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Sub Signo Capricorni. the Image of Capricorn in Glyptics: Literary Sources, Gemstones, Impressions, Drawings

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Sub Signo Capricorni. the Image of Capricorn in Glyptics: Literary Sources, Gemstones, Impressions, Drawings Artl@s Bulletin Volume 10 Issue 1 Images in Circulation Article 2 Sub signo Capricorni. The Image of Capricorn in Glyptics: Literary Sources, Gemstones, Impressions, Drawings Alessandra Magni independent scholar, [email protected] Umberto Verdura Ecole Normal Supérieure, [email protected] Gabriella Tassinari independent scholar, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Magni, Alessandra; Umberto Verdura; and Gabriella Tassinari. "Sub signo Capricorni. The Image of Capricorn in Glyptics: Literary Sources, Gemstones, Impressions, Drawings." Artl@s Bulletin 10, no. 1 (2021): Article 2. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Images in Circulation Sub signo Capricorni. The Image of Capricorn in Glyptics: Literary Sources, Gemstones, Impressions, Drawings independent scholar Alessandra Magni École normale supérieure Umberto Verdura independent scholar Gabriella Tassinari Abstract The relationship between glyptics and the circulation of images can be analysed from differ- ent perspectives, as seen in the case study of the image of Capricorn. The goat-fish monster entered the European collective imagination during Antiquity, when its image was spread on gems and coins. The popularity of this theme in the Augustan Age is unquestionable but, over time, the political meanings associated with Capricornth seemed to have faded, while others appeared. These meanings were fully recovered by 17 century scholars through the analysis of famous cameos and lesser-known gems. However, the protective and magical value of gems with Capricorn has always been and still remains remarkable. Further insights and comparisons are provided by some unpublished Capricorn intaglios and glass gems Résuméhoused in the collections of the Museo Archeologico al Teatro Romano (MATR) in Verona. La relation entre la circulation des images et la glyptique peut être analysée selon différentes perspectives, dont l’exemple, dans le cadre de ce travail, sera fourni par l’étude de l’image du Capricorne. Ce monstre mi-chèvre mi-poisson est entré dans l’imaginaire européen dans l’Antiquité, en partie grâce à sa diffusion sur les gemmes, utilisées par un public intéressé par l’astrologie : les gemmes tantôt résument tantôt anticipent les images présentes sur les mon- naies. Le succès de ce thème à l’époque augustéenne ne fait guère de doute, mais plus tard les significations politiques de ce signe semblent disparaître,ème tandis que d’autres fleurissent. Ces sens furent redécouverts par les antiquaires du XVII siècle grâce à l’étude de camées célèbres et de gemmes moins connues. Toutefois, en association avec les gemmes, la valeur apotropaïque du Capricorne resta invariée. Quelques intailles et pâtes de verre inédites re- présentant ce sujet, qui se trouvent à présent au Museo Archeologico al Teatro Romano de Vérone, offriront d’autres idées pour la rechercheArtl@s et la comparaison. Bulletin, Vol. 10, Issue 1 (Spring 2021) Magni, Verdura, Tassinari – Sub signo Capricorni Circulation of Images and Glyptics: An Introduction (A.M., U.V., G.T.)1 from dated findings are few. Only in rare cases we can follow gems from workshop to owners, and imagine the successions of owners from the first to The relationship between the circulation of images the last ones. Indeed, in ancient times gems were and glyptics can be analysed from different per- often used for several generations. Finally, we can spectives. A preferred line of research focuses on follow the reproduction of an image from a model the different meanings that images on gems may (a coin, for example) onto gems and recognize se- have acquired through space and time: iconogra- ries, workshops, and artists. We can also follow the phies change or are modified in the same way as circulation of images from the engraved stones on their meanings. While the analysis of archaeologi- to other materials. cal contexts and literary sources can help us rec- ognize clear or hidden significances, it does not We will try to illustrate these lines of investiga- completely explain why a man or a woman chose a tion by referring to an iconography that is still well specific gem for sealing and for wearing in a piece recognizable nowadays: the Capricorn figure. The of jewellery. We mainly look at engraved gems as goat- fish hybrid entered the European collective little masterpieces, or as mysterious shrines of an- imagination in the Classical Age and the gems bear- cient myths – the same approach that Humanists2 ing this picture have contributed widely to spread and collectors and scholars of the Modern Age had. its iconography and the various5 meanings linked There is in fact a specific and fascinating feature in to it through the centuries. Most of the gems we gems: the engravings create, by impression, other will present come from the collections of the Museo images, which have been and are still one of the Archeologico al Teatro Romano (MATR) in Verona, most successful ways to learn about and study the Italy, which houses a relevant group of intaglios6 spreadnd3 of classical art, both in ancient and modernrd with Capricorn: 40 exemplars, mostly unpublished. times. Nevertheless, for a few centuries, between Two Myths, Two Iconographies the 2 century B.C.E. and the middle of the 3 cen- (A.M., U.V.) tury C.E., gems were mostly a commodity, needed for a urban – and globalized – life, worn by men and women, expressing, if possible, the feelings, mem- Following the representation of Capricorn on gems, ories, ambitions of their owners. An undoubtable bullae we start analysing literary sources: the glyptic im- proof of the practice of sealing is given by thou- ages reflect indeed the different myths about the or- sands of clay with gem impressions, which igin of the monster. The first myth revolves around have been found in the ruins of public and private the figure of Zeus and his childhood and is related archives of the Hellenistic and Roman Ages in the 4 to the Naiad Amaltheia. According to Ovid, Rhea Mediterranean and Eastern areas. These impres- decided to give the new- born Jupiter to a nymph, sions also offer a faithful picture of which images the Naiad called Amaltheia, who nourished him really circulated in glyptics during antiquity. On the Cornucopia with the milk of her goat. The goat’s broken horn other hand, the gems in the historical collections became a symbol of abundance, the : are mostly removed from their context, and groups when Zeus won over Chronos, he put his nurse and 1 We wish to thank Margherita Bolla, Museo Archeologico al Teatro Romano of Verona,Année 5 Philologiquewho made gems and their images available for this article; Cristina D’Adda, Biblioteca Altough references to Capricorn on gems are common in studiesRACF on Augustan art Archeologica e Numismatica di Milano, for her assistance. Abbreviationsth follow and glyptics, only few papers are devoted to it; among them, Gaston Cœuret, Hélène ; URL cited were requested on November 15 , 2020. Unless otherwise Guiraud, “Une intaille «au capricorne»,JDAI à Pouillé (Loir-et- Cher),” 19 (1980), indicated,2 the translations are ours. Antike Gem- 29- 34 (list of gems); Carina Weiß, “Virgo FoliaCapricorn in memoriam und Taurus. Ruth Zur Lindner Deutung collecta Au- men3 In this und essay, ihr Nachleben the term “modern” refers to the Modern Age (1500- 1800). gusteischer Symbolgemmen,” 109 (1994), 353- 369; Carina Weiß, “Capricorn About collections in antiquity and in Modern Age: Erika Zwierlein- Diehl, RAL Engravedund Tisch Gemsauf Augusteischen and Propaganda Gemmen,” in the Roman in Republic and under Augustus , (Berlin: De Gruyter, 2007), 108- 109; 264-304; Maria Elisa Mi- ed. Carina Weiß and Erikaad indicem Simon (Dettelbach: Röll, 2010), 164- 177; Paweł Gołyźniak, cheli,Archives “Dactyliothecae et sceaux du romanae: monde hellénistiquetra publica magnificentia e privata luxuria,” Ser.BCH 9, Gemme dei Civici Musei d’Arte di Verona (Oxford: Suppl.264 (2016), 73-113. Clay Seal Impressions of Zeugma - Kil Mühür Baskilari 6Archaeopress, 2020), , provides a list of gems with Capricorn. Actes du colloque de Turin 1993, About the collection: , a cura di Gemma Sena 29 (1996); Mehmet Önal, Chiesa, testi di Gemma Sena Chiesa, Alessandra Magni, Gabriella Tassinari (Roma: (Ankara: Gaziantep Müzesi, 2007). Giorgio Bretschneider Editore, 2009). 13 Artl@s Bulletin, Vol. 10, Issue 1 (Spring 2021) Images in Circulation Magni, Verdura, Tassinari – Sub signo Capricorni 7 her horn among the stars. 8 In another version of the myth, related by Hyginus, Amaltheia is the daugh- ter of the King of Crete. Again, she received and fed the little Jupiter with the help of her goat, and then she and her goat were put among the stars. The Library connection between the goat and the Cornucopia is highlighted also in Apollodorus’ , where we can find mention of Cornucopia’s extraordinary 9 Catasterismi powers. This association is also illustrated by Er- atosthenes in his 10 where Amaltheia is the mother of Capricorn. The myth of Capricorn omen is related to the positive image of the Cornucopia, Figure 1. whose power could be understood as a good Capricorn-Cornucopia. Intaglio, carnelian. Verona, Museo Ar- for the owner of the image. cheologico al Teatro Romano (MATR), inv. 26926. Ph. Giorgio Fogliata. Courtesy of the Museo Archeologico al Teatro Romano. Capricorn- Amaltheia is well portrayed in a group of gems, in which the lower part of the body of the animal becomes a horn of plenty.
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