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Engraved and Carved Gems as Talismans: Roman

A few even of the early writers were disposed to be sceptical as to the virtues ascribed to these engraved gems, and did not hesitate to assert that the Greek and Roman engravers executed their designs for ornamental purposes rather than to fit the gems for use as talismans. This was undoubtedly true in a large number of cases but nevertheless, as we have seen, many engraved talismans were really cut in the early centuries. As the art of gem engraving was not practised in the Middle Ages, some medieval writers suppose that the engraved talismanic gems current in their time were not works of art, but of nature, and Konrad von Megenberg accepting this view, gave it as his opinion that "God granted these stones their beauty and virtue for the help and comfort of the human race," adding that when he hoped to receive help from them he in no wise denied the grace of God. (Konrad von Megenberg, "Buch der Natur," Stuttgart, 1861.) Damigeron writes of the sard that, if worn by a woman, it is a good and fortunate stone. It should be engraved with a design showing a grape-vine and ivy inter-twined. (Pitra, "Specilegium Solesmense," Parisiis, 1855.) A celebrated topaz was that noted by George Agricola as being in the possession of a Neapolitan, Hadrianus Gulielmus. (Agricola, "De natura fossilum," lib. vi, Basileae, 1546.) It bore, in ancient Roman characters, the terse and pregnant inscription: Natura deficit, Fortuna mutatur. Deus omnia cernit.