ACCOUNTS, ESTIMATES, &C. OF THE BRITISH MUSEUM. ^^ 



of Apollo from Cyrene, in the British Museum, published, Smith and Porcher, ''Dis- 

 coveries at Cyrene," PI. 62. This intaglio is much praised by Visconti in an unpub- 

 lished note preserved among the MS. documents relating to the Blacas Collection. 



The collection of Etruscan and archaic scarabaei, mostly on carnelian, is exceedingly 

 choice. Many of these are describeJ in the Impionte Gemmarie, published in the Bulletino 

 of the Roman Institute. The subjects of these scarabaai mostly represent scenes and 

 incidents of heroic life, and especially exploits of Hercules. Among the more remarkable 

 subjects are — 



(9.) A burnt carnelian, inscribed HEPKAE KYKNE in Etruscan characters, and re- 

 presenting Herakles slaying Kyknos. Published in tlie Bulletino of the Roman Institute; 

 1831, p. lOG, No. 22. 



(10.) Burnt onyx. Herakle.^ approaching the warm springs of liimera, indicated by a 

 stream issuing from a lion's mouth. This curious subject is represented on the silver coins 

 of Himera and on a Fictile Vase in the Briiish Museum. 



(11.) Onyx. Herakles seated on the funeral pile; found in the environs of Viterbo in 

 1838, and published in the Bulletino of the Roman Institute, 1839, p. 102, No. 27. 



(12.) Onyx, of three layers. Capaneus struck by a thunderbolt, kneeling; on one knee' 

 on the back of the scarabaeus, in low relief, a male figure, from whose left arm hangs a vase. 

 This figure has the features of a negro, and is, perhaps, a slave ; the foreshortening of the 

 limbs is admirably expres^ed in the relief, as on the reverse of the archaic silver tetradraohm 

 of Naxus in Sicily. It i>i most rare to find figures sculptured on the backs of scarabsei. 

 This interesting gem was formerly in the Laurenti Collection. 



(13.) Achilles mourning for the loss of Briseis; his name in Etmscan characters. This 

 scarab was found in a tomb at Tarquinii, and was purchased from the Prince Vidoni of 

 Cremona, in 1838. 



(14.) Carnelian. A warrior kneeling, armed with a bow and club ; a serpent approaches 

 to bite his foor. This figure has been called Orion, Cadmus, or Herakles Ophiuchos. 

 Published in the Bulletino of Roman Institute, 1834, p. 117, No. 14 ; see Annali of 

 same Society, Vli. p. 252. 



(15.) Carnelian. Piitroclus taking leave of Achilles on going to battle; inscribed with 

 the name of Patroclus in Etruscan characters; from the Laurenti Collection. Published 

 in the Bulletino of Roman Institute, 1839, p. 102, No. 34. 



(16.) Carnelian. Herakles and Mercury ; fine archaic work. 



(17.) Banded onyx. Wounded warrior at the feet of another warrior, imploring his life. 

 This gem, a scarabseus cut down, is interesting as havim; been the signet rinc of the Em- 

 peror Joseph II., by whom it was given to his physician, Dr. Barth. 



(^18.) Green jasper. Ulysses, entering his house, is recognized by his dog. This seems 

 to be the gem engraved, Millin, Gal. Mythologique, PI. clxvii., No. 640. 



(19.) Carnelian. Apollo holding out a fawn; similar to a figure on the silver coins of 

 Caulonia, in Bruttium. 



(20.) Carnelian. Apollo Hyakinthios, or Taras, holding out a flower ; same type as on 

 the silver coins of Tarentnm. 



(21.) Carnelian. Mercury kneeling on a tortoise, which be is about to slay. 



(22.) Carnelian. Tantalus tiying to drink. From the Lamenii Collection. Denkmaler 

 d. alten Kunst, ii. PI. Ixix., No. 865. 



(23.) Burnt Carnelian. The Danaides carrying water-pitchers. 



The Historical Poriraits in intaglio form a series of scarcely less interest than those in 

 eameo already described. The following may be particularly mentioned : — 



(1.) Lapis lazuli. Perseus, King of Macedon. 



(2.) Carnelian. Head attributed to Juba I., King of Mauritania. Visconti, Icono- 

 graphie Grecque. PI. 55, fig. 4. 



(3.) Sard. Juba II., Kin^ of Mauritania. 



(4.) Carnelian. Head, attributed to Jugurtha. The type seems African. 



(5.) Black jasper. Head, wrongly ascribed to Rhoemetalces, King of Pontus. Inscribed 

 AM$0. A very beautiful gem, much praised by Kiihler, vol. iii. p. 91. The name is pro- 

 bably an abbreviation of Amphotero3,and is an ancient signature, though there is no evidence 

 to show ihat it is that of an artist. This gem came from the Riccardi Collection, and is 

 published by Gori, Mns. Flor. ii. pi. x. fig. 3. Inscr. Etr. 1, pi. 2, fig. 4; Bracci, Memorie 

 degli Ant. incis. i. pi. 17, p. 9-3. See Letronne in Annali dell' Inst. Arch. xvii. p. 261. 



(6.) Jacynth. Julius Capsar, full face ; inscribed AIOSKOPIAOS. A most beautiful 

 249. E 4 intaglio. 



