Jane Derose Evans Glass Intaglios of the Roman Imperial Period From

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Jane DeRose Evans

Glass Intaglios of the Roman Imperial Period from Sardis 1

Gli intagli su pasta vitrea costituiscono una classe di oggetti con implicazioni storiche e mi - tologiche che però è stata raramente studiata. Nel seguente articolo vengono pubblicati nu - merosi ritrovamenti in situ dagli scavi di Sardi nell’odierna Turchia a partire dal 1994, grazie ai quali si possono comprendere al meglio sia questo tipo di reperti in genere che la loro produzione. Trovate nel medesimo settore a ridosso dell’acropoli, seppur in unità stratigra - fiche differenti, gli intagli vitrei sono molto simili tra loro per stile e fattura. Considerando la loro parziale rifinitura, almeno in certi casi, essi dovrebbero costituire del materiale prove - niente da una bottega locale. Parte del corpus fu rinvenuto in uno strato di riempimento pos - teriore al terremoto che devastò la città nel 17 d.C. permettendo una datazione al più tardi in età tiberiana. Altri intagli furono rinvenuti invece in strati di riempimento ancora poste - riori. Tale dato è confermato anche dall’analisi iconografica comparata di alcuni intagli con alcune monete locali. Così un intaglio raffigurante Zeus mostra forti similitudini con l’effige della medesima divinità nota su un tetradramma emesso a Sardi e risalente al tardo IV se - colo a.C. Altre raffigurazioni di Ermes e Eracle evidenziano un’iconografia simile a quelle su alcune monete bronzee d’epoca augustea e giulio-claudia. Più tarda sarebbe invece secon - do l’autrice un intaglio raffigurante Demetra con una spiga e un papavero nella mano de - stra. Tale iconografia, sconosciuta nelle raffigurazioni d’epoca ellenistica, compare su alcune monete bronzee coniate a Sardi solo nel II secolo d.C.

Introduction

Glass intaglios only become common in the Late Hellenistic and Roman Imperi - al periods. These small items made of a common-place material «were affordable, non -elite ob -

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jects» whose iconography often reflects parallels found on ancient coinag e2. Indeed, Pliny ex - presses a great deal of interest in helping the elite discern glass gems from those made of semi- precious stones, so that they do not mistakenly wear intaglios meant for the lower classes 3. Ac - cording to Pliny, not all of these gems were used as signets or markers of personal identity but were placed on the body as amulets ( NH 37.37). The iconography of the Sardis gems would lend themselves to such use. Glass intaglios can imitate the color and shape of precious and sem i- precious stones but are more commonly made out of a light blue glass, which does not imitate a par - ticular gemstone 4. The lighter in color that they are, the more obvious are the signs of casting: bubbles in the interior of the gem, and small pits in the surface caused by burst bubbles 5. Be - cause of the nature of the creation process, intaglios are more prone to manufacturing flaws, one of which can be seen in gem 26, below. Several more flawed intaglios were found on the same hill in Sardis where the intaglios listed below were excavated 6. Zwierlein-Diehl argued that glass intaglios were manufactured by the making of a fired -clay mold, into which the pasty glass was pressed 7. The molds were covered with a slurry to prevent the glass from adhering to the mold. The original mold could be made by pressing any object with a raised design into it; the engraver would then sharpen details by hand. As can be seen below, a glass gem emanating from a mold could provide that raised image. When pressed into the clay to form a second -generation mold, the resulting gem will be smaller than the original, due to the shrinking of the clay in the normal process of being fired but will in all other details be identical to the original gem. All of the intaglios published here have unfinished edges; some of those published by Önder did. Thus, the intaglios were ready for insertion into rings or for use as amulets. The craftsman appears to have had several versions of molds for the standing figure of Demeter, the pantheistic goddess, Apollo, busts of Apollo and Helios, and the two-figure compositions of Nike and Fortuna, and Asklepios and Hygeia. This small representation of the variety available at one site is an interesting glimpse into the favored deities of Augustan Sardis 8. Dating intaglios remains problematic, although scholars see gems of the Classi - cizing style as being made earlier than gems with more stylized figures (e.g. with «round heads» or «stripy» drapery) 9. Yet scholars are more comfortable dating, or at least supplying a poten - tial terminus post quem for dating, by looking at coin types. This close bond between gems and coins can lead to some complications, as both the coin and the gem may have been inspired by a lost object (such as a cult statue), and the scholar must remember to use the coin only as a potential terminus post quem 10 . I will argue that the glass intaglios found on a hilltop at Sardis were made at a still- to- be discovered workshop nearby, during the Augustan period. This date is confirmed by the iconography of some intaglios, which show motifs of very local interest, which were common in the late first century BC and very early first century AD. Welcome confirmation of that date was provided by archaeological contexts in which the intaglios were found.

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fig. 1 Acropolis and site of the Imperial city of Sardis, seen from the remains of the ancient lydian wall; the plateau where the intaglios were found is just below the peak of the acropolis. Photo J.d. evans.

Archaeological Contexts

Sardis, an ancient city on hills above the plains of the River Hermes, was an im - portant town in the Early Imperial period (fig. 1). Devastated by an earthquake in 17 AD (Tac. Ann . 2.47), only ten years later the city fathers competed with neighboring cities to obtain the neokorate priesthood for the cult of Roma and Tiberius (Tac. Ann . 4.55). Although the extent of the Early Imperial city is not entirely known today, due to the overbuilding of the site es - pecially in the Late Roman period, the wealth of the city can be glimpsed by the enormous temple to the Imperial cult built in the middle of the city (the «Wadi B» temple). It is thought to have been built in the Juli o-Claudian period 11 . Scant remains of Early Roman habitation remain from the hilltop known as Field 49, although these are much disturbed by later fills used for terracing and construction 12 . Two gems come from these undisturbed areas, which were dated by the pottery to first century BC to AD 50 (G12.4 no. 20 below, and G12.13, no. 37 below) or with a terminus post quem of AD 60 (G13.1, no. 42 below). The area was clearly heavily damaged in the earthquake of 17 and fills from the post -earthquake repairs contained seven gems (G11. 5- 8, 14, 26, 27, nos. 3, 9, 10, 22, 25, 31, 40). Thus, it can be argued that the gems were made in the Augustan period or in the earliest years of Tiberius’s reign; they were scattered in the destruction of the earthquake of 17 and were mixed with the rubble and dirt that comprised the clea n- up from the earthquake. Some of the gems were found in Middle or Late Roman fills; these intaglios may have been part of the post -earthquake fills which were cut and recut for foundation trenches

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and robber trenches. The intaglios that Önder published, and several from the catalog below, were found in surface or topsoil layers. Clearly, the small gems had been transported from their primary or secondary deposition layers and come to the surface due to agricultural ac - tivity on the hilltop. Önder published fragments of glass and glass ingots which he recorded as having been found in the vicinity of the intaglios 13 . Excavations of the area have not revealed any good evidence of a glas s- working workshop in Field 49. However, two of the intaglios (nos. 14 and 15 below) appear to be from a second generation mold, formed from the mold which pro - duced no. 13, perhaps implying a local manufacturing site. More tellingly, the presence of the uncut edges of the intaglios strongly suggests that the intaglios were part of a cache of gems that had been manufactured and the owner had not yet set into jewelry. The fragility of the edges suggests that the intaglios did not travel far from their manufacturing spot, even if the specific site of the workshop is still unknown. Local manufacture is also strongly implied in the iconographic parallels of some of the gems.

Iconographic Parallels to Suggest Local Manufacture

Several of the intaglios exhibit features which express a craftsman who was familiar with types of local coins, from an area ranging from Pergamon to Ephesos to Phrygia. The other types show a dependence on Empir e-wide imagery, especially that of the Early Imperial period. The strongest parallel to coins from Sardis is seen on no. 1, the enthroned Zeus, where the shape of the throne, with «bell covers» on its legs, and the position of the feet reproduces those found on Hellenistic tetradrachms minted at Sardis (fig. 2) 14 . As I have argued elsewhere, Hellenistic coins were circulating in Sardis in the Augustan period, and so it is not problematic to think that the creator of the mold for the intaglio could have used this reverse as a model for the gem 15 .

fig. 2 Alexander III, AR tetradrachm minted in Sardis, 31 9-315 BC, 17 mm (Price 1991, 2649; harvard Art museums 2002.34 1:1). head of young herakles, with lion skin helmet on head, facing right / enthroned Zeus, legs crossed, holding and eagle and scepter « AΛΕΧΑΝΔΡΟΥ », « Γ» in left field, monogram, a ligatured « TΛ», under throne. drawing of impression of Sardis intaglio G12.1, no. 1, as the coin reverse, except the position of the eagle is reversed (2:1). Coin: harvard Art museums/Arthur m. Sackler museum, Gift of Cornelius C. vermeule, III; drawing, C.S. Alexander, harvard Sardis excavation; both © President and fellows of harvard College.

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The depiction of Athena holding her spear, shield, and patera over an altar (fig. 3) is found on local Lydian bronze coins, by the first half of the first century AD. On bronze coins made in Sardis, the motif is slightly simplified by the removal of the altar to make space for the issuer’s name. These coins may be dated to the reign of Tiberius or Claudius 16 . The in - taglio closely follows the design of the Hellenistic coin reverses.

fig. 3 Bronze civic coin, minted in Sardis, 1 4- 37 Ad?, 13 mm ( RPC I no. 2993; Sardis C63.84, 1:1). Bare head of Germanicus facing left, « ΓΕΡΜΑΝΙΚΟΣ ΚΑΙΣΑΡ »/ Athena standing facing left, holding a patera over a lit altar and balancing her spear and grounded shield in her left hand « ΣΑΡΔΙΑΝΩΝ ΜΝΑΣΕΑΣ ». drawing of intaglio G11.8 no. 3 with image as reverse of the coin (2:1). drawing by C.S. Alexander, coin courtesy of Sardis expeditions/harvard University, both © President and fellows of harvard College.

A resting, young Herakles leaning on his club, with the skin of the Nemean lion casually draped over his lower left arm, is not common on gems nor on coins, even given the ubiquity of images of Herakles in Hellenistic and Roman Asia Mino r17 . That it is found on an Augustan coin of neighboring Balbura again speaks to the local nature of many of the com - positions of the intaglios (fig. 4).

fig. 4 Bronze civic coin minted in Balbura (lyci a- Pamphylia), 37 -41 Ad, 17 mm ( RPC I 3356; ANS 1944.100.50685 1:1). Bare head of Caligula facing right « ΓΑΙΟΣ ΣΕΒΑΣΤΟΣ » / herakles, standing facing and looking left, resting right hand on grounded club and displaying lion skin in left « ΒΑΛΒΟΥΡΕΩ N». this reverse revives an Augustan reverse. drawing of intaglio G12.4 no. 20 with image as reverse of the coin (2:1). Coin photo used by permission, American Numismatic Society; drawing by C.S. Alexander, Sardis expeditions/harvard University © President and fellows of harvard College.

Another god found on Lydian bronze coins is the nude Hermes standing and holding a pendulous money bag (fig. 5). Found on coins of Phrygian cities as well, this motif becomes popular only in the Augustan period. Thus, this is the third motif that can be traced directly to local imagery on coins in the Hellenistic and Augustan periods.

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fig. 5 Bronze civic coin minted in tralles (lydia), Augustan period, 17 mm ( RPC I 2636; ANS 1944.100.49795 1:1). laureate head of Apollo facing right, « ΜΕΝΑΝΔΡΟΣ ΠΑΡΡΑΣΙΟΥ »/Standing hermes three quarter facing, looking left, holding a money bag in his right hand, and over his left shoulder, a caduceus. drapery hangs from his lower left arm, « ΚΑΙΣΑΡΕΩΝ ». drawing of intaglio G12.19, no. 8 with image as reverse of coin (2:1). Coin photo used by permission, American Numismatic Society; drawing by C.S. Alexander, Sardis expeditions/harvard University © President and fellows of harvard College.

A second image found on coins of Lydia and Phrygia – and in this case, only on coins in this region – is the horse and rider, with the rider carrying a labrys (fig. 6). Pausanias (Quaest . Graec . 45) calls this double axe an attribute of Zeus of Labranda in Caria, but also notes that Heracles gave such an axe to Omphale. The latter axe was used as regalia by the Ly - dian kings. The nature of the rider is unclear; we do not know if he is a Lydian version of the storm god or a semi -deified king. The motif is not, to my knowledge, found on Hellenistic or Roman gems, but is not uncommon on Hellenistic and Early Roman bronze coins of Lydia and Phrygia.

fig. 6 Bronze civic coin minted in mostene (lydia), second or first century BC, 23 mm ( BMC Lydia p. 161, no. 2; Bm 1892,0507.106 1:1). head of Zeus righ t/Rider on horseback with chlamys flowing out behind, holding a labrys over his left shoulder, «ΛΥΔΩ Ν-ΜΟΣΤΗΝΩΝ ». drawing of intaglio G11.18 no. 43 with image as reverse of coin (2:1). Coin photo used by permission, British museum; drawing by C.S. Alexander, Sardis expeditions/harvard University © President and fellows of harvard College.

The image of two Nemeses, grasping their chitons, and holding a bridle or a ruler, is specific to the city of Smyrna, as we are told by Pausanias 7.5.3 (fig. 7) 18 . The cult statue of the Nemeses are images of some antiquity, although they do not appear doubled on coins of Smyrna until the third quarter of the first century AD. Nevertheless, the image of the doubled Nemeses is so local that it does not appear in any city other than Smyrna.

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fig. 7 Bronze civic coin minted in Smyrna (Ionia), second century Ad, 24 mm ( kloSe 1987 XIv B a 7; ANS 1944.100.46930 1:1). Bust of Zeus left, «CmYPNAI ΩN» / two Nemeses standing facing each other, outside arms down and holding a bridle (on left) and cubit (on right), inner arms plucking chiton, « ΕΠΙ ΨΤΠ ΚΛ ΠΡΟΚΛΟΥ CΟΦΙ » (1:1). drawing of intaglio G12.14 no. 39 with image as reverse of coin (2:1). Coin photo used by permission, American Numismatic Society; drawing by C.S. Alexander, Sardis expedition s/harvard University © President and fellows of harvard College.

A second easily identifiable cult image from the cities around Sardis is the depic - tion of Artemis Ephesia. While the statue is frequently seen on imperial coins of various cities in Lydia, it has its origin in the city of Ephesos, and can be seen on Hellenistic cistophori (as a city badge) and gold staters (fig. 8). The intaglio is a pare d- down version of this Hellenistic image, as the stags are not present, given the size of the gem.

fig. 8 Gold stater minted in ephesos, second or first century BC, 22 mm ( JeNkINS 1987; ANS 1967.152.442 1:1). draped bust of Artemis wearing stephane facing right, with capped quiver on shoulder and bow / cult statue of Artemis ephesia facing, with tripod in left field and stag in right field, « ΕΦ ». drawing of intaglio G10.4 no. 11 as reverse of coin, with simplified headdress (2:1). Coin photo used by permission, American Numismatic Society; drawing by C.S. Alexander, Sardis expeditions/harvard University © President and fellows of harvard College.

From slightly farther away from Sardis, but still within the geographical orbit of circulating coins, the Asklepios standing and leaning on his snak e- entwined staff is very simi - lar to large bronze coins struck in the second or first century BC in Pergamon (fig. 9). This type is often repeated on Imperial coins, and thus may reflect the form of a cult statue in Pergamon, home of an important cult of Asklepios and an important medical school.

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fig. 9 Bronze coin minted in Pergamon, 133 to the end of the first century BC, 24 mm ( BMC Mysia p. 127, nos. 12 9-34; ANS 1944.100.43230 1:1). Bust of Athena in Corinthian helmet, facing lef t/Asclepios standing facing, looking left, leaning his right hand on grounded snak e- entwined staff, « ΠΕΡΓΑΜ HN ΩΝ ». drawing of intaglio G11.29 no. 19 as reverse of coin (2:1). Coin photo used by permission, American Numismatic Society; drawing by C.S. Alexander, Sardis expeditions/harvard University © President and fellows of harvard College.

One intaglio, that of Apollo leaning on a column and dangling a branch from his hand, may have associations with Corycus (Cilicia), and more broadly, Magnesia ad Meandrum (fig. 10). The motif of the leaning Apollo is wel l- known from Seleucid coins, even if the god normally leans on a tripod and inspects an arrow. However, the use of the column and the branch is not common, and so its use on a coin in Asia Minor in the first century BC may imply that the motif was circulating in the east when these intaglios were made.

fig. 10 Bronze coin minted in korykos (Cilicia), first century BC, 14 mm (SNG levANte 799; harvard Art museums 1980.86.172 1:1). draped bust of Artemis(?) facing right, quiver and bow over shoulder «A» / Apollo leaning his right elbow on a column, holding a laurel branch in his left hand, « ΚΩΡΥΚΙΩΤΩΝ – V ΕΠΙ ΕΡ ». drawing of intaglio G.11.14 no. 9, as reverse of coin (2:1). Coin, harvard Art museum/Arthur m. Sackler museum, Gfit of h. Bartlett Wells, Class of 1929; drawing by C.S. Alexander for harvard Sardis expeditions; both © President and fellows of harvard College.

Finally, a motif that does appear on Hellenistic coins of Sardis, with a slight vari - ant in the attributes of the goddess, is that of Demeter. She is commonly shown holding two wheat ears (as on the Sardis reverse) on the Hellenistic coins, but by the later first century, one of those wheat ears switches to a poppy capsule, as on the intaglio.

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fig. 11 Bronze coin minted in Sardis, 18 9-133 BC, 20 mm (cf. BMC Lydia p. 243, nos. 6 0-1; C90.16; harvard Sardis expeditions, by permission 1:1). head of young dionysus wreathed in ivy, facing righ t/demeter standing facing, looking left, holding long torch in left hand and two ears of wheat in the right, « ΣΑΡΔΙΑΝΩΝ », in left field various names of magistrates. drawing of intaglio G12.16 no. 13, as reverse of coin (2:1) 19. Coin courtesy of harvard Sardis expeditions; drawing by C.S. Alexander for harvard Sardis expeditions; both © President and fellows of harvard College.

Conclusions

Given the archaeological contexts and the strong iconographical parallels for many of intaglios, it is very probable that they were made during the reign of Augustus, using some imagery (such as the Capricorn) which only became popular at this time. Although Au - gustan -era strata are not yet clearly differentiated from Late Hellenistic strata at Sardis, from an inscription we know that a temple to Augustus was built in the city, implying at least some level of prosperity of its citizens 20 . While a number of the motifs on the intaglios are found across the Hellenistic world and the Roman Empire, there are ten to twelve motifs that have very local models. The most striking are the rider with the labrys , not attested outside of Lydia and Phrygia, and the doubled Nemesis, which is only found in Smyrna. Several of the motifs may have been de - rived from Hellenistic to Early Roman coins of Sardis itself. Thus, if the evidence of the un - finished state of the gems was not persuasive, the iconographical parallels provide another in - dication that points directly to the manufacture of the intaglios within Sardis. Although exca - vations have not yet uncovered the actual spot of manufacture, it is extremely likely that the workshop was on top of the hill, where all of these intaglios were found 21 . The placement of a workshop on the hill has implications for our reconstruction of the urban layout and use of the area in the late Hellenistic and Early Imperial period. The presence of a workshop in the area may point to a change in the function of the entire hilltop, which seems, at least in the third century BC, to have been a quarter for prestige housin g 22 . Glass intaglios often remain unpublished. Yet they are evidence of a society that is prosperous and had an interest in participating in forms of artistic expression that are wide - ly shared across the Mediterranean. For at least some customers in Sardis, this attraction to sharing in the visual language of the Augustan regime is reflected in the small, affordable in - taglios that could be used to ward off evil, adorn the fingers, and call attention to one’s place in the newl y- forming Roman society of the old Lydian city.

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CATALOG

Deities: Single Figure

Zeus

fig. 12 harvard Sardis expeditions G12.1 (2:1; see drawing above, fig. 2); © President and fellows of harvard College.

Light blue glass oval, chips along left side, pitting behind throne, entirely sur - rounded by untrimmed glass, irregular back, 12.5 x 10 x 2.3 mm G12.1 (topsoil). Description : Laureate Zeus seated left on hig h- backed throne with bell covers on the legs, legs crossed; bare chest turned three -quarters facing, with himation wrapped around waist and falling to ankles. He leans his left arm on long scepter, extends his right hand to hold an eagle, which turns its head back to look at him. Ground line. Classicizing style. Discussion : Maaskan t- Kleibrink noted this as «one of the most common types on Roman Im - perial gems »23 ; the motif is copied from Hellenistic tetradrachms, even to the type of throne. While there are many examples of this motif, reverses of tetradrachms from the time of Alexander III that were struck in the Sardis mint depict this mo - tif in almost exact detail, from the chest shown frontally, to the crossed legs, the specific decorations on the chair legs, the double horizontal bars on the high back of the throne, and the scepter that passes behind Zeus’s arm (see, e.g. PRICE 1991, nos. 2611 -2665).

fig. 13 harvard Sardis expeditions G12.2 (2:1), drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, chipped along top, flat back, 7 x 5.2 x .8 mm G12.2 (Late Ro - man fill). Description : Zeus seated left on hig h- backed throne with simple legs, legs crossed; bare chest turned thre e- quarters facing, with himation wrapped around the waist and falling to the ankles. He leans his left arm on a long scepter and extends his right hand to hold a Nike, who faces him to extend a wreath. Ground line. Classicizing style.

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Discussion : The substitution of Nike for the eagle is common on later Hellenistic tetradrachms showing Zeus enthroned, as is the substitution of simple legs on the throne. Although this exact type does not come from the mint at Sardis in the Hellenistic period, it is common on second-century BC coins from the mint at Antioch.

Athena

fig. 14 harvard Sardis expeditions G11.8 (2:1, see drawing above, fig. 3); © President and fellows of harvard College.

Light blue glass oval, untrimmed glass on right side, flat back, bubble on helmet and shield, 7.6 x 6.3 x 2.6 mm G11.8 (Early Roman, post-earthquake fill, found with G11.5, G11.6, G11.7, G11.14, G11.26, G11.27). Description : Athena standing frontally and looking left. She has a crested helmet pushed up from her face, with the crest flowing behind her shoulders, and wears a belted chi - ton with an overfold. She places her lowered left hand on top of her shield, which has a central boss, against which rests a spear. She holds in her extended right hand a patera over a lighted altar. Ground line. Classicizing style. Discussion : The theme is «common» on Roman gems and coins, according to Maaskant- Kleibrin k24 . An Augustan -era carnelian is found in Munich ( AGD MUNICH 1.3 no. 2178). Athena is shown with a patera, though not an altar, on the reverse of coins of the first half of the first century AD from Sardis ( RPC I 2993), Heraclea (RPC I 2088), and Phocaea ( RPC I 2444), showing the ubiquity of the image in the area and at the time the intaglio was made.

fig. 13 harvard Sardis expeditions G12.2 (2:1), drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, untrimmed glass almost all the way around, casting bubbles under altar and beside shield, 10.5 x 8.5 x 1.7 mm G11.19 (Early Roman context, found with G11.17, G11.18, G11.20, G11.21, G11.22, G11.23). Description: Athena as G11.8, except standing thre e- quarters left, and her helmet’s crest is short. Discussion : see above.

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fig. 16 harvard Sardis expeditions G12.8 (2:1), drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, irregular back, 11.5 x 9.5 x 2 mm G12.8 (Early Roman fill, first century AD). Description : Athena as G11.19 (no. 4 above), except with long crest on the helmet. Discussion: see above.

Hermes

fig. 17 harvard Sardis expeditions G9.3 (2:1); © President and fellows of harvard College.

Clear glass oval, flat back, slightly beveled edge; some untrimmed glass on bot - tom, 9.5 x 7.5 x 1.5 mm G9.3 (first or second century AD terrace fill). Description : Nude Hermes standing to front, looking left. He holds in his extended right hand a pendulous purse; in his left, a caduceus; a cloak hangs from this arm. Classiciz - ing style 25 . Discussion : The type is called «very common in the Roman period» 26 . Maaskant-Kleibrink noted that «this motif was especially popular on Hellenistic gems and coins from Asia Minor »27 . Reverses of bronze coins from Aezani ( RPC I 3069), Balbura ( RPC I 3357) and Tralles ( RPC I 2636), all dating from the Augustan period to the reign of Caligula, show the popularity of the motif in the area of Lydia and Phrygia. The motif remains common in these areas through the third century AD.

fig. 18 harvard Sardis expeditions G12.12 (2:1), drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, flat back, chipped on top left, 6 x 5 x 2 mm G12.12 (topsoil). Description : Nude laureate Hermes standing to front in swaying contrapposto pose, looking left; he holds a caduceus in his left arm, from which also hangs a cloak. In his extended right hand, he holds a pendulous purse over an altar. Ground line. Classicizing style. Discussion : see above.

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fig. 19 harvard Sardis expeditions G12.19 (2:1, see drawing above, fig. 5); © President and fellows of harvard College.

Light blue glass oval, untrimmed glass around thre e- quarters of gem, flat back, 6.3 x 5.5 x 2 mm G12.19 (surface). Description : As above; Hermes’ legs appear truncated, and the altar does not appear. Discussion : see above.

Apollo

fig. 20 harvard Sardis expeditions G11.14 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, chips along top edge and back, untrimmed glass almost all the way around, flat back, 7.9 x 7.5 x 2.6 mm G11.14 (Early Roman, post -earthquake fill, found with G11.5, G11.6, G11.7, G11.8, G11.26, G11.27). Description : Wreathed nude Apollo stands frontally, in contrapposto pose, looking left; his hair is caught in a bun low on his neck. He leans with his left arm on a column, and in his lowered right hand he holds a laurel branch. Ground line. Classiciz - ing style. Discussion : This motif is not well attested in the ancient world, though Richter noted the par - allel to reverses of Seleucid coins, where Apollo is shown leaning on a tripod and testing an arrow. The Metropolitan Museum has an agate with the motif shown here, dated only generally to the first century BC to third century AD 28 . Coins of the second century BC from Magnesia on the Meander commonly carry an Apol - lo leaning on a tall tripod and dangling a fileted branch from his hand 29 . The clos - est parallel are coins from Korykus (Cilicia), dated to the first century BC ( SNG LEVANTE , pl. 50, nos. 79 6- 800). Konuk and Arslan published a similar intaglio, which they dated to the second century AD 30 . The motif is not found on first-cen - tury AD coin reverses, except at Antioch on the Orontes ( RPC I 4209).

fig. 21 harvard Sardis expeditions G11.26 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

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Uncertain color glass oval, chips along edge and from knees of figure to bottom, flat back, 8 x 5.5 x 1.5 mm G11.26 (Early Roman, pos t- earthquake fill, found with G11.5, G11.6, G11.7, G11.8, G11.14, G11.27). Description : As above, but fillets in hair visible. Discussion : see above.

Artemis Ephesia

fig. 22 harvard Sardis expeditions G10.4 (see drawing above, fig. 8) and Gem79.1, found in 1979 in the excavation house sector (2:1); © President and fellows of harvard College31.

Light yellowish green glass oval, horizontal casting flaw over right arm, untrimmed glass on tw o- thirds of oval, flat back, 7.5 x 6 x 2.5 mm, G10.4 (from Late Roman fill). Description : Artemis Ephesia cult statue facing; she wears a high polos on her head, a back - board behind her head, and is swathed in tight clothes (horizontal bands on low - er body, bulbous extensions on chest), with her arms extended holding leashes of stags(?) on either side. Ground line. Classicizing style. Discussion : The motif is easily recognized by the widespread use of this particular form of the cult statue of the goddess in Ephesos. It is found in many media across the an - cient world, although Spier believed that this motif was most likely found on gems made in Asia 32 . It first appears on cistophori (between the snakes) and gold staters of Ephesos dating to the second and first centuries BC 33 . A slightly larger glass intaglio (10 mm x 8 mm x 2 mm) showing this same motif and with one un - cut edge, was excavated from a trench where the Excavation House now stands; while the manufacture and style seem consistent with the group published here, this lone intaglio must have traveled many meters from the suggested manufac - turing spot in Field 49, although perhaps it was dedicated in the nearby Temple of Artemis, which Cahill and Greenewalt have suggested was being refurbished in the Augustan period 34 .

Ares/Mars

fig. 23 harvard Sardis expedition G12.10 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

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Light blue glass oval with convex front, flat back, 11 x 8.5 x 2.5 mm G12.10 (topsoil). Description : Helmeted cuirassed Mars stands frontally, in contrapposto stance, his left arm raised to hold a spear, and a shield at his left foot; in his extended right hand he holds a Nike, who faces him to extend a wreath. Ground line. Classicizing Style. Discussion : This motif is not common on gems, and Are s/Mars is rarely found in the East on coins until the third century AD 35 . An undated glass intaglio in Munich depicts Mars in a helmet and cloak, but no cuirass, holding Nike over a lighted altar ( AGD MUNICH 1.3 no. 3023); and a nude helmeted Mars holding a Nike (no. 3022).

Demeter

fig. 24 harvard Sardis expeditions G12.16 (2:1; see drawing above, fig. 11); © President and fellows of harvard College.

Light blue glass oval, untrimmed glass at bottom right, two chips in top, 12 x 10 x 2.5 mm G12.16 (Middle Roman fill, found with G12.17, G12.18, M12.10). Description : The goddess, wreathed in laurel, stands frontally in long chiton, looking left in a slightly contrapposto pose; a fold of her himation falls behind her left shoulder. In her left hand she leans on a long scepter; in her upraised right hand she holds an ear of wheat and poppy capsule. Ground line. Classicizing style. Discussion : The motif is not common in the Early Imperial period 36 . Hellenistic coins of Mag - nesia ad Sipylum do show Demeter in this manner (though lacking the poppy capsule), in the second century BC ( BMC L YDIA p. 139, no. 12) and Mastaura re - peated the image in the first century AD ( BMC L YDIA p. 156, no. 1). Hellenistic coins of Sardis depict Demeter with a long torch and two wheat ears ( BMC L YDIA p. 243, no. 60).

fig. 25 harvard Sardis expeditions G11.23 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, excess glass on left bottom, chip on middle right edge, untrimmed glass at left bottom, 6.6 x 6.5 x 2 mm G11.23 (Early Roman context, found with G11.17, G11.18, G11.19, G11.20, G11.21, G11.22). Description : Demeter, as G12.16, no. 13.

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Discussion : This is the second generation of the mold for used for gem G12.16, as it is small - er and less detailed.

fig. 26 harvard Sardis expeditions G12.11 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, untrimmed glass especially on right side, flat back, 9 x 7 x 2.1 mm G12.11 (cleaning). Description : Demeter, as G12.16, no. 13. Discussion : This is also the second generation of the mold used for gem G12.16 and is from the same mold as G11.23, no. 14.

fig. 27 harvard Sardis expeditions G11.21 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, chips on right side, untrimmed glass almost all the way around, flat back, no dimensions recorded, ca. 10 x 8 x 2.5 mm G11.21 (Early Roman context, found with G11.17, G11.18, G11.19, G11.20, G11.22, G11.23). Description : Demeter, as G12.16 no. 13, except the belt of the chiton is clear, as is the trian - gular fold of the himation. Discussion : as above.

fig. 28 harvard Sardis expeditions G11.17 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, untrimmed glass on left side and bottom, 7.5 x 5.9 x 1.5 mm G11.17 (Early Roman fill, found with G11.19, G11.21, G11.23). Description : Demeter, as G12.16, no. 13. Discussion : as above.

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Serapi s(?)

fig. 29 harvard Sardis expeditions G10.2 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, chips along edge, back with circular depression and casting bubble, 12 x 10 x 3.5 mm G10.2 (from Late Roman fill). Description : Laurelled bearded god (Serapis?) stands facing, head turned left. His himation falls from his left shoulder to his ankles, leaving his chest bare(?). In his extended right hand, he holds a patera(?); over his left shoulder, a cornucopia(?). Below left is an alta r(?). Ground line. Classicizing style. Discussion : There is a parallel glass intaglio in the British Museum (1917,0501.1303) described as Serapis standing holding a patera and cornucopia, and called first century AD, from Corfu. Gems identified as Serapis show him with a calathus or modius on his head, which is missing from this glass intaglio.

Asklepios

fig. 30 harvard Sardis expeditions G11.29 (2:1; see drawing above, fig. 9). © President and fellows of harvard College.

Light blue glass oval, bottom broken, untrimmed glass on right, flat back, 6 x 5 x 1.2 mm G11.29 (Roman fill). Description : Asklepios stands facing, looking left. His chest is bare, and his lower body is swathed in a himation that rolls around his waist, falls to his feet and is caught in a long vertical fold. His left hand is slightly raised, and he rests his lowered right hand on a snak e- entwined staff, with a bearded snake head projecting at top. Classicizing style. Discussion : The figure is known as the Chiaramonti type in statuary. Maaskan t-Kleibrink noted that this motif is common on imperial gems and coins 37 . The motif is al - so found on late Hellenistic coins minted in Pergamon ( BMC M YSIA p. 127, no. 129).

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Herakles

fig. 31 harvard Sardis expeditions G12.4 (2:1; see drawing above, fig. 4). © President and fellows of harvard College.

Light blue glass oval, chipped on upper right, untrimmed glass almost all the way around, flat back, 13 x 11 x 2.5 mm G12.4 (Early Roman fill, first century BC to ca. AD 50). Description : Young nude (wreathed?) Herakles stands frontally, in a contrapposto pose, facing left. He rests his lowered right hand against his club and has draped his lion skin over his left arm. Ground line. Classicizing style. Discussion : The motif is not at all common on gems but is found on reverses of bronze coins from Balbura, Lycia, dated to the Augustan(?) period ( RPC I 3354); and from Cius, Bithynia ( RPC I 2022), dated to the reign of Claudius.

Fortun a/Tyche

fig. 32 harvard Sardis expeditions G12.17 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, untrimmed edges all round, flat back, 10.3 x 8 x 3.3 G12.17 (Middle Roman fill, found with G12.16, G12.18, M12.10). Description : Laurelled Tyche stands facing looking left, dressed in a belted chiton (and hima - tion?). She holds a cornucopia in her left hand and a rudder in her right. Ground line. Classicizing style. Discussion : Versions of Fortun a/ Tyche are «one of the most common motifs in Roman glyp - tic art», according to Maaskan t- Kleibrink, and Villard and Richter agreed 38 . She became one of the most popular imperial reverse types across the Roman East. An undated glass intaglio in Munich is representative of this motif ( AGD M UNICH 1.3 no. 3133). A stamped sigillata cup from Sardis, very likely made locally in the Augustan period, has a signet impression showing such a Tyche 39 .

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Pantheistic goddess

fig. 33 harvard Sardis expeditions G11.6 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, chip missing along right bottom, concave back, 12 x 10.5 x 3.2 mm G11.6 (Early Roman, post -earthquake fill, found with G11.5, G11.7, G11.8, G11.14, G11.26, G11.27). Description : Pantheistic winged female deity standing frontally, swaying at hips, facing left. She wears a Corinthian crested helmet pushed back from her face and a belted chiton with triangular fold at her hip. In her right hand she holds an ear of wheat, a pop - py capsule, and rudder; in her left arm she supports a cornucopia. Ground line. Classicizing style. Discussion : This figure is «common» on Roman gems, according to Maaskan t- Kleibrin k 40 . A similar gem was found in 1993 in Sardis, in another sector of the cit y 41 . Two un - dated glass intaglios in Munich are representative of this motif ( AGD Munich 1.3 nos. 3168-9); the glass intaglios in Göttingen are dated to the first century AD (AGD Göttingen 3 nos. 16 7- 8).

fig. 34 harvard Sardis expeditions G11.28 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Uncertain color glass oval, flat back, 10 x 7.5 x 2.1 mm G11.28 (Late Roman fill). Description : Pantheistic female deity as G11.6 no. 22, except crest of the helmet is unclear. Discussion : see above.

fig. 35 harvard Sardis expeditions G11.22 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

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Uncertain color glass oval, chipped on upper left (rendering wing invisible), untrimmed glass especially on right and bottom, flat back 7 x 5.5 x 2 mm G11.22 (Early Ro - man context, found with G11.17, G11.18, G11.19, G11.20, G11.21, G11.23). Description : Pantheistic female deity as G11.6 no. 22, except the helmet and wing are un - clear. Discussion : see above.

Nike

fig. 36 harvard Sardis expeditions G.11.27 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Uncertain color glass oval, some untrimmed glass on left side, concave back, 7.2 x 4.5 x 2 mm G11.27 (Early Roman, pos t- earthquake fill, found with G11.5, G11.6, G11.7, G11.8, G11.14, G11.26). Description : Nike dressed in chiton with overfold flies to the right, holding a wreath in her out - stretched right hand and a palm in her left. Discussion : Richter identified the popularity of this motif as beginning with the erection of the Nike statue in the Curia Julia by Augustus 42 . However, the motif has a long history on Hellenistic coins of the East: she stands with a wreath and stylus on gold coins of Alexander and his successors; she advances with wreath and palm on Hellenistic bronze coins minted in various places in Asia Mino r 43 .

fig. 37 harvard Sardis expeditions G11.25 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, missing surface in right, some untrimmed glass at upper left, flat back, 10 x 8.5 x 2.5 mm G11.25 (surface). Description : Nike dressed in a chiton with an overfold moves to the right, holding a wreath with a fille t(?) in her outstretched right hand. The gem has a large manufacturing flaw from top left to bottom right. Classicizing style. Discussion : see above.

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Busts

fig. 38 harvard Sardis expeditions G11.4 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue oval glass, with raised edge all the way around (higher on left), untrimmed glass on left side, irregular back 12 x 10.5 x 3 mm G11.4 (Middle Roman? fill). Description : Bust of Athena right, wearing a crested Corinthian helmet pushed back on top of her head. Her hair flows from underneath the helmet down the back of her neck. Around her shoulders is her aegis; two snake heads rear from it in front of her face. Discussion : A similar intaglio was brought to the excavation by a local inhabitant of Sardis; it is possibly from the same mold 44 . The type is well known from Hellenistic coins and gems, especially on gold coins of Alexander and his successors, New Style tetradrachms of Athens, and bronze coins of Pergamon. Several examples of in - taglios made from sem i- precious stones are dated to the first century BC or the Au - gustan era ( AGD M UNICH 1.3 nos. 2182, 2184, 2186, 3161, 3162 shows her with a Corinthian -style helmet; other gems switch the helmet to an Attic type). Maaskan t- Kleibrink observed that the motif was not only common on Roman imperial gems, but especially on glass intaglios from the first and second centuries AD 45 .

fig. 39 harvard Sardis expeditions G12.9 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blu e-green glass, untrimmed glass at top, irregular back, 12.8 x 9.6 x 2.5 mm G12.9 (found in sieving). Description : Bust of Apollo Musagetes right, his hair bound with a laurel wreath, falling onto shoulders (archaisizing style), draped, with laurel branch at left shoulder. Classi - cizing style. Discussion : This particular hairstyle is not common on gems – and is apparently not found on coins – of the Hellenistic or imperial periods. It is found on a glass intaglio in Mu - nich, dated to the third to first centuries BC ( AGD M UNICH 1.2 no. 1034) and a

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carnelian intaglio from Asia Minor dated to the first century AD, now in the Get - ty (84.AN.1.41). The closest parallel is a carnelian intaglio now in Copenhagen, which dates to the Augustan period (Thorvaldsen Museum, no. 186).

fig. 40 harvard Sardis expeditions G11.2 (2.1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, irregular slightly beveled edge, slightly concave back, 11.5 x 8.7 x 2.5 mm G11.2 (cleaning). Description : Bust of Artemis r., hair pulled in soft roll away from face, tied with a taenia and upswept to knot on top of her head, with one strand escaping by her ear. She wears a drape around her shoulders, fastened with a circular fibula. Over her right shoulder peeks a quiver and over her left, a bow. Classicizing style. Discussion : This motif is common on Hellenistic coins and gems, most conspicuously on coins of Ephesos and Sardis; Richter noted a similarity to fourth century BC motifs 46 .

fig. 41 harvard Sardis expeditions G16.4 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, excess glass on left side and top right, casting bubble on shoulder of figure, irregular back, 13 x 12 x 3 mm G16.4 (cleaning). Description : Bust of Helios right radiate and draped. Classicizing style. Discussion : A similar type is seen on a sardonyx in Munich ( AGD M UNICH 1.3 no. 2210), dat - ed to the first century BC 47 . Helios’s bust also occurs on second to first century BC bronze coins of Tralles, in Lydia ( BMC L YDIA p. 337, no. 72).

fig. 42 harvard Sardis expeditions G11.7 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

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Light blue glass oval with untrimmed around most of the circumference, flat back, 8.1 x 7.1 x 2.3 mm G11.7 (Early Roman, pos t- earthquake fill, found with G11.5, G11.6, G11.8, G11.014, G11.26, G11.27). Description : Bust of Helios radiate right, draped. Classicizing style. Discussion : see above.

fig. 43 harvard Sardis expeditions G11.16 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass irregular oval, chip in face, large amount of untrimmed glass all around, flat back, 9.2 x 8.7 x 3 mm G11.16 (Middle Roman fill). Description : Bust of Helios radiate right draped. Classicizing style. Discussion : see above.

fig. 44 harvard Sardis expeditions G12.7 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

Light blue glass oval, casting bubbles along face of gem, irregular back, 10 x 9.5 x. 2.3 mm G12.7 (fill in late grave). Description : Bust of Nike(?) r. draped, wreathed in laurel, win g(?) shown above shoulder. Clas - sicizing style. Discussion : I have suggested Nike, because of the long disheveled locks that fall onto her shoulders; Apollo’s long hair is more disciplined; nor is Apollo shown with a drape, unless he is depicted as Apollo Musagetes. Konuk and Arslan report a gem with such a bust, which they date to the first century BC 48 . Richter noted a paral - lel agate in the Metropolitan Museum, which is dated no more closely than the Republican or imperial period (no picture) 49 .

Tw o- figure compositions

fig. 45 harvard Sardis expeditions G10.5 (2:1); drawing by C.S. Alexander; © President and fellows of harvard College.

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Light blue glass, round, many bubbles in surface, including a large one at top, and chip along upper l. side, untrimmed glass along bottom, flat back, 12.7 x 12 x 2.5 mm G10.5 (Early Roman fill). Description : On the left, a wreathed Nemesis stands to the right, wearing a chiton. She raises her right hand to pluck her chiton; there is perhaps a wheel behind her. To the right, Tyche/Fortuna stands frontally, looking left. She wears a mural crown(?) and kalathos on her head and holds a rudder in her right hand and a cornucopia in her left. Ground line. Classicizing style. Discussion : The cult of Nemesis became popular only in the third century BC 50 . She began to regularly appear on coins of Smyrna, which housed a large temple to the cult, dur - ing the reign of Nero 51 . Nemesis is associated with several attributes, including a wheel, a ruler, a bridle, a griffin and a branch. She also commonly lifts the edge of her garment, which is characteristic of no other goddess. Tych e/Fortuna carries her normal attributes here. The «combination of several gods in their standard type is common on Roman gems», notes Maaskant-Kleibrin k52 . While it is possi - ble that the figures are meant to represent the city of Smyrna, the type could also be read as two types of Fortuna.

Light blue glass oval, parts of surface deteriorated, flat back 9.5 x 10.7 x 1.5 mm G12.18 (Middle Roman fill, found with G12.16, G12.17, M12.10). Description : Two female figures stand and face each other: on the left, Nike steps right, elevat - ing a wreath(?); Tyche/Fortuna stands left, wearing a turreted crown and a belted chiton, holding a cornucopia in her left arm and extending her right hand to Nike. Ground line. Classicizing style. Discussion : The motif can be generally classified as showing combination of gods recognizable by standard types; Konuk and Aslan 2000 no. 88 record a similar gem, but Tych e/Fortu - na holds a rudder. It is possible that the glass intaglio in Sardis originally depicted Ty - che/Fortuna with a rudder, but the manufacture or wear has obscured this attribute.

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Light blu e-green oval glass, untrimmed glass along bottom half, chip in edge by Nike’s feet, 11 x 12 x 3 mm G14.4 (cleaning). Description : On the left, Nike advances right, holding out wreath in her right hand. Tyche/For - tuna stands facing, looking left, wearing mural crown(?) and belted chiton with tri - angular fold at waist, holding rudder in her right and cornucopia in her left hand. Ground line. Classicizing style. Discussion : Richter noted a gem like this in the Metropolitan Museum collection but dated it only to the Roman imperial period 53 . Spier called the motif «common» 54 .

Light yellow glass oval, untrimmed glass at bottom and top, irregular back 7.5 x 8.5 x 2.5 mm G12.13 (Early Roman fill, first century B C- ca. AD 50). Description : Asklepios stands frontally at left, facing right in contrapposto pose, wreathed, bar e- chested with his chiton falling to his ankles, and a long fold falling by his left hand; with his right hand he leans on his snak e- entwined staff. To the right, wreathed Hygeia stands frontally looking left. Her right arm is extended, and she holds a writhing snake in her left. Ground line. Classicizing style. Discussion : The combination of Asklepios leaning on his snak e- entwined staff and Hygeia feeding a snake is common in imperial statuary, reliefs, figurines, and a number of reverses of third -century AD coins struck in Lydia. Konuk and Arslan date two such gems found in Turkey to the first or second century 55 .

Light blue glass oval, chip at top, untrimmed glass along entire intaglio, flat back, 13.7 x 12.5 x 2.5 G13.2 (Early Roman fill, closed by ca. AD 60). Description : Wreathed Hygeia stands frontally at left, looking right. In her right hand she holds a patera; in her left, a large snake, whose body twines around her waist and falls to her ankles. Next to her, wreathed Asklepios stands frontally, looking left, bar e-

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chested, with his himation wrapped around his waist and falling to his ankles, with one long fold falling from his left elbow. He leans on his snake-wrapped staff down with his right hand. Ground line. Classicizing style. Discussion : This gem is essentially a mirro r- image of the gem above (no. 37); see discussion there.

Light green glass oval, excess glass bulges along top, irregular back, 12.3 x 9.7 x 2.5 mm, G12.14 (topsoil). Description : Two Nemeses in belted chitons stand facing each other: the one at left stands fac - ing, looking left, with her right arm down and holding a bridle, and her left hand plucking at her garment; the one opposite is a mirror-image, but holds ruler in her left hand. Ground line. Classicizing style. Discussion : Richter suggested that the doubled Nemesis reproduced the form of the cult stat - ue of Smyrna 56 . A gem in the Metropolitan Museum has the two Nemeses, but one holds a sistrum instead of a bridle 57 . Reverses of coins from Smyrna, dated to the end of the first and the second century AD, depict two Nemeses in this posi - tion (e.g. BMC Ionia p. 250, no. 133).

Mortals/heroes with animals

Light blue glass oval, roughened edges with chip on bottom right, back irregular, 8.3 x 10.7 x 1.5 mm G11.5 (Early Roman, pos t- earthquake fill, found with G11.6, G11.7, G11.8, G11.14, G11.26, G11.27). Description : A nude male is seated right on rounded, flat rock. Behind, a tree extends over his head, with one branch forming the topmost edge of the design, and one leaning down to middle. The man stretches forth his hands to milk a goat standing facing

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right, its back legs raised in milking position. Underneath, a milking bowl. Ground line. Classicizing style. Discussion: The quiet charm of this scene, still evident to modern eyes, points towards the popularity in both the ancient world and for modern collectors 58 . A similar in - taglio, although no tree is present and the head of the goat is turned back to the shepherd, was found in 1980 in Sardis, near the Late Roman City Wall (G80.7, northwest of the Bath-Gymnasium Complex). Its edges were finished, and so the gem may not have come from this group of intaglios 59 .

Light blue glass oval, untrimmed glass on almost all the way around, back irregu - lar, 11 x 11 x 2.3 mm (10.4 x 2.3 mm) G16.1 (topsoil). Description : Nude male (satyr?) seated r. on a rock, his hands outstretched to milk a goat. He may wear a wreath or a hat. The goat stands facing right, all four legs extended, straddling a milk bowl. Ground line. Classicizing style. Discussion : see above; for a parallel dated to the imperial period, see AGD MUNICH 1.3 no. 3279.

Light blue glass oval, chipping along bottom, untrimmed glass along top half, flat back, 12.5 x 10.5 x 3 G13.1 (described only from photos; Early Roman fill with a terminus post quem of ca. AD 60). Description : To right, a (bearded?) goatherd wearing a short tunic and cloak stands right with his weight on his right leg and leg bent left leg, leaning on crooked staff. He ob - serves an upright goat facing right stripping leaves from a tree that bends its branches to fit into the oval. Ground line. Classicizing style.

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Discussion : Maaskan t-Kleibrink called this a «common moti f»; it is the same flavor of the gems above 60 .

Light blue glass oval, broken along right side, some untrimmed glass at bottom right, flat back, 11 x 7.7 x 1.5 mm G11.1 (Early Roman context, found with G11.17, G11.19, G11.20, G11.21, G11.22, G11.23). Description : Horse and rider moving right, with the horse standing with right front leg raised. The helmeted rider wears a short tunic; he holds the reins in his right hand, and a labrys over his left shoulder. His chlamys flies out behind. Ground line. Classicizing style. Discussion : This rider is familiar from Hellenistic and Roman provincial coins of Mostene, Ta - bala, Thyateira (all in Lydia), Hierapolis, and Temenothyrai (both in Phrygia), and must represent a local hero or god. I have found no parallel for this motif in a gem.

Animals

Light blue glass oval, beveled edge s(?), flat back 8 x 10.3 x 1.5 mm G11.3 (Early Roman context). Description : Horse grazing right on a ground line; behind, a tree with branches outline the top of the oval. Discussion : A grazing horse (without the tree in the background) is found on Hellenistic coins of Alexandrea (Troas), and can be found on a first century BC sardonyx intaglio made in the first century BC ( AGD M UNICH 1.3 no. 2245).

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Light blue glass oval, untrimmed glass in right half, irregularl y- shaped back, 9.3 x 12.5 x 2 mm G11.20 (Early Roman context, found with G11.17, G11.18, G11.19, G11.21, G11.22, G11.23). Description : Eagle right, with wings spread and head bent down, tears at outstretched u p- side down hare under its claws. Rocky background behind legs and under tail. Discussion : This is a «fairly common motif on Roman gems», as it was made popular by tetradrachms of Akragas, which were minted in the fifth century BC and late r 61 . And undated jasper in the British Museum (1987.0212.359) shows this theme without the rocky background. Glass paste versions can be found in AGD H AN - NOVER 4 no. 1265 (second half of the first century BC/first half of the first centu - ry AD) and no. 1268 (first or second century).

Light blue glass oval, broken on right side, flat back 4.5 x 5.0 x .08 mm G12.6 (Byzantine-date fill). Description : Capricorn right. Discussion : The Capricorn, which was the natal sign that Theogenes cast for Octavian when he wintered in Apollonia (Suet. Aug . 94.12) was depicted on denarii, cistophori, and aurei from mints as far flung as Spain, North Africa, Smyrna, and Pergamon, and struck between ca. 25 and 17 BC 62 . The type is not repeat - ed in the Tiberian period. The Capricorn can also be found on gems (e.g. AGD MUNICH 1.3 no. 3335, paired with a head of Octavian[?]). Richter called the motif «common»; Maaskan t- Kleibrink observed that the motif became popu - lar in the Augustan period 63 .

Other

Glass intaglio within bronze/brass ring, light blue oval; most of intaglio is miss - ing, but the gem was originally ca. 8 x 7 x 2 mm M12.10 (Middle Roman fill, found with G12.16, G12.17, G12.18). The surface appears more worn than previous examples. Upright stroke, column?

JANe deRoSe evANS 29 00 derose evans jane.qxp_Layout 1 15.07.19 15:07 Pagina 30

ABBREVIATIONS der römischer Kaiserzeit . Antike münzen und Geschnittene Steine 10, Berlin 1987.

AGd = Antike Gemmen in deutschen Sammlungen , various. koNUk – ARSlAN 2000 = k. k oNUk – m. A RSlAN , Ancient Gems and Finger Rings from Asia Minor. The Yüksel Erimtan Col - BmC Ionia = B. h eAd , A Catalogue of the Greek Coins in the lection , Ankara 2000. British Museum. Catalogue of the Greek Coins of Ionia , lon - don 1892. lAmBRINUdAkIS ET AL . 1984 = lImC II (1984) s.v. Apollon (W. l AmBRINUdAkIS ET AL ). lImC = Lexicon Iconographicum Mythologiae Classicae. lAWtoN 2017 = C. l AWtoN , The Athenian Agora, XXXvIII . The RIC I 2 = C. S UtheRlANd , The Roman Imperial Coinage. 31 B C- Votive Reliefs . Princeton NJ 2017. AD 69 , london 1984. mAASkAN t -kleIBRINk 1978 = m. m AASkAN t -kleIBRINk , Cata - RPC I = A. B URNett – m. A mANdRY – P. R IPollèS , Roman Provin - logue of the Engraved Gems in the Royal Coin Cabinet The cial Coinage , I, london 1992. Hague: The Greek, Etruscan, and Roman Collections , the hague 1978. SNG Levante = e. l evANte , Sylloge Nummorum Graecorum, Switzerland I. Levant e- Cilicia , Zurich 1986. ÖNdeR 1994 = m. Ö NdeR , Sardeis’te Bir Cam Yüzükta şı , «Aderg» 2, 1994, 12 3-127.

PAlAIGA 1990 = o. P AlAIGA , Two Statues of Herakles in the Fo - REFERENCES rum Boarium in Rome , «oxfJA» 9, 1990, 51-70.

PRICe 1991 = m. P RICe , The Coinage in the Name of Alexan - BeRlIN – k oSmIN 2019 = A. B eRlIN – P. k oSmIN (eds.), Spear- der the Great and Philip Arrhidaeus , london 1991. Won Land. Sardis from the King’s Peace to the Peace of Apamea , madison WI 2019. RIChteR 1956 (2006) = G. R IChteR , Catalogue of Engraved Gems. Greek, Etruscan and Roman. The Metropolitan Muse - BeSChI = lImC Iv (1988) s.v. Demeter (l. B eSChI ). um of Art , Rome reprint 2006.

BRANdt 1972 = e. B RANdt , Antike Gemmen in deutschen RotRoff 2018 = S. R otRoff , Eastern Sigillata at Sardis. Ev - Sammlungen , I 3, Staatliche münzsammlung, munich idence for a Local Industry . «BASoR» 380, 2018, 133- 1972. 204.

BRANdt – S ChmIdt 1970 = e. B RANdt – e. S ChmIdt , Antike SAldeRN 1990 = A. voN SAldeRN , Ancient and Byzantine Gemmen in deutschen Sammlungen , I 2, Staatliche Glass from Sardis , Archaeological exploration of Sardis münzsammlung, munich 1970. monograph 6, Cambridge mA 1990.

CAhIll – G ReeNeWAlt 2016 = N. C AhIll – C. G ReeNeWAlt , J R., SImoN –BAUChheNSS 1984 = lImC II (1984) s.v Are s/Mars The Sanctuary of Artemis at Sardis. Preliminary Report (e. S ImoN – G. B AUChheNSS ). 200 2- 2012 , «AJA» 120, 2016, 47 3-509. SImoN –BAUChheNSS 1992 = lImC vI, (1992) s.v. Mercurius deANGelI 1988 = lImC Iv (1988) s.v. Demeter/Ceres (S. (e. S ImoN – G. B AUChheNSS ). deANGelI ). SPIeR 1992 = J. S PIeR , Ancient Gems and Finger Rings. Cat - evANS 2018 = J. e vANS , Coins from the Excavation of Sardis. alogue of the Collections. The J. Paul Getty Museum , malibu Their Archaeological and Economic Contexts. Coins from the 1992. 1973 to 2013 Excavations , Sardis Archaeological mono - graphs 13, Cambridge mA 2018. tRoXell 1991 = h. t RoXell , Alexander’s Earliest Macedonian Silver , in Mnemata. Papers in Memory of Nancy Mnemata GReeNeWAlt –RAmAGe –SUllIvAN –NAYIR –tUlGA 1983 = C. Waggoner , W.e. metcalf (ed.), New York 1991. GReeNeWAlt JR. – A. R AmAGe – d. S UllIvAN – J. N AYIR – A. t Ul - GA , The Sardis Campaigns of 1979 and 1980 , «BASoR» veRmeUle 1966 = C. v eRmeUle , Greek and Roman Gems , 249, 1983, 1 -44. «Boston museum Bulletin» 64, 1966, 1 8-35.

hoRNUm 1993 = m. h oRNUm , Nemesis, the Roman State, and vIllARd 1997 = lImC vIII (1997), s.v. Tyche (l. v IllARd ). the Games , leiden 1993. YARRoW 2018 = l. Y ARRoW , A Prolegomenon to the Study of JeNkINS 1987 = G. J eNkINS , Hellenistic Gold Coins of Eph - Glass Paste Intaglios , «Journal of Ancient history and Ar - esos , «Anadolu» 21, festschrift Akurgal, 1987, 18 3-188. chaeology» 5, 2018, 3 5- 54.

kARANAStASSI 1992 = lImC vI (1992) s.v. Nemesis (P. Z AZoff 1975 = P. Z AZoff (ed. ), Antike Gemmen in kARANAStASSI ). deutschen Sammlungen , Iv, Hannover Kestner-Museum, Hamburg Museum für Kunst und Gewerbe , Stuttgart kloSe 1987 = d. k loSe , Die Münzprägung von Smyrna in 1975.

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ZAZoff 1970 = P. Z AZoff (ed .) , Antike Gemmen in deutschen ZWIeRleI N-dIehl 2007 = e. Z WIeRleI N-dIehl , Antike Gemmen Sammlungen , III, Braunschweig, Göttingen, Kassel , und ihr Nachleben , Berlin 2007. Stuttgart 1970.

FOOTNOTES 14 tRoXell 1991, 55 for the termi - 25 No impression was made of this nology of «bell covers». intaglio; n.s. by me; intaglio is now in the manisa museum. 1 I wish to thank Nick Cahill, direc - 15 evANS 2018, 57, 59. tor of the harvard-Sardis expedi - 26 koNUk – A RSlAN 2000, 87. for tions for permission to publish this 16 RPC I, p. 487. gems of this type, see nos. 6 3- 69; material; Bahadır Yıldırım for his most, if not all, of the gems in this eye for iconography; and Carmen 17 the figure is repeated on votive collection were «reportedly» from Arnol d- Biucchi for her guidance and reliefs in Athens from the fourth cen - doliche, near Gaziantep, turkey. careful reading. the drawings of tury BC, however: see lAWtoN 2017, konuk and Arslan date them to the the intaglio impressions were made 85; PAlAIGA 1990, 57 -59 has west - first to third centuries. See also by Cathy Alexander for the harvard- ern parallels. mAASkAN t-kleIBRINk 1978, 23 3-234 Sardis expeditions: martina man - no. 587 and SImoN –BAUChheNSS drikova helped me clean them up 18 Pausanias explained why there 1992, 510, especially on glass in - for publication. were two Nemeses in Smyrna, and taglios. why (in contrast to Roman depictions 2 YARRoW 2018, 3 5-36, 44. of the goddess), Nemesis was wing - 27 mAASkAN t-kleIBRINk 1978, 102 less in the city (1.33.7); in book no. 71. 3 See Pliny NH 37; YARRoW 2018, 9.35.6, he suggested that the cult 35. dated to at least the sixth century 28 RIChteR 1956 (2006), 69 no. BC. for a modern discussion on the 278; see lAmBRINUdAkIS ET AL 1984 , 4 SPIeR 1992, 145; ZWIeRleI N -dIehl doubling of Nemesis, see hoRNUm 214, where the authors note three 2007, 31 1- 312; cf. RIChteR 1956 1993. hellenistic gems that are variants on (2006), 61. this intaglio (nos. 25 2- 254). 19 for the suggested date of the coin 5 ZWIeRleI N -dIehl 2007, 312. from Sardis, see evANS 2018, 24. 29 e.g. BmC Ionia , 162 nos. 3 6-38.

6 ÖNdeR 1994; my thanks to Nick 20 evANS 2018, 26. 30 koNUk – A RSlAN 2000, no. 6. See Cahill for pointing me to this arti - also Copenhagen, thorvaldsen mu - cle. 21 Since the area was occupied for seum, glass paste no. 1687, dated centuries, with modification to the to the imperial period. 7 ZWIeRleI N-dIehl 2007, 327; she terraces and buildings, as seen in based her arguments on 18 th -century the numerous robber trenches 31 No impression was made of the manufacturing techniques, as well throughout, it may be that the evi - gem. as the bubbles that occur on the sur - dence for the workshop may never faces of many of these gems. be found, especially if it was de - 32 See SPIeR 1992, 13 0-131 no. stroyed in the earthquake of 17 Ad, 352 for other examples of the type 8 Yıldırım reports (pers. comm.) nu - and the remains reused in rebuilding on gems; a sardonyx in munich is merous parallels to the flavia n-era efforts. dated to the first century BC ( AGd Basilica reliefs from Aphrodisias, Munich 1.3 no. 2173) and an onyx suggesting that the preferences 22 See BeRlIN , Chap. 2 «the Archae - from the first century BC/first centu - found in the Sardis intaglios may re - ology of a Changing City», in BeRlIN – ry Ad ( AGd Munich 1.3 no. 2276). flect those of the inhabitants of the koSmIN 2019. Anatolian plateau. 33 BmC Ionia , 63, no. 43; JeNkINS 23 mAASkAN t-kleIBRINk 1978, 200 1987. 9 for terminology and dating no. 441; she points out that besides schemes, see mAASkAN t-kleIBRINk the hellenistic coins, the motif is 34 CAhIll – G ReeNeWAlt 2016, 483, 1978. common on Roman coins and gems 501. of the imperial period. 10 As RIChteR 1956 (2006), 62 not - 35 veRmeUle 1966 published a ed. 24 mAASkAN t-kleIBRINk 1978, 216 green jasper stone of the first or no. 511; see koNUk – A RSlAN 2000, second century Ad which was 11 evANS 2018, 6 4- 65. no. 35, although Athena holds a bought in Izmir (Boston mfA Nike in her hand. they date the gem 63.1522). vermeule maintained 12 evANS 2018, 6 0-62. to the second century Ad; cf. nos. that the figure was «popular on 30-34, dated to the first to second gems, stones no doubt set in the 13 ÖNdeR 1994, nos. 1 8-21. century Ad. rings of soldiers» (p. 27). Simon

JANe deRoSe evANS 31 00 derose evans jane.qxp_Layout 1 15.07.19 15:07 Pagina 32

and Bauchhenss also suggest that 52 mAASkAN t-kleIBRINk 1978, 273, the type was popular, especially on no. 750. glass intaglios, although they con - ceded that many of these intaglios 53 RIChteR 1956 (2000), 83, no. are unpublished ( SImoN –BAUC h - 360. heNSS 1984, 540). 54 SPIeR 1992, 136, no. 370. 36 BeSChI 1988, 850 and deANGelI 1988 , 895, 899 described gems of 55 koNUk – A RSlAN 2000, nos. 1 6- the second to third century Ad, and 17. coins in the west of the first and second centuries Ad. 56 hoRNUm 1993, 11-13 pointed out that a (single) winged and winged 37 mAASkAN t-kleIBRINk 1978, 208, Nemesis does occur on some coins no. 475. of Smyrna, beginning perhaps in the reign of tiberius, or more certainly, 38 mAASkAN t-kleIBRINk 1978, 242, Nero (e.g. kloSe 1987, 2 8-29). no. 627; vIllARd 1997 , 119; RIChteR 1956 (2006), 84, nos. 36 6-7. 57 RIChteR 1956 (2006), 8 4- 85, no. 371. 39 RotRoff 2018, 15 1- 152. 58 RIChteR 1956 (2006), 99, no. 40 mAASkAN t-kleIBRINk 1978, 287- 450; mAASkAN t -kleIBRINk 1978, 250 288, no. 813. and no. 658; koNUk – A RSlAN 2000, no. 104; and an imperial example 41 Sardis sector mmS/S, inventory in AGd Munich 1.3 no. 3279. the number G93.2. See also koNUk – A R- scene is also found on second-cen - SlAN 2000, nos. 77 -86, which they tury coins of Cyzicus (SNG Cop date to the first or second century. 119).

42 RIChteR 1956 (2006), 82, no. 59 GReeNeWAlt –RAmAGe –SUllIvAN – 353; koNUk – A RSlAN 2000, nos. 7 3- NAYIR –tUlGA 1983, 29. 76, which they date to the second or third century. 60 mAASkAN t-kleIBRINk 1978, 248, no. 653. 43 See also AGd Munich 1.3, nos. 2197, 2202, 3191, and 3192 dated 61 mAASkAN t-kleIBRINk 1978, 228, to the first century BC. no. 563.

44 See voN SAldeRN 1990, no. 217 62 Spanish mints: RIC I 2 nos. 12 5- (called Ares?). Now in the manisa 137; also lugdunum RIC I 2 no. 174; museum, n.s. by me. koNUk – A RSlAN leptis magna RPC I 845; Cyzicus 2000, nos. 1 8-20, 2 2- 24, list three RPC I 2245; Pergamon: RIC I 2 nos. examples from the first century Ad 488, 521; ephesos (?) RPC I 2213; and three from the second century. Smyrna RPC I 2468; tralles RPC I 265 0-2651; Paphos RPC I 3916; cf. 45 mAASkAN t-kleIBRINk 1978, 248 thrace RPC I 1715, 1719. nos. 65 1- 652. 63 RIChteR 1956 (2006), 90, no. 46 RIChteR 1956 (2006), 70, no. 400; mAASkAN t-kleIBRINk 1978, 229, 282. no. 567.

47 See also two examples in koNUk – A RSlAN 2000, nos. 56, 58, both dated to the second century Ad.

48 koNUk – A RSlAN 2000, 72.

49 Inv. no. 81.6.104; RIChteR 1956 (2006), 83, no. 365.

50 kARANAStASSI 1992, 755.

51 See RIChteR 1956 (2006), 8 4- 85, no. 371; for the coins, e.g. RPC I, no. 2478 and kloSe 1987, 2 8-30.

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