Animal and Plant Images on Coins and Gems of Classical Antiquity — 1889

40. 41. 42. 45. 44. 45. Plate XI. 69 Heracles 1. fighting the Hydra; a crab between its fillings. &k PAIZTION. Bull standing to the right. Didrachmon of Phaistos on Crete. — Brit. Museum. Similar depictions often appeared on the coins of the imperial period. The formation of Hydra No. 39 is based on the fact that it loves water Grass snake, Tropidonotus natrix: this means that the scale-like markings are correct. voltage and the shape of the head. Cecrops with olive branch in his right, l. over a tuna. RK Quadruple divided recessed square. Electron stater from Kyzikos. — Imhoof Collection. Centaur r. stealing a nymph. R Four-part recessed square. Macedonian silver stater (Lete, Orreskier and others). — Imhoof collection. Head of Zeus wreathed with laurel, from the front; r. next to it lightning. R MOYEIQN. The Lapithe Mopsos with his sword raised r. against fighting a centaur, which in his raised hands a Piece of rock raised for throwing. Bronze coin from Mopsion in Thessaly. — Imhoof Collection. Head of Zeus or Poseidon with laurel wreath, r. R MATNHTQN. Centaur r. walking, holding a tree branch in his left hand _ carried over the shoulder. Bronze coin of the magnets in Thessaly. — Imhoof Collection. Head of the youthful Dionysus, wreathed with ivy, facing right. BR BAZINENZ TPOYZIOoY. Centaur, wreathed with laurel and fluttering Chlamys, r. walking and playing the lyre. Bronze coin of King Prusias I or II of Bithynia. — collection lung Imhoof. Similar: magnets. CVNOBELINVS. Head of the king with diadem, facing left. BR TASCIOVANI F(lius). To the right striding centaur, a horn upholding. Bronze coin of the British king Cunobelinus. — Brit. Museum. Centaurs: _ ; jumping, turning his head back, holding a tree branch with both hands holding up: Cyzicus. jumping, tree branches in each hand: Fam. Oppia (Sicilian); Larinum. with tree branch and throwing stones: Amphipolis. with Kantharos: Lete. two centaurs jumping apart: Amphipolis, Thessaloniki. with Achilles: Alexandreia. with Heracles: Alexandria. as Sagittarius: Aphrodisias, Resaina, Alexandreia and others. as Sagittarius in the Zodiacus s. Leo.

70 Plate XII. two centaurs carrying the image of Asclepius: Pergamum. two centaurs carrying prize urns: Laodicea in Syria. as a pair for Demeter: Cyzicus. as a pair for Dionysus: Aureliopolis. as a pair for Heracles: Family Aurelia. as the emperor's four-horse team: Laodicea in Phrygia. as helmet ornament (centaur woman with flying robe): Velia. Plate XIL . Kerberos |. over a tuna fish, RK Quadruple divided recessed square. Electron stater from Kyzikos. — Brit. Museum. Female head right; behind it 2. R KVMAION. Kerberos r. over a Mitylus shell. Nomos of Kyme in Campania. — Brit. Museum. Similar on an anepigraphic silver coin from Etruria. Bearded head with laurel wreath right; behind it $. RB Kerberos r. with a tail that ends in a dragon's head. Including RVB. Indeterminate Italian bronze coin (Semis) see Imhoof, Monnaies greeques P. 13. — Imhoof Collection. Head of Demeter, wreathed with ears of grain, from the front. BR Kerberos right, with dragon's head on the tip of the tail. In the EAEAI section. Bronze coin from Elea in Thesprotia. — Santangelo Museum. Winged and horned lion striding to the left. & KOTPAAE. Triquetra. Recessed square. Silver stater of the Lycian dynast Kuperllis. — Brit. Museum. Head of Emperor Nero with laurel wreath to the left; on both sides H=—T (Year 368 = 56 AD). | BR In a r. striding pair of winged and horned lions a bearded idol holding a harp with both hands. Bronze coin from Orthosia in Phenicia. - Berlin. Head of Tyche with tower crown and veil to the right. RK TAPZERN. Sandan, the Asian Heracles, naked and bearded on one horned lion with closed wings r. standing. In the pre- The god holds a flower in his outstretched right hand and a double ax in his left hand; on the 1st side bow and sword. In the field 1st star. Bronze coin from Tarsus. — Imhoof Collection. AVT. CAL. ©E. TPA. TTAP. VI. BE. NEP. VI. TPAI. AAPIANOE CE. Head of the emperor with laurel wreath to the right. & TAPLEEQN MHTPOTTONELL. Similar representation; who is God dressed with a high cap on his head and an ax and wreath in his head Right. The wings of the horned lion are only marked by dots. interpreted. Silver coin from Tarsus. — Paris and Imhoof Collection.

10. 11. 12. 13. 14. 15. 16. 17. 18. Plate XI. 741 AYT.KA.M. OTTE. CEY. MAKPEINOC. Bust of the emperor with laurel wreath and robe to the right. BR MAKPEINIANHC ANT. TAPCOY. A.M.K.FT. b. Similar representations position left; The only thing the god holds in his left hand is a wreath attribute. The lion's wings are no longer indicated. Bronze coin from Tarsus. — Imhoof Collection. Lioness lying to the right with her head turned back. BR Minotaur r. kneeling in a recessed oblong square. Undetermined Asian silver stater. - Berlin. MOWNM. Minotaur, with the head from the front, 1. rushing, the l. Knees up lowered to the ground. (On other similar specimens he is holding one spherical stone in the right.) BR labyrinth in the shape of a cross with a star in the middle. In the four angles each of the cross has a small, deeply recessed square. The whole thing in easy recessed square. Didrachmon of Knosos on Crete. — Collection Dr. H. Weber in London. Athena's head to the right. BR AOHNAIQN. Theseus r., defeating the Minotaur. Bronze coin from Athens. — Imhoof Collection. Stand on other coins of the same city Theseus and the Mino opposite Tauros. ZKHYI. Pegasus flying to the right. BK N 1. next to a pine or palm tree. Line square and recessed square. Silver coin of skepticism. — Imhoof Collection. Protome of Pegasus with horn behind the wing, r. BR Pine(?) between £<—-K in a line square; r. next to it H; left flash. Bronze coin of Skepticism. — Imhoof Collection. Pegasus flying to the left; including 9. B AIO. Flying Pegasus from the front. Recessed square. Diobolon of Corinth. — Imhoof Collection. Head of Athena r.; behind it A. BR Pegasus standing to the right; including young satyr r. kneeling, a Removing stones from one of Pegasus' hooves. Silver stater from Ambrakia. — Santangelo Museum. Head of Athena r.; behind it Apblaston. & 9. Bridled Pegasus right, tied to a ring fixed in the wall bound. Silver Stater of Corinth. — Santangelo Museum. Head of Athena 1st; behind it horse protome r. BR 9. Pegasos ], with bowed head, bent back r. Forefeet and a tucked tail. Silver Stater of Corinth. — Imhoof Collection. The position of Pegasus expresses hesitation and fear. Probably the artist wanted to depict him at the moment when he, from the Drinking Quelle Peirene, Bellerophon surprises him.

12 19. 20. 21. 22. 23. 24. 25. Plate XI. Head of Athena 1st; front I; behind 1. floating Nike with Tänie. R Pegasus flying to the left; including 9. Silver Stater of Corinth. — Imhoof Collection. Bellerophon, naked, with the spear in his right hand, r. on the flying Pegasus; including ®. BR Plate XI No. 5. Hemistater of Corinth. - Berlin. The two types of coin form a whole, the stage of the battle of Bellerophon with the Chimaira. Similar on hemistaters and bronzes from Leukas; also with the Chimaira under the Pegasus, on noun of Veseris in Campania. CORIV. Head of Aphrodite r. R 9. CAECIL. NIGR. C. HEIO PAM. Il. VIR. Bellerophon on which rearing Pegasus r. fighting the Chimaira. Bronze coin from Corinth. — Imhoof Collection. Head of Demeter r. between three dolphins. R EMMOPITQ2N. Pegasus flying to the right; his head represents one small seated figure with a cap, holding the tip of the foot with his hand. Silver coin from Emporiai in Hispania. — Imhoof Collection. The same type on large bronze coins from Emporiai. For illustrations of Pegasus, see also Plate I No. 32; VI No. 28. He is an in Type widespread in Europe and Asia. The different representations of Pegasus with and without Bellerophon Corinthian coins see Imhoof and Gardner, Commentary on Pausanias, London 1885-1887. Plate C, 25-32; F, 108; G, 127, 132. Protomes of the pegasus and the hippocampus usually see each other completely the same, and so it comes down to the interpretation of these types Location or the other coin images of the city in question, such as: B. at Skepticism, Plate XII No. 14. Phobos(?) as a male winged figure with lion head and tail |. Yeland, turning his head back and holding a tuna in his right hand. BR Quadruple split recessed square. Electron stater from Kyzikos. — Imhoof Collection. (Imhoof, Monnaies grecques p. 242 no. 71). ANTWNINOC CEB. EYCEB. Head of Antoninus Pius with laurel wreath, to the right. R AIWN.L. $. Phoenix with nimbus r. Bronze coin from Alexandria in Egypt. — Löbbecke Collection. Cellar, animals of the classic age. 251, 253 ff. D. N. CONSTANS P. F. AVG. Bust of Emperor Constans I, it) Diadem and robe to the right. k FEL. TEMP. REPAIR. Phoenix with rays around the head, r. on a rock; in the TRS section Bronze coin of Constans I - Imhoof Collection. On other similar coins the bird stands on a globe. a hr Bm a Ta

D,+ - ri REN WIELIER 26. 27. 28. 29. 30. 31. 32. 33. 34. Plate XI. 73 OSKSMTAM (oikıorns). Young Heracles on one with the lion's skin covered rock 1. sitting, the 1. hand supported on the club, in the On the right, holding a branch over a wreathed, lit altar. Behind the seat bow and quiver; in the section two fish. BR KPOTON. Dreifuss with Tänien between the crooked Apollo and the snake python. Nomos of Croton. — Imhoof Collection. IMP. GORDIANVS PIVS FEL. AVG. Bust portrait of Gordianus III with Laurel wreath and armor r. R COL. TYR. METO (see above). Cadmus r. in battle with one against him upturned serpent; behind it Murex. Bronze coin from Tyre. - Berlin. ANTQNEINOC AVFOVCTOC. Bust portrait of the bearded Caracalla Laurel wreath and robe r. BR NIKOMHAERN AlIC NERKOPQRN. Snake with human head l. (glycone). Bronze coin from Nicomedia. — Bibl. Mareiana in Venice. AYT. NEPOYAZ KAIZ. ZEB. Head of Emperor Nerva with laurel wreath right. R.L.A. Snake (Agathodaimon) r. between winged caduceus and ear of wheat. Potin coin from Alexandria. — Imhoof Collection. Demeter r. in a biga of winged serpents; including tuna. KR Quadruple divided recessed square. Electron stater from Kyzikos. — de Luynes Collection. AYT. K.M.AYP. ANTQRN. AYT. Bust of Caracalla with laurel wreath and garment to the right. KR TTECCINOYNTIQN. Demeter with torch r. in one of two chariot drawn by winged serpents. Bronze coin from Pessinus in Galatia. - Vienna. AYT.K.M. AYPH. ANTQNINOC. Head of Caracalla with laurel wreath right. BR OVATTIAC TTAVTAANIAC. Asclepius 1 on a winged serpent r. sitting. Bronze coin from Pautalia in Thrace. — Imhoof Collection. The list of snake depictions on Plate VI, pp. 41 and 42 also includes the types that belong here. sea ​​lion |. | R smooth. Silver coin from an undetermined Etruscan city. —Gotha. Eagle r. tearing a lamb; behind it grain of grain. BR A. crab; below sea snake r. with a fish in its mouth. Hemidrachm from Akragas. — Imhoof Collection. Similar sea snakes (pistrix) Plate VIII No. 39, XII No. 18 and on Coins from the region, Syracuse and Cyzicus. Salinas believes that the sici- lic representations of the Hippocampus brevirostris served as a model (Ripostiglio sieiliano di mon. ant. di argento, Roma 1888 8. 7). Imhoof and Keller, animal and plant pictures. 10

38. Plate XID. Like Plate XIII No. 30, with the inscription ITANION. PR Two sea snakes facing each other. Didrachmon of Itanos on Crete. — de Luynes Collection. Male figure rushing to the left, with wings on his shoulders and heels. IX Seirene right, with wreath on the right. Hand, deepened in a pearl square. Indeterminate silver coin from Asia Minor. — Former. Collection Bompois. Seirene |.,, with two feathers on his head and with both hands Holding tuna. R Four-part recessed square. Electron stater from Kyzikos. — W. Greenwell. CAESAR AVGVSTVS. Head of Augustus r. KR P. PETRON. TVRPILIAN. Ill VIR. Seirene with a flute in each Hand, walking to the left. Denarius of the Petronia family. — Imhoof Collection. Seirene. Babelon, Monn, de la Republique rom. II 519. 18 counts a denarius here the Valeria family: r. striding bird with helmet, shield and two flutes, Attributes of Athena. On the example of this coin we have but not flutes, but rather spears are clearly visible and the device feathers are spotted like certain species of owls. Table XL Head of Apollo with laurel wreath right. between three dolphins. ; BR AAAIBANON. Scylla right, with an octopus in her lowered right hand holding a fish on the left; underneath shell. Silver obolo from Alliba in Samnium. — Imhoof Collection. On other slightly different obols from the same city, Scylla shows a Double-faced. ; ; Female head with bandage right. R WOIAMVM. Scylla r. with fin-like hands; fish on the left; below shell. Nomos of Kyme in Campania. — de Luynes and Arolsen collection. A slightly different type in the British museum. 89, 27 and 90, 36. ZYPAKOZIQN. Head of Kore, wreathed with ears of wheat and poppies, 1, between four dolphins; under the head EYM. R Young winged figure, a quadriga galloping r. leading and from the Nike flying towards her. In the section EYO and Scylla r., Trident over the 1st shoulder and the right hand towards one swimming in front of her mending fish stretching out; behind it dolphin r. Tetradrachmon of Syracuse. — Imhoof Collection. AKPA. Two eagles right, tearing a hare. KR AKPAFAVTIVON. Crab; including Scylla ], with the right hand the Making a gesture of peeking. Tetradrachmon of Akragas. — Orlando Collection in Palermo.

Plate XI, 75 - 5. MAG. PIVS IMP. ITER. The Pharus of Messana with the statue des Neptune on it; in front of the Pharus Galere with legion eagle 1st and trident r. BR PRAEF. CLAS. ET ORAE MARIT. EX$. C Scylla l. with that The rudder in both hands is raised to strike. Denarius of Pompey Magnus. — Imhoof Collection. 6."ALEXANDER. Bust portrait of Alexander the Great with laurel wreath and lion skin right; deepened in field E. R Scylla l., pulling the crew of a ship down into the water. Roman Contorniat. — Vienna. = AVT. KEC. M. AOA. TTOTTAHNIOC CE. TT. TT. (like this). Bust portrait of Pupienus with crown of rays and robe r. BR TAPCOY MHTPOTTONERC A. M.K.B.T. Scylla l., the tax holding oar in left hand and blowing a horn; above dolphin |. Bronze coin from Tarsus. —Paris. Similar on Tarsian coins with the portrait of Gordianus III, but without Fish, and Scylla without a horn, her fin-shaped right hand extended. Scylla: with tuna in hand: Kyzikos. as a helmet ornament: very common. 8. Sphinx with feather on the back of the head, r. sitting; in front of her a bunch of grapes. R Four-part recessed square. Electron stater from Chios. — St. Petersburg (?). 9. Sphinx]. sitting in front of an amphora with a bunch of grapes above the opening hangs; r. in the field of Astragalus. The whole thing on a round shield. RK Quadruple divided recessed square. Tetradrachmon of Chios. — Munich. 10. Sphinx protomes 1.; including tuna, BR Quadruple split recessed square. Electron stater from Kyzikos. — Brit. Museum. 11. Female head from the front. R Sphinx with Stephanos, earrings and collar, 1st sitting. Easily deep square. Cilician silver coin (Imhoof, Monnaies grecques p. 372, 74-16). — Imhoof Collection. 12. Ba. Gra. in Cypriot script. Sphinx, 1. seated, with raised rights floral ornament. BR A floral ornament between ivy leaf and astragalus. Concaves field. Silver stater from Idalion(?) on Cyprus. — Brit. Museum. 13. IMP. CAESAR. Head of Augustus r. R AVGVSTVS. Sphinx r. sitting. Asia Minor Cistophore. — Brit. Museum. 10*

76 14. 16. 17. 18. 19, Plate XII. Bust of Emperor Hadrian with laurel wreath and robe r. Transcription preserved imperfectly. R L.Z. Sphinx with three heads r. sitting, the raised 1st forefuls on a bike. Bronze coin from Alexandria. — Brit. Museum. AYT.K.T. AIN. AAP. ANTWNINOC CEB. Head of Antoninus Pius r. R.L. b. Egyptian Sphinx, r. lying down. Bronze coin from Alexandria. — Demetrio Collection in Athens. AYT. CAL. TPAI. AAPIA. CEB. Head of el, T: R.L. IA. Egyptian Sphinx, r. lying down. Bronze coin from Alexandria. — Imhoof Collection. Sphinx. It appears in Chios and Egypt, where the type is most common also varies the most: forward and backward seeing, the raised front paw on the ship's prora, Aphlaston, amphora, grape, wheel. She still appears sitting in Athens, Gergithos, Perga, Hispania, etc. on indeterminate Asia Minor and Etruscan coins, denarii the Carisia family and others walking, on tuna: Kyzikos. lying: Neokaisareia, Kyzikos. Double sphinx with one head: Kyzikos. two sphinxes, with a prize urn between them: Arados. two sphinxes, on either side of the enthroned Aphrodite: Cilicia (Imhoof, Monnaies grecques plate G, 15). two sphinxes, on either side of a female. Deity from the front: Gabala in Syria, Anisades king of Armenia (?). two sphinxes, to both sides one seated male deity (Saturn?): Emperor Albinus. two sphinxes, on the pillars of the throne of Zeus: Alexander tetradrachmon. as the back of the throne: Pergamene royal coins, etc. as helmet ornaments: Thurioi, Alexander the Great, Klazomenai and others. APF2. Bull with bearded human face r., the head (with Tänie) turning back. RMSQM. The same type deepens, 1. Nomos of Laos in Lucania. — Collection Six. The inscription, spread on both sides and bustrophedon, is AAFINOZ. Bull with bearded human face right. striding; above Silenus; in the section Sea Serpent tr. R&KATAWAION. Nike striding to the left, with tänien in each hand. Tetradrachmon of Katana. — Gotha Museum. Head of Athena r.; Oil wreath on the helmet. R&NEOMOLITES. Shocking bull with bearded human face right; in Fish section r. Nomos of Neapolis in Campania. — Imhoof Collection. “X we. and

20. 21. 22. 23. 24. 26. Plate XII. 17 Female head with bandage and jewelry right. R NEOTOAITHZ. Bull with a bearded human face from the front, r. standing; above Nike, crowning him. Nomos of Neapolis. — Imhoof Collection. Youthful head with wreathed helmet, facing left. R AAONTINQN. bull with a bearded human face, 1. standing and Spouting water, so definitely a river god. Bronze coin from Alontinon in Sicily. — Imhoof Collection. Head and neck of Achelous as a bull with a youthful human face, to the right. BR AKAPNANQDN. Apollo naked, 1. enthroned, bow in his right hand; in front of him monogram ETK? Acarnani quarter gold stater. — Collection de DE Bull with a bearded human face from the front, 1. standing on a tuna. R Four-part recessed square. Electronhectus of Cyzicus. - Munich. Bull with a bearded human face, r. kneeling down and head back- turning; underneath handle cross. R Astragalus between Pa. si. in Cypriot script. Silver stater from Paphos. —Paris. | Other copies have a different one around the bull in Cypriot script still uncertain name. On staters from Mallos: Protome of the bull with a human face underneath the figure of the Phoenician Kronos(?). Bull with bearded human face and wings, r. striding. R KOMTPAAE and triquetra in recessed square. Silver stater of the Lycian dynast Kuperllis. - Berlin. Protome of a winged bull with a bearded human face right. BR OFOY behind a female head r. Pearl square and recessed square. Indeterminate silver coin from Asia Minor (Imhoof, Monnaies grecques p. 469). — Imhoof Collection. Bull with a human face: see Plate VI No. 4; VIII No. 40. Particularly common, both in full figures and in protomes, in Campania and Sicily. Protome, head turning back: Metropolis in Thessaly. Head with neck: Ambrakia, Acarnania. . Head of the youthful Heracles with lion skin right. BR ETYMOANIDN. Head of a stymphalian bird above a flower chalice. Silver coin from Stymphalos. —Paris.

30. 31. et) ID ©» [0 6) Plate XIII. Triton, ]. floating; including tuna. R Four-part recessed square. Electron stater from Kyzikos. — Brit. Museum. Female head with ribbon right. R KYMAIOW. Triton r.; including Mitylus shell. Nomos of Kyme in Campania. — University of Bologna. Triton or Glaucus right, with the trident in his raised right hand stabbing a fish. RITA between two sea serpents positioned against each other (cf. Plate XII No.3b). Didrachmon of Itanos on Crete. —Gotha. A—P. Head of Athena 1st; behind Triton or Glaucus r., the trident in swinging the raised right hand. R 9. Pegasus flying to the left. Silver Stater of Corinth. — Imhoof Collection. Triton (Dagon) left, in the right hand the trident, in the left a wreath holding. Rrs. Lion, on undulating ground r. striding. Indeterminate Syro-Phoenician silver stater, perhaps from Azotos. — Paris. and 34. 8%. Triton (Dagon) right, holding a fish in each hand. R Galere r.; including hippocamp r. Framed by pearl lines. Deepened square. Phoenician silver coin (Arados?). — Imhoof Collection. AGRIPPINA AVGVSTA. Bust portrait of the younger Agrippina r. R 2nd ATCO. FLACCO II VIR. COR. Aphrodite naked, her hair loose in the hands, 1. in a chariot pulled by a pair of tritons will. The triton woman blows into the snail shell and swallows it l. Arm around the neck of the Triton looking back, holding a rudder holds in the left. Bronze coin from Corinth. — Bibl. Turin. IMP. CAES. DOMIT. AVG. GER. Bust of Domitianus with laurel wreath and robe r. R COL. IVL. AVG. COR. . Poseidon with a fluttering robe and the swinging trident, r. m a chariot driven by a pair of tritons is drawn; the Triton with rudder, blowing the woman into the shell. Bronze coin from Corinth. — Imhoof Collection. KVZIKOC. Head of Cyzicus r. BR KVZIKHNQN. Triton with rudder and fish, r. Bronze coin from Kyzikos. —Paris. ®OY. TTAAYTIAAA CEBACTH. Bust of Plautilla r. BR NEIKOMHAERN AIC NERKOPLRN. Triton, with fish and tax rudder, l. floating. Bronze coin from Nicomedia. — Vienna and Munich. The two of them last triton types represent centaurotritons or ichthyo- centaurs with horses.

Plate XII. 79 39. Front part of a winged monster r. with a bearded human face, Goat's horn and goose's ear, lion's paw and, on the shoulder, lion's head from the front. BR IMEPAIOWV. Young rider (Hermes) with trumpet shell and Herald's staff on a 1st jumping buck (see Plate III No. 9). Silver litra from Himera. — Imhoof Collection. r Likewise, with the type of front 1. 7 Brit. Museum. Triton: see Plates VIII No. 26 and XI Nos. 20-22 (Glaukos). Triton receiving Melikertes from Ino: Corinth (Imhoof, Monnaies greeques p. 160). . Triton under Astarte: Askalon. Triton at the feet of Venus: bronze medallion of the younger Faustina. | Piz

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1% off. Mammals. Plate XIV. Green jasper from the Robert Ready collection in London. A baboon, cyno- cephalus hamadryas, squats in worship on a small crocodile. About The baboon's nose is a ball, to the right of it the crescent moon, to the left a star. The crocodile straightens its opened mouth and tail upwards. In a semicircle around the monkeys stand around quite indistinctly written Greek letters, probably mystical sensory; On the right you can see the letters TTYO, on the left an inverted and lying one Digamma F and a V. The object of worship is the sun god Think of Horus sitting on the lotus, the symbol of fertility. The baboon itself is an attribute of the moon. Emerald plasma from the Berlin collection (Tölken I 133). Sitting baboon, Cynocephalus hamadryas, with a ball on its head, which is called to interpret the moon. Caption A I and. on the back), together Iao = Jehovah. Once owned by Baron Stosch. About the relationships of the baboon to the moon and to the ancient Egyptian moon god Thoth, see Keller, Animals of classical antiquity 8. 9. 325. The special situation that occurs in shown on our gem can also be found on other gems, too on vase pictures, e.g. B. on a vase by Tleson in the British Museum, Klein, Master signatures? 73. Opal from the Berlin collection (Tölken III 1407), from the former possession of Baron Stosch. Front part of a baboon, Cynocephalus hamadryas, from the front. According to the usual explanation, it should be 'Sirius as a dog.' to be with a paw up; which appear irregularly around the face Standing hair would then have to present the rays. (Unfortunately placed between 57 and 59 when photographed.) Glazed Porcelain (terracotta?) the Cesnola Collection in New York. baboon on crouching in a cart, in front of which is harnessed a horse, the monkey directs. The horse's headdress and the handle cross, the so-called Nile key, next to the horse's head prove the Egyptian origin des stone. From Cyprus. Jasper from the British Museum. Jumping lion with its mouth open. Instead Only a whisker is visible on the mane. Archaic. 11*

84 Ku | 10. 1%: 13. Plate XIV. Sard des British museum. Archaic lion standing, with highest own habitually hunched over body. The Vorderfülse are very recorded, the hair of the mane is treated with unnatural delicacy. From the former Payne Knights collection. Lenticular sard from the British Museum out Lalysos. Two lions or Panthers or dogs on the right and left in front of a column with a wide capital, on the hind legs upright standing, heads backwards from each other averting. Two lions standing to the right and left of a pillar or We crouched at the Lion Gate of Mycenae and on an ancient one Vase from Aegina, Raoul Rochette, mem. de Vinstitut XVII 2 Tf. 8 (also shown in Curtius, use of coats of arms Fig. 20 and discussed 8. 111). The Animals on the Sard of lJalysos thus become poorly made lions be. Since the Syrian lion is very weakly maned, the circumstance is that the fact that they are without any hint of a mane is less striking. Also Murray, catalog of gems No. 106 interprets them as lions. Green agate the Paris collection from 1927 to 1927. Walking calmly heavily maned lion. The mane is reproduced here in a very peculiar way. Jasper(?) from Menidi in the collection of the archaeological society Athens. Two male lions in a row, crosswise provided. The front squats on its hind feet, the back one seems up and away- wanting to jump. Old-fashioned, somewhat recorded, but overall not bad. The cross position of the lions is often found on the Assyrian Babylonian cylinders e.g. B. in the Paris collection 739. 885 —888. Green agate scaraboid from the Paris collection No. 1066. Lion striding and opening his mouth, apparently about to look for prey. The The conception is quite lively, the execution is characteristic. Oriental. Sard Scaraboid of the Paris Collection No. 1067. Lion standing and jaws unlocking. Line border, a little crudely old-fashioned. Oriental. Sard of the British Museum. Striding lion, the face half in front, raising the left forefoot. The face seems human all too similar, but this similarity is probably not intentional. Underneath the lion's base is written in fine Greek letters: MIPQNOC, probably the artist's name. From the Strozzi and collections Blacas. Chalcedony scarab (Berlin, Tölken II 15). Standing lion for defense armed, with tail turned inward and tongue extended, one strong, stocky figure. The mane is not indicated. archaic, Asian style, line border. Jasper from the Vienna Antique Cabinet No. 923. Lion in the same position like the previous one, only that it has a bone between the forefeet holds and the lower third of the tail is turned outwards; also There is a very fine crescent moon above, to indicate that the scene is at night happens, as in fact the lion only sets out to prey at night. tends to draw in. The mane is quite narrow, the whole thing is excellently

14. 16. r1: 18. 19. 20. al: 22. Plate XIV. 85 led. Lion and crescent moon are also together in other ways, like that on the Munich gem 442 and on the Paris gem 1148. Carnelian ellipsoid from the Paris collection. Lion crouching with his mouth open, as if he were looking at prey on the ground in front of him. Oriental. Carnelian the Hermitage in St. Petersburg 287. Lion with unlocked Running down the throat and probably pursuing an unrepresented game. Pretty, lively conception. From Kerch, antiquit6s du Bosph. Cimm. Plate 16, 8. Chalcedony from the Hermitage in St. Petersburg 292g. Lion standing, with the Vorderfüfsen wanting to grab something not shown. Not particularly lungs. From Kerch, Stephani C. R. 1860 Plate 4, 11. Chrysoprase from the Paris collection 1921. A lion made en face with Big mane pounced on a sheep that was lying on the ground. Very nice. Similar to a Nicolo from the same collection in 1922. Cameo owned of the former Prof. Christ. A lion striding Bending head down where he wants to eat something seems. The zottigen Partien, welche save the mane from the gem cutters are usually neglected and are treated particularly diligently here. After Lippert's Dactyliothek II No. 1012, where it is also noted that it is in the original the different colors of the stone were used wonderfully. Pierced cone from Sard in the Paris collection 1160. Lion with head turned forward; He seems to want to jump at something. The hair the mane, the shaggy hair on the upper left front foot, the Claws of the feet, the ribs are with embarrassing, but extremely clumsy Art and therefore completely unnatural. Above the lion a six- radiant sun star. Oriental, probably Parthian oder neu- Persian. Red Jasper from the British Museum. Lion head with tongue hanging out. A horn seems to grow out of the forehead, unless it is an erect tuft of hair is. The face selbst und die Mähnen- hair around the same shows the finest style. Das ganze Bild ist von einem Ring umschlossen. An obvious apotropaion: Lion and horn mean power, an amulet of this kind is very special to the owner. grant special (magical) powers. Even if we don't recognize a horn, The lion's mouth with its tongue hanging out is not in itself a thing unusual apotropaion, see Stephani C. R. 1877 p. 226. Löwenköpfe on gems and gold jewelry are common (Berlin, London, St. Peters- burg und sonst). A horned lion head at the end of a golden neck kette: Stephani ©. R. 1880 8. 90. Sard of the British Museum. Lying very finely made Syrian-Meso-Lion Potamic breed with weak mane. Behind him is completely peaceful ein Bär. Carnelian of the former King of France, after Lippert, Daktyliothek II Nr. 702. A Roman rider, apparently an emperor, charges up

86 23. 26. RT: 28. Plate XIV. against a lion that opens its mouth against him and with both Vorderfüfsen is clutching a round shield lying on the ground. Behind A gnarled tree rises above the lion to indicate the forest area. Caption CRANIANI; the first letter may be read as G and the whole = to take Graniani, as the person who ordered the stone Granianus called. Lippert thinks of Trajan, Chambouillet thinks of a similar one Stones (Achatonyx cameo from the Paris collection 243) to Caracalla, others to Hadrian. Mounted hunters attacking a lion, also on the Berliner Carnelians near Tölken VI 23-25. DMounted Persians on the lion hunt: Paris gems 1378. 1379. The scene is well invented, but only partially well executed. Not in today's Paris collection. Sard of the British Museum. Excellently fine and lifelike writing tending lioness. Above that are the letters O0. A. R., initials dated Name of the owner of the seal. Paste from the Berlin Collection No. 3078. Lioness with bowed head Jaws open, prepared to jump or defend. Likewise very good and natural. Nos. 20-24 are probably Roman works. Blood Jasper the Paris collection 1920. Two strong-maned male Lions blasting each other hostilely, among them a rather small one Noble deer, also jumping. The lions, who apparently care about the Arguing for prey are vividly drawn, but everything is artless. On the head of the deer, the stone cutter seems to have made a mistake have. The back shows a scorpion. Probably a Gnostic one Talisman. ' chalcedony; according to Lippert's Dactyliothek I 890. Egyptian lion sitting and bent over with his mouth gaping. Above him the winged sun disc with bird's tail. The colorful feathered sun disk is the symbol of the victorious king, Erman, Egypt 8. 61. Carnelian the former Stosch collection (Berlin, Tölken VIII 12). A lion draws a long arrow or javelin from his left forearm fuls. An interesting piece of Roman work. See Stephani ©. R. 1864 p. 99. | Green Jasper from the British Museum from Crete. A lion has a paseng captures him and drags him away, holding him with his mouth and him at the same time placed over his back. Under the lion, a basket-like one Geflecht. Murray, catalog of gems No. 38 thinks of a tree trunk. Sehr archaisch. About the Paseng in Crete see cellar, animals of the class. Altertums 38 f. There We have to assume that there were never lions in Crete Egyptian (sculptures by Beni-Hassan, Wilkinson, the manners and. customs of the ancient Egyptians ?II p. 88) or probably more natural Think of the Assyrian-Babylonian origin of the motif: lion and ibex together on a serpentine cylinder from the Paris collection 887 one Tank fragment out red Leder in Repousse-Arbeit at Lajard, Mithra plate 47, 1 and on a plate with cuneiform writing from the Berliners

29. 30. 31. 32. 33. 34. 30. Plate XIV. 87 Collection at Tölken I 168. The latter piece had to be done due to lack of space stay away from our tables. See also our plate XVIII 30. Roter Jaspis des British museum. Two jumping ones positioned antipodally Lions. Sehr archaisch. Chalcedony from the British Museum. You take the hatchet off a fallen deer Löwe die Kehle. He sneaked up from behind and is holding him with his hands Forefeet clasped. The deer stretches its left hind foot and the left forefoot straight away and opens its mouth. Das unent- wrapped antlers of the deer leaves no certain conclusion for the species too, but it's by no means a deer, maybe a fallow deer., That too Predator is not definitely a lion, as no mane is indicated, but The strikingly large head suggests a lion. Das Hervortreten the ribs allow you to put an end to your hunger. Der den Hirsch mauling lion is a very common object of gemstones, e.g. b. Paris Collection 1254. 1923—1926. 2628. Berlin collection at Tölken 113. VII 14. 15. 4623 (= our plate XVII 23). Wiener Sammlung 919. Kassel Collection II 85. Brussels Pastes 2178. 2179. See also Stephani 6. R. 1877 Seite 21. Gold ring from the Hermitage in St. Petersburg 252b. A panther with rich spots Fell has descended from behind on a gleichfalls mit vielen decorated spots und dadurch deer labeled as fallow deer fell and bit his neck. Beautiful classic Greek style. From the Kuban region, from the burial mounds “seven brothers”. Keller, Tiere of classical antiquity 141. 153. Stephani C. R. 1876 plate 3, 34. Carnelian from the Berlin collection (Tölken VIII 21). Löwe ohne Mähne oder Panther without any indication of the spots has attacked a dam from behind You fell on a deer that had sunk to the ground and took a bite out of his neck. Stiffer and more unnatural than the previous number. From the Stoschian Collection. Keller a. a. O. and 8. 76. Carnelian from the Berlin collection (Tölken II 13). A lion approaches bristled mane of one lying in front of him, probably already his strangled deer. Crude barbaric work. Agate scaraboid the Paris collection 1161. Lion roaring with wide- Walking towards a pine-like tree with its mouth open, i.e. in one Walde located. Above an antelope head with a big horn. The jagged ground is intended to suggest a mountainous landscape. Oriental. A lion lying next to antelope horns: oriental hematite cylinder Paris collection 857. Chalcedony from the Vienna Collection 917. Standing lion, the right foreground placing a paw on a noble deer head. A staff of Mercurius at the top, one at the bottom star. Roman work. The star indicates that we are in the constellation of Lions should understand. There are even 5 stars: Heliotrope Berlin collection, Tölken III 1427. Chaleedon of a signet ring from the Paris collection 1243. A lion right from the front onto a zebu falling to the ground. Barbaric, Parthian, neo-

88 os | 38. 39. 40. 41. 43. 44. Plate XIV. Persian or Indo-Bactrian. Same subject on the Pehlewi hemispheroid in Lajard, Mithra plates 15, 22, on the Paris pieces 1242-1252 and on our plate XVIII 59. Cellar, animals of classical antiquity 66 note 111. Chalcedony from the British Museum. A lion attacks a cow from the front fallen, which sank onto its forefeet. He chops him up the back. Basically not bad, but a bit clumsy execution. Carmel from the Berlin Collection 4520. A lion is on one from behind Gazelle jumped and chewed her neck. Old-fashioned style; from Only the front half of the lion is depicted, the rest looks like a knife cut off. The strong mane has stiffly standing hair. From Eleusis. Achatonyx from the Berlin collection (Tölken VIII 16). A lion is from at the back. jumped a prostrate bull and chopped it into pieces Neck. From the possession of Baron Stosch. Sard of the British Museum. Very similar to the previous one, only here the group appears less crowded; That's why the tail of the Lions there wedged between their hind feet, here free in the air wrestling. Nice style. Green jasper from the British Museum, archaic, with line border. Two Lions attack a standing bull: a lion has grabbed his head, but turns away his throat while roaring, perhaps out of pain because of him the bull stabs with its right horn. The second lion has separated from fell on the side of the bull, clasped his back and looked for him to bite through the neck. Above the bull's head is a bell-shaped one flower. The ground is probably intentionally uneven, perhaps mountainous to indicate landscape. The whole thing is very lively and beautifully imagined. The lion overpowering the bull is a very common object of gems: Plate XIX 33, 34 and often; it is ancient oriental, therefore especially on cones, cylinders and scaraboids: Paris collection 882. 883. 1041. 1042. 1077. 1078. Usually, as in nature, this happens Attack from behind. Two lions tear apart a bull on a Berliner Paste (Tölken IV 23), on a green jasper scarab from Tharros in Sar- Dinien in the British Museum No. 197 and others. Yellow Jasper from the Copenhagen Museum. A lying lion with bristling mane gnaws a bull's head. Similar a chalcedony the Berlin collection (Tölken II 77). Compare also the red jasper of the Her- Princess of Grafton, depicted in Munro's Horace p. 327: a jumping Lion with the head of a cow between his teeth; including a scorpion. According to King it means the influence of the sun (Leo) on the earth (Taurus); He relates the scorpion to Africa. Emerald plasma the Berlin collection (Tölken VIII 11). An upright A standing lion sticking out its tongue holds a piece of prey resembling torn flesh between the forefeet. Band agate the Berlin collection (Tölken II 14). A lion upright has a horse running in front of him with a paw and teeth

Plate XIV. 89 grabbed from behind. He and the horse's manes stand on end, the horse turns the head backwards and upwards and sticks out the tongue. Line border, archaic. See plate XVI 68. 45. Sard of the British Museum. A lion steps on one with its forefeet snake; She stands up and tries to bite him in the mouth. About that four Greek letters counterclockwise: ®PM3J9. Late and mediocre, probably gnostic. From the former Townley collection. About the Fight between panther and snake see Keller, Animals of Classical Antiquity 152. A carnelian from the Berlin collection is completely similar to our gem (Tölken, addendums p. 459). 46. ​​Chalcedony from the British Museum. One standing upright on its hind legs Lion holds a foreful with one of them one shield, with the other one Sword. His mane is bristling. Strange invention. 47. Sard scarab of the British Museum. Heracles choking the lion, with Greek transliteration: AETXY®. Heracles tilted his head between The club is leaning on his feet. Line border, archaic. From the former Hamilton collection. 48. Achatonyx from the Berlin Collection (Tölken IV 66). Same subject, different probably based on an archaic statuary group. The stocky, fat one figure of Heracles and the peculiar stiff arrangement of the hair His head hair and lion's mane are strongly reminiscent of the Etruscan Art. From the old Brandenburg-Anspachian collection. The subject is often found on gems, e.g. B. Berlin collection at Tölken IV 63. 64. 65; Paris collection 1762. 2648; Lippert 1570. 571; Charcoal burner, for gemming Customer II 81 (Petersburg Scarab). II 168 (British Museum Scarab); Carnelian from H. Lewis in Cambridge; Archaeol. Time. 1876 8. 243 etc. 49. Carnelian from the Berlin Collection (Tölken III 593). Cupid on a lion riding; once belonged to Baron Stosch, The motive was for gems popular, cf. No. 51 and the carnelian and the paste in Tölken III 592. 594. The late poet Marcus Argentarius has an epigram to such a thing Gem made, anthol. Palat. IX 221: Avyalw TOV ApuKtov Emi cppayidoc "Epwra xepci Acovreiav Avioxeüvra Biav, Üc TA uEV uäcrıya Kat’ auxevoc, & dE XaAıvouc evduver‘ TTOAAA d Aupıteßnke xapıc. ppiccw TOv BporoAoryöv' 6 yäp xai Afipa daudLwv äypıov 0Vd” ÖAlToV Peicerm Üuepiwv. On the aphrodisiac character of the lion see Stephani C. R. 1865 8. 49. 50. Carnelian from the Berlin Collection (Tölken VI 160). Lion from his keeper led. Cute composition. Once in the Stosch collection. 51. Sard of the British Museum. Lion ridden by Cupid. The lion holds it Head of a buck with the front feet. Quickly invented and executed. About lions who grab the heads of rams or goats with their claws. hold, see Stephani ©. R. 1869 8. 23. Imhoof and Keller, animal and plant pictures. 12

56. DT. 58. Plate XV. Sard of the British Museum. Lion and goat draw the Bacchic Cupid. Pretty composition. Same subject on a carnelian from the Berlin collection lung (Tölken III 613). Sard of the British Museum. A tame lion is led by a man, who holds a whip in his left hand and grabs it with his right Lion, who goes reluctantly, on the forelock. Carnelian 'of the King of France', after Lippert I 791. Same subject like No. 52. Not in today's Paris collection. . Emerald plasma from the Berlin collection (Tölken I 186). The Near East Great goddess Cybele or Astarte rides a leaping lion. She is dressed in a long robe, holds a scepter and a bundle of lightning, has on it Head the wall crown. The eight-pointed star below her and the lion as Sun symbol describes her as the queen of heaven. Lippert advocates for Cybele on the lion with the lightning in his hand the Museum of Cortona plate 24 and 34. People thought about Carthage the Queen of Heaven rides up a lion, a spear in one hand, a lightning bolt in the other. Cohen, med. imp. IV (2) 27, 220-227. 'Braun, Natural History of the Legend Il 234. Der Lion of our gem is unnatural in heraldic form. From the Stoschian Collection. Carnelian from the Berlin collection (Tölken II 14). An excellently made one Striding lion surrounded by the insignia of the Cybele cult: Phrygian Cap on top and cymbals below. This lion and that of number 13 are probably the most successful of the whole table. Once Stoschish. Sard chalcedony from the British Museum. A big lion reads to a small one male idol standing on a pillar. Behind him rises a probably Bacchic herm. Four naked boys are in different busy in different ways, one holding the lion's tail over whose back, a second is about to hit the animal with a whip hit, the third holds both arms up, the fourth, in front, plays in front of the image of the god the Phrygian flute. There is a bulge above the scene tree. The whole scene probably has reference to the orgiastic Cybele cult. Rock crystal from the Berlin collection (Tölken I 194). Pierced seal. A man, the Assyrian Heracles, holds a man standing on three legs, Lion standing up in front of him, holding one of his front paws with one hand, with the other he plunges the sword into his body. A well-known one Assyrian-Persian motif. Holding a paw is characteristic, on a Parisian chalcedony linden 912 and on two Parisian hematite cylinders 880 and 881. Oriental raw. Line binding. About this Group cf. Raoul Rochette, mem. de l'acad. XVII 2, 123. Weaddington, melanges de num. Plate 5. Head, coinage of Lydia and Persia 1877 Plates 2 and 3. Plate XV. Sard of the British Museum. The Assyrian king grabs one with each hand Lion on one hind foot and holds it up. To his fullness two winged lions or lion sphinxes rest. Lion and Sphinx become u

Plate XV. 91 also compiled elsewhere: gold rings from the Paris collection 2613. 2617. Gold jewelry from Palestrina (archaeological period. 1876 p. 242). Both of one God fights, who holds the lion by the paws: gold ring of the same Collection 2618. Sometimes the Persian king pulls two lions by the tail in the sky: Persian cones from the Paris collection 1028. 1030. Two Lions tamed by a man: gold jewelry from Corinth in Berlin. Chalcedony scarab from the Munich collection 502. The Egyptian god Bes grabs one erect standing, lions facing away on both Front paws. There are three symbols: sphere, crescent and a ball Spines, perhaps meaning sun, moon and stars. Bes is generally I mean human-like, has a beard and feathers on his head, cf. No. 3 and 4. Line binding. Very similar to an octagonal Assyrian one Gray jasper cone in the Paris collection 1060: Pateque ou Hercule Gigon, hairdresser of plumes or flowers of plants, tenant of the main chair, par la queue, a lion returns. The same item on a scarab made of green jasper, 1061. Green Jasper Scarab from the British Museum. The Egyptian god Bes von in front, his arms around the necks of two standing on their hind feet Lions devouring. In the field there are two cartouches without characters. Off a tomb at Tharros in Sardinia. Sard of the British Museum. A lion sitting sideways, head forward turned and Bes grabbed him by the tail and hit him on the head. All you can see of Bes is her head and two arms. On the other A crocodile appears to be rearing up on the lion's side and likewise wanting to attack the lion's head. Body and abdomen of the crocodile are not visible. Line binding. Steatite from the Berlin Collection 4509 from Thebes. A barbarically made one Tiger strides across a grassy area with long strides floor there. He opened his mouth. There are four buttons in the air, which presumably stars d. h. mean the night should. There are just three feet are shown, the stone cutter was probably missing the fourth one. apparently to space. Secure Antique depictions of the tiger are very rare. A very safe see in Keller, Animals of Classical Antiquity 133. Cameo from the Ottobonian collection in Rome, after Lippert's dactyliotheque I 788. Cupid with two tigers or panthers in front of a chariot are tense. Their necks are adorned with wide collars. This Animal on the left is female and probably the one on the right is too meant like that. You can see Lippert from the person standing in the car another hand and a sleeve, Compare Cupid riding a tiger, Keller, Animals of Classical Antiquity 137 Fig. 31. Black paste from the Berlin Collection 3081. Head of a lioness, teeth showing, very lifelike. Sard from the Berlin collection (Tölken VIII 23). Female panther screaming tend, very good, with noticeable stains. 12* -

92 en) 10. 11. 12. 15. 14. 15. Plate XV! Carnelian from the Copenhagen Royal Museum. Pantheress striding along clear spots, in the background a tree with two grapes. Less of course as No. 8; the vine in particular has very little effect bility accordingly. See Keller, Animals of Classical Age. 153 note 194. Carnelian of the former Roman emperor, according to Lippert's Dactyliothek I 424. A Bacchante sitting on a rock leaves one standing in front of her a stubborn, fleeceless panther drinking from a kantharos. Behind that Panthers raises a vine with leaves and grapes. Pretty picture, whereby only the artistic arrangement is partly at the expense of the natural truth is carried out. On the right side there are Kabbalistic letters. Keller, Animals of Classical Antiquity 150 note 127. Chalcedony from the Munich Collection 210. A panther with clearly spotted fur prepares for attack or defense. To his right stuck a ribbon-wrapped thyrsus in the ground. In the section below: SALVIVS, undoubtedly the name of the customer. Once owned by Steiglehner. Roman work, as well as no. 7. 8. 9. Amethyst from the British Museum. A maenad leaves the child Bacchus on one Panthers ride. She holds a grape for him before, against which it both Arm toes stretched out. In front of the panther, which turns its head towards the viewer returns, an almost naked young satyr strides, in both hands, like it seems to be holding a leash by which he is pulling the panther forward. Classically beautiful composition. See Keller, Animals of Classical Antiquity 146 Note 84, p. 151 note 136. Sard of the British Museum. Female panther, a kid between her front feet holding. See Keller, Animals of Classical Antiquity 152 note 163. Sard of the British Museum. Cupid rides up with the whip in his hand a bridled panther. A palm leaf on the ground. The drawing of the Panthers is pretty bad: He's too skinny and everything about him is in pulled the length. See Keller, Animals of Classical Antiquity 151 note 140. Carnelian from the Berlin collection (Tölken VI 157). A bestiary is from thrown to the ground by a panther and looks for its further attack by holding up a sign. The Bestiary has a helmet on the head and is clothed on the loins. In his right hand he holds, a short sword, it seems. See Keller, Animals of the Classical Age tums 146f. Once owned by Baron Stosch. 15b, between 56 and 58. Antique paste from the Berlin collection (Tölken III 1081). 'A Bacchante has grabbed a young panther by the head and is looking for it Animal, which impetuously flows from an open hose If you want to drink wine, you should hold back from it. There is a bulge above the scene tree. A pretty composition that Tölken completely misunderstood. He thinks that the Bacchant wants to force the panther to drink wine. From the former Bartholdy collection. See Keller, Animals of the Classical Age tums 150 note 124.

16. 1% 18. # 19. 20. 21. 22. 23. Plate XV, 93 Chalcedony from the Berlin Collection 3083. Head of a caracal or lynx with pointed ears and tongue sticking out wide. To the composition often used by mixed animals, especially the griffin. The ones in the sink The very clearly long and very pointed ears are unfortunately not visible when photographed. graphing with the tips completely in the shadows. Paste from the Berlin Collection (Tölken VIII 40). Maybe a lying one Hyena, or a badger? On the four other facets of this square paste Roosters, foxes, dogs and bears are also depicted, all of them excellent drawn and therefore all included in our gemstone tables. once in the Stosch collection. Cameo, once owned by Bonarotti, after Lippert's Dactyliothek II 1067. Two scorpions caught by a snake biting each other's tail closed. On the right a bird (dove?), on the left a sun star and crescent moon, below between both scorpions a bear head. The stone has without Doubt an astrological or kabbalistic meaning. Gori says it is the birth sign of two married people in Scorpio and Con- were born in the stellation of the Sun and Venus; the bear head should perhaps allude to the name of the owner. Late work. One completely the same made -uraeus snake, within which the words instead of the animals ‘Iao Abrasax’ stand, located yourself on the back a gnostic one Depiction of the snake-footed god with a rooster's head and a whip, ab- formed by King, handbook of engraved gems plate on p. 97 Fig. 4; thus We certainly have a Gnostic talisman in our gem to recognize. The uraeus snake is at all on Gnostic gems very common (Paris, Berlin, London, etc.). Paste from the Berlin Collection 3416. Beautiful head of a bloodhound with wide hanging ears and fairly broad muzzle. In the authenticity There is no doubt (according to Furtwängler) that the picture is rare. Opaque, black paste from the von Lannaschen collection in Prague. rough made a dog's head of a similar type to the previous one. Once owned Bartholdy in Rome. A very beautiful dog's head is in the gemstone Cabinet in St. Petersburg. Köhler, gemology I 19. Jasper from the Demetrios Collection in Athens. Jumping greyhound the stronger race. Carnelian from the Berlin collection (Tölken VIII 140). greyhound, short-haired, with a strong build and strong feet. From the former Stoschische Collection. Carnelian from the Berlin collection (Tölken VOI 141). A little longer haired Shepherd dog, striding forward, ears perked up and mouth closed Barking opened. Similar to the large greyhound, but standing upright ears. Below him in the section is a driver's stick with a spike. Once in Property of Baron Stosch. 23b (between 60 and 62). Carnelian from the Berlin collection (Tölken VIII 46). A strong, smooth-haired, fairly short-tailed dog lies on the ground and howls. According to Tölken, a wolf. From the former Stosch collection.

94 25. 31. 36. [s%) —ı1 Plate XV. Red jasper sprinkled with yellow from the Berlin collection 3394. Jumping Dog with caption: AINOYN CAKKON AABE: d. h. grab the linen Stuff! This apparently refers to the training of a young hunting dog, There appears to be a stick at the bottom of the ground. Achatonyx from the Berlin Collection 3120. Sitting hunting dog, behind him Bow and arrow. It is a fairly strong sighthound with backwards straightened ears. . Paste from the Berlin Collection 3408. Two greyhounds with horizontally laid ears; the one in front sitting, the one in the back walking. . Sard of the British Museum. Dog standing, with right hindquarters facing scratchy. Caption ©: CIISTl. L.L. Banded agate from the British Museum. Sitting dog, with one front paw up rubbing his nose. Line binding. Green jasper of Count Vitzthum, after Lippert's Dactyliothek II 1046. ‘A sitting dog with a collar with a guide belt on it; he has also a muzzle, which you can clearly see.” Because of the mouth basket added. Yellow paste from the von Lannaschen collection in Prague. One of the Molossian ones Breed closely related dog sitting. He shows great resemblance to that today's Danish mastiff, which is a cross between Canis molossus maior, the large Bullenbeisser, and Canis leporarius danicus, the large Danish dogs, emerged. See Table I No. 35. Position and shape are very similar to the so-called Molossians that have been preserved in statuary form. Once in Own Bartholdy's in Rome. i . Paste from the Berlin Collection 3378. Dog sitting upright on three feet very strong breed, at least not a real Molosser (see Plate I No. 31. 32), but perhaps one in a later, broader sense. The right forefull he pulled up. The tail is not visible; the neck seems maned; standing, somewhat rounded ears. The picture is in the photo graphing has been postponed, so it is now unfortunately very disturbing lies on the side. F . Paste from the Berlin Collection (Tölken VIII 40). Running sharp, excellent. Paste from the Berlin Collection 3383. Pointer standing, holding one in its mouth Bell. Jasper(?) from the Triphylis collection in Rithymna on Crete. A dog, Wolfhound looking backwards. Above him a floral ornament. Very old and ancient. Found in Crete. Jasper from the Berlin collection (Tölken VII152). Sleeping dog, together- rolled, head and neck from the front, thick mane on the neck, smooth tail, pointed elongated face. Maybe Cretan race, or at least with this one related, cf. Plate I No. 42. Once in the Stosch collection. Opaque, black paste from the von Lannaschen collection in Prague. Same Object, only that a tree is attached under which the Dog is sleeping. The long pointed ears are very clear here. once

38. 59. 40. Al. 42. 43. 44. 45. 46. Plate XV, 95 owned by Bartholdy. There is also such a collection in the British Museum - rolled dog under a tree (Sard), Catalog of gems 1951. Nicolo of the Paris collection 1914. A hunting dog with its rump raised and a crushed neck gnawing on a bone. Excellently done, best style. Carnelian of Prince Strozzi, after Lippert's Dactyliothek II 1048. Lying down Bulldog. According to Lippert, “a cat that eats a mouse”. Black jasper from the Munich collection 436. A hunting dog above one He kills a rabbit that he grabs by the belly. From the former collection Step-back chair. Black jasper from the Paris collection 1915. A hunting dog above you killed hare lying on its back; right to designate the A deciduous tree in the forest arches over the scene. Finely done, with Line border, but not archaic. Carnelian from the Berlin collection (Tölken III 831). Four strong hunting dogs falling in pairs from the right and left over a fallen noble deer . here. The forest is indicated by a tree with wide-spreading trees Branches in the background. Once the property of Baron Stosch. The grouping is too schematic: the two dogs on the right and the two on the left are standing and bite in an unnaturally similar way; but the whole thing gives a nice nice picture. Jasper from the Vienna Collection 984. Two dogs tear each other apart rabbits lying on the ground. An eagle hovers above them, apparently in the Intention to give them the loot to dispute. Also these two dogs are drawn exactly the same, except that one is to the left and the other stands to the right. Yellow paste the von Lannaschen collection. Two dogs want one Bunnies or a rabbit take hold of what has just fallen into a rocky cave, probably about to crawl into its burrow. On the above An eagle sits on the hanging rock, lifting its wings and swooping down wants. One of the two dogs turns its head up towards him. once in the possession of Bartholdy in Rome. Jasper from the Berlin collection (Tölken VII 165). The same scene with a dog; the rock appears without a hollow. From the former Stoschische Collection. The scene was often depicted in antiquity (Plate XVI 27. 28; British Museum No. 1958, 1959, etc.) and also by poets in epigrams sung about. The dog in all these hare hunts No. 40. 41. 43. 44. 45 (and 50) is the common hunting greyhound. Carnelian from the Berlin collection (Tölken III 1119). DB Barking Shepherd Dog of the Pan. Pan, pulling a goat by the horns, joins in the blows the pedum, shepherd's stick, after him. The dog is smaller and weaker as Shepherd Dog No. 23. The whole thing is grouped quite nicely, the Positions of course. From the collection of Baron Stosch.

96 on. 48. 49, 50. au IS 55. 56. 58. Plate XV. Agate from the Munich Collection 290. Cretan bitch, the Kydon or Zeus suckling. Repetition of the depiction on the coin panel I 42. From Steiglehner's possession. Jasper from the Berlin Collection 3133. A small one with a collar Dog barks at an aspis snake that has puffed up and reared up. You will notice a tassel on the dog's tail. This differentiates It differs from all other dog depictions on our phototypical boards on plate XXVI 49. Sard from the Lewis collection in Cambridge Cupid on a stone sitting plays with a pretty small petite, not smooth-haired Greyhound with drooping ears and smooth tail; to the right of the Group a tree that stretches towards her. Cute composition. White-spotted red jasper from the Munich collection 129. Cupid leaves a dog versus a rabbit jumping away go. The unnatural one The rabbit's situation probably stems from a lack of space. From the former Steiglehner collection. Carnelian from the Berlin collection (Tölken III 583). Cupid with a stick or obscured hunting game holds the hunting dog as it strives forward on the rope. It seems to be a rabbit hunt. From the Stoschian Collection. Sardonyx from the Berlin collection (Tölken VI 199). An old blind beggar with an Efskorb on his back, holding a dog by a rope, the other hand supported on a knotted stick. From the former Stoschische Collection. Carnelian from the Berlin collection (Tölken IV 390). Odysseus and his dog Argos cf. plate I 43. Red jasper from the Berlin collection (Tölken III 455). More beautiful, more naked Young man, Adonis to Tölken, leads the hunting dog with his right hand looking up at him, on a leash; in his left hand he holds two hunting spears; the Chlamys hangs down from shoulders; the forest is through a deciduous tree referred to. Nice piece. From the former Stosch collection. These small hunting greyhounds seem close to the Italian greyhound related, if not exactly identical, to it. Sard of the British Museum. A naked young man supports himself with the He holds a long stick with his left hand and holds something for the dog with his right hand whatever he is trying to grab. Achatonyx from the Berlin Collection (Tölken V138). An old shepherd in a hooded skirt stands with the pedum under his arm. Beside him, his looking up at him Shepherd dog, on the right a goat jumping up a tree. From the former Brandenburg-Anspachian collection. Carnelian from the Berlin collection (Tölken HI 1408). Larger, coarser, shaggier Dog with pointed, upright ears and bushy tail. Up A woman, naked except for her head, rides after him in the manner of a woman, for her sake A snake winds itself on the right arm. According to Tölken it is Canicula who

Plate XV1. 97 Dogstar; he is reminiscent of Isis sitting on Sirius. From the former Stoschian collection. 59. Carnelian from the Berlin Collection (Tölken II 79). Front part one in the house wolf lurking in the bushes, baring his teeth. He holds on with his claws a goat's head drawn clumsily next to it. Careful but stiff. From the former Stosch collection. Cast in Lippert's Dactyliothek, Engraving by Müller, Denkm. ancient art 115. 60. Cf. Keller, Animals of classical antiquity 160 note 28. 60. Carnelian from the Berlin Collection 4498a. Jumping wolf under a half moon, which will indicate the night. Very old piece. From Greek country. On the other side is Plate XVII No. 3 given representation (wild goat). Both should perhaps be thought of in connection. basement, Animals of classical antiquity 160 note 33. The wolf under the crescent moon is also a Cilician coin image. De Luynes, Number of the Satrapy, Plate IX 15 and 16. 60b (before No. 25). Brown paste from the Berlin collection 3119. A wolf to Gearing up to attack, pretty well done. 62. Carnelian from the Berlin Collection (Tölken II 87). Two wolves tear you apart a mule or donkey thrown down on its back. Pretty characteristic made, to the archaic grazing. Line binding. From the former Stoschian collection. See Keller, Animals of Classical Antiquity 160 note 30. 63. Carmel from the Vienna Collection 986. A hungry one (see the comment on Plate XIV No. 30) She-wolf tears apart a donkey or a mule in a forest donkey. Well thought out and executed. See Keller a. a. O. 64. Carmel after Lippert's Dactyliothek II 1024. A wolf is in a herd broke in, biting a sheep in the neck, looking for a goat in the background to escape. The wolf's fur is woolier and the tail is bushier in the other representations. Whether the stone is really antique is unclear say. The composition isn't bad. See Keller, Animals of the Classical Age tums 160 notes 27 and 28. ®” Plate XVL 1. Paste from the Berlin Collection (Tölken VIII 40). Fox against a him waiting cock running. The fox is exquisitely drawn on the Paste the rooster too; unfortunately the phototype gives the horizontal Head of the rooster very unclear again. See Keller, Animals of the Class. Antiquity 178 note 3. On a carnelian from the Paris collection 1265 the fox is lurking behind a plant for a rooster. 2, paste from the Berlin collection 3112. A fox jumps over a vine terrain. At the top it says TALLIO, without a doubt name of the seal owner. Keller, Animals of Classical Antiquity 173 Note 2. 3. Chalcedony from the Berlin Collection (Tölken VII 51). A fox is on climbed a chair and tried to climb even higher; below the inscription: KOINAEN BAIWN clockwise, perhaps (with Tölken) — xoıva &v BaıßWv — in Bajä that is usual. A jasper worn by H. Lewis in Cambridge next to the mouse and butterfly the inscription: BAISS (Bais salutem?). Imhoof and Keller, animal and plant pictures. 13 year"

95 10. EL: 12. 13. 14. Plate XVI, Paste from the Berlin Collection 3373. Lying badger (?). Nicolo of the London Collection: Ichneumon, Viverra ichneumon; in front of him, it seems like an egg. From the former Townley collection. Because his skill in eating snakes and destroying crocodile He was once worshiped in Egypt. At Herakleopolis he was Leto and Eileithyia. See Houghton, natural history 52. He poses especially the bird eggs. Carnelian from the Paris collection 2003. An ichneumon is about to be in one An area indicated by Egyptian swamp plants with swollen Jibe at righting aspis, African shield viper, well haje, grab. The battles of the Ichneumon with the Aspis are among the ancients often mentioned; It is therefore called öpioudxoc (Hesych 1166). Even the old one This peculiarity of the ichneumon was known to Indians, Atharvaveda VI 139, 5. Same scene as here on the Berlin carnelian on our plate XXIII 10. Carnelian from the Berlin collection (Tölken VIII 344). On one of two A grasshopper is driving a chariot drawn by jackals or dogs: true- apparently a symbol of the hottest days. From the former Stoschische Collection. About the symbolic connection between jackal and dog and summer heat see Keller, Animals of Classical Antiquity 192 note 36. Two Jackals form the team of the Egyptian sun god Ra. Sapphirine Chalcedony Scaraboid the Paris collection 1093. Two bears antipodal around a snake. It means the constellation of the serpent between the big and little bears. From Asia Minor. Paste from the Berlin Collection (Tölken VIII 40). Striding bear with opened throat. Very nice. From the former Stosch collection. Carnelian from the Paris collection 1166. Standing bear with Pehlewi inscription. Raw late oriental. There are four similar pieces in the Paris one Collection. | Plasma from the Berlin Collection (Tölken VIII 38). A sitting bear holds with feet and mouth a stick. Not very natural. From the once Stoschian collection. See Keller, Animals of Classical Antiquity 112. Gleicher Item on a sard from the British Museum No. 1896. Carnelian from the Berlin collection (Tölken VI 158). A bear emerges from it left caged; A naked man crouches on the cage, who takes it out and raises his left hand in warning to a man with a sword, Round shield and helmet attack the bear. This second man, without Doubtless a bestiarius, also appears to be naked, but somewhat like wings to own, which undoubtedly represent only a fluttering piece of clothing. Cellar, Animals of Classical Antiquity 115 ft. Carnelian from the Vienna Collection 878. A huge bear has attacked you Fighter (Bestiarius) armed with a long lance, shield and helmet directed, which has half sunk to the ground. The bear is quite naturally formed makes. Cellar, Animals of Classical Antiquity 116. Black paste from the Berlin collection 3087. Two bears against each other jumping up, it seems, with friendly intentions, but perhaps also in

16. 17. 18. 19. 21. 22. 23. 24. 25. Plate XVI. 99 more hostile: then the unclear one would be lying on the ground between the two Object, perhaps a grape, the cause of their dispute. - Carnelian from the Berlin collection (Tölken III 588). In a rocky area Cupid rides a bear, which fights against the dog that attacks him defends. Excellently artistic and natural, except for the rocky areas shaft. Once in the Stosch collection. Cellar, animals of the classic age tums 109 note 36. Also riding on another Stoschian carnelian Cupid on the bear (Tölken III 589). Paste from the Berlin Collection 3141. Little mouse sitting on a pot and snacking. Blue paste from the von Lannaschen collection in Prague. Mouse on a jug climbing up. From the former Bartholdy collection. Topaz from the Berlin collection (Tölken VII 139). A mouse climbs up up a candelabra. From the former Stosch collection. Likewise on the paste in Tölken VII 137. Carnelian from the Imhoofs collection. Mouse on a three-legged table gnawing on a round object, perhaps bread. Bought in Naples. Mouse gnawing on a piece of bread frequently, e.g. B. Berlin Tölken Collection VII 148. 151. 152. A nice parallel, but the mouse is on two feet sits and male makes, offers the jasper the Berlin collection Tölken VII 153. Red jasper owned by Imhoof. Two mice are pulling a cart which has a rooster sitting there. There is an ant above and below the mice. In front of it there is a double head of an eagle and the horned Pan, under which a very little mouse is. Bought in Beyrut. Antique paste from the Berlin collection (Tölken VIII 155). A dormouse or a dormouse dances in front of a bear playing the Phrygian flute blows. From the former Stosch collection. Tölken stops this playing animal for a cat, which means, among other things, that the tail is not right at all would. Yellow paste from the von Lannaschen collection in Prague. A dormouse or A dormouse stands on a racing chariot and drives two racing cars Hares. From the former Bartholdy collection in Rome. Jasper from the Berlin collection (Tölken VII 252). A dormouse or A dormouse drives a rooster with reins and a whip, which drives the cart draws what he is sitting on. From the former Stosch collection. Carnelian sea beetle from the Vienna Collection 204. Very archaic noble deer or deer, strangely squeezed into the oval. When taking photographs erroneously placed on this plate, belongs on plate XVII. The error is Forgivable if the figure is very unclear. Carnelian from the Berlin collection (Tölken II 19). Jumping hare. Archaic raw, with buttons on the ends of the head and feet, also on the Kneeling of the hind feet. 13*

100 26. 27. 28. 31. se) m (S$) (SU) Plate XVI. Hematite of the British Museum. Many different animals of partial out- spoken spell-deflecting meaning (hare, capricorn, lion, hay- horror, sphinx). In the middle a vulture looking at someone sitting quietly Egyptian rabbits stumbling; under the rabbit a winged sphinx with Human head, then a wild goat, an ibex, a grasshopper Wild sheep, an animal-headed winged sphinx, a lion crossing a ga- cell, Antelope dorcas, rushes down. The Egyptian hare shows longer ears than the Greco-Roman. The stone served as an amulet, for which the red color speaks, and comes from Egypt. Lion, vulture, hare and various various horned animals are also put together in such a way that that the former chasing the latter, on a “Cachet en marbre blanc’ (Scaraboid’?) the Paris collection 1270. Carnelian from the Berlin collection (Tölken VIII 165). An eagle with excellent Spread wings standing over a rocky cave is about to land on one to stumble upon a hare sitting under the overhanging rock. From the old from the Kurbrandenburg collection. Carnelian from the Kassel Collection II 90. The above scene from Dog, Rabbit and eagles at the rock cave (Plate II 44, 45); not done badly. cf. the same subject in the Berlin collection Tölken VIII 163 (carnelian). 164 (carnelian). 165 (jasper). Carnelian the Munich Collection 451. Rabbit or rabbits on two Füfsen sitting and nibbling on a grape. From the former collection. Step-back chair. Nicolo the Vienna collection 855. A hunter, wielding the pedum', - gallops along on horseback to hunt rabbits; because under that Horses jump a hare. Caption F R, probably the initial letters of the owner's name. The pedum was used to kill the Bunnies. Fairly late Roman work. Hare hunting mention on horseback Martial I 49, 25. Theophylact dial. ec. 11. Black jasper owned by Anton Barbiani. Cupid a captured field Hares held high by their hind feet; a dog jumps at him up; up; on the other side there is a rooster. Cute composition. cf. the chalcedony from the Berlin collection Tölken III 1019, where a satyr holds a captured rabbit in his hand; Paris Agate No. 1654 is similar. Achatonyx from the Berlin collection (Tölken VIII 635). A rabbit is sitting in front of a cabbage head. From the former Stosch collection. Yellow paste from the von Lannaschen collection in Prague. A rabbit sits in front of a grape, exquisitely made. Once owned by Bartholdy in Rome. Regarding eating grapes, see No. 29 of this table Scene on the Smaragdplasma in Berlin Tölken VIII 64 and the grape harvest Plate XXV 21. We also see Tölken III 1097 on the Berlin carnelian two rabbits or hares snack on a grape. 33b (before No. 39). Carnelian the Berlin collection (Tölken III 586). Cupid rides on a cart pulled by two cheerfully jumping hare.

34. 35. 36. a1. 39. 40. 41. Plate XVI. 101 From the former Stosch collection. Same scene on a Berliner Jasper Tölken VII 174. Sard of the British Museum. Beautiful horse head with bridle. Also as a shield The horse's head was not unpopular as a symbol, e.g. B. Munich Vase Collection. 404. Carnelian from the Berlin collection (Tölken VIII 65). Excellent horse head noble breed. Inscription VI®, a remainder of the owner's name. ford Wängler assumed from the form of theta that the stone is not older than the first century before Christ (Annual of the Archaeological Institute III [1888] Table 3:12). Note the “‘Capronae’, equorum iubae in frontem devexae (Festus p. 48). From the former Stosch collection. Those too Munich gem 420 shows a horse's head. He was often considered pro- phylactic. Yellow Jasper from the British Museum. Phoenician or Ptolemaic copy of the Seal of Amenhotep II, who reigned in the fifteenth century BC. His name is written in a cartouche above the bull. Bull and stallion are very naturalistic and give us a picture of those in Egypt hate existing ones. The horses are different from the other breeds of the ancient world through the round and deeply curved neck. See King in Horace by Munro 8. 451. Sard from the Postolacca collection in Athens. Striding horse, peculiar narrow-headed ancient Greek breed like No. 62 Greek work earlier Period, in the original pearl border. Carnelian from the Kassel Collection I 12. Striding victorious racehorse with Palm branch in the mouth and inscription: FELIX PADVS declining. Padus is the one Name of the stallion, not the owner. Note the excited one expression of the eye; In general, the racer's feeling of victory is good expressed. The mane is carefully parted, a rarity e.g. B. can also be found on the younger Balbus' horse in the Naples Museum. Later Roman work. Compare a heliotrope in woodcut at King, handbook of engraved gems p. 113, where a racehorse named Tiberis ab- is formed. The palm leaf is positioned exactly the same as on our gem, as if the horse were holding it in its mouth, and so was a large part of the leaf is covered by the head. But our gem is far more characteristic. A third river-named racehorse, Orontes, mentions Martial. Also on A jasper from Luni No. 132 shows a striding horse with the victory symbol palm in mouth. Comparetti, mus. Ital. I 8. 137. Carnelian from the Berlin Collection 4638 from Crete. Bridled horse jumping, of a different race than 37 and 62, but also certainly ancient Greek. It's the one usual, somewhat clumsy stroke of warrior horses. Very old gem. S. archaeol. time. 1879 8. 106. Carnelian from the Paris collection 1945. Runaway horse, the reins dragging on the ground. Line binding. It shakes the mane like the runaway horse in the beautiful description in Ennius Ann. 505 fl. it ae ae ren

102 42. 43. 44. 45. 46. AT. 48. 49. 50. Plate XVI. gem the Cesnola collection in New York. Noble Greek horse, probably a racehorse, about to hit the forefeet to sink. Above: ETHZIKPATHE. So it should the owner of the stone healed have. From Cyprus. Good Greek breed: the neck ascends like the rooster's neck, narrow where it touches the head, the head with it small jaw, fairly small ears, etc. Xenoph. Horsemanship 1, 7. 10. 11. The main feature is the protruding, straight out of the chest ascending neck. Sard scarab from the British Museum. Fallen horse half visible from below. Line binding. It appears to be a Greek horse. From the one Stigen Castellani Collection. Black Jasper from the British Museum. Excellently made horse, especially as far as the muscles are concerned; The filling of the space is also masterful. It tilts the head towards the ground and has the left forefoot raised pulled. The background is architectural, perhaps a cippus with characters. Unfortunately, the nose and mouth are worn out. Note that beautiful long mane. In general the plastic forms the horses with shorn manes and this mutilation is also present on our table. richly represented. Homer Il. XXIII 367. 530 praises the beautiful long mane. Most beautiful Greek style. From the Blacas collection. Sardinian scaraboid of the British Museum, Prancing horse. Pretty strong, Not a particularly noble breed with a thick head at the top and a narrow head at the bottom. Above Olive branch (after Murray Bremse), below an ear of wheat (after Murray Scorpion). Something has broken off at the bottom of the stone. Line border, probably very old. Carnelian the Berlin collection (Tölken VIII 67). A horse of very elegant growth, an arrow or thorn emerges from the left front fulse. Quite the same, but from the other side, so that the right Fuls the wounded man is shown by the garnet from the Vienna Collection 952: this one has still above the horse the inscription HIRPI, Similar to Berlin carnelian Tolken II 83. Carnelian from the Paris collection 1948. A horse in a similar situation as No. 44. It seems to be pawing and its mane standing on end. Plasma (Jasper of the Ancients) from the Vienna Collection 955. Under a large A family of horses stands in the leafy trees: the stallion on the left, the one on the right Mare grazing with the foal suckling on her. Grazing horses are not common on old monuments: a vase picture from Aegina in the Berlin one Collection, archaeol. Time. 1880 p. 40; an Endymion relief by Gerhard, ant. Bildw. Plate 36. Ours Plate No. 58. Parisian jasper gems 1261. 1262. 1947. Coins 8. 13. 20. Carnelian the Vienna Collection 244. Sight of a horse from below. Archaic taste. Compare the archaic horse lying on its back of the Berlin Sard near Tölken II 82. Pierced cone of green jasper in the Paris collection 1291. Striding horse with moon (crescent) and sun (star) next to it. Above

51. 53. 54. 55. 56. 57. 58. Plate XV1. 103 Pehle inscription. Very raw, late oriental. The breed appears identical with the horses on New Persian images from the time of Nakshi Rustam, see Berjeau, the horses plate 7. They had to sleep in our image Also these peoples like the Greeks and Romans the custom, the mane of the horse to the right to comb, cf. Ovid. metam. II 674, our table No. 44, Grasberger, Education and Teaching III 256 etc. Plasma from the Vienna Collection 953. Standing mare with a foal drinks. Nicely executed, the item was popular; we have it too still on our plate no. 58, also on the Viennese Nicolo 952 and on the Vienna Plasma 955. Crystal of the British Museum.. A horse in Assyrian or Old Persian Equipment, with the characteristic knotted tail, as the assy- show Roman and Lycian monuments. It is beautifully utensils and with Tasseled like the rofs of a nobleman. It walks proudly and the hunting dog jumps next to him. Line binding. Above a true- apparently Assyrian letter. The breed is identical to the one in the picture works from the time of Ashurbanipal (7th century BC), see Berjeau, the horses etc. Table 4. Sard of the British Museum. Naked man next to his horse, which he strives to hold on. He pushes himself hard with his feet at the front. Quite pretty. Archaic. Pearl edging. Sard of the British Museum. A man in the costume of Heracles with lion skin and club leads a horse by the reins, a hunting greyhound runs below: true- shameful So Heracles, in a peculiar way, thought of himself as being on horseback hunting. Line binding. Probably ancient Greek work. Red jasper from the Kassel collection I 62. An older boy appears to be riding to learn. At his side stands a naked man with a long staff, probably the riding instructor. Inscription LVL. Roman work. Same Item on the vase 1583 (701) of the British Museum: “Paidotribe instructing to Ephebos. Sard of the British Museum. A man in the NK stands quietly next to his Horses, holding a lance in the right hand and holding the bridle in the left. Sard of the British Museum. Naked youth standing next to a horse, which he holds on to the reins with great effort. The fluttering long one The youth's hair is reminiscent of the Athenian hair of Aristophanes' time the prevailing fashion for young men who love to ride (Aristoph. Wolk. 14. Ritt. 577), while the unusually strong muscles suggest Castor places, cf. the Berlin carnelian at Tölken IV 230 and the Sardonyx scarab in Köhler, on gemology II p. 179. Nice group. Heliotrope from the Berlin collection (Tölken VI 43). A shepherd, on his Supported by a stick, a mare grazes with her colt suckling on her. About A tree arches over the bee, on which the man plays his reed flute. has hung. Quite similar, except that there is a second adult horse, The stallion standing there is on the Vienna Plasma 955.

104 59. 60. 64. 62. 63. 64. 6D. 66. Plate XVI. Antique paste from the Berlin collection (Tölken VI 22). Same scene as Plate II 15. It is not at all about shoeing the hoof Tölken means, but about taking out an object in which the horse has kicked: one of the men is holding the horse's fuls another tries to pull out the thorn or other object; the crouching one The man has martial armor, the one standing is perhaps his servant. This Horse belongs to the heavy breed of Roman war horses, see Linden- schmit, old man. our pagan prehistory I 11 Table 6 and 11.6, 1-3. Roman work. Sard of the British Museum. Ancient Greek rider with a very long oval Shield and helmet decorated with a horse's tail, charging along on the horse: i.e. an ancient Greek soldier's horse. Green Jasper from the British Museum. A man in flowing chlamys is looking with great effort to push the Trojan horse forward. This Trojan horse is not uncommon on gems, e.g. B. Berlin collection Tölken IV 373-375. Agate from the Hermitage in St. Petersburg 2921.” Horse with head raised and running with flying reins; it is a racing horse that just... arrives at its destination after breaking away from its incompetent handler has: Theognis 257-260: "Innoc eyW Kar Kai dehkin, AAXA KAKICTOV Avdpa PEPW, Kal HOL TOÜT” AvınpoTaTov' toAAaxı d° rUEeAAnca diapprkaca Xalıvov PEUYEIV, WCAUEVN TOV KOKOV NVIoXov. Fine ancient Greek breed with a narrow head like No. 37. In front of the horse There is a pole in the ground on which something hangs. Excellent work. Unfortunately the photograph had to be taken from a defective copy become. Pearl edging. From Kerch. Stephani C. R. 1860 Plate 4, 10. Carnelian from the Vienna Collection 956. Running horse with something too big heads; Beneath him lies a naked man, apparently the rider who was carrying it dropped during the race and drags behind itself. See the Vitz Thumschen Sardonyx at Lippert, Daktyliothek II 1043. Burnt Sard scarab from the British Museum 254. A goatee man drives a four-horse team with a double-belted whip. Very characteristic archaic. Line binding. Regarding the whip, see Plate XVII 2. Laius' animals were also named after Sophoclus. Oed. Tyr. 809 with one näctı dVo KEvrpa. Exovco powered. From the former Pulsky collection. Nicolo of the British Museum. Naked rider, whip in hand, true- apparently a competitor. Inscription: PINEMOC. From the former collection lung Blacas. Rock crystal from the Postolacca collection in Athens. A young man with flying flowing hair, in a dress rich in wrinkles, draws attention to one who is in full swing. two teams of horses. From Laconia. The horses are pretty strong and. clumsy, very similar to that of the Stone of Crete No. 40. Antique, with pearl edging.

= no 67. 68. 69. 70. 21: 12. Plate XVI. 105 Sard of the British Museum. Achilles rushes along with the two-horse team and dragging the corpse of Hector. The charioteer Achilles is also shown provided. King in Horace by Munro 8. 443 particularly finds the movement the horses are admirable. They are those given to Peleus by Poseidon Horses Xanthos and Balios. These are also on the Berliner Paste at Tölken IV 252 shown. From the former Blaca collection. Chaleedon Scaraboid of the British Museum 123. A lion is seen from behind fell on a horse and bit it in the back. Beautiful, especially in An excellent group in the thigh areas, although not free from age- polite, somewhat stiff manner. From the former Castellani collection. The horse that was torn down by the lion can still be found on others Gems (Lippert II 1014. 1015. Berlin Collection Tölken II 14). Clay lamps (Brussels Collection No. 681), on reliefs (Vatican, Sala degli animali, base of the Farnesian bull, base from Smyrna in Ince Blundell- Hall, oval sarcophagus there), vase paintings (Stephani C. R. 1861 8. 30) etc. Sard of the British Museum. Vietoria driving with two horses. The goddess swings the whip with his right hand. Nice, lively group. Similar on a Petersburg gold ring Stephani C. R. 1861 8. 146. At all Victoria often appears on cameos on a horse-drawn team, e.g. B. Munich No. 239. 240; Kassel II 58; Berlin Tölken III 1235—1238. VII 150. 186. 187; Gems from Lippert, Daktyliothek I 689 — 692. II 135. 1082. 1090. See also the Paris agate cameo 93. Sard of the British Museum. Victoria floating along with four horses. In She holds a palm branch in one hand and her horses in the other. pre- striking composition, boldly conceived and lively executed. No matter- kind Berlin pastes, Tölken III 1239. 1240. Victoria with four teams also on the Munich gem 241. Berlin Tölken III 1241. 1242. VII 188. Russian scarabs in Köhler, gemology II 190f. On the Denarii of the Plautia family will be the same group on Aurora with the Helios team interpreted. Babelon, Monnaies de la Rep. Rome. II p. 326. Black opaque scarab from the von Lannaschen collection. Three Horses or hind fore body and an abdomen are combined into a single mixed united in shape. Line binding. Probably very old. Once in the Sitting Bartholdy's... Quite similar is a carnelian scarab the Peters Burger collection No. LXXVII at Köhler, gemology II 8. 192. A two-headed horse is on the St. Petersburg Carnelian Scarab No. LXXXI at Köhler a. a. O. 8. 193. Plasma from the Berlin Collection (Tölken II 138). According to Lippert, Tölken et al. the horses of Diomedes, one of which is tearing a man to pieces. But maybe there are four racehorses, some of them dead on the stretcher say goodbye to the lying gentleman. The horse is the only animal to which... The ancients even attributed tears of emotion. On the left a palm tree - Sign of victory in the race? - on the right a servant holding a frame with water. The calm demeanor of the horses and the servant with the water bucket should for ours Interpretation speak. In age- | Imhoof and Keller, animal and plant pictures. 14

-ı OL 76. 11. 1) Plate XVII. Traditional Greek style, with line border. The manes of the horses stand up like brushes, cf. the archaic horses No. 64. Mannig- wrinkled and strange composition. Banded agate from the British Museum. Four fine Greek horses, loosely side- each other, in different positions, very pretty. The race is the same- good with No. 62. Sard scarab from the British Museum. Four horses and a human; they form, because it fell, a ball. One horse has collapsed, two want to stand up with their front bodies, the man lies crouched down Ground, next to him the head and neck of the fourth horse is noticeable. dash edging. From the former Hamilton collection. Usually thinks one thinks of Phaethon, although many other “quadrigae rectores suos pro- diderunt’, see Hygin. Fab. 250. From the spray of flames from the sun steeds you don't notice anything. Sardinian scarab of the British Museum. Four fallen horses, including one Crouching man or perhaps Phaethon and next to him a wagon wheel. dash edging. From the former Castellani collection. Sard of the British Museum. Two racehorses, whose car was smashed became. Very lively, excellent composition, far better than those two previous numbers. Noble Greek breed like 42. 44. 62. More beautiful classic style. Racing teams crashed very frequently, cf. a main position at Pindar. Pyth. 5, 53. Sard of the British Museum. Three horses are watered; one is already drinking, the other two stand there waiting. A man stands in front of them, the one. Putting Fuls on the water vessel in which the other man (servant), Crouching on the ground, just pouring water. Pretty composition. Plate XVII. Brown paste from the von Lannaschen collection in Prague. Donkey head. once in Bartholdy's collection in Rome. Sard of the British Museum 79. A man on a two-wheeled cart steers with reins and whip, two mules harnessed to it, His whip has two straps. The car's peculiar drawbar is reminiscent of Assy- rian monuments. Raw and stiff. From Knosos in Crete. Emerald plasma from the Berlin collection (Tölken HI 958). Bacchus on one Carts drawn by two donkeys or mules. A winged gemius drives them. Not fine execution. _From the former Stoschische Collection. Carnelian from the Berlin collection (Tölken VI 50). Ladder truck with sacks loaded, drawn by two mules or donkeys (with horses to Tölken). The carter sits on the car. There should be grain in the sacks. Better drawing than the previous issue. From the former Stoschian collection. Same scene on the Paste Tölken VI 51. Sard from the Berlin collection (Tölken VIII 79). Donkey head with bell. Fine and of course. From the Stosch collection. Also with bell

10. 21, 12. Plate XVII. 107 You can see the donkey head of the Berlin carnelian at Tölken VIII 80 on ours Plate XXV 16. On the other hand, this latter still has a bird on its nose, a poppy head over the forehead and a barley ear below. Regarding the bell, which was very common with donkeys in ancient times his muls, cf. plate XVII 13. Carnelian of the Thorwaldsen Museum in Copenhagen 1362. Packed donkey. An amphora protrudes from what appears to be braided clitellae and to the right and a bird (chicken and goose?) on the left. Nicely conceived and executed. Derpentin of the Berlin Collection 4609. Donkey driver, a stubborn donkey pushing forward. Very old and crudely archaic, but highly characteristic. From Cyprus. Sard of the British Museum. Silenus rides drunkenly, with the thyrsus in his left hand, A wreath hangs at the lower end and a kantharos in his right hand holding, on a mule. Quite excellent. From the Blacas collection. Cf. Faun riding on a donkey: Paris Agate 1653. Carnelian from the Berlin collection (Tölken III 994), somewhat fragmented and in Gold restored. Same item as No. 8, also excellent executed; only the wreath hanging from the thyrsus below is missing. From the marriage unique Stosch collection. Carnelian from the Vienna Collection 224. Silenus in a long woman-like skirt and riding a donkey or mule in the manner of a woman, plays backwards turned the double flute. The Thyrsus is tucked across the back. Pearl edging. The execution is a bit easy. Sard of the British Museum. Bacchic scene. Silenus rides drunk on a donkey, who wags his tail in exuberant joy and screams with his head stretches up as if he wanted to lick the neck of the maenad in front of him. The maenad walks in front of the donkey rider playing the lyre and avoids himself to a hose from which a man kneeling on the floor in front of her Satyr lets wine flow into a drinking bowl. Behind the donkey rider enters second satyr, laying his right hand on the rider's shoulder holding a wreath over his head with his raised left hand. Like that When Bacchante presses herself against the wineskin, he does the same to the donkey. With his right hand Silenus leans on the shoulder of the horned Pan, the one to the right of the donkey in a crouched position and to the one riding appears looking up. All six figures, including the donkey, are brought into as close contact with each other as possible. Almost over the entire scene A tree, probably a vine, spreads its branches. On one of his A tambourine hangs on branches. The whole thing is excellently executed and fine imagined. The drunken Silenus riding on a donkey also meets the Berliner Gems Tölken III 993-995. Donkey ridden by Silenus and driven by Cupid pushed: Carnelian in Lippert, Daktyliothek I 396. 397. Antique paste from the Berlin Museum (Tölken VI 196). A man leaves you clothed donkey dancing. From the former Stosch collection. One similar Scene, whereby two horses instead of the donkey occur, on one Cypriot gem at Cesnola, Cyprus plate 39. About dancing lessons 14*

108 17. 18. A 20. 21, 22. Plate XVII. Horses see Aelian nat. animated VI 10. Our paste is also with Lippert, Dactyliothek II 446 printed and discussed. Teaching someone to dance Esels appears in Lucianus and Apuleius. Carnelian the Vienna collection 1057. Front part of a donkey from one Coming from a snail shell. Like No. 5, the donkey has a bell. Carnelian the Postolacca collection. Athens. Also a donkey that comes out a snail pops out. Without a bell, but with an inscription copwWc. Same scene on the Berliner Jasper Tölken VIII 300 and on the Ber- liner carnelian VIII 301. Carnelian from the Berlin collection (Tölken VIII 83). Arabian camel with Fill before him. Not particularly. From the former Stosch collection. See Keller, Animals of Classical Antiquity 29 note 83. Carnelian from the Berlin collection (Tölken VIII 81). Arabian camel, on which the driver sits with a plug. Once owned by Baron Stosch. Carnelian from the Paris Collection 2162. A two-humped camel, whose back But the humpback, because it was poorly fed by its owner, lost its has disappeared, is led on a rope by a dog or jackal. On its back sits a four-footed animal with a short tail carries a steeken with its front feet: it is probably a monkey imagine; but it turned out so unnaturally, maybe you can prefer to be seen as a dog. Even the camel is not very natural, By far the best is the jackal, fox or dog that leads the group. See Keller, Animals of Classical Age. 35 note 157. On the same page This book also includes a good woodcut of a cameo from the British Museum given with a resting two-humped camel. See above p. 332 Note 150. Jasper from Mycenae, certainly very old. In the archaeological collection. Ge- company in Athens. Noble deer with large antlers and many spots, a deer calf suckling. The antlers do not match the spots (of the perineum) deer) nor the functions of a deer, also the position unnatural. But we picked up the gem because of its antiquity taken. Regarding the false antlers of the deer cf. Keller, Animals of classical antiquity 98 note 215. Agate from the British Museum 116. Fallow deer, hopping. The shovel horn is although unmistakable, but not naturally drawn. Agate from the British Museum 118. Sinking fallow deer, with an arrow in shot in the back. Fine, true-to-nature work of the best style. Off the former Castellani collection. Sard of the Berlin Museum 4643. Sawed off by a Scaraboid and very old, from the best Greek period. Fallow deer foraging on the ground 'searching, excellently made. Carnelian from the Berlin Collection 4474. A strong-maned lion is from the front jumped onto a fallow deer and grabbed him by the back of his spine. note worthy filling of the circle, better done than with No. 18. Very old,

23. 24. 25. 26. et 28. 29. 30. 31. 32. 33. 34. Plate XVII. 109 noble archaic style. From Athens. Battle of light with darkness, Keller, Animals of Classical Antiquity 76 note 16. Achatchalcedony from the Berlin Collection 4623. A fallow deer without antlers, but male, has sunk to the forewings; a strong one Hound jumped on him and bit his neck. Old. Off Athens. The antlerless of the male deer is not natural, see No. 18. Similar scene on the Paris chalcedony in 1918. Pretty is the variation where a doe is hit by a dog on a hind leg. fulse is packed: Paste at Tölken VIII 58. Carnelian from the Berlin Collection 4559. Standing noble deer. Well, very old. Carnelian from the Berlin collection (Tölken VIII 53). Standing noble deer, scratching itself with the right hind foot. Pretty composition. Carnelian from the Hermitage in St. Petersburg 289. noble deer or roe deer, Off Kerch. Antiques du Bosph. Cimm. Plate 16, 9. Chalcedony from the Berlin Collection 4556. A noble deer about to emerge to erect. Old and beautiful. | Sardinian scaraboid the Paris collection 1935. A noble deer in the same way Situation like No. 27. Very archaic with buttons instead of the ends of the feet, Knees etc. See Plate XVI 24. Sard of the British Museum. Four strong dogs tear one apart in pairs noble deer thrown on the ground. Very similar to Plate XV 42, only on it Our table is missing the tree that denotes the forest, which is undoubtedly the case belonged to the original invention. Carnelian from the Paris collection 1923. A lion is at you from behind jumped over the noble deer that had fallen to the ground - and took a bite out of its neck. Line binding. See especially the explanation for Plate XIV 30. Antique paste from the Berlin collection (Tölken VI 27). A hunter rides along Armed with a spear, under the horse is a horse that is much too small Ratio drawn noble deer with a javelin stuck in its neck. Late Roman work it appears. About deer hunting on horseback the javelin see Keller, Animals of Classical Antiquity 85 notes 9 and 11. Carnelian from the Berlin collection (Tölken III 587). Cupid squints with that Arrow pointing to a greatly reduced noble deer. From the former Stoschis-hen Collection. Gold ring from the Hermitage in St. Petersburg 236. Vietoria a fallow deer (?) sacrificial. From South Rufland. Nice work. Published as a bull sacrificing Nike in Antiquites du Bosph. Cimm. Plate 18, 4. About the fallow deer as Sacrificial animal cf. Keller, animals of the classic age. 75. About the noble deer in For this relationship see page 90 of the same book. Sard from the Berlin collection (Tölken VI 66). An old man, like it appears to be a farmer carrying a basket of fruit and perhaps from the When he comes home, he gives a twig to a little deer. Cute Er- I think the execution could be more elegant. See Keller, Animals of the Class. Antiquity 103, also 89.

110 35. 40. 41. 42. 43. Plate XVIL. Chalcedony signet ring from the Paris collection 1170. Deer on a tree standing and, it seems, feeding on it. Parthian or New Persian. Gray chalcedony from the Paris collection 1187, 2. Deer and hind one after the other. Parthian or New Persian. Sard signet ring from the Paris collection 1174. Deer lying down. In front of him those two buttons of the “Kosti”. Parthian or New Persian. Sard cone from the Paris collection 1176. Same, but slightly worse. The The antler shape of these deer is strikingly similar to that of stags the hunting images of the Old Assyrian reliefs, e.g. B. on No. 103 of the British Mus.: Deer hunting with arrows from Kuyundzhik from the time of Ashurbanipal. It appear to be noble deer; the antlers of the Mesopotamian fallow deer is completely different. Chalcedony from the Berlin collection (Tölken I 102). Horus-Harpocrates; next to him an altar and a deer perhaps intended for sacrifice real antlers of the Barbary deer... A mosaic illustration of the Berber deer see Keller, animals of classical antiquity 82. Burnt agate from the British Museum. Halbeylinder. Two standing gazelles, one turning her head back and opening her mouth. There are two trees indicated. Very old-fashioned. Furtwängler and Löschcke, myken. vases Plate E, 14. Chalcedony from the Paris collection 1047. A gazelle appears to be the front to raise yourself up from the ground. The end of the horn is very strange. Fine work. Green porphyry from the British Museum. Front part of an antelope of the same species like No. 53 and rump of a lion in a twisted position to form a whole contorted monster animals united; see Revue arch. 1874 plate 12, 4. Lenticular crystal from the British Museum from Lalysos 107. antelope bu- balis standing, with his head turned back, licking his back. Before her a palm tree. Below between the animal's feet an unclear object stood, probably just a defect in the stone, hardly a sign. The animal . is with natural truth drawn. Antique. Archaeological review. 1878 44. 46. Plate 20, 8. Striped agate from the Berlin collection 4483. Oryx leucoryx on the ground lying, sticking out his tongue, a sword drilled in the neck, on the left a palm-like, rather unnatural tree; the ground rests what appear to be Egyptian column capitals. Very old. Hematite from Crete in the British Museum 74. Two Hartebeests (?) and one naked man, as well as all sorts of symbols, including a palm branch and a oblique cross. Raw, with the familiar archaic buttons on the directing the animals. Probably once used as a talisman. Agate from the British Museum 69. Wolf, panther (or lion) and gazelle. The The former two dispute their victim. The wolf is very alive and not exactly bad, while the panther (or lion) is pretty bad- lungs is. The gazelle can perhaps be seen as already strangled. In A a:

AT. 48. 49, 50. 51. 52. 53. 54. 55. Plate XVII. a Catalog of gems the wolf is seen as an ox, which, among other things, because of the Position of the tail appears impermissible. Wolf and lion fighting over a sheep kicking at Babrius fab. 105 on. See Keller, Animals of the Class. Antiquity 160 note 33. Agate of the British Museum 73. A man armed with a sword and spears You come across his game of an antelope (perhaps leucoryx) or an ibex (according to Munro a deer) in the throat; the latter is strange in one way drawn in an artificial position. The man is up with a spear also armed with a sword. Archaic. Revue arch. 1878 plate 20, 6. Jasper(?) from the Triphylis collection at Rithymna on Crete. Capricorn or Gazelle mauled by a lion. Buttons instead of the ends, eyes, etc. w. Very archaic; What is strange is the combination of use of space and characteristic drawing. Found in Crete. Cellar, animals of the class. Antiquity 42 note 42. Carnelian from the Berlin Collection 4519. Two gazelles resting side by side; on the left a peculiar, perhaps African or Arabian plant. Very old and characteristic. Maybe from Athens. Black Jasper Scaraboid the Paris collection 1180. Capricorn, a suckling young; in front of it a sistrum(?), after Chabouillet the fruit of man- dragoras; He finds the same plant on the Paris serpentine cone 1218. Inscription I V. Probably Roman-Egyptian, according to Chabouillet from the Sassanid era. Carnelian with white coating, No. 4488 in the Berlin collection. Two backward-looking gazelles whose bodies come together at the chest seem. From Palisia. Very old. Band agate the Berlin collection 4479. Two gazelles: from the butt you can see nothing but the neck and head; is in the middle of the background a very unnatural tree. From Corinth. Very old. Red jasper from the Berlin collection 4492. Lying antelope from the same Kind of like #42, head turned backwards. From Boeotia. Very old. Band agate the Berlin collection 4482. Gazelle, from a spear into the Hit in the neck, sinking to the ground. From the Peloponnese. Very old. Band agate from the Berlin collection 4484. Two, it seems, fallen, Antipodean antelopes that open their mouths provided. From Megalopolis. Very old-fashioned. Plate XVII. Jasper from Mycenae in the collection of the Archaeological Society of Athens. Two gazelles each suckle one young. Old-fashioned, without perspective. Agate chalcedony from the Berlin collection 4622. A striding wild sheep. You can think of a wildebeest because of the direction of the horns and because of the restricting the wildebeest to South Africa is not a good idea. Very old, from Megara. Carnelian from the Berlin Collection 4498°. Wild goat on a tree standing. Very old, from Greece.

112 no ——] u. 10. 11; 12. 13. 14. Plate XVII. Carnelian of the Thorwaldsen Museum in Copenhagen 1400: Goat, good made. Browns Paste the Berlin collection 3365. Left goat head, right Ram's head, both looking left. Banded agate from the British Museum. Goat walking, a bush in front of it. Fine work. Red jasper from the Hermitage in St. Petersburg 1014. Goat with rich wool light fur and fairly long, slightly curved horns; in front of it a bush. From Olbia. So perhaps a goat breed native to ancient southern Russia. Red jasper from the Paris collection 1954. Goat jumping into the air, to take possession of a palm branch on a small hill is attached. Not particularly good. The scene can also be found elsewhere. Red jasper from the Paris collection 1952. Two billy goats stalking each other, also on the Berlin pastes Tölken VIII 113. 114 and on the Berliner Gemmen Tölken VIII 112. VII 236. Other similar representations are listed by Stephani ©. R. 1869, 19. 21. 65. 67. 68. 74. 238. Achatonyx from the Berlin collection (Tölken III 1033). A kneeling satyr milks a goat that tries to run away from him. Cute composition. Off the former Stosch collection. All kinds of representations of the goat milkings collected from Stephani ©. R. 1869, 26. 54. 65. 70. 74. 84.89. 238. Paris gems 1909. 1910. Berlin gems Tölken VI 42. 49. VII 191. Onyx of Dr Richter near Lippert, Daktyliothek II 937. Munich gems 367. 374. Gem of Baron von Ludwigstorff from Carnuntum. Sard from the Lewis collection in Cambridge. A naked man sits up a pile of stones and milks a goat. On the right a jumping goat and several very small goats, which also jump away. A tree arches over the scene with two apples hanging on it seem. Jasper from the Vienna Collection 866. A shepherd in cucullus sits on one Pile of stones and is about to milk a goat. Above the scene a deciduous tree arches. On the right inscription IM, probably the first book staff of the seal owner. | Plasma from the Vienna Collection 861. A shepherd in shepherd's clothing stands there, in front of him, a goat jumping up a tree; without a doubt he intends to eat off shoots. The one up a tree 'Jumping goat' is not uncommon on gems, e.g. Berlin Tölken III 883. VI 34-38. Paris Sardonyx 279. Goat eating a vine: Parisian sardonyx cameo 36. Goat eating a tree: Parisian cameos 1906-1908. Ä | Carnelian from the Berlin collection (Tölken III 1254). Victoria moves with both Hands a goat to them, probably to sacrifice it. Tölken recognizes the animal as a rabbit. Goat pulled by the horns by Pan: Carnelian near Tölken 1119. kr) Art “ie WEI Den

Plate XVII. 113 15. Red Jasper the Berlin collection (Tölken III 1117). Pan strides energetically, holding a kid in his right hand and one in his left Tree branch and the Nebris. There is an overturned wine bottle on the floor fake Tölken recognizes the animal as a roebuck. From the former Stoschian collection. 16. Carnelian from the Berlin collection (Tölken III 1031). Here's to a strong desire with a faint beard and lyre-shaped, fairly long horns A satyr sits astride him and holds him by the neck. The goat that looks like one Cat sits with its hind feet tucked under it and propped upright Vorderfüfsen, looks back at his rider. Tölken thinks he's the goat collapse under his rider; Meanwhile, neither the rider does the goat gives the impression of great discomfort. Once in the Stoschische . $collection. Riding on a buck is a common depiction; Be- put in Stephani C. R. 1869, 25. 27. 37. 43. 44. 62. 64. 67. 70. 72. 74. 79. 83. 85. 86. 88. 93. 117. 17. Carnelian from the Berlin Collection (Tölken III 996). Silenus, drunk with Thyrsus riding on a long-bearded goat, and by a small dog barked at. 18. Sard of the British Museum. Cupid rides on a bridled large long horse woolly billy goat. The same on the Berlin gems Tölken II 506-509. Nos. 15-18 are all very nicely invented and executed. 19. Sard of the British Museum. Cupid, holding reins and whip, drives with two Bucks in a wagon. The execution is pretty raw, the attitude the goats stiff. Same scene: Paris gold ring 2537 and others. About Using the goats for driving see the documents in Stephani 0. R. 1869, 43. 62. 64..67. 73. 84. 86. 88. 20. Sard of the British Museum. A naked little boy, perhaps Bacchus, rides on a goat, which a naked youth, perhaps a satyr, leads at the bridle. The latter holds a staff in his left hand, which the boy is stretching his right hand raised as if to wave goodbye. Cute group. Very similar on a late Greek achatonyx of the older (real) Pourtalösschen collection, illustrated in Munro's Horace p. 305. There too the naked riding boy stretches one hand into the air. 21. Steatite from the British Museum 49 (acorn-shaped). Strangely more twisted, it seems collapsing Capricorn. Very archaic, with pearl border. Review arch. 1874 plate 12, 3. 22. Jasper(?) from the Triphylis collection in Rithymna on Crete. Long-horned Capricorn, very characteristically made. The animal, it seems, wants to straight up, or it is about to lie down or fall down. Ancient Greek. Found in Crete. ‘23. Banded agate from the Berlin collection 4481. Fallen Capricorn, very old and raw, in the style of the so-called island stones. From head to tail The reaching back mane can be seen more realistically in No. 36, as can the whole one remaining shape. A comparison of No. 36 in particular shows that Imhoof and Keller, animal and plant pictures. 15

114 32. 33. 37. Plate XVII. You're right that nothing other than an ibex is meant here. would have the animal not the mane, one could think of Antilope leucoryx. Our ibex here has a javelin stuck in his back. From Abrosime in the Peloponnese. Cellar, animals of classical antiquity 48. Crystal from the British Museum 57. Two jumping up, backwards yourself. on- looking goats, perhaps wild ones. Old-fashioned but pretty composition. Sard of the British Museum. Two wild goats turning away from each other; the forefeet are set higher than the hindfeet; as a point of view So probably a rocky terrain. Quite natural in the head areas and good work, clumsy in the foot areas. Steatite from the British Museum. Jumping, standing with both hind feet Capricorn. Very characteristically made, in an old-fashioned style. Off Melos. Once in the Burgon collection. Cellar, animals of the classic age tums 39. Steatite from the Berlin Collection 4508. Capricorn in a strange position — bouncing? — turning his head back. Very old, from the Greeks Islands. Jasper(?) of Athens. Collection from Mycenae, A rising gazelle(?) with a bush in front of it. A trefoil at the top. Ancient. . Jasper(?) of Athens. Collection from Menidi. Two gazelles next to each other; the one behind turns her head backwards. ancient, Steatite from the British Museum from Crete. Lion, behind him the front half of an ibex (Paseng) who wants to jump away. Raw, very old- typical composition. The lion's head is very successful. basement, Animals of classical antiquity 42 note, 42. Acorn-shaped sard from the British Museum 53. Four wild goats next to each other standing, three with heads raised, one eating; very lifelike. Very old. From Crete. | | Hormstein the Berlin collection 4444. Capricorn in one through three Trees, probably coniferous trees, suggestive of forests. Off Cyprus. Very old and quite raw. Chalcedony from the British Museum (Egyptian and Assyrian Department). Tamer or wild billy goat, looking around and standing up. Lifelike and finely done. Sard of the British Museum. Fallen ibex or wild goat. True to nature and finely made. Keller, Animals of Classical Antiquity 48 note 83. Weifser chalcedony from the Paris collection 1098, 2. Jumping ibex with a huge circular horn. Pretty and lifelike. Gold intaglio of the British Museum. Paseng buck with Paseng female. A true masterpiece, true to nature and artistically perfect down to the smallest detail. The ring introduced in Keller, Animals of Classical Antiquity 340 note 86. Chaleedon of the British Museum (Egyptian-Assyrian Department). Hunt one Mounted Parthian or Neo-Persian archers on one in the

38. 39. 41. 42. 45. 45. 46. AT. 49. Plate XVII. 115 Height jumping ibex. In woodcut by Keller, animals of the classics. Antiquity 47 Fig. 10; cf. Lajard, Mithra plate 53, 8. A slightly different The Berlin Agate offers a different hunt by a Persian for an ibex. onyx Tölken I 190. i Sard of the British Museum. The god Bes (with feathers on his head) returns returning from hunting with a gazelle on his back. His strong hunting dog jumps next to him. Line binding. Egyptian. Beautifully executed. Weilser chalcedony from the Paris collection 1203, 2. Resting on the ground Capricorn; next to it a very clumsily made tree(?). Parthian or New Persian. Pierced chalcedony cone from the Paris collection 1191. Resting on the ground Capricorn. There is a star (= sun) and a crescent moon. By the shape of the horns you can clearly see the actual ibex, not Paseng. 'Weifser Chalcedony from the Paris Collection 1207, 3. Standing ibex with Star and crescent as symbols. Pehlewium script. Same as that Previously made very characteristic, if barbaric. Sardonyx from the Paris collection 1258, 2. To the right and left of one There is an ibex on each palm tree(?). You can see under the symbols the crescent. The star was originally missing. A lot rawer than No. 40 and 41. Agate scaraboid from the Paris collection 1185. Capricorn lying on the ground, in front of him palm trees (?), cf. No. 42; behind him a four-pointed star; above Pehlewi inscription. Crudely barbaric. Unfortunately it was wrong when taking the photo placed the plate. Carnelian from the Berlin collection (Tölken II 84). Very nice ram head, Line binding. Once in the Stoschisches collection. Gem from the Lewis collection in Cambridge. Ram head something different "Type as No. 44. The ram's head had prophylactic significance. Chalcedony from the Lewis collection in Cambridge. Standing or slow striding ram, above a ten-pointed star. The seal denoted i.e. the constellation of Aries under which the owner was born, or it referred to the blessing of Minerva, with which the constellation of the ram was linked: Proclus to Plat. Timaeus 30 E: Anwoupyin tıc oöv ij} Beöc [Athene] kai dpavnc äuo Koi Eupavnc Ev olpavi TE Aneıv Exovca Kai TV Yevecıv karakdumouca Toic Eldecı. Kal yüp tüv Zwölwv Ö KpIöc aveitaı TM Bew Kal autoöc Ö icnuepivöc KÜKÄOcC. Paste from the Berlin Collection 3310. Ram standing, with long neck; he looks at one above his cock sitting bird back. In front of him is a wading bird, perhaps a stork. Blue opaque paste from the Berlin Collection 3300. A ram strides to the right; before him ears of grain; behind him a deciduous tree on which a Little bird, undoubtedly a songbird, sits. Well done. Sardonyx from the Vienna Collection 1056. Ram neck and head in one coming from a snail shell, cf. Plate XVII 13. 14. The work is not bad. 15*

116 50. a} 18) 53. D4. 55. 56. 57. or Rn Plate XVII. Yellow paste from the von Lannaschen collection in Prague. A ram stands there, his head turned towards the viewer; two smaller ones sit next to him Dogs that are therefore considered to be sheepdogs. From the former Bartholdy collection in Rome. Carnelian from the Berlin collection (Tölken III 505). Cupid on a strong Ram riding. Pretty rough work. The idea itself is on quite rare. Stephani C. R. 1869 p. 90 knows of our example just another relief: annal. dell’ inst. arch. XIX tav. d’ agg. E So more famous are Aries relationships to Aphrodite, see Gerhard, Aphrodite as a ram deity, archaeol. Time. 1862 8. 304 ff. Sard of the British Museum 672. Minerva rides on a ram, in the On the right an owl, on the left a staff (spear? Scepter after Munro) holding. Later, not particularly successful work. Once in the collection Townley. This idea is also rare. Stephani 0. R. 1869 8. 123 In addition to our stones, we only know three safe gems with the same one Scene The woolly animal belongs to Minerva as patron of the industry. Sard of the British Museum. Odysseus, sitting on a piece of rock, touching the ram on the head. Border with small lines. Classically beautiful work. A counterpart to this can be found on a Roman gem from Berlin Style, where the blinded Polyphemus touches the ram under which Odysseus clings. In woodcut by Munro, Horace p. 293. Stephani seems to doubt the authenticity of this latter gem, C. R. 1869 8. 38, but lists all sorts of vase pictures, reliefs, etc., where this group is represented. is provided. Chalcedony of the British Museum 100. Bull, turning his head backwards, ancient. Agate cones the Paris collection 1200. Young cow, above which a Crescent. The feet are more reminiscent of a baboon than a hoofed animal. There is a plant in front of the animal that it appears to be eating. The Ancients fabled about horses with a kind of human foot: Julius Caesar Suetonius Iul is said to have had one. 61. Jasper from the Archaeological Society of Athens. collapsed cattle, who has an arrow or javelin stuck in the middle of his brain. Old and good. Sard of the Berlin Collection 4614. Wiesent, pushed to the ground, with the Knee of one forefoot touching the earth. Excellently executed and certainly also composed. Unfortunately the stone is badly damaged. Very old, decorated with a wreath of small squares. From Tanagra. From the domestic writing that may have identified the artist are only the three final letters AOZ received. This gem and the coin on plate III 27 offer a very welcome addition to the extremely rare otherwise knew ancient illustrations of the aurochs, see cellar, animals of the class. Antiquity 61. Carnelian signet ring from the Paris collection 1205. Zebu resting on the ground. Rough execution, but characteristic. Parthian or New Persian.

59. 60. 61. 10. Plate XIX. 117 Carnelian signet ring from the Paris collection 1244. A huge lion with abundant mane jumped on a humpback ox from the front; the latter sank forward to the ground. characteristic, but barbarically raw executed. The style is like the previous number. basement, Animals of classical antiquity 66 note 11. Chalecedony owned by Imhoofs. Standing zebu with Pehlewi inscription and star and crescent, see No. 40, 41, 42. Far better, more natural ge- records as No. 59. Agate signet ring from the Paris collection 1202. The same but with longer inscription and without moon and star; the animal's hump is also here much larger than on the previous gem. Plate XIX. Chaleedon of the British Museum. Three bull heads and six bull forefeet (three bull protomes) are arranged in a circle to form a figure. Also a crescent moon. The style is stiff and angular. The stone served without Doubts for superstitious use. Agate from the British Museum 68. Two gazelles rising from the ground, between them below an unclear small animal, perhaps a dog (or a vervet monkey, after E. von Martens), above between them the head of one beef from the special Longhorn breed common in Egypt. Not bad, old. Steatite from the British Museum 65. Cow's head with hanging long horns. 'Carnelian from the Berlin Collection 4616. Walking bull. Straight, not especially long horn (in the original where in the phototype of the Starting from the forehead, a lighter spot can be clearly seen; in The phototype is unfortunately unclear, but otherwise the phototype is complete true to form), slim build, not thick head. Very old and beautiful. Maybe from Athens. Paste from the Berlin Collection (Tölken VIII 103). Walking cow, heavier Hit with not long lyre-shaped horns and a fairly thick head. From the former Stosch collection. Bandachat or Sard from the British Museum. Forward slowly striding calf. Excellent, from the best of times. Carnelian from the Paris collection 1959, 2. A strong short-horned bull Physique and very well nourished walks towards an altar on which a fire is burning: apparently a sacrificial bull. Pretty well done. Chalcedony according to Lippert's Dactyliothek II 1030. Also a sacrificial bull; At the bottom on the ground there is a sacrificial jug and a sacrificial bowl. Rock crystal scaraboid from the British Museum 122. Walking bull with something bowed head. Very good. Old. Sard of the British Museum. Proudly striding Baechian bull with a Thyrsus. Beautifully done; The one around the back is strangely pretty

118 1% 12. 16. IH: 18. 20. 21. 22, 23. Plate XIX. for the winding tail. From the famous, magnificent Bacchic Bull of the Paris Collection No. 1637 with the interpolated caption YAAOY, unfortunately we didn't receive a cast. In woodcut represent- It can be found in Munro, Horace p. 70. Among those shown here He gems the most with numbers 12 and 11. Sard of the British Museum. Shocking bull, with a human mask on the side of the neck and a crescent in the middle of the body on the ribs. Chaleedon with embedded yellow jasper from the Berlin collection 4636. Short-horned bull with a very strong build and a broad, powerful forehead prepares for the attack. Very old and beautifully natural, with excellent shaped muscles. From Greece. Agate from the British Museum. Bull prepared for defense. Excellent. Sard of the British Museum. Shocking bull. Carnelian from the Thorwaldsen Museum in Copenhagen 1372. Two cattle next to each other, so that one is almost obscured is. The front one eats grass. Good job. | Sard of the British Museum. Two cows running side by side, so that one is almost hidden. Good job. Paste from the Berlin Collection 3259. Two cattle one after the other. This the front is lying, the back is standing. Natural composition. Similar on that Berlin carnelian Tölken VIII 92 and the paste VIII 93; moreover a tree on the Berlin Chalcedony Tölken VII 97. Yellow jasper from the Berlin collection (Tölken III 243). Triptolemos with two cattle plowing; beneath him a very unrecognizable snake. Not well executed. From the former Stosch collection. A farmer with two cattle plowing: Berliner Paste Tölken III 246; with four cattle plowing: Serpentineylinder in Paris No. 931. . Carnelian from the Evans Collection in Oxford. A man with a cattle a farmer's cart with a large hose on it. The cattle lie resting in front of the wagon, the drawbar is raised up, there is a barking dog on the hose, the man is lying behind the liquid, presumably wine, running from the hose into a jug; From the left, a tree spreads its canopy over the rural scene. Cute composition. From Taranto. Carnelian from the Thorwaldsen Museum in Copenhagen 1504. Slowly walking Cow eating on a branch with grapes. Behind it is a deciduous tree two songbirds on it. Good job. Light amethyst-colored paste from the von Lannaschen collection in Prague. Two- wheeled cart with a tube pulled by two running cattle; in the background a deciduous tree. Once owned by Bartholdy in Rome. Onyx from the Vienna Collection 930. Cow walking in the pasture; from the left a tree with leafy branches. Carnelian from the Kassel Collection II 9. A walking bull with all sorts of things symbols; in front of him two ears of grain, above his head a head with rays

24. 25. 26. 27. 28. 29. 30. 34, 32. 39. Plate XIX, 119 wreath, over his back a crescent surrounded by seven stars. Gmostic-astrological gem from the former Capello collection; therefore also shown in the Prodromus iconicus sculptilium gemmarum etc. de museo Antonii Capello, Venet. 1702 No. 188. When the head is illuminated, one has to think of Helios, the seven stars of the Pleiades, which announced both the time of sowing and the summer, see Friedrich, the world bodies 137. Seven stars above a bull interpreted as the Pleiades see Köhler, small treatises on gemology, part II, p. 89. Plate 7 (IIT). Ears of corn and cattle are often combined, e.g. B. Paris Carnelian 1968. Berliner Carnelian Tölken VIII 94 u.s. £. Chaleedon the Berlin collection 4664. Walking cow, well fed, but not excessively fat, with fairly short, lyre-shaped horns. The head ends in a fairly narrow snout. Composition and Execution excellent. Old. From Constantinople. Sard of the British Museum. Running cow, slightly slimmer than No. 24; same" if excellent, from the best classical period. Black jasper from the Berlin collection 4613. Cow of peculiar breed looking backwards and licking the suckling calf. Natural scene, archaic design, line border. Rock crystal scarab in Imhoof's possession. Standing cow with sucking calf. Archaic, dash border. From Arcadia. Onyx of the Royal Museum in Copenhagen. Cow with lyre-shaped horns, standing and suckling her calf. “M” above.” Roman work. Paste from the Berlin Collection 3252. A cow rests under a fruit tree her calf drink and itself drink from a bucket. Pretty composition. Carnelian from the Paris collection 1969. Cow with lyre-shaped horns, you Allowing calf to suckle. The cow with the suckling calf is a very popular one Motif of the gem cutters, cf. the Achatonyx Moszynski at Lippert, Dactyliothek II 1035; the carnelian ibid Il 1036; the Sardonyx there I 1034; the Berlin gems Tölken VIII 98-101; the Parisian gems 1968. 1969. 1970; the Paris gold ring 2627; Vienna carnelian 936 and 940; blue paste from Lannas 214. It's not uncommon to see number 29 like this tree included; also a shepherd: Viennese carnelian 867. Cellar, animals of the class. Antiquity 66. Sard of the British Museum. There are two standing in a rocky and wooded area Cattle. The entrance to the shepherd's dwelling appears to be in the rock to located; or is it supposed to indicate a pans grotto or something similar? Sard of the British Museum. Heracles, with flapping lion skin, the Cretan Taming bull. Classically beautiful group. Some of them are very different Situation shows Heracles with the bull and the gems at Lippert, Dacty- liothek I 576 (cameol), at Tölken IV 77. 78 (paste and sardonyx), at Chabouillet 878 (hematite). Chalcedony cones from the Paris collection 1042. Lion, from the front a bull, probably wild bull, attacking. Barbarically crude execution.

120 34. 35. 38. 39. 40. 41. Plate XIX. Sard of the British Museum. The usual group of the lion, the bull ambushed from behind and torn apart. Here the lion stands on a rock, from which So he was probably lying in wait for his prey. Execution good. Line binding. Sard of the British Museum. Bull sacrifice in front of Jupiter's statue. The Priest servant brings the animal; a priest walks behind, on the left holding the drinking bowl. Classically beautiful. Sard of the British Museum. Two Roman warriors bring a cow to Mars to sacrifice, no doubt as a result of a victory. Burns on the altar the fire, behind it is a statue of Mars. King, to Munro's Horace P. 408 assumes that the warrior in front is because of the symbols on his shield. brought Venus to Aeneas. Beautifully executed. Maybe (according to King) Copy of an antique original by a modern master hand. From the collection lung Blacas.. The Berlin collection also has various pastes and Gems with bull sacrifices: Tölken III 1459, 1460, 1464 - 1467. Is common Victoria the sacrificial, e.g. B. Lippert's Dactyliothek I 695. 696. 698. Tölken III 1249-1253. Heliotrope the Berlin collection (Tölken I 195). Unformal elephant with the sun sign above him. Parthian or New Persian. Carnelian from the Berlin Collection 3085. Elephant running, in front of him a small one unclear mammal. Burnt sard from the British Museum (identical scene on the purple antique, once Stoschischen, now Berliner Paste Tölken III 230). Two African ones Elephants (the front one clearly female) with their Kornaks pull the cart, the so-called tensa, the Ceres at the harvest festival, or wise the older Faustina, depicted in the costume of an Öeres. The Grölsen Conditions are less correct than in No. 43. Once in the Praun Collection. The same scene can be found on Faustina's consecration medals. Ours The gem is reproduced somewhat enlarged in a woodcut in Horace von Munro p. 173, not without several inaccuracies, as can be seen our authentic phototype will convince, 'In reality the Gemme is decidedly prettier than Munro's woodcut copy. True- Apparently in numbers 39, 41 and 43 all two elephants are to be considered female. take. They symbolize eternity. Sard of the British Museum. A piglet falls off an elephant, whose structure is reminiscent of a pig, pulling in a cart. : Antique paste from the Berlin collection (Tölken VIII 27). Two African ones Elephants (the front one is clearly female) with towers, the middle strong straps are attached, pulling a chariot on which Mars stands with a burning torch. Below in section C. F. From the former Stoschian collection. Undoubtedly by the same artist those in King, handbook of engraved gems at $. 81 pictured cameos, which is mentioned in No. 45. A war elephant fighting an enemy packs, on the Paris Sardonyx in 1911.

42. 43. 44. 45. 46. AT. 48. 49. 50. 51. Plate XIX. 121 Antique paste from the Berlin collection (Tölken VIII 26). An elephant with High saddle, in front of it the Kornak with his staff. The elephant is by the neck a bell and hugged a tree standing in front of him with his trunk, to mature him. Interesting composition. From the former Stoschische Collection. Achatonyx from the Berlin collection (Tölken III 231). Two African ele- fanten (the front one clearly female) pull the Ceres statue, or the older Faustina. The guide has the clear elephant sting. The car of the idolized Julia Augusta was also used by the Cireus games drawn by elephants: Suetonius. Claud. 11. Black jasper from the Paris collection 1912. Beautifully executed head of an African elephant. Inscription AVRE, perhaps = Aurelianus, referring to the name of the seal owner. Sard of the British Museum. African elephant (front part) with raised Proboscis crawling out of a snail or nautilus. The same . on a Viennese jasper 1058; on a Berlin Achatonyx Tölken VIII 305; on a Berlin red jasper Tölken VIII 306; on a Parisian Jasper 2146; on which King, handbook of engraved gems on p. 81 formed gem, where strangely enough the same artist as on our number 41 is labeled C F. Another variant is in that of Lannaschen collection: a paste on which the crawling out Elephant holding a branch in its trunk. He holds an ear of grain in his trunk Berlin Achatonyx Tölken VIII 308 and on the local red jasper Tölken VIII 307; The elephant crawling out holds a torch in its trunk on the Berlin Achatonyx Tölken VIII 309. A star is also added on the piece mentioned Tölken VIII 307. Jasper from the Berlin collection (Tölken VIII 34). A rhinoceros is by driven to a man with a whip. It turns its horn against you small dog. What above of the dog was represented is corrupt; perhaps it was a second dog thrown into the air. The rhinoceros is not bad, but noticeably small compared to the driver. Once owned by Baron Stosch. Sard of the British Museum. Jumping boar, extremely lively and very beautiful. Unfortunately the stone is somewhat spoiled. Chalcedony from the Berlin Collection 4506. Boar standing and head to the side Earth tilting. Archaic and very old. Onyx from the Lewis collection in Cambridge. Running boar with the Inscription Certus, which was probably the owner's name. Well done. Paste from the Berlin Collection 3096a. A boar crouches in a thicket on the hind feet. Good and natural. There is a very beautiful one in Florence Crouching boar and a copy of it in the South Kensington Museum. Terracotta from the British Museum. Boar jumping with Phoenician inscription. Among the Assyrian and Egyptian antiquities of the British Museum. Imhoof and Keller, animal and plant pictures. 16

122 D2. fox Qi 56. 60. 61. Plate XIX. Brownish agate of the king. Museum in Copenhagen. Boar (probably Domestic pig) standing, facing him is a rooster; five small ones between the two round bodies, perhaps lining; to the left of the pig a cornucopia, above him a club, to the right of the rooster a caduceus. Compare the Berlin carnelian Tölken VIII 119: Rooster with an ear of grain in its beak, with a pig. Sard of the British Museum. Boar with taut feet for defense prepared. A dog jumps from behind and grabs him by the front. fill. Dark yellow paste from the von Lannaschen collection in Prague. Same scene like No. 53; but the representation of the boar and the dog appears here succeeded a little better. From Bartholdy's possession in Rome. Parallel Depiction on a sardonyx from the Berlin Tölken Collection VIII 129. Carnelian from the Vienna Collection 983. A boar armed for defense becomes bitten from behind in the right hindquarters by a dog. Unfine executed. Green paste owned by Imhoofs. A boar penetrated by several javelins drilled and attacked by two dogs, one of which hit him from behind Back cracked. A boar hunt where two dogs chase the game Backs cracked is on the Munich vase 647. A dog up the boar's back: Munich vase 353. Two dogs are chasing one Boar: Berlin carnelian Tölken VIII 130. . Weifs Onyx from the Munich Collection 438. Boar standing against one dog attacking him, in the background a deciduous tree to suggest forest. Pretty rough execution. Once in the Steiglehner collection. Carnelian from the Vienna Collection 245. A boar that has just jumped up positions himself as if for battle. Line binding. . Carnelian from the Vienna Collection 880. In one through a deciduous tree In the forest, a hunter on foot catches one with a spear held in front of him huge boar. His dog jumps at the boar, which is angry Bristles bristles: hirtis saetis denuntiat iram (Halieut. 60). The composition is well conceived but clumsily executed. Boar hunting with the Stols lance is often found on gems of the oldest date (pelo- ponnes), Milchhöfer, beginnings of art 92. Sapphirine-chalcedony scaraboid from the Paris collection 1095. Parthians on foot in the warlike tiara, supported by his dogs, catches a boar with the spear. According to Chabouillet, the gem falls approximately into that period between 222 BC and 222 AD. Chalcedony seal from the Berlin collection (Tölken I 192). Parthian rider stabs a boar that jumps at him with his lance. Also jumps his dog, a strong, smooth-haired, not very large animal with forward movement pointed ears towards the boar. From the former Stoschische Collection. The Persian king on the boar hunt: Naples vase, ann. dell’ institute. arch. t. XV p. 102.

EN, 62. 63. 64. 65. 66. 67. Plate XIX. 123 Chalcedony from the British Museum (among the Egyptian and Assyrian ancient ture). On the other side the same scene as No. 61, but without a dog. Both pieces, No. 62 and No. 61, are finely crafted in their own way. guided and form parallels to the ibex hunt Plate XVII 37. The horses are harnessed and bridled in the same and peculiar way; her plump Head formation and the strange knotting of the tail with fringes ornate Saddles, the riders' peculiar hoods and trousers are noteworthy. A Parthian boar hunt, very similar in style, led by two dogs without a hunter, we see on a chalcedony Scaraboid from the former Blaca collection. depicted in woodcut in Horace by Munro p. 199: the boar and the dogs are made exactly the same like on our pieces. Banded agate from the British Museum. Younger naked, only on the back of the Chlamys-covered hunter at Fuls, probably as well as No. 59 Meleager, catches a boar with a spear in the swampy thicket. The Hunters and the head-high reeds, apparently Arundo donax L., are excellent made, the boar is very disfigured by a crack in the stone, it seems but it also appears that the conception was not successful. Overall however, it is a fine Roman work. Once in the Blacas collection. Illustrated in woodcut in Munro, Horace p. 125. called reeds also the terrain of a boar hunt (Stosch paste from the Berlin collection) lung near Tölken IV 164. Helbis, Pompeii. Wall picture catalog 1585. Dütschke, antique pictures in Northern Italy I p. 44 £.). Sardonyx from the Berlin collection (Tölken VI 26). A naked rider on holding a galloping horse in his right hand a spear; right a boar he wants to attack; behind it to suggest the forest a tree. Inscription LVPVS: Name of the person ordering the seal. Roman style. A South Russian carnelian in the Hermitage shows a whole. similar Scene: Stephani C. R. 1870 8. 227, plate 6, 33. Also vases (Berlin) and Reliefs (xanthos) depict boar hunting on horseback. Sard of the British Museum. Heracles, swinging his club in his right hand, in his left hand he holds a sword that is in its scabbard; next to him the Erymanthian boar. Magnificent archaic figures in the noblest age common style. Line binding. Also on the Munich vase 394 (ery- Manthian boar) Heracles has a sword at his side; see the club we also use images of the Calydonian hunt, Gerhard, exquisite vases. Plate 327; other images That's what Stephani counts for C.R. 1867 8. 68 on. Sard of the British Museum. Bache, well done. Crystal stable of the Hermitage in St. Petersburg. Bache, not bad. From the Kuban area, from the sixth tumulus of the 'seven brothers'. Stephani C.R. 1876 plate 3, 33. Similar, but running to the left is a sard scarab of the Dr. Nott, Impr. Gemm. I 52. Maybe the inventor of the drawing meant the streams of Krommyon, which Theseus killed. 16*

124 ee 10. 11. 13. Plate XX. Plate XX. Carnelian the Paris collection 1944. fattening pig r. standing, good and of course. His race differs, among other things: thereby from the otherwise shown on this panel, it appears to be covered with thick hair. The Romans actually distinguished two races: Sues densae and Sues glabrae. Sard scarab from the British Museum. Female pig walking to the left. Finely done. Line binding. Caption MACK. Off the former Townley Collection. Sard of the British Museum. Female pig striding, with strong embossed teats. From the former Blacas collection. Maybe symbol the evroria, about which advantage dogs and pigs argue about Aesopian fable 409H. Brown sard(?) from the British Museum. Female pig, on hindquarters Crouching to the right, under a deciduous tree. Not bad. From the one Stigen Collection Oracherode. Yellow paste from the von Lannaschen collection in Prague. Female pig crouching on its hind feet. True to nature. Once owned by Bartholdy in Rome. Onyx from the Vienna Collection 1081. Seated female pig, under a deciduous trees. Paste from the Berlin Collection 3280. Standing Female Pig; in front of him a small object which seems to eat it. Good, but through a strip disfigured. ' Jasper from the British Museum. Two pigs on top of each other; the one in front female. Good and natural. Sard of the British Museum. Two pigs standing next to each other; the front one female, the rear not visible enough. With peculiar, almost beaked tapered trunks. Sard of the British Museum. Three pigs next to each other. The middle one is pushing standing on its hind feet, between the other two. This The one in front is clearly female. Made very lifelike. Black paste from the Berlin Collection 3281. Female pig standing; on his back two small birds, perhaps starlings, facing each other. Carnelian from the Berlin collection. Female pig with piglets, their one is consumed by a wolf. To describe the landscape Deciduous tree. Below in the Gelo section. Roman work. The wolf is more hinted, as executed. The gem provides a supplement to Keller, Animals of Classical Antiquity 160 Notes 27-31. Carnelian from the Paris collection 1951. Female pig, goat behind her, Billy goat and cow, also a tree with leaves and small fruits. This Pig is of the same narrow-snouted breed as No. 9. The three animal

14. 16. 11. 18. 19. 20. 21. 22. 23. 24. Plate XX. 125 species are otherwise combined for the purpose of sacrifice; about the tpırrVa The bull, the goat and the male pig are vigilant, bright. Antiquity II 553. Carnelian from the Vienna Collection 506. Cupid sits on a tame pig, which he controls with reins and whip. Not bad. In the British Museum is among the Great Greek terracottas cas. 59 a rattle in Shape of Cupid on the pig. A carnelian from the Stoschian collection lung (Winckelmann 418) shows Cupid with a whip on a wild boar Opposite him is another Cupid who stimulates the animal. ? Beryl from the British Museum. Dolphin, exquisitely made true to life. Rock crystal the Berlin collection 3704a. Dolphin over sea waves. The head formation is unnatural. The belief in this round front However, the thrown head of the dolphin seems to have been very common in ancient times. to be beings. Great artists seem to follow the dolphin in this direction to have been ‘stylized’. See Keller, Animals of Classical Antiquity 233. Topaz from the Berlin collection (Tölken VIII 278). Dolphin on sea waves. Also not very natural, but definitely better than No. 16. once owned by Baron Stosch. Red Jasper from the Lewis Collection in Cambridge. Dog and dolphin hostile to each other. About that Aw. See plate 144. Anyway serving as an amulet, which is evidenced by the color of the stone and the inscription. Black Jasper from the British Museum. On the left a dolphin standing downwards, on the right a proudly erect eagle, in the middle a pillar The presentation 'position refers to the races, see cellar, animals of the classic age tums 233 note 260. The gem mentioned there is on our board. The dolphin is well done here, as is the eagle. pearl or dot edging. Achatonyx from the Berlin collection (Tölken III 207). A dolphin winds is about a trident: two attributes and symbols of Poseidon. Green jasper from the Berlin collection (Tölken III 557). Cupid stands hunched over in front of a dolphin and the three-pronged harpoon. To Tölkens perhaps Correct guess is that he wants to kill the dolphin, next to which is the trident Neptune is erect. Once owned of Baron Stosch. Similar Scene on the Berliner Paste Tölken 11I 558. Sapphirine chaleedon the Lewis collection in Cambridge. Cupid with Whip riding a dolphin. Made afloat, but something seems to Cupid to sit unnaturally low. Keller, Animals of Classical Antiquity 223 note 187. Jasper from the Berlin collection (Tölken III 539). Same item, but nicely varied. Once owned by Baron Stosch. A third variation offers the carnelian from the Vienna Collection 511. Carnelian from the Berlin collection (Tölken III 542). Cupid with the trident on a very stubborn dolphin. The shape of the dolphin head er- reminiscent of an ancient Greek helmet. Cellar, animals of class, antiquity

126 25. 27. 29. 30. 31. 32. Plate XX. 223 note 188. All sorts of other Berlin examples of Cupid as a dolphin rider at Tölken $. 148 and 149 (= III 539ff.). Carnelian from the Munich Collection 91. Cupid riding the dolphin and poking with the fish fork. Once owned by Steiglehner. Yellow paste from the von Lannaschen collection in Prague. Cupid rides one Dolphin over sea waves, holding a whip in his right hand. About The dolphin's forehead runs a kind of crest in a very unnatural way. once owned by Bartholdy. Jasper from the Vienna Collection 512. Cupid rides across the water on one Dolphin, from whose mouth an object appears stretched out, like one often sees it erected on the prows of ships, no doubt to catch the breeze in it. Its upper end holds a symbol floating above Cupid. bender little winged genius. Cupid himself plays the Phrygian flute. Fast work. See Keller, Animals of Classical Age. 223 note 194. Stephani, C.R. 1864, 228. Inaccurately reproduced in woodcut and certainly un- correctly explained (the erected object is said to be the tail of a fish be) in King, natural history of gems pp. 81 and 367. oO) Carnelian from the Vienna Collection 515. A ship on which two winged Genies are being pulled by two dolphins, which are one of the Genies ruled with a rope and whip. Keller, animals of classical antiquity 233 Notes 193 and 134. Carnelian from the Berlin collection (Tölken III 555). Cupid on one of two Driving a dolphin-drawn chariot. The car has a peculiar, egg-round shape. Water is not indicated. From the former Stoschische Collection. Other examples of the same scene: Berlin Tölken HI collection 556. 568. Keller, Animals of Classical Antiquity 223 note 192. Amethyst from the Berlin collection (Tölken II 91). Poseidon, in a long time Clothes, with a hat and a pointed beard, steers bent over with a long whip two dolphins pulling his chariot. Archaic. From the former Stoschian collection. Keller, animals of classical antiquity 223 note 185, where our gem is quoted. Paste from the Berlin Collection (Tölken II 95). Taras, the son of Poseidon, (or Phalanthos), riding on the dolphin through the waves of water, supreme Strange situation: he kneels on the rearing animal and falls over it with his arms around his neck. Above 09), supposedly after Tölken “Thers’ in Etruscan script. Pearl edging. Archaically beautiful, probably after a statuary masterpiece. Once in the Baron's collection Stosh. See Keller, Animals of Classical Antiquity 223 note 183. Paste from the Berlin Collection (Tölken II 161). Hero and Leander. Before Two dolphins swim in the latter, whose heads are visible. Hero holds him from Towers out towards the burning lamp. Line binding. From the former Stosch collection. Similar scene from a car neol at Lippert, Daktyliothek II 92. Cellar, animals of classical antiquity 222 note 160.

39. 34. 39. 40. 41. 42. 43. 44. Plate XX. 127 Carnelian from the Berlin collection (Tölken III 191). Galatea, from a dolphin carried, goes to Polyphemus, who is sitting on a rock playing the lute. Galatea holds the end of her veil in her left hand. From the former Stoschian collection. Illustration for Keller, Animals of Classical Antiquity 223 note 175. Antique paste from the Berlin collection (Tölken VII 103). Ship in shape of a dolphin, with a mast and retracted sail; two sailors are busy with the ropes. From the former Stosch collection lung. illustration to Keller, Animals of Classical Antiquity 425 note 194. Similar representation on the Berlin paste Tölken VII 104 and on the Carnelian Tölken VII 105. See also the Paris jasper 1696. Birds. Garnet from the Paris Collection 1974. Head of golden eagle, Aquila fulva. ‘Very natural and fine, a masterpiece. See Keller, Animals of the Class. Antiquity 275. Paste from the Berlin Collection 3545. Eagle head. Carnelian from the Paris collection 1972. Eagle head. Red Jasper from the British Museum. Beautiful, artfully made head of the Golden eagle, Aquila fulva, with a thyrsus. See Keller, Animals of the Class. Antiquity 274 note 367. Steatite from the British Museum 30. Eagle hovering over a lion, the looks around for him. The eagle seems to want to grab the lion. Very old-fashioned raw. Coins from Salamis in Austria show the same thing Motif, Brandis, Coinage in the Near East 362. Eagle and lion in one bearded god: Paris hematite cylinder 790. Jasper from Menidi in the collection of the Archaeological Society of Athens. Eagle with very wide spread wings, a wild goat, deer or something like that. Very old-fashioned, but good. Carnelian from the Paris collection 1975. Eagle with bowed head on one captured animals standing. Quite excellent. Red jasper from the Munich collection 16. Eagle on your back pulling out the intestines of lying rabbits. Lively and characteristic, although not very fine. From the Steiglehner collection. Variants of the Scenes are very common on gems (Paris, Berlin, Munich, Leipzig). Paste from the British Museum. Two eagles and a deer calf. An eagle pecks after the belly of the deer calf lying on the ground, the second eagle sits quietly next to it. Careful drawing of the hair and feathers, but the Many bubbles from the glass flow greatly disturb the enjoyment of the picture. Sard of the British Museum. Eagle with spread wings on one Killed deer calf standing, lying on its back. Nice character- realistically made, although much less lifelike than No. 43.

128 45. 46. AT. 48. 49. 50. 53. 54. Plate XX. Carnelian from the Paris collection 1977. Eagle standing, a hunted hare in its claws, a wreath in its beak. Caption NF V. Not included special. Victory symbol, see Keller, Animals of Classical Antiquity 246f. Gem from the Lewis collection in Cambridge. Eagle backwards lying hares ripening their intestines. Opaque black paste with white horizontal stripes, collection from Lanna in Prague. An eagle about to raise its wings in triumph a boar's head. Once owned by Bartholdy in Rome. Sard of the British Museum. Eagle with a snake in its claws flying. The snake opens its mouth and appears to be still wanting to defend myself. Quite nice. Similar to Berliner Paste Tölken III 145 and Carnelian III 144. Keller, Animals of Classical Antiquity 247 note 187. Eagle with a snake in its beak in a symplegma: Berlin Achatonyx Tölken VII 361. Colorless paste from the von Lannaschen collection in Prague. An eagle stands in a fierce fight against a strong snake that attacked his right wing embraced and raises her head towards his. Nice Com- position. Once owned by Bartholdy to Rome. Cellar, animals of the class. Antiquity 247 note 138. Red jasper from the Munich Collection 10. Eagle sitting on a hare, who lies backwards on an altar. A star in the field on the right. . Pras the Paris collection 1979. Eagle with a wreath in its beak and two palm leaves(?) in the claws. Eagle with a wreath in its beak and palm in the claws: Parisian carnelian 2129. Eagle with laurel wreath and palm branch also on the Berlin gems Tölken III 137--141. 146-153 and on the carnelian in Lippert, Daktyliothek II 1057 and elsewhere. basement, Animals of classical antiquity 245 note 113. Gem after Lippert's Dactyliothek 143. Ganymedes sitting on the eagle or more likely apotheosis of a youth, cellar, animals of the class. antiquity 252. Pretty and strange composition, perhaps not ancient, but from the Renaissance; namely the youth's head is worrying. Steatite from the British Museum 81. Crudely archaic. Prometheus destroyed by the eagle meat: this is also how you understand Milchhöfer, Beginnings of Art p. 89; Murray wants rather think of a corpse torn apart by a vulture. The human one Figure doesn't really fit either one way or the other. (eteris Paribus, a mythological interpretation might be preferable. Eagle and pro- metheus: Berlin gems Tölken III 43-45. Lippert, Dactyliothek II 4 Cellar, animals of classical antiquity 255. Achatonyx from the Berlin collection (Tölken III 120). The eagle kidnaps the Ganymedes; a feather falls from his wings; the dog of Gany Medes tries to catch her. In the manner of Leochares. Once owned of Baron Stosch. Similar are the Berlin pastes Tölken III 121, 122 and the Sardonyx 123. Keller, Animals of Classical Antiquity 274 note 361.

5. 56. 51. 58. 59. 60. 61. 62. 63. Tate XXI 129 Paste from the Berlin Collection (Tölken III 159). Zeus as a huge eagle with asteria. Lovely composition, very successful filling of space. basement, Animals of classical antiquity 250. Tölken thinks of Hebe. Yellow paste from the von Lannaschen collection in Prague. Rape of Ganymedes in the manner of Leochares. Well done, but unfortunately the Gany's face is medes on the paste indistinct. Once owned by Bartholdy. See Parisian Gold earring 2579. Achatonyx from the Berlin collection (Tölken III 127). Ganymedes waters the eagle with nectar. Once owned by Baron Stosch. A more beautiful one Variation of the same object is found on a sardonyx of the British Mu- seums, cellars, animals of classical antiquity 275. Watering the Eagle Ganymedes: Paris Carnelian 1430. Lippert, Daktyliothek I p. 19. Hematite from the British Museum. Two Egyptian vultures stand above one Lion jumping over a killed gazelle. Above the vultures is the winged and tailed sun disk. An Egyptian amulet. The Vultures are unmistakable. Two vultures, lions, ungulates, etc. on one Parisian seal made of Weil marble 1270. Black jasper from the Munich collection 24. Sparrowhawk's wings spreading. Above him is a head of Serapis with a halo and modius. same- kind: Berlin carnelian Tölken I 60. 61. On the Berlin carnelian Tölken I 72 is also the head of Isis above the bird. Carnelian cameo, ancient Egyptian, after Lippert's Dactyliothek I 893. The saint Sparrowhawk, on his head he wears the crown of Osiris, below is the sun, On the right you can see the two wings, which are usually on the sun's disk are. Such sparrowhawks can be seen on the Berlin gems Tölken I 1. 135. 136. 139; the Paris hematite at Chabouillet 789, etc. Paste from the Berlin Collection 3548. Owl of Athena (Little Owl), the bird facing the viewer, standing on a Panathenaic oil jar. Also on an oil vessel: Berlin Jasper Tölken III 350. Carnelian from the Berlin collection (Tölken III 330). Athena is at war Indian armor on a chariot and drives two owls in front of him are excited. Once owned by Baron Stosch. Also on coins. Sard of the British Museum. Eagle owl sitting on a ball. Plate XXI. Carnelian from the Berlin collection (Tölken VIII 204). Striding Indian Parrot, particularly recognizable by the upward curved tail feathers, holds two cymbal bowls in his beak, which he plays with. From the former Stoschian collection. Likewise Berlin Carnelian VIII 205; still at it two hands placed together: Berlin Carnelian Tölken VI 77. Jasper from the Vienna Collection 1030. The same object smaller. Up The stripe around the neck is also very clear on both stones. Diefs is the one Psittacus torquatus from Central Asia. The two long curved tails “Imhoof and Keller, animal and plant pictures. 17

130 10. a 12. Plate XXI. Apuleius mentions feathers in the Florida. Ovid's elegy is well known Corinna's parrot - perhaps Julia's. From the cymbals are two nuts made on the woodcut in Munro's Horace p. 259 given Sard Kings; Chabouillet talks about eating two cherries, Paris gems 1985, 1987, 1989. Also with Chabouillet 1986 and Lippert II 1060 (regarding a sardonyx belonging to Count Vitzthum) is about eating cherries Speech. Agate from the Paris collection 1990. Parrot walking on a branch, from whose berries he wants to eat. Very fine. Here and No. 4, where a collar stripe is not visible, one can think of the Psittacus Alexandri of Ceylon think which one this feature missing. Parrot on a branch Tölken interpreted as a laurel branch: Berlin Amethyst VIII 203. Weifser Chalcedony from the Paris Collection 2137 A. Parrot a mouse whose He grabbed the tail with his mouth and pulled it up. Headline MAS. Carnelian from the Zurich collection. Raven-like bird steers with an im Beak held on the reins two parrot-like birds, which his Pull the car. From Naples. Green paste from the von Lannaschen collection. Running raven. Once in Own Bartholdy's in Rome. Sardonyx from the Paris collection 1982. Striding Raven; one in front of him plant. Onyx from the Vienna Collection 1036. Raven on a threefuls, dolphin on the left with three-pronged fork, cornucopia on the right. Status Theb. III 506 mentions it Ravens: comes obscurus tripodum. Sard of the British Museum. Raven on a quiver and bow, a scale holding in beak; Lightning bundle above. Carnelian is completely similar Lippert, Daktyliothek I 197. The scales are used as a sign of heaven and well rather on the equinox (Manilius I 267) than on justice be available. Of course, the bow and quiver go to Apollo, to whom the raven was sacred. Emerald plasma from the Berlin collection (Tölken (VIII 177). Raven on one driving a chariot drawn by two crested eagles (Spizaötus); but it is closed note that the crested eagle is a South and Central African bird. People have also thought of owls instead of crested eagles. The work is too unpunctual to claim anything certain. “Hooded Falcons,” How the birds of Tölken are named existed in classical antiquity not. From the former Stosch collection. Maybe not antique. Rock crystal from the Paris collection 1991. Two crows, quite excellent. Also “deux corbeaux” according to the catalog at the Paris Sard-Seara bäus 1992. Antique paste from the Berlin collection (Tölken III 782). Raven on one laurel branch; also on the Berlin Karneol Tölken III 790.

13. 14. 15. 16. 11. 18. 19. 20. 21. 22. Board XXL 131 Violet paste from the Berlin collection 3651. Raven, on a branch with lots of small, very round berries. 3 Gem from the Paris collection 1264, 2. Raven crouching on a zebu, which sits on the ground. Barbaric, Parthian or New Persian. Similar: Raven on an ibex (Mouflon after Chabouillet), Paris carnelian 1266. Violet antique paste from the Berlin collection (Tölken V 78). Faustulus, the She-wolf, the twins, a vine, on top of it a small bird, which is without Doubt is intended to introduce the woodpecker to the sacred legend. Inscription EVPROPVS. Once in the Stosch collection. Compare the Stoschian ancient paste at Tölken V 83: she-wolf with the twins, tree with woodpecker, around the Zodiac. The bird is even smaller and indistinct on this second paste. licher. We also find the scene on the paste Tölken.V 79. In both The latter pieces are interpreted the plant than the wild fig tree. Likewise on the Paris Chalcedony 1531. Sardonyx from the Paris collection 1984. Songbirds. To Chabouillet a sparrow. Sard of the Paris collection 1993. Weachtel(?) standing on an ear of corn. Jasper from the Archaeological Society of Athens. songbird. Carnelian the Berlin collection (Tölken III 496). Three cupids, their each holding a stick, make out with a bird flying above them to manage which two of them to touch with their sticks (glue sticks?). seem. There is a herm on the right. Tölken says they stop the bird a thread. But the drawing of our stone does not speak for this. Off the former Stosch collection. Light blue paste from the von Lannaschen collection in Prague. Swallow. once in Bartholdy's possession in Rome. Antique paste from the Berlin collection (Tölken II 139). Iason is looking for him a Colchian dragon winding itself around a pillar on which the magical bird Wryneck, Iynx, sits. Below lies the golden fleece. Line binding. Once owned by Baron Stosch. The same pretty one Scene is, only with a standing, not lying, ram a band agate from Dr. Nott, Impronte Gemmarie I 75, also in woodcut in Munro, Horace 8. 192. King p. 434 thinks of a bird Ravens, which is definitely not true with his woodcuts. Likewise Chabouillet speaks of one with a similar Paris carnelian in 1792 Ravens (next to Cadmus). Lippert Daktyliothek II 69. 70 (Stoschian Agate onyx and carnelian) talks about wagtails. On the other hand, think of the turncoat Tölken both here and in the similar Nos. IV 144-146 and III 443. Nicolo the Paris collection 2130. A pigeon stands on a cista, probably the Cista mystica, on which there is a goat on the left and one on the right Beef head are attached. The pigeons sitting on devices are with the Gem cutters popular: Berlin carnelian at Tölken VII 189. Paste at Tölken VIII 259. Parisian Sardonyx cameo at Chabouillet 38 etc. ee

132 23. vu eb) Plate XXI Carnelian from the Berlin Collection 3644. Probably a pheasant. The stone probably comes from from the Orient. Also on a Parisian orienteering Talic cone made of sunstone at Chabouillet 1230. | Chalcedony from the Paris collection 1999. Partridge with young, anxious crouching; very well done. Also among the cameos in the Paris collection is a partridge: Agate at Chabouillet 142. . Cameol signet ring from the Paris collection 1268. An eagle has risen placed a peacock and hacked it in the head. The peacock is holding a branch in the beak. Parthian or New Persian, raw, but both animals are good characterized. Sard of the British Museum. Running Peacock; a smash flies above him ling who keeps him in check. There are two unclear ones on the peacock's feet Objects, one of which he holds with his left fulse. . Rock crystal from the Berlin collection 3641. lRunning peacock, a branch holding a small fruit in its beak. . Antique gem according to Lippert's Dactyliothek I 322. Mercury has just that Argus' head cut off, he holds the harp in his right hand On the left the severed head and the serpent staff. Io jumps as cow of it; the peacock, in whose tail Juno the Argus has a hundred eyes relocated, sitting on a tree. Paste from the Berlin Collection 3564. Rooster standing, head slightly back - throwing and apparently crowing. Strong breed, thick-necked, short-tailed. A crowing rooster is also on the Berlin carnelian Tölken VIII 218. Sard rhomboid from the Paris collection 1226. Striding rooster, a ring holding three pearls in its beak; with Pehlewi inscription. Similar to that Paris Jasper 1227. . Brown paste from the Berlin collection 3563. Standing rooster, slimmer Breed as No. 29. 2. Brown white-striped paste from the von Lannaschen collection in Prague. scream- tender rooster. Once owned by Bartholdy in Rome. Carnelian from the Berlin collection (Tölken III 490). Cupid is lying next to one bearded Herm, behind which a palm branch sticks out, two roosters fight, touching one of them with his staff. Cute scene. Once in the Stosch collection. Very bad and forget the sense worthy changing variant of it based on a jasper gem of Roman work in King, handbook of engraved gems plate on p. 361 Fig. 28. Parallels at Tölken: Berlin Gemmen III 491, 492 and Paste 493. Paste from the Berlin Collection (Tölken VII 40). Two roosters fighting, excellent. . Jasper from the Vienna Collection 1008. Two roosters run against each other; between them a quietly gnawing mouse. Paste from the Berlin Collection 3632. Rooster running after a hen. . Achatonyx from the Berlin collection (Tölken VIII 242). Rooster holding a hen wants to kick.

39. 40. 41. 42, 43. 44. 45. 46. 47. 48. 49. Plate XX1. 133 Jasper from the British Museum. Rooster kicking a hen. Very strange, archaic, very nice work. Caption WETNN, what maybe back- is commonly meant. Pearl edging. Carnelian from the Charamis collection in Athens. rooster on hen; above on the right Star, crescent moon on the left. Fine work, if far less artistic as No. 38. Carnelian from the Berlin collection (Tölken VIII 245). Rooster on hen, in bushes. From the possession of Baron Stosch. Another representation of the The same scene, in excellent execution, is offered by the Carnelian of Berlin Tölken Collection VIII 243, shown in the archaeological yearbook. Institute III (1888) Plate 3, 13 with artist's writing <”YA)ou or

RU ID 53. 54. Plate XXI. Carnelian from the Berlin collection (Tölken III 482). Cupid on a rooster riding, in front of him indefinite symbol. From the former Stoschische Collection. Same subject on the Berlin paste Tölken III 483. Red jasper from the Berlin collection (Tölken VIII 255). A parrot steers a cart pulled by two roosters. Once owned by Baron Stosch. . Red jasper from the Berlin collection (Tölken VIII 251). Rooster a cart pulled by a dormouse (hazel mouse). Rough style. From the former Stosch collection. Red jasper from the Berlin collection (Tölken VIII 252). Likewise a Rooster pulling a dormouse or a mouse. Less funny, but nicer than No. 52. Also from the former Stosch collection. Carnelian of Dr. Riggauer in Munich. Two cupids with the instruction of a rooster, undoubtedly a fighting cock. Bought in Rome. See our No. 48. Board XXL. Achatonyx from the Berlin Collection 3552. Ibis chasing a mouse. A Ibis with caduceus, carrying a small figure of Harpocrates on his head, as a sacred bird of Thoth (= Hermes), on a lapis lazuli near Munro, Horace p. 330. Thoth was originally the moon god, the ibis was because of him sacred, also because of its beak, which is comparable to the crescent moon its benefits by destroying “snakes, locusts and caterpillars” (Diodor. Sie. I 87), which, according to our gem, is also where mice come from. Band agate from the Berlin collection 4526. Crane standing on one foot and stretching its beak upwards. From Athens. Very old and beautiful. Carnelian the Berlin collection (Tölken VIII 187). Stork with one Snake, probably grass snake, Tropidonotus natrix, in its beak. Off the former Stosch collection. The same on a Roman Mosaic from Aventicum from 209 AD, Haller, Helvetia the Romans II 274. They were used in Thessaly for destroying snakes for inviolable, pseudoristot. mirab. exc. 23 (22). Nicolo of the Paris Collection 1983. Stork raises its beak vertically stretching and clattering. Pretty good. Carnelian from Baron von Ludwigstorff in Deutsch-Altenburg. Storeh with me Lizard in beak. Excavated a. 1883 on the site of the old Carnuntum. Carnelian from the Berlin collection (Tölken VIII 196). Herons with spread out wings running towards a snake, that curls up in front of him. Very alive. From the former Stosch collection. Tölken called the bird is not properly called a crane. The same subject on a mosaic Hadrian's Villa, Penna, viaggio pittorico della Villa Adriana plate 130. Achatonyx from the Berlin collection (Tölken VIII 192). Stork the Lituus blowing. From the former Stosch collection. Likewise VIII 191. 193. Similar to the Berlin carnelian Tölken VIII 198, where a crane is depicted should be provided. A trumpeting stork: Berlin paste at Tölken III 354.

10. 11. 12.. Board XXL, 135 Carnelian from the Berlin collection (Tölken VIII 189). Two storks. laborious, but done quite clumsily. From the former Stosch collection lung. Two storks mean unity, cf. Iuven. 1, 116. Chalcedony scaraboid from the Hermitage in St. Petersburg. flying heron, AEZAMENVOZ EMOIE XIOz the Chier made it”. An excellent piece in the original; unfortunately The Abgufs available was mediocre. The forelock on the head of the bird e.g. B. is very clear in the original, as are both fills. A A copy of a much better cast can be found in the yearbook archaeol. Institute III (1888) plates 8, 9. The gem comes from a grave Ardea cinerea, with the maker's inscription: “Dexamenus near Kerch. Carnelian after an impression in the Postolacca collection. .Heron standing and spreading his wings. Line binding. From Macedonia. Very pretty. On the reverse of the stone is a standing Aphrodite, with her head raised Holding her robe on her right, her left leaning on a fountain basin. Agate chalcedony the Berlin collection 4624. heron, on one foot standing. Old. From the Peloponnese. Excellent. Brown sard from the Berlin collection (Tölken VIII 197). Crane with one Lizard in beak. Nice. From the former Stosch collection. Stork with lizard in its beak: Berlin Achatonyx near Tölken 188. Brown paste from the von Lannaschen collection in Prague. stork and goat; a tree in the background. Once owned by Bartholdy in Rome. Yellow-brown paste from the von Lannaschen collection in Prague. Some swamp bird, perhaps heron, eating a mussel, fusus or tritonium. Jasper from the Vienna Collection 1025. The same thing, but the bird has it here no plume, so that here one thinks of Himantopus, beach rider can. Inscription Z3TH49N = Kpfitec; probably in the sense that They plunder everything that comes to their shores. Black Jasper from the Paris Collection 1997. Rooster standing, belongs to the previous panel. The letters M, I, D. Plasma (Jasper of the Ancients) from the British Museum. Crane with a shield Pygmies harassing. Cute. See Berlin gems Tölken IV 427-429. Carnelian from the Berlin Collection 4461. Dolphin and Cormorant, Phalacro corax carbo, biting at each other. Very old. From Smyrna. Paste from the Berlin Collection 3648. Unclear bird with thick feet, Pelican (?), Goose (?) or Sandrider (?). Raw archaic work. Antique paste the Berlin collection (Tölken VIII 202). A swan (goose according to Tölken) attacks a snake with its wings spread, which lies under a bush. Quite pretty. From the former Stoschische Collection. Chalcedony from the Berlin collection (Tölken II 106). Cupid stands with whip and guide rope on a peculiar, something pulled by two swans Shell-like looking, but wheeled cart and drives

136 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. Plate XXI. over the waves of the sea. The swans don't swim, they walk on top of the water. Pearl edging. From the Stosch collection. Two swans on Cupid's chariot also on the Berlin Gemmen Tölken III 479-481. Brown paste from the Berlin collection 3647. Two floating behind each other swans. Two swans also on the Berliner Paste Tölken VIII 201. Glass paste from the Mezio collection in Syracuse. Leda with the swan on sitting on a stone. Very nice, if somewhat sophisticated, composition. Finest style. See Keller, Animals of Classical Antiquity 288. Emerald plasma from the Berlin collection (Tölken III 112). Leda on one Sitting at the altar. The Swan looks more like a goose. Once in the old Kurbrandenburg collection. Green jasper from the Munich collection 26. Leda with the swan, on. Crouching ground. He seems to be infusing her in the chest like in No. 23. The a swan's wing is recorded. From the Steiglehner collection. Sard of the British Museum. Leda with the swan, on an outdoor crouching in a beaten bed. She wraps her right arm around her neck of the swan, which caresses her with greedy eyes. On the left a tree; below the inscription: a The last letter is not clear. It should be the name of the artist. The stone is from the best period and bears witness of significant talent. Sard of the British Museum. Leda with the swan, crouching on the ground. Right pretty. Carnelian in the possession of the former Prince Heinrich von Preufsen, according to Lipperts Dactyliotheque I 33. Leda with the swan, standing. Other Leda Dar- positions: Berlin Collection Tölken III 101—111. 113. VII 201. 217. Lippert's Dactyliothek I 8. 15. 16. Greek gem in St. Petersburg with Köhler, gemology I 13. Sardonyx of the Royal Naples Museum, Naked Boy on a Swan riding. He wields a whip with a double strap in his right hand and holds the reins in the other hand. The front of this gem shows a Cupid with a double flute and an inscription. Banded agate from the British Museum. Flying goose. Wonderfully done. Violet paste from the von Lannaschen collection in Prague. Naked woman, much- easily Aphrodite, giving or flattering a goose to eat. Cute. Once owned by Bartholdy in Rome. Illustration for Keller, animals of the class. Antiquity 297 note 87. . Chalcedony from the Munich Collection 475. A naked boy holds a goose by the neck and swings a stick to hit her. Peculiar Variation of the well-known group of the boy with the goose. The exit leadership is raw. Once owned by Steiglehner. See Keller, Animals of classical antiquity 296.

Plate XXI. 137 33. Serpentine rhomboid from the Paris collection 1229. Running Straufs; around him around all kinds of symbols, including the star with apples, which is on Abraxasgemma tends to occur. Oriental, perhaps onostic. 34. Carnelian from the Berlin Collection (Tölken VIII 180). One stroke in front of one standing water vessel into which water flows from a well. The Fountain has the shape of a cannelled column with a fallen water jug above; the water runs down from the latter. Whether the bird It's not entirely clear whether it's a Straufs, but it's the bird that sees the most of this species similar and the middle part even matches it very well. A crane on the edge of a labrum on the Berlin Sardonyx after Tölken III 917. 35. Carnelian from the Berlin Collection (Tölken VI 152). Circus games, suggested through four racing cars, a ship, Straufs, wild ass, panther, hyena, bear, Wolf, lion. Unfortunately everything very small. From the former Stoschische Collection. 36. Yellow-flecked green jasper from the Munich Collection 129. Cupid drives with two ostriches. From Steiglehner's possession. Amphibians and reptiles. 37. Carnelian from the Vienna Collection 1060. Unfortunately when taking photos on the Upside down. Tortoise, Testudo graeca, surrounded by a skor- pion, an edible crab, two stars and a crescent moon. 38. Achatonyx from the Berlin Collection (Tölken III 1196). Asclepius with that from a staff entwined with a living serpent, and one for its ends Turtle: Testudo Graeca, the tortoise. From the former Stoschian collection. The ancients wrote a lot to the turtles Healing powers (Nikander, Dioskorides, Pliny, Ovid, schol. Nikand. etc.). After Tölken perhaps a hint of the island of Aegina, where Asclepius is had temple. Wieseler at Müller D. a. K. II 60, 774 thinks of the healing by virtue of music. 39. Sard of the British Museum. Naked bearded man in a sailor's hat on a Turtle, probably a tortoise, sailing through the sea. He feeds her a branch and holds a second branch in her left hand. Very finely executed and, as far as the sea waves are concerned, very peculiar. Line binding. The legend to which the picture is based is unfortunately lost; possibly it concerned a founder and progenitor who referred to this rare same species with the help of the animal sacred to Astarte (and Aphrodite Urania). should have crossed the sea, perhaps an Aeginetic hero; because Aegina had the turtle as its coat of arms. Riding a turtle occurs repeatedly: Silenus (bronze figure from the British Museum ca. 38), woman (Etruscan candelabra in Berlin), monkey-like figure (clay figure from Melos in British Museum, No. 28 T. B.). 40. Antique paste from the Berlin collection (Tölken V 25). Aeschylus sitting and bringing a bowl to his mouth with both hands. A hovers above him Eagle smashing a captured turtle on its head Imhoof u, Keller, animal and plant pictures. 18

138 41. 44, 47. 48. 49, Plate XXI. wants. 8. Cellar, Animals of Classical Antiquity 257. From the former Stoschische Collection. Sardonyx from the Postolacca Collection in Athens. Gecko, Platydactylus muralis, not very clear, with four indistinct letters. Before his mouth a slug, Limax, which he is probably stalking. A lunar It is certainly not a sickle, see No. 37 and Plate XXIV 43. Sunstone (Girasol) the Parisian Collection 2193. Nile monitor, about it ASAMAAAJ = Salamaza. Also a kind of lizard on a gno- stic stones: Parisian jasper 2245. The strange crossed out Z finds also on other Gnostic talismans e.g. B. Paris Pras 2186; it seems specifically gnostic. Nicolo of the Paris Collection 2002. Lizard. Very natural and fine. Yellow jasper from the Berlin collection (Tölken I 153). Nile Monitor; right and on the left a line of meaningless Greek letters - on the back side of the stone is a scorpion. So it's an amulet. On another Lizard gem from the Berlin collection (Achatonyx Tölken VIII 328). inscribed: Lumina restituta, so for restoration of the eye light, with reference to the regenerative power of these animals. Steatite from the British Museum. Star lizard, Stellio vulgaris. Crudely ancient. The tail should be somewhat prickly; the horizontal stripes on the back indicate transverse rows of warts. See Tournefort, Journey to the Levant I Plate 43. Violet paste from the Berlin collection 3139. Crocodile. Right and left one small bird each, probably a trochilus, Sard of the British Museum. Cupid on a Nile barge in the swamp area, which indicated by the marsh plants, a crocodile is hunting. Fine. Jasper from the British Museum. Christ or a Christian saint in long Robe holds a fish, the symbol of Christ, over his with one hand head, with the other he makes a gesture as if he were preaching. He is written on a not very clearly drawn crocodile. The Christian one Figure has apparently taken the place of Horus-Harpocrat, who appears Crocodiles were depicted standing, e.g. B. on the Egyptian serpentine to Paris 2758. Brown paste from the Berlin collection 3732. Toad, Bufo vulgaris, both Separating forewings and chasing after a fish, a sparoid, which seems to swim above her. Sard of the British Museum A toad, Bufo vulgaris, looks up from behind a turtle to rise. Exquisite, fine and true to life. dash edging. Turtle and toad or frog connected, with the inscription TPI®O on a gem at Cades, large collection of impressions 49, 31. Both Animals have prophylactic importance. Snake, turtle, frog (toad) and lizard on a bronze Dolichenus hand from S. Bernhard. Haller, Helvetia under the Romans II 517.

Plate XXIIL. 139 Plate XXIII. Weils-fired carnelian from the Berlin collection (Tölken III 1202). Hygiene, in a long chiton, you let the healing snake eat from a bowl. Once in Own of Baron Stosch. The snake feeding Hygieia is common on the gems: Lippert, Daktyliothek I 669-672 and others. Sardonyx of Count Moszynski, according to Lippert's Dactyliothek 1 957. A Naked man, probably Machaon, the son of Aesceulap, sits dreamily on a rock. The stick stuck in the ground in front of him is wriggling a snake up. A paste with Machaon in a slightly different position: Berlin Collection Tölken III 1208. Carnelian after Lippert's Dactyliothek 1960. A man in priestly costume holds with his right hand a snake over an altar fire; in the left seems he to hold a sacrificial bowl; behind him a woman in a long stole. Rö- mix work. Obsidian from the Berlin collection (Tölken III 1490). A naked bearded man kneels in front of a small altar built under a deciduous tree on which hangs a ram's head, and holds a snake with both hands over the altar fire. Behind the man stands a woman wearing a tunic and dressed in a shawl and making strange gestures with her hands: she points to her forehead with her left hand and to the snake with her right hand. In the middle of the background there is a herm of Pan. From the old Kurbrandenburg collection. Similar scene on the emerald plasma from the former old Kurbrandenburg collection: Berlin collection Tölken III 1491. A variant (abguls of unspecified origin in Owned by O. Keller) there is exactly the same scene, only that the altar is wider and is lower. Our gem is also in Lippert's Dactyliothek I 931 cast as “Agate of the King of Prussia”. Similar to a Stoschian Carnelian (Winckelmann, Stoschischesammlung 8. 473): “Äsceulapius stands as Herm on the altar, where fire burns, and an elderly man, naked and very beautifully cut, sacrifices a serpent, which he places in the fire.” The Stein is in the Tölken 1492 collection in Berlin, but Tölken only speaks of a bearded herm, not like Winckelmann of an Aesculapherm. The scenes relate According to Tölken, on the very popular in Greece customary domestic atonement sacrifices, which the superstitious are required to offer people summoned an Örpheotelest, Theophrastus. char. 16. Partial concern but Such scenes with snake burnt offerings are more likely Aeseulap or Hygieia, see e.g. B. the red jasper of Pescennius Niger Pariser Collection 2099 with the declaration of Ch. Lenormant and Chabouillet. Achatonyx in the possession of the former secret secretary Tallon, according to Lipperts Dactyliotheque I 958. A bearded, half-dressed man sits in front of you Altar, over whose fire he holds a live snake. See the one from the Berlin Tölken III carnelian from the old Kurbrandenburg collection 18%

140 10. IL. Plate XXIII. 1493: An already aging, stately woman holds one in her right hand Serpent over the flame of a low altar. | Carnelian owned by Imhoof. Aesculapius with the Aesculapian snake, Coluber flavescens, which winds up its staff. Often on gems (Berlin, Paris, Lippert's Dactyliothek, etc.). The skinning of the snake is symbolic of rejuvenation, the renewal of life. Harpocrates also leads it Serpent staff. Achatonyx the Berliner Collection (Tölken III 1496). A snake summoner, Psyller, carefully holds a writhing snake by its tail upwards. From the Brandenburg-Anspach collection. less lungs is the overall similar snake fortune teller on a sard Beverley Collection, in woodcut by Munro, Horace p. 151. Five more Analogous representations on the Berlin carnelian Tölken III 1494 and on the local Sardonyx Tölken III 1496, as well as on the Paris carnelians 1690-1692. Carnelian from the Munich Collection 385. Minerva, whose face is completely different Visor helmet covered, sitting on a chair and holding in his right hand a lance with a snake coiled around it. Next to her abundance her Sign that appears to be leaning against the wall. From the former riser chen collection. The one next to Athena of Phidias straightening up Snake is well known: she represented the guardian spirit of the Athenian castle represents. It appears on a Berlin jasper Tölken III 304 and others. Chalcedony Onyx the Berlin collection (Tölken III 1213). On one round altar or a basket covered by a deciduous tree, There is a snake about to eat an egg. Off the former Stosch collection. Two snakes and in between an egg: carnelian and paste from the Berlin collection Tölken HI 1210. 1211.- The snakes of Aesculapius also tended in baskets, similar to a Cista mystica, to be kept, cf. Wieseler to Müller D. a. K. II 61, 792b. Dafs The ancients knew that snakes like to eat eggs (Aristot. h.a. VIII 6); her is also depicted with an egg in its mouth (Winckelmann, Stosch. Collection 474). Carnelian from the Berlin collection (Tölken I 134). An ichneumon is in Concept, an Aspis standing up with a swollen neck, Naja Haje, African shield viper, attacking; both are surrounded by aquatic plants give. Beautiful piece from the former Stosch collection. parallel representations plates XVI 6 and XV 48. In Egypt at Herakleopolis was According to Älian, the Ichneumon was consecrated to Leto and Eileithyia. Fish. Jasper from the Berlin collection (Tölken III 546). Cupid rides on a horse bridled fish, apparently from the Sparoid family, which he drives with the whip. He seems to be in a hurry. You can with that Fish especially the gilthead bream, Chrysophrys aurata, or a sargus think. Once in the Stosch collection.

13. 14. 16. ri. 18. HE 20. 21. 23. Plate XXII. 141 Achatonyx from the Berlin collection (Tölken VIII 289). A carp; yes the upper fins have been incorrectly omitted. From the Brandenburg Anspachian collection. Paste from the Berlin Collection (Tölken III 577). Cupid fishing on one Triton holding an oar and a trumpet shell. Below eel, sepia, two dolphins. There seems to be a crab hanging on the fishing rod. From the one Stigen Stosch collection. Cupid as a fisherman appears often Gems before, e.g. B. Lippert, Daktyliothek I 808 (Chalcedony). 809 (Carneo)). Hematite from the British Museum 80 (among the oldest Greek gems). A man wearing trousers pulls a large fish, which he takes with him who caught the fishing rod, up into the air. Crude, barbaric work. Obsidian from the British Museum (Tölken VI 52). A fisherman catches a fish from releases the fishing rod and puts it in its vessel. Cutely done. Off the former Stosch collection. insects and scorpions. Sublimely cut beryl scarab owned by Imhoof. Ateuchus sacer, the dung beetle, sacred in Egypt: the beetle was considered a symbol of the creator of the world, there from the ball which he forms (from the dung) and into which he puts his eggs lays, living beings emerge. Sard of the British Museum. A bee steers one pulled by two beetles Päug. Lapis lazuli from the Berlin collection (Tölken I 157). Ateuchus sacer with Transcript: apZladeovaxov. Without a doubt an amulet. The drawing of the Beetle leaves a lot to be desired. From the former Stosch collection. Garnet from the Berlin collection (Tölken III 723). Day butterfly (= psyche) sitting over a rose. Very pretty. The same scene, but much less good, can be found on the Berlin gem 3696 a, from Athens. Garnet from the Berlin collection (Tölken III 728). Day butterfly on one Devices (psyche on a lamp?) sitting. It seems the one in Greece and Asia Minor common citron butterflies. Carnelian from the Berlin collection (Tölken VIII 348). A butterfly with "extremely long bird wings, to the right of which a strangely made filler horn (?). Inscription: L. CRVS. Very unnatural. Off the former Stoschian collection. Carnelian from the Vienna Collection 747. Orpheus sits there and sings to the lute. At his feet lies a deer on the left, a billy goat and a goat on the right Raven, that's where a butterfly flies towards him. Very fine. Paste from the Berlin Collection (Tölken V 51). A man, philosopher, reads, sitting in an armchair; in front of him a butterfly on a skull. So he reads about the immortality of the soul. Compare the Parisian carnelian 1719: Butterfly over a skull with a laurel wreath on top

142 24. 25. 26. 27. 28. 29. 0. 31. Plate XXI. a lyre. From the former Stosch collection. A similar one Scene on a sard in King's collection, but where the philosopher is reading has a bust of Socrates in front of him, depicted in Horace by Munro 8. 321. Another philosopher, perhaps Pythagoras, studies in front of a sundial: Sard from the Vidoni collection depicted in Munro, Horace 215. See also the cast of a Stoschian carnelian at Lippert, Daktyliothek II 359: Plato's herm with butterfly wings on the neck. Chalcedony from the Vienna Collection 516. Cupid kneels on a basket-like one car and drives two harnessed butterflies with the whip. Carnelian the Berlin collection (Tölken III 722). Cupid on the of Driving in a butterfly-drawn chariot you will find something at your destination is indicated by the meta of a circus in front of the car. From the one Stigen Stosch collection. Whether you mean one or two butterflies are is not clear. Distilled carnelian the Berlin collection (Tölken III 720). Two Butterflies attract Cupid sitting on a chariot. On the ground an ear of corn. From the former Stosch collection. The same motif on a vase of Roman work made of Indian sardonyx by Köhler, to Gemology I p. 82 plate 2. At the bottom there is a flower instead of the ear of wheat. Carnelian the Berlin collection (Tölken III 719). Two butterflies pull Cupid's chariot. From the possession of Baron Stosch. Similar to that Paste from the Berlin collection Tölken III 721. Black jasper after Lippert's Dactyliothek 1 783. Eros and Anteros reilsen about Psyche as a butterfly; maybe they'll pull out her wings. On the left, a naked boy rides away across the water on a dolphin. Pretty composition. Royal Onyx Museum in Copenhagen. To a running snail, Helix aspersa, a mosquito flies towards you. Carnelian from the Berlin collection (Tölken VIII 356). A mosquito flies in a flame rising from an urn. On the right is a palm branch, on the left an olive or laurel branch, vertically above the flame six-pointed star to indicate the night. Sard of the British Museum. Around a ring (wedding ring) in which a hare, symbol of love, sits, a four-horse team with a charioteer, a bowl or grain mal (?), an ear of grain, a grasshopper, the sign ©, a mine nerve head; Caption \ M CI. The grasshopper is a familiar one Apotropaion, it should also have certain medicinal powers: Locustarum suffitu stranguriae levantur (Plin.). King emerges from Caylus ree. d'antique. VI Plate 41 the agate figure of a grasshopper, at the base of which the words engraved are: üxpic, Exe moip Tıcıxpätouc (= serya inguen Tisicratis). King on Munro's Horace p. 436. A hare in a wedding ring: Tölken VII 148. 149. 151. 154. Lippert Dactyliothek II 939. 940. Grasshopper (after Tölken Cikade) on an ear of corn near a ring: Berlin carnelian Tölken VII 153. Grain mafs at a ring: Berliner Karneol Tölken VII.152.

32. 33. 34. 36. a7, 43. 44. Plate XXI. 143 Sard of the British Museum. Snoring grasshopper, from the genus Acridium, perhaps migratory locust, walking on an ear of wheat and its stalk, A small butterfly flies above her. The grasshopper is very natural made. A banded agate the Maskelyne Collection, in woodcut at Munro, Horace $. 254 shows a grasshopper over three ears of corn. Our presentation But the position is much more successful. Burnt sard from the British Museum. Skeleton of an old man with a traveling hat, leaning on a stick, carries a relatively heavy load huge grasshopper on its back. Pretty. Paste from the Berlin Collection 3686. Wandering hay creek with short tactile horns, made naturally, see illustration in Brehm, Tierleben ?IX on p. 550. Drilled milky quartz from the Berlin collection 4528. grasshopper, before- excellently done. Very old. From Greece. It's the big green one Heupferd, Brehm ?IX p. 558. Carnelian from the Berlin collection (Tölken 1II 500). Cupid sneaks behind a grasshopper to snatch it and in the one on the left of a tree located locust houses to block. Maybe is she from the House escaped. Very cute; However, the grasshopper is too big. What is undoubtedly meant is the large green hay horse, which still exists today is captured by the boys and kept in little houses, cf. Brehm ?IX 559. From the former Stosch collection. Unfortunately it turned upside down when photographing. Heliotrope of the Viennese Collection 1037. A grasshopper sits on a stalk of grain; underneath on the left a dolphin with a three-pronged fork, on the right a cornucopia with one Bird on top, sepia in between. Carnelian from the Berlin collection (Tölken VIII 357). Singeikade on the Lying on your back. Very good. From the former Stosch collection. From Tölken interpreted as a pupa of an aquatic insect. Cf. XXV 18. Amethyst of Prince Strozzi, according to Lippert's Dactyliothek II 1069. Fly or bee sitting on flowers. Nicolo of the Paris Collection 2009. Bee (?) and two ants on the Lying on your back. Behind it are three ears of grain. Well done. Sard of the British Museum. Two bees pull a plow from one Grasshopper wielding a whip is controlled. British Museum Sard 2036. Grasshopper anthropomorphized as an Amazon with battle ax in his right hand and crescent shield in his left. low- Real invention and good execution. From the former Townley collection. Ruby from the Vienna collection 1039. Grasshopper or cicada(?), strong anthropomorphized, standing on two legs, blowing the Phrygian flute a pillar on which a bird sits. Compare very Berlin carnelian Tölken VII 335: to Tölken a cicada blowing the double flute a sundial. Carnelian from the Berlin collection (Tölken VII 338). The skeleton of a cicada y leads the lyre while dancing. Very cute and peculiar. From the former

144 45. 46. AT. 48. 50. ID Plate XXIV. Stoschian collection. Cicada sitting on a lyre, looking up to Tölken the Berlin gems VIII 336. 337. Carnelian from the Berlin Collection 3699. Ant with grain of grain. To both Pages one star. Fritsch thinks of Mantispa pagana. Ants with one Grain in the mouth is common, e.g. B. Parisian Nicolo 2009. Berliner Carnelian Tölken VIII 362. Achatonyx Tölken VIII 363. Carnelian from the Vienna Collection 1038. A collared parrot rides on one Cart pulled by two ants. Perspective and size ratios are neglected as on the Pflugscene plate XXIV 3. Same Scene, but instead of the parrot perhaps another bird on the Berliner Jasper Tölken VIII 361. See also plate XVI 20. Carnelian the Berlin collection (Tölken II 85). Sand wasp, only a little stylized, cf. the illustration in Brehm ?IX p. 282. From the Stoschian Collection. Amethyst from the Berlin collection (Tölken VIII 350). Bee, well done. From the Stosch collection. Carnelian from the Berlin collection (Tölken VIII 352). Head of a bee. Off the Stosch collection. Compare the Berlin Achatonyx Tölken III 1428: “Astrea or Erigone, the celestial sign of the Virgin, winged and with a modius or symbolic sign in the shape of a bee's head the head.’ Red jasper from the Berlin collection (Tölken VIII 359). Bed bug, Cimex lectulanus after v. Martens, larva of the antlion according to Fritsch. For Both bodies would be a little too thin. The antlion was the old one unknown to writers. He will go to v. Martens first mentioned in 1697. From the old Brandenburg collection. Plate XXIV. Sard from the Paris Collection 2010. ant. Red jasper from the Munich collection 437. ant. On the back a jumping noble deer. Sard from the Berlin collection (Tölken III 261). Two thick-headed unwinged ones Ants pull a plow. For perspective and size ratio cf. Plate XXIII 46, but otherwise the invention and execution are not bad. Yellow-striped brown jasper from the Munich Collection 44. End of the throne wreathed Ceres, holding a bunch of ears of corn in his right hand an ant runs up. Late, not fine. From Steiglehner's possession. Carnelian from the Munich Collection 50. Ceres standing, with a wreath(?). on his head, in his left hand two ears of grain, in his right a plate holding fruits. On the right in the field is a large ant a grain of grain bearing, on the left the inscription CAP. Late Roman, raw. Yellow-fleeced black jasper from the Munich Collection 47. Same scene, a little prettier and without caption: From the former Steig collection

10. ı1. 12. 13. 14. 15. 16. Plate XXIV. 145 lehner. Same Scene too on the Berlin gems Tüölken II 2232. 23.2227. Jasper from the Berlin Collection 3690. Winged ant, an ear of grain in its mouth carrying. Very cute. A winged ant is located look for cha- bouillet also at the Paris Nieolo 2009 and at the Berlin Karneol Tölken II 85. Sard of the British Museum. Resting on a bed, supported only by the legs covered female figure playing with a crane standing in front of her. One winged ant flies towards her right hand. The ant is very good drawn, but much too big, as the proportions are not at all were very successful. Sard of the British Museum. A scorpion fly, Panorpa, drawing the bow. Very fine. Strictly speaking, it is somewhat similar to a scorpion. made scorpion fly. The St. Petersburg Cabinet contains an analogue Scene, also very finely done: snake, stretching a bow. You is unfortunately, by a mere mistake Misunderstanding, gone when taking photos- been left. Yellow Jasper from the Lewis Collection at Cambridge. Seorpio (Ortho- dactylus) olivaceus Karsch, occurring in Italy and Greece. Very good and fine. Jasper from the Vienna Collection 1042. Scorpio (Buthus) oceitanus with font 0. C.E. Yellow jasper from the Berlin collection (Tölken I 153), reverse: Scorpio (Isometrus) maculatus Geer, a North African species. From the Stoschian Collection. Sardonyx in Imhoof's possession. Fortuna standing with the rudder in the right and the cornucopia in the left. A scorpion under her feet, Scorpio (Euscorpius) flavicaudus Geer, the common southern European scorpion pion. Pehlewi writing all around. Raw late oriental work. From one former collection in Aleppo, where the stone undoubtedly came from afar East has come. The scorpion can be found on oriental stones all kinds of deities, according to Chabouillet next to Mithra (Paris gem 2031. 2032), next to Nebo, the Chaldean Mercury (Paris gem 717), near Belus (752), under Nergal (855), at Hermes-Serapis (2203). In Egypt he was the one Goddess Selk or Serk sacred. About astrological relationships between the Scorpion and the parts genitales s. Berthelot, collection des anciens alchi- mistes grecs I 205. Blood jasper rhomboid from the Paris collection 1238. Roughly made scorpion, whose species cannot be interpreted, at the bottom right next to the tail button. Certainly an amulet. New Persian (after Chabouillet). Yellow paste from the von Lannaschen collection in Prague. Scorpio (Euscorpius) flavicaudus. Once owned by Bartholdy in Rome. Jasper the archaeological Society to Athens. Scorpio (Euscorpius) flavicaudus, Imhoof and Keller, animal and plant pictures. 19

Plate XXIV. 17. Water green paste from the von Lannaschen collection in Prague. Tick, Ixodes ID os os DD (Greek xpötwv) and larva of a swimming beetle, Dytiscus. From the Bartholdy sits in Rome. Here as a result of earlier, different interpretations posed instead of to the insects. Crustaceans. Carnelian from the Berlin Collection 3726. Peneus caramote. Red jasper from the Berlin collection 3707. Dolphin and Peneus caramote. Emerald plasma from the Berlin collection (Tölken VIII 318). Peneus cara mote, attracting a small fish with its tactile threads. Once owned by the Baron Stosch. Compare the Sardonyx from the Berlin Tölken Collection VII 319: according to Tölken a fish and a sea crab. Chalcedony from the Vienna Collection 1048. Peneus caramote. Red jasper from the Munich collection 130. Cupid rides with two peneus crab (?). From the Steiglehner collection. Red jasper from the Berlin collection (Tölken UI 554). Cupid starts up one of two lobsters, Palinurus (Italian ragosta, from Latin locusta), pulled wagon. Tölken interprets them as “mullet, given to Venus” consecrated fish’. From the Stosch collection. See Keller, Animals of classical antiquity 223 note 186. ß Carnelian from the Paris Collection 2005. Xantho florida, also Xantho poressa called. Carnelian owned by Imhoof. Eight-footed edible crab Pinnoteres. Fine made. Carnelian from the Munich Collection 456. Pisa, Maja or Eriphia, a small one catching round shell. Made inaccurate. From the Steiglehner collection. Blue opaque paste from the Berlin collection 3712. Eight-footed pocket cancer Pinnoteres veterum Bose. Sard of the British Museum. Crab, probably Eriphia spinifrons autumn, antique Pagurus, Black jasper from the Thorwaldsen Museum in Copenhagen 1475. The top one is a long-tailed crab, but very imprecisely made; the bottom one Pagurus, Eriphia spinifrons. Red jasper from the Berlin collection (Tölken III 208). Gonoplax rhom- boides (v. Martens) or Grapsus (Fritsch) pierced by a trident. From the possession of Baron Stosch. Crab by a trident: Berliner Sardonyx Tölken III 210. Lapis lazuli from the Berlin collection (Tölken I 157), back. Grapsus marmoratus make (according to Tölken “spider”) with the Kabbalistic transcription OBANON, which is reminiscent of the often occurring Ablanathanalba. Off Baron Stosch's collection. Carnelian the Vienna collection 1061. Shrimp on the left, lobster on the right, Palinurus: the antennae held stiffly backwards over the body and

33. 35. 36. a7. 38. 39. 40. 41. 42. Plate XXIV, 147 the rough body are characteristic. Above is a small squid, Sepiola Rondeletti, below a Xantho florida, also called Xantho poressa. Sardonyx from the Berlin collection (Tölken III 538). Cupid, in front of a rock Standing and holding a staff in your hand, you poke at it with your trident a Pagurus, Eriphia spinifrons. Out of possession of Baron Stosch. Same scene: Berlin Jasper Tölken III 543, Yellow paste from the von Lannaschen collection in Prague. Crab claws, bird and ram's head next to each other. once owned by Bartholdy to Rome. Crab claws and legs a mask on the Berlin jasper Tölken VII 292. Crab claws as head decorations of male water gods and female gender: Drexler in Roschers mythol. Lexicon 1585. Sardonyx from the Paris Collection 2012. A fleetingly drawn lobster, Palinurus, seen from the back; are the top two lines the thick horn-shaped antennae. Shellfish. Onyx from the Munich Collection 457. Maybe Cassidaria echinophora L., one of the larger and more common sea snails in the Mediterranean, which is also is eaten; an unclear object: a small ball with sticks attached. Brown opaque paste from the Berlin collection 3738. Murex trunculus, from which purple was obtained, and in it a fly. The shell is very well done, especially the opening and the canal next to the navel are completely correct. Sard of the British Museum. Donkey emerging from a Murex truneulus. Inscription POY®PIWN. Again, the purple shell is well done. Off the former Hertz collection. The same scene on the Berlin Jasper Tölken VIII 300. See also our plate XVII 13. 14. Achatonyx from the Berlin collection (Tölken VIII 298). According to Fritsch a Trochus, perhaps Trochus niloticus, after B.C. Martens probably the Cassidaria echinophora mentioned in No. 356, surrounded by three indeterminate barable fish. Once owned by Baron Stosch. Emerald plasma from the Berlin collection (Tölken II 416). Venus, according to Art the Medicean, in a huge stylized Pecete shell, Pecten Iaco- baeus L., as if standing in a niche. Once owned by Baron Stosch. Antique paste from the Berlin collection (Tölken HI 427). Venus on one shell cart pulled by two pigeons; behind the car Cupid. Off the property of Baron Stosch. Also this shell is the big comb mussel, Pecten Iacobaeus L., Capa Santa in Venice. Cupid's Shell Carriage: Berlin Tölken Collection III 556. 572. 578. 579. Violet paste from the Berlin collection 3741. Snail, Helix aspersa, and flower bud with stem. The snail seems to be eating away at the stem to want. 19*

148 43. 44. 46. 47. Plate XXV. Green jasper from the Kassel Collection II 97. Stellio vulgaris, star lizard, in the area of the Aegean Sea frequently. ‘The spines should be noted at the back of the head. She runs into a slug, Limax. Gephalopods. Jasper from the Archaeological Society of Athens. Very old-fashioned special Bare figure, probably a highly stylized Oetopus maeropus Risso — ruber Raf.: so those of Cicero ad famil. IX 16 with polypus Iovi miniano similis meant red polyp species. Dark yellow paste from the von Lannaschen collection in Prague. Octopus one Wrapping around fish. Some arms with the cup-shaped suction cups are clear, at the top right is the round body of the polyp, at the bottom left is the Head, upper left the tail of the entwined fish (by Martens). Once owned by Bartholdy in Rome. Steatite from the British Museum 11. Octopus vulgaris and two dolphins. The Polyp's eyes are a little too prominent; this type differs differs from the one mentioned in No. 44 through shorter and stronger arms. Carnelian the Berlin collection (Tölken VIII 284). Palaemon, Sepia and Wels (?), according to Tölken rather an Astacus, according to v. Martens maybe one ill-advised Mugil. Once owned by Baron Stosch. Three mole Lusken and a fish are also put together according to Chabouillet on the Parisian fish bladder shaped stones 1045. Plants. Plate XXV. Carnelian from the Berlin collection (Tölken VII 244). A cornucopia of fruit and hanging grapes; below a Nareisse and a game ball. Off the former Stosch collection. A Nareisse in the hand of the Nar- cissus on the Paris carnelian 1791. See No. 27 on our table. Yellow paste from the von Lannaschen collection in Prague. A woven basket is with berries, perhaps grapes, filled, which are high piled up and hanging down on both sides. Sits right and left a small bird, no doubt a songbird, pecking at the berries. Birds sitting on cornucopias: Berlin Carnelian Tölken VI 78. Agate from the Berlin collection (Tölken II 109). According to Tölken it is one pretty crude replica one that also occurs elsewhere on gems Scene: 'Cupid rising from a garnet blossom and holding one in each hand Twig with a flower bud grasping' (as on the Stoschian paste at Tölken I 108). Here the rising wing god looks more feminine, He holds his arms up in the air for no purpose and the plant can be seen more clearly: Aloe vulgaris as similar to the grenade (welcome). From the former Stoschian collection. ®