Divinidades femeninas: Alegorías y símbolos sagrados en gemas romanas / Female Goddesses: Allegories and Sacred Symbols in the Roman Gems - Γλυπτός Glyptós — 4 — Signifer Libros , 2023
As the tittle of the paper sugests, our aim is to show the attributes of Goddesses, Allegories an... more As the tittle of the paper sugests, our aim is to show the attributes of Goddesses, Allegories and Personifications on gems uncovered/existing in Portugal.
Our aim is to study seven engraved gems set in a medieval liturgical object that was restored in... more Our aim is to study seven engraved gems set in a medieval liturgical object that was restored in the 16th century (a "caldeirinha"), now in the Machado de Castro Museum (in Coimbra, Portugal). One of them is a sapphire, engraved with a Muslim inscription (read and translated by Dr. Arianna D'Ottone Rambach, to whom we are very grateful)
Pretende‑se analisar algumas peças glípticas encontradas no actual território português (cujo âmb... more Pretende‑se analisar algumas peças glípticas encontradas no actual território português (cujo âmbito cronológico se situa entre os Sécs. II a.C. e o VII d.C.), salientando a sua importância para o conhecimento do nível artístico e técnico dos povos que as terão usado (como objectos de adorno ou utilitários) e a reconstituição de aspectos essenciais da sua vida, cultura e crenças.
Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them we... more Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them were uncovered in Portuguese soil but others are of unknown origin. Dating from the second-first century BC to third century AD, they attest to some of the gemstones types of Athena used by Roman engravers, the importance of Glyptics in the study of Greco-Roman iconography and the socio-cultural level of the inhabitants of nowadays Portugal.
atam do Calcolítico Mesopotâmico as ge mas gravadas mais antigas que co nhecemos. Foram gravadas ... more atam do Calcolítico Mesopotâmico as ge mas gravadas mais antigas que co nhecemos. Foram gravadas por incisão-a única técnica de gravação de gemas que se usou até ao final do século IV e inícios do sécu lo III a.C. e que originava os "entalhes" que, quando im pressos em determinados materiais, criavam imagens-espelho e em relevo (Fig. 1). Já o seu desbaste em ca madas (em especial, nas gemas polícromas) apenas surgiu no período helenístico e deu origem aos "camafeus" (Fig. 2)-termo que poderá derivar do latim medieval cammaeus (PLANTZOS, 1996: 115) ou da antiga pa lavra hebraica camehuia ou, ainda, de camahieu e suas variantes camaheu ou camaieul (cor respondente à palavra grega κειμήλιον), trazida do Oriente pelos Cruzados e aparecida na língua francesa no século XIII. De salientar que essa designação é também aplicável a objectos talhados em ge mas (estatuetas, cabeças / bustos de personagens e di vindades, pequenos ani mais e taças, como a Ta ça / Phiale Farnese (Fig. 3) e a Taça dos Ptolo meus (Fig. 4). E, ainda, a objectos em vidro decorados com cenas em relevo (como o Vaso Portland-Fig. 5). RESUMO Apresentam-se, de uma forma muito simples e sucinta, os processos de gravação, os vários tipos de temas e as funções das gemas romanas, engastadas em anéis, mas também em colares, brincos, pendentes, alfinetes de peito, braceletes, diademas e medalhas ou medalhões. Inicialmente utilizadas como sinete, as gemas transformaram-se em objectos de adorno e de prestígio, e até em amuletos e talismãs, pois acreditava-se que possuiriam virtudes mágicas, terapêuticas e/ou astrológicas. Os motivos gravados conferiram-lhes ainda um carácter simbólico e religioso.
Our aim is to discuss the relation between Birds, Gods and Myths in the engraved gems uncovered/e... more Our aim is to discuss the relation between Birds, Gods and Myths in the engraved gems uncovered/existent in Portugal (one of them set in a Royal Processional Cross dating 1214), as well as in other materials (sigillata, oil lamps, coins, statuettes, metallic figurative plaque and modern pavements of several streets in Lisboa)
Coimbra Medieval na Iconografia do Séculos XIX e XX , 1979
Comunicação apresentada em Coimbra, no edifício Chiado, no âmbito das I Jornadas do Grupo de Arqu... more Comunicação apresentada em Coimbra, no edifício Chiado, no âmbito das I Jornadas do Grupo de Arqueologia e Arte do Centro. Actas. Coimbra, 1979, pp. 135-162.
The 34 intaglios and cameos discussed in this paper are part of a collection of 136 gems (both Ro... more The 34 intaglios and cameos discussed in this paper are part of a collection of 136 gems (both Roman and Modern) we studied in 2002, with permission of the former Museum director, Mónica Baldaque, and the curator Fátima Macedo. Some of those gems are set in rings (no. 10-Roman iron ring; no. 22-medieval gold ring; no. 31-modern gold ring; also 3 ceramic cameos depicting the Portuguese Queen Maria I-modern silver rings: inv. nos 74 CMP; 75 CMP and 174 MNSR) and 2 others in snuff boxes (1 ivory cameo and 1 Wedgwood cameo-inv. nos 37 MNSR and 31 MNSR, respectively). Besides them, the museum also holds a collection of 800 plaster seals. Among the types of these Roman gems, some deserve special attention: Marsyas (no. 6)-the only gem in the Portuguese Gem Corpus bearing this theme, as well as those of Athena Promachos (no. 7), Isis-Selene bust (no. 9), Socrates (no. 11), Diogenes (no. 14), eagle fighting a serpent (no. 17), shrimp and murex (no. 19), mouse (23) and confronted doves (no. 25). This last one, with its associated inscription, perhaps symbolizes the union of a couple by the bonds of matrimony. However, how did the scarab bearing a Centaur (no. 28) reach Portugal?
The article presents the collection of Roman engraved gems in the National Museum of Archaeology,... more The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them we... more Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them were uncovered in Portuguese soil but others are of unknown origin. Dating from the second-first century BC to third century AD, they attest to some of the gemstones types of Athena used by Roman engravers, the importance of Glyptics in the study of Greco-Roman iconography and the socio-cultural level of the inhabitants of nowadays Portugal.
Abstract: The article presents the collection of Roman engraved gems
in the National Museum of Ar... more Abstract: The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
Estudo de pedra de anel em pasta vítrea
recuperada em intervenção arqueológica realizada,
em 2015... more Estudo de pedra de anel em pasta vítrea recuperada em intervenção arqueológica realizada, em 2015, no sítio do Moinho do Castelinho (Amadora). O exemplar integra o espólio de cronologia romana republicana que caracteriza a primeira fase de ocupação do sítio. Ostenta a gravação da figura de um caprídeo agachado, de perfil à esquerda. A sua cronologia enquadra-se no século I a.C. PALAVRAS CHAVE: Época Romana; Glíptica; Representação zoomórfica.
ABSTRACT Study of a ring stone made of vitreous paste found during an archaeological intervention carried out at the Castelinho windmill site in Amadora in 2015. The stone, from the 1st century BC, is part of the assets of Republican Roman chronology which characterise this site’s first occupation phase. It features an engraving of a crouching goat-like figure facing left. KEY WORDS: Roman times; Glyptic; Zoomorphic representation.
O artigo estuda uma colecção de Joalharia proveniente de necrópoles da cidade romana de Ammaia, n... more O artigo estuda uma colecção de Joalharia proveniente de necrópoles da cidade romana de Ammaia, na Lusitânia (Portugal).
The paper deals with a jewellery collection uncovered in the necropolis of the Roman Ammaia, in Lusitania (Portugal).
“Christian gems from Portugal in context”. Gems of Heaven: Recent Research on Engraved Gemstones in Late Antiquity, AD 200-600, pp. 114-126. The British Museum (ed. Chris Entwistle e Nöel Adams), 2011
Proveniente da necrópole romana do Porto dos Cacos 1 , este pequeno pendente em vidro ( insere-se... more Proveniente da necrópole romana do Porto dos Cacos 1 , este pequeno pendente em vidro ( insere-se num grupo de peças glípticas que, durante os Séculos IV-VII, teve uma ampla circulação por todo o Mediterrâneo Oriental (com uma especial concentração na area sírio-palestiniana) e, ocasionalmente, na região ocidental do Império.
Divinidades femeninas: Alegorías y símbolos sagrados en gemas romanas / Female Goddesses: Allegories and Sacred Symbols in the Roman Gems - Γλυπτός Glyptós — 4 — Signifer Libros , 2023
As the tittle of the paper sugests, our aim is to show the attributes of Goddesses, Allegories an... more As the tittle of the paper sugests, our aim is to show the attributes of Goddesses, Allegories and Personifications on gems uncovered/existing in Portugal.
Our aim is to study seven engraved gems set in a medieval liturgical object that was restored in... more Our aim is to study seven engraved gems set in a medieval liturgical object that was restored in the 16th century (a "caldeirinha"), now in the Machado de Castro Museum (in Coimbra, Portugal). One of them is a sapphire, engraved with a Muslim inscription (read and translated by Dr. Arianna D'Ottone Rambach, to whom we are very grateful)
Pretende‑se analisar algumas peças glípticas encontradas no actual território português (cujo âmb... more Pretende‑se analisar algumas peças glípticas encontradas no actual território português (cujo âmbito cronológico se situa entre os Sécs. II a.C. e o VII d.C.), salientando a sua importância para o conhecimento do nível artístico e técnico dos povos que as terão usado (como objectos de adorno ou utilitários) e a reconstituição de aspectos essenciais da sua vida, cultura e crenças.
Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them we... more Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them were uncovered in Portuguese soil but others are of unknown origin. Dating from the second-first century BC to third century AD, they attest to some of the gemstones types of Athena used by Roman engravers, the importance of Glyptics in the study of Greco-Roman iconography and the socio-cultural level of the inhabitants of nowadays Portugal.
atam do Calcolítico Mesopotâmico as ge mas gravadas mais antigas que co nhecemos. Foram gravadas ... more atam do Calcolítico Mesopotâmico as ge mas gravadas mais antigas que co nhecemos. Foram gravadas por incisão-a única técnica de gravação de gemas que se usou até ao final do século IV e inícios do sécu lo III a.C. e que originava os "entalhes" que, quando im pressos em determinados materiais, criavam imagens-espelho e em relevo (Fig. 1). Já o seu desbaste em ca madas (em especial, nas gemas polícromas) apenas surgiu no período helenístico e deu origem aos "camafeus" (Fig. 2)-termo que poderá derivar do latim medieval cammaeus (PLANTZOS, 1996: 115) ou da antiga pa lavra hebraica camehuia ou, ainda, de camahieu e suas variantes camaheu ou camaieul (cor respondente à palavra grega κειμήλιον), trazida do Oriente pelos Cruzados e aparecida na língua francesa no século XIII. De salientar que essa designação é também aplicável a objectos talhados em ge mas (estatuetas, cabeças / bustos de personagens e di vindades, pequenos ani mais e taças, como a Ta ça / Phiale Farnese (Fig. 3) e a Taça dos Ptolo meus (Fig. 4). E, ainda, a objectos em vidro decorados com cenas em relevo (como o Vaso Portland-Fig. 5). RESUMO Apresentam-se, de uma forma muito simples e sucinta, os processos de gravação, os vários tipos de temas e as funções das gemas romanas, engastadas em anéis, mas também em colares, brincos, pendentes, alfinetes de peito, braceletes, diademas e medalhas ou medalhões. Inicialmente utilizadas como sinete, as gemas transformaram-se em objectos de adorno e de prestígio, e até em amuletos e talismãs, pois acreditava-se que possuiriam virtudes mágicas, terapêuticas e/ou astrológicas. Os motivos gravados conferiram-lhes ainda um carácter simbólico e religioso.
Our aim is to discuss the relation between Birds, Gods and Myths in the engraved gems uncovered/e... more Our aim is to discuss the relation between Birds, Gods and Myths in the engraved gems uncovered/existent in Portugal (one of them set in a Royal Processional Cross dating 1214), as well as in other materials (sigillata, oil lamps, coins, statuettes, metallic figurative plaque and modern pavements of several streets in Lisboa)
Coimbra Medieval na Iconografia do Séculos XIX e XX , 1979
Comunicação apresentada em Coimbra, no edifício Chiado, no âmbito das I Jornadas do Grupo de Arqu... more Comunicação apresentada em Coimbra, no edifício Chiado, no âmbito das I Jornadas do Grupo de Arqueologia e Arte do Centro. Actas. Coimbra, 1979, pp. 135-162.
The 34 intaglios and cameos discussed in this paper are part of a collection of 136 gems (both Ro... more The 34 intaglios and cameos discussed in this paper are part of a collection of 136 gems (both Roman and Modern) we studied in 2002, with permission of the former Museum director, Mónica Baldaque, and the curator Fátima Macedo. Some of those gems are set in rings (no. 10-Roman iron ring; no. 22-medieval gold ring; no. 31-modern gold ring; also 3 ceramic cameos depicting the Portuguese Queen Maria I-modern silver rings: inv. nos 74 CMP; 75 CMP and 174 MNSR) and 2 others in snuff boxes (1 ivory cameo and 1 Wedgwood cameo-inv. nos 37 MNSR and 31 MNSR, respectively). Besides them, the museum also holds a collection of 800 plaster seals. Among the types of these Roman gems, some deserve special attention: Marsyas (no. 6)-the only gem in the Portuguese Gem Corpus bearing this theme, as well as those of Athena Promachos (no. 7), Isis-Selene bust (no. 9), Socrates (no. 11), Diogenes (no. 14), eagle fighting a serpent (no. 17), shrimp and murex (no. 19), mouse (23) and confronted doves (no. 25). This last one, with its associated inscription, perhaps symbolizes the union of a couple by the bonds of matrimony. However, how did the scarab bearing a Centaur (no. 28) reach Portugal?
The article presents the collection of Roman engraved gems in the National Museum of Archaeology,... more The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them we... more Abstract: The article presents several glyptic itens with Atena-Minerva depicted. Some of them were uncovered in Portuguese soil but others are of unknown origin. Dating from the second-first century BC to third century AD, they attest to some of the gemstones types of Athena used by Roman engravers, the importance of Glyptics in the study of Greco-Roman iconography and the socio-cultural level of the inhabitants of nowadays Portugal.
Abstract: The article presents the collection of Roman engraved gems
in the National Museum of Ar... more Abstract: The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
Estudo de pedra de anel em pasta vítrea
recuperada em intervenção arqueológica realizada,
em 2015... more Estudo de pedra de anel em pasta vítrea recuperada em intervenção arqueológica realizada, em 2015, no sítio do Moinho do Castelinho (Amadora). O exemplar integra o espólio de cronologia romana republicana que caracteriza a primeira fase de ocupação do sítio. Ostenta a gravação da figura de um caprídeo agachado, de perfil à esquerda. A sua cronologia enquadra-se no século I a.C. PALAVRAS CHAVE: Época Romana; Glíptica; Representação zoomórfica.
ABSTRACT Study of a ring stone made of vitreous paste found during an archaeological intervention carried out at the Castelinho windmill site in Amadora in 2015. The stone, from the 1st century BC, is part of the assets of Republican Roman chronology which characterise this site’s first occupation phase. It features an engraving of a crouching goat-like figure facing left. KEY WORDS: Roman times; Glyptic; Zoomorphic representation.
O artigo estuda uma colecção de Joalharia proveniente de necrópoles da cidade romana de Ammaia, n... more O artigo estuda uma colecção de Joalharia proveniente de necrópoles da cidade romana de Ammaia, na Lusitânia (Portugal).
The paper deals with a jewellery collection uncovered in the necropolis of the Roman Ammaia, in Lusitania (Portugal).
“Christian gems from Portugal in context”. Gems of Heaven: Recent Research on Engraved Gemstones in Late Antiquity, AD 200-600, pp. 114-126. The British Museum (ed. Chris Entwistle e Nöel Adams), 2011
Proveniente da necrópole romana do Porto dos Cacos 1 , este pequeno pendente em vidro ( insere-se... more Proveniente da necrópole romana do Porto dos Cacos 1 , este pequeno pendente em vidro ( insere-se num grupo de peças glípticas que, durante os Séculos IV-VII, teve uma ampla circulação por todo o Mediterrâneo Oriental (com uma especial concentração na area sírio-palestiniana) e, ocasionalmente, na região ocidental do Império.
Studies in Ancient Art and Civilization (SAAC) 21, 2017
Table of Contents:
Kuhn, Robert, "Das Frühdynastische Gräberfeld vom Gebel es-Silsileh Potential ... more Table of Contents: Kuhn, Robert, "Das Frühdynastische Gräberfeld vom Gebel es-Silsileh Potential und Problem einer erneuten Annäherung"
Nicholson, Paul, "Pottery Production in Egypt: the chaîne opératoire as a Heuristic Tool"
Liesegang, Diana, "The Reign of Ramesses III – under the Influence of Personal Religion"
Wacławik, Maciej, "A Few Preliminary Remarks on the Cypriot Sculptures Known as Temple-Boys"
Kubala, Agata, "A Faience Aryballos in the Collection of the University Museum at Wroclaw"
Głuszek, Inga, "The Athenian Red-Figure Pottery Found in Nikonion During Excavations of 2007-2012"
Kopij, Kamil, "When Did Pompey the Great Engage in his imitatio Alexandri?"
Bonnefoy, Alexis, Feugère, Michel, "Hermès Dionysophore Le bronze Lormier"
Cravinho, Graça, "Roman Engraved Gems in the National Archaeological Museum in Lisbon"
Podvin, Jean-Louis, "Le Succès d’Harpocrate à Nea Paphos"
Rambach, Hadrien J., "A Manuscript Description in Kraków of the ‘Trivulzio Museum’ in Milan"
Bogucki, Mateusz, Dymowski, Arkadiusz, Śnieżko, Grzegorz, "The Common People and Material Relics of Antiquity the Afterlife of Ancient Coins in the Territory of Present-Day Poland in the Medieval and Modern Periods"
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Papers by Graça Cravinho
compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
in the National Museum of Archaeology, in Lisbon. Although a small
cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
recuperada em intervenção arqueológica realizada,
em 2015, no sítio do Moinho do Castelinho (Amadora).
O exemplar integra o espólio de cronologia romana
republicana que caracteriza a primeira fase de ocupação
do sítio. Ostenta a gravação da figura de um caprídeo
agachado, de perfil à esquerda. A sua cronologia
enquadra-se no século I a.C.
PALAVRAS CHAVE: Época Romana; Glíptica;
Representação zoomórfica.
ABSTRACT
Study of a ring stone made of vitreous paste found
during an archaeological intervention carried out at the
Castelinho windmill site in Amadora in 2015.
The stone, from the 1st century BC, is part of the assets
of Republican Roman chronology which characterise this
site’s first occupation phase. It features an engraving
of a crouching goat-like figure facing left.
KEY WORDS: Roman times; Glyptic;
Zoomorphic representation.
The paper deals with a jewellery collection uncovered in the necropolis of the Roman Ammaia, in Lusitania (Portugal).
compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
in the National Museum of Archaeology, in Lisbon. Although a small
cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
recuperada em intervenção arqueológica realizada,
em 2015, no sítio do Moinho do Castelinho (Amadora).
O exemplar integra o espólio de cronologia romana
republicana que caracteriza a primeira fase de ocupação
do sítio. Ostenta a gravação da figura de um caprídeo
agachado, de perfil à esquerda. A sua cronologia
enquadra-se no século I a.C.
PALAVRAS CHAVE: Época Romana; Glíptica;
Representação zoomórfica.
ABSTRACT
Study of a ring stone made of vitreous paste found
during an archaeological intervention carried out at the
Castelinho windmill site in Amadora in 2015.
The stone, from the 1st century BC, is part of the assets
of Republican Roman chronology which characterise this
site’s first occupation phase. It features an engraving
of a crouching goat-like figure facing left.
KEY WORDS: Roman times; Glyptic;
Zoomorphic representation.
The paper deals with a jewellery collection uncovered in the necropolis of the Roman Ammaia, in Lusitania (Portugal).
Kuhn, Robert, "Das Frühdynastische Gräberfeld vom Gebel es-Silsileh Potential und Problem einer erneuten Annäherung"
Nicholson, Paul, "Pottery Production in Egypt: the chaîne opératoire as a Heuristic Tool"
Liesegang, Diana, "The Reign of Ramesses III – under the Influence of Personal Religion"
Wacławik, Maciej, "A Few Preliminary Remarks on the Cypriot Sculptures Known as Temple-Boys"
Kubala, Agata, "A Faience Aryballos in the Collection of the University Museum at Wroclaw"
Głuszek, Inga, "The Athenian Red-Figure Pottery Found in Nikonion During Excavations of 2007-2012"
Kopij, Kamil, "When Did Pompey the Great Engage in his imitatio Alexandri?"
Bonnefoy, Alexis, Feugère, Michel, "Hermès Dionysophore Le bronze Lormier"
Cravinho, Graça, "Roman Engraved Gems in the National Archaeological Museum in Lisbon"
Podvin, Jean-Louis, "Le Succès d’Harpocrate à Nea Paphos"
Rambach, Hadrien J., "A Manuscript Description in Kraków of the ‘Trivulzio Museum’ in Milan"
Bogucki, Mateusz, Dymowski, Arkadiusz, Śnieżko, Grzegorz, "The Common People and Material Relics of Antiquity the Afterlife of Ancient Coins in the Territory of Present-Day Poland in the Medieval and Modern Periods"