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Roman gems have continued to be discovered in Roman Britain and published in archaeological reports and notes since the author completed his Corpus of Gems from British Sites in 1978. A new source of glyptic material can be found in the on-line publication of Portable Antiquities (Portable Antiquities Scheme) which includes intaglios, most of them found without stratigraphical context, by users of metal detectors, though many are set in rings, which provide significant aids in dating. Others were clearly re-used as they are set in seal matrices or medieval rings and were frequently freshly imported at that period from southern Europe. In the High Middle Ages, as in Roman times, intaglios reflect the interests, and patterns of thought of those who wore and valued these beautiful objects. [ABSTRACT FROM AUTHOR]

Sealings recovered from the Omo M10 temple, a provincial center of the Andean Tiwanaku state (AD 500–1100), and from the Muru Ut Pata neighborhood of the Tiwanaku capital, as well as a signet ring from the Akapana East complex of Tiwanaku's highland capital, shed light on the hitherto undocumented use of seals and sealings in Central Andean complex society. The identification of Tiwanaku sealings related to the signet ring seal has implications for understanding the transmission of identity, authority, and authenticity over time and distance in early Andean states. [ABSTRACT FROM AUTHOR]

A fresh study of the available documentation makes it possible to identify between thirty-five and forty-one gems that initially belonged to Peter Paul Rubens and, later on, to the 1st Duke of Buckingham and to Gaston, Duke of Orléans. This paper thus argues that Gaston acquired about a fourth of the Duke of Buckingham’s collection of ancient gems and that he did so in Paris, during the Fronde. It also appears that Gaston selected the gems according to topics of interest. Many of the gems he acquired pertain (or might pertain) to political iconography (e.g. royal and imperial portraits featuring, in particular, Alexander the Great, as well as mythological scenes involving Hercules and Apollo). Such scenes are often engraved on prestigious and sizeable cameos. These images of power may reflect Gaston’s political ambitions at the time he bought his collection. Other gems selected by the duke include ‘erotic’ scenes and references to the pleasures of wine (e.g. depictions of female nudes and children’s bacchanalia). Finally, a third group of scenes show an interest in pagan religions (e.g. representations of Egyptian gods and scenes of sacrifice).

Recent excavations in the southwestern part of the embayment that served as the southern harbour of ancient Berenike uncovered, among others, a metallurgical furnace from late Hellenistic times. An analysis of this discovery in trench BE14/15-102 offers insight into metallurgical production taking place in the harbour zone in the last years of the Ptolemaic kingdom. The early Roman phase, as attested in this trench, indicates a restructuring of this part of the harbour and its new, changed function as an open-circulation area, probably with some wealthy residences nearby. [ABSTRACT FROM AUTHOR]

This study was conducted to measure the changes of pressure distribution over time on the denture-bearing mucosal surface resulting from relining the intaglio surface of dentures with tissue conditioners. Pressure sensors of electrostatic capacitance variation were used to detect changes on three models of different residual mandibular ridge height. It is suggested that the shrinkage of tissue conditioners influences the dimensional accuracy of a dynamic impression technique. [ABSTRACT FROM AUTHOR]

The paper presents a series of finger rings with/or gems of Mediterranean origin unearthed in Bohemia in Late Iron Age contexts. The rings and gems are studied from formal and stylistic point of view; results of technological analyses are also taken into consideration. The assemblage of finger rings from Bohemia is subsequently confronted with other Transalpine finds. The imported rings are relatively numerous in Bo‑ hemia but they are of a mediocre quality. Issues concerning the function of rings in the Late La Tène society as well as their role as indicators of romanisation are discussed in the end of the paper.

An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled ‘Breve Descrizione del Museo Trivulzio’, describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder – Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time.

In the first half of the 19th century, the Prince Stanislas Poniatowski (1754–1833) collection of engraved gems was considered to be one of the most outstanding known assemblages. However, its sale at Christie’s in 1839 was a disaster, as the cabinet turned out to include almost only neo-classical specimens and, thus, half of the gems did not go under the hammer. But these intaglios and cameos, and especially the themes they bear, portray in their beauty an effort to re-create a lost neo-classical world as reflected in the texts of Homer, Vergil, and other ancient authors. In contrary to other works on the Poniatowski gems, this paper focuses not on the collection itself, but on its impact on the later gem engraving. It presents two intaglios from the collection of the National Museum in Krakow. The first presents a scene of Hebe pouring out nectar for Jupiter (with an eagle behind him). The second depicts a crowned snake-god with the incorrect Latin inscription: VOT•SOL•CER. They are faithful copies of two Poniatowski gems. In fact, the first gem testifies to the great contribution of the Poniatowski collection to the reception of Classical culture, while the other is a falsification of the original which reflects a later collector’s aim to possess a ‘Poniatowski gem’.

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 rider imagery. Under the Roman Empire, the rider image became the preserve of that new divine figure, the emperor. The Imperial rider combined the attributes of a Bellerophon or the Dioscuri of the Classical period and an Alexander of the Hellenistic. Also, Gauls are fairly common in art and there are quite a number of Celtic/Gaulish horsemen on gems. Presumably, people wore such gems as a reminder of the iconic defeat of the Northern barbarians by the Attalids and more recent Roman triumphs. In addition, there are several examples of gems, on which appears a rider beneath whose horse a lion or another animal is lying. It is likely that this rider was perceived by the gem engraver and owner as some god or hero. Since these depictions of cavalry on gems are similar to the “Heros Equitans” image, possibly they were inspired by it and so were the depictions of the emperors. Thus it is concluded that applying representations of riders on engraved gems demonstrates the possible wish of affluent, albeit ordinary people to resemble the ruling class as well as heroes through the purchase and use of these gems which also bear additional meanings of bravery and immortality.

An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled 'Breve Descrizione del Museo Trivulzio', describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder - Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time. [ABSTRACT FROM AUTHOR]

The hitherto unpublished intaglios here presented come from Istria and Dalmatia: they are highly important for the study of the glyptics of Republican Rome, because they testify to new iconographic details, as it has often been recognised inthe study of the gems of the Croatian area. On the intaglio from Istria, the motif of Rhea Silvia is represented with hitherto unknown variants; it is the same with the cornaline stone from Dalmatia which represents the siege of Thebai: one notices peculiarities and formal creations that have no parallels in the published items. One can also see how the detailed study of local production can throw light on the artistic and social characteristics of the area under examination, as Mme Guiraud’s masterly studies have recently shown.

The article presents stones from Roman rings that belonged to Doctor Delmira Maças’s archeological collection. All were discovered in irrigation canals in the fields in which the Roman city of Ammaia, Portugal, was located (to day S. Salvador de Aramanha, Alentejo). Comparisons are made with similar objects to be found in the corpus of the stones of Roman rings in Portugal.

The paper looks at the anepigraphic material such as jewellery and cosmetic objects recovered from the province of Upper Moesia. The quality of the material used in their manufacture, their findspots and iconography, serve as a basis in an attempt to shed light on the origin and social status of Bacchic worshippers in that part of the Roman Empire.

For adhesively retained ceramic crown of various types, it has been clinically observed that the most catastrophic failures initiate from the cement interface as a result of radial crack formation as opposed to Hertzian contact stresses originating on the occlusal surface. In this work, a 3D failure prognosis model is developed for interface initiated failures of monolithic ceramic crowns. The surface flaw distribution parameters determined by biaxial flexural tests on ceramic plates and point-to-point variations of multi-axial stress state at the intaglio surface are obtained by finite element stress analysis. They are combined on the basis of fracture mechanics based statistical failure probability model to predict failure probability of a monolithic crown subjected to single-cycle indentation load. The proposed method is verified by prior 2D axisymmetric model and experimental data. Under conditions where the crowns are completely bonded to the tooth substrate, both high flexural stress and high interfacial shear stress are shown to occur in the wall region where the crown thickness is relatively thin while high interfacial normal tensile stress distribution is observed at the margin region. Significant impact of reduced cement modulus on these stress states is shown. While the analyses are limited to single-cycle load-to-failure tests, high interfacial normal tensile stress or high interfacial shear stress may contribute to degradation of the cement bond between ceramic and dentin. In addition, the crown failure probability is shown to be controlled by high flexural stress concentrations over a small area, and the proposed method might be of some value to detect initial crown design errors. [ABSTRACT FROM AUTHOR]

Space analysis for retentive components is a critical part of a treatment plan for an implant-retained prosthesis. This article describes a technique to evaluate the retentive component space between the mucosa and intaglio surface of a removable prosthesis. This technique uses a silicone mold to represent the relieved space. Two silicone matrices are fabricated over the silicone space replica as a reference for selecting or fabricating retentive components for the implant-retained removable prosthesis. [ABSTRACT FROM AUTHOR]

In the first half of the 19th century, the Prince Stanislas Poniatowski (1754-1833) collection of engraved gems was considered to be one of the most outstanding known assemblages. However, its sale at Christie's in 1839 was a disaster, as the cabinet turned out to include almost only neo-classical specimens and, thus, half of the gems did not go under the hammer. But these intaglios and cameos, and especially the themes they bear, portray in their beauty an effort to re-create a lost neo-classical world as reflected in the texts of Homer, Vergil, and other ancient authors. In contrary to other works on the Poniatowski gems, this paper focuses not on the collection itself, but on its impact on the later gem engraving. It presents two intaglios from the collection of the National Museum in Krakow. The first presents a scene of Hebe pouring out nectar for Jupiter (with an eagle behind him). The second depicts a crowned snake-god with the incorrect Latin inscription: VOT•SOL•CER. They are faithful copies of two Poniatowski gems. In fact, the first gem testifies to the great contribution of the Poniatowski collection to the reception of Classical culture, while the other is a falsification of the original which reflects a later collector's aim to possess a 'Poniatowski gem'. [ABSTRACT FROM AUTHOR]

The National Museum in Krakow contains an outstanding set of gems collected by Constantine Schmidt-Ciążyński (1818-1889). Within this extensive group of objects, two very rare intaglios bearing a particular intriguing motif, the double-headed device, stand out from the rest. Since the very beginning, scholars have interpreted this kind of depiction differently and many different hypotheses have been drawn. This paper aims to explain the meaning of this strange iconography and from whence it originated.

Aim: This study includes a comparative evaluation of the various surface treatments of the intaglio surface of crowns in combination with various luting agents for maximal retention. Materials and Methods: Totally, 150 dies of a standard complete crown preparation were fabricated. Wax pattern with a loop on the occlusal surface was prepared on each die using standard procedures, and then crowns were cast with nickel‑chromium alloy. These crowns were randomly divided into five groups as per the surface of the intaglio surface of the metal copings. The crowns in each group were again subdivided randomly into three groups as per the luting agents used resin‑modified glass ionomer cement, glass ionomer cement, and zinc phosphate cement. Retention was measured (MPa) by separating the metal crowns from the metallic die under tension on a Universal testing machine. Statistical Analysis Used: The data were recorded and statistically analyzed using one‑way analysis of variance followed by Tukey's test. Results: The retention differed both with surface treatment and type of luting agents. Untreated group showed the least bond strengths < sandblasting with 50 μm alumina < sandblasting with 50 μm alumina with ultrasonic cleaning < sandblasting with 110 μm alumina < sandblasting with 110 μm alumina along with ultrasonic cleaning. For luting agents, glass ionomer cement showed least bond strength because there was no chemical bonding present between metal crown and metallic die, followed by zinc phosphate cement and maximum bond strength were found for resin‑modified glass ionomer cement. Conclusion: Among all types of surface treatments used in this study, maximum bond strength was yielded by sandblasting with 110 µm alumina + ultrasonic cleaning and the best luting agent was resin‑modified glass ionomer cement. [ABSTRACT FROM AUTHOR]

An unusual gold ring from Afghanistan, set with a garnet intaglio, is now in the al-Sabah Museum collection, Kuwait (inv. no. LNS 4598 J). This ring illustrates how in the early centuries CE iconographic elements from both the East and the West were combined and adapted in Afghanistan to suit local religious beliefs. The iconography of both the gold ring-setting and the garnet intaglio is based on classical prototypes. The eagle and child motif on the gold ring is close to classical versions of Ganymede and the eagle; and the standing female figure on the intaglio is clearly a fertility goddess derived from images of Aphrodite, who is often accompanied by a small Eros orputto. Neither the female deity nor the half-figure on the intaglio can be identified with any certainty, but parallels can be drawn between them and other figures on a number of Classical and Sasanian intaglios, coins, and silver objects. [ABSTRACT FROM PUBLISHER]

The study of ancient seals has always been attracting scholars due to the presence of a large variety of designs, symbols, short legends and individual characters. The broad spectrum of this material help to know various aspects of the past like art, chronology, iconography, palaeography etc. The author found one of such seals of great significance which was published fifty years ago. The figures displayed on this seal have close similarity with those found on some gold coins of the Great Kushans (2nd century). Mukherjee who published this seal put it in the chronological sequence of the two Kushan kings after its resemblance with the reverse design of some gold coins of Kanishka and Huvishka. The present authors owes this opportunity to reinvestigate the said seal in the light of further numismatic evidences which were not duly consulted when it was first published. In view of some rare issues of Huvishka' copper the seal under discussion can be assigned to the period of this ruler (second half of the 2nd century) of the Kushans. [ABSTRACT FROM AUTHOR]

Bacchus is not one of the chief characters of the glyptics of Roman times. He appears in most cases in restful attitudes, alone or in the company of a silenius or a satyr, in the fine nudity of his youth. The personal links between the possessor of an intaglio and the represented deity are here imbued with a fine serenity.

This paper will look at the nexus between literature and the visual field with reference to the artist's book, which holds a unique position, wherein it straddles both the visual and literary fields. Using the book as artifact, the visual artist pays tribute to the historical structure of the book, but interprets or modifies the form of the book, in order to create a platform for the artist's own imagery. Often, a response to literature by the visual arts is something that moves away from the original intention of a myth or author, to take on a life of its own. This paper will examine the movement of letterpress away from its historical function and towards fine art. With particular reference to the creation of the artist's book Wolfgirl (2011), the paper will look at the nature of practice-based research within the visual arts. Thus the paper will consider how the use of letterpress enables a refinement of composition that expands the intaglio illustrations, and in turn, how the intaglio prints give character to the imagined world. The paper will also examine how narrative pertaining to wild children, within the canon of myth, furthers our understanding of the evolution of culture. Looking at the notion of the marginal protagonist, it will explore notions of how children at the very margins of society inform and direct our relationship with civilization. [ABSTRACT FROM AUTHOR]

This article deals with the history of the State Hermitage Museum’s collection of gem casts, with a focus on the dactyliotheca stored in the Department of Classical Antiquity containing over 25,000 pieces and currently kept in storage. This collection of plaster impressions has never been displayed to the public and its contents have not yet been published. Nevertheless, it forms a unique example of a collection of casts made from cameos and intaglios, both antique and modern. It is important in a number of ways, including its usefulness in studying the evolution of engraving techniques and its value in contributing to the repertoire of images encountered on gems. It is also an important resource for the study of gems that have not survived in original form to present day. [ABSTRACT FROM PUBLISHER]

The National Museum in Krakow contains an outstanding set of gems collected by Constantine Schmidt-Ciazynski (1818-1889). Within this extensive group of objects, two very rare intaglios bearing a particular intriguing motif, the double-headed device, stand out from the rest. Since the very beginning, scholars have interpreted this kind of depiction differently and many different hypotheses have been drawn. This paper aims to explain the meaning of this strange iconography and from whence it originated. [ABSTRACT FROM AUTHOR]

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The author studies about 40 Christian intaglios on which are represented the cross and anchor associated with two fish. At first, there is explained the main data regarding the three symbols (the cross, anchor and fish) and the iconographic background of their association on the monuments. Using a systematic repertoire, the author divides the pieces in two important groups: the cross associated with two fish, respectively the anchor associated with two fish. Concerning the fish position and the vertical base of cross and anchor, the author found nine types of representations: IIV types of cross and fish as well as V-IX types of anchor and two fish. Th e theological interpretation of this association followed the characteristics of the three symbols: 1) the cross represents Jesus Christ; 2) the anchor represents the faith and the Church; 3) the fish represent the Christian believers. When the fish have the head in up position towards the top of cross or anchor, the meaning is the believers' desire of communion and union with Christ. When the fish have the head in down position against the base of the cross or the active head of the anchor, the signification is that the believers follow the Church with enthusiasm, with living faith. When the fish position is opposed (with the head position up respectively down) there is to be observed a double meaning: the believers are guided through church towards Jesus. [ABSTRACT FROM AUTHOR]

A Roman cornelian intaglio once set in a gold signet ring, excavated at the Lullingstone Roman villa, Kent, is discussed, its iconography evaluated and its significance reassessed. It is concluded that it was the personal seal of Publius Helvius Pertinax, governor of Britannia in AD 185–86 and subsequently (in 193) Emperor. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine if a modified direct relining method could result in excellent denture adaptation compared to a conventional method. Direct relining was done using heat-polymerized acrylic resin base on a maxillary cast with two times of three seconds of cooling using dichloro-difluoro-methane coolant. Discrepancy between cast and intaglio surface at residual ridge and center of palate was measured at 12 minutes after mixing of resin (Time 0) and at 24 hours or seven days after water immersion (36°C). At Time 0 (with three seconds of cooling), the discrepancy at ridge (0.39 ± 0.27) and palate (0.66 ± 0.31) was significantly lower compared to that of control (ridge=0.93 ± 0.51; palate=1.14 ± 0.13, P<0.05); and the same observations occurred at 24 hours and seven days too. On intaglio side (with three seconds of cooling), the peak temperature was 5°C lower than that of control and it occurred at a delay of about 60 seconds. Based on the results of this study, we therefore suggested that this delayed and lowered temperature served to improve the adaptability of denture base. [ABSTRACT FROM AUTHOR]

Provides information on the sealings found on the excavations at the site of Kafir Kala in Samarkand, Uzbekistan. Background information on the excavations conducted at the site; Stratigraphical units into which the layers identified at the site were divided; Arrangement in which the sealings were found; Material from which the sealings were made; Description of the sealings.

Looks into the influence of the Ottomans evident in the seal of Sultan Alauddin Riayat Syah of Aceh, Indonesia. Size of the seal; Discussion of the intaglio and relief carving in Islamic seals; Presence of small decorative elements on the seal.

Examines an intaglio depicting Hercules being offered a wreath by Victory, cut in a dark cornelian and set in a copper-alloy brooch. Description of the brooch; Discussion on the intaglio.

Provides information on the jasper intaglio Roman signet ring submitted at the Institute of Archaeology in Oxford, England. Description of the gemstone; Historical background of the gem; Discussion on the rarity of the ard/plough on gems.

In 1997, excavations conducted by the University of Amsterdam at Geraki (Lakonia) led to the discovery of a group of clay sealings amid burnt debris dating to Early Helladic IIB. The unexpectedness of finding clay sealings of such early date at this relatively unknown, inland site has prompted this preliminary report. [ABSTRACT FROM AUTHOR]

The authors describe methods of achieving wash effects on intaglio prints through processes involving the use of dry copier toners for the exposure of light-sensitive intaglio plates. Also described is a method of etching plates with the use of electric current replacing the use of dangerous acids. [ABSTRACT FROM AUTHOR]

The article focuses on the identification of hellenistic portraits in Athens, Greece. In this article, the portrait of Echedemos which is found in historic coins was investigated. According to the author, hellenistic portraits can be considered completely secure only when some copy bears the name of the subject inscribed in antiquity or when comparison with a numismatic portrait permits the identification. However, in the case of Echedemos, this does not match or support the classical archaeology of recognition.

The article focuses on experiments in contemporary intaglio printmaking. During the 1940s, the art of printmaking was said to be in its heroic period of experimentation. In those times, the idea was not a premeditated program, but rather a necessity for artists to make wider and more flexible ways to entertain changing visual concepts. According to the author, Jacques Villon is one of the most prominent figures in printmaking in the 20th century. He acted a vital role in the development of intaglio printmaking. English artist Stanley W. Hayter and his Atelier workshop in Paris, France are also responsible for a breakthrough in intaglio printing.