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 CATALOGUE OF THE 
 
 SOUTHESK COLLECTION 
 
 OF ANTIQUE GEMS 
 
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CATALOGUE OF ANTIQUE GEMS 
 
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CATALOGUE OF THE 
 COLLECTION OF ANTIQUE GEMS 
 
 FORMED BY 
 
 JAMES NINTH EARL OF SOUTHESK K.T. 
 
 EDITED BY HIS DAUGHTER LADY HELENA CARNEGIE 
 
 IN TWO VOLUMES 
 
 VOL. I 
 
 EGYPTIAN ASSYRIAN SYRIAN PHCENICIAN 
 GREEK ETRUSCAN ROMAN 
 
 LONDON 
 
 BERNARD QUARITCH 
 II GRAFTON STREET BOND STREET W. 
 
 MCMVHI 
 
CONTENTS 
 
 Page. 
 
 Preface ... .. vii 
 
 Class A Scarabs, Cut Scarabs : Greek and Etruscan . i 
 
 Class B ScARABOiDs, Cut Scaraboids ; Greek and Etruscan. 24 
 
 Class C Deities: Male and Female . 30 
 
 Class D Semi-Deities ; Genii; Personifications... . 52 
 
 Class E Heroes ; Legendary and Mythical Personages . 60 
 
 Class F History; Religion; Daily Life. 79 
 
 Class G Animal Forms . 90 
 
 Class H Symbolical; Chimerical ... ... ... ... ... ... 97 
 
 Class 1 Masks; Grylli ; Inanimate Objects; Inscriptions. 105 
 
 Class J Portraiture: Greek and Roman . iii 
 
 Class K Greek-Egyptian ; Roman-Egyptian ; Early Christian ... 119 
 
 Class L Engravings on Gold ... ... ... ... ... ... 127 
 
 Class M Cameos. 131 
 
 Class N Gnostic; Mithraic; Talismanic . 136 
 
 Class O Early Egyptian ; Assyrian ; Syrian ; Phcenician ; Early 
 
 Greek . 197 
 
 Index .. ... 219 
 
 ( V ) 
 
LIST OF PLATES 
 
 Plate I 
 Plate II 
 
 Plate III 
 
 Plate IV 
 
 Plate V 
 
 Plate VI 
 Plate VII 
 
 Plate VIII 
 
 Plate IX 
 
 Plate X 
 
 Plate XI 
 
 Plate XII 
 Plate XIII 
 Plate XIV 
 Plate XV 
 Plate XVI 
 
 Plate XVII 
 
 Scarabs, Cut Scarabs : Greek and Etruscan, A i to 26. 
 
 Scarabs, Cut Scarabs: Greek and Etruscan, A 27 to 42. 
 
 Scaraboids, Cut Scaraboids : Greek and Etruscan, B i to 9. 
 
 Scaraboids, Cut Scaraboids : Greek and Etruscan, B 10 to 12. 
 
 Deities: Male and Female, C i to 22. 
 
 Deities: Male and Female, C 23 to 40. 
 
 Semi-Deities; Genii ; Personifications, D i to 7. 
 
 Semi-Deities; Genii; Personifications, D 8 to 17. 
 
 Heroes; Legendary and Mythical Personages, E i to 15. 
 
 Heroes ; Legendary and Mythical Personages, E 16 to 39. 
 
 History ; Religion ; Daily Life, F i to 22. 
 
 Animal Forms, G i to 3. 
 
 Animal Forms, G 4 to 20. 
 
 Symbolical ; Chimerical, H i to 8. 
 
 Symbolical; Chimerical, H 9 to 15. 
 
 Masks; Grylli; Inanimate Objects ; Inscriptions, I i to 16. 
 Portraiture: Greek and Roman, J i to 18. 
 
 Greek-Egyptian ; Roman-Egyptian ; Early Christian, K i to 3. 
 Greek-Egyptian ; Roman-Egyptian ; Early Christian, K 4 to 18. 
 Engravings on Gold, L i to 6. 
 
 Cameos, M i to 9. 
 
 Gnostic; Mithraic ; Talismanic, Class N. 
 
 Gnostic ; Mithraic ; Talismanic, Class N. 
 
 Gnostic ; Mithraic ; Talismanic, Class N. 
 
 Early Egyptian ; Assyrian ; Syrian ; Phoenician ; Early Greek, 
 O I to 20. 
 
 Early Egyptian ; Assyrian ; Syrian ; Phoenician ; Early Greek, 
 O 21 to 40, 
 
 ( vi ) 
 
PREFACE 
 
 Excepting a few previously acquired, this Collection of Gems was 
 begun in 1878. Of the four hundred and forty-nine objects (ex¬ 
 cluding the Cylinders, which number one hundred and fifty-one) that 
 compose it, a large proportion is from collections recently disposed 
 of by public sale ; others have been obtained by private purchase 
 from well-known collectors ; a number derive directly from Con¬ 
 stantinople, Bagdad and the East, Athens, or Naples ; and of the 
 remainder nearly all were bought in London, many of them, 
 however, from collections sold in Paris. 
 
 Few of the gems can be traced back to earlier collections than 
 those of their last possessors. The following names of previous 
 owners may be more or less confidently stated :—Nott, Tassie, 
 Pulszky, Hertz, Le Turc, Hahn, Count M. Esterhazy, Arundel. 
 Two remarkable gems come from the P. H. Hope Collection ; 
 one (probably two) from the Praun ; three, from their settings, 
 appear to have belonged to the Beckford. There are also several 
 gems from collections of less note, or bearing unknown collection- 
 numbers, and many more might be identified were the means 
 available. 
 
 Illustrations of certain of the gems appear in works by the late 
 Rev. C. King, in Hertz’s Folio Catalogue of the Hope Collection^ in 
 Professor Middleton’s Ancient Gems, Munro’s Horace, Raspe’s 
 Fassie's Gems, Lajarde’s La Culte de Venus, and Furtwangler’s 
 Hie Antiken Gemmen. 
 
 In this catalogue the descriptions of the gems apply to Impressions, 
 except as regards Cameos and certain Talismanic or Gnostic 
 intaglios, which were not used as seals. Cylinders, though meant 
 
 ( vii ) h 
 
for sealing, have been described from the Originals, their form 
 rendering it hard to obtain a complete impression. 
 
 Where a whole Class is described from the Originals^ a note 
 to this effect is placed below the Class-heading ; in the case of 
 isolated examples occurring in the Classes described from Impres¬ 
 sions^ the detailed descriptions beneath the short titles are headed, 
 in italics and brackets, by the abbreviation Orig. 
 
 In the descriptions the Terms of Position, r. (right), /. (left), 
 primarily apply to the whole design (on the impression or the 
 original as the case may be) and relate to the spectator’s own right 
 and left ; but when the action of a figure is spoken of, all such 
 terms apply to that figure’s right, left, &c. Thus, “A Warrior, r.” 
 signifies a warrior facing towards the spectator’s right ; while the 
 words “A Warrior, with extended right arm” would relate to 
 the warrior’s own right arm, though it might be pointed towards 
 the spectator’s left. Similarly, “A Star in field to Warrior’s right ” 
 might be equivalent to “A Star in /. field.” 
 
 The Descriptions, at their fullest, are arranged on the following 
 plan :—Short Title ; Full Description ; Nationality (in brackets) ; 
 Form (in italics) ; Material ; Shape and Size of Bezel ; Injuries 
 (in brackets) ; Mount; Place, Person, Collection, before possession 
 by last owner (in square brackets) ; Place, Person, Collection 
 whence obtained by present owner ; lastly, the Year of Purchase. 
 
 Regarding the Illustrations:—When Plate numbers are placed 
 under a Class-heading it may be understood that every item of 
 that Class is illustrated and will be found on the Plates referred to. 
 When a selection only from a Class has been taken for illustration 
 (as in Class N) the Plate references are attached to the separate 
 items. 
 
 In the Descriptions of Material it may be noted that as, though 
 different in composition, Sard and Red Carnelian are almost indis¬ 
 tinguishable in appearance, my custom is to include Sards and 
 Carnelians (unless white) under Sard ; the tone of colour is some¬ 
 times indicated—golden, dark red, brown, or yellow being those 
 
 ( viii ) 
 
chiefly specified. Hyacinth-Sard closely resembles Garnet. Probably 
 the sard, an Oriental stone, was unknown to gem engravers till the 
 conquests of Alexander opened up the Eastern world. 
 
 Stones in strata, of the Onyx type, are termed Sardonyx if 
 with a red, reddish, or chocolate layer ; Onyx, if black or fawn 
 with white ; Nicolo, if black with slatey blue ; stones of similar 
 character transversely cut are termed “ banded,” and take the name 
 Banded Agate if crossed by more than one band, or otherwise 
 irregular in their marking. Garnets varying from the common 
 hue are described as Almandine or Hyacinth-Garnet (Guarnacino ?) 
 when respectively of a violet or amber tone. Chalcedony is 
 generally characterised by its shade, as brown, smoky, grey ; 
 when green it is Plasma, when blue Sapphirine. Jasper is described 
 by its colour, most frequently red, green, or yellow ; when 
 mottled, the shades are stated according to predominance. Certain 
 nearly translucent stones of a quality between Agate and Jasper, 
 generally green, but not Chrysoprase, are termed Agate-Jaspers, 
 with note of colour, as, for example. Sea-green, or Olive-green 
 Agate-Jasper. The soft dark-green material (frequent among 
 Tharros scarabs) sometimes known as Green Earth is here termed 
 Green-Stone. Ha?matite denotes an iron-stone, varying in shade 
 from brown to steel-grey. Besides the above, various less common 
 materials occur in the collection, such as Ruby, Yellow Sapphire, 
 Beryl, Turquoise, Opal ; there are also a few intaglios engraved 
 on bezels of gold or other metal. Two Greek coins and a small 
 gold figure of Victory have been included in the Catalogue list. 
 
 In notes on defects or peculiarities of stones a stone lessened 
 by a third or more is termed a Fragment ; injured on the edges, 
 it is Chipped, or in worse cases Fractured ; Cracked, denotes 
 cleavage showing on both surfaces ; Flawed, a crack internal or 
 affecting one surface only. 
 
 In describing Marginal Borders the terms mostly used are 
 these :—Plain, and Double Plain, respectively denote a single or a 
 double line ; Beaded, a dotted line, close or open ; Milled, a series 
 
 ( ix ) h 2 
 
of short scores crossing, with more or less slant, the spaces between 
 the lines of a Double-Plain ; except in special cases (such as when 
 the pattern is distinctly Rope or Cable), all borders of this type are 
 classed under the term Milled. 
 
 The Figures of Measurement denote Eighths of an Inch^ and 
 approximately (the measurements are approximate, generally applying 
 to stones in their mounts and thus partly covered, and minutia of 
 measurement are not attempted) indicate the size of the stones 
 apart from their settings ; double measurements are given in the 
 case of high-bezelled stones where the seal tablet is small in pro¬ 
 portion to the base. 
 
 Except as regards the Cylinders, Cones, some Talismanic 
 stones, and a few others, the gems are mounted as gold rings, 
 which may be thus classed :—Ancient ; Foreign ; English of un¬ 
 known make ; and English made for the present collection. These 
 last, except where noted as being of higher, are understood to be 
 of Standard (wis., 18-carat) gold. 
 
 It will be noted that the Classification of the gems is not 
 strictly chronological. From their interest and importance. Scarabs 
 and Scaraboids are placed first ; next to them are Greek, Roman, 
 and GriECO-Roman gems, also other gems of the more ordinary 
 type. Following them are Talismanic and (so-called) Gnostic 
 gems. Cylinders and Cones, and gems of classes more ancient or 
 more modern than those most largely represented in the collection. 
 Certain of the gems might as properly have been placed in a 
 different class from that to which they are assigned ; thus, for 
 example, some that are classed as Scarabs might have been included 
 under the Phoenician or Egyptian headings, or vice versa ; but it 
 has not seemed necessary to encumber the catalogue with numerous 
 double-entries. 
 
 PRINCIPAL ABBREVIATIONS 
 
 Descriptions. Fr., F., L., iF/., Bk.^ —Front, Right, Left, 
 Head, Back. Orig.^ Original. hn.^ Impression. Bev.^ Bez., 
 
 ( X ) 
 
Hbz.^ —Bevil, Bezel, High Bezel. Ov., Ovd.^ Oct., Ob., Circ .,— 
 Oval, Ovoid, Octagonal, Oblong, Circular. Cx., Hex., Lex., 
 Dcx., —Convex, High Convex, Low Convex, Double Convex. 
 Con., Fi.Con., Sph., —Conical, Flattened Conical, Spherical. Cyl., 
 Gian., Lent., —Cylindrical, Glandular, Lenticular. 
 
 Proper Names. Ain., Alischan. Bkr., Baker. Br., Brooke, 
 Edinburgh. Brn., Barone, Naples. Bre., Boore. Cav., Rev. R. Cave. 
 Chr., Rev. G. Chester. Ctr., Cutler. Fwh., Mr. F. Whelan, London 
 Agent for Messrs. Rollin and Feuardent. Hck., Ha?icock, London. 
 H.R., Hunt and Roskell, London. Hg., Joseph Heming and Co., 
 London. Mr. y. y. Naaman. Lbs., Lambros, Athens. 
 
 Lin., Lincoln. Mir., Muller. Phb., Phillips, Bond Street, London. 
 Phc., Phillips, Cockspur Street, London. Rr., Mr. Robert Ready. 
 Wtr., Mr. W. Falbot Ready. Rey., Reynolds. Rhd., Rev. G. 
 Rhodes. Rhp., Professor Rhousopoulos, Athens. R.F., Rollin and 
 Feuardent, Paris. Sdn., Sanderson, Edinburgh. Sch., Mr. C. Schmidt. 
 Shb., Shemtoh, Bagdad. Sts., Stilianopoulos, Smyrna. Stn., Mr. W. 
 Stillman. Wll., Wells, London. Wht., Colonel Whyte. Van L., 
 Van Lennep. ^ 
 
 GEM ENGRAVING 
 
 The earliest mode of gem engraving consisted in scratching 
 or carving out the design with a splinter of diamond or some other 
 extremely hard stone—this is termed “ point-work.” But at a 
 very remote period the “ drill ” was invented—a boring and cutting 
 copper tool tipped with a paste of emery or diamond powder and 
 worked by means of a “bow.” In its rudest application, as seen 
 on many Mesopotamian and Assyrian cylinders, it formed hemi¬ 
 spherical hollows, which were roughly connected by lines and 
 incisions indicating the lighter portion of the design. Under more 
 skilful hands these obtrusive hemispheres were artistically blended, 
 so that their circular form was no longer visible, and they merely 
 served the purpose of deepening the composition. 
 
 ( xi ) 
 
Some of the drills had a slicing or scooping power, and these 
 were more and more employed, till at last the true “ point-work ” 
 almost fell out of use, and in many commonplace examples the 
 crude slicing of the drill obtrudes itself through the whole design. 
 It is difficult to find a name for work of that description. “ Wheel- 
 work ” had suggested itself; but, till the reign of Domitian, the 
 ancients were unacquainted with the “ wheel ” as now employed ; 
 they worked with a bow and applied the drill to the stone, 
 while we work with a lathe or wheel and apply the stone to the 
 drill. The only term that occurs to me is “ scoop-work,” an 
 awkward, unsatisfactory definition. 
 
 The Gnostic and Talismanic gems of the Lower Empire and 
 those of the Sassanian class have been generally engraved by wheel 
 and scooping drill, which in bad specimens produces deeply-sliced, 
 hard-edged depressions mingled with shallower cuttings, conven¬ 
 tional, coarse and ill-defined. But, on the other hand, many of 
 the finest gems have been engraved entirely, or almost entirely, by 
 means of the bow and drill, and the mere term “ scoop-drilled ” or 
 “ scoop-worked ” must not necessarily be taken in a depreciatory 
 sense. 
 
 Absolutely pure “ point-work ” is sometimes to be met with 
 in Early Greek intaglios and Etruscan scarabs of a certain class, 
 and among shallow-cut gems of that type point-work usually 
 predominates, though combined in parts with drill-work, often 
 consisting of very numerous clustered hemispherical hollows of 
 small size. 
 
 * * * * * 
 
 The above Preface is, substantially, as written by my father in 
 1899. Certain changes were necessitated, owing to alterations that 
 it was found advisable to make in the general arrangement of the 
 Catalogue ; and the remarks on Gem Engraving, intended to have 
 formed part of an Introduction, which was not completed, have 
 been included in the Preface. 
 
 In regard to the Notes following the descriptions of the Gems, 
 
 ( xii ) 
 
it should be mentioned that they are abridged extracts from my 
 father’s MSS., which contain many details only incidentally con¬ 
 nected with the collection and its acquisition, and not intended for 
 publication. Such portions, therefore, as deal solely and critically 
 with the gems have been separated from the rest of the material, 
 and are here given in the original words, with few changes beyond 
 absolutely necessary inversions or the linking together of detached 
 sentences. 
 
 In connection with the notes on the Gnostic and Talismanic 
 Gems it should, perhaps, be pointed out that they are based on a 
 study of Gnosticism dating as far back as the years 1878 to 1888, 
 when the larger part of this class was acquired. My father, it is 
 true, added a number of specimens to this branch of the collection 
 after the date mentioned, but he had ceased to give any serious 
 attention to Gnosticism, having—as he explains in his introductory 
 note to Class N—lost interest in the subject. I have reason to 
 believe that, had he lived, he intended to consult other and later 
 authorities than those so frequently cited in his remarks and com¬ 
 pletely to revise his notes before printing ; but in the absence of 
 any express directions to the contrary, it seemed best to publish 
 them in the original form. 
 
 I am deeply indebted to Mr. Cecil Smith for his help in the 
 preparation of this Catalogue of Gems ; he has been kind enough 
 to read over the proofs, and I owe him many thanks for his 
 invaluable corrections and suggestions. 
 
 On the Assyrian and Babylonian Cylinders and Seals (Class Q) 
 my father s intention was to write in a purely critical manner. 
 But at the time of his death, in 1905, he had only completed the 
 Prefatory Remarks to this Class, the descriptions of all the 
 cylinders, and the Notes attached to the numbers Qa i to Qa 16. 
 On learning this. Dr. T. G. Pinches most kindly offered to edit 
 this class of the collection and to add notes to the most interesting 
 specimens. Except for the welcome opportunity thus given to 
 thank Dr. Pinches and acknowledge his goodness, it would 
 
 ( xiii ) 
 
seem almost superfluous to add with what gratitude his offer was 
 accepted. 
 
 It will be noticed that sixteen of the gems comprised in the 
 Catalogue are marked as being no longer in the collection. As, 
 however, the majority of these have only been removed since my 
 father’s death and remain in the possession of members of his family, 
 they have been included in this Catalogue. 
 
 HELENA M. CARNEGIE 
 
 ( xiv ) 
 
 V 
 
CATALOGUE 
 
 OF THE 
 
 SOUTHESK COLLECTION OE GEMS 
 
 CLASS A. 
 
 SCARABS, CUT SCARABS: GREEK AND ETRUSCAN. 
 
 [Plates I and IL] 
 
 A I, IRIS, winged, helmeted, and holding a thyrsus, advancing, 
 head reverted and beckoning with raised right hand 
 (yh. r., hd. /.). 
 
 Wings downward, plain helmet with long streamers, 
 thin transparent dress with longitudinal pleats, chlamys 
 on shoulders appearing in points at either side of legs, 
 the right hand raised and beckoning, the left holding 
 horizontal thyrsus (/.). A close beaded border. 
 
 Scarab. Sard; ov. 3^X3. Gold holder. [Rome.] 
 Tyszkiewicz Coll. (Lot 51). R. F. : 1883. 
 
 The present interesting scarab is a valuable specimen of the archaic 
 Greek style, engraved in flat relief and entirely in point-work ; the tunic 
 is scored in long parallel lines, which give the effect of narrow pleating, 
 similar to a very common treatment of drapery on Akkadian and Early 
 Babylonian cylinders. Despite stiffness and angularity and occasional 
 
 f rotesqueness, these archaic gems have their own peculiar charm ; while 
 evoid of beauty in its softer aspects, they are full of the dignity that 
 freshness and simplicity confer ; as Mr. Barclay Head well remarks (in 
 speaking of the earlier Greek coinage) : “VVe find in the best archaic 
 
 ( I ) 
 
 A 
 
work a strength and delicacy of touch which are often wanting in the 
 fully developed art of a later age.” 
 
 I'he love of archaism in gems (ridiculous to the uninstructed) may be 
 likened to a preference of pre-Raft'aelite paintings to those of a more 
 technically correct, self-conscious style that superseded them ; or—in 
 homelier simile—to a preference of dry wine to sweet, an acquired taste, 
 but real and lasting. 
 
 As it concerns this scarab as well as many of its companion gems, 
 I may here mention that, in 1895, Professor Adolf Furtwiingler 
 (Professor of Archaeology and Director of the ‘ Glvptothek ’ at Munich) 
 came on a short visit to Kinnaird Castle, expressly to inspect my 
 collection. He w'as then preparing his great work, “ Die Antiken 
 Gemmen,” and was engaged in drawing materials for it from every 
 available quarter. Many among my treasures greatly pleased him ; he 
 carried away many casts and impressions, and as the result of his scrutiny 
 some forty-eight of them appear among his illustrations in the first 
 volume of that book, though occasionally my ownership has not been 
 stated in the explanatory text. 
 
 While glad that an eminent authority should have appreciated my 
 collection, 1 am surprised, in his selection of so many specimens, that he 
 has omitted to include many beautiful gems of acknowledged merit. 
 Such omissions probably arose principally from want of time for 
 examination, for Professor Furtwangler’s stay was too short to allow 
 him a complete study of my collection—he was unable even to inspect 
 my Gnostic and Talismanic Gems and my Assyrian and Mesopotamian 
 Seals and Cylinders—but judging, indeed, by the illustrations in his great 
 folios he seems to have practically ignored the beautiful intaglios of the 
 later Greek or Grasco-Roman class in favour of gems of almost every 
 other type. 
 
 In his explanatory text (Vol. ii.) some of the gems are criticised, 
 while others receive a mere descriptive notice. As will appear afterwards, 
 I have occasionally found cause to differ from the learned Professor—less 
 as to his estimates of merit than as regards his assignments of subject and 
 detail. 
 
 The present gem is termed by him “ A Carnelian Scarab,” and its 
 subject is described as “A Winged Woman, looking back .... Point- 
 work.” (Furtw., A.G., p. 97; pi. XX, 13.) At the late Dr. xMurray’s 
 suggestion I identify the figure with Iris, the messenger of the gods. 
 
 It will be found that small, well-finished wings appear on the beetle’s 
 shoulders, a detail omitted or merely shown in outline among most of the 
 scarabs in my collection. Strangely enough. Iris seems to be bestriding 
 her thyrsus, like a modern witch on her broomstick courser. Has this 
 any signification, or is it owing to mere unskilfulness in design In my 
 scarab A 36 the warrior’s spear, held in his right hand, passes behind his 
 back in the awkwardest manner, as if driven through his own body. 
 Was this treatment conventional, intended to display the figure unbroken 
 by any transverse line 
 
 ( 2 ) 
 
A 2. A FEMALE GENIUS, winged and helmeted, drawing 
 water from a fountain (r.). 
 
 Stooping, with both hands holding circular bottle to 
 stream from lion-head fountain ; plain helmet, long 
 drapery in narrow longitudinal pleats, wing-feathers 
 similarly designed. A milled border. Rev. : A woman¬ 
 headed bird (Siren) in relief. 
 
 Scarab. Sard ; ov. 4IX3. Gold holder. Castellani 
 Coll. (Lot 956) : 1884. 
 
 Much in the same style as the preceding, and of similar material, but 
 less fine and perhaps less old. The reverse is peculiar, the beetle’s back 
 bearing in relief a design resembling a bird-woman, with head in profile, 
 hands joined across the chest, long pendent wings and short trapezoidal 
 tail. A similar design occurs on the back of Scarab A 36, of this collection. 
 Works in relief such as this are rare. They are believed to furnish the 
 earliest examples of engraving in ‘cameo.’ 
 
 Many spurious as well as many fine gems passed through Alessandro 
 Castellani’s hands, and his judgment cannot be entirely trusted. I believe 
 this scarab to be authentic. Apart from its general quality, the strange 
 and complex reverse and the Siren’s shapeless face are unlikely to belong 
 to a forged production. Professor Furtwangler thus describes it: “A 
 Winged Woman (Eos .?) in long drapery with five parallel pleats, holding 
 a vessel under a stream of water flowing from a lion’s head.” (Furtw., 
 /f.G., p. 97 ; pi. XX, II.) ' 
 
 A 3. HERAKLES kneeling, holding a bow and brandishing a 
 club (/., hd. r.). 
 
 Nude, head in profile reverted, hair in curled roll and 
 back-knot, beard short and pointed ; kneeling on left 
 knee, right arm raised over head, brandishing knotted 
 club, left arm across, short strung bow in hand. A 
 milled border. 
 
 Scarab. Sard; ov. 5x4 (portion bearing head and 
 top of /. shoulder split off and refastened). Gold 
 
 ( 3 ) 
 
 A 2 
 
holder. Dyneley Coll., Sotheby’s (Lot 308), January 
 16, 1889. 
 
 This sard or red carnelian scarab, deeper cut, fuller and rounder in 
 its details, abounding in drill-work, and—except in the hero’s face— 
 showing little trace of point-work, seems to be of rather later date 
 than A i. The figure is fine, though archaic, as shown in the stiffness 
 of its attitude, the forms of its head and face, and the fulness of its 
 haunches, and in the indication of the abdominal muscles by minute drill- 
 work. Notwithstanding the flaw or rejoined portion, the engraving 
 appears to be in its original state, the details of the face, hair, and club 
 corresponding with the rest in workmanship and design. 
 
 Professor Furtwangler—who says nothing of the fracture—describes 
 this scarab as “ a fine, careful work in the pure Greek stvle of r. 500 B.c. 
 The belly-muscles are shown in the usual strenuous manner by means of 
 fine, round bosses. Bunched locks before and behind.” (Furtw., T.G'., 
 p. 71 ; pi. XV, 26.) 
 
 A 4. HERAKLES, sheathing his bow after slaughter of the 
 Stymphalian Birds (/.). 
 
 Nude, beardless, hair in short curls; mantle with spotted 
 lining (animal’s skin .?) over back; stooping, both legs 
 slightly bent; both arms forward, placing bow in sheath 
 upright on ground, before which empty upright quiver ; 
 under his feet the feather of a bird. A milled border. 
 
 Scarab. Sard; ov. 5^x4* Gold holder. Alontigny 
 
 Coll. 1887 (Lot 174; ph ii). Wtr. : 1888. 
 
 An interesting sard scarab, of the best Etruscan period. Fine drill- 
 work in the hair and mantle. B'he subject is skilfully indicated by the 
 feather beneath the hero’s feet, bv the empty quiver, and by the return 
 of the bow to its case. I'his gem (with twenty-five others iji the present 
 list) came from the important and well-knowm Alontigny Collection, sold 
 at Paris in 1887. AI. de Alontigny was a collector of taste and judgment, 
 and the authenticity of gems approved by him may be fairly assumed. 
 
 Professor Furtwangler thus describes the present scarab: “A youth 
 with a chlamys . . .in the act of sheathing a sw'ord, before an altar. 
 
 The free style.” (Furtw., J.G., p. 96 ; pi. xx, 8.) It seems to me 
 evident that the object sheathed is a bow, not a sword, and the supposed 
 
 ( 4 ) 
 
altar (which slopes and narrows to the base) is almost certainly a quiver. 
 The feather beneath the hero’s feet—supposed by Professor Furtwangler 
 to be merely an ornament—seems to indicate reference to the discomfiture 
 of the Stvmphalian birds, a common subject in art. A replica of my 
 scarab is given by Professor Furtwangler, who speaks of it—comparing it 
 with mine—as “ An accurate copv of Scarab pi. xx, 8, but in this case turned 
 to the other side ; otherwise the onlv difference is that the base-line is 
 ornamented. The unknown original of the here-given C^des copy ought 
 to be also a scarab.” (Furtw., J.G., p. 117 ; pi. xxiii, 62.) 
 
 The two are nearly identical, but mine is the better—compare the 
 arm, the hand grasping the bow, and other details. In the replica the 
 top of the object entering the sheath is larger, and rather suggests a sword- 
 hilt. The “ornamental base-line,” which I hold to be a feather, is much 
 the same in both examples. 
 
 A 5. HERAKLES, strangling a trapped Stymphalian Bird (r.). 
 
 Naked, bearded, long-haired ; club downward in right 
 hand ; left hand forward, grasping neck of wild-goose 
 with legs in trap, on which he treads with left foot. 
 A milled border. 
 
 Scarab. Banded Onyx-Agate ; ov. 4x3. Gold holder. 
 Hamilton-Gray Coll, (part ol Lot 96). Wtr. ; 1887. 
 
 Rough and careless, but not without spirit. Etruscan, on banded onyx- 
 agate of good quality. It came from the collection of the Rev. J. 
 Hamilton-Gray (whose wife wrote Etruria), which consisted of about 
 11 5 scarabs and some other gems. The British Museum—against which 
 I never compete—acquired Lot 110, the “Achilles, seated, holding two 
 spears” [Brit. Mus. Cat., No. 288 ; pi. E.), which otherwise I should 
 have bid for. 
 
 A 6. TYDEUS, uplifting the severed head of Menalippus (r.). 
 
 Nude, chlamys over back ; on head, crested helmet with 
 streamers ; left hand down, supporting spear against lelt 
 shoulder; right hand extended, holding, face upward, 
 bearded human head in profile, dripping with blood ; 
 right leg straight and forward, left bent. Seated on the 
 
 ( 5 ) 
 
ground, a man’s headless body, naked, arm down, right 
 leg straight, left bent and retracted. A milled border. 
 An ovoid-pattern border round base of ren. 
 
 Scarab. Onyx-Agate ; ov. 5 x ‘T,- Gold holder. 
 Montigny Coll., 1887 (Lot 174; pi. ii). Wtr. : 1888. 
 
 One of the best scarabs in my collection. The workmanship and 
 design are in all ways excellent, the material is a verv beautiful onyx- 
 agate, and the beetle-body is most elaborately complete both in natural 
 and ornamental details. 
 
 Professor P'urtwangler terms it a “sardonyx scarab,” which shows 
 “ careful engraving of the muscles ; softened strong style.” (F'urtw., /f.G., 
 p. 97 ; pi. XX, 21.) 
 
 A 7. PAPvIS, bow in hand, drawing an arrow from his quiver 
 (/■• ^■)- 
 
 Naked youth, chlamys across back and over arms ; 
 right leg forward, left bent ; left hand extended, holding 
 bow ; right down, drawing arrow trom quiver behind ; 
 on field, before feet, a Phrygian cap. A milled border. 
 
 Scarab. Sard; ov. 4x3- Gold holder. Vernon 
 Coll. (Lot 106). Wtr. : 1885. 
 
 A very good scarab, on sard or red carnelian. Of the round-limbed 
 Graeco-Etruscan type, with drill-hole abdominal muscles. It came from 
 the collection of the late Lord Vernon, which was dispersed in 1885, a 
 collection not large, but well chosen. 
 
 The present excellent scarab does not appear in Professor P urtwangler’s 
 book. 
 
 A 8. THESEUS, sword in hand, stooping down to grasp the 
 Minotaur’s head (r.). 
 
 Naked youth, stooping ; left hand down, touching 
 
 ( 6 ) 
 
bull’s head on the ground ; right hand back, holding 
 leat-shaped sword, point down. A milled border. 
 
 Scarab, Sard; ov. 4x3. Gold holder. [Durand 
 Coll.] Hoffmann Coll. (Lot 143). Wtr. : 1886. 
 
 Another scarab of sard or red carnelian, similar in type to the preceding, 
 but less good. Professor Furtwangler describes its subject as “ Herakles, 
 beardless and naked, stooping down, grasping with his left hand a lion, 
 whose head and fore-paws appear from a cave below.” (Furtw., A.G., 
 p. 82 ; pi. xvii, 2, erroneously numbered i.) The head of the animal 
 is not very clearly defined, but it seems bovine rather than leonine, as 
 likewise the fore-foot that is visible. The “cave” is non-existent. 
 
 A 9. KASTOR, wounded, drawing the fatal sword from his 
 back ir. fr.). 
 
 Scarab. Sard; ov. 4^X3^. [Volterra.] Wtr.: 1888. 
 
 ('This gem is no longer in the Collection. From a memo¬ 
 randum it appears that it was parted with in i 8 91 
 
 A ic. KAPANEUS, lightning-struck, kneeling under cover of 
 his shield (r.frl). 
 
 Nude, plain helmet on head, right hand raised, left 
 holding long oval shield before body ; behind him a 
 fallen plain helmet, vizor down. A milled border. 
 
 Scarab. Brown Agate ; ov. 4x3. Gold swivel. 
 Bale Coll, (part of Lot 1662) : 1881. 
 
 On the whole fairly good, but the minor details are poor, the raised 
 hand being absolutely grotesque. 
 
 No name is given to the fallen warrior by Professor PTrtwangler, who 
 simply terms him a “ young-looking hero,” and, in regard to the engraving, 
 speaks of the “ subtly strong display of muscles.” (P'urtw., A.G., p. 96 ; 
 
 pi. XX, I.) 
 
 ( 7 ) 
 
All. ARGONAUT, standing before the prow oi a galley 
 
 O- /•)• 
 
 Naked youth with long straight hair, head in profile ; 
 right hand raised towards mouth, left arm down, chlamys 
 across it, in hand grounded spear. In /. field, the prow 
 of a galley. A milled border. 
 
 Scarab. Sard; ov. 5X3 j. Gold holder. [Rome.] 
 Tyszkiewicz Coll., i88i (Lot 52). Fwh. : 1883. 
 
 A fine scarab, dark sard in material, the youth’s figure of the rounded, 
 full-fleshed type. Opaque white discolorations. Tike the markings 
 near the base of this gem, being attributed to the action of fire, are 
 commonly spoken of as “ burnt,” but it is believed that they frequently 
 result from some chemical influence of sun, or soil, or water. Artificial 
 discolorations are sometimes met with (as in C 28). The present 
 scarab was bought by Count Tvszkiewicz, in Rome—according to 
 information from Ad. Hoffmann, who seems to have acted as his agent. 
 
 “ Jason, a lance in his left hand, his mantle over his left arm, stands 
 meditating before the ship Argo. Free stvle”—is Professor Furtwangler’s 
 description of this gem. (Furtw., A.G., p. q8 ; pi. xx, 26.) 
 
 A 12. A YOUTH, seated on a low Ionic column, a dove resting 
 on his hand (/., /r.). 
 
 Profile, hair short and waved ; nude to legs, round 
 which drapery ; seated on capital of upright fiuted Ionic 
 column, upon which left hand is placed ; head bent 
 forward to dove (r.) perched on his extended right 
 hand; in field, below dove’s head, a ball (apple.?). A 
 milled border. 
 
 Scarab. Sard (partly burnt) ; ov. 6x4. Gold holder. 
 Montigny Coll. 1887 (Lot 175). Wtr. : 1888. 
 
 In the same style as the preceding, but less carefully finished. I'he 
 young Greek here represented is graceful both in form and position. 
 "Fhis dark sard scarab should be studied from a cast, its face being whitened 
 and disfigured by burning. 
 
 Professor Furtwangler styles the figure “ Aphrodite ” (Furtw., A.G.^ 
 
 ( « ) 
 
p. 99 ; pi. XX, 48), but—as is rightly stated in the sale catalogue—it is 
 certainly male, though of a soft and effeminate type. 
 
 This gem illustrates a fact I have often noticed—the carelessness of 
 ancient engravers in matters of small detail, leading to the most obvious 
 defects in works that are otherwise of the highest character. Here, we 
 have an exceedingly graceful, well-designed figure marred by the in¬ 
 completeness of its hands and the almost incredible clumsiness of its feet. 
 My Scarab A i offers a similar example. Mediaeval and modern engravers 
 do not err in such matters ; thus perfection in minor details tends to make 
 a gem doubtful, while imperfection has the opposite tendency. 
 
 A 13. ISIS, head of, with vulture cap bearing the Atef 
 crown (/.). 
 
 Shoulders richly draped ; face in profile, urasus on 
 brow ; wearing close back-lappeted cap, crowned with 
 brooding vulture, from which rises a quintuple crest of 
 three lotus flowers flanked by two. uraei, all five sur¬ 
 mounted by globes. A milled border. 
 
 Scarab. Sard; ov. 5^X3^. (Top chipped.) Gold 
 holder. Mayer Coll. (Lot 253), 1887. Fwh. : 1888. 
 
 I'his dark sard scarab is Egyptian in subject, but in style and 
 appearance much like the foregoing examples from South Italy or 
 Etruria. It is of good workmanship and in tine preservation. The 
 Mayer Collection, from whence it came, had been mainly based on the 
 Hertz Collection. 
 
 A 14. ETRUSCAN GENIUS OF DEATH, winged and 
 serpent-legged (/E). 
 
 Naked female figure, arms and wings down, legs 
 crossed and twined into a figure-of-eight, their serpent- 
 heads looking outward. A milled border. 
 
 Scarab. Sard; ov. 5x3. Gold holder. Hamilton- 
 Gray Coll. (Lot 108) : 1887. 
 
 I was glad to obtain this specimen, though of late and poor workman¬ 
 ship, on account of the probable relation between the monstrous figure 
 
 ( 9 ) 
 
 B 
 
thereon portrayed and the similar, but wingless figures found sculptured 
 outside churches and on sepulchral stones in Scotland, and in Ireland 
 where they are called “ Sheela na gig.” Compare also the nude 
 winged goddess with serpent legs figured in Perrot and Chipiez, 
 UArt Antique, Cyprus (vol. i, p. 246). The present sard or carnelian 
 scarab is undoubtedly authentic, coming from the Hamilton-Gray 
 Collection, which was formed in Etruria. It is referred to and figured in 
 Mrs. Hamilton-Gray’s well-known book, A Tour to the Sepulchres of 
 Etruria, in 1839 (p. 210; woodcut, p. 207). 
 
 A 15. ETRUSCAN EVIL GENIUS, winged and serpent¬ 
 haired [ fr. /.). 
 
 Front-faced naked male figure, moving to /. ; left leg 
 bent ; right arm forward, left down ; wings horizontally 
 open ; seven necked-heads of serpents protruding open- 
 mouthed round his head. A milled border. 
 
 Scarab, Red Carnelian ; ov. 4^x3. Hamilton-Gray 
 Coll. (Lot 108) : I 887. 
 
 Rough and shallow engraving on a coarse, nearly opaque, carnelian, 
 blotched with brown. It has a certain interest from the subject. 
 Perhaps Phoenician .? One finds somewhat similar figures on talismanic 
 gems of the 2nd and 3rd century a.d.— compare N 56 and the Phoenician 
 conical seal O 9. 
 
 A 16. MALE SPFIINX, advancing, with curved and elevated 
 wings (r.). 
 
 Wings forward, left fore-paw raised, right extended, 
 shoulders depressed, tail over back. A milled border. 
 
 Scarab. Olive - green Jasper; ov. 4x2^. Gold 
 holder (ancient, with lion-heads). Castellani Coll. 
 (Lot 1070 or 863) : 1884. 
 
 Interesting, though of small merit. In the Castellani Catalogue it is 
 termed “ Etruscan,” but the material—a grey olive-green jasper—and the 
 treatment of the creature’s head and tail-end seem to show Egyptian 
 
 ( 10 ) 
 
influences ; it is probably of Phoenician workmanship. The mount is 
 Etruscan—a swivel-ring of purest gold, with finely designed lion-heads 
 on each shoulder of the hoop. 
 
 A 17. FEMALE SPHINX, winged, seated on the back of a 
 crouching bull (/., hd. r.). 
 
 Profile, looking back ; straight hair falling in mass 
 over shoulder ; chest leonine, wings raised and forward- 
 curved ; seated on a bull’s hind-quarters, her left fore¬ 
 paw on its head, her right raised. Bull (/.) crouching, 
 with bent fore-legs. A milled border. 
 
 Seal. Scarab. Sard; ov. 5IX4. Gold holder. ist 
 Short Coll. (Lot 9) : 1885. 
 
 An extremely fine scarab on a beautiful sard—“ carneliaii,” according 
 to Professor Furtwangler, but he seents to be mistaken, as he certain!)' is 
 in describing the bull as “running.” Of this gem he remarks that it is 
 of “careful work ; the engraved part unpolished.” (Furtw., A.G., p. 27 ; 
 pi. vi., 29.) Deficiency of internal polish is unusual, but even in my 
 own limited collection of scarabs there are several examples of unpolished 
 or half-polished engraving, and I doubt if these variations in the matter of 
 finish afford any criterion in questions of authenticity or date. 
 
 It seems to me that this excellent gem is of the same class as those 
 numerous conoidal-seals and cylinders, generally representing sphinxes or 
 gryphons overpowering bulls or other animals, which approximate in 
 style to the embossed metal plaques and pateras found in Cyprus and 
 Assyria. My cylinder Qcc 17 affords a* good example. The wings, as in 
 the present scarab, are always rather short and massive, rounded, and 
 strongly incurved at the tip. Carthage and Etruria were in close 
 intercourse during the 7th and 6th centuries b.c. In 535 b.c. these 
 nations, in alliance, fought a naval battle off Aleria against the lonians. 
 (Perrot and Chipiez, Art in Phoenicia, vol. i., p. 46.) Compare with that 
 on the present gem the sphinx on a monument from the Phcenician city 
 of Arvad. {Ihid., vol. i, p. 132.) 
 
 A 18. HARPY, springing forward with opened wings (/.). 
 
 Woman’s head and bosom ; feline fore-legs, both of 
 which raised and extended ; wings horizontal and 
 
 ( II ) 
 
 B 2 
 
pointed ; bird-like hind-legs and tail, left hind-leg on 
 the ground, right raised and bent. 
 
 Scarab. Sardonyx (white layer) ; ov. 5x3-2. Gold 
 holder, ist Short, Coll. (Lot 7). R. F. : 1885. 
 
 I'he beetle’s back is cut out of red sard, and the engraving appears on 
 a white layer beneath. Here we have wings of a different type, rather 
 long, straight and pointed. The work, not Phoenician, but possibly 
 Etruscan or perhaps a Roman imitation in the Imperial period, is only 
 moderately good, hut the subject lends it a certain interest. Professor 
 Eurtwangler gives this gem a place in his book. “A sphinx”—so he 
 terms the monster—“springing to the attack.” He adds; “The pure 
 Greek origin of this stone is doubtful ; it may be of Italian workman¬ 
 ship.” (f'urtw., A.G., p. 48 ; pi. ix, 63.) 
 
 A 19. QUADRIGA, in slow movement, with stooping 
 charioteer (/.). 
 
 Horses’ heads and legs evenly lined, eight fore-legs 
 and six hind-legs visible, the former all slightly raised 
 and bent. Charioteer (/.) nude, bending forward, left 
 arm outstretched as if to caress the outer horse. 
 
 Scarab. Sard; ov. 5x3^. Gold ring. Phc. : 1878. 
 
 An Etruscan scarab of the later date, showing a great deal of scooped 
 drill-work, but good in its way and picturesque in treatment. The 
 material is a fine sard with slight discolorations on the back ; the beetle’s 
 wings are shown. Ehis was a purchase at the very outset of my 
 collecting, in 1878. 
 
 A 20. TRIGA, moving swiftly, a hound running in front (r.). 
 
 Charioteer stooping forward, in left hand a short 
 whip, right holding reins ; hound running in lower r. 
 field, tail up ; heads and legs of central and farthest 
 
 ( 12 ) 
 
horses partly apparent, the rest concealed by nearest 
 horse. A milled border. 
 
 Scarab. Sard; ov. 4x3. Gold holder. Wtr. : 1888. 
 
 Another sard scarab, similar in type to the last. 
 
 A 21. BIGA, drawn by swans and driven by a kneeling 
 warrior (/.). 
 
 Naked male figure in chariot, kneeling on left knee ; 
 in right hand a spear, the left down ; before him two 
 swans, with bridles and traces, moving swiftly, wings 
 forward-curved and spread as if in flight ; behind them 
 a sphere. A milled border. 
 
 Scarab. Sard; ov. 5^x4 (chipped, upper/.). Gold 
 holder. [iEgina.] Athens, Rhp. : 1882. 
 
 Another example of the same type as the preceding, also on a fine 
 sard, which unfortunately has been chipped and flawed in parts. Its 
 subject is pretty and uncommon ; its workmanship somewhat rough ; the 
 swan’s wings approximate to the Phoenician form, but their tips are only 
 slightly incuryed. 
 
 A 22. PEGASUS, in swift movement (r.). 
 
 Neck arched, mane erect, fore-legs bent and lifted, 
 right hind-leg raised and forward, the left back ; wings 
 raised, rounded, and curved to the front. A milled 
 border (chipped below). 
 
 Scarab. Burnt Steatite; ov. 4x3. Gold holder. 
 Phc. : 1884. 
 
 Though worn and damaged through the softness of its steatite material, 
 this scarab is much to be admired. The horse’s form and attitude are 
 extremely fine, and the workmanship, entirely by point, seems to indicate 
 an early period. The wings are of the incurved type, but the spirit of 
 the design is Greek rather than Phoenician. 
 
 ( 13 ) 
 
re- 
 
 A 23. PEGASUS, crouching, with extended fore-legs (/.). 
 
 Bridled ; wings open, pointed, and horizontally 
 flexed. A milled border. 
 
 Scarab. Sard; ov. 4x3- Gold holder. Dyneley 
 Coll. (Lot 310): 1889. 
 
 Another fine scarab, on a beautiful sard. This, later no doubt than 
 the preceding, combines scooped drill-work with point-work and 
 displays pointed wings turned backward in a commonplace fashion. It 
 is a decidedly good gem ; probably by a Greek or Etruscan hand. J'he 
 beetle’s wings are outlined. 
 
 A 24. ETRUSCAN CERBERUS, standing on guard (r.). 
 
 Three-headed hound, standing, hind-legs bent, fore-legs 
 straight forward, tail curled over back. A milled border. 
 
 Scarab. Banded x^gate ; ov. 4.^ x 2U Gold holder. 
 Hamilton-Gray Coll. (Lot 108) : 1887. 
 
 Curious and interesting subject ; material, grey agate broadly banded 
 with white j workmanship mediocre and rather rough. Ehe late Canon 
 Taylor has stated that Cerberus was unknown to the titruscans ; the 
 present scarab, however, is proof to the contrary, having belonged to the 
 Hamilton-Gray collection. The beetle’s wings, in outline, are exceed¬ 
 ingly small. Two scarabs bearing an allied subject are known to me ; 
 one, a triple-headed ass in my own collection (A 40] ; the other, a triple¬ 
 headed horse given in Professor f'urtwangler’s book and erroneously 
 termed a “ Cerberus.” (Furtw., J.G., p. 90 ; pi. xviii, 49.) 
 
 A 25. MARE, alarmed ; a foal standing at her side (r.). 
 
 Drawing back, mouth open, all her legs forward ; foal, 
 in foreground (/., lub. r.), scratching ear with right 
 hind-foot. A milled border. 
 
 Scarab. Sard; ov. 4x3. Gold swivel. Phc.: 1879. 
 
 A rather pretty design indifferently executed in scooped drill-work. 
 The mare’s head at once strikes one as disproportionately large. Did 
 
 ( 14 ) 
 
these clumsy heads belong to a special breed of horses ? Compare my 
 Scaraboid B 3, also various coins, especially some of early date. There was 
 a breed with exceedingly small heads—as seen on certain gems and coins. 
 A similarly characterised breed appears in pictures of the 17th and early 
 18th century (v. equestrian portrait of Charles I, by Van Dyck, in the 
 National Gallery; see also portraits of horses in royal studs, by Ridinger, 
 c. 1720-60). 
 
 The material of the present scarab is sard, the beetle’s wings are 
 lightly indicated; it is a fair specimen of rather late Etruscan. 
 
 A 26. COW, suckling her calf (/., r.). 
 
 Head turned back towards calf, horns nearly straight, 
 fore-legs forward ; calf (r.) sucking, legs outstretched. 
 A square-linked chain border. 
 
 Scarab. Green Jasper; ov. Gold swivel. 
 
 [Delta ; found in mummy-case, 1879.] Fwh. : 1880. 
 
 A scarab of the Tharros type. Extremely pretty in design {cf. A 32), 
 though of the coarse point-work belonging to the style. 
 
 A 27. SOW, walking to the right (r.). 
 
 In profile ; bristled on crest and hind-quarters ; head 
 downward ; legs forward ; tail forward over haunch. 
 A milled border. (Late Etruscan.) 
 
 Scarab. Sard ; ov. 4|x3|- Gold holder. Wtr. : 1889. 
 
 Spirited and clever ; of partly scooped-out execution. The prominence 
 of the bristle-ridges on the hind-quarters and neck is remarkable, and 
 particularly so in the case of a female animal. (See under A 33 and B 2.) 
 
 A 28. FEMALE SERPENT, with udder, beard, and crest (/.). 
 
 In single coil, tail turned down ; udder quadruple ; 
 crest in three spikes ; long, straight beard falling from 
 
 ( 15 ) 
 
lower jaw ; within the coil eight beads (eggs ?), and five 
 of the same above the udder. A chain border. (Late 
 Etruscan.) 
 
 Scat^ab. White Carnelian ; ov. 4^x3. [Rome.] 
 Tyszkiewicz Coll. (Lot 50). R. F. : 1883. 
 
 A hideous monster indeed ! The eight bead-like objects within the 
 coil and the hve above the udder may be meant for eggs, which the 
 serpent hatches. It is a curious gem, perhaps unique in subject, coarse in 
 its scooped-work st)de, but hnished with some care. Coming from the 
 Tyszkiewicz Collection its authenticity may be held as guaranteed. 
 Professor Furtwiingler thus describes it : “Agate scarab. A female sea- 
 monster, with beard, serrated crest and four teats.” (Furtw., J.G., p. 99 ; 
 pi. XX, 43.) 
 
 A 29. HUMAN HEAD, the face appearing between two 
 gryphons {fr. and /.). 
 
 Gryphons following each other (/.) ; large human 
 face, full front, in centre, appearing between two upright 
 wings, one of which proceeds from right-hand gryphon. 
 In held uncertain objects, like alphabetic characters. 
 
 Scarab, Green-Stone; ov. 5x4- Athens, 
 
 Stn. : 1882. 
 
 'Fhe design, roughly executed, is confused and hard to m.ake out. The 
 human (or lion’s ?) head between the upraised wings is connected with 
 nothing and the gryphons appear to be headless. 
 
 A 30. ABSYRTUS, dismembered by two warriors (r. and /.). 
 
 Nude hgures, respectively youthful and full-bearded, 
 standing confronted ; the former (/.), holding up a 
 man’s dissevered chest and arms, beneath which, face 
 upward, a dissevered head ; the latter (r.), in the act of 
 
 ( ib ) 
 
hewing victim’s chest with short sword grasped in 
 uplifted right hand. A milled border. 
 
 Cut Scarab. Sard ; ov. 5x3^ (fragment broken off, 
 lower r.). Gold ring. Hoffmann Coll. (Lot 148). 
 Wtr. : 1886. 
 
 A “ cut scarab ”—that is to say, the obverse of a scarab on a slice 
 removed from the original beetle-formed stone. In most cases, however, 
 it must be uncertain whether such disseverment has taken place, or if the 
 engraver has merely imitated the scarab style on an ordinary bezel. The 
 figures on the present sard are in the later Etruscan manner. The 
 subject is described in the Hoffmann Catalogue as—‘‘ Deux Chasseurs 
 etrusques . . . dcpe^ant un animal.” 
 
 Professor Furtwangler does not directly mention this cut scarab, but 
 he describes and figures a “cross-striped sardonyx scarab” of which 
 mine is probably the replica referred to in his concluding sentence :—“ a 
 replica of the stone, broken at the left base [as is mine] belongs to Count 
 Tyszkiewicz.” As to the subject he writes:—“This is the best and 
 clearest representation of the gruesome custom of ‘ maschalismos ’ 
 [mutilation] mentioned in Attic tragedy of the 5th century b.c.” (Furtw., 
 A.G., p. 105 j pi. xxi, 50.) 
 
 A 31. LION, overpowering an Eagle (r.). 
 
 Eagle (r., hd. /.) on its back, wings folded ; Lion 
 (r., hd. fr^ above it, clawing its shoulder with right paw, 
 and seizing its throat with his teeth. A milled border. 
 
 Cut Scarab. Banded Sardonyx; ov. 4|x2|. Gold 
 ring. Anon. Coll., Christie and Manson’s (Lot 68): 1883. 
 
 Beyond doubt this is a cut scarab, for half of the original perforation 
 appears on the reverse. The design, chiefly point-work, is fine though 
 archaic, the combatants, which occupy every available space in the field, 
 being cramped into positions such as occur on the Mycenasan and Island 
 gems. Some corroding cause has slightly affected the material of this 
 cut scarab. The mount is an old-fashioned gold ring. According to 
 Christie’s Sale Catalogue its subject is—“ A dog killing a swan ” ! 
 
 A 32. COW, suckling her Calf (r., hd. /.). 
 
 Standing ; horns short and curved ; head down, 
 
 ( 17 ) c 
 
turned back, and resting on calPs hindquarters ; calf (/.), 
 standing, its head raised to suck. In r. background, 
 leafless bush, A milled border. 
 
 Cut Scarab. Banded Sardonyx; ov. 4x3. Gold 
 ring. [Beckford Coll.] Bale Coll. (Lot 1682) : 1881, 
 
 A good gem, though in its design better than in the execution, which 
 displays trenchant drill-work. Much later than the preceding. I am 
 inclined to think it a Roman imitation of the scarab style, for the margin 
 is excessive and the milled border very carelessly cut. From the fashion 
 of the ring in which it is set—the octagonal outer edge of the gold bezel 
 and the parallel lines of grooving below—it is evident that this gem was 
 once in the famous Beckford Collection. 4 'he device on a coin of 
 Dyrrhachium, c. 280 B.C., closely resembles the present. (Head, Guide to 
 Coins, p. 76 ; pi, xli, 9.) 
 
 A 33. WILD BOAR, standing at bay (r.). 
 
 Fore-legs extended, shoulders crouched, head lowered. 
 A milled border. 
 
 Cut Scarab. Onyx (burnt) ; ov. 4IX3L Gold ring. 
 [Breadalbane Coll.] Wtr. : 1886. 
 
 Spirited in design and effective in workmanship, but regarding its 
 claim to be a “cut scarab” I have similar doubts to those expressed 
 elsewhere. Here, as in A 27 (see also B 2), we perceive the prominence 
 of two detached bristle-ridges on the shoulder and hind-quarter, a 
 peculiarity 1 have referred to in my Origins of Pictish Symbolism, where 
 the gem under notice is also engraved (pi. iii, p. 38). "Fhe stone, an 
 onyx, has been much discoloured by fire. It came from the Breadalbane 
 Collection sold at Christie and Manson’s in 1886—probably from Lot 57 
 or 59, both of which comprised several unset gems. 
 
 A 34. GRYPHON, with downward wings, sitting fronted 
 {Jr,, hd. r.). 
 
 Eared eagle-head (r.) ; body fronted ; wings pointed 
 and down-spread ; legs nearly parallel, fore-legs within, 
 feet turned outwards ; following back of neck a barred 
 
 ( 18 ) 
 
serpentine line, passing behind head and ending in loop 
 over brow. A milled border. 
 
 Scarab. Sard; ov. 5x3^- Wtr. : 1890. 
 
 An uncommon subject in that position ; moderately well engraved 
 on sard. Professor Furtwiingler, who erroneously terms the animal 
 “a sphinx,” assigns this scarab to the “5th century b.c.” (Furtw., A.G., 
 p. 48 ; pi. ix, 57^) 
 
 A 35. LION, overpowering a Wild Boar (/. and r.). Cypriote 
 inscription. 
 
 Wild Boar (r.), standing, but resting on right knee, 
 borne down by Lion (/.with cross-hatched mane), which 
 seizes its back with teeth and forepaws, and plants 
 hind-paw on its head. Beneath, a cross-hatched platform. 
 A plain border. In field, a Cypriote inscription (retro¬ 
 grade) :—as on the stone— 
 
 J) —= nh to, e, te, mi, e. (Graeco- 
 
 Phoenician ?) 
 
 Seal. Scarab. Sard; ov. 5x32 (fragment off r. 
 lower edge ; flawed under boar’s knee and lion’s hind¬ 
 legs). [Cyprus.] Lawrence-Cesnola Coll. (Lot 317) : 
 I 892. 
 
 A remarkable scarab, one that I specially prize. The design, on a 
 clear sard or carnelian, is extremely fine, and both in that respect and in 
 the very careful point-work there is a charming touch of archaic stiffness. 
 But this gem derives its peculiar value from its bearing an inscription in 
 Cypriote syllabic characters—in this respect almost unique—which 
 Professor Sayce reads, E MI TE E TO Nf KO ; in Greek, 
 ^er^Tov'iKov—1 belong to Theetonikos—the only doubtful character being 
 the Eta. 
 
 The present scarab is figured in A. Cesnola’s Salarnin 'ia, p. 144. Its 
 authenticity cannot be questioned; I bought it, in 1892, at the sale of 
 the Lawrence-Cesnola Collection, which was formed in Cyprus. "Fhe 
 workmanship I presume to be Graeco-Phoenician. Perrot and Chipiez 
 refer to this scarab, and to an intaglio in the Danicourt Collection (much 
 
 ( 19 ) 
 
 c 2 
 
resembling in style and subject my Scaraboid B 3), which is inscribed 
 “ Akestodarou ” in Cypriote characters ^Art in rhcenicia and Cyprus, 
 vol. ii, p. 250). Professor Furtwangler, who omits to mention the 
 ownership, thus writes of my scarab;—“Fine work. Above, a Cypriote 
 inscription, which appears to me to read:—A-P()-R I-T()-N K.” 
 (F'urtw., A.G., p. 74 ; pi. XV, 92.) 
 
 A 36. WARRIOR, kneeling under cover of his shield (r.). 
 
 Nude, wearing crested helmet, kneeling on right knee ; 
 left arm raised, holding circular shield by loop ; right 
 hand down, grasping spear, which passes diagonally 
 behind body. A milled border. Rev. : A woman¬ 
 headed bird (Siren) in relief. 
 
 Scarab. Sard; ov. 4x3- Howel Wills Coll. (Lot 
 114). Wtr. : 1894. 
 
 On a rich dark sard, good Etruscan work of early date. Rather stiff 
 and archaic in style, the abdominal muscles marked in drilled discs. The 
 warrior’s spear is very awkwardly passed behind his back ; I have remarked 
 on a similar grotesqueness, under A i. On the reverse the beetle’s back 
 is cut in relief into the form of a Siren, woman-headed and bird-bodied, 
 similar to that on the reverse of A 2, but more carefully finished. It 
 came from a collection formed in Florence. 
 
 A 37. MAN, holding a Horse (r.). 
 
 Nude, standing r., head in profile, with pointed beard 
 and straight hair falling over shoulders ; left hand up, 
 holding bridle ; right hand forward on horse’s shoulder ; 
 left leg in advance, both feet on ground. Horse, pacing 
 r., left legs in advance, fore-leg raised and bent ; mouth 
 open, straining at bit, mane short and ridged, tail long and 
 curving far from body. Ground indicated beneath. A 
 beaded border. 
 
 Scarab. Crystal ; ov. 4i X 3 (edges chipped, slightly 
 
 ( 20 ) 
 
rubbed near centre). Howel Wills Coll. (Lot 114). 
 Wtr. : 1894. 
 
 The horse is very finely designed, its head and neck being especially 
 spirited, and the execution throughout is unusually minute and careful. 
 This scarab, of pure rock-crystal, shows every sign of early Greek 
 workmanship, though most probably it was found in Etruria. 
 
 A 38. APHRODITE, crouching and raising her mantle [l.fr.). 
 
 Head in profile, hair in low roll on brow ; in act of 
 disrobing, nude, crouching and almost sitting on her 
 heels, points of foot on ground, heels raised, knees 
 extremely bent ; left arm up, right forward, both hands 
 raising above her head a mantle, which falls to the left 
 A milled border. 
 
 Scarab, Sard ; ov. 3x2. Silver ring-mount. 
 Heming : 1895. 
 
 This pretty little sard scarab has the special interest of being identical 
 in subject with my sard intaglio (C 19) from the Rhodes Collection, 
 which is in its original mount as a gold ring. Mr. Story Maskelyne 
 possesses a large unset lapis lazuli bearing the same design. All these are 
 authentic, and probably represent some anciently well-known statue. 
 
 It is hard to say whether the goddess is robing or disrobing; mos 
 likely the latter, as her charms are ostentatiously displayed. 
 
 Professor Furtwangler explains the subject as—“a crouching naked 
 woman, throwing off her mantle.” He gives this scarab and the ring 
 above referred to, also Mr. Maskelyne’s gem and another of nearly identical 
 design from the Ashmolean Museum, Oxford (Eurtw., J.G., p. 60, pi. xii, 
 36 ; see also pi. xii, 33, 34). Notwithstanding the smallness of my 
 scarab I think that its Aphrodite excels the other examples in the general 
 proportions and in some of the details. 
 
 A 39. QUADRIGA, moving rapidly, bearing two Warriors (r.). 
 
 Four horses, heads and legs evenly lined—six com¬ 
 plete and two incomplete fore-legs, and eight hind-legs 
 visible (also, in error, lower part of a ninth fore-leg 
 raised, near margin) ; three heads nearly /K, head of 
 
 ( 21 ) 
 
furthest horse r. All the fore-legs off the ground and 
 forward, all the hind-legs on the ground together and 
 forward ; horses’ necks arched and heads drawn in, as if 
 restrained in excited gallop. Charioteer (r.) seated on 
 /. side in chariot : a youth, visible to waist, nude, 
 beardless, face in profile (r.), hair long ; left arm 
 forward, holding lance resting upon left shoulder ; right 
 arm forward and down, as if holding reins. Seated on 
 his right, a naked Man (^/K), visible to waist, face fr. 
 (slightly to /.), bearded and short-haired ; left arm 
 down, right arm bent, hand resting on (?) hilt of 
 sheathed sword—diagonally downward. Small object 
 (top of quiver ?) appears above his right shoulder. A 
 milled border. 
 
 Scarab. Sard ; ov. 5^ x 4| (lower /. edge chipped). 
 [Said to have been brought from the East. Asia 
 Minor ?] Wtr. : 1897. 
 
 A rich dark sard engraved with a spirited design in the later Etruscan 
 manner. 
 
 A 40. ASS, triple-headed and triple-tailed (r.). 
 
 Ass, with three heads, necks, and tails on single body, 
 standing r. ; central head horizontally forward, upper 
 head looking back (/.), lower head downward ; ears, of 
 all, long and forward-pointed. Main tail, long, carried 
 to front between hind-legs, and ending in triple tuft ; 
 triple-tufted ends of other two tails curved over haunch. 
 Four legs only, left legs forward. A guilloche border. 
 
 Scarab. Sard ; ov. 3^ x 2E Morrison Coll. (Lot 
 47): 1898. 
 
 Subject extraordinary ; engraving, coarse drill-work on sard. In 
 various ways, among various nations, the ass was a mystic animal. It 
 
 ( 22 ) 
 
was specially associated with the rites of Dionysos ; Set, or Sutekh, an 
 ass-headed deity, was worshipped in Egypt at various periods and often 
 appears on talismanic gems (see under N 43). The god of the Jews was 
 popularly supposed by pagans to have borne this asinine guise and was 
 said to have thus appeared to Zacharias in the Temple, striking him 
 dumb with amazement. At Rome there still exists a rude tracing from 
 a wall representing an ass-headed figure on a cross, adored by a man stand¬ 
 ing beneath, near whom is scored in Greek capitals—“ AAEZAMENOC 
 C€BETE ©EON —Alexamenos sebete theon.” (King, Gnostics, p. 90.) 
 
 My scarab is Etruscan, and probably came from Castellani, as it was in 
 the late Mr. A. Morrison’s Collection. In the latter’s sale-catalogue the 
 animal is termed “ Cerberus,” but it is certainly asinine. Professor 
 Eurtwangler gives (from the former Durand Collection) a very similar 
 example of a triple-headed animal, which he also terms a “Cerberus,” but 
 in that case a horse is distinctly the subject, as shown by its heads and 
 tail. (Eurtw., //.G., p. 90 ; pi. xviii, 49.) 
 
 A 41. YOUTH, kneeling under cover of his shield (r.). 
 
 Naked, head in profile (r.), hair short, straight and 
 combed down ; kneeling on right knee ; right arm 
 down ; left arm forward within strap of round shield, 
 back and edge seen, with which he guards body and 
 raised left knee. A milled border. 
 
 Scarab. Onyx-Agate ; ov. X 2|. W. T. Ready ; 
 
 1899. 
 
 This neatly finished onyx scarab was a present to me from Mr. W. 
 T. Ready. Its history was not stated. 
 
 A 42. YOUTH, carrying a bow and examining the point of his 
 arrow. 
 
 Beardless youth (r.), naked, head in profile, hair short 
 and curling ; kneeling on right knee, left leg bent, foot 
 on ground ; arms forward, right hand holding a down¬ 
 ward vertical arrow, bow slung over left wrist, left hand 
 feeling point of arrow. A milled border. 
 
 Scarab. Sard ; ov. 5 x 34- Gold holder. [Polis- 
 
 1 23 ) 
 
tis-Chrysochou, Cyprus.] Anon. Coll. [Mr. W. L. 
 Nashe]. Sotheby’s (Lot 96), July i, 1903. 
 
 While this sard scarab is identical in design with the splendid scaraboid 
 from Naukratis in my collection (B 8), except that its subject faces in the 
 opposite direction, its inferiority is so immense that, side by side, it almost 
 seems a caricature of the nobler work. Yet, in itself, it is not devoid of 
 merit, and its antiquity seems beyond question, though want of the 
 usual polish in the engraved parts gives it a raw and unsatisfactory 
 appearance. I am told that it was found at Polis in Cyprus, and certainly 
 the youth does not fail to exhibit the familiar idiotic Cyprian smile. 
 
 CLASS B. 
 
 SCARABOIDS, CUT SCARABOIDS: GREEK AND 
 ETRUSCAN. 
 
 [Plates II and IIL] 
 
 B I. BULL, standing at rest (r.). 
 
 In profile ; one horn concealed, the other pointing to 
 the front ; tail down ; left legs slightly forward. A 
 milled border. 
 
 Scaraboid. Chalcedony ; ov. 6^x5 (chipped, /. lower 
 edge and back). Gold swivel. Bale Coll. (Lot 1662) : 
 1881. 
 
 The Bale Collection, dispersed in 1881, was one of considerable 
 importance, though richer perhaps in coins and vases than in engraved 
 gems. The present scaraboid belongs to a class found chiefly, or 
 altogether, in Greece and its dependencies. The bull is a fine and 
 massive animal, of the domestic variety; its likeness is engraved in a 
 bold but well-finished style. The date, I suppose, might be 500 to 
 400 B.C. 
 
 B 2. SOW, standing above an apple and leaf (r.). 
 
 In profile : bristled on crest and hind-quarters ; apple, 
 
 ( 24 ) 
 
on stalk with leaf attached, on ground below sow’s head. 
 A plain single border. 
 
 Scaraboid. Agate - Chalcedony ; ov. y X S’ Gold 
 swivel. [Nott Coll.] Bale Coll. (Lot 1662) : 1881. 
 
 An excellent Greek scaraboid on agate-chalcedony, from the same sale 
 and lot as the preceding, and of similar class. This gem is engraved and 
 noticed in the following works ; Munro's Horace, p, 140, and see p. 422 ; 
 King’s Antique Gems, vol. ii, p. 70, pi. liii ; Southesk’s Origins of Pictish 
 Symbolism, pi. iii, see p. 38 ; King’s Handbook of Engraved Gems, 
 2nd ed., 1885, pi. Ixxxii, p. 242. 
 
 It serves as an example of the bristle-ridges on the crest and hind¬ 
 quarters of a porcine female—compare A 27 and A 33, and note also the 
 sows on a coin from Methymna {c. 480 b.c.) and on another from an 
 uncertain locality given in Mr. Barclay Head’s Guide to the Coins of the 
 Ancients, from c. B.c. 700 to A.D. i. [Guide Brit. JlAus. Synopsis series-, 
 2nd ed., 1881, pi. xi, 27, and pi. x, 4.) 
 
 Professor Furtwangler erroneously terms this scaraboid “a scarab,” 
 and gives as the subject:—“ Sow with a collar. Before her an olive leaf 
 with an olive.” (Furtw., A.G., p. 57 ; pi. xi, 33.) The collar is non¬ 
 existent and the “olive” is round. 
 
 GRYPHON, attacking a horse (/.). 
 
 Wide-winged gryphon, seizing with beak and talons 
 the back and flank of a rearing horse, and striking its 
 thigh with his right hind-foot. 
 
 Scaraboid. Moss Agate ; ov. 6A x C Gold swivel. 
 Sch. : 1880. 
 
 A design of extraordinary spirit, in low relief and somewhat sketchily 
 engraved. The stone is clear agate with numerous moss-like yellow- 
 green markings. I greatly admire this gem. It was one of many that I 
 bought, in or about 1880, from Mr. Schmidt, a Polish gentleman, now 
 for some years dead, who owned an enormous, but miscellaneous, 
 collection of gems, 2,000 to 3,000 pieces of every date and class, mostly 
 unmounted. 
 
 The present scaraboid bears a strong resemblance to an intaglio 
 representing a stag attacked by a gryphon and inscribed with the name 
 “ Akestodarou ” in Cypriote characters, described and figured by Perrot and 
 
 ( 25 ) 
 
 D 
 
Chipiez, and referred to previously under A 35. The gryphons are 
 nearly identical in action and character. 
 
 B 4. EAGLE, standing on an olive-wreath, wings erect and head 
 lowered (A). 
 
 Wings spread, very long, and vertically raised ; tail 
 depressed ; head down, beak open as if tearing wreath 
 on which his feet are set. A plain single border, 
 
 Scaraboid —in form of a lion-couchant. Sard ; ov. 
 6 X 2^. Gold holder. [Corinth.] Wtr. : 1886. 
 
 A remarkable gem ; less so for the engraving on the face, though that 
 is good in style and subject, than because the body of it is in the form of 
 a couchant lion, excellently carved out of a beautiful sard. The action of 
 the eagle is hard to determine. Does it hover and bear the wreath along 
 in token of a friend’s success, or does it trample on the wreath and prepare 
 to rend it in token of an enemy’s defeat } According to Professor 
 Furtwangler it is “a carnelian pendant in the form of a recumbent lion, 
 in the Egyptian style. On the flat underside is engraved .... a falcon 
 or eagle holding a wreath .... still somewhat ‘ streng.’” (Furtw., 
 A.G., p. 59 ; pi. xii, 28.) 
 
 B 5. STORK, standing on one leg (/,). 
 
 Head thrown back ; left leg down, right raised and 
 bent. 
 
 Scaraboid. Red and brown Jasper ; ov. 6 x 4g (frac¬ 
 tured). Tyszkiewicz Coll. (Lot. 59) : 1883. 
 
 (jood in design but slightly coarse in workmanship ; the material a 
 dull red and brown jasper. Has been broken in halves and mended, 
 which signifies little when the stone has no beauty. 
 
 B 6. LION, enraged, standing at bay (/.). 
 
 Mouth open, head and shoulders lowered, fore-paws 
 forward, tail over back. A milled border. 
 
 Scaraboid. Sard ; ov. 3 (4) x 2^ (left end, with part 
 
 ( 26 ) 
 
of /. hind-leg, lost). Gold ring (22 c.). Paris. R. F.: 
 1882. 
 
 The lion’s left hind-leg has been lost through fracture, but little to the 
 injury of the design, which is in every way good. It is in the Grasco- 
 Phoenician style (as seen, for example, in the Cypriote Scarab A 35) ; its 
 material is a rich red sard, perforated, but, for a scaraboid, of less than 
 usual thickness. 
 
 B 7. GRYPHON, crouched and ready to spring (r.). 
 
 Wings erect, curved and rounded ; body almost 
 recumbent ; right hind-leg bent and forward, left fore¬ 
 leg forward, right lifted for a stroke ; tail raised ; beak 
 open. 
 
 Cut scaraboid. Sapphirine ; ov. lex. 4x3- Gold 
 ring. Fwh. : 1879. 
 
 Much in the same style as B 3, but less Greek and more Phoenician, as 
 shown in the curved and rounded wings. A spirited intaglio, apparently 
 cut off from a scaraboid or cone of pale sapphirine chalcedony Cf- 1^ ^2). 
 
 B 8. YOUTH, carrying a bow and examining the point of an 
 arrow (r.). 
 
 Nude ; head in profile, hair in double fillet, roll of 
 curls below ; crouched, right foot on ground, left leg- 
 more bent and rested on point of foot ; right arm 
 forward, across it cord of strung double-curved bow, 
 hand feeling head of arrow horizontally held by raised 
 left hand. A milled border. 
 
 Scaraboid. (.?) Marble ; ov. 5x4- Gold holder. 
 [Naukratis.] Wtr. : 1890. 
 
 Experts would probably consider this the most important gem in my 
 collection. Professor P'urtwangler, on his visit to Kinnaird Castle, in 
 1895, admired it enthusiastically, and the late Professor Middleton wrote 
 of it:—“Nothing could surpass this wonderful scaraboid” {The Lewis 
 
 ( 27 ) 
 
 D 2 
 
Collection of Gems and Rings, 1892, Preface, p. 28 and woodcut) ; and 
 elsewhere:—“ One of the finest gems which has ever been discovered, 
 dating from about 460 B.c.” {Engraved Ge?ns of Classical Times-, 
 pp. 25, 26, and woodcut), and it has been equally appreciated by 
 Dr. A. S. Murray and other competent judges. Its merits cannot be 
 disputed ; in all respects it vindicates its right to be considered one of the 
 few existing specimens of Greek gems engraved at the period of the most 
 perfect art. A slight touch of archaic stiffness only serves to enhance its 
 charm. I highly prize this glorious scaraboid. Mr. W. T. Ready, from 
 whom I purchased it, informed me that it was said to have been found at 
 Naukratis. 
 
 Professor Furtwangler devotes to it a large-scale illustration as well as 
 one of the usual size ; he describes it thus;—“ Burnt carnelian scaraboid 
 from Naukratis. A naked youth, crouching, tests an arrow, his bow 
 hangs over his left arm. Short hair with bunched locks. The eyes still 
 entirely to the front. The work is a masterpiece. The style is much 
 like that of No. 38, pi. viii, the execution incomparably more delicate and 
 perfect. The back-muscles, the displayed ribs, the calves and the joints, 
 are given with extraordinary truth and delicacy ; the straight muscles of 
 the belly are shown in tne customary strong fashion, the attitude is 
 exceedingly more natural and more finely delineated than in No. 20.” 
 (Furtw., A.G., p. 45 ; pi. ix, 23 ; pi. li, 14.) 
 
 Under A 42 I haye noticed a scarab, acquired by me in 1903, which 
 in an inferior way is a sort of replica of this scaraboid. Two somewhat 
 similar examples are giyen by Professor P'urtwangler. (Furtw., A.G., 
 pi. yi, 37 j pi. yii, 49.) 
 
 MALE AND FEMALE HEADS, conjoined at back. 
 
 Male head, profile (r.), hair rippled, beard horizon¬ 
 tally forward, nose aquiline, eye very large. Female 
 
 head, profile (/.), hair in diadem and slightly rippled, 
 
 nose straight, chin receding. Backs of heads conjoined 
 
 so that ears touch. A plain border. (Cypriote ? Early 
 Greek ?.) 
 
 Seal. Scaraboid. Agate ; ovd. 5x4- (Unperforated. 
 Badly flawed through lower edge ; flawed across lower 
 /. held.) Gold swivel. [Cyprus.] Lawrence-Cesnola 
 Coll. (Lot 546) : 1892. 
 
 A yery interesting archaic scaraboid, in striped brown agate. The 
 device resembles those figured on coins of Lampsacus, c. 480 b.c. 
 
 ( 28 ) 
 
The female head on my scaraboid is almost identical with that on 
 No. 19 of Plate ii, in Head’s Guide to Coins, both showing the characteristic 
 rudimentary Greek profile, where chin and forehead slope backward from 
 the point of the nose ; with the same set smile, the same eye complete as 
 in full face, the same tightly drawn-back and Hlletted hair. Mr. Head 
 thinks it possible as regards the coins, that these “ J^niform” types are 
 both masculine and represent “ Bacchus Dimorphus.” But in my gem 
 the left-hand profile is yery distinctly feminine and not without some 
 suggestion of beauty. 
 
 Professor Furtwangler seems mistaken in terming this scaraboid “a 
 striped brown sard,” and he does not state its ownership. He thus 
 describes its subject:—“ A bearded and a beardless head united in the 
 manner of a double-Hermes. Thin locks of hair falling behind large 
 conventionally formed ears. See the ancient coinage of Tenedos.” 
 (Furtw., A.G., p. 31 ; pi. yi, 65.) 
 
 B 10. HORSE, prostrate and struggling to rise (r.). 
 
 Horse (r.), its back on the ground, head and fore¬ 
 quarters leaning towards /. ; neck arched, mouth open, 
 head looking back ; fore-legs raised and bent, hinder-part 
 flat upon spine, belly to front, hind-legs forward over it, 
 tail curved round on r. hind-quarter. A milled border. 
 
 Scaraboid. Sard ; ov. 3^ x 2. [Cyprus.] Lawrence- 
 Cesnola Coll. (Lot 318) : 1892. 
 
 The horse’s head and crest are fine, of the same type as appears in my 
 Scarab A 37, In both cases the manes are “ hogged.” The workmanship 
 of this pretty little scaraboid is certainly Greek, whether executed in 
 Cyprus, or Etruria, or South Italy. 
 
 Here, again. Professor Furtwangler omits to state the ownership. He 
 gives several examples of similar gems (Furtw., A.G., pi. vi, ix, xv, 
 xvii, xxviii) and of this remarks:—“The body is here unnaturally 
 distorted. The design was also liked at a later period and was then more 
 naturally represented.” (Furtw., A.G., p. 30 ; pi. vi, 62.) Of the whole 
 number of these examples mine seems to be the best. 
 
 B II. HOUND, looking back (/.). 
 
 Hound (/.), resembling great Danish boar-hound, 
 standing in suddenly arrested movement, head reverted 
 (r.) ; right fore-leg raised, left forward ; right hind-leg 
 
 ( 29 ) 
 
in front of left hind-leg ; tail horizontally held in single 
 short curve ; ears sharp and erect ; round the neck, a 
 plain collar. 
 
 Scaraboid. Sard ; ov. 6x4 (chipped r. upper edge 
 near perforation and slightly burnt). Wtr. ; 1893. 
 
 A very noble dog of the heavy greyhound or deerhound type, not 
 unlike the boar-hounds known as “Great Danes.” A similar animal 
 appears, in standing position, on a silver coin of Segesta, which on the 
 reverse bears the “ Head of the Trojan damsel Segesta,” seen as a profile 
 considerably resembling the female profile in B 9, though in a more 
 finished style. (See Head, Guide to Coins, p. 17 ; pi. ix, 32.) 
 
 B 12. GRYPHON, couchant (/.). 
 
 Gryphon, lying on ground, paws forward ; head erect, 
 beak open, long ears pricked forward, bristled mane on 
 neck. One wing shown, horizontal and pointed ; tail 
 raised in double curve. 
 
 Scaraboid. Agate ; ov. x 5- Athens, Lbs. : 1897. 
 
 Somewhat sketchy in workmanship, but of extraordinary fire and 
 spirit in design. May be earlier than B i and B 2. On grey-white 
 chalcedonv or agate. ' See under B 3, and compare the gryphon on the 
 reverse of a silver coin of Abdera, e. 400-336 B.c. (Head, Guide to 
 Coins, p. 42 ; pi. xxi, 3.) 
 
 CLASS C. 
 
 DEIFIES: MALE AND FEA 4 ALE. 
 
 [Plates III and IV.] 
 
 C I. ZEUS, throned upon the back of a flying Eagle {fr., r.). 
 
 Bust, nude, appearing behind eagle’s neck, thunder¬ 
 bolt in raised right hand ; eagle, flying with outspread 
 
 ( 30 ) 
 
horizontal wings and bearing in its talons palm and 
 garland. 
 
 Sard ; ov. 4 X 3. Gold ring. [Pulszky Coll.] ist 
 Short Coll. (Lot 17). Wtr. : 1885. 
 
 Intaglio on a clear golden-sard. Rather good in a flowing style, 
 probably of early Roman imperial date. 
 
 C 2. APOLLO, advancing and playing on the lyre (/.). 
 
 Wearing long tunic girt at waist and mantle falling 
 over back ; head laureated, right hand raised touching 
 strings of lyre, which left hand supports below. 
 
 Garnet ; ov. cx. 5I X 4- Gold ring. [Lace Coll.] 
 ist Short Coll. (Lot 45). Wtr. ; 1885. 
 
 “Apollo Musagetes.” A well cngrav'ed and attractive Ciraeco-Roman 
 intaglio on a fine convex garnet. It seems to he of ancient workman¬ 
 ship, though not perhaps of the very highest order. 
 
 C 3. APOLLO, seated, a fawn resting its fore-legs on his knee 
 
 {r.J'r.). 
 
 Head in profile ; nude, himation over legs : seated on 
 tree-stump whence four-leafed branch to /. ; right hand 
 raised, leaning on grounded staff; left forward, holding 
 upright sceptre with ball at top ; right leg bent back ; 
 left bent, on knee a young female deer places both fore¬ 
 legs, the deer standing on its hind-legs, which, with half 
 its body, are hidden by large bowl on rounded stand ; 
 projecting from bowl a forked stick, for sprinkling 
 lustral water. 
 
 Sard ; ov. 4 x (chipped, upper r. and lower /.). 
 Gold ring. Fwh. : 1889. 
 
 Although the workmanship is indifferent, the general design lends 
 this gem some interest ; the manner in which at the bidding of the god 
 
 ( 31 ) 
 
the fawn rises from behind a vase, wherein appears an upstanding lustral 
 stick, being distinctly curious and uncommon. 
 
 APOLLO, head of, with a laurel wreath of vertical leaves 
 (/r., r.). 
 
 Nearly full face, very deeply sunk in stone ; leaves of 
 garland rising vertically at top of head, flowing ribands 
 on either side of neck. 
 
 Opal ; ov. cx. 7 x 4->. Gold ring (embossed). 
 [P. fd. Hope Coll.] Beresford Hope Coll. (Lot 40). 
 Wtr. : 1886. 
 
 In 1839 Mr. f). Hertz framed a Catalogue of the Collection of Pearls and 
 Precious Stones formed hy Philip Henry Hope, Esq., which was embodied 
 in a folio volume with many illustrations. Mr. Hope’s scheme of 
 collecting led him chiefl}^ towards unengraved stones, but a certain 
 number of his specimens bear intaglios or cameos—ancient, modern, or 
 mediaeval. Mr. Hertz’s description of the present gem reads as follows: 
 “ 39*** An opal, from Hungary. The stone is cut convex, with an 
 intaglio on it representing the laureated head of Apollo. The work is 
 very fine and very deep, giving a front view of the deity’s face. This is 
 an exceedingly remarkable specimen, an engraved opal of such fine 
 work being scarcely ever met with. Mounted in a gold chased ring. 
 Fide plate xxxi.” 
 
 After Mr. P. H. Hope’s death the greater part of his collection passed 
 to the Rt. Hon. A. J. B. Beresford Hope, who disposed of it at Christie’s 
 in 1886. The opal in question formed Lot 40 and was absurdly 
 described as: “A ring with a female head—opal intaglio.” Mr. W. T. 
 Ready was the purchaser, and I afterwards bought it from him. 
 
 The opal was a stone so greatly valued by the ancients that it was 
 seldom, almost never engraved. Whether the present specimen is ancient 
 or modern I cannot decide, but its extraordinary merit, which none will 
 question, is best displayed in an impression, as one generally finds where 
 deep full-fronted intaglios are concerned. 
 
 HERMES, advancing, his hand on a caduceus staff (/.). 
 
 Nude, chlamys hanging from both arms and passing 
 behind body ; hair in fillet, with ringlets over neck and 
 
 ( 32 ) 
 
shoulder, bearded, heels winged ; right hand holding 
 grounded shaft of long upright caduceus. 
 
 Sardonyx ; ov. 5x3. Gold ring. [Tassie Coll.] 
 Wtr. : 1883. 
 
 Mr. W. T. Ready—from whom I bought this gem—had obtained it 
 from Tassie’s collection. Its material—sardonyx—has been so often well 
 counterfeited in paste that, feeling some doubts, I sent it to be tested by 
 an expert. He reported it to be a true stone. The want of precision in 
 the engraving probably arises from modern repolishing, through which so 
 many gems in the Marlborough Collection and elsewhere were damaged 
 towards the end of the i8th century. 
 
 In Raspe’s Descriptive Catalogue of Gems cast hy fames Tassie (4to, 
 1792), the present example is noted ; “No. 2946. Sardonyx. Mr.'Tassie. 
 Mercury ... a good engraving in the old Greek style” (p. 172). 
 Following this comes: “No. 2937. Jacinth. Lord Algernon Percy. 
 Do. . . . Plate XXX.” 
 
 Judging from the illustration, these gems are identical in design. 
 I am inclined to view them as Grseco-Roman imitations of the earlier 
 Greek style. 
 
 C 6. DIONYSOS, with grapes and thyrsus, intently gazing into 
 a vase [l.,fr.). 
 
 Beardless youth seated, three-quarters length, hair in 
 fillet-roll and ivy-wreathed and falling in two ringlets 
 upon side and back of neck ; nude above, drapery round 
 left arm and over legs ; in left hand an upright thyrsus, 
 in right a bunch of grapes held over head ; eyes fixed on 
 two-handled vase (cantharus) on low stand, viewing 
 image mirrored in liquid within. 
 
 Sard; ov. 5x3!- Gold ring. [Gums.] Rhd. : 1879. 
 
 In all collections gems divide themselves into four main classes— 
 those certainly ancient, those probably ancient, those probably of the 
 Italian Renaissance or of i8th century date, and those that are actual 
 forgeries. The gem now before us is an indubitable example of the first 
 of these classes. 
 
 Among the best judges there are diversities of taste, and many, 
 
 ( 33 ) E 
 
perhaps most, would place the scaraboid of the youth with the arrow (B 8) 
 before the present intaglio, but that is not my own opinion. There is an 
 intensity of refinement about this most exquisite gem that holds my 
 fancy captive ; to my mind nothing belonging to it could be improved, 
 and its slight tincture of archaism adds to its charm. 
 
 The subject is curious and mystical. The youthful god is gazing 
 intently downward, seeking, it is supposed, for wondrous revelations to be 
 discerned in the wine contained in a cantharus that stands on a low 
 table beneath his eyes. “The pantheistic divinity,” writes Mr. Brown, 
 referring to this gem, “sees himself in all he sees.” (Great Dionysiak 
 Alyth, vol. i, p. 414.) On close examination, however, I am inclined 
 to think that the god is not gazing into the vase—which, like the thyrsus, 
 is a mere accessory^—but, after the manner of certain Oriental seers, is 
 fixing an unwavering contemplation on his own navel, inducing (according 
 to modern ideas) a hypnotic state, in which mystical marvels are revealed 
 to the innermost being. The direction of the eyes and the slightly 
 exaggerated size of the umbilical hollow lead me to this view, which 
 seems as probable as the other, both forms of divination having been 
 practised from the remotest times. King, in his Gnostics (pp. 148, 154) 
 says : “The Circle of the Sun is the navel . . . being considered in 
 
 the microcosm as corresponding to the Sun in the Universe, . . . the 
 
 mystical Light of Tabor was [among the Greek authorities] revealed to 
 the devotee after a fast of many days, all the time staring fixedly upon the 
 region of the navel, whence at length this Light streamed as from 
 a focus.” 
 
 This gem is well known. It is described and depicted in the late 
 Rev. C. King’s Antique Gems and Rings (vol. ii, p. 56 ; pi. xxviii a) and 
 in another of his works quoted below ; it also forms an illustration with 
 an accompanying note in that finely got up book, Munro’s Horace 
 (pp. 76, 406). Like many ancient intaglios, it is probably copied from 
 a statue of which other record has perished, an idea favoured by the 
 duplicate existence of part of the same design on another gem in my 
 collection (C 34). 
 
 The present gem—“a matchless example of the Campanian style, 
 brought from Cumas by Castellan! ” (King, Handbook of Gejns, 2nd ed., 
 1885, pi. lix ; p. 232)—was afterwards acquired by Mr. Rhodes, from 
 whom I bought it in 1879, 
 
 Professor Furtwangler writes of it as follows ; “ Carnelian . . 
 
 Half length figure of Dionysos, who, the thyrsos in his left hand, raises 
 his right hand over his head ; in the latter hand he holds a bunch of grapes, 
 and seems to squeeze them into a cup standing before him. Delicate and 
 elegant work, undoubtedly ancient. The replica—Pierres d’Orleans, 
 I, 68 (Sal. Reinach, pi. 126), where the 77 iotif is not understood,—is 
 evidently modern. Similar Musee Fol, ii., pi. 27, 5.” (Furtw., A.G., 
 p. 183 ; pi. xxxviii, 19.) 
 
 I doubt if the god is rightly described as squeezing the grapes into the 
 cup, or even as preparing to do so. More probably he displays the fruit 
 
 ( 34 ) 
 
as an indication of the cup’s contents. The material is not carnelian, but 
 a beautiful yellow sard, rather thin, and engraved in that refined shallow 
 style that belongs to the best of ancient Grecian gems. 
 
 C 7. DIONYSOS, standing full fronted, thyrsus in hand, resting 
 his elbow on a cippus {fr.). 
 
 Head (/r.) garlanded with vertical ivy-leaves, tightly 
 rolled tresses falling in pairs on either shoulder ; nude ; 
 right arm forward, grasping tall grounded thyrsus ; left 
 arm down, elbow on cippus, there with left hand 
 holding fast one end of mantle, which passes behind 
 body, other end over right arm, parts near cippus lined 
 with long-haired skin of animal (.?). 
 
 Brown Chalcedony ; ov. cx. 5x3- Gold ring. 
 Wtr. : 1889. 
 
 A Grzeco-Roman work, rather uninteresting and coarsely engraved, 
 but not without merit in its design—probably taken from a statue—and 
 in the quality of its material, an unusually rich and luminous brown 
 chalcedony cut en cahuchon. 
 
 C 8. ASKLEPIOS, with serpent-staff, feeding a serpent from a 
 patera 
 
 Standing, bearded, hair in diadem ; nude to legs, 
 round which drapery falling from left shoulder ; patera, 
 with small serpent feeding from it, in forward right hand ; 
 left down, holding staff round which larger serpent is 
 twined. 
 
 Sard ; ov. 4 x 2^. Gold ring. Montigny Coll. 
 (Lot 279). Wtr. : 1887. 
 
 This seems to be of Greek workmanship, though not of the highest 
 quality. It is engraved on a golden sard. 
 
 ( 35 ) 
 
 E 2 
 
C 9. SYLVANUS, standing between an olive and a vine 
 
 {fr., /.). 
 
 Nude, head in profile, bearded, hair in diadem ; in 
 forward right hand a patera ; in downward left hand a 
 triple-headed wand ; on his right a grape-bearing vine, 
 on other side an olive-tree with over-arching branches ; 
 in field, below his right hand, pruning-knife, pandean 
 pipes, and cista ; in foreground various fruits ; hanging 
 on stem of olive an animal’s skin. 
 
 Red and yellow Jasper ; ov. 3 I x 3- Gold ring. 
 Wtr. : 1885. 
 
 A Roman god and a Roman gem. Coarsely cut, but noticeable from 
 the rarity of its subject and its treatment, as well as from the gaiety of 
 the variegated red and yellow jasper that forms its material. 
 
 C 10. KYBELE, head of, veiled and murally crowned (r.). 
 
 Profile ; hair drawn back in rolls, veil round back- 
 knot falling over draped shoulders ; crown formed of 
 triple-turreted wall ; in field beneath, two cornucopias 
 slanted opposite ways, heads outward, lower ends crossing. 
 
 Sard ; ov. lex. 5x4. Gold ring. [Constantinople.] 
 Tyszkiewicz Coll. (Lot 82). R. F. : 1883. 
 
 A good enough but rather commonplace intaglio on sard. Perhaps 
 the head of a city. (C/1 Head, Coins and Medals^ pi. Ixviii, 17 ; p. 117.) 
 
 C II. PALLAS, marching with shield raised and shouldered 
 spear (/.). 
 
 Crested helmet, double tunic, scarf flowing behind ; 
 right hand forward holding spear slanted across same 
 shoulder ; left shoulder guarded by circular shield in 
 
 ( 36 ) 
 
raised left hand. On left field, CEKOYN Al U)— '^eKovvSi(o{v), 
 in round letters. 
 
 Sard ; ov. lex. 4^ x 3^- Gold ring (20 c.). Athens, 
 Rhp. : 1882. 
 
 This sard intaglio has made two journeys from Greece to Scotland. 
 It came to me with other gems from Athens, but for some reason 
 I returned it. Some years afterwards it came back to me, again “ on 
 approval,” as one of several. This time I recognised the merits of its 
 design, however faulty the execution, and willingly added it to my 
 collection. The legend it bears is probably a former owner’s name. 
 
 C 12. PALLAS, in the battle-front, advancing with raised right 
 hand {Jr.). 
 
 Helmet, sgis, and double tunic ; moving to the front, 
 legs apart, left forward ; right hand uplifted, left holding 
 spear and circular shield, the latter seen in reverse. 
 
 Hyacinth Sard ; ov. 3^ x 2^ (chipped above). Gold 
 swivel. [Hertz Coll.] Rhd. : 1879. 
 
 For several reasons a noteworthy gem. Mr. Rhodes obtained it from 
 the Hertz Collection, and it was one of those specially reserved by him 
 after the dispersal of his own great collection ; he prized it exceedingly, 
 could hardly bring himself, indeed, to part with it. Mr. C. W. King 
 (who was intimately acquainted with Mr. Rhodes and his collections) 
 mentions this intaglio in several of his well-known books, and always in 
 terms of praise. It appears as an illustration in all these works and also 
 in Munro’s Horace. (“ Pallas, finest Greek work, Rhodes Coll.,” King, 
 Antique Gems, i86o; pi. v, 13, “Pallas Promachos in sard,” Antique 
 Gems and Rings, 18723 vol. ii, pi. xix B, p. 52. “Athene Promachos 
 encouraging the Greeks to the attack. The most spirited intaglio in the 
 mature Greek st5de known to me. Sard. (Hertz),” King, Handbook of 
 Engraved Gems, 2nd ed., 1885 ; p. 226, pi. xlv, 3. “Minerva, standing 
 in a threatening attitude ... a Greek gem of exquisite finish,” 
 kj. Horatii Flacci Opera, King and Munro, i86g, p, 437 ; woodcut, 
 p. 206.) 
 
 Such testimony in its favour is of high value, for both Mr. King and 
 Mr. Rhodes had immense experience in gems, and the former had made 
 the subject his special study. 
 
 Among the coins of the Bruttii there is one bearing on its reverse 
 
 ( 37 ) 
 
a figure termed “ Bellona,” which in treatment slightly resembles the 
 present fi^re {Brit. Mus. Cat. of Greek Coins — Italy, No. 47, p. 324). 
 Professor Furtwangler does not record the ownership of my gem and 
 mistakenly terms its material “ Carnelian ”; he thus describes the 
 subject: “ Athena Promachos in vigorous advance. She turns her head 
 round and challengingly stretches out her right arm ; in her left hand she 
 holds a spear and a shield. As the Athenian coinage shows, there was 
 a celebrated work of this type in Athens; see on this, and on the probable 
 statuary copy, and sculptor of the same, my Intermezzi, S 31.” (Furtw., 
 A.G., p. 207 ; pi. xliii, 45.) 
 
 C 13. PALLAS, standing, with grounded spear and figure of 
 Victory ( /r., hd. /.). 
 
 Helmet with pendant crest ; double tunic ; left hand 
 raised high, grasping shaft of grounded spear, against 
 which rests round shield in profile ; right hand forward 
 holding small figure of Victory with wreath and palm. 
 In field, CALLVR....ONCI. 
 
 Sard ; ov. cx. 5x4- Gold ring. H. R. : 1878. 
 
 Roman ; rather deeply and coarsely cut. The partly effaced legend 
 was read by Dr. Murray as the name of the owner-—Calpurni Longi. 
 This gem I bought from Messrs. Hunt and Roskell, who, although not 
 dealers in antiquities, at one time chanced to possess some gems of a high 
 class, most of which I acquired. 
 
 C 14. PALLAS, with grounded spear, standing beside a low 
 column (r., bkdj. 
 
 Short tunic above long drapery, whence appears nude 
 right leg slightly bent ; back shown with scarf across ; 
 head in profile ; crested helmet with pendants ; left hand 
 down, resting on low, round column ; right hand raised 
 holding grounded spear ; circular shield (.?) attached to 
 left shoulder. 
 
 Onyx ; ov. cx. 4^ x 3|. Gold ring. Phc. : 1878. 
 
 A fairly good, though commonplace Roman intaglio. Bought at 
 the outset of my collecting. 
 
 ( 38 ) 
 
C 15. PALLAS, standing, with plain helmet and shouldered 
 spear (/.). 
 
 Tunic and long drapery ; plain helmet ; circular 
 shield on left arm ; right hand forward, holding short 
 spear across shoulder. 
 
 Onyx ; ov. x 3. Gold ring. Constantinople, 
 Ain. : 1880. 
 
 This also was an early purchase—received through Mr. Arthur F. L. 
 Leveson-Gower of the Diplomatic Service, then at Constantinople, who 
 very kindly interested himself in my collecting and—through the Foreign 
 Office—sent me many gems on inspection, most of them from 
 M. Alischan, a dealer (I believe) in antiquities. 
 
 The peculiarity of the engraving of the intaglio under notice may be 
 remarked—so much done with the point, employed in parallel vertical 
 scoring, which gives an archaic character to a Roman gem of no early 
 date {cf. “ Nemesis,” C 27). Otherwise it possesses little merit, except that 
 the stone itself is a handsome, very black onyx. 
 
 C 16. PALLAS, as DEA ROMA, enthroned on a rock, with a 
 wolf at her feet (/.). 
 
 Close tunic with girdle, mantle round left arm and legs ; 
 helmet with pendant crest ; raised right hand resting 
 on grounded spear ; left down, holding sheathed sword ; 
 circular shield leaning against right knee. Wolf (/., 
 hd. r.) looking downward and hack ; beyond it, in back¬ 
 ground, three-branched, truit-bearing tree ; in /. field, 
 withered bush. 
 
 Sard ; ov. 4^ x 3^- Gold ring. Wtr. ; 1885. 
 
 An indifferent, thoroughly Roman gem, but worth keeping, for it is 
 of pleasing design and on a good sard. 
 
 C 17. PALLAS, bust of, with crested helmet bearing a hippo¬ 
 campus (r., 6 k.). 
 
 Head in profile ; back shown, with scarf across, and 
 
 ( 39 ) 
 
right shoulder bare ; helmet, plain, with neckguard, 
 crouching hippocamp on ridge supporting horse-hair 
 crest ending in pendant. 
 
 Sardonyx ; ov. cx. 6x4 (longitudinally perforated). 
 
 . Gold ring. [Richetti, Venice.] Sch. : 1879. 
 
 This moderately good intaglio came to me from Mr. Schmidt’s 
 enormous collection, to which it had passed from Richetti in Venice. 
 The brighter portion of the sardonyx is of a clear orange colour not often 
 met with. The stone is probablv a bisected Indian bead. 
 
 T am at a loss to characterise the style of its engraving, though 
 familiar in so many examples—such as C 14 and D 16. It seems to be 
 all scooped wheel-work with a disagreeable width of unbroken polished 
 spaces—the exact opposite of the early point-work with its close scoring, 
 as seen in A i. I doubt the antiquity of the style, vet it seems neither 
 Renaissance nor i8th century. Perhaps it is late Roman, of the period 
 of Hadrian. 
 
 C 18. PALLAS, bust of, wearing a gryllus helmet (r.). 
 
 Profile ; two Silenus masks in profile (r. and /.) 
 forming helmet, which bears ridge-crest with pendant ; 
 on chest, aigis, whence issue two serpents (r.). 
 
 Red Jasper ; ov. 4^ x 3 ^. Gold ring. Phb. : 1884. 
 
 Very moderate work, which at first sight looks better than it is. 
 Stamped as Roman (could doubt exist) by the hideous helmet formed of 
 Silenus masks. It makes a fairly good seal. 
 
 C 19. APHRODITE, crouching and raising her mantle 
 
 Head in profile, hair in low roll on brow ; in act of 
 disrobing, nude, crouching almost on her heels, points 
 of feet on ground, heels raised ; knees extremely bent ; 
 left arm up, right forward, both hands raising above her 
 head a mantle, which falls to left. 
 
 Sard ; ov. 4x3- Gold ring—ancient. Rhd. : 1879. 
 
 I now turn to a gem most indubitably Greek. The subject— 
 Aphrodite disrobing for the bath—seems to have been a favourite one of 
 
 ( 40 ) 
 
old, for Mr, Story Maskelyne owns a large unmounted lapis lazuli 
 (possibly a Hetaira’s token) of exactly similar design, and by a curious 
 chance I obtained a third example of the same in the minute Scarab 
 
 A 38. 
 
 Professor Furtwangler mentions the present ring, terms the material 
 “carnelian,” and describes the subject as : “A crouching naked woman, 
 throwing off her mantle.” (Furt., A.G., p. 59 ; pi. xii, 30.) It was one 
 of the five I bought from Mr. Rhodes. The engraving is on a fine sard, 
 still in its ancient ring of purest gold ; close-backed, as usual in such 
 cases, so that the design cannot be seen as a transparency. 
 
 C 20. APHRODITE ANADYOMENE, standing full front 
 and displaying her hair (/h.). 
 
 Nude, standing with both hands raised uplifting long 
 tresses. 
 
 Plasma ; ov. cx. 3^ x 2J. Gold ring. [Lace Coll.] 
 Mr. A. Morrison ; 1881. 
 
 Before the Lace Collection was offered for sale in London it was sent 
 to Paris to be submitted to a collector who had been promised first choice. 
 One gem only was retained by him—it was the plasma intaglio now under 
 view. It is a pretty and attractive gem, and, both for its own sake and 
 because I had been forestalled in buying it, I much regretted its removal. 
 Some years afterwards I found it had become the property of the late 
 Mr. A, Morrison, and, on a chance occurring for negotiation regarding 
 the selling or exchange of this gem, he generously presented it to me. 
 In unasked-for return I gave him a green jasper Tharros scarab—bearing 
 a lion slaying a bull, and in its original looped silver mount—which had 
 come from the Bale Collection. 
 
 In the case of the present gem, the plasma, which is finely coloured 
 and flawless, being highly convex, the female figure it bears seems rather 
 stumpy on the stone, but looks better in an impression. Plasmas were 
 not much used till about Vespasian’s reign, and works on that stone— 
 which is in fact a green chalcedony—are seldom good. 
 
 C 21. APHRODITE, standing by a column, holding helmet 
 and palm-branch {bk.^ r.). 
 
 Drapery round legs ; back turned to view ; left arm 
 
 ( 41 ) F 
 
resting on low column, upright palm-branch in hand ; 
 right hand forward holding helmet. 
 
 Sardonyx ; ov. cx. 5 x 4. Gold ring. Vernon Coll. 
 (Lot 97). Wtr. : 1885. 
 
 The extremclv small figure of the goddess occupies the centre of 
 a beautiful sardonyx, of the kind whose dark portions look black till held 
 to the light, when they show themselves richly crimson. The beauty 
 and remarkably even markings of the stone form the chief merit of this 
 gem, though the design is good enough to bear examination. 
 
 C 22. APHRODITE, with a fishing-rod, capturing wingless 
 Cupids (/.,yr.). 
 
 Head in profile, hair in diadem ; nude, draped round 
 legs ; seated on a rock, left hand down holding corner of 
 drapery, right hand forward holding upright fishing-rod ; 
 standing before her, a naked boy (r.), both hands raised 
 to seize bait on line from rod ; behind her, on rock, a 
 basket, rising from which appears a naked boy (/.), legs 
 hidden, left hand forward grasping left arm of goddess. 
 
 Sard ; ov. x 4|- Gold ring. Montigny Coll. 
 (Lot 409, pi. iv.) : 1887. 
 
 A very graceful woman, nearly nude, seated on a rock and holding up 
 a short nshing-rod, with which she has caught a small naked boy, who 
 stands before her. In a basket at her back stands another boy, already 
 secured. The subject is not uncommon. The present intaglio, on 
 a rich sard, is one of my favourites. Its authenticity cannot be 
 questioned. Here again, as in A 12, we find the usual ancient careless¬ 
 ness in minor details. Aphrodite’s right hand being too large, her left 
 hand faulty, the standing boy’s feet scarcely indicated, and the basket far 
 too narrow to contain its inmate’s limbs. But such blemishes trouble me 
 not ; when the spirit of a work is fine, its body may be granted an 
 allowance of small defects. 
 
 C 23. APHRODITE, seated on a rock, approached by flying 
 Eros (/.,yr.). 
 
 Head in profile, hair in diadem ; nude, draped round 
 
 ( 42 ) 
 
legs, one corner of drapery held up by forward right 
 hand, other end wrapped round left arm, which rests on 
 rock on which goddess is seated. Above, Eros (r.) 
 flying towards her with outstretched arms. In /. field, 
 
 r. n. n. 
 
 Lapis Lazuli ; ov. lex. 8x6. Gold ring. Montigny 
 Coll., 1887 (Lot 526 ; pi. iv.). R. L. : 1888. 
 
 This beautiful lapis lazuli intaglio is one which no one could fail to 
 admire. The legend in the left field is probably modern, but the gem 
 itself is ancient. As a matter of personal taste I prefer the Aphrodite 
 with the fishing-rod (C 22). I hardly know why ; perhaps it is more 
 delicately refined and more characteristically antique. 
 
 C 24. APHRODITE, bust of, with attributes of Pallas (r.). 
 
 Profile, hair in diadem, draped, two small serpents 
 protruding beyond left shoulder ; in r. field, a crested 
 helmet. 
 
 Sard ; ov. 4I x 4- Gold ring. H. K. : 1878. 
 
 A pretty gem on sard. The subject of this and similar examples 
 has been a matter of question. When at Kinnaird Castle, Professor 
 Furtwangler showed much interest in this gem, as he was investigating the 
 subject it exhibits. Several similar intaglios are represented in his book, 
 (Furtw., J.G., pl.xxxviii, 34-38]. Of the present one he writes : “Bust 
 of Athena Lemnia ; before her her helmet. The aegis is only hastily 
 indicated on the lower edge ; elsewhere also the copy shows little truth 
 or carefulness.” (Furtw., ^.G., p. 84 ; pi. xxxviii, 38.) While admitting 
 defect in the excessive smallness of the upper part of the head, I think the 
 female profile more beautiful in pose and features than the others of 
 its class that appear in Professor Furtwangler’s illustrations. 
 
 C 25. ARTEMIS, with bow and hounds, pursuing a stag 
 (r.,fr.). 
 
 Head in profile ; short tunic and buskins, arms bare ; 
 moving fast, with legs apart ; double-curved bow 
 
 ( 43 ) 
 
 F 2 
 
extended in left hand ; right hand raised, as if after 
 discharge of arrow; before her two hounds (r.) rushing 
 on a galloping stag (r.) and seizing its throat and 
 haunch ; behind her an over-arching tree (r.). 
 
 Sardonyx ; ov. hbz., base 7^ X 6, table 6X4. Gold 
 ring. Constantinople, Ain. : 1886. 
 
 The stone of this intaglio is a brown-layer sardonyx, bearing on 
 a high bezel a very spirited hunting-scene. In style the work seems to 
 me to be Greek, of the centuries immediately preceding the Christian era. 
 I have nowhere yet found any satisfactory classification of gems according 
 to their date and style. Such an example as the present one seems earlier 
 than those called Graeco-Roman, which rather belong to the Augustan 
 age. It has some affinity with C 12-^—“Pallas in the battle-front,” 
 which rather resembles a coin of the Bruttii, and I am inclined to assign 
 works of that type to the art of Campania, or Magna Graecia in general. 
 Probably the Greek cities in Asia Minor were prolific in gems. 
 
 The animal seized by the hounds is a red-deer stag according to the 
 form of his antlers. Fallow deer exist both in Asia Minor and Greece, 
 and are frequently represented in ancient art. 
 
 The intaglio under notice is a good one ; its size lends it importance, 
 and it is useful in this collection, which is too poor in gems bearing 
 scenes of action. 
 
 C 26. EPHESIAN ARTEMIS, between Hygieia and Asklepios 
 
 (A)- 
 
 Triple-formed Artemis, with three-barred crown 
 topped by a trident of iron nails, standing with opened 
 hands ; at her feet, two deer facing outwards ; above 
 her, crescent and eight-rayed star. Facing her on either 
 side, Hygieia (r.) and Asklepios (/.) standing, with their 
 usual attributes. 
 
 Sard ; ov. 5 X 3^. Gold ring. Phc. : 1878. 
 
 Wretched workmanship, defacing a sard of good quality. The 
 subject seems to be uncommon, and solely on that account is this inferior 
 article worth its place. 
 
 ( 44 ) 
 
C 27. NEMESIS, winged, holding a palm-branch, a butterfly at 
 her feet (/.). 
 
 Tall draped figure, with long downward wing ; right 
 hand raised to her shoulder, as if holding corner of 
 upper tunic ; left arm across, holding in hand double- 
 ribanded palm-branch. Butterfly at rest, wings raised. 
 
 Banded Onyx ; ov. 5J x 3. Gold ring. Sch. : 1880. 
 
 I have always liked this intaglio in spite of its general roughness and 
 coarseness in detail. Something in the attitude of the figure is impressive, 
 and the pseudo-archaism of the point-work is not without attractiveness. 
 The stone also—an intensely black onyx banded with white—is handsome 
 in its way. 
 
 C 28. NEMESIS, winged and helmeted, holding rudder and 
 cornucopia [l.^fr.). 
 
 Long drapery, plain Corinthian helmet, a?gis with 
 serpent ; in right hand, rudder and three poppies ; left 
 hand down holding corner of scarf round legs and 
 supporting an upright cornucopia. 
 
 Burnt Onyx (white) ; ov. cx. 5I x 4. Gold ring. 
 [Lanti, Milan.] Sch. : 1879. 
 
 Rather coarse work, but the pose of the figure is good and the gem 
 looks better than it really is. On an onyx, which resembles white 
 porcelain through artificial discoloration. 
 
 C 29. HYGIEIA, feeding a serpent from a globular cup (r.). 
 
 Head in profile, hair in fillet-roll with two back 
 ringlets ; draped, scarf round legs and over left arm ; 
 standing {r.fr.) ; right arm across, supporting a serpent 
 
 ( 45 ) 
 
(r.), whose head rests above a globular cup in her 
 forward left hand. 
 
 Sard ; ov. lex. 4x3. Gold ring. Wtr. : 1888. 
 
 Representation probably of a statue known in Rome ; rather well 
 engraved on a good sard. I have a replica of this on a larger scale (C 35). 
 
 C 30. PALLAS ATHENE, head of, wearing an embossed 
 helmet (r.). 
 
 Profile (r.), wearing helmet with back-piece and high 
 ridge-crest, surmounted by lighter ridge of horse-hair, 
 which falls behind in streamers. Embossed on helmet, 
 a quadriga (r.), the outer wheel forming a large boss 
 above the deity’s ear. Supporting crest a couchant 
 Gryphon (r.). Hair of goddess appears in small lock 
 between eye and ear, and flows in tresses from beneath 
 back-piece of helmet. 
 
 Sard ; ov. 5I x 4. Gold ring. [Bagdad.] Wtr. : 
 I 892. 
 
 An exceedingly fine Greek intaglio on sard, very noble and dignified, 
 one of the best, I think, among many more or less similar examples. 
 Perhaps through carelessness, the hippocamp below the helmet’s crest has 
 been cut at so deep a level that a vacuum appears at that part, greatly 
 marring the general effect. I highly prize this gem. Mr. W. T. Ready, 
 from whom 1 bought it, was informed that it came from Bagdad. 
 
 A head of Pallas, much like the present one, was sold at the late 
 Mr. A. Morrison’s sale for lO (Lot 264). It has the selling advantage 
 of being in a massive ancient setting, and is deeply engraved on a “ fine 
 Syrian garnet,” but the face looks as if carved in wood—stiff, hard, 
 expressionless. There are many replicas of this head, which Professor 
 Furtwiingler terms “ Athene Parthenos,” copied from a statue by Phidias. 
 He gives neither my gem nor the Morrison garnet, but furnishes several 
 other examples identical or nearly so (P'urtw., A.G., p. 184; pi. xxxviii, 
 39, 45, 46 ; p. 235, pi. xlix, 12). By far the best of these seems to be 
 the Vienna red jasper (P'urtw., A.G., pi. xlix, 12) ; the others have the 
 
 ( 46 ) 
 
same defect as mine—an insufficient rendering of the hippocamp that 
 ought to rest on the helmet over the brow of the goddess. 
 
 It has been generally accepted that no true Greek work is to be found 
 on red jasper, which only came into favour towards the middle or end of 
 the last century B.c. If so, the Vienna gem’s superiority to all other 
 examples in fulness and precision of detail would argue that accurate 
 representation of the statue by Phidias existed in Rome, in some form or 
 forms, at the period referred to. 
 
 C 31. ZEUS, enthroned, between Nike and Aphrodite (yh. ; r. 
 and /.). 
 
 Zeus (yh.), drapery over legs, but otherwise nude ; 
 seated on square - backed throne ; right hand down 
 holding patera ; left arm up, hand on long sceptre rested 
 on ground and cross-barred at top. At his right, Nike 
 (r.) in long drapery, standing, wings downward ; right 
 hand raised proffering wreath, left hand down, holding 
 palm-branch across left shoulder. At his left, Aphrodite 
 (yK, hd. /.), standing, legs draped, body nude, leaning 
 against a cippus, on which rests her left hand holding 
 downward palm-branch ; her right hand forward, dis¬ 
 playing in it an apple. 
 
 Pale Sapphirine Chalcedony ; ov. cx. 4^ x 35. Gold 
 ring. [Seville.] Wtr. ; 1894. 
 
 A pretty little gem, said to have been found at Seville along with 
 Visigothic remains. The workmanship is fairly good ; of no early date, 
 but the hair of the figures is indicated by small drill-holes in the archaic 
 style. 
 
 C 32. APOLLO, head of, wearing a leaf-rayed diadem (r.). 
 
 Profile (r.) ; upper hair drawn back and encircled 
 with a diadem, whence six leaf-formed radiations ; lower 
 hair in long locks over nude neck and shoulders. 
 Covering chest, a chlamys, the top falling in a loop from 
 
 ( 47 ) 
 
a round brooch on either shoulder. Behind left shoulder 
 appears the upper part of a bow. 
 
 Sard ; ov. 5 x 4- [BeyrQt.] Wtr. : 1896. 
 
 Certainly ancient, and well enough engraved in parts. The stone is 
 a red sard or carnelian showing various shades of orange when held to the 
 light. One often sees gems on this material engraved in an open and 
 flowing manner, which seems to contrast with the early point-work as 
 quill pen with steel pen handwriting. Carrying on this idea, the 
 mechanical precision of modern i8th century gem-engraving as con¬ 
 trasted with ancient work in general, in any style, suggests a similar 
 comparison. 
 
 C 33. DIONYSOS, standing, leaning on a cippus, a Panther at 
 his feet (/., /r.). 
 
 Beardless youth, head in profile (/.), hair in close 
 curls, standing, nude, beside plain cippus, on which rests 
 right forearm, right hand holding thyrsus slanted across 
 right shoulder ; left leg straight, right leg slightly bent. 
 From behind base of cippus, a panther (/.), in move¬ 
 ment, fore-legs straight and forward ; head upward and 
 reverted (r.) ; hind parts concealed by cippus. 
 
 Sard ; ovd. cx. 5 x 3^. Gold ring. Montague 
 Taylor Coll. (Lot 238) : 1897. 
 
 A good specimen of Grsco-Roman work, a well modelled and 
 gracefully posed youthful figure, engraved in the soft, full-limbed style 
 on a slightly convex sard of that oblong shape with rounded corners that 
 does not seem to belong to Greek gems of an earlier date, though 
 common in i8th century imitations. 
 
 C 34. DIONYSOS, bust of, with left arm raised above his head 
 (r.,/r.). 
 
 Beardless youth (bust and shoulder), apparently sitting, 
 head in profile (r.) ; hair in filleted roll and ivy- 
 
 ( 48 ) 
 
wreathed, and falling in two ringlets upon side and back 
 of neck ; bust, arm and shoulder nude ; left arm raised 
 to top of head, behind which the hand is concealed. 
 
 Golden Sard ; circ. 4^^ (edges chipped, fragment off r. 
 upper edge). Gold ring. Montague Taylor Coll. (Lot 
 236) ; 1897. 
 
 This intaglio, probably Campanian-Greek, is flowingly but finely 
 engraved on a beautiful nearly circular golden sard. For me it has special 
 interest as a replica, on a larger scale, of the upper portion of my 
 magnificent “ Dionysos gazing into a vase ” (C 6), which was found at 
 Cumas. In their details the two gems are identical, showing that they 
 were copied from the same statue or bas-relief, for both are original and 
 independent works. The bust is in a different style from the Cumae 
 gem, more soft and rounded, showing nothing of that archaic severity 
 which enhances the charm of the latter ; also it faces in the opposite 
 direction and holds no grape-bunch in the upraised hand. 
 
 C 35. HYGIEIA, feeding a Serpent from a patera (r.). 
 
 Head in profile (r.), hair in fillet-roll, with two back- 
 ringlets ; draped, scarf round legs and over left arm ; 
 standing {r.^fr.) ; right arm across, holding a serpent 
 (r.), left hand forward supporting a patera, upon which 
 rests the serpent’s head. 
 
 Golden Sard ; ov. lex. 5x4. Gold ring. Montague 
 Taylor Coll. (Lot 232) : 1897. 
 
 An almost identical replica of C 29, but considerably larger. The 
 treatment is Roman, of that imperial period when engravers strove to be 
 archaic in stiff uprightness of posture and in point-work parallel foldings 
 of drapery. This, like the other, is on sard; but the stone is peculiar, 
 dull and misty till held to the light, and then perfectly clear and golden. 
 
 C 36. HYGIEIA, bust of, feeding a Serpent from a patera (r.). 
 
 Head in profile (r.), and looking down ; hair in thick 
 fillet-roll, twisted and partly clubbed at back, and appear- 
 
 ( 49 ) 
 
 G 
 
ing in long tresses over and below right arm; breast and 
 arm nude (r., />.); right arm bent, hand forward holding 
 slender serpent (r.), about to drink from patera in her 
 forward left hand. 
 
 Almandine Garnet ; ov. hex. 6x5. Gold ring. 
 Montague Taylor Coll. (Lot 235) : 1897. 
 
 A fascinating gem—the image of a lovely maiden, softly yet clearly 
 engraved on the highly convex face of a lovely almandine garnet; a gem 
 that never fails to win admiration from all to whom “a thing of beauty is 
 a joy for ever.” True, it does not belong to the class now so rightly 
 prized—works wrought or inspired by the Greeks during the time of 
 their highest art in, or about, the 5th century b.c. —but it is a charming 
 specimen of a later Greek style, and of its authenticity there can be no 
 reasonable doubt. I'he form of the hand, alone, may suffice to prove 
 ancient workmanship ; a Pichler or a Marchant would have scorned such 
 careless sketchiness. As with all very convex gems, the design can be 
 best appreciated in an impression. 
 
 C 37. NEMESIS, winged, with a Gryphon at her feet (yK, /.). 
 
 Draped female figure, with pointed, downward wing, 
 standing /f., /. ; head in profile (/.), hair drawn back 
 and massed on neck ; right arm forward and bent, hand 
 pointing to a serpent (.?) coiled round left shoulder ; left 
 arm down, mixed with downward end of scarf (.? part of 
 serpent). Behind her, seated, a Gryphon (/.), only its 
 forepart seen beyond right foot of Goddess ; eagle¬ 
 headed, one small upraised wing visible ; its right fore¬ 
 paw extended over a wheel with small cross in centre. 
 Round margin, LEX MARA. 
 
 Plasma ; ov. hbz. 4 x 35- Gold ring. Wtr. : 1897. 
 
 Roughly cut in a late Roman style. Of no great merit, but the pose 
 of the figure is good and suggestive of something better, and the motto is 
 interesting. Probably “ Lex [A] mara,” with the initial A hidden beneath 
 the gryphon. 
 
 ( 50 ) 
 
C 38. ARTEMIS, bust of, with bow and quiver (r.). 
 
 Head in profile (r.), hair in six longitudinal rolls, and 
 tied in small knot at back, showing three little curling 
 tresses—similar little curls on brow and cheek, escaping 
 from the stiff rolls. Light drapery drawn over bosom, 
 and fastened by circular brooch above bare right shoulder, 
 behind which, diagonally projecting, appear upper ends 
 of quiver and bow. 
 
 Brown Sard ; ov. 5x4. Gold ring. Morrison Coll. 
 (Lot 90): 1898. 
 
 Owing to the style of engraving and the nature of the sard that forms 
 the material, this beautiful intaglio in its smooth softness seems as if it 
 might be moulded in dark honey or fashioned out of rich brown amber. 
 The design looks shallower than it is, and the surface as if it were 
 slightly smoothed down, but no real signs of wear or modern polishing 
 are traceable in the impression. It is a gem that grows upon one ; each 
 time I see it I value it more. 
 
 C 39. APOLLO, head of, with flowing hair and a laurel (or 
 olive) diadem. 
 
 Beardless youthful face, of feminine character, in 
 profile (r.) ; long tresses flow over neck and shoulders, 
 and round the head is a diadem of laurel (or olive) 
 leaves, from which a beaded string falls over back of 
 neck. 
 
 Sard ; ov. X 2| (badly fractured top and base). 
 Old-fashioned gold ring, close-backed. Anon. Coll. 
 [W. L. Nashe.] Sotheby’s (Lot 106) : July i, 1903. 
 
 A pretty Grecian head, so feminine in character with its delicate 
 features and abundant tresses falling over neck and shoulder, that its sex 
 is hard to determine ; but on the whole it seems to be male and to 
 represent either Apollo or Dionysos in the most youthful of their aspects. 
 The sard on which it appears is badly fractured both above and below, but 
 without affecting any important part. 
 
 ( 51 ) 
 
 G 2 
 
C 40. APHRODITE, seated on a rock and lifting her veil (/.). 
 
 Head in profile (/.), hair in roll with locks over back 
 of neck ; nude, draped over legs ; seated on a rock ; 
 right hand raised over head, lifting long veil which 
 falls over lap ; left elbow resting on the rock. Inscribed, 
 YAAOY, 'TXXou (the work of Hyllus). 
 
 Sard ; ov. 7I x 6T Gold swivel (French). Roger 
 de Sivry Coll. (Lot 35 ; pi. i, 35) : 1904. 
 
 This was one of two gems procured for me from the sale of Baroness 
 Roger de Sivry’s Collection at Paris. 
 
 It is an intaglio of the Grasco-Roman class on a rich and beautiful 
 sard, slightly striped when held to the light. In its design and workman¬ 
 ship there is much to admire, yet it cannot be denied that it bears 
 a somewhat modern aspect. Its general high polish and the presence of 
 the legend YAAOY are the chief reasons for suspicion ; the former, 
 however, may result from the unfortunate practice of repolishing, so 
 common in the 18th century, and the latter may be no forgery of an 
 imaginary artist’s signature, but merely some former owner’s name. Or 
 even if a forgery, it may have been added in modern times—no uncommon 
 fraud. There is nothing to object to in the character of the lettering. 
 'File inscription YAAOY appears on two of the British iVluseum gems, 
 both from the Blacas Collection ; one is considered spurious and the 
 other doubtful. {Brit. Mus. Cat., Nos. 985 and 2311.) 
 
 On the whole, Mr. W. T. Ready (who bought the gem as my agent) 
 concurs with me in thinking it to be probably ancient. No certain 
 decision is possible, and the beauty of the intaglio and of the stone that 
 bears it suffice to make it a desirable acquisition for any collection. 
 
 CLASS D. 
 
 SEMI-DEITIES; GENII; PERSONIFICATIONS. 
 [Plates IV and V.] 
 
 D I. HELIOS, driving a chariot with four rearing horses {fr.). 
 
 Draped male figure, with seven-rayed crown ; right 
 
 ( 52 ) 
 
hand raised, whip in left hand ; horses rearing in pairs 
 to r. and /. 
 
 Red Jasper; ov. 4^ x 3. Gold swivel (French stamp). 
 Bre. : 1878. 
 
 This gem, though rough, bears a spirited design, and the French swivel- 
 mount is neatly made. 
 
 D 2. HELIOS, bust of, rising from an up-pointed crescent (/r.)- 
 
 Draped, crowned with nine-rayed diadem ; over each 
 point of crescent a seven-rayed star ; in /.' field, AS 13. 
 
 Garnet ; ov. cx. 4 x 3I. Gold ring (French, cock’s- 
 head stamp). Hoffmann Coll. (Lot 181). Wtr. : 1886. 
 
 On a convex garnet of good appearance, unfortunately close set. Of 
 no great merit, but ornamental, and the old-fashioned French ring-setting 
 is noticeably pretty and uncommon. It bears the inscription AS 12, 
 which one naturally reads ZIPA, a word I cannot explain, but it may 
 perhaps represent APIZ, as that legend occurs on another gem in the 
 collection (I i), beneath a tragic mask. Whether the term was magical 
 or an abbreviation of some proper name (such as Aristides), I have not 
 ascertained. 
 
 D 3. HELIOS, head of, crowned with a seven-rayed diadem (r.). 
 
 Profile, hair in heavy roll below fillet ; on shoulder, 
 mantle with brooch. 
 
 Chalcedony ; ov. cx. 4I X 3 J. Gold ring. H. R.: 1878. 
 
 This Chalcedony gem may be a portrait of Nero, in the character of 
 a sun-god. 
 
 {No longer in Collection^) 
 
 D 4. VICTORY, flying, bearing a long palm-branch across her 
 shoulder {r.^fr.). 
 
 Wing downward, point slightly turned up ; nude, 
 
 ( 53 ) 
 
chlaniys round legs, its ends flowing in streamers from 
 forward left hand, which also hears wreath and holds 
 long curved palm-hranch over same shoulder ; right arm 
 thrown hack, hand supporting end of branch. A milled 
 border. 
 
 Sard ; ov. 5 x 4^ (chipped below, and partly burnt). 
 Gold ring (22 c.). Athens, Rhp. : 1880. 
 
 A Cjrecian work. 'The figure is faulty in proportions and details, v<-'t 
 in the whole design there is life and joyous freedom ; there is a genius in it 
 that places it far above the productions of Roman art. Nearly circular. 
 
 VICTORY, flying, bearing wreath and palm-branch 
 
 Large down-pointed wings ; chlamys round legs, body 
 nude and leaning back from waist ; right arm raised and 
 backward, holding wreath ; left forward, bearing palm- 
 branch over same shoulder. In field, V. M. ANT. 
 
 Garnet ; ov. cx. 5^ x 3L Gold ring (22 c.). [Lace 
 Coll.] R. F. : 1878" 
 
 This, the Cumae Dionysos (C 6), and Winged Sphinx (H 5), are 
 perhaps mv favourite gems in my whole collection, and all were early 
 acquisitions. Whether in gems, or in heraldry, painting, and sculpture, 
 1 have always delighted in nobly designed wings, and I venture to think 
 that few intaglio collections surpass mine in examples of that type, among 
 which the present gem takes first place, for both in outline and detail the 
 wings are magnificent. And not only are these beautiful, but the physical 
 forms of Nike herself, her drapery, her attitude, her movement are all 
 superb and faultless. Add to this the charm of the material—a richly deep, 
 highly convex garnet. 
 
 In one of the margins there is a short inscription, which when first 
 shown to me was partly hidden, though apparently complete, and offering 
 the absurd legend V. M. ANI. But when IVlessrs. Hunt and Roskell 
 removed the old mount to replace it with one in 22 carat gold, the inscrip¬ 
 tion was found to be V. M. ANT. When I consulted Dr. A. S. Murray 
 as to this discovery, he was at hrst puzzled, seeing that no Roman pra?no- 
 men begins with V, but on considering analogous inscriptions he decided 
 that the abbreviations represented VOTUM MARCI ANTONII, 
 
 ( 54 ) 
 
a gift from Mark Antony. The fact that this personage is recorded to 
 have been in the habit of giving rings to his friends enhances the probability 
 of Dr. Murray’s conclusion. 
 
 D 6. VICTORY, with raised wings, standing upon a globe 
 (/r., r.). 
 
 Draped, arms bare, chlamys across bosom and round 
 waist ; right leg slightly advanced, foot touching globe, 
 on which left foot firmly rests ; both arms down, right 
 hand bearing a wreath, left hand a palm-branch ; wings 
 pointed, and vertically raised on either side of liead. 
 
 Hyacinth Garnet ; ov. cx. 5^ x 3^- Gold ring. 
 [Lace Coll.] Peel Coll. (Lot 60) : 1882. 
 
 No effect of light and colour can be imagined more beautiful than the 
 radiance of this “ guarnacino ; ” when held up to the sun it gleams and 
 glows like a sacred fire in Paradise, d'he Victory herself is beautiful, 
 a grand and simple figure standing full front on a globe, with her arms 
 thrown back, a palm-branch and a wreath in either hand, her wings erect, 
 heaven-pointing, like those of the genii at Persepolis or some of Blake’s 
 nobly imagined angels. From the moment when I first saw this lovely 
 gem—-at Mr. F. Whelan’s—I resolved to secure it, and he bought it for 
 me at the sale of Captain Peel’s collection (to which it had come from 
 the Lace Collection). 
 
 D 7. VICTORY, alighting on the prow of a galley (/.). 
 
 Double tunic, hair in diadem, wings down-spread ; 
 left hand forward with garland, right down holding 
 straight palm-branch over same shoulder ; point of left 
 foot resting on double-beaked prow. In left held, modern 
 inscription NAVARINO. 
 
 Sard; ov. 4x3. Gold ring. Vernon Coll. (Lot 115). 
 Wtr. : 1885. 
 
 A graceful figure of Gneco-Roman type, engraved on a very 
 pretty sard. 
 
 {No longer in Collection.) 
 
 ( 55 ) 
 
D 8. VICTORY, advancing, with serpent, wreath, and palm (r.). 
 
 Draped below waist ; hair in diadem ; wings down¬ 
 ward ; palm-branch in left hand and on same shoulder, 
 wreath in outstretched right hand ; right leg forward ; 
 serpent moving in front. 
 
 Nicolo ; ov. hbz. 4I x 4. Gold ring. [Le Turc 
 Coll.] Sch. : 1879. 
 
 A gem of similar type to the preceding, but less good. Engraved on 
 a nicolo, the black of which shows crimson when held to the light. 
 
 D 9. VICTORY, with mitra head-dress, in the act of sacrificing 
 a bull (r.,/r.). 
 
 Large downward wings ; head in profile ; hair rolled 
 on brow, mitra covering back-knot ; nude, chlamys from 
 left shoulder round same leg ; kneeling on right knee ; 
 sword down in right hand ; left arm bent and raised, 
 fingers of open hand pointing back over upturned head 
 and shoulders of prostrate bull (r.). 
 
 Sard ; ov. 3^ x 3. Gold ring. Chr. : 1886. 
 
 The late Rev. Grevi lie J. Chester, a well-known collector, was in the 
 custom of annually visiting Syria and Palestine and bringing home gems 
 and other antiquities. It was from him that I bought the present gem, 
 which is an interesting example ot that widely diffused type, “Victory 
 sacrificing a bull,” which forms a parallel with the similar scene in which 
 iVlithras is the sacrifleer. Lajarde, in La Ciilte de Venus, claims that the 
 female figure in these representations is not the ordinary Nike or Victory, 
 but Venus under a certain aspect. 
 
 With faults in detail—such as the undue length of the body, the 
 immense feet, and the strange uplifted hand, which at first sight suggests 
 stag’s antlers on the head of the bull, this is a finely conceived design, on 
 an excellent sard. 
 
 D 10. VICTORY, with short hair, in the act of sacrificing a 
 bull r.). 
 
 Large downward wings ; head in profile, hair short ; 
 
 ( 56 ) 
 
nude, scarf over left arm and bent left leg ; kneeling on 
 right knee ; right hand down, with sword pointing to 
 ground ; left hand grasping muzzle of prostrate bull (r.), 
 its fore-leg bent under body, rest of which not seen. 
 
 Red Jasper ; ov. 4 x 3^ (chipped below). Gold ring. 
 Montigny Coll., 1887 (Lot 211). Wtr. : 1888. 
 
 The same subject as the last, but the Victory is more upright than 
 usual in such scenes, and her hair is close cropped. A good gem. 
 
 D 11. EROS, drinking from a cantharus (/.). 
 
 Winged ; seated on ground, raising cantharus to lips 
 with both hands ; right leg bent ; before him, quiver 
 leaning against tree (r.). 
 
 Ruby ; ovd. cx. 5x4^ (flawed, chipped upper left). 
 Coding Coll. (Lot 214) : 1883. 
 
 This fairly good gem is chiefly remarkable from its material, a true 
 ruby—hollowed at the back, very thin, flawed and chipped, but of fine 
 colour. When I showed it to the late Sir Charles Newton, of the 
 British Museum, he pronounced it ancient—as no one would doubt were 
 the stone more commonplace. 
 
 D 12. EROS, on a panther, guiding it by sounding a 
 trumpet (r.). 
 
 Astride on a panther’s back ; wings open ; hands 
 forward, holding straight bell-mouthed tuba to lips. 
 Panther, slowly moving (r.), left legs forward, head 
 raised, as if listening. 
 
 Garnet ; ov. cx. C x 4- ist Short Coll. (Lot 102). 
 Wtr.; 1885. 
 
 {No longer in Collection.) 
 
 ( 57 ) 
 
 H 
 
D 13. EROS, wrestling with a wolf (/.). 
 
 Youth, winged and naked, throwing himself on 
 prostrate rough-haired wolf (/.), and with both hands 
 grasping its throat ; behind him, an upright thyrsus (r.). 
 In exergue (retrograde), ACCE. 
 
 Nicolo ; ov. hbz. 4^ x 3.7 ; 4 X 3 - Gold ring. Bale 
 Coll. (Lot 1718). Mir. : 1881. 
 
 On jet-black and blue-grey nicolo. Fhe inscription ACCE, carelessly 
 formed, may perhaps represent AV<E, for AYKEIOZ —Apollo, as god 
 of the palaestra. (Cf. Brit. Mus. Cat. of Gems, No. 498, p. 83.) 
 
 D. 14. EROS, holding a bunch of grapes and playing with a 
 quail {Jr.). 
 
 Winged ; seated, legs to left ; right hand extended, 
 holding a bunch of grapes downward and two filberts (.f*) 
 upward ; left hand on neck of standing quail (/.), drawing 
 bird towards him. In exergue, dove (r.) with triple 
 olive-branch in beak. In field, on either side of Eros, 
 H (.?) and V. 
 
 Nicolo ; ov. 5x4. Gold ring. ScL : 1880. 
 
 On a rather pale nicolo, a better gem than the preceding. 
 
 D 15. EROS, holding a bunch of grapes and assailed by a goose 
 (fr., /.). 
 
 Wings half-raised ; kneeling on right knee, left leg 
 extended ; left arm across body, bunch of grapes in hand ; 
 right hand down, covering mouth of vase ; head turned 
 
 ( 5« ) 
 
to r., watching goose approaching (/.), beak open, wings 
 erect. 
 
 Sard ; ov. 3I x 2^. Gold ring. [Paravey Coll.] 
 Fwh. : 1885. 
 
 This is an excellently good little gem, of almost first class merit ; 
 the material sard. Professor Furtwiinglcr has overlooked this finely 
 finished intaglio, though he gives several specimens of its class. None 
 are identical. (Furtw., A.G., p. 202; pi. xlii, 41, 42, 47.) 
 
 D 16. EROS, driving a Biga. 
 
 Winged male figure (r.) standing in chariot, brandish¬ 
 ing whip and holding reins of two galloping horses. 
 
 Sard ; ov. 6 X 4^ (chipped lower edge). Gold ring 
 (ancient). [Beni Hassan, Egypt.] Gilbert Elliot : 1893. 
 
 As regards the workmanship this intaglio on sard is a wretched 
 specimen, but its history is interesting, for it was found on the finger of 
 a mummy in a tomb near Beni Hassan in Egypt. It is close set in a ring 
 of pure gold. My nephew, Gilbert Elliot, gave it to me, with this 
 information, in 1893. 
 
 D 17. AFRICA, symbolic head of, wearing an elephant’s 
 mask (r.). 
 
 Female profile, capped with scalp and mask of 
 elephant, trunk raised over head, ear forming lappet ; 
 scarf fastened with brooch over nude right shoulder. 
 
 Nicolo ; ov. cx. 5 X 3^. Gold brooch. ist Short 
 Coll. (Lot 26) : 1885. 
 
 Compare M 9. 
 
 {No longer In Collection}) 
 
 ( 59 ) 
 
 H 2 
 
CLASS E. 
 
 HEROES ; LEGENDARY AND MY'EHICAL 
 PERSONAGES. 
 
 [Plates V and VI.] 
 
 E I. HERAKLES, youthful, carrying club and wearing lion- 
 skin (/., /A). 
 
 Standing, nude, left knee bent ; right arm raised 
 carrying club across same shoulder ; left arm across 
 chest, hand holding lion-skin, which rests on opposite 
 shoulder, paws hanging down on either side and head 
 appearing at hero’s back. 
 
 Beryl ; ov. lex. 5^ x 3|- Gold swivel. Sch. : 1879. 
 
 On a very pretty beryl, which always draws attention from unskilled 
 observers. The figure, though commonplace, is graceful and well enough 
 engraved, but the repolisher has injured its outlines, and altogether I 
 doubt the antiquity of this gem, especially as the back is facetted. But 
 as a specimen of the beryl it is worth having in the collection. 
 
 E 2. HERAKLES, laureated head of, in profile (r.). 
 
 Aquiline nose, beard curled and prominent, hair 
 smooth above laurel-wreath and in close curls below. 
 
 Sardonyx ; ov. 5x4. Gold ring. Montigny Coll., 
 1887 (Lot 339 ; pi. iii). Wtr. : 1888. 
 
 A noble head, seen better on a cast than on the stone—a sardonyx, 
 which, like some other gems from the Montigny Collection, bears so high 
 a polish that one suspects refreshment of the surface bv a modern hand. 
 Whether so or not, the engraving is ancient—for example, the treatment 
 of the nostril is such as one finds in works of real antiquity ; the 
 18th century imitators were far more precise in details. 
 
 ( 60 ) 
 
E 3. HERAKLES, head of, between the heads of a lion and 
 a ram {fr., /.). 
 
 Youthful male human head, with hair in close curls, 
 conjoined with animals’ heads facing outward (r. and /.), 
 the mouths slightly open ; beneath, club and palm- 
 branch crossways. 
 
 Sard ; ov. 4I x 3- Gold ring. Fwh. : 1883. 
 
 Deeply and carefully cut on a beautiful sard. It may have come from 
 the Tyszkiewicz Collection, as I rather believe, hut 1 cannot Hnd it in 
 the sale catalogue. 
 
 E 4. HERAKLES and lOLE, busts conjoined (r.). 
 
 Profile ; both undraped ; the former, in foreground, 
 curled and bearded ; the latter wearing diadem, back of 
 head hidden by nearer figure. 
 
 Sard; circ. 3^^ (left edge slightly chipped). Gold ring. 
 [Pulszky and Lace Colls.] Fwh. : 1878. 
 
 Probably portraits of Commodus and Marcia. This is a reduced 
 replica, on sard, of a gem in one of the great Italian collections. A good 
 intaglio. 
 
 E 5. OMPHALE, with the lion-skin of Herakles and shouldered 
 club (r.,/r.). 
 
 Standing, right leg bent ; nude ; both hands raised 
 holding club and lion-skin on left shoulder, the paws 
 and tail falling in streamers on either side. 
 
 Sard ; ov. lex. 4^- x 3. Gold ring. Fwh. : 1881. 
 
 I'his seems to have been often worn by a former owner, judging by 
 the dents and scratches on the massive gold ring that contains it. 'Phe 
 figure is handsome and well engraved on a good sard ; little fault can be 
 found with it, yet, like the Herakles on beryl, there is a commonplace 
 
 ( 61 ) 
 
air about the whole design that prevents one from holding this gem in 
 special regard. Professor f'urtwangler does not mention it, but he gives 
 an almost identical replica, slightly larger, belonging to Mr. Story 
 Maskelyne (Furtw., A.G.^ p. 128 ; pi. xxv, 48), and several others more 
 or less similar {Ihid., p. 178 ; pi. xxxvii, 13, 14, 19). 
 
 E 6. OMPHALE, with the lion-skin of Herakles and grounded 
 club (/r., /.). 
 
 Standing, left leg slightly bent ; nude ; right hand 
 down holding thinner end of grounded club, left hand 
 resting on hip ; lion-skin indicated on head, neck, and 
 left arm, whence it falls in two wavy streamers. 
 
 Sard ; ov. 4 x 2^ (chipped above). Gold ring (Papal 
 stamp). Sir Coutts Lindsay, Bart., 1879. 
 
 Not improbablv this, like the preceding, is of the Grasco-Roman class, 
 hut it possesses far more of the true Greek feeling, ft displays a graceful 
 nude figure, on a fine sard—fractured near the top, though without injury 
 to the "design. This ring, originally bought by the late Mr. Holford in 
 Italy, was given by him to his brother-in-law, my great friend. Sir Coutts 
 Lindsay, who most generously presented it to me. Professor Furtwangler 
 describes it as “A charming figure of a naked Omphale.” (Furtw., 
 A.G., p. 243 ; pi. 1 , 25.) 
 
 E 7. OMPHALE, bust of, with the club and lion-skin of 
 Herakles (/.), 
 
 Profile ; lion’s mask on head, paws round neck ; left 
 arm across under naked bosom, hand drawing forward 
 lion’s paw ; upright club in front. 
 
 Red Jasper (veined) ; ov. 6 x 4^. Gold ring. Sch. : 
 1879. 
 
 One of my favourites, everything about it is so soft and pretty; 
 thouo-h it cannot be denied that the laws of proportion are ill-observed 
 in the lower part of the figure. Some perhaps might doubt the antiquity 
 of this gem, for the face details show a more perfect accuracy than is 
 often met with in ancient examples ; comparing, however, many of the 
 
 ( 62 ) 
 
Roman imperial portraits engraved on various materials at the time when 
 red jasper came into use, one frequently finds an even minuter carefulness 
 in the rendering of the human countenance—see, for example, my heads 
 of Domitia (T 17) and Julia Titi (J 3), from the Morrison and Hoffmann 
 Collections. In the British Museum there is a Blacas gem—Paris, 
 holding an apple” [Brit. Mus. Cat., No. 1380)—that reminds one of the 
 present gem in its treatment and defective proportions. Its authenticity 
 is queried in the Museum Catalogue, but surely without sufficient reason. 
 
 E 8. OMPHALE, head of, wearing lion’s-mask head-dress (r.). 
 
 Profile ; hair in close curls on brow beneath lion’s 
 mask, which covers head, paws tied under chin, 
 (Youthful Herakles .?) 
 
 Brown Sard ; ov. 5x4. Gold ring. H. R. : 1878. 
 
 Compare E 36. 
 
 [No longer in Collection.) 
 
 E 9. ERATO, seated on a rock and holding a three-stringed 
 lyre (/r., r.). 
 
 Head to /., looking back ; tresses falling over 
 shoulders ; right hand down, resting on rock ; left 
 forward, supporting upright lyre standing on left thigh. 
 
 Red Jasper ; ov. 4 x 3. Gold ring. Montigny Coll. 
 (Lot 361 ; pi. iii), 1887. 
 
 A graceful figure, but rough and careless in execution. The head 
 and right leg are faulty, and the lyre is very badly engraved. Professor 
 Furtwangler writes of this gem: “Taken from Frohner. A naked 
 maiden with a lyre sits in a graceful attitude on a rock.” (Furtw., J.G., 
 p. 242 ; pi. 1, 15.) 
 
 E 10. ERATO, playing on a lyre, beside the image of 
 Pallas (r.). 
 
 Hair in diadem ; draped, arms bare ; standing, right 
 
 ( 63 ) 
 
hand forward, touching strings of lyre ; on cippus 
 behind, a small figure of Pallas, bearing circular shield. 
 
 Nicolo ; ov. 4 X 3 (fragment, 3 X i^). Gold ring. 
 [Hertz, Lot iiio, 1859.] Mayer Coll., 1887 (Lot 
 270). R. F. : 1888. 
 
 The fragment of a beautiful little gem—the upper part of a nicolo 
 diagonally fractured, the lost part restored in gold. 
 
 Eli. MELPOMENE, head of, with a bearded mask attached 
 at the back (r.). 
 
 Profile, hair in loose roll over fillet ; mask, with 
 beard in five stiff curls fixed below roll of hair and 
 
 covering ear and back of head and neck. 
 
 Brown Sard; ov. 6^ x 5. Gold ring. Castellani Coll. 
 (Lot 999). R. F. : 1884. 
 
 7 'he British Museum possesses a sard intaglio bearing the same subject, 
 which belonged to the Blacas Collection [Brit. Mus. Cat., No. 754; 
 pi. G.). In all points it is inferior to this refined and dignified gem. I 
 prize it highly. 
 
 E 12. ARIADNE, bust of, crowned with a double ivy-wreath (r.). 
 
 Profile, hair rolled on brow, in tresses over shoulders, 
 and in circular knot at back ; brooch on right shoulder, 
 drapery across breast. 
 
 Sard; ov.6x4. Gold ring. [Lace Coll.] Fwh.: 1878. 
 
 The late Mr. Lace must have had a true sense of the beautiful, so 
 many of the gems in his small collection being remarkable for loveliness 
 in material and design—see in my own collection, C 2, C 20, D 5, D 6, 
 K 12, L 27. No one could question the beauty of the present head of 
 Ariadne, engraved on a fine sard. Its sweetness, softness, and perfect 
 modelling, its carefulness, yet freedom of style, render it, to my mind, 
 one of the most charming of gems. 
 
 ( 64 ) 
 
E 13. MiENAD, with thyrsus, dancing and displaying her 
 drapery (/r., hd. /.). 
 
 Profile, hair in diadem, with back tresses, draped and 
 girdled ; left hand high above shoulder, right extended 
 and bearing thyrsus, both holding ends of lightly out¬ 
 lined transparent drapery floating far on either side. 
 
 Rock Crystal ; ov. cx. 9 x (back flawed and 
 chipped). Gold swivel. Constantinople, Ain. : 1880. 
 
 Before concluding the bargain by which the present gem became my 
 own, I showed it to my friend, Dr. A. S. iVlurray. For an instant he 
 eyed it, then quietly said : “ Do not let this out of your hands for a single 
 moment ”—advice which coincided with my ow]i intention. 
 
 Undoubtedly it is a remarkable gem, fine in its very uncommon style, 
 and full of grace ; large in its size, too, a quality to which many collectors 
 attach undue importance. While aware of its merits and value, I regard 
 it as a beautiful sketch rather than a finished work, for the details are 
 carelessly treated. The rock crystal on which it is engraved is badly 
 flawed at the base of the reverse, but fortunately the obverse is intact. 
 “ Graceful, but not very delicately engraved,” is Professor Furtwangler’s 
 verdict ; he adds: “resembling Millin, Pierres Grav'ees ined., pi. 35 (Sal. 
 Reinach, p. 121).” (Furtw., A.G., p. 183 ; pi. xxxviii, 16.) 
 
 E 14. MiENAD, with thyrsus, dancing and carrying a patera 
 (r.). 
 
 Draped, arms bare, hair in diadem ; scarf floating in 
 curve behind ; both knees slightly bent ; thyrsus in 
 lowered left hand slanting over same shoulder ; patera 
 borne in extended right hand. 
 
 Sard ; ov. cx. 4^ x 3^. Gold ring (French, cock’s 
 head stamp). Sch. : 1879. 
 
 Seeing an impression of this gem, Mr. Story Maskelyne at once 
 advised me to buy it. It is a pretty specimen on a pretty sard, lightly 
 and prettily mounted as a ring. 
 
 ( 65 ) 
 
 I 
 
E 15. MiENAD, with thyrsus, seated before a terminal statue of 
 Pan 
 
 Nude, himation over knees, seated on ornamental 
 stool before term topped with body of horned and 
 bearded god (/.) ; her right arm bent, hand holding 
 long thyrsus over shoulder ; her left extended, the hand 
 placed on bust of statue. 
 
 Garnet; ov, cx. 4 x 3.7. Gold ring (foreign). [Count 
 -.? Coll.] Sch. : i8~8o. 
 
 Little can be said in praise of this intaglio on a dull convex garnet, 
 but, poor as it is, I do not, like Professor Furtwangler, consider it a 
 forgery. The style is neither that of the i8th century engravers nor 
 that of the modern Oriental fabricators—the comparative oldness of its 
 mounting precludes its assignment to the latter class. It came from a 
 French collection of which I have lost the name. 
 
 E 16. MiENAD, with distaff and thyrsus, seated before a burning 
 lamp (r.). 
 
 Arms nude, bust shown through thin drapery, girdle, 
 himation over back and legs ; seated on ground, left foot 
 back ; spinning with distaff'; before her, lamp on low 
 cippus ; behind, upright thyrsus ; butterfly above, 
 scorpion (/.) in exergue. 
 
 Pale Green Chalcedony ; ov. cx. 5 X 3I (chipped, 
 upper /.), Gold ring. Athens, Lbs. : 1882. 
 
 Here we find a specimen of far superior type ; with a little more 
 carefulness in detail, especially in the limbs and extremities, this gem 
 might claim a high place among its fellows. I have provisionally named 
 the figure a Maenad, because of the thyrsus behind her, but the subject is 
 mystical—a woman spinning before a lamp that burns on an altar, a 
 flying butterfly above her head, a scorpion below her feet—all this points 
 to an allegory. Something in the style suggests Greek Alexandrian art 
 affected by Egyptian influences. 
 
 { 66 ) 
 
Professor Furtwangler mentions this gem, but there is nothing 
 noteworthy in his description of it, and he gives no opinion as to its 
 merits. (Furtw., A.G., p. 128 ; pi. xxv, 43.) 
 
 E 17. MiENAD, bust of, ivy-crowned and wearing a garland on 
 her breast ( /r., r.). 
 
 Nude, face nearly to front, ivy leaves and clusters on 
 brow, vertically on top of head and falling to shoulder 
 on either side ; from right shoulder a garland ot flowers 
 diagonally across chest. 
 
 Sapphirine ; ov. cx. 6 x 4^- Gold ring. Montigny 
 Coll. (Lot 549 ; pi. iv) : 1887. 
 
 A full-front view of a full-faced, handsome young woman, deeply 
 engraved on a fine convex sapphirine. This very marked style and 
 treatment seem to belong to the Augustan period. The gem is good, 
 and its merit very fairly warranted, for it came from the Montigny 
 Collection. The quality of these deeply sunken intaglios can best be 
 determined in the impression, as may be convincingly seen in the case of 
 the Head of Apollo on opal (C 4), from the Philip Hope Collection. 
 
 E 18. MiENAD, bust of, with ivy wreath and full drapery 
 (yE, r.). 
 
 Head inclined to r, ; drapery held by shoulder- 
 brooches ; ivy leaves wreathed round head and pendant 
 over ears. 
 
 Nicolo ; ov. 4x3. Gold ring. Castellani Coll. (Lot 
 1007): 1884. 
 
 Nearly full-faced, on nicolo. Of little account, though with some 
 superficial prettiness. 
 
 E 19. MfENAD, bust of, with garland of grapes and ivy (/r.). 
 
 Bosom bare ; hair rolled on brow, tresses over 
 
 ( 67 ) 12 
 
shoulders, three leaves of ivy-wreath vertical on top of 
 head, a bunch of grapes pendant at each ear. 
 
 Sardonyx ; ov. 3^ x 2^. Gold ring. Castellani Coll. 
 (Lot 1008) : I 884. 
 
 Tlie same remarks apply to this sardonyx as to the nicolo above, but 
 the workmanship is a trifle better. Had I personally attended the 
 Castellani sale, neither of these would have been on my list. They are 
 antique and harmless, but neither beautiful, curious, nor valuable. 
 
 E 20. FAUN, head of, wearing a beaded chaplet (r.). 
 
 Profile ; beardless youth, hair smooth on head and in 
 flattened curls on brow and back of neck ; a string of 
 twenty-six beads lengthways over crown of head, the 
 lower end curved upward. 
 
 Dark Greenish Chalcedony ; ov. cx. 5x3^. Gold 
 brooch. Fwh. ; 1883. 
 
 Of fairly good workmanship, and the beaded chaplet on the faun’s 
 head is uncommon. 
 
 E 2 1. MEDUSA, winged head of, in profile, with serpentless 
 hair and knotted snakes beneath the chin (/.). 
 
 Profile ; open-eyed ; hair smooth above and in waved 
 locks below diadem, whence appears small horizontal 
 wing ; two snakes, under the chin, knotted round plait 
 of hair brought forward from behind, their tails pointing 
 outwards. 
 
 Chrysoprase ; ov. cx. 4I x 4- Gold ring. Montigny 
 Coll., 1887 (Lot 543 ; pi. iv). Wtr. ; 1888. 
 
 Except in an impression, the merits of this gem are hardly recognisable, 
 so cloudy is the chrysoprase that bears the design ; but the head is of 
 considerable beauty, flowingly but carefully engraved. I got this gem 
 
 ( 68 ) 
 
from Mr. W. T. Ready some while after the sale of the Montigny 
 Collection, to which it had belonged. Professor Furtwangler terms the 
 material “smaragd plasma.” He writes of “serpent-knotted hair” 
 (Furtw., A.G., p. 184; pi. xxviii, 31), but it seems to me that the 
 locks are serpentless. 
 
 E 22. MEDUSA, head of, in profile, with closed eye, and 
 serpentless hair (r.). 
 
 Hair rolled on brow and in tresses over neck ; upper 
 part of head brolcen off. 
 
 Sard ; ov. 5^^ x 4 (fragment, upper r. lost). Gold ring. 
 [Lace Coll.] Fwh.: 1878. 
 
 Fragmentary, the top of the head being lost. Death’s calm is well 
 portrayed in the face, which bears no horrific expression and is almost 
 beautiful. Of Graeco-Roman class. 
 
 It has been suggested that the subject of this gem is not Medusa, but 
 “Sleep” personified, as in a beautiful bust at the British Museum. 
 
 E 23. MEDUSA, wingless head of, full-fronted, with serpent 
 tresses knotted beneath the chin {fr.). 
 
 Full-faced inclining to r. ; dishevelled serpent locks 
 on head, over shoulders, and tied across throat. 
 
 Ruby ; ov. 4x3^. Gold ring (French, blue enamelled 
 tracery). Heugh Coll. (Lot 283): 1879. 
 
 Remarkable as being engraved on a good ruby, well engraved, too, 
 though almost certainly modern—of the i8th century, or perhaps of the 
 Italian Renaissance. In the Rev. R. Cave’s collection, there was a very 
 similar gem in sapphire. Fhis one belonged to a small collection formed 
 by Mr. Heugh. 
 
 E 24. PERSEUS, rescuing Andromeda from the sea-monster 
 (fr., /.). 
 
 Nude warrior, head in profile, scarf round arm and 
 
 ( 69 ) 
 
bent right leg ; standing ; in downward left hand 
 Gorgon’s head ; with extended right grasping raised left 
 arm of draped woman (r., fr.) who stands on a shapeless 
 reptile with uplifted serpent head. 
 
 Red Jasper ; ov. 3^^ x 2f (chipped lower /.). Gold ring. 
 [Sartorelli, Treviso.] Sch. : 1879. 
 
 The rarity of the subject—so I was informed by Dr. A. S. Murray— 
 makes this an interesting gem. Well designed and fairly well engraved 
 in the Roman style. 
 
 E 25. ORPHEUS, charming wild animals with his lyre {fr.^ 
 hd. r.). 
 
 Phrygian cap and short tunic ; seated under a tree, 
 legs apart ; right hand across, holding lyre ; round him, 
 six beasts—two wolves, seated (/.) ; antelope, standing 
 (/.) ; lion and stag, standing (r.) ; bear, seated (r.). 
 
 Red Jasper ; ov. 5 x 3^. Gold ring. Constantinople, 
 Ain. ; 1880. 
 
 Exceedingly rough late Roman work ; but a likeable gem all the same, 
 the scene is so quaintly and pleasantly rendered. This subject was often 
 adopted by the early Christians, as symbolising the attractive power of 
 the Sa\'iour, but, in the absence of crosses or other symbols, there is no 
 reason to doubt the paganism of the present gem. 
 
 E 26. DAPHNE, bust of, in an inscribed Byzantine ring (r.). 
 
 Profile, olive-wreath with bow and streamer, hair in 
 diadem with tresses over neck and shoulder ; leafy spray 
 from left shoulder ; light drapery over bosom. 
 
 Sard ; ov. lex. 5^ x Gold inedHval ring, with 
 
 wide border inscribed, S. BERTRANI BESTIARII 
 
 ( 70 ) 
 
(the seal of Bertram, Vestiarius or Keeper of the Robes, at 
 Byzantium). Constantinople, Ain. : 1880. 
 
 The bust, in a Greek style, is rather pretty, though carelessly cut, 
 but the interest here consists in the mounting. In an accompanying 
 memorandum Alischan wrote : “ Bague Byzantine de Bertran, vestiarius 
 de I’empire de Byzance, a.d. 1204-1261.” Bertram would thus appear 
 to be historically known, but I have not looked him up. 
 
 Rings of this type, which were much used as counter-seals in early 
 mediae\al times, are far from common, though impressions from them 
 abound, and all that I have seen in the British Museum and elsewhere 
 are in silver, not in gold. I believe this ring to be of considerable value. 
 
 Among Professor Furtwangler’s illustrations there are two gems 
 almost identical with mine, apart from the setting, but, in place of the 
 small branch proceeding from the shoulder, one of these busts has a 
 wreath, while the other has no adjunct at all. He names them 
 “Cassandra”—why, I know not. (Furtw., A.G., p. 191 ; pi. xl, 10, 14.) 
 
 E 27. LEUCOTHOE, swimming, her shoulder above the waves 
 
 ('-•)• 
 
 Leucothoe, or Galatea. Prohle, head and shoulder ; 
 hair streaming over back ; sea slightly indicated. 
 
 Sard ; ov. 2| x 2^. Gold ring. [Lace Coll.] ist 
 Short Coll (Lot 22). Wtr. : 1885. 
 
 Repetitions of the subject are common. I have met with several, and 
 a number are mentioned by Professor Furtwiingler. (P'urtw., A.G., 
 pi. XXXV, 13, 14, 15, 17, ig.) I 'he swimmer is variously styled 
 Leucothoe, Galene, Galatea, Amphitrite, or sometimes simply a Nereid. 
 
 It is a pretty gem on an excellent sard. Among the gems at 
 Broom hall, brought from Athens by the 7 th Earl of Elgin, there is a fine 
 replica on a lovely golden sard, of better workmanship and on a much 
 larger scale. 
 
 E 28. EUROPA, crossing the waves with the divine bull (/.). 
 
 Female figure (/r., /.), nude, drapery across bosom 
 and flowing behind, borne swiftly over waves, leaning 
 against bull, right arm round his neck, left raised holding 
 
 ( 71 ) 
 
up long tresses ; legs extended and slanting as if carried 
 back by the waves. Bull (/.) in rapid movement, fore¬ 
 legs bent and lifted ; hind-legs, also feet of Europa, lost 
 through fracture. 
 
 Plasma ; ov. cx. 3I x 3, when complete ; fragment, 
 3X3 (left end in gold). Gold ring. Rhd. : 1879. 
 
 One of the rare examples of really fine engraving on plasma; 
 unfortunately it is on a very small scale and little more than a fragment, 
 for the whole of the end of the stone is lost. The beautifully designed 
 female figure is perfect ; nearly half of the bull has perished. This was 
 one of the five gems bought from Air. Rhodes in iSjg. Its history is 
 unknown to me, but it may have belonged to the Alertens-Schalfihausen 
 Collection. 
 
 Furtwangler gives an example from the British A-Iuseum, much like 
 the present gem. (Furtw., T.6., p. 177 ; pi. xxxvii, 5.) 
 
 E 29. NIOBE, supporting her dying son (r.). 
 
 Standing, slightly stooping forward, right knee bent ; 
 mantle from shoulders falling straight at back, and in 
 front crossing right thigh, leaving rest of leg bare ; right 
 hand on w^aist of naked youth (^r., /.) who sinks back¬ 
 ward with his head {Jr.) on her shoulder, a downward 
 torch in his extended left hand. 
 
 Sard : ov. lex. 4^ x v Gold ring (20 c.). rSmvrna.l 
 Athens, Rhp. : 1882. 
 
 The present gem, on sard, belonged to Professor Rhousopoulos, who 
 stated that it came from Smyrna. I think highly of it, for it is in a good 
 Greek style, though—as one often finds in Grecian work of a certain 
 period—the head of the principal figure is disproportionately large. 
 {Cf. “ A 4 a?nad ... in frenzy,” Brit. Mus. Cat., No. 554, pi. F.) 
 
 Fhe subject is interesting and uncommon. Professor Furtwangler, 
 in conversation, suggested that it might rather be Elektra supporting 
 Orestes thaii Niobe with one of her sons ; but in his book he adopts the 
 latter view in describing a glass-paste that bears a similar subject. He 
 writes of it in terms of extravagant eulogy: “This wonderful composition 
 
 ( 72 ) 
 
of captivating beauty probably goes back to Phidias” (Furtw., A.G., 
 p. i8o ; pi. xxxvii, 43). I fail to discover the transcendent merits of the 
 paste, and very much prefer my own gem, which the learned professor 
 must have overlooked when examining my collection. 
 
 E 30. ORESTES and PYLADES, with IPHIGENEIA, at the 
 altar of Artemis [r.^fr.). 
 
 Two beardless men, naked, hands bound behind their 
 backs, kneeling at foot of cippus, with shield at its base ; 
 standing behind them a Priestess {/?'., hd. /.) with nude 
 bust, right hand extended brandishing axe, left arm 
 down. 
 
 Sard ; ov. cx. 3^ x 3- Gold ring (French, ram’s-head 
 stamp). [Aquileia.] Sch. : 1879. 
 
 Another Greek gem on sard, also of more than common merit. 
 There is a replica in the British Museum, on a rather larger scale {Bnt. 
 Alus. Cat., No. 1447. “Sard, from Palermo. Castellan! Coll.”). 
 Mr. Schmidt, from whom I bought this gem, informed me that he had 
 obtained it when at Aquileia. 
 
 E 31. ACHILLES, drawing the arrow from his heel (/.,yr.). 
 
 Head in profile, wearing helmet with ridge-crest 
 ending in double upturned pendant ; full-armoured ; 
 kneeling on left knee ; right hand forward, drawing- 
 arrow from right foot, which rests on ground ; left arm 
 sustaining round shield, in profile, which bears Gorgon’s 
 head (r.). 
 
 Sard ; ov. 3 x 2f. Gold ring. Bale Coll. (Lot 1715): 
 1881. 
 
 I have always thought this an uninteresting specimen, though good 
 enough in most respects and on an excellent sard. Its style seems to 
 mix Greek and Roman, and I have doubts as to its antiquity, though it 
 belonged to the important Bale Collection. Perhaps it is a product of 
 
 ( 73 ) 
 
 K 
 
the Italian Renaissance period. Professor Furtwangler in his mention of 
 this gem—which he names “ Diomede with the arrow of Paris, in the 
 Iliad ii, 398 ”—remarks that he gives “ a smaller replica in pi. xxiii, 30,” 
 and that there are pretty numerous repetitions. (Furtw., A.G., p. 125; 
 pi. XXV, 6.) 
 
 E 32. PRIAM, head of, wearing a starred and laureated cap (r,). 
 
 Bearded profile, hair in masses on brow ; the cap, 
 laurel-wreathed, spangled with stars, and falling over 
 shoulders in two back-lappets. 
 
 Sard ; ov. 5x4 (top chipped). Gold ring. [Naples.] 
 Tyszkiewicz Coll. (Lot 87). R. F. ; 1883. 
 
 This fine gem formed part of the Tyszkiewicz Collection—in itself a 
 fair guarantee of merit. As a rule I care little for male heads ; this one, 
 however, shows so much of the true Greek spirit in its reposeful dignity 
 that I value it as a possession, though with no enthusiastic regard. The 
 material is a yellow sard. Mr. Hoifmann informed me that it had been 
 bought at Naples. 
 
 E 33. fENEAS, leading Ascanius from captured Troy (/r., r. ; 
 
 hd. /.). 
 
 Bearded warrior, full-armoured, helmet with serpent 
 crest, circular shield (in reverse) on left arm ; dragging 
 by his right arm a youth (/r., r.) nearly prostrate on his 
 back, clad in tunic and Phrygian cap and holding a 
 shepherd’s club across his right shoulder. 
 
 Red Jasper ; ov. 5x3! (chipped lower ;■.). Gold 
 ring. [Lambranzi, Venice.] Sch. : 1879. 
 
 An indifterent specimen of Roman work. There are replicas of it in 
 various sizes, sometimes with additional figures. Among these was a 
 sard in the Rev. R. Cave’s Collection (sold in 1883) which represented 
 on a very small scale the same ^neas, followed by a woman carrying a 
 child, issuing from a gate near towers and temples within a wall, round 
 which Achilles in a chariot was dragging Hector’s body. The gem was 
 
 ( 74 ) 
 
fragmentary, most of the city, as well as other parts, having been supplied 
 in gold. Mr, Schmidt bought the present intaglio from Lambranzi, at 
 V enice. 
 
 E 34. PERSEUS, uplifting the severed head of Medusa (r.). 
 
 Nude warrior, head in profile, standing with left leg 
 bent ; right hand on hip grasping downward harpe and 
 holding corner of chlamys ; left arm raised, uplifting 
 Medusa’s severed head {fr.) and holding another corner 
 of chlamys, which falls vertically, spreads, and forms 
 a background to the figure. Beneath, in r. field, a convex 
 circular buckler. 
 
 Sard ; ov. lex. 5.! X 32- Gold ring. [Corfu.] Wtr. : 
 I 892. 
 
 This is a gem that grows upon one, and I am inclined to consider it 
 superior to most examples of its late Cjrcek; or Grsco-Roman class— 
 subject, design, and workmanship being all cxceptionallv good. 
 
 E 35. PSYCHE, recumbent, approached by two robed men (r.). 
 
 Female figure (/r. r,), reclining, feet /. ; face three- 
 quarters full and looking down ; legs bent and draped, 
 body nude ; right arm along side, left arm down, elbow 
 resting on ring-shaped object—the mouth of a vase 
 containing water. Rising from behind her knees a 
 five-branched tree, across whose upper branches passes a 
 thyrsus bearing an eagle, with outspread wings, and 
 head down as if conversing with the woman, and across 
 the stem, near her knees, appears a short thick-set snake 
 (? caterpillar). Standing at her leet a handled vase, 
 between which and the snake an ant (r.). Approach¬ 
 ing the woman two beardless men (r.), bare-headed and 
 bare-shouldered, dressed in robes falling below the knee, 
 the foremost raising his right arm, as if delivering a 
 
 ( 75 ) 
 
 K 2 
 
message, the other with arms across chest. In back¬ 
 ground, in either margin, an ear of bearded wheat. 
 
 Onyx ; ov. lex. 4I x 3^. Gold ring. 2nd Cave Coll. 
 (Lot 197): 1894. 
 
 An incident from the legend of Psyche, very carefully engraved in the 
 minutely elaborate fashion, crowded with details, that characterises certain 
 Roman work, of which this is a favourable specimen, interesting both in 
 subject and treatment. When Mr. Alexander lonides was lately here, 
 showing me his collection and examining mine, he made special 
 inquiries about this gem, having heard of it from Dr. A. S. xVIurrav. It 
 is more important than at first sight appears. 
 
 Professor Furtwangler has a long note regarding it : “ Stosch 
 possessed,” he writes, “ a modern glass-paste of this stone, which 
 Winckelmann and Tolken falsely described as antique, but,” he continues, 
 “I entered this paste as modern in the Berlin Catalogue, under No. 9545. 
 Since then I have found the original in Lord Southesk’s Collection.” 
 (Furtw., A.G.^ p. 150 ; pi. XXX, 55.) 
 
 E 36. OMPHALE, head of, wearing a hoar’s-mask head¬ 
 dress (r.). 
 
 Profile (r.) ; hair in waves on brow, beneath (Eryman- 
 thian) boar’s-mask, which covers back of head, its ear 
 downward, the skin of its neck tied with riband in bow 
 at base of heroine’s throat. 
 
 Red Jasper; ov. 6| x 4g- Gold ring. [From Belkasr, 
 Asia Minor.] Wtr.: 1896. 
 
 A handsome head in profile, on brilliant red jasper, very attractive at 
 first sight, and especially so in an impression ; yet—to be perfectly 
 candid—I cannot but express some doubts in regard to its antiquity. 
 'Fhe extraordinary gloss and polish, and absolute freedom from marks of 
 wear, seem incompatible with a presumed existence of centuries; though, 
 on the other hand, there are approved Babylonian and Assyrian cylinders, 
 with a far higher antiquity than any Roman gem can claim, which look 
 as if new from the engraver’s hand ; and where objects have been buried 
 in a tomb or in pure earth they may well appear unchanged when 
 brought to light. Nevertheless, one cannot ignore the fact that many 
 skilful forgeries are now proceeding from Oriental sources, and reflecting 
 
 ( 76 ) 
 
that the present and another gem of mine (J i6. Head of Mithridates), 
 also rather lately from the East, are similarly on bright red jasper and 
 similarly exhibit an extraordinary unblemished freshness, doubts as to 
 both of them persistently arise. 
 
 But as these gems are fine and attractive specimens, free from obvious 
 signs of modernness in design and workmanship, there seems no adequate 
 reason to deny them a place in the collection. Moreover, Mr. W. T. 
 Ready, from whom I bought the gem now under notice—a skilled judge, 
 in whose opinion I have the greatest confidence—entirely believed in 
 it ; and no one has remarked unfavourably upon the “ Mithridates,” 
 Dr. A. S. Murray indeed appreciated it. The Omphale he only knew 
 in the impression, about which he expressed no suspicions. It may well 
 be that my doubts are entirely groundless. 
 
 The present intaglio was said to have come from Belkasr, in Asia 
 Minor, near the ancient Miletopolis. Its material and style would attach 
 it to the end of the ist century a.d. I’he substitution of the Erymanthian 
 boar’s mask as the head-dress in place of the Nemean lion’s is an unusual 
 arrangement. As in the case of E 8, this head may represent the youth 
 of Herakles rather than Omphale, the features being somewhat heavy 
 and masculine. 
 
 E 37. M^NAD, dancing, and playing on cymbals (r.). 
 
 Clad in light drapery, scarf circling round head and 
 floating back below ; head and chest thrown back, face 
 and bosom fr. r. ; hair short and flame-like ; hands 
 forward playing cymbals ; right leg sustaining flgure, 
 left leg bent and thrown back in act of dancing. 
 
 Sard ; ov. lex. 5x4 (right upper edge chipped). 
 Gold ring. Montague Taylor Coll. (Lot 238) : 1897. 
 
 This, in my opinion, is a gem of high quality in style ; the figure 
 poses itself most gracefully in a very difficult attitude, the drapery is light 
 and elegant, every detail is clearly made out, and the face is rendered 
 with an accuracy seldom found in works so small; the material, too, is 
 excellent—a sard of good quality and colour. 
 
 E 38. MEDUSA, head of, in profile, with serpents on brow and 
 throat (r.). 
 
 Profile r., eye open but downcast, tresses (serpentless) 
 
 ( 77 ) 
 
floating loose on cheek. Head of a serpent protruding 
 above brow^, another coiled and knotted around throat. 
 Brow fractured, top and back of head lost. 
 
 Black Jasper ; lex., fragment of ov. 5x3 (original 
 size about 8x6). Gold ring. [Praun and Mertens- 
 SchafiFhausen Colls.] Montague Taylor Coll. (Lot 237) : 
 1897. 
 
 This is an exquisite fragment. So beautiful is the face of the expiring 
 Medusa in its delicate forms and gently pathetic expression, so faultless 
 and refined is the workmanship that has engraved it on the smooth black 
 jasper, that I doubt if in the whole world’s collections there are many 
 gems of like sizx* and character that can rightfully claim to surpass this 
 remarkable intaglio. 'Frue, it is fragmentary, but most that is important 
 remains, for its loss is confined to the top and back of the head, leaving 
 the face and neck intact and perfect. 
 
 It was well known to Mr. King, who celebrates its praises, as follows, 
 in three of his principal works :—“ This was regarded by Madame 
 Mertens-Schafthausen as superior to any Medusa known—even the 
 lllacas—perhaps with justice” (King, Ant. Ge?ns, i860 ; p. lix ; woodcut, 
 p. 20). “ Black jasper has been employed by the Greeks as the material 
 
 for some of their finest intagli, for example, the fragment of the head of 
 the dying Medusa (Praun Collection), which stands pre-eminent amongst 
 the innumerable repetitions of the subject” (King, Nat. Hist, of Ge?nSy 
 1870 ; p. 144b “Medusa in the ‘p^i'kct’ (jreek style, and one of the 
 finest of its class” (King, A>it. Gems and Rings, 1872; vol. ii ; p. 52, 
 pi. xx). 
 
 It is strange that the Medusa head (E 22) from the Lace Collection 
 should be so nearly identical with this gem in the extent of its loss by 
 fracture. 
 
 K 39. FAUSTULUS, discovering ROMULUS and REMUS 
 nursed bv tbe Wolf. 
 
 Sbort-bearded, elderly man (r.) face in profile, standing 
 on right leg, left leg back, left hand leaning on staff, 
 right hand forward as if pointing ; he wears a short 
 tunic and a skin mantle thrown over back. Before him 
 a wolf stands (r.) head reverted and down towards two 
 
 ( 78 ) 
 
children whom she suckles. To her r., a vine-stem 
 with two grape-hunches and four leaves. 
 
 Banded Sardonyx ; ov. 4 x 3-|. Gold ring. Anon. 
 Coll. [Mr. W. L. Nashe], Sotheby’s (Lot 89), July i, 
 1903. 
 
 My collection is weak in specimens of the peculiar phase in Roman 
 art represented by this intaglio, so I was glad to obtain it. 
 
 Works of this type have a very marked individuality ; they show no 
 trace of Greek spirituality and rehnement, yet possess a sturdy, honest 
 handsomeness of their own, and are generally well and carefully engraved 
 in a somewhat strong and deep fashion. I am inclined to relegate them 
 to the Republican period—possibly designed under Etruscan influences. 
 
 The present gem is an excellent specimen of its class—the composition 
 pleasing and the details very skilfully rendered. 
 
 CLASS F. 
 
 HISTORY; RELIGION; DAILY LIFE. 
 
 [Plate VIL] 
 
 F I. PRIEST, holding a Goat for sacrifice (r., /r.). 
 
 Bearded, straight hair in fillet, long drapery with 
 girdle ; standing left leg in advance ; left arm round 
 neck of standing goat, with short beard and upright 
 horns (r.) ; riglit arm raised, as if in the act of striking. 
 
 Banded Sardonyx ; ov. 5x3. Gold ring. [.? I'ysz- 
 kiewicz Coll., 1883; Lot 94.] Cave Coll. (Lot 13):! 884. 
 
 A peculiar gem ; I am uncertain how to class it, for it is Oriental in 
 character, yet can hardly be Persian or Babylonian, and is evidently far 
 earlier than the Sassanian period. It may have been engraved in Asia 
 Minor, or perhaps in Cyprus, where nationalities and their products were 
 for centuries so strangely intermingled. 'I'hough of minor importance, 
 
 ( 79 ) 
 
 I 
 
it is not without merit in its own stiff fashion. It seems to have been 
 one of the Tyszkiewicz gems, sold in 1883, for Lot 94 in the Sale 
 Catalogue answers to it, but this is uncertain. 
 
 “A bearded man in a long chiton,” writes Professor Furtwiingler, 
 without stating the ownership of the gem, “ grasps the neck of a large 
 he-goat standing near him and raises his right hand. Perhaps ‘Liber 
 Pater.’” (Furtw., A.G., p. loi ; pi. xx, 61.) 
 
 F 2. BEARDLESS PRIEST, offering a Roe-deer in sacrifice (/.). 
 
 liair in diadem and back-knot ; long tunic with 
 mantle drawn over ; standing by diagonally wreathed 
 altar, on which recumbent body of deer, horned like a 
 roe ; in raised left hand, nine-leafed branch ; in forward 
 right hand, patera with offerings. 
 
 Banded Agate ; ov. 8 x sh Gold ring. Constanti¬ 
 nople, Ain. : 1880. 
 
 In 1880 M. Alischan sent me, from Constantinople, two large gems 
 of somewhat similar character, this and the following. Both, more 
 especially the first, blend Greek and Oriental feeling in their treatment 
 and character, which perhaps indicates an origin in one of the Graeco- 
 Asiatic colonies. They are much alike in quality—handsome and 
 conspicuous in design, but faulty in details. 
 
 This gem is engraved on a bright, broad-banded agate. Professor 
 Furtwiin^er terms the material “cross-striped sardonyx.” “A woman,” 
 he continues, “ in chiton and mantle, with a large branch in her left 
 hand, a shawl on her right arm, before a garlanded altar, behind which 
 stands a deer . . . Nemesis.” (Furtw., A.G., p. loi ; pi. xx, 66.) 
 
 The figure, however, is that of a beardless man, probably a eunuch, 
 and the deer does not stand but rests on the altar. 
 
 F 3. PRIESTESS, dropping incense on a portable altar [r.^fr.). 
 
 Veil over back of head, long drapery ; left arm down, 
 hand above altar ; right arm bent, in hand, branch with 
 fourteen leaves and double streamer ; altar, double-point 
 
 ( 80 ) 
 
top on light three-barred pole set on stand ; beyond, in 
 r. background, a small shrine on a rock. 
 
 Brown Sard, or Whole-coloured Sardonyx ; ov. x 4- 
 Gold swivel. Constantinople, Ain. : 1880. 
 
 This gem is preferable to its companion, the preceding, which it much 
 resembles in style; it is somewhat better engraved, and its material, 
 which looks nearly black but appears of a rich crimson when held to the 
 light, is more pleasing and uncommon. Both these gems have the 
 advantage of size, to which some collectors attach such absurd importance. 
 
 DRi\PED WOAIAN, pouring a libation over a cippus- 
 formed altar (r,). 
 
 Double tunic, scarf round left shoulder and floating in 
 bow and streamer behind ; standing, arms extended, right 
 raised, pouring fluid from one vase into another, over a 
 short, rounded cippus. 
 
 Lapis Lazuli ; ov. 5x4. Gold ring. Sch. : 1879. 
 
 A Roman production, of small value. The general effect is fairly 
 good, and its material always attracts the eye, but otherwise it is a poor 
 specimen. 
 
 Two WOMEN SACRIFICING at a rustic Shrine (r.). 
 
 Leaning against cippus a large fruit-bearing branch, 
 part of which resembles figure of garden deity (/.) ; 
 foremost worshipper semimude, kneeling on her right 
 knee, right hand forward, patera in left hand ; the other 
 worshipper, full-draped [bk.^ r.), standing behind with 
 gift in both her hands. 
 
 Sard; ov. 3I x 3. Gold ring. Phc. : 1878. 
 
 An exceedingly pretty design ; unluckily, of most indifferent work¬ 
 manship. 
 
 ( 81 ) 
 
F 6. MAGICIAN, conjuring with mask, globe, and serpent (/.). 
 
 Male figure, nude, scarf over back and round legs, 
 gazing at crescent-backed mask (r.), held with both 
 ' hands opposite face ; standing on left leg, body forward, 
 right leg bent, with foot on small globe, whence proceeds 
 wand (/.), entwined with serpent. 
 
 Sard ; ov. 4I x 3|. Gold swivel. Fwh. : 1883. 
 
 Although this sard—which has been rather handsomely mounted in 
 gold by a former owner—may be described as a miserable specimen 
 of art, I do not think that it need be further condemned as being 
 unquestionably a forgery. I bought it, however, for the sake only of 
 the subject, which is curious. 
 
 F 7. YOUTFI, standing, with a lyre in his hand (r.). 
 
 Nude, chlamys falling over back ; hair short and 
 curling ; right hand raised holding six-stringed lyre ; 
 right leg slightly bent. 
 
 Sard ; ov. 5.^ x 4- Gold ring. Wtr. : 1889. 
 
 A Graeco-Roman gem of very considerable merit. Personally, I care 
 little for subjects of that type. Comparing this, however, with the 
 majority of gems, one cannot but admit that it surpasses most of them 
 both in general design and in the exactitude of its details. The body and 
 limbs of the youth are truthfully moulded, the hands and feet, and above 
 all, the head, are exceedingly well finished and complete. 
 
 F 8. POET, reading from a vellum roll, before a head of 
 Apollo (r.). 
 
 Bearded male figure with short curling hair, nude, 
 himation round legs, seated on chair, both hands raised 
 
 { 82 ) 
 
and forward holding vellum roll, opened, over image of 
 head of Apollo (/.), which rests on a cippus. 
 
 Sard ; ov. 4x3* Gold ring (French, cock’s-head 
 stamp). Bale Coll. (Lot 1690) : 1881. 
 
 At the sale of the Bale Collection an agreement with a friend 
 prevented me from bidding for many of the most attractive lots. This 
 led me to buy some gems 1 cared little for—as being the best available— 
 and the present sard is one of these. Of its class, this gem is certainly 
 good, but it is wrapped in that air of commonplace that taints so many 
 of the works of Roman imperial date. Early Greek work has an 
 inexplicable charm ; gems, such as the present, which used to stock the 
 cabinets of i8th century collectors, are inexplicably distasteful. Doubtless 
 there are numerous fine intaglios, by Greek or Greek-taught engravers, 
 that belong to the centuries immediately before and after the Christian 
 era, but the rank and file of the gems belonging to those and later times 
 are fraught with the spirit of unimaginative old Rome. 
 
 Professor Furtwangler describes this gem as “A bearded Poet,” and 
 remarks that “ a replica, or identical gem, is in Ficoroni, masch. seen., 75, i.” 
 (Furtw., A.G., p. 126 ; pi. XXV, 26.) 
 
 LADY, with female attendant bearing a parasol (^r.). 
 
 Walking, right leg slightly bent ; long drapery, over¬ 
 mantle drawn across chest by arms beneath, hands joined 
 at waist ; in background, female attendant, following, in 
 short tunic, limbs and bosom bare, holding fringed 
 parasol over her mistress’s head. 
 
 Hyacinth Garnet ; ov. cx. 6 \ x 4. Gold ring. 
 Castellani Coll. (Lot 1042). R. F. : 1884. 
 
 A gem of very dilferent character from the last. Belonging as it did 
 to Castellani’s collection, it probably had its origin in Italy, and, if so, in 
 one of the Greek settlements along the southern coasts, for, although 
 without any great merit in its engraving, it shows much of the grace 
 and originality that characterises Grecian work. The material is almost 
 equal in loveliness to that flame-fraught stone which displays the Nike 
 with glorious uplifted wings (D 6). 
 
 “ In the characteristic Greek-early-Roman style,” writes Professor 
 Furtwangler, “as in plates xxvi-xxviii ; compare also plate xxxiv.” 
 (Furtw., A.G., p. 126 ; pi. XXV, 30.) 
 
 ( 83 ) 
 
 L 2 
 
F lo. HUNTER, at rest, caressing two hounds fastened to a 
 tree (r.). 
 
 Naked youth, petasus on head, chlamys over back, 
 sitting on a stone, grounded javelin in raised left hand, 
 right outstretched towards a pair of greyhounds (/.), one 
 standing, one seated, both tied to an over-arching tree 
 (/.), hung from which is a full wallet. A beaded border. 
 
 Sard ; ovd. 4^ x 3^. Gold ring. Vernon Coll. (Lot 
 98). Wtr. : 1885. 
 
 An excellent sard. Graeco-Roman I suppose, for its style suggests 
 both nationalities—the former’s gracefulness ; the latter’s realism, strong 
 engraving and crowded detail. Professor Furtwangler states that this 
 gem was formerly in the Millingen Collection, but he does not give its 
 present ownership. He describes it thus : “ An idyllic picture of a 
 hunter’s rest and adds, “ The execution is not delicate ” (Furtw., A.G., 
 p. 172; pi. XXV, 32)—an undue depreciation, for the workmanship is 
 clear and careful. 
 
 F II. HUNTER, in short tunic, carrying game (r., /F). 
 
 Walking, left knee bent, hair close cut ; short tunic, 
 arms and legs bare ; left hand raised, holding across 
 shoulders a pole, whence hang fowl and rabbit ; right 
 hand down, carrying fawn by tore-legs ; at feet, hound 
 walking, head lifted towards hunter. 
 
 Sard ; ov. 3^ x 3- Gold ring. Sch. : 1880. 
 
 Roman all over ; interesting from subject and fairly well engraved. 
 On a good sard. 
 
 F 12. BEAR, encountering a warrior (/.). 
 
 Bear, with outstretched paws, seated under a tree ; 
 helmeted man ( /F, /.), with spear sloped on right shoulder 
 
 ( 84 ) 
 
and round shield held over body, stepping backward to 
 avoid its attack. 
 
 Sard ; ov. 4 x 3^. Gold ring. Phc. : 1878. 
 
 A gladiator, most likely, fighting with an animal in a circus planted 
 to resemble a wilderness. Very rough Roman work, but, like the last, 
 curious and interesting. The material is a beautiful golden sard. 
 
 F 13. SHEPHERD, standing, watching three goats (r.). 
 
 Short cloak and tunic, right hand on staff, left knee 
 bent ; she-goat (r.) on hind-legs browsing from two- 
 branched tree, at foot of which recumbent goat (r.) and 
 another behind it (/.) of which only head visible. 
 
 Sard ; ov. 4x3. Gold swivel. Fwh. : 1889. 
 
 This sard presents a pretty pastoral scene, well engraved in the 
 Roman manner. 
 
 F 14. SHEPHERD, carrying a sheep across his shoulders (/?'., 
 
 hd. /.). 
 
 Short tunic and buskins ; right arm raised, holding 
 fore-legs of large sheep (/.) lying on his shoulders, left 
 hand holding its hind-legs ; on either side, a lamb, 
 standing face outwards. 
 
 Red Jasper ; ov. 4^ x 3!^ and 3 x 2^. Gold ring. 
 Phc. : I 884. 
 
 A not infrequent subject, Hermes often figuring as “Criophoros ” with 
 a sheep on his back, a design borrowed by the early Christians. The 
 present, very roughly cut, is not marked as “ The Good Shepherd” by 
 any symbol, and may therefore be considered pagan. Like others among 
 these Roman gems, I only bought it for its subject. 
 
 ( 85 ) 
 
F 15. SHEPHERD, with two sheep, near a tree surmounted by 
 a dove (/•. bk^. 
 
 Short cloak and tunic ; leaning on staff, standing, 
 right leg across left, knee bent ; to r. two sheep (r.), 
 standing one in advance of the other, hindmost partly 
 hidden by stem of three-branched leafy tree in middle 
 lore-ground ; dove (/.) on larger scale, perching at top. 
 
 Red Jasper ; ov. hbz. 4x3. Gold ring. Constanti¬ 
 nople, Ain. : 1878. 
 
 Though devoid of special symbols, I believe this to be a Christian 
 gem, in view of the prominence given to that sacred emblem the dove, 
 whose greatly exaggerated size may have served as a securely veiled token 
 for initiated brethren. 
 
 F 16. BIGA, bearing a Roman warrior crowned by Victory (r.). 
 
 Obv. : Warrior, full armoured, standing in chariot ; 
 behind him, winged Victory, standing on globe and 
 placing wreath on his head ; both horses galloping ; 
 beneath them, horned man’s head (Pan .?) blind-loldcd ; 
 in field above, LXXSI, and round horses, VTERE. 
 Kev. : Rudely incised Labarum, retrograde. 
 
 Nicolo ; ov. 5 X 4. Gold ring. Constantinople, 
 Ain. : I 879. 
 
 I'o neutralise the paganism of this nicolo’s obverse, some Christian 
 possessor has engraved—or, rather, deeply scratched—on the reverse the 
 well-known Chi-Ro monogram—the “labarum” ot Constantine’s standard, 
 riie horses in the biga are trampling on a horned human head, perhaps 
 meant for Pan (though why placed there it is hard to say), but possibh^ 
 supposed by the Christian owner to represent the devil—if at that early 
 period they endowed him with a satyr’s attributes. The number LXXII 
 may convey a mystical allusion, or it may be of mere ordinary application, 
 relating perhaps to an Army Corps to which the owner belonged. 
 Dr. A. S. Murray suggested that the word VTERE represents the 
 Roman valediction “Utere Felix”—Luck be with you, or some such 
 sentiment. 
 
 ( 86 ) 
 
F. 17. ROMAN CIRCUS, with horseman, horses, and racing 
 chariots (r.). 
 
 Three chariots (r.), a quadriga between two bigas, 
 following each other at full speed ; the carceres above ; 
 four horses, below, standing between a horseman, gallop¬ 
 ing (/.) and a pedestrian moving r., whip in raised right 
 hand. 
 
 Sard ; ov. 4x3- Gold ring. Sch. : 1879. 
 
 Remarkable from the wealth of detail crowded into the minutest 
 compass, and skilfully enough engraved according to a Roman standard. 
 I have seen replicas of the subject, larger in size and not exactly identical 
 in treatment. 
 
 F 18. GALLEY, with Shepherd, Wolf and Twins, and head of 
 Roma (r.). 
 
 Gryphon’s head on high stern ; on deck, shepherd in 
 short tunic, standing (r.) leaning on staff; wolf (r., hd. /.) 
 suckling twins (r. and /.) ; helmeted female head, on 
 larger scale (/.) ; in background, tree with bird (/.). 
 Figure-head, at prow a bossed circle, double beak below ; 
 rudder and seven oars (/.) underneath, and two dolphins 
 (r. and /.) swimming in the sea. In r. upper field, 
 
 COMVNIS. 
 
 Sard ; ov. 4^ x 4. Gold ring. [Rome.] Tyszkiewicz 
 Coll. (Lot 82). R. F. : 1883. 
 
 Here we have a much better specimen of Roman art, exercised on a 
 peculiarly Roman subject. Like everything from Count Tyszkiewicz’s 
 collections it is good, excellently engraved in the deep, strong, 
 un-Grecian style, on a fine richly coloured sard. I have not ascertained 
 the significance in this connection of the legend above the galley— 
 COMVNIS. Mr. Hoffmann informed me that this intaglio and the 
 following (F 19) were bought at Rome by Count I'yszkiewicz for a very 
 large sum, far beyond what they realised at the sale. 
 
 ( 87 ) 
 
Professor Furtwangler omits to state the ownership in noticing the 
 present gem, or to mention that it came from the Collection. 
 
 “ On a Roman war-ship,” he writes, “ between two dolphins, the group 
 of the wolf and the twins Romulus and Remus. Behind is the Ficm 
 Rurninalis with the woodpecker. To the left stands the shepherd 
 Faustulus ; to the right is the helmeted, beardless head of Mars or 
 Roma.” (P'urtw., A.G., p. 142 ; pi. xxviii, 58.) 
 
 F 19. GALLEY, with Shepherd, Wolf and Twins, and radiated 
 head of Apollo (/.). 
 
 Gryphon figure-head ; double beak below ; on deck, 
 shepherd, in mantle and short tunic, standing, hand on 
 staff (r.) ; wolf (r., hd. /.) suckling twins (/.) ; in back¬ 
 ground, tree ; above low stern, radiated head ot Apollo 
 (/.) ; underneath galley, rudder (r.) and six oars (/.). 
 In upper /. field, V. F. S. 
 
 Sard ; ov. 4^ x 35-. Gold ring. [Rome.] Tyszkie- 
 wicz Coll. (Lot 82). R. F. : 1883. 
 
 Similar to the preceding, but not nearly so good. The letters of the 
 inscription— V. F. S. —probably stand for the owner’s name, but as no 
 Roman praenomen begins with V we may perhaps (as in the case of 
 “V. M. Ant.” on the Victory, D 5) suppose it to mean Fotu?n, a gift— 
 a gift from F.S., unless the letters be a much later addition. 
 
 A rather dull sard forms the material of this gem. In one of the 
 Short collections there was a nicolo similar in subject to the present pair 
 of intaglios, but on a rather larger scale. 
 
 F 20. ROMAN EAIPEROR addressing his Army (r.). 
 
 Bare-headed, short-robed male figure (r.), arms 
 forward, right hand holding upright baton, seated on 
 portable cross-legged stool, placed on cubical chest, 
 studded with six nail-heads in pairs ; behind him an erect 
 cornucopia. Beneath, six Roman soldiers advancing, 
 cuirassed and helmeted, bearing square banner and 
 three legionary standards ; the fourth soldier stooping, 
 
 ( 88 ) 
 
the fifth facing to fr.^ the sixth bearing spear and oblong 
 shield. 
 
 Sard ; ov. lex. 4^ x 3f- Gold ring. Wtr. : 1889. 
 
 Technically termed an “allocution.” A robed dignitary, seated on an 
 improvised throne, haranguing a crowd of armoured soldiers bearing 
 spears and standards—neatly engraved. A good specimen of its kind. 
 
 F 21. CHARIOT, with a single Horse in traces (r.). 
 
 Charioteer, draped (r.), seated in bowl-shaped car, 
 brandishing whip, and driving a horse in traces, with 
 right hind-leg forward and left fore-leg raised high, in 
 trotting action. 
 
 Red Jasper ; ov. 5 x 3J. Silver swivel. [Cyprus.] 
 Lawrence-Cesnola Coll. (Lot 546) : 1892. 
 
 Coming as this does from the Lawrence-Cesnola Collection, it must 
 have been found in Cyprus. It is figured in Salaminia (p. 158 ; pi. xv). 
 Though the Biga, Triga, and Quadriga are so frequently represented, I 
 do not remember another example of a vehicle drawn by a single horse, 
 and the saucer-shaped car is also peculiar. For that reason, and because 
 of its mention in a well-known book, this very rough intaglio receives a 
 place in the collection. 
 
 F 22. HORSEMAN spearing a Lion (r.). 
 
 Youth (r.) on horseback, chlamys over left shoulder 
 and passed round waist and covering thighs, rest of body 
 nude, hair short and curled ; right hand down, left up, 
 both grasping shaft of upward spear pointed at lion’s 
 throat. Horse (r.), falling on right knee, head bent 
 down under pressure of lion’s paw. Lion (/.), rampant, 
 left paw on horse’s head, right paw clutching at spear¬ 
 head entering below his jaws ; right hind-leg forward ; 
 full mane, tail double-curved. Hound (r.) fore-legs 
 
 ( 89 ) 
 
 M 
 
forward, tail raised, head low, passing behind lion’s right 
 hind-leg and about to seize his left foot. In field, at 
 back of hunter, a tree of three branches, partly in leaf, 
 bending r. 
 
 Sard ; ov. 5x3^ (I'ight lower edge and base chipped). 
 Gold ring. [Constantinople.] Wtr. : 1894. 
 
 An excellent example of the purely Roman style, full of life and 
 spirit, careful in details, and very well engraved. 
 
 CLASS G. 
 
 ANIMAL FORMS. 
 
 [PLATES VII AND VIII.] 
 
 G I. LION, fore-shortened, standing over an Antelope’s head 
 
 Front-faced, fore-shortened, left side visible ; both 
 fore-legs advanced, left paw on head of antelope (/.) 
 lying on ground ; left hind-leg in view. A beaded border, 
 partly lost. 
 
 Sard ; ov. 5x4. Gold ring (old-fashioned, with 
 black enamelled tracery ; a collection number, 37, within 
 hoop). Anon. Coll., sold at Christie’s, May 30 (Lot 
 54) : 1883. 
 
 A gem of great originality and merit. The lion itself is admirable, 
 and the fore-shortening—so well managed that the animal seems to start 
 forward from the background—is a real triumph of art. In style this 
 intaglio is too good to be Roman, yet it is not Greek of the finest period, 
 nor is it early, though the articulations of the paws and other details 
 are marked by small drill-holes in an archaic manner which does not 
 characterise the rest of the work. Professor Furtwangler gives a gem 
 
 ( 90 ) 
 
exceedingly like the present one, both in general style and in the use ot 
 fore-shortening. He thus describes it —“ A lion, the head fore-shortened—• 
 excellent work.” (Furtw., A.G., p. 219; pi. xlv, 25.) He adds a 
 reference to another gem of a similar class : “ A yellow jasper from 
 Macedonia, found in a stone coffin . . . An excellently wrought lion, 
 beneath it is Yn€P€XIOY . . . . the figure and inscription, which 
 certainly marks the artist, appear to be genuine.” {Ihid., p. 241.) 
 
 We may, I think, conclude that my gem is Greek, of a period not 
 earlier than the 2nd or 3rd century b.c. 
 
 G 2. HORSE and LION-GRYPHON, heads of, back to back 
 (r. and /.). 
 
 Horse’s head and neck (r.), crop-maned, bitted and 
 bridled ; lion’s head (/.) of Assyrian gryphon type, with 
 long, pointed, back-set ears ; straight mane on neck. 
 
 Burnt Sard ; ov. 4 x 3- Gold ring (foreign ; Beck- 
 ford pattern ; on hoop, a collection number, 40). Sch.: 
 1880. 
 
 One of these heads belongs to a horse of noble breed like the horses of 
 the Parthenon sculptures ; the other is that of a composite animal dealt 
 with in the next section (see H. 13). To judge by the octagonally 
 formed and horizontally fluted mount of this gem, it must once have 
 formed part of the Beckford Collection. The stone itself is a sard, but so 
 dulled and whitened by fire that it only seems transparent when held to 
 the light. It is very well engraved. 
 
 G 3. PANTHER, running and carrying a thyrsus (r., hd. /.). 
 
 Looking back, open-mouthed, running at full speed, 
 fore-legs lifted ; left paw holding thyrsus across same 
 shoulder. In exergue, TP€K. 
 
 Sard ; ov. lex. 4^ x 3. Gold ring. Fwh. : 1878. 
 
 In this gem the action surpasses the workmanship, which is indifferent, 
 but the inscription, and the richness of the sard lend it some small 
 value. 
 
 ( 91 ) 
 
 M 2 
 
G 4. PANTHER, drinking from an amphora (r.). 
 
 Standing, fore-legs extended, left legs in advance ; head 
 lowered towards two-handled vase ; in field above, PA. 
 
 Red Jasper; ov. 4^ x 3. Gold ring. Chr. : 1886. 
 
 Somewhat better in its details than the last, the amphora especially 
 being well designed and engraved. A Roman work, no doubt. 
 
 G FEMALE PANTHER, seated on the ground (r.). 
 
 Fore-paws together and forward ; tail raised. 
 
 Sardonyx ; ov. cx. 5 x Gold ring. Fwh. : 1879. 
 
 Of higher class than the intaglio just described, the animal being 
 more graceful and far truer to nature, and the workmanship much 
 superior in quality. This gem came from the collection of a lady 
 (Lady-.?), whose name I forgot to record. 
 
 G 6. HORSE, drinking from a Vase (r.). 
 
 Standing with head lowered to vase on ground, left 
 fore-leg slightly bent. In field, above and below, 
 
 SECVRE VIBE, retrograde. 
 
 Amethyst ; ov. 5^ x 4 (upper edge chipped). Gold 
 ring. Sch. : 1880. 
 
 A fairly good Roman intaglio. Doubtless the portrait of a favourite 
 horse. “ Secure ” may either be an adverb or the horse’s name in the 
 vocative, and “Vibe” stands for “ Bibe,” V and B being interchanged, 
 thus meaning either “Drink, O Securus,” or “Drink in security”— 
 “ at your ease.” 
 
 G 7. BULL, standing above a vase and a sphere (/.). 
 
 Left legs in advance, head forward and slightly raised; 
 
 ( 92 ) 
 
beneath it on ground a high-necked vase, and beneath body 
 a sphere. In exergue, AYA. 
 
 Yellow Sapphire ; nearly circ. lex. 4 (weight of 
 sapphire, 32 gr.). Gold swivel. [P. H. Hope Coll.] 
 H. R. ; 1878. 
 
 A most remarkable gem. I cannot estimate its value, for it is probably 
 unique as a specimen of ancient work on yellow sapphire. The sapphire 
 itself is of such high quality that it was included in Mr. Philip Hope’s 
 great collection of precious stones, which only admitted engraved examples 
 when the material was extremely fine. It appears in Hertz’s folio 
 catalogue of the Hope Collection (p. 43 ; pi. xiii), printed in 1839, where it 
 is described as an “ Oriental Topaz, weighing 32 grains.” Mr. W. Hunt, 
 however, informed me that the term yellow sapphire was more accurate, 
 though the other was in common use. At the sale of the Hope Collection, 
 Messrs. Hunt and Roskell had bought this ring with other lots, and it 
 still remained on hand in 1878, when I first saw it. At once 1 made it 
 my own. 
 
 I cannot doubt the authenticity of this gem. Nothing in the design or 
 style of engraving suggests modern workmanship, and the form of the 
 stone—its thickness and convexity of reverse—is altogether in its favour. 
 The Greek inscription in the exergue may be of later addition —perhaps 
 an abbreviation of the owner’s name, perhaps a blundering attempt at 
 AYA for Aulos, an ancient engraver’s often forged designation. 
 
 G 8. BULL, at bay, with head lowered for a charge (r., hd.fr.). 
 
 Head down {frf right fore-leg lifted, other legs 
 forward, tail level over back ; behind, in field, a seven- 
 rayed star. 
 
 Sardonyx ; ov. cx. 5x3. Gold brooch. Rome, 
 Castellan! : 1865. 
 
 [No longer in Collection^) 
 
 G 9. BULL, recumbent ; a Cow in the background (r.). 
 
 Head fronted, left fore-leg bent as if in act of rising ; 
 
 ( 93 ) 
 
head and shoulders of cow (/.) appear over his back ; in 
 r. foreground a low three-branched tree. 
 
 Sard, slightly burnt ; ov. 4^ X 4 (broken in halves and 
 mended). Silver ring. Naples, Brn. : 1885. 
 
 There is some quaintness in the treatment of its subject. 
 
 G 10. WILD BOAR, fore-shortened, springing from a rock (/.). 
 
 Head fronted, both hind-legs on a low rock, fore-legs 
 on ground beneath ; two ragged branches in background 
 behind head. 
 
 Sard ; ov. X 3. Gold ring. Fwh. : 1879. 
 
 A fairly good Roman intaglio. Professor Furtwangler gives a replica 
 of this, a “ convexer Prase” at St. Petersburg, with the additional detail of 
 a small dog standing near the rock whence the boar plunges. (Furtw., 
 A.G., p. 219 ; pi. xlv, 17.) 
 
 G II. SOW, walking towards a rustic Shrine (r.). 
 
 Profile, left legs in advance ; shrine, containing small 
 image, on oak-tree stump, whence proceeds triple leafy 
 branch. 
 
 Sard ; ov. 3^ x ' 2 .\. Gold ring. Naples, Brn. : 1865. 
 
 Though insignificant in size and somewhat worn, this is a pretty little 
 gem of considerable merit in its unobtrusive way. 
 
 G 12. TWO HOUNDS and a Raven devouring a Fallow Doe 
 (r. and /.). 
 
 Deer on its back (r.) ; hounds facing inwards, tearing 
 its belly ; raven, flying (/.), drawing up entrails with 
 
 ( 94 ) 
 
beak ; over left hound, locust (r.) ; over other hound, 
 three pellets. In exergue, L. T. F. 
 
 Sard ; ov. 4 x 3i- Gold ring. Montigny Coll. (Lot 
 225). Wtr. : 1887. 
 
 This bears the Montigny stamp of goodness. The greyhounds (male 
 and female), the prostrate doe, the raven and the locust hovering above— 
 are all true to life, and admirably engraved in a free but carefully finished 
 style. The letters in the exergue must be the initials of a Roman owner, 
 but the workmanship speaks more of Greece than Rome. 
 
 G 13. EAGLE, standing with opened wings (r.^fr.). 
 
 Head in profile, body erect, left leg advanced, wings 
 pointed down. 
 
 Banded Agate ; ov. 4 X 3^. Gold ring. Sch. : 1880. 
 
 Mr. Story Maskelyne pronounced this a Roman gem, and so it 
 probably is, though the point-work which characterises it is unusual at 
 the presumed period. It is a very spirited eagle, the head especially fine. 
 The material is an excellent banded agate. 
 
 G 14. EAGLE, head of, above a Thunderbolt (r.). 
 
 Profile ; four feather-tufts end neck at base ; in 
 exergue, horizontal thunderbolt with straight flashes 
 diagonally from centre. 
 
 Sard ; ov. cx. 4 x 3^. Gold ring (22 c.). [Elgin Coll.] 
 9th Earl of Elgin ; 1878. 
 
 Lord Elgin gave me this gem, which is on a fine convex sard, in 1878. 
 It belonged to the small collection brought from Athens by the 7th Earl 
 of Elgin. 
 
 [No longer in Collection^) 
 
 G 15. FALCON, striking a Crane (r.). 
 
 Wings of both raised and open ; crane looking back, 
 
 ( 95 ) 
 
long crest-feathers at back of head, legs outstretched ; 
 falcon striking it behind with beak and talon ; bushes 
 in r. and /. field, and reeds below. 
 
 Hyacinth Sard ; ov. cx. 5^ X 3 (chipped above). Gold 
 ring. [Egypt-] Tyszkiewicz Coll. (Lot 80). R. F. : 
 .883. 
 
 Admirably^ designed and engraved on a beautiful convex hyacinth 
 sard. The birds, especially the crane, are very true to nature. Dr. A. S. 
 Murray much admired this gem. 
 
 G 16. PEACOCK, walking, with slightly raised wings (r.). 
 
 Wing-points above back, tail down ; left leg forward. 
 
 Sard ; ov. cx. 3^ x 3- Gold ring. [Count Maurice 
 Esterhazy.] Hck. : 1878. 
 
 {No longer in Collection^) 
 
 G 17. LOCUST, perching on a branch (r.). 
 
 Insect of locust or grasshopper tribe ; wings open 
 and half - raised ; mouth towards leafless twig, as if 
 devouring it ; tail bent downward. 
 
 Banded onyx ; ov. 3 x 2^. Gold ring (old-fashioned). 
 Phb. : 1883. 
 
 A small intaglio of very good and peculiarly delicate workmanship. 
 
 {No longer in Collection.) 
 
 G 18. COW, suckling a Calf (r.). 
 
 Cow standing r., head low, horns low-set. Calf /., on 
 its knees, sucking cow. In background tree with two 
 
 ( 96 ) 
 
G 19. 
 
 G 20. 
 
 H I. 
 
 branches r. and /., bearing eight and six leaves respec¬ 
 tively ; at cow’s fore-feet a five-bladed plant. 
 
 Nicolo ; ov. hbz. 4x3- Gold ring. Phb. ; 1891. 
 Roman work. The subject is pleasing. 
 
 GREYHOUND, chasing a Hare. 
 
 Sard ; Golc^ ring. Naples, Brn. Present from C. C.: 
 1885. 
 
 This also is of small merit or value, though the action of the animals 
 is lifelike and spirited. 
 
 CALF, standing beneath a Tree and beside a Hen. 
 
 Nicolo ; hbz. 5x3. Gold mount. Miss E. Tietkens: 
 1903. 
 
 Much the same sort of gem as G 18. A present from Miss Tietkens. 
 
 CLASS H. 
 
 SYMBOLICAL; CHIMERICAL. 
 
 [Plates VIII and IX.] 
 
 GOAT-HEADED WINGED MAN, with Torch and 
 Caduceus (r., /r.). 
 
 Naked and armless, kneeling, head reverted, wings 
 downward, a lighted torch (/.) projecting from his back ; 
 before him an upright caduceus, in field. 
 
 Sard ; ov. 5x4. Gold ring. Naples, Brn. : 1885. 
 
 To what scheme of symbolism does this very curious specimen on 
 sard belong It is far older than the so-called Gnostic gems, and far 
 
 ( 97 ) 
 
 N 
 
better than most of them, being really of good workmanship. Professor 
 Furtwangler gives it a place in his great book, and describes the figure as 
 “a singular monster,” but offers no explanation of the subject. (Furtw., 
 A.G., p. 128 ; pi. XXV, 42.) 
 
 H 2. CENTAUR, in fast movement, carrying vase and thyrsus 
 
 ('••)■ 
 
 Breast to/r., head profile, hair in fillet, left legs lifted ; 
 right hand down, holding behind right shoulder upright 
 thyrsus with fawn-skin attached ; left hand extended 
 carrying horizontal vase. 
 
 Sard; ov. 4 x 3^- Gold ring, ist Cave Coll. (Lot 
 28) : 1884. 
 
 Very roughly engraved, yet not without spirit. 
 
 H 3. CENTAURESS, moving slowly, carrying vase and branch 
 (r.). 
 
 Breast to /K, head profile, hair in fillet; right fore-leg 
 raised high and right hind-leg lifted forward ; right hand 
 down, holding four-sprayed branch slanted upwards 
 above back ; a horizontal vase carried in forward left 
 hand. 
 
 Sard ; ov. 4^ X 3^ (cracked). Gold ring. [Pulszky 
 Coll.] Sch. : 1879. 
 
 Much better than the preceding. t hough the details are carclesslv 
 rendered, a certain suavity and grace in the form of the Centauress lend 
 distinction to this gem. 
 
 Of all female Centaurs, the loveliest known to me may be seen on a 
 cameo at Broomhall, brought from Athens by the 7th Earl of Elgin, and 
 mentioned with fitting praise in a privately printed book. The Cen¬ 
 tauress, lying down, suckles her little Centaurian daughter who stands 
 beside her. The British Museum possesses the fragment of a cameo 
 {Brit. Mus. Cat.,Y>. 146; No. 1237. Furtw., T.C., p. 265 ; pi. Iviii, lo)— 
 once in the Strozzi and Blacas Collections—which has been a replica (or 
 
 ( 98 ) 
 
nearly so) of the above. Fine though it is, it is far from equal to the 
 Elgin cameo, which in all respects seems absolutely perfect in design and 
 execution, and in its beautiful material—an onyx, the figures and foliage 
 in pure white on jet black. “Compare description of picture by Zeuxis, 
 Lucian, Zeuxis, 4” [Brit. AIus. Cat., p. 146 ; No. 12'^’]). 
 
 H 4. TRITON, carrying thyrsus and bowl containing a triple 
 plant (r.). 
 
 Man’s body, with diademed head in profile ; horse’s 
 tore-legs, both forward ; fish’s tail, erect, forked and 
 webbed ; swimming, right arm bent, thyrsus across right 
 shoulder, bowl, containing a triple plant, in extended left 
 hand. 
 
 Banded Sardonyx (orange, black and white) ; ov. 5x4 
 • (chipped lower /.). Gold swivel. [Lace Coll.] Fwh. : 
 1878. 
 
 Rather good in its w'ay. and remarkable in the bright colouring of its 
 material. 
 
 H 5. FEMALE SPHINX, winged, walking slowly, with up¬ 
 lifted fore-leg (/’.). 
 
 Wings raised and curled forward, left fore-leg lifted 
 high, left hind-leg forward, tail erect ; human bosom, 
 head in profile slightly looking down, hair in back-knot 
 and diadem. 
 
 Sardonyx ; ov. 4^ x 3^. Gold ring (22 c.). [.? Praun 
 
 Coll.] Cav. : 1881. 
 
 This is one of the gems that I may almost say I love. In 1881 
 Mr. Cave showed me his collection, which he then wished to dispose of 
 as a whole. This did not suit me, but I persuaded him to part with 
 the intaglio now before us, which had at once caught my fancy. It 
 seemed, and seems, to me almost perfect in every respect—in forms, in 
 
 ( 99 ) 
 
 N 2 
 
workmanship, in material. The stone is a sardonyx of that remarkable kind 
 which under ordinary conditions looks black, but assumes a rich crimson 
 when‘held to the light. In the present case, one half of the stone 
 possesses this quality, while the other half remains opaque, a narrow 
 vertical band of white passing between. Mr. Cave believed this lovely 
 gem to have been formerly in the celebrated Praun Collection, but this is 
 not certain. I have had it mounted as a ring, in 22-carat gold. It was 
 the beauty of this Sphinx that inspired me to write the Pantasy entitled 
 “Suomiria,” of which she is the heroine. [“ Suotnlrla: A Fantasy" was 
 not published; a few copies only were printed for private circulation. Ed.] 
 
 H 6. FEMALE SPHINX, winged, seated beneath a crescent 
 and three stars (r.). 
 
 Wings raised and curled forward, fore-legs straight 
 down, tail erect ; bust human, hair in back-knot and 
 diadem. Immediately over head, crescent, horns up (/.) 
 from which three eight-rayed stars, in line. In r. 
 field, MIL. 
 
 Sard ; ov. 5^ x 4L Gold ring. [Lanti, Milan.] Sch.: 
 
 1879. 
 
 Another Sphinx that I admire, but count in every way inferior to the 
 former. Like her, she has wings with points incurving in Oriental 
 fashion, but her face is less beautiful, and the engraver has done her less 
 justice, his work being comparatively rough and incomplete in detail. 
 The inscription may be the first syllable of the owner’s name—a Latin¬ 
 speaking man, as the form of the L indicates ; the ^em, however, cannot 
 be of Roman origin, unless as engraved by some Greek dweller in Italy 
 about the period of Augustus Caisar. The material is a fine golden sard. 
 
 H 7. FEMALE SPHINX, winged, attacking a youthful war¬ 
 rior (/.). 
 
 Wings pointed and downward ; hair in diadem, breast 
 leonine ; springing from right hind-foot and clawing 
 with left hind-foot and fore-paw at leg and chest of a 
 naked youth (yL), head in profile (r.), facing her, 
 
 ( 100 ) 
 
standing, legs apart, right knee bent, in his downward 
 right hand a pointless javelin. 
 
 Pale Sardonyx ; ov. hbz. 5 x 4-4 X 2J. Gold ring. 
 Castellani Coll. (Lot 1029) : 1884, 
 
 An excellent intaglio in the Greek style, on a pale sardonyx with 
 highly raised bezel. A subject I have never elsewhere met with, treated 
 with great spirit and accuracy in action, form, and details. In this case 
 the Sphinx’s wings are pointed. 
 
 H 8. THREE SIRENS, advancing, the foremost bearing a 
 
 lyre (/.). 
 
 Parthenope, Ligeia, Leucosia-—woman-headed birds— 
 following each other in file ; heads profile, hair in 
 diadem, wings closed ; the first and third with right foot 
 raised, the former holding an upright lyre ; the second, 
 with both feet on ground. 
 
 Amethyst ; ov. lex. 5 x si- Gold ring. Vernon Coll. 
 (Lot 104). Wtr. : 1885. 
 
 An amusing gem—no one can help smiling at sight of the three 
 woman-headed birds stalking along so solemnly in single file—yet its 
 originator no doubt worked in all gravity of spirit. The engraving is 
 fairly good. 
 
 H 9. WOMAN-HEADED BEE, with a Muse’s lyre in the 
 background (/.). 
 
 Head in profile, roll of curls on brow ; bee, back 
 upwards, showing both wings ; top and bottom of four¬ 
 stringed lyre appearing in background above and below. 
 
 Pale Onyx (partly burnt) ; ov. 3I X 3. Gold ring. 
 Tyszkiewicz Coll. (Lot 80). R, F. : 1883. 
 
 A curious device, hardly to be made out except in an impression, the 
 subject being strange, and the outlines confused owing to the mode of 
 
 ( loi ) 
 
I 
 
 engraving and the tints of the stone—a pale onyx, partly calcined. Bees 
 were sacred to the Muses, hence the collocation. A good gem, though 
 of a hard, dry character, the female face looking as if carved in wood. 
 
 Professor P'urtwangler wrongly terms the material carnelian,” and his 
 description of the subject—“A beardless mask, a fly sits on the hinder 
 part of the body”—is quite inaccurate. (P^urtw., A.G., p. 128; 
 pi. XXV, 49.) 
 
 H lo. TRIPLE-BODIED GOAT, at the foot of a triple tree 
 {Jid. r.). 
 
 Goat recumbent (/.), its reverted head serving as head 
 for two goats above it, one standing (r.), the other 
 butting, right hind-leg raised (/.) ; in background, a 
 cruciform tree in lull leaf. 
 
 Green Jasper ; ov. 4^ x 3|. Gold ring. Bkr. : 1878. 
 
 Of no importance except as regards its singularity. The device, no 
 doubt, has some mystical meaning. 
 
 {No longer in Collection.) 
 
 II II. GRYPHON-HEADED EAGLE, drawing a riband from 
 a bowl (r.). 
 
 With ears like horns ; standing, head raised, holding 
 with aquiline beak a riband proceeding from a bowl on 
 light double-barred stand ; round neck a fillet, attached 
 to which behind, a six-rayed star. 
 
 Pale Onyx ; ov. 4 x 33-3 X 2f. Gold ring. Naples, 
 Brn. : 1885. 
 
 Another mystical gem, the meaning of which I cannot guess. It is 
 fairly engraved. 
 
 H 12. WINGED LION-GRYPHON, in swift movement (r.). 
 
 Leontogriffi, head of Assyrian gryphon type {cj. G 2 
 and H 13), with long, pointed, back-set ears; tongue 
 
 ( 102 ) 
 
protruded ; wings raised and forward-curved ; body- 
 leonine ; hind-feet on ground, fore-legs raised, tail semi- 
 erect in double curve. 
 
 Red Jasper ; ov, 4x3- Silver swivel. Anon. Coll, 
 at Sotheby’s (Lot 21), July 7, 1890. 
 
 Well engraved, in the strong, deep style. It is interesting as giving a 
 complete figure of the chimerical animal whose head—hitherto wrongly 
 described as a lion’s—will form the subject of the immediately following 
 notice. 
 
 H 13. LION-GRYPHON, head of (r.). 
 
 Leontogriff, of Assyrian gryphon type ; mouth open, 
 tongue protruded, ears back-set, long and pointed, mane 
 flowing forward under lower jaw. In exergue, 0€. 
 
 Sard ; ov. 3x2. Gold ring (Beckford pattern). [Beck- 
 ford and Hertz Colls.] Rhd. : 1879. 
 
 A very small gem, but a very good one—one of the five that I bought 
 from Mr. Rhodes in 1879. It is exquisitely engraved, in a manner both 
 free and careful, on a beautiful sard. Mr. King notices it in his Antique 
 Gems (ed. i860, p. 168), and portrays it on the title-page of that work. 
 “It may be confidently affirmed,” he writes, “that no intaglio appears 
 with a pure Greek inscription on it until after the age of Alexander, when 
 the first few letters of the owner’s name are introduced ; the earliest 
 instance of which, to my knowledge, is an exquisitely finished and 
 minute lion’s head, on sard, with 0 € below, the signet of some 
 "I'heodorus.” 
 
 He afterwards mentions it in two of his other works, writing of it in 
 one as follows :—“Lion’s head of very ancient workmanship, resembling 
 the type of the Lycian marbles” (King, Ant. Gems and Rings, vol. ii, 
 p. 70 ; pi. liii) ; and in the other;—“Head of the Chimaera, being that 
 of a lion armed with the horns of a goat ... a beautiful example of 
 the Asiatic-Greek style. Yellow sard, from the Beckford Collection.” 
 (King, Handbook of Engraved Gems, p. viii, and woodcut, p. I22.) 
 
 iVlr. King, it will be noticed, begins by erroneously terming the 
 subject the “ Head of a lion ” ; in his latest book this is changed to 
 “ Head of the Chimaera,” and the animal is credited with the horns of a 
 goat; but, in fact, the creature is a lion-gryphon, of a type common 
 
 ( ^03 ) 
 
enough on Assyrian cylinders, and its supposed horns are merely long, 
 pointed ears. 
 
 I'his gem once belonged to the Beckford Cabinet, and, like most 
 gems proceeding from that collection, the bezel of its gold ring is 
 octagonally shaped. 
 
 H 14. FEMALE SPHINX, wingless, recumbent, woman¬ 
 headed, dog-bodied and lion-tailed. 
 
 Sphinx recumbent (r.), wingless, its paws lying flat and 
 forward ; its woman’s-head in profile r., the hair rolled 
 over a fillet ; its body, paws, and chest canine, with four 
 teats on belly; its tail leonine and raised in double curve. 
 
 Banded Onyx ; 5x3! (slightly fractured near top). 
 Silver swivel. Anon. Coll. [W. L. Nashe], Sotheby’s 
 (Lot 95), July I, 1903. 
 
 A poor piece of work, but I bought it because it offers a different 
 type of Sphinx from any of those in my collection. Like the Egyptian 
 Sphinxes (which are almost always male) the present one is wingless and 
 displays no human bosom ; but, unlike those, its body and paws are canine, 
 not leonine—a Roman version perhaps. This gem, on a staringly 
 piebald black and white cross-striped onyx, formed part of a composite 
 sale-lot; the rest were worthless. 
 
 H 15. CENTAUR, with reverted bust, shooting an arrow (r. 
 and /.). 
 
 Head in profile (/.) ; human bust backward bent, the 
 left hand drawing the string ot an arrow-bearing bow 
 grasped in right hand ; equine body prancing r., hind- 
 feet on ground, fore-legs bent and raised in air. 
 
 Onyx (on black layer) ; ov. cx. 6 ^ x 5- Gold swivel 
 (French). [Carlisle Coll.] Roger de Sivry Coll. (Lot 
 58 ; pi. ii) : 1904. 
 
 From the collection of the Baroness Roger de Sivry. This is a ve^ 
 spirited centaur, excellently engraved on a highly convex onyx, entirely 
 
 ( 104 ) 
 
on the black layer, the underlying white being barely visible on the obverse. 
 A Graeco-Roman gem no doubt, and one that I am glad to possess, 
 having no other good specimen of the subject. Some years ago Sir M. E. 
 Grant DufF showed me a Centaur, on sard, from the Rhodes Collection, 
 which, to the best of my recollection, resembled this one, though on a less 
 convex surface. 
 
 In the Roger de Sivry sale catalogue the present gem is stated to have 
 come from the Carlisle Collection. It must have formed part of an 
 exchange, for the whole of that collection, as then existing, was bought 
 for the British xMuseum by Dr. A. S. Murray, in 1890. 
 
 At the Paris sale, a member of the late Baroness’s family told 
 Mr. W. T. Ready (who bought this gem for me) that there had been 
 many communications between the Baron Roger and the collecting 
 Earl of Carlisle. 
 
 CLASS L 
 
 MASKS; GRYLLI; INANIMATE OBJECTS; 
 
 INSCRIPTIONS. 
 
 [Plate IX.] 
 
 I I. TRAGIC MASK, female (r.). 
 
 Profile, mouth open ; hair in triple fillet with three stiff 
 ringlets over back of neck. In exergue, ARIS> 
 
 Burnt Sard ; ov. cx. 3I x 3- Gold ring. Fwh. : 1878. 
 
 Well engraved on a convex sard, much clouded through burning or 
 some other injurious agency. The inscription may be the abbreviation of 
 a proper name (see under D 2). 
 
 I 2. FEMALE DIONYSIAC MASK, ivy-wreathed, standing on 
 bird’s-legs (r.). 
 
 Archaistic ; profile, flat diadem with clusters of berries 
 
 ( 105 ) o 
 
low on brow, five stiff ringlets at back; bird-legs, with feet, 
 very small. 
 
 Sard; ov. 3^ X 3 (flawed). Gold seal (French). Wtr.: 
 1888. 
 
 A beautiful Greek gem, engraved in the flat and shallow style. 
 
 i^No longer in Collection^) 
 
 I 3. MASKS of PAN and SILENUS, confronted on either side 
 of a thyrsus (r. and /.). 
 
 Profiles, facing on either side of an upright thyrsus, both 
 bearded. Pan (r.) with hair in diadem and goat’s horns on 
 brow, Silenus (/.) garlanded with vine. A double-leafed 
 wreath border. 
 
 Red Jasper ; ov. 3^ x 2^. Gold ring (ancient). Bale 
 Coll. (Lot 1673). Mir. : 1881. 
 
 Admirably good in its Graeco-Roman style, and increased in value by 
 its retention of the original mount—a ring of hne gold. 
 
 I 4. TRIPLE MASK, composed of the heads of SILENUS and 
 two MfENADS (r. and /.). 
 
 Bald-headed, bearded male profile (r) ; female profiles 
 (/., and downward), heads joined at back, diagonal roll of 
 hair covering female brows and male chin. 
 
 Crimson Jasper ; ov. 3 I x 3^- Gold ring. Constan¬ 
 tinople, Ain. : 1878. 
 
 On red jasper of a crimson shade ; bought in my early collecting days. 
 
 I 5. TWO MASKS, male and female, confronted above a thyrsus 
 (r. and /.). 
 
 7 ’he former (r.) in profile, beardless, aquiline, with hair 
 
 ( 106 ) 
 
in loose curls ; the latter (/.) in profile with hair in high 
 roll on brow, drawn back and knotted behind. In exergue 
 a horizontal thyrsus (r.) ; between the masks, HAICO. 
 
 Sard ; kidney-formed, cx. 4^ x 2^. Gold ring. Cas- 
 tellani Coll. (Lot 1070). Wtr. : 1884. 
 
 A pair of remarkably handsome faces in profile, excellently engraved in 
 the Greek style on a kidney-shaped sard. The thyrsus seems to connect 
 the subject with Dionysiac mysteries, to which also the form of the stone 
 may bear some relation. I can make nothing of the legend, which, in the 
 impression, is HVICO if read directly, and the more probable HAICO 
 when taken retrograde. 
 
 I 6. GRYLLUS : VICTORY driving a horse-headed Mask ; 
 Dolphin and other objects (r.). 
 
 Victory (r.) dying horizontally, scourge in right hand ; 
 in left, reins passing from a horse’s head which caps a 
 bald male head (r.) from whose beard proceed two fore¬ 
 legs ; behind, towards centre, beardless horned head of 
 Pan (r.), beneath which dolphin (r.) with double human 
 head for its head, and bearded head of Pan (/.) for its tail ; 
 to right of which a ram’s head (r.), holding in its mouth 
 two ears of corn. 
 
 Red Jasper; ov. 4 ^ x 3^. Gold ring. [Rome.] 
 Tyszkiewicz Coll. (Lot 80). R. F. : 1883. 
 
 Red jasper seems to have been a favourite material for grylli. An 
 excellent specimen of the kind, rich and fantastic in details, and—of its 
 class—very well engraved, though in that respect far inferior to the 
 immediately preceding. 
 
 Professor Furtwangler describes this gryllus, but without comment. 
 (Furtw., A.G., p. 242 ; pi. 1 , 23.) 
 
 ( 107 ) 
 
 o 2 
 
I 7. GRYLLUS. BEARDED MALE HEAD, capped with a 
 rani’s head and fore-legs (r.). 
 
 Profile, straight beard ; on back of head a ram’s head 
 with fore-leg in its mouth. Rev.: AOMNA KAAH. 
 
 Sard ; ov. 3x2. Gold swivel. Phc. : 1878. 
 
 An indifferent intaglio on sard. Its sole interest consists in the 
 inscription on the reverse, in honour, no doubt, of the owner’s mistress. 
 
 I 8. MOUSE, driving a chariot drawn by two flies (r.). 
 
 Profile, standing on hind-legs in roughly designed 
 chariot, whip and reins in the extended fore-paws ; flies 
 crawling, back uppermost. 
 
 Sard ; ov, 4x3. Iron ring (ancient), ist Cave Coll, 
 (Lot 22) : 1884. 
 
 Once some slave’s property, being in an iron ring ; a very rough piece 
 of work on sard, worth little, but decidedly amusing. The mouse is 
 masculine, the flies are feminine ; there is a veiled meaning in the subject 
 which need not be plainly set down. 
 
 I 9. Two FIGHTING COCKS, standing on a signet-ring which 
 encircles a figure of Victory (r. and /.). 
 
 Birds facing, one crouched (/.), the other erect (r) ; to 
 /. of signet-ring a wheat ear on stalk ; to r., a palm branch; 
 within hoop of signet-ring, winged Victory, with palm 
 and garland, walking (r.), full draped. 
 
 Burnt Sard ; ov. 4 x 3- Gold ring (Beckford pattern). 
 Fwh. : 1883. 
 
 A neatly engraved design in a Beckford mount. The device may 
 celebrate the victory of a fighting-cock belonging to the owner, one of the 
 birds being triumphant, while the other sinks and drops ; or it may be 
 nothing more than a luck-bearing talisman. 
 
 ( 108 ) 
 
I 10. LYRE, surmounted by Apollo’s Raven [fr.). 
 
 Four-stringed upright lyre, ornamented with Gorgon’s 
 head {fr.) ; raven (/.) perched on cross-bar. 
 
 Sard; ov. 2| x i ^ (conoid, pierced). Gold ring. Phc.: 
 
 i88i. 
 
 This pretty Greek gem, well engraved on a rich sard, might almost 
 count as a scaraboid, being of irregular conoid form with a perforation for 
 a holder. 
 
 III. CANCER, holding a caduceus between the signs of Pisces ; 
 a club in exergue [bk.). 
 
 The two fishes upright, heads respectively down and 
 up ; beneath crab {fr-) in whose claws an upright 
 caduceus, the club of Herakles (/.). 
 
 Sard ; ov. 4^ x 3 ^- Gold ring, ist Cave Coll. (Lot 
 4) : 1884. 
 
 On pale yellow sard, belonging to a class of astronomical talismanic 
 gems worn by Romans to ensure good fortune. Fairly well engraved, 
 with great use of the small circular drill. 
 
 I 12. A LEAF-SHAPED SPEAR-HEAD, with ridge and 
 socket (r.). 
 
 A hoop round socket at either end. 
 
 Garnet ; ovd. cx. 4J x 2J. Gold ring (ancient). 
 [Cumge.] Phc. : 1878. 
 
 A subject offering little scope for fine treatment, but the most is made 
 of it. The stone is in its ancient mount, a ring of fine gold, which gives it 
 more value than it would otherwise possess. Said to have been found at 
 Cumae. 
 
 ( 109 ) 
 
I 13. CORNUCOPIA, between four Astragali {fr.). 
 
 At mouth of upright horn, a cone between two apples, 
 also a pendent grape-bunch ; in field, on either side, a pair 
 of knuckle-bones, one above the other ; in central field 
 MIIMMNTO PO. A milled border. 
 
 Sard ; ov. 3!^ x 3* Gold ring. Fwh. : 1883. 
 
 Like I 9 and I ii, a luck-bearing talisman. In the inscription, the 
 form I I is twice used for E. P niay represent R in the abbreviated 
 final word, the meaning of which is obscure. 
 
 I 14. ALPHA SYMBOL, with crescent and eight-rayed Star (r.). 
 
 Capital A with angled cross-bar ; on apex a crescent, 
 horns to r., behind which a sphere with eight rays (sun). 
 
 Jacinth ; ov. cx. 3^ x 2. Gold ring. Constantinople, 
 Ain. : 1878. 
 
 Very roughly cut on a small but fine jacynth—the only specimen of 
 that stone in mv collection. I am ignorant of the meaning of the 
 symbol. M. Alischan, when sending the gem., suggested that the device 
 signifies ACTHP> a star, but that combination hardly seems to work. 
 
 I 15. INSCRIPTION ; riAPAAlOY, with lizard, star, crescent, 
 monogram and vase (r.). 
 
 Lizard (/.) below inscription, following objects above : 
 crescent on its back, star within its points ; B\P ; circular 
 vase with neck and stem. 
 
 Sard ; ov. lex. 5x3* Gold ring. Fwh. : 1878. 
 
 On a rich sard, slightly convex. na/3dX6os signifies by the sea—on the 
 sea-shore. It is probably a title of some deity, referring to the seat of 
 his worship. The monogram is a repetition of the principal word. 
 
 ( no ) 
 
I 16. INSCRIPTION : EniAAYPION, surrounding a small 
 serpent (r.). 
 
 {Orig.) Serpent in single, nearly circular curve (/.), on 
 black ring round ’white centre of stone. 
 
 Eyed Agate ; circ. lex. 4. Gold ring. F’wh. : 1878. 
 
 The material is a specimen of “eyed” agate, so called because of the 
 eye-like appearance of a white central disc encompassed by a ring of 
 black. There was a famous temple at Epidauros, in the Peloponesus, 
 dedicated to Asklepios and renowned (like the modern Lourdes) for the 
 cures performed there through the power of the healing god—whose 
 well-known attribute is a serpent, generally coiled round a staff. The 
 present gem clearly relates to that subject, and may have been a token or 
 talisman given to worshippers or receivers of benefit at the shrine. 
 
 longer in Collection.) 
 
 CLASS J. 
 
 PORTRAITURE—GREEK AND ROMAN. 
 
 [Plate X.] 
 
 J I. JULIUS CiESAR, head of, with lituus in field (/.). 
 
 Profile ; laureated ; upright lituus in lower /. field. 
 
 Amethyst ; ov. 3J x 2^. Gold ring. Heugh Coll. 
 (Lot 282) : 1879. 
 
 After the sale of the small Heugh Collection, in 1879, Mr. Story 
 iMaskelyne called my attention to this gem, which I had not noticed, and, 
 its purchaser consenting to the transfer, it became mine. Well engraved, 
 but a certain mechanical piecision in the workmanship suggests an i8th 
 century origin. Mounted in an old-fashioned gold ring with embossed 
 tracery on a wide border. 
 
 J 2. PERTINAX, laureated head of; inscribed (r.). 
 
 Profile ; bearded ; mantle with brooch on shoulder. 
 
 ( III ) 
 
In r. field, PERTINAC, — retrograde ; in /. field, 
 LELIVS (?). 
 
 Green Jasper ; ov. 5^ X 41 ^. Gold ring. H. R.; 1878. 
 
 A good portrait gem, of thoroughly Roman type. The word that 
 probably represents the owner’s name is distinct, except at the beginning, 
 where a small lightly engraved letter resembling an L precedes the 
 
 initial L- As that word L LELIVS reads directly, while PERTINAC 
 is retrograde, the two names can hardly be in connection. This intaglio 
 came from the collection of a lady whose name I have omitted to note. 
 
 J 3. JULIA, daughter of Titus,head of, with decorated diadem (r.). 
 
 Profile ; hair high on brow in mass of small curls 
 supported by diadem with embossed tendril tracery, 
 thence drawn back in thin plaits coiled into roll behind ; 
 pearl and bar necklace and ear-drop of two pearls ; 
 shoulders draped. 
 
 Sard ; ov. cx. 7 X 5. Gold ring. [Sidon.] Wtr.: 1888. 
 
 Exceedingly well engraved on a beautiful sard, and to all appearance 
 ancient, though it is one of several replicas on a smaller scale of the famous 
 aquamarine intaglio at Paris (see Furtw., A.G., p. 229 ; pi. xlviii, 8). 
 Though a replica, mine is not identical; the ears slant far more, and the 
 face is older and plainer than in the Paris example. I believe, but I am 
 not certain, that this gem formed Lot 19 at the sale of the Hoffmann 
 Collection, at Paris, in 1888. 
 
 J 4. JULIA, daughter of Titus, head of, with beaded diadem (r.). 
 
 Profile ; close curls in mass from brow to beaded 
 diadem, thence drawn back in plaits and coiled behind ; 
 pearl necklace and ear-drop of two pearls ; shoulders 
 draped. 
 
 Nicolo ; ov. 4x3- Gold ring, ist Short Coll. (Lot 
 22). Wtr. : 1885. 
 
 A much smaller version of the same portrait of the same lady, but 
 this little copy is very inferior, in every way, to the preceding; for, 
 
 { 112 ) 
 
besides the more commonplace workmanship, the details that give the 
 face character—the prominent eye, the protruding lips, the large slanted 
 ear—are reduced to a neat smoothness, and we have a conventional head 
 of a handsome woman instead of an evidently true likeness of an imperial 
 lady of marked individuality. This gem may or may not be ancient, but 
 it is a pretty enough specimen of its class. 
 
 J 5. THE EMPRESS MATIDIA, head of, with pearl neck¬ 
 lace (r.). 
 
 Matidia or Plotina. Profile ; hair in high roll on 
 brow, thence drawn back in plaits and twisted into Hat 
 coil behind ; pearl necklace and ear-drop ; shoulders 
 draped. 
 
 Sard ; ov. cx. 4x3* Gold ring, ist Short Coll. (Lot 
 24). Wtr. : 1885. 
 
 Such gems as this and the preceding are ornamental items of a private 
 collection, though of little actual worth. They are numerous, and, as 
 likely as not, may be i8th century products ; the present one seems to be 
 ancient. 
 
 J 6. THE EMPRESS ORBIANA, head of, with cable-pattern 
 diadem (r.). 
 
 Orbiana or Tranquillina. Profile; hair, Asiatic style, 
 in parallel fluted braids with back lappet ; head sur¬ 
 mounted by square-cable diadem ; shoulders draped. 
 
 Amethyst; ov. cx. 4^ x 4- Gold ring, ist Short Coll. 
 (Lot 93). Wtr. : 1885. 
 
 A very much better specimen of these portrait gems, on a beautiful 
 convex amethyst. 
 
 J 7. ROMAN LADY, bust of (r.). 
 
 Profile ; draped ; short tiara on brow, behind which 
 narrow plaits of hair drawn into a high mass at back, 
 encircled by similar plaits above and below ; in front of 
 
 ( 113 ) 
 
 p 
 
tiara, tresses massed on brow and falling over back of 
 neck. In field, POPEIA. , 
 
 Nicolo; ov. 3I X 3- Gold ring. Montigny Coll. (Lot 
 420). Wtr. : 1887. 
 
 1 like this little gem, which is very neatly and carefully engraved on a 
 good nicolo. The inscription is strangely spelt ; it seems rougher, 
 however, than the rest of the work and may be an addition of later 
 times. I doubt whether the bust is really meant for Poppasa, as it bears 
 little resemblance to other portraits of that empress. 
 
 J 8. ROMAN LADY, bust of (/.). 
 
 Profile ; draped ; hair drawn back in waves to coil of 
 plaits at crown of head ; in /. and r. field, IVSTINA 
 SEVERI. 
 
 Red Jasper; ov. 4I x 3!- Gold ring. Montigny Coll. 
 (Lot 369) : 1887. 
 
 This gem, also from the trustworthy Montigny Collection, is one of 
 my special favourites. One feels it to be a “speaking likeness” of some 
 lady of distinction, and the workmanship is soft and broad beyond what 
 is often found on red jasper. The style is more Greek and of higher 
 type than that of the “ Popeia” or the portraits immediately preceding it. 
 
 Professor Furtwangler describes this intaglio as follows :—“ Bust of a 
 lady of the Hadrian period with a head-dress resembling one of those of 
 the elder P'austina (a top-knot of hair on the crown of her head). The 
 inscription gives her name, Justina Severi.” (Furtw., A.G., p. 244; pi. 1 , 42.) 
 
 J 9. A LADY, bust of (r.). 
 
 Profile ; draped ; hair in wide cap-like roll round 
 crown of head, and in five rows of stiff ringlets over ear. 
 In r. and /. field, lAAPA. 
 
 Sard ; ov. lex. 5x4. Gold ring, ist Short Coll. (Lot 
 105). Wtr. : I 885. 
 
 There can be no doubt as to the antiquity of this gem, but, besides 
 being coarsely engraved, the stone is badly flawed. lAAPA seems to 
 represent Hilaria, possibly the lady’s name. 
 
 ( 114 ) 
 
J lo. A LADY, head of (r.). 
 
 Profile ; shoulder draped ; hair rolled on brow, drawn 
 back and downwards, and coiled below in a circular knot. 
 In r. field, SPEDIA ; in /., ONESIME— the latter 
 retrograde. 
 
 Red Jasper ; ov. 4x3 (upper /. scratched). Gold 
 ring. Greville Chester Coll. Chr. : 1886. 
 
 A good portrait, far less good however than J 8. The second word of 
 the legend is reversed in the impression. The words are Greek, but the 
 letters Latin ; while J 9 exemplifies the opposite case. 
 
 J II. A LADY, head of, wearing a double diadem (r.). 
 
 Profile ; draped ; hair rolled on brow, drawn back and 
 upwards, and twice circled by fillet. 
 
 Amethyst ; ov. 5J x 3 o- Gold ring. Sch. : 1880. 
 
 The engraving of this gem is far better than it looks, for it has a sketchy 
 appearance, possibly from some repolishing; and this weakness in the 
 general effect is in no way strengthened by any brilliancy of the material, 
 which is a very pale amethyst. 
 
 J 12. A LADY, head of (r.). 
 
 Profile ; on head, double laurel-wreath ; hair, in plain 
 roll and back-knot ; necklace and pearl ear-drop. In r. 
 and /. field, AA€ZA. 
 
 Black Jasper; circ. cx. 4. Gold ring. Constantinople, 
 Ain. : 1880. 
 
 The wreck of a once good portrait on convex black jasper. The face 
 is so terribly abraded that one only keeps this mutilated specimen for the 
 sake of the excellent form of the Greek capital letters that constitute the 
 inscription. 
 
 ( 115 ) 
 
 P 2 
 
J 13- A LADY, head of, with a mitra drawn over her hair (r.). 
 
 Profile ; draped ; kerchief tied on brow and forming 
 cap, in triple folds at back as if shaped by three rolls of 
 hair beneath ; curls, short on brow and longer above ear, 
 apparent below edge of kerchief. 
 
 Sard; ov. 4I x 3!- Gold ring. Montigny Coll., 1887 
 (Lot 275 ; pi. iii). Wtr. : 1888. 
 
 A most life-like portrait of a ladv past her first youth, admirably 
 engraved on sard. The style is bold but careful in every detail. This 
 gem’s high polish looks suspicious, but its inclusion in the Montigny 
 Cabinet forms a sufficient guarantee. Professor Furtwangler is mistaken 
 when, in noticing it, he describes the subject as “a young-looking female 
 head.” (Furtw., A.G., p. 183 ; pi. xx’xviii, 21.) 
 
 J 14. A LADY, head of, with loosely rolled hair and back- 
 knot (r.). 
 
 Profile ; draped ; hair on brow in high loose roll 
 turned up below and fastened to back-knot ; tresses 
 falling over neck ; round ear-drop with spike. 
 
 Sard ; ov. lex. 4I x 3L Gold ring. Montigny Coll., 
 1887 (Lot 257 ; pi. ii). Wtr. : 1888. 
 
 The remarks on over-high polish equally apply to this gem, which is 
 also a fine sard. In the present case the lady is younger and more 
 beautiful—very beautiful—but the engraving is hardly as good. “ Buste 
 drape de femme, style Grec ” is the sale catalogue’s description. 
 
 J 15. MALE and FEMALE PORTRAIT HEADS, confronted 
 (r. and /.). 
 
 Draped and in profile ; the former short-haired and 
 
 ( 116 ) 
 
beardless ; the latter, with hair rolled on brow and 
 knotted at back. 
 
 Sard; ov. 3^x3. Gold ring. Cave Coll., ist sale, 
 1882 (Lot ?). Phc. : 1884. 
 
 Rather a pretty gem. 
 
 J 16. MITHRIDATES VI. (Eupator), head of, with plain 
 diadem (r.). 
 
 Mithridates VI. (Eupator; Dionysus), King of Pontus; 
 reigned a.d. 121-63. Profile r., wearing plain diadem, 
 hair dying back and falling over neck in wavy locks. 
 Below neck, drapery confined by loop. 
 
 Red Jasper ; ov. 6 x 42* Gold ring. [Patras.] Wtr.: 
 1891. 
 
 That this is an excellent specimen of engraving on red jasper no one 
 could deny, but I must not conceal certain doubts of my own regarding 
 its authenticity, though—besides its acceptance by Mr. W. T. Ready—it 
 has been seen without disapproval by several competent judges. The 
 remarks under E 36 are applicable in the present case. But, in both 
 cases, it may be noted that the imperfect modelling of the nostril seems to 
 speak of ancient workmanship, for no modern engraver would err so 
 obviously there while scrupulously careful in the rest. 
 
 Professor Furtwangler casts no doubts on this gem—which was said 
 to have come from Patras. He v/rites of it thus: “a youthful head 
 . . . the features are like those of the idealising coinage of Mithri¬ 
 
 dates Eupator, but more tranquil ; it is also possible that Alexander the 
 Great is intended.” (Furtw., //.G., p. 153 ; pi. xxxi, 16.) 
 
 J 17. THE EMPRESS DOMITIA, head of, in profile (r.). 
 
 Domitia. Profile r., hair elaborately dressed—diadem¬ 
 like flat braid of close curls on forehead, above it double 
 row of small curls, beyond which five longitudinal down¬ 
 ward rolls, fastened behind neck with a double-beaded 
 
 ( 117 ) 
 
band, twice coiled round hair and dropping in a figure- 
 of-eight loop. Over upper part of breast and shoulder 
 light drapery, above which a cord of beading—an edging 
 of drapery, or long pendent necklace. 
 
 Nicolo (black on dark slate-colour) ; ov. hbz. 7x53- 
 5^X4- Gold ring. Morrison Coll. (Lot 194; pi. ii) : 
 1898. 
 
 I'he late Mr. Alfred Morrison, who began to buy gems much at the 
 same time that I did, had succeeded in forming a large collection, which, 
 in i8g8, soon after his death, was sold at Christie and Manson’s. 
 
 Among the illustrations in the sale catalogue I was struck by a head 
 of Domitia, which seemed to me almost perfect of its class, especially in 
 the modelling of the flesh on cheek and neck, which looked as if ready to 
 yield to a touch ; the car, the eye, the features all faultlesslv rendered. 
 
 Being unable to attend the sale I commissioned Mr. W. T. Ready to 
 buy this splendid nicolo. At the same sale he secured for me the sweet 
 “ Artemis ” (C 38), so long the object of my wishes. 
 
 J 18. A ROMAN EMPRESS, with her hair in parallel rolls (r.). 
 
 Profile ; shoulder draped ; hair in massive horizontal 
 parallel rolls, and in circular coil at back of bead. 
 
 Amethyst ; ov. cx. 5x3. Gold ring (old, with close 
 back, scratched on which, 24). [Arundel Coll.] Alarl- 
 boroLigh Coll. (Lot 549) : June 28, 1899. 
 
 'J'he famous Marlborough Collection was dispersed at Christie and 
 Manson’s, in 1899. I was not present at the sale, but Air. W. T. Ready 
 secured for me the gem under present notice—thus described in the 
 catalogue;—“ 549 - Intaglio on amethyst; portrait of a lady, to the left. » 
 A work probably of the 2nd century. An Arundel gem {Cat. Thee. A., 
 No. 24) called Crispina." The head is pleasing and well engraved, and 
 the stone seems to be of fine quality. Scratched on the inside of the ring 
 is the Arundel number 24. I was glad to have it as a memento of two 
 celebrated collections. 
 
 N.B.—For Commodus and Marcia see E 4. 
 
 ( 118 ) 
 
CLASS K. 
 
 GREEK-EGYPTIAN ; ROMAN-EGYPTIAN ; EARLY 
 
 CHRISTIAN. 
 
 [Plates X and XL] 
 
 K I. SERAPIS, with staff and cup, standing beside a portable 
 altar {fr.). 
 
 Long-haired and bearded ; robed, over-mantle crossing 
 chest ; arms down and extended from elbow ; under 
 right hand, which holds cup, a light altar with double- 
 pointed top, and above it disc and nine-rayed star ; under 
 left hand, which rests on staff, serpent on rod (? end of 
 mantle), and above it a butterfly (.? an eagle) with closed 
 wings. 
 
 Sardonyx ; ov. cx. 4J x 3I (cracked). Gold swivel. 
 2nd Cave Coll. (Lot 22) : 1884. 
 
 Widely differeiu were their doctrines and ideas, yet there was a great 
 interfusion during the early centuries a.d. between the worships of 
 Christ, of Alithras, and of Serapis, and singularly enough the portraiture 
 of Serapis has become the model for the commonly received portraiture of 
 the Messiah, or in manv cases has been appropriated for the latter by his 
 zealous disciples. The present curious intaglio—though not of the 
 portrait type—bears a certain resemblance in dress and attitude to early 
 representations of Christ, and the peculiar treatment of the altar and the 
 serpent (?) above the letter Tau seems to indicate an attempt to veil 
 Christian symbols under an ostensibly commonplace design. 
 
 As a work of art this gem is valueless, but it is curious as Serapian, and 
 would be valuable if proved to be Christian. 
 
 K 2. SERAPIS, enthroned, on the deck of a sacred boat (r.). 
 
 Long-haired and bearded ; robed, mantle over right 
 shoulder and knees, lotus on brow ; seated on high- 
 backed throne ; right hand up, resting on upright 
 sceptre ; left hand extended, holding patera over head of 
 
 ( 119 ) 
 
lion (?) standing at his feet. Boat elevated at pro^v and 
 stern, on each of which, facing inwards, a hawk crowned 
 with persea leaf. 
 
 Hematite ; ov. 5 x 4. Silver ring. Montigny Coll. 
 (Lot 422). Wtr. : 1887. 
 
 Gems of this type have seldom any intrinsic value, their workmanship 
 being of the rudest description, but for the student of mythologies and 
 mystical creeds and magical practices of the early centuries a.d. they are 
 valuable in a different sense. The present roughly cut hematite offers a 
 fair example, in the Egypto-Roman style, of a not uncommon subject 
 connected with the worship of Serapis, so fashionable in Rome, along 
 with other exotic cults, at the period referred to. The Montigny 
 Cabinet was not rich in specimens of this character, but there were a few, 
 as also a small number of good cylinders and Oriental seals, some of which 
 found their way into M. de Clercq’s magnificent collection. 
 
 SERAPIS and ISIS, heads conjoined (r.). 
 
 Profile ; draped ; the former, with long hair in fillet, 
 bearded, and modius-crowned ; the latter, crowned with 
 lotus between two ura?i, back of head not seen. 
 
 Red Jasper ; ov. 5x4* Gold ring. Constantinople, 
 Ain. : I 880. 
 
 Well and deeply cut on brilliant red jasper—two rather fine profiles. 
 
 ISIS PHARIA, extending an inflated sail (r., hd. fr.). 
 
 In double tunic, right arm and shoulder bare, lower 
 tunic falling in pleats from bent and advanced left leg ; 
 scarf in curve behind ; both hands forward holding upper 
 corner of inflated sail, lower end of which under right foot. 
 
 Sard ; ovd. 3^ X 3 (chipped above). Gold ring. Con¬ 
 stantinople, Ain. : 1880. 
 
 Peculiar, inasmuch as the character and design so far transcend the 
 execution. It seems to be of Greek workmanship. The material is a 
 fine golden sard. 
 
 ( 120 ) 
 
Mentioned by Furtwangler:—“Aphrodite Euploia or Isis Pharia, 
 with both hands holding an inflated sail. Flowing and slight ; perhaps 
 Hellenistic.” (Furtw., A.G., p. 240 ; pi. 1 , 30.) 
 
 K 5. ISIS PANTHEA, pouring libations on a tripod altar 
 (r., fr.). 
 
 Head stiffly ringleted, radiated, diademed, a cloven 
 flower on brow ; long girdled tunic, mantle pendent 
 from right shoulder and drawn round legs ; standing, 
 right hand raised, holding long grounded sceptre and 
 supporting another with cross-bar bearing small inflated 
 sail ; left hand advanced pouring fluid from patera upon 
 top of tripod, above which, in field, an upturned female 
 head in profile (/.) ; on ground, by right leg of goddess, 
 a serpent erect. 
 
 Green Jasper ; ov. 6x4 (cracked lower r., chipped 
 above). Gold ring. Castellani Coll. (Lot 1024). Wtr.: 
 1884. 
 
 A really good intaglio in the Roman style, carefully, almost delicately, 
 engraved with great wealth of detail. I'he head is extremely pleasing 
 and well finished, but slightly too large in proportion. 
 
 K 6. ISIS, with asp and sistrum, standing between two cats (/h.). 
 
 Long curling hair, double tunic ; arms extended, 
 sistrum in right hand, in left erect asp ; cats standing on 
 either side, faces inwards. 
 
 Nicolo ; ov. 4 X 33- Gold ring. 2nd Cave Coll. (Lot 
 15) : 1884. 
 
 Singular design. Kybele is sometimes shown thus with lions at her 
 feet on either side, but the sistrum marks this figure as Isis. In the sale 
 catalogue the animals are termed “dogs.” Fhey are probably cats, 
 commonly associated with the Egyptian goddess, but so far as the designing 
 goes in this ill-wrought example of poor art they might be bulls or lions. 
 
 ( I2I ) 
 
 Q 
 
K 7. ISIS-CLEOPATRA, reclining on a boat-shaped couch 
 
 Head in profile ; robed and lotus-crowned ; right hand 
 raised, holding grounded sceptre ; left down, holding 
 rudder across on farther side ; couch partly supported by 
 a vase at either end. Round field, retrograde, M€rAAH 
 H N€WT€PA H AN€IKHTOC 
 
 Brown Sard ; ov. 8x6. Gold swivel. Fwh. : 1878. 
 
 Coarsely engraved, but interesting from the inscription, which related 
 to Cleopatra’s assumption of divine dignity, with the title ©€A 
 NenT€PA, the new goddess (see Ackerman, Num. Manual, p. 17). 
 The material is dark brown sard. Doubting its nature, I showed it to an 
 expert who reassured me. It is certainly a true stone. 
 
 K 8. ISIS, half-length, holding a sistrum and a patera (/.). 
 
 Profile, cloven flower betv\ een ura?i on brow ; hair in 
 diadem with stiff ringlets at back, four above four ; 
 richly figured drapery, band from left shoulder across 
 chest, tight sleeves ; right hand raised, holding upright 
 sistrum ; left across, holding patera containing small erect 
 ura3us, and carrying situla pendent from wrist. 
 
 Green Jasper (red mottled) ; ov. hbz. 4^ x 3^- Gold 
 ring (French, eagle’s head and lozenge stamps). ist 
 Cave Coll., 1882. Phc. : 1883. 
 
 Mr. Cave (its former owner) had a high opinion of this portrait, which 
 belonged to the collection he showed me in 1881, when I obtained 
 from him the sphinx I so much admire. That collection was soon 
 afterwards sold by auction ; I cannot give the exact date, but it was in 
 1883 that I bought this gem and two others that were included in the 
 sale referred to. It is an intaglio on green jasper flecked with red spots— 
 commonly called “ blood-stone.” The proportions of the figure are not 
 perfect, the design is clumsy, and the engraving less good than it seems ; 
 all the same, I rather like this Romanised Isis. 
 
 ( 122 ) 
 
K 9. ISIS, bust of, wearing an Egyptian hood with fluted lappets 
 
 ifr-)- 
 
 Egyptian hood, barred with parallel flutings ; lappets 
 passing over front of shoulders and ending in squared 
 pendants ; arms and bosom bare. 
 
 Burnt Onyx ; ov. cx. 3^ x 2^. Gold ring. Constan¬ 
 tinople, Ain. : 1878. 
 
 Extremely small, and on an onyx cracked and almost calcined by fire, 
 but, in its way, a decidedly well-engraved bust, treated in the Egyptian 
 manner. Dr. Murray admired this little gem, which among others 
 might easily escape notice. 
 
 K 10. HARPOCRATES, bust of, with fore-flnger on lips (/.). 
 
 Profile ; lotus on brow, hair in long tresses below 
 diadem ; left arm and shoulder nude, scarf round back 
 from right shoulder ; left hand raised, touching lips. 
 
 Sard ; ov. cx. 6x4. [Count Maurice Esterhazy.] 
 Hck. : 1878. 
 
 [No longer In Collectionl) 
 
 K II. ARSINOE II, bust of, with diadem and veil (/.). 
 
 Profile ; plain high diadem, hair in wavy roll on brow, 
 veil thrown back and falling over shoulder-drapery. 
 
 Porphyry ; ov. 5 x 44 - Gold ring. [Rhodes and Lace 
 Colls.] Fwh. : 1878. 
 
 Of very different type from most that precede it in this class—an 
 extremely fine veiled head of a handsome and queenly woman—very 
 carefully engraved in a flat and shallow style. As a portrait it resembles 
 several high-born ladies of the ancient days, but, on the whole, I think 
 
 ( 123 ) Q 2 
 
Arsinoe ii may best claim to be the original, as comparison with her 
 gold coinage seems to show (see R 4). The nature of the material favours 
 an Egyptian rather than a Roman origin for this intaglio. 
 
 K 12. EGYPTIAN QUEEN, head of, with double crown and 
 asp of royalty (r.). 
 
 Prolile ; curls on brow ; wearing round cap, whence 
 protrudes coiled asp; above which cap, pointed cap with 
 back lappet, barred fronts of which thrown back and 
 ends forward over shoulder. 
 
 Onyx ; ov. cx. 5 x Gold ring. Constantinople, 
 Ain. : I 878. 
 
 An exceedingly dignified and beautiful portrait-head, rather deeply cut 
 on a fine onyx. One of those gems so marked by the stamp of antiquity 
 that it would be impossible for the sternest critic to pronounce it modern. 
 
 K 13. EGYPTIAN Li\DY, head of, wearing a conical cap (r.). 
 
 Profile, approaching to Greek type ; undraped, shoulder 
 and upper chest shown ; cap, conical, with raised seam 
 from crown to ear, pleated on brow and with pleated 
 back-lappet (r/! Pigyptian cap in Br. AIus.). 
 
 Sea-green Agate-Jasper ; ov, 5^ x 4. Gold ring. Bale 
 Coll. (Lot 1702). Mir.: 1881. 
 
 This rather remarkable intaglio catches the eye at once when seen 
 with other gems, so vivid is the colour of the jasper that bears the 
 engraving. The style is noteworthy in its plain simplicity of wheel-work, 
 devoid of modulation. Peculiar as it is, I do not doubt this gem, which 
 has an attractiveness of its own. 
 
 K 14. EGYPTIAN FEMALE MASK, with scorpion and 
 lizard (r.). 
 
 Profile ; hair in double fillet and stiffly rolled in straight 
 
 ( 124 ) 
 
line from brow to back of neck, where two parallel ends 
 appear ; scorpion (r.) below ; lizard (/.) before ; behind, 
 
 HHILI/I. 
 
 Onyx; ov. cx. 4J x 3. Gold ring. Paris, R. F. : 1882. 
 
 A sinister-looking face in profile, fairly engraved on the intensely 
 black surface of a fine convex onyx. A talismanic stone no doubt. 
 The legend conceals some occult meaning. 
 
 K 15. HUMAN-HEADED CANOPIC VASE (/K). 
 
 Spherical body with embossed decoration ; beardless 
 face ; on head a low, rimmed hat, whence veil on either 
 side to shoulder, on top a disk with uraei branching from 
 it r. and /. 
 
 Onyx ; ov. cx. 5x4. Gold ring. Wll. : 1878. 
 
 A very poor specimen, on black onyx like the last, but far less richly 
 dark. This I picked up in early days at a shop in Piccadilly, where there 
 were a few miscellaneous gems. 
 
 K 16. THOTH, ibis-headed, holding wreath and Uas staff (/.). 
 
 (Or/^.) Male human figure ( fr. /.) with head and neck 
 of Ibis (/.), wearing girdled skirt ; advancing right arm 
 forward, holding grounded Uas staff; left arm down, 
 holding circular wreath. 
 
 Rock crystal ; ov. lex. x 6,^. 2nd Short Coll. (Lot 
 30) ; 1891. 
 
 Valueless as a work of art. But for the absence of an inscription it 
 might be placed in Class N with “Gnostic and 'Falismanic gems,” which, 
 with few exceptions, have neither beauty nor merit in themselves, though 
 useful for purposes of study. The present, I think, formed an item in a 
 “ Lot ” containing something better—an explanation sometimes of the 
 inclusion of inferior specimens in a collection. 
 
 ( 125 ) 
 
K 17. ISIS, SERAPIS, HARPOCRATES, heads of (r. and/.). 
 
 Isis, head of, profile (r.), hair in roll, wearing radiated 
 crown, and (?) persea leaf on forehead. Behind, bust of 
 Harpocrates, profile (r.), head shaven, long lock coiled 
 below ear, (?) persea leaf on forehead ; right hand raised, 
 fore-finger to mouth. Facing Isis, head of Serapis pro¬ 
 file (/.), bearded, hair in roll, (?) modius on brow, pleated 
 veil falling over neck, end of sceptre appearing behind 
 veil. Beneath Isis, a crocodile (r.). 
 
 Banded Red Carnelian ; ov. 4x3- Gold ring. 3rd 
 Cave Coll. (Lot 208) : 1894. 
 
 Much superior to the preceding. Of rather good Egypto-Roman 
 work. The material is red carnelian prettily banded with white. 
 
 K 18. EGYPTIAN WOMAN, seated on a cushion (/.). 
 
 In profile, nude, seated (/.) on a rectangularly-framed 
 cushion ; left arm bent, elbow resting on raised left knee. 
 Wearing low, round cap with long lappet (ribbed) falling 
 over shoulders in Egyptian style. 
 
 Red Jasper ; ov. x 4^. Gold ring. Anderson Coll. 
 (Lot 11 3), sold at Sotheby’s, 1900. Wtr. : 1900. 
 
 A most singular specimen, “neither to be blessed nor banned.” The 
 stone is an ugly, dull red jasper, upon which the hgure shows heavy and 
 lumpish and of dubious proportions; yet, on the other hand, there is no 
 want of hnish in the head, and the rendering of the flesh, as flesh, could 
 hardly be improved. Whether ancient or modern I cannot say. 
 
 ( 126 ) 
 
CLASS L. 
 
 ENGRAVINGS ON GOLD. 
 
 [Plate XL] 
 
 L I. APHRODITE, crowned by Victory and receiving a sceptre 
 from Eros (/., /K). 
 
 Head profile, hair drawn back and knotted, long 
 girdled tunic, mantle round legs ; seated on chair, left 
 hand resting on the corner ; right hand forward, poising 
 erect sceptre received from Eros, who stands before her 
 (r.) winged and nude, both arms raised ; behind. Victory, 
 dying (/.) and advancing a wreath towards head of 
 goddess. 
 
 Gold bezel ; ov. 4^ x 4. Gold ring (ancient). Castel- 
 lani Coll. (Lot 873) : 1884. 
 
 Rings that bear designs cut on a gold bezel instead of on stone are 
 comparatively rare, and being ornamental objects, beautiful to the least 
 instructed eye, and very conspicuous and effective when placed near other 
 gems, they are sure to command high prices when offered for sale. 
 
 Apart from those of Phoenician or Oriental type—usually exhibiting 
 gryphons or other chimerical creatures—the gold-engraved gems appear to 
 belong chiefly to Etruria or South Italy, and many of the examples 
 known to me to have passed through Castellani’s hands. Owing perhaps to 
 the softness of the material—that beautiful, nearly unalloyed gold, whose 
 peculiar colour is almost beyond the reach of modern imitation (possibly 
 owing to chemical changes wrought by time on the manufactured metal)— 
 one seldom finds intaglios of this class as perfectly finished in details as 
 those on stone. 
 
 The present gem is an example of such defectiveness, for, while the 
 pose of the figure is graceful and the whole design most pleasing, the 
 minor details are slurred over in Aphrodite ; and the two cupids are little 
 better than indications—worthy of a modern “ Impressionist’s ” approval. 
 Nevertheless it is a pretty ring, and no doubt of considerable value. 
 
 ( 127 ) 
 
L 2. APHRODITE, receiving a dove from Eros (/. /r.). 
 
 Head profile ; hair in roll on brow ; long tunic, 
 pleated and girdled, mantle round legs ; seated, feet 
 crossed, on chair, left hand down resting on the corner ; 
 right hand forward holding dove (r.) by its wings over 
 head of winged and'naked Eros, standing (r.) with both 
 arms raised. 
 
 Gold bezel ; ov. 5x4. Gold ring (ancient). Wtr.: 
 1888. 
 
 A ring of similar type to the preceding, more deeply and strongly cut, 
 but chargeable with the same defects and inferior in gracefulness of design. 
 It was brought to Mr. W. 'F. Ready with another gold-bezelled ring— 
 the next to be mentioned—by a “man from the East”-—Asia Minor or 
 Mesopotamia I suppose. I much prefer L i, but this ring is larger and 
 heavier, and to many might seem more valuable. 
 
 L 3. ARTEMIS, seated on a stag and holding a lighted torch 
 
 (>., /.). 
 
 Arms bare, loose pleated tunic on bosom, mantle round 
 legs ; body nearly fronted, feet crossed, head profile (/.), 
 liair diademed ; left arm round neck of stag ; right 
 extended, with lighted torch, flame to r. Stag galloping 
 (r.), its hind-legs forward and nearly hidden by feet and 
 drapery of goddess, its horns closely above her head. In 
 field, two on either side, four star-like objects (cross, with 
 three rays in each angle), and, below stag, a circular 
 wreath, bearing ten leaves without and five beads within. 
 
 Gold bezel ; ov. 7x6. Gold ring (ancient), Wtr. : 
 
 t888. 
 
 Beauty and interest in the design and unusual precision in the engraving, 
 combined with relatively large size, render this a ring of exceptional 
 importance. As in the preceding, the face and hands of the goddess are 
 rather coarsely portrayed, but the figure is good, though a little too thick in 
 
 ( 128 ) 
 
the waist, and the stag is full of spirit and as life-like as could be reasonably 
 expected considering the general carelessness of designers ancient and 
 modern in dealing with animals, whether rare or common. 
 
 On this ring Professor Furtwangler writes :—“It is here evident that 
 Artemis as the moon-goddess is represented ; it is Diana Lucifera. The 
 similar type of goddess (riding on a stag, wearing long drapery, and holding 
 a torch) has been already found on two beautiful ear-pendants from South 
 Russia, which are not earlier than the fourth century [b.c.] —Stephani, 
 Compte Rendu, 1868, pi. i, 2, 3; p. 6 ff. On the Augustan statue of 
 Prima Porta, Diana appears in the same manner as the Apollo on the 
 gryphon above.” (Furtw., A.G., p. 125 ; pi. xxv, 21.) 
 
 Compare sta^s drawing chariot of Artemis and Apollo, on the 
 Ph igaleian frieze, British Museum. 
 
 THETIS, on a hippocamp, bringing a shield tor Achilles 
 
 C/K, /.). 
 
 In long girdled tunic, seated to /r., head profile, hair 
 diademed ; left hand back, bearing over shoulder convex 
 circular shield, in side-view ; right hand up, holding 
 bridle of hippocamp, which moves to /., with fore-legs 
 raised, long, jagged fins waving from chest and croup, 
 the hindmost surmounting a downward curled tail. A 
 spiral border. 
 
 Gold bezel ; ov. 7^ x 7. Gold ring (ancient). [Cas- 
 tellani.] Fwh. ; 1887. 
 
 Another large and fine example of its class, bearing a strong general 
 resemblance to L i and L 2—all no doubt Etruscan, as this one is known 
 to be. It once belonged to Castellani. By singular good fortune I soon 
 afterwards obtained another ring (R 2) displaying the same rare design 
 very similarly treated—in that case engraved on bionze. It is interesting 
 to find ancient works that evidently derive from the same original without 
 being close copies of it or of one another, as in the cases already mentioned 
 under B 8 and A 42, and C 6 and C 34, of this collection. Dr. Murray 
 suggested that the present ring was one of those used for funeral adorn¬ 
 ment, its size and thickness making it unsuitable for common wear. 
 
 In Professor Furtwiingler’s book two gems occur bearing the same 
 subject and very similar in treatment, both of them, like mine, on metal 
 bezels—one is a silver ring in a private collection in England, the other, 
 of gold, is in the Boston Museum. “ A Nereid,” is his description, 
 
 ( 129 ) 
 
 R 
 
“ bringing a shield for Achilles ; the work is of c. 400 b.c.” (Furtw., 
 A.G., p. 275 ; pi. ix, 42, pi. Ixi, 33.) 
 
 The term “ a Nereid ” is inadequate, for the design clearly relates to 
 the sea-goddess Thetis, who bears to her son Achilles the armour which 
 she had prevailed on Vulcan to make, to replace the suit worn and lost by 
 Patrocles. 
 
 L 5. DRAPED LADY, laying an offering on a portable altar 
 ( /r., r.). 
 
 Standing, head in profile ; long girdled and pleated 
 tunic, scarf round right arm and legs ; right hand resting 
 on hip ; left hand forward above light tripod altar. In /. 
 field, retrograde, XAIPE. 
 
 Gold bezel ; circ. 7. Gold ring (ancient). Castellani 
 Coll. (Lot 874) : 1884. 
 
 Very sketchy and ill-defined. The head, unfortunately, is the worst 
 part, being coarse and masculine. If an intaglio on stone, its value would 
 be small, but its size and material lend it a certain importance. 
 
 L 6. LION and GRYPHON, sitting confronted (r. and /.). 
 
 The former with open jaws ; the latter uplifting curved 
 and rounded wings ; each raising a fore-paw, both with 
 tail erect. Between and round them, a milled border. 
 
 Seal. Gold bezel ; ovd. 54 X 2f. Gold ring (ancient, 
 lower hoop restored), ist Hoffmann Coll. (Lot 187). 
 Wtr. : 1886. 
 
 Described in the sale catalogue of the first Hoffmann Collection, sold 
 in Paris in 1886, as an Etruscan ring. The style is Phoenician, of a not 
 uncommon type, A fairly good specimen. 
 
 ( 130 ) 
 
CLASS M. 
 
 CAMEOS. 
 
 [Plate XII.] 
 
 ( The detailed Descriptions in this Class apply to Originals, 
 not Impressions; see Prefaced) 
 
 M I. APHRODITE, full-front, with a swan standing at her 
 side ( /r.). 
 
 Standing, left leg in advance and slightly bent ; head 
 towards /., hair rolled on brow and centrally parted ; 
 nude, peplos held against body by right hand and falling 
 over right leg, the other end in left hand, after crossing 
 back and left arm, and held closely over head of a swan, 
 standing head (/.) raised and back, wings partly 
 
 opened. 
 
 Cameo. Chalcedony; ovd. 3^] inches x 2 inches. (Nose 
 and /. field fractured.) LTnmounted. Montigny Coll., 
 1887 (Lot 615 ; pi. v). Wtr. : 1889. 
 
 Both in size and subject the present cameo is a remarkable specimen 
 of its class. Cameos of such large dimensions are rare, and most of them 
 are matter-of-fact portraits, alone or with realistic accompaniments, typical 
 illustrations in either case of the prosaic bent of the Roman mind. But 
 this Montigny gem is of a different kind and different spirit. Defective as 
 may seem the goddess’s figure in some points of proportion, her body below 
 the waist being too small relatively to the head and bust, yet all the forms 
 are sweet and delicate, and the whole composition is poetical and Cjreek. 
 Unfortunately the face is somewhat damaged, but that is a mishap to which 
 cameos, like statues, are peculiarly liable, and, unless too serious, the fault 
 is always readily condoned. 
 
 In the Montigny sale catalogue this chalcedony is styled “ Leda debout 
 et de face.” Nothing in the treatment suggests the myth of Leda, and 
 Aphrodite was more probably intended, the swan being one of her attributes. 
 
 M 2. ISIS, head of, with starred cap and diadem (r.). 
 
 Profile, wavy curls on brow, three six-rayed stars on 
 
 ( 131 ) R 2 
 
round cap with back-lappets passing in folds over neck 
 and shoulder. 
 
 Cameo. Sardonyx ; ov. 5x3^ (cap brown, face white). 
 Gold ring (French, enamelled in colours). Ideugh Coll. 
 (Lot 288) : I 879. 
 
 A pretty cameo on a pretty sardonyx. Whether ancient or modern, 
 I cannot say, but in either case it well deserves its place, especially as it is 
 set in a beautifully enamelled gold ring of French make. The stars on 
 the head-dress are presumed to represent Isis—otherwise there is nothing 
 suggestive of Egyptian relations, the face being purely Greek. 
 
 M 3. EROS, holding a garland and a bow (/.). 
 
 Seated on a rock, right hand forward holding large 
 circular wreath ; left arm bent, hand on double-curved 
 bow resting against shoulder. 
 
 Cameo. Turquoise; ovd. 4^ x 30 (left knee fractured). 
 Gold ring. Goding Coll. (Lot 212) : 1883. 
 
 Cameos in turquoise are exceedingly rare, the only example I can recall 
 being the remarkable fragment sold at the Marlborough sale (Lot 403) 
 for ^330. The present pretty specimen is certainly antique. Professor 
 Furtwangler supposed the material to be paste, but, being submitted to a 
 lapidary, it was found to be true turquoise. The little Cupid is graceful in 
 figure and pleasing in fitce. A certain clumsiness in the right hand and 
 leg belongs to ancient careless freedom rather than modern mechanical 
 skill, and a deep fracture below the left knee seems to be of long existence. 
 
 M 4. SILENUS and a MiENAD, with the infant DIONYSOS, 
 reclining on a panther’s skin (/. and r.). 
 
 Silenus (/. /r.) reclining, nude, mantle over legs; right 
 hand holding bowl ; left hand down, holding thyrsus 
 across shoulder, leaning on which nude young boy (/.), 
 seated, with left hand on arm of Silenus ; Altenad (r., bk^j., 
 head in profile, reclining, nude, drapery round legs, 
 
 ( J32 ) 
 
holding horizontal thyrsus (/.) ; all resting on panther- 
 skin, mask of which appears in centre (/h.). 
 
 Cameo. Sardonyx ; ov. 6 ^ x 42 (white on buff). Gold 
 ring. Montigny Coll., 1887 (Lot 771). Wtr. : 1889. 
 
 Classed in the Alontigny catalogue among Renaissance cameos— 
 rightly, perhaps, the composition of the scene being so florid and 
 pictorial ; yet one good judge, at least, thought it might be ancient, and 
 many hav'e taken the same view. In any case it is a remarkably pretty 
 gem, a very delicately cut and gracefully designed cameo, which at the 
 iVIarlborough sale would no doubt have realised a handsome price. 
 
 M 5. A SATYR, seated on the ground and blowing a shell 
 trumpet (r.). 
 
 Bearded and goat-legged ; seated, legs outstretched, left 
 somewhat raised ; right arm down ; left hand uplifted, 
 holding long sea-shell to mouth. 
 
 Cameo. Sardonyx ; ov. 4x3 (white on dull orange). 
 Gold ring (20 c.). [Lace Coll,] Fwh. : 1882. 
 
 This little cameo was originally set transversely in its gold ring, which 
 gave rise to the absurd misconception that the Satyr was standing up and 
 relieving his overloaded stomach in the Roman epicure’s fashion by copious 
 vomiting. I at once perceived that he is really lying on his back and 
 sounding trumpet notes through a long sea-shell, over which his left hand 
 passes—as becomes evident since the cameo has been remounted and 
 properly set. It is of good work, like most of the gems from the collec¬ 
 tion to which it belonged. 
 
 M 6. FEAIALE SPHINX, with long horizontal wings (r.). 
 
 Seated, tore-legs together ; wings pointed, open, level 
 over back ; hair in diadem ; bust leonine. 
 
 Cameo. Sardonyx ; ov. 5x4 (white on orange ; r. field 
 cracked). Gold ring. [Lace Coll.] Ewh. : 1878. 
 
 A more pleasing specimen from the same collection, a really beautiful 
 sphinx of Greek design. The head is'extremely well finished, and were 
 
 ( 133 ) 
 
the paws more delicate the figure would be faultless. The breast is plain, 
 corresponding with the lion-body, whereas in my favourite intaglio H 5, 
 as well as in H 6, there is a well-marked human bosom. In both these 
 cases the wings are curved, but in H 7, as in the present case, straight 
 wings accompany a flat non-human chest, which I am inclined to consider 
 the earlier type, though the curvature of the wings would tell in the 
 opposite direction. 
 
 M 7. LADY, bust of, with necklace and pearl-bordered bodice 
 {r.,fr.). 
 
 Face in profile ; fillet and pearl-bordered veil round 
 and over head ; back-hair in cap with pointed back- 
 pendant ; pearls round edge of square-cut bodice. 
 
 Cameo. Sardonyx ; ovd. 4x3 (white on orange-brown). 
 Gold ring (French, tendril stamp). Sch. : 1879. 
 
 Few of my gems are harder to assign to a period than this pretty 
 sardonyx cameo. It is certainly not modern, and at first sight one 
 pronounces it Italian of the Renaissance, yet on examination enough 
 Orientalism appears in the style and the ornamentation of the head-dress 
 to suggest an earlier—perhaps (jiaeco-Persian—origin. On the whole I 
 prefer the former view. 
 
 M 8. FEMALE BUST, closely draped, veil thrown back {fr.). 
 
 Half-length, arms not seen ; hair in roll on forehead ; 
 chain-like object falling from each shoulder towards 
 waist ; raised object on lower centre of breast. 
 
 Cameo. Almandine Garnet ; ov. cx. yi X 42 - Gold 
 ring. Phc. : 1878. 
 
 Still more perplexing is this gem, a cameo entirely in almandine garnet. 
 Its style and date, the meaning of some of its details, the very sex of the 
 figure—all arc obscure. Fhe subject might be Christian and the figure 
 that of a young monk or nun ; or again the subject might be talismanic 
 aiul the figure enigmatical and pagan. 
 
 1 am inclined to consider it late Egyptian, both from the character of 
 the face and because the peculiar shape of the whole design seems suggestive 
 
 ( 134 ) 
 
of the scarabasus form. The curious object in the centre of the chest may 
 perhaps be a portion of the beetle’s wings. The face I judge to be 
 feminine. This cameo was said to have come from Dr. Nott’s collection. 
 
 M 9. AFRICA, symbolic head of, wearing an elephant cap (r.). 
 
 Female profile, hair drawn back ; capped with scalp 
 and mask of elephant, trunk raised over head, ear forming 
 lappet ; drapery across below neck {cf. D 17). 
 
 Cameo. Sardonyx ; ov. 8x5 (lower held and end of 
 trunk broken off; original size c. 9 x 5- Face, neck and 
 hair white ; cap, grey ; trunk, orange). Gold ring. 
 [Cyprus, Col. Warren.] Wtr. ; 1891. 
 
 A more lovely cameo could hardly be met with in any collection. The 
 face is of the perfect Greek type, but with a slight deviation from rigidly 
 conventional lines which redeems it from insipidity, imparts sweetness of 
 expression, and confers individuality—leading one to imagine it the portrait 
 of some queenly lady of old, personified as Egypt or as Africa. The face 
 and hair are of the purest white, while a greyish layer of the sardonyx, 
 delicately tinted with orange, is carved into a head-dress that takes the form 
 of an elephant’s mask, with pendulous ears and trunk upraised. The end 
 of the trunk has perished and the stone’s lower edge has been slightly 
 chipped, but otherwise this glorious gem is as perfect as when it left its 
 maker’s hands. 
 
 It was skilfully mounted for me by Messrs. Hunt and Roskell in a gold 
 ring, with a claw border that holds the stone without hiding any part of the 
 workmanship, and I prize it as one of the choicest treasures of my collection. 
 
 ( 135 ) 
 
CLASS N. 
 
 GNOSTIC; MITHRAIC; TALISMANIC. 
 
 ( 'I'he detailed Descriptions in this Class apply to Originals, not Impressions ; 
 
 see Prefaced) 
 
 Introductory Remarks. 
 
 The gems comprised in this division of my Collection are so 
 different from those in the other classes that they can hardly be 
 looked upon as specimens of ancient art, for all of them are, 
 relatively speaking, modern, and few, if any, can be viewed as 
 artistic works in a rigidly critical sense. 
 
 Products of the superstitions and obscure religions of the earlier 
 centuries after the Christian era, their subjects are mystical, 
 frequently monstrous, generally hideous, and but seldom endowed 
 with even the faintest suggestions of beauty. With them merits 
 in workmanship almost never redeem uncouthness in design and 
 unattractiveness in subject, for, as a rule, the engraving is of the 
 coarsest description, and its poverty is rarely mitigated by any rich¬ 
 ness of the material on which it has been displayed. 
 
 Inscriptions—sometimes in debased Greek, but far oftener in 
 some little understood form of Coptic or Aramaic, though nearly 
 always in Greek capital letters'^-'—abound on these rude intaglios, 
 and in many cases constitute the entire or principal subject of 
 the design. Certain of these legends have been interpreted, and 
 others have been guessed at ; the majority, however, remain 
 
 * The characters are sometimes square and sometimes round. Z, Y, are always 
 given as C, V, IaJ. With few exceptions the inscriptions are to be read direct from 
 the stone, these gems not having been used as seals. 
 
 ( 136 ) 
 
undeciphered—often undecipherable, having been cryptic in their 
 original conception. 
 
 Gems of this class have been commonly termed “Gnostic,” and 
 without doubt many of them emanate from the various part- 
 Christian, part-Jewish, part-Pagan sects that flourished before the 
 days of Constantine, and continued till a later period. Some, 
 again, are distinctly Mithraic; while others, more Egyptian in 
 character, relate to the worships of Isis and Serapis, so prevalent 
 under the earlier emperors in Rome and its dependencies. 
 
 But certainly the larger number of these gems are Amulets or 
 Talismans,safeguards against special forms of danger and disease, 
 or, in a wider sense, protections against Evil Spirits ; procurers, 
 also, of good fortune and success in life—and this, whether or not 
 the signs and words and formulas inscribed on them bear evident 
 relation to any religious cult. 
 
 As I have elsewhere mentioned, my first attempts at gem 
 collecting sprang from a desire to possess examples of the class now 
 under notice, in order to compare their mystical symbols with those 
 graven on the ancient memorial stones of Pictland, hoping thus to 
 find a clue to the signification of those most peculiar devices. My 
 hopes were disappointed. The only correspondency to be found 
 was the identity in form of the “ sceptres ” or “ broken rods,” 
 accompanying certain Pictish symbols, with the mystic figures 
 V and S which repeatedly occur on talismanic objects—perhaps in 
 indication of the sacred numbers 5 and 7. 
 
 Of late years I have bought but few gems of this so-called 
 “ Gnostic ” class, finding it sufficiently represented in the eighty- 
 nine specimens that I now possess, and caring little to accumulate 
 ugliness no longer endowed with the charm that a supposed inves- 
 tigable mystery had at one time conferred. With these gems their 
 discovered mysteries are unimportant, while those still hidden are 
 
 * In strictness a Talisman differs from an Amulet, the former serving to procure 
 favour as well as to avert mischief, which is the sole function of the latter. 
 
 ( 137 ) 
 
 s 
 
neither likely to be revealed, nor to prove interesting if ever brought 
 to light. 
 
 I can, however, view this division of my intaglios as a fairly 
 representative collection of its kind; and, as it includes some 
 probably unique examples, it possesses a higher value when taken 
 as a whole than would naturally belong to it if its items were 
 separately considered. 
 
 In the following notes on the gems that constitute Class N, I do 
 not, as a rule, propose to enter into exhaustive disquisitions on their 
 subjects, for these and the inscriptions belonging to them, especially 
 in their relations to the tenets of different sects, are so complicated 
 that I should thus be led into greater lengths than would suit my 
 present purpose. 
 
 To those who may seek for completer information regarding 
 Gnostic and Talismanic gems than I have attempted to supply, the 
 best books to consult are King’s “ Gnostics and Their Remains ” 
 (1864), and Matter’s “ Histoire Critique du Gnosticisme ” (1828). 
 The former by preference, for not only is it far more comprehensive 
 (though not sufficiently so), but—in my opinion, rightly—it lays 
 due stress on the preponderating influence of the talismanic element 
 in these gems; Matter ignores this influence, always discovering 
 high and sacred purposes and meanings where evidently nothing 
 more is intended than to procure from the Spiritual Powers various 
 boons and safeguards of an entirely terrestrial character. 
 
 N I. ABRAXAS DEITY, holding a shield inscribed IAlO (yf.,r.). 
 
 06 v.: Armoured body ; cock’s head ; serpent legs in 
 deep double curve ; in either hand, scourge and shield. 
 On shield, IAIA! ; round shield, AEHIOVW ; round right arm, 
 which brandishes scourge, MAPMAPAOVi/MB A(BP)ASAE; 
 
 ( 138 ) 
 
beneath legs, lAl/MAOAlAIAI. Rev.: XABPAX <I>NESXHP 
 4^IXPO-^ NVPIAI4^ lAlXiAlBiAlX. 
 
 Green Jasper ; ov. 6| x 4J (slightly chipped). Gold 
 
 [Plate XIIL] 
 
 French). 
 
 This composite figure, here engraved upon green jasper, is of very- 
 frequent occurrence in the present class. It is said to have specially 
 belonged to the system of Basilides, -who flourished in the reigns of Trajan 
 and Adrian. With varying modifications it represented the Supreme God 
 of the Gnostics, the Panther with his five emanations, viewed as the Sun 
 God ; and being almost always accompanied by the epithet Abraxas (more 
 correctly Abrasax) it is usually known by that title, the letters of which, 
 in the Greek alphabet, constitute (as do those of Mithras) the numbers 
 365, the sum of the days in the solar year and of the creating vTons, who 
 in their totality constitute the divine Pleroma. 
 
 To the best of my knowledge, the name is invariably spelt Abrasax or 
 Abrasas on the stones themselves.* No good reason appears for the spelling 
 Abraxas, but it is so established by custom that it would seem pedantic to 
 reject it. According to Bellermann the name signifies in Coptic, “The 
 blessed Name,” compounded of Ah, “ let it be” ; Rak, “adore” ; Sax, for 
 sadshi, “name.” {See King, Gnostics, p. 36.) 
 
 The name I AW, which is seen on the present gem, is one very 
 frequently associated with Abraxas, and it would appear that the former 
 is the true name of the Supreme God, rather than the latter, which, with 
 Adonai and Sabao, constitutes a mere synonym. I AW is undoubtedly a 
 solar name, nearly equivalent to Mithras, and, in some senses as well as in 
 verbal structure, also to the Hebrew Jahveh or Jehovah. But the name 
 has been differently applied by the various Gnostic sectaries—sometimes 
 lAW is the Genius of the Moon ; sometimes Jehovah viewed as an 
 inferior local god, the lowest of the angels ; sometimes, on the other hand, 
 as Christ himself, the creator of the world. {See King, Ant. Gems, 
 
 PP- 354 - 357 -) 
 
 In its capacity as Sun God the figure has been explained as representing 
 Phronesis, foresight and prudence, by its gallinaceous head ; Dynamis, 
 power, and Sophia, wisdom, by the scourge and shield on either hand ; 
 while the serpent legs import Nous and Logos, inner sense and quickening 
 understanding. {See King, citing Bellermann, Gnost., p. 35.) A sword some¬ 
 times takes the place of a scourge, and in some examples an ass’s head is 
 substituted for that of a cock. 
 
 The present gem is a very favourable specimen of its class, an intaglio 
 on green jasper, well mounted in an old French gold ring. It is rich 
 
 * [N 6, where the spelling ABPAXAC occurs, was acquired after the above 
 remarks were written—E d.] 
 
 ( 139 ) 
 
 s 2 
 
in inscriptions,—lAU) on the shield and in the collocation of letters 
 lAWAOAtOAl ; round the shield the Seven Vowels A€HIOVIjO (very 
 frequent on these gems) ; and in MAPMAPAOVU)© ABPACAZ— 
 the name commonly written Abraxas preceded by a honorific epithet. 
 The reverse bears an uninterpreted legend, which seems to be Coptic. 
 
 N 2. ABRAXAS DEITY, with crosses and symbols (/r., r.). 
 
 Obv.: Armoured body ; cock’s head ; serpent legs cir¬ 
 cularly coiled ; in either hand, scourge and shield. In 
 field, symbols: overhead, S ; to r., -f, ©, W1 ; to /., 
 
 S, S. In exergue, IA!AI. Kev. : ©PN. 
 
 Green Jasper ; ov. 5^ x 3I (slightly chipped below). 
 Gold ring. Fwh. : 1878. 
 
 Another good example, though inferior to the preceding; like it, on 
 green jasper, a material commonly allotted to Abraxas gems. Of six in 
 my collection which, as in this case, are devoted to Abraxas alone, five are 
 of green jasper, while only one—and that of a rather different type—is of 
 red. Great importance was attached to the material, colour, and quality 
 of talismans and amulets, especially those guarding against special diseases. 
 Symbolical devices chiefly occupy the obverse here. The word ©PN 
 on the reverse represents the solar name <|>PHN, equivalent to the 
 Egyptian “Phra ” (Pi Ra), the Sun. 
 
 N 3. ABRAXAS DEITY, with the inscription AAHNAIEA (yh./.). 
 
 Obv.: Armoured body ; cock’s head ; serpent legs once 
 curved ; in left hand, scourge ; in right hand, shield, 
 inscribed on which, <}>PH<i>. Beneath, AAU)NAI€A ; above, 
 an uncertain object. Kev.: ABPACAZ ©tOV0. 
 
 Green Jasper ; ov. 4^ x 3^. Gold ring. Chr. : 1885. 
 
 The shield is inscribed <|>PH<t> —the meaning of which is unknown ; 
 perhaps it is intended for <1)PHN, misspellings being abundantly frequent 
 on gems of this inartistic class. Beneath the figure is AAtONAI€A, 
 which seems to signify Adoni-El, Lord God. On the reverse appears the 
 
 ( 140 ) 
 
legend ABPACAZ 0LOV0. The latter word being the name of Thoth, 
 an Egyptian deity, with whom Abraxas is thus identified. 
 
 I got this fairly good specimen from the Rev. Greville Chester, who 
 made it a custom to pass his winters in the East, returning with collections 
 of gems, chiefly of Syrian types, a few of which he sometimes disposed 
 of separately. 
 
 N 4. ABRAXAS DEITY, with an eight-rayed Star above his 
 shield (yh., r.). 
 
 Obv.: Armoured body ; cock’s head ; serpent legs twice 
 curved ; in either hand, scourge and shield ; above 
 shield, eight-rayed star. In exergue, lAIAI. Rev.: 
 
 n r A N TO n NI kto ph kt a. 
 
 Green Jasper ; ov. 8x6 (slight chip above). Silver 
 swivel. Athens, Rhp. : 1880. 
 
 Larger than usual, but only of average merit. The reverse bears an 
 enlarged version of a legend frequently occurring in varying, and often 
 misspelt, forms on these Abraxas gems:— riFANTO PHKTA, the 
 Beater of the Giants, a generalised term for the Spirits of Evil. In the 
 present case the legend runs riPANTOriNlKTOPHKTA, signifying 
 perhaps the Beater of the throttled Giants, if the interpolated HNIKTO 
 represents the passive participle of FlNirtO, throttled. 
 
 An eight-rayed star, conspicuous here above the shield, is the usual 
 symbol of the Sun ; the less common six rayed-star properly belongs to the 
 planet Venus, and thus to Istar and her kindred goddesses. 
 
 Professor Rhousopoulos sent me this gem from Athens, which must be 
 well supplied with such specimens, many having come to me from that 
 quarter, besides the few I have kept. But their birth-place is not there ; it 
 must be sought for chiefly in Egypt, and also to some extent in Syria and 
 in Asia Minor. 
 
 N 5. ABRAXAS DEITY, with legend from the shrine of the 
 Ephesian Artemis {fr., hd. /.). 
 
 Obv.: Nude body, cock’s head, serpent legs twice 
 curved ; in left hand, scourge ; in right hand, shield. 
 
 ( 141 ) 
 
Round margin, ACKI KATACKI AIZ TeXPOZ AAMNAM- 
 €N€VC AlCIA. Rev.: Barred triple S. 
 
 Red Jasper ; hbz. oct. 5^x4 and 5 x 32- Gold ring. 
 Constantinople, Ain. ; 1880. [Plate XIIL] 
 
 Here we may recognise a different type ; the material is red instead of 
 green, the stone is octagonal instead of oval, the engraving is more laboured 
 and minute, the lettering of the inscription is crowded and peculiar, and 
 the inscription itself is of an altogether unusual character, being the 
 mystical legend graven, according to tradition, beneath the statue of the 
 famous “ Diana of the Ephesians ”—who, in truth, was no classical divinity, 
 but great Mother-nature herself, dispensing nourishment for all things from 
 her hundred teeming breasts. ACKI KATACKI AIZ T6TPOZ 
 AAMNAMCNCVC is the legend. The meaning of these words— 
 which, Plutarch says, the Magi used to recite over those possessed by 
 devils—has not been clearly ascertained, though attempts have been made 
 to explain them. Hesychius interprets the legend as “ Darkness, Light, 
 Himself, the Sun, Truth.” Karacr/cta^'a) signihes “ overshadow,” thus the 
 order of the words should be “ Light, Darkness.” At| literally means 
 “a goat,” or an “ibex,” or a sort of “water-bird;” and Terpa^ is 
 “a partridge or pheasant;” no doubt the terms are metaphorically applied. 
 “ Damnameneus ” (from AoEpu'p/xt-Aa/xtta), to tame, to subdue) is certainly 
 an appellation of the Sun. (Damnameneus was one of the four Dactyls, 
 often confused with the Cabiri.) 
 
 Can there be a reference in the present case to Abraxas and his four 
 limbs ? Light, the flashing scourge ; Darkness, the overshadowing shield ; 
 Aix Tetrax, the bird-headed body (“himself” in some mystical way); 
 Sun and Truth, the serpent legs, illumination and inner sense ? 
 
 An intaglio form was supposed to add potency to amulets in Byzantine 
 and mediaeval practice, and the present gem being of that shape, and 
 otherwise peculiar, it may possibly belong to a later date than most of 
 its class. 
 
 N 6. ABRAXAS DEITY and ANUBIS on a pendant formed 
 of two scarabs (r.). 
 
 Two scarabs conjoined, backs outward. On back of 
 one, Abraxas figure of usual type [ fr. r.) holding scourge 
 and oval shield inscribed lAW (reversed) ; on back of 
 other, Anubis (r.), jackal-headed and phallic, nude,standing 
 
 ( 142 ) 
 
with torch in extended left hand and scroll in downward 
 right hand. On sides (i) ABPAXAC, ( 2 ) EMAMAPOC. 
 
 Sard ; vase-formed, 6^ x 3^ (perforated across neck 
 and downwards). 2nd Short Coll. (Lot 30) : 1891. 
 
 [Plate XIIL] 
 
 In this sard pendant we find another departure from green jasper as the 
 material for Abraxas gems. The form is as unusual as the stone, being 
 that of an elegantly-shaped narrow vase, composed of two scarabs with 
 their bodies conjoined below and their backs set outward, one of these 
 bearing the figure of Abraxas holding a shield inscribed I AtO, while the 
 other bears the figure of the jackal-headed Anubis. 
 
 In some of the Gnostic systems Anubis plays the part of Hermes 
 Psychopompos, the conductor of initiate souls along the perilous stages of 
 their progress to the realms of supreme rest. But in the present case the 
 phallic appearances seem rather to connect him v/ith the Cynocephalus 
 Baboon, so frequently figured on talismans. The legend pertaining to 
 him here— EMAMAPOC —seems to be a form of HNAMEPU), which 
 often accompanies the baboon, and is supposed by King [Gnost., p. 208) 
 to be equivalent to MAPCOHNE, “ Enlighten our eyes,” suggesting that 
 gems of this class were used as amulets against ophthalmia. (King, Cat. 
 New York Mus., p. 39, No. 54.) The legend belonging to the other figure 
 is, naturally, ABPAXAC. 
 
 N 7. ABRAXAS DEITY, with asinine head (/r., hd. /.). 
 
 Armoured body, ass’s head (as of the deity Set), open- 
 mouthed and long-eared ; serpent legs circularly coiled, 
 ends barbed ; right hand holding shield, left raising down- 
 pointed sword. In field, overhead, lOIA. 
 
 Green Jasper ; ov. 3^x3. Gold ring. Rey. : i 88 i. 
 
 [Plate XIIL] 
 
 The occasional, though rare, substitution of an asinine for the ordinary 
 gallinaceous head of Abraxas illustrates the connection of these talismanic 
 stones with Egypt and its ideas, for the asinine god Set was an important 
 deity in that country, at certain periods adored, at others detested, and 
 under the name of Typhon regarded as the very Principle of Evil. In the 
 present case the intention may have been to identify lAU) with Dionysos, 
 with whose mysteries the ass was specially associated, and the talisman thus 
 varied most probably related to generative functions. 
 
 ( H3 ) 
 
Above the ass-headed deity appears the legend lOIA, which is merely 
 IA to disguised, as we so frequently find it, by changes and additions in the 
 lettering. In one of his books King figures a similar asinine Abraxas, and 
 I once had the chance of buying another, on hematite—but I doubted it, 
 owing to the mechanical precision of its workmanship. Rather to my 
 surprise, I obtained the present green jasper specimen at a shop where I had 
 sometimes found Sassanian and Indian gems, but none of other nationalities. 
 Under N 43 the subject of the ass-headed deity will be more fully discussed. 
 
 N 8. ABRAXAS DEITY, and Male Figure above an Eagle. 
 
 Ohv.: Abraxas figure from chest downward, wearing 
 skirted cuirass, serpent legs once and half curved ; towards 
 him, lower half of male figure (r.) wearing short tunic, 
 legs bare ; from right hand proceeding lightning, down¬ 
 ward /. Below figures, eagle (r.), head (/.), wings raised 
 and open, feet apart, standing on a bar. Round eagle, 
 lAlAI. Rev.: ? 3 T it-. 
 
 Crimson Jasper ; fragment, upper third part lost ; ov., 
 original size c. 9 x 6. Silver swivel. From the Hauran. 
 Constantinople, Ain. : 1878. 
 
 The top of this crimson jasper having been broken off, the male figure 
 cannot be identified, as only the lower part of his body remains. The 
 serpent legs of the Abraxas are quite distinct. Round the eagle, which is 
 designed with a good deal of spirit, are scattered the letters that form IALO j 
 the reverse is inscribed with cipher characters. 
 
 N 9. CHNUPHIS, human-headed serpent, with eight-rayed 
 crown (/r.). 
 
 Obv.: Face full front; body erect in large single coil, 
 within which five small ovoids ; in field, to /. and r., •iV 
 and X (defaced): m.agical signs. Rev.: C€M€C CIAAMT. 
 
 Green (red mottled) Jasper ; ov. 5^ x 5. Silver ring. 
 Montigny Coll. (Lot 559). Wtr.: 1887. [Plate XV.] 
 
 Another figure and another name, but equally a presentation of the 
 Sun God. This serpent deity with a radiated head, generally leonine, but 
 
 ( 144 ) 
 
sometimes, as in this case, human, is most often spoken of as the 
 “ Agathodaemon,” the supreme spiritual Principle of Good as opposed to 
 all manifestations of evil. On gems, however, he is given a name variously 
 spelt Chnuphis, Chnouphis, Choubis, Chnoumis,—equivalent to Chneph, 
 the designation of an Egyptian deity. 
 
 That he represents the Sun is abundantly evident ; not merely is his 
 head adorned with solar rays, but the legend most frequently associated 
 with him—as in the present case— C€M€C €IAAM (or eiAAM'P), 
 “the Everlasting Sun,” plainly declares it. 
 
 Guardianship of the chest and stomach was the special function of these 
 Chnuphis gems when used as talismans. 'Fhey are generally on stones of 
 green or greenish colour and partly translucent quality, such as plasmas or 
 chalcedonies. The present gem is slightly exceptional, both as regards the 
 human instead of the leoniiie head, and as being of an opaque material 
 —green jasper mottled with red. 
 
 N lo. CHNUPHIS, human-headed, with mummy-cased body 
 
 (yK /.). 
 
 Obv.: Face full front, looking above mummy cerements 
 encasing erect body, tail (/.) short, turned up and jointed; 
 shell, ringed with lines below and girdled v^ith single line 
 crossed by \ and E ; crest, six lines radiating from 
 head. Above crest, C€M€0€AA(?). Along sides, ANOX 
 XOAXNOVBIC. In exergue, lAlO, within border. Round 
 margin, IBAPAOIANTHC IT [Tir] ANTOHTOPHKTA. 
 Whole inscription reversed, except in last word, where 
 the two initial letters are direct, and the two final 
 inverted. Rev.: A large scarab, legs not shown, on ovoid 
 plane slightly above level of field. 
 
 Red Carnelian ; ov. hbz. 7 x 4^- 7^ X 5|- 2nd 
 
 Short Coll. (Lot 77) : 1891. [Plate XV,] 
 
 A remarkable specimen, of a type so uncommon that it is not to be 
 found in King’s comprehensive volume. Matter, however, figures a 
 Parisian gem nearly identical in design, but differing in the inscription 
 and in the reverse, which in the present case bears only a large intaglio 
 scarab-beetle, while in the French example it is inscribed with the 
 “Z mystique” and other magical signs. (Matter, Hist, du Gnost., 
 vol. iii, p. 32 ; pi. ii% 10.) 
 
 ( H5 ) T 
 
As usual with him, Matter assigns religious meanings and functions 
 to this strange Chnuphis, whose mummy cerements cause him to 
 resemble an immense chrysalis. It expresses, he thinks, the regeneration 
 of the soul for the life of immortality to which “Ophis Christos appelle la 
 race sainte.” Such may be its primary meaning, but the best explanation 
 seems to be that given by King in describing a somewhat different 
 design:— “a. Mummy within the coils of a huge serpent”—“ Perhaps a 
 ticket given to a neophyte on his initiation, or else a charm to secure his 
 peace in the grave . . . the corpse wrapped in the protecting embrace of 
 the Agathod;emon.” (King, Gnost., p. 205 ; pi. iii, i.) 
 
 The material of the present e;eni is very thick in form, and, of its 
 kind, unusually well engraved. On the obverse the legend reads—“ The 
 PTerlasting Sun ; I am all Chnuphis,” i.e., “I am the Universal Genius of 
 Good,” or, according to Salmasius, “ I am all golden.” 
 
 N II. CHNUPHIS, lion-headed, with seven-rayed crown (/.). 
 
 Olm.: Head in profile, tail in single loop across centre 
 of erect body. Round field, riTANTO HANTOPHKTA 
 BAPO<l>ONTA BAPOV<}>EITA. ; XNOYBI, and barred 
 
 triple S. 
 
 Plasma ; ov. cx. 7x5. Gold swivel. Athens, Rhp.: 
 1880. [Plate XV.] 
 
 Larger than usual in size, better in workmanship, and finer in material, 
 being on a richly tinted, dark-green plasma. The main inscription is a 
 complete version of the giant-scorning legend—which occurs in brief on 
 the Abraxas talisman lately described (N 4). The reverse bears the name 
 of the deity XNOYBI , accompanied by that extremely frequent magical 
 symbol, the barred triple S, the meaning of which is unknown. 
 
 N 12. CHNUPHIS, lion-lieaded, with three-rayed crown (/.). 
 
 Ohv.: Standing on twice-coiled tail ; in upper field, 
 XNOYBIC. Rev.: Barred triple S. 
 
 Grey Chalcedony ; ov. 5x4. Gold ring. Constanti¬ 
 nople, Ain.: 1878. 
 
 A poor specimen on dull grey chalcedony ; bought at the outset of my 
 collecting period. 
 
 ( ) 
 
N 13. CHNUPHIS, with twelve-rayed crown, standing on a 
 cista (/.). 
 
 OMk: Lion-headed serpent, erect, tail in double coil ; 
 on either side, ANOX XNOYBIC, Round held, CEMEC 
 (E)IAAM and rirANTOPHKTA BAPiAl<|>ICTA. Rev.: Triple 
 S, barred Z, double cross, each thrice. 
 
 Chalcedony; ov. cx. 5I X 4|. Gold swivel. Fwh.riSyS. 
 
 The serpent here “stands upon the circular cista, whence his repre¬ 
 sentative used to emerge at the Ophite Eucharist.” (King, Gnost., p. 235.) 
 He declares his name in the legend ANOX XNOYBIC, I am Chnuphis ; 
 while the other legends:— C€M€C [€]1AAM, the Everlasting Sun, 
 and rirANTOPHKTA BAPI/M<|>ICTA, proclaim his nature and 
 functions. The reverse is strongly fortified with magic, bearing those potent 
 signs the triple S, the barred Z, and the double Cross, each thrice repeated. 
 
 This gem is on a pale chalcedony. Wrongly, perhaps, I have always 
 suspected it, something in the engraving having too modern an air. 
 
 N 14. CHNUPHIS, lion-headed, with seven-rayed crown (/.). 
 
 06 v.: Head in profile, body in large single coil, tail 
 pendent. Rev.:ZOPOP MOP<|)€Pr APMAP BIOVMIPIXTE. 
 
 Plasma ; oct. 3 x 2^. Silver swivel. Monti^nv Coll. 
 (Lot 573) : 1887. 
 
 On a very small octagonal plasma. The reverse bears an inscription of 
 four words. Of these the first three are identical—allowing for variations 
 in spelling—with the words beginning the legend so often occurrent on 
 talismans of the “ Mystic Vase ” type, which fall to be afterwards considered. 
 
 N 15. CHNUPHIS, lion-headed, with nimbus and seven double 
 rays (/.). 
 
 Erect, standing on tail point, body in two flat curves. 
 On bevel, rirANTOP(H)KTA XNOY(BIC). 
 
 Green Jade ; ov. lex. 4x3- Gold ring. Constanti¬ 
 nople, Ain. : 1878. 
 
 The material seems to be jade, of a pale green hue. 
 
 ( 147 ) 
 
 T 2 
 
N 16. CHNUPHIS, uncoiled, lion-headed, with twelve-rayed 
 crown (A). 
 
 Obv.: Nearly straight, standing on point of tail. Rev. 
 (set uppermost in ring): Barred triple S, round which, 
 
 COPOOP MEP<|)EPI APBAPMA <|)PIOVPir Z. 
 
 Brown Chalcedony ; ov. cx. 5^ x 4* Gold ring 
 (French, negro-head stamp). Fwh. : 1879. 
 
 T he serpent on the obverse is in no way remarkable, except in being 
 uncoiled. The well-cut inscription on the reverse is the formula referred 
 to under N 14, which will be dealt with further on. 
 
 N 17. ISIS-DEMETER, enthroned and holding a casket (r.). 
 
 Diademed, robed, seated on throne with high orna¬ 
 mental back ; right hand across body, left hand upon 
 knee, holding flat cylindrical basket. In r. field, lAlHEVX : 
 reading direct from stone. (MHEAX : direct from 
 impression). 
 
 Green Jasper ; ov. 6 x 4|- Gold ring. Fwh. : 1878. 
 
 [Plate XIII.] 
 
 A large majority of Gnostic or talismanic gems deriving their origin 
 from Egypt, it is not surprising that the great goddess Isis, whose 
 worship became so prevalent, both in that country and the whole Roman 
 Empire, about the time of the Christian era, should frequently occur as a 
 subject in the designs they bear. 
 
 Sometimes she is represented with her own peculiar attributes, but 
 oftener perhaps she appears in the guise of some other female deity whose 
 functions are mingled with her own, for, from some points of view, she is 
 the Universal Goddess, in whom is merged all divinity on the passive or 
 feminine side. 
 
 According to Apuleius, Isis says of herself:—“I am Nature, the 
 mother of all things . . . the Pessinuntian mother of the gods . . . the 
 Cecropean Minerva . . . the Paphian Venus . . . the Diana Dictynna 
 . . . the Stygian Proserpina . . . the old goddess Ceres . . . Juno . . . 
 Bellona . . . Hecate . . . Rhamnusia.” (Bonwick, Egyptian Beliefs, 
 P- I 45 -) 
 
 'I'he present intaglio, roughly engraved, belongs to a type not very clearly 
 
 ( 148 ) 
 
defined, but the robed, diademed, and enthroned female figure, accom¬ 
 panied by a mystical inscription, may well represent Isis in the character of 
 Demeter, great Mother Nature. On her knee she holds a casket; this is 
 the chest stored with mysterious objects which was carried in the processions 
 of Isis worship. The inscription is inexplicable, whether read IaIHEVX 
 from the stone or MHEAX from the impression. 
 
 No definition of gems of this type is to be found in King’s books, nor, 
 to the best of my knowledge, elsewhere. [See King’s Gnostics, pi. iv, 8, 
 p. 210, for a somewhat similar design.) 
 
 N 18. ISIS-DEMETER, enthroned (/.). 
 
 Female figure (/.), hair in diadem, seated on un-backed 
 cross-barred chair ; robe across left shoulder, round waist, 
 and falling over legs ; left hand resting on throne ; right 
 shoulder bare, hand forward holding bowl or casket, 
 beneath which, on field, object like crux ansata, with its 
 circle snake-formed. Round field, AAMDNIKDE. 
 
 Green Jasper ; ov. 5x32* Silver swivel. [Cyprus.] 
 Lawrence-Cesnola Coll. (Lot 546) : 1892. 
 
 This intaglio on green jasper also seems to represent Isis in her charac¬ 
 ter of Universal Mother. She likewise holds a casket, and beneath it 
 appears an object like a crux ansata with its circle formed by a coiled 
 serpent. The design is better than the execution. The legend is very 
 distinctly inscribed. 
 
 N 19. ISIS, with ANUBIS and a Worshipper (/.). 
 
 Isis standing fr. head /., with vulture cap and lotus on 
 brow ; wearing tunic over long drapery ; left hand down, 
 holding situla ; right hand forward, grasping outstretched 
 right hand of beardless man (r.) kneeling on right knee, 
 hair in diadem, wearing tunic and short chiton. Behind 
 Isis, Anubis, in short chiton, standing /r., his jackal-head 
 /.; holding a palm-branch in right hand, and in left a 
 
 (-'149 ) 
 
square-headed caduceus. In field, behind worshipper, 
 BE, and behind Anubis K (or R) and F (or E). 
 
 Plasma ; ov. lex. Gold ring (French). Fwh. : 1890. 
 
 [Plate XIIL] 
 
 Remarkably pretty in design, and far beyond the common in execution. 
 Isis, a dignified robed figure, with \ ulture cap and lotus on brow, extends 
 a gracious hand to a worshipping man who kneels before her ; at her back 
 stands the jackal-headed Anubis, holding in one hand a palm-branch and in 
 the other a caduceus. The inscription—a reward—seems to indicate that 
 this gem is the token of an honourably completed initiation, through which 
 the neophyte has secured the protection of the great deities, throughout his 
 life on earth and its continuance after death. 
 
 N 20. ISIS, supporting the head of the infant HARPO- 
 CRATES (/.). 
 
 Obv.: Long-robed female figure, with scarf in loop and 
 streamer, kneeling (/.) on edge of flat object (bowl or 
 casket .?) ; head in profile and crowned with four long 
 leaves spread fan-like upwards ; her arms forward, sup¬ 
 porting head of a naked boy, seated (/.) before her, his 
 hands on his knees, a sphere on his head. Bezel: 
 €AIPAAI0VONOM€NeP<*>€IBlAlH. Rev. : IA€HIaIBA<|)- 
 P€N€M<l>HNO©IAAPIKPI<l)IAMlV€AI<l)IPK. 
 
 Mottled Green Jasper ; ov. 5x4. Silver swivel. 
 Athens, Rhp. : 1897. 
 
 The design is unusually graceful and attractive; unfortunately the 
 engraving of it cannot be highly praised. The mother-goddess, robed 
 and crowjied with lour long and slender leaves, kneels on a large casket 
 and leans tenderly forward, placing her hand on the head of a naked boy, 
 disc-crowned, who sits before her on the casket. He, no doubt, is 
 Harpocrates, the delicate new-born sun or the vernal period of the year ; 
 the allegory may be that the innate powers of nature are called upon to 
 assist the solar power under circumstances such as these. 
 
 'The reverse and bezel both bear long Coptic inscriptions, undivided 
 and unintelligible. 
 
 ( 150 ) 
 
N 21. ISIS-HATHOR, crouching, her hands resting in her 
 lap (/r.). 
 
 Obv.: Naked, hair long and straight; almost sitting, 
 both knees bent, left turned in. Round margin, OM<l>AAH. 
 Rev.: A springing antelope (/.). 
 
 Red Jasper ; ov. 5x4* Gold swivel. Constantinople, 
 Ain. : I 878. 
 
 This naked female figure, very coarsely cut, belongs to the occulter 
 worship of the feminine or passive principle in nature, as evidenced both 
 by the attitude and by the inscription. In King’s Gnostics there appears a 
 figure of similar type, which he describes as :—“ Athor seated with her 
 legs extended” (p. 220 ; pi. ix, 2). 
 
 "Such designs bear a relation both to the subject of the “Mystic Vase ” 
 and of Hathor as Aphrodite Anadyomene. In the British Museum 
 Gem Catalogue, No. 189 shows Hathor displayed, with the inscription 
 AP(jOPI4>PACI OPOPIOV0, and No. 333 gives Hathor raising her 
 leg, with the inscription A€TO OPU)PIOV0 €IA€C. On its reverse 
 is a globular object with wavy rays proceeding from its circumference. 
 I'he present gem bears on its reverse a springing antelope, always a 
 nocturnal and lunar animal in ancient mythologies. 
 
 N 22. ISIS-HATHOR, as Aphrodite, fastening her sandal (/., 
 btf. r.). 
 
 Obv.: Standing nude, right leg raised, right hand 
 touching heel, left hand dropping four small objects— 
 cross, crescent, and two iron nails (.f*). Rev.: APOPO<I>- 
 PACIC. 
 
 Lapis Lazuli ; ov. 4 x 2|. Gold swivel. Sch. : 1880. 
 
 Aphrodite nude to the waist, her right leg upraised and her right hand 
 brought to the heel, as if fastening her sandal, though some other action may 
 be intended. The action of the left hand has evidently some talismanic 
 meaning. Very rudely engraved. 
 
 ( 151 ) 
 
N 23. ISIS-HATHOR, as Aphrodite Anadyomene, uplifting her 
 tresses ( /K, r.). 
 
 Obv.: Nude to waist, standing with raised arms, on 
 which circlets above elbow, uplifting tresses. Rev.: 
 
 APPIAIPP<|)PACIC. 
 
 Green Jasper; ov. 6J,X4o. Silver ring. Athens, 
 1881. 
 
 In no way remarkable. From her waist downward the rather grace¬ 
 fully designed goddess is lightly draped. 
 
 N 24. ISIS-HATHOR, as Aphrodite Anadyomene, standing 
 beneath a star and a crescent (/K, r.). 
 
 Obv.: Nude, standing with raised arms uplifting tresses ; 
 in upper /. field, eight-rayed star (sun) ; in upper r., 
 crescent, points inward. On bevel, AAX0EN llAiPOnPHPI 
 AMAPZA KAIaHIAKEPPA. Rev.: The Seven Planetary 
 Genii^—Osiris (Sun) ; Hathor (Venus) ; Pallas (Mars) ; 
 Demeter (Moon) ; Ass-headed God (Saturn) ; Khem- 
 Amun (Jupiter) ; Anubis (Mercury)—arranged in two 
 perpendicular rows of three on either side, with Anubis 
 [hd. /.) in lower centre. 
 
 Lapis Lazuli ; ob. bev. yb x 6. Gold swivel. [Hahn 
 Coll., Hanover.] Sch.: 1879. [Plate XIIL] 
 
 Without being finely engraved, this unquestionably ancient intaglio 
 far surpasses most of its class both in workmanship and design, is rich and 
 uncommon in the subject of its reverse, and may be viewed as compara¬ 
 tively valuable. A nearly exact replica of it is figured by Matter, taken 
 from Molinet’s “Cabinet de Sainte Genevieve;” the material is not stated. 
 I'he inscription is identical. (Matter, Hist, du Gnost., p. 86 ; pi. vii., 4.) 
 
 I do not know whether the Sainte Genevieve Collection still exists ; 
 if not, my gem may be the very gem referred to by Matter, who describes 
 its subject as “ Venus Helene ou Ennoia, type de I’ame humaine . . . 
 ramenee par le Sauveur a sa purete primitive.” 
 
 ( 152 ) 
 
On the reverse appear the seven Planetary Genii—Osiris (Sun), 
 Isis-Hathor (Venus), Pallas (Mars), Demeter (Moon), Set, ass-headed, 
 (Saturn), Khem-Amun (Jupiter), Anubis (Mercury)—arranged in two 
 perpendicular rows of three on either side, with Anubis between them in 
 the lower centre. These figures are all in Roman costume. According 
 to the Ophites, the names of these genii are as follows :—^Adonai (Sun), 
 lao (Moon), Eloi (Jupiter), Sabao (Mars), Orai (Venus), Astaphai 
 (Mercury), Ildabaoth (Saturn). The soul on its way to the Infinite 
 had to pass through the regions of the planets, each ruled by its own 
 genius, beings somewhat material and therefore malignant. To obtain 
 leave to traverse their domains a form of prayer was prescribed in each 
 case. {See King, Gnost., p. 88.) 
 
 Mr. Schmidt, from whom I bought this gem, informed me that it 
 came from the Hahn Collection, about which I know nothing, except that 
 it seems to have been chiefly or entirely Gnostic. 
 
 N 25. ISIS-HATHOR, as Aphrodite Anadyomene, standing 
 beside a Man-headed Hawk {fr.). 
 
 Obv.: Nude, hands raised lifting tresses; hawk (r.) 
 standing in profile, its male human head crowned with 
 sphere, flanked in field by two seven-rayed stars. On 
 cartouche in exergue, XPAXNOM. Rev.: CiAl©IC CIT 
 XNOYM. 
 
 Haematite ; ov. 9 X 7 (^. edge broken, lower/, chipped). 
 Silver swivel. Spratt Coll. (Lot 23) : 1888. 
 
 Isis in the graceful guise of Aphrodite, fresh risen from the sea and 
 lifting up her dripping tresses. Here she is nude, but in various other 
 examples she is fully or partly draped, though her attitude is the same. 
 On this large and clearly, but very coarsely, engraved haematite she appears 
 standing beside a manheaded hawk, who is crowned with a disc, above 
 which in the field are two seven-rayed stars. A human soul is frequently 
 thus represented in Egyptian art; in this case the figure may be intended 
 for some solar deity. 
 
 The unexplained word XPAXNOM is Coptic no doubt. The 
 inscription on the reverse I believe signifies—“ Sothis the abode of 
 Chnoum.” Sothis is the Egyptian name of Sirius, the dog-star. Khnoum, 
 or Khem, is generally a ram-headed god, and is the same as Khnuphis, or 
 verv closely allied to him. Hathor—otherwise Maut or Sate—is his 
 wife or female half. The deity Isis-Sothis was often invoked. {See 
 Bonwick, Egyptian Beliefs, pp. 103, 313.) 
 
 ( 153 ) 
 
 u 
 
This talisman came from a small collection of gems formed by the 
 late Admiral Spratt, who informed me, in conversation, that when he was 
 stopping at one of the Greek islands, during a cruise in the Mediterranean, 
 a peasant showed him a large intaglio bearing the figure of Venus, but so 
 encrusted with some lime-like deposit that its merits were hardly discernible. 
 Its owner, notwithstanding, put an extravagant price on it, and the 
 Admiral determined to let it pass. Subsequently regretting his decision, 
 he sought and found the peasant on his next visit to the island and 
 secured the gem, which, after the removal of the incrustation, proved to 
 be not only a fine intaglio, but remarkable as apparently representing that 
 celebrated statue the Venus of Milo. Admiral Spratt wrote and printed 
 a paper upholding that view, but the attribution seems to be doubtful. I 
 have forgotten what became of this gem when the collection was sold, 
 but, if I rightly remember, it fetched no very high price. 
 
 N 26. ISIS-HATHOR, as Aphrodite Anadyomene, approached 
 by Ares (/r., r.). 
 
 Obv.: Goddess, modius on brow, standing nude, up¬ 
 lifting tresses with both hands ; Ares (/.), advancing, 
 helmeted and armoured ; hands on sides, upholding a 
 horizontal serpent. In exergue, OHHH HHHO. Rev.: 
 APUJPI4>PACI. 
 
 Haematite ; ov. 7x5. Silver ring. Mayer Coll. (Lot 
 344): 1887. 
 
 This figure, of which we have considered several examples, has been 
 generally supposed, when it appears in Gnostic gems, to represent Sophia- 
 Achamoth, for it was under that form that the Supreme Tetrad brought 
 down Truth from heaven to display her to Marcus, the apostle of the 
 Marcosianae, as he describes it in his “Revelation.” {See King, Gnost., 
 pp. 38,211.) 
 
 The word on the reverse of the present gem—variously spelt 
 
 APWPI<j)(!>ACIC, APPWPP<l)PPACIC, AP0P"0<l>PACIC— is said 
 
 to signify “the manifestation of Aroriph a name which perhaps bears 
 relation to Aror, a designation of Horus. In the case before us probably 
 no religious meaning is involved, and Aphrodite is collocated with Mars 
 merely to form a potent talisman for procuring love or averting misfortune. 
 Mars, it may be noted, was the special protector against diseases of the 
 liver. {Ibid., p. 206.) 
 
 The inscription in the exergue affords no clue. The workmanship is 
 no better than usual. 
 
 ( 154 ) 
 
N 27. ISIS-HATHOR, as Aphrodite, with an Ophite worshipper 
 and Eros (/.). 
 
 Obv.: Draped female figure in cippus, right hand to 
 mouth, left holding head of serpent coiled round body ; 
 before her, naked male devotee (r.) dancing and holding 
 serpent overhead ; behind him, winged Eros, standing 
 (r.) holding upright and horizontal rods, both serpent- 
 twined. In centre, between goddess and devotee, A<I>Ia!PI 
 nilAl<|)|C AXMI BOVBACTI XAPI XAPI KVOPI XAPI VAPI 
 XAPI. Behind Eros, HAH. Round margin, UP^fllC 
 WAAET FVA AZIAPAX0 . . . AXAPAZANE IXAPON . . 
 llvr:A<t)XZ Y>iBn. Rev.: On bevel, AEEHHHII IAaAAA . 
 AA. Ill . . 
 
 Chalcedony ; lenticular, ov. x sh' Silver swivel. 
 
 Montigny Coll., 1887 (Lot 580). Wtr. : 1888. 
 
 [Plate XIIL] 
 
 The Ophites were a sect of Gnostics which arose about the middle of 
 the second century a.d. In their original scheme Ophis was a genius 
 sent by Sophia-Acnamoth—the daughter of Sophia, the Divine Wisdom— 
 in the form of a serpent to induce man (Adam) to eat of the Tree of 
 Knowledge, in order to defeat the malevolent schemes of her son Ildabaoth, 
 the creator, and afterwards the enemy of mankind. 
 
 In course of time the Ophites divided into two sects, the newer viewing 
 Ophis as hostile and malignant, while the older sectarians, retaining the 
 Egyptian veneration for the Agathodaemon, the Chnuphis serpent, 
 regarded Ophis as identical with Sophia-Achamoth, or with Christos. 
 They employed a live serpent to encircle and consecrate the loaves to be 
 partaken of in their Eucharistic Supper. {See King, Gnost., pp. 31, 32.) 
 
 T'he present gem evidently belongs to the latter class, for it represents 
 a scene in which the serpent holds a principal and honourable place. The 
 figure on the pedestal, as the first word in the inscription shows, is none 
 other than Isis-Hathor, and she is receiving worship from a naked devotee 
 who dances before her holding a serpent above his head, while, behind 
 him, Eros uplifts a serpent coiled upon a pole. 
 
 It is a remarkable gem, most probably unique. In spite of the 
 roughness of the workmanship, the general effect is rich, owing to the 
 numerous figures and inscriptions that crowd the surface. On a convex 
 white chalcedony. 
 
 ( 155 ) 
 
 u 2 
 
N 28. ISIS-HATHOR, as Aphrodite, typifying the three-fold 
 Aloon (yf., /.). 
 
 Head profile, diademed ; standing, nude ; left hand on 
 lower body ; right arm extended, hand open. Round 
 margin, SSATREN ISA BIN ICIVNASI (last letter between 
 feet of goddess). 
 
 Sard ; ov. 3 x 2|. Gold ring. Fwh. : 1886. 
 
 On sard, somewhat more carefully cut than usual. The figure stands 
 entirely nude, her left hand covering the lower part of her body. The 
 long inscription seems to relate to Isis as representing the moon in its 
 three-fold aspect—waxing, full and waning. Isis is the moon, or the 
 earth fecundated by water, the issue of Osiris. 
 
 The inscription seems to read ; Isis three-fold, Isis two-fold, Isis one. 
 In the third instance Isa is changed to Isi to obtain the single line in the 
 letter I. For the three-fold Isa the A is formed in three lines, for the 
 two-fold Isa it is in two lines only. The S in the Isi preceding Una is 
 form.ed as C (unlike the rest) to symbolise the moon’s crescent. The unity 
 of the goddess appears in the single figure and the single letter I between 
 her feet, also in the single raised thumb of her outstretched right hand. 
 T.'he trinity is shown in the conjunction of the left arm and hand with the 
 legs, suggesting the triquetra moon-symbol, and more plainly in the joined 
 three fingers of the outstretched hand, the fifth being nearly hidden. 
 
 'The name Isis is found in many various spellings—Isa, Ida, Ila, Misa, 
 Sisis, &c. 
 
 N 29. ISIS-HECATE, in triple form, holding serpents, swords, 
 and torches (/r., r., /.). 
 
 Ohv.: Three female figures united, each in long drapery 
 and crowned with modius. Central figure holds two 
 downward serpents ; the others, respectively, two upright 
 swords and two upright torches ; in upper field, an up- 
 pointed crescent and an eight-rayed star. In exergue 
 an inscribed tablet. Inscription to /. ol figures, APAfO 
 l/JPAI PEtXEiP AAX0EN EBOVH rirANTOPHKTA XNOVIaIP 
 ABPACAZ XlAiPXl/MP BOVBAIlAlXNEMEINE. Inscription to 
 r. of figures, IaIPH . . AAPO . . EIEV . . . VElAlEI€ . ICPIAICI : 
 
 ( 156 ) 
 
CI<I>EPMCVX©ENNBI1a1MAXNP KOMBEA AXPIX0IA1N. On 
 tablet, MACKEMAI MACKEM1AI0HN OV KENTAP AIaIOIE 
 O BAPZA rPAV<l>MA OV OfOVNH. Rev.: Four-winged 
 deity, standing on a lion (nearly effaced) ; towards /., 
 male figure, with equine head and female bosom, carrying 
 water-bucket ; towards r., similar figure (nearly effaced). 
 Round field, remains of an inscription. 
 
 Haematite; ov. 13I x 9- Silver swivel. Londesborough 
 Coll. (Lot 100). Mir. : 1879. [Plate XIIIJ 
 
 Isis, again as the moon-goddess in a three-fold aspect, but here repre¬ 
 sented as a ruler of the Nether World “Terret, lustrat, agit, Proserpina, 
 Luna, Diana.” Isis, indeed, as we have seen, was held to include all 
 goddesses in herself, under every name and title. An ancient inscription 
 found at Capua declares that she is one and all things:—“Tibi unaque es 
 omnia dea Isis.” (Bonwick, Egyptian Beliefs, p. 145.) 
 
 She wields serpents, torches and swords, to scare away the demons 
 combated by her consort Abraxas. [See King, Gnost., p. 202.) 'Fhe 
 immensely long inscriptions in the field have not been translated, but some 
 of the words are recognisable. 
 
 On the right of the goddess the first part of the text is damaged. On 
 a tablet in the exergue is a legend protective against the “Centaur,” the 
 Night-mare, and some other evil influences designated “ Ogounx.” [See 
 N 5«-) 
 
 The figure on the reverse is probably the chief Decanus of the sign Leo, 
 [see King, Gnost., p. 215 ; pi. vii, i.), and towards the left is a male figure, 
 with a horse’s or jackal’s head and female bosom, who carries a water-bucket. 
 In King’s Gnostics (p. 222 ; pi. x, i) we have an example of a somewhat 
 similar personage (there termed Aniibis) who similarly possesses a female 
 bosom on a male body. Another figure occupies the other side, but, as well 
 as a long inscription in the field, it is defaced beyond recognition. 
 
 "I'he engraving of this large haematite is as coarse as usual, and has 
 suffered much from abrasion, ff'he inscription might prove interesting if 
 translated. 
 
 N 30. A PRIESTESS, holding a leafy branch [fr. /.). 
 
 Ohv.: Female figure, standingyf., head /., wearing long 
 drapery, and left hand holding up end of scarf passing 
 round legs below hips ; on her head a veil falling over 
 
 ( 157 ) 
 
left arm and shoulder, nearly to ground. Her right hand 
 downward, holding a downward branch, double-forked, 
 with ten small leaves. Round margin : C©€N€X€C 
 COV0IC. Bezel: Ce6N€X€ COV0IC. Rev,: PIN0 AION- 
 VCION QPA. 
 
 Green Jasper ; ov. 5I x 4 (broken across and mended). 
 Silver swivel. Athens, Rhp. : 1897. 
 
 Whether in design or execution, this gem is superior to most of its class, 
 the robed and veiled priestess being a dignified and graceful figure. The 
 accompanying inscriptions are divided into words and may perhaps be 
 susceptible of translations. Round the margin we read :— C0€NEX€C 
 COV0IC, and the same is inscribed on the bezel. COV0IC is 
 equivalent to CU)0IC, which we have already met with in N 25 ; as 
 there stated, it is the Egyptian name for Sirius, the Dog-star. On the 
 reverse is the legend:— pIn0 AIONVCION OPA, in which the 
 central word plainly connects the subject with the rites of Dionysos. 
 
 N 31. VICTORY, placing a gift on a portable altar (r.). 
 
 Obv.: Profile, hair in diadem, wearing long and short 
 tunics ; standing, wings downward, top of left wing 
 forward ; with both hands depositing gift. Altar, five- 
 barred pole, with tripod base. Rev.: IAIaI CABAIaI ABPACAH. 
 
 Onyx-Agate, banded white ; ov. 6^ x 4- Silver ring. 
 Montigny Coll. (Lot 557) : 1887. [Plate XV.] 
 
 Were it not for the inscription on the reverse there would be no reason 
 for classing this intaglio with Gnostic gems. The design is fairly good, and 
 the engraving seems to be entirely in point-work, imitating archaic 
 methods. The stone itself is pretty—a very black onyx-agate banded with 
 white. 
 
 N 32. PSYCHE, bust of, with small dove-like wings (/.). 
 
 Obv.: Head in profile, olive-wreathed ; roll of hair on 
 brow, drawn up and fastened at back ; left shoulder and 
 
 ( 158 ) 
 
bosom bare. Round field, ... NO'4'XUKE A. : 0OMKP 
 (r<l><l>. . , and TPAHE IXMH<1>_ 
 
 Onyx (pale) ; ov. cx. x 5 (upper r. lost). Gold 
 swivel. Constantinople, Ain. : 1878. 
 
 This pleasing little intaglio is so superior in style to most gems of the 
 Gnostic tribe, that one could hardly class it with them were it not for the 
 Coptic inscriptions that appear on both its faces—imperfect owing to a 
 fracture, which happily has not affected the graceful bust which forms the 
 whole design. 
 
 N 33. MYSTIC VASE, with central omphalic sign (/K). 
 
 Obv.: Inverted ; on six-legged stand, handle on /., up¬ 
 right lines from r. side meeting in point; hoops round 
 vase’s neck and mouth ; proceeding from rounded base 
 (placed upward), seven serpentine jagged lines ; in centre, 
 short straight boss, resembling a handle loop. Rev.: 
 OPlAiPIOV^. 
 
 Hematite ; ov. 4^ x 3|. Silver swivel. Montigny 
 Coll., 1887 (Lot 574). Wtr. : 1888. [Plate XIV.] 
 
 We have now arrived at a class of talismanic gems of frequent occurrence 
 and very fully represented in this collection—a class of strange and 
 mystical design ; whose object and meaning, however, are sufficiently 
 plain, though erroneous theories regarding their character, originally put 
 forth by Matter and other learned writers, have gained large acceptance 
 and appear to be still influential in the nomenclature of ordinary catalogues. 
 
 In their simplest form these gems exhibit a globular vase, generally 
 ovoid but sometimes rounder and flattened, which is placed mouth down¬ 
 wards on a low table with several plain vertical legs. From the bottom of 
 the vase, which is set uppermost, two serpents usually extend horizontally 
 to either side ; and from the mouth a stream of water rushes forth on one 
 side, above what appears to be a sort of handle projecting from the base of an 
 outer leg of the table. This handle is very plainly shown in No. 294 of 
 the British Museum Collection, the mouth of the vase being in that case 
 set uppermost. Sometimes the vase is marked with a central spot, and 
 other variations are common. Invariably, or nearly so, the reverse bears 
 the inscription OPU)PIOV0, or OPOPIOV0, said to be an invoca¬ 
 tion of the great sun-god Horus. Of eighteen specimens of this class in 
 
 ( 159 ) 
 
the British Museum Collection thirteen are inscribed “ Ororiouth,” two are 
 uncertain, and three are without it. In my collection of these gems, 
 numbering thirteen, there is only one exception. 
 
 In the more elaborate examples three or four figures of deities stand 
 upon, or above, the horizontal serpents that proceed from the upturned 
 bottom of the vase, and in these cases one oftens finds a certain long 
 formula—very variously spelt and more or less varied in the wording— 
 encircling the composition, which itself is generally surrounded by the 
 serpent with its tail in its mouth, the sign of Eternity, implying relations 
 with the higher world. 
 
 Following his usual method. Matter assigns an elevated religious 
 significance to these designs. In his view the vase is no less than the 
 “Vase of Sins,” the receptacle in which the Egyptian placed the entrails 
 of an embalmed corpse, which was held up before the gods, with depre¬ 
 catory prayer, as containing the cause of all the sins committed by the 
 deceased during his life, and therefore the sole portion of him deserving 
 punishment. The whole scene is accordingly termed by this writer a 
 “ Pyschostasia”—the weighing for final judgment of a soul which has 
 commended its interests to the care of the deities exhibited in the design. 
 But, as King remarks in his Gnostics (p. 111), this display of the sin-bearing 
 vase would be a most unlikely subject to figure on an amulet designed to 
 attract the favour of the heav enly powers. Nor do the older writers fa\'Our 
 Matter’s theory—r.^., “ Mercurius . . . supra canales binos vasis Nilotici ” 
 (Chiflet, Tfr7r(7r/7 Abraxas, lOO). “Vase du Nil ” r/^ Gorlee, 
 
 Lamy, ed. 1778 ; vol. ii, 12 ; pi. cevii). 
 
 Fortunately a specimen exists, has long been on record [see Montfaucon, 
 Vol. ii., part ii ; p. 372 ; pi. clxviii), and may be seen among Matter’s 
 own illustrations [Hist, du Gnos., pi. ii‘=, 4), which bears a decipherable 
 inscription that places the use and meaning of these amulets beyond a doubt. 
 On its obverse in a Coptic inscription (not otherwise read) the proper 
 name “Stratinna” appears, and on the reverse we find, in barbarous Greek, 
 the legend:—“Tasson ten metran tes deina eis ton idion topon O ton 
 kuklon tou eleiou : Place the womb of such and such a one in its proper 
 place O thou Circle of the Sun.” Obviously a general am.ulet or prophylactic 
 against “prolapsus uteri” and other feminine ailments, given a particular 
 application, after its purchase, to a woman named Stratinna. The word 
 Mi]Tf)i,K 6 v, uterine, occurs on other examples of the Vase talisman with a 
 similar meaning. The “Circle of the Sun” is the navel, which marks 
 the natural position of the organ in question. 
 
 Isis, the peculiar goddess of maternity, is often figured as holding 
 aloft a conical object, flattened in front and exhibiting a triangular orifice, 
 “. . . [not an udder nor a persea plum] . . . simply the female uterus.” 
 (King, Gnost., p. 222.) A vase of the class now before us might therefore 
 be properly termed a Metrikon, but I have preferred to adopt the more 
 generalised title—a Mystic Vase. 
 
 Thus far I have followed King, but there are details, on which he offers 
 no guidance, that seem to lead one a little further. What, we may ask, is 
 
 ( i6c ) 
 
that stream of water that issues from the vase ; what is the use and meaning 
 of the handle attached to the horizontal table which the vertical legs 
 uphold ? Why, also, are those legs so numerous and so invariably of the 
 same pattern ? 
 
 I can find no certain answer, but am inclined to think that some sort 
 of filtering apparatus is intended, some process through which the leverage 
 of the handle forces the sacred Nile water through tubes beneath the vase, 
 in which it receives purification before entering the metrikon, circulates 
 through it, and finally gushes forth in a clarified and holy production. 
 The serpents above, which extend from the upturned bottom of the vase, 
 have doubtless some mystical value, and in the parallel representation of 
 Chneph or Canopus as a human-headed vase, used for purifying the Nile 
 water, we often find two asps placed upon either side. {See King, Gnost., 
 p. 8g.) But it must be noted that the serpents above the metrikon are not 
 always present, their place being sometimes occupied by plain horizontal 
 lines, and sometimes by irregularly waving short lines proceeding in various 
 directions and rather suggestive of flames than of serpents or of jets of 
 water. 
 
 Isis in one of her characters was the Earth fecundated by the waters of 
 the Nile, hence water, as the issue of Osiris, was carried in a vase in her 
 processions. {See King, Gnost., p. 42.) On the Stratinna stone, Isis, 
 Chneph the Agathodaemon, and Phra the hawk-headed sun-god, are the 
 deities who stand above the uterine vase. 
 
 It is remarkable that King, in his book dealing so copiously and almost 
 exhaustively with Gnostic and Talismanic subjects, does not furnish a single 
 illustration of the present class. Yet few are more common; for, as 
 remarked above, there are thirteen in my own collection (and might have 
 been more) and in the British Museum there are eighteen known to me, 
 and probably others unnoted. 
 
 The intaglio at present under view is one of the plainer class, exhibit¬ 
 ing only the metrikon, and its own special adjuncts. But few of these gems 
 are absolutely identical, and this one is not without its peculiarities—the 
 omphalic mark is larger than usual and strangely formed like a loop or 
 handle ; the handle of the lever is also looped ; the water-jet issues upwards 
 in two jets ; and, in place of the two serpents above, a number of short 
 wavy lines proceed from the bottom of the vase and form a sort of tangle, 
 either of snakes or of flames of fire. The reverse, as usual, bears the word 
 OPCOPIOV©. The material is the practically invariable haematite. 
 
 N 34. MYSTIC VASE, with omphalic centre and serpent 
 border (/r.). 
 
 Obv.: Inverted ; on six-legged stand, handle at /., and 
 an upward line from r. ; raised circle in centre of vase ; 
 from rounded base (placed upwards) three wavy lines 
 
 ( 161 ) 
 
 X 
 
conjoined below. A raised rim bordering outline of vase. 
 A coiled serpent border. Rev.: OPIaIPIOY© OPIaIPIOY©. 
 
 Brown Hsematite ; ov. hbz. 5x3* Silver swivel. 
 Fwh. : I 878. 
 
 An intaglio on brown haematite, of the same character as the preceding 
 but even rougher in workmanship. The body of the vase is here flat and 
 surrounded by a plain border ; in the centre a small circular coil forms an 
 omphalos. Three wavy jets proceed from the upturned bottom, and a 
 serpent, tail in mouth, encompasses the whole. 
 
 N 35. MYSTIC VASE, with seven-legged stand and serpent 
 border (Jr.). 
 
 Obv.: Inverted ; on seven-legged stand, handle at r. ; 
 from rounded base of vase (placed upwards) two serpen¬ 
 tine lines curving outwards ; from either side of mouth, 
 two straight, downward lines. A coiled serpent border. 
 Rev.: DPIAIPIDYB. 
 
 Haematite; ov. 4^ x 32- Silver swivel. Athens, Rhp. : 
 I 880. 
 
 A very poor specimen, devoid of interest. 
 
 N 36. MYSTIC VASE, with undulated streams falling from its 
 mouth (yV). 
 
 Obv.: Inverted ; on seven-legged stand, handle at r .; 
 from rounded base (placed upwards) two serpentine lines 
 curving outward ; from either side of mouth two undu¬ 
 lated downward lines. A coiled serpent border. Rev.: 
 
 OPIaIPIOY©. 
 
 Haematite ; 4^ X 3 (margin much chipped). Silver 
 mount. 2nd Short Coll. (Lot 74) : 1891. 
 
 Without any special interest. 
 
 ( 162 ) 
 
N 37. MYSTIC VASE, beneath Isis and another Deity [fr.). 
 
 Obv.: Globular vase, inverted, on stand with long barred 
 handle at r. ; from upturned base of vase two double- 
 curved serpents (r. and /.) ; standing on which, robed 
 goddess (/.) facing vestiges of defaced figure ; in field, 
 remains of letters. Rev.: OPIaIPI^V^. 
 
 flasmatite ; ov. 4 x 2. Gold ring. Fwh. : 1878. 
 
 A small and much-worn intaglio. The robed figure of Isis is fairly 
 distinct, but the other figure has been nearly obliterated. 
 
 N 38. MYSTIC VASE, beneath Isis, Anubis, Chnuphis, and 
 Harpocrates {Jr.). 
 
 Obv.: Globular vase, mouth down, on six-legged stand 
 with barred handle at r.; from body of vase three wavy 
 lines to /. and two to r. Standing above vase, modius- 
 crowned, robed goddess (r.) and jackal-headed mummy 
 (r.), facing lion-headed serpent (/.) and persea-crowned 
 mummy (/.) ; round all, a coiled serpent border. Within 
 circle of serpent, AEHIOVlAl ; round margin, l-DPODP 
 MEP<I>EPI APKAPMAP4)PmvPir3HHMZ. Rev.: DPiAiPIDVB 
 HHH2. 
 
 Haematite ; ov. x 5J. Gold swivel. W. Hunt : 
 1878. [Plate XIVJ 
 
 This is one of the best of its class ; of large relative size, engraved on 
 a beautiful silvery haematite, and in a style which, though of the usual 
 coarse wheel-work, is far superior to what is ordinarily found on gems of 
 this nature, the details and lettering being fairly careful and distinct. 
 
 I owe this specimen to Mr. William Hunt—a leading partner in the 
 Hunt and Roskell firm—for, knowing my interest in Gnostic gems, he 
 one day very kindly presented it to me, informing me at the same time 
 that it had been for some while in his possession, but saying nothing as to 
 its previous history. 
 
 It is remarkably full in every detail, and I know no more complete 
 
 ( 163 ) X 2 
 
example of the metrikon with all its adjuncts. On the horizontal lines, 
 which take the place of the two serpents that frequently proceed from the 
 upturned bottom of the vase, stand four figures of deities, whose presence 
 gives power to the talisman. 
 
 On the right of these—as seen on the stone—stands a swathed figure 
 crested with persea leaves, whom I believe to be Harpocrates, the rising 
 sun ; next to him is Chnupliis, the lion-headed serpent; after whom 
 Anubis, swathed mummy firsliion ; and finally Isis, fully draped, a modius 
 on her head. Encircling all is the serpent with tail in mouth, including 
 within its compass the seven vowels, A€HIOVU). 
 
 Round the margin comes the long Coptic inscription—already referred 
 to under N 33. The meaning has not been explained. OPOOP seems 
 to be an address to Horus ; the final F in <|>PIOVPir should be T, the 
 word thus corrected signifying “Sol Gustos,” a designation of the same god. 
 M€PI is “meridies, ”<t)€PI is “ prasclara,” “gloriosa.” (Tattam, Lexicon. 
 It is strange how often on these gems F is substituted for T in the word 
 <l>PIOVPIT. The same error sometimes occurs in other words.) The 
 reverse bears the usual formula, in this case followed, as also is the long 
 inscription, by three reversed N’s and a barred Z, doubtless with some 
 magical intention. 
 
 N 39. MYSTIC VASE, beneath Isis, Anubis, Ptah (.?), and 
 Osiris (.?) [fr^. 
 
 Obv.: Globular vase, flattened, mouth down, on seven¬ 
 legged stand with barred handle at r.; from mouth of 
 vase two straight downward lines to /., and one to r. 
 Standing on two horizontal waved lines from bottom of 
 vase, robed goddess, winged and modius-crowned (r.), 
 behind whom a serpent, and a jackal-headed mummy 
 (r.) ; these facing a persea-crowned lion-headed mummy 
 (/.), and a robed modius-crowned god. In field, under 
 goddess, lALJ (worn). Round all, a coiled serpent border. 
 On outer margin, five small lines, remains of an effaced 
 inscription. Rev.: OPIaIPIOY^. 
 
 Haematite; ov. 6 x 4I (top chipped). Gold ring. 2nd 
 Short Coll. (Lot 74) : 1891. 
 
 It is difficult to identify the four deities that crown the composition, 
 the engraving being very coarse and indistinct. 
 
 ( 164 ) 
 
N 40. MYSTIC VASE, beneath Isis, Ptah, and a Lion (/r.). 
 
 Obv.: Globular vase, mouth down, on six-legged stand 
 with handle at r. Standing above, on two wavy lines 
 from upturned base of vase, robed goddess, with raised 
 right hand (/.), between a straddling double-headed figure 
 {fr.) and a lion (r.). Round all, a coiled serpent border. 
 Within serpent circle, OPIaIPIOV© AEHIOVI/M. Round 
 margin (some letters doubtful), OPOOP MEP<I>EPI 
 APKAPMA <t>PIOVIPir Z<. Rev.: Much effaced. In centre, 
 globe, whence serpentine rays, around which scattered 
 letters, IE, A, I, H, €, V, Z, &c. 
 
 Haematite ; ov. 5| X 4^. Gold ring. Constantinople, 
 Ain.; 1878. 
 
 A rather good specimen on haematite. The protective figures here 
 consist of the dwarfish, bow-legged, persea-crowned Ptah—as Ptah- 
 Sokaris-Osiris, “ the Egyptian logos, the giver of life, the good god . . . 
 the latent germ to be developed in perfect beauty and fitness ” (Bonwick, 
 Egyptian Beliefs, p. 108)—on the left ; a lion—the sun-god’s attribute—• 
 on the right; and in the centre, with hand upraised, the fully robed figure 
 of Isis, on a slightly larger scale than the rest. 
 
 The radiated globe on the reverse is perhaps a type of the sun. 
 
 N 41. MYSTIC VASE,beneathOsiris,Ptah(.?), and a Lion (/r.). 
 
 Obv.: Globular vase, mouth down, on seven-legged 
 stand with handle at r. Above, on two wavy lines from 
 upturned base of vase, a robed god (/.), modius-crowned, 
 with raised right hand, and holding in left hand a twice- 
 barred sceptre (.?), standing between a straddling, naked, 
 male figure with crest of three upright feathers {fr.), 
 and a lion moving r. Round all, a coiled serpent border. 
 Round outer margin (some letters lost), AAEEVIAVl/M .... 
 AIEHIOVIaIVIAVIaIIHIaIE. Rev.: A nearly circular scarabsus, 
 with four in-turned claws and the head of a long-eared 
 
 ( 165 ) 
 
quadruped (ass or jackal ?). Beneath it, a globe, joined 
 to which a neck of three lines, whence radiate nine flame¬ 
 like lines, straight or jagged. Round all, OPI/MPIOV^. 
 
 Haematite ; ov. 6 x 4^- Gold ring. 2nd Short Coll. 
 (Lot 74) : 1891. [Plate XIV.] 
 
 On this haematite the design is less commonplace and the workmanship 
 somewhat better than on N 39. The central of the three figures above 
 the vase holds a dominant position. He seems to be Osiris. Behind 
 him appears a twice-barred handle-like object, resembling the handle 
 that is attached to the Vase. The animal on his left is probably a lion ; 
 on his right is a straddling naked figure with a crown of three feathers. 
 The Syrian deity Bes is thus represented, and may be intended here, 
 rather than Ptah, who sometimes takes that dwarfish embryo form. A 
 long inscription encircles the field outside the coiled serpent of eternity, 
 but it merely consists of an apparently meaningless repetition of vowels. 
 
 N 42. MYSTIC VASE, beneath four Deities; Ibis and Altar on 
 reverse {fr.). 
 
 Obv.: On low four-legged table, globular object, from 
 top of which two horizontal serpents ; above it, to /., 
 Chnuphis (r.) facing mummied Anubis (/.) ; and to r., 
 Isis (/.), long-robed, holding A above head of mummied 
 Harpocrates (.?). In field, IAIaI. A coiled serpent border. 
 Rev.: An Ibis (/.) standing back turned to cylindrical 
 altar, on table of which two square-headed nails (the 
 second cross-barred) meet in point with inner leg of an 
 open compass, other leg of which touches back of ibis. 
 In field, J + J. In exergue, OPUPIOY^. 
 
 Hematite; ov. 9x8. Silver swivel. Athens, Rhp. : 
 1880. [Plate XIV.] 
 
 This gem differs greatly in style and workmanship from most of its 
 class, though similar in the subject on its observe. It is large and circular 
 instead of oval, and cut on the haematite in a much bolder fashion ; besides 
 which, the treatment of the reverse is peculiar in the character of the 
 
 ( 166 ) 
 
details. There is a green jasper specimen in the British Museum 
 (No. 322) which is simitar in style. Its obverse gives Anubis, Chnuphis, 
 Isis, and Osiris standing above a very peculiarly-formed Vase—an oval 
 within another oval which forms a border ; the reverse bears the seven 
 vowels, and OPU)PIOV0, <IAU)>. 
 
 The Vase in the present case is circular and cushion-like, two jets 
 proceed from either side of the mouth, and from the bottom two well- 
 defined serpents form a standpoint for four deities;—Isis robed, holding an 
 open m.easuring compass above the head of the swathed Harpocrates, who 
 follows ; Chnuphis, lion-headed ; and Anubis, mummified. In the field 
 IA to, the whole within the circle of the tail-in-mouth serpent. 
 
 On the reverse stands an Ibis—an attribute of T. both, a moon-god, 
 sometimes figured as an ibis-headed man, the registrar of the decisions of 
 the great judge Osiris. 
 
 N 43. MYSTIC VASE, with Ass-headed Deity standing above 
 
 (/h.). 
 
 Obv.: Ass-headed male figure (the deity Set, or the 
 genius Onoel) in short tunic, standing (/K, /.), left hand 
 down, holding crux ansata^ right hand resting on grounded 
 winnowing-fan ; feet placed on round upturned base of 
 globular vase, set upon seven upright supports, at r. of 
 which a barred handle. From base of vase, two hori¬ 
 zontal serpents, and from left side of neck, two horizontal 
 lines. Round margin, OPIAIPIOV^ IAEHIaIE^V IVONHAl 
 OPI/MPIIa!^ ; within which, V0PABB HXIX. Rev.: Three 
 uncertain objects, within a coiled serpent border. 
 
 Hematite ; ov. 6 x 4. Silver swivel. Montigny Coll. 
 (Lot 579) : 1887. [Plate XIV.] 
 
 A rare and curious specimen—representations of the ass-headed god 
 being far from common on these gems—engraved as usual on haematite. 
 It is hard to arrive at any certain conclusion as to the name and functions 
 of this god. To Set or Sutekh, an ancient Egyptian deity, was assigned 
 an asinine head ; but though at times highly honoured, at other times he 
 was feared and hated and regarded as Typhon, the very principle of Evil. 
 As he was thus discredited in the latter period, approaching the date of the 
 present gem, one can scarcely suppose that he would be given an influential 
 place on a talisman intended to benefit its bearer. 
 
 ( 167 ) 
 
It has been suggested that Set was essentially a Semitic god worshipped 
 hy the Hyksos, and consequently disfavoured on their expulsion. “The 
 Hittites worshipped Ashtoreth and Set, the gods of the Syrians, Assyrians,and 
 Phoenicians . . . Set appears to have been identical with the Egyptian deity 
 of that name—the God of Night whose emblem was an ass with tail raised.” 
 (Anon. Correspondent, St. "James s Gazette [Date unrecorded— Ed.'].) 
 Undoubtedly it was believed in Rome that Yahveh or Jehovah, the Jewish 
 deity, had an asinine head; a notion transferred to the Christians, viewed 
 as a Judaic sect; of this an illustration is found in a rude drawing on the 
 wall of a vault in the Palatine, where beneath a man worshipping an ass¬ 
 headed figure on a cross, above whom appears the name lAtO, the words 
 ALEXAMENOS SEBETE THEON are roughly scratched, in ill- 
 formed Greek capitals. 
 
 The ass was an animal sacred to Dionysos, and always very specially 
 connected with phallic ideas. Noting, therefore, the association of these 
 ass-headed figures with gems of the metr'ikon order, I am inclined to think 
 that they represent some ruler of the reproductive forces of nature, allied 
 in idea with Dionysos. In the present case the asinine deity holds a 
 winnowing-fan, which belongs to the Dionysiac mysteries, as well as that 
 favourite Egyptian symbol, a crux ansata. 
 
 As we have seen (under N 7), Abraxas himself is sometimes figured 
 with an asinine head. In Matter’s illustrations we find a haematite which 
 bears on the obverse a situla or bucket, a serpent, a key, and a persea leaf, 
 
 with the inscription ABPACAC.lALO CABAU)0; and on 
 
 the reverse a winged ass-headed figure holding a trident, above which is 
 the name OVPIHA, and beneath him, ABAANA0ANAABA, “Thou 
 art our father.” Matter describes this figure as “ Ananael or Onoel, with 
 the head of an ass.” [Hist, du Gnos., pp. 79, 80 ; pi. vi, 6.) It may be 
 noted, however, that on the obverse we have the names Abraxas and 
 Sabaoth, and these, equally with Ouriel, may refer to the ass-headed man. 
 
 Epiphanius asserts that “the Gnostic Sabaoth had, according to some, 
 the face of an ass.” (King, Gnost., p. 91.) The Pater Bromius of the 
 Mithraic cave held the title of Sabao, often coupled with Adonai, for 
 Dionysos was termed Sabazius, derived from the shout of Sahaoi! raised 
 during the orgies by his devotees, a word derived from the Hebrew Sahai, 
 glory. (See King, Gnost., p. 101.) In the British Museum there is a 
 haematite which gives two ass-headed men standing above a Mystic Vase 
 (placed mouth upward) round which is inscribed CABAtO0l. On the 
 reverse a cartouche bears the legend lAU) CABAU). 
 
 The name Sabaoth may, therefore, be naturally associated with the 
 figure of the ass-headed deity, who may be viewed more generally as 
 lAU) CABAW0, or as a supreme god under some other name, 
 considered more especially in his reproductive and generative aspect; but 
 no name can be confidently assigned. 
 
 Although sometimes—as when in the conventional Abraxas form—the 
 figure must be a god, at other times it would seem to belong to the more 
 
 ( 168 ) 
 
material class of genii. On my gem N 24 and the replica given by 
 Matter, one of the seven planetary Genii has the head of an ass and seems 
 to be the genius of Saturn—termed Onoel by Matter, but according to the 
 Ophites Ildabaoth. 
 
 N 44. MYSTIC VASE, beneath Anubis, Chnuphis, and Osiris; 
 Ass-headed Deity seated below. 
 
 Obv.: Globular vase, mouth down, on six-legged stand 
 with handle at r. ; from upper corner of stand two 
 diagonal downward lines. Standing above vase, on two 
 curved lines, from its top, Anubis mummied (r.) ; lion¬ 
 headed serpent (/.), and robed, modius-crowned god 
 (/.). In base, below left leg of stand, and seated naked 
 on a square stool an ass-headed male figure (r.), right 
 arm down, left arm supporting vase-stand. Round all, a 
 serpent with tail in mouth. Round margin (some 
 letters lost), Z COPOOP MEP4>. .. PTA . MA©PII-r. Rev.: 
 OPlAlPIOVO. 
 
 Hcematite ; circ. 5x5 (edges chipped). Silver swivel. 
 Athens, Rhp. : 1897. [Plate XIV.] 
 
 The introduction of the ass-headed figure—whether to be termed 
 Onoel, or Set, or called by some other name—seated below the table of 
 the vase and supporting it by one leg rested on his knee, adds great 
 interest to this intaglio—on haematite, according to the invariable practice 
 where these metrikon gems are concerned—and may possibly be a unique 
 example. The legend round the margin seems to be that which most 
 often accompanies such talismans, but it is too much mutilated to be 
 clearly made out. 
 
 N 45. CHNUPHIS, with seven-rayed crown, standing on a 
 MYSTIC VASE (/r., hd. /.). 
 
 Obv.: Lion-headed serpent, tail—twice coiled—rested 
 on table across opening of globular vase, set mouth upper¬ 
 most, handle attached near mouth, two projections from 
 
 ( 169 ) 
 
 Y 
 
top (set below). Round all, a coiled serpent. Round 
 margin, IA1/\I ABPACAZ MIXAHA Rev.: CABAHA X. 
 
 Hematite ; ov. 6^ x 4|- Silver swivel. Constanti¬ 
 nople, Ain. : I 879. 
 
 The present specimen is on haematite, a stone seldom used for 
 Chnuphis talismans, but almost invariably for those bearing the Mystic 
 Vase, a circumstance which decided me in its classification with gems of 
 the latter type. 
 
 The legend round the margin collocates lao and Abraxas with Michael, 
 one of the Hebraic arch-angels whose names appear on talismans of a 
 certain class, which sometimes, perhaps, are half-religious tokens connected 
 with Gnosticism, sometimes mere talismans that formulate Egyptian ideas, 
 as in N 54. CABAHA X on the reverse, seems to be a title, angelic or 
 divine, connected with the sacred name ZABAH0, which is found on 
 other gems, e.g., on N 56. 
 
 N 46. CHNUPHIS, with three uncertain figures, standing above 
 a MYSTIC VASE (/.). 
 
 06 v.: Lion-headed serpent, tail twice coiled, head 
 bearing three rays ; standing between three uncertain 
 figures or objects (.? Isis to r., two mummy deities to /., 
 N 38 and N 42), above an extremely flattened 
 globular vase, on four-legged stand with handle at r. and 
 one straight line proceeding from its left end. Round 
 all, a serpent border. Rev.: AaD(l ?) PDCni/\l (I ?) TEPP(I ?) 
 APM(AP?)VHP (I ?)—very indistinct. 
 
 Haematite ; ov. 3I x 3 . Gold mount. 2nd Short Coll. 
 (Lot 74) : 1891. 
 
 On haematite. Extremely rough in workmanship ; the figures of the 
 deities more resemble carved door-posts than anything human or divine. 
 The much-damaged inscription on the reverse does not seem to be the 
 usual longer legend, and “ Ororiouth ” appears nowhere. This miserable 
 specimen, in company with three others (N 36, N 39, N 41), formed 
 part of a sale lot, which accounts for its being in my collection. 
 
 ( 170 ) 
 
N 47. ABRAXAS SYMBOLS, with the inscription PIOV0 {fr.). 
 
 Two voluted objects back to back (in manner of 
 Abraxas serpent legs) ; above them, barred Z, without the 
 upper horizontal stroke, above which the word PIOV© 
 (for OpoipLovff) ; beneath the volutes a rectangular symbol, 
 partly effaced. 
 
 Brown Jasper ; ov. lex. x (r. side calcined). 
 Silver swivel. [Sinope.] Constantinople, Ain. : 1878. 
 
 [Plate XIIL] 
 
 This very rough and damaged stone is peculiar in bearing certain 
 familiar designs in an abbreviated form. 
 
 N 48. OSIRIS, as Khem-Amun, phoenix-crested, standing on a 
 globe (fr.). 
 
 Obv.: Nude, standing on globe ; priapic ; right hand 
 raised and open, as if sowing seed ; left hand down ; over 
 chest large scarab^us ; on head a flat cap, from which rises 
 a high cap faced with four vertical lines with persea-leaf 
 in centre ; surmounting all, an ibis crowned with eight- 
 rayed nimbus. On bevel, A0APAM AZATAC, six times 
 repeated in couplets, each beginning one letter in advance of 
 other (A0APAM-GAPAM -etc.). Kev.: AZAFAL A0APAM, 
 the former seven times, the latter six. 
 
 Brown Jasper ; ov. hbz. 5x4. Gold swivel. [Hahn 
 Coll., Hanover]. Sch. : 1879. [Plate XIIL] 
 
 A very interesting intaglio on finely-grained brown jasper. The god 
 is represented in his generative capacity, denoted in various significant 
 ways, especially in his phallic condition and his action of scattering seed 
 like a sower with his raised right hand. The meaning of the mystic 
 words is unknown. Azagas is a term found in Babylonian mythology. 
 Unusually well engraved. 
 
 ( 171 ) 
 
 Y 2 
 
N 49. HORUS, hawk-headed Sun-god, enthroned, holding an 
 image of Osiris (/.). 
 
 Obv.: Horus or Ra. Robed, seated on throne, his hawk- 
 head crested with two persea leaves (fractured in mounting 
 and restored in silver) ; left hand raised, resting on 
 grounded sceptre ; right hand forward, holding mummied 
 cruciform figure with triple persea crown. Kev.: 
 
 IAHIEHIOVl/\lH. 
 
 Green Jasper ; ov. 5x4 (chipped above). Silver 
 swivel. Spratt Coll. (Lot 23) : 1888. 
 
 Horus, the reputed son of Osiris and Isis, was eminently a sun-god. 
 He is styled “ Horus the powerful, the beloved of the Sun, the Ra, the 
 offspring of the gods, the subjugator of the World” . . . “He is hawk¬ 
 headed as becomes a leading god.” (Bonwick, Egyptian Beliefs, p. 157.) 
 A hawk stands for god, or the sun. On the present gem he is crowned 
 with persea leaves, frequently associated with deity because the kernel of 
 the fruit resembles a heart and the leaves a human tongue {see King, 
 Gnost., pp. 44, 45). Much in the usual rough style. 
 
 N 50. HORUS, as Helios, standing on a starred spheroid flanked 
 by serpents (/h., r.). 
 
 Obv.: Naked male figure with five-rayed crown ; left 
 hand uplifted ; right downward, holding scourge and 
 scarf; standing on spheroid embossed with four stars and 
 flanked by serpents, issuing in pairs from its either side. 
 In held, under raised arm, DC DC, and round margin, 
 AAOK MA<I> OANN. Rev.: Abraxas deity (/h., /.), with 
 scourge and shield; on the latter, lANANINE; and in 
 field, TAI TAI. On bevelled edge, AEHIOYIaI. 
 
 Green Jasper (mottled red) ; ov. 5^ x 4. Silver swivel. 
 [Afghanistan.] Wtr. : 1888. 
 
 A rather good specimen of its class. The deity holds a scourge, a 
 customary emblem of the powerful effect of the sun’s scorching rays. 
 The inscription AAOK MA<I> OANN has not been explained. The 
 reverse (perhaps the obverse) exhibits Abraxas in his usual form. 
 
 ( 172 ) 
 
N 51* HORUS, as Helios, in a quadriga preceded by Phosphorus 
 
 (/.). 
 
 Obv.: Radiated, wearing scarf and long drapery ; right 
 hand raised ; left hand back, holding globe ; horses gallop¬ 
 ing ; before them Phosphorus (/r., /.), radiated and draped, 
 moving to /. with head looking back, bearing cross-ways 
 in both hands a long, lighted torch. On bevelled edge, 
 AVZONIEHinOAIA. Rev.: AAXAPMAP MAPA<^BA LVNTH 
 PHCON ME AmPATON KEXAPITlAlMENHN. 
 
 Red Jasper ; ov. 4^ x 34 - Gold swivel. Montigny 
 Coll. (Lot 278) : 1887. [Plate XIV.] 
 
 Though roughly cut, this intaglio, like most gems from the Montigny 
 collection, is a favourable specimen of its kind, the design being really 
 beautiful and almost Greek in character. The reverse bears a long 
 untranslated inscription. 
 
 N 52. HORUS, lion-headed, holding a lion-headed serpent 
 (/.,/r.). 
 
 Obv. : Male figure (Horus .?) with seven-rayed crown, 
 standing, clad in long drapery crossed on chest ; right 
 hand forward, holding out by its neck lion-headed serpent 
 (/.), similarly radiated ; left hand down, carrying two ears 
 of corn. Rev. : APHP OPI/MP O MANAAPN, and barred 
 triple S symbol. 
 
 Plasma; ov. cx. 5 x 34 - Gold ring. Wtr. : 1886. 
 
 [Plate XIV.] 
 
 An interesting intaglio, on a fine convex plasma. King gives an 
 example of a lion-headed man very similar to the subject of the present 
 design, but holding a long staff, while the latter holds in one hand a 
 lion-headed serpent and in the other two ears of wheat, which, according 
 to Hippolytus, typified, in the Phrygian mysteries, the new-born deity. 
 A lion-headed man was frequent in Mithraic representations, and King, 
 in his Gnostics (p. 202 ; pi. i, ii), describes his example as “a Leonticus 
 or high Mithraic official.” I rather incline to think that some deity is 
 
 ( 173 ) 
 
intended, for the inscription on the reverse,— KENTAVR E0V 
 EKATON TOMAXE, “Cut the Centaur (night-mare) into a hundred 
 pieces”—proves the talisinanic character of the gem. 
 
 Mv own specimen bears on its reverse the legend ;— APHF OPNPO 
 MANAAPN, which I read “ Protect the fold, O Horus.” Regarding 
 this the late Dr. Murray wrote to me : “’Ap/yw is exactly the word for an 
 invocation of succour or protection, and is used by the poets. MavSapav 
 for fiaci'Spav is a very easy and natural change ... I think your reading a 
 very happy one and am glad you have got the gem ” (letter dated 
 Dec. 27, 1886). 
 
 A similar inscription occurs beneath a gorgon's head on the face of a 
 gem described by King {Gnost., p. 223; pT. x, 5.) —APHF lOPlOPO 
 MANAAPH. His reading of this, however, seems much open to 
 question;—“‘I protect Rhovomandares,’ some Persian or Armenian, as 
 his name attests,” for it is little likely that two talismans belonging to an 
 obscure Oriental and bearing his peculiar name in an identical legend 
 should have come down through all the centuries to the present time, or 
 indeed should have had an existence in duplicate at all. Matter gives 
 another example of the lion-headed man holding a serpent, and describes 
 him as “I’Abraxas—soleil des Gnostiques . . . le tout est un talisman 
 pour le pelerinage de Tame au plerome.” (Matter, Hist, du Gnos,, Vol. iii, 
 p. 97 ; pi. i"", 3. See also pi. vii, i.) 
 
 N 53. HARPOCRATES, seated on a lotus-flower (r.). 
 
 Naked youth (r.), his hair in fillet and crowned with 
 persea-leaf; left arm bent, and fore-finger of hand in 
 mouth ; right arm down, hand bent upward holding a 
 scourge—a vertical staff with lash pendent behind. He 
 sits on an expanded lotus-flower, growing on an angled 
 stalk with a double leaf on either side near the ground. 
 Round margin, AX OVHPAA. 
 
 White Carnelian ; ov. cx. 5x4* Silver swivel. 
 Athens, Rhp. : 1897. 
 
 A very common subject, of which King gives se\ eral examples, one of 
 which bears the motto ZEMES EIAAM, the Everlasting Sun, thus—if 
 proof were wanted—proclaiming the solar nature of this deity, who is 
 merely Horus in his youthful aspect. Though without any great merit, 
 the present gem is much superior in style and workmanship to nearly all 
 in its class. 
 
 ( 174 ) 
 
N 54. HARPOCRATES, on a lotus, surrounded by five animals 
 in triplets (/.). 
 
 Obv. : Deity seated nude, scourge in left hand, right 
 raised to lips ; lotus, rising from sacred boat ; above deity, 
 three scarab beetles ; to r., three goats and three 
 serpents ; to /., three vultures and three crocodiles ; 
 above the goats, a six-rayed star. Within plain border, 
 
 ...OVPIHA COVPIHA r(A)BPIHA MIXAH(A)- Rev.: 
 
 lAi/vl CABAI/M0-ABPACAZ, between (? two) six-rayed stars 
 (one lost). 
 
 Mottled Jasper (red, yellow, green) ; ov. lex. 12 x 
 (top fractured). Silver swivel. Athens, Rhp. : 1880. 
 
 [Plate XV.] 
 
 An important gem from its size and subject; relatively speaking, well 
 engraved on a fine red, yellow, and green, mottled jasper, unfortunately 
 defecti\'e at the top through fracture. A similar design appears in King’s 
 Gnostics (p. 211 ; pi. v, I,) where it is described as “ Harpocrates seated 
 upon the lotus . . . The sacred animals, the scarab, ibis, asp, goat, crocodile, 
 vulture, emblems of as many deities, the principal in the Egyptian mytho¬ 
 logy, arranged by threes, form a frame to the design.” 
 
 The present design is only provided with five triplets, the ibises being 
 omitted, and there are other variations. Round the margin of this gem are 
 the names of four great Jewish angels, who sometimes occur as genii 
 presiding over the fixed stars:— OVPIHA, COVPIHA, FABPIHA, 
 MIXAHA. A \ery inferior specimen of the same type, on haematite, 
 once belonged to me, but I exchanged it away, and it is now, I think, in 
 the British Museum collection. 
 
 Harpocrates represents Horus in his condition of infantile weakness, 
 and is the type of the sun newly risen, or in its feebler vernal aspect. 
 He always holds a finger upon his lip, which has been explained as allusive 
 to the deep secrets known to him but preserved in silence. I have met 
 elsewhere with a far more probable explanation, which unluckily has faded 
 from my memory beyond recall. 
 
 N 55. GENIUS, winged, with legs in form of lion-headed 
 serpents {J'r.). 
 
 Obv. : Draped male figure ; wings horizontally spread ; 
 
 ( 175 ) 
 
arms extended, in each hand a sceptre ; overhead, object 
 like seated ibis ; serpent-legs in single coil, their lion-heads 
 radiated. In exergue, small horizontal human figure (/.) 
 within a coiled serpent border. In field, scattered Greek 
 letters. Rev. : Naked man riding on lion (/.), the latter 
 standing on horizontal naked corpse. Behind lion, Isis 
 (/.) standing with right hand raised to mouth ; before it. 
 Abraxas deity {fr., hd. /.) ; various objects and letters in 
 field. 
 
 Hematite ; ov. 5 x 3g. Gold swivel. Smyrna, Sts. : 
 I 882. 
 
 There is no true inscription on this much corroded haematite to guide 
 one towards its meaning, only a number of scattered letters. The 
 winged genius, perhaps one of the Decani, is strangely furnished with 
 serpents’ legs like those of Abraxas. Beneath him, within the coil of a 
 tail-in-mouth serpent, is a diminutive human corpse. The reverse bears a 
 naked man, perhaps the Decanus of the sign Leo, riding on a lion, which 
 stands upon a naked corpse. Behind these stands Isis (.?) with her right 
 hand raised to her mouth ; and before them, the Abraxas deity. This 
 gem bears much resemblance to two figured by King, especially to that 
 one which he explains as “ a Mithraic scene, belonging to the rites wherein 
 an apparent human sacrifice was perpetrated. The simulation of death 
 was in fact the obvious preliminary to being born again by the rite of 
 baptism.” The reverse of that gem is inscribed “ lALO CABAtO0 
 AEIOVW ‘Glory be to Jao,’ the normal Basilidan invocation showing 
 how the notion of Jao, as the sun-god, was common to the two religions, 
 the later Egyptian and the Mithraic.” (King, Gnost., p. 202 ; pi. ii, i. 
 See also p. 215 ; pi. vii, I.) 
 
 N 56. GENIUS, four-winged, with forked sceptres, standing on 
 a coiled serpent [fr.). 
 
 Obv.: Long-haired and bearded ; nude ; bird-like thighs 
 and feet, bird-tail projecting beside right leg ; horizontal 
 wings issuing from shoulders and waist ; arms extended, 
 in each hand long staff forked at both ends ; head crowned 
 
 ( 176 ) 
 
with T-shaped modius and serpents; on either side of neck 
 various small objects. Rev. : CABAtO BAPYX. 
 
 Lapis Lazuli ; ob. 4^ x 3 (chipped upper r.). Gold 
 swivel. Constantinople, Ain. : 1878. 
 
 Probably these four-winged figures represent, as conjectured by King, 
 genii of planets or decani of Zodiacal signs. In this case the bird-like 
 legs and tail are peculiar, and the T-shaped modius and serpents on the 
 head doubtless had some special significance. 
 
 N 57. HERAKLES, brandishing his club (J'r.). 
 
 Obv. : Nude, head in profile (r.) capped with lion-skin ; 
 standing, legs astride ; right hand raised, holding ragged 
 club overhead. Rev.: A horse (/.), phallic, standing 
 head down ; above : AAAJ ; below ; I, and barred triple S. 
 
 Red Jasper ; ov. 4! x 4- Gold swivel. Paris, R. F. : 
 1881. [Plate XIVJ 
 
 The phallic horse on the reverse helps out the theory, regarding the 
 special object of Herakles talismans, which is suggested under the imme¬ 
 diately following number. The inscribed letters tell nothing except that 
 the stone is magically endowed. 
 
 N 58. HERAKLES, subduing a lion (/.). 
 
 Obv. : Nude, standing with both arms round neck of 
 rampant lion (r.) ; on ground, behind, upright club and 
 quiver. Rev.: IIK A<l>APO V0"10 KKK OOO EEE. 
 
 Red Jasper; ov. 4J X Silver swivel. Constantinople, 
 Ain. ; 1880. 
 
 The special object of talismans bearing the figure of Herakles does 
 not seem to have been ascertained. Regarding red jasper (the material 
 of this intaglio and others of similar type) King writes as follows : “The 
 
 ( 177 ) 
 
 z 
 
vermilion coloured jasper made athletes Invincible ; perhaps the reason 
 why the design of Hercules strangling the Nemean lion is so often found 
 on this kind.’ (King, Precious Stones, p. 210.) 
 
 It seems likely that this talisman is meant to procure and maintain 
 manly vigour, especially perhaps in the sexual direction. In the inscription 
 on the present gem’s reverse the word VO TO appears to stand for the 
 same thing as OFOVNEin the formula on the tablet beneath Isis-Hecate 
 (N 29). Kentar (Centaur) signifying the nightmare in these talismans it 
 seems likely that OTOYNH represents some evil being or some form of 
 evil against which Herakles is invoked as protector. The combination 
 KKK frequently occurs on gems of this type, no doubt with some 
 magical intention. This intaglio is not as well cut as the preceding. 
 
 N 59. TALISMANIC MAN, covered with mystical inscriptions 
 (r.). 
 
 Nude, bearded ; walking ; left hand forward, holding 
 serpent-like scroll ; right hand down, fingers in form of 
 three large-headed iron nails. Greek letters, on body, 
 limbs, and scroll, almost illegible, IAIaI often repeated ; in 
 field, IAIaI ICO. 
 
 Amethyst ; ov. cx. 4^ x 3^. Silver ring. [Hertz 
 Coll.] Mayer Coll. (Lot 344) : 1887. [Plate XIII.] 
 
 From subject, material and workmanship this gem is rather more 
 valuable than most of its class—the subject is rare, the material is amethyst, 
 and the workmanship delicate notwithstanding the rudeness of the design. 
 It is described by King (being then in the Hertz collection) as “The 
 Gnostic Pleroma, or combination of all the Tions, expressed by the 
 outline of a man holding a scroll . . . and filled in with innumer¬ 
 
 able letters, in which the name only of lAtO may be recognised. The 
 left hand is formed by three bent spikes or nails. . . This intaglio is 
 
 very faintly engraved by a fine wheel.” (King, Gnost., p. 208 ; pl.iii, il.) 
 
 The subject has been variously explained, as will generally be found 
 in regard to all gems of the so-called Gnostic class, for, with them, 
 the same design may have either a purely talismanic or a religious 
 intention, which in the latter case may vary in character according to 
 the tenets of the innumerable sects that flourished in the earlier centuries 
 that followed the Christian era. 
 
 Matter, who always discovers the religious intention, describes this 
 
 ( 178 ) 
 
inscribed figure as :—“ L’homme pneumatique qui se met sous la pro¬ 
 tection des principales puissances celestes.” (Matter, Hist, du Gnos., 
 Vol. iii, p. 65 ; pi. iv ; 7, 8, 9.) On the other hand, King, whose guidance 
 I am generally inclined to follow, most often takes the talismanic view, 
 though sometimes his explanations are confused and uncertain—as in the 
 case of the “ Mystic Vase.” As regards the present gem, besides describing 
 the subject as “the Gnostic Pleroma,” he speaks of it as “the Kabbalistic 
 type according to which Adam was created,” “Some say,” he continues, 
 “ the type of the spiritual regenerated man ; others say, the representation 
 of the 365 vEons, in short emblem of the Pleroma.” (King, Gnost., p. 93.) 
 Elsewhere he terms it—“the Supreme Being, the Primitive Man ” (O/). 
 cit., p. 29), and in a note he writes, “Abram here means the Seir-Ampin, 
 the Primitive Man of the Kabbalists, made up of 243 members, the 
 numerical value of the Hebrew letters in the name.” [Op. cit., p. 100.) 
 
 N 60. MOUNTED WARRIOR, spearing a prostrate foe (/.). 
 
 Obv.: Horse galloping ; warrior, back turned, armoured, 
 scarf round chest and floating behind ; right hand raised, 
 grasping spear ; prostrate man (/.), in short tunic, lying on 
 back, left hand lifted ; seven-rayed star in /. upper field. 
 Rev.: Four signs, resembling cyphers. 
 
 Hematite; circ. 5|. Silver ring. Chr. : 1887. 
 
 A roughly-cut, circular intaglio. Stones of this class are generally 
 inscribed on the reverse with the word Sphragis, “ The Seal of God,” 
 and are supposed to be either talismans to make the owner victorious, or 
 perhaps to be specimens “ of the very seal to be exhibited by the ascending 
 soul to each astral power.” (King, Gnost., p. 215 ; pi. vi, 7.) 
 
 Among certain Gnostic sects tablets of metal or stone were placed in 
 the coffin of a deceased member, inscribed with prayers to be addressed 
 to the Seven Planetary Powers by the released soul on its heaven-ward 
 flight. Thus in the address to Ildabaoth we find : “ In prescribing to 
 thee in this seal the sign of life, I open the gate closed by thy power to 
 the world.” (King, Gnost., p. 127.) 
 
 The gem under notice does not bear the usual word on the reverse, 
 but four letters of some secret cipher, and is probably a mere talisman. 
 
 N 61. MUMMY, recumbent beneath a springing lion (/.). 
 
 Obv. : Male mummy, lying on back, feet touched by 
 
 ( 179 ) z 2 
 
hind-paws of lion (/.), springing forward with fore-legs 
 raised. Rev. : IIaIHIA HIAHIaIAI. 
 
 Green Jasper; ov. 5I x 4- Gold swivel. [Hahn Coll., 
 Hanover.] Sch. : 1879. [Plate XV.] 
 
 The lion is the sun, which is here placed above a mummy to signify 
 that it is by earthly death that the soul arrives at immortality. (See 
 Matter, Hist, du Gtiost., p. 23 ; pi. i'", i.) This intaglio seems to be of 
 the religious rather than of the talismanic class. It is fairly good of its 
 kind. The inscription on the reverse is composed of the sacred name 
 lAW intermixed with other letters. 
 
 N 62. MUMMY, attended by a hawk and a serpent (r.). 
 
 Male mummy, lying on back, crowned with lotus ; 
 above legs, hawk (r.), standing with spread wings and 
 persea crest ; beneath all, serpent (r.), with its head (/.) 
 raised over mummy’s face ; in centre of field, IAIaI. 
 
 Brown Jasper; ov. 5^- x 4. Gold ring. Fwh. : 1879. 
 
 Probably the same in meaning as the preceding. The hawk stands 
 for God or the Sun. (See King, Gnost., p. 144.) The serpent is 
 Chnuphis, the Agathodsmon, the symbol of immortality. (See Matter, 
 Hist, du Gtiost.., p. 27.) Rather well engraved. 
 
 N 63. MITHRAS, with dog and serpent, sacrificing a prostrate 
 bull (r., hd. /.). 
 
 In Phrygian cap and trowsers, right leg down, left knee 
 on prostrate bull, left hand drawing back its head, right 
 hand plunging knife into its throat ; dog (/.) springing up 
 to drink the blood ; serpent (r.) crawling beneath ; solar 
 and lunar heads above in arch of clouds. 
 
 Sard ; ov. cx. 5x4. Gold ring. Castellani Coll. (Lot 
 996) : 1884. [Plate XIV.] 
 
 Hitherto we have been dealing with gems which, whether connected 
 with sacred rites or purely talismanic, entirely belong to the Alexandrian 
 
 ( 180 ) 
 
or Gnostic class, but we are now concerned with a specimen that issues 
 from a different source, being a product of the widely diffused Mithraic 
 religion. 
 
 This Persian creed is said to have been introduced into Rome after 
 the conquest of Pontus by Pompey, and, together with the Serapis 
 creed, it rapidly superseded the ancient Hellenic and Italian theological 
 systems. 
 
 Originated by Zoroaster, it was somewhat simplified to suit the 
 Western mind, Mithras, the main object of worship, is not the same 
 as Ormuzd—the great Principle of Good, opposed to Ahriman, the 
 great Principle of Evil,—he is the first emanation from Ormuzd, his 
 manifestation of the World, and the chief of the subordinate Powers or 
 Amshaspands. Mithras is, in Zend, the title of the sun ; he is essentially 
 a solar god, and in that capacity he was identified with various solar 
 deities, and his Mysteries took the place of those that had belonged to the 
 worship of Dionysos. 
 
 Mithraism was a widely-spread and most influential creed during 
 several centuries subsequent to the Christian Era. Though essentially 
 distinct from Christianity, it had so many features of resemblance to it 
 that (as likewise in regard to Serapis worship) the two creeds were 
 frequently confused together. Long before the institution of Christianity, 
 the Mithraics practised baptism in their initiations and had also a 
 Eucharist of their own, in which bread and a cup of water were placed 
 on a table, and, after the utterance of certain words, were partaken of by 
 believers. The bread was in the form of a round cake, emblematic of 
 the solar disc, it was termed the Mizd (Hebrew Messah), whence the 
 Roman Catholic term Missa, the Mass. 
 
 The festival of the Mithraics was held on the 25th day of December, 
 in honour of the Birthday of the “Invincible One,” and that day was 
 purposely adopted by the Christian Church as the Birthday of its great 
 founder. It was from Persia that the Jews, and thus the Christians, 
 derived their belief in the hierarchy of angels and demons ; in a future 
 state with rewards and fiery punishments ; in the soul’s immortality and 
 the Last Judgment. 
 
 Adithraism was spread over the whole of the Roman world, and its 
 struggle with Christianity for supremacy was long and arduous. It has 
 been suggested that victory remained with the latter chiefly because it 
 recognised what the former ignored—the equality of Woman with Man 
 in all that pertains to the soul’s relations with God, 
 
 Mithraism largely pervaded Britain ; not merely during the Roman 
 occupation, but for some while afterwards, and its influence appears in the 
 Druidical writings of Wales. Tablets and sculptures belonging to 
 Mithras-worship abound in France and Germany and are common in 
 this island, specimens occurring at Bath, along the line of the Piet’s Wall, 
 and in many other places. 
 
 The scene portrayed on the sard intaglio now under notice is one 
 which, more or less full in its details, continually occurs on the Mithraic 
 
 ( 181 ) 
 
tablets. A youth in Persian garb kneels upon a prostrate bull, with one 
 hand raises its head and with the other plunges a dagger into its throat. 
 A dog licks up the blood of the bull, a serpent moves beneath it, and a 
 scorpion stings it, from below, in the generative part. On either side there 
 usually stand two young men, each bearing a torch—one pointing up, the 
 other down,—while above appear the heads of Phoebus and Diana, 
 amidst various stars and Zodiacal signs. 
 
 According to most writers the interpretation is as follows. Mithras 
 is the Sun, the bull is the Earth, the dagger-stroke is the penetration of 
 the solar rays, through which influence all nature draws nourishment, as 
 shown by the action of the dog (a sacred animal in the Persian creed) in 
 drinking the flowing blood. The scorpion is Autumn, its stinging of 
 the bull represents generative heat ; the serpent is Winter. The bull’s 
 tail frequently ends in three wheat-ears, signifying the production of 
 life-giving plants. The torches are the Rising and the Setting Sun, the 
 East and the West. 
 
 In gems formerly noticed (D 9 and D lo) we have met with the 
 same subject of the sacrifice of a bull, but without adjuncts and with the 
 substitution of a winged female figure for that of Mithras. She has been 
 provisionally termed Victory—as is usual—but perhaps she is really 
 Mitra, his feminine counterpart, who is also Anahid or Anaitis, the 
 Morning Star, the presider over Love and director of the harmonious 
 movement of the planets by the sound of her lyre, the strings whereof are 
 the rays of the sun. 
 
 Though very rough, the present intaglio is a fairly good specimen of 
 its not very common class. 
 
 N 64. MITHRAS, with torch-bearers, dog, and serpent, sacri¬ 
 ficing a prostrate bull (r., hd. /.). 
 
 In Phrygian cap and trowsers ; right leg down, left knee 
 on prostrate bull, left hand raising its head ; right hand 
 back, holding downward cruciform dagger ; dog (/.) 
 springing up towards bull’s chest ; serpent (r.) crawling 
 beneath, head raised towards bull. To r. of deity, man 
 in Phrygian costume (/.) holding in either hand a down¬ 
 ward cruciform torch (or dagger) ; to /. similar man (r.) 
 holding similar objects, downward in inner hand, upward 
 in outer. Above the torch-bearers, solar and lunar heads 
 on /. and r. respectively. Above all, an arched line (firma¬ 
 ment) ; on either side of deity’s head a cross ; behind 
 
 ( 182 ) 
 
solar torch-bearer two crosses, above lunar torch-bearer 
 a star. 
 
 Sard ; ov. lex. 3J x 2J. Gold ring. 2nd Short Coll. 
 (Lot 81): 1891. [Plate XIV.] 
 
 The subject of this intaglio has been fully considered and discussed 
 under the immediately preceding—a larger and better specimen than this 
 one, though without the torch-bearers. 
 
 N 65 MITHRAIC TABLE and LION, between two composite 
 animals (r. and /.). 
 
 Lion standing (/., hd.f?\) under high table, upon which 
 saltire, crescent and two doubtful objects ; standing on 
 hind-legs and bending over table : on r., animal with 
 serpent’s body, fox’s tail and ram’s head ; on /., similar 
 animal but headed as a bull ; over each animal’s head a 
 star ; over first animal’s back a star, and three stars over 
 that of the other—in all seven eight-rayed stars. 
 
 Sard ; ov. cx. 4x3. Silver swivel. Wtr. : 1889. 
 
 [Plate XIV.] 
 
 Beyond the fact that this intaglio is a Mithraic relic and that it 
 exhibits the eucharistic table of that sect, bearing symbols (a saltire, a 
 crescent, and other objects) to represent the consecrated elements of 
 bread and water, and beneath the table that peculiarly Mithraic animal a 
 lion—type of the Sun and representative of the highest grade in the 
 fraternity—the subject is hard to explain. Doubtless the two monstrous 
 ‘supporters’ on either side of the table—one a serpent with fox’s tail and 
 ram’s head, the other similar but headed as a bull—embody some 
 mystical idea. Variously placed in the field are seven-rayed stars. An 
 example exceedingly like this gem is given by King in his Gnostics 
 (p. 202; pi. i, 10). 
 
 N 66. MITHRAIC SYMBOLS—wreath, torch, cap, sun, 
 
 sword. 
 
 Five symbols horizontally arranged. In centre, oc¬ 
 tagonal figure of six lines in cross and saltire with their 
 
 ( 183 ) 
 
points joined by incurved lines (sun) ; to r. of which, high 
 Phrygian cap, crest with top turned over and forward (r.) ; 
 beyond it, to r., sword, with cross-barred hilt, point down. 
 To /. of sun, upright torch, with flame (of three lines) 
 proceeding from top ; to /. of which, circular wreath of 
 two (.?) laurel sprays, stalks projecting below the leafy 
 circle. Round margin. Cryptic characters :— 
 y OZ trc 
 
 White Carnelian ; ov. cx. 4^ x 35- Silver swivel. 
 Athens, Rhp. ; 1897. 
 
 These are all well known Mithraic symbols, and their juxtaposition in the 
 present gem—a neatly engraved intaglio—probably arises from its having 
 served as a token and reminder of trials undergone by a neoph3^te in the 
 course of initiation. The torch and the sun need no comment, Mithraism 
 in general having been already discussed, but regarding the wreath and 
 the sword it may be noted that their special connection with the rites of 
 initiation have been fully explained by Tertullian. “The soldier of 
 Mithras,” he wrote, “ undergoing initiation in the cave . . . when the 
 zureath is offered to him (a sword being placed between as if in semblance 
 of martyrdom), and then is about to be placed on his head, he is warned 
 to . . . push the wreath away . . . saying at the same time, Ady only 
 crown is Mithras. And thenceforth he never wears a wreath.” (King, 
 Gnosi., p. 52.) 
 
 The Cap refers to the Phrygian cap worn by Alithras, which has a 
 mystical meaning, so important that one of that divine hero’s titles is 
 “ The Capped One.” 
 
 N 67. ARCHER aiming at a Man bound to a pillar (r. and /.). 
 
 Male figure, nude, kneeling (r.)—perhaps with small 
 wings, but stone injured there—drawing arrow to the 
 head, aiming at male figure, nude (/.), standing, with arms 
 behind fastened to a low pillar, on which sits a gryphon 
 (/.) head and wings upraised, holding in its paws a six- 
 spoked sun-wheel. Behind pillar, diagonally upwards to 
 
 ( 184 ) 
 
r., a torch, with three cross-bars. Round margin, 
 
 AIKAIaZ. 
 
 Green Jasper; ov. 5^x4 (upper and lower left edge 
 chipped). Silver swivel. Athens, Rhp. : 1897. 
 
 [Plate XIV.] 
 
 In all probability a Mithraic gem, the subject of which is well 
 explained in King’s Gnostics (p. 6i):—“ There is a talisman, which, from 
 its frequent repetition, would seem to be a badge of some particular degree 
 amongst the initiated, perhaps of the first admission. A man, blindfolded, 
 with hands tied behind his back, is bound to a pillar, on which stands a 
 gryphon holding a wheel; the latter a most ancient emblem of the sun. 
 Probably it was in this manner that the candidate was tested by the 
 appearance of imminent death when the bandage was removed from his 
 eyes. In the example given by Raspe the significant motto, AIKAIHZ, 
 ‘iustly,’ is engraved in the field.” In the same book (pp. 71, 236) King 
 gives, with a similar explanation, a wood-cut example of a gem much 
 like mine, but without the menacing figure of the archer, the torch 
 behind the pillar, and the motto AIKAII/\IZ which mine possesses. 
 
 In my gem—which is roughly engraved—the bound figure is not 
 blind-folded. The archer is nude, and perhaps has wings, but an injury 
 to the stone makes that detail uncertain. 
 
 N 68. SOLAR LION, freed from a thorn by EROS (r.). 
 
 Obv. : Lion (r.), with seven-rayed crown, standing, tail 
 erect ; Eros (/.), winged, kneeling on one knee, and with 
 right hand drawing thorn from lion’s raised fore-foot ; 
 above lion eight-rayed star. Rev. : mrAPYTAPAXW©. 
 
 Mottled Jasper (green, yellow) ; ov. 4x3. Silver 
 swivel. Fwh. ; 1879. [Plate XIV.] 
 
 An interesting gem, of a type I have not elsewhere met v/ith. The 
 lion’s seven-rayed crown, the eight-rayed star above him, and the 
 inscription on the reverse, show that it belongs to the Gnostic or 
 talismanic class ; its precise meaning I cannot determine. Roughly but 
 forcibly cut. 
 
 ( 185 ) 
 
 2 A 
 
N 69. LION, standing with his paw on a bull’s dissevered head (/.). 
 
 Ohv. : Right paw clawing bull’s head, left legs forward, 
 tail raised. Rev. : MIXAH X. 
 
 Yellow Jasper; ov. 4^ x 3 L Gold swivel. Constan¬ 
 tinople, Ain. : 1878. [Plate XV.] 
 
 Matter describes a somewhat similar design (Hist, du Gnost., p. 65 ; 
 pi. iv, 7), and states that it is a Adithraic symbol of the ravs of the sun pene¬ 
 trating the Earth to fecundate it ; an idea understood by the Gnostics in 
 a spiritual sense, namely, that the Sun is the emblem of the father of light 
 and of the spiritual life, and that the Earth is that of majikind and of the 
 saintly race. 
 
 N 70. A LION, overpowering a Stag (/.). 
 
 Ohv.: Lion, head /f’., springing on a stag, seizing it with 
 his fangs by neck and shoulder, and clutching its side with 
 left fore-paw. Stag (/.), head raised, antlers short and 
 branched, legs spread apart—sinking under lion’s weight. 
 Rev.: tj-ANXDBA A> IaIAIHHIII t\. On bevel, 
 
 ABPACAZ 4-tlUA8©V. 
 
 Red Jasper ; ov. 5 x 3l- Silver swivel. Anon. Coll, 
 at Sotheby’s (Lot 21), July 7, 1890. 
 
 Were it not for the word Abrasaz legible on the bevel, as well as for 
 the general character of the inscription on the reverse—a jumble of signs 
 and letters—one could hardly include this intaglio in Class N. The design 
 is spirited and the engraving comparatively good. The reverse appears as 
 an illustration in my Origins of Pictish Syfnholism (p. 28). 
 
 N 71. CENTAUR, holding a Scorpion ; two Dolphins below (r.). 
 
 Obv. : Centaur in slow movement, right arm bent, club 
 in hand ; left hand forward, holding by tail a downward 
 scorpion [hk.). Below, two swimming dolphins, one over 
 
 ( 186 ) 
 
the other (/. and r.). In field, above centaur, NVOOR V-*, 
 bet’ween dolphins, -2*. Rev. : •^PATV ZH/‘UT 'tPRr 
 UC^. 
 
 Mottled Agate (crimson and white) ; ov. lex. 6^ X 5. 
 Silver swivel. Anon. Coll, at Sotheby’s (Lot 26), July 7, 
 1890. [Plate XVJ 
 
 There is a class of gems, commonly called ‘ Abraxoids,’ which have no 
 religious meaning, nor are exactly amulets to ward off special diseases or 
 evils, but may rather be considered as Astrological talismans framed for 
 the wearer’s protection and advantage by placing him under the guardian¬ 
 ship of certain of the Zodiacal ‘ Decani,’ chosen no doubt according to his 
 individual horoscope. Each sign was provided with three of the Decani 
 or inspectors. Hephaestion describes Chnumis or Chnuphis, the Aga- 
 thodaemon serpent, as one of the Decani in Cancer, and under the name 
 Carchnoumis or Colchnoubis he has been termed the First Decanus in 
 Leo. (See King, Gnost., p. 107.) 
 
 The intaglio now under notice very plainly belongs to the Astrological 
 section. The centaur, the scorpion in his hand, the two large fishes 
 below, are all Zodiacal Signs, whatever may be the meaning of their 
 collocation in one field. The inscriptions on both sides of the stone are 
 an unreadable mixture of alphabetical characters and cryptic devices. 
 
 This gem is interesting and rather well designed ; the workmanship is 
 not above the average of its class. 
 
 N 72. CYNOCEPHALUS, standing with an amphora in his 
 hand (/E, r.). 
 
 Obv. : Head in profile ; right hand down, holding 
 horizontal two-handled vase ; left arm bent, elbow near 
 
 body, .- KAAAMIN0IaIYO. 
 
 Green Jasper ; ov. 5| X 4 (chipped above and right 
 edge). Silver swivel. Athens, Rhp. : 1880. 
 
 A Gnostic or talismanic intaglio. The dog-headed ape, or Cynoce- 
 phalus, appears not infrequently on gems of that class. He is associated 
 with Thoth, a lunar god, being supposed to be affected by changes of the 
 moon. Some hold that this ape is the symbol of rest or equanimity. He 
 is said to sit upon the standard of the balance of judgment on which souls 
 are weighed, and to act as a messenger employed to drive bad souls to their 
 prison and as a warder of the four corners of hell. (Bonwick, Egyptian 
 
 ( 187 j 
 
 2 A 2 
 
Beliefs, p. loi ; and King, Gnost., pp. 44, 76, 208 ; pi. iii, 9, 10.) His 
 talismanic value has not been recorded. The legend on the reverse, if 
 translated, might perhaps furnish a clue to this, and explain the significance 
 of the amphora that the animal carries. 
 
 N 73. EAGLE, standing, with a serpent in its talons (/.). 
 
 Obv. : Wings downward, half-spread ; resting on left 
 foot, coiled serpent held by raised right foot. Rev.: 
 EYONOMA !1aINA YXEPPEI BAABE©IPPIa!. 
 
 Mottled Agate (green, white, red); ov. 6x4. Gold 
 brooch. Naples, Bre. : 1865. [Plate XV.] 
 
 An emerald engraved with an eagle standing on a tablet with a 
 “ precatio addita” is said by Pliny—as cited by King {Gnost., p. 216 j 
 pi. vii, 2, 7)—to be efficacious in keeping off “hail-stones and flights of 
 locusts,” and probably availed against lightning and all atmospheric dis¬ 
 turbances. Emeralds being scarcely obtainable, green jasper usually takes 
 its place, which in the present intaglio is represented by a beautiful semi- 
 translucent mottled green agate. The reverse bears a long inscription— 
 perhaps the “precatio addita”—which, like the main design itself, is very 
 neatly engraved. 
 
 No longer In collection. 
 
 N 74. EAGLE, advancing, with a serpent in its beak (/., hd. r.). 
 
 Wings downward and partly spread, right leg forward ; 
 serpent in circular coil. In field, below, EQKEE; and, 
 above and to /., ENST, retrograde. 
 
 Onyx (brown layer); ov. hbz. 5^ x 4^- Gold ring. 
 Phc. : 1878. 
 
 A similar subject to the preceding, and no doubt of similar meaning. 
 Fairly well engraved on the brown layer of an onyx, which seems to have 
 been artificially coloured. The inscriptions engraved above and below the 
 eagle are words unexplained. 
 
 N 75. SIMOORGH, standing on two prostrate Stags {Jr., hd. /.). 
 
 Wings open and down, two long feathers horizontally 
 
 ( 188 ) 
 
from back of head ; feet on backs of stags, lying (r. and /.), 
 facing outwards. In field, AN<0 UV. 
 
 Mottled Agate (green, white, yellow); ov. 7 x 6- Silver 
 mount. Fwh. : 1878. [Plate XIII*] 
 
 This is a very remarkable gem, perhaps unique. Its subject is the 
 enormous bird commonly termed the Rokh or Rukh, so familiar to readers 
 of the ‘Arabian Nights.’ In regard to it Mr. Stewart Poole makes the 
 following interesting remarks Egyptiacae, 1851 ; p. 51):—“The 
 
 modern Persians and Arabs relate many marvellous things concerning a 
 gigantic bird or birds which they call the ‘ Rukh,’ ‘ Anlca ’ and ‘ Seemurgh.’ 
 El Kazweenu gives an account of the ‘ Anka,’ which resembles the well 
 known fable of the Phoenix. [See note in Lane’s Arabian Nights, 
 vol. iii, p. 91.] He states the period of the life of the Anka to be 1700 
 years .... the cycle of the separate state of the soul .... was 
 apparently emblematized by two jackals, the emblems of Anubis and the 
 ‘ Ruk-hs,’ and was also emblematized certainly by a bird called ‘ Rekheet’ 
 or ‘ the pure soul,’ its name being ‘ the period of pure souls.’ The similarity 
 of Rekheet and Ruk-h to Rukha is striking.” The Egyptian Phoenix 
 or Rech, the red one, seemingly the same as the Rukh or connected with 
 it, represented Osiris in the resurrection. It was a type of self-creation or 
 of the resurrection of the body. (See Bonwick, Egyptian Beliefs, p. 236.) 
 
 The material of the present rather large gem is better than the engrav¬ 
 ing, though that is clear and forcible enough. The inscription confirms 
 the identification of the huge bird with the Simurgh under the name Anka. 
 
 N 76. PEACOCK, standing on a sheaf of feathers (/.). 
 
 Obv.: Tail horizontal and half-opened ; crest, triple T, 
 upright lines jointed at base ; legs apart, feet on object like 
 folded tail of a peacock. Rev. : AIIaI. 
 
 Mottled Jasper (green, yellow); ov. 7 x 44 - Silver 
 mount. Sch. : 1880. 
 
 There is little that seems mystical about this intaglio, save that the 
 peacock’s crest takes the form of a triple T. The word on the reverse, 
 however, is evidently I AW in disguise. “The Mediaeval doctors read 
 lAW as AIW and, construing it as representing the sound of the peacock’s 
 cry, promised wonderful effects from a stone engraved with the bird, having 
 a sea-turtle below and the word inscribed in the field.” (King, Gnost., 
 
 P- 
 
 In the present case the intaglio is more probably ancient than mediaeval. 
 
 ( 189 ) 
 
N 77. OWL, standing above a strung bow [l.fr.). 
 
 An Owl, standing (/.), head fr.\ wings close, right leg 
 in advance. Beneath its feet, a strung how, string upper¬ 
 most. In left field, /wvJi'€fUM© ; in right field, a comb 
 (of six teeth), to left of which a “Vesica piscis ” and a 
 cone, and to right of which a larger cone, and a group 
 of three cones, two vertical above one horizontal. 
 
 White Carnelian ; ov. 9X7 (reverse 11x8. Top edge 
 flawed). Greg Coll. (Lot 39): 1895. [Plate XIIL] 
 
 A curious specimen, unlike anything else of its class that has come to 
 my knowledge, very strongly engraved on an unusually large piece of white 
 carnelian. The field is full of symbolic characters belonging to no regular 
 alphabet; several are tall triangles, one is like a six-toothed comb. King, 
 in his Gnostics (pi. vii, 4; p. 216), gives an example of the Abraxas figure 
 holding a bow instead of the usual shield. If this is the case (which I 
 doubt) it might connect the bow beneath the owl with solar ideas. 
 
 This gem belonged to the Greg Collection, whence 1 obtained several 
 good Babylonian and Assyrian cylinders. 
 
 N 78. WINGED FROG, seated on a lotus, which rises from a 
 crocodile’s back (r.). 
 
 Obv. : Frog (Horus ?) on cup of lotus, stalk of which on 
 crocodile (r.) standing tail raised, serpent (r.), from back¬ 
 ground, placing its head on his. Rev. : IAPBA0A 
 rPAMNH<l> IBAWXNHMEW. 
 
 Amethyst ; ovd. cx. 4x3- Gold swivel. Constan¬ 
 tinople, Ain.: 1879. [Plate XV.] 
 
 By good chance I possess no less than three specimens of this singular 
 type, which is unknown to King or Matter or any other writer on Gnostic 
 gems, and to the best of my recollection is unrepresented in the British 
 Museum. Another specimen, however, certainly exists, for it formed 
 the subject of a letter in the Athenauni of April 28th, 1894, from 
 Mr. Seymour Conway, who sought explanation of its design and especially 
 of the lettering of its inscription, which he supposed to belong to the 
 so-called “Sabellic” alphabet. 
 
 Like two of my own similar gems, the subject of this enquiry is an intaglio 
 
 ( 190 ) 
 
on amethyst; it was found by Signor S. Pascali in the necropolis of the 
 ancient Capua, and remained in his collection. 
 
 On reading the letter I at once recognised the true character of the 
 stone, and wrote to that effect to the Athenaum^ wherein my remarks 
 duly appeared, on May 30th, 1894. 
 
 Like most examples of its class, the design may have been framed with 
 both a religious and a talismanic intention, but in my letter I concerned 
 myself only with the former view, having no clue towards arriving at the 
 latter. 
 
 “ The frog,” I wrote, “ is said to be a type of the resurrection to a 
 higher life beyond the tomb, and the crocodile and lotus are special 
 attributes of the sun-god Horus . . . The resurrection and deliverance of 
 the enlightened soul, and its conveyance to the upper regions through 
 divine power, would seem to constitute the subject of such gems as these.” 
 
 In a subsequent letter to the Athenaum (August 4th, 1894)—written 
 after receiving an impression of another similar gem (now my own— 
 N 80), where the frog was clearly a frog-headed naked man,— I remarked 
 that “the Egyptian frog-headed deity presided over the physical creation 
 of all living creatures ; an office connected in idea with the resurrection 
 or new creation of bodies, of which the frog—on account of its many 
 changes in form—had been chosen as the type.” 
 
 At that time I was uncertain as to the character of the reptile that 
 upheld the winged frog, whether it was that sacred animal the crocodile 
 lending its power to assist the uprisen soul, or a dragon :—“ the evil ruler 
 of the world, the devourer of the soul that was not imbued with knowledge 
 (FvwSts), or, more generally, the great Principle of Evil ” to quote my own 
 words, “ from which the soul was making its escape.” I now reject the 
 latter view, to which the composite character of the reptile in N 79 and 
 N 80 had led me, and prefer to believe that a crocodile in conjunction with 
 a serpent—the emblem of life—is intended. In the present gem (N 78) 
 a serpent places its head on that of the crocodile, in N 79 and N 80 the 
 serpent is so combined with the crocodile as to form part of its body, thus 
 giving it a draconian aspect. It may be added that the lotus, a sacred 
 plant, would hardly have been represented as springing from an evil 
 creature’s back. 
 
 The same unexplained legend (with slight differences in the divisions 
 of the words) is engraved on each of my three gems— I APB A© A 
 rPAMNH <|>IBAUJX NHMEtO. The words being placed separately 
 on the four sides of the conoidal crystal, N 79, I have adopted that division 
 as probably correct. 
 
 Signor Pascali’s Capuan gem bears a different inscription ; PV BEKE 
 VBE TO TOY 0EOV ONOMA OCI.* 
 
 * Mr. Cecil Smith su2:2:ests that this is a misreading of a well-known Greek 
 formula: E V $ EBEITE tO TOY OEOY ONOMA b^l[ON], /.f., Reverence 
 the holy name of God ; in which case this is an ordinary Christian gem —Ed. 
 
 ( 191 ) 
 
In Coptic the word BEKE signifies merces, reward {see N 19). PV 
 and VBE are not to be found thus spelt in Tattam’s Lexicon. OZI 
 signifies (with other shades of meaning) redemptionis pretium, or it might 
 possibly be an abbreviation of the name OZIPIZ. Regarding this, I 
 suggested that the symbolism and language were intentionally ambiguous, 
 so as to enable a semi-Christian, in critical times, to assign the token of 
 his secret brotherhood either to Christ or to one of the pagan gods—in the 
 case then considered to Osiris,—thus expressing “ the owner’s desire to be 
 rewarded by salvation through the name of God the Redeemer, or 
 alternatively through the name of Osiris ; or perhaps proffering his boast 
 that he sought no other reward than to bear the name of that divine being 
 (one or other),” as, in his initiatory formula, the Mithraic neophyte 
 exclaimed ‘Mithras is my only crown.’ “The design on the obverse,” 
 I added, “would harmonise with these readings of the legend, for it 
 figures resurrection to life through the aid of an all potent god.” 
 
 In illustration of the above it may be noted that Matter, in his Hist, 
 du Gnost. (vol. iii, pi. ii®, 6) figures a gem whereon the Christian cross is 
 ostentatiously exhibited with the encircling legion OZIPIZ, in letters so 
 distributed as to be hard to read on a cursory view. In his Gnostics 
 (p. 139) King says :—“The Frog, a not uncommon device for a heathen’s 
 signet, often was adapted for such a use by the early [Christian] converts, 
 for it comes into the list of emblems of the resurrection of the body.” 
 
 In the same book (p. 206) he cites two legends exemplifying the use 
 of the word Ovo/xa:— META TO ONOMA TOY MON ©EOY, 
 and META TO ONOMA TOY CAPAHIC. N 73 in this 
 collection affords another example. 
 
 N 79. WINGED FROG, seated on the back of a Dragon (/.). 
 
 Obv. : Dragon couchant (A) with serpent’s neck and 
 head, and tail in form of an eagle’s neck and head ; above 
 either head a phallic object; the legs fin-like and horizontal 
 under body. Seated on dragon’s back, a frog (A) with 
 long, straight, upward wings. Rev.: Sides (i) lAPBABA, 
 (2) rPAMNH, (3) <I>IBAIaIX, (4) NHMEW. 
 
 Rock-Crystal; Semi-cone, with flattened sides ; 6| X 5. 
 2nd Short Coll. (Lot 30): 1891. [Plate XV.] 
 
 This subject has been abundantly discussed under N 78. The present 
 gem is not, as usual, shaped for mounting in a ring, but is a flat-sided, 
 
 ( 192 ) 
 
conoidal piece of rock crystal which seems to have been left in its natural 
 form. The dragon is a monstrous creature ; its body seems to be that of 
 a crocodile, its head consists of two large-headed serpents, its tail has a 
 hooked beak, and on it sits an object that seems to be phallic. As 
 formerly said, I incline to think that the creature is a power assisting the 
 uprisen soul, not an enemy from which it is escaping. 
 
 N 8o. WINGED MAN-HEADED FROG, seated on the back 
 of a Dragon (/.). 
 
 Obv.: Frog, with man-like head and long downward 
 wings out-spread on either side, squatting, left hand down, 
 left leg bent, in batrachian attitude on the back of a dragon 
 with crocodile’s body, and serpent’s neck and head, and 
 tail in form of an eagle’s neck and head, which moves, all 
 legs forward, as if swimming. Rev.: IAPBA0A rPAMNH 
 <MBAtOXNH M€W. 
 
 Amethyst; ov. cx. 6^ x 5- Gold ring. 2nd Cave Coll. 
 (Lot 200): 1894. 
 
 The subject also of this intaglio—which is engraved on a large and 
 fine amethyst—has been fully discussed under N 78. Its chief peculiarity 
 consists in the man-like appearance of the frog’s head. The monster on 
 which it squats has a single serpent for its neck and head, while its tail 
 ends in two hooks, meant perhaps for well-beaked heads of eagles ; the 
 body is that of a crocodile. The inscription is the same as that on 
 N 78 and N 79. 
 
 N 81. SERPENT, in a shrine, guarding the Mundane Egg (/.). 
 
 Obv. : Serpent, head erect (/.), mouth open, body 
 doubled in one main loop, head and fore-half of body erect, 
 tail and hinder-half horizontal; behind serpent an egg, 
 small end uppermost. These are placed in an open, square 
 shrine, surmounted by an entablature, and supported by 
 legs, within which a curtain, drawn back at either side and 
 dropping in a loop in centre. Above shrine, a cupped 
 circle (sun) and crescent moon (/.), and on either side of 
 these three six-rayed stars. On oblong label beneath, in 
 
 ( 193 ) 
 
 2 B 
 
reversed letters, 0000<CX l<|)l/\ir. Rev.: AMAPIaIMAX 
 IXXIaIMACIaI —in direct letters. 
 
 Yellow Chalcedony; ov. 6X4 (chipped, r. and bottom 
 edges). Silver swivel. Athens, Rhp.; 1897. 
 
 The subject has been explained as “the Mundane Egg, the womb of 
 creation, hatched or vivified by the Male principle as the Serpent” an 
 explanation that seems to me correct though taken from a work of 
 doubtful authority. (Forlong, Rivers of Life, or Faiths of Men, Vol. i, 
 pp. 283, 469.) 
 
 The gem is neatly enough engraved. 
 
 N 82. LIZARD and Crescent {bk^. 
 
 Obv.: Lizard lying flat, back upward, legs outspread, 
 head within curve of a down-pointed crescent. In field, 
 riHPA, a letter near each foot of reptile. Rev. : 
 
 KAN0ECOVAE. 
 
 Mottled Jasper (green, yellow); ov. 5x4. Silver 
 swivel. Athens, Rhp.: 1880. 
 
 For certain absurd reasons the Lizard was regarded as the type of the 
 generation of the “Word”; that is, the Logos, or Divine Wisdom (see 
 King, Gnost., p. 42.) In the talismanic sense it was a guardian of the eyes, 
 and a protector against ophthalmia. The legend in the field— riHPA 
 (equivalent to Pi Ra or see Brown’s Dionysiak Myth, Vol. i, p. 417), 
 the name of the sun-god Ra—shows that the stone is fortified by the 
 power of the sun, while the crescent which encloses the lizard’s head 
 proves that the power of the moon-god has also been invoked. 
 
 The inscription on the reverse has not been translated. Coarsel}^ but 
 tolerably well engraved. 
 
 N 83. FLY, with letters and symbols [bk.). 
 
 Back uppermost, wings open ; at head O, at tail A above 
 + ; round field symbols, A D H. 
 
 Red Jasper; ov. 4^ x 3^ (chipped r.). Gold ring. 
 Sch. : 1880. 
 
 Rather a neat little gem. The letter O is placed near the insect’s 
 head, A above a cross near its tail, and various non-alphabetical ciphers 
 
 ( 194 ) 
 
are scattered round the field. The functions of this talisman are uncertain, 
 perhaps to “p^'^tect the wearer from the assaults of its living prototypes,” 
 (King, Ant. Gems ; vol. i, p. 276.) Pliny relates that Mucianus carried 
 a live flv tied up in linen as a protection against ophthalmia. The fly 
 is said to be a feminine symbol (see I 8). 
 
 N 84. MUMMY, recumbent, with Harpocrates, Sun, Moon, 
 Serpent, and other symbols. 
 
 Obv.: Mummy recumbent (/.), to /. of which Z symbol 
 and Harpocrates seated, hands on knees (/.). Below 
 mummy (beginning at r.):—Harpocrates seated, as above 
 (r.), beneath a twice curved serpent (r.); a straight¬ 
 stemmed plant with spherical root and six diagonally 
 upward leaves; a six-spoked sun-wheel, beneath an up- 
 horned crescent; and another plant, like the former but 
 without a root. Above mummy, three symbolic charac¬ 
 ters, formed from Z and V. Round all, a serpent with 
 tail in mouth. Rev. : lAKOYBAI. 
 
 Yellow Chalcedony; ov. J X sh (slightly calcined at 
 back). Silver swivel, Athens, Rhp.: 1897. 
 
 Engraved in a thin and delicate style. It is impossible to tell the 
 exact use of this collection of figures and symbols, which are encircled 
 by the serpent with its tail in its mouth. The inscription on the reverse 
 is singular, 
 
 N 85. ELEMENTAL SYMBOLS—Water, Earth, Air, and 
 Fire (r.). 
 
 Obv.: Angled symbols (reversed T with line bisecting 
 angle) under names for water and fire ; barred Z symbol 
 under those for earth and air. Inscribed, VAATOC, FHC, 
 A€POC, nVPOC. Rev.: IAIaJ OV6HIHOV AHIaIIOIA. 
 
 Banded Plasma; circ. 3^. Gold swivel. Sch.: 1880. 
 
 A neatly engraved intaglio, on a very pretty banded plasma. The 
 names of the Elements are inscribed, and a symbol is placed beneath each 
 
 ( 195 ) 
 
 2 B 2 
 
name. I have used this curious gem as an illustration in my “ Origins of 
 Pictish Symbolism'’'’ (p. 28). On the reverse is an inscription embodying 
 the name lAlAl among vowels. 
 
 N 86. MAGICAL SYMBOLS, encircled by a coiled Serpent (r.). 
 
 Obv.: Double cross, barred Z, and Z plain, small circles 
 at ends of lines. Rev.: !AHI €H€OYWHIH lAHWYWHIH. 
 
 Sard; ov. 5 x 4^- Gold swivel. Constantinople, Ain.: 
 
 [Plate XV.] 
 
 These devices—a double cross, a barred Z, and a plain Z—were fraught 
 with magical potency, and are of frequent occurrence in various positions ; 
 independently, as in the present case, or included as letters in inscriptions. 
 Z is said to represent the sacred numeral 7. The E set on its back, a 
 vertical line crossed by two horizontal strokes, and a Z, which stood for 
 the numerals, 5, 3, 7, i.e. the Pentad, Triad, Heptad, were lucky and 
 mystic numbers in all Eastern religions. Hence the letters on these gems 
 are usually disposed in three, five, or seven lines. For the same reason we 
 find the name lAW written with its elements repeated thus LOAIAU), 
 for the sake of obtaining the sacred number Five. (See King, Gnost., 
 pp. 104, 108, 191, ig8.) 
 
 The inscription on the reverse is an example of the frequent practice 
 of incorporating the name lAtO with a number of apparently meaning¬ 
 less vowels. 
 
 The engraving of this gem is better than usual. 
 
 N 87. MYSTICAL INSCRIPTION, encircled by a coiled 
 Serpent (/.). 
 
 Inscription, ZO0AOMC<!>NEOEZ0l©niP!Al©OOANNC 
 VOZETECIXXHKAZCIaIXCX. 
 
 Sard; ov. ex. 4^ x 31 - Gold ring. Athens, Rhp.: 
 
 1880. 
 
 Nothing can be made of this long inscription, consisting of forty-six 
 consonants and vowels crowded together with no divisional spaces ; but 
 doubtless, for an initiate, great mysteries were concealed within its mazes. 
 
 ( 196 ) 
 
N 88. INSCRIPTION, BAINXIaiiaIIaix. 
 
 Scarab. Hematite ; ov. 3^ X 2^. Gold swivel. [Sale 
 at Sotheby’s, June 29, 1879.] Mir.: 1880. 
 
 This is an inscription of not infrequent occurrence. King, following 
 Bellerman, interprets it thus:—“ BAl, a prize ; NXOn, secret; OtOCO, 
 honour. Denoting, perhaps, a symbol given to the neophyte upon his 
 admission into the fraternity.” (King, Gnost., p. 102.) Elsewhere the 
 same writer states that BAINXCOWlsJ was the power residing in the 
 planet Mercury. (King, Cat. New York Musk) 
 
 The scarab form of this gem is remarkable ; I have met with no other 
 example of that class. 
 
 N 89. CRYPTIC CHARACTERS. 
 
 Obv.: l€l-Slf. Rev.: AIAX0A MOPAX0HC AAAZA. 
 
 Burnt Red Carnelian ; ov. double cx. 6x4^ (upper r. 
 edge chipped). Silver swivel. Athens, Rhp.: 1897. 
 
 I can make nothing of the characters on the face of this gem. The 
 reverse has a more promising inscription. 
 
 CLASS O. 
 
 EARLY EGYPTIAN; ASSYRIAN; SYRIAN; PHCENICIAN ; 
 
 EARLY GREEK. 
 
 [Plates XVI and XVII.] 
 
 O I. RA-USER-MA, in hieroglyphics, a title of Rameses IL 
 
 {Orig.) Various objects, among which discs, throned 
 figure, serpent, and jackal-head ; signifying (as read by 
 
 ( 197 ) 
 
Dr. Birch, Br. Mus.) Ra-User-Ma (sun, power, truth). 
 Sun strong in truth. (Egyptian.) 
 
 Scarab. Amethyst ; ov. 5x3^ (chipped). Silver 
 holder. Rr. : 1881. 
 
 An amethyst scarab, indifferently engraved. Knowing little of Egyptian 
 antiquities, I can give no opinion as to the merits or value of this specimen. 
 It belonged to Mr. Robert Ready, father of Mr. W. Talbot Ready, so 
 often previously referred to. 
 
 O 2. AMAKHAR, in hieroglyphics, the name ot an Egyptian 
 
 {Orig^ Hawk (r.) standing beneath throne-like object 
 and representation of part of a hawk’s eye ; signifying 
 (as read by Dr. Birch, Br. Mus.) Amakhar —a man’s 
 name. (Egyptian.) 
 
 Scarab. Sea-green Jasper ; ov. 4^x3. Silver holder. 
 Rr. : 1881. 
 
 Exceedingly well engraved in the shallow, clearly outlined Egyptian 
 style. 
 
 O 3. HARPOCRATES, seated on a lotus, within a border of 
 beads (/.). 
 
 {Orig^j Nude, long hair thrown back and massed in 
 Egyptian style ; right arm forward, hand raised, left arm 
 across breast. A border of twenty-eight beads, within 
 lines. (Egyptian.) 
 
 White Chalcedony (mottled red) ; ov. 4x3- Gold 
 ring. Constantinople, Ain.: 1878. 
 
 An intaglio in the same style as the preceding. Harpocrates was 
 “ not the God of Silence as the Greeks supposed, but Har-pa-chruti, the 
 divine mystery of incipient light, present in all that reveals or revives.” 
 (Lord Lytton, Ring of Aina sis, p. 74.) 
 
 ( 198 ) 
 
O 4. MEDITERRANEAN FISH, with squared back-fin (r.). 
 
 {Orig.) Squared back-fin nearly from head to tail ; 
 two pointed lower fins, square tail. A plain border. 
 (.? Early Greek.) 
 
 Scaraboid. Sard ; ov. 5x3^- Silver holder. Rr. : 
 1881. 
 
 I had supposed this glandular scaraboid to be Egyptian, but it seems 
 rather to belong to an Early Greek class, specimens of which used to be 
 termed “ Island Gems,” being frequently found in the islands of the 
 ^gaean Sea. Such trivial specimens as this one are of small value, but 
 not without interest, and they are properly included in a private collection, 
 though scarcely up to museum mark. 
 
 O 5. HAWK-HEADED DEITY, seated before a portable 
 altar (/.). 
 
 {Orig.) Tight-robed male figure ; left hand forward, 
 holding upright grounded sceptre ; right hand across, 
 bearing knife (.?) ; on altar, a diagonal cross ; in field 
 above, over deity’s head, a globe ; and in centre, globe 
 within up-pointed crescent ; over altar, a six rayed star; 
 in exergue, zigzag pattern. (Phoenician.) 
 
 Seal. Scarab. Sard; ov. 5x3^ (slightly burnt), [ist 
 Cave Coll.] Phc.: 1883. 
 
 Though the god is Egyptian, the style and treatment are not. This 
 fairly well engraved scarab was apparently fashioned by a Phoenician 
 artist, and very probably turned out in Cyprus, where so many imitative 
 gems were produced by those universal workers and traders. 
 
 O 6. SACRED TREE, between two hawk-headed Deities (/r. r. 
 and /.). 
 
 [Origl) Tree of Assyrian type, palm-tree stem, forked 
 at top, based on stand rising from cross-hatched exergue ; 
 
 ( 199 ) 
 
above, within fork of stem, heart-shaped object, point 
 down, crowned with six balls on spikes flanked by 
 in-turned volutes. Hawk-headed men, in short tunics, 
 standing (r. and /.) facing tree, inner hands forward, outer 
 down ; figure to r. holding in inner hand an upright 
 sceptre with ring top (ankh) ; figure to /. touching tree 
 with inner hand, outer down, as if holding crux ansata ; 
 over head of each, a globe. A single-line border. 
 (Phoenician.) 
 
 Seal. Scarab. Green Jasper ; ov. 5|^X4- Gold swivel 
 H. R.: 1888. 
 
 This scarab is of composite character like the preceding—a blend of 
 Egyptian and Assyrian—but it is better engraved, in a similar shallow 
 manner, is much fuller in subject, and altogether is more interesting and 
 valuable. It had been furnished with a handsome gold swivel mount 
 by some former owner and is an excellent specimen of Phoenician work¬ 
 manship. 
 
 WINGED HORSES, supporting a Sacred Tree (r. and /.). 
 
 {Origl) Tree, of conventional Assyrian type, based on 
 a low stand of upright bars ; horses, confronted, rearing 
 on either side, each with fore-legs against tree’s stem, one 
 bent, the other raised ; both horses spreading horizontal 
 curved wings. (Phcenician-Assyrian.) 
 
 Seal. Cut Cone. Sapphirine Chalcedony ; oct. lex. 
 4 ^ X 4 (chipped). Gold ring. [Aleppo.] Tyszkiewicz 
 Coll. (Lot 28) : 1883. 
 
 'Eo all appearance this beautiful gem has once formed the base of a 
 conical seal. It is engraved with admirable delicacy in the shallow style, 
 and its design, whether as regards the horses or the conventional sacred 
 tree, is as fine as if it were a product of Grecian art. Phoenician it 
 undoubtedly is, yet entirely Assyrian in treatment, with no admixture of 
 Egyptian influences. 
 
 ( 200 ) 
 
O 8. A PRIEST, worshipping before the altar of Asshur (/.). 
 
 Winged-disc symbol of the god above a fire-altar 
 (radiated upright object within a rounded cone) ; priest, 
 robed, hair in diadem with large pendent back-knot, both 
 hands extended towards the deity. In central field, four 
 Phoenician letters, (Phoenician-Assyrian.) 
 
 Seal. Cone. Sapphirine Chalcedony ; circ. 5^. 
 Tyszkiewicz Coll. (Lot 31) : 1883. 
 
 A sapphirine cone, somewhat rudely engraved with a scene of Assyrian 
 worship. The Phcenician inscription—BA-BA-LA-HA, the Babylonian— 
 marks its origin. Inscriptions in that language are not common, and 
 considerably add to the value of gems that bear them. 
 
 O 9. ASHTORETH, four-winged, standing above a Phoenician 
 inscription (yL). 
 
 Female figure, nude, with long side-locks clubbed at 
 the ends, standing, heels together ; arms extended, right 
 hand resting on triple-headed staff; wings, rounded, 
 springing from centre of back, two up and two down. 
 In exergue, five Phoenician letters, (Phoenician.) 
 
 Seal. Scaraboid. Chalcedony ; ov. 7x5^ (chipped 
 above). Castellani Coll. (Lot 980) : 1884. 
 
 Coarsely cut, but interesting from inscription and subject. The 
 former—ZI-KA-LA [Seal] of Kala—indicates the name of the ancient 
 owner. {Cf. O 23 and O 25.) 
 
 O 10. ASIATIC WARRIOR AND LADY, standing con¬ 
 fronted (/. and r.). 
 
 Warrior, in Persian attire, with plain cheek-pieced 
 helmet, girt tunic covering knees, Asiatic trousers ; left 
 
 ( 201 ) 
 
 2 c 
 
hand raised, resting on grounded spear. Lady, in long, 
 tight drapery, showing back-outline ; tailed and lappeted 
 cap ; right hand raised, displaying triple flower ; left 
 across, holding small object. (Phoenician.) 
 
 Seal. Scaraboid. Burnt Agate ; ov. 8x6 (chipped 
 above). [Spezia, near Nauplia ; in tomb with Phoenician 
 glass.] Athens, Stn.: 1882. 
 
 I'he figures seem to be Persian, but the workmanship is most probably 
 Phoenician. The engraving is fairly good in its way, and the subject has 
 considerable interest as an illustration of costume. 
 
 Professor Furtwangler describes this scaraboid and terms the figures 
 “Persian.” (Furtw., A.G., p. 58 ; pi. xii, ii.) 
 
 Oil. ARCHAIC BULL, standing in a contorted attitude (r., 
 hd.fr.., /.). 
 
 Head bent round to hind-legs ; fore-legs forward and 
 together under head ; body slender, horns long and 
 forward curved ; disc within half-ring on shoulder, ring 
 on side, two rings in field on either side of head. (Early 
 Greek.) 
 
 Lenticular. Red Jasper (mottled) ; circ, 7 (r. edge 
 chipped). [Sparta.] Athens, Stn. : 1882. 
 
 Under O 4 I have remarked on the class to which this lenticular gem 
 belongs. Undoubtedly they represent that very early Greek art commonly 
 termed Mycenaean, and are by no means confined to the ^Tgaean islands, 
 as at one time supposed. I consider this a good and characteristic 
 specimen, however grotesque in design, for it is well and carefully 
 engraved, and its material is very pleasing to the eye. 
 
 O 12. TWO DEER-HOUNDS, passing in opposite directions 
 (r. and /.). 
 
 {Orig.) Hound moving to /. with raised tail and fore- 
 
 ( 202 ) 
 
paw ; another hound beyond it (r.), only head and neck 
 visible. (Early Greek.) 
 
 Flattened Cylinder. Sapphirine Chalcedony ; obi. cx. 
 4 X 34. Gold mount. Sch. : 1879. 
 
 Of similar class to the preceding, but inferior. 
 
 O 13. FOUR ANTELOPES, walking in pairs (r. and /.). 
 
 Confronted pairs, each pair antipodal to the other ; all 
 similar, with long straight horns, horizontal over back, 
 and straight legs ; between chests of each pair, two 
 roughly formed pellets. 
 
 Flattened Flalf-CyUnder. Serpentine; sq. 10x9- Con¬ 
 stantinople, Ain. : 1879. 
 
 The engraving is of the rudest description, consisting of a few very 
 deeply cut straight lines ; there are some cylinders that have been engraved 
 in an exactly similar rudimentary fashion, which perhaps belongs to the 
 earlier art of Cyprus and Asia Minor. The material is a coarse piece of 
 serpentine, perforated, rectangular, convex above and flat below. 
 
 O 14. A PISTRIX, with wings and long, pointed beak (/.). 
 
 Wings spread, beak opened, eye large and round, two 
 pointed fins near forked tail. In field, two uncertain 
 objects. Rev. : Scorpion (.?), partly effaced. (Early 
 Greek.) 
 
 Glandular. Jade; ovd. cx. 5 x 4. Tyszkiewicz Coll. 
 (Lot 57) : 1883. 
 
 A moderate example of the early Greek style. 
 
 ( 203 ) 
 
 2 c 2 
 
O 15- A SHIP, with two crescents surmounting the masts (/.).’ 
 
 Three thick masts, resting on whose tops two up- 
 pointed crescents, the foremost nearly forming a circle ; 
 between the masts, cross-hatching ; figure-head, a triple 
 plant (?). (Early Greek.) 
 
 Glandular. Rock Crystal; ovd. cx. 7x5. Tyszkiewicz 
 Coll. (Lot 57) : 1883. 
 
 Similar to the preceding. 
 
 O 16. CRESCENTS and COLUMNS, enclosing a cross-hatched 
 centre (/r.). 
 
 Two columns of vertical lines, with capitals and bases 
 formed of crescents, in pairs,'pointing inwards. Between 
 columns, cross-hatching, enclosed at both ends by similar 
 crescents, each point touching corresponding point of 
 crescent on either side. (Early Greek.) 
 
 Glandular. Green Slate ; ovd. cx. 7^ x sh- Tysz¬ 
 kiewicz Coll. (Lot 57) : 1883. 
 
 Similar to the preceding. 
 
 O 17. A WINGED HORSE, in a contorted attitude (r.). 
 
 Horse (r.), mane erect, fore-legs raised as if galloping ; 
 round chest three girths, behind which body reversed, 
 the hind-legs straight, pointing towards top of stone ; tail 
 pendent, long and narrow. From shoulder a large wing 
 down and backwards, then sharply curved upward under 
 fore-legs. (Early Greek.) 
 
 Glandular. Steatite; ovd. 6 x 4^. Wtr.: 1889. 
 
 A somewhat better specimen, of the same class as the three preceding. 
 
 ( 204 ) 
 
O 18. TWO DEITIES combating a Winged Bull (r. and /.). 
 
 Two male figures, confronted, in Persian costume, 
 wearing square royal caps, short loose tunics, and tight, 
 flounced divided skirts, each with inner arm forward, 
 grasping one horn of a winged bull, rampant (r.), head (/.), 
 tail erect, wings horizontal, with up-turned points ; outer 
 arms of deities down, a broad dagger in hand of deity 
 to /. (corresponding hand of other deity fractured). 
 Overhead, winged disc. In exergue, remains of Phoe¬ 
 nician inscription, the letter T = G. (Phoenician.) 
 
 Sea/. Cone. Chalcedony ; ov. X si (chipped all 
 round). India. Wtr. ; 1889. 
 
 With this large chalcedony cone we enter upon a different class. The 
 design, which is fairly well engraved in the flat shallow style, may be 
 termed Assyro-Persian, for the arrangement, with the two human figures 
 on either side of a central object and beneath the winged disc, is distinctly 
 Assyrian, while the figures are dressed in Persian costume. But the 
 workmanship is Phoenician, and one letter belonging to that alphabet still 
 remains in the mutilated exergue. 
 
 O 19. PHCENICIAN SPHINX, winged and goat-headed (/.). 
 
 Couchant ; right fore-leg raised ; bearded goat’s head 
 with long recurved horn (of ibex type) bearing three 
 double-ringed projections ; both ears shown ; neck long 
 and arched. Lion’s body, tail raised in double curve ; 
 wing raised and forward-curved, top broad and rounded. 
 In back-ground, appearing above shoulder, image of 
 Artemis of Ephesus half-length, many-bosomed ; 
 
 on head, fan-shaped cap resting on two spheres. A plain 
 border. (Phoenician.) 
 
 Sea/. Cat Scara/fo/J [unpierced). Green Agate-Jasper ; 
 
 ( 205 ) 
 
ov. y X si (depth inches). [Cyprus.] Anon. Coll., 
 Sotheby’s (Lot 6) : July 7th, 1890. 
 
 There are replicas in various sizes of this rather curious intaglio. One, 
 known to me, belonging to Sir M. E. Grant Duff, came from the Rhodes 
 collection, and is mentioned in King’s Ancient Gems and Rings (2nd ed,, 
 pp. Ixiv and 483). It is smaller than mine, but has the advantage in its 
 material—a white agate beautifully mottled with red and other colours. 
 In Raspe’s Tassie's Gems (ed. 1791 ; p. 65, Nos. 661, 662, and pi. xi) and 
 Lajarde s Quite de Venus (pl.xiv'', 4) similar or identical gems are recorded. 
 
 The object appearing above the sphinx’s back seems to be intended for 
 the many-bosomed Artemis of Ephesus, yet it is not unlike a fire-altar, 
 and may perhaps combine the two ideas. 
 
 O 20. DEITY, within a crescent above a symbolic Boat and 
 Diadem (r.). 
 
 Deity (r.), half-length, profile ; long hair and beard in 
 massive curls ; wearing tunic and square, disc-crowned 
 cap ; right hand raised, arm bent ; across left side a 
 straight sword. Beneath deity, and enclosing him within 
 its horns, a large up-pointed crescent, to right of which 
 an eight-rayed star, and to left a vertical sword (.? crux 
 ansatd)^ point down. Beneath crescent, a crescentine 
 boat-formed object, arched over lengthways by the curve 
 of a fringed diadem, crested in the centre by a square 
 plume, and at either end adorned with three flowers— 
 two upright and one pendent. (Assyrian.) 
 
 Seal. Cone. Sapphirine Chalcedony ; circ. cx. 4. 
 Silver mount. 2nd Short Coll. (Lot 41) : 1891. 
 
 A prettily-coloured sapphirine. The design seems to be Assyrian, but 
 there is a suggestion of Egyptian influences in the peculiar symbolic 
 figure beneath the large crescent, the details of which I cannot explain. 
 Perhaps the lowermost curved object and the oppositely curving object 
 placed within it may be meant for a saucer-shaped bowl containing plants 
 and flowers. The object to the left of the crescent may possibly be a 
 
 ( 206 ) 
 
crux ansata, rather than the down-pointing sword which I have been 
 accustomed to consider it. {Cf. De Clercq, No. 345, “ lion, le Dieu 
 supreme.”) 
 
 O 21. SACRED HAWK and Feathers of MA, Goddess of 
 Truth {fr.). 
 
 {Orig.) Hawk displayed (/r.), wings downward. 
 Head to /., and on either side of it a large ostrich 
 feather, slanted inwards, point upwards. A plain border. 
 
 Seal. Scarab. Haematite ; ov. 4 x 3 (lower left edge 
 chipped and flawed). [Cyprus.] Lawrence-Cesnola 
 Coll. (Lot 317) : 1892. 
 
 This small scarab, both in subject and style, is Egyptian, though 
 probably of Phoenician workmanship. It is referred to in A. Cesnola’s 
 Salarninia (p. 140). 
 
 O 22. A LION overpowering a Bull (/. and r.). 
 
 Lion (/.) rampant on hind-legs, mouth open, tail raised 
 and curved ; right hind-leg forward, left fore-paw on 
 shoulder of bull (r.), right fore-paw (fragmentary) above 
 bull’s back ; bull (r.) standing, head down, right fore-leg 
 bent. In field, above lion, a rosette of seven leaves ; 
 above bull, a goat’s head (r.), with long double-curve 
 horn. A plain border. (Phcenician-Assyrian.) 
 
 Seal. Scaraboid. Agate, orange and pearl-grey ; 
 ovd. 4^ X 4. [Assyria.] Wtr. ; 1892. 
 
 Spirited, but rough. The goat’s head visible in the upper field is a 
 favourite (so-called) Hittite symbol, and it seems likely that this scaraboid 
 belongs to Cyprus or Asia Minor, though said to have come from Assyria. 
 The agate tnat bears the engraving is an exceedingly pretty translucent 
 stone. 
 
 ( 207 ) 
 
O 23. ISTAR, standing full front, head in profile [fr. and r.). 
 
 Female figure, entirely nude, standing (^/r.), arms 
 down, feet turned outwards ; head in profile (r.), wearing 
 beaded fillet, hair in club. (Assyrian.) 
 
 Seal^ m form of a lion couchant. Sapphirine Chalcedony; 
 obi. 7x3! (right edge chipped, left edge fractured, left 
 arm effaced, lion’s muzzle wanting). From Anon. Coll., 
 sold at Sotheby’s, May 17, 1893 90). Wtr.: 1893. 
 
 For several reasons a remarkable gem. First, its form is unusual, being 
 that of a couched lion, like the metal lion-weights. In my collection 
 there is another example of the same form (B 4), but it belongs to Grecian 
 art, as shown by the engraving on its base, while this is plainly Assyrian. 
 Secondly, an absolutely naked female figure is of the rarest occurrence on 
 Assyrian or Mesopotamian engraved stones, except in the conventionalised 
 form in which Istar (or some other goddess) is frequently presented on 
 Babylonian cylinders. In the present case the details are as minutely and 
 peculiarly realistic as those on certain figures incised on ivory which may 
 be seen in the British Museum. 
 
 Thirdly, while the body and legs are exceedingly awkward, the head 
 and face are almost handsome, the latter, in profile, being finely outlined 
 and of dignified expression. I highly prize this gem and cannot but 
 believe it to be valuable of its class. 
 
 O 24. A BULL, walking, with an Eagle standing on his back (r.). 
 
 Bull (r.), walking (ground-line shown), left tore-leg 
 and right hind-leg in advance ; one horn and one ear 
 visible ; tail pendent, with bushy tip. Standing on bull’s 
 hind-quarters, an eagle (r.), with closed wings and opened 
 fan-like tail ; beak, round and clumsy. Below bull’s 
 head, a plant (resembling Prince of Wales’s cognisance) 
 of three long leaves radiating from flat base-line. 
 (Assyrian.) 
 
 Seal. Cone. Sapphirine Chalcedony ; ov. lex. 5^x4. 
 [Bagdad.] Wtr.: 1894. 
 
 Coarsely engraved on a beautiful sapphirine. Better designed than 
 executed. 
 
 ( 208 ) 
 
O 2 5- ASHTORETH, four-winged, standing with outstretched 
 arms (yr, /.). 
 
 Female figure, entirely nude, standing {fr.), with arms 
 outstretched and open hands, sex indicated by cup-shaped 
 discs ; head in profile (/.), hair in fillet and club. Pro¬ 
 ceeding from shoulders, four open wings, displayed saltire- 
 ways behind body. (Phoenician.) 
 
 Seal. Scaraboid. Grey and white Agate ; ov. 7x6 
 (bottom edge badly chipped). [Tyre. Greville-Chester 
 Coll. (Lot 73).] Greg Coll. (Lot 34) : 1895. 
 
 A scaraboid, similar in subject to O g, but considerably better cut. 
 Though such gems are of little intrinsic value, they are archaeologically 
 valuable, especially when they have been brought from the place of their 
 discovery by a collector of judgment and character. 
 
 O 26. SPHINX, couchant, hawk-headed, holding a Crux 
 Ansata (/.). 
 
 Winged male sphinx (/.), fore-legs forward ; wing 
 (the other hidden) raised and spread (tip fractured) ; tail 
 erect ; lion-bodied and hawk-beaded ; overhead, Uraeus 
 symbol (?); held vertically in paw, a crux ansata. Beneath, 
 a pair of wings outspread, level above (forming platform 
 for sphinx), curved below ; at central point between 
 wings, a cup-shaped disc. Beneath the wings, a scara- 
 bsus [bkl)., bying, with out-spread up-pointed wings. 
 (Phoenician.) 
 
 Seal. Scaraboid. Grey and white Agate ; ov. 6^ x 5 
 (top badly chipped). [Beyrout, Syria. Greville-Cbester 
 Coll. (Lot 77).] Greg Coll. (Lot 34) ; 1895. 
 
 Finely designed, and, for its class, well cut in the shallow linear style. 
 The sphinx rests beneath a winged disc and above a flying scarabaeus. 
 These devices are Egyptian ; the workmanship, however, is probably 
 Phoenician. 
 
 ( 209 ) 
 
 2 D 
 
O 27. MAN-SCORPION, standing, with wings erect (r.). 
 
 Composite figure—head, a man’s, in profile (r.), with 
 long square beard and hair in club, and wearing a conical 
 cap with three encircling fillets ;—legs, two fore-legs of 
 a bull, left forward, feet far apart ;—wing, an eagle’s 
 (the other hidden), open and diagonally erect ;—tail, a 
 scorpion’s, rising vertically behind wing and ending in 
 reversed curve, with back-pointed sting. (Assyrian.) 
 
 Flattened Conoid Seal. Red Chalcedony ; circ. 4x4 
 (flawed at top edge). Greg Coll., (Lot 34) : 1895. 
 
 The likeness of one of those strange sun-guardians mentioned in the 
 legend of Gilgames. The little seal is well enough engraved, in the 
 shallow linear style. 
 
 O 28. BULL, fork-tailed, half-kneeling beneath a Disc and 
 Crescent symbol (r.). 
 
 Bull (r.), head raised, showing one straight upright 
 horn; left fore-leg bent, right fore-leg in kneeling 
 position ; hind-legs together and forward under body, 
 feet on ground ; tail erect, and ending in two tips which 
 cross near their extremities. Above the bull, a cup¬ 
 shaped disc above an up-horned crescent. A milled 
 border. (Phoenician.) 
 
 Seal. Scaraboid. Black Jasper ; ov. 4^ x 3l- Greg 
 Coll. (Lot. 34) : 1895. 
 
 Rough in all ways, except in the high polish of the deeper parts of the 
 engraving. 
 
 O 29. PRIEST, before an Altar, which bears a Spear and fire- 
 crowned Tripod Pole (r.). 
 
 Male figure (r.) robed, long-haired and bearded, and 
 
 ( 210 ) 
 
wearing circular cap (drill-disc) ; standing, hand raised 
 before a five-legged altar-table, on which are erected a 
 spear, with long leaf-shaped blade, point upward, and 
 behind it, on tripod stand, a vertical pole rising from 
 double spherical knob and ending in smaller cup-shaped 
 disc. Near the top of the pole, a horizontal bar, passing 
 through a spherical knob, and forming the pole into a 
 cross. Above the bar,—probably indicating hre,—two 
 smaller parallel bars. Encircling the pole, a chain or 
 cable. Above all, an up-horned crescent. (Assyrian.) 
 
 Conoid Seal. Grey Chalcedony ; oct, lex. 7x4 
 (height, loj). Greg Coll, (Lot. 34) : 1895. 
 
 This large chalcedony cone has no redeeming quality except genuine¬ 
 ness. It formed part of a sale-lot and I happened to keep it. 
 
 O 30. TWO ANTELOPES, looking in opposite directions (r.). 
 
 Antelope with short, slightly curved horns, moving 
 to r. ; left fore-leg bent and raised high, almost to 
 nose ; right fore-leg raised and bent under body ; right 
 hind-leg forward and bent ; tail long and thin, turned 
 down, end horizontal and sweeping in double curve 
 over haunch. Another similar antelope (r.) behind the 
 first, also moving to r., its haunch and right hind¬ 
 leg showing beyond the other’s haunch, over which 
 its tail sweeps horizontally above the latter’s tail. The 
 second antelope’s head and neck reverted to /. appear 
 above shoulder of the first. Between the two heads, 
 short straight plant, with spherical, spiked, mace-like 
 head downward, and three long, diagonal leaves. In 
 back-ground, showing below first antelope, the stem of a 
 thick branch, slanting upward to /., the end of which— 
 a sphere with three long leaves springing fan-like from 
 
 ( 211 ) 
 
 2 D 2 
 
it—appears behind the head of the second antelope. 
 (Early Greek.) 
 
 'Lenticular. Red Jasper (eyed and mottled) ; circ. cx. 
 7x7- [Mycenae.] Athens, Lhs. : 1897. 
 
 Not quite equal to O 11, but a good specimen of the same class. 
 
 O 31. ARCHAIC LION, looking back (r.). 
 
 Lion, standing (r.), his fore-legs back, his hind-legs 
 forward, all his feet nearly meeting. His head, in profile 
 to /., eye large and round, mouth slightly open ; mane 
 ample, a forked lock from further side showing behind 
 fore-legs ; tail raised over back in double curve. (Early 
 Greek.) 
 
 Glandular. Red Carnelian ; ovd. cx. 6 x 4|. Athens, 
 Lbs. : 1897. 
 
 Bought at the same time as the preceding; of similar class, though 
 less good. 
 
 O 32. ISTAR, worshipped by an Assyrian King and Queen. 
 
 Female deity (Istar), full-robed, seated (r.) on a high- 
 backed, chair-like throne placed on the back of a lion, 
 standing (r.), his right legs advanced, his tail raised in 
 single curve. The goddess raises her right hand, and 
 with her left holds a ring, whence a straight line (sceptre .?) 
 proceeds diagonally downwards. Facing her, a king 
 stands (/.), long-haired and bearded, wearing Assyrian 
 robes and royal head-dress ; his right hand raised in 
 adoration, his left across body, holding downward a short 
 sword. Behind him stands a woman (/.), with long 
 
 ( 212 ) 
 
clubbed hair and turban-like cap. She wears a long 
 tunic, over which falls a mantle ; both hands are raised 
 in adoration. In field, behind back of throne, five six- 
 pointed stars, vertically set ; and above, and between 
 heads of king and goddess, a large scorpion (r.). Round 
 all, a guilloche border. (Assyrian.) 
 
 Hemispherical Seal. White Chalcedony ; lex. 6x6 
 (flawed and slightly chipped). N. : 1900. 
 
 This is a gem of the best Assyrian period, about the time when 
 Assurbanipal occupied the throne, so finely designed and engraved that 
 Dr. Pinches suggests that it might have been a royal signet. I have seen 
 nothing better of its kind. The goddess is shown enthroned, much as 
 she appears on one of my cylinders (Oy i) ; but in that case the animal 
 bearing the throne is a hound, while here it is a lion. 
 
 A beautiful spiral border surrounds the whole design, which is in a 
 very perfect state, though the seal itself is internally flawed and abraded 
 round the edges of the slightly convex bezel. I very highly value 
 this gem. 
 
 O 33. WINGED GRYPHON, walking towards a Fir-branch (/.). 
 
 Gryphon (/.) walking (ground-line shown), left legs 
 in advance ; twice-curved, backward horn on forehead ; 
 bristled mane ; rounded wing, upright and forward- 
 pointed ; very long tail, looped and twisted, and extended 
 behind in S-like curves. Under gryphon’s head, a fir- 
 branch of nine spikes, vertically planted. (Persian .?) 
 
 Octagonal Conoid Seal. Sapphirine Chalcedony ; oct. 
 lex. 4^ X 3^ chip near top of cone, which is 
 
 grooved over top and outward sides). Silver mount. 
 [Smyrna.] Van L. : 1900. 
 
 A design of some spirit, rather coarsely but not badly engraved. The 
 material is decidedly pretty. This gem, and the following, came from a 
 small collection belonging to Mr. Van Loo, which was forwarded (I forget 
 by whom) for my inspection. 
 
 ( 213 ) 
 
 2 D 3 
 
O 34, A BULL, kneeling on its right knee (/.). 
 
 Bull (/.), head raised, one upright horn and one back¬ 
 set ear visible ; neck horizontally maned ; lert fore-leg 
 bent, right fore-leg kneeling ; hind feet standing ; tail 
 downward between legs. Round all, a rope border. 
 (Phoenician.) 
 
 Seal. Scaraboid. Black Jasper ; ov. 6 x 4^2-. [Smyrna.] 
 Van L. ; 1900. 
 
 Not without merit. It much resembles O 28, but excels it, though 
 devoid of its high interior polish. 
 
 0 35. ISTAR, adored by a Priestess holding up a Mirror 
 (r, and /.), 
 
 Female deity (Istar) seated (r.) on chair, the back 
 of which is topped with spear-head directed to hori¬ 
 zontal cut immediately above it ; head in profile, hair 
 falling on shoulder in square, horizontally-lined mass ; 
 wearing plain, tight robe ; right arm bent and forward, 
 in hand a cup. Over head, a large eight-rayed star. 
 Facing goddess, a female figure standing in profile (/.), 
 with long hair in plain mass to shoulders ; wearing a 
 robe fringed at foot and furnished with a fringed cape (.?), 
 which bears four crosses and falls over and from left 
 shoulder. Upright, in her right hand, raised and forward, 
 a circular mirror, cupped at centre. (Assyrian.) 
 
 Seal. Scaraboid. Sapphirine Chalcedony ; cx. 7x6. 
 [From an Armenian.] Wtr. : 1900. 
 
 The design is uncommon. Very probably the object held by the 
 priestess is not a mirror, but a bottle from which she is pouring liquid 
 into a cup held forth by the goddess, but no stream is proceeding from 
 the bottle’s mouth—if bottle it be. Fhe engraving is fairly good, in a 
 
rough scooped style with few lines and wide, unpolished inner spaces, like 
 the late Babylonian cylinders. 
 
 This scaraboid is pretty and interesting, both in the general character 
 of its design and in its clear sapphirine material. 
 
 O 36. GAZELLE, beneath a Winged Disc, walking towards a 
 plant-like symbol. 
 
 Gazelle walking /., left legs forward ; its horns close 
 at base and curving outwards r. and /. ; its tail rather 
 long, without tuft, and raised upward in flat single curve ; 
 its body crossed by four rib-like bars. In field, above its 
 hind-quarters, a symbol (damaged at top), representing a 
 spread eagle or a conventional winged disc ; and opposite 
 its chest a symbol resembling a plant with spear-blade 
 head rising from an up-horned crescent. (Assyrian.) 
 
 Seal^ in form of a duck’s head and back. Marble, fawn- 
 coloured ; obi. 8x7 and 6. N. : 1901. 
 
 A coarsely engraved seal in form of a duck’s head resting on part of 
 the same bird’s back, the lower side of which bears the design. 
 
 O 37. CRESCENT-CROWNED ALTAR, with Crescent, six- 
 rayed Star, and Phoenician inscription. 
 
 Portable altar, formed by a vertical shaft, bearing on 
 its top a large up-horned crescent. To left of the shaft, 
 a small up-horned crescent above a six-rayed star ; to 
 right of the shaft, a Phoenician inscription, ; all 
 
 within a plain border. (Phoenician.) 
 
 Seal. Scaraboid. Agate, pale brown-grey above blue- 
 grey layers ; ov. 5 X 3i. [From Bagdad.] Wtr.: 1902. 
 
 This scaraboid only merits a place in the collection on account of its 
 bearing a word in Phoenician characters, signifying ELCHANAH, [the 
 seal of] Ghana. 
 
 ( 215 ) 
 
O 38. TWO CONFRONTED FIGURES joining hands across 
 a Palm Tree. 
 
 {Orig.) Male figure, standing (r.), right arm bent and 
 across waist, left hand forward, grasping hand of figure 
 (female .?) standing confronted (/,), with right hand 
 forward, meeting the other’s hand over stem of a palm 
 tree between them, its stem set with short diagonally 
 upward shoots, up to the head, which consists of six 
 slightly curved, diagonally upward parallel branches on 
 either side of stem, and beneath lowest fork two pendants 
 (fruit?). (Assyrian? Persian?) 
 
 Seal. Ivory ; yf X 6| (nearly square ; cylindrical 
 loop on back). N. : 1902. 
 
 The material of this seal seems to be ivory, but may be white shell. 
 The design is commonplace, and the execution rough in the extreme. In 
 itself the seal is rather pretty and curious. 
 
 O 39. TWO CUPIDS, nude, facing r. and /., each seated on a 
 rock and playing on a musical instrument. 
 
 Both in profile, boy playing lyre (r.), boy playing 
 pipes (/.) ; rocks on which they sit formed by circular 
 drill-holes, wing-feathers by parallel single unconnected 
 scores. 
 
 Scaraboid. Chalcedony ; 9 x 7- N. : 1904. 
 
 This scaraboid came for my inspection with a number of poor cylinders 
 and wretched Sassanian gems, and is presumably Oriental, but I cannot 
 discover or surmise its true nationality. The pose of the figures—one of 
 which sounds a double flute while the other plays on a lyre—is graceful, 
 and almost suggests Greek designing ; the workmanship, however, is coarse 
 and careless to the last degree. It may turn out to be more curious and 
 interesting than now appears. 
 
 ( 216 ) 
 
O 40. TWO HUMAN HANDS. 
 
 Side by side, pointing opposite ways, each within 
 crescentine, riband-like object parallel to each wrist end. 
 Symbolic nail-formed devices round margins of the field. 
 
 Amulet. Pink-red Jasper ; square, 9^ x pi? perforated. 
 N. : 1904. 
 
 Possibly of Mesopotamian origin. 
 
 ( 217 > 
 

 P 
 
INDEX 
 
 (The references throughout are to the pages of this volume.) 
 
 Abraxas Deity, 138-144, 172, 176. 
 
 „ „ Ass-headed, 143. 
 
 ,, Symbols, 171. 
 
 Absyrtus, 16. 
 
 Achilles, 73. 
 
 Adoration of Istar, 212, 214. 
 
 37, 40, 45- 
 ^neas, 74. 
 
 Africa, Symbolic head of, 59, 135. 
 
 Air Symbol, 195. 
 
 Alexander the Great, 117. 
 
 Allocution, 89. 
 
 Alpha Symbol, no. 
 
 Altar, 73, 80, 166, 210 ; and oj. Cippus, Mithraic 
 Table, 
 
 „ Crescent-crowned, 215. 
 
 ,, Fire, 201, 
 
 ,, Portable, 80, 119, 130, 158, 199, 215. 
 
 ,, Tripod, 121. 
 
 Amakhar, 198. 
 
 Amphora, 92, 187. 
 
 Andromeda, 69. 
 
 Animal, Composite, 183. 
 
 Anka, aj. Simoorgh. 
 
 Ankh, 200. 
 
 Ant, 75. 
 
 Antelope, 70, 151, 203, 211, 
 
 ,, Head of, 90. 
 
 Anubis, 142, 149, 163, 164, 166, 169. 
 Aphrodite, 21, 40, 41, 42, 43, 47, 52, 127, 128, 
 131 ; and ‘v. Isis Hathor. 
 
 „ Anadyomene, 41; and nj. Isis Hathor. 
 Apollo, 31. 
 
 „ Head of, 32, 47, 51, 82, 88. 
 
 Apple, 8, 24, 47, no. 
 
 Archer, 184; and nj. Youth. 
 
 Ares, 154. 
 
 Argonaut, 8. 
 
 Ariadne, 64. 
 
 Arrow, 6, 23, 27, 73, 104, 184. 
 
 Arsinoe ii, 123. 
 
 Artemis, 43, 51, 128. 
 
 ,, of Ephesus, 44, 205. 
 
 ,, ,, ,, Legend from shrine of, 141. 
 
 „ Altar of, 73. 
 
 Ascanius, 74. 
 
 Ashtoreth, 201, 209; and nj. Istar. 
 
 Asklepios, 35, 44. 
 
 Asp, 121, 124. 
 
 Ass, Triple-headed, 22. 
 
 ,, -headed Deity, aj. Set. 
 
 Asshur, Symbol and altar of, 201. 
 
 Astragali, no. 
 
 Atef Crest, 9 
 Athene, oj. Pallas. 
 
 Axe, 73. 
 
 Ball, Spiked, 200. 
 
 Banner, Roman, 88. 
 
 Basket, 42. 
 
 Baton, 88. 
 
 Beads, 128. 
 
 ,, Fillet of, 208. 
 
 ,, String of, 51, 118. 
 
 Bear, 70, 84. 
 
 Bee, Woman-headed, loi. 
 
 Berry, 105. 
 
 ®)ga. 59> 86, 87. 
 
 Bird, 87 ; and o'. Stymphalian. 
 
 Boar, Wild, 18, 19, 94 ; and a}. Mask. 
 
 Boat, Sacred, 119, 175. 
 
 ,, Symbolic, 206. 
 
 Bow, 3, 4, 6, 23, 27, 43, 51, 104, 132, 184, 
 190. 
 
 Bowl, 31, 99, 102, 132. 
 
 Branch, 80, 81, 94, 96, 98, 157, 211 ; and Fir, 
 Olive, Palm, 
 
 Bridle, 13, 14, 20, 91, 129. 
 
 Brooch, 48, 51, 53, 59, 64, 67, in 
 Bucket, 157. 
 
 ( 219 ) 
 
 2 E 
 
Buckler, 75. 
 
 Bull, II, 24, 56, 71, 92, 93, 180, 182, 202, 207, 
 208, 210, 214. 
 
 „ Head of, 6, 186. 
 
 „ Winged, 205. 
 
 Bush, 39, 96. 
 
 Buskins, 43, 85. 
 
 Bust, Female, Cameo, 134; and v. Lady. 
 
 Caduceus, 32, 97, 109, 150. 
 
 Caesar, Julius, 111. 
 
 Calf, 15, 17, 96, 97. 
 
 Cancer, 109. 
 
 Canopic Vase, 125. 
 
 Cantharus, 33, 57. 
 
 Cap, Assyrian, 213. 
 
 „ Circular, 211. 
 
 „ Conical, 124, 210. 
 
 „ Disc-crowned, 206. 
 
 „ Egyptian, 124, 126. 
 
 ,, Fan-shaped, 205. 
 
 „ Persian, 202, 205. 
 
 ,, Phcenix-crested, 171. 
 
 „ Phrygian, 6, 70, 74, 180, 182, 184. 
 
 „ Starred, 74, 131. 
 
 „ Vulture, 9, 149. 
 
 „ Winged, <1;. Petasus. 
 
 Carceres, 87. 
 
 Casket, 148, 149, 150. 
 
 Cat, 121. 
 
 Centaur, 98, 104, 186. 
 
 Centauress, 98. 
 
 Cerberus, Etruscan, 14. 
 
 Chain, 211. 
 
 Chair, 82, 127, 128, 149, 214. 
 
 Chaplet, 68. 
 
 Chariot, 52, 87, 89, 108 5 and o'. Biga, Quadriga, 
 Triga. 
 
 Charioteer, 12, 22. 
 
 Chest, 88. 
 
 CImuphis, 144, 147, 163, 166, 169, 170. 
 
 ,, Lion-headed, 146, 147, 148. 
 
 „ Mummy-cased, 145. 
 
 Cipher Characters, Gnostic, 144, 179, 194. 
 Cippus, 35, 47, 48, 64, 66, 73, 81, 83, 155. 
 Circus, Roman, 87. 
 
 Cista, 36, 147. 
 
 Cleopatra, v. Isis. 
 
 Clouds, 180. 
 
 Club, 3, s, 60, 61, 62, 74, 109, 177, 186. 
 
 Cocks, Fighting, 108. 
 
 Collar, 30. 
 
 Column, 8, 38, 41, 204. 
 
 Comb, 190. 
 
 Combat between Deities and Winged Bull, 205. 
 „ Gryphon and Horse, 25. 
 
 ,, Lion and Eagle, 17. 
 
 „ „ „ Horseman, 89. 
 
 „ „ „ Stag, 186. 
 
 „ „ „ Wild Boar, 19. 
 
 ,, Man and Bear, 84. 
 
 „ Sphinx and Warrior, 100. 
 Commodus, 61. 
 
 Compass, 166. 
 
 Cone, 110, 190. 
 
 Corn, O'. Wheat. 
 
 Cornucopia, 36,45, 88, no. 
 
 Corpse, 176. 
 
 Costume, Assyrian, 212, 214. 
 
 ,, Persian, 205. 
 
 Couch, 122. 
 
 Cow, 15, 17, 93, 96. 
 
 Crab, 109. 
 
 Crane, 95. 
 
 Crescent, 44, 53, 100, no, 151, 152, 156, 183, 
 i93» *94)^04i 206, 210, 211, 215. 
 
 Crest, 'V. Atef, Persea-leat, Phoenix. 
 
 Criophorus, 85. 
 
 Crocodile, 126, 175, 190, 192, 193. 
 
 Cross, 151, 182, 183, 199. 
 
 ,, -hatching, 19, 199, 204. 
 
 „ Rayed, 128. 
 
 „ symbols. Gnostic, 140, 147, 196. 
 
 Crown, 44, 124, 126. 
 
 „ Mural, 36. 
 
 „ Three-rayed, 146. 
 
 „ Five-rayed, 172. 
 
 „ Seven-rayed, 52, 146, 147, 169,173,185. 
 
 „ Eight-rayed, 144. 
 
 ,, Twelve-rayed, 147, 148. 
 
 Crux Ansata, 149, 167, 200, 206, 209. 
 
 Cryptic Characters, 184, 197. 
 
 Cuirass, 144. 
 
 Cup, 45, 119, 214. 
 
 Cupid, 42, 216. 
 
 Curtain, 193. 
 
 Cushion, 126. 
 
 Cymbal, 77. 
 
 Cynocephalus, 187. 
 
 Dagger, 182, 205. 
 Dancing, 65, 77. 
 
 ( 220 ) 
 
Daphne, 70. 
 
 Dea Roma, 39. 
 
 Deer, 44 ; and •v. Fallow, Roe, Stag. 
 Deerhound, 202. 
 
 Deity, Ass-headed, ‘z;. Set. 
 
 „ Assyrian, 206. 
 
 „ Hawk-headed, 199. 
 
 „ Phoenician, 205. 
 
 Demeter, h}. Isis. 
 
 Dionysos, 33, 35, 48, 132. 
 
 Dionysiac, Mask. 
 
 Disc, 119, 125, 197, 202, 209, 210, 211 
 „ Winged, 201, 205, 215. 
 
 Distaff, 66. 
 
 Doe, ’v. Fallow. 
 
 Dog, 180, 182 j and <1;. Deerhound, Greyhound, 
 Hound. 
 
 Dolphin, 87, 107, 186. 
 
 Domitia, Empress, 117. 
 
 Dove, 8, 58, 86, 128. 
 
 Dragon, 192, 193. 
 
 Duck’s head. Seal in form of, 215. 
 
 Eagle, 17, 26, 30, 75, 95, 144, 188, 208. 
 
 „ Gryphon-headed, 102. 
 
 „ Head of, 95. 
 
 „ Spread, 215. 
 
 Ear-drop, 112, 113, 115, 116. 
 
 Earth symbol, 195. 
 
 Egg, 16, 193. 
 
 Elemental symbols, 195. 
 
 Elephant, -v. Mask. 
 
 Emperor, Roman, 88 j and ai. Caesar, Commodus, 
 Nero, Pertinax. 
 
 Empress, Roman, 118 ; and Domitia, Matidia, 
 Orbiana. 
 
 Erato, 63. 
 
 Eros, 42, 57, 58, 59, 127, 128, 132, 155, 185. 
 Eupator, 117. 
 
 Europa, 71. 
 
 Falcon, 95. 
 
 Fallow doe, 94. 
 
 Faun, 68. 
 
 Faustulus, 78, 87, 88. 
 Fawn, 31, 84. 
 
 „ skin, 98. 
 Feathers, Sheaf of, 189. 
 „ of Ma, 207. 
 
 Figures confronted, Assyrian, 216. 
 
 Figure-head, 88, 204. 
 
 Fir-branch, 213. 
 
 Fire, 210; and v. Altar, Flame. 
 
 Fire symbol, 195. 
 
 Firmament, 182. 
 
 Fish, Mediterranean, 199 ; and n). Pisces, Pistrix. 
 Fishing-rod, 42. 
 
 Flame, 97, 128, 173, 184; and n). Fire. 
 
 Flower, 121, 202, 206. 
 
 Fly, 108, 194. 
 
 Foal, 14. 
 
 Fountain, 3. 
 
 Fowl, 84. 
 
 Frog, Man-headed, 193. 
 
 „ Winged, 190, 192. 
 
 Galatea, 71. 
 
 Galley, 87, 88. 
 
 „ Prowof, 8, 55. 
 
 Garland, 31, 67, 108, 132. 
 
 Gazelle, 215. 
 
 Genii, Planetary, 152. 
 
 Genius of Death, Etiuscan, 9. 
 
 „ Evil, 10. 
 
 „ Female, 3. 
 
 „ Winged, 17s, 176. 
 
 Gift, Presentation of, 81, 158. 
 
 Girths, 204. 
 
 Globe, 9, 55, 82, 86, 171, 173, 199, 200. 
 
 „ Rayed, 165, 166} and <1;. Sun. 
 
 Goat, 79, 85, 175. 
 
 „ Head of, 207. 
 
 „ -headed winged man, 97. 
 
 „ „ sphinx, 205. 
 
 „ Triple-bodied, 102. 
 
 Goose, 58. 
 
 „ Wild, 5. 
 
 Gorgon’s head, 70, 73, 109. 
 
 Grapes, 33, 58, 67, no ; and nj. Vine. 
 Greyhound, 84, 97. 
 
 Gryllus, 40, 107, 108. 
 
 Gryphon, 16, 18, 25, 27, 30, 46, 50, 130, 184. 
 „ figure-head, 88. 
 
 ,, head, 87. 
 
 ,, -headed eagle, 102. 
 
 „ Winged, 213. 
 
 Hands, Human, 217. 
 
 Hare, 97. 
 
 ( 221 ) 
 
 2 E 2 
 
Harpe, 75. 
 
 Harpocrates, 123, 126, 150, 163, i66, 174, 175, 
 195, 198. 
 
 Harpy, 11. 
 
 Hat, 125. 
 
 Hathor, v. Isis. 
 
 Hawk, 120, 180, 198. 
 
 „ -headed deity, 199. 
 
 „ ,, sphinx, 209. 
 
 „ Man-headed, 153. 
 
 ,, Sacred, 207. 
 
 Head, Human, 16, 107, 108, 121. 
 
 Heads, Male and female, 28, 116. 
 
 ,, Solar and lunar, 180, 182. 
 
 Head-dress, Assyrian, 212. 
 
 Heart-shaped object, 200. 
 
 Hecate, v. Isis. 
 
 Helios, 52, 53 j and o'. Horns. 
 
 Hen, 97. 
 
 Herakles, 3, 4, 5, 60, 177. 
 
 „ Head of, 60, 61. 
 
 Hermes, 32, 85. 
 
 Hieroglyphics, 197, 198. 
 
 Hippocampus, 39, 129. 
 
 Hood, Egyptian, 123. 
 
 Horse, 12, 20, 21, 25, 29, 52, 59, 86, 87, 89, 92, 
 i73> i77> '79- 
 
 ,, Head of, 91, 157 ; and nj. Mask. 
 
 ,, Winged, 200, 204. 
 
 H orseman, 87, 89. 
 
 Horns, 172, 173 ; and hj. Frog. 
 
 „ Hawk-headed, 172. 
 
 „ Lion-headed, 173. 
 
 Hound, 12, 29, 43, 89, 94; and nj. Dog, Deer¬ 
 hound, Greyhound. 
 
 Human figure, 176. 
 
 Hunter, 84. 
 
 Hygieia, 44, 45, 49. 
 
 Ibis, ]66, 171, 176. 
 
 ,, -headed deity, 125. 
 
 Inscription, Cypriote, 19. 
 
 ,, Gnostic and Koptic, 138-197. 
 
 „ Greek, 37, 43, 52, 53, 58, 91, 93, 
 103, 107, 108, iio. III, 114, 115, 
 122, 125, 130. 
 
 „ Latin, 38, 50, 54, 55, 70, 86-88, 92, 
 95, 100, 105, no, 112, 114, 115. 
 
 „ Phoenician, 201, 205, 215. 
 
 lole, 61, 
 
 Iphigenia, 73, 
 
 Iris, I. 
 
 Isis, 9, 120, 121, 122, 123, 126, 131, 149, 150, 
 163-166, 176. 
 
 „ Cleopatra, 122. 
 
 „ Demeter, 148, 149. 
 
 ,, Hathor, 151. 
 
 ,, „ as Aphrodite, 151, 155, 156. 
 
 „ „ „ „ Anadyomene, 152, 
 
 153. 154- 
 
 „ Hecate, 156. 
 
 „ Panthea, 121. 
 
 „ Pharia, 120. 
 
 Istar, 208, 212, 214 i and v. Ashtoreth. 
 
 Ivy-leaf garland, 35. 
 
 ,, ,, wreath, 48, 64, 67, 105. 
 
 Jackal, Head of, 197 ; and o'. Scarabasus. 
 Javelin, 84, loi. 
 
 Julia, 112. 
 
 Julius Caesar, in. 
 
 Kapaneus, 7. 
 
 Kastor, 7. 
 
 Khem-Amun, Osiris as, 171. 
 King, Assyrian, 212. 
 
 Knite, 180, 199. 
 
 Kybele, 36. 
 
 Labarum, 86. 
 
 Lady and attendant, 83. 
 
 ,, Bust of, 114, 134. 
 
 ,, ,, ,, Roman, 113, 114. 
 
 ,, Head of, 115, 116. 
 
 » 5,. » Egyptian, 124. 
 
 ,, Persian, 201. 
 
 ,, presenting offering, 130. 
 
 Lamb, 85. 
 
 Lamp, 66. 
 
 Lance, 22. 
 
 Laurel wreath, 32, 60, 74, 115, 183. 
 Leaf, 24 ; and o'. Laurel, Olive, Persea, 
 Leaves, 207, 208, 211. 
 
 Leontogriff, 102. 
 
 ,, Head of, 91, 103. 
 
 Leucosia, loi. 
 
 Leucothoe, 71, 
 
 Libation, 81, 121. 
 
 ( 222 ) 
 
Ligeia, loi. 
 
 Lightning, 144 ; and o'. Thunderbolt. 
 
 Lion, 17, 19, 26, 70, 89, 90, 130, 165, 176, 177, 
 i79> 183? 207,212; and “u. Mask, 
 
 Solar. 
 
 ,, Couchant, Seal in form of, 26, 208. 
 
 ,, Gryphon, Leontogriff. 
 
 ,, Head of, 61. 
 
 „ skin, 4, 60, 61, 62, 177. 
 
 Lituus, III. 
 
 Lizard, no, 124, 194. 
 
 Locust, 95, 96. 
 
 Lotus, 119, 120, 122, 123, 149, 174, 175, i8o, 
 190, 198. 
 
 Lunar head, 180, 182. 
 
 Lustral stick, 31. , 
 
 Lyre, 31, 63, 70, 82, loi, 109, 216. 
 
 Ma, Goddess, 207. 
 
 Maenad, 65, 66, 67, 77, 132; and nj. Mask. 
 Magical symbols, Gnostic, 140, 144, 171, 196. 
 Magician, 82. 
 
 Man, Goat-headed winged, 97. 
 
 ,, Horse-headed, 157. 
 
 ,, Half-figure of, 144. 
 
 ,, Nude, 20, 22, 176, 184. 
 
 ,, Prostrate, 179. 
 
 ,, Scorpion, 210. 
 
 ,, Talismanic, 178. 
 
 Marcia, 61. 
 
 Mare, 14. 
 
 Mask, 64, 82, 106. 
 
 „ Boar’s, 76. 
 
 „ Dionysiac, 105. 
 
 „ Egyptian, 124. 
 
 „ Elephant’s, 59, 135. 
 
 „ Horse-headed, 107. 
 
 ,, Lion’s, 62, 63. 
 
 ,, Maenad’s, 106. 
 
 „ Pan, 106. 
 
 „ Panther’s, 133. 
 
 ,, Silenus, 40, 106. 
 
 „ Tragic, 105. 
 
 Mast, 204. 
 
 Matidia, Empress, 113. 
 
 Medusa, 68, 69, 75, 77. 
 
 Melpomene, 64. 
 
 Menalippus, 5. 
 
 Messengers, 75. 
 
 Minotaur, 6. 
 
 Mirror, 214. 
 
 Mithraic symbols, 183. 
 
 „ Table, 183. 
 
 Mithras, 180, 182. 
 
 Mithridates vi, 117. 
 
 Mitra, 56, 116. 
 
 Modius, 120, 126, 154, 156, 163, 164, 165, 169, 
 177- 
 
 Monogram, no. 
 
 Moon, ‘u. Crescent. 
 
 Mouse, 108. 
 
 Mystic Vase, 159-170. 
 
 Nails, 151, 166, 178. 
 
 ,, Symbolic device of, 217. 
 Necklace, 112, 113, 115, 118, 134. 
 Nemesis, 45, 50. 
 
 Nero, 53. 
 
 Nike, 47 ; and ‘V. Victory. 
 Nimbus, 147, 171. 
 
 Niobe, 72. 
 
 Oak-tree, 94. 
 
 Oar, 87, 88. 
 
 Offering, Lady presenting, 130. 
 Olive-branch, 58. 
 
 „ tree, 36. 
 
 „ wreath, 26, 70, 158. 
 Omphale, 61, 62, 63, 76. 
 Onoel, V. Set. 
 
 Ophite worship. Scene of, 155. 
 Orbiana, Empress, 113. 
 
 Orestes, 73. 
 
 Orpheus, 70. 
 
 Osiris, 164, 165, 169, 171, 172. 
 Ostrich feathers, 207. 
 
 Owl, 190. 
 
 Pallas, 36-40, 43, 63. 
 
 „ Athene, 46. 
 
 Palm-branch, 31, 41, 45, 47, 53-56, 61, 108, 149, 
 ,, tree, 199, 200, 216. 
 
 Pan, 66, 86, 107 ; and n). Mask. 
 
 Pandean pipes, 36. 
 
 Panthea, o'. Isis. 
 
 Panther, 48, 57, 91, 92 ; and a;. Mask. 
 
 „ Female, 92. 
 
 „ skin, 132. 
 
 ( 223 ) 
 
Parasol, 83. 
 
 Paris, 6. 
 
 Partlienope, loi. 
 
 Patera, 35, 36, 47,49, 65, 80, 81, 119, 121, 122. 
 Peacock, 96, 189. 
 
 Pearls, 134; and v. Ear-drop, Necklace. 
 
 Pegasus, 13, 14. 
 
 Persea-leaf, 120, 126, 163, 164, 171, 172, 174, 
 180. 
 
 Perseus, 69, 75. 
 
 Persian Warrior and Lady, 201. 
 
 Pertinax, in. 
 
 Petasus, 84. 
 
 Pharia, a). Isis. 
 
 Phoenix crest, 171. 
 
 Phosphorus, 173. 
 
 Phrygian, v. Cap, Trousers. 
 
 Pillar, 184. 
 
 Pipes, 36, 216. 
 
 Pisces, 109. 
 
 Pistrix, 203. 
 
 Plant, 97, 99, 195, 208, 211. 
 
 „ and crescent symbol, 215. 
 
 Platform, 19. 
 
 Plotina, 113 
 Plume, 206. 
 
 Poet, 82. 
 
 Pole, 84. 
 
 ,, Tripod, 210. 
 
 Pontus, King of, 117. 
 
 Poppy, 45- 
 Portrait Heads, 116. 
 
 Priam, 74. 
 
 Priest, 79, 80, 201, 210. 
 
 Priestess, 80, 157, 214. 
 
 Pruning-knife, 36. 
 
 Psyche, 75 , ^ 5 ^- 
 Ptah, 164, 165. 
 
 Pylades, 73. 
 
 Quadriga, 12, 21, 87, 173. 
 Quail, 58. 
 
 Queen, Assyrian, 212. 
 
 „ Egyptian, 124. 
 Quiver, 4, 6, 51, 57, 177. 
 
 Rabbit, 84. 
 
 Ram’s-head, 61, 107, 108. 
 Ra-User-Ma, 197, 
 
 Raven, 94, 109. 
 
 Reeds, 96. 
 
 Reins, 12, 59, 107, 108. 
 
 Remus, z,. Twins. 
 
 Riband, 32, 76, 102. 
 
 Ring, 202, 212. 
 
 „ Finger, By2antine, 70. 
 
 „ Signet, 108. 
 
 Rock, 39, 42, 52, 63, 81, 94, 132, 216. 
 Roe-deer, 80. 
 
 Roma, Head of, 87. 
 
 Romulus, 'll. Twins. 
 
 Rosette of leaves, 207. 
 
 Rudder, 45, 87, 88, 122. 
 
 S symbol, 142, 146, 147, 148, 173, 177. 
 
 Sacred Tree, 199, 200. 
 
 Sacrifice of Bull, 56. 
 
 „ „ Goat, 79. 
 
 „ „ Roe-deer, 80. 
 
 „ Mithraic, 180, 182. 
 
 Sail, T20, 121. 
 
 Saltire, 183. 
 
 Sandal, 151. 
 
 Satyr, 133. 
 
 Scarabaeus (as object in design, apart from form), 
 1455 i 7 i> 17s. 2 ° 9 - 
 „ Jackal-headed, 165. 
 
 Scarab pendant, 142. 
 
 Sceptre, 31,47, 119, 121, 122,126, 127, 165, 172, 
 176, 199, 212 ; and V. Ankh. 
 
 Scorpion, 66, 124, 186, 203, 213. 
 
 „ Man, 210. 
 
 Scourge, 107, 138, 140, 141, 142, 172, 174, 175. 
 Scroll, 143, 178. 
 
 Sea-monster, 69. 
 
 „ shell, 133. 
 
 Serapis, 119, 120, 126. 
 
 Serpent, 35, 40, 43, 45, 49, 50, 56, 77, 82, iii, 
 119, 121, 154-156, 163, 166, 167, 
 172, 175, 177, 180, 182, 188, 190, 
 19s, 197. 
 
 „ Coiled, 169, 170, 176, 195, 196. 
 
 „ Female, 15, 193. 
 
 „ -haired, 10, 69. 
 
 ,, Human-headed, v. Chnuphis. 
 
 „ -legged, 9, 175 j and Abraxas. 
 
 ,, Lion-headed, 173. 
 
 „ staff, 35, 155. 
 
 Set, 167, 169. 
 
 ( 224 ) 
 
Sheep, 85, 86. 
 
 Shepherd, 85-88. 
 
 Ship, 204. 
 
 Shrine, 81, 94, 193. 
 
 Signet-ring, 108. 
 
 Silenus, 132 ; and ■i'. Mask. 
 
 Simoorgh, 188. 
 
 Siren, 3, 20, loi. 
 
 Sistrum, 121, 122. 
 
 Situla, 122, 149. 
 
 Skirts, Divided, Persian, 205. 
 
 Snake, 68, 75. 
 
 Solar head, 180, 182. 
 
 ,, Lion, 185. 
 
 Soldiers, Roman, 88. 
 
 Sow, 15, 24, 94. 
 
 Spear, 5, 8, 13, 20, 36-39, 84, 89, 179, 202, 210. 
 
 ,, -head, 109, 214. 
 
 Sphere, 13, 92, 150, 153, 172, 205, 211. 
 
 Sphinx, 10. 
 
 ,, Female, ii, 99, 100, 104, 133. 
 
 ,, Goat-headed, 205. 
 
 ,, Hawk-headed, 209. 
 
 Staff, 31, 78, 85-87, 119, 201 ; and 1;. Caduceus, 
 Serpent, Uas. 
 
 Stag, 43, 70, 128, 186, 188. 
 
 Standard, Roman, 88. 
 
 Star, 74, no, 119, 183. 
 
 „ Six-rayed, 102, 131, 175,193, 199,213,215. 
 „ Seven-rayed, 53, 93, 153, 179. 
 
 „ Eight-rayed, 44, 100, no, 141, 152, 156, 
 183, 185, 206, 214. 
 
 Stool, 66, 88, 169. 
 
 Stork, 26. 
 
 Stymphalian Birds, 4, 5. 
 
 Sun, 183, 193, 195 ; and v. Globe, Sphere. 
 
 ,, God, Horus. 
 
 ,, Guardian, 210. 
 
 ,, Wheel, 184, 195. 
 
 Swan, 13, 131. 
 
 Swimming, 71. 
 
 Sword, 6, 7, 17, 22, 39, 57, 143, 156, 183, 206, 
 212. 
 
 Sylvanus, 36. 
 
 Talismanic Man, 178. 
 
 Theseus, 6. 
 
 Thetis, 129. 
 
 Thoth, 125. 
 
 Throne, 47 119, 148, 149, 172, 212. 
 
 Thunderbolt, 30, 95. 
 
 Thyrsus, i, 33, 35, 48, 58, 65, 66, 75, 91, 98, 99, 
 106, 132. 
 
 Tiara, 113. 
 
 Torch, 72, 97, 128, 143, 156, 173, 182, 183, 185. 
 
 ,, -bearers, Mithraic, 182. 
 
 Traces, 13, 89. 
 
 Tragic Mask, ■x'. Mask. 
 
 Tranquillina, 113. 
 
 Trap, 5. 
 
 Tree, 39, 44, 57, 70, 75, 84-88, 90, 96, 97, 102 ; 
 
 and ‘U. Oak, Olive, Palm, Sacred. 
 
 Trident, 44. 
 
 Triga, 12. 
 
 Triton, 99. 
 
 Trousers, Asiatic, 201. 
 
 ,, Phrygian, 180, 182. 
 
 Trumpet, 57, 133. 
 
 Truth, Goddess of, Ma. 
 
 Tuba, 57. 
 
 Twins, 78, 87, 88. 
 
 Tydeus, 5. 
 
 Uas staff, 125. 
 
 Urseus, 9, 120, 122, 125, 209. 
 
 Vase, 33, 58, 75, 81, 92, 98, no, 122 ; and nj. 
 
 Amphora, Canopic, Mystic. 
 
 Veil, 36, 52, 80, 123, 125, 126, 134, 157. 
 
 Vellum Roll, 82. 
 
 Vesica Piscis, 190. 
 
 Victory, 38, 53-56, 86, 107, 108, 127, 158; and 
 x;. Nike. 
 
 Vine, 36, 79 ; and Grapes. 
 
 ,, garland, 106. 
 
 Vulture, 175 j and v. Cap. 
 
 Wallet, 84. 
 
 Wand, 82. 
 
 Warrior, Mounted, 178. 
 
 ,, Nude, 13, 16, 20, 21, 84, 100. 
 
 ,, Persian, 201. 
 
 ,, Roman, 86. 
 
 Water symbol, 195. 
 
 Waves, 71. 
 
 Wings, 209. 
 
 ( 225 ) 
 
Wheat, ear of, 76, 107, 108, 173. 
 
 Whip, 12, 53, 87, 89, 108. 
 
 Winnowing Fan, 167. 
 
 Wolf, 39, 58, 70, 78, 87, 88. 
 
 Woman, Egyptian, 126. 
 
 ,, pouring libation, 81. 
 
 Women sacrificing, 81. 
 
 Worshipper of Isis, 149, 
 
 „ Ophite, 155. 
 
 Wreath, 47, 54, 55, 56, 86, 125, 127, 128; and 
 V. Ivy, Laurel, Olive. 
 
 Youth carrying a bow, 23, 27. 
 » dying, 72. 
 
 „ kneeling, 23. 
 
 ,, seated on a column, 8. 
 
 „ standing with a lyre, 82. 
 
 Z symbol. Barred, 140, 147, 171, 195, 196. 
 Zeus, 30, 47. 
 
 Zig-zag pattern, 199. 
 
 ( 226 ) 
 
Plate I 
 
 Scarabs; Cut Scarabs: Greek and Etruscan (a i lo 26 ) 
 
Plate II 
 
 Scarabs; Cut scarabs: Greek and Etruscan (A27io42) 
 
 SCARABOIDS; Cut SCARABOIDS: GREEK AND ETRUSCAN (B 1 lo 9) 
 
Plate 111 
 
 SCARABOIDS; Cut SCARABOIDS: GREEK AND ETRUSCAN 
 
 Deities: Male and Female (C i to 22) 
 
 (B 10 to 12) 
 
Plate IV 
 
 Deities: Male and Female (C23io40) 
 Semi-Deities; Genii; Personifications id i to 7) 
 
Plate V 
 
 Semi-Deities; Genii; Personifications (ostoi?) 
 Heroes; Legendary and Mythical Personages (e i to i5) 
 
PLATE VI 
 
 E 34 
 
 E 35 
 
 E 25 
 
 E 33 
 
 E 32 
 
 E 29 
 
 E 39 
 
 
 E 36 
 
 E 22 
 
 E 26 
 
 Heroes; Legendary and Mythical Personages (e i 6 to 39) 
 
S', 
 
 
Plate VII 
 
 History; Religion; Daily Life (i-ito2i) 
 Animal Forms (G i to 3) 
 
PLATE VI 11 
 
 Animal Forms (g a to 20) 
 
 SYMBOLICAL; CHIMERICAL (H I to 8) 
 
'^:,> ^‘: ' V -,r«rr,;. 
 
 ^^mmW 
 
 :ir^4sJ'-.f#.S- 
 
 : ..- V :« 
 
PLATE !X 
 
 Symbolical , 
 
 Chimerical (H 9 to i5) 
 OBJECTS; Inscriptions 
 
 (1 1 to 16) 
 
 MASKS ; 
 
 Gryllii; Inanimate 
 
PLATE X 
 
 I 18 '2 
 
 PORTRAITURE: GREEK AND ROMAN (J I lo 18) 
 CREEK-EGYPTIAN ; ROMAN-EGYPTIAN ; EARLY CHRISTIAN (K I to 3) 
 
 
PLATE XI 
 
 Gf^eek-Ecyptian; Roman-Egyptian; Early CHRISTIAN 
 Engravings ON Gold (l i to 6) 
 
 (K 4 to IS) 
 
Plate XII 
 
 M I 
 
 M 9 
 
 M 7 
 
 M 2 
 
 M 8 
 
 M 6 
 
 M 3 
 
 M 5 
 
 Cameos 
 
 (M 1 to 9) 
 
PLATE XI 11 
 
 N 75 
 
 N 24 
 
 N 77 
 
 Gnostic; Mithraic; Talismanic (Class N) 
 
Plate XIV 
 
 N 33 
 
 N 38 
 
 GNOSTIC; MiTHRAlC; TALISMANIC (CLASS N) 
 
PLATE XV 
 
 N 
 
 N 78 
 
 N 86 
 
 N 61 
 
 N 69 
 
 N 9 
 
 N 31 
 
 
 N 54 
 
 GNOSTIC; MITHRAIC; TALISMANIC (CLASS N) 
 
PLATE XVI 
 

 
Plate XVII 
 
 Early EGYPTIAN; Assyrian; Syrian; Phcenician; Early Greek (O2ito40) 
 
itm-v 
 
 '' ' (5 
 
.'K • 
 
 I 
 
 
 J I. I 
 
 
 : - J- '«.!