DOI Page / Citation link:
https://doi.org/10.11588/diglit.7898#0044
( 34 )
his memory (i). As far indeed as a likeness can be traced in figures of such
small dimensions, this opinion of Bianchini seems confirmed.
The resemblance to Alexander may however be called in question by some,
who would be more inclined to consider Hadrian as the principal character.
That prince was equally distinguished by his munificence to Egypt, and even
during his life time, a temple was erected to him at Alexandria (2). The costume
of the principal personage is rather Roman than Greek, and the style of sculp-
ture in the figures of Isis and the two Winds (3), suits better the age of Ha-
drian , than that of the first Ptolemies, to which it is ascribed by Visconti.
Something must be said of the instrument taken for an antlia. Being in
great part concealed by the cornucopias, it cannot be well defined. It is how-
ever an attribute of Isis, who upholds it, and not of the personage who grasps
its summit. May it not be the mast of a vessel, and an emblem of Isis, the
goddess who presided over navigation (4), and is frequently represented with
a sail ? It should be noticed here, that Visconti has mistaken for serpents the
cords disposed spirally round the staff. In his engraving, the ears of corn be-
hind the nymphs, the leaves of the palm-tree against which the Nile reclines,
and various other details, are omitted.
These observations, though unconcluding, are submitted to the learned,
in hopes of engaging them to a new and more satisfactory elucidation of this
admirable gem, in which art and nature seem to vie with each other. Remark-
able not only for its size, but for its great purity, and its richly variegated
tints, of which the artist has availed himself with much skill; it affords a spe-
cimen of a branch of ancient magnificence (5) unknown in modern times.
The head of Medusa represented in relief on the opposite side of the patera,
not requiring any explanation, the reader is referred to the engraving of it
published by Maffei in the work already cited.
(1) Maffei supposed the subject to repre- figures and those represented on various mo-
sent Ptolemy Auletes and his family; the numents of the era of the Antonines. Vis-
Abbe Barthelemy that it was Ceres, Triptole- conti, Mus. Pio. Clem. torn, v, tav. 29.
mus and Bacchus, Mem. de l'Acad. des In- (4) Eckhell. Doct. N. V. torn. vii. pag. ^^^o.
script, et Bell. Lett. torn. xxx. (5) The great Pompey found 2000 vases of
(2) Eckhell. Doct. Num. Vet. torn. \\,pag.&[\. sardonyx among the treasures of Mithridates.
(3) There is great analogy between these Appian. de Bello Mithridat.
his memory (i). As far indeed as a likeness can be traced in figures of such
small dimensions, this opinion of Bianchini seems confirmed.
The resemblance to Alexander may however be called in question by some,
who would be more inclined to consider Hadrian as the principal character.
That prince was equally distinguished by his munificence to Egypt, and even
during his life time, a temple was erected to him at Alexandria (2). The costume
of the principal personage is rather Roman than Greek, and the style of sculp-
ture in the figures of Isis and the two Winds (3), suits better the age of Ha-
drian , than that of the first Ptolemies, to which it is ascribed by Visconti.
Something must be said of the instrument taken for an antlia. Being in
great part concealed by the cornucopias, it cannot be well defined. It is how-
ever an attribute of Isis, who upholds it, and not of the personage who grasps
its summit. May it not be the mast of a vessel, and an emblem of Isis, the
goddess who presided over navigation (4), and is frequently represented with
a sail ? It should be noticed here, that Visconti has mistaken for serpents the
cords disposed spirally round the staff. In his engraving, the ears of corn be-
hind the nymphs, the leaves of the palm-tree against which the Nile reclines,
and various other details, are omitted.
These observations, though unconcluding, are submitted to the learned,
in hopes of engaging them to a new and more satisfactory elucidation of this
admirable gem, in which art and nature seem to vie with each other. Remark-
able not only for its size, but for its great purity, and its richly variegated
tints, of which the artist has availed himself with much skill; it affords a spe-
cimen of a branch of ancient magnificence (5) unknown in modern times.
The head of Medusa represented in relief on the opposite side of the patera,
not requiring any explanation, the reader is referred to the engraving of it
published by Maffei in the work already cited.
(1) Maffei supposed the subject to repre- figures and those represented on various mo-
sent Ptolemy Auletes and his family; the numents of the era of the Antonines. Vis-
Abbe Barthelemy that it was Ceres, Triptole- conti, Mus. Pio. Clem. torn, v, tav. 29.
mus and Bacchus, Mem. de l'Acad. des In- (4) Eckhell. Doct. N. V. torn. vii. pag. ^^^o.
script, et Bell. Lett. torn. xxx. (5) The great Pompey found 2000 vases of
(2) Eckhell. Doct. Num. Vet. torn. \\,pag.&[\. sardonyx among the treasures of Mithridates.
(3) There is great analogy between these Appian. de Bello Mithridat.