Engraved gem - Knowledge

838: 1259: 986: 665: 399: 54: 31: 207: 198:. Byzantine cutters used a flat-edged wheel on a drill for intaglio work, while Carolingian ones used round-tipped drills; it is unclear where they learnt this technique from. In intaglio gems at least, the recessed cut surface is usually very well preserved, and microscopic examination is revealing of the technique used. The colour of several gemstones can be enhanced by a number of artificial methods, using heat, sugar and dyes. Many of these can be shown to have been used since antiquity – since the 7th millennium BC in the case of heating. 1074: 507: 732: 1396: 329: 1141: 304:

Round or oval Greek gems (along with similar objects in bone and ivory) are found from the 8th and 7th centuries BC, usually with animals in energetic geometric poses, often with a border marked by dots or a rim. Early examples are mostly in softer stones. Gems of the 6th century are more often oval,

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Portraits of monarchs are found from the Hellenistic period onwards, although as they do not usually have identifying inscriptions, many fine ones cannot be identified with a subject. In the Roman Imperial period, portraits of the imperial family were often produced for the court circle, and many of

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in necklaces and the like, rather than used as seals – later ones are sometimes rather large to use to seal letters. However inscriptions are usually still in reverse ("mirror-writing") so they only read correctly on impressions (or by viewing from behind with transparent stones). This aspect also

313:. The forms are sophisticated for the period, despite the usually small size of the gems. In the 5th century gems became somewhat larger, but still only 2-3 centimetres tall. Despite this, very fine detail is shown, including the eyelashes on one male head, perhaps a portrait. Four gems signed by 354:

and other traditions remained faithful to the intaglio form. Generally a relief image is more impressive than an intaglio one; in the earlier form the recipient of a document saw this in the impressed sealing wax, while in the later reliefs it was the owner of the seal who kept it for himself,

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admits that "We are sometimes at a loss to know whether what we are looking at belongs to the 1st or the 15th century AD, a sad confession for any art-historian." Other Renaissance gems reveal their date by showing mythological scenes derived from literature that were not part of the visual

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antique engraved gems were one classical art form which was always highly valued, and a large but unknown number of ancient gems have (unlike most surviving classical works of art) never been buried and then excavated. Gems were used to decorate elaborate pieces of goldsmith work such as

708:. As private objects, produced no doubt by artists trained in the tradition of Hellenistic monarchies, their iconography is less inhibited than the public state art of the period about showing divine attributes as well as sexual matters. The identity and interpretation of figures in the 1418:

was invented by the Romans in about 30BC to imitate engraved hardstone cameos, with the advantage that consistent layering could be achieved even on round vessels – impossible with natural gemstones. It was however very difficult to manufacture and surviving pieces, most famously the

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and perfected in 1775. Though white-on-blue matte jasperware is the most familiar Wedgwood ceramic line, still in production today and widely imitated since the mid-19th century, white-on-black was also produced. Wedgwood made notable jasperware copies of the Portland Vase and the

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being newly excavated, antique gems were prime sources for artists eager to regain a classical figurative vocabulary. Cast bronze copies of gems were made, which circulated around Italy, and later Europe. Among very many examples of borrowings that can be traced confidently, the

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which was used to induce overdue childbirths – it was slowly lowered, with a prayer to St Alban, on its chain down the woman's cleavage, as it was believed that the infant would flee downwards to escape it, a belief in accordance with the views of the "father of mineralogy",

1101:(1691–1757), a Prussian who lived in Rome and then Florence, was a major collector, as well as a dealer in engraved gems: "busy, unscrupulous, and in his spare time a spy for England in Italy". Among his contemporaries, Stosch made his lasting impression with 193:

since antiquity. Some early types of seal were cut by hand, rather than a drill, which does not allow fine detail. There is no evidence that magnifying lenses were used by gem cutters in antiquity. A medieval guide to gem-carving techniques survives from

169:, often mounted in a ring; intaglio designs register most clearly when viewed by the recipient of a letter as an impression in hardened wax. A finely carved seal was practical, as it made forgery more difficult – the distinctive personal 1351:, enabling a huge production of what are really imitation engraved gems. The fullest catalogue of his impressions ("Tassie gems") was published in 1791, with 15,800 items. There are complete sets of the impressions in the Hermitage, the 474:, 11.5 cm diameter), clearly not designed for use as a seal, is the best known of 20 surviving Carolingian large intaglio gems with complex figural scenes, although most were used for seals. Several crystals were designed, like the 1292:– very carefully controlled, they allowed orders to be issued in his name by his most trusted associates. Other works survive signed by him (rather more than are all likely to be genuine), and his son Hyllos was also a gem engraver. 1299:

were leading artists in Venice and elsewhere in the 15th and 16th centuries. Many Renaissance artists no doubt kept their activities quiet, as they were passing their products off as antique. Other specialist carvers included

1371:. The engraved gem fell permanently out of fashion from about the 1860s, perhaps partly as a growing realization of the number of gems that were not what they seemed to be scared collectors. Among the last practitioners was 601:

repertoire in classical times, or borrowing compositions from Renaissance paintings, and using "compositions with rather more figures than any ancient engraver would have tolerated or attempted". Among artists, the wealthy

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and similar legal documents, dangling by a cord, though smaller ring seals that were broken when a letter was opened remained in use. It is not clear to what extent this also continued practices in the ancient world.

478:, to be viewed through the gem from the unengraved side, so their inscriptions were reversed like the seals. In wills and inventories, engraved gems were often given pride of place at the head of a list of treasures. 830:, most objects in European museums lost these when they became objects of classicist interest from the Renaissance onwards, or when the mounts were removed for the value of the materials, as happened to many in the 1894:"Nowadays, however, they have been somewhat neglected—probably because a genuine gem is difficult to distinguish from forged one, and collectors have grown timid in consequence" (Richter, "Engraved Gems" 592:

and other hardstones and using virtually the same techniques, produced classicizing works of glyptic art, often intended as forgeries, in such quantity that they compromised the market for them, as

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in letters, rather than any images. A few identifiably Jewish gems survive from the classical world, including Persia, mostly with the owner's name in Hebrew, but some with symbols such as the

2393: 1195:(1739–1817), "which the Duke kept in his bedroom and resorted to as a relief from his ambitious wife, his busy sister and his many children". This included collections formerly owned by the 1423:, are actually much rarer than Roman gemstone cameos. The technique was revived in the 18th and especially 19th centuries in England and elsewhere, and was most effectively used in French 1434:

and other sealed documents, were at least as keen on using seals as the ancient world, now creating them for towns and church institutions, but they normally used metal matrices and

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In the eighteenth century British aristocrats were able to outcompete even the agents for royal and princely collectors on the Continent, aided by connoisseur-dealers like Count

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The late medieval French and Burgundian courts collected and commissioned gems, and began to use them for portraits. The British Museum has what is probably a seated portrait of

1223:" depicting an initiation of Cupid and Psyche, was dispersed after a sale in 1899, fortunately timed for the new American museums and provided the core of the collection of the 1042:

By the mid-eighteenth century prices had reached such a level that major collections could only be formed by the very wealthy; lesser collectors had to make do with collecting

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appropriated it and moved it to Paris, where it soon disappeared around 1590. Not long thereafter it was fenced for 12,000 gold pieces to Emperor Rudolph II; it remains in

1089:. Zanetti travelled Europe in pursuit of gems hidden in private collections for the British aristocrats he tutored in connoisseurship; his own collection was described in 1238:(1754–1833) "commissioned about 2500 gems and encouraged the belief that they were, in fact, ancient." He presented a set of 419 plaster impressions of his collection of 2812: 1284:. Most of the most famous Roman artists were Greeks, like Dioskurides, who is thought to have produced the Gemma Augustea, and is recorded as the artist of the matching 1250:, where they were recognised as modern in 1832, mainly because the signatures of ancient artists from very different times were found on gems in too consistent a style. 644:

Many Asian and Middle Eastern cultures have their own traditions, although for example the important Chinese tradition of carved gemstones and hardstones, especially

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from the Renaissance onwards, culminating in the work of Philipp von Stosch, described above. Major progress in understanding Greek gems was made in the work of

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Relief carving became common in 5th century BC Greece, and gradually most of the spectacular carved gems in the Western tradition were in relief, although the

346:, 2.2 cm wide. Note the vase shown "sideways"; it is characteristic of early gems that not all elements in the design are read from the same direction of view. 2671:

Thoresen, Lisbet. "On Gemstones: Gemological and Analytical Studies of Ancient Intaglios and Cameos." In Ancient Glyptic Art- Gem Engraving and Gem Carving.

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is published by Diana Scarisbrick, "Gem Connoisseurship – The 4th Earl of Carlisle's Correspondence with Francesco de Ficoroni and Antonion Maria Zanetti",

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in Paris. Meanwhile, the church led the development of large, often double-sided, metal seal matrices for wax seals that were left permanently attached to

2129:, by Laurie Fusco & Gino Corti, Cambridge UP 2006, which gives a survey of early Renaissance collecting in general. On his signing his gems see Draper 837: 2824:

Damen, Giada. "Antique Engraved Gems and Renaissance Collectors", In Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art, 2000–

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with Vishnu blessing a worshipper, Afghanistan or Pakistan, 4th-6th century AD. The inscription in cursive Bactrian reads: "Mikira, Vishnu and Shiva"

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and inscriptions, especially in an archaeological context. Though they were keenly collected in antiquity, most carved gems originally functioned as

684:, and mythological scenes were common, and famous statues often represented – much modern knowledge of the poses of lost Greek cult statues such as 309:

back (in the past this type was called a "scarabaeus"), and human or divine figures as well as animals; the scarab form was apparently adopted from

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Renaissance and later gems remain dominated by the Hellenistic repertoire of subjects, though portraits in contemporary styles were also produced.

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to house his collections of ancient sculpture, coins and over 4,000 gems – the two were naturally often grouped together. The gems are now in the

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As in later periods objects carved in the round from semi-precious stone were regarded as a similar category of object; these are also known as

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styles, and can be hard to date, until their quality sharply declines at the end of the 2nd century AD. Philosophers are sometimes shown;

2162: 1113:'s engravings reproduced seventy antique carved hardstones like onyx, jasper and carnelian from European collections. He also encouraged 314: 2771: 1276:

As in other fields, not many ancient artists' names are known from literary sources, although some gems are signed. According to Pliny,

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Trentinella, Rosemarie. "Roman Cameo Glass". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–9.

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Draper, James David. "Cameo Appearances". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

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had opened up new trade routes to the Greek world and increased the range of gemstones available. Roman gems generally continued

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partly explains the collecting of impressions in plaster or wax from gems, which may be easier to appreciate than the original.

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against "days lost in poring upon imperceptible intaglios and cameos". The collection, including its single most famous cameo,

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This has more detail about lapidary in the ancient world, although only based on research available in the early 20th century.

2725: 2641: 2588: 1879: 1840: 1836: 1347:(1777–1860) developed methods for taking hard impressions from old gems, and also for casting new designs from carved wax in 242:, whose design appears only when it is rolled over damp clay, from which the flat ring type developed, was the usual form in 2818: 1046:, which was also very popular, or buying one of many sumptuously illustrated catalogues of collections that were published. 181:

Gems were mostly cut by using abrasive powder from harder stones in conjunction with a hand-drill, probably often set in a

1543:, Etta M. Saunders, noted. Saunders, "Goddess Riding a Goat-Bull Monster: A Ceres Zodiac Gem from the Walters Art Gallery" 2831: 1633: 1235: 1016: 1883: 1564: 771:

gems were among his varied collecting passions. Many later emperors also collected gems. Chapters 4-6 of Book 37 of the

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comes from the study of gems, which often have clearer images than coins. A 6th(?) century BC Greek gem already shows

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in its strict sense, to denote a carving exploiting layers of differently coloured stone. The activity is also called

2717: 2662: 2633: 2619: 2580: 2566: 2471: 1871: 1828: 2740: 2117: 1739: 2880: 2875: 1008: 486: 1379:. Perhaps the best known gem engraver of the 20th century, working in a contemporary idiom, is the British artist 696:

was, as in other arts, the most common source of narrative subjects. A scene may be intended as the subject of an

395:, as a cheaper material for cameos, and one that allowed consistent and predictable layers on even round objects. 866: 652:

covers the inscription that is printed by stamping, which nearly always only contains script rather than images.

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from Theophilius and others, and discusses various techniques. See Theophilius's article for full on-line texts.

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The iconography of gems is similar to that of coins, though more varied. Early gems mostly show animals. Gods,

2355: 810:. One of the best collections of such vessels, though mostly plain without carved decoration, was looted from 2885: 2554: 2285:

Towneley's were bought from his heirs, the others bequeathed. See King, 218-225 for a selection of highlights

1505: 959: 597: 588:, and their production revived, in classical styles; 16th-century gem-cutters working with the same types of 584:

By the 16th century carved and engraved gems were keenly collected across Europe for dedicated sections of a

262:. These were made in various types of stone, not all hardstone, and gold rings were a related development in 17: 1476:

designs for jasperware were carried out in the extremely low relief typical of cameo production. Some other

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remains unclear. A number of gems from the same period contain scenes apparently from the lost epic on the

1328:(Anglo-Norwegian, 1680–1725). Other sculptors also carved gems, or had someone in their workshop who did. 648:, is broader than the European one of concentration on a flattish faced stone that might fit into a ring. 80:

that has been carved, in the Western tradition normally with images or inscriptions only on one face. The

1352: 1309: 1181: 806:, as the inscription on its former gem-studded gold Carolingian mounting stated; it may have belonged to 781:

give a summary art history of the Greek and Roman tradition, and of Roman collecting. According to Pliny

2761: 2835: 1224: 297:, a ceremonial breastplate worn by the high priest, bearing twelve gems engraved with the names of the 2733:"Plaster Perspectives on "Magical Gems": Rethinking the Meaning of "Magic" in Cornell's Dactyliotheca" 2397:

A Catalogue, Of Impressions In Sulphur: Of Antique And Modern Gems From Which Pastes Are Made And Sold

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Beazley Archive, "Late Antique, Early Christian and Jewish gems: Sasanian gems – Christian and Jewish"

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was determined to excel Pompey in this as in other areas, and later gave six collections to his own

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The cameo, which is rare in intaglio form, seems to have reached Greece around the 3rd century; the

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collection included many other gems and was legendary, valued in inventories much higher than his

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refers to people having portraits of their favourite on their cups and rings. The Romans invented

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imitations with portraits suggest that gem-type cameos were made in this period. The conquests of

2453: 2098: 799: 773: 298: 1866:. Volume 22 of Groningen studies in cultural change, GSCC; 22, p. 26, Peeters Publishers, 2007. 664: 2245: 2033: 1973: 1572: 1134: 1090: 1024: 951: 944: 585: 570: 447:. Some gems were engraved, mostly with religious scenes in intaglio, during the period both in 398: 2166: 2020:

Pliny, see below. Whether he was right to claim Mithridates as the first collector is dubious.

1501: 1035:; 170 of the Carlisle gems, both Classical and post-Classical, were purchased in 1890 for the 2756: 1082: 975: 936: 819: 554: 526: 2666: 2321: 2229: 2139: 2082: 1936: 1917: 1844: 1055: 939:

after Napoleon's downfall, as a token of goodwill. It remains disputed whether the cameo is

409:(10th century with a 14 century base). Many antique engraved gems survived in such contexts. 2860: 2295: 2062: 1755: 1177: 1114: 870: 826:. Many of these retain the medieval mounts which adapted them for liturgical use. Like the 653: 649: 286: 195: 144: 132: 1497: 1097:(Venice, 1750), illustrated with eighty plates of engravings from his own drawings. Baron 932: 8: 1447:

Another offshoot of the mania for engraved gems is the fine-grained slightly translucent

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evidence is the other most indicative evidence of the general pose of locally important

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in New York and elsewhere, with the largest group still together being about 100 in the

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is the only major surviving Hellenistic example (depending on the date assigned to the

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Leonardo's projects, c. 1500-1519. Volume 3 of Leonardo da Vinci, selected scholarship

881:. Somewhat like Chinese collectors, Lorenzo had all his gems inscribed with his name. 422:, book-covers and crosses, sometimes very inappropriately given their subject matter. 2721: 2713: 2682: 2658: 2637: 2629: 2615: 2584: 2576: 2562: 2400: 2150: 1875: 1867: 1832: 1824: 1480:

imitated three-layer cameos purely by paint, even in implausible objects like a flat

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in London, and in Edinburgh. Other types of imitation became fashionable for ladies'

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Apart from those mentioned below, there is information on other notable collections

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Significant Figures in Art & Craft Today, Derek Reay, MoTi publishing, UK 2011

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The three preeminent European collections of post-Classical engraved gems are the

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said he personally spent two months on a double-sided cameo gem with portraits of

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gem, and certainly appears on 6th century examples from the later Archaic period.

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probably marking the emergence of gems meant to be collected or worn as jewellery

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these have survived, especially a number of spectacular cameos from the time of

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soon became a particular centre of production. Along with the Roman statues and

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Three of the largest cameo gems from antiquity were created for members of the

912: 850: 815: 811: 709: 697: 689: 669: 637:. Many gems are inscribed in the Islamic world, typically with verses from the 593: 482: 471: 290: 136: 46:. At some point it was adapted by adding an inscription and cross to represent 1508:(b. 1927) has made a special contribution, again concentrating on Greek gems. 1395: 481:

Some gems in a remarkably effective evocation of classical style were made in

2849: 2800: 2775:. Vol. 16 (11th ed.). Cambridge University Press. pp. 195–199. 2766: 1816: 1629: 1512:(1919–2013) moved into the subject, having previously been a German teacher. 1473: 1420: 1400: 1321: 1313: 971: 885: 842: 760: 423: 392: 372: 368: 364: 282: 239: 211: 162: 74: 2351: 2216: 1999: 1469: 1340: 1043: 888:

passed through a series of famous collections before coming to rest in the

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Walters, "Gems belonging to the Fourth Duke of Marlborough in the Walters"

328: 234:, and is represented in all or most early cultures from the area, and the 2806: 1575:

observed in "Mediæval and Later Engraved Gems in the British Museum — I"

1493: 1468:, and interpreted in jasperware casts from antique gems by James Tassie. 1435: 1424: 1415: 1404: 1376: 1360: 1329: 1285: 807: 641:, and sometimes gems in the Western tradition just contain inscriptions. 626: 414: 388: 380: 263: 243: 47: 1117:(1705–1763) whom Stosch set to copying ancient carved gems in Florence. 2514: 1960: 1956: 1452: 1368: 1277: 1165: 1015:

in 1609, and engraved gems featured among the antiquities assembled by

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made a career of casting gems in plaster and in coloured opaque glass.

2551:– Extensive website on classical gems; page titles used as references 1540: 1477: 1448: 920: 768: 448: 351: 310: 231: 218:

and its impression. Late Bronze Age II (maybe 14th century BC), from

170: 128: 81: 35: 2787: 2541: 2600:, 1900. This photo repertory was the cornerstone of modern studies. 1465: 1289: 999: 995: 928: 862: 705: 693: 589: 574: 522: 403: 271: 215: 77: 39: 954:

and seem to have survived above ground since antiquity. The large

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and Graham Pollard, "The Felix Gem at Oxford and its provenance"

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are described; though these were inscribed with the names of the

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culture, and reached an apogee of subtlety and refinement in the

247: 2540:"Beazley" The Classical Art Research Centre, Oxford University. 1280:

was the only artist allowed to carve gems for the seal rings of

573:. Another of Lorenzo's gems supplied, probably via a drawing by 1356: 1264: 1247: 1200: 1161: 1157: 967: 874: 823: 618: 602: 537: 444: 384: 294: 259: 255: 219: 131:

context will almost always mean carved gems; when referring to

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But the most famous English collection was that formed by the

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In England, a false dawn of gem collecting was represented by

2448:(October 2003, retr. 16 September, 2009); Whitehouse, David. 681: 638: 622: 614: 333: 322: 318: 266:, which are often very fine. The Greek tradition emerged in 182: 1054:; one large collection she had bought was the gems from the 974:. The largest flat engraved gem known from antiquity is the 402:

There are several antique and medieval engraved gems on the

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and may well have provided the "starting point" for one of

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and heads or figures carved in the round are also known as

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committing suicide, with his name inscribed. The story of

1023:, formed a collection of gems that is still conserved at 1031:, acting upon the advice of Francesco Maria Zanetti and 1427:

glass that made no attempt to follow classical styles.

751:(d. 63 BC), whose collection was part of the booty of 656:

of the seal itself was not intended to be reproduced.

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in the first half of the 13th century, several in the

1438:. However some objects, like a 13th-century Venetian 2188:

Henry Prince of Wales and England's Lost Renaissance

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Sèvres tea-tray from the Metropolitan museum of Art

2312: 2310: 1912: 1910: 1908: 1011:' purchase of the cabinet of the Flemish antiquary 161:covers the field of small carved stones, including 2832:Gems Collection: Cornell Collection of Antiquities 2032:, (The Lives of the Caesars, The Deified Julius), 1663:"Lenticular" or "lentoid" gems have the form of a 1567:, Paris, the Habsburg collection, Vienna, and the 115:) are also covered by the term. This article uses 2480:George Woodall and the Art of English Cameo Glass 1125:bought Stosch's collection in 1765 and built the 557:(see below), with an unusual pose, was copied by 250:and other cultures, and spread to the Aegean and 2847: 2307: 1905: 1676:Beazley, Later Archaic Greek gems: introduction. 1077:Casts ("pastes") of gems in collector's cabinets 947:imitation of the style from the 1st century AD. 127:. References to antique gems and intaglios in a 84:of gemstones was a major luxury art form in the 1527:Fully half of the antique engraved gems in the 1246:which now form the Daktyliothek Poniatowski in 513:supporting dying comrade. 1st century BC or AD. 2628:, 1866, reprinted Kessinger Publishing, 2003, 230:The technique has an ancient tradition in the 143:, is more likely to be used. Vessels like the 88:, and an important one in some later periods. 1974:Geometric and Early Archaic gems: Island gems 2739:. Cornell University Library. Archived from 2712:, National Gallery of Art Washington, 1997. 2199:Diana Scarisbrick, "The Devonshire Parure", 1622:"A brief history of engraved Classical gems" 1188:, founding their very important collection. 2710:Engraved Gems : Survivals and Revivals 2124:Lorenzo de'Medici, Collector of Antiquities 1211:, who himself warned his son in one of his 2815:Online books and articles on engraved gems 2450:Roman glass in the Corning Museum of Glass 430:, including one large Late Roman imperial 321:are the finest of the period, two showing 226:period, following Near Eastern precedents. 2573:The Grove Encyclopedia of Decorative Arts 1799: 1797: 1795: 1712:Beazley, "Hellenistic gems: introduction" 1654:Boardman, 39 See Beazley for more detail. 1375:, who sensibly moved into the new art of 1021:William Cavendish, 2nd Duke of Devonshire 982:, where it had been since at least 1291. 716:, of which the finest is by Dioskurides ( 2819:The Johnston collection of engraved gems 2517:See "Gems" section for gem and casts etc 1864:The translation of Raphael's Roman style 1823:, Publisher Taylor & Francis, 1999, 1584:The Burlington Magazine for Connoisseurs 1577:The Burlington Magazine for Connoisseurs 1394: 1257: 1139: 1072: 984: 958:appeared in 1246 in the treasury of the 836: 730: 663: 525:, and the Hermitage has a cameo head of 505: 454:In the West production revived from the 397: 327: 205: 61:of a Roman prince. Perhaps 14th century. 52: 29: 2651:Engraved gems of the Carolingian empire 2215:"Sulphurs" provided even finer detail; 1896:The Metropolitan Museum of Art Bulletin 1095:Le gemme antiche di Anton Maria Zanetti 857:The collection of 827 engraved gems of 783:Marcus Aemilius Scaurus (praetor 56 BC) 103:the flat background of the stone), but 14: 2848: 1792: 1545:The Journal of the Walters Art Gallery 608: 501: 426:illustrated a number of gems owned by 189:has been mined for abrasive powder on 1582:No. 123 (June 1913:128-136) and "II" 107:carvings (with the design projecting 2755: 2575:, Oxford University Press US, 2006, 2083:Getty Collectors, under Pietro Barbó 1758:, both onyx and in the MMA New York. 1383:, whose work is held in the British 1184:were bought by or bequeathed to the 1168:of Great Britain and remains in the 861:, which included the "Felix gem" of 2840:Cornell: Gem Impressions Collection 2730: 2559:The Oxford History of Classical Art 2361:The Bernie Madoff of Gem Collectors 1017:Thomas Howard, 21st Earl of Arundel 931:carried it off to Paris, where his 892:. First known in the collection of 596:observed in 1922. Even today, Sir 285:seals tend to have inscriptions in 270:under Minoan influence on mainland 173:did not really exist in antiquity. 24: 2797:– Extensive site on classical gems 2688: 2356:The Poniatowski Collection of gems 2267:Henry Howard, 4th Earl of Carlisle 1902:.9 (September 1922:193-196) p. 193 1029:Henry Howard, 4th Earl of Carlisle 853:. The gem measures 15.7 x 11.8 cm. 755:, who donated it to the Temple of 747:Famous collectors begin with King 25: 2902: 2821:at the Metropolitan Museum of Art 2781: 2737:Cornell Collection of Antiquities 1845:Image and description by Boardman 943:work of the 3rd century BC, or a 289:rather than images. The biblical 2762:"Lapidary and Gem Cutting" 2276:No. 1007 (February 1987:90-104). 1611:Thoresen, "Gemstone enhancement" 1492:Gems were a favourite topic for 1430:The Middle Ages, which lived by 1312:(1662–1719), the German-Italian 818:, and is in the Treasury of the 487:Frederick II, Holy Roman Emperor 462:was the commonest material. The 111:the background as in nearly all 2520: 2508: 2495: 2484: 2469:Texas A&M University Museum 2462: 2438: 2429: 2410: 2386: 2375: 2366: 2345: 2334: 2288: 2279: 2259: 2234: 2222: 2209: 2193: 2180: 2155: 2133: 2111: 2099:Ashmolean image and description 2087: 2076: 2051: 2038: 2023: 2014: 2005: 1988: 1979: 1966: 1950: 1941: 1929: 1888: 1856: 1809: 1783: 1774: 1761: 1752:14th century French Crucifixion 1744: 1733: 1724: 1715: 1706: 1697: 1688: 1203:(later owned by Lord Arundel), 785:was the first Roman collector. 69:, frequently referred to as an 2030:De Vita Caesarum, Divus Iulius 1679: 1670: 1657: 1648: 1614: 1605: 1592: 1553: 1521: 1387:Collection among many others. 659: 13: 1: 2534: 2372:Boardman, 275-6. Hennig 153-4 1985:Beazley, Archaic period pages 1632:. 28 May 2020. Archived from 1589:No. 127 (October 1913:28–32). 1444:, mimicked the engraved gem. 1390: 1268:, a rock crystal intaglio by 1066:to assemble a collection for 960:Basilique St-Sernin, Toulouse 726: 532:Interest had also revived in 340: 210:Antelopes attacked by birds: 2649:Kornbluth, Genevra Alisoun. 2011:Hennig, 153, Boardman, 275-6 1756:Rosary pendant, 15th century 1353:Victoria & Albert Museum 1343:(1735–1799), and his nephew 1334:Holy Roman Emperor Charles V 798:was probably donated to the 176: 7: 2813:Digital Library Numis (DLN) 2805:, a 2009 exhibition at the 2607:, 1972, rev. 1977, Penguin. 1487: 1310:Giuseppe Antonio Torricelli 1205:the 2nd Earl of Bessborough 1182:Clayton Mordaunt Cracherode 792:. One of the largest, the 613:Engraved gems occur in the 34:Roman intaglio portrait of 10: 2907: 2836:Cornell University Library 2108:No. 893 (August 1977:574). 1253: 989:1st century BC cameo with 293:describes the form of the 201: 42:, once in the Treasury of 2708:Brown, Clifford M. (ed). 2626:Handbook of Engraved Gems 2392:An earlier version is on 1504:). Among recent scholars 1441:Seven Sleepers of Ephesus 1316:(1697–1779) and his sons 605:was a notable collector. 236:Indus Valley civilization 73:, is a small and usually 2265:His correspondence with 2097:and came to Oxford: see 1740:De Natura fossilium Bk 1 1550:(1991/1992;7–11) note 19 1515: 1326:Charles Christian Reisen 1306:Giovanni Jacopo Caraglio 1107:Pierres antiques graveés 1050:'s collection is in the 765:Temple of Venus Genetrix 749:Mithridates VI of Pontus 371:– see below), but other 2881:Ancient Roman sculpture 2876:Ancient Greek sculpture 2772:Encyclopædia Britannica 2612:A Handbook of Roman Art 2571:Campbell, Gordon (ed). 2454:Corning Museum of Glass 2271:The Burlington Magazine 2103:The Burlington Magazine 2059:"Treasury of San Marco" 1193:4th Duke of Marlborough 1019:. Later in the century 800:Basilica of Saint-Denis 299:Twelve tribes of Israel 2802:Carvers and Collectors 2757:Kunz, George Frederick 2679:Gems and gem engraving 2296:Marlborough Collection 1565:Bibliothèque nationale 1502:the conductor, Wilhelm 1500:(1853–1907, father of 1455:that was developed by 1412: 1336:and his wife and son. 1273: 1149: 1144:Cast of the sardonyx 1135:Antikensammlung Berlin 1078: 1009:Henry, Prince of Wales 1004: 952:Julio-Claudian dynasty 854: 744: 677: 672:cameo, in two layered 617:, especially when the 586:cabinet of curiosities 571:Sistine Chapel ceiling 514: 410: 391:, best known from the 347: 227: 139:, meaning the same as 62: 50: 27:Small carved gemstones 2230:from the Getty Museum 2149:Exhibition in Mantua 1561:Cabinet des Médailles 1398: 1261: 1236:Stanisław Poniatowski 1207:, and the brother of 1172:. The collections of 1143: 1083:Antonio Maria Zanetti 1076: 988: 976:Great Cameo of France 937:Alexander I of Russia 840: 820:Basilica of San Marco 741:Cabinet des Médailles 734: 667: 527:Charles VII of France 509: 491:Cabinet des Médailles 401: 331: 254:, including parts of 209: 99:(with the design cut 56: 33: 2886:Engraved gem artists 2809:, with many features 2731:Barrett, Caitlín E. 2610:Henig, Martin (ed), 2596:Furtwängler, Adolf. 2318:The Marlborough Gems 1178:Richard Payne Knight 1115:Johann Lorenz Natter 1103:Gemmæ Antiquæ Cælatæ 871:Lorenzo il Magnifico 413:During the European 196:Theophilus Presbyter 145:Cup of the Ptolemies 133:monumental sculpture 2603:Henderson, George. 2478:Exhibition feature 2163:"Mantua exhibition" 2093:It passed into the 2034:Fordham online text 1862:Henk Th. van Veen. 1636:on 25 November 2021 1464:, a famous head of 1282:Alexander the Great 1164:was bought by King 1129:in the park of the 1119:Frederick the Great 1109:) (1724), in which 1068:Madame de Pompadour 1048:Catherine the Great 909:Christina of Sweden 896:, it passed to the 828:Coupe des Ptolémées 795:Coupe des Ptolémées 737:Coupe des Ptolémées 609:Parallel traditions 519:John, Duke of Berry 502:Renaissance revival 377:Alexander the Great 91:Strictly speaking, 2793:2010-08-19 at the 2703:Archaic Greek Gems 2605:Early Medieval Art 2598:Die antiken Gemmen 2547:2010-08-19 at the 2474:2009-04-08 at the 2423:2019-03-25 at the 2358:. More details in 2327:2018-11-19 at the 2301:2015-07-29 at the 2242:"Hermitage Museum" 2145:2012-02-23 at the 2095:Arundel collection 1923:2018-11-19 at the 1850:2018-11-19 at the 1730:Henderson, 112-113 1484:tea-tray of 1840. 1413: 1274: 1263:The Punishment of 1229:Walters Art Museum 1152:The collection of 1150: 1146:Vishnu Nicolo Seal 1099:Philipp von Stosch 1087:Philipp von Stosch 1079: 1060:Louis XV of France 1056:Orléans Collection 1033:Francesco Ficoroni 1005: 869:, was acquired by 855: 790:hardstone carvings 745: 678: 555:Lorenzo de' Medici 515: 456:Carolingian period 434:(now lost) called 411: 348: 276:Hellenistic period 228: 149:hardstone carvings 63: 51: 2726:978-0-89468-271-1 2683:Pliny the Younger 2642:978-0-7661-5164-2 2614:, Phaidon, 1983, 2589:978-0-19-518948-3 1880:978-90-429-1855-9 1837:978-0-8153-2935-0 1819:in J. Farago (ed) 1780:Kornbluth, 1, 4-6 1771:, British Museum. 1767:Kornbluth, 1, 4. 1703:Boardman, 187-188 1694:Boardman, 129-130 1626:www.christies.com 1506:Sir John Boardman 1498:Adolf Furtwängler 1302:Giovanni Bernardi 1270:Giovanni Bernardi 1209:Lord Chesterfield 933:Empress Joséphine 905:Emperor Rudolf II 832:French Revolution 802:, near Paris, by 577:, a pose used by 559:Leonardo da Vinci 534:Early Renaissance 521:in intaglio on a 485:for the court of 441:Georgius Agricola 268:Ancient Greek art 16:(Redirected from 2898: 2891:Gemstone cutting 2871:Seals (insignia) 2776: 2764: 2752: 2750: 2748: 2701:Boardman, John. 2694:Boardman, John. 2655:Penn State Press 2529: 2524: 2518: 2512: 2506: 2499: 2493: 2491:picture and link 2488: 2482: 2466: 2460: 2442: 2436: 2433: 2427: 2414: 2408: 2407:/ 1-104-59093-X) 2390: 2384: 2379: 2373: 2370: 2364: 2349: 2343: 2338: 2332: 2322:Boardman Lecture 2314: 2305: 2292: 2286: 2283: 2277: 2263: 2257: 2256: 2254: 2253: 2244:. Archived from 2238: 2232: 2226: 2220: 2213: 2207: 2197: 2191: 2184: 2178: 2177: 2175: 2174: 2165:. Archived from 2159: 2153: 2137: 2131: 2127: 2115: 2109: 2091: 2085: 2080: 2074: 2073: 2071: 2070: 2061:. Archived from 2055: 2049: 2042: 2036: 2027: 2021: 2018: 2012: 2009: 2003: 1992: 1986: 1983: 1977: 1970: 1964: 1954: 1948: 1945: 1939: 1933: 1927: 1918:Boardman lecture 1914: 1903: 1892: 1886: 1860: 1854: 1813: 1807: 1801: 1790: 1787: 1781: 1778: 1772: 1765: 1759: 1748: 1742: 1737: 1731: 1728: 1722: 1719: 1713: 1710: 1704: 1701: 1695: 1692: 1686: 1683: 1677: 1674: 1668: 1661: 1655: 1652: 1646: 1645: 1643: 1641: 1618: 1612: 1609: 1603: 1598:Kornbluth, 8-16 1596: 1590: 1557: 1551: 1525: 1510:Gertrud Seidmann 1407:in imitation of 1308:(c. 1500–1565), 1240:Poniatowski gems 1174:Charles Towneley 1170:Royal Collection 1131:Sanssouci Palace 1064:Dominique Vivant 1052:Hermitage Museum 1013:Abraham Gorlaeus 970:, alongside the 917:Livio Odescalchi 847:Hermitage Museum 804:Charles the Bald 753:Pompey the Great 718:Chatsworth House 686:Athena Promachos 654:Other decoration 631:tribes of Israel 407:Cross of Lothair 345: 342: 283:Ancient Egyptian 123:and the artists 21: 2906: 2905: 2901: 2900: 2899: 2897: 2896: 2895: 2846: 2845: 2795:Wayback Machine 2788:Beazley Archive 2784: 2746: 2744: 2691: 2689:Further reading 2675:(February 2009) 2549:Wayback Machine 2542:Beazley Archive 2537: 2532: 2525: 2521: 2513: 2509: 2503:Wedgwood Jasper 2500: 2496: 2489: 2485: 2476:Wayback Machine 2467: 2463: 2443: 2439: 2434: 2430: 2425:Wayback Machine 2415: 2411: 2391: 2387: 2380: 2376: 2371: 2367: 2350: 2346: 2339: 2335: 2329:Wayback Machine 2315: 2308: 2303:Wayback Machine 2293: 2289: 2284: 2280: 2264: 2260: 2251: 2249: 2240: 2239: 2235: 2227: 2223: 2214: 2210: 2198: 2194: 2185: 2181: 2172: 2170: 2161: 2160: 2156: 2151:further details 2147:Wayback Machine 2138: 2134: 2125: 2116: 2112: 2092: 2088: 2081: 2077: 2068: 2066: 2057: 2056: 2052: 2046:Natural History 2043: 2039: 2028: 2024: 2019: 2015: 2010: 2006: 1994:Hennig, 154-5. 1993: 1989: 1984: 1980: 1971: 1967: 1955: 1951: 1946: 1942: 1934: 1930: 1925:Wayback Machine 1915: 1906: 1893: 1889: 1861: 1857: 1852:Wayback Machine 1814: 1810: 1802: 1793: 1788: 1784: 1779: 1775: 1769:Susanna Crystal 1766: 1762: 1749: 1745: 1738: 1734: 1729: 1725: 1721:Boardman, 275-6 1720: 1716: 1711: 1707: 1702: 1698: 1693: 1689: 1685:Boardman, 68-69 1684: 1680: 1675: 1671: 1662: 1658: 1653: 1649: 1639: 1637: 1620: 1619: 1615: 1610: 1606: 1600:quotes passages 1597: 1593: 1558: 1554: 1526: 1522: 1518: 1490: 1462:Marlborough gem 1457:Josiah Wedgwood 1393: 1373:James Robertson 1365:Josiah Wedgwood 1297:Anichini family 1256: 1242:to the King of 1221:Marlborough gem 980:Sainte-Chapelle 964:King François I 901:Dukes of Mantua 894:Isabella d'Este 779:Pliny the Elder 774:Natural History 767:; according to 729: 662: 611: 504: 476:Susanna Crystal 468:Suzanna Crystal 464:Lothair Crystal 443:(1494–1555) on 428:St Albans Abbey 343: 204: 179: 44:Sainte-Chapelle 28: 23: 22: 15: 12: 11: 5: 2904: 2894: 2893: 2888: 2883: 2878: 2873: 2868: 2863: 2858: 2844: 2843: 2829: 2822: 2816: 2810: 2798: 2783: 2782:External links 2780: 2779: 2778: 2767:Chisholm, Hugh 2753: 2743:on 26 May 2015 2728: 2706: 2699: 2690: 2687: 2686: 2685: 2676: 2669: 2647: 2622: 2608: 2601: 2594: 2569: 2555:Boardman, John 2552: 2536: 2533: 2531: 2530: 2519: 2507: 2501:Robin Reilly, 2494: 2483: 2461: 2437: 2428: 2409: 2385: 2374: 2365: 2344: 2333: 2306: 2287: 2278: 2258: 2233: 2221: 2208: 2192: 2179: 2154: 2132: 2110: 2086: 2075: 2050: 2037: 2022: 2013: 2004: 1996:British Museum 1987: 1978: 1965: 1949: 1940: 1928: 1904: 1887: 1855: 1817:Clark, Kenneth 1808: 1791: 1782: 1773: 1760: 1743: 1732: 1723: 1714: 1705: 1696: 1687: 1678: 1669: 1656: 1647: 1613: 1604: 1591: 1569:British Museum 1552: 1533:British Museum 1529:Berlin museums 1519: 1517: 1514: 1489: 1486: 1392: 1389: 1385:Crafts Council 1381:Ronald Pennell 1255: 1252: 1186:British Museum 1127:Antique Temple 1111:Bernard Picart 1037:British Museum 1003:. Later mount. 956:Gemma Augustea 945:Julio-Claudian 913:Decio Azzolini 851:St. Petersburg 816:Fourth Crusade 812:Constantinople 728: 725: 710:Gemma Augustea 670:Gemma Augustea 661: 658: 650:Seal engraving 610: 607: 594:Gisela Richter 503: 500: 483:Southern Italy 472:British Museum 291:Book of Exodus 203: 200: 178: 175: 163:cylinder seals 137:counter-relief 95:means carving 26: 9: 6: 4: 3: 2: 2903: 2892: 2889: 2887: 2884: 2882: 2879: 2877: 2874: 2872: 2869: 2867: 2864: 2862: 2859: 2857: 2854: 2853: 2851: 2841: 2837: 2833: 2830: 2827: 2823: 2820: 2817: 2814: 2811: 2808: 2804: 2803: 2799: 2796: 2792: 2789: 2786: 2785: 2774: 2773: 2768: 2763: 2758: 2754: 2742: 2738: 2734: 2729: 2727: 2723: 2719: 2718:0-89468-271-7 2715: 2711: 2707: 2704: 2700: 2697: 2693: 2692: 2684: 2680: 2677: 2674: 2673:LThoresen.com 2670: 2668: 2664: 2663:0-271-01426-1 2660: 2656: 2652: 2648: 2646: 2643: 2639: 2635: 2634:0-7661-5164-6 2631: 2627: 2624:King, C. W.; 2623: 2621: 2620:0-7148-2214-0 2617: 2613: 2609: 2606: 2602: 2599: 2595: 2593: 2590: 2586: 2582: 2581:0-19-518948-5 2578: 2574: 2570: 2568: 2567:0-19-814386-9 2564: 2561:, 1993, OUP, 2560: 2556: 2553: 2550: 2546: 2543: 2539: 2538: 2528: 2523: 2516: 2515:Antinoos.info 2511: 2505:London, 1972. 2504: 2498: 2492: 2487: 2481: 2477: 2473: 2470: 2465: 2459: 2455: 2451: 2447: 2441: 2432: 2426: 2422: 2419: 2413: 2406: 2402: 2398: 2395: 2389: 2383: 2378: 2369: 2363: 2362: 2357: 2353: 2348: 2342: 2337: 2330: 2326: 2323: 2319: 2313: 2311: 2304: 2300: 2297: 2291: 2282: 2275: 2272: 2268: 2262: 2248:on 2014-04-19 2247: 2243: 2237: 2231: 2225: 2218: 2212: 2205: 2202: 2196: 2189: 2183: 2169:on 2009-06-24 2168: 2164: 2158: 2152: 2148: 2144: 2141: 2140:Gonzaga Cameo 2136: 2130: 2128: 2121: 2114: 2107: 2104: 2100: 2096: 2090: 2084: 2079: 2065:on 2016-03-09 2064: 2060: 2054: 2047: 2041: 2035: 2031: 2026: 2017: 2008: 2001: 1997: 1991: 1982: 1975: 1969: 1962: 1958: 1953: 1944: 1938: 1932: 1926: 1922: 1919: 1913: 1911: 1909: 1901: 1897: 1891: 1885: 1881: 1877: 1873: 1872:90-429-1855-1 1869: 1865: 1859: 1853: 1849: 1846: 1842: 1838: 1834: 1830: 1829:0-8153-2935-0 1826: 1822: 1818: 1812: 1806: 1805:(August 2008) 1800: 1798: 1796: 1789:Campbell, 411 1786: 1777: 1770: 1764: 1757: 1753: 1747: 1741: 1736: 1727: 1718: 1709: 1700: 1691: 1682: 1673: 1666: 1660: 1651: 1635: 1631: 1627: 1623: 1617: 1608: 1601: 1595: 1588: 1585: 1581: 1578: 1574: 1570: 1566: 1562: 1556: 1549: 1546: 1542: 1538: 1534: 1530: 1524: 1520: 1513: 1511: 1507: 1503: 1499: 1495: 1485: 1483: 1479: 1475: 1471: 1467: 1463: 1458: 1454: 1450: 1445: 1443: 1442: 1437: 1433: 1428: 1426: 1422: 1421:Portland Vase 1417: 1410: 1406: 1402: 1401:Portland Vase 1397: 1388: 1386: 1382: 1378: 1374: 1370: 1366: 1362: 1358: 1354: 1350: 1346: 1342: 1337: 1335: 1331: 1327: 1323: 1319: 1315: 1314:Anton Pichler 1311: 1307: 1304:(1494–1553), 1303: 1298: 1293: 1291: 1287: 1283: 1279: 1271: 1267: 1266: 1260: 1251: 1249: 1245: 1241: 1237: 1232: 1231:, Baltimore. 1230: 1226: 1222: 1218: 1214: 1210: 1206: 1202: 1198: 1194: 1189: 1187: 1183: 1179: 1175: 1171: 1167: 1163: 1159: 1155: 1147: 1142: 1138: 1136: 1132: 1128: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1096: 1092: 1088: 1084: 1075: 1071: 1069: 1065: 1061: 1057: 1053: 1049: 1045: 1044:plaster casts 1040: 1038: 1034: 1030: 1026: 1022: 1018: 1014: 1010: 1002: 1001: 998:surprised by 997: 993: 987: 983: 981: 977: 973: 972:Gemma Claudia 969: 965: 961: 957: 953: 948: 946: 942: 938: 934: 930: 926: 922: 918: 914: 910: 906: 902: 899: 895: 891: 887: 886:Gonzaga Cameo 882: 880: 876: 872: 868: 864: 860: 852: 848: 844: 843:Gonzaga Cameo 839: 835: 833: 829: 825: 821: 817: 813: 809: 805: 801: 797: 796: 791: 786: 784: 780: 776: 775: 770: 766: 762: 761:Julius Caesar 758: 754: 750: 742: 738: 733: 724: 721: 719: 715: 711: 707: 701: 699: 698:early Archaic 695: 691: 687: 683: 676:; 19 × 23 cm. 675: 671: 666: 657: 655: 651: 647: 642: 640: 636: 632: 628: 624: 620: 616: 606: 604: 599: 598:John Boardman 595: 591: 587: 582: 580: 576: 572: 568: 564: 560: 556: 553:gem owned by 552: 548: 543: 539: 536:Italy, where 535: 530: 528: 524: 520: 512: 508: 499: 496: 492: 488: 484: 479: 477: 473: 469: 465: 461: 457: 452: 450: 446: 442: 437: 433: 429: 425: 424:Matthew Paris 421: 420:votive crowns 416: 408: 405: 400: 396: 394: 393:Portland Vase 390: 386: 382: 378: 374: 370: 369:Gonzaga Cameo 366: 365:Farnese Tazza 361: 358: 353: 344: 550 BC 339: 335: 330: 326: 324: 320: 316: 312: 308: 302: 300: 296: 292: 288: 284: 281: 277: 273: 269: 265: 261: 257: 253: 249: 245: 241: 240:cylinder seal 237: 233: 225: 221: 217: 213: 212:cylinder seal 208: 199: 197: 192: 188: 184: 174: 172: 168: 164: 160: 156: 152: 150: 146: 142: 138: 134: 130: 126: 122: 118: 114: 110: 106: 102: 98: 94: 89: 87: 86:ancient world 83: 79: 76: 75:semi-precious 72: 68: 60: 55: 49: 45: 41: 37: 32: 19: 18:Engraved gems 2828:(March 2013) 2801: 2770: 2745:. 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Dalton 1555: 1547: 1544: 1523: 1491: 1474:neoclassical 1470:John Flaxman 1461: 1446: 1439: 1436:signet rings 1429: 1414: 1341:James Tassie 1338: 1294: 1286:signet rings 1275: 1262: 1233: 1225:Metropolitan 1216: 1212: 1190: 1154:Joseph Smith 1151: 1106: 1102: 1094: 1080: 1041: 1006: 990: 949: 883: 859:Pope Paul II 856: 827: 793: 787: 772: 746: 722: 714:Sack of Troy 702: 679: 646:jade carving 643: 625:worn by the 612: 583: 566: 563:Michelangelo 550: 546: 531: 516: 480: 475: 467: 460:rock crystal 453: 451:and Europe. 435: 412: 362: 349: 303: 264:Minoan seals 252:Minoan world 229: 180: 158: 154: 153: 140: 124: 120: 116: 108: 100: 96: 92: 90: 70: 67:engraved gem 66: 64: 2861:Ancient art 2807:Getty Villa 2696:Island Gems 2452:, Volume 1 2206:(1986:241). 2190:(1986:199). 1961:cult images 1535:are either 1494:antiquaries 1425:Art Nouveau 1416:Cameo glass 1405:cameo glass 1377:photography 1330:Leone Leoni 962:. In 1533, 941:Alexandrian 935:gave it to 923:, and Pope 911:, Cardinal 879:Botticellis 808:Charlemagne 660:Iconography 627:High Priest 415:Middle Ages 389:cameo glass 381:Hellenistic 373:glass-paste 287:hieroglyphs 244:Mesopotamia 159:glyptic art 135:, the term 125:gem-cutters 121:gem carving 97:in intaglio 48:Saint Peter 2850:Categories 2535:References 2405:110459093X 2252:2009-09-14 2173:2009-09-15 2069:2009-09-19 2048:, xxxvii.5 1957:Numismatic 1937:Collectors 1750:Examples: 1630:Christie's 1571:, London, 1453:jasperware 1391:Imitations 1369:jasperware 1363:cameos by 1359:, such as 1278:Pyrgoteles 1166:George III 1156:, British 1025:Chatsworth 919:, Duke of 727:Collectors 542:sarcophagi 332:Reclining 2866:Sculpture 2856:Engraving 2416:Beazley, 2316:Beazley, 2294:Beazley, 1976:6th down. 1972:Beazley, 1916:Beazley, 1640:9 January 1541:carnelian 1478:porcelain 1449:stoneware 1403:in Roman 1339:The Scot 1091:A.F. 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