. x in.
FAUN, seated, holding a Pan’s pipes (P) out in his right hand,
and a staff in his left.
[ntaglio on a nicolo. {6 in. x 156 in.
A MAN, Standing, giving a drink from an amphora to a small
faun.
[ntaglzo on a brown carnelian.
Good Roman work. {5 in. x g in.
FAUN, seated ; in front of him is a thyrsus, also another indis-
tinct object.
[ntaglio on a carnelian.
Roman. 9-
- 7 .
“1:6 1n; X Ina
22
118 F AUN, wearing a panther’s skin; walking, and playing on two
pipes.
[ntaglzb on a brown carnelian.
Roman. {E in. x g in’
CYBELE.
CYBELE, or Rhea as she was also called, was the mother of jupiter,
and the wife of Chronos. She was called “The Great Mother,” and
“ The Mother of the Gods.” She was worshipped from early times
throughout the whole of the Greek world. Cybele is generally re-
presented wearing a mural crown, and seated on a throne or car,
attended by lions.
119 CYBELE, seated in a car drawn by two lions, and attended by
Cupids.
[ntaglio on a carnelian.
Late Roman g in. x T96 in.
120 CYBELE, seated on a vessel, between two lions, and holding a
branch in her right hand, and turning towards a man who
is approaching the vessel, apparently from the shore.
fntaglio on an amethyst.
Roman. % in. x g in.
ZESCULAPIUS.
tEsCULAPIUs, the god of the medical art, and as such was univer-
sally venerated amongst the Greeks and Romans. In ancient art
he is often represented with Hygieia, his daughter, the goddess of
health, and the small divinity Telesphorus, whom Miiller calls “the
little muffled Daemon of hidden vital power.” Both Esculapius and
Hygieia are represented with serpents, possibly, says Dr. Schmitz,
because they were a symbol of prudence and renovation,-and were
believed to have the power of discovering herbs of wondrous powers.
This is indicated by a legend of Aisculapius, who is said to have
been in the house of Glaucus, when a serpent came and twined
round his staff; this serpent fEsculapius killed. Afterwards another
J
23
serpent arrived carrying a herb, with which it restored to life the
dead serpent. .tEsculapius is supposed to have ever afterwards used
that herb to heal men.
121 HEAD OF ZEsOULAPI-Us, and the staff with serpent entwined.
[ntaglio on a carnelian.
Roman. g, in. x {-97 in.
122 STANDING FIGURE OF EscULAPIUs, holding the staff with
serpent entwined.
fntaglio on a carnelian.
Roman. A in. x A} in.
123 STANDING FIGURE OF TELESPHORUS.
[ntaglio on a carnelian.
Roman. % in. >< {3 in.
VICTORY.
,-
THIs goddess, the personification of Victory, is represented as a
woman, winged, carrying a palm branch and wreath ; and in many
cases as standing on a globe.
124 VICTORY, winged, carrying a Wreath and palm branch; her
feet resting on a globe.
[ntaglio on a carnelian.
Roman. 55 in. X 5, in.
125 A similar subject to the last.
fntaglio on a sara’onyx.
Roman, rude work. A in. x g in.
126 VICTORY, writing upon a shield, which forms part of a trophy
of arms.
Intaglio on a plasma.
Roman. in. x in.
24
127 A BULL (Apis P) wearing the sun's disk between his horns;
over him flies a figure of Victory.
Intaglz'o on a carnelian.
Late Roman. 35; in. x % in.
HELIOS, oR THE sUN GoD.
THE worship of the Sun God migrated from the East into the
Roman religious system. Helios, stepping into his chariot, indicating
the rising sun no doubt. '
Three of these gems are on bloodstone, anciently called Helio-
trope or “ Sun-turner,” which name Mr. King states arose from the
notion that the stone if immersed in water reflected an image of the
sun as red as blood; also because “when in the air-it might be
used as a mirror to observe the eclipses of the same luminary, and
the moon passing before and obscuring it.” See King's “Antique
Gems,” p. 17.
128 HELIOS, standing, with rays coming from his head 3 his right
hand is raised, and in his left is his whip.
[ntaglz'o on a carnelian.
Late Roman work. , % in. x i- in.
129 HELIOS, standing, holding a burning torch.
[ntaglz'o on a klooa'stone. Late Roman work. ' g in. x i in.
130 HELIos, stepping into his four-horsed chariot; his head radi-
ated, and a whip in his left hand.
[ntaglz'o on a olooa'stone.
Roman. 1L6 in. x % in.
131 HELIos driving his four-horsed chariot. Above the horses
appears the crescent moon; below the chariot are the
letters, B-F-F-S-
[ntaglz'o on a bloodstone.
Roman. % in. x % in.
EGYPTIAN SUBJECTS.
132 A PRIEST, standing, holding up a sistrum in his right hand,
and a situla in his left; beside him is an altar, and upon
it a head-dress, the disk of the sun, with Serpents.
[ntaglio on a bcematite.
Romano-Egyptian. T95 in. x -3- in.
133 A CANoPIC VASE, with human bearded head, wearing the Atf
head-dress.
[ntaglio on a smoky w/zite carnelian.
Ronzano-Egyptzan. T96 in. x T7? in.
HERCULES.
THE Greek hero, Hercules, the son of Zeus and Alcmene the wife of
Amphitryon, was the personification of physical power and courage.
The legends connected with his career are numerous, and are found
in Greece, Rome, Egypt, and Phoenicia.
134 HERCULES, a youthful head, unfortunately only a fragmentary
gem, restored with gold; round the neck is the upper
part of the lion’s Skin.
[ntaglio on a plasma.
Roman. l in. x J- in.
135 ~HERCULES, a youthful head, with thick neck, massive brow
and short curly hair; round the neck appears the lion’s
skin.
[ntaglio on an onyx.
Roman. ' ,2- in. x 11; in.
136 HERCULES, reclining, apparently drunk, holding up the club
in his right hand, and a cup in his left.
[ntaglio on a nicolo.
Roman. ef- in. x % in.
26
137
138
139
140
141
HERCULES, with club and lion’s skin, standing, holding a vase
over an altar.
[ntaglio on a carnelian.
Roman. {15 in. x g in.
HERCULES, with club and lion’s skin, standing, holding in his
left hand a vase. In the field the letters D 0 M.
[ntaglio on a carnelian.
Roman. - 1% in. x 1} in.
HERCULES, with club and lion’s skin, standing, being crowned
with a wreath by Victory ;_behind the figure of Victory is
a Roman military standard, surmounted by an eagle.
[ntaglio on a carnelian.
Late Roman. Q in. x -,9_,; in.
HERCULEs strangling the Nemeandlion 3 a good Roman gem,
on a very beautiful stone.
[ntaglio on a fine carnelian.
Roman. % in. x {L5 in.
HERCULES, standing, holding the club, being addressed by a
female figure carrying a long staff ; surrounded by a
guilloche border.
Intaglio on a portion of the base of a red carnelian scarabceus,
which has been sawn away from the upper part.
Probably a late Roman imitation of the Etruscan.
Q. .3.’
TElI'LXSIH.
142 THE CLUB OF HERCULEs, with a corn stalk on one side, and
a poppy stem on the other.
[ntaglio on a carnelian.
I 8 0
Roman. {g In. x g In.
143 HEAD OF IDLE, draped in the lion’s skin.
[ntaglio on a plasma.
Roman. 1% in. x é- in.
PRIAPUS.
144 FIGURE OF PRIAPUs, standing, with corn, etc., in his girdle
and holding the falx in his right hand.
[ntaglio on a nzottlea’jasyoer.
Roman. in. x T7? in.
tot-A
DfEDALUS.
“A MYTHICAL personage, under whose name the Greek writers
personified the earliest development of the arts of Sculpture and
Architecture, especially among the Athenians and Cretans.” (Smith's
Diet. Gr. & Rom. Biog.)
Daedalus is generally represented constructing or carrying a pair
of wings, in illustration of the legend that having incurred the
displeasure of Minos, King of Crete, he escaped from the vengeance
of that monarch by making wings for himself and his son Icarus,
and flying across the .lEgean. Daedalus landed safely, but Icarus
flew too near the sun, and the wax by which the wings were attached
melted, and he was drowned in that part of the Egean now called
the Icarian Sea.
145 D/EDALUs, seated, carvingthe wings.
[ntaglio on an onyx.
7 . .
Roman. T5 In. x T53 1n.
146 ICARUS, standing, holding a wing made by Daedalus, in his left
hand.
[ntaglio on a carnelian.
Roman. T95 in. x % in.
ROMULUS AND REMUS.
ACCORDING to the ancient Roman legend, Romulus and Remus
were the twin children of the god Mars, and Silvia, a vestal virgin,
niece of Amulius, king of Alba Longa. Their mother, and they
themselves, were doomed to be drowned in the river Anio, by Amu-
lius. Silvia, in the river, became the wife of the river-god, but her
28
children drifted into the overflowing Tiber, and thence to the base of
the Palatine hill, where they were found at the foot of a fig-tree, and
suckled by a she-Wolf. Their royal extraction was afterwards made
clear, and Romulus became the founder of the city of Rome.
147 RoMULUs AND REMUS being suckled by the wolf, under two
148
149
150
151
152
trees.
[ntaglio on an onyx.
Roman. eg- in. x 31? in.
The same subject as the last, treated in an almost identically
similar manner.
[ntaglz'o on a nz'colo.
. l .
Roman. g In. x 4 In.
MISCELLANEOUS SUBJECTS.
HEAD OF LEUcoTHEA, generally called the head of Leander,
but evidently the former, and taken from a coin of the
Crepereia family.
[ntaglz'ow on a carnelian.
Roman. T"? in. x ii‘; in.
HEAD OF LEUcoTHEA.
[ntaglz'o on an anzet/zyst.
Roman T5? in. >< % in.
FEMALE HEAD, full face, and below it an eagle, flying, and
holding in its mouth a horned asp.
[ntaglz'o on a krown carnelian.
s- In.
Good Roman work. >< in.
PRoFILE FEMALE HEAD, with crescent behind the neck, and
stars depicted on the head-dress, probably the goddess
Luna.
[ntaglz'o on a kyaa'nt/zz'an garnet.
Roman. % in. x % in,
29
153
154
155
156
157
158
159
160
PROFILE HEAD OF PARIS.
[ntaglio on a lzyacint/zian garnet.
Roman. ". in. x 5- in.
Gold ring setting, English I 8tlz-century work.
DIOMEDES AND ODYSsEUs Carrying off the Palladium; unfor-
tunately only a fragment.
lntaglio on a carnelian.
Roman, or possibly earlier. A?- in. x 5 in.
THESEUS (P), standing, contemplating his sword.
lntaglio on a nicolo.
Roman. if; in. x % in.
ACHILLES, seated, playing on the lyre; beside him lies his
shield.
[ntaglio on an amethyst.
Roman. % in. x 31,- in.
ACHlLLES, standing, resting his arm on his shield, and Thetis
bringing his helmet to him.
[ntagleo on a nicolo.
Roman. ~1-fi- in. x ll in.
PRIAM BEGGING THE BODY OF HECTOR FROM ACHILLES.
[ntaglio on a carnelian.
Roman. ° in.>< 7 in.
MENELAUS CARRYING THE DEAD PATROCLUs.
[ntaglio on a red jasper.
1 1
Roman. T6
in. x 395 in.
YOUNG WOMAN, standing, stabbing herself in the breast
with a dagger; by her side is a torch stuck erect in the
ground; her right arm is extended apparently warding
off the approaching figure of a man who is advancing
towards her, with his left hand raised seemingly to seize
her, and pointing with his right hand towards the torch.
3O
Possibly a representation of the story of Tarquin and
Lucrece.
[ntaglio on a lapis-lazuli containing a quantity of iron pyrites.
Roman.
161* MERCURY, standing, holding the purse and caduceus.
[ntaglio on a carnelian.
Ronzan. - ,-—"6 in. x s in
162* HEAD OF HELIOS, in profile.
[ntaglio on an onyx.
Roman. 7; in. x g in.
163* HEAD OF HERCULES, draped in a lion’s skin.
‘fntaglio on an emerald, through which is disseminated in a
very curious way a quantity of iron pyrites ; an interesting
mineralogical specimen.
Roman T9,; in. x g- in.
ROMAN PORTRAITS.
THESE portraits are of the Roman Emperors, warriors, statesmen,
philosophers, and of various private personages of whom there is no
record. Even those of celebrated persons are not always easy to
identify.
164 UPPER PART OF A STATUE oR BUST OF LIvIA, in chalcedony,
mounted on a modern silver Stand. The Empress is re-
presented in the character of juno, with a veil on the back
of her head ; on her forehead is a crown ornamented with
Stars, and having a medallion in the centre, the portrait of
Augustus, in intaglio. See frontzspiece.
Height with stand, 4% in.
165 SMALL BUST, IN GREEN cHRYSoPRAsE, OF JULIA TITI, mounted
on a modern pedestal made of various marbles.
' Height of bust, 5';- In.
* These gems were accidentally omitted from their proper places in the earlier
part of the Catalogue. '
31
166
167
168
169
170
171
172
173
174
PROFILE HEAD OF THE YOUNG AUGUsTUs(?).
Intaglio on a carnelian.
Roman. A9,,- in. x % in.
PROFILE HEAD OF A ROMAN YOUTH, possibly meant for the
young Augustus. Very beautiful work.
[ntaglio on an ametkyst.
Roman. in. x .5 in.
HEAD OF NERO, in profile.
[ntaglio on a plasma.
Roman. T9,; in. x % in.
HEAD OF LL'CIUS VERUs (P), in profile ; and on the reverse
the Roman eagle, holding a wreath in its mouth, standing
between two military standards.
[ntaglio on a rea’jasper.
Roman. 11% in. x T9,, in.
PROFILE HEAD, a portrait of the elder Berenice (P).
Intaglio on a lzyacznt/zian garnet, very well executed.
Probably Greece-Egyptian work. %%- in. x é- in.
PROFILE HEAD, a portrait of a Roman Empress, probably
Agrippina II. or Messalina. Mounted in a pretty English
_ I8th-century gold ring.
Intaglio on a c/zalcea’on y, very good work.
Roman.
'
PROFILE HEAD OF A MAN, partially restored.
Intaglio on a kyacintbian garnet.
Roman. -§-§_ in. x g in.
PROFILE HEAD ; portrait of a man, name unknown.
[ntaglzo on an anzet/zyst. % In. x In.
*1»—
F ULL-FACE HEAD, portrait of a man, with an illegible inscrip-
tion on either side, probably the name.
[ntaglio on an octagonal nicolo.
Roman. in. X in.
32
175 PORTION OF A PROFILE PORTRAIT OF A MAN.
[ntaglz'o on a fragment of rea’jasper.
Roman.
176 PROFILE HEAD, portrait of a man, a very characteristic likeness,
and an admirable gem, unfortunately very much worn.
. At the back of the neck are some initials, apparently A-P-K.
[ntaglz'o on a carnelian.
Roman. Dia. % in.
177 PROFILE HEAD, portrait of a man, and the name LVPVS, a
very good Roman portrait.
[ntaglz'o on an octagonal rea’jasper.
Roman. % in. x {16- in.
178 PROFILE ‘HEAD, portrait of a man, and behind the head the
word PATER. ’
Intaglzo on a rea’jasper.
Roman. T95 in. x 31-6 in.
179 PROFILE HEAD, portrait of a man, name unknown.
[ntaglz'o on a redjasper, z'mperfict.
Roman. ~19? in. x ii; in.
180 PROFILE HEAD, portrait of a man, name unknown.
[ntaglz'o on a rea’jasper.
Roman. 326- in. x g in.
181 PROFILE HEAD, portrait of a man, name unknown.
[ntaglz'o on a lzyacz'nt/zz'an <garnet, imperfect.
Roman. 37? in. x T5? in.
182 FULL-FACE PORTRAIT OF A YOUNG MAN, name unknown.
Intaglz'o on a brown carnelian.
%- In. x T’? In.
Late Roman.
183 PORTRAIT OF A YOUNG MAN, nearly full-face ; on the left side
in the field is a dagger.
Intaglz'o on a carnelian.
o I '
T7, In. x 5 In.
Roman.
33
184
185
186
187
188
189
190
191
192
193
PROFILE HEAD, portrait of a boy.
intaglio on a nicolo, imperfect.
Roman.
PROFILE PORTRAIT OF A YOUTH.
[ntaglio on a brown carnelian.
9 . .
Roman. T3 In. x {F In.
PROFILE HEAD OF SOCRATES.
[ntaglio on an onyx.
Roman. in. x T-% in.
PROFILE LAUREATED HEAD OF A WOMAN.
[ntaglio on a carnelian, unfortunately imperfect.
Roman, very good work.
PROFILE PORTRAIT OF A WOMAN, with the hair elaborately
plaited.
[ntaglio on a carnelian.
Roman, good work. % in. x in
PROFILE HEAD OF A WOMAN.
[ntaglio on an onyx.
Ron-can.
PROFILE HEAD OF A WOMAN, very similar in Style to N o. 166.
[ntaglzo on a carnelian, unfortunately imperfect.
Probably Greece-Egyptian work. T"; in. x 356- in.
PROFILE HEAD OF A WOMAN.
[ntaglio on an onyx.
PROFILE HEAD OF A WOMAN.
Intaglio on a carnelian.
Roman. T7,; In. x In.
PROFILE HEAD OF A HELMETED WARRIOR.
[ntaglio on a red jasper.
Roman.
34
194 PROFILE FIGURE or A HELMETED WARRIOR, holding a cor-
nucopia.
fntaglio on an onyx.
Roman.
SACRIFICIAL SUBJECTS.
195 MAN standing, and holding the lituus in his right hand, and a
laureated head in his left ,' before him is an altar with fire
upon it.
[ntaglio on sardonyx.
Roman. , %in. x 35?,- in.
196 STANDING FIGURE OF A MAN pouring a libation over a tripod,
on which stands a crown, and erect palm branch.
[ntaglio on an amethyst.
Roman, very beautiful work. T3- in. x g- in.
197 AN ALTAR, with a tree beside it; on the altar is fire, and from
the side of it projects a corn stalk, and round the altar is
coiled a serpent.
[ntaglio on a sard.
Roman. 4% in. x in.
198 THREE FIGURES approaching reverently towards a Small figure
of a deity placed on a trunk under a tree. The first
figure is that of a woman, who leans forward, resting her
hands on the tree trunk; behind her is another woman,
with one or two sacrificial vessels, and at the back stands
‘ a man playing on two pipes.
Intaglio on a sard.
Roman. g in. x {F in.
199 Two FAUNS sacrificing a deer over an altar, on which there is
fire. In the exe'rgue arethe two Greek letters A (D.
[ntaglioon a gaste
Roman. ,5; in. x in.
35
200 A PRIESTESS standing before an altar, holding a palm branch
and patera; behind the altar is a hind [ntaglio on an onyx.
Roman. -}-,§T in. x 15% in.
201 A PRIEST standing before an altar with fire upon it, holding in
his right hand a patera, with an insect upon it (P), and in
the left a bird.
[ntag/io on a nicolo.
Roman. % in. x g in.
MISCELLANEOUS SUBJECTS.
202 ‘A YOUTH approaching towards a man seated on the ground,
probably intending to signify a physician tending a sick
man. In the field between the figures are apparently two
letters, A and l-. (P)
[ntaglio on a prase.
Roman. g in. x in.
203 SEATED FIGURE OF A WOMAN, holding a Sceptre surmounted
by a globe, in her left hand, and in her right a patera,
which she extends towards a goat; behind her is another
goat
[ntaglio on a carnelian.
In.
Roman. in. x
tel—A
HI q
5
204 MAN standing, carrying a staff under his left arm, his right
hand is raised; before him is a boar (P), and in a cloud
on the right a figure of Victory.
[ntaglzo on a nicolo.
Roman. % in. x g in.
205 A YOUTH seated on a circular altar, holding in his right hand
a pedum, with an ivy wreath entwined round it.
[ntaglio on a carnelian.
[Go/nan. in. x :1 in.
36
206
207
208
" 209
210
211
212
213
214
A YOUNG WOMAN, standing, drinking from a cup; before her
on the ground is a vase, with a palm branch in it, and
behind her a tree. This subject has been elsewhere
called “Sophonisba taking Poison.”
[ntaglio on a green ckrysoprase.
Roman. g- in. x % in.
A BOY, walking, and carrying a pedum and basket (P).
[ntaglio on a carnelian. {L6— in. x =3 in.
FIGURE OF A YOUTH, running, looking back, and carrying
[ntaglio on an onyx.
Roman. J2~ in. x =3 in.
MAN playing on a lyre ; before him stands a woman.
fragment.
Only a
[ntaglio on a carnelian.
Roman.
Two YOUTHs, embracing 3 in the field a star.
[ntaglzo on an emerald.
Roman.
00k»:
0 5 I
In. X 1n.
MAN LEADING A HoRsE; a fragment.
[ntaglio on a carnelian.
Roman. % in. x in.
A YOUTH UsING THE STRIGIL (P). English gold-ring setting of
the 18th century.
Jntag/io on a nicolo.
Roman. % in. x ~3- in.
SEATED FIGURE OF AN OLD MAN.
[ntaglio on a nicolo.
Roman. Dia. % in.
WARRIOR, armed with sword and shield, and wearing a
helmet, kneeling on one knee before a circular pedestal,
on which is placed a large mask, facing him. Possibly
37
215
216
217
218
219
220
221
a symbolic representation of a warrior opposing evil
rumour.
lntaglio on a red jasper.
Roman. % in. x in.
MAN, with hammer and chisel, carving a large stone vase.
[ntaglio on a carnelian.
Roman. % in. x -}-,1,— in.
MAN, with an amphora, possibly the potter aflixing the handles,
or else simply raising it on to a stand.
lntaglio on a carnelian.
Roman. % in. x g— in.
STANDING FIGURE OF A WARRIOR, holding his helmet in his
right hand, and shield and spear in his left.
.lntaglio on an onyx.
Roman. % in, x g1 in.
WARRIOR, wearing helmet, seated on a heap of armour, and
holding in his right hand a laureated head.
[ntaglio on a nicolo.
I do . .
Roman. I? In. x g In.
WARRIOR, standing, holding spear and helmet; before him on
the ground lies his armour.
[ntaglio on a nicolo.
Roman. % in. x g1 in.
SEATED FIGURE OF A WARRIOR ; in front of him is a term, on
which are his helmet, sword, and spear.
[ntaglio on a nicolo.
. o . I
Roman. T? In. x % In.
A YOUTH, raising himself from a recumbent position, appa-
rently shrinking back from a serpent which is reared up
at his feet, and below which stands a vase. The whole
surrounded by a border.
[ntaglio on a rock crystal.
160/nan work in tke Etruscan style. in. x in.
38
222
223
224
225
226
227
228
229
SEATED FIGURE OF A YOUTH, or young woman, placing a
wreath upon a head which she holds in her right hand.’
[ntaglzb on a nicolo.
- in.
HIV.
Roman. T1,; in. x
STANDING FIGURE OF A WOMAN, holding a branch in her right
hand.
[ntaglzo on an onyx.
. 7 I 0
Roman. T3- In. x Tis— 1n.
FIGURE OF A WOMAN, advancing and carrying a sceptre(?);
in front of her lies a shield and sword [ntaglio on an onyx.
Roman. 31; in. xg in.
GAMES, ETC.
MAN DRIVING A QUADRIGA, or four-horsed chariot, and hold-
ing a wreath and palm branch.
[ntaglio on a chalcedony.
R c , I
I)
Roman. . T3; In. x W In.
Two RUNAWAY HORSES, struggling, though still reined, the
wheels of an overturned chariot on either side.
[ntaglio on a carnelian.
in.
ooloa
Roman. llfi in. x
A GALLOPING HORSE, with torn bridle 3 in the field the legend
SQTETITRIS.
[ntaglio on a carnelian.
Roman. g- in.
A MAN RIDING, guiding two horses.
[ntaglzo on a carnelian.
Roman. T5,,- in. x in.
DISCOBULUS, standing, the discus in his right hand, and the
victory palm in his left ; behind him is a terminal figure,
and before him a vase.
[ntaglio on a nicolo.
. 7 .
Roman. % In. x T3 In.
39
230 T wo MEN WRESTLING; on one side is a spectator, and on the
other a vase and palm branch.
[ntaglio on a carnelian.
Roman. % in. xg in.
231 A MAN, standing, holding a Tragic mask.
Cameo on an onyx.
Roman. 131 in. x 1% in.
232 TWO MEN, possibly actors ; one is seated playing the lyre, the
other stands before him declaiming, and leaning on a staff.
This intaglio is unfortunately imperfect ; the upper part is
a very clever restoration in gold.
[ntaglio on a carnelian.
Roman. {L6- in. square.
233 THREE MEN, two of them advancing and bowing towards the
third, who stands leaning on a staff. The expression of
all the three is one of dejection, and possibly they are
actors performing a tragedy.
[ntaglio on a brown sara’.
Roman. ' in. x in.
234 FOUR ACTORS, three of them seated, and the fourth standing
and being addressed by one of the group, an old man
with bald head, who has his right fore-finger raised;
behind the seated figures are two masks in a basket. A
very curious treatment.
[ntaglio on a carnelian.
Roman. ii‘,- in. x g- in.
235 A COMIC MASK (P), bearded and wreathed.
intaglio on a smoky onyx.
Roman. 9 in. x ii in.
236 THREE MASKS, grouped together; the centre mask, with a
protruding tongue, has rising from its top the neck and >
40
237
238
239
240
241
242
243
head of an eagle, and stands upon human legs and
feet.
A very well-cut gem on a beautiful plasma.
I '5 I
Roman. % In. x W In.
A SILENUs (P) MASK, with the legend COL under it.
[ntaglio on a black jasper.
Gram-Roman, very good work. Dia. g1 in
YOU'I‘HFUL BAccHIc MASK, crowned with ivy.
[ntaglio on a carnelian.
Gooa’ Roman work. Dia. 3 in.
DOUBLE MASK, of an old man and child.
[ntaglio on a carnelian.
. S .
Roman. % In. x T? In.
PROFILE 'HEAD OF A YOUTH, with a Silenus mask at the back.
[ntaglzo on a rea’jasjfier.
Roman.
DOUBLE MASK, of an old man and a child.
[ntaglzo on an onyx.
Roman A85- in. x in.
PRIVATE SIGN ETS.
The name of the Owner of the signet, Q - PONPONIVS '
F AVSTVS, surmounted by two entwined palm branches.
Intaglio on an oval carnelian, on t/ze [rack of wkic/z some
recent kand lzas began to copy t/ze inscription on tke front.
T kis interesting Roman szgnet 1111'. King assigns to tile early
jbart of t/ze second century. I in. x {,1 in.
A LEGEND ; very difficult to decipher, though some of the
letters are distinct.
[ntaglio on a sari/onyx.
Roman.
41
244 GROUP, consisting of a profile head, probably that of Augustus,
and on either side a bunch of corn ; below is a finger- ring,
the bezel placed upwards, with a pair of scales Strung
across it, and inside the hoop a squatting rabbit or hare.
fntaglio on a carnelian.
Roman. T55, in. x i in.
245 A GROUP OF SYMBOLS ; in the centre is a finger-ring, set with
a Silenus mask in cameo ; within the hoop of the ring is a
winged figure of Victory carrying a spear and wreath. On
either side of the finger-ring are com measures, and on
one of these is a bird, and the Object on the other is
defaced by an imperfection in the stone; below, in the
centre, is an undetermined object, and on either side is a
small shrine with the figure of a deity inside.
[ntaglio on a sard.
Roman, good work. % in. >< @- in.
246 A HAND, holding a human ear by the lobe, and the legend
OABOZ MOY, “My happiness.” The ear was sup-
posed to be the Seat of memory ; in court it was a practice
sometimes for the attorney to take witnesses by the ear
to make them remember.
Carneo on an onyx.
Byzantine work. I in. x T76 in.
247 A similar design to the last, with the legend MN HMON€N€,
“ Remember.” Cameo on an onyx. _
Byzantine. in. x g- in.
248 HEADS OF A MAN AND WOMAN, facing each other, with a
legend, which is very dilficult to read, probably their
names. This stone is considered by Mr. King to be
from a betrothal ring of the date of Marcus Antoninus.
.[ntag/io on a red jasper.
Roman. in. x in.
42
249
250
251
252
253
254
255
MISCELLANEOUS OBJECTS.
A Two-HANDLED KYLIX-SHAPED CUP, on the rim of which are
perched two birds, one drinking and the other looking up.
[ntaglio on a carnelian.
Roman.
A I—IYpRA-SHAPED VASE AND PALM BRANCH.
[ntaglio on a carnelian.
Roman.
TE
AN OINOCHOE-SHAPED VASE, with a small circular ornament(?)
Over it, and a pedum on one side and another undeter-
mined object on the other; in the field the letters M - E - P.
[ntaglio on a sard.
Roman.
A HERME, carrying on her head a table with sacrificial cakes ;
on one side of her are an amphora and a goblet, and on
the other an amphora and bronze candelabrum (up the
candelabrum Stem is running apparently a mouse
[ntaglio on a sard.
Roman.
THE EMBLEMATA OF VARIOUS DEITIES ; a mask with the
Phrygian cap, floating over a wreathed altar on which lies
a pedum ; in front are a winged caduceus, club, and corn-
stalk.
]ntaglio on a sard.
Good Roman work.
A CORNUCOPIA, filled with fruits.
[ntaglio on a plasma.
Roman.
A HUMAN RIGHT FOOT.
% in. x T56» in.
[ntaglio on dark brown jasper, very well executed.
Roman.
T's
43
256 A GALLEY, sailing and being rowed.
fntaglio on a plasma.
Roman. -§~ in. x A} in.
257 AN UNDETERMINED OBJECT.
[ntaglzo on a black jasper.
Roman. T7; in. xi; in.
258 SEATED FIGURE OF A HUMAN-HEADED WINGED SPHINX, and
the inscription L ' C ' IVO-
[ntaglio on a carnelian.
Roman. Dia. 5 in.
259 A GRYLLUS, composed of a mask of an old man’s bearded
head, from the back of which projects a tail, the curled
end of which holds a two-pronged fork (P); underneath
are the letters MAIL.
intaglio on a carnelian.
Very good Roman work. 18- in. x in.
AGRICULTURAL SUBJECTS.
260 A HUSBANDMAlLMQtlttlng corn with a sickle.
Intaglio on a rea’jasyfier.
Ru/le late Roman work. ~196- in. x 176 in-
261 A HUSBANDMAN, cutting corn with a sickle; by his Side is a
basket.
[ntaglio on an onyx.
Roman.
262 A HUSBANDMAN, cutting corn with a sickle: behind him is a
tree. '
[ntaglio on a plasma.
Roinan. g in. x i in.
44
263
264
265
266
267
268
269
270
A MAN, walking, and carrying Over his right shoulder a pedum,
from which is suspended in front a vessel, and behind,
fruits.
[ntaglio on a nicolo, wkic/z kas keen karnt.
Roman. T"? in. x in.
A similar subject to the last, but very inferior in execution.
Jntaglio on a nicolo. _
Roman. in. ix T7? in.
A MAN, standing, holding a basket or dish, and a branch;
before him is a heap of fruit.
[ntaglio on a nicolo.
Roman. in. x 116 in.
A MAN, walking, and carrying corn [ntaglio on a carnelian.
Roman. {E in. x g in.
A HUSBANDMAN OR WOMAN (P), guiding a plough drawn by
two oxen.
[ntaglio on a sara’.
Rude Roman work. % in. x in.
A HUsBANDMAN, guiding a plough drawn by two oxen ; finely
executed.
[ntaglio on a clzrysojorase.
Roman. in. x g in.
A GROUP OF AGRICULTURAL EMBLEMS: a plough with a bird
seated upon it, and a pedum and two corn-stalks.
[ntaglio on a ckalcea’ony ,- an interesting stone, s/zowing, under
a glass, the war/y texture of its formation.
Roman. ~9— in. x fg in.
A HUsBANDMAN, leaning on his staff, tending a cow grazing
under a tree. " ‘
[ntaglio on a plasma.
Roman.
we:
a '
rélfLx
,
45
271
272
273
274
275
276
277
A YOUTHFUL HUSBANDMAN, standing, wearing the Phrygian
cap ; behind him is a bull, which he seems to be holding
by a rope attached to the neck.
[ntaglio on a clzalcedony.
Roman.
9 I u C
16
A YOUTH, dragging a goat by the horns from under a tree.
[ntaglio on a plasma.
Roman.
1% in. x 3%;- in.
A MAN, leaning on his Staff, standing in front of a tree, against
which a goat is rearing itself on its hind legs. There is
probably some phallic meaning in this representation.
[ntaglio on a nicolo.
Roman.
J; . 7 .
1;; 1n. ><-- In.
16
A HUSBANDMAN, seated, milking a goat ; below this is another
representation of two goats lying down amongst rocks
and trees.
[ntaglio on a nicolo.
Roman.
A MAN, seated ; behind him is a pedum.
[ntaglio on a brown sard, imperfect.
Rude late Roman work.
7 ' 3'
A MAN, wearing a round flat cap, walking and carrying a
pedum over his left shoulder; his right hand is pointed
upwards, and he looks in front of him towards a lizard
rearing itself up on its tail.
[ntaglio on a carnelian.
Roman.
7 . ‘a; .
TE In. X In.
A WOMAN, seated under a tree, holding a bunch of grapes
towards a boy (P), who stands before her carrying a staff
in his left hand and a vessel in his right.
[ntaglio on a plasma.
Roman.
Y
7 . .
T6 In. x 155 In.
46
278 A HUSBANDMAN, gathering fruit into a basket placed on the
ground below the tree.
[ntaglzo on a jasper.
Roman. {6 in. x ‘g in.
279 A HUNTSMAN, riding at full gallop, about to throw a spear fiom
his right hand ; by the side of the horse runs a dog. A
very spirited work.
Jntaglio on a plasma.
Roman. ~57,”- in. x T75 in.
280 A MAN, wearing a small conical cap, standing on a rock, and
drawing up a fish, with a fishing-rod in his right hand, in
his left is a basket 3 in front of the rock a dolphin is dis-
porting itself, and another undetermined object. It is
possible, but not very probable, that this representation
may have a Christian signification.
[ntaglio on a red jasper.
Late Roman. ~3- in. x ~§~ in.
281 A MAN, seated under a tree, catching a bird by means of the
reflection from a mirror
[ntaglio on a carnelian.
Roman. in. x in.
ANIMALS.
282 A LION, walking. On the back of this cameo is out another
cameo, very poorly executed, probably during the last
century, representing a warrior standing in front of a
statue of Pallas.
Cameo on an onyx.
Roman. J 16% in. x g in.
‘283 A LION, advancing.
[ntaglio on a nicolo.
. . 7 . 3 .
Rggglan- W m. X g- 111.
47
284
285
286
287
288
289
290
291
292
A LION, advancing.
[ntaglio on an onyx.
Roman.
A LION, advancing.
[ntaglio on an onyx.
Roman.
in. x J— in.
09k”
g In. x T56 1n.
LION’S HEAD, full face, and under it the legend HEIOY - A, a
modern imitation of the ancient gem-engraver’s name,
HEIUS.
.lntaglio on a byacintkian garnet.
Good Roman work.
A LION, lying down, and apparently roaring.
[ntaglio on a sara’onyx.
Roman.
£1 in. x in.
O 3 O
1],; In. x g In.
A LION, carrying a bull’s head ; above is the crescent moon.
[ntaglio on a carnelian.
Late Roman.
A LION, laying his paw on a bull’s head.
[ntaglio on an ametkyst.
Roman.
A LION.
[ntaglio on a sara’onyx.
Roman.
A Cow, grazing.
[ntaglio on a sara'onyx.
Roman.
A COW, suckling a calf.
[ntaglio on a plasma.
Roman.
.3’ l’
t,1n.><,,1n.
9' 12'
-.1n.><81n.
*-|
c‘l
r—l
04°
D
X
mlw
C3
48
293
294
295
296
297
298
299
300
301
302
A JADED HORSE, advancing.
[ntaglio on a carnelian.
Roman. g in. x in.
A similar subject to the last, unfortunately only a fragment;
very admirably executed.
[ntaglio on a sara’.
Roman.
A HORsE, walking, raising his right fore-leg very high.
[ntaglio on a black jasper.
. .5 O
Roman. % In. x W In.
A HoRsE’s HEAD.
bztaglio on an ametkyst wit/i a splendid lustre.
Roman. in. x g in.
A BOAR, running.
[ntaglio on a crystal (smoky quartz).
Roman. % in. x 31? in.
A BOAR, standing.
[ntaglio on a nicolo.
7 ' a '
Roman. T3 In. x 8 In.
A RAM, running, and looking back ; a constellation (P).
[ntaglio on a carnelian.
. 7 .
Roman. % In. x T3 In.
A CoUcHED HIND, AND CALF.
[ntaglio on an onyx.
3 . .
Roman. g In. x T55 In.
A GOAT, seated under a tree.
[ntaglio on an onyx.
Roman. 355
A DOG, lying down asleep.
[ntaglio on an onyx.
Roman. T1 in. x g in,
49
303
304
305
306
307
‘308
309
310
311
A DOG, laid down asleep.
[ntaglio on a carnelian.
Roman.
NIP‘
It:
p-n I
F‘
In.><'8
A LIzARD.
intaglio on a carnelian.
Roman. in. x in.
AN EAGLE, with a bird in its claws.
lntaglio on a carnelian.
Roman.
A CRANE, standing.
[ntaglio on a nicolo.
Roman. in. x ii. in.
with
A CRANE, walking, and carrying a shield in shape of a ram’s
head, and stalks of corn.
lntaglio on a nicolo.
Roman. 583 in. x ;,l in.
A PEACOCK, walking.
[ntaglio on a c/zalcea’ony.
Roman. 12‘- '
A BIRD, perched on a poppy stalk.
[ntaglio on an anzetlzyst.
Roman. g- in. x i- in.
A COCK, walking.
[ntaglio on a plasma.
Roman- 5. in. x31; in.
A BUTTERFLY.
[ntaglio on an onyx.
Roman.
50
312 A CRAB, facing a frog, and between them a Star.
[ntaglio on a carnelian.
Late Roman 3% In. x T”? In.
313 SMALL ORNAMENT, in shape of a fish, carved in plasma; pro-
bably worn as a pendant, and possibly as the Christian
symbol Zxdbs. _ ;
Length 1%; in.
GN OSTIC AMULETS.
THE term ‘Gnostic ’ is derived from the Greek word I‘uc'bo'ts‘,
knowledge, and as applied to religious ideas, signifies the knowledge
of things divine. In this general sense it might seem to be applicable
to almost any religious system ; but it has become historically iden-
tified with a certain class of religious opinions which came into
especial prominence during the early ages of Christianity.
The Gnostic opinions were a medley of the mythologies and
philosophies which abounded in the eastern parts of the Roman
Empire during the first few centuries after the death of Christ.
Mr. King, in his work on the Gnostics, points out how the systems
of Zoroaster and Buddha, and the teachings of the Cabbala and
Talmud, contributed to form the ~Gnostic theology. Upon the
amulets in this Collection are figures from both the Egyptian and
Roman pantheons, together with many curious inscriptions, Some-
times the names of deities, or other intelligible matters, but often
enough only Combinations of letters, out of which probably none but
the originator could derive much meaning.
314 THE GOD ABRASAX, with cock’s head and serpent legs, carrying
in his right hand a shield with the name lAw cut for a
seal upon it, and flourishing a whip in his left hand.
[ntaglio on a bloodstone.
Gnostic. 2 in. x g in.
51
315 The same figure as No. 314, surrounded by an illegible inscrip-
tion, cut for a seal ; on the reverse is another Greek
inscription.
[ntaglio on a dark brown jasper.
Gnostic. 5% in. x 5,3 in.
316 AM ULET, on which is engraved on one side a triform goddess,
and under her (apparently) the three letters I'PY ; the
three heads of the goddess have three modii before them,
and three extended arms on each side hold various
objects ; on the reverse are the Greek letters (cut direct)
MAFNHTAP -— IN . . . CXII' —- AA.
[ntaglio on a icenzatite.
Gnostic. ' g in. X {L5 in.
317 THE ANCIENT EGYPTIAN DEITY ANUBIS, jackal-headed with
human body, standing, draped in a tunic ; on either side
of the figure are letters which apparently read direct down
the sides :—AYC n EIC IAAOYI — A EPG
CM EINwGIKPIN ¢(?).
[ntaglio on a baa’ green jasper.
Gnostic. % in. x in.
318 AN UNKNOWN DEITY, apparently in a mummied form, seated
on a rock, with arms folded, and wearing a rudely drawn
head-dress ; in front is a star, and an obelisk engraved with
the name IAUJ; on the opposite side of the obelisk is a
mummied figure of the god Anubis.
[ntaglio on a green jasper.
Rude Gnostic work. 33; in. x {.2 in.
319 A DEITY IN MUMMIED FORM, wearing the Egyptian head-
dress, the Atf; the left hand raised to the head, and the
right holding downia staff, or possibly the Auk/z, the
Symbol of life. On the reverse is an inscription, partly in
Greek letters and partly in characters somewhat resembling
the hieroglyphic.
[ntaglio on a kcenzatite.
. 5 . 5 .
Gnostic. 1.; In. x TI; In.
52
320 A C vNOcEPHALoUs APE, with a disk on his head, adoring before
a column. Speaking of this gem, or of one almost iden-
tical with it, also in the Hertz collection, Mr. King says
(“ Gnostics,” p. 208) : “ The Cynocephalus, with the lunar
disk on his head, standing, in the act of adoration, before
a column engraved with letters, and supporting a triangle,
the symbol of Deus Lunus. Here we see one of the
pillars of Hermes, on which that god had engraved all
knowledge. This beast was sacred to him, for the genuine
species had an instinctive liking for pen and ink, says
Horapollo (p. 44). The pillars of Hermes still survive
in the Masonic insignia, but they have been Judaized into
Solomon's Jachin and Boaz.” On the reverse is inscribed
BlAw.
[ntaglio on a green jasper.
Gnostic. 9 in. x 3 in.
321 A DEITY, with serpent’s head and human body, standing and
wearing a tunic; in his right hand he holds an Egyptian
sceptre or walking-stick, and in his left the Egyptian Ankk,
or symbol of life. Round the figure is an inscription,
but it is very illegible.
[ntaglzo on a kannatite.
Gnostic. {1 in. x g in.
322 VENUS, standing, arranging her hair, wearing a modius upon
her head; going towards her is Mars, helmeted ; under-
neath are the repeated vowels reading direct,—
OHHH
HHHO
On the reverse, the inscription APNPN’PACI. An
inscription similar to this appears on several other Gnostic
gems bearing figures of Venus, see King’s “Gnostics,”
plate v., and page 211. Mr. King reads Arioriph as the
name of a goddess.
[ntaglio on a kwmatzte.
Gnostic. % in. x 1% in.
53
323 FIGURE OF A DEITY, called by Mr. King (“ Gnostics,” p. 208)
the Gnostic Pleroma, or combination of all the (Eons.
The figure holds in the left hand a scroll, or possibly a
serpent, and in the right three objects, described by Mr.
King as “three bent Spikes or nails ”-—-a symbol which he
Sees on Babylonian cylinders, and in Cabbalistic and other
symbolism. Behind the head of the figure are the two
words, [Aw IEOY; and upon the arms and legs, and-on
the serpent, or scroll, are a great quantity of other letters
—-possibly combinations of the vowels.
[ntaglio on an a'nzet/zyst.
Gnostic. % in. x g- in.
324 FIGURE SEATED ON A THRONE, with the right hand up to the
mouth ; possibly a rude representation Of Horus. In the
field the legend MICMOC, On the reverse, an illegible
inscription.
[ntaglzo on a basalt.
Gnostic.
325 HARPOCRATES seated on a lotus flower, holding a whip ; before
him the letter K. On the reverse are letters, some of them
Combined as a monogram.
Intaglzo on a bloodstone.
Gnostic. 7- in. x 5. in.
326 HARPOCRATES seated on a lotus-flower, the stalk of which
I rises from a small boat ; over his head are three scarabaei ;
Over one end of the boat are three hawks, and over the
other end three goats; below the boat three crocodiles.
On the reverse the legend BAINX wwxwl A
wwAw PXEP EENMENENGU). The word
BAINXw signifies “ a prize.”
[ntaglio on a lzn/natite.
Gnostic. 5 in. >< in.
54
327 I-IARPOCRATES seated on a lotus-flower, at the foot of the
stalk of which is the letter to and the name ABPACAX.
On the reverse is the legend AALONAI MIXA (‘.P) H /\
“Lord Michael.”
[ntaglio on a lanes-lazuli.
This interesting Gnostic amulet is still in its original bronze
setting, looped for suspension. 1% in. x g in.
328 A CAR'I‘OUCHE, formed by a coiled serpent, which is divided
into four compartments; in an upper compartment is a
Cynocephalous ape in the act of adoration, and in the one
opposite is Harpocrates seated on a lotus-flower; in the
two lower compartments are respectively a hawk and a
scarabaeus. On the flat part of the reverse is the legend
[EM E[|/\AM¢, and round the bevelled edge,
AEHNAPIN. CEMEC EIAAM, signifies “ The
Eternal Sun,” alluding to Harpocrates.
[ntaglio on a dark jasper.
Gnostic. . g in. x % in.
329 HERCULES, Standing, the lion’s skin over his right arm, and a
cup in his left hand. On the reverse of this ordinary
Roman gem is the Gnostic inscription,——
BAAA EIEUP ANFEPOETPOEIEEKOE.
Intaglio on a white carnelian.
Roman. in. x g in.
330 THE CHNUPHIS, lion-headed and maned serpent, erect,
crowned with twelve rays ; about him are three stars and
the crescent moon, and the legend, XNQ —VPI (?)__
I'IFANTQPH. On the reverse is the triple SSS, with
a bar through, and other symbols, and the legend,
KTA‘PAPOJ‘N.
fntaglio on a green plasma.
Gnostic. {1 in. x 5 in.
55
331
332
333
334
. 335
THE CHNUPHIS SERPENT, lion-headed, crowned with eight
rays, erect ; at his side the legend, reading as a seal,
XNOYBIC. On the reverse the triple SSS with a bar
through it.
[ntaglio on a ckrysoprase.
Gnostic. i; in. x g in.
AN EAGLE, crowned with halo and rays. It is not easy to say
if the head is intended for a serpent-head or not.
[ntaglio on a bloodstone.
Gnostic. 1} in. x g1 in.
A CARTOUCHE, formed of a double-headed serpent, within
which are symbols, supposed to be planetary. On the
reverse is the legend MVOVONMO.
[ntaglio on a plasma.
Gnostic. A; in. x 312» in.
A GNosTIC AMULET, with an illegible legend on one side, and
on the other apparently the letters EIEIPP w EITI
¢EPME Y IABPACAE.
[ntaglio on a cbrysoprase.
Gnostic. :2; in. x % in.
A FRAGMENT OF SOME GNosTIC AMULET.
and the crescent moon.
Jntaglio on a green jasper.
A fire altar (P),
i in. x325 in.
56
EARLY ORIENTAL GEMS.
THESE gems are but poor works of art, the style is grotesque,
and the execution rude. Their interest lies principally in the kind of
subjects and inscriptions upon them. They were produced mostly
under‘the Sassanian dynasty, from about the 3rd to the 7th century
of our era. ,
Nos. 352 and 3, 54 are interesting specimens, as they bear subjects
from the Bible History, and probably were the seals of Jews.
336 THE WINGED HORSE PEGAsUs, running and looking behind
him. .
[ntaglio on a pierced scarakxoia’ seal in wlzite c/zalcea’ony.
Prooakly Persian. I in. x £- in.
337 THE GoDDEss IsHTAR (VENUS), standing under an arched
shrine (P).
Jntaglio on a pierced kemzlspkerical seal in c/zalcedon y.
Sassanian. % in. x g in.
338 A BOAR (P) AND AN IBEx.
[ntaglio on a pierced kemzlsjolzerical seal in c/zalcea’on y.
Sassanian. if- in. x g in. i
339 A HUMPED BULL, and legend.
[ntaglio on a pierced kemzlsplzerical seal in onyx.
Sassanian. g in. x ~23’; in.
340 T wo FIGURES OF MEN, with arms and legs extended, holding
sceptres~(P) ; very rudely executed.
[ntaglio on a pierced kemzlsp/zerical seal in onyx.
Sassanian. ’ . Dia. I in.
341 A LION AND A BULL.
Intaglzo on a pierced seal in lzcematite.
Sassanian. ' in. >< % in.
342 A STAG, lying down.
[ntaglio on a pierced agate seal.
Sassanian. 1 1 in. x 9 in.
343 A LION DEvoURING A BULL.
[ntaglio on a pierced kemirlolzerical haematite seal, wit/z t/ze
original bronze ring-mounting attacked to it.
Sassanian. Dia. 4-},- in.
344 THE HUMPED BULL, and a Pehlevi legend, probably a name,
reading A'itahasd or Aikahast intaglio on a pierced seal in clzalcea’on y.
Sassanian. % in. x {-2- in.
345 THE SASSANIAN IMPERIAL STANDARD, with the sun and moon;
a favourite seal device under that monarchy.
[ntaglio on a pierced lzenzisf/zerical seal in clzalcedon y.
Sassanian. Dia. % in.
346 PROFILE PORTRAIT OF A MAN, with the sun and moon in the
field.
[ntaglio upon tlze base of a pierced onyx seal, tlze upper part of
w/ziclz kas been cut away. '
Sassanian. ' i in. x in.
347 A STAG, OR IBEX, lying down under a tree.
[ntaglio on a talc-slate. in. x *3- in.
@161
348 A LION, lying down, and the Pehlevi legend Afzun, “increase”
(may it increase).
[ntaglio on carnelian.
Sassanian. g in. x in.
349 PAIR OF IBEX, lying down, and the Pehlevi legend, Yum
shafir, or perhaps Eu Musafir.
[ntaglio on rock crystal.
Sassanian. Dia. in.
58
350 A LION DEVOURING AN IBEX.
[ntaglio on a bloodstone.
Sassanian. Dia. 7} in.
351 A CRANE, and the Pehlevi legend, Shamu or Samr (P).
fntaglio on Sassanian.
352 ABRAHAM OFFERING UP ISAAC, who is laid on his back upon
a Small altar. The ram, instead of being caught in the
thicket, is given by the hand of God. This was probably
the seal of a Jew of early Sassanian times, A.D. zoo—300.
There is also a Pehlevi legend, which reads Afri or Abri probably intended for Abraham. The flaw above the altar
seems to be a drilled hole, of subsequent date to the
original cutting.
.lntaglio on a sard. I
.Sassanian. _ Dia. % in.
353 AN EIGHT-RAYED STAR, below which is a scorpion or crab
with a crescent; also the Pehlevi legend, “ Praise or glory
to God.”
[ntaglio on a rose-celouredpaste.
Sassanian.
354 MOSES STRIKING THE ROCK, from which flows the stream of
water.
[ntaglio on a carnelian.
Sassanian.
355 MAN MILKING A GOAT.
[ntaglio on a garnet.
Sassanian. % in. x? in.
356 HEADS OF AN ORIENTAL KING AND QUEEN, bifrons.
[ntaglio on a sard. % in. x in.
357 A HUMPED Cow, suckling a calf.
[ntaglio on a garnet.
Sassanian. , % in. x T75 in.
358
359
360
361
362
363
A STAG RUNNING.
[ntaglio on a garnet.
Sassanian. T75 in. x 5% in.
STANDING FIGURE OF VENUS.
[ntaglio on a garnet.
Sassanian style. % in. x g in.
A LION.
[ntaglio on a rock crystal.
Sassanian style. in.
oolzn
HERCULES STRANGLING THE N EMEAN LION.
[ntaglio on a green jasper.
Sassanian style. ~3- in. x in.
WINGED FIGURE OF A MAN, with the legs and tail of a bird,
wearing a tunic, and carrying an lamphora on his head,
and a lighted torch in his left hand.
[ntaglio on a carnelian.
Sassanian style % in. x {lg in.
PRIEST (P), with crooked stick, walking, and leading an ibex.
[ntaglio on a carnelian.
. 1 . .
Sassanzan 5 In. x {*6 1n.
364-99 GROUP OF THIRTY-SIX SMALL GEMS, mostly intaglios on
carnelian, engraved with unimportant Subjects in the
Sassanian style.
ORIENTAL GEMS OF THE MUSULMAN
PERIOD.
THESE late Oriental gems are almost universally omamented with
inscriptions, generally texts from the Koran, in Kfific (the early
form of Arabic), Arabic, Persian, or Turkish. The two exceptions
in this collection, Nos. 423 and 425, Owe the figures upon them to
influences other than Mohammedanism. No. 42 5 was evidently
made for an Arabic adherent to Greek Christianity.
The majority of the gems are cut in carnelian, sometimes for
seals, and sometimes for amulets, reading directly. The caligraphy
is generally florid and complicated, as legibility has been sacrificed
to design, and many have taken some time and care to decipher.
With one exception all the inscriptions in this collection are cut in
intaglio.
The description of a group of gems similar in character to this
in the collection of the late Duc de Blacas, may be found in
M. Reinaud’s Descriptions des Monumens Musulmans, Arabes,
Persans et Turcs du Cabinet de M. le Duc de Blacas,” etc., 2 vols.,
Paris, 1828. In this work M. Reinaud calls attention to the medi-
cinal and other virtues supposed by the Arabs to reside in precious
stones. The ruby, emerald, turquoise, carnelian, 81c. , were considered
specifics against all sorts of external and internal bodily ailments.
In the carnelian were embodied a number of virtues, which varied
according to its tint ; and allusion is made to a traditional saying
of Mohammed’s, “ Celui gui cac/zete aoec une cornaline ne cessera
pas cl’étre clans la lzénéa’iction et la joie.”
The period to which most of these gems may be ascribed is about
the time recorded on the dated specimens in this collection, namely
from A.D. 1670-1780. The dates upon them are all according to
the Arabian era of the Hijra, which commenced on the 16th of July,
A.D. 622, the day of the flight of Mohammed from Mecca to
El-Medina. No doubt some of those bearing Kufic inscriptions are
much earlier than the 17th and 18th centuries.
61
As the arrangement of the Musulman year does not correspond
with that of the Christian, it is not easy to turn any given date A.H.
into the corresponding date A.D. ; an extensive and useful table of a
series of these transposed dates will be found in Richardson’s
Persian Dictionary, at the commencement of Vol. II. There are
separate tables by Gunzpreclzt, or better by Wuestenfeld. Also in
Prinsep’s Indian Antiquities, Vol. II., p. 193 of the Useful Tables, in
and edit.
400 SEAL, with Kfific inscription, reading “God is the trust of
Joseph, son of Yfinus (Jonah).”
[ntaglio on a sardonyx. @- in. >< 5,} in.
401 SEAL, with Kfific inscription, “ Sa’ad,” probably the name of
l the owner.
[ntaglio on a garnet. g in. x 35? in.
402 SEAL,.With Kfific inscription, reading, “Ahmed, son of Ahras(?),
trusts in God.”
[ntaglio on a carnelian. ~11’? in. x 35? in.
403 SEAL, with Kfific inscription, reading, “ In God El-Hasan,
son of Ali, places his tfust.”
fntaglio on a carnelian. % in. x 3,} in.
404 SEAL, with flourished Kfific inscription, reading, “ By the
dignity of Mohammed, and the bravery of Ali, and the
generosity of Joseph,” followed by a portion of the 31st
verse of the 28th chapter of the Koran, namely, “ Return
and fear not, for thou art safe.” The whole verse runs
thus, “ ‘ Cast down now thy rod,’ and when he saw it that
it moved as though it (had been) a serpent, he retreated
and fled and returned not. (And God said unto him), ‘ O
Moses, return and fear not, for thou art safe.’ ”
[ntaglio on a carnelian. fi— in. x 35; in.
405 SEAL, with Kufic inscription, reading, “He who believes good
of others, his life is sweet.”
Intaglio on a lzcenzatite. 193 in. x g in.
62
406
407
408
409
410
411
412
413
414
415
SEAL, with Kfific inscription, reading, “Sa’ad, son of Abdullah.”
[ntaglio on a sapphire. T93 in. x g in.
SEAL, with Kfific inscription, reading, “Abfi Mansfir, son of
Abu ’l-Kasim, trusts in God.”
. . _ . 5 .
[ntaglzo on a black jasper. 43- m. x g In.
SEAL, with Kfific inscription, reading, “ In God is my trust.”
[ntaglio on a green jasper. in. x in.
SEAL, with Katie inscription, from the Koran, chapter xxv.,
verse 7, “God will grant ease after distress.”
Intaglio on a hcernatite. T‘?
SEAL, with Kflfic inscription, reading, “ Mohammed, son of
All.”
[ntaglio on a lapzis-lazuli. ' {a in. x 331- in.
SEAL, with Kfific inscription, reading, “Place thy confidence
in God, it will be enough.”
[ntaglio on a carnelian.
ml»?!
in. x g in.
SEAL, with Kfific inscription on both sides, a portion of that on
one Side taken from the Koran, chapter xx., verse 48,
being God’s words to Moses and Aaron, “ (God) replied,
‘ Fear not, for I am with you ; I will hear and will see.’ ”
[ntaglio on a carnelian, very indijj‘erently written.
g in. x -5- in.
SEAL, with Ki’ific inscription, reading, “God is enough.”
[ntaglio on a green jasper. 31; in. x in.
AMULET, with flourished Arabic inscription (written direct) from
the Koran, portion of verse I 3, chapter lxi., “ Assistance
from God and a speedy victory,” and before this is
written, “In the name of God, the compassionate and
merciful.”
[ntaglio on a carnelian. I in. x % in.
AMULET, with Arabic inscription (written direct), consisting of
three passages from the Koran: the first, Chapter lxi.,
63
verse I 3, “Assistance from God and a speedy victory ;”
the Second (below this), chapter xlviii., verse I, “Verily
we have granted thee a manifest victory ; ” and the third,
chapter xii., verse 64, “ God is the best guardian.”
[ntaglio on a w/zite carnelian. ' 18%- in. x 1%: in.
416 AMULET, pear-shaped, in a rough stone, with Arabic inscription
in relief on both sides. On one side are the words, “In
the name of God the healer,” and on the reverse, “ In the
name of God the sufiicient one.” On either side is
apparently a date, but the surface .is too worn for it to be
read.
417 SEAL, with Arabic inscription, reading, “ My hope is forgiveness
of my Master.”
lntaglio on a yellow jasper. Jil- in. x g in.
418 SEAL, inscribed with the Arabic word Bi ’snzi ’lla/z, “In the
name of God.”
I , I g c 7 0
[ntaglzo on an ‘agate. ~,- In. x T6- In.
GI
419 SEAL, with Arabic inscription, a name, “ Ali, Son of Abu
’l-Hasan.”
fntaglio on a paste imitating an enzerala’. -% in. x in.
420 SEAL, inscribed on one side in Arabic, “ Mfisa'. (or Moses), Son
of Ja’far ; ” and on the reverse, “ In God trusts Ali, son of
Al-Fadhl.”
[ntaglio on a brown jasper. % in. x 5 in.
421 SEAL, with Arabic inscription on one Side, reading “ Khalid,
Son of Hashim, trusts in God ;” on the other side are figures
of a lion, and over it a scorpion, and below, a Serpent.
422 SEAL, with Arabic inscription, a name commencing “Abu ;”
the rest is illegible.
[ntaglio on a garnet. %- in, X :3 in.
64
423 SEAL, with Arabic inscription, the name of Padre “Paul
424
425
426
427
428
429
430
Maria,” a Carmelite.
[ntaglio on a carnelian. -} in. x {5 in.
SEAL, with Arabic inscription, reading, “0 Lord, for the sake
of Al-Khidr be gracious to Thy servant Al-Khudair ;” also
the date AH. 1176 (A.D. I762). The owner of the seal
evidently placed himself under the protection of the
prophet “ Al-Khidr,” from whose name his own is formed
as a diminutive.
[ntaglio on a carnelian. *5 in. x if’? in.
SEAL, with figure of the ‘Madonna and Child, after the ordinary
Greek Church type, with the Greek monograms for
MHTHP OEOY 3 below is an Arabic inscription,
“ Protect thy handmaid.”
[ntaglio on a carnelian. %% in. x 13% in.
SEAL, with Arabic inscription, reading, “ May Isma’il be the
object of the favour of my God.”
[ntaglio on a burnt clzalcea’ony. {g in. x P; in.
SEAL, with Arabic inscription, reading, “ O Lord, withhold not
Thy favour from F ath Ali,” also the date A.H. I I 58
(M)- 1745)-
[ntaglio on a carnelian. % in. x ~% in.
SEAL OR AMULET, with an illegible Arabic inscription.
[ntaglio on a yellow jasper. 3%,- in. x g in.
SEAL, with illegible Arabic inscription.
[ntaglio on a recljasper. T93 in. x 3 in.
SEAL OR AMULET, with an illegible Arabic inscription.
.Intaglio on a carnelian. T9? in. x T7? in.
65
431 BRASS SEAL, with Arabic inscription in intaglio, taken from the
Koran, chap. xxi., verses 69 and 70.
Koran, xxi., 69 (end) : “We said, O fire, be thou cold,
and a preservation unto Abraham !”
,, 70 (beginning) : “ And they sought to lay a
plot against him: but we caused them to be the
sufl'erers.”
The Owner’s name was evidently Abraham.
432 AMULET, with Arabic inscription executed in Persia, reading,
“ Call upon All, the object of very great wonders ; in him
you will find a resource in misfortunes; all evils and pains
will be removed by thy protection, 0 Ali, O Ali, 0 All ! ”
and the date A.H. 1082 (AD. 167 I).
For this formula, see Reinaud’s “ Monumens Arabes,”
vol. ii., p. 168.
[ntaglio on an agate, beautzfully engraved. Ii in. x % in.
433 SEAL, with Persi-Arabic inscription, the name “ Mohammed
Amin bin Mir-shah,” and the date A.H. I 170 (AD 17 56).
[ntaglio on an emerald. 33— in. square.
434 SEAL, with Persian inscription, reading, “ May His servant Ali
be the object of the favour of God.”
[ntaglio on a carnelian. 195 in. x 12- in.
435 SEAL, with Persian inscription, reading, “ Accomplish, O my
God, the desire of Mohammed.”
[ntaglio on a carnelian. T9? in. x in.
436 SEAL, with Persian inscription, reading, “His servant Hasan,”
and the date A.H. 1200 (AD. I785).
I
[ntaglio on an obsidian.
437 SEAL, with Persian inscription, a name, “ Darwesh,” and the
date A.H. 1142 (A.H. I729).
[ntaglio on a carnelian. in. >< % in.
66
438
439
440
441
442
443
445
SEAL, with Persian inscription, reading, “The slave (of God)
Ali, son of Yfisuf (Joseph).” On the reverse is a Sclavonic
inscription, and apparently the date “ I78 5.”
Intaglzb on a green jasper. % in. x % in.
SEAL, with Persian inscription, reading, “ The servant of God,
Husain.”
[ntaglio on a chalcedony. % in. x % in.
SEAL, with Persian inscription, reading, “ The servant of God,
Mustapha,” and the date A.H. II 59 (A.D. I746).
[ntaglio on a white carnelian. ~11,- in. x @- in.
SEAL, with Persian inscription on both sides: on one is written,
“ The servant of God, Husain,” which is probably the
earlier of the two inscriptions; on the reverse is, “. . .
my God the pilgrim Omar.”
Intaglio on a carnelian. ‘ ~12- in. x J- in.
SEAL, with Persian inscription, reading, “Grant, O my God,
the desire of Hasan.”
[ntaglio on a white carnelian. l- in. x
1 2 1n’
rob--l
SEAL, with Arabic inscription, probably written in Turkey,
reading, “The pilgrim Kasim Ahmad Jfidah;” also the
date AH. 1208 (A.D. I793).
[ntaglio on a carnelian. % in. x g in.
SEAL, with Arabic inscription, probably written in Turkey,
reading, “ May Saiyid Abd-al-Fattah, be ,the object of Thy
favour, O Lord.”
[ntaglio on a carnelian. 2?; in. x g in.
SEAL, with Arabic inscription, probably written in Turkey,
reading, “ May Tahir ‘be the object of Thy favour, O
Lord,” and the date AH. 1178 (A.D. I764).
[ntaglio on a carnelian.
67
44 AMULET, with illegible Turkish inscription, written direct ;
possibly a European name disguised.
[ntaglzo on a carnelian ,- t/ze back of tile stone is cut into facets.
I in. x 1-—°6 in.
447 SEAL OR AMULET, apparently incised, but illegible.
[ntaglio on a poor ruby. % in. x g1 in.
448 SEAL OR AMULET, with grotesque characters, none of them
Arabic letters, but possibly Cabbalistic or planetary
symbols.
[ntaglio on a carnelian; tbe back of tke stone being cut into
facets. ~15? in. x T5? in.
449 SEAL OR AMULET, with grotesque characters, possibly Cabba-
listic symbols. l '
[ntaglio on a lupus-lazuli. in. Square.
450 SEAL OR AMULET, with three lines of characters, probably
Cabbalistic.
Intaglio on a carnelian. T9,,- in. >< in.
451 SEAL OR AMULET, with symbols, probably Cabbalistic.
[ntaglio on a carnelian. A; in. x in.
68
ROMAN AND OTHER PASTES.
THE popularity of engraved gems amongst the Roman people, is
a sufficient reason to explain the large demand that there appears to
have been for their imitations in glass, called pastes. At a very
moderate cost the glass worker could produce a material astonish-
ingly similar to the sard, amethyst, emerald, or Onyx. A cast
from a fine original supplied the mould from which any quantity
could be struck off, and the fineness of the material secured a sharp
and beautiful impression, whilst its colour and translucency gave it
the required lustre. Numbers of these antique pastes are found
in Italy and the East. They are of great interest and use to the
student. They give subjects, and treatments of subjects, which
cannot be found elsewhere.
As it is difficult to separate the antique pastes from many of those
made during the Cinque-cento and subsequent periods, they have
been grouped together in this Catalogue indiscriminately.
One obstacle to a satisfactory classification of these pastes into
ancient and modern groups is, that the disintegrated condition of
the glass, which is the ordinary test of antiquity, can be so easily
acquired by artificial means, such as burial in the ground, or applica-
tion of acid. Mr. King, in a chapter on Pastes in his “Antique
Gems,” page 72, boldly states his belief that, of the pastes sold as
antique in such abundance, hardly one in a hundred is genuine.
As a proof of this, Mr. King states that nearly all the real antique
pastes, found by the peasants in Italy, have still attached to them
their original bronze ring mountings, which is not the case with the
majority of the pastes in gem collections. It must be supposed that
Mr. King had this fact upon the testimony of the Roman dealers.
The student will see a great many differences amongst these
pastes, and some of them are no doubt quite recent works. Nearly
all came from the Hertz Collection, and Mr. King states his
~ opinion that a large portion of them are modern. The writer has
not had Opportunity yet to offer any suggestions as to which are
antique, and which not; he has divided them into subjects, irre-
spective of date.
(ill
452
453
454
455
456
457
458
459
460
461
462
JUPITER.
JUPITER, seated on a throne, holding a thunder-bolt ; opposite
to him is Minerva, seated, and between them an eagle.
[ntaglio on a blue ,baste. T1,; in. x g in.
HEAD OF JUPITER AMMON.
Ro/nan brown paste. in. xg in.
The same, from an early fine gem.
[ntaglio on a brown paste. in. x g in.
The same.
[ntaglio on a green paste. 13,; in. x g in.
The same.
[ntaglio on a yellow paste. ,1; in. x 3135 in.
HEADS OF JUPITER AMMON AND AFRICA (P), uis-a-uis.
[ntaglzo on a brown paste. T7? in. x g- in.
The same.
[ntaglio on a yellow paste. in. x in.
THE THUNDERBOLT OF JUPITER, with four animals round it.
Inmglio on a brown paste. T95 in. x {7) in.
GANYMEDE BORNE OFF BY THE EAGLE OF JUPITER ; below
runs a dog.
[ntaglio on a pale blue paste. g in. x 11; in.
PEGASUS, flying.
[ntaglio on a yellow paste. T7? in. x g in.
BUST OF NEPTUNE, with a trident; below are two fish, and
on one side the letters P A M.
[ntaglio on a blue paste. 77,;
in in.
70
463
464
465
466
467
468
469
470
471
MINERVA, standing, holding a spear and branch 3 on her right
sits the youthful Hercules, and on her left stands Venus,
with Cupid at her side.
[rztag/z'o on a zo/zz'fe paste. T9,; in. x {'5 in.
FORTUNA, standing, holding a cornucopia and a helm.
Inmglzo on a dark purple pasle wz'l/z 'w/zz'ie strzloe aeross.
‘ ~}—-}; in. x 315 in.
F ORTUNA, standing, holding a small figure in her extended
right hand, and a cornucopia on her left arm 5 at her feet
is a basket of growing corn, and behind her the stem of a
vessel (P).
[m‘aglz'o on a pmfle paste. in. in.
VENUS EUPL(EA AND CUPID, standing on the back of a two-
lieaded sea-horse.
[niaglzo on dark-eolouredpasz‘e. {#6- 1n. x g m.
VENUS VICTRIX, standing, leaning with her left arm on a pillar,
and holding a figure of Victory in her extended right
hand; before her lie a helmet and shield, and behind the
pillar armour, and above the crescent, moon, and stars.
Infaglz'o on a olue paste. a} in. x in.
CUPID, and another indistinct figure.
The suojeez‘ z'n rel/lite cameo on a purple grozmd, very mue/z
destroyed 71% in. x {26 in.
PORTION OF A FIGURE OF CUPID.
A cameo with white relief on dark purple ground; a fragment.
% in. x g in.
MERCURY, standing, leaning against a tree, looking at the
youthful Bacchus playing on the ground (P).
[m‘aglzo on a green pasz‘e. % 1n. x % 1n.
MERCURY, with winged feet and caduceus 3 before him is a
vase with a palm branch in it.
Intag/z'o on a brown paste. 7},- in. x 58?- in.
71
472
473
474
475
476
477
478
479
480
481
482
MERCURY, standing, holding up the infant Bacchus in his right
hand.
[ntaglio on a purple paste. T‘% in. X T7? in.
CENTAUR CARRYING THE INFANT BACCHUS (P).
[ntaglio on a green paste. 195 in. x {-5 in.
SILENUS, playing a lyre, and seated in a car, drawn by one
Cupid and pushed by another.
Canzeo on a wkite jiaste. 796- in. x -2— in.
A BACCHANTE.
[ntaglio on a yellow paste. {a in. x {16- in.
BACCHANT, carrying a thyrsus and cup.
[ntaglio on a green paste wit/i blue and w/iite bands.
4% in. x T7,,- in.
FEMALE BACCHANALIAN PANTHER, carrying a thyrsus.
. l . g .
[ntaglzo on a blue paste. 2 In. x 8 In.
BACCHANALIAN PANTHER, with thyrsus, seated before a vase.
[ntaglio on a purple paste. T77; in. x in.
VICTORY (P).
[ntaglio on a yellow paste. {-6- in. x g in
VICTORY, reading a message of victory [ntaglio on a brown paste. #2- in. X T9,; in.
VICTORY, sacrificing a bull. _
[ntaglio on a yellow paste. in. x g in.
FIGURE OF VICTORY, her extended right hand holding a thun-
derbolt (P); in front are some indistinct letters, apparently
MMl.
[ntaglzo on a brown paste. 193 in. >< % in.
72
483
484
485
486
487
488
489
490
491
492
493
494
VICTORY, holding a globe in her hands; before her is a torch.
[ntaglio on a purple paste. T9; in. x g- in.
VICTORY, holding up a wreath.
Jntaglzo on a yellow paste; —9~ in. x5} in.
BUST OF HERCULES, laureated, with club over the left shoulder.
[ntaglio on a krown paste. £3 in. x g in.
HEAD OF HERCULES, bearded and laureated.
fntaglio on a yellow paste. % in. x 316- in.
FULL-FACE BUST OF THE YOUTHFUL HERCULES, with the
lion’s skin round his shoulders.
lntaglio on a clark-colourea’paste. in.
HERCULES, carrying the Nemean lion.
[ntaglio on a yellow paste. is; in. x i in.
HERCULES, kneeling.
[ntaglio on a brown paste. 4 in. x llg in.
THE INFANT HERCULES KILLING THE SNAKES 3 in front of
him is the club.
[ntaglio on a krown paste.
'F'Ko
u g o
In: X T6— In.
HERCULES, seated, holding the club in his right hand, and in
his left [ntaglio on a green paste, from a very beautiful gem.
% in. x g in.
HERCULES, reposing.
[ntaglio on a palepink paste. 4 in. xg in.
OMPHALE, walking, carrying the club and lion’s Skin, the
attributes of Hercules.
[ntaglio on a brown ,oaste wit/z a wkite kana’. 4% in. x in.
HERCULES, standing.
[ntaglio on a yellow paste. 3 in. x in.
73
495
496
497
498
499
500
501
502
503
504
HERCULES, walking, carrying his club; from a very rude work.
[ntaglio on a yellow paste. Dia. —3- in.
GIANT, with legs terminating with serpents, wielding a club;
round him the legend ICRAC.
[ntaglio on a blue paste. Dia. :3; in.
HEAD OF LEUCOTHEA, the name of Ino, after her apotheosis.
This head appears upon the Roman coins of the Crepereia
family.
[ntaglio on wlzite paste. 3!; in. x g in.
DIOMEDES GAzING AT THE PALLADIUM (P).
Cameo, tlze subject in w/zite on a dark purple paste, muck
defaced. ' -§—; in. x ,5; in.
ANDROMEDA CHAINED TO THE ROCK.
[ntaglio on a blue paste. i in.
STANDING FIGURE OF HERCULES (P).
lntaglio on dark-coloured paste wit/z w/zite stripe.
{-5 in. x ,1; in.
AN ARMED WARRIOR, kneeling.
[ntaglio on yellow paste. T7? in. x g in.
A similar subject to the last.
[ntaglio on yellow paste. {-6 in. x 585 in.
A WARRIOR, resting, seated under a tree, by his side a shield
and lance, and his dog (P).
[ntaglio on pale yellow paste. —§~ in. x *3 in.
A WARRIOR, leaning forward towards his armour, which is on
the ground before him; surrounded by a border after the
Etruscan Style.
[ntaglio on a purple paste. in. x in.
74
505
506
507
508
509
510
511
512
513
514
515
AN ARMED WARRIOR, standing before a column, upon the
top of which is a bird; round the column a snake is
coiled.
[nz‘aglz'o on a dark coloured paste wit/z white stripe.
% in. x g in.
ARMED SOLDIER, carrying a military standard in his right
hand.
[nz‘aglz'o on a yellow paste. T"? in. x {)6- in.
WoUNDED WARRIoR, lying on the ground.
[ntaglz'o on a green pasle wz'z‘lz w/zz'te strzloe. in. X T5? in.
F AUN, standing, playing on a lyre. .
[nz‘aglz'o on a yellow paste. in. x in.
FAUN PLAYING WITH A GoA'r.
[nz‘uglz'o on a green fame with olue and white slrzfes.
-} in. x in.
PHILOSOPHER INSTRUCTING A YOUNG MAN.
[ntaglio on a drawn and w/zz'z‘e paste.
.
% in. x {g in.
FEMALE FIGURE, seated.
[nz‘aglzo on a pale blue paste. in. x {56 in.
A YOUTH, leaning against a tree, and playing on a pipe.
[nz‘aglz'o on a purple paste. Dia. T76 in.
A WoMAN KNEELING; before her is a vessel.
[nz‘uglz'o on a blue paste. 4 in. x T7? in.
MAN WITH A BASKET, gathering fruit from a tree.
[ntaglz'o on a yellow paste. %’ in. x g in.
HUsBANDMAN, leaning on his staff; before him are two
animals feeding under a tree.
[nz‘aglz'o on a dark-eolouredpasz‘e with while strzloe.
3% in. x 5 in.
75
516
517
518
519
520
521
522
523
524
525
526
527
528
DATE PALM-TREE, and fruit.
[ntaglio on a brown paste. 5 in. x ~3— I.-.
GROUP OF AGRICULTURAL EMBLEMS (P).
[ntaglio on a purple paste.
CERES, Offering wheat-ears across an altar to a man dressed as
a Roman emperor
intaglio on a purple paste. 11-6- in. x T's-6- in.
A PRIESTESS SACRIFICING.
[ntaglio on a yellow paste. 1—2— in. x ~3- in.
Two MEN SACRIFICING (P).
[ntaglio on a purple paste. e in. x % in.
MAN DRIVING A QUADRIGA, front view.
[ntaglio on a green paste. 37-5 in. x -2- in
CHARIOTEER, driving three restive horses.
[ntaglio on a yellow paste. {-5 in. x —§- in.
MAN DRIVING A CHARIOT (P).
Cameo paste, wkite on green ground ,- very muck mutilated.
4% in. x —§'- in.
MAN SPEARING A WILD BULL.
[ntaglio on a w/zite paste. 4 in. x g- in.
A MAN RIDING, and leading another horse.
[ntaglio on a brown paste. T9,,— in. x g- in
PROCESSION OF EQUESTRIAN FIGURES.
[ntaglio on a w/zite paste. i in x 1% in.
A MAN DRIVING A QUADRIGA.
[ntaglio on a brown paste. in. x a in.
A similar subject to the last.
[ntaglio on a brown paste.
NIP—1
5
X
0.1,.
p-n
C3
76
529
530
531
532
533
534
535
536
537
538
539
540
RACE BETWEEN Two BIGAS.
[ntaglio on a 5rown paste. i in. x in.
YOUTHFUL A I‘HLETE, standing, holding a palm branch.
[ntaglio on a brown paste. ' T9? in. x {16 in.
FIGURE OF AN ATHLETE, running (P).'
[ntaglio on a brown paste. is in. x {-6- in.
A MAN LEADING A HORSE.
Intaglio on a yellow paste.
T"? In. x Ya) In.
A SUN—DIAL, and on either Side a bird perched on a vine trellis.
[ntaglio on a brown paste. T7? in. x g in.
A VASE, kantharos-Shaped.
[ntaglio on a purple paste. g in. >< » 5
A VASE.
[ntaglio on a purple paste. 3- in. x g in.
GROUP OF RELIGIOUS EMBLEMS, a club (P) between a caduceus
and palm branch, below is an undetermined object.
[ntaglio on a yellow paste. 315 in. x g in.
A GROUP OF EMBLEMS, an ear of Indian corn between a wheat
ear and caduceus.
[ntaglio on a krown paste. 1% in.
Two CORNUCOPL/E.
[ntaglio on a purple paste. {3 in. x g- in.
A SHIP, sailing ; there is apparently a figurehead to this vessel
in shape of a rearing bull.
[ntaglio on a purple paste. 3 in. x 358 in.
HEAD OF PLATO.
[ntaglio on a a'ark-colourea’paste, taken from a very fine gem.
1 . ‘ .
1,- In. x ~15? In.
“I
“I
541 HEAD OF A BACCHANT, bearded and crowned with ivy.
[ntaglio on a dark-coloured paste wit/z w/u'te stripe across.
8' 5 '
-51n.><-1-€1n.
542 HEAD OF A PHILOSOPHER.
[ntaglio on a purple paste. i‘? in. x {I in.
543 HEAD OF A MAN.
fntaglzo on a brown paste. 7 in. x i in.
1
08
544 HEAD OF VESPASIAN.
[ntaglio on a dark-colouredpaste wit/z a white stripe across.
7 ' 3'
545 HEAD OF CLAUDIUS CAESAR.
[ntaglio on a w/zite paste. T7? in. x 3 in.
546 HEAD OF DRUSUS JUNIOR, between two cornucopim; below
is a four-legged stool. '
[ntaglzb on a brown paste. il- in. x g in.
547 HEAD OF A MAN, name unknown.
Cameo on a green paste. in. x
wlw
p-a .
D
548 HEAD OF A WOMAN, name unknown.
T be lzead in w/zite cameo on a purple ground : rnuc/z disfigured.
55; in. x in.
549 HEAD OF A WOMAN, name unknown.
Intaglio on a yellow paste. in. x T5,; in.
550 FULL-FACE PORTRAIT OF A WOMAN.
[ntaglio on a yellow paste. ~17; in. x g in.
551 HEAD OF A YOUTH.
[ntaglzo on a yellow paste. 7 in. x 3" in.
552
553
554
555
556
557
558
559
560
561
562
563
ANIMALS.
A LIoN, advancing.
[nz‘aglz'o on a yellow paste.
A LIoN DEVOURING A BoAR.
[nz‘aglz'o on a while paste.
LION DEVOURING A BoAR.
[nz‘aglz'o on a yellow paste.
A SITTING LIoN.
[nz‘aglz'o on a orown paste.
LIoN DEVOURING A BUCK.
[niaglz'o on a orown paste.
Two LIoNs ATTACKING A BoAR.
[nz‘aglz'o on a yellow paste.
Two WILD BEAsTs FIGHTING.
[nz‘aglz'o on a green paste wz'z‘lz a blue stripe.
PANTIIER, advancing.
[n w/zz'z‘e cameo on a purple ground.
LEOPARD (P) ; under it a snake or lizard.
[nz‘aglz'o on pale grey paste.
LEoPARD, advancing.
[nlaglz'o on a dark-eolouredjfiasle.
A BULL.
Inz‘aglz'o on a olue paste.
T7? in. x g in.
ii ' s '
3
A PRANGING BULL, over it a star; a constellation.
[nz‘aglz'o on a dark-eoloured paste.
__' 5 ‘
8 1n.><T-6~1n.
TB—
9 ' 7 '
III-1n-
79
564
565
566
567
568
569
570
571
572
573
574
575
576
A BULL, butting.
[ntaglio on a purple paste. in. x P,- in.
Two COWS.
[ntaglio on a brown paste, wit/t w/zite stripe across.
T7? in. x T55 in.
A COW, suckling a calf.
Intaglio on a yellow paste. T73- in. x —Z- in.
Two ANIMALS.
[ntaglio on a wlzite paste. 19 in. x % in.
A STAG, Standing.
Jntaglio on a w/zite paste. T9,,- in. x % in.
TWO GOATS, playing, and a ram lying down.
Intaglio on a yellow paste. in. x T7? in.
A WOLF, lying down, gnawing a bone.
[ntaglio on a w/zite paste. ' 315 in. x % in.
A SHEEP, standing, with a bird, probably a crow, on its back.
[ntaglio on a yellow paste. T's-5 in. x —§- in.
A GOAT’S HEAD, RAM’S HEAD, etc.
intaglio on a brown paste. in. x ~§— in.
A BIRD, holding a snail in its Claws?
[ntaglio on a blue paste. -,1— in. x i in.
CAPRICORNUS, whose body terminates in a fishtail, holding
the globe in his fore feet; above are the crescent moon,
and a star.
[ntaglio on a dark purple paste. ~5- in. x g in.
A BOAR AND Sow.
[ntaglio on a green paste. —,7—6 in. xi,i in.
A BOAR AND Sow.
[ntaglio on a yellow paste. T7}; in. x g in.
577 A BOAR AND YOUNG PIG.
[ntaglzb on a yellow paste.
578 A BOAR, standing.
lntaglio on a yellow paste. _3- in. x in.

5
16
579 A Sow, with a butterfly on its back, and before him a cock.
[ntaglio on a yellow paste. ,4 in. x g in.
580 AN EAGLE, with a rabbit (P) in its claws.
Intaglio on a yellow paste. T7? in. x $83 in.
581 A PEACOCK, perched 011 a column, at the foot of which stands
a cock.
[ntaglio on dark brown paste, wit/z upper part wkite.
% in. x g in.
582 A COCK. _
[ntaglio on a w/zite paste. 12> in. x g in.
583 A COCK, with a butterfly over it, facing an overturned basket (P)
on which is a grasshopper; between them is a wheat-ear
growing.
[ntaglio in a purple paste. %- in. x g in.
584 HEAD OF A CHERUB,th1‘66—qllart6r face.
Cameo on a pale-green paste. T’% In. x -'- In.‘
Cinaue-cento work ?
585 PROFILE PORTRAIT OF A MAN, imitation of an antique Roman
portrait.
CD
Cameo paste, wkite on greyisk-olue ground. l- in. x ll in.
586 A BULL, BUTTING.
[ntaglio on a modern paste imitating an emerald. in. x 42 in.
ENGRAVED GEMS OF THE CINQUE-
CENTO AND LATER PERIODS.
THE art of gem engraving revived. with the renaissance of classical
learning and art, in the 16th century, or Ginaue-cento period, as it is
Called.
Mr. King, in his “Antique Gems,” gives the names of several
artists who flourished in Italy at the latter end of the 15th century,
and during the commencement of the 16th, under the patronage of
the De Medici and other great families.
Most of the gems of this period are camei, and the subjects drawn
from ancient sources; but the style of art is not so free as the
antique, or as the later 18th century work. It partakes in some
measure of the Gothic feeling.
In this Catalogue, several works have been grouped under this
head which were probably executed during the 17th and early part
of the 18th centuries. Although this group of gems does not Show
such fine execution as the works produced at a later time, still they
have an individual character and force of their Own, which gives
them an artistic position in addition to their historical interest.
MIN ERVA.
587 BUST OF MINERVA, in helmet and armour.
Cameo on an onyx ,- in a pendant setting of fire time of Queen
Anne.
Cinque-cento work. in. x in.
588 HELMETED HEAD, possibly Minerva. Very much defaced.
Cameo on an onyx.
Cingne-cento work (i’). g in. x in.
MEDUSA.
589 FULL-FACE HEAD OF MEDUSA; a very well executed powerful-
work of the Cinque-cento period.
Cameo on an onyx in a pendant setting of fire time of Queen
Anne. I in. x i3 in.
'3
590
591
592
593
594
595
596
~ 597
HEAD OF MEDUSA.
Cameo on an onyx of the Cz'ngue-eento period.
Dia. 2 in.
F ULL-FACE HEAD OF MEDUSA.
Cameo on a garnet of tke Cz'nque-eento ,oerz'od a} in. x 4% in.
THE JUDGMENT OF PARIS.
PARIS, seated, giving the apple to Venus ; by the side of Venus
is a retreating female figure.
Cameo on an onyx.
Cz'ngue-eento or 17272 century work. -1_ in. x in.
PARIS, seated, giving the apple to Venus, behind whom stand
two other female figures.
Cameo on an onyx.
Probably I7t/z century work. 1% in. x I in.
VENUS.
VENUS, seated, resting her arm on a column; before her is a
tree.
Cameo on an onyx.
Cz'ngue-eento or I 72% eentury work. T5? in. square.
VENUS, seated, with Cupid beside her.
Cameo on an onyx.
Cz'noue-eento or I7t/z eentury work.
VENUS, driving in a car drawn by two lions, beside which walks
an attendant blowing a horn, and carrying a flambeau.
Cameo on a e/zaleedonz'e onyx. 1} in. x 1% in.
AMPHITRITE.
AMPHITRITE, standing in a boat, to which, apparently, a
paddle-wheel is attached (P), drawn through the sea by two
dolphins; she holds a garment over her head which is
.83
extended ‘by the wind; at her side is Cupid riding on
a hippocampus, and before her is a figure carrying a
flambeauf
[ntaglio on a very beautzfuljacint/i.
11/! r. King considers tkis intaglio to be C inque-cento work of the
finest period. g in. x A} in.
HERCULES.
598 THE INFANT HERCULES, strangling the serpents.
Cameo on an onyx.
Cinaue-cento work. in. x i} in.
'MARSYAS.
599 UPPER PORTION OF A FIGURE OF MARSYAS (P).
Cameo on an onyx.
Cznyue-cento, good work.’ 7} in. x ~27 in.
600 UPPER PART OF A MAN’S FIGURE, possibly meant for an
Apollo, wearing the Chlamys over the outstretched right
arm. This may possibly be an antique cameo recently
retouched.
Cameo on a sardonyx. 777; in. x in.
ATLAS.
601 ATLAS, supporting the world; upon the globe are figured the
sun, moon, and Stars, and behind the figure of Atlas, a
distant city.
Cameo on an onyx.
I 7t/z centmy work (P). 4 in. x in.
MEDEA.
602 MEDEA, driving a chariot, drawn through the clouds by dragons.
Cameo on c/zrysoprase and c/zalcedonzc onyx. If} in. x -{- in.
(i2
84
603
604
605
606
607
608
609
BACCHUS, ETC.
BACCHUS, seated, raising a cup in his left hand 3 beside him is a
panther, and in front of him a child drinking from a cup.
Cameo on an onyx. ~§~ in. x 31,. in.
STATUE 0F BACCHUS, holding the thyrsus and a vase, standing
on a column, under a tree, from which are suspended a
pan-pipes and cymbal 3 a reclining Bacchante is raising her
hand to take the cymbal, and opposite to her is a seated
faun, playing with a goat.
Cameo on a c/za’cedonic onyx. 1% in. x I in.
FULL-FACE HEAD OF A LAUGHING FAUN, crowned with a
vine-wreath. '
Cameo on an onyx. is In. x 3% In.
JUSTITIA.
SEATED FIGURE OF JUSTITIA, holding the scales, and a Cupid
before her. Also another small Cameo, a woman advanc-
ing to feed a lion (P) under a tree.
Cameos on ckalcedonic onyxes. % in. x g in.
=3 in. x35? in.
PARIS. seated, and beside him Venus, holding a lyre; before
them stands Hector.
Cameo on an onyx. 3% In. x g In.
MISCELLANEOUS.
MUcIUs SCIEVOLA, placing his hand in the fire (P).
Cameo on an onyx. '
ORPHEUS, standing amongst rocks, playing a viol, and attracting
round him a number of animals 3 in the distance is a city
Cameo on an agate onyx. 1% In. x g In.
85
610
612
613
614
615
616
617
618
619
WOMAN, seated, reading, in a Car drawn by winged sphinxes (P) ;
beside the car walks a man blowing on a horn.
Cameo on an onyx; in gold finger-ring setting of t/ze Queen
Anne period. T"? In. x ~17? In.
A PHILOSOPHER, discoursing to a lady.
Cameo on a clzalcedonic onyx.
A fine piece of Cingue-cento work. Ifin. x 1% in.
A BATTLE SCENE.
[ntaglio on a lapis-lazuli. 1—1- in. x If; in.
MARINE DEITY, holding up two birds.
Cameo on a c/zalcedonic onyx. 1% in. x 1%‘ in.
ROMULUS AND REMUS WITH THE WOLF, and behind them
Faustulus, reclining.
Cameo on an onyx. % in. x g in.
HEAD OF ALEXANDER THE GREAT, probably imitated from
one of his coins.
Cameo on an onyx, in t/ze early Cinaue-cento style, and
mounted in a contemporary gold ring setting.
Dia. 1% In.
HEAD OF A PRIEST, draped; profile to right.
Cameo on a c/zalcedonic onyx. % in. x % in.
HEAD OF VESPASIAN.
Cameo on a jacint/c. % in. x g in.
F ULL-FACE BUST OF A WOMAN.
Cameo on a sardonyx. 5; in. x 4% in.
HEAD OF A WOMAN, profile to left.
Cameo on an onyx, set as a gold finger-ring, after tlze antique
style.
Cingue-cento work (P). g in. x 3% in.
86
620 HEAD OF A MAN, full-face. Possibly Roman work, but more
probably a good Cinque-cento piece.
Cameo on a very beauttfuljaez'nt/z. % in. x g in.
621 A LIGN, walking to the left.
Cameo on an onyx. 1; in. x g in.
.622 A GREYHOUND, killing a hare.
~ - 1- ' 3 '
Cameo on an onyx. % m, X C; 1n_
623 A BULL, butting.
Cameo on a sardonyx. T9,; in. x in.
624 HEAD OF CHRIST ; a very interesting intaglio, and, in Mr.
King’s opinion, in the same style as the well-known head
of Our Lord upon the emerald of the Vatican.
[ntaglz'o on a garnet.
Very ’ good Cingue~eent0 work. in. >< 5% in.
625 THE AssUMPTIoN OF THE BLESSED VIRGIN: the figure of the
Virgin stands on the crescent moon, surrounded by clouds,
after the style of Murillo’s well-known picture.
7
Cameo on a garnet. in. x T6— in.
(DIG!
626 BUST OF A WOMAN, carrying a box or jar 3 possibly meant for
Mary Magdalene (P).
{‘ Cameo on a prase; a very fine Cz'ngue-eento work.
627 CHERUB’S HEAD, winged.
Cameo on a garnet. ~96- in. x
p
I
6'
t-‘I
628 THE THREE MAGI. It is probable that this is the subject
of this cameo from the fact that one of the heads is
that of a Negro, and from the fact that there are two
or three exactly similar cameos in the British Museum,’
indicating that the heads are of general interest, and not
local or contemporary portraits.
Caliizeo on a skell; mounted as a pendant; on the baek of t/ze
87
setting is tke legend, “ Ha gemnza Praztiosa [[L viratum
Octavii Representam E. 1i’ uinis Rania E yfossa Anno
Salutis, 1500.” With setting, 1% in. x I in.
629 S. GEORGE KILLING THE DRAGON.
Canzeo on a s/zell, mounted in old silver broock setting.
I in. x in.
630 A MAN ON HORSEBACK, galloping and holding a hawk (P);
1 in the field are the letters A M H T (P).
[ntaglio on an octagonal supp/lire. , % in. x T7,; in.
631 A MAN ON HORSEBACK, holding a spear and galloping ; below
the horse’s fore feet is a dragon or serpent ; possibly
meant for S. George.
[ntaglio on a very beautiful garnet. ll; in. x 316- in.
632 WARRIOR, helmeted, and carrying a battle-axe; riding on a
horse. Cut in the antique style. '
[ntaglio on a carnelian. T1,; in. x in.
633 PROFILE F EMALF. HEAD, draped in a lion’s Skin, a Study of
the head of IOle or Omphale. __ '
I . _ 7 . .
[ntaglzo on a sard. 7-,; In. x g In.
634. PROFILE PORTRAIT HEAD OF LEOPOLD 11., Emperor of
Germany, I65.
[ntaglzo upon a long octagon-skaped diamond offine water.
The writer is indebted to Mr. Mayer for the following remarks
upon engraved diamonds :—
“ The art of engraving on the diamond has been ascribed to more
than one of the Renaissance sculptors, jacopo da Trezzo, or
‘Treccia’ being, according to Gorlzeus, the discoverer; Clemente
Birago, of Milan, is another claimant; be engraved a portrait of
Don Carlos and the Spanish arms on a diamond as a seal. The
former is said to have cut the arms of Philip IL, on the Same hard
material. In England, about 1557, ‘jacobus Thronus is said by
Gori to have engraved Queen Mary’s arms.
88
“ In the Queen’s collection of gems at Windsor is the Signet ring
of Charles I. when Prince of Wales, engraved on a large shield-
shaped diamond in intaglio, with the Prince of Wales’ feathers
between the letters C. P., and issuing from a Coronet 3 beneath is a
ribbon which bears the motto Ich Dien, ascribed to Francis Walwyn,
who, in 1628 or 1629, engraved a diamond for King Charles I.
(see Walpole’s ‘Anecdotes of Painting’).
“ Laurentius Natter in his treatise on Engraved Gems, I 7 54, says,
"He saw in the possession of the Prior Vaini, of Rome, 2 head of a
Negro engraved in creux, on a diamond by Costawzy, the engraving
of which is so bad that it only shows the curiosity of the artist who
lost his time and labour in making the experiment. I engraved
myself at London, a vase on a small diamond for Lord James
Cavendish. But such works require great patience and so much
labour that no artist will undertake it from mere curiosity, and with-
out an express order from some nobleman.’
“The diamond described above is of a long octagon-shape, and of
fine water, flat at the top, and faceted beneath. Its Surface presents
the engraved portrait of the Emperor Leopold IL, and shows a very
good likeness of that monarch, in whose possession it formerly was.
The engraving isiin all its parts highly polished, and it can scarcely
be conceived how the artist has accomplished so arduous a task,
having to contend against the extreme hardness of the stone. It is
well known that polishers of diamonds employ heavy weights to press
the stone down on the turning-mill, because they have not power
enough with their hands to give it that strong friction which is re—
quired to produce the polish. On the Other-hand, it is equally well
known the engraver uses in his work long and thin steel tools, with a
thin edge at the end, which run in a lathe, and which, on account of
their tenuity and of the hardness of the stone, are often broken and
get very'soon blunt; the artist cannot, therefore, employ physical
power in performing the polishing part, but can only surmount the
difficulty by the most persevering assiduity and patience. This
specimen of art may therefore be considered as valuable on account
of the length of time it must have occupied to finish it. It is set in
a massive gold ring after the antique. It was purchased from the
collection of gems belonging to Henry Philip Hope, Esq, which
were exhibited in the Great Exhibition at Hyde Park in I85 I.”
89
635
636
637
638
639
640
641
642
643
644
MODERN CAMEI.
JUPITER.
HEAD OF JUPITER.
Cameo on sardonyx.
HIV-l
02,0
H
:5
X
Hi“
ale:
pl
3
LAUREATED HEAD OF JUPITER.
Cameo on an onyx. 1% in. x I in.
BUST OF JUPITER, laureated; on his breast is a figure of the
eagle, standing on a thunderbolt.
Cameo on an onyx.
A similar subject to the last.
Cameo on a c/zalcedonic onyx. 1% in. x 1% in.
F ULL-FACE HEAD OF JUPITER.
Cameo on a sardonyx. 1} in. x Z) in.
JUPITER SEATED ON A THRONE ; by his side the eagle.
Imperfect.
Cameo on an onyx. %% in. x g in.
JUPITER, seated on a cloud, caressing Ganymede.
Cameo on a sardonyx.
JUPITER, seated, holding a Sceptre in his left hand; his right
hand is placed upon the eagle, which is standing on an
adjoining pedestal.
Cameo on an onyx. 1% in. x I in.
GANYMEDE, seated on a rock, feeding the eagle of Jupiter from
a patera.
Cameo on an cnyx. g,- in. x ii in.
GANYMEDE, astride of the eagle of Jupiter, feeding it from a
patera.
Cameo on a c/zalcedcnic onyx. I? in. x 1—1-57 in.
90
645
646
647
648
649
650
651
652
653
654
655
JUPITER AND JUNO, with sceptres, and Ganymede in front of
them; below is Minerva on one side, and on the other,
between them, is (P).
Cameo on a e/zaleea’on y.
VENUS, lying asleep under a tree, to which Cupid appears to
be tying her with wreaths of flowers ; on the tree trunk
is the Signature BURCH.
Cameo on an onyx. 1} in. x g}; in.
CUPID, carrying a bird.
Cameo on an onyx. in x g in
CUPID, astride Of an amphora (P), which is rigged as a ship.
Cameo on an onyx. T‘?- in. x {6 in.
CUPID, holding up bunch of grapes and cup, before a terminal
figure of Bacchus (P).
Cameo on a sardonyx. 1,3’- in. x g}; in.
BUST OF CUPID, winged, carrying his bow.
Cameo on a sard. I} in. x I in.
BUST OF PSYCHE, winged.
Cameo on a sardonyx. 4% in. x ~196- in.
WINGED FULL-FACE HEAD OF MEDUSA.
Cameo on a e/zaleedony. - Dia. 5; In
A similar subject to the last.
Cameo on a e/zaleedony. in. x A in.
DIANA, carrying her bow; at her feet a bound.
Cameo on an onyx. 416- in. x 3"» In
BUST 0F APOLLO, laureated.
Cameo on a e/zaleedonz'e onyx. I in. x 4,‘; in.
91.
656 MARSYAS, tied to the tree; in the field the legend KEBICP. IE.
» a modern pretence at the Signature of an ancient artist,
or the signature of a recent artist Concealed under Greek
letters. The work does not call for much anxiety on the
Subject.
Canzeo on a sardonyx. Ii. in. x 31",‘; in.
657 MERCURY, standing, holding the right fore-finger up to his-
mouth, and carrying the Caduceus in his left hand.
Cameo on a c/zalcedonic onyx. In. X T9,,- in.
r—‘jr-l
G'v"
HARPOCRATES.
658 STANDING FIGURE OF HARPOCRATES, holding a cornucopia.
Signed in the field " GIROMETTI.”
Ca/neo on an onyx.
659 HORUS THE CHILI), Seated on a throne surrounded by lotus-
flowers ; Very well executed.
‘ . .. I 3 ' F '
(cameo on an onyx. TE,- II. x g In.
660 A YOUTH, seated on a rock, with right hand apparently raised
towards his mouth; on the left knee is a globe held by
his left hand. Under the base of the rock is the Signature,
" POELCHINGER.”
C anzeo on a c/zalcedonic onyx. -}
HERCULES.
661 HEAD OF THE YOUTHFUL HERCULES, with the club behind
it. A well-executed work by some good modern artist.
Canzeo on a c/zalcedony. I in. x g in.
662 HEAD OF HERCULES, or some emperor in the character of
Hercules, laureated, and with the lion’s skin round the
Shoulders. A well-cut cameo, after the style adopted in
Paris during the first French Empire.
Ca/neo on an onyx. . A 1,‘; in. x 12— in.
92
663
664
665
666
667
668
669
670
671
672
HERCULES, with club and lion’s skin, surrounded by a border
in imitation of the Greek style. A very poor work, pro-
bably an attempted counterfeit of antique work.
Cameo on a c/zalcedonic onyx. %- in. x J‘; In.
BACC H US, ETC.
BACCHUS, reclining upon a rock, holding a cup to Cupid (P), who
stands before him. Very pretty work.
Cameo on an onyx. I in. x g- in.
FAUN, with thyrsus and panther’s skin, dancing 3 at his feet is
a panther.
Cameo on a c/ialcedonic onyx. 1%- in. >< % in.
FAUN, with thyrsus and panther’s skin, dancing.
Cameo on a ckalcedonic onyx. % in. x TL,- in.
GROUP, composed of a Bacchic (P) mask, ram’s head, and ser-
pent; round the edge of the stone is the legend, Xpovos
mwm avot'yo, “ Time reveals all things.”
Cameo on an onyx. 1k in. x g in.
A BACCHIC MASK, crowned with ivy.=
Cameo on a clzalcedony. % in. x in.
MAN, carrying a vase, followed by a Bacchante ; at their feet
runs a panther.
Cameo on a c/zalcedonic onyx. 3% in. x :3 in.
,NYMPH, sleeping on a rock, surprised by a Satyr.
Cameo on an onyx. % in. x {15 in.
HEAD OF A FAUN.
1 . .
Cameo on an onyx. I'Q In. x 341 In.
CHIRON, shooting with his bow.
Cameo on a clzalcedonzc onyx.
g} in. x *3 in.
93
673
674
675
676
677
678
679
680
681
682
683
684
N EPTUNE, seizing a nymph and stepping into his car,‘which is
drawn by four hippocampi, which are guided by Cupid.
Cameo on an onyx. 1%,- in. x 1% in.
AMPHITRITE, holding a shield with head of Medusa on it,
being borne through the waves by a Triton, and attended
by two Cupids.
Cameo on a chalcedonic onyx. 4% in. >< % in.
LEANDER, swimming across the Hellespont.
Cameo on a sardonyx of three strata. I in. x 1% in.
PARIS (P), with winged cap.
Cameo on an onyx. 1% In. x Q; In.
DIOGENES, seated in his tub.
Cameo on an onyx. I in. x % in.
A COMBAT.
Cameo on an onyx. 1% in. x 1% in.
STANDING FIGURE OF A YOUTH, with right arm extended.
Cameo on a chalcedonic onyx. T9,; in. x {56 in
JUPITER (P), seated on a rock, drawing a female figure towards
him.
Cameo on a blue chalcedony. % in. x 11% in.
Two FIGURES OF PRIESTESSES.
Cameo on an onyx.
Jl
I. ' 1'
Tlnn XT"1no
G
FLOATING AND DANCING FIGURES OF A YOUTH AND GIRL.
Very beautifully executed.
Cameo on an onyx.
A BACCHANTE, carrying a patera.
Cameo on an onyx.
Two HORSES, with portion of a man's figure, who is holding
them by reins.
. ' I '
Cameo on an onyx. % m. x Tg In.
94
685
686
' 687
688
689
690
691
692
693
694
695
696
PORTION OF A RECUMBENT FEMALE FIGURE, a fragment of a
larger subject.
Cameo on an onyx. 431- In. x % In.
A HORSE’S HEAD. Imperfect.
(,ameo on an onyx. % In. x TF In.
SEATED WINGED GRIFFIN, attacked by a lion.
Cameo on a earnelz'an. - {-l in. x 315 in.
05
FIGURE OF A WOMAN, clinging to an image, and being dragged
away by an armed warrior.
Cameo on an onyx. 12 in. x is in.
AN OWL.
Cameo on a e/zaleedon y wit/z blood-red spots surroundzng t/ze
eyes. I in. x 4:} in.
TRAGIc MASK.
Cameo on an onyx.
CoMIc MASK.
Cameo on a prase. 7-6- In. x g In.
HEAD OF A PHILOSOPHER.
Cameo on an onyx. 4%; In. x T9;- In.
HEAD OF A PHILOSOPHER.
Cameo on a carnelian. in_ X g in_
PROFILE PORTRAIT OF A PHILOSOPHER, the left hand raised
up to the chin.
Cameo on an onyx. I in. x -;~;;- in.
PROFILE HEAD OF A PHILOSOPHER..
‘ Cameo on an onyx. {*5- in. x J; in.
PROFILE HELMETED HEAD OF A GREEK WARRIOR; upon the
helmet are a winged dragon and serpent. Very well
executed.
Cameo on a earnelz'an, w/zz'e/z is made broken.
2%,- in.._>< IT‘lG in.
' .95
697
698
699
700
701
702
703
704
705
706
707
708
PROFILE PORTRAIT OF’AN ARMED YOUTHFUL WARRIOR; on
the helmet is a winged dragon
Ca/neo on an org/x-agaz‘o. 1%;- in. x IT5€ in.
PROFILE HELMETED HEAD OF A WARRIOR ; signed FIIXAEP,
and very beautifully executed.
Cameo on a o/zo/ooa’ony wit/z blood-rod spots on the lzelmez‘.
I in. x 1% in.
PROFILE HEAD OF ONE OF THE ANTIOcHI, very admirably
out 3 under the head is the legend ANTIOC,
Cameo on an onyx. 1T1‘; in. >< % in.
PROFILE HEAD OF A MAN, name unknown.
. 3 .
Cameo on an onyx. 1%- In. x I In.
PROFILE HEAD OF LUcIUs VARO.
Cameo on an onyx. iii in. x Ali in.
PROFILE HEAD OF A MAN, probably from
Signed KAI-l, Very beautifully cut.
Cameo on an onyx.
PROFILE HEAD OF A YOUTH, unknown.
Cameo on a o/za/om’ony. 1% in. x g; in.
2
6
PROFILE HEAD OF A ROMAN EMPEROR.
. ‘ ' 5 '
Cameo on an onyx. g In. x W m.
l
PROFILE HEAD, wearing a loose cap; the top of the shoulder
appears armour.
Cameo on an onyx. if; in. x A}; in.
PROFILE HEAD OF A MAN, very well cut—slightly restored on
the back with gold.
Cameo on an onyx. 5% in. x %i in.
PROFILE HELMETED HEAD OF A WARRIOR.
Cameo on an onyx. 1;} in. x % in.
PROFILE OF A WARRIOR, helmeted.
Cameo on an onyx. 1 in. x g in.
96
709
710
711
712
713
714
715
716
717
718
719
720
HEAD OF A WARRIOR, helmeted.
Cameo on an onyx. g; in. x i in.
PROFILE HELMETED HEAD.
Cameo on an onyx. %i in.
PROFILE HELMETED HEAD OF A WARRIOR; the crest of the
helmet is a winged dragon, and on the shield ahead of
Medusa.
Cameo on an onyx. Tg in. x in.
HIP:
Olin
PROFILE PORTRAITS OF A ROMAN EMPEROR AND HIS WIFE.
Cameo on an onyx. 1%; in. x g in.
PROFILE PORTRAIT OF A WARRIOR, helmeted.
Cameo on an onyx.
PROFILE HEAD OF A ROMAN EMPEROR.
Cameo on an onyx. 5,1 in x 39-6 in.
PROFILE HEAD OF A ROMAN EMPEROR.
7 . 3 .
Cameo on an onyx. T3 In. x -8- 1n.
PROFILE PORTRAITS OF A ROMAN EMPEROR AND EMPRESS.
Cameo on an onyx. g in. x T8,; in.
PROFILE PORTRAIT OF A ROMAN EMPEROR.
Cameo on an onyx. I in. x ,5; in.
PROFILE PORTRAITS OF TWO ROMANS.
Cameo on an onyx on tke back of w/zick is a genuine antique
intaglio, a figure of Fortuna. in. x % in.
PROFILE HEAD OF A ROMAN EMPEROR.
Cameo on a wkite c/zalcea’ony wit/z an amet/zystine base.
8 ' 5 '
1—6- In. x 3 In.
PROFILE PORTRAIT. OF A ROMAN EMPEROR.
Cameo on an onyx. in.
721
722
723
724
725
726
727
728
729
730
731
732
733
PROFILE HEAD OF A ROMAN YOUTH.
Cameo on a dark carnelian. 7 in. x 13 in.
PROFILE HEAD OF A ROMAN YOUTH.
3 I t
Cameo on an onyx. ‘ 3 In. x 1 6 In.
PROFILE HEAD OF A ROMAN MAN.
Cameo on an onyx.
PROFILE HEAD OF A ROMAN LADY.
Cameo on an onyx. }
03
PROFILE PORTRAIT OF A WOMAN.
Cameo on an onyx. ii in. x l, in.
PROFILE PORTRAIT OF A ROMAN LADY.
Cameo on an onyx. 1%- in. x % in.
PROFILE PORTRAIT OF A ROMAN LADY.
I ' .3. '
Cameo on an onyx. In In. x 4 In.
PROFILE FEMALE HEAD, laureated.
Cameo on an onyx.
N“
H.
P
X
p
p-nu
F
PROFILE PORTRAIT OF A WOMAN, wearing a veil.
Cameo on an agate, the ueining of which has been used to
delineate the rail. 1% in. x % in.
PROFILE PORTRAIT OF A WOMAN.
Cameo on an onyx. 1% in. x I in.
FULL-FACE PORTRAIT OF A ROMAN LADY.
Cameo on an onya. +2 in. x g-g- in.
PROFILE PORTRAIT OF A WOMAN.
Cameo on an onyx. ITIB- x 4 In.
FULL-FACE PORTRAIT OF A WOMAN.
Cameo on an onyx.
98
734
735
736
737
738
739
740
741
742
743
744
745
746
PROFILE PORTRAIT OF A WOMAN, the head draped in a lion’s
Skin.
Cameo on an onyx.
PROFILE PORTRAIT OF A ROMAN LADY.
Cameo on a striped agate.
The same.
Cameo on an onyx.
PROFILE FEMALE HEAD.
Cameo on an onyx.
PROFILE PORTRAIT OF A ROMAN LADY.
Cameo on an onyx.
The same. '
Cameo on an onyx.
PROFILE FEMALE HEAD.
Cameo on an onyx.
PROFILE HEAD OF A ROMAN LADY.
Cameo on an onyx.
The same.
Cameo on an onyx.
PROFILE HEAD OF AN EGYPTIAN QUEEN (P).
Cameo on an onyx.
PROFILE PORTRAIT OF DR. JOHNSON.
Cameo on an onyx.
PROFILE PORTRAIT OF A POPE.
Cameo on a bloodstone.
PROFILE PORTRAIT OF POPE PIUS VII. (P).
Cameo on an onyx.
I in. x g in.
%in. x in.
50 a
gimxllam.
1 ' l’
in. x g in.
:MO:
7. .
~_In.><i~m.
- 13.
I
l. 150
99
747
748
749
750
751
752
753
754
755
756
757
PROFILE PORTRAITS OF HENRY IV. OF FRANcE AND HIS WIFE.
Cameo on an onyx. YT‘, In. x 5‘ in.
PROFILE PORTRAIT OF LoUIs XIV. OF FRANcE.
Cameo on a carnelian onyx, the raised lzead being c/zalcedon y
and the base carnelian. 1%- in. x }_g in.
PROFILE PORTRAIT OF HAYDN (P).
Cameo on an onyx.
..—_
11
16
in. x A} in.
PROFILE PORTRAIT OF THE FIRsT NAPOLEON, as First
Consul, signed " M. SIMON.”
Cameo on an onyx. g} in. x $3 in.
PROFILE PORTRAIT OF FREDERICK WILLIAM II. OF PRUssIA.
v 5 . .
Cameo on an onyx. % In. x g m.
r"
PROFILE PORTRAIT OF DUKE LEOPOLD OF BRUNSWICK (P).
Canzeo on a carnelian. I in. x % in.
PROFILE PORTRAIT 0F A MAN.
Cameo on an onyx. Q in. x T7? in.
PROFILE PORTRAIT OF THE EMPEROR PAUL 1. OF RUssIA (P).
Cameo on a carnelian-onyx, llze raised lzead being carnelian
and tile base being chalcedony. -}-§ in. x g in.
PROFILE PORTRAIT OF LOCKE.
Cameo on an onyx.
FIGURE OF A LADY, in the costume of the 18th century,
dancing. Very pretty work.
Cameo on an onyx. _1_6
MODERN INTAGLI.
MERCURY standing, holding purse and caduceus ; by his side is
the cock.
Intaglio on an onyx.
2t:
.50 0
X
NIH
>1 0
S
I:
N)
100
758
759
760
761
762
763
764
765
766
767
768
769
770
,PROFILE HEAD OF THE YOUNG HERCULES.
[ntaglio on a sum’. .Ll '
HERCULES, carrying the bull.
[ntaglio on a carnelian.
HARPOCRATES, standing, holding a cornucopia.
[ntaglio on an onyx.
Very well cut.
I in. x :3 in.
PROFILE WINGED HEAD OF MEDUSA.
Intaglio on a carnelian.
Signed ILA.
a
PROFILE HEAD OF LUNA (P).
[ntaglio on a sardonyx. % in. x T9 in.
STANDING FIGURES OF CASTOR AND POLLUx.
[ntaglio on a carnelian. 1;‘; in. x 11% In.
STANDING FIGURE OF HYGEIA.
fntaglio on a carnelian. I in. >< % in.
RECUMBENT FIGURE OF VENUS; a fragment.
Intaglio on a carnelian. ' g in. x T"? in.
VENUS ANADYOMENE.
Intaglio on an onyx. % in. x %l in
VENUS EUPLCEA, riding through the sea attended by Cupids.
Intaglio on a carnelian. —Z'- in. x % in.
AcTzEoN, watching Diana and two nymphs bathing.
Intaglio on an onyx. 1%,;- in. x 1%,- in.
CUPID chasing a butterfly; a very admirably executed small
work. Signed |'llX/\€P.
[ntaglio on kyacintlzian garnet. - l- '
PROCESSION OF BACCHANALIAN BOYS.
[ntaglio on a brown carnelian. % in. 'x §~ in.
101
771
772
773
774
775
776
777
778
779
780
A BACCHANT standing holding a thyrsus. Signed AYAOY,
an imitation of the signature of the ancient engraver
AVLVS (P).
intaglio on an onyx. 31‘— in. X ‘Is—6 in.
PROFILE HEAD OF PARIS.
intaglio on a white chalcedony. I in. X % in.
DIOMEDES, carrying away the Palladium. A very fine work
indeed. Signed nlX/\€P-
[ntaglio on an onyx. if; in. x 8 in.
PROFILE HEAD OF A YOUTH, with a Chaplet of flowers in his
hair. Signed BVRCH.R.A.
[ntaglio on a carnelian. % in. x % in.
PROFILE HEAD OF A MAN.
Zntaglio on a white chalcedony. [TIB- in. x 4% in.
ATALANTA AND HIPPOMENES, changed into a lion and lioness.
Signed AHQAAQNIAOY. This gem was probably
from the Poniatowski Collection. See the Catalogue,
No. 12, First Series.
[ntaglio on a carnelian. 13- in. x 11} in.
HEAD, possibly of Hercules, draped in a lion’s skin.
[ntaglio on an onyx. 581 in. x g in.
FIGURE OF AN ATHLETE; an admirable work, in the best style
of recent engraving.
[ntaglio on a carnelian. -;-1- in. x i; in.
PROFILE HEAD OF A MAN, name unknown.
[ntaglio on a smoky chalcedony. I-lls— in. x -}-3- in.
A SEATED WARRIOR, with trophy of arms before him, being
crowned by Victory.
[ntaglio on an onyx. rg- in. x 1% in.
102
781
782
783
784
785
786
787
788
789
790
791
792
FIGURE OF A MAN, brandishing a crooked stick.
Intaglio on a carnelian. % in. x {-6 in.
A PIGMY, kneeling on a thyrsus, defending himself with sword
and shield from a swan who advances upon him; very
beautiful Work.
[ntaglio on.a carnelian. % in. x T93 in.
A ScENE FROM ROMAN HISTORY.
[ntaglio on a jasper.
A ROMAN EMPEROR, standing leaning on a spear, with
attendant soldier and group Of arms, and before him a
kneeling military captive.
Intaglio on a carnelian. 1581* in. x g in.
A YOUTH, stepping into a quadriga, in which a young Woman
is standing.
[ntaglio on a carnelian. g in. x T”? in.
PROFILE HEAD OF THE EMPEROR VITELLIUS.
[ntaglio on a carnelian. 3% in. x g in.
PROFILE LAUREATED HEAD OF AN ILLUSTRIOUS ROMAN.
[ntaglio on a sardonyx. Dia. g in.
PROFILE HEAD OF A ROMAN EMPEROR.
[ntaglio on a sardonyx. g in. x 4 in.
PROFILE HEAD OF A ROMAN EMPEROR.
[ntaglio on a plasma. =3 in. x T7? in.
PROFILE PORTRAIT OF MAxIMUS, son of Maximianus (P).
lntaglz'o on a carnelian. T9; in. x 11'3- in.
PROFILE HEAD OF A WOMAN._
[ntaglio on a smoky carnelian. g in. x 1} in.
PROFILE HEAD OF A WOMAN.
[ntaglio on an amet/zyst. {F in. square.
103
793
794
795
796
797
798
799
801
802
Two MALE HEADs ois-a-ois; the legend KICCOC
CQAAAA 3 a very clever copy of a celebrated gem in
Paris.
[nlaglio on a clzrysoprase. % in. X 8 in-
PROFILE HEAD OF A MAN.
[nz‘aglio on a c/zalcedony. :11 in. x g in.
PROFILE HELMETED HEAD OF PATROcLUs, with the legends
I'IATPOKAOZ and AFAAOY (P).*
[nlaglio on a carnelian. {% in. x %% in.
PROFILE HELMETED HEAD OF A WARRIOR.*
fnlaglio on a carnelian. {7} in. x T9? in.
PROFILE HEAD OF A MAN; and the legend “CA.MVT|VS.”*~
.lnlaglio on a carnelian. ;_g in. x #3 in.
PROFILE HEAD OF CAIUs PoPILLIUs (P), and the legend
" O.POPIL.” *
[nz‘aglio on a carnelian. -{-% in. x i‘ in.
PROFILE HEAD OF CAIUs AsINIUs POLLIO, and the legend
“ C.A.POLLIO.” *
[ntaglio on a carnelian. -Z- in. x a}. in.
PROFILE HEAD OF A WOMAN, and the legend TPAYANOY?“
Inz‘aglio on a carnelian. % in. x g in.
PROFILE HEAD OF A WOMAN.
.lnlaglzo on a brown carnelian. % in. x T"? in.
PROFILE sO-cALLED HEAD OF PLATO.
[niaglio on a brown carnelian. 11% in. >< % in.
“‘ It is probable that these gems, copies from Roman portraits, were all
executed by the same hand. They are very well done, and have, in all likelihood,
passed at one time for antiques.
104
803
804
805
806
807
808
809 .
810
811
812
813
FULL-FACE PORTRAIT OF A MAN.
Intaglio on a c/zalcedony. in. x J- in.
16.
(DIM
PROFILE PORTRAIT OF A ROMAN YOUTH; an admirable
imitation of the antique.
Intaglio on a red jasper. g in. x {-6- in.
PROFILE HEAD OF A MAN.
Intaglio on a carnelian. 4 in. x g in.
SEATED FIGURE OF A ROMAN EMPEROR, drawing a female
towards him.
[ntaglio on a bloodstone ,' imperfect. 1% in. x if in.
SEATED FIGURE OF A WOMAN, mourning before a column
from which armour is suspended.
Intaglio on a ckalcerlony. % in. x 3'’; in.
PROFILE FEMALE HEAD.
[ntaglio on an onyx. {-6- in. x 4 in.
A MAN, seated before a terminal male figure. In the
Etruscan style.
[ntaglio on a brown carnelian. ,L6 in. x g in.
A SKULL, with insect on the top of it.
lntaglio on a carnelian. 4 in. x 3 in.
A YOUTH ON HORSEBACK.
Jntag-lio on a carnelian. £1 in. x {16 in.
A MAN, taking a thorn from the foot of another (P) ; behind
them a column on which stands a vase. In the Etruscan
style.
Jnraglio on a ckaleea’ony. % in. x 1,9? in.
A MAN, lying on the ground, and another figure advancing
towards him through an archway.
Jntaglio on a elzalcedony. % in. x g in.
105
814
815
816
817
818
819
820
821
STOOPING FIGURE OF A MAN, on the ground; behind him is
another man seated.
Intaglz'o an a chalcedony. ‘~11 in. x T9,,— in.
Two HoRsEs, with the arm of their driver appearing, the rest
apparently broken away. In the early Greek style (9).
lm‘aglz'a an a smoky carnelian. -}—2- in. x -;-g in.
THE HEADS OF THE SEVEN BISHOPS, with mitres over them,
and below a cherub blowing a trumpet.
[m‘aglz'o on a rock crystal.
FULL—FACE PORTRAIT OF A MAN.
[ataglz'o an an onyx. i- in. x l- in.
RINGS—EGYPTIAN, GREEK, AND ROMAN.
EGYPTIAN SCARABAEUS, in soft stone on pottery of a dark
colour, with a hieroglyphic inscription on the base, read-
ing, “ Ptah giver of life ; ” a portion of the original metal
mounting is still adhering to the side of the scarabaeus.
__7_
a 1 2
in. x g in.
EGYPTIAN BRoNzE F INGER-RING, the oval plate inscribed with
an illegible hieroglyphic inscription.
Plate. 3 in. X3 in.
GREEK BRoNzE FINGER-RING (about B.C. 400-300), with
oval plate, engraved in intaglio, with a representation of
Thetis riding on a hippocampus carrying the shield of
Achilles.
Plale. {-2- in. x5 in.
GREEK BRoNzE FINGER-RING, with oval plate, engraved in
intaglio, with a figure kneeling on one knee 5 rudely
executed.
Plale. 4 in. >< 4% m.
106
822
823
824
825
826
827
828
829
GREEK GOLD FINGER-RING, the circular plate engraved in
intaglio, with the standing figure of a woman leaning
upon a column, and holding in her left hand a distaff;
before her is an altar of frankincense.
Dia. of plate -§~ in.
SMALL OBLONG SILVER SWIVEL PLATE, from a finger-ring,
probably of insular Greek Work ; on one side is engraved
in intaglio a lion, and on the reverse a bird.
Plate. 1% in. x g in.
RING OF COPPER-GILT (P), with dragon-head terminations, set
with an Etruscan carnelian gem, on which is engraved in
intaglio an animal rudely drawn.
Gem. 3'} in. x 11- in.
EARRING, of twisted gold Wire, with a cOckle-shell attached;
suspended from it is an Etruscan carnelian scarabaeus,
with a seated figure cut in intaglio on the base, rudely
drawn. '
‘ Scarabxus. 315 in. X T5,,- in.
F INGER-RING, with grotesque animals in intaglio upon the over
plate.
Possibly Etruscan.
Plate. 316 in. x ,1; in.
SILVER FINGER-RING, with ram’s head terminations.
Roman (P).
ROMAN GOLD FINGER-RING, set with a cameo on an onyx,
representing a Cupid riding on a dolphin.
Cameo. {% in. x g in.
ROMAN GOLD FINGER-RING, set with an intaglio on haematite (P)
representing Mercury with the caduceus.
Intaglio. 156- in. x i in.
107
830
831
832
833
834
835
836
837
838
ROMAN GOLD F INGER-RING, set with an intaglio on a sard,
representing a lamp of the Roman type.
intaglio. 1,; in. x % in.
ROMAN GOLD FINGER-RING, set with an intaglio on a sard,
representing a cock.
Inlaglio. -% in. x k in.
ROMAN GOLD F INGER-RING, set with an intaglio upon an
obsidian (P), representing Bacchus standing leaning on a
column, and holding a vase 5 by his side Walks a panther.
lnz‘aglio. T9? in. x 23,; in.
ROMAN GOLD _FINGER—RING, set with an intaglio on a garnet,
representing Venus Victrix (P) holding a warrior’s head,
and standing, leaning on a column ; before her is a shield.
fnlaglio. % in. x % in.
ROMAN GOLD FINGER-RING, set with an intaglio on an onyx,
representing a jaded horse, walking.
Inlaglio. 1—56 in. x ~41; in.
ROMAN GOLD FINGER-RING, set with an intaglio on a garnet,
representing the Eagle of Jupiter.
Inlaglio. g in. x 1—56 in.
ROMAN GOLD FINGER—RING, probably a child’s, set with an
intaiglio on a sard, representing a Cupid playing with a kid.
Inz‘aglio. f‘? in. x 11 in.
ROMAN GOLD F INOER-RINO, set with an intaglio on an onyx,
representing a lion galloping.
fnz‘aglio. 3% in. x g in.
ROMAN GOLD FINGER-RING, set with an intaglio on an onyx,
representing a reined but riderless horse at full gallop,
and in the field the legend “ASPHAL.” Asphal, a sur-
name of Poseidon, as granting safety to mariners. In
ancient art the horse is frequently an attribute of Poseidon.
lnlaglio. lla- in. x i in.
108 '
839
840
841
842
843'
844
845
846
847
848
849
ROMAN GOLD FINGER-RING, set with an intaglio on a carne- ‘
lian, representing a dog, leaping.
Intaglio. % in. x i- In.
ROMAN GOLD FINGER-RING, set with an intaglio upon an
onyx, representing a dancing faun.
Intaglio. 126- In. x j; m.
ROMAN GOLD FINGER-RING, set with an intaglio on carnelian,
representing Hercules recumbent, his right arm resting on
his club, and at his feet a quiver full of arrows.
Intaglio. T95 in. xg In.
ROMAN GOLD FINGER-RING, set with an intaglio on nicolo,
representing a dolphin.
lntaglio. i in. x 4 in.
SMALL ROMAN GOLD FINGER-RING, probably a child’s, set
with an intaglio on carnelian, representing a fly.
Zntaglio. 15—6 in. x 4 in.
ROMAN GOLD FINGER-RING, set with an intaglio on a garnet,
representing the profile head of a child.
Intaglio. % in. x i in.
GOLD FINGER-RING, possibly of the Byzantine period, set with
an emerald.
LATE ROMAN GOLD FINGER-RING, set with four stones, 2
. sapphire, garnet, amethyst, and carbuncle.
ROMAN GOLD RING, set with a carbuncle.
ROMAN GOLD EARRING LOOP, set with a garnet.
ROMAN GOLD BETROTHAL RING, of early fourth-century
work; figures in low relief of the bride and bridegroom
109
850
851
852
853
854
855
856
857
joining hands are worked in repoussé upon a plate which
is sunk into the bezel, and may have been covered at
some time with a translucent ‘stone.
LATE ROMAN GOLD BETROTHAL RING, with the heads of the
bride and bridegroom facing each other ; in intaglio upon
the rectangular plate.
ROMAN GOLD FINGER-RING, probably a child’s, with the letters
TE ' AV, engraved on the oval plate 3 probably the
abbreviation of two names.
ROMAN GOLD F INGER-RING, with two birds and branches en-
graved upon it; most probably an early Christian ring and
representation of the dove and olive—branch.
ROMAN GOLD FINGER-RING, engraved, with a representation
of a bird on a bough.
ROMAN GOLD FINGER-RING, with small circular plate, on
which is engraved a lion galloping.
PORTION OF A ROMAN GOLD FINGER-RING, with an insect
engraved upon the lozenge-shaped plate.
ROMAN GOLD FINGER-RING, with a representation of a bird
holding in its mouth a twig with berries on it, engraved
on the plate.
ROMAN SILvER'FINGER-RING, set with an intaglio on carnelian,
representing a sacrifice to a Phallic Hermes, in front of
which stands Silenus playing on two pipes; behind the
Hermes is a stooping man, possibly holding a wine-skin
between his legs, and pressing wine out into a bowl in
front of him.
Im‘aglza. 1n. >< {L6 In.
110
858 ROMAN SILVER FINGER-RING, set with an intaglio on red
jasper, representing an eagle killing a serpent.
Intaglio. % in. x 3% in.
859 ROMAN BRONZE FINGER-RING, set with an intaglio on an
amethyst, representing a tortoise.
Intaglio. g in. xi in.
860 ROMAN BRONZE FINGER-RING, set with ya small gold coin,
bearing the head of Alexander the Great.
861 ROMAN BRONZE FINGER-RING, set with an intaglio on carne-
lian, representing four animals standing.
Zntaglio. ~15? in. x 31; in.
862 ROMAN BRONZE FINGER-RING, set with an intaglio on carne-
lian, representing Fortuna (P); rude late work. This
intaglio is probably not the original Setting to this ring.
Intaglio. T7? in. x T36 in.
863 ROMAN BRONZE FINGER-RING, bearing traces of having been
originally gilt, and set with an intaglio on carnelian, re-
presenting Mercury as patron of flocks, standing, and
holding the caduceus and a dish with a ram’s head in it.
Intaglio. A in. x % in.
864 ROMAN IRON F INGER-RING, set with an intaglio on carnelian,
representing a riderless horse with a rein flying loose.
Intaglio. % in. x i in.
865 ROMAN BRONZE FINGER-RING, which has been gilt, set with
intaglio on a red paste, made in imitation of red jasper,
representing an armed soldier being crowned by Victory
with a Wreath.
Intaglio. 15% in. x 31; in.
866 ROMAN BRONZE F INGER-RING, set with an intaglio on a white
paste, representing the running figure of a man.
Intaglio. T5? in. x i in.
111
867
868
869
870
871
872
873
874
875
876
877
878
879
880
ROMAN BRONZE FINGER-RING, set with a yellow glass bead.
ROMAN BRONZE F INGER-RING, set with an opaque blue glass
bead. I
ROMAN BRONZE FINGER-RING, set with a blue glass bead.
ROMAN BRONZE FINGER—RING, with the Greek monogram of
Christ engraved in intaglio upon the plate.
ROMAN BRONZE FINGER-RING, with representation of two hands
holding a heart.
ROMAN BRONZE FINGER-RING, with representation of two
clasped hands.
ROMAN BRONZE FINGER—RING, the circular plate bearing a
rude representation of a dolphin in intaglio.
ROMAN BRONZE F INOER-RINO, with rude representation Of a
fish engraved upon it.
ROMAN BRONZE FINGER-RING, with rude representation of
a dolphin engraved upon it.
ROMAN BRONZE FINGER-RING, Of very plain design.
ROMAN BRONZE FINGER-RING, from which the setting is
missing.
ROMAN BRONZE FINGER-RING, a plain band with an illegible
inscription engraved round the inside.
ROMAN LEAD F INOER-RINO, of the Lower Empire type, set
with a pale blue Oval paste.
ROMAN LEAD FINGER-RING, set with an intaglio on a purple
paste, representing a figure of Cupid (P).
112
RINGS OF THE MEDIEVAL AND LATER PERIODS.
881
882
GoLD FINGER-RING, of the 14th century, set with a Roman
. intaglio on carnelian, representing a profile laureated head
of Lucius Verus (P), and engraved round the front of ‘ the
setting, with the inscription, “Ego secreta tego,” in Gothic
lettering.
. 5 I
Plate. fi» In. x -8- 1n.
THE BAsE OF A SILVER MEDuEVAL SEAL, set with a Roman
intaglio on nicolo, representing Cupid carrying an unde-
termined object; round the front of the setting is the
motto, JE SUISEL : DE :AMVR : LEL + “I am the seal
I of true love.”
Seal. % 1n. x -}% In.
883 SILVER SEAL, of early mediaeval work, set with a Roman intaglio
884
885
886
887
on carnelian, representing a full-faced female figure seated
on a throne, and wearing a mural crown, holding up in
her right hand a branch ; on either side of the throne is a
lion; a representation of Cybele or a city.‘ Round
the front of the setting is engraved the inscription,
SIGILL (um) . PHILIPPI ' PVLE ' + “ The seal of Philip
Poole.”
Seal.
-}--2- in. x % in.
GOLD FINGER-RING, of late 13th century work, set with a
small sapphire.
SILVER FINGER-RING, probably of the 15th century, which has
been gilt ; the front part is engraved with figures of two
royal saints (P) wearing crowns, one of them holding up a
sword. '
SILVER FINGER-RING, of the 15th century, with the sacred
monogram I HC, engraved upon the plate.
MEDIJEVAL BRoNzE FINGER-RING, with an intaglio on the
plate representing a woman standing and holding (P).
113
888
889
890
891
892
893
894
895
896
897
898
MEDUEVAL BRONZE FINGER-RING, with a rudely engraved
representation in intaglio on the plate of a man milking a
goat
MEDIEVAL BRONZE FINGER-RING, with a rudely executed
figure of an angel in intaglio on the plate.
MEDIEVAL BRONZE FINGER-RING, 'with a rudely executed re-
presentation of a ship (P), in intaglio on the plate.
MEDIZEVAL BRONZE FINGER-RING, with a cock and scorpion,
in intaglio upon the plate.
MEDIZEVAL BRONZE FINGER-RING, with a hawk preying over a
small bird, in intaglio upon the plate.
MEDIZEVAL BRONZE FINGER-RING, with the letter R in intaglio
upon the plate.
MEDIzEVAL BRONZE FINGER-RING, with a monogram, HE’. (P),
in intaglio upon the plate.
MEDIEVAL BRONZE FINGER-RING, with a fleur-de-lis, in intaglio
upon the plate.
GERMAN GILT METAL FINGER-RING, of the 17th century, in
shape of two hands holding a crown.
GERMAN SILVER FINGER-RING, of the 17th century, in shape
of two winged dragons (P) holding a ball between them in
their mouths.
GERMAN SILVER FINGER-RING, with the initials IG in high
relief upon the plate.
114
POSY RINGS.
A “Posy” ring is a betrothal ring inscribed with a line or couplet
of ,boesie.
These rings were in fashion from the middle of the 16th
to the end of the 18th century. See Mr. William Jones’ “Finger-
Ring Lore,’\)’ p. 390.
899
900
901
902
903
904
905
GOLD POSY-RING, inscribed inside, “Gods prouidence is our
inheritance |Hv.”
GOLD POSY-RING, inscribed inside, “In Christ & thee my
comfort bee ‘WM?’
GOLD POSY-RING, inscribed inside, “Christ & thee my comfort
be 77
D I‘
GOLD POSY-RING, inscribed inside, “In loue abide till death
devide SSA."
GOLD POsY-RING, inscribed inside, “God hath me sent my
hart’s content.”
MEMORIAL AND MOURNING RINGS.
MEMORIAL RING OF KING CHARLES THE FIRST, in gold,
ornamented with blue and white enamel, and set with a
miniature painting Of King Charles, his wife Henrietta
Maria, and between them the portrait of a man ; inside the
ring are painted, on white enamel, a skull, crown, and the
initials C.R.
BONE FINGER-RING, possibly an early piece, into which has
been set a circular gold plate ornamented in repousse' work
with an hour-glass, skull, and the legend, “Mors donum
vita stipendium.” The gold plate is probably 17th cen-
tury work.
115
906
907
908
909
910
911
912
MEMORIAL RING, in gold, set with a cameo on a sardonyx
representing a woman’s head, the setting is mounted on
either side with a diamond 5 inside the ring is enclosed a
lock of hair.
GOLD MOURNING RING, ornamented with black and white
enamel, set with a lock of hair, upon which are the
initials T. H. in gold wire-work; inside the shank is in-
scribed, “ Obt. 4 Mar. : buried : 9 z 1693, aged 33.”
GOLD MOURNING RING, ornamented with black and white
enamel, and set with a representation of Death as a skeleton
holding a dart and hour-glass, and the initials O.M.
“v.
GOLD MOURNING RING, with bezel in shape of a coffin, in
which is represented Death as a skeleton holding a dart
and hour-glass 5 round the shank is inscribed in gold
lettering, filled in with black enamel, “ WC ' R0 ' OBT -
IVLY ' 8 ‘ I715.
GOLD MOURNING RING, set with a skull and cross-bones, in
black and white enamel, and the initials A.R. in gold
wire-work 5 round the Outside of the shank is a skeleton,
and spade and pickaxe, in gold Work filled in with black
enamel, and inside the shank is inscribed, “A. Richards,
Ob? II Oct. 1723, act. 66.”
GOLD MOURNING RING, set with a lock of hair, round the
outside of the shank is an inscription in gold lettering,
filled in with black enamel, “I 'GWILLYM :OB : 22:
MAY : I727 : IE : 37.”
GOLD MOURNING RING, set with an amethyst, in shape of a
sepulchral um, and ornamented with small diamonds;
round the shank is an inscription in gold lettering, filled
in with white enamel, “Step9, Gardes. OB. 28. Apr. 1764.
1Et. 63.”
116
913
914
915
916
917
918
919
GoLD MoURNING RING, formed of small scrolls united by
rectangular bezels set with small diamonds; along the
scrolls is an inscription in gold letters, filled in with white
enamel, “Ann Ashby ob I July 1766 [E 61.”
GOLD MoURNING RING, ornamented with black enamel, and
set with a plaited lock of hair, over which is a skull and
cross-bones in white enamel, surrounded by small dia-
monds ; inside the ring is the inscription, “H G the
D of Kingston ob 23 . . . I773 set 62. Not lost but gone
before.”
GoLD MoURNING RING, set with an onyx cameo, representing
a sepulchral urn; inside the ring is the inscription,
“Jemima Coryton oh 8 Jan. 1779 ae 29.” i
Cameo. T16— in. X T56 in.
GOLD MoURNING RING, of Thomas Bentley, the partner of
Josiah Wedgwood ; round the outside of the ring, in gold
letters, filled in with black enamel, is the inscription,
“Thomas Bentley, OB. 26. Nov. 1780. aet. 49.”
GoLD MOURNING RING, with oval bezel protected by a glass,
under which is an urn painted on stone (P), and over it
the inscription, “Loved and Valued by all 5” inside the
ring is the inscription, “Mary Sutton, ob? I7 Apl I784,
aet. 87.”
Bezel. I in. x T95‘ in.
GoLD MOURNING RING, with oval bezel covered with glass,
under which is a sepulchral urn on a tomb, in gold, de-
corated with blue and white enamel ; on the tomb are the
initials, ES. and round the shank of the ring in gold
lettering, filled in with white enamel, is the inscription,
“Edwd. Saunders ob. 17 Feb. I788 aet 61.”
Bezel.
l5 ' '
T5- 1n. XTg. In.
GoLD MoURNING RING, ornamented with black and white
enamel, and set with a lock of hair, upon which, in gold
117
wire-work, are two Cupids, holding up a bust, and under
the bust are the initials, S.N. Inside the ring is inscribed
“ Ob. 20 Feb. 95.”
920 MEMORIAL RING OF QUEEN ANNE, set with a small miniature
painting of the Queen. Probably an official mourning
ring.
921 GOLD FINGER-RING, the shank in shape of the garter, with ‘the
motto in blue enamel round it, “Honi soit qui mal y
pense.” The circular plate has upon it a head of the
Duke of Wellington in relief, surrounded by an enamelled
laurel wreath; inside the plate is enclosed a lock of the
Duke’s hair. Probably an official mourning ring.
922 GOLD FINGER-RING, the shank formed of gold wire twisted
into a knot, the circular plate having on the obverse the
head of the Duke of Wellington in relief, and on the
reverse a laurel wreath. Probably an official mourning
ring.
MISCELLANEOUS RINGS.
923 GOLD FINGER-RING, set with a Roman intaglio on a garnet,
representing Cupid running and carrying a patera.
924 GOLD FINGER-RING, set with a pyramidal-shaped diamond;
the gold has been inlaid with enamel 5 inside the ring are
the initials, T . S . D . E.
925 GOLD FINGER-RING, very similar in shape to the last, set with
a table-cut jargoon.
926 F INGER-RING, set with a small circular miniature of the Cruci-
fixion.
927 GOLD F INGER-RING, which has been ornamented with enamel,
set with a table-cut jargoon.
118
928
929
931
932
933
934
935
0.0000
0.0000
.0000
0
.0000.
GOLD FINGER-RING, ornamented with blue enamel, and set
with a jargoon. ‘
GOLD FINGER-RING, ornamented with enamel, and set with a
finely-coloured amethyst, possibly foiled.
GOLD FINGER-RING, ornamented with black and white enamel,
and set with seven garnets.
GOLD FINGER-RING, ornamented with enamel, and set with a
large almandine garnet, supported on either side by a
table-cut diamond.
GOLD FINGER-RING, ornamented with black enamel, and set
with a turquoise.
“GOLD FINGER-RING, a Very extraordinary specimen of gold-
Smith’s work—being the portrait of Louis the XVII. com-
posed of small rose-cut diamonds. Two‘circumstances in
connexion with this beautiful piece of workmanship are
calculated to excite our surprise and admiration: these
are, first, the diminutive siZe of the diamonds, which are
all cut with facets, and some are so small that 2,000
would only weigh a carat, or four grains; secondly, the
skill of the artist, who has composed this portrait to
represent a cameo, and who has inserted the diamonds
so admirably as to represent an uniformly even surface,
scarcely shewing the silver in which they are set. From
the collection of H. P. Hope, Esq., exhibited at Hyde
Pafk in 1851.” (J. Mayer.)
GOLD FINGER-RING, set with a painted miniature portrait of
the Prince Regent, covered with a flat jargoon or glass, and
set round with small jargoons.
7 . .
Plate. W In. x g In.
GOLD FINGER-RING, the shank formed of gold wire twisted
into a knot, and the plate bearing on the obverse the
head of Queen Victoria, and the legend, “ Victoria
119
936
937
938
939
940
941
942
943
944
Regina,” and on the reverse a crown, and the legend,
“ Married, Feb. 10, 1840.” Probably an official ring com-
memorating the Queen’s marriage, and given to members
of the Royal Household.
FINGER-RING OF GOLD, the plate formed of an elaborate floral
pattern, set with small jargoons and rubies.
Dia. T9,,- in.
FINGER-RING OF GOLD, with oval plate faced with glass, under
' which is a bird painted apparently on a white stone 5 the
plate is surrounded by garnets.
Plaz‘e. T9; in. x El in.
FINGER-RING OF GOLD, set with a pearl, two chrysoprases, and
jargoons.
SILVER FINGER-RING, with a design chased on the outside
representing a coiled serpent eating fruit or flowers 5 inside
the ring is an inscription very illegibly scratched. South
German peasant’s ring.
SILVER FINGER-RING, set with an agate. South German
peasant’s ring.
SILVER FINGER-RING, set with pastes and coloured foils.
Continental peasant’s ring
SILVER FINGER-RING, set with pastes and coloured foils‘.
Continental peasant’s ring
GOLD FINGER-RING, the plate set back and front with glass,
and between the glasses a loose ball-shaped diamond, the
surface of which is very skilfully cut with innumerable
facets. From the Hope collection.
F INGER-RING, set with a diamond composed of a cluster of six
diamonds, a very curious formation brought from the
Cape diamond-fields.
120
945
946
947
948
949
SILVER FINGER-RING, of coiled work, made at Damascus, and
set with a silver coin of William 111., King of the
Netherlands.
SILVER FINGER-RING, the oval plate engraved as a seal with
a Hindoo inscription, the name, “Narayan Kopal,” and
the date “ 1239 ” of the Hegira (P).
Plaz‘e. in. x Q; in.
SILVER FINGER-RING, with circular plate, upon which is a
character in relief. Indian (P).
SILVER F INGER-RING, with square bezel, set lozenge-ways, and
mounted with five projecting pillars, ornamented with
simple engraved patterns. This type of ring comes from
the Mandingo country, West Africa, and its form is sup-
posed to be derived from a Jewish type, and to represent
the table of the shew-bread.
SILVER F INGER-RING, with large circular plate, ornamented
with simple designs in repoussé and engraved work.
From Africa.
Diameter 0fj§lafe 15- in.
01
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