By means of these engraved gems, miniature but accurate copies of some of the celebrated masterpieces and noblest works of ancient sculptors have been preserved to us, while the originals have been destroyed, and even the record of them lost. An instance may be observed in the engraved gem in the Orleans cabinet, which is the only representation we now have of the famous statue of the Repose of Hercules, by Lysippus. As a learned critic has said, in these gems we have the emanations, ever fresh and unfaded, of the feelings and the taste of those ages when the love of the beautiful was the all-prevailing and almost sole religion, and flourished unfettered by tradition, prejudice, and conventional rules; whilst from the universal demand during those same ages for engraved gems, whether for signets or for personal ornaments, artists of the highest ability did not disdain the narrow field of the precious stone as the arena for the exercise of their power. The unparalleled vigor and perfection of many of these performances are a sufficient proof that they proceeded directly from the master’s hand, and were not mere slavish copies, by a mechanic, after designs created by the genius of another. The lovers of the fine arts may derive much benefit from the study of the antique in this particular branch of workmanship. What is there more pleasant than the contemplation of the work of the artists of antiquity; and to behold, shut up, as it were, within the narrow compass of a small gem, all the majesty of a vast design and a most elaborate performance? During the flourishing periods of the Greeks countless statues were carved by numerous artists; and it has been stated that Lysippus alone executed fifteen hundred, all perfect, and some of them colossal. Throughout Asia Minor, Greece, and Italy every town had its temple, gymnasium, or forum peopled with statues of those among her sons who had in any way distinguished themselves in arms, letters, or public games. These became the spoil of the later Romans, and an incredible number were transported to Rome from time to time. Nero is said to have selected from Delphos alone five hundred bronze statues for transportation to Rome. The Etruscan bronzes were quite as plentiful; and Flaccus is said to have carried away in triumph two thousand statues from the sack of Volsinii. From these statements in ancient history concerning the number of large works in statuary, we can form some idea of the inexhaustible treasury of portraiture in another and oftentimes less costly material. It is estimated that for a period of three hundred years, the engraved gems were manufactured in countless numbers all over the Roman world. It is a little curious that licentious scenes and figures are never or rarely found on antique gems.