were always lustrous in their internal polish, but this is not the case. Very careful examination of an engraved gem by means of a glass will show a certain dim haziness on the face of the stone, which no trick will imitate. It is the delicate touch of that great smoother of all things, time. A wavy scratchiness in the figure shows after a little study how the diamond splinter was used. In an intaglio of merit, lofty conception and accurate work go hand in hand. So uniform, so suave, is the conception, so careful the labor, that the hard stone seems as if it had been fused, and hardly scraped at all. One single ornamental adjunct helps to give an idea of period. When a filleted border surrounds the gem it generally stamps it as belonging to the Etruscan period, as in the No. 8, which is of the eighth century before Christ. With all these data, as has been before stated, it is the design which alone can Thus divine tions, of renowned statues. forms were perpetuated. As the glyptic artist was only employed by rich and powerful people, he was not obliged to make poor or cheap work, and thus the glorious traditions of his craft were retained. A good Greek style survived among the Romans even in the time of Augustus. In the subjects depicted the sequence seems to have been about as follows: the Etruscans, or Græco-Italians, engraved animals, such as the ox, the stag, and lion. The art conception is not very high, but the cutting is good. Then followed the human figure in his various pursuits; next came the heroes, the Pelagic and Hellenic deities, still somewhat imbued with archaic feeling. Then this conventionalism disappeared about the Alexandrian age, and glyptic art arose in all its greatness, for kings allowed their august features to be cut on stones. Something give facts as to the 'authenticity of the gem. There is a decadence in the glyptic art which is, of course, appreciable. All art springs from one source, though it diverges through innumerable channels. Whenever the fountain-head, then, becomes turbid, all the tributaries must run foul. This decadence, however, in engraved gems, is not so appreciable as in old coins. It was about the time of Alex ander, or shortly subsequent to it, that the glyptic art was at its climax. For centuries afterward it struggled successfully against false departures. The reasons for its continued excellence are not difficult to explain. The finest designs on gems were mostly copies, with very slight varia No. 10.-BRUTUS THE YOUNGER. most important to remember is this, that in the composition of subjects, save in the very earliest of intaglios, there is always something placid and serious in the artistic conception. Distortions of the body and violence of action are eschewed. There must be simplicity with repose. There never is meretricious art. Contemporary or actual history has no place on antique gems. One might suppose that the Latin poets would have furnished many a theme for an engraver on stone, but none such exist. It can now be understood that an acquaintance with antique engraved gems, so that a person may become an expert, requires a great deal of study. As to the appreciation of such gems, that sensation of delight which only a beautiful object can give is immediate. The same intense pleasure is experienced in studying the No. 11.-JULIA TITI. No. 6, a head of Pallas, in the King Collection, as strikes even the most indifferent in looking at the Venus of Milo in the Louvre. From the fall of Rome to the Italian Renaissance gem-engraving in Europe was a lost art. It was at the close of the fifteenth century that a love for the antique was born, which became almost a human passion; then the glyptic art had a new birth. It is wonderful how rapidly the art revived, and what excellent work was done by such Italian masters as Giovanni delle Carniole, Pietro Maria, Matteo dei Benedetti, Maretti, Tagliacarne, and others. This was the best period of modern work. It might have been supposed that in a century afterward, with better tools, the work would have improved, but such was not the case. During the fifteenth and part of the sixteenth centuries gem-engravers were saturated with true Greek sentiment, and originated work conceived within the limits of that high school of art. After them, engravers seem to have had but one end in view, and that was to palm off their work as Greek or Roman. Sham art must always be an abject failure, for it has no aspiration beyond that of moneymaking. No true artist ever worked only for the market. The more lucrative became the trade, the meaner it was. These modern works were fitted for petit maîtres, and were ornaments worthy only of decorating the charms of a Pompadour, or to clatter on the fob-ribbon of a redheeled marquis. The style is loose and soft. It is inclined to sprawl, and is generally sensuous. Compared with old work, it is Watteau in juxtaposition with Michael Angelo. It is no more high art than is glass-tumbler-cutting. This wretched work, which flooded Europe, has been a curse to the glyptic art. It has taken half a century to weed out this trash, these masquerade stones, from the nobler gems in many a cabinet. During the course of some years the writer, while examining many small collections of engraved gems in the United States, has found a preponderance of forgeries in proportion to those of classic origin. Still, hidden among the trash, were a number of intaglios of surprising beauty and merit, most of them purchased forty or fifty years ago. The engravings which serve to illustrate one of the noblest chapters of ancient art have been taken from the gems in the King Collection, which has been exhibited for the last two months in New York by M. Gaston L. Feuardent. This collection was made by the Rev. C. W. King, fellow of Trinity College, Cambridge, and is the result of some forty years of study. It was to Mr. King that General Di Cesnola confided the examination of the engraved gems found in the treasure of Curium, and the admirable article on "The Rings and Gems in the Treasure of Curium" in Cesnola's Cyprus is due to Mr. King. The 0.69 of an inch. The subject is a bull at- | the whole contour of the face, are perfect. tacked by a lion. It is archaic in style, On a curious sard, in which filaments of but shows strength and power. iron are visible. Greek. Fourth century before Christ. Greater diameter, 0.70. The use of the drill is evident, and the crosscutting in the mane of the lion is peculiar. Chalcedony. No. 2.-Very old Greek or Etruscan, with a filleted border. Capaneus struck by Jove's thunder-bolt. Very powerful in conception, rather partaking of more violence of action than was in favor in a later period; a perfect example of early condensation of art, in opposition to the transition period; very perfect in all the details of arms. Colored agate, blanched by fire. Greater diameter, 0.59. No. 3.-Little boy and dog; Greek work. This is a charming idea-the big hound No. 13.-A GRYLLUS. with his head on the boy, the child fondling it. The drawing of the dog is absolutely faultless, and his points would make him a favorite at any bench show. The pose of the child is perfect. The stone has been originally a scarabeus. On a rubycolored sard. Sixth century before Christ. Greater diameter, 0.66. In holding this stone to the light, it becomes evident that the old artist desired to produce new effects by transmitted light. No. 14.-THE GOOD SHEPHERD. No. 6.-Head of Pallas, with classic helmet. This is one of the most exquisite conceptions of antiquity. Nothing can exceed the freshness of the outlines of this beautiful face. It may be worth recording that in executing the very admirable copy of this head, as seen in the illustration, the artist declared that the calm beauty of this profile would ever elude the graver of the most proficient. It was so fine that neither steel nor wood could ever give that delicacy which only the diamond point could impart to a stone. This head bears near the flowing tresses the inscription, PEIA. On an aquamarine. Fourth century before Christ. Greater diameter, 0.61. The purity of the stone may be considered as typical of the virgin goddess. No. 7.-A Titan, double serpent-legged. He brandishes a sword in one hand, and in the other displays a lion's skin. ItaloGreek, on a large sard, which has been blanched by fire. It is an example of the large size of engraved gems. Third cenNo. 4.-Greek work of the best class; tury before Christ. Greater diameter, 0.85. possibly repolished later in some parts, but No. 8.-A sculptor modelling a bust in not enough to harm it: a figure of a pot-wax, a perfect specimen of a large subject ter at work on an amphora. Admirable on a small ground. With a glass the in drawing and in its absolute thorough- great precision of the work is even inness. Fine yellow sard. Fifth century creased. A brown sard. Greek work. before Christ. Greater diameter, 0.65. Third century before Christ. Greater diArt in its state of transition. ameter, 0.55. In every line the close attention of the sculptor to his work is evident. No. 5.-Africa. "The finest known of its class, an intaglio of extraordinary merit" (King). This head with the adornment is a type used on certain coins of the Ptolemies, and later by the Alexandrine mintage. Its depth is surprising. The elephant ears, the surmounting small trunk and tusks, indicate the emblems of 66 the Dark Continent." The mouth, the cheeks, No. 9.-Apollo, in a most graceful position, one hand resting on his lyre, the other on the head of a small figure. This gem shows particularly what is meant by classic repose. The upper part of the body of the god is nude, and the flesh is wonderfully modelled. A gem almost identical with this one is found in the chasse in Troyes Cathedral, probably brought to France after the sack of Constantinople by the Franks. Sard of unusual size. Greek, or perhaps Roman. Two centuries before Christ. Greater diameter, 0.84. Rather affected style of art, peculiar to that period. No. 10.-Brutus the younger: certainly an authentic portrait. The peculiarity of Roman work is visible, the beard on the side of the head being noticeable. This gem has been slightly chipped. Sard of very fine shade. Roman. First century before Christ. Greater diameter, 0.50. No. 11.-There can be little doubt but that this gem perpetuates the features of Julia Titi, who appears deified as Juno, with a peacock head-dress. Julia received a stinging epigram from Martial when she once aped Venus. The work is faithful enough, but it shows a decline from the higher inspirations of art. On very fine amber-colored sard, advantage having been taken of a flush of red on the stone, which appears on the cheek. Roman work. First century after Christ. Greater diameter, 0.69. No. 12.-Minerva as Dea Roma, on a pile of armor, spear in hand. No. 15.-CHRISTIAN MARTYR. seated Man themselves, quite lately advertising cards have been made with the same idea. Sometimes a hidden meaning was concealed in these grylli. In this case the gryllus is compounded of elements sacred to Minerva, Mars, and Mercury. A fine sard. Roman work of the second century after Christ. Greater diameter, 0.60. No. 14 is of the greatest interest, as it is the earliest specimen of engraved stonework conveying the modern idea of Deity. It shows the Good Shepherd carrying the lost lamb on his shoulders. In the field sun and moon are conjoined. The letters IAH-N mean, perhaps, Nomen JAH"In the name of the Lord." It should be remembered that the symbol of the shepherd carrying an animal is perfectly pagan, and that Christians changed the ram of the Greek to a lamb. The work is executed on a fine red jasper; is rather stiff as to the limbs, drapery, and animals, though the head is fairly good. Roman work. Third century after Christ. Greater diameter, 0.59. No. 15. This is undoubtedly Christian work, and is the touching souvenir of a martyrdom. Before the monogram of Christ kneels a female figure, and a naked swordsman, armed with a razor-shaped sword, is in the act of decapitating the woman. A dove with an olive branchbadge of her sacred calling-is at her feet. Both figures stand on a palm branch. Under this runs the legend ANFT, "which," says Mr. King, "represents the customary formula, Annum Novum Faustam Tibi," which indicates the purpose of the gem as a New-Year's gift. The work on this gem is elaborate, and the grouping fairly well conceived. It is cut in red jasper, is Roman work, and of the third century after Christ. Greater diame ter, 0.55. terer, if he existed, was a singularly modest man. This particular gem was once in the Poniatowsky collections. It is cut on amethyst of very fine color; is Italianpossibly French. Greater diameter, 1.27. In this brief article the early Assyrian glyptic art has not been mentioned. Its characteristics, as shown on cylinders and on flat stones, are too manifest and striking to require an explanation. The artistic merits in such work, though it has boldness and high finish, scarcely assert themselves to modern eyes. No. 16. This engraved gem has been purposely chosen with the idea of showing a very good specimen of modern work, as it is of the latter part of the sixteenth century, perhaps of the seventeenth. It represents a Psyche opening the box of beauty which Proserpine entreated her to carry to Venus. This Psyche shows the decadence of art by comparison with the other In concluding this slight study on engems. The Psyche sprawls, and to a hy- graved gems, the exceeding faithfulness percritical taste is something like a ballet and artistic excellence of the illustrations danseuse. The gossamer wings and float- may be asserted, for it is quite certain that ing scarf belong too much to the theatrical the beauty of the glyptic art has never mise en scène. It is pretty and frothy. been before so thoroughly understood and The inscription, TNAIOK, is, says Mr. interpreted. For most valuable informaKing, the catch signature of the engraver. tion on engraved gems great indebtedness It is worth recalling that, as to signatures is acknowledged to the Rev. C. W. King, on these Greek gems, the letters run ir- whose manuscript notes accompanying regularly, and are never placed ostenta- this unique collection were confided to tiously. The Greek sign-painter or let- | the writer. TWE THE NAVESINK HIGHLANDS. WENTY miles southward on a clear day may be seen from the Narrows the most eastern curve in a chain of hills known as the Highlands of Navesink, forming a bold headland apparently jutting out into the sea. A nearer approach, however, reveals a shining river guarding the dark bluffs, and a long, low, narrow strip of sand separating both from the Atlantic Ocean. This beautiful region-part of the eastern border of Monmouth County, New Jersey-although known as early as 1609, settled more than two centuries ago, and almost within sound of Trinity bells, is to-day as primitively lovely as if it were a hundred years and a hundred miles away. The great magician Improvement waving his wand northward and southward, scores of airy structures have sprung up, the blaze of their many windows lighting up the beaches and bluffs every where from Coney Island to Cape May, save here. "Thus far shalt thou come, but no farther," murmured the genius of repose, brooding over these sunny hills, and the bright enchanter fled along the outmost strand, leaving only the faint lines of a railway and the trailing smoke of a locomotive to mark his flight. Thither, then, to the "bonny Highlands," we were bound on the Sea-Bird one bright afternoon in middle June. Constituting myself "guide, philosopher, and friend" of our party as we steamed down the bay, I related the sad fate of the gallant young Hamilton Haliburton and his twelve comrades, who perished off the low coast of Sandy Hook by shipwreck, the Countess Dowager of Morton erecting a monument to their "dear memory" in the little Sandy Hook grave-yard, where they were buried. A tablet commemorating the sad event may be seen in St. Paul's Church, New York. I also did not forget, as we floated past Horseshoe Harbor, to dwell on the astonishment of the Neve-sinck Indians as they saw the 'mighty canoe of the Great Spirit” gliding in from the watery world beyond, and dropping anchor in its quiet waters. 66 Entering the placid Shrewsbury, with its high bluffs on the right and its low sandy beach on the left, the old-fashioned draw of the long bridge swung lazily back, and passing through, we stopped at the wooden pier beyond. A short walk brought us to the foot of a finely wooded slope, on the side of which, on a green plateau surrounded by trees, |