Chapter II: Part 2

It is not surprising that comparatively so few engraved gems have been handed down to us when we consider the tides of the last twenty centuries as a great sea which has borne to the shores of civilized Europe, and later to America, specimens of ancient art creations--that sea, at times placid, yet ever and anon turbulent with devastating storms, whose iconoclastic waves broke upon the ancient sites of antiquity, destroying treasures that thus have been irreparably lost to archæological science and to our museums.

As a child becomes restless with the consciousness of coming day before it fully wakes from sleep, man, weary of this night of ignorance and the atmosphere of barbarism--fretful on his couch under the yoke of tyranny, striving to shake it off while yet enveloped by the shades of error, rose up to seek an element he knew not, a light he dreamed would come!

SOMMERVILLE COLLECTION.

RENAISSANCE-MEDICI PERIOD.

He burst the cords that bound his strength; he pierced the clouds which dulled his vision, and, leaving his prison-house, reached forth his fearless arm, and pushing aside the sombre folds of the long intervening veil, peered into the outer world of progress, and in the gray gloom he descried a distant terrace. With rapid strides, through furrows of popular prejudice and cinders of past magnificence, over crumbled arch and fallen pillar, frieze, and pediment, he sped his way; nor flagged nor halted, till the summit reached, he stood and gazed with earnest look out into the coming time; he beheld in the vista before him many streams flowing into the sea of the future. In the horizon gleamed again the omen of coming day; it was the harbinger of a new birth.

The light of truth flashed upon his mind, discovering to him his freed intellect. Unlike the denizens of the earlier age of luxury and repletion, he stood a thinking man, refreshed, invigorated, and ready for work; and quickly he applied himself; called forth his kinsman; his voice was heard throughout the land; men awoke everywhere and wrought in the ateliers of the new life.

Through the air came strains as of music, from creaking of timber, cracking of stone, the carol of the painter, hammer and anvil, plashing oar, wheel and shaft, mallet and chisel, and with the new demand upon the gem-engravers came--the Oratorio of the Renaissance.

With this awakening came another influx of skilled artisans into Italy, not to compete, as before, in the great established art market of the world. Now they came in response to appeals for master-workmen, came to instruct, to encourage the new birth; to lead the drowsy ones out into the full light of day, the day of a rising constellation in which once more shone brilliantly a meritorious school of gem-engravers.

Though Germany, France, and other nations shared in the work, Italy guarded the cradle of the Renaissance, and as a faithful, loving parent, watched the developing features of the youth, which grew apace, reading there the promise of a growing power that was destined to lead future generations to excellence and prosperity in art.

Italy accomplished the first great work of this period by furnishing models for both industrial and fine arts, infusing vitality into other nations. The influential families of the Medici and Farnese, Popes Leo X. and Paul III., many cardinals and nobles, were instrumental in the revival of gem-engraving; especially Lorenzo de Medici contributed to its redevelopment and growth by inducing artists to devote themselves to its practice and bestowing on them his liberal patronage.

The vigorous manner of artists of this period is so marked that even in the reproduction of antique designs a connoisseur can recognize their peculiar style. Their original works are highly meritorious, attaining a great degree of excellence. Many rose to eminence; some, not content with rising in the firmanent of the dawning effulgence, aspired to positions in the bright constellation of fame, producing engraved gems for the ornamentation of costumes, armor, inlaying and embossing of vases, tankards, etc.

SUCCEEDING DECLINES AND REVIVALS.

Constant encouragement was given to this branch of art-industry throughout the fifteenth and part of the sixteenth century; but after the death of the Emperor Charles V., in 1558, recurred another period of decline. Private and royal accumulations of art works were again the victims of depredation; cabinets and museums were pillaged and scattered by military marauders, as one after another the great cities of the Continent of Europe were besieged and conquered.

The glyptic, of all the arts, was the most easily affected by the changing fortunes of nations.

These circumstances compelled artists to give their attention more particularly to church architecture, to the production of large devotional basso-rilievos for the altar, and sculptured figures, which, though representing sacred subjects, were often too voluptuous in form, and lacking the essential qualities of true art.

In the last twenty years of the eighteenth century gem-engraving received fresh impetus; new practitioners were enrolled from Germany, England, and France.

Some of these resided many years in England, pursuing their profession assiduously and profitably. In this period quantities of intaglios and cameos were reproduced from the most salable antique subjects. To supply the wants of enthusiastic amateurs frauds were freely committed, by close imitation, and the insertion of signatures of celebrated Greek and Roman engravers, though the age produced artists of the highest ability and honor.

The works of Natter, Sirletti, Pickler, Marchand, Pistrucci, Santarelli, and others come to us so directly from their hands that we feel they almost belong to our day, and we think of them as of acquaintances.

Many of the gems of Giovanni Pickler compare favorably with the finest incisions of the Greek, and even with the work of the renowned Dioscorides.

During the latter part of the eighteenth century and the commencement of the nineteenth, monarchs and noblemen indulged in making collections of gems to such an extent that the list of patrons increased competition, and fabulous prices were obtained from such buyers as the Empress Catherine II. of Russia, the Prince Frederick of Prussia, the Duke of Orleans, George III., the Empress Josephine of France, and many of the English nobility, among others the Dukes of Devonshire and Marlborough.

Almost until now no plea has been offered for glyptology as a factor contributing historical data. The mass of scientists have been contented with musty old volumes, and these little message-bearing stones have been regarded as nothing more than curious ancient articles of luxury, yet you will remark we do not look on them in that light; we recognize, as we justly should, each and every piece as part of a great story, recording and illustrating many epochs and eras in this world’s history, and patiently we have been seeking to replace each fragment into its proper place in the inscribed diagram, until we are convinced that we read thereon many things that no manuscripts or books have communicated to us.

SOME TYPES OF REMARKABLE GEMS.

My entire collection in the Free Museum of Science and Art of the University of Pennsylvania must be examined to see types of all these epochs. It may be well to notice here three or four very remarkable gems of which monographs have also been published.

BACCHUS AND ARIADNE.

Ariadne is seated on the rocks of Dia, where Bacchus found her; at her feet is her panther. Bacchus bears in his hand a thrysus; his javelin with its point in the form of a pine cone; his head wreathed with ivy and grape leaves; his hand lovingly placed on sad Ariadne’s shoulder, who has just been deserted by Theseus. Bacchus, deeply in love (which is indicated by the figure of Cupid), says to her, “I shall care for thee.” The panther at the feet of Ariadne is emblematic of the principal and most important incident in her life, her love for Theseus.

Ariadne was the daughter of Minos, King of Crete. She fell in love with Theseus when he went as one of the seven youths whom the Athenians were obliged to send every year with seven maidens to Crete to be devoured by the Minotaur.

Ariadne provided Theseus with a sword with which he slew the Minotaur, and with a thread which enabled him to find his way out of the labyrinth; they then fled to the island of Naxos (Dia), where Theseus, warned by a god in a dream, deserted her. Bacchus arrived opportunely from India, finding Ariadne in a state of grief and consternation, which even added to her charming beauty; he quenched her tears, consoled her, and took her to himself. This exquisite gem is a fine representation of Renaissance work (see plate on p. 81).

JUPITER ÆGIOCHUS.

Among examples of antique glyptic art, by referring to my late work on “Engraved Gems: Their Place in the History of Art,” you will find an extended notice of the superb ancient cameo on chrysoprase of Jupiter Ægiochus. It is the eighth of importance in the remarkable antique cameos that have been preserved from the early centuries after Christ. It is of remarkable dimensions, being 167 millimetres in height by 130 millimetres in breadth.

It is of the close of the epoch of Marcus Aurelius or the earlier years of the reign of Commodus. The style is that of the Græco-Roman art. The work is very beautiful for that epoch, and there rests in this head of the master of the gods an accent of grandeur in which one feels the reflection of the original Greek of the better centuries, imitated here by the engraver of the Græco-Roman age.

SOMMERVILLE COLLECTION.

JUPITER ÆGIOCHUS.]

It is an interesting circumstance, which merits particular attention, that the cameo Zulian coming from Ephesus and this Jupiter Ægiochus are certainly of the workmanship of Asia Minor.

Early in this century this cameo made part of the celebrated Northwick Collection of England. Afterwards it was acquired by a wealthy connoisseur in France, and later passed into the possession of M. Feuardent, Paris, when, with his permission, an engraving of it appeared, with five quarto pages of text and notes, in the _Gazette Archæologique_, Paris, 1877, edited by Baron J. De Witte, Membre de l’Institut and François Lenormant.

M. Adrien Longperier, the distinguished glyptologist and savant of the Institut de France, some thirty years ago made a study of this gem, and seriously contemplated its acquisition for France; he urged the French Government to authorize its purchase for the collection in the Salle des Pierres gravées in the Bibliothèque Nationale, Paris, or for the Museum of the Louvre. Several other museums also negotiated for its purchase, but the late owner being firm in his demand, the price caused them to delay, and now it belongs to America, being part of my collection.

THE TRIUMPH OF CONSTANTINE.

Among the most important and interesting antique gems in my collection is one engraved when Constantine held the Roman Empire in Byzantia, which came into the possession of the Court of Russia.

The Empress Catherine II., wishing to confer a great favor and special reward on an ambassador to her court from her remarkable collection in the Museum of the Hermitage at St. Petersburg, presented this antique gem to him in 1785. Twenty-five years afterwards, at his death in Greece, it was sold, and was piously guarded during thirty years by a collector in the Hellenic peninsula. After that it became the property of Bieler in Styria.

I came into possession of this remarkable gem after more than five years’ negotiations with its owner, and subsequently with his heirs.

It is a cameo of great importance in itself. Prof. C. W. King, of Trinity College, Cambridge, England, said, “It is by far the most important of all similar works of the Lower Empire hitherto published.”

It is of very considerable dimensions (6 × 4 inches), being the eleventh in point of magnitude of those already existing in any cabinet. It is a maculated sard, dark-reddish amber color, with slight white, dark sepia, and burnt sienna spots or maculation.

The subject is a Triumph of Constantine. This portrait of that Byzantine Emperor is considered very faithful. As I have often remarked in connection with the numismatic phase of my subject, we can in this case establish the likeness of Constantine by confronting it with the fine gold coins of his realm and reign.

Among the auxiliary figures on the gem is Constantine’s mother Helena, she who found the true cross; also Crispus his son, and his wife Fausta.

The Emperor is being crowned by a Victory, who stands behind him borne in a triumphal car, the four horses walking and led by a soldier in front. Constantine holds the reins in his left hand, but in his right a roll of paper (volumen), instead of the customary eagle-tipped sceptre.

In the front of the group is a standard inscribed “S. P. Q. R.,” the bearer of the staff being concealed by the horses of the car; as are also the lictors, whose fasces are seen elevated in the air above the horses’ backs, in the upper field of the composition. Behind the car stands Crispus and Fausta, both in front face; Crispus is pointing to the labarum, and evidently relating to Fausta all the circumstances of its introduction into the scene. At the opposite end of the gem stands Helena, who, with the soldier leading the quadriga, forms a balance to the other pair.

Much labor and skill have been expended by the artist upon the face of the triumphing Cæsar, in order to leave no doubt as to his identity, and with such success that the well-known Augustus-like profile of Constantine may be recognized at the first glance.

RELIGION ON STONES.

We have found here unquestionably information not to be obtained from any other source. If ancient engraved stones had never been unearthed or found, we would have been ignorant to-day of much that is interesting and important concerning the historic chain which now connects us with the traditions of men in the incipiency of art thousands of years before the era of manuscripts.

We hold and esteem the Holy Bible not only as our guide and as the book of God’s laws, but also as one of the most perfect compends of the history of the world from all known time. The earliest mention of the profession of gem-cutting is in the thirty-first chapter of Exodus, from the first to the fifth verse, inclusive:

“And the Lord spake unto Moses, saying, See, I have called by name Bezaleel the son of Uri, the son of Hur, of the tribe of Judah: and I have filled him with the spirit of God, in wisdom, and in understanding, and in knowledge, and in all manner of workmanship, to devise cunning works, to work in gold, and in silver, and in brass, and in cutting of stones, to set them,” etc., “and to work in all manner of workmanship.” This commission was for the Jews to adorn the ark of the testimony and to attach to the Esod a part of the vestiture of the grand sacerdotal of the Israelites. Our observation of this branch of art has been strictly in accordance with our intended plan.

We have regarded almost solely all these beautiful stones in the light of art, with a view of considering their comparative art-merits; yet I have always seen in their history another and somewhat important phase, to me an interesting one: that is, their connection with the traditions, legends, and annals of religion. We find on them tenets of paganism, mysticism, mythology, and the Christian religion--symbols, dogmas, and pictured revelations of creeds of many nations and of people almost otherwise unknown--what may indeed be classified as religious stone-literature.

Skilful utilization of the colored strata and maculation of onyxes and agates depict fire and water as objects of adoration; altars rendered sacred by their inscriptions, each with its patron god upon it or hovering near; characters there inscribed telling to whose service they were dedicated--now to a supreme being beloved, though absent; again, to a deity adored, though unseen.

Every tribe seems to have had a Father above, though we do not meet with the vague superscription, “To the unknown God.”

On every side objects of veneration: the heavens; innumerable mention of deities dwelling therein; plenteous aspirations and appeals to their clemency, forbearance, and protection.

These talismanic gems, whenever they are religiously inscribed, I treasure as tablets of faith--a faith which, though often erroneously placed, was fervent and abiding as it was indelibly registered.

Rambling in many strange countries, seeing palaces, costumes, men, and manners, this subject, paramount to them all, has often received my attention--a theme the most precious to the scattered races of the human family, their religion. It is worthy of remark that so large a proportion of the intaglios and seals were of a religious character.

The ancient residents near the sea and on all the frontier of Asia Minor had their religious token-gems.

In this day of enlightenment naturally we are astonished that men could have believed in these gods or in such theories and dogmas, and expressing astonishment that they could have trusted in these talismans or hoped for benefits from them. We wonder at the absurd codes of mythological religion; yes, let us call it so; that is what it was for these people; they knew not our God, they had never heard of our divine Master.

Until the revelation of Christ to us, man naturally had to look somewhere for refuge for his soul; he had to cling to some unseen hand, lest he should fall.

Do we often realize what modern Christianity is? These pagans, of whose religions we have so many little stone monuments, were all anterior to and existed during ages before that revelation.

Christians of to-day, reflect: all these heathen, as you no doubt esteem them, were earnest in the performance of their duties, their prayers, their adoration, and their sacrifices--many of them more devout than some of us under the light of the twentieth century.

True, these religions were the inventions of men, the outcome of the longings and yearnings of sympathetic men for a superior guiding and protecting power--Deity, if you will allow it--to which to turn and in which to hope.

They worshipped faithfully, adored sincerely, obeyed implicitly, lived simple lives, in keeping with their primitive faith. Was it not reasonable, this worship of a people who had no divine revelation? Was it not beautiful? Can you not even now see something to admire in devotional exercises held in God’s open air, turning in adoration myriads of earnest eyes upon the Sun, “the beauty and the glory of the day,” devoutly praising from the heart the majesty and the power of the Supreme Being, the Maker and the Ruler of this benign light? Their principal fête, on which they all assembled joyfully and gratefully to bow before the glorious orb, was on the same day we have accepted as the anniversary of the birth of Christ our Redeemer.

And so it was with those who venerated and carried engraved emblems of those incomprehensible elements, Fire and Water.

As symbolic of the inscrutable power the Parsees keep a flame constantly burning upon an altar in the inner temple; so sacred is it that only the higher priests set apart for that service can enter therein; yet through their mediation thousands participate in the ceremony and enjoy the consolation of its power--a force of terrible destructibility, yet with the genial phase which comforts and contributes to the nourishment of man. This form of worship originated in Persia, and when its disciples emigrated and distributed themselves throughout many countries and islands of India and the shores of the neighboring seas, they carefully carried the sacred fire with them; and it is believed it has never ceased to burn during many centuries. Red and spotted maculation in agates have been utilized by incisori to represent the flame of an altar fire.

Even to this day many of these objects in stone are treasured and valued by men and women in secluded villages in the East; they hold and guard them as religious heirlooms. I have bartered with them successfully, and have bought their bracelets, finger-rings, and nose-rings; yet so highly have these sacred talismans been esteemed that those which I most desired have rarely and only with difficulty been obtained from their superstitious possessors.

In the two or three centuries succeeding the advent of Christ the Abraxas flourished and engraved the mass of religious mystic talismans (already described in their place in this book). Their priests or pastors, in the term accepted by us, prepared these amulets, engraving upon them attributes and symbols of the Most High; they taught their followers to wear them close to their hearts, these reminders of their heavenly Father, these rude glyptic lights that kept them nearer to God. I do not, cannot, find it absurd. When you have considered this subject as now presented, you will perhaps view with new interest these devotional tokens, after many years of travel and research brought together and classified in my cabinet.

HISTORIC CAMEOS.

A large class of ancient seems were historical. In my collection may be found a series of cameos, all works of the most able artists of the epoch of Trajan, which are now esteemed in Rome as works of the highest merit.

They portray the pleasures of the hunting expeditions, the wars, and other incidents in the life of Trajan and Titus Vespasianus.

These cameos were the subjects of the _basso-rilievos_ which ornamented a triumphal arch erected in honor of Trajan.

In the reign of the Emperor Constantine the Romans despoiled this monument of all these subjects tributary to Trajan, and adorned with them the arch which they then built for Constantine. It was said in those days no emperor had ever equalled Constantine in building up the Empire, and therefore they did not hesitate to dismantle a monument of his predecessor.

SOMMERVILLE COLLECTION.

HISTORICAL CAMEOS.

An interesting historic cameo is Coriolanus visited by his mother Veturia and his wife Volumnia. His original name was Marcius, but on account of his valor in a contest against the Volscians he was surnamed Coriolanus. In the time of a famine he was impeached for his opinions in regard to the distribution of corn received from Sicily; he was condemned to exile. He now went over to the Volscians, and became general of their army, and successfully attacked the Romans; they, fearing him, made advances to him and offered the restoration of all his property and franchises; he resisted all their propositions. It was not until his mother and wife came to him that he could be induced to relent; their prayers and tears, however, moved him; he then retired with his army, but passed the remainder of his life with the Volscians, who had honored him for his valor and not from fear. The guard with a shield at the right is a Volscian, and he at the left is a Roman.

Observe in my collection an allocution of Marcus Aurelius before the Prætorian Guard: the guard are not only known by their costume, but by the banner which is marked S. C. (_Senatus Consultum_).

No incidents in ancient history are more interesting or more dramatic than the episodes in the life and career of fair Cleopatra; one of the most vivid to my fancy’s recollection is the scene of her fatal giving up of that romantic life as depicted on a beautiful turquoise cameo--No. 346.

It is well understood that many of the cameos concerning Christ are truly historical. There is also Horatius defending the bridge. The bridge was on the Tiber at Rome; Horatius was fighting the Etruscans; the Romans were obliged to destroy their end of the bridge, when Horatius with his horse swam back.

True, we have history through classic Latin sources of the most important events of the first and second centuries. Yet these portraitures on stone, executed in the very epochs, add certainly great interest to the records of these times. The subjects on stone alluded to, mirror to us more faithfully, more vividly, scenes in the lives of several Roman emperors than any manuscript possibly could have done.

We have Trajan as emperor, judge, and warrior. We see him engaged in conflict, we admire him victorious, we rejoice in his happy return to Rome on several occasions; in his triumphant reception both by the people and the army, and in the arches erected as souvenirs of his prowess; in his dignified reception of the son of the King of the Armenians, and in his condescension in restoring their kingdom; in several of his expeditions against the Dacians, and in his happy escape from the plot of Decebalus. We have instances of his public charities delicately depicted in cameo; his religious sacrifices; his exploits as a hunter of many wild animals, the boar and the lion included, are exemplified. We have several beautiful groups with emperors delivering allocutions before the cohorts of their armies, senators, and other dignitaries; the triumphant entry of Titus Vespasianus into Jerusalem, whereon twenty-two figures are visible, and the exit from Jerusalem of his victorious army, on which nineteen figures are seen; also the groups of Jewish prisoners.

SOMMERVILLE COLLECTION.

HISTORICAL CAMEOS.

All these pages in my stone book are certainly interesting additions to ancient history.

ANIMALS AND BIRDS.

We have seen how large a proportion of the subjects on ancient gems were mythological, how extended was the class of religious and of Christian subjects; we have noted the loved portraits of sovereigns, statesmen, philosophers, physicians, and poets.

There remains a series worthy of notice--those intaglios and cameos worn as amulets on which were engraved innumerable animals, birds, fishes, and even insects.

As the families of the nobility chose the insignia which entered into the quarterings of their escutcheons, so the ancients according to their superstitions or their tastes chose some patron animal or bird for an emblem and caused it to be engraved on their talismans; and these symbols were cherished with what might almost be termed religious fervency.

They were used as amulets, supposed to protect the wearers against accident and to repel danger. There was almost a pharmacopœia of gems, with solace for every trouble of mind and a remedy for every disease.

A dolphin, the mariner’s friend, on sard or carnelian, was an emblem worn by fishermen, and was believed to protect them from the attacks of sharks or other voracious fishes. They also carried with equal reliance the same design in antique paste.

The eagle of Jupiter is symbolic of his power, although it was subservient to him. This no doubt accounts for its appropriation in heraldry by sovereigns.

The raven, the friend of Apollo; the parrot, a loquacious inebriate, is often an attendant on Bacchus.

The aringa, a fish of the Adriatic Sea, represented on a talisman in my collection, was worn by women on account of its being the symbol of fruitfulness; it deposits many thousand eggs each year.

Certain insects, arachnids, and reptiles were employed as symbols, because they were supposed to protect man in each case from the enemy thereon delineated.

A scorpion on a transparent stone was an amulet against the sting of the arachnid.

As the scorpion inflicts a painful sting, the spider a venomous bite, and a variety of flies make dangerous aggression on the human form, their images engraved on stones were believed to shield the wearer from the ills due to attacks from corresponding insects.

One of the most minute insects employed as a talisman is the ant, symbolic of industry.

The peacock frequently appears on gems; naturally, no one would have had it as an emblem of vanity, in which sense it is generally accepted in modern times, but it was revered as the favorite of Juno.

The owl: Minerva’s head is at times draped with an owl; its connection with Minerva is that it is symbolic of profound meditation.

Beautiful storks occur frequently on engraved gems: they were so abundant in Asia Minor and in the Byzantine Empire that husbandmen sought to frighten them away; yet in other lands they were almost adored. In modern Fünen, and generally in Scandinavia, storks building their nests on the roofs of houses in the country are welcomed as bringing children for the household, and are cared for with a credulity equalling pagan superstition.

The frog has sometimes found a place in Christian symbolism as the most expressive image of the resurrection of the body, because frogs, like the serpents after their winter interment, emerge from their hiding-places and renew their youth by casting their slough.

Many farm and house companions figure in the series: a dog, fidelity; a cock, vigilance; a turtle, always at home; a snail, there is no hurry; a sheep, humility; a lamb, innocence; a horse, patience and endurance; a dove, harmless, the Holy Spirit; a lion, majesty and force; a serpent, wisdom, and, with its tail in mouth, eternity; a serpent was often represented on the stone above the fireplace in Roman kitchens; a ram was significant of the Nundine sacrifices made weekly to Jupiter; a lion and a goat driven by Cupid, the power of love: he guides not only the lascivious, but the strong.

ANTIQUE PASTES.

The Antique Pastes are interesting from the fact that they present us with many curious mythological subjects not always to be found on semi-precious stones. They are specimens of a branch of early Roman industry.

They were made in imitation of Oriental stones, of which the supply was inadequate for the great demand of the first and second centuries A. D., and also as a matter of economy. Often in ancient times a quantity of fragments of hard semi-precious pebbles too small to be engraved were pulverized, and the sand or granulated mass was fused in crucibles just as glass is made. This process enabled many lovers of the art to possess examples in this cheaper artificial substance when the same subjects on real India stones were commanding exorbitant prices. Some of these gems are beautifully opalescent and iridescent.

This iridescence, though so beautiful on the specimens of that kind, is only owing to chemical action on the paste gems during the centuries they have been buried in the earth. Interesting intaglios and cameos in enamel have withstood the wear of ages, and are in better condition; the imitations of red jasper are wonderful.

SOMMERVILLE COLLECTION.

ANTIQUE PASTES.

Many intaglios in antique paste are representations in designs of ancient bronzes, of which we have no other trace except their mention by early historians.

The most precious antique example in paste is the Portland Vase. It was discovered in the sixteenth century in a sarcophagus within the monument of the Emperor Alexander Severus and his mother, Julia Mamæa, on the Frascati road, about two miles and a half from Rome. It was long known as the Barberini Vase, having belonged to that family in Rome for two hundred years; thence it came to England in the last century, and after twice changing ownership, at the death of the Duchess of Portland, from whom it takes its name, it was sold to the Duke of Marlborough, and is now in the British Museum. It has been broken and mended. It is about ten inches high, and at the broadest part six inches in diameter. It was formed of paste, and afterward engraved.

The paste is in imitation of onyx, in two strata, white upon blue, of an amethyst tinge; the figures are cut in relief on the lighter color, the blue forming the second plane or background.

Though the antique paste cameos and intaglios are largely reproductions of subjects also found engraved on pietradura, we are indebted to this class of gems for many examples of ancient cameos and intaglios which we would otherwise never have seen; in fact, from the rare beauty of some specimens in paste, they never could have existed in any other material.

Not only do both intaglios and cameos in antique paste present us with the choicest examples of miniature art, but the iridescence created on them by time frequently renders them the most beautiful specimens in a collection.

MYTHOLOGICAL.

Through the possession of these Pagan cameos and intaglios we have become heirs to the most thorough knowledge of Mythology.

Hundreds of distinct specimens may be gathered from glyptic work centuries before Christ, and so arranged as to form several genealogical trees.

In Mythology there is not one single ancestor of all, as in the biblical history, where Adam is honored with being our original and only progenitor and equally censured with being the testator of our legacy of all human ills. The myriad bigamist ancestors of the countless mythological beings pictured on ancient gems have created and bequeathed to us numerous families of celestial and terrestrial divinities, denizens of earth, air, and water, and hundreds of grotesque chimeras.

Like the royal families of our sphere, there was much intermarriage of close relatives, many of their offspring bearing at times the forms of animals, birds, and anon reptiles. Some of their descendants were even metamorphosed in those tropical climes into trees, under the cooling umbrage of which other scions were born and commenced their adventurous career.

These poetical conceptions were the mythological forerunners of the simpler, purer, diviner religion which was eventually given to man. A close observer may find in these legendary myths antetypes of the omnipotent Godhead now revealed to us and in which is our sure hope and trust.

CHINESE, BURMESE, AND SIAMESE.

The Chinese are the only race producing glyptic work in relief on hard Jade, and also on stones resembling it--in which one is easily deceived.

They are said to be good copyists: all designs given to them for reproduction are copied very closely, but in what we find on engraved stones there is the type of their nationality; it resembles nothing else. Their work is mostly in very low relief, on Nacre, Jade, Amethyst, and Agalmatolite.

Their pictured stones generally represent hideous animals, birds, fruits, and views of paradise with figures of grotesque divinities. Their inscriptions are not deeply incised, but are usually letters or characters in their language in relief.

The exquisitely beautiful details often exhibited by the Chinese are surprising, especially when we consider the hardness of the Jade, the material principally employed by them.

What patience it must have required to cut those ornaments in Jade which we find on their scepters and on the handles of their official swords! Many pieces which are shown in museums have cost years of laborious engraving. Jade has therefore been esteemed by the Chinese as emblematic of all virtue.

In this connection it may be remarked that the Burmese and the Siamese have seldom engraved on any stones harder than Alabaster or Agalmatolite (Chinese figure stone). Their subjects principally represent Buddha; occasionally his two feet; their emblematic flowers, and their deeply-revered sacred Bôdhi-tree at Gaya.

SOMMERVILLE COLLECTION.

AZTEC.

AZTEC OR MEXICAN.

The American Continent has contributed some unique work executed by the Aztecs anterior to the Spanish conquest of Mexico.

Among the existing glyptic relics of nations we find no examples of execution in stone-engraving more peculiar than what has been preserved of the work of the Aztecs or Mexicans, especially that done before the occupation by Pizarro.

The character of their work is so crude and distinct that no close observer can for a moment be mistaken in detecting its origin.

I have met with Aztec engraved stones among a miscellaneous collection offered to me for selection; there was that quality which enables a connoisseur to recognize the class of ornamentation doubtless worn by that people whom Prescott represented as decorated principally by gold, silver, and feathers.

Large pieces, cameos of two and a half to three inches, have been found which were worn by the Incas as breast ornaments, and are always pierced, which shows that they were suspended from the neck.

In fact, some of the most faithful representations of costume, head-dress, and weapons are in _basso-rilievo_ engraved stones in opaque white Alabaster and pale-green hard Nephrite.

RETROSPECTIVE.

We have much to enjoy as we survey the gems of the various epochs. The multifarious types that have been gathered in forty centuries meet our view, grouped in the tableau of engraved gems.

Our attention is drawn with interest to each sentiment expressed, feature defined, or emotion portrayed. We study the diversified qualities--the fineness or freedom of touch, ingenious effects, delicate lines, choice attitudes, graceful forms, force, spirit, and tenderness--which characterize these monuments of patience.

The engraved gems rescued from the torrent, ebbing and flowing with the fluctuating fortunes of ages, garnered by successive generations, enrich the traditional viaduct traversing the morass of many centuries. Some blocks are less beautiful than others in the structure, but from them we have founded our first footholds, and from them we mount to the work that embellishes the great Etruscan arches even when we revel on the finely pencilled coping-stones of the Greek and Roman epochs, or admire the ornate abutments of the Renaissance, we should revert with pleasure to the earlier, ruder contributions in the foundations, and we can find pleasure in viewing and studying every part.

The builder’s stones are graven--the footway is of pictured pebbles, miniatures, amulets, and seals, reflecting lineaments and traces of the history of entombed generations. Their inscriptions reveal to us the impress of ancient, mediæval, and modern art.

INDEX.

Abraxas or Gnostics, 58-62, 102
Talismans, 58, 102

Agalmatolite, 123

Amethyst, 123

Amulets, 112

Animals and Birds, 112-115

Ant, the, as a talisman, the most minute, 113

Antique Pastes, 116-120

Apollo, 66

Aringa, the, a fish of the Adriatic Sea, 113

Ashurna Sirbal, King of Assyria, palace of, 22

Asshur (Assyrian), Supreme God, 32

Assyrian Records, 39

Astarte, 66

Aztec or Mexican, 127-128

Bacchus and Ariadne, 89-90

Basilidians, 62

Beltis Mylitta (Assyrian), the Great Mother, 32

Bibliothèque Nationale, Paris, 72

Bôdhi-tree at Gaya, 124

British Museum, London, 72, 119

Buddha, 124

Byzantine, 68-75
Period, 11

Cameos, 55, 68, 72, 87, 89, 90, 94, 104, 112, 116, 119, 127
Historical, 55, 104
Religious, 11

Catharine II., Empress of Russia, 87, 94

Charles V., Emperor, 86

Chinese, Burmese, and Siamese, 123-124
Figure-stone, 124

Christ, Century of, 11
Heads of, 75

Cleopatra, beautiful Turquoise Cameo, 108

Commodus, 90

Constantine, Emperor, 68, 71, 94, 104
Baptism of, 72
Conversion of, 72

Coriolanus, interesting Historic Cameo, 104

Crispus, Son of Constantine, 97

Cylinders, Babylonian, 14, 25
Brazil, 32
Chaldean, over 4000 years old, 25
Found in ruins of Um Kir, 35
Nineveh, 32
Oldest form of Seals, 25
Persian, 12
South American Indians, 32

Cypselus, box of, 48

Decebalus, plot of, 111

De Witte, Baron J., 93

Dioscorides, 87

Dolphin, a, the Mariner’s Friend, 113

Duaoumautew, 19

Duke of Devonshire, 88
of Marlborough, 88
of Orleans, 87

Early Christians, 65-67
Gems of, 65

Egypt, 16-21
Temples of, 12

Egyptians, 39
Records, 39

Emperor Caracalla, 13
Constantine, 13, 68, 71, 72, 94, 104
Tiberius, 13

England, 86

Engraved Gems for Ornamentation, 85
Quality of Execution, 11, 13
Pietradura, 65, 119

Etruscans--Etruria, the, 36-40
Country of Ancient, 36
Inscriptions, 39
Tombs of, 36

Farnese Family, 84

Fausta, Wife of Constantine, 68, 97

Faustina, 13

Feuardent, M., Paris, 93

Frog, the, 114

Gazette Archæologique, Paris, 93

Gem-cutting, earliest mention of, 98

George III., King of England, 87

Giovanni Pickler, works of, 87

Glyptology, 14

Græco-Roman, 52, 56, 90

Greece, 44-52

Helena, Mother of Constantine, 68, 97

Hilprecht, Prof. H. V., 22

Historic Cameos, 55, 104-111

Holy Family, token Cameos and Intaglios of, 68

Horatius defending the Bridge, 108

Imperial Collection, St. Petersburg, 72

Incas, Breast Ornaments, 127

Incisori, 51, 66, 71, 72, 102

Intaglios, 32, 44, 48, 52, 55, 68, 72, 77, 87, 100, 112, 116, 119

Jade, Chinese, 123

Jewish Prisoners, 111

Josephine, Empress of France, 87

Jupiter Ægiochus, 90, 91
the Eagle of, Amulet, 113

King, Prof. C. W., 94

Lenormant, Francois, 26, 93

Longperier, M. Adrien, 93

Mamæa, Julia, Mother of Alexander Severus, 119

Marchand, works of, 87

Marcius, Original Name of Coriolanus, 104

Marcus Aurelius, 90, 107

Mediæval, 76-79

Medici Family, 80, 84
Lorenzo de, 84

Mercury, 66

Message-bearing Stones, 88

Middle Ages (Night of Art), 76

Minerva, 114

Minos, King of Crete, 89

Minotaur, at Crete, 90

Monks, work of, 77

Museum, British, 72, 119
of the Hermitage, St. Petersburg, 94
of the Louvre, Paris, 93
University of Pennsylvania, 16, 22, 89

Mycenæ, 51

Mythological, 121-122

Nacre, 123

Natter, works of, 87

Naxos (Dia), Island of, 89, 90

Nephrite, 128

Night of Art, 12, 76, 79

Northwick Collection, England, 93

Osiris, Colossal Stone Figure, 16

Owl, the, 114

Parrot, the, Attendant on Bacchus, 113

Parsees, 101

Peacock, the, Favorite of Juno, 113

Persia, 102
and Babylon, 22-35

Phœnicia, 43-47
Cylinders, 43
Scarabeus, 43

Pistrucci, works of, 87

Pizarro, 127

Pope Leo X., 84
Paul III., 84

Portland, Duchess of, 119
Vase, 119

Prescott, 127

Prince Frederick of Prussia, 87

Publius Lentullus, 66

Rameses, Colossal Stone Figure, 16

Raven, the, Friend of Apollo, 113

Rawlinson, Sir Henry, 35

Religious Stone Literature, 99
Tokens, 61, 65, 100

Renaissance, 80-85
Cradle of the, 84
Oratorio of the, 83

Retrospective, 129, 130

Roman, 55-57
Empire in Byzantia, 94
Gem Engraving, 55

Royal Collection, Vienna, 72

Salle des Pierres Gravées, Paris, 93

Santarelli, works of, 87

Sapor I., King of Sassanians, 22, 25

Sardinia, originally Sandaleotis, 44

Sassanians, 75

Scarabeus, Egyptian, 20
Etruscan, 36
Funereal, 16, 19, 20, 21
Phœnician, 44, 47

Scorpion, a, 113

Scriptural Cameos, 72

Seals, Assyrian, 26, 31, 32
Persian, 12, 31
Phœnician, 44
Religious, 100
Sassanian, 31
Serapis, 66

Severus, Alexander, Emperor, 119

Signets of Kings, 25

Silenus and Bacchus, 78

Sirletti, works of, 87

Stone Fetiches, 58

Storks, 114

Succeeding Declines and Revivals, 86-88

Talismans, Abraxas, 58, 62

Tesseræ, 65

Tharros, 47

Theseus, 89

Thotmes, Colossal Stone Figure, 16

Titus Vespasianus, 104, 111

Trajan, 104, 108

Triumph of Constantine, 94-97

Um-Kir, Ruins of, 35

Unique Gems, 72
Work of the Aztecs, 127

Venus, 66

Veturia, Mother of Coriolanus, 104

Volscians, 104

Volumnia, Wife of Coriolanus, 104

Zulian Cameo, 93

[Transcriber’s Note:

List of Illustrations entry: Greek and Roman Intaglio Rings Page 49 corrected to Page 50.

Obvious printer errors corrected silently.

Inconsistent spelling and hyphenation are as in the original.]