had renounced his friendship: all for this end, that his granddaughter might show herself off by lamp-light covered over with the value of forty millions of sesterces! Let any one now count up on the one side the sums carried in triumph by Curius or Fabricius, let him picture to himself their scanty dishes; and on the other side, Lollia, a wretched female, a tyrant's plaything, seated at the feast; would he not have preferred that they should have been dragged down from their triumphal cars, rather than have been victors for such a result as this?" Claudian enumerates among the treasures left by the Emperor Theodosius to his two sons : 66 Quin et Sidonias chlamydes et cingula baccis "Sidonian mantles rich with purple fold, Belts bossed with pearls, robes stiff with woven gold, In illustration of the last lines it may be observed, that Constantine often appears, on his small brass coins, wearing a helmet studded with gems set together as closely as possible. This passage also supplies another argument in favour of the identity of the Hyacinthus with our Sapphire, as that stone is found more abundantly used than any other in the decoration of the jewellery of the latest Roman age, in the few instances (to be described in the next article) that have been preserved to our times. Here, too, it may be observed, that these ornamental helmets of the latter empire were the origin of the imperial crown in its present shape, the gradual transition of form being easily traced upon the coins of the Byzantine Cæsars. CROWNS OF THE GOTHIC KINGS OF SPAIN. A brief notice has been already given, under Emerald, of the Iron Crown of Monza, and that of King Agilulph. But these have been altogether eclipsed, both in value and in interest, by the discovery of eight crowns in solid gold, of the intrinsic worth of 20007., lately discovered in clearing away a deserted cemetery at Fuente di Guerrazar, two leagues from Toledo. The most important, that of King Receswinthus, A.D. 653, is a circle of fine gold one foot in diameter, set with 30 huge Rubies and 35 Pearls, alternating with Sapphires. The circle is edged by two borders, adorned with a running pattern of Greek crosses made of pieces of Carnelian,-cloissonnés in gold. From 24 little chains hang these letters, of gold, incrusted with Carnelians, like the border, + RECESVINTHVS REX OFFERET. From the letters again hang 24 pendeloques in gold and five Pearls, and support 24 pear-shaped pink Rubies, forming a fringe all round the crown. Lowest of all hangs a magnificent cross, of elegant form, set with very large gems, and having three pendants from the arms and foot. The second crown, supposed to be the queen's, is set with Rubies, Sapphires, Emeralds, Opals, and large Pearls, and has a fringe of Rubies and a pendant cross, but is altogether of a plainer make than the first. The other crowns are much simpler, and are set with but few stones; they probably were those of counts and barons of the time. On one is the inscription,— which records its dedication by Sonnica to Santa Maria di Abaxo, a church at the foot of the hill on which Toledo stands. CROWN OF HUNGARY. This most venerable relic of Byzantine art is formed of a broad flat circlet of fine gold, from which spring four arches supporting a cross. It was sent, A.D. 1072, by Michael Ducas, Emperor of Constantinople, to Geisa I., Duke of Hungary, or, as he is styled in his enamel portrait placed above the circlet, "Geabitras, king of the Turks." Next comes a portrait of Constantinus Porphyrogenitus; then one of Ducas himself; the fourth and largest enamel represents Christ seated, exactly as he appears on the bezants of the period. These four portraits are placed at the springing of the arches that close the top of the crown; on the front of the circlet itself are fixed four smaller enamels of Michael, Gabriel, St. George, and St. Demetrius. Above the medallion of Christ is a large heart-shaped Amethyst, below it is a huge rough Sapphire; four large Sapphires are also set equidistant on the circlet, all of them, but one, being unpolished. The edges of the circlet are closely studded with Pearls set touching each other in a row. The large Sapphire at the back is surrounded by four green stones, cut in an oblong form, but their precise nature cannot be ascertained. In the deed by which Queen Elizabeth of Hungary pledged this crown to the Emperor Frederic IV., the stones are enumerated as 53 Sapphires, 50 Rubies, one Emerald, and 320 Pearls. Here is another proof of the early existence of the Emerald in Europe, and of the correctness of the opinion as to the real nature of the Hyacinthus, for what other gem, to judge from Claudian's account of the robes and armour of Theodosius, should we expect to see so lavishly employed as this in decorations of the Byzantine age? RING OF THE GREAT MOGUL. Before quitting the subject of ancient jewellery, I cannot refrain from giving a brief description of an ornament, which, though not antique, exemplifies the Oriental idea of magnificence more fully than any example that has ever come before me. This was a monster ring presented two centuries ago by the Great Mogul to the only envoy of the Emperor of Germany who ever visited his court. The very first sight of this jewel sufficed to convince one that it could have had no other origin than this, such a show of barbarian splendour did it exhibit, forming in itself a complete cabinet of every kind of precious stone of colour to be found within his dominions. Its form was that of a wheel about three inches in diameter, composed of several concentric circles joined together by the spokes radiating from the centre, in which was set a large round Sapphire; the spokes, at all their intersections with the circles, have collets soldered on them, each containing some coloured gem; in fact, every stone of value, except the Diamond, occurs in this glorious company. On the back is fixed the shank, and when worn it covers the whole hand like some huge mushroom. Strange to say, this same pattern is found in an ornament of a very different origin-a Roman fibula discovered at Shefford, Bedfordshire, and now in the collection of the Cambridge Antiquarian Society. It is composed of bronze gilt, and is about eight inches over, and formed of three concentric circles connected as in the ring, all set with large pastes imitating Emeralds and Amethysts. The gilding is still very perfect, and the colours of the pastes remarkably good and brilliant. The form of this fibula is perhaps unique, but there can be little doubt of its Roman origin, having been found together with many relics of that period, such as Samian ware and other pottery. This is another singular instance of the persistence of ancient types in the East, which strikes us so forcibly in the examination of the Etruscan and Greek gold work, much of which might have been but yesterday brought from India, the same lightness of material and delicacy of execution, as well as similarity of "motive," characterising the productions of ages so widely separated. Attributes of Ganymede Roman. Cameo Onyx STATUES ADORNED WITH JEWELLERY. At a late period of the Roman Empire, the practice had become common of adorning the statues of the gods with articles of jewellery, such as would be worn by wealthy personages of the time. Of this custom we find no traces in former ages, for the gold and gems that decorated the statues of the flourishing periods of the arts were employed in the actual construction of the figure or of its drapery and accessories. Zosimus ascribes the tragic end of Serena, the widow of the great Stilicho, who was strangled by the orders of the wretched Honorius (or rather of the eunuchs who governed him), to the vengeance of the goddess Vesta, whose statue she had despoiled of a most valuable necklace of precious stones. This was done at the time the temple was deserted by its former guardians, in consequence of the confiscation of its revenues. Hence Zosimus (a devout adherent to the ancient faith), whilst lamenting the fate of so excellent |
