![]() As in the case of the other types, a rare inscribed prayer tells us much about the perceived power of this kind of amulet: on a greenish lapis gem of another type (with Aphrodite and Ares) we read: ‘Arôriphrasis, give your charm to the bearer’. ![]() ![]() We do find, however, on one lapis gem of this type the name ‘athor’ inscribed before arôriphrasis, suggesting that the word – whatever it means – was, indeed, an epithet of some sort, and since Hathor and Aphrodite are assimilated in Graeco-Roman Egypt, there is some logic to the appearance of the name and Aphrodite on these blue stones. Scholars, myself included, sometimes repeat the claim that arôriphrasis transliterates an Egyptian title of the goddess Hathor as ‘The Lady of the Blue Stone’ the epithet exists, but apparently bears no phonetic resemblance to the word arôriphrasis on the gemstone. On the back of the stone we find the magical word arôriphrasis which is typical of these amulets, as we can see from one of the lapis stones in the British Museum (Pl. “My third category is a series of blue gemstones, usually of lapis lazuli or blue glass, that show the famous image of Aphrodite Anadyomene (‘Rising from the Sea’), for instance on two lapis lazuli gemstones in London (Pls 11–12). The harmony of references-pose, shell, deep blue color, and the sea pearls on the short chains-displays the jeweler’s ability to adapt a venerated mythological image to the luxury materials of elite taste during the early Byzantine period.” The pose was well known in antiquity, referring to the goddess’s birth from the sea, of which the deep blue color of the lapis lazuli is a visual metaphor. “Standing in a blue shell, Aphrodite Anadyomene wrings seawater from her hair. Byzantine, early 7th C gold, lapis lazuli, amethyst and sapphire. Necklace with pendant of Aphrodite Anadyomene from Dumbarton Oaks collection.
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