ENGRAVIHG STONES AND DIES. 65
Chimaera. Mfflingen, Tin, Mon. Ser. ii. pi. 2, 3. [Also Alcaaus and Sappho in the Brit. Mus. still unpublished.]
30. Terracotta relief from JEgina, the Hyperborean Artemis riding with Eros in a chariot drawn by griffins. Welcker, Mon. In. d. Inst. tv. 18 b. Ann. ii. p. 65.
THE ART OF ENGBAVING STONES AND DIES.
97. The arts of engraving precious stones and coin-stamps 1 gradually arose, as smaller and less regarded ramifications of the plastic art, into which life did not until late extend from the main branches. Both served as their first object the purposes of economy and traffic. The art of stone-engraving was occu- 2 pied with signet-rings, a^^n^ the demand for which was increased by the ancient practice of sealing up stores and treasures, but was also partly satisfied by metal or even wooden 3 seals with devices of no significance. However, the art of working in hard and precious stones at a very early period advanced, after the example of the Phoenicio- Babylonian stone-cutters (§. 238, 240), from a rude cutting out of round holes to the careful engraving of entire figures in antique severe style.
2. Regarding the sealing of rapisJa, Bottiger, Kunstmythol. S. 272. and elsewhere. On the old metal signet-rings, Atejus Capito ap, Macrolx Sat. vii, 13. Plin. xxxiii, 4. On the Sg/sro/^&iro/, Sgiwvftsaroi (in part actually made from worm-eaten wood, and partly seals in imitation of it), see Salmas. Exc. Plin. p. 653. b. It is doubtful whether the ring of Po-lycrates was engraved. Strab. xiv. p. 638; Paus. viii, 14, 5. Clemens Protr. iii. p. 247. Sylb. for the affirmative. Plin. xxxvii, 4 distinctly opposed to that opinion: comp. Herod, iii, 41, fffp^Yiyig ^vffo^&rog aftctgoiySou TI&OV ; Theodorus certainly did nothing more than enchase it [si fabula vera]. According to Diog. Laert. i, 2, §. 57, it was a law of Solon: &«*-rvhioyhv(p
a$eyro$ ficc,x,rv7iiQV. The same writer, according to Hermippus, called the father of Pythagoras a