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Rh descriptions of the Septuagint. In the arrangement of Josephus (iii. 7. 5) the jasper is made to change places with the sapphire, the amethyst with the agate, and the onyx with the beryl, while our version differs partly in the order and partly in the names of the stones; but probably in all these accounts the names had in some cases other meanings than those which they now carry. It must be remembered that we have two series of equivalents, namely, the Hebrew compared with the Septuagint, and the Greek words of the Septuagint compared with the modern names, which in many cases, though derived from the Greek, have changed their applications. From the fact that to each tribe was assigned a stone of different colour, it may be taken that in each case the colour was one which belonged prescriptively to the tribe and was symbolic, as in Assyria, where the seven planets appropriated each a special colour [see Brandis in Hermes, 1867, p. 259 seq., and de Saulcy, Revue archéologique, 1869, ii. p. 91; and compare Revelation xxi. 12, 13, where the twelve gates, which have the names of the twelve tribes written upon them, are grouped in four threes, and 19, 20, where the twelve precious stones of the walls are given]. The precious stones which occur among the cylinders of the British Museum are sard, emerald, lapis lazuli (sapphire of the ancients), agate, onyx, jasper and rock crystal.

Gem-Engraving in Greek Lands.—We must now turn to the history of gem-engraving in Greek lands. The excavations in Crete in the first years of the 20th century revealed a previously unknown culture, which lasted on the lowest computation for more than two thousand years, and was only interrupted by the national upheavals which preceded the opening of Greek history proper. (See ; Archaeology; and .) Throughout the whole period the products of the gem-engraver occupy an important place among the surviving remains. It must suffice, however, in this place to indicate the chief groups of stones.

The earliest engraved stones of Minoan Crete are three-sided prism seals, made of a soft steatite, native in S.E. Crete (Journ. of Hellenic Studies, xvii. p. 328). These are incised with pictorial signs evidently belonging to a rudimentary hieroglyphic system, and are dated before 3000 At a period placed by A.J. Evans between 2800 and 2200 the method was fully systematized and employed on the signets, as well as on tablets and other materials. This development of the hieroglyphic system was accompanied by an increasing power of working in hard material, and cornelian and chalcedony superseded soft steatite (Journ. of Hell. Studies, xvii. p. 334).

Towards 2000 a highly developed linear form began to supersede the pictorial signs. It is abundant on the tablets, but the gems thus inscribed are comparatively rare. The linear form in turn died out some six hundred years later.

The signs of the pictorial script incised on the gems are representations of objects, expressed with precision, but giving little scope for the higher side of the gem-engraver’s art. Simultaneously, however, with the use of the script, a high degree of skill was acquired by the engravers in rendering animal and human forms. Scenes occur of ritual observance, hunting, animal life, and strange compounded forms of demons. The excavations did not yield a large number of original gems of this class, but a great number of clay sealings from such signets were discovered. That they were synchronous with the use of the forms of script described above is proved by the fact that in the palace at Cnossus deposits were found, both in the linear and the hieroglyphic script, sealed with these signets, the seal impressions being again endorsed in the script (Brit. School Annual, xi. pp. 56, 62). For a remarkable group of sealings found at Zakro see ''Journ. of Hell. Studies'', xxii. pll. 6-10. The finest naturalistic engravings are placed towards the close of the “Mid-Minoan” and beginning of the “Late-Minoan” periods (about 2200–1800 ). During the progress of the “Late-Minoan” period the subjects tended to assume a more formal and heraldic character. The forms of stones in favour were the disk convex on each side (lenticular or lentoid stones), and during the “Mid-Minoan” period, elaborate signets in the form of modern fob-seals. Apart from the use of intaglios for sealing, the excavations have shown that the Cretan lapidaries were largely employed in the working of gems for purposes of decoration. Fragments of lapis lazuli and crystal for inlaying (the crystals having coloured designs on their lower surfaces) were found in the throne room at Cnossus; the royal gaming-board, also from the palace at Cnossus, had inlaid crystal disks and plaques. The workshop of a lapidary, with unfinished works in marble, steatite, jasper and beryl, was also found within the precincts of the palace (Brit. School Annual, vii. pp. 20, 77). Examples were also found of work in relief, substantially anticipating the art of cameo-cutting. The area over which the Cretan influence extended was wide. Its manifestations in Greek lands proper, first revealed by Schliemann’s excavation of the royal tombs of Mycenae, ran parallel with and outlasted the later periods of the Cretan culture to which it stood in close relation (see ). Its gems and intaglio works in gold are known to us from the finds at Mycenae, and at analogous sites, such as Menidi, Vaphio and Ialysus. They have much in common with the finer class of Cretan stones already described. The engraved gems fall principally into two groups in respect of form, namely, the lenticular (or lentoid) stones already mentioned, and (more rarely) glandular stones, so called from their resemblance to a glans or sling bolt. A Cretan fresco shows a figure wearing an agate lenticular stone suspended from the left wrist. The finer specimens of the Aegean gems are engraved with the wheel and the point in hard stones, such as chalcedony, amethyst, sard, rock-crystal and haematite. A lapidary’s workshop similar to that at Cnossus has been found at Mycenae, with a store of unused gems, and an unfinished lenticular stone (Ephemeris Archaiologikè, 1897, p. 121). The characteristic of the Aegean engraver is the free expression of living forms. His subjects are figures of animals, men and demons in combat, and heraldic compositions recalling the Gate of Lions at Mycenae. It was almost inevitable that the scarab should be found in the Cretan and Aegean deposits, but in such cases we have the Egyptian scarab directly imported, and not, as at a later period, non-Egyptian adaptations of the form. The cylinder also (except in Cyprus, the borderland between east and west) only occurs as an importation, and not as a currently manufactured shape.

The “Island Gems.”—The Aegean culture was swept away probably by that dimly seen upheaval which separated Mycenaean from historical Greece, and which is commonly known as the Dorian invasion. One of the few facts which indicate a certain continuity of tradition in later Greece is this, that we again find the same characteristic forms, the glandular and lenticular stones, in the cemeteries, of Melos and elsewhere. It is only recently that archaeologists have learnt to distinguish between the later lenticular and glandular stones “of the Greek Islands,” as they are commonly called, and those of the Aegean age. Engravings of the later class are worked in soft materials only, such as steatite. They have not the power of expressing action peculiar to the Aegean artist. In general, the continuity of tradition between the gems of the Mycenaean and the historical periods is in respect of shape rather than of art. The subjects are for the most part decorative forms (the Gryphon, the winged Sphinx, the winged horse, &c.) in course of development into characters of Greek myth.

The Phoenicians and the Greeks.—About the end of the 8th and beginning of the 7th century the Phoenicians began to exercise a powerful influence as intermediaries between Egypt and Assyria and the Mediterranean. Porcelain and other