Ptolemaic cameo

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Ptolemaic cameo

The Ptolemaic cameo is probably a 278 BC. Chr. Or a few years later cut cameo from Indian sardonyx , which is supposed to show the Ptolemaic ruling couple Ptolemaios II and Arsinoë II as a double portrait in the then new type of capita iugata ("connected heads").

The stone had been attached to the front of the Epiphany Shrine in Cologne Cathedral as its most valuable gemstone since around 1200 , where it probably symbolized the star of Bethlehem . It was stolen from Cologne Cathedral in January 1574, later set in a gold circlet, and ended up in the Kunsthistorisches Museum in Vienna via several stops .

The quality of the stone and its workmanship, its size and its history make the Ptolemaic cameo one of the most important examples of the ancient art of stone cutting .

description

Heliogravure, ca.1900

The Ptolemaic cameo is an Indian sardonyx that is colored in seventeen very thin layers alternately dark brown and bluish white , eleven layers were used for the image representation. Today the stone is 115 millimeters high and 113 millimeters wide. The lower edge is broken and repaired with black enamel . The original height is assumed to be 155 millimeters, the lower part will have broken off in 1574 when the stone was stolen from Cologne Cathedral. The former collars and busts of the people depicted are lost, similar to the Gonzaga cameo .

In the foreground, the image shows the head of the beardless Ptolemy II Philadelphus (308 to 246 BC), who lived from 285 to 246 BC. Chr. Pharaoh of Egypt was. The pharaoh wears an Attic helmet , on the helmet of which a snake modeled after the ancient Egyptian uraeus as the protector of the pharaoh is depicted. The cheek flap carries a bundle of lightning as a symbol of the Greek god Zeus , and the neck shield shows the portrait of the Egyptian god Ammon , who was also identified with Zeus by the Greeks.

Staggered behind Ptolemy II is his sister and wife Arsinoë II Philadelphos (around 316 to 270 BC), who wears a veil over a broad, decorated headband. A lotus flower is tucked into the upper edge of the headband . The depiction of Greek brides with headbands, tucked leaves and veils is known from Greek vase painting . If Arsinoë II is shown here as a bride, the cameo for the wedding in 278 BC is used. Have been cut.

The cameo is set in a gold ring with an eyelet on top, which is dated to the last quarter of the 16th century.

Dating and iconography

Octadrachm with portraits of Ptolemy II and Arsinoë II, Pergamon Museum , Berlin
Prussian taler with portraits of King Wilhelm I and his wife Augusta , 1861

The Ptolemaic cameo was made after the royal couple married in 278 BC. BC and before the death of Arsinoë II in 270 or 269 BC. Been made. With the depiction of the staggered double portrait of the ruling couple , which first appeared on his coins and later also on cameos, Ptolemy II established the image type of the capita iugata . The capita iugata was a popular form of depicting the ruler with his companion, co-regent or keeper of the dynasty, or with an ancestor in glyptics until late antiquity and in numismatics until the 20th century.

The popularity of the pictorial motif in ancient art makes dating the Ptolemaic cameo difficult. The identity of the couple portrayed and the time when the Ptolemaic cameo was created are emphatically questioned by individual researchers. The man is often identified as Alexander the Great or as Augustus with the features of Alexander, the woman as Alexander's mother Olympias of Epirus . These interpretations have run through the history of research since a letter from Fulvio Orsini to Cardinal Alessandro Farnese in 1586. Orsini named the depicted couple Alexander the Great and Olympias, probably also in reference to Farnese's first name. The Zeus symbolism of the cameos seems to suggest this, but it also supports the identification with Ptolemy II and Arsinoe II, since Ptolemaic legends claim a relationship between Ptolemy I and Alexander and show a maternal descent from Heracles and thus also from Zeus. The myth of origin of the Ptolemies describes the rescue of the abandoned Ptolemy I by Zeus in the form of an eagle. Another interpretation comes from Hans Peter Laubscher , who portrayed the portrayed as Ptolemy X. with his mother Cleopatra III. , possibly also with his niece and wife Cleopatra Berenike III. looks at.

The archaeologists Dieter Hertel , Wolf-Rüdiger Megow and Dimitri Pantzos justified their dating to the Augustan period around the turn of the times with typological and stylistic considerations; they rule out the manufacture of the cameo in the Hellenistic period. Elisabeth Nau even dates the Ptolemaic cameo to the middle of the first century AD.

Epiphany shrine

Front of the Epiphany with the trapezoidal plate removed.

There is no information about the origin of the Ptolemaic cameo and its owners in antiquity and in the Middle Ages. The only thing that is certain is that in the Middle Ages it was neither possible to date the stone nor to identify the persons depicted. Nevertheless, everyone involved with such stones must have been aware of the tremendous rarity and preciousness of the stone. The three ancient portraits - of the royal couple and the god Ammon - were after almost unanimous opinion researcher Christian in the picture of the Magi reinterpreted what the attachment of the stone on Epiphany Shrine have caused will. But they can also be seen as a symbol of the Trinity .

At a point in research controversial around 1200, the Roman-German King Otto IV of Brandenburg donated gold, precious stones and large cameos to the Shrine of the Three Kings in Cologne Cathedral . As is typical of the time, it can be assumed that the royal donor intended the Ptolemaic cameo as a representation of himself for the shrine, which should also represent a monument for him and his dynasty. In the same sense, the central cameo of the probably around the year 1000 by Otto III. Understand the donated Lothark Cross . With the foundation for the three kings shrine, the Cologne cathedral chapter got into a difficult situation, as the three kings shrine threatened to be taken over by Otto IV. A solution was found in the figurative representation of Otto as the “fourth king” on the front of the shrine with the accompanying inscription “OTTO REX”. In this way Otto was portrayed as a secular pilgrim and his godlike portrayal was canceled.

The Otto IV Foundation also included three gold crowns for the heads of the Three Kings. A removable trapezoidal plate was added to the front of the Shrine of the Three Kings between the two-aisled “ground floor” and the structure. When the plate is removed, the view through an ornate grille opens up onto the “headboard” on which the crowned skulls of the kings are located. Like all exterior surfaces of the Epiphany, the removable trapezoidal board is richly decorated. In its center was originally the most valuable of three large gemstones, the Ptolemaic cameo, today a large citrine occupies its position . On the left was a large sardonyx depicting Mars and Venus , on the right the Nero cameo . The three stones were framed by a total of four angels, the inner ones standing and the two outer ones kneeling.

The Ptolemaic cameo significantly influenced the design of the Epiphany and its program of figures. The facial profile of the figure of Mary on the front of the shrine is similar to the profile of the woman on the cameo. The influence becomes even clearer in the figure of the baby Jesus, who also looks to the left and whose profile corresponds to that of Ptolemy on the cameo. In the case of the three-dimensional design, it was apparently accepted that the child was put on the head of an adult. This apparent mistake is explained by the medieval understanding that some stones can grow in the earth. In this imagination, the male portrait (Jesus) has grown out of the female portrait (Mary) and becomes the template for the later goldsmith's work.

Joseph Hoster complained that the front of the Shrine of the Three Kings did not show a star at the instigation of Otto IV, although this was typically an indispensable element of every depiction of the Three Kings that had to be presented in an outstanding manner. In this context, the great Ptolemaic cameo in its elaborate gold version was understood by later authors as an image of the star of Bethlehem, especially since there is no room for another representation of the star on the shrine suggested by Hoster.

Albertus Magnus

Albertus Magnus , fresco by Tommaso da Modena , around 1352, Chapter House of the Convent of San Niccolò, Treviso

The first evidence of the Ptolemaic cameo at the Shrine of the Three Kings comes from the Cologne scholar and later Regensburg Bishop Albertus Magnus , who provided a detailed description of the cameo in his book on minerals, written in Cologne between 1248 and 1252:

“For in Cologne at the shrine of the three kings there is an onyx of great dimensions, the width of a man's hand or more; on it, on the material of the onyx stone, which is fingernail (colored), two pure white heads of youths are painted, so that one is below the other, but looks out through the protruding nose and mouth. And on the forehead of the heads there is a very black snake that connects those heads. But on the jaw of the one, where the angle of the bend of the jaw is, between the part that comes down from the head and that that bends towards the mouth, is the deep black head of an Ethiopian with a long beard. And underneath on the neck is again stone the color of the fingernail. And there seems to be robes decorated with flowers around the heads. But I have checked that it is not glass, but stone, which is why I assumed that this image was created by nature and not through art. You can find many similar (stones). It is no secret, however, that such images are sometimes produced artificially, and in two ways [...] "

- Albertus Magnus : De mineralibus II 3, 2

The description by Albertus Magnus undoubtedly refers to the Ptolemaic cameo, even if he addresses the sitter as two young men. The black snake on the forehead of the heads described by Albertus is not the one depicted on the helmet, but a brown vein in the stone, which the gem cutter incorporated into his work in such a way that it appears as a strand of hair running from the temple of Arsinoë to her forehead with snakehead-like end pointing. Albertus misinterprets Ptolemy's helmet: he regards his cheek flap as a beard and the plume and the collar, which is missing today, as a garment decorated with flowers. Mention of the neck collar is helpful for research. It proves that the cameo was still complete in Albertus' time.

Although Albertus does not explicitly name the Magi as the persons depicted, it is noticeable that he describes the small portrait of Ammon, for him the jet black head of an Ethiopian with a long beard , on an equal footing with the two large portraits. As one of the first representations of the Magi with a dark-skinned king in the understanding of medieval viewers, the Ptolemaic cameo could have been the model for the representation of a black king as a representative of Africa, which began in the 13th century and soon became the standard.

Albertus Magnus and other contemporary scholars took the view that star constellations favorable for the conception of a person can already impress the images of animals or people on a stone in the earth. The onyx is particularly suitable for this, Albertus considered it to be a tree resin or a mixture of earth and water that hardens after being formed into stone. Albertus assigned such an origin to the Ptolemaic cameo, so that a further connection arose between the legends of the three wise men, the star of Bethlehem and the cameo.

Description from the 16th century

The papal Sondernuntius Giovanni Francesco Commendone , Bishop of Zante , traveled to Germany in 1561 accompanied by the Bolognese nobleman Fulvio Ruggieri and also visited Cologne and the Shrine of the Three Kings. Ruggiero reports that the shrine's gems are very old. They say that they belonged to the kings and that the great onyx with its representations developed naturally and grows from time to time. Ruggiero, who is familiar with ancient art treasures, was skeptical of this information; he noticed that the cameo looked as if it had been made by an artist.

robbery

"Schonemann-Blatt", frontispiece of the treasure register by Petrus Schonemann , Cologne Cathedral Curator , copper engraving from 1671. The earlier position of the Ptolemaic cameo is marked by the large stone in the center of the trapezoidal panel.

In the 16th century, the Shrine of the Three Kings was located in the apse chapel of Cologne Cathedral, in its own mausoleum closed with wrought iron bars. The gate was opened for early mass so that the believers had access to the shrine.

On the morning of January 18 or 28, 1574, between five and six o'clock during early mass, the Ptolemaic cameo and numerous other gemstones and pearls were broken off and stolen from the front of the briefly unguarded Epiphany shrine and from sacrifices in front of the shrine. The theft was noticed after a short time, the Cologne city gates were locked for a period of twelve days, and every traveler leaving the city was strictly controlled and searched. Two suspects were arrested but soon released. Despite these measures and an enormously high reward of 300 thalers, the booty was gone.

The robbery is reported in a Cologne cathedral chronicle written by the Cologne cathedral vicar Goswin Gymnich for the period from 1550 to 1608. It is preserved in a copy made by the Cologne cathedral curator Petrus Schoneman in 1664/65. It includes the beginning of the description of Albertus Magnus and a clumsy drawing based partly on Albertus and partly on the draftsman's memory.

The Cologne councilor Hermann von Weinsberg mentions the robbery in his "Buch Weinsberg", a Cologne citizen chronicle from 1518 to 1578, and states January 27, 1574 as the date:

"Anno 1574 on January 27th. There are many beautiful little things that are uff eim brede in front of the hilligen three Koningen in the doim, stolen, sulten vil thousand guldin have been worth, then an onich, a stone, with a face, larger than a palm in the hand, beyond precious, pearls as big as kirsen and other vil kleinater van noble stones and rings, given away by vil koningen, princes and gentlemen from ancient times. A rait closed the doors for 10 or 12 days and every uisritender or gainder was defeated; Some innocent people were touched, some were suspected and all sorts of talk went around, but it was not possible. It is said that the war-boners were ridiculed to give 300 daler, if you were to raise, but you were not warranted; how it is still faring, knows got. "

- Hermann von Weinsberg : "Buch Weinsberg", Liber iuventutis , entry for January 27, 1574

The loss of the cameo and other stones subsequently required some restorations and changes to the front and the upper long sides of the Epiphany. The gap created by the missing Ptolemaic cameo was only closed in 1597 with the citrine still attached to this point today. The procurement of the stone was made possible by a bequest from Canon Johannes Walschartz, who was responsible for opening and closing the gate in front of the shrine during the robbery.

Further whereabouts

Agrippina and Germanicus , oil on panel, 66.4 × 57 cm, Peter Paul Rubens , 1614, National Gallery of Art , Washington

The Ptolemaic cameo is documented for Rome in 1586, where it was offered to the scholar and gem collector Fulvio Orsini on October 3rd by a Flemish trader . Orsini recommended that the dealer show the cameo to Cardinal Alessandro Farnese . In a letter dated October 7, Orsini gave the cardinal extensive information about the cameo. He gave it the same meaning as the Tazza Farnese and also described the damage repaired with black enamel, which in his eyes was not impairing. As a basis for negotiations for the cardinal, he gave a value of 500 gold scudi . The deal failed because the cardinal only offered 200 to 300 scudi, but the dealer asked for significantly more than the estimated value.

The following year, the Ptolemaic cameo Vincenzo I Gonzaga was offered. Its advisors put the value of the cameo at 1,000 gold scudi and recommended it to Gonzaga. Gonzaga acquired the stone for his collection in Mantua , especially since he already owned a similar piece, the Gonzaga cameo . Peter Paul Rubens saw the cameos in the Gonzaga collection and was probably inspired by these stones for his picture Agrippina and Germanicus .

In 1630 Mantua was sacked by Habsburg troops during the War of the Mantuan Succession . The Ptolemaic cameo came into the possession of Franz Albrecht von Sachsen-Lauenburg . In September 1636, the English art and antiquities collector Thomas Howard, 21st Earl of Arundel, mentioned the Ptolemaic cameo in a letter from Regensburg . Franz Albrecht has two agate bottles that are not for sale and a large agate relief with Alexander and a wife that he wants to give to Empress Eleonora , the wife of Ferdinand II and daughter Vincenzo I Gonzaga. It is not known whether the donation took place. One of the agate bottles mentioned by Thomas Howard is located as a Mantuan onyx vessel in the collection of the Herzog Anton Ulrich Museum in Braunschweig .

In the winter of 1668/69 the Ptolemaic cameo was in the imperial collection in Vienna. Today it is in the Glyptiksaal of the Antikensammlung of the Kunsthistorisches Museum in Vienna, where it is one of the most important exhibits alongside the Gemma Augustea and Gemma Claudia .

The knowledge of the Cologne origin of the Ptolemaic cameo was forgotten for centuries. It was not until 1952 that Eduard Neuffer , director of the Rheinisches Landesmuseum Bonn , and Joseph Hoster , as custodian of the Cologne Cathedral Treasury, were intensely involved in the restoration of the Epiphany shrine, and discovered the cameo with the help of Albertus Magnus' description in the Kunsthistorisches Museum and identified it beyond doubt.

Until 1999 the cameo was not shown outside of Vienna at all. Since then it has been loaned for major exhibitions. Examples were the Lower Saxony state exhibition "Otto IV. - Dream of the Guelph Empire" on the 800th anniversary of Otto IV's coronation in the Braunschweigisches Landesmuseum .

In 2014 the Ptolemaic cameo returned to Cologne for the first time since it was stolen 440 years ago. As part of the exhibition Caspar, Melchior, Balthasar - 850 Years of Adoration of the Three Kings in Cologne , it was shown from July 19 to November 24, 2014 in the Cologne Cathedral Treasury . For the duration of the exhibition, the trapezoidal plate was removed from the front of the Epiphany; it was shown together with the Ptolemaic cameo.

More Ptolemaic cameos

Gonzaga cameo in the State Hermitage Museum in Saint Petersburg
Ptolemaic cameo from the Berlin Collection of Antiquities (above)

In addition to the Ptolemaic cameo from the Cologne Three Kings Shrine described here, two other cameos are referred to as Ptolemy cameos , all of whose portraits are similar. This is the Gonzaga cameo , which is significantly larger at 118 × 157 millimeters and has been in the antiquities collection of the Hermitage in Saint Petersburg since 1814 . The third Ptolemaic cameo is in the Berlin Collection of Antiquities . It is only 60 × 42 millimeters in size, a large piece with the neck and busts of the sitter is missing and the female portrait was reworked and changed in antiquity. In contrast to the two large cameos, the Berlin piece is dated to the last third of the first century BC. Dated.

literature

  • Joseph Hoster : The Viennese Ptolemaic Cameo - once at the Three Kings Shrine in Cologne. In: Frieda Dettweiler, Herbert Köllner and Peter Anselm Riedl (eds.): Studies on illumination and goldsmithing in the Middle Ages. Festschrift for Karl Hermann Usener on the occasion of his 60th birthday on August 19, 1965. Verlag des Kunstgeschichtliches Seminar der Universität Marburg 1967, pp. 55–64.
  • Wolfgang Oberleitner: The "Ptolemy" cameo - but a cameo of the Ptolemies! In: Oliver Brehm and Sascha Klie (eds.): Μουσικὸς ἀνήρ. Festschrift for Max Wegner on his 90th birthday (= Antiquitas. Series 3, Volume 32). Habelt, Bonn 1992, ISBN 3-7749-2565-8 , pp. 329-337.
  • Werner Telesko : The theological program of the Cologne Epiphany shrine. Tradition and innovation in high medieval iconography. In: Yearbook of the Cologne History Association, Volume 68, Issue 1, 1997, pp. 25–50, doi: 10.7788 / jbkgv.1997.68.1.25 .
  • Axel Werbke and Martina Werbke: Theology, politics and diplomacy at the Shrine of the Three Kings: the iconography of the front . In: Wallraf-Richartz-Jahrbuch , Volume 46/47, 1985/86, pp. 7-73, JSTOR 24659384 .
  • Erika Zwierlein-Diehl : Antique gems and their afterlife. Walter de Gruyter, Berlin a. New York 2007, ISBN 978-3-11-019450-0 .

Individual evidence

  1. ↑ a b c d e f g Robert Boecker: “Stolen property” returns to the cathedral. Spectacular exhibition dedicated to the veneration of the Magi . In: Church newspaper for the Archdiocese of Cologne 2014, No. 31–32 of August 1, 2014, pp. 10–11.
  2. ↑ a b c Erika Zwierlein-Diehl: Ancient gems and their afterlife , pp. 59–62, doi: 10.1515 / 9783110920406.59 .
  3. ↑ a b c Wolfgang Oberleitner: The "Ptolemy" cameo - but a cameo of the Ptolemies! In: Oliver Brehm and Sascha Klie (eds.): Μουσικὸς ἀνήρ. Festschrift for Max Wegner on his 90th birthday. Rudolf Habelt, Bonn 1992, ISBN 3-7749-2565-8 , pp. 329-338.
  4. ↑ a b c d e Axel Werbke and Martina Werbke: Theology, Politics and Diplomacy at the Dreikönigenschrein , pp. 16-18.
  5. ↑ Ptolemy Cameo , website of the Kunsthistorisches Museum Wien, accessed on October 2, 2018.
  6. ↑ Barbara Weber-Dellacroce: Small-format pictures of the Roman 'nuclear family': Investigations into types, iconography and meanings . Dissertation, University of Trier 2011, p. 78 and p. 136-137, online PDFhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fubt.opus.hbz-nrw.de%2Fopus45-ubtr%2Ffrontdoor%2Fdeliver%2Findex%2FdocId%2F667%2Ffile%2FPromotion_Weber_final3Dellacro~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3DOnline% 20PDF ~ PUR% 3D , 1.9 MB, accessed on October 2, 2018.
  7. ↑ Jürgen Zimmer: From the collections of Rudolf II: "The Twelve Heidnische Kayser sambt Iren women". With an excursus: Giovanni de Monte . In: Studia Rudolphina 2010, Volume 10, pp. 7–47, here pp. 29–30, ISSN  1213-5372 .
  8. ↑ Angela Kühnen: The imitatio Alexandri as a political instrument of Roman generals and emperors in the period from the outgoing republic to the end of the third century AD. Dissertation, University of Duisburg-Essen 2005, pp. 134-136, online PDFhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fwebdoc.sub.gwdg.de%2Febook%2Fdissts%2FDuisburg%2FKuehnen2005.pdf~GB%3D~IA%3D~MDZ%3D%0A~SZ% 3D ~ double-sided% 3D ~ LT% 3DOnline% 20PDF ~ PUR% 3D , 3, 9 MB, accessed October 2, 2018.
  9. ↑ a b Wolf-Rüdiger Megow: On some cameos from the late Hellenistic and early Augustan times. In: Yearbook of the German Archaeological Institute, Volume 100, 1985, pp. 445–496, on Ptolemaic Cameo Vienna here pp. 473–482, on dating here p. 481, ISSN  0070-4415 . Quoted in Kühnen 2005, pp. 134-136.
  10. ^ A b Elisabeth Nau: Iulia Domna as Olympias . In: Yearbook for Numismatics and Monetary History 1968, Volume 18, pp. 49-66, here p. 57, ISSN  0075-2711 , online PDFhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fwww.bngev.de%2Fwp-content%2Fuploads%2F2013%2F07%2F1968-Band-XVIII.pdf~GB%3D~IA%3D~MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3DOnline% 20PDF ~ PUR% 3D , 31.6 MB, accessed on October 2, 2018.
  11. ↑ Hans Peter Laubscher : The Cameo Gonzaga - Rome or Alexandria? In: Communications from the German Archaeological Institute. Athenian Department 1995, Volume 110, pp. 387-424, here p. 388, ISSN 0342-1325 . Quoted in Kühnen 2005, pp. 134-136.  
  12. ↑ Dieter Hertel: A representation of Alexander the Elder. Size and his mother Olympias: on the interpretation of the so-called Ptolemaic cameos in Vienna . In: Hans-Ulrich Cain , Hanns Gabelmann and Dieter Salzmann (eds.): Festschrift for Nikolaus Himmelmann . Contributions to iconography and hermeneutics . Von Zabern, Mainz 1989, ISBN 3-8053-1033-1 , pp. 417-423. Quoted in Kühnen 2005, pp. 134-136.
  13. ↑ Dimitri Plantzos: Hellenistic Cameos: Problems of Classification and Chronology , In: Bulletin of the Institute of Classical Studies 1996, Volume 41, No. 1, pp. 115-132, panels 22-27, here pp. 123-126, panels 23-24, doi: 10.1111 / j.2041-5370.1996.tb00593.x .
  14. ^ A b Axel Werbke and Martina Werbke: Theology, Politics and Diplomacy at the Shrine of the Three Kings , p. 62.
  15. ↑ a b Werner Telesko: The theological program of the Cologne Dreikönigenschreins , p. 29.
  16. ^ Dale Kinney: The Concept of Spolia . In: Conrad Rudolph (Ed.): A Companion to Medieval Art: Romanesque and Gothic in Northern Europe . Blackwell Publishing, Malden and Oxford 2006, ISBN 978-1-4051-0286-5 , pp. 233-252, here p. 243.
  17. ↑ Erika Zwierlein-Diehl: Antique gems and their afterlife , pp. 238–239, doi: 10.1515 / 9783110920406.237 .
  18. ↑ Leonie Becks: A shrine for kings. The masterpiece of goldsmithing . In: Church newspaper for the Archdiocese of Cologne 2014, No. 29–30 of July 18, 2014, pp. 10–11.
  19. ^ Albertus Magnus : De mineralibus II 3, 2, quoted from Erika Zwierlein-Diehl: Antike Gemmen und ihr Nachleben , pp. 237–238, doi: 10.1515 / 9783110920406.237 .
  20. ↑ a b c Erika Zwierlein-Diehl: Ancient gems and their afterlife , pp. 237–238, doi: 10.1515 / 9783110920406.237 .
  21. ↑ Erika Zwierlein-Diehl: Ancient gems and their afterlife , p. 260, doi: 10.1515 / 9783110920406.249 .
  22. ↑ Erika Zwierlein-Diehl: Ancient gems and their afterlife , p. 251, doi: 10.1515 / 9783110920406.249 .
  23. ↑ a b c d e Erika Zwierlein-Diehl: Ancient gems and their afterlife , pp. 239–240, doi: 10.1515 / 9783110920406.237 .
  24. ↑ a b Werner Telesko: The theological program of the Cologne Three Kings Shrine , p. 26.
  25. ^ Complete edition of Hermann von Weinsberg's memorial books , University of Bonn, accessed on October 2, 2018.
  26. ↑ a b c d Erika Zwierlein-Diehl: Ancient gems and their afterlife , pp. 240–241, doi: 10.1515 / 9783110920406.237 .
  27. ^ Braunschweig Stadtmarketing GmbH (ed.): That was "The Imperial Year 2009" . Braunschweig Stadtmarketing GmbH 2010, Online PDFhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fm.braunschweig.de%2Fleben%2Fstadtportraet%2Fgeschichte%2Fwelfengeschichte%2FWeb_OttoIV_Kaiserjahr_Abschlussbroschuere.pdf~GB%3D~IA%3D~MDZ%3D~IA%3D~MDZ 3D ~ double-sided% 3D ~ LT% 3DOnline% 20PDF ~ PUR% 3D , 3.4 MB, accessed on October 2, 2018.
  28. ↑ Cameo. Portraits of Ptolemy II and Arsinoe II (The Gonzaga Cameo) , State Hermitage Museum website, accessed October 2, 2018.
  29. ↑ 219619: so-called Ptolemaic Kameo (capita-iugata-Kameo) , object database Arachne of the German Archaeological Institute and work center for digital archeology at the Archaeological Institute of the University of Cologne , accessed on October 2, 2018.

Web links

Commons : Ptolemaic Cameo  - collection of images, videos and audio files