Relevant bibliographies by topics / Engraved gems

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Engraved gems'

Author: Grafiati
Published: 5 June 2025
Last updated: 2 August 2025

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Journal articles on the topic "Engraved gems"

1

Gerring, Britta, and Dimitris Plantzos. "Hellenistic Engraved Gems." American Journal of Archaeology 105, no. 2 (2001): 367. http://dx.doi.org/10.2307/507308.

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Mattusch, Carol C., and Dimitris Plantzos. "Hellenistic Engraved Gems." Classical World 98, no. 2 (2005): 220. http://dx.doi.org/10.2307/4352938.

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SAGIV, IDIT. "THE IMAGE OF THE RIDER ON GRECO-ROMAN ENGRAVED GEMS FROM THE ISRAEL MUSEUM (JERUSALEM)." ИСТРАЖИВАЊА, no. 27 (December 19, 2016): 33–44. http://dx.doi.org/10.19090/i.2016.27.33-44.

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This paper explores the interpretations and context of equestrian Greco-Roman engraved gems kept at the Israel Museum in Jerusalem which had never been published prior to this study. It was written on the basis of a study which included photography, description, technical aspects, iconographic and stylistic analysis and, finally, dating the gems. In order to achieve this, they were compared to other known ones that had already been published. The results indicate that horsemen frequently appear as subjects on intaglios. The Roman engraved gems drew their inspiration from established Greek ride
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Kaić, Iva. "Engraved gems from Andetrium in the Archaeological Museum in Zagreb." Vjesnik Arheološkog muzeja u Zagrebu 54, no. 1 (2021): 45–54. http://dx.doi.org/10.52064/vamz.54.1.9.

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This paper analyses 11 engraved gems from Gornji Muć. They belong to the collection of Roman engraved gems in the Archaeological Museum in Zagreb and were acquired in the 19th century by Mijo Jerko Granić, the priest of Gornji Muć. These gems were found in Gornji Muć, which was the location of the Roman auxiliary fort of Andetrium, and therefore add to our knowledge of Roman gems from military sites in Croatia.
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Cravinho, Graça. "Some engraved gems from Ammaia." Pallas, no. 83 (October 1, 2010): 13–33. http://dx.doi.org/10.4000/pallas.10610.

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6

Gołyźniak, Paweł. "Hieronymus Odam, engraved gems and antiquarianism." Opuscula. Annual of the Swedish Institutes at Athens and Rome 16 (November 15, 2023): 183–224. http://dx.doi.org/10.30549/opathrom-16-09.

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This article is designed to recover and reconstruct the antiquarian, collecting, and documentary activities of Italian artist Hieronymus Odam (c. 1681–1740) in respect of engraved gems. Odam is primarily recognized as a painter, while his contribution to the development of antiquarianism and collecting of antiquities remains virtually unknown. Odam’s speciality was intaglios and cameos. The recently discovered drawings of gems in the Princes Czartoryski Museum in Kraków, the Kunstbibliothek in Berlin, and the Biblioteca Apostolica Vaticana, as well as archival sources—Odam’s correspondence and
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Heslop, T. A. "Engraved Gems of the Carolingian Empire.Genevra Kornbluth." Speculum 73, no. 1 (1998): 213–15. http://dx.doi.org/10.2307/2886922.

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Albani, Jenny. "Antiquity Reused. Antique Engraved Gems on Byzantine Rings." Actual Problems of Theory and History of Art 5 (2015): 195–202. http://dx.doi.org/10.18688/aa155-2-19.

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9

HENIG, MARTIN, and ERGÜN LAFLI. "Five Roman engraved gems from a private collection in Izmir (Turkey)." Dacia. Revue d’archéologie et d’histoire ancienne. Nouvelle série 2023, no. 67 (2023): 271–78. https://doi.org/10.59277/dacia.2023.08.

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Five engraved gems of the Roman period were formerly preserved in the private collection of Ms Berna Oğuz (Izmir) who sold these pieces officially to Mr Koray Selçik, who has an extensive collection in Izmir which is officially registered to the Museum Directorship of Izmir in western Turkey. These gems are as follows: 1. a red jasper intaglio, depicting Eros burning the Psyche-butterfly and set in an iron ring; 2. an intaglio of translucent chalcedony (or moulded glass), depicting Nemesis, set in a bronze ring; 3. an octagonal cornelian intaglio inscribed with the name Iesou, set in a silver
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Cravinho, Graça. "Roman Engraved Gems in the National Archaeological Museum in Lisbon." Studies in Ancient Art and Civilisation 21 (July 27, 2018): 173–245. http://dx.doi.org/10.12797/saac.21.2017.21.09.

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The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn fro
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Dissertations / Theses on the topic "Engraved gems"

1

Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology
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2

Kornbluth, Genevra Alisoun. "Carolingian treasure engraved gems of the ninth and tenth centuries /." 1986. http://catalog.hathitrust.org/api/volumes/oclc/28324519.html.

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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems / Felicity Harley." Thesis, 2001. http://hdl.handle.net/2440/21742.

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Bibliography: leaves 289-313.<br>v, 316 leaves., 17 p. of plates : ill. (some col.) ; 30 cm.<br>A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of th
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4

Gołyźniak, Paweł. "Use of engraved gems for self-presentation and propaganda purposes in the Roman Republic and under Augustus." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/148716.

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The study aims at tackling a problem of use of engraved gems for self-presentation and propaganda purposes in the Roman Republic and under Augustus. The most important observation about the gems in this dissertation is that they portray Roman society at each level. They are snapshots of people believes, ideologies, everyday life and thus, they might cast some light at propaganda actions performed by Roman political leaders and their factions in the past. Gems are plausible to show both, general trends in propaganda activities as well as individual and private acts of being involved in politics
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Books on the topic "Engraved gems"

1

Plantzos, Dimitris. Hellenistic engraved gems. Clarendon Press, 1999.

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2

M, Brown Clifford, ed. Engraved gems: Survivals and revivals. National Gallery of Art, 1997.

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3

New York. Catalogue of engraved gems: Greek, Etruscan, and Roman. L'Erma di Bretschneider, 2006.

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Kornbluth, Genevra Alisoun. Carolingian treasure : engraved gems of the ninth and tenth centuries. University Microfilms International, 1987.

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5

Maaskant-Kleibrink, Marianne. The engraved gems: Roman and non-Roman. Ministry of Welfare, Health and Cultural Affairs, 1986.

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6

Henig, Martin. Engraved gems from Gadarain Jordan: The Sa d collection of intaglios and cameos. Oxford University Committee for Archaeology, 1987.

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Mary, Whiting, та Wilkins Robert, ред. Engraved gems from Gadara in Jordan: The Saʻd collection of intaglios and cameos. Oxford University Committee for Archaeology, 1987.

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Nestorović, Aleksandra. Images of the world engraved in jewels: Roman gems from Slovenia. Narodni muzej Slovenije, 2005.

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Museum, Ashmolean. Catalogue of the engraved gems and finger-rings in the Ashmolean Museum. Archaeopress, 2004.

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Middleton, Sheila Hoey. Engraved gems from Dalmatia: From the collections of Sir John Gardner Wilkinson and Sir Arthur Evans in Harrow School, at Oxford and elswhere. Oxford University Committee for Archaeology, 1991.

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Book chapters on the topic "Engraved gems"

1

Spier, Jeffrey. "Engraved Gems and Amulets." In The Routledge Handbook of Early Christian Art. Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-9.

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Leopardi, Liliana. "Erotic Magic: Rings, Engraved Precious Gems and Masculine Anxiety." In Arizona Studies in the Middle Ages and Renaissance. Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.asmar-eb.5.111058.

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"Engraved gems:." In Representations of Animals on Greek and Roman Engraved Gems. Archaeopress Publishing Ltd, 2018. http://dx.doi.org/10.2307/j.ctv1nzfw6v.6.

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Plantzos, Dimitris. "Engraved Gems and their Owners." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0011.

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Abstract Chapter 9 has shown that engraved gems were a costly luxury, desired by many, but accessible to few. Although this may agree with the place of precious and decorative stones in any society, including our own, gems in antiquity were accorded much higher importance, being the conveyors of multiple meaning. It has already been discussed how they would be treasured and displayed, but in many cases a gem’s worth went beyond its cost, fine cutting, or artistic merit. Intaglios and rings served as tokens of love and fidelity, political persuasion, amulets, and charms. Their exchange as gifts
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Plantzos, Dimitris. "Cost and Value of Engraved Gems in Antiquity." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0010.

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Abstract From the later Classical period onward, jewellery became much more common in the Greek world than it was before. Alexander’s expedition and, before that, the systematic exploitation of the natural resources of northern Greece by the Macedonian kings and especially Philip II, made precious materials more readily available in Greece. After the conquest of Persia, as Athenaios puts it, ‘the all-highest Alexander brought away for his own uses the treasures of Asia’ (Deipn. 6. 231c). Up to this moment, precious stones had been used in Greek jewellery only in glyptic, but in the Hellenistic
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Plantzos, Dimitris. "The Evidence from Temple Inventories." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0003.

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Abstract A number of temple inventories from the ancient world, that is lists of valuables kept in temple treasuries compiled by the officers in charge, offer a welcome insight into the way luxurious gifts to a deity would be stored and valued. The short entries for the objects recorded in these inscriptions provide a comment on what has actually survived from antiquity, while at the same time they point out those qualities of ancient crafts that were valued by their contemporaries. Needless to say, not all accounts from Classical Greek and Hellenistic temples survived, but we are fortunate to
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Plantzos, Dimitris. "Shapes and Materials." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0005.

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Abstract In shapes and materials, Hellenistic gem-engravers introduced a remarkable number of innovative features, being open to various influences which they mainly derived from the East. At the same time, however, the links with Classical glyptic remained visible. The influence of Italiot glyptic can also be traced in several instances.
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Plantzos, Dimitris. "Introduction." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0001.

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Abstract Among those objects of ancient art which have reached us through the lapse of ages, engraved stones may be considered among the number of the most elegant and refined by their forms, their lustre, and their use, the most precious from their material and their workmanship, the most sought for from the facility with which they can be mixed with other ornaments, and set in connection with the most precious jewels. The luxury of the ancients led them to adopt a style of workmanship which was agreeable to the most exquisite taste, whether it adorned diadems, collars, bracelets, earrings, w
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Plantzos, Dimitris. "Scholarship and Literature." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0002.

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Abstract Gems came to interest ancient naturalists and physicists from an early date. Several treatises written at various times comment upon minerals and their properties, from standpoints as various as folk-tale, natural observation, philosophical and medical doctrine, religious conviction, and compilation of previous works and traditions. Of these early lapidaria only two have been preserved; a couple more dating from the late antiquity do not seriously concern the present study.
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Plantzos, Dimitris. "Objects and Animals." In Hellenistic Engraved Gems. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150374.003.0008.

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Abstract A large number of Hellenistic intaglios draw their iconography from a wide repertory of simple motifs, depicting either animals or single objects. Many of the latter were, or are thought to have been, of a symbolic value, mostly religious or political. Since, however, the elements of their iconography are so few, an assessment of their significance can be precarious. These gems are also extremely difficult to date, as they present one with very little information compared with the intaglios discussed so far. Accordingly, the present chapter and the relevant entries in the catalogue (n
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