The Archaeological Journal.

OCTOBER, 1861.

NOTICES OF COLLECTIONS OF GLYPTIC ART EXHIBITED BY THE ARCHAEOLOGICAL INSTITUTE IN JUNE, 1861.

BY THE REV. CHARLES W. KING, M.A., Senior Fellow of Trin. Coll., Cambridge.

THE ROYAL COLLECTION.

AMONGST the numerous and magnificent Collections contributed to the Exhibition of Works of Glyptic Art, held in the rooms of the Archæological Institute (June, 1861), that entrusted to the society by the gracious permission of Her Majesty was of peculiar interest, arising from the unique character of many among the objects comprised within it; a character derived, indeed, necessarily from the circumstances under which it has grown up to its present extent. It may, in fact, be described as a relic-chamber in miniature, of the royalties of Europe during the last three and a half centuries. With a few unimportant exceptions of indifferent antique intagli and modern copies, the gems are exclusively camei, ranging in date from the first years of the Revival down to the recent extinction of the art, and consist principally of portraits, contemporary, of the sovereigns reigning in this and the other kingdoms of Europe, during those three centuries and a half, or of others, distinguished statesmen and warriors, who flourished during those same ages. Hence, this series would furnish a rich harvest to any one who had made historical miniatures his special study; a branch of archæology with which the writer of this sketch is, unfortunately, but very slightly acquainted. These camei, executed either by the direct commission of our kings, or

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received by them as presents from other royal patrons of the art, form a series unique in itself, the growth of centuries; and therefore, taking into account the conditions of its origin, altogether without a parallel. Many mythological subjects also, the works of the respective engravers of the portraits, have accompanied the latter into the collection for the most part fine works indeed, but such as are to be seen in abundance elsewhere, and in the cabinets of private amateurs. The camei really antique are few in number and dubious in character, with one extraordinary exception, which from its importance demands a special and detailed description, to be found at the end of this notice.

The series of regal portraits opens with, perhaps, the earliest authentic one (of modern date), anywhere now extant, a head in profile of Louis XII. on a ruby, a stone of considerable size (being half an inch in diameter), and of the finest quality. The drawing is correct, though somewhat stiff, after the usual manner of the Quattro Cento heads: the relief is somewhat flat, and all the details most accurately finished both for material and execution this gem is an invaluable monument of the early times of the art. Both the choice of the stone and its style may warrant its attribution to Domenico dei Camei, famed for his portrait of Ludovico Il Moro, upon the same (in that age), almost priceless precious stone; for it may reasonably be conjectured, that the French conqueror of the last of the Sforzas had commanded the Milanese engraver to perpetuate his own features, in the same manner by which he had once before made his skill in the newly revived art famous throughout all the Courts of Italy. This ruby is set in a massy gold ring in the fashion of the times, having the name of "Loys XII." and the date of his decease, 1515, engraved inside. Can it have been sent as a memorial of this king on his decease to his brother-in-law Henry VIII.?

Next comes a bust in front face shewing the bluff features of the latter monarch, a cameo minutely finished and displaying the usual flat relief of such works done in the first quarter of the sixteenth century. It is upon a choice sardonyx, the relief in pearly white upon rich brown sard. Still more important is another likeness of the same goodhumoured tyrant, which gives us his bust again in front face, accompanied by that of the infant Edward VI., wearing a

baby's cap, also in front face; a work made out in every detail with all the precision of a miniature of the period. Everything in this tends to support the opinion, that similar camei were executed in Italy or France after paintings, (in this particular case we might safely aver, by Holbein,) sent to serve as models to the gem engraver, the Vicentino, or Nazaro, then in the height of his reputation. This gem is indeed a wonderful, probably an unrivalled, example of these early portrait camei. The stone, an oval nicolo of extraordinary dimensions, has the back hollowed out in intaglio, so as exactly to correspond with the reliefs on the front, the heads being sunk exactly under and corresponding part for part with the cameo of the obverse, in order to give transparency to the heads when viewed by transmitted light; a singular expedient peculiar to this period or individual artist, and to be also observed in the head of Edward VI. in the Devonshire parure. (Necklace, No. 48.)

An excellent profile head of Francis I. on a yellow and white onyx, the relief in the coloured layer upon a transparent ground, forms the centre of the most superb enameled pendant jewel for a neck-chain, remaining to us from those gorgeous times. The oval frame inclosing it has on either side Mars and Cupid, full length figures as supporters; above it reclines a second Cupid, at the bottom lies coiled the device of Francis, the salamander. At the back of the cameo is a group, Apollo and Daphne, in full relief, affixed to and covering the extent of the setting. From the legend beneath, significant in its application, DAPHNEM PHEBVS AMAT, it is by no means an improbable conjecture, that this elaborate specimen of the artist-goldsmith's skill was designed as a present or love token for some beauty of the name of "Laura," who at the moment held captive the amorous warrior. Unfortunately no inscription or cypher can be discovered upon it, to support this conjecture, although the name of each deity is with superfluous liberality of information written either beneath him or at the back. These figurines are perfectly modelled and elegantly designed, whilst the enamel upon them is admirably coloured and altogether unimpaired. Several breloques set with cameo-heads in various stones, works of the same age, hang from it by short chains; the best of these is a veiled head of Ceres, on a large and fine coloured turquois.

Following this in order of time may be noticed five busts in somewhat higher relief, all camei of small size, which present that type of female portrait which passes muster usually for Mary. Queen of Scots. One of these has been identified by an experienced judge as Lady Jane Grey; amongst the rest, one is probably the Duchess of Parma, the others are possibly Italian or French princesses of that age; the similarity of style and of costume rendering the exact attribution of this class of portraits in the highest degree difficult. There is, however, one of the number which, closely examined, appears to be an authentic portrait of the Scottish Queen. But the matured skill of the last half century of the Cinque Cento period has never produced a more extraordinary or more beautiful cameo than the bust of Queen Elizabeth upon a large and perfect sardonyx, in which the relief stands out boldly in a pure white upon a ground of the richest brown sard. The face is life itself, whilst the details of the jewelry, the plaits and intricacies of the headtire and of the farthingale, testify to the incredible patience of the engraver. As a work of art this ranks first in the series. Pendant to this is an equally fine, though much smaller, cameo, of her grim wooer Philip II., beautifully finished doubtless by his own court engraver, Jacopo da Trezzo; the relief in white on a dark ground. It is evidently from the same hand as the more important one, No. 200, Besborough Gems. An agate with the head of Philip is mentioned by Van der Doort, among gems belonging to Charles I., given to him in 1637. (Catalogue edited by Vertue, p. 59.)

A head of William III., signed NATTER, deserves examination, as docs also the bust of Clementina Sobieski, wife of the Old Pretender, a charming and delicate performance, finished, particularly as regards the hair, much in the antique manner, and a characteristic example of the Roman school at the commencement of the last century, when the engravers abandoned the previous and peculiar style of their country, and sought to revive that of the best Imperial times. The disputed point as to whether the true diamond has ever been engraved is here set at rest, in the first instance that has actually come under my own observation, by the signet made for Charles II., when Prince of Wales. In this the ostrich plumes between the letters C. P.-" Carolus Princeps"

are neatly and deeply cut upon a table diamond (× inch in size), formed into a heater-shaped, seven-sided shield. The stone is slightly tinged with yellow, but of fine lustre, and such that of its nature no doubt whatever can be entertained; but to remove all possibility of scepticism, I may add that it has been examined and declared a diamond by Professor Tennant. The ring holding this, in every respect, most interesting relic, has the back enameled with a bow and quiver en saltire. A marvellous specimen of metal work is the signet of his unfortunate father, having the royal arms most minutely engraved upon a shield of steel, and the lion and unicorn (modelled with matchless skill in the same metal in full relief) reclining upon the shoulders of a gold ring, and that of a size by no means inconvenient for wear upon the little finger. There is something in the style of the quarterings upon the shield that reminds one of the peculiar touch of the celebrated Simon, whose first employment was that of a seal engraver, and who may well be supposed to have executed this microscopic work for his first patron, before he displayed his genius as a medallist in the service, some years later, of the Protector. An eye-onyx (doubleeyed) of uncommonly bright colours, and presenting the most striking similarity to that organ in some ferocious animal, from its being set in a brooch of antique form, has evidently been worn as a prophylactic by some royal lady.

Amongst the mythological subjects a group of Mars and Venus, in the highest relief, in white upon the transparent layer of an onyx, is the most deserving of notice, although there are many elegant heads of nymphs and similar poetic creations in the somewhat large number of modern camei, which any where else would be highly admired. But, as before remarked, it is the series of historical portraits that gives so peculiar an interest to this collection; from a careful study of these (unlike the hasty glance which the few hours allowed by the circumstances of the examination permitted me to give to the most important only) many valuable discoveries may be anticipated in this important department of the art.

This brings us to the grand antique cameo at first alluded to, which, quite appropriately for the situation it fills, may be pronounced the most important as to dimensions, subject, and material that distinguishes any English cabinet of gems. It is of extraordinary magnitude, in form a perfect