preserve some duplicate, usually made an impression in clay, which he used as a matrix to receive molten glass, colored so as to represent the original material. After the glass had cooled and formed the matrix it was broken, and the impression preserved in the shop of the engraver. The European museums possess more of these impressons, taken from gems of fine Greek work, than original gems. The greater quantity of gems preserved in Europe being either Græco-Roman, or of the Augustan age, or Roman of the period of the Antonines. The stones most frequently used were the sard or carnelian, plasma or prase, the amethyst, beryl, aquamarine, garnet, onyx, sardonyx, nicolo, chalcedony, jasper (in all its colors); more rarely emeralds, rubies and jacinths. There is no mention made by any museum of possessing an engraved diamond, which the hardness of the material easily explains. The Vulgate, in the description given of the Urim and Thummim, instead of mentioning the "diamond," which is to be found in the English version, places in its stead an agate. When we remember that each stone was cut en cabochon, or tallow-drop, having the name of the tribe engraved upon it, it is more than probable that the account given in the Vulgate would be the more correct.

The plan adopted in the arrangement of the gems in the British Museum, is the classification by subjects, and not by age, or artistic qualification, a plan more interesting to a casual visitor, and which most of the other museums have adopted. We find first, the divinities of the classical mythologies, arranged with their attributes, and with the various myths relating to each. The Ilesiodic theogony serves as a guide. Zeús άpxù, Ζεὺς μέσσα, Διος δ ̓ ἐκ πάντα τετυκται, finds no engraver capable of imagining the dread deity in his wrath as the subduer of the Titans; the more pleasing subject of his amours being chosen as fitting to be represented on the peaceful signet. Χρυόθρονος, levuœlevos "Hpn. Juno, the white-armed mistress of the golden throne, was too powerful an idea for so small a surface as a gem and though some authors have seen in heads bound with a sphendone the Bois "Hpn, the evidence has not been sufficient to warrant the nomenclature. The other deities, such as, Possi

don, Dionysos, Hermes, Helios, Hephaestos, yλavxăπ15 “A01vn, Artemis, Aphrodite (Cuidi Paphique regina), do not take the same important part, which we find in the numismatic series. In this latter, the coins of Syracuse, Tarantum, Metapontum and other corn-growing districts have engraved on them, with delicacy and skill, the head of Proserpine, the daughter of cornloving Demeter; Athens bears as the type of its coinage the head of the virgin-goddess; Macedonia engraved the bust of the young Hercules, altered by Lysimachus, after the death of Alexander, into the portrait of this conqueror, who proudly boasted, "Terras gentibus aperiam.”

As we have already remarked, few gems of Greek work have come down to our time; Roman ideality not being so fervid, the gems are more abundant in portraits of emperors than of deities. than of deities. This branch of mythological study, however, is amply rewarded by the abundance of subjects to be found engraved on the scarabs or beetle-shaped jewelry, which have happily been preserved in great quantities. The labors of Hercules, and the adventures of the Argonauts in their search for the golden fleece, being represented very frequently, though often in a very archaic manner. Etes in pursuit of the Argo, stopping to collect the limbs of his son; Apsyrtus, slain by the advice of Medea; Tantalus striving to assuage his thirst from the ever disappearing brook; Lysippus, the discoverer of the amour of Zeus with the nymph Egina, rolling up the steep hill the fast descending rock; Hermes leading Io to Zeus; the winged foot crushing the butterfly; emblem of death overtaking life; and many such myths are found to abound.

Bacchic subjects delighted the engravers who chose, on account of its rich wine color, the sard as a favorite material. Bacchantes are engraved 66 con amore," and the Bacchic frenzy seems to agree with the modern notions of intoxication. Dionysos, having repaired to Thebes, accompanied by his female Asiatic followers, was greeted by Cadmus, and acknowleged and worshiped as a divinity. Pentheus, the king, who had succeeded the aged Cadmus, opposed the new worship and its ceremonies, ill treating the god himself.

Following his mother Agari and her sister worshipers, who had hastened to celebrate the rites on Mount Kitharon, Pentheus was discovered, seized, and slain by the furious Bacchantæ; Agari herself leading the assault, and carrying back in triumph to Thebes the head of her slaughtered son. This had, in former days, been described in the museum catalogues as a muse holding a mask, but since the study of gem-engraving has become more popular, greater attention has been paid to the deciphering of myths and labelling of gems.

Another legend often found engraved is that of Prometheus. This Titan, jealous of the increasing power of Zeus, determined to trick him into an imprudent choice. He therefore divided a large steer into two portions. On the one side he placed the flesh and guts, covered over with the skin, on the other he put the bones, enveloped in fat. He then called upon Zeus to determine which of these portions mankind should sacrifice to the gods. Zeus chose the white fat, but was enraged on discovering nothing but the bones. In revenge for the trick played upon him he determined to withhold from mankind the gift of fire. Prometheus, however, stole this inestimable comfort and brought it down to earth in the hollow of a ferrule. As a punishment, the Titan is seized, bound to a rock, and an eagle is sent to feed on his liver, which grew afresh every night. Eschylus, in his celebrated tragedy, does not continue the legend, with the myth of Pandora, an addition to be found in Hesiod. Horace also mentions the sequel

in the third ode of the first book:

The

"Audax Japeti genus

Ignem fraude mala gentibus intulit:
Post ignem ætheria domus

Subductum, macies, et nova febrium

Terris incubuit cohors;

Semotique prius tarda necessitas

Lethi corripuit gradum."

nova cohors febrium" recalls to us the many germs engraved with the busts or figures of Asklepios and Hygiera. Representations of these deities are common, both on gems and on the denarii of the Antonines. A gem, the property

of the late Duc de Blacaz, has obtained a European reputation on account of the beauty of its workmanship, which greatly resembles, in treatment and character, that of the bust discovered in the island of Melos. The up-turned eyes and semi-parted lips being the ancient personification of a deity praying for inspiration in his endeavors to succour humanity. Homer, in his hymn to Asklepios, names him son of Apollo by the nymph Koroniz. Ἰητῆρα νόσων, Ασκληπιὸν ἄρχομ' ἀείδειν, υἱὸν ̓Απολλωνος, τὸν ἐγείνατο δια Κορωνις.” Zeus, ever jealous of his power, seeing that Esculapius not only cured, but restored men to life, smote Esculapius with thunder, which so exasperated Apollo that he killed Cyclopes, who had fabricated the thunderbolt. Latona had to intercede with Zeus for her son, whom vepeλnyepéta Zevs, "the cloud compeller," had condemned to Tartarus. Preller, in his "Mythologie," gives an interesting account of the Roman worship of Esculapius and Hygia. The curse uttered by Edipus against his sons, and his prayer that they might slaughter one another, resulted in the siege of Thebes. The seven principal chiefs were Adrastes, Amphiaræus, Kapaneus, Hippomedon, Parthenopaus, Polynikes, and Tydeus. The efforts of these warriors were, at first, successful; but the youth, Menækeus, son of Creon, having offered himself a willing sacrifice to Ares, the gods took Thebes under their protection. Capaneus, having planted a scaling-ladder against the walls of the sacred city, was hurled to the ground by a thunderbolt from Zeus. This scene is a favorite engraving on scarabs, the falling warrior being represented helmeted, with the thunderbolt striking his shoulder. Sthenelas, son of Capaneus, answers Agamemnon in the 4th book of the Illiad:

"Atrides, speak not falsely when thou know'st

The truth so well. Assuredly we claim
To be far braver than our fathers were.
We took seven-gated Thebes with fewer troops
Than theirs, when, trusting in the omens sent
From heaven, and in the aid of Jupiter
We led our men beneath the city walls
Sacred to Mars. Our fathers perished then
Through their own folly. Therefore, never seek
To place them in the same degree with us."

The Gorgon Medusa, slain by Perseus at the instigation of Minerva, who seems to have inherited the jealous disposition of her omnipotent father, is another subject which is to be found more especially engraved, The beautiful Gorgon whose loveliness attracted the attentions of the gods of the sterner sex, has more an appearance of sleep than of death; the serpents coiling around her head lend a graceful appearance to the face beneath, and the materials chosen by the ancient engraver, usually a sard or amethyst, blends in the general harmony, making these gems favorite and unique relics. Previous to closing our remarks on the mythical value of gems, we would here direct the attention of those interested in the subject to the work of one who has lately passed away, leaving behind him monumentum ære perennius." Mr. Grote's "History of Greece" has only to be read to be appreciated. It is a work to us full of deep learning and enthusiasm for the subjects on which he so learnedly and eloquently descants. Were it not that space forbids, we should feel tempted to copy out, at length, his remarks on "Grecian Myths, as understood, felt and interpreted by the Greeks themselves." As it is, we point out this chapter as one deserving of the most careful study, confident that in doing so we indicate to our readers a rich intellectual repast; the ideas of a student who deeply studied ere he wrote, and whose style is embued with the classic feeling of his ancient masters. Profs. Curtius, Gerhard, O. Jahn, Müller, Brum, are German authors, who have treated the art of gem-engraving in a scientific and interesting manner. M. de Chabouillet has also written a useful "Catalogue des Pierres gravées, et des Camées de la Bibliothique Impériale." Several articles have also been written in the "Archæological Review of Great Britain and Ireland;" the "Revue Archéologique of France," and the "Revue de la Commissson Impériale of Russia." The late Dean Milman published an edition of Horace, illustrated by gems, the greater part being, however, what are technically termed forgeries, or unique-cento, and modern imitations of the antique. Mr. King has also published an edition of the same author, illustrated in the same manner, though we regret to say that