DOI Page / Citation link:
https://doi.org/10.11588/diglit.3483#0014
INTRODUCTION, 9
of a gem on which the writing is so arranged, as to form the figure
of a man on horse-back. Of this fantastic and depraved taste we
have had several specimens in Europe*.
Among the Egyptian gems, of which there are more intaglios
than cameos, the greater part have the form of the consecrated
scarabeus or beetle, and the figures (or subject of the gem) are
engraven on its surface. They afterwards ground or cut away
the lower part of the scarabeus, preserving the upper surface,
cut into an oval form, to be more commodiously set into a ring
or seal. Such was the origin of the oval engraved stones, which
are still called scarabs, although the figure of the insect no longer
appears. The scarabeus was considered by the Egyptians as a
symbol of the sun, the source of generation, probably because
they imagined that the scarab possessed the faculty of self-pro-
duction; it was also regarded as an emblem of courage, for they
imagined that all these insects were males, and consequently be-
held them with a kind of veneration.
The Etruscan scarabs, which are numerous, rarely exceed the
natural size of the insects they represent; but those of the Egyp-
tians are frequently of an extraordinary thickness, and some are
four inches in length. We shall shortly exhibit the particular
form of one of these gems, and point out the manner by which
they curiously contrived to introduce their figures.
* A drawing of the head of Charles I. is in the library of St. John's College, Oxford. It is
wholly composed of minute written characters, which at a small distance resemble the lines of
engraving. The lines of the head and ruff are said to contain the Book of Psalms, the Creed, and
Lord's Prayer. Of this kind is the portrait of Queen Anne, preserved in the British Museum. It is
not much above the size of the hand. On this drawing appear a number of lines and scratches,
which are said to include the entire contents of a thin folio volume shewn on this occasion to the
spectator. In the Menagiana we find several accounts of this species of curious idleness, much
like that of the great artist who transcribed the Iliad, and compressed it into a nutshell.
D
of a gem on which the writing is so arranged, as to form the figure
of a man on horse-back. Of this fantastic and depraved taste we
have had several specimens in Europe*.
Among the Egyptian gems, of which there are more intaglios
than cameos, the greater part have the form of the consecrated
scarabeus or beetle, and the figures (or subject of the gem) are
engraven on its surface. They afterwards ground or cut away
the lower part of the scarabeus, preserving the upper surface,
cut into an oval form, to be more commodiously set into a ring
or seal. Such was the origin of the oval engraved stones, which
are still called scarabs, although the figure of the insect no longer
appears. The scarabeus was considered by the Egyptians as a
symbol of the sun, the source of generation, probably because
they imagined that the scarab possessed the faculty of self-pro-
duction; it was also regarded as an emblem of courage, for they
imagined that all these insects were males, and consequently be-
held them with a kind of veneration.
The Etruscan scarabs, which are numerous, rarely exceed the
natural size of the insects they represent; but those of the Egyp-
tians are frequently of an extraordinary thickness, and some are
four inches in length. We shall shortly exhibit the particular
form of one of these gems, and point out the manner by which
they curiously contrived to introduce their figures.
* A drawing of the head of Charles I. is in the library of St. John's College, Oxford. It is
wholly composed of minute written characters, which at a small distance resemble the lines of
engraving. The lines of the head and ruff are said to contain the Book of Psalms, the Creed, and
Lord's Prayer. Of this kind is the portrait of Queen Anne, preserved in the British Museum. It is
not much above the size of the hand. On this drawing appear a number of lines and scratches,
which are said to include the entire contents of a thin folio volume shewn on this occasion to the
spectator. In the Menagiana we find several accounts of this species of curious idleness, much
like that of the great artist who transcribed the Iliad, and compressed it into a nutshell.
D