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<p>[QUOTE=&quot;Bronwen, post: 1272194, member: 5833&quot;]Great!&nbsp; This is the sort of stuff that gives my eye specific places to check out &amp; compare.&nbsp; The red line following the back of his neck down along the shoulder has wandered off course on the glass; the lower end goes down, as on the amethyst.</p><p><br /></p><p>The &#039;signature&#039; on the British Museum&#039;s carnelian has one of the most easily spotted differences from the amethyst: the size &amp; position of the first pi is different, no matter how you look.&nbsp; It is known to be a more recent copy, but a really, really good one.</p><p><br /></p><p>Thank you for putting in all that work, &amp; so late in the day (it was after midnight here).&nbsp; I really appreciate everyone&#039;s effort &amp; input.&nbsp; This is not only for my entertainment.&nbsp; If a case can be made that the paste is an impression of the amethyst, not an impression of a copy, it will matter to a few people.&nbsp; Oxford will be tickled; Paris will be chagrined.</p><p><br /></p><p>For reference, this is the impression of the carnelian, which is much easier to see, even though an impression of an intaglio becomes a reversed cameo image:</p><p><br /></p><p>[ATTACH=full]217391[/ATTACH]</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>The paste is a far from perfect record of the gem it was taken from.&nbsp; Features that are missing, unless they are missing in an area that is otherwise crisp, &amp; lack of definition can be attributed to sloppy casting.&nbsp; The places where the amethyst is most deeply engraved, parts that are meant to be more distant from the eye, such as his right (in the intaglio) leg are where the paste is most accurate.</p><p><br /></p><p>[ATTACH=full]217392[/ATTACH]</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>This is the sort of stuff that should stay constant &amp; can be measured.&nbsp; Thank you ma&#039;am.[/QUOTE]</p><p><br /></p>

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