Part 1
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#ENGRAVED GEMS#
ENGRAVED GEMS
BY
MAXWELL SOMMERVILLE
PROFESSOR OF GLYPTOLOGY, UNIVERSITY OF PENNSYLVANIA; AUTHOR OF “SANDS OF SAHARA,” “SIAM,” ETC.; CORRESPONDING MEMBER OF THE SOCIÉTÉ ACADÉMIQUE DES SCIENCES, ARTS ET BELLES-LETTRES DU DÉPARTEMENT DE L’AUBE, FRANCE, ETC.
DREXEL BIDDLE, PUBLISHER PHILADELPHIA LONDON SAN FRANCISCO TORONTO 1901
COPYRIGHT, 1901 BY MAXWELL SOMMERVILLE
PRINTED BY DREXEL BIDDLE PHILADELPHIA LONDON
PREFACE.
My former treatise, “Engraved Gems, their Place in the History of Art,” being largely illustrated and inconvenient in size, I have abridged the work and with new material prepared this volume.
The various epochs of gem engraving from the earliest eras down to the XVIII. century are briefly described.
Many people throughout the year cast passing glances at my glyptic collection in the Free Museum of Science and Art of the University of Pennsylvania.
They express great admiration of the beautiful objects in stones of many colors and interesting designs.
It was never intended to make only an attractive display; what I have always desired and hoped for was that a proportion of our visitors would recognize in my life’s work a contribution to science.
It is a classified representation of the glyptic work of more than forty centuries, so carefully arranged that those who care to learn through the medium of those beautiful engraved stones, cylinders, seals, and Gnostic tokens, may inform themselves intelligently on the science which these gems of all epochs so thoroughly exemplify.
Men in this Western World during the last three hundred years have been engrossed in the pursuit and acquisition of fortunes.
A fair proportion of the population now having secured competency, that condition once assured, with increased opportunities for intellectual culture and the enjoyment of art, the development of refined tastes and pursuits in America has been marked by the formation of many private collections. Amateurs have gradually become connoisseurs in manuscripts, ceramics, enamels, engravings, ancient coins, armor, and arms. Happily, each is engrossed in his particular branch of antiquities.
It is to be hoped that we may all profit by their researches, and that the antique objects acquired by them may be stored in the Archæological Museums of the world, that all who will may view them and learn from them.
MAXWELL SOMMERVILLE.
Presuming that the majority of my readers would understand the Latin inscription from an engraved stone, which decorates the cover of this book, I have not given any translation. By request I add the following explanation:
NON SOLVM NO|BIS NATI SVMVS|ORTVSQVE NOSTRI|PARTEM PATRIA SI|BI VENDICAT PARTEM|PARENTES PARTEM AMICI|
“Not alone for ourselves were we born, and of our birth our country claims for itself a part, our parents a part, our friends a part” (vendicat for vindicat).
On the reverse of the stone, which is not shown, is the inscription--
MORTIS MORES OMNIBUS ÆQUALES.
This is one of those peculiar maxims so often found in the Latin language, as it is employed in epitaphs. The simplest manner in which it can be translated is as follows:
{manners} {customs} {are} “The {usage } of Death {is } equal for all.” {law }
Death is here personified, as was Peace, Justice, Concord, etc., by the Romans.
MAXWELL SOMMERVILLE.
CONTENTS.
PAGE
ENGRAVED GEMS 11
EGYPT 16
PERSIA AND BABYLON 22
THE ETRUSCANS--ETRURIA 36
PHŒNICIA 43
GREECE 48
ROMAN 55
ABRAXAS 58
EARLY CHRISTIANS 65
BYZANTINE 68
MEDIÆVAL 76
RENAISSANCE 80
SUCCEEDING DECLINES AND REVIVALS 86
SOME TYPES OF REMARKABLE GEMS 89
RELIGION ON STONES 98
HISTORIC CAMEOS 104
ANIMALS AND BIRDS 112
ANTIQUE PASTES 116
MYTHOLOGICAL 121
CHINESE, BURMESE, AND SIAMESE 123
AZTEC OR MEXICAN 127
RETROSPECTIVE 129
LIST OF ILLUSTRATIONS.
PAGE
Protogenis, a Comedian of the Second Century, with a Mask, Playing the Character of Meleager, the “Wild Boar Hunter,” Engraved in His Time 11
Vestal Virgins Guarding the Palladium, the Sacred Effigy of Minerva 15
Egyptian 17
Egyptian Scarabeus: The Barque of the Sun, Represented by the Hieroglyph of the City of Heliopolis. The Obelisk below with the God Ra--and the Deess Ma, together Ra-Men-Ma, the Prenomen of King Set First, Second King of the XIX. Dynasty 21
Portrait of Sapor 22
Allegorical Sketch of Persia 23
Impressions of Babylonian Cylinders 27
Impressions of Assyrian, Persian, Hittite, Phœnician, and Cyprian Cylinders 29
Allegorical Sketch of the Source of History 33
Persian Seals 35
Etruscan Sketch 37
Etruscan Scarabeus 40
Phœnician Scarabei and Intaglios 42
Phœnician Intaglios, Mask, etc. 45
Callimachus, the Greek Inventor of the Corinthian Capitol 48
Greek and Roman Intaglio Rings 50
Cameo, the Greek Pallas 52
Roman Gems 54
Cameo in High Relief, Roman Emperor Caracalla 57
Abraxas or Gnostic Gems 59
Abraxas Token 62
Abraxas or Gnostic Gems 63
Early Christian Token 67
Byzantine Gems 69
Byzantine Cabinet and Gems 73
The Annunciation 75
An Orgie of Silenus 78
Renaissance-Medici Period 81
Noah’s Ark 85
A very fine Intaglio by Giovanni Pickler--Ceres 87
Jupiter Ægiochus 91
The Triumph of Constantine 95
John the Baptist Preaching in the Wilderness 103
Historic Cameos: 1347, Trajan offering a Sacrifice to Mars Vincitore; 1348, the Triumphant Entry of Titus Vespasianus into Jerusalem 105
Coriolanus: His Mother and Wife Beseeching Him to Raise the Siege of Rome 107
Historic Cameos: 1339, Trajan Pursuing a Wild Boar; 1350 and 1351, Prisoners; 1349, the Exit from Jerusalem of the Victorious Army of Titus Vespasianus, the Golden Candlesticks, etc. 109
Cock and Serpent: The Cock Intaglio, “Vigilance;” The Serpent in Relief--Cameo; The Serpent’s Tail in its Mouth, “Eternity” 115
Antique Pastes 117
Fragment of Antique Paste, Basso-rilievo 120
A Chimera: Four Faces and the Horn of Jupiter Ammon 122
A Chinese Cameo 124
Aztec or Mexican 126
Aztec or Mexican 128
Odenatus and Zenobia 130
ENGRAVED GEMS.
When specimens of any ancient art industry are brought together and classified in a museum it is interesting to compare each piece and trace the work from the hands of the different nationalities through all the transitions and changing history of past centuries.
My collection exemplifies the progress in execution of engraved gems from the most primitive eras through periods of varying excellence and of inevitable decline. The quality of the execution approaches perfection and degenerates as in a geometrical progression repeating itself in reverse; advancing and improving in fineness up to nearly the end of the first century, the century of Christ, and from the beginning of the second century retrograding to the base of mediocrity at the end of the fifth century.
The sixth and seventh centuries, the Byzantine period, yielded a group of principally religious cameos, abundant, curious, and of great interest.
This was succeeded by several hundred years not of repose in the art, but of wretched ignorance, when man almost ceased to create a connecting link in the history of the glyptic art. With rare exceptions, the specimens of that time scarcely merit the designation of gems: it was a period that may be reasonably identified as the night of art, when, alas! in the darkness blows were stricken which destroyed and reduced to fragments much that was precious and beautiful, and vandalism, contributing nothing that was fair, robbed us of a large part of our inheritance.
The progression alluded to is, in my estimation, only a question of comparative beauty. If we seek for, or are capable of appreciating, the most interesting, that which gives us history, we must find it at the beginning of that progression--the era of the Babylonians--with its messages handed down to us on their wonderful cylinders.
My path of research has led me where are gathered stones--engraved stones, art-links in a carved chain reaching from the earliest cylinders and seals of the Persians, centuries before and beyond those wonderful stone books, the inscribed temples of Egypt.
Whilst considering and studying these specimens of the work of the ancients we will walk upon the crumbled ruins of by-gone centuries; our retrospective view shall be where changing elements, rust, and age have spared but traces of palaces and temples; we will stroll beside the pebbled course of a rapid stream until we reach a grove where I oft have been, and found a rich repast; no shrines, no obelisks, no statues, naught but these precious little stepping-stones, by which we will follow the stream of thus revealed history, and in the vale of antiquity, with these miniature monuments, study and enjoy the indelible portraiture of ages.
Palaces, obelisks, statues, and the walls of ancient cities have rarely been preserved to us, other than in decay, ruin, and fragments.
Yet engraved gems, those smaller monuments on hard stones, have been spared in the very débris of these larger structures, and we are thus enabled to secure examples of the handiwork of one branch of art, covering many epochs and periods.
My earnest eyes have looked up to and gazed upon the silent monuments and shrines of men, who during long centuries have rested from their scientific labors. A wanderer in lands adapted to my researches, my object has been to learn something of these mute monitors and to bring back to my native land examples of the special branch of ancient art which has been the pursuit of my life. Many discouraging moments, even years, have been passed, yet always with the hope that my labor and its results might some day be appreciated.
Years ago while rejoicing in the possession of the glyptic portraits of the Emperors Tiberius, Caracalla, Constantine, and that of Faustina, I thought with pleasant anticipation of the moment when on returning from voyages of acquisition I might introduce them to intellectual friends of “Science and Art.”
These gems are here being considered in their respective epochs. Those who desire to inform themselves on the science of “Engraved Gems” will find in these pages a brief view of that subject; it is in response to many friendly demands, and shall be as concise as reasonably possible, in keeping with ancient records on engraved stones, cylinders, and seals. Your attention is asked to this general view of the subject, with the hope that it may enlist some inquirers and admirers of this glyptic question, so little esteemed or understood in these days; a subject not only representing a branch of art covering a period of forty odd centuries, but a science through whose engraved gems we have been enabled to enrich our knowledge of the ancient history of the world.
Each nation which in ancient times practised the glyptic art, produced a certain style or quality of execution.
After serious study of the general subject of glyptology, one finds that the work of each epoch, and of each nationality, bears some unmistakable trait. These features we can almost always recognize as emanating from a certain people.
So completely have we acquired an acquaintance with the various characteristics of each nation’s handiwork in engraving gems, that we are enabled also to discern the epoch; not to a year, but within a century or even a decade.
In proportion to the rudeness of the incisions we recognize the barbaric condition of the people among whom they were incised; also in proportion to the fineness of the incision, beauty of conception, and execution of the design, do we estimate the civilization of the epoch and of the people.
Some of the nations who have bequeathed us engraved gems were, in two respects, the first sculptors. They were first, not only because none of ability had preceded them, but rather were they first in art rank, and in excellence of conception; their execution has never been surpassed; their statues and high reliefs have never been equalled in modern times.
Many of those colossal art works in stone have been transported to the Vatican, to France, England, Austria, Germany, Russia, some even to America; we are all conversant with them. Therefore, you can readily imagine how we define and classify the work of each epoch and nation, when a miscellaneous mass of engraved gems are placed before us for classification.
EGYPT.
Everyone in these days is familiar with those colossal stone figures of Rameses, Osiris, Thotmes, and others in the sands of Egypt. Their heavy, placid countenances, almost seeming to dream, while their inert arms and hands hold forth the insignia of autocrats of Egypt under the Pharaohs.
In Egypt, especially in the earlier or more remote dynasties, man seems to have had the intention of handing down to posterity the records of his power, his possessions, and of his own appearance, on great stone statues, obelisks, and basso-rilievos, in the most indestructible manner.
Besides the colossal stone bequests created for generations unborn, happily they produced the same portraitures and cartouches in miniature gems. The majority of the temple decorations in stone have crumbled, while we can possess and enjoy the glyptic relics which have survived the ravages of time uninjured.
SOMMERVILLE COLLECTION.
EGYPTIAN.
Among the Scarabei are especially interesting examples larger in size termed funereal; No. 1476 in my University Collection is one of those Scarabei which were buried with the dead, sometimes on the breast underneath the wrappings, and sometimes within the body of the mummy in the place of the heart. The heart was embalmed separately in a vase, and placed under the protection of the genius Duaoumautew. This doubtlessly was done because the heart was considered indispensable for the resurrection, yet it could not be placed in the body until it had been upon the scales and had passed the judgment of Osiris. When the sentence was favorable it was promised that “his heart shall be returned to its original cavity.” The heart, the principle of existence and regeneration, was symbolized by the Scarabeus. This is why texts relative to the heart were inscribed on funereal Scarabei. On this Scarabeus the deceased speaks, saying: “I hope that my soul shall speedily quit or rise from the regions infernal, and, reappearing on earth, may do all that pleases it.”
Also No. 1479, a funereal Scarabeus, interesting from the fact that the inscription contains part of the 30th chapter of the Book of the Dead--that is, the chapter concerning the heart: “My heart, which comes to me from my mother--my heart, necessary to my existence on earth--do not raise thyself against me among or before the chief divinities.” These were the superior gods, whom the Egyptians supposed to be in the immediate surrounding or presence of Isis.
The remainder of the inscription is less legible. On the first line is the name of Osiris Jam (all the dead had Osiris prefixed to their names); on the last line is the name of his father, which is indistinct; it was evidently the same as the name of a plant, and ending with M, but cannot be defined; that is, it is inscribed “son of ----,” and then the unintelligible name alluded to.
Also No. 1457, a funereal Scarabeus, on which the deceased, speaking, expresses hopes, continually repeated, that his soul may have a happy voyage, happy relief, and transport from the inevitable transitory domain to which all are consigned.
Also No. 1480, Egyptian Scarabeus, containing a vow or wish, a vase representing a libation. The sum of the rendering of the inscription is: “I dedicate my life to truth, and hope for cooling breezes and libations.”
And No. 1461. The inscription expresses a vow or wish: “NEFER KHET NEB”--“All things good (for thee)!”--a New Year’s wish.
There were artisans who engraved the larger funereal Scarabei and kept them ready made on sale, so that in the event of a man dying unexpectedly in youth or the prime of life who had not thought to prepare for his sojourn in the tomb, his family repaired to these shops, and, choosing a Scarabeus to their taste or liking, purchased it; the engraver then added the name of the deceased, and they placed it under the wrappings of the mummy.
These traffickers also did a thriving trade with the living: many provided themselves in advance. There were always a variety from which to choose; the engraver had them for every taste. They were inscribed with just such vows or wishes for the future and the repose or the enjoyment of the soul, or the commending of the soul to the patronage and protection of some special god or deess, as the case might demand for a man or a woman. Often selections were given from the poetic devotional writings of their mentors, and frequently we meet with selections from the Book of the Dead.
We find shreds and examples of the costumes of the occupants of graves of other ancient nations. These garments were made, as now, that the body might be decorously placed at rest. This we also find in Egypt, the mummy-wrappings concealing and protecting the Scarabei presenting this beautiful sentiment, indeed unique--a symbol that was worn in life, emblematic of its ephemeral tenure and of the ultimate resurrection from death and the grave; a symbol that accompanied its owner to the narrow home, not to ornament it, but as a token of that tenant’s belief that this would be only a brief occupancy; a symbol ready to be worn when that tenant should enter on his resurrection into an eternal lease of joy in a world beyond.
PERSIA AND BABYLON.
We are particularly interested in the curious and elaborately engraved cylinders and seals of the Assyrians, Persians, the Babylonians, the Chaldeans, the Hittites, which not only give us their costumes, but are laden with cuneiform inscriptions. In my collection there is a gem of the same style of work as the stone slab in the University Museum procured by Professor H. V. Hilprecht from the ancient palace of Ashurna Sirbal, King of Assyria 884 to 860 B. C.
This glyptic specimen is in miniature, engraved on a rich wine-colored dark sard bearing a portrait of King Sapor I.; he was the second of the Sassanians, who reigned in the third century. He was crowned in the year 242 A. D. It is surrounded by an inscription in Sassanian. Sapor’s invasion of Palmyra and his contests with the forces of Zenobia are interesting incidents of that romantic episode in Oriental history.
Cylinders are evidently the oldest form of seals, though it is believed that the art originated on sections of wooden reeds. We find Chaldean cylinders now more than 4000 years old.
The signets of kings in the cylindric form were incised in the harder and more precious materials, such as chalcedony in several hues, the fairest those tinged with a sapphire tint (though not the most ancient), sards, carnelians, and occasionally beautiful red jasper; hematite in abundance; serpentine and many softer stones, alabaster, steatite, etc.
It remains a question on what materials the impressions were made, though scientists have learned that the figures in relief on patties of pipe-clay found so plentifully in Babylon are the imprints of these cylinders.
Though a large proportion of cylinders are rudely designed and more coarsely executed, many of them are freely, vigorously, and well drawn, evincing a high degree of talent.
Remark the anatomical drawings of man and beast; they are unsurpassed in any age, especially the contest between men and lions, where naturally the muscles are strongly developed and show prominently.
As bearers of messages from that remote period, they come more welcome to us than the fairest Greek or Roman intaglios.
With an interesting pictured and lettered cylinder in hand one may have before him one of the keys to the most ancient fountain-heads in which history is locked up. My taste has grown and perhaps been influenced by long association with such gems, until I now often find more pleasure in regarding a rude fragment of Assyrian work than I did thirty years ago when I sought only the beautiful.