DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.7503#0012
Second Consulship (a.d. 160). Among pieces of the
Dionysiac Cycle may be mentioned—besides the
garnet ring-stone with the noble head of Dionysos
himself (No. 76)—the very beautiful composition of
the youthful satyr playing with a child (No. 135),
the female mask (No. 161) from Taranto, inscribed
in cursive letters Fortunatus q.l. The inscribed
seal, No. 164 (with portrait of Antinoos), is for
diplomas connected with local games instituted by
Hadrian. Several ring-stones relate to horse-racing, and
No. 166 depicts the sports of the Circus Maximus
(Circences). A series of subjects illustrate rustic cult,
the 'baetylic' images of which—pillars and rough-cut
blocks—so curiously reflect the survival of pre-
historic religious forms. Arts and crafts are also well
represented. No. 173 (from Epitaurum: old Ragusa),
depicting a hand writing with a stilus, is an un-
rivalled illustration of the ancient method.
The master of toreutic art chiselling an urn, No. 174,
is supplemented by another gem representing a com-
pleted vessel of the kind (No. 175) showing a sacrificial
scene. Several intaglios refer to culinary subjects,
and among agricultural themes No. 180, 'going to
market', and No. 182, 'the vintage home', as also
Silenus' 'midday halt' (No. 133), are specially pleas-
ing compositions. Several of the subjects allude to
ghosts (larvae) and skeletons. No. 189, to be identi-
fied by the inscription, shows the Pharos lighthouse of
Alexandria, rising on a double base.
Of special importance is an original and very early
version of the Mithraic sacrifice (No. 216: PI. VII),
found near Nemea in the Peloponnese, and in which
Mithras wears a kind of tiara in place of the usual
Phrygian cap. It is very finely and boldly engraved
on a golden sard and might be claimed as late
[viii]
Dionysiac Cycle may be mentioned—besides the
garnet ring-stone with the noble head of Dionysos
himself (No. 76)—the very beautiful composition of
the youthful satyr playing with a child (No. 135),
the female mask (No. 161) from Taranto, inscribed
in cursive letters Fortunatus q.l. The inscribed
seal, No. 164 (with portrait of Antinoos), is for
diplomas connected with local games instituted by
Hadrian. Several ring-stones relate to horse-racing, and
No. 166 depicts the sports of the Circus Maximus
(Circences). A series of subjects illustrate rustic cult,
the 'baetylic' images of which—pillars and rough-cut
blocks—so curiously reflect the survival of pre-
historic religious forms. Arts and crafts are also well
represented. No. 173 (from Epitaurum: old Ragusa),
depicting a hand writing with a stilus, is an un-
rivalled illustration of the ancient method.
The master of toreutic art chiselling an urn, No. 174,
is supplemented by another gem representing a com-
pleted vessel of the kind (No. 175) showing a sacrificial
scene. Several intaglios refer to culinary subjects,
and among agricultural themes No. 180, 'going to
market', and No. 182, 'the vintage home', as also
Silenus' 'midday halt' (No. 133), are specially pleas-
ing compositions. Several of the subjects allude to
ghosts (larvae) and skeletons. No. 189, to be identi-
fied by the inscription, shows the Pharos lighthouse of
Alexandria, rising on a double base.
Of special importance is an original and very early
version of the Mithraic sacrifice (No. 216: PI. VII),
found near Nemea in the Peloponnese, and in which
Mithras wears a kind of tiara in place of the usual
Phrygian cap. It is very finely and boldly engraved
on a golden sard and might be claimed as late
[viii]