A four-sided pendant of the Hellenistic period published by Furtwängler (Antike Gemmen, Gesch. p. 400) shows clearly the successive stages of the operation. On side a the subject is slightly sketched in with the diamond point. On side b the deepest parts of the figure have also been roughly scooped out with the wheel. On sides c and d the wheel work is fairly complete, but the finer internal work has not been begun.
After the design had been completed the stone must have received a final polish on its surface, to obliterate any erroneous strokes of the first sketch; but this process was not carried as far as in modern work. It is a popular error to suppose that a high degree of internal polish is a proof of antiquity. If the interior of the design has a high degree of polish it may be either ancient or modern, or it may be an ancient stone repolished in modern times. If it has a matt surface uniformly produced by intention, it is probably modern. If the design is slightly dimmed and worn or scratched the stone may be antique, but is not necessarily so, since modern engravers have observed this peculiarity, and have imitated it with a success which, were there no other grounds of suspicion, might escape detection.
History.—It has been a subject of controversy whether the first infancy of the art was passed in Egypt or in Babylonia, but it seems highly probable that it was developed in Babylonia, whence at any rate the oldest examples of engraved gems at present known are obtained. It does not necessarily follow, however, that Egypt was therefore a pupil. It may well be that the art was developed independently in the two countries, although certain points of possible contact in respect of the forms employed will be described below in the section dealing with primitive Egypt.
Babylonia.—At a very remote period the cylindrical form of stone was introduced and became the approved shape, while the technical skill of the artist was still slight, and the traces of the tools employed (drill and pencil point) were still unconcealed.
The cylinder was suspended by a string and used as a seal. Impressions of cylinders are frequent on contract tablets. If one of the parties cannot use a seal he makes a nail-mark in lieu thereof, as is recorded in the document.
But from a time that was still comparatively early the engravers could work with considerable skill in the hard stone. In particular a cylinder may be quoted in the de Clercq Collection bearing the name of Sargon I. of Agade, who is placed about 3500 B.C. The cylinder is engraved with the king’s name and titles and two symmetrically disposed renderings of Izdubar, with a vase of flowing water giving drink to a bull. The whole is treated in a conventionalized style that indicates long traditions. An important early cylinder in the British Museum is inscribed with the name of a viceroy of Ur-Gur, king of Ur (about 2500 B.C.). The engraving shows Ur-Gur being led into the presence of Sin, the moon-god.
The cylinder seal was adopted by the Assyrians, and so was carried on continuously till the time of the Persian conquest of Babylon (538 B.C.). Meanwhile, as an alternative form the conoidal seal, rounded at the top and having a flat base for the intaglio, came into use beside the cylinder.
In style the Assyrians carried on the Babylonian tradition, but with no freedom of design. Subjects and treatment became rigidly conventional.
Plate I.
