Hellenistic Engraved Gems 0198150377, 9780198150374

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OXFORD MONOGRAPHS ON CLASSICAL ARCHAEOLOGY Edittd by

MARTIN ROBERTSON J.

J. COUL TON

JOHN BOARDMAN DONNA KURTZ R. R. R. SMITH

MARGARET A STEINBY

HELLENISTIC ENGRAVED GEMS Dimitr~lantzos

CLARENDON

PRESS · OXFORD 1999

Oxford Uniwmzy Pr,a, Grt1JtCl4rnuknt Strttt, Oxford ou 6oP Oxftml Nt.,,, York Atlstns A"'lu,u B1mtlol BOfoU BorMoy Bw,u,s Aim Co1'utto Cop, To,,,,, Darts SIU/Ulm Dt/lti Flort11tt Hont Kont /stonl,,J Korulti Kuol4 Lumpur Modros ModriJ M,IJ,o,.,,,,, Mtxi.o City NoirHi Paris Sitlt•/ort Toip,i Toltyo Toronto Wono'/11 o,ul OJJoriottd,ompo,un it, Btrlin /bodt,n Oxford is a trade"'4rl of Oxford Univmity Pms Nlislttd in tlit Unit,d Stotts by Oxford Univtmty Prta /,,c., N,.,,, Yorl

0 Dimitris Plantus UJ99 TIit moral ritlrts of tltt autlror .wvt Htlr OSStrttd All ritltts rtsnwd. No part of tltis p,J,/i.ation ,noy bt reprod1;ud, stortd in a rttritval syst,,n, or transmitttd, in anyform or by a11y,n,ans, IPitltouttltt prior ptnnission in 11>ritint of Oxford Univmity PrtJJ. Witltin tltt UK, txuptions art allo'llledin mptll of ony fair dtalint for tltt purpos, of mtartlt or privatt study, or ,riticism or rroitlP, os p,nnitted undtr tit, Copyritlrt, Dtsi,ns and Patents A,t, 19'J8, or i11tltt ,as, of rtp'Ofraplri. r,prodt«tion in u,ord#nu IPitlrtlu t,r,ns of tltt li.t11tts issutd 1,y tltt Copynflrt Li.nw'nt Attney. E"4'"ria ,o,,urnint rtprod"'tion outsidt tltts, tm,u au in otlt,, ,out~s uu,,.JJbt s,nt to tltt Ritlrts 1Rpomnen1, Oxford Uniwnity Prtss, at tltt addrtss abovt British Lil,,ary C.talopint in P,J,/ication Data Data availult Lil,,ary of.orA',

Les Sceaux de Dilos, 2A (1992) M.-L. Vollenweider, Dtliciat Leonis;Antike gtst:hnittmeSttine und Ringt aus tine, Privatsammlung(1987) M. Maaskant-Kleibrink, 'Cachets de tcrre de Doliche(?)', BABescl,46 (1971), 23-63 J. G. Milne, 'Ptolemaic seal impressions',JHS 36 (1916), 87-101

Eltphllntint Fitzwilliam

Froehner

Geneva, i, ii, iii

Gttty

Gottingtn

Grcifenhagen

0. Rubensohn, E/eplillntintPapyri (1907) M. Henig, ClassicalGems:Ancient and Modern Intagliosand Cameosin the FitzwilliamMuseum, CambriJKe( 1994) W. Froehner, Colltctionde la CompttsseR. de Biarne, iv (1912) M.-L. Vollenweider, Catalogueraisonnides sceaux,eylindrestt intailles,Musit d'art et d' histoirede Gtnivt, i (1967); ii (1979); iii (1983) J. Spier, Annent Gemsand Finttr Rings: Catalogueof the Colltctionsof theJ. P""I Getty Museum (1992) P. Gcrcke, 'Die Gemmcnsammlung in Archaologischen lnstitut der Universitat Gottingen', AGDS Ill (1970), 65-176 A. Greifenhagen, Schmuckarbeittnin Ed.,coii"'"a.v,u,,ov l"l,,os] a.', loii ,u'[p-.,]ff ,-,.JA,.-os,rovl.-ucoii,..; i,ca,,ovl,f,, wp(a.v]a.'. I ('(How to] fake mar111"4s: [take] one part molten ooppcr, two puts verdigris (green copper acetate), and sufficient amount of Pontic honey; balte for one hour.')

SCHOLARSHIP

surviving papyri seem to date from late antiquity; the profession, however, must have existed from the time of Pliny and earlier. Although most of the 'Greek Alchemists'-and their medieval successors-were primarily concerned with metals and chiefly gold, gems were included in their experiments. Their recipes must have been used by counterfeiters of stones, the kind Pliny severely criticized.

GEMS IN LITERATURE

Apart from scientific texts, we find sporadic references to intaglios and rings in classical drama and poetry, but also historical works, chronicles and essays. These offer valuable infonnation on the function of engraved gems in everyday life, religion, and politics. Such passageswill be discussed in later chapters.

AND LITERATURE

II

In what concerns Greek glyptic, as with all areas of classical civilization recorded in its own literature, factual reality needs to be 'discovered' amidst a plethora of virtual or probable inaccuracies, misleading judgements, or even lies. Information of some value to modern scholarship has to be obtained from anecdotes or biased accounts, and we often find that even 'objective' texts tend to comment on the exception rather than the rule. The latter, then, has to be revealed by a process of logical elimination. The exaggeration, common in any form of classical writing, from Attic comedy to Roman love poetry, helps us to identify the limits of what in ancient society would be thought as acceptable; what lies behind that, must have been the norm. Nevertheless, it is the everyday trivialities in the use of rings and intaglios, so well understood and practised then that they needed no special comment, that might still elude us today.

CHAPTER

2

The Evidence from Temple Inventories A number of temple inventories from the ancient world, that is lists of valuables kept in temple treasuries compiled by the officers in charge, offer a welcome insight into the way luxurious gifts to a deity would be stored and valued. The short entries for the objects recorded in these inscriptions provide a comment on what has actually survived from antiquity, while at the same time they point out those qualities of ancient crafts that were valued by their contemporaries. Needless to say, not all accounts from Oassical Greek and Hellenistic temples survived, but we are fortunate to possess two almost-complete series of such inventories, from Athens (the Parthenon) and the sanctuaries of Delos, in convenient chronological sequence. These are complemented by scantier epigraphical evidence from other parts of the Greek world. Although the period covered by these temple inventories is wider than the span of the present book, it seems worth while to study the references to intaglios and rings from the fifth and fourth centuries also. These are bound to give a useful introduction on the appreciation of gemstones and jewellery in the Classical period, and also enable a comparison with what went on in the Hellenistic period.

THE PARTHENON

After the Panathenaia of the year 434/ 3 ec, Kallias moved a financial decree enjoining the treasurers of Athena to prepare an inventory of the treasures under their authority; these inventories, cut on large stone slabs and erected to public view, were to be renewed annually. The paradosis,a ceremony in which the new treasurers took over from the old, may have been taking place on the Acropolis, while the inventories were brought to the attention of the boule (Aristotle, Ath. Pol. 43.1 ).1 With the outbreak of the Peloponnesian War imminent, Perikles wanted to put Athens' financial state in order and to be able to use all the city's resources if he needed to. 2 Accordingly, from 1 See p. j. Rhodes, .tf c-11,y OIi IM Aristott/i4,i AtMll4ioll Po/iui4 ( I g81), 551; T. Linden in T. Linden and G. Nordquist (eds.), Gifts to tM Gods: Promdi,iis oftl,e Ut1sola Sym,osi.,,,, 1(}85(1g87), 115-:z:z. ' CHI, no. 58 for the decree of Kallias; also see W. S. Ferguson, TM Tmuvrm of AtMll4 (1932), 15fH.1and D. M. Lewis, 'Tanple Inventories in Ancient Gn:ecc', in M. Vickers (ed.), Pots llllll Pa,u: Col/op;- 011 Pn-1. " Maehlcr, 'Egypt under the Last Ptolcmies', BICS 30 (1g83), 1-16. " Ibid. 8; see D. Plantzos, in M.-F. Boussacand A. lnvcmizzi (eds.), Arclliws et ueaux ,i,, MONkllellhutifw, T11rin1993;BCH, suppl. :19(1gg6), 307-13 for

Kleopatra's demise, but not for long!" Government officials and members of the public other than those of Egyptian origin seem to have mainly used signets of Greek or Greek-Egyptian character; the local authorities of Edfu used the symbols peculiar to the site, while the priesthood of Philae, with an active interest in the region of Edfu, were using traditional Egyptian signets, adopting the cartouches once reserved only for gods and kings.

Cyrtnt This hoard comes from a building in the agora of Cyrene, close to the temple of Zeus Aigiochos. The building is a long and narrow room identified by inscriptions found in it as the nomophylaluion of the city, the public records office, where public and private transaction documents were placed under the protection of the gods and the keeping of a group of six nomophylaktsand three secretaries. 71 The hoard numbers 421 Jumps of clay bearing 1,311 impressions; most of them arc from metal rings, but there is a good number of intaglio impressions as well.71 Like many of the sealings of similar type, those from Cyrene bear traces of the papyri to which they were once attached. The Nomophylakeion was destroyed by fire sometime in the first century AD, and was never rebuilt. The destruction of the building must have occurred after AD Sg-. " Ibid., nos. 19-28.

name being Orchoi. The bulk of the seaJings come from the temple of Anu and Antum, called Wuswas by the natives, built by a Babylonian with the hellenised name of Kephalon. The date of the building of the temple is the 2nd Nisan of the year 130 of the Seleucid era, the fifth year of the rule of Antiochos Epiphanes ( 17r / o ec). As suggested by the evidence from similar archives, like these in Selinous and Cyrene, it seems that the Wuswas temple served as a kind of record office, where documents were safely kept. The hoard from Orchoi, parts of which have been found during various expeditions or illegal excavations, is now dispersed in many museums and collections around the world. An account of all the different locations of parts of the hoard in the 192os is given by Rostovtzeff in his study of Babylonian seals.•JHe reports a collection of 642 lumps of clay with single or multiple sealings in the Oriental Institute of Chicago, another of 163 in Berlin, and smaller collections in various other places in Europe and the United States. Rostovtzeff collected the public seaJings with Greek inscriptions from the hoard. The seaJings were impressed on lumps of clay, generally called 'bullae', wrapped around the rolled document in the form of a clay envelope. This system of safety bullae was judged to be a compromise between the Babylonian system of sealed clay tablets and the Greek system of sealed papyri. Two forms of inscribed public seals occur: (1) the tax stamps, naming the particular tax paid and the date in Seleucid era, and (2) the seals of the chreophylakesof Orchoi, .. officers whose function will be discussed below. One inscription 95 mentions the office of the bybliophylakes. A number of what Rostovtzeff judged to be non-inscribed public seals is also recorded in Orchoi, bearing portraits of kings, usually deified, and state symbols of the Seleucid Empire, mainly the anchor, the homed horse head, etc. Finally, a large number of sealings made by private signets survives from Orchoi, either on bullae, or individually. They are smaller than the public seals, ovalshaped, mostly pointed, and bear the expected general Hellenistic repertory. They have not been published or studied in detail so far; since, however, the vast majority, as is the case for other Hellenistic hoards, are metal signets and not gem intaglios, lack of information about them does not gravely affect the present study. Most of the tax stamps come from bullae also sealed by the chreophylakes,thus precisely dating them, as well as by the private signets impressed on them. The study of the dates recorded on the bullae, as well as of the excavation data, shows that all sealings were produced within the Hellenistic period, and moreover during the Seleucid occupation of Babylonia. Evidence from other sites confirms that chronology." It seems " Stkuod Bflby/D11ia.The cuneiform tablets from 1he Uruk archive are now pub. in R. Wallenfels, Un,'1: He/in,isti, Stal /tftprtssiom in t~ Yak Babylonian Colk,tio11. i. Cutttifom1 Tablets ( 1994). " The usual form is XPEOYAAK/KOE[i.e. typos or dwruttr] OPXDN. " a. Stkuod Bflby/onia, no. 79; on !he by/,liopl,y/allts and !he by/,/iophylall,ia,

see ibid. 57. " Cf. Seleucia on 1heTigris, below.

31

SEALS AND SEAL USAGE IN ANTIQUITY

therefore that the system of bullae was introduced by Antiochos III. The officialseals employed then bore the state emblem along with the name of the chreophylax;the same seals would be used for single sealings, in the Greek manner. This pattern was followed until the reign of Antiochos IV, where a type of noninscribed seal was used along with the inscribed one, taken up by the Seleucids down to the first reign of Demetrios II. After the defeat of the latter by the Parthians, Babylonia became a Parthian province and the series of official seals seems to have stopped. The chreophylalusseem to have been a board of officers similar to that of the agoranomoiin Egypt, state archivists responsible for the authorization of public and private documents. Although in the Roman period the evidence about their status suggests that they were municipal officers, it seems that in Seleucid Babylonia they served under direct state control. This is confirmed by their seals bearing state emblems along with the name of their office and their title. The bybliophylakeswere a similar body; it seems, however, that their activity was confined to keeping the documentation of the royal estates in Babylonia. This we judge from a number of documents from Seleucid Babylonia, affecting the purchase or grant of royal land, naming the authority of a byb/iophylaxand the bybliophylakeionas the relevant archive. Outside the Seleucid Empire, the bybliophyiyKT17aEwv),were generally dealing with lakeia (or fJ,fJA,08-qKa, transactions affecting property in land.97

Seleuciaon the Tigris The sealings from Seleucia on the Tigris were found in two rooms of Level IV of the Great House, called by the excavators Archive A and Archive B." The occupation of Level IV has been placed by the excavators of the site between 294 and 141 BC,the period of Seleucid rule in Babylonia. Thus, the sealings from Seleucia are contemporary with those from Orchoi, with which they present great similarity in content and function. As in the case of the Orchoi archive, the hoard from Seleucia consists of individual sealings and bullae, and in the same form. Although the two archives A and B were originally thought to be parts of the same 'Great House', they seem to belong to different houses ... Their destruction seems to have been contemporary with the close of occupation of Level IV. The two rooms were found to have contained shelves and chests in which the documents would be kept. Since all the sealings were found scattered around, it is evident that the documents had been thrown about before being burnt; when the ceiling and the upper parts of the walls collapsed, the papyri had already been consumed. The dated legends and the royal portraits borne by the sealings date the two archives in sufficient detail: Archive B was opened in 188 BCand closed in 153/ 2 BC,almost a whole decade ., Cf. Stkutid Buylottia, 70-4. • McDowell in Stkucia. ,. F. E. Brown, AJA .µ ( 1938), 6o8.

before its destruction. Archive A was opened as early as the closing years of the reign ofSeleukos I (321-28o BC);McDowell places that after 294 BC, when lively commercial activity was inaugurated with Antiochos I becoming co-ruler in the East.'"" Public seals recorded in Archive A include portraits of Seleukos I, Antiochos I, Seleukos II, Antiochos, son of Seleukos III, Antiochos III, Antiochos IV, Demetrios I, Alexander Bala, and Demetrios II, most likely from his first reign, which ended in 141 BC with his captivity under Mithradates of Parthia. All these royal portraits, along with portraits of female members of the Seleucid family, were depicted on either public seals, or private ones, which, however, belonged to individuals authorised to act as agents of royalty. 101 Apart from official seals and tax stamps, the hoard also presents a sufficient number of what seem to be in their vast majority private seals, with the expected repertory of deities and mythological subjects. A further 30,000 bullae were discovered in a different archive building in Seleucia, presumably a state registry office.102 It is assumed that the archive was destroyed during the sack of Seleucia by the Parthians in 141 BC,and at any rate after year 158 of the Seleucid era ( 155/ 4 BC).

Greece Kallipolis This archive of sealed documents was deposited in a private house of the upper-dass quarter of lullipolis in Aetolia. Among the several hundreds of sealings discovered, state seals of cities and federations, as well as a fine series of royal portraits, can be studied. Pantos, who published the find, argued convincingly that the archive was most likely private, belonging to one of the prominent families of lullipolis, members of which occupied public offices in the city.tOJ The documents kept in the archive must have been, according to Pantos, letters sent to the owners of the house by other cities or heads of states, as part of the international relations of lullipolis at the time. As the most likely candidate for the ownership of the archive, Pantos has proposed the family of Agetas and his son Lochagos, who served as strategoion many occasions within the period 218--179 BC. Using both internal and external evidence, Pantos has dated the use of the archive to a period of about a hundred years between the destruction oflullipolis by the Gauls in 279 BCand the general disturbance in Aetolia in the years around the battle of Pydna in 168BC.1°'Pantos placed the destruction of the House '"' Stkwia, 13. "' Ibid. I 99-.zoll. '" A. lnvemizzi, MnoJ>Olt1mia 3-4 (1()68-9) 6c}-124; id., in TM u,,.J bmHtn T""' Rivm: Erl,il>iliottC111talofWTuritt 1()85 ( 1C)ll5),87--tt1t1 Cultu,11/Cnurt, 0 E>J.1J>

F,0.,2" L

o1..-=::zxj?

tT ------

-

)

FIG 3 The eighteenth-century gem-engraver Jacques Guay at work

TECHNIQUE,

STYLE,

FIG 4 The tombstone of the gem-engraver Doros, with a representation of the artist's lathe

differ, some being as small as one millimetre. 17 The tools were rotated horiwntally by means of a lathe, and the artist held the stone in his fingers, perhaps attached to a wooden tack. Holding the stone in a right angle prevented undercutting, which would render impressions on wax or clay impossible. This was a significant improvement on the older technique of vertical, hand-held bow-drill used to cut a stone fixed on a horiwntal surface. An Etruscan scarab11 has long been thought to represent a gem-.,vi!.&a,ca,\,\at•av:Ant/I, Gr. 6. :295); 'Cllil•is ... looks like the sea close to shore' (NH 37. 151). D. Plantzos, AJA 101 (1997), 451-64 oft'ers a detailed account ofthis discussion. " See R. D. G. Evely, Mino411Cr•ft1: Tools•nd Tul,,riq,,n,i (1993), tsi, for a review of the evidence; according to this author, it is likely !hat lens-shaped crystals were used for inlaying and other decorative purposes, as thci.r use in gem-engraving was no( necessary. For an early approach to the subject, with positiveviewson the existenceoflenses, sec H. Beck,Ant] 8 ( 19:28),3:27-30; also G. Sines and Y. A. Sakellarakis,AJA 91 (1g87), 191-6. " London, The British Museum, two planoconvex glass lenses (inv. nos. :2:25u and :27639); from Tanis (House 44), probably 2nd cent. AD;BM, Gum, nos. 1804 and 1817. No. 18o4 is complete, but heavily wnishcd. Its diameter is 6.6 cm and its focus 9 cm; it an be used as a magnifyingglass. No. 1817 is only half-preserved, but its quality is superior. Similar finds (some rock-crystal instead of glass) from Nola, Pompcii, and Carthage are reported in Forbes, Allnfflt Tulinowc,, 190.

CHAPTER

5

Royal Portraits For good ye are and bad, and like to coins, Some true, some light, but every one of you Stamp'd with the image of the King; A. Tennyson, Idylls of tlr~King; TI,~Holy Grail

Portraiture was in essence a Hellenistic invention. Royal portraiture in particular was conceived and developed in such a way as to comply with the ruler's need to publicize his image to his subjects. Royal portraits of the Hellenistic period display a blend of both realistic and idealistic treatment of physical likeness, being images that project the ruler's qualities in a heroic if not divine attitude. Thus the portrait of a king in the Hellenistic period was meant to make his subjects familiar with his likeness, but at the same time to underline their difference in status, as well as to proclaim the king's authority to rule.' Coinage was the primary medium by which royal portraiture was distributed. The king's portrait on the obverse of his coins, an appropriation made clear by the inscription accompanying it, must have been a guarantee for value and authenticity. On coins, royal portraits appear to have followed specific types, standardized through the history of each particular dynasty. Conservatism meant stability and continuity, crucial to the state's prosperity, solid proof of which was the coin in hand. Accordingly, rulers in Hellenistic coinage appear not only labelled, but also with their images canonized by a set of attributes. These signified their dynastic links, their authority and ability to rule, their divine quality even. Our survey of intaglio portraits of Hellenistic rulers will suggest that they were conceived and used in a different way than were coin portraits. Accordingly, they do not always follow the norms set by coinage. Hellenistic royal portraiture has been the subject of many earlier and recent studies. Coinage was widely used as the base for comparisons and attributions of, mainly, sculpture and, from a rather secondary viewpoint, terracotta figurines, bronze and marble statuettes, pottery, etc. As might have been expected, intaglio portraits were only incorporated in such studies by way of an 'appendix' on the grounds of comparisons with coinage. Although these intaglios are of course not identified by any direct evidence (e.g. inscriptions), it seems that they still deserve more consideration. Not only do they relate closely to coinage, ' See R.R. R. Smith, H,llmisti, Rayo/ Portraits(1988), eh. 5 and]. Art in tli, H,llnristit:At< (1g86), 31~.

J. Pollin,

and indeed to a much further extent than sculpture or terracottas could reasonably be expected to, but they are also potential sources of information on many aspects of the private use of portraiture: namely, its use by the rulers themselves, as illustrated by exceptional pieces like those signed by Lykomedes (no. 5), 34-42; cf. Smith, Hel/nastit Royal Portrtlits,19. ,,. CRAI (1967), a86. 118. "' Smith, Helktlisti, composed in the early rst cent. AD. Portions of another Latin version of Aratos' poem, by the 4th--cent. .u>poet Rufius Festus Avienus, have been added to the Leiden text. Sec R. Katzenstein and E. Savage-Smith, Tlrt Lndtn Aratta: Ancient Corutellotio,uin o M,dirool Monwmpt (1988), 5~1' Ibid., 26. fo. 38' (PiSC1'S); 30. fo. 56' (Delphinus). " Cf. Noplts, no. u5. " From the Hildesheim Collection; Zanker, PoJPtrof Images, fig. 144.

CHAPTER

8

Stylistic Groups and Chronology The study of the correlation between style and subject-matter in the previous chapters has suggested that certain subjects were thought to call for a particular stylistic treatment. Portraits in particular were always executed in a varying mixture of realistic and idealistic features until the verism of the late Republic. The latter, satisfying the tastes of Roman patrons, was introduced, or at least successfully adopted, by Greek engravers to answer the new demands of their market. 'Baroque' and post-'baroque' features were invariably used to represent the gods and there was an increasing influence from sculpture. The more the latter became decorative and light-hearted, the easier it became for gem-engravers to adopt its iconography, and therefore its style as well. Having stated that, however, one has to recognize that stylistic groups in the Hellenistic period function in a totally distinct way from those of the Archaic or the Oassical periods. There, common stylistic and technical features almost certainly suggest common origin and date. In the Hellenistic period on the other hand, this is far from being the case. Style then becomes a more conscious choice, as much that of the artist as of the patron, a choice dependent upon the iconography but also the function of the work in question. The work of Onesas (nos. 376--8) discussed in Chapter 6, and also that ofGnaeus (nos. 620 and 622), are good examples of an artist's versatility in order to meet his patron's requests, especially in the later periods. Again, the more one advances into the Hellenistic period, the more one finds styles being transferred from place to place. At times, the patterns of this transportation can be explained in view of contemporary historical events. In several cases, however, the explanation proves not to be as straightforward. The extensive series of glass intaglios discussed in Chapter 6 (nos. 200-74) present a remarkably close proximity of subjectmatter and stylistic idiom. This was evidently the result of common origin and, subsequently, consistent copying. The extent to which these groups can be placed and dated, however, is limited. The unknown provenances for most of the group obscure even more what must have been a complicated pattern of movements and counter-influences in antiquity. Moreover, the repeated moulding of new intaglios from old ones has resulted in the survival and continuous reproduction of a (limited) repertory of early Hellenistic types until much later. Naturally, this renders their dating virtually impossible, since

the glass beads are difficult to date on the basis of their technique. A greater concentration of provenances (often indirect) in the West suggests that the main production of the series took place there, perhaps in Rome itself. The late second-century Ptolemaic garnets and groups related to them' are also difficult to explain as a single phenomenon. It has been shown that, judging from style, iconography, and technique, two centres producing these garnets from the end of second century on can be distinguished. Alexandria was one, perhaps the main and most important, and the Levantine coast the other, perhaps an offspring of the former. 2 The Levantine garnets are distinguished not so much on the grounds of their style as on that of their subject-matter, which is in close relation with local coinage. Even so, their quality is rather inferior to their Alexandrian counterparts, their execution tends to be poorer, and their iconography less imaginative. This far seems quite clear. Nevertheless, several garnets, stylistically and technically akin to the two groups, can be shown to be of a remote date and/or different place of origin. To the extent that portrait identifications can be trusted~d these seem quite certain-portraits of Seleucids (nos. 71, 73, and 8o), a Pontic prince (no. 101), and Flamininus (no. 611) are engraved on garnets that, if they had not been identified, would have been included among the Ptolemaic garnets. 1 Some of these connections can be accounted for; others, and notably Flamininus, cannot. The latter in particular is rather early and, engraved as it was in mainland Greece, cannot be linked with the rest. Accordingly, and although tendencies and trends can be recognized (garnets becoming more and more available and popular, portrait types being standardized and becoming 'international'), the term 'group' can only be loosely applied here. With the development of neo-classicism in second-a:ntury Hellenistic art, the relation of glyptic with sculpture, and the influence of the latter on the former, becomes more direct and obvious. Mainland Greece was the field of action of Classicizing and neo-Attic workshops, and one would assume that relevant 1

Ptolcmaic portraits:

noa. 340-75.

D09.

8--9,1>--15,35; Isisbusts: n09.

51--63; Other busts:

'4-8;µ1-39. • And they were indeed associated with the group, in Spier, 'Ptolcmaic Engraved Garnets', nos. A (=no. 101), B (=no. 71), C (=no. 74), D (=no. 8o), and G (= no. 611), where a spc:cial n:lationship of these portraits with the Ptolcmaic pmcts wu suggested. ' N09.

STYLISTIC

GROUPS

styles in glyptic were also generated and applied there. The widespread appeal of Oassicism, however, as discussed in Chapter 6, indicates that many intaglios in Oassicizing styles with no provenance attached to them may well have been made and used in the Seleucid East, Pergamon, Pontos, or Ptolemaic Egypt. In fact, one of the dancing satyrs discussed among the nt»-Attic styles of Chapter 6 (no. 433) comes from Alexandria. Dionysiac subjects in particular must have been quite at home there, since Dionysos was one of the patron gods of the Ptolemaic family, several members of which were directly identified with him. Notably, Ptolemy Auletes was styled 'Neos Dionysos', and Dionysiac imagery must have been employed in court and related art with renewed interest. One would perhaps find that the advent of ntr body

a. single aa3. Munich, Antikc Miinzsammlung A 7S Oval glass, brown, with convex face and flat back; only the lower half preserved, 14x 10 x s; Munich, i, no. 457. 224. Berlin, Staatlichc Musccn 1o6o As above; 18 x 12; Aphrodite leaning on a henn, holding mirror in her right hand; Berlin, Antifuariu,n, no. 1o6o. 225. Berlin, Staatlichc Musccn 1oss As above; 2s x 18; with dove; Berlin, An1ifuarium, no. 1os5.

121

ii. Rela1td: Dwnysos; Hmnn; Eirtne

23s. St Pctcnburg, Hermitage Oval comelian with convex face; 18 x 11; Dionysos, naked, holding thynus; AG i, pl. XXXIV.21. 236. Munich, Antikc Miinzsammlung A 56 Oval glass, brown, with convex face and flat back; once in the Bcrgau Collection, Niimbcrg; 16 x 13x -4;duplicate of the above; Munich, i, no. 568. :137. Collection unknown Oval jacinth; from Palermo, once in the Evans Collection; Hermes, with himation on shoulden and around left arm, lteryltrio,,in his right hand; AG i, pl. xxxr.36. 238. Collection unknown Oval comelian; once in the Robinson Collection; Eircnc, with sceptre in her right hand, holding Plutos in her left arm; AG i, pl. xxxr.34. :139. London, British Muscwn 7:1.6-4.1183 Oval garnet with convex face; 21 x9; BM, no. 116a; Richter, Eniraved Gems oftht Grttlts and Etrus,ans, no. 5aa; LlMC m DIONYSOS :153. 240. Collection unknown Oval ring-stone with convex face; no pillar, thynus with long tacnia; AG i, pl. XXXIV.aa.

b. with Eros

za6. Munich, Antike Miinzsammlung A 77 Oval glass, brown, with convex face and flat back; 19x , 5 x 5; Munich, i, no. 456. za7. Munich, Antike Miinzsammlung A 79 As above; bought in Rome; 21 x 16 x 6; MU11ichi, no. 459. 228. Berlin, Staatliche Musccn 1os7 Oval glass with convex face; 1s x 11; Berlin, Antif,ulritnn, no. 1057. 229. Berlin, Staatliche Musccn 1056 As above; 22 x 15; Berlin, Antifuarium, no. 1056;AG i, pl. XXXJV.45. vii. Rtla1td: Niltt

230. Berlin, Staatliche Musccn 1o6g Oval glass, violet, with convex face; Nike with thunderbolt; 21 x 16; Berlin, Antiquarium, no. 1o6g.

Group II. The Coant Styles i. Aphrodite, frontal, himation round her thiih, llltribuu.

231. Munich, Antike Miinzsarnmlung A 1533 Oval garnet with convex face and flat back; bought in Rome; 19x 12x 4; with car-rings and branch; Munich,i, no. 556. 232. New York, Metropolitan Musewn of Art 17.194.26 Oval glass, brown, with convex face; 32 mm; large car-rings, armlets, necklace, flower; MMA 1920, no. 71; MMA Handboolt, 150, pl. 126; MMA, no. 158. 233. New York, Metropolitan Museum of Art 81.6.15 Oval comelian with convex face; 25 mm; with fan; King, Ant~ Gems, Il, woodcuts, pl. xxxv.6; Osborne, Env11ved Gmu, pl. xrv.3; MMA 1920,no.73;MMA,no. 159. 234. Copcnhagm, Thorvaldsen Museum 263 Oval garnet with convex face; 16x8; with fan; AG i, pl. xxxiv.15; Thorvaldsnr,no. 24.

iii. Aphrodite, frontal, ho/Jini htr himation behind htr body and around htr thi!h

241. New York, Metropolitan Museum of Art 17.194.27 Oval glass, brown, with convex face; 32 mm; with long car-rings; MMA 19zo, no. 72; MMA Hand/Joolt,no. 150; MMA, no. 157. 242. Munich, Antikc Miinzsammlung A 62 Oval glass, brown, with convex face and flat back; 27 x 15x 4; Munich, i, no. 571. 243. Munich, Anti.kcMiinzsammlung A 63 Oval glass, brown, with convex face and flat back; 29 x 15x 5; Munich, i, no. 572. 244. Berlin, Staatliche Musccn 1045 Oval glass, brown, with convex face; 20 x 13; Berlin, Antiquarium, no. 1045• 245. Gottingen, Archiologischcs lnstitut G 207 Oval glass, red-brown, with convex face and flat back; 33 x 17 x 5; Gottinieri, no. II. 246. Copenhagen, Thorvaldsen Museum 264 Oval glass, brown, with convex face; 30 x 17; two Erotcs, one above her right shoulder (wingless), and one by her left side; Thorvaldsen,no. 23. iv. Anadyomme and rekvant types

247. Munich, Antikc Miinzsammlung A 15o8 Oval olivine with convex face and back; from Alexandria; 17x 14x 6 (lower third missing); Aphrodite in the Anadyomcne motif; Munich, i, no. 354. 348.London, British Museum 1923.4-1.135 Oval glass, imitating sard, with convex face; 23 x 13; BM, no. 1213; Richter, Eniroved Gems of the Grttlts and Etruscans, no. 562. a.fAJ.Berlin, Staatlichc Musccn 1046 Oval glass, brown, with convex face; upper two thirds preserved, 18x 15; with round car-rings, armlets, necklace; Berlin, Antifuarium, no. 1046.

122

CATALOGUE

v. Apl,roditt JPitJ,himationrtnmdher loll)trbody and 1,1,ms

:ri. Di011ysos, fro11tal,with himatiDfltrVtr his thigh, and attribuus

:150. Baltimore, Walten Art Gallery 42. 1:128 Oval pmet with convex faoc and Rat back; as mm; with armlets and bracelets; Eros over her left shoulder; ]Walt., 6 (IC)43)66, 6.g. 6; Gemsoftl,e Greeksand El"'1&am,no. 547; L/MC Richter, E11graved

a66. Berlin, Staatliche Musccn 1044 Oval glass, brown, with convex face and flat back; 33 x 12; with thyrsus; Berlin, Antifru,rium, no. 1044. 267.Berlin, Staatliche Musccn 1043 As above; 28 >ithlyre or kithara 011pillar

261. Gottingcn, Archiologisches Institut G 208 Oval glass, with convex face; 25 >ts,86; G. Platz-Honter, NitderdtvJs.l,eBtitriigt %fir Krmstgaclu&htt, 34 (1995), 9-25. 276. Oxford, Ashmolean Museum 18ga. 1515 Oval comelian, with convex face and flat back; from Tartus (ancient Antarados); 35 x aa x,.; Aphrodite or nymph, wearing stcphanc, dressed in chiton and himation, lifting the end of the latter with her left hand, leaning on a pillar, holding filleted sceptre in her right hand; Richter, E11grawdGems of tl,e Greth and Emu.am, no. 550; GGFR, no. 1002;Aslmwlta11,no. 376. :177. Braunschweig, Herzog-Anton-Ulrich-Museum 19 Oval comelian, with convex face and flat back; a6 x 16 x,.; Nike, in peplos and himation, leaning with her left arm on a pillar, holding a no. 19. dove in her right hand; Brarms&hll)tig,

CATALOGUE :1178.Paris, Cabinet des Medailles 1474 Oval comelian with convex face; from the 'Orient'; muse, in peplos, leaning on a pillar, holding double flute in her right hand; tk Cler,q, no. 2840;AG i, pl. XXXJ.38. ii. Atl,nu,

•·

1:23

Copenhagen, Thorvaldscn Museum 93

Oval garnet, with convex face; goddess or woman in front of column;

AG i, pl. XXXJV.6; Tl,orv11ulsm, no. 533. 393. Collection Unknown Oval ring-5tone, with convex face; as above; AG i, pl. XXXJV.7.

:1179.London, British Museum 1146 Oval sard, brown, with flat face; 36 x 18; Athena, in pcplos, stands to

the left, holding spear in her left hand and thunderbolt in her right; AG i, pl. XXXl.37; BM, no. 1146;L/MC u AlliENA 259. 28o. London, British Museum 1147 As above; 24x 12; BM, no. 1147. :1181. St. Petersburg, Hermitage K 638 Oval jacinth with convex face; 18x 12; Athena in pcplos and himation, frontal, leaning on her shield with her right arm, holding spear on which a snakeis coiled in her left; Hmnitllft, no. 67. iii. Htlt11tt11ndTy,lu

:a8z. London, British Museum 1169 Oval jacinth with convex face; 17x 11; Hekate? in chiton and himation,

walkingto the left, with torch in her right hand; BM, no. 1169. :1183.Berlin, Staatliche Museet1S 230 Oval sard with convex face; Tyche, wearing himation round her legs, leaning on a pillar with her left arm, holding a cornucopia; Berlin, Anti.qutlrilnn,no. 1038. :a3♦• St. Petersburg, Hermitage K 625 Oval jacinth with convex face; 22 x 12; Tyche, dressed as above, with her left foot on a rock, holding cornucopia in her left arm; AG i, pl. XXXJV.u;Hem,itaie, no. 68.

iv. Fnn11kfiium in pep/os :1185.Berlin, Staadiche Musccn S 4662 Oval comelian with convex face; from the Greek Islands;lower half missing, 16x 13; Artemis in pcplos, her right hand on a shon pillar, holding arrow in the left; Berlin, Anti.qutlri""',no. 1041. :1186. Berlin, Staatliche Musccn S 8111 Oval cornelian with convex face; from Lemessos;lower part missing, 20 x Is; Artemis, in high-gin peplos, with arrow in her right hand; Berlin, Anti.qutlrium,no. 1042. a&,. St Petersburg, Hermitage Oval comelian with convex face; from Oiersonesos (tomb of the second-first century ec); Amymone with trident and jar. :a88. St. Petersburg, Hermitage Oval comclian with convex face, set in a gold ring {Type na); 18x 8; Artemis in high-gin peplos, with quiver and bow. :1189. c.ambridge, Fitzwilliam Museum B SS (CM) Oval comelian, with convex face; 13 x 17x 2; Aphrodite, in chiton and hirnation, leaning on a pillar, railing her right arm to her head and holding dove in the left hand; Fitzwillillm,no. 84. •· Paris, Cabinet des Mcdailles 4454, N.17/5/r5 Oval jacinth, with convex face; from San Pietro, Isola Lagosta (Lastovo); 19 x 14x ♦; Ancrnis in peplos, leaning on a pillar, with her right hand on the head of a deer; AG i, pl. XXXJ.42; Dllbntltu,, no. 3. 391. Collection unkno1t"II Oval comelian, with convex face; from Melos, once in the llobimon Collection; Artemis-Tychc, holding cornucopia in her left arm and phialc in right hand, above thymiaterion; AG i, pl. xxxr.41.

Tyche i. Ty,lu l,oldini 11tt,il,utes 394. Copenhagen, Thorvaldsen Museum 593

Oval garnet with convex face; 13x 18; Tyche, in chiton and himation, standing on rudder and holding its handle; cornucopia in left hand; Tlu>rVllulsm, no. zo. 395. London, British Museum 1174 Oval garnet; from Hillah, Babylon; zo x 11; Tyche, as above, but with long stall' ending in a crook; BM, no. 1174. zg6. London, British Museum 1173 Oval garnet with flat face; 14x7; Tyche holding cornucopia; BM, no. 1173. ii. Ty,lu assimi'4ttd1Z'itl, otlur ikit~s 397. Paris, Cabinet des MedaiUes Oval cornelian with flat face; from the 'Orient'; 40 x 26; Tyche, to the right, in chiton and himation, leaning on a pillar with her right elbow, and holding double cornucopia in her left hand, 611eted sceptre in the right; Richter, En,r11vedGnns of tlu Greth 11nd Etrusc1111S, no. 545. ZC)II.St Petersburg, Hermitage IV 1162 Oval glass, blue, with convex face; 23 x 19; lsis-Tyche leaning on a pillar, wearing peplos and himation, with thunderbolt in right hand and cornucopia placed Oil die pillar; AG~ pl. XXXIV.13. :1199.Berlin 1100 Oval amethyst, with convex face; 15 x 11; lsis-Tychc in knotted chiton Berlin, Antifui,rium, no. 1100. and cornucopia;AG i, pl. XXXJV.14. 300. Patras, ArchaeologicalMuseum 2130 Oval garnet with convex face; set in a gold ring {Type rva); 20 x 17; ADtlt 33. 1 (1978), 354~5, no. 5. 301. Ashmolean 1892. 1290 Oval glass, pale green, with convex face and back; 20 x u x 7; NikeTyche in chiton and himation with steering rudder and cornucopia; Asl,mok11n,no. 309.

iii. Otlurf ttuk jipres in simi/4rpostures 3o:a. New York, Metropolitan Museum of Art 41. 16o. 445 Oval glass, gn,cn, engraved on bod! sides {for the other side, sec no. 199); 27 x 18; Aphrodite, in chiton and hirnation, leaning on a pillar, holding sceptre in her right hand and dove in the left; MMA, no. 156B. 303· Collection unkno1t"II Oval jacinth, with convex face; Hekate, dressed as above, with torch and plaque; AG i, pl. XXXIV.5. 304. Collection unknown Oval ringstone with convex face; woman; AG i, pl. XXXJV.4. 305. New York, Metropolitan Museum of Art 41. 16o. 701 Oval cornelian, with convex face; 21 mm; woman, dressed as above, leaning on a pillar with her left arm, holding dove in her right; MMA, no. 155.

124

CATALOGUE

A Class Of Lau Htlltnistic Intaglios

A Suond Century Groupfrom Levantint Sius

3o6. Munich, Antike Miinzsammlung 194o8 Onyx scaraboid, engraved on the flat side; 40 x 30 x 20; Athena in chiton; AG i, pl. xxxm.12; M11nicl,i, no. 353. 307. Cambridge, Fitzwilliam Museum CM 74. 1982 Oval glass, violet-green, set in a green glass ring (Type IV); once in the Ionides and Wellcome C.Ollections; 32 x 21; goddess with torch; WtllcMM, no. 23. 3o8. Oxford, Ashmolean Museum 1892.1573 Rock-crystal scaraboid, perforated, engraved on the convex side; 31 x 20 x 13; Artemis in high-girt peplos, holding long torch; Asl,,no/tan, no. 302. 309. Oxford, Ashmolean Museum Fr. 78o Oval glass, violet, set in a green glass ring (Type IV); 34 x 22; as above; Ashrnoltan,no. 303. 310. Oxford, Ashmolean Museum 1974.450 Oval glass, violet, with convex face and flat back; 28 x 20 x 6; woman, in high-girt chiton and himation, holds phiale? in her raised hand, leaning on a pillar; Asl,,no/tan,no. 304. 311. Oxford, Ashmolean Museum FR. 95 Oval glass, with convex face and flat back; 22 x 17; as above; Ashmoltan, no. 3o6. 312. Vienna, Kunsthistorisches Museum IX B 779 Oval comelian with convex face; 20 x 13 x 3; reset in a modem ring, back rccut; as above, with sceptre or staff; Vienna,i, no. 29. 313. Munich, Antike Miinzsammlung A 1504 Oval comelian with convex face; bought in Crete; 29 x 14 x 3; Artemis with bow and arrow; Munich, i, no. 348. 314. Munich, Antike Miinzsammlung A 105 Oval glass, with convex faceand flat back; from Aetolia; woman, standing in front of tree; M11nich,i, no. 350. 315. Berlin, Staatliche Museen 1059 Oval glass, with convex face; 18 x 15; woman leaning on a pillar, no. 1059. holding pot; Berlin, Antif,u,ri11rn, 316. St Petersburg, Hermitage B 2153 Oval glass; set in bronze ring (Type nb ); 20 x 15; female figure in chit on and himation. 317. London, British Museum 1234 Oval glass, with convex face; set in a bronu ring (Type 1 = BM, Rinis, no. 1286); 20 x 15; woman leaning on pillar, holding bowl; BM, no. 1234. 318. London, British Museum 1235 as above; set in a bronze ring (Type m = BM, Rinis, no. 1287); 23 x 17; woman leaning on pillar, holding a palm branch in each hand; BM, no. 1235. 319. London, British Museum 1236 as above; set in a bronze ring (Type m = BM, Rings, no. 1288); 29 x 20; woman leaning on pillar; BM, no. 1236. po. London, British Museum 1237 as above; set in a bronze ring (Type IV= BM, Rinis, no. 1289); 35 x 8; woman with staff or spear; BM, no. 1237.

(all intaglios below are oval garnets with flat face and convex back, unless otherwise stated)

i. Tycht a. Tyche crowned with city walls, hair in roll, forming a knot at the back of the head, locks along the neck and beside the ear 3:n. C.Ollection unknown Once in the C.Ollection de Qercq, from Tartus (ancient Anr.arados); 19 x 15 x 3; tk Cltm/, no. 2972 (as glass); Spier, 'Ptolemaic Engraved Garnets', no. 30. 3u. C.Ollection unknown Once in the C.Ollection de Oercq, from Tartus; set in a gold ring (Type vtb); 17 x 13; tk Cltm1, no. 2973; Spier, 'Ptolemaic Engraved Garnets', no. 31. 323. C.Ollection unknown Once in the C.Ollection de Oercq, from Tartus; set in a gold ring (Type ix); 22x 16x2; tk Clem1, no. 2971; Spier, 'Ptolemaic Engraved Garnets', no. 29. 324. Bloomington. Indiana University Museum 76.85.15 Once in the Burton Y. Berry C.Ollection; 18x 14x~ Spier, 'Ptolemaic Engraved Garnets', no. 28. 325. C.Ollection unknown Once in the Greville Chester C.Ollection; allegedly found in San (Tanis) in 188o; W. M. F. Petrie, Tanis, i (1883-4) pl. xii.10 (drawing). 326. C.Ollection unknown Once in the C.Ollection de Oercq; set in gold ring (Type vw); 17 x 12 x 3; tk Cltrcq,no. 2974 (as glass); Spier, 'Ptolemaic Engraved Garnets', no. 32. 327. C.Ollection unknown Once in the C.Ollection de Oercq, from Amrit (ancient Marathos); tk Cltr,q, no. 2975. J:28.Paris, Cabinet des Mcdailles With convex back; 26 x 21 x ,4; the figure wears a veil over the back of her crown; CdM, no. 95 (as Arsinoe III assimilated to Tyche). b. Tyche crowned with city walls; com-and-ithlong11>11vy hai,, n11lted hutfrom a loostd,apny ,ou,uJtht sho11Jdtn. 511. The Hague, Royal Coin Cabinet 1672 Oval chalcedony with flat face; 29 x 25; Richter, En1,avrd Gmu of lht Grttlts a,uJEtruscans,no. 6o1; Tht H111ut,no. 26. 512. St Petersburg, Hermitage X6:22 Oval prasc with convex face; AG i, pl. xxxv.9; Vollenweider, 'Cour de Mithradate', 51. 3 (as a portrait of Mithradatcs Eupator). 513. Berlin, Staatlichc Musccn 6273 Oval glass with flat face; lower half missing; Berlin, A11tifi,arium,no. 6273, 514. Berlin, Staatliche Muscert 4794 Oval glass with flat face, once in the Bartholdy and Uhdcn collections; seen from the back, as the Galene busts, above; Berlin, A11tifi,ari11m, no. 4794. 515. Copenhagen, Thorvaldsen Museum 631 Oval glass (black) with flat face; as above; 14 x 12; Thoroaldsm,no. 1099. 516. Collection unknown Oval intaglio with flat face; AG i, pl. xxxv.8. 517. Collection unknown Oval aquamarine with flat face, once in the Ionides Collection; AG i, pl. xxxvm.28. 518. Collection unknown Oval intaglio with flat face; AG i, pl. xxxv.11.

CATALOGUE 519. Collection unknown

Oval chalcedony, once in the Lord Harvey Collection; 29 > 341

w 343 345 346 347 348 349 350 35 1 36o 376 377 378

Btrlin 213 214 215 219 223 :225 :227 228 230 381 382 393 418 558 559 s6o

3o8

309 310 311 JOI

654 655 6o3 476 475 II

161 634 703 704

65.2 653 597 5,S

599 6oo 6o1 6o:a

60.4 38:a 191

66' :a76

315 .233 181 571, 163 379

614 + 657 1,3

144 107 + 70:2 635

436

-to8 391

619 661 661. 663

CONCORDANCE

140

Berlin, Antiquarium 614 1009 1036 163 253 1037 1038 283 1041 285 286 1042 1043 267 266 1044 1045 244 1046 249 252 1047 1048 259 26o 1049 1055 225 1056 229 228 1057 216 1058 1059 315 1o6o 224 1o61 :n8 1o63 174 1007 379 1o68 425 1o6g 230 1070 545 1o81 449 1o82 450 1091 40 1092 41 1093 39 1094 47 1096 29 1097 38 1100 299 1105 181 11o6 564 1107 565 11o8 566 1109 5'7 1110 525 1111 529 1112 530 IIIJ 527 1114 528 1115 526 1116 531 JI 17 568 1118 5'9 1119 570 1120 571 1121 572 1122 573 1124 574 1125 574 66o 1129 1130 659

II31 1132 1213 4792 4794 6271 6272 6273 6955 '966 11322

638 '46 575 488 514 487 520 513

486 391 14

Berry

44 BM 565 6o8 n28 n43 1144 1145 1146 1147 1149 1150 1151 1152 1155 1157 1158 1159 1161 1162 1163 1164 1166 1167 116g 1171 1173 1174 1175 1176 1177 1179 1182 1182• 1184 1185 1186 1187 1188 1191 1192 12o6 1213 1217

16o

196 43° 170 378 4'4 465 279 28o 265 159 38o 381 200

550 533 534 535 239 589 590

89 192 282 457 zg6

295 370 521 389 197 138 133 90 177 334 76 99

141 386 7o8 248 2o8

1219 1221 1222 1224 1227 1228 1229 1234 1235 1236 1237 1271 1275 1593 1781 1782 1785 1829 1830 2945 2946 2947 2950 2951 2978 2979 298o 2981 2982 3025 3o34

2'9 478 479 404 42

86 37 317 318 3 19 320 185 356 441 1S, 116 186 474 471 419 420

421 417 418 442 443 444 445 446 88 628

Braunsd11Peig 277 19 CdM 34 35 42 90

91 92 95 102 103 109 172 173 178 179 18o 184 185 202 2o6 209 210 223

393 394 129 330 66 65 328 17 104 34 72 21 16 26 74 120 75 70 96 502 503 20

CONCORDANCE

;u5

119

Chaptlk

117 122 158 Do/maria 3 5

34H 473 44

290

46

DeClmq

2834 2840 2B41 2B42 2843 2861 2862 2863 2887 2891 2894 2895 2896 .2CJ04 24H7 2954 2971 2972 2973 2974 :1975 2979 2,SO 2981 2982 2985 2986 2988 2989 2990 2991

401 :178 166 451 +o5 74 21

2994

406

3029 3051 3o82 3o83 3090 3092 3094 3095 3096 3097 3155 3156 3157 3158 3159

;&O

6o5 166 335 33:1 339 338 6o6

6o7 323 3:11 322 3:16 3:17

'4 65 66 68

4 14 4 15 416 5o6

6o7 6o8 6og 344 431 400 610 542

56:a 543 563 544 675

676 677

678 679

316o 3161 3162 3179 318o 3207 3223 3340 3341 3342 3343 3344 3345 3346 3365 DLeonis 6o 62 76 257 258 270 Firun/lillm 74

s.

Genroa,ii 34 58 62 63 Genroa,iii 219 220 Gmy 21 218

68o 681 68:a

683

611.f 615 351

'9o '91 '9:a '93

'94 '95 '96 639 341

J46 188 369 24

'9 385 a8c}

25 83 63 49

91 121 349

105

GGFR

996 997

998

636 384 142

999

1000 1001 1002 1003 1004 1015 Gii11ingen II 12

13 19 Hanover 26 29

137 157 :176 475 6:a6 625 .i45 261 ;&04 549

162 272

141

30 31 32 33 Harari 29 30 31 45 47 51 53 Htnnilaft 52 53 55 56 57 58 61 62 63 65

6'

273 217 532 167 371 59' 674 53 673 158 651 398 16.f 95 78 31 8:a 18 190 490

467 a81

68 a8.t 81 270 85 411 112 630 ln1a1liosand Rinis 56 155 268 57 lonuks 14 157 15 384 62o 18 361 23 672 39 671 40 510 43 Jucker-Willers

131 132 133 134 135 Karapanos 38 127 129 2o8 237 288 355 Lewis 335

3'9 84 12

24

395 1o8 410 409 39:1 504 36o 71

333

142

CONCORDANCE

U'/IJtS

93 94

95 97 98 102 114 MMA 146 148 150 151 153 155 156A 156B 157 158 159 16o 388

626 627 48 137 139 165 709 182 97

.f8o 481 169 305 199 302 241 232 233 263 472

Mimi&I,, i

340 345 348 350 353 354 365 366 367 368 37° 374 375 37' 377 378 379 38o 381 382 383 384 385 386 393 399 401 402 403 417 425 429 430

S24 183 313 314 3o6 247 647

6.fo 641

64:&

644

372 374 373 375 3S9 329

4S

664 648 658 650 64s 643 7o6 1 45 591 S92 593 537

'49 707

'97

431 432 433 434 435 438 439 440 441

698 700 147 701 6C)9

w

637 SS 56 57 362

443

342

444

364 352

445 446 447 451 452 453 454 455 456 457 458 459 46o 461 462 463 464 465 466 470 472 475 493

340 100 666

668 685

669 20:&

226

223 211 227 214 21:& 213 219 220 221 556 S53

49S

558 536 423 461 485

496

484

497

48:&

4911

483

494

515 516 517 518 519 524 525 527 529 532 533 536

10 13 171 173 17:& 4S3

531

424

546 547 556 559

538 539 231

686 688

68-J 68g

670 II:&

2 55

56o 561 562 563 564 565 566 567 s68

569 570 571 572 58o 581 583 585 586 587 589 590 595

596 597 5g8 6o6

6o-J 6o8

254 205 :&06 :&fY1

:&6:&

S54 258 257 236 256 274 242

243 594

595 271 113 146 73 551 552 55S

S57 S59 56o 439 432 433 46o

610 611 462 612 4'3 Mrurieh,ii 17S 1289 176 1290 Naples 3 3S7 358 4 18o 215 Richter, E,sgr11ved Gmu of tireGrttlts atSdEtrw,am 382 249 161 250 521 159 522 239 163 523 524 :&'9 527 404 195 529 19' 530 197 S31 1,S 532 38o 540 541 398 544 37' 545 297 250 547

143

CONCORDANCE

549 550

552 553 556 562 566 567 568 569 571 575 576 579 58o 581 582 597 6o1 6o2 612 615 616 617 630 621 622 633 624 628 630 631 632 633 635 636 637 639 '46

'48 649 650 651 652 653 655 656 657 662 663

664 665 666

667 668 66g

670

464 276 165 378 199

:&,48 386 388 191 389 192 387 407 478 479 475 ~

142 511 377 3 36 20 31 120 17 16 139 104 43

38 39 40

177

.s

30 43 368 99

92 85 86 76 148 90

70 74 75 139 141 138 137 133 97 130 131 132

675 676 677 682 685

611 618

40 41

3-46 J.41

IOI

42

350 617

43

3-42 340

Richter, Eniravtd Gems of the Romans

178 241 2.µ 287 634 655

43-4 471 472 470 619 709

664

614

693 6g6

448 474 623

699

469

694

Richter, Portraits oftht Grttlts

178o

27

Spier, 'Ptolcmaic Engnved Garnets'

3 3 4 5 6 7 8 9 10 II

12 IJ 14 15 19 20 21 22 23 24 25 26 27 28 29 JO 31 32 33 34 JS 36 37 38 39

35 8 22 13 13 9 33-4 335 332 333 336 337 58 59 61 64

65 66 68 6o

"1 368 369 331 324 323 321 322 326 339

339 363 362 3-43 344

345

44

47 48 49 50 SI 52 A B C D

E F

338 365 349

348 350 351 639 101 71 74 8o 137 91

Thtllo,w

24 25 26 IOI 1o62

168 193 511

364 447

Tlwrvaldsn, 20

294

23 24 25 26 JO JI 33 34 35 37 219 222 223 224 227 256 257 259 261 262 263 533 810 1048 1059 1o82

246

1099

JJOO IIOI II02 JJOJ 1104

23,4 251

sS. 54' 547 3 576 577 705

548 578 579 58o 581 582 583 585 586 587 588 292

438 353 353 336 515

496 497

498 499

SOO

CONCORDANCE

144 1105 I 13I 1134 1155

501 390 39' 194

Vinlna, i

27 28 29 32 33 34 35 36 37 38

184 156 312 33 135 134 81 114 110 1o6

Vinlna, ii

56o 577

201 203

Vollenweider,Portratzmrmm .µ.1 613 614 42.6 611 44.1-2 611 45·1 46.4 615 612 53-1 618 59.4 112.1 617 621 136.1 Walurs

135 136 140 141 142

347 IOI

30 50 58

Wei/come

23

307

WJ,ite-uvy

141d

:uo

Wurzhuri

522 507 503 509 109

47 50 51 52 62 67

77

8o

C)8

155

4'9

INDEX Entries in italics refer to terms from Greek and Latin which might not reflect modem usage, especially names of gemstones Achaernenid art 105 Achaios, usurper to the throne of Syria (:220-214 BC) S4, 51H} Addaios, Hellenistic poet 8g n. 182 Africans, portraits of 5C)-6o Agatharchides of Knidos, geographer , o6 Agathokles, Alexandrian courtier 1 1t atyieus pillar, on gems 78 AlunobarbusBase 96 Alexander DI of Macedon (336-323 ec): and Augustus 6o and the conquest of India 58 as HerakJes 61, 85--6 and Mithradatcs Eupator 6o portrait-type of 54, 58, 59, 6o-2, 63, 73, 107

and Zeus 67

Akxarukr Mosai, 59, 61-3 Alexandria: gems from 42-54, 61H},71-3, 75, 76, 78, IOI Bo-3,84-5,86,91, rings from 69,78 Alexandria at lssos, seal impressions from 30 Amrit, SU Marathos Amphitrite 96 Amymone, on a gem 107 animals, on gems 99 Antarados (in Phocnicia), gems from 76, 8o Antony (M. Antonius), coinage of 50 gem of 107 portrait of 94 Apclles, court painter 6o, 67, 107 Aphrodite, Anadyol'flfflL7 S armed 61H} on gems 66, 61H},73--6, 81-3 Ptolcmaic queens in the guise of 49, 78 and the Ptolcmies 50 Apollo: on gems 66-7, 73--6, 110 lritharoidos66-7 and the Ptolemies 44-5 and the Scleucids SS Apollo Kitharoidos,by Timarchides 67 n. 10, 85 Apollo Patroos,by Euphranor 66-7 Ara Pa,is 96, 99 Arabia, source for gems 1o6 Arados (in Phoenicia): I , 79 coinage of 5-and the Ptolcmics 50-1, 53 Archelaos, King of Cappadocia (36 BC-AD 17) 10

'Archelaos relier 49 Arianthcs VI ofCappadocia (120-ur BC), portrait of 57, 65 Ariarathes IX ofCappzdocia (1oo--88 BC), coin portraits of 56 Aristion, Athenian politician 56 Aristotle 7--8, 108 Arsinoe I, mother of Ptolemy II 43 Arsinoe II of Egypt: and Agathe Tyche 78 and Aphrodite 49-50, 78 attributes of 47, 78 coinage of 47 cult of 43, 52 and Dioskouroi 82 imagery of 42, 45, 47--8, 69,70-1 and Isis 52 portraits of 47, 49-50, 51, 106 Arsinoe III of Egypt: and Dioskouroi 82 imagery of 42, 45, 49 portraits of 49, 50, 5 I Artemis Brauronia temple, inventories Is Asander King of Bosporos, coin portraits of 56 Asklepieion (Athens), temple inventories 15-16 Asklepios, on gems 81 Athena, on gems 77, 82, 84, 87 Athena Lemnia,by Pheidias 84 Athenian, Athenian envoy to Mithradates 56, 111 Augustus: and Hermes/Mercury 8g on gems(?) Be),96 patron of gem-engravers Be),96-7 seal of 22 Aura, on gems 96 Azara Herm 6o, 61 Babylonia, seal impressions from 30-1 Berenike I of Egypt 42-3, 47--8, 50 Berenike II of Egypt 42-3, 48, 49, 50, 62-3, 64},8o Black Sea, and the Ptolemies 49 Bosporos, kings of 58, 65 Bryaxis, sculptor 67,71 Cades, Tommaso, 18th cent. engraver and copyist J

cameos: origins of SS

Ptolcmaic 46, 51, 53, 100--1 representing Isis SJ representing Medusa 81H} representing Mithradates VI of Pontos 56 representing Tyche 8o Roman 91, 99 royal S9 Seleucid 102 Carthage, seal impressions from 23 ,hreophylaies 30-1

coinage: and royal imagery 42, S3, 62-3 91, Republican 46, S7, 85--6, 88, 8c.r-9, 92, Ill su alsodie-cutters and gem-engravers Cornelius Gallus, governor of Egypt 28 Cos, and the Ptolcmies 4 7 Cup of the Ptolemies,sardonyx cup 102 Cybele (with Men), on gems 83 Cyprus: and the Ptolcmies 49 gems from 77, 78 rings from 49, 78 Cyrene, seal impressions from 21H}, 82 Delos:

seal impressions from 32, 46, 66, 78, 81, 83, 91, 93, IOC) temple inventories 16-17 Demeter: on coinage 50 on gems 64} Dcmokritos 10 die- BC) SS, 58--