Gems of Heaven - Recent Research on Engraved Gemstones in Late Antiquity c. AD 200 - 600

284 Pages·2012·20.76 MB·English

by  Chris Entwistle & Noel Adams

‘Gems of Heaven’
Recent Research on Engraved
Gemstones in Late Antiquity,
c. AD 200–600
Edited by Chris Entwistle and Noël Adams
British Museum Research Publication
Number 177
Publishers
The British Museum
Great Russell Street
London WC1B 3DG
Series Editor Josephine Turquet
Assistant Production Editor: Anna Cunnane
Distributors
The British Museum Press
38 Russell Square
London WC1B 3QQ
‘Gems of Heaven’
Recent Research on Engraved Gemstones in Late Antiquity,
c. AD 200–600
Edited by Chris Entwistle and Noël Adams
Front Cover: Sardonyx cameo of Julia Domna as the Dea Caelestis.
British Museum, GR 1956,0517.1. See, Marsden, Pl. 2, p. 164
ISBN 978-086159-177-0
ISSN 1747-3640
© The Trustees of the British Museum 2011
Second printing 2012
Printed and bound in the UK by 4edge Ltd, Hockley
Papers used in this book are recyclable products made from wood
grown in well-managed forests and other controlled sources. The
manufacturing processes conform to the environmental regulations of
the country of origin.
Contents
Foreword v
List of Contributors vi
Illustration Acknowledgements viii
Non-destructive Gemmological Tests for the Identification of Ancient Gems 1
Çiğdem Lüle
A Case Study on Gemstone Origins: Chrysothrix, a Group of Roman Magical Gems 4
Lisbet Thoresen
The Garnet Millennium: the Role of Seal Stones in Garnet Studies 10
Noël Adams
Lithóis Indikois: Preliminary Characterisation of Garnet Seal Stones from 25
Central and South Asia
Noël Adams, Çiğdem Lüle and Emma Passmore
Archaeologies of Magical Gems 39
Richard Gordon
Text, Image and Medium: the Evolution of Graeco-Roman Magical Gemstones 50
Chris Faraone
The Colours of Magical Gems 62
Attilio Mastrocinque
Magic and Medicine: Gems and the Power of Seals 69
Véronique Dasen
Magical Gems and Classical Archaeology 75
Árpád M. Nagy
Studies on Magical Amulets in the British Museum 82
Simone Michel-von Dungern
‘Grylloi’ 88
Ken Lapatin
Engraved Gems from Sites with a Military Presence in Roman Palestine: 99
the Cases of Legio and Aelia Capitolina
Orit Peleg-Barkat and Yotam Tepper
Selected Antique Gems from Israel: Excavated Glyptics from Roman-Byzantine Tombs 105
Shua Amorai-Stark and Malka Hershkovitz
Christian Gems from Portugal in Context 114
Graça Cravinho and Shua Amorai-Stark
Intaglios and Cameos from Gaul in the 3rd and 4th Centuries AD 127
Hélène Guiraud
Late Roman Gems from Tilurium in Croatia 130
Bruna Nardelli
Three Degrees of Separation: Detail Reworking, Type Updating and Identity. 135
Transformation in Roman Imperial Glyptic Portraits in the Round
Elisabetta Gagetti
Gem Portraits of Soldier-Emperors 149
Erika Zwierlein-Diehl
Gods or Mortals – Images on Imperial Portrait Gems, Medallions and 163
Coins in the 3rd Century AD
Adrian Marsden
Love and Passion: Personal Cameos in Late Antiquity from the Content Collection 179
Helen Molesworth and Martin Henig
The Belgrade Cameo 186
Antje Krug
Late Antique and Early Christian Gems: Some Unpublished Examples 193
Jeffrey Spier
The Argument from Silence: Iconographic Statements of 1981 208
on Faked Gems Reconsidered
Josef Engemann
The Constanza Carnelian and the Development of 214
Crucifixion Iconography in Late Antiquity
Felicity Harley-McGowan
Seals in Transition: their Change of Function and Value in Late Antiquity 221
Gertrud Platz-Horster
Myth Revisited: the Re-use of Mythological Cameos and Intaglios in 229
Late Antiquity and the Early Middle Ages
Gemma Sena Chiesa
Inscriptions on Portrait Gems and Discs in Late Antiquity (4th to 6th centuries AD): 239
Between Epigraphical Tradition and Numismatic Particularism
Sébastien Aubry
Roman Intaglios Oddly Set: the Transformative Power of the Metalwork Mount 248
Genevra Kornbluth
The Re-use and Re-interpretation of Gemstones in Medieval Hungary 257
Tamás Gesztelyi
Reflections on Gems Depicting the Contest of Athena and Poseidon 263
Hadrien Rambach
Foreword
The papers in this volume derive from a conference held at the generously gave a considerable amount of her time to the
British Museum on May 28 through to May 31 2009. Organised initial lay-out and design. As ever, the volume would not have
under the auspices of the British Museum Byzantine Seminar, been possible without both the energy and forebearance of
this conference was the sixth in an ongoing series of annual Josephine Turquet, Series Editor of British Museum Research
conferences held at the British Museum since 2003 devoted to Publications.
the material culture of Late Antiquity and Byzantium. All but Finally, given the inordinate expense in hosting
four of the 34 papers given at the conference in 2009 are international conferences in this day and age, I would like to
published here. thank the following who gave so generously towards the costs
For their assistance with photographic enquiries I would of putting on the conference in 2009:
like to thank respectively Dr Irma Wehgartner of the Martin- Dr and Mrs Jonathan P. Rosen (The Joseph Rosen
von-Wagner-Museum, University of Würzburg, and Drs Matteo Foundation)
and Maria Campagnolo of the Musée d’art et d’histoire, Phoenix Ancient Art S.A., New York
Geneva. My gratitude is also due to Saul Peckham, our Derek J. Content Esq.
departmental photographer, Claudio Mari, Digital Image John W. Rassweiler Esq.
Coordinator in Collections Services (Photography and
Imaging), in particular for his work on the magical gems, and Chris Entwistle
finally to Steve Crummy our departmental illustrator. Anna Department of Prehistory and Europe
Cunnane a voluntary intern at British Museum Press The British Museum
‘Gems of Heaven’ | v
List of Contributors Dr Richard Gordon
Universität Erfurt
Postfach 90 0221
Dr Noël Adams 99105 Erfurt
c/o Department of Prehistory and Europe Germany
British Museum [email protected]
London WC1B 3DG
UK Professor Hélène Guiraud
[email protected] BAL 59
2 boulevard d'Arcole
Professor Shua Amorai-Stark 31000 Toulouse
Kaye College of Education France
Beer-Sheva [email protected]
Israel
[email protected] Dr Felicity Harley-McGowan
School of Culture and Communication
Dr Sébastien Aubry The University of Melbourne
Rue Jardinière 91 Victoria 3010
CH-2300 La Chaux-de-Fonds (NE) Australia
Switzerland [email protected]
[email protected]
Dr Martin Henig
Dr Graça Cravinho Institute of Archaeology
Instituto de História da Arte 36 Beaumont Street
Universidade Nova de Lisboa Oxford, OX1 2PG
Av. de Berna, 26-C UK
P 1069-061 Lisboa [email protected]
Portugal
[email protected] Dr Malka Hershkovitz
Institute of Archaeology
Professor Dr Véronique Dasen Hebrew University
Institut des Sciences de l’Antiquité et du monde byzantin Mount Scopos, 91905
Séminaire d'archéologie classique Jerusalem
Université de Fribourg Israel
16 rue Pierre-Aeby [email protected]
1700 Fribourg
Switzerland Dr Genevra Kornbluth
[email protected] 10508 Forestgate Place
Glenn Dale
Professor Dr Josef Engemann MD 20769
Moosstraße 145a USA
5020 Salzburg [email protected]
Austria
[email protected] Dr Antje Krug
c/o Deutsches Archäologisches Institut
Chris Entwistle Podbielskiallee 69-71
Department of Prehistory and Europe D - 14195 Berlin
British Museum Germany
London WC1B 3DG [email protected]
UK
[email protected] Dr Ken Lapatin
Department of Antiquities
Professor Chris Faraone The J. Paul Getty Museum
Department of Classics 1200 Getty Center Drive
University of Chicago Suite 1000V
1115 E. 58th St Los Angeles, CA 90049-1745
Chicago, IL 60637 USA
USA [email protected]
[email protected]
Dr Çiğdem Lüle
Dr Elisabetta Gagetti 1679 Henley Court
Masaryk University Wheeling
Faculty of Arts Illinois, 60090
Department of Archaeology and Museology USA
Arna Novaka, 1 [email protected]
60200 Brno
Czech Republic Dr Adrian Marsden
[email protected] Norfolk Landscape Archaeology
Shirehall
Dr Tamás Gesztelyi Market Avenue
Institue of Classical Philology Norwich
University of Debrecen NR1 3JQ
H-4032 Debrecen [email protected]
Hungary
[email protected]
vi | ‘Gems of Heaven’
List of Contributors
Professor Attilio Mastrocinque Dr Gertrud Platz-Horster
Dipartimento di Arte, Archeologia, Storia e Società c/o Antikensammlung
Universitá di Verona Staatliche Museen zu Berlin
Via dell’Artigliere 8 Bodestrasse 1-3
37129 Verona D – 19178 Berlin
Italy Germany
[email protected] [email protected]
Dr Simone Michel-von Dungern Hadrien Rambach
Museum Malerwinkelhaus 34 Campden Hill Towers
Stadt Marktbreit 112 Notting Hill Gate
Marktstraße 4 London W11 3QW
97340 Marktbreit UK
Germany [email protected]
[email protected]
Professor Gemma Sena Chiesa
Helen Molesworth Dipartimento Di Scienze Dell’Antichità’
Avenue du Mail 25 University of Milan
Geneva 1205 via Festa del Perdono
Switzerland 20122 Milan
[email protected] Italy
[email protected]
Dr Árpád M. Nagy
Classical Collection Dr Jeffrey Spier
Museum of Fine Arts 13316 E. Placita El Algodon
Dózsa György út 41 Tucson
1146 Budapest Arizona 85749
Hungary USA
[email protected] [email protected]
Dr Bruna Nardelli Dr Yotam Tepper
Santa Croce 2333 Israel Antiquities Authority
30135 Venezia POB 35
Italy Nahalal 10600
[email protected] Israel
[email protected]
Dr Emma Passmore
Department of Conservation and Scientific Research Lisbet Thoresen
British Museum PO Box 1587
London WC1B 3DG Beverly Hills, CA 90213
[email protected] USA
[email protected]
Dr Orit Peleg-Barkat
The Institute of Archaeology Professor Dr Erika Zwierlein-Diehl
Hebrew University of Jerusalem Institut für Kunstgeschichte und Archäologie
Mount Scopus, 91005 Universität Bonn
Israel Regina-Pacis-Weg 3
[email protected] 53113 Bonn
Germany
[email protected]
‘Gems of Heaven’ | vii
Illustration Acknowledgements
N. Adams: The Garnet Millennium: the Role of Seal Stones in Garnet J. Engemann: The Argument from Silence: Iconographic Statements of
Studies 1981 on Faked Gems Reconsidered
Pls 1,2,3,4,5,6,7, 9,10 – author; Pl. 8 – Kubaba Photography, New York. Pls 1,5,6,7,8,11 – London, British Museum; Pl. 2 – after A. Mastrocinque,
‘Orpheos Bakchikos’, Zeitschrift für Papyrologie und Epigraphik 97
N. Adams, Ç. Lüle and E. Passmore: Lithóis Indikois: Preliminary (1993), fig. 1; Pl. 3 – Rome, German Archaeological Institute; Pl. 4 –
Characterisation of Garnet Seal Stones from Central and South Asia after R. Garrucci, Storia dell’arte Cristiana, Prato, 1872, VI, pl. 479, n.
Pl. 1 – Emma Passmore; Pls Group I, 1–8, Group II, 1–11 – Noël Adams 15; Pl. 9 – after J. Spier, Late Antique and Early Christian Gems,
Weisbaden, 2007, no. 432; Pl. 10 – after F.J. Dölger, ICHTHYS: Das Fisch-
S. Amorai-Stark and M. Hershkovitz: Selected Antique Gems from Symbol in frühchristlicher Zeit, Rome, 1910, 334, fig. 50; Pl. 12 – after J.
Israel: Excavated Glyptics from Roman-Byzantine Tombs Dresken-Weiland, Repertorium der christlich-antiken Sarkophage, Vol.
Pls 1–10, 12–36 – courtesy of the Israel Antiquities Authority and the 2: Italien mit einem Nachtrag Rom und Ostia, Dalmatien, Museen der
Israel Exploration Journal; Pl. 11 – London, British Museum. Welt, Mainz, 1998, 83–4, no. 242, pl. 80,2; Pls 13,14,19 – after C.
Christern-Briesenick, Repertorium der christlich-antiken Sarkophage,
S. Aubry: Inscriptions on Portrait Gems in Late Antiquity (4th to 6th Vol. 3: Frankreich, Algerien, Tunesien, Mainz, 2003, 23–5, no. 38; Pls
centuries AD): Between Epigraphical Tradition and Numismatic 15,16,17,18 – after H. Brandenburg, Repertorium der christlich-antiken
Particularism Sarkophage, Vol. 1: Rom und Ostia, Wiesbaden, 1967, 271–2, no. 674 and
Pl. 1 – author; Pls 2,3,6,7,8,9,10,13,15,16,18,19,20,21,22,23,26,28 – after no. 43; Pl. 20 – after P. Angiolini Martinelli and P. Robino (eds), La
J. Spier, Late Antique and Early Christian Gems, Weisbaden, 2007, nos basilica di San Vitale a Ravenna 2, Modena, 1997, 210, fig. 411; Pl. 21 –
20,18,76,60,52,23,43,19,42,25,45, 74,39,1,44,17: my thanks to Jeffrey after M. Marcenaro, Il battistero di Albenga, Recco, 1994, fig. on 26; Pl.
Spier; Pl. 4 – © Numismatica Genevensis, Auction 2 (18 November 2002), 22 – after C. Cecchelli, J. Furlani and M. Salmi, The Rabbula Gospels,
no. 142: thanks to L. Baglione, www.ngsa.ch; Pl. 5 – after J. Spier, ‘Some 1959, Olten-Lausanne, pl. 9.4.
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2010, pls 3a,3c; Pl. 11 – © Soprintendenza Speciale per i Beni Magical Gemstones
Archeologici di Napoli e Pompei, no. inv. 26054/216: thanks to P.G. Pls 1–7,10–12,14,15,17–19 – London, British Museum; Pl. 8 – after C.
Guzzo, [email protected]; Pl. 12 – after M. Henig, The Content Lenormant, Revue Archéologique (1846), 510; Pl. 9 – after E. Kunze,
Cameos, Oxford, 1990, no. 45; Pls 14,29,32 – after M.-L. Vollenweider Archaische Schildbänder, Berlin, 1950, IIIc, pl. 14; IVg, pl. 19; XLIIg, pl.
and M. Avisseau-Broustet, Intailles et camées II. Les portraits romains 66; Pl. 13 – Washington DC, Dumbarton Oaks Collection; Pl. 16 – after
du Cabinet des médailles, Paris, 2003, nos 228, 162, 135; Pl. 17 – after O. Tempkin, Soranus’ Gynecology, Baltimore, 1955, 9, fig. 1.
M.-L. Vollenweider, Die Porträtgemmen der römischen Republik, Mainz
am Rhein, 1972–74, pl. 106/8; Pl. 24 – after A.M. McCann, The portraits E. Gagetti: Three Degrees of Separation: Detail Reworking, Type
of Septimius Severus (MAAR XXX), Roma, 1968, 183 (j), pl. XCII; Pls Updating and Identity. Transformation in Roman Imperial Glyptic
25,30 – E. Zwielein-Diehl, Glaspasten in Martin-von-Wagner Museum Portraits in the Round
der Universität Würzburg, Munich, 1986, nos 801,819; Pls 27,31 – after E. Tables 1,2,3 – author; Pl. 1 – after H. Jucker, ‘Trajanstudien zu einem
Zwielein-Diehl, Antike Gemmen des Kunsthistorischen Museums in Chalzedonbüstchen im Antikenmuseum’, Jahrbuch der Berliner
Wien, vol. 3, Vienna, 1991, nos 1741, 1729; Pl. 33 – after E. Spagnoli and Museen 26 (1984), pl. 23i; Pl. 2 – after E. Gagetti, Preziose sculture di età
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Alessandrina, Rome, 1990, 94, no. 17; Pl. 34 – after L. Pirzio Biroli Studi di Milano. Pubblicazioni della Facoltà di Lettere e Filosofia, 240),
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Rome, 1990, 45, no. 5. der iulisch-claudischen Kaiser-familie: ein kritischer Forschungs-
bericht’, Journal of Roman Archaeology 6 (1993), figs 30–5, 56–8; Pls 4,5
G. Cravinho and S. Amorai-Stark: Christian Gems from Portugal in – after K. Fittschen and P. Zanker, Katalog der römischen Porträts in den
Context Capitolinischen Museen und den anderen kommunalen Sammlungen der
Pl.1 – © Luis Fraga da Silva; Pl. 2 – © Pedro Cravinho; Pls 3,4 – after Stadt Rom, I, Kaiser- und Prinzenbildnisse (Beiträge zur Erschliessung),
H.H. Hofstätter and H. Pixa, História universal comparada, III, Lisbon, Mainz am Rhein, 19942, pl. 12a; Pl. 6 – after G. Traversari, ‘Nuovo
1985, 113; Pl. 5 – © Braga, Museu D. Diogo de Sousa; Pls 6,28 – © Lisbon, ritratto di Cleopatra VII Philopator e rivisitazione critica
Museu Nacional de Arquelogia; Pl. 7 – © Conimbriga, Museu de dell’iconografia dell’ultima regina d’Egitto’, Rivista di Archeologia 21
Conimbriga and author; Pls 8,9,10,11,12,13,26,33,34,35,36,37,38,39 – (1998), pls 18–20; Pl. 7 – after S. Walker and P. Higgs (eds), Cleopatra
author; Pls 14,15 – after C.A. Ferreira de Almeida, ‘Arte paleo-cristã da regina d’Egitto (exh. cat., Rome), Milan, no. III.53a; Pl. 8 – after G.
época das Invasões’, História da Arte em Portugal, II, Lisbon 1986, 14 Arbore Popescu (ed.), Traiano. Ai confini dell’impero (exh. cat.,
and 10; Pl. 16 – after V.H. Correia, Conímbriga – Guia das Ruínas, Ancona), Milan, 1998, no. 325 (front); A. Giuliano, I Cammei della
Lisbon, 2003, 12; Pl. 17 – after A.M. Alarcão, F. Mayet and J. Nolen, Collezione Medicea del Museo Archeologico di Firenze, Rome–Milan,
‘Ruínas de Coimbra’, Roteiros da Arqueologia Portuguesa 2 (1989), 83; 1989, pl. 181 (profile to right); A. Carandini, Vibia Sabina. Funzione
Pl. 18 – after E. França, ‘Anéis, braceletes e brincos de Conimbriga’, politica, iconografia e il problema del classicismo adrianeo (Accademia
Conimbriga VIII (1969), 61; Pls 19,20,21,22,24,25 – © Conimbriga, Toscana di Scienze e Lettere ‘La Colombaria’. Studi, 13), Firenze, 1969,
Museu Monográfico de Conimbriga; Pl. 23 – © Conimbriga, Museu de pls 215, 217 (profile to left and reverse); Pls 9,10,11 – after A.M. Reggiani
Conimbriga; Pls 27,30,31 – after M. Fabião, M. Dias and M. Cunha, SIT (ed.), Adriano. Le Memorie al femminile (exh. cat., Tivoli), Milan, 2004,
TIBI TERRA LEVIS – Rituais Funerários Romanos e Paleocristãos em 105–6; 78; 139; Pls 12,13,14 – after F. Baratte, ‘Un portrait féminin des
Portugal (Catálogo de Exposição), Museu Nacional de Arqueologia, collections du Louvre’, Revue Archéologique 1984 (2), pls. 1–4, 5–7, 9–11;
Lisboa, Lisbon, 2008, 50–1; Pl. 29 – © Museu de Arqueologia e Pl. 15 – after Dr. Busso Peus Nachfolger, auction catalogue, 400 (April
Numismática de Vila Real and author; Pl. 32 – © Arquivo Centro de 22nd 2010), lot 653; Pl. 16 – after H. von Heintze, ‘Ein spätantikes
Arqueologia de Almadal; Pl. 33 – after F. Almeida, ‘Antiguidades da Mädchenporträt in Bonn. Zur stilistischen Entwicklung des Frauen-
Egitânia – alguns achados dignos de nota’, Arqueologia e História, 8ª bildnisses im 4. und 5. Jahrhundert’, Jahrbuch für Antike und
série, 11 (1965), pl. III, no. 1. Christentum 14 (1971), pls 6b,d; Pl. 17 – London, British Museum; Pl. 19 –
after D. Salzmann, ‘Beobachtungen zu Münzprägung und
V. Dasen: Magic and Medicine: Gems and the Power of Seals Ikonographie des Claudius’, Archäologischer Anzeiger (1976), pls 9–10;
Pl. 1 – after L’oeil dans l’antiquité romaine, Lons-le-Saunier, 1994, fig. on Pl. 20 – after J. Meischner, ‘Studien zur spätantike Kaiserikonographie’,
27; Pls 2,6,7,8,9 – London, British Museum; Pl. 3 – Paris, Cabinet des JdI (1995), pl. 11; Pl. 21 – after E. Coche de la Ferté, Le camée Rothschild.
médailles: photo A. Mastrocinque; Pl. 4 – after S. Michel, Bunte Steine – Un chef d’oeuvre du IVe siècle après J.-C., Paris, 1957, pls 2, 6; Pl. 23 – after
Dunkle Bildern: ‘Magische Gemmen’, Munich, 2001, pl. 24; Pl. 5 – I. M.-L. Vollenweider and M. Avisseau-Broustet, Camées et intailles. Tome
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díszített edény Aquincumból (un vase orné de l’empreinte d’une Pl. 24 – after Le trésor de la Sainte-Chapelle (exh. cat., Paris), Paris,
gemme représentant Esculape et Hygie trouvé à Aquincum)’, 2001, no. 56, pl. 2.
Archaeologiai Értesító 92 (1965), 42–4, fig. 1.
viii | ‘Gems of Heaven’
Illustration Acknowledgements
T. Gesztelyi: The Re-use and Re-interpretation of Gemstones in Engraved Gems of the Romans, London, 1971, no. 586, 589; Pl. 13 – after
Medieval Hungary M. Schlüter, G. Platz-Horster and P. Zazoff, Antiken Gemmen in
Pl. 1 – after A. Tocik, Altmagyarische Gräberfelder in der Deutschen Sammlungen, Band IV, Hannover Kestner-Museum, Hamburg
Südwestslowakei, Bratislava, 1968, Taf. LV/17; Pl. 2 – after M. Hlatky, A Museum für Kunst und Gewerbe, Weisbaden, 1975, no. 1599; Pl. 14 – after
magyar gyűrű (The Hungarian Ring), Budapest, 1938, 48; Pls E. Zwierlein-Diehl, Die Antiken Gemmen des Kunsthistorischen
3,4,5,8,13,14 – National Archives of Hungary (Magyar Országos Museums in Wien III, Munich, 1991, no. 1730; Pl. 15 – courtesy of Drs
Levéltár), Budapest; Pl. 6 – http://www.corvina.oszk.hu/images/ Matteo and Maria Campagnolo, Musée d’art et d’histoire, Geneva; Pls
CoatofArms/cimerhunyadi02.jpg& imgrefurl; Pl. 7 – Archives of 16,18,23 – after E. Zwierlein-Diehl, Glaspasten im Martin-von-Wagner
County Hajdú-Bihar, Debrecen; Pl. 9 – after E. Brandt and E. Schmidt Museum der Universität Würzburg, Munich, 1986, nos 13, 794, 793; Pl.
(eds), Antike Gemmen in deutschen Sammlungen I 2, Staatliche 19 – Naples, Museo Archeologico Nazionale; Pl. 22 – private collection;
Münzsammlung München, Munich, 1970, no. 1467; Pl. 10 – after J. Pls 24,31 – after M.-L. Vollenweider and M. Avisseau-Broustet, Camées
Jerney, Magyar Történelmi Tár 2, Budapest, 1855, 155, fig. 17; Pl. 11 – et intailles. Tome II : Les portraits romains du Cabinet des Médailles:
Debrecen, Déri Múzeum; Pl. 12 – after E. Zwierlein-Diehl, Antike catalogue raisonné, Paris, 2003, no. 206; Pl. 25 – © Christie’s Images/
Gemmen und ihr Nachleben, Berlin–New York, 2007, pl. 899; Pl. 15 – The Bridgeman Art Library; Pls 29,30 – after R. Delbrueck, Antike
Budapest, St Stephen Basilica, http://bin.sulinet.hu/ikep/2004/05/ Porphyrwerke, Berlin and Leipzig, 1932, pls 57b,58a; Pls 33,34,36,37 –
sztjobb.jpg&imgrefurl; Pl. 16 – Komárom, Klapka György Múzeum. after J.M.C. Toynbee, Roman Medallions, New York, 1944, pls XV,5–6,
XLIV,1 and XLVI,5; 64; Pl. 38 – after A.B. Marsden, ‘Some sing of
R. Gordon: Archaeologies of Magical Gems Alexander and some of Hercules: artistic echoes of Hercules and
Pls 1–11,13–14 – London, British Museum; Pl. 12 – after Preisendanz Alexander the Great on coins and medallions, ad 260–269’, in L.
PGM II 166 (Gordon, n. 59). Gilmour (ed.), Pagans and Christians – from Antiquity to the Middle
Ages, BAR International Series 1610, 2007, 66; Pl. 40 – Paris,
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Centuries AD 44 – after In Pursuit of the Absolute. Art of the Ancient World from the
Pl. 1 – Y. Deslandes; Pl. 2 – Badisches Landesmuseum Karlsruhe; Pl. 3 – George Ortiz Collection, Royal Academy of Arts, London, 20 January–6
S. Prost, service archéologique municipal; Pls 4–7 – author. April 1994, London, 1994, no. 238; Pl. 46 – Internet.
F. Harley-McGowan: The Constanza Carnelian and the Development of A. Mastrocinque: The Colours of Magical Gems
Crucifixion Iconography in Late Antiquity Pl. 1 – Rome, private collection; photo: author; Pls 2,10 – author; Pl. 3 –
Pls 1,6,8 – London, British Museum; Pl. 2 – Rome, German courtesy Civic Museum of Verona; photo: author; Pls 4,5,8,12 – London,
Archaeological Institute; Pl. 3 – author; Pl. 4 – after R. Garrucci, Storia British Museum; Pls 6,9,11 – courtesy of Cabinet des médailles, Paris;
della arte Cristiana nei primi otto secoli della chiesa, 6 vols., Prato, 1880, photos: author; Pl. 7 – after: medicalimages.allrefer.com.
vol. 6, tav. 483; Pl. 5 – photo by Robin Jensen; Pl. 7 – Rome, Museo
Palatino, Inv. 381403; Pl. 9 – after J. Spier, Picturing the Bible; the S. Michel-von Dungern: Studies on Magical Amulets in the British
Earliest Christian Art, New York and London, 2008, 227, fig. 1. Museum
Pl. 1 – Hamburg, Collection W. Skoluda; photo: author; Pls
G. Kornbluth: Roman Intaglios Oddly Set: the Transformative Power of 2,3,4,5,6,9,14 – London, British Museum; Pl. 7 – Diagram ‘Dodekaoros’
the Metalwork Mount after Teukros and the ‘Daressy Zodiac’: author; Pls 8,10 – Hamburg,
Pls 1,2,3,4,6,7,8,11,12,13,14,15,16,18,19,20,21 © Author; Pl. 5 – Abbey of Collection E. Sossidi; photo: author; Pls 11,12 – Malibu, The J.P. Getty
St-Maurice d’Agaune; Pls 9,10 –Foto Marburg; Pl. 17 – Oxford, Museum; Pl. 13 – Ann Arbor, Kelsey Museum; photo: author; Pl. 15 –
Ashmolean Museum; Pl. 22 – after C. Boulanger, Le Cimetière Kansas City, Linda Hall Library (For copyright: PDF).
FrancoMérovingien et Carolingien de Marchélepot (Somme): Étude sur
l’Origine de l’Art Barbare, Paris 1909; Pl. 23,24 – after W. Veeck, Die H. Molesworth and M. Henig: Love and Passion: Personal Cameos in
Alamannen in Württemberg (Germanische Denkmäler der Late Antiquity
Völkerwanderungszeit.1), Berlin 1931, pl. G8. Pls 1–27 – courtesy Derek J. Content Collection
A. Krug: The Belgrade Cameo Á.M. Nagy: Magical Gems and Classical Archaeology
Pls 1,5 – Belgrade, Narodni Muzej u Beograd; Pls 2,3,8 – plaster cast, Pl. 1 – St Petersburg, The State Hermitage Museum; photo: V.
Akademisches Kunstmuseum, Bonn; photos © author; digital Terebenin, L. Kheifets, Y. Molodkovets; Pls 2,3,5 – London, British
processing: Hans Rupprecht Goette; Pl. 4 –drawing Gisela Höhn, Museum; Pls 4,8, – St Petersburg, The State Hermitage Museum;
Bonn; digital processing: Hans Rupprecht Goette; Pls 6,7 – photos © photos: A. Rázsó; Pl. 6 – after M. Maaskant-Kleibrink, Catalogue of the
author; digital processing: Hans Rupprecht Goette; Pls 9,11 – digital Engraved Gems in the Royal Coin Cabinet, The Hague, The Hague, 1978,
processing: Hans Rupprecht Goette; Pl. 10 – London, British Museum. 355, no. 1119; Pl. 7 – courtesy of M. Avisseau-Broustet, Cabinet des
médailles, Bibliothèque Nationale, Paris; photo: A. Mastrocinque
K. Lapatin: ‘Grylloi’ (d.r.); Pl. 11:1 – courtesy of B. Shipman, Taubman Medical Library, Ann
Pls 1,12–16,22–35,37, Addendum – author after historical sources noted Arbor; photo: B. Shipman; Pl. 11:2 – Budapest, Museum of Fine Arts;
in the captions; Pls 2,4,9,10,18–21,36 – London, British Museum; Pls photo: L. Mátyus; Pl. 11:3 – after S. Michel, Bunte Steine – Dunkle Bildern:
3,5–8 – Courtesy of the Michael C. Carlos Museum of Emory University: ’Mágische Gemmen’, Munich, 2001, pl. 15,89; Pl. 12 – courtesy of M.
photos by Bruce M. White, 2010; Pl. 11 – courtesy of the Derek J. Content Torbágyi, Hungarian National Museum, Budapest; photo: A. Dabasi.
Collection; Pl. 17 – courtesy of the Beazley Archive, Oxford.
B. Nardelli: Late Roman Gems from Tilurium in Croatia
Ç. Lüle: Non-destructive Gemmological Tests for the Identification of Pls 1–7,9,11–13 – © T. Sesel, Archaeological Museum of Split; Pls 8,10 –
Ancient Gems © I. Prpa Stojanac, Archaeological Museum of Split.
Pl. 1 – Elina Ratcheva; Pl. 2 – Stuart Robertson; Pl. 3 – Lisbet Thoresen;
Pl. 4 – author. O. Peleg-Barkat and Y. Tepper: Engraved Gems from Sites with a
Military Presence in Roman Palestine: the Cases of Legio and Aelia
A. Marsden: Gods or Mortals – Images on Imperial Portrait Gems, Capitolina
Medallions and Coins in the 3rd Century AD Pls 1–13 – © Yotam Tepper
Pls 1,2,3,12,17,21,27,28,32,35,39,45 – London, British Museum; Pl. 4 –
private collection; Pl. 5 – Colchester Castle Museum; Pl. 6 – private G. Platz-Horster: Seals in Transition: their Change of Function and
collection; Pl. 7 – Berlin, Antikensammlung; Pl. 8 – after L. Endrizzi Value in Late Antiquity
and F. Marzatico (eds), Ori delle Alpi, Trento, 1997, no. 1183; Pl. 9 – after Pl. 1 – Bonn, Rheinisches Landesmuseum, photo: S. Taubmann; Pl. 2 –
O. Neverov, Antique Intaglios in the Hermitage Collection, Leningrad, author; Pl. 3 – Stuttgart, Landesmuseum Württemberg: after L.
1976, 79, no. 141; Pls 10,20 – after J. Tassie and E. Raspe, A Descriptive Wamser, Die Römer zwischen Alpen und Nordmeer, Mainz, 2000, cat.
Catalogue of a General Collection of Ancient and Modern Engraved Gems, no. 141; Pl. 4 – London, British Museum; Pl. 5 – The J. Paul Getty
Cameos and Intaglios, Taken from the Most Celebrated Cabinets in Museum, Malibu, California, Inv. no. 83.AM.228.1-7; Pl. 6 – Krefeld,
Europe; and Cast in Coloured Pastes, White Enamel, and Sulphur, Museum Burg Linn: after R. Pirling, Römer und Franken am
London, 1791, nos 12067, 12081; Pls 11,26 – after G.M.A. Richter, Niederrhein. Burg Linn, Krefeld, Mainz, 1986, pl. 133.
‘Gems of Heaven’ | ix
Illustration Acknowledgements
H. Rambach: Reflections on Gems Depicting the Contest of Athena and Nydegger (eds), Im Glanz der Götter und Heroen, Meisterwerke Antiker
Poseidon Glyptik aus der Stiftung Leo Merz, Mainz am Rhein, 2003, pl. 59; Pl. 28 –
Pls 1,2 – Soprintendenza per i Beni Archeologici delle Province di after M. Maaskant-Kleibrink, Catalogue of the Engraved Gems in the
Napoli e Caserta; Pl. 3 – after H. Brunn, Denkmäler griechischer und Royal Coin Cabinet, The Hague, The Hague, 1978, pl. 351; Pl. 32 – after
römischer Skulptur); Pl. 4 – © Gemini auctions; Pls 5,6,26 – © Classical http://www.settemuse.it/pittori_scultori_ europei/ matisse/1944
Numismatic Group; Pl. 7 – © LHS Numismatik; Pls 8,9,38 – © Beazley
J. Spier: Late Antique and Early Christian Gems: Some Unpublished
Archives; Pls 10,11,13,23,35 – London, British Museum; Pl. 12 – ©
Hanover, Kestner Museum; Pl. 14 – © Gisela Richter; Pls 17,31,33 – © Examples
Paris, Bibliothèque nationale; Pls 18,32,37 – © Vienna, Pl. 1 – after Gorny & Mosch; Pls 2–8,11–14,16,17,19,21–26,28,31,32,34–
Kunsthistorisches Museum; Pl. 19 – © Erika Zwierlein-Diehl; Pls 20,21 37,41,50 – courtesy C.S. Collection, Munich; Pl. 9 – after Harlan J. Birk
– © Geldmuseum, Utrecht; Pl. 22 – © RGZM T 74/2452–2453 (Ernst Ltd; Pls 10,18,20,27,30,39,42,49,51,52 – private collection; Pls 15,29,43–
Künzl); Pl. 24 – © Heritage Auctions; Pl. 25 – © Bonn, Rheinische 46,53 – courtesy Derek. J. Content Collection; Pl. 33 – after
Landesmuseum; Pls 26,27 – © Fritz Rudolf Künker GmbH & Co. KG; Pl. Münzenhandlung Gerhard Hirsch; Pl. 38 – courtesy of Penelope Rogers
28 – © Gorny & Mosch; Pl. 29 – © St Petersburg, Hermitage; Pl. 30– © and the Anglo-Saxon Laboratory; Pl. 40 – courtesy of Erika Zweirlein-
Jeffrey Spier; Pl. 34 – after N. Dacos, Il tesoro di Lorenzo il Magnifico. Le Diehl; Pl. 47 – © Bengt Lundberg; Pl. 48 – after F. Althaus and M.
gemme, Florence, 1973, pl. 81; Pl. 36 – © Genevra Kornbluth/Hadrien Sutcliffe (eds), The Road to Byzantium, London, 2006, 165, no. 102; Pls
Rambach; Pl. 39 – © Diana Scarisbrick, courtesy of Claudia Wagner. 54–56 – German eBay.
G. Sena Chiesa: Myth Revisited: The Re-use of Mythological Cameos L. Thoresen: A Case Study on Gemstone Origins: Chrysothrix, a Group
and Intaglios in Late Antiquity and the Early Middle Ages of Roman Magical Gems
Pl. 1 – after E. Zwierlein-Diehl, Magie der Steine. Die antike Prunk- Pls 1,2,4,8 – photomicrographs: John Koivula; Pl. 3 – author; Pl. 5 –
kameen im Kunsthistorischen Museum, Vienna, 2008, pl. 39; Pls Herbert Wiegandt; Pls 6,7 – Harold and Erica Van Pelt.
2,3,4,5,7,10,12,21, – after G. Sena Chiesa (ed.), Gemme. Dalla corte
E. Zwierlein-Diehl: Gem Portraits of Soldier-Emperors
imperiale alla corte celeste, Milan, 2002, folding page, pl. 1 on 19, pl. 3 on
Pls 1,2,42 – Vienna, Kunsthistorisches Museum; Pls 3,6,25 – Martin-
23, pl. 3 on 31, pl. 49 on 201, pl. 2 on 44, pl. 36 on 210, pl. 37 on 210; Pl. 6 –
von-Wagner-Museum der Universität Würzburg, photos: Isolde
after Le trésor de Conques (exh. cat. Paris), Paris, 2001, pl. 15; Pl. 8 – after
Luckert; Pls 4,5,33,43 – Munich, Staatliche Münzsammlung; Pls 7,12 –
M.-L. Vollenweider and M. Avisseau-Broustet, Camées et intailles, Tome
St Petersburg, Hermitage (after O. Neverov, ‘Concordia Augustorum’,
II, Les Portraits romains du Cabinet des Médailles. Catalogue raisonné,
Wissenschaftliche Zeitschrift der Universität Rostock 19 (1970), 605–12,
Paris, 2003, pl. 132; Pl. 9 – after B. Nardelli, I cammei del Museo
pl. 28, 6 and O. Neverov, Antique Intaglios in the Hermitage Collection,
Archeologico Nazionale di Venezia (Collezioni e Musei Archeologici del
Leningrad, 1976, no. 141); Pls 8,9 – Berlin, Staatliche Museen,
Veneto, 43), Rome, 1999, no. 16; Pls 11,18 – London, British Museum; Pl.
Antikensammlung, photos: Isolde Luckert (Pl. 8), Johannes Laurentius
13 – after http://museoarcheologiconazionale.campaniabeniculturali.
(Pl. 9, Lippert2 II 1767, 847); Pls 10,11 – Międzyrzecz (Poland), Museum
it/itinerari-tematici/galleria-di-immagini; Pl. 14 – after http://
(after M. Ruxerówa, ‘Gemma Międrzyzecka’, Fontes archaeologici
commons.wikimedia.org/wiki/File:Affrescoromano-_eracle_ed_
Posnanienses 8–9 (1957–8), 443–7, figs 2–3); Pl. 13 – London, Victoria &
onfale_-_area_vesuviana.JPG; Pls 15,16 – after M.-L. Vollenweider, Die
Albert Museum, Tassie & Raspe No. 12081, photo: Claudia Wagner; Pls
Steinschneidekunst und ihre Künstler in spätrepublikanischer und
14,15,31,32 – Cologne, Römisch-Germanisches Museum, photos:
augusteischer Zeit, Baden-Baden, 1966, pls 37.5, 68.7; Pl. 17 – after P.
author (Pl. 14), Jutta Schubert (Pl. 15), Museum (Pls 31,32); Pls 16,19,20
Zanker and B.C. Ewald, Mit Mythen leben. Die Bildenwelt der römischen
– Collection of Derek J. Content; Pls 17,24,37,38,41 – Bonn,
Sarkophagen, Munich, 2004, pl. 125; Pl. 19 – after C. Rizzardi, L.
Akademisches Kunstmuseum, Cades Auswahl Bonn cl. 13 III 31, 407,
Martini, C. Muscolino and E. Cristoferi (eds), Avori bizantini e
414, 423, 424, 432, photos: Jutta Schubert; Pls 18, 27,40 – Paris, Cabinet
medioevali nel Museo Nazionale di Ravenna, Ravenna, pl. 1; Pl. 20 – after
des médailles (Pl. 40 after M.-L. Vollenweider and M. Avisseau-
J. Spier, Late Antique and Early Christian Gems, Weisbaden, 2007, pl.
Broustet, Camées et intailles. II Les Portraits romains du Cabinet des
572; Pls 22,23 – after E. Zwierlein-Diehl, Die Gemmen und Kameen des
médailles, Paris, 2003, no. 258, pl. 133); Pls 21,22,28,29,30,34,35,36,37 –
Dreikönigenschreines. Der Dreikönigenschrein im Kölner Dom, Band I.1
London, The British Museum, photos: Genevra Kornbluth (Pls
(Denkmäler Deutscher Kunst. Die großen Reliquienschreine des
21,28,30,34,36), Jutta Schubert (Pls 22,29,35); Pl. 23 – Baltimore,
Mittelalters, Studien zum Kölner Dom, 5), eds A. Wolff and R. Lauer,
Walters Art Museum; Pl. 26 – Naples, Museo Archeologico Nazionale
Cologne, 1998, pls 8, 250; Pls 24,25,26,29,30,31 – after R. Nanni and
(after U. Pannuti, La Collezione Glittica II, Rome, 1994, no. 214); Pl. 39 –
M.C. Monaco, Leda, storia di un mito dalle origini a Leonardo, Firenze,
Copenhagen, Thorvaldsens Museum.
2007, pls 10,14,16,22,53,59; Pl. 27 – after D. Willers and L. Raselli-
x | ‘Gems of Heaven’