Hellenistic Greek Chalcedony Cameo with a Head of Medusa

A masterpiece of cameo technique, this gem carved in high relief from a large piece of blue chalcedony is spectacular both in quality of stone modeling and intensity of the color. It has a slightly convex and polished back and a thin edge intended for the framing: the cameo was inlaid into a pendant or a wreath made from precious metal. Commonly in the iconography of Medusa, this gorgon has small wings on the top of her head; the hair locks forming a thick, semi-circular mass around her face are intertwined with the snakes, a pair of which is knotted below her chin. What is unusual and rather surprising, it that the face copies typical features of the likeness of Alexander the Great, with a large straight nose, the eyes set deep under the bulging brows, a furrowed forehead, and especially, the anastole, the upswept central curls above the forehead. When viewed in profile, the resemblance with Alexander’s portrait is even more striking. The detailed sculptural modeling of the shapes, along with the clarity of the incised lines and the high polishing of stone, mark an outstanding degree of craftsmanship in this artwork.

Medusa, one of the three Gorgon sisters, daughter of Phorcys and Ceto, was born a beautiful mortal girl who worshipped the goddess Athena. Unfortunately, her beauty attracted the likings of Poseidon and resulted in her losing her sacred virginity, and, therefore, disgracing Athena. This godly feud is one of many where a mortal is punished for the actions of the gods. A curse was bestowed onto her by the wrath of Athena. This curse left Medusa renowned for having hair made up of snakes and a gaze that turns men into stone. The fact that Medusa was mortal allowed for the hero Perseus to cut off her head and later use it as a weapon before giving it as an homage to Athena. Through the beheading of Medusa two sons sprouted out, the winged horse Pegasus and a giant named Chrysaor.

Although this representation belongs to the “beautified” type (as opposed to the hideous archaic type, characterized by a large open mouth with hanging tongue, visible fangs, a pug nose, and snakes substituting the hair), her expression is hard and menacing, with its furrowed brow, angry eyes and scowling mouth. Today, archaeologists tend to associate representations of hideous creatures or hybrid beasts, like the gorgon, sphinxes, sirens, with prophylactic and apotropaic functions. Worn as a pendant or as a ring’s bezel of smaller size, similar cameos may have been carried to protect its owner from bad luck or harmful influences. Combined with the features of the divinized Alexander, this cameo would have had even more significant protective powers.

A few chips; the upper part of the left wing is broken off; some deposits retained in the carvings.

Ex- Swiss private collection, Bern-Lucerne, acquired ca. 1950-1960

DEL BUFALO D., Precious Portraits: Small Precious Stone Sculptures of Imperial Rome, Turin, 2020, p. 79 no. 28, p. 80 no. 39, p. 100 no. 175, p. 101 no. 185, p. 115 no. 261, p. 117 no. 274.

HENIG M., MOLESWORTH H., The Complete Content Cameos, Turnhout, 2018, pp. 185-192, nos. 192-204.