1a squeeze of a magical gem in the dactyliotheca of philipp daniel lippert

Philipp Daniel Lippert (1702–1785) was a draughtsman and sculptor active at the court of the kings of Saxonia in Dresden.1 Initially he worked for the royal porcelain factory

in Meißen and later became Professor of the Academy of the Fine Arts in the Saxonian capital and custodian of the royal collections of art. Among his various activities was the production of squeezes of gems, which he executed in a paste made according to a recipe he had elaborated. His main work in that field was a dactyliotheca he created in the 1760s–1770s.2 It contained over 3000 squeezes taken from antique, medieval and modern gems, arranged in two thematic sections: mythological and historical. Several copies of Lippert’s dactyliotheca have been preserved until our times, two of them in Poland: one in the collec-tion of the Royal Castle in Warsaw,3 the other one in the collection of the Nieborów Palace [Figs. 1 & 2], which is a branch of the National Museum in Warsaw. The Nieborów collec-tion was amassed by Helena Radziwiłł de domo Przeździecka (1753–1821), wife of Michał Hieronim Radziwiłł (1744–1831), voivode of Vilnius, who was the owner of Nieborów at

* The initial idea for this article came from Mr. Wiesław Małkowski. Several years ago, Małkowski prepared, under the direction of the late Prof. Tomasz Mikocki, a Master’s Degree thesis in archaeology in which he described Lippert’s dactyliotheca from the collection of the Nieborów Palace. While dealing with the squeeze here discussed he asked Adam Łajtar and Tomasz Płóciennik to help him decipher the inscription and after realizing its exceptional character agreed that they publish it. He also provided them with information on the history of the Nieborów copy of Lippert’s dactyli-otheca. Jacques van der Vliet joined the authors to help with the interpretation of the inscription. 1 For Philipp Daniel Lippert, see Ulrichs 1883; Thieme, Becker 1929, 268 Zazoff 1983, chapter C: “Philipp Daniel Lippert (1702–1785) und die Zeit der Daktyliotheken”, 137–195, especially 153–161; Michel 2004, 24–25 (with further references).

2 Dactyliothec das ist Sammlung geschnittener Steine der Alten aus denen vornehmsten Museis in Europa zum Nutzen der schönen Künste und Künstler in zwey Tausend ediret von Philipp Daniel Lippert. Erstes mytho-logisches Tausend, Zweytes historisches Tausend. Both of these “volumes” are dated Leipzig 1767. In 1776, also in Leipzig, appeared a Supplement zu Philipp Daniel Lipperts Daktyliothek bestehend in Tausend und Neun und Vierzig Abdrücken. 3 It was bought by the last Polish king Stanisław August Poniatowski. It is worthy of note here that two electors of Saxonia of the first half of the 18th century, predeces-sors of Stanisław August Poniatowski, Frederic August I and Frederic August II, were also kings of Poland (as August II and August III respectively). This explains the close cultural ties between Warsaw and Dresden in that period.

adam łajtar, tomasz płóciennik, jacques van der vliet

A squeeze of a magical gem in the dactyliotheca of Philipp Daniel Lippert (on the basis of a copy kept in the collection of the Nieborów palace)*

[Pls. **–**]

To the memory of Tomasz Mikocki, friend and scholar, who devoted much of his scientific interests

to the problem of antique art collections in the eighteenth/nineteenth century

2 adam łajtar, tomasz płóciennik, jacques van der vliet

the end of eighteenth / beginning of the nineteenth century.4 The collection was rather heterogeneous and included objects of art (both ancient and modern)5 and their copies, “antiquities”, paintings, coins and medals, maps and prints, and also some exotic pieces. Lippert’s dactyliotheca, which contained squeezes of both antique and post-antique gems, perfectly fit the collector’s broad interests. Helena Radziwiłł inherited it from her father-in-law, Marcin Mikołaj Radziwiłł (1705–1782), who had apparently purchased it from the pro-ducer. The dactyliotheca is preserved until now in a somewhat reduced state. Ca. 10 % of the squeezes are lost [Fig. 3] and the cases for the squeezes require conservation.

The squeeze under consideration has the number 897–898 in the mythological section (Mythologisches Tausend) of the dactyliotheca. The accompanying description6 informs us that it was taken from a chalcedony piece in the possession of August Moszyński (1731–1786), chamberlain of the last Polish king Stanisław August Poniatowski, director of the royal buildings and theatres, supervisor of the royal collections of art, amateur architect, and devoted art collector.7 The Moszyński collection was dispersed after his death and the original should be considered lost.

The squeeze bears on the obverse a representation of a male lion-headed god in a standing position turned to the right [Fig. 4a–b]. The god is clad in a Roman-type cuirass. He holds three ears in his left hand, and a snake in his right hand. Near his legs stands a big, two-handled vessel with three branches growing out of it. Two mirrored inscriptions accompany the representation. One is found to the left of the god, along the edge of the squeeze, and reads ΧΝΟΥΨΕ, another one encircles his right hand grasping the snake, and reads ΧΝΟΥΒΙΣ. Both inscriptions obviously refer to the representation and qualify it as that of the Greco-Egyptian god Chnoubis, a prominent figure in the pantheon of magic.8 The reverse bears the representation of Ouroboros running along the edge and, within it, a Greek inscription, mirrored as well, that can be transcribed as follows [Fig. 5a–b]:

ᵶ ᵶ ᵶ Λειμόδω- ρος λειμο-

4 For Helena Radziwiłł de domo Przeździecka, see Radziwiłł 1892; Ryszkiewicz 1987; on her activity as an art collector, Mikocki 1995; Mikocki 1990, 49–66 and 390–392; Mikocki, Piwkowski 2001.5 The antique part of the collection was famous for the sculptures, objects of sepulchral art (sarcophagi, urns, and stelae), and Latin inscriptions. The majority of the ancient pieces from the collection of the Nieborów pal-ace were published recently by archaeologists from the Institute of Archaeology of the University of Warsaw, mainly by the late Tomasz Mikocki; cf. Mikocki 1995.6 Lippert ends his description with the following words: “Die andere Seite ist mit koptischer Schrift angefüllt, welche in eine gekrümmte Schlange einge-schlossen ist, aber nicht verdient, hier abgeschrieben zu

werden, da von diesen Possen kein Künstler etwas ler-nen kann”. 7 For August Moszyński, see Mańkowski 1930; Wierzbicka-Michalska 1977; on his interest in antique art, see Mańkowski 1929. Moszyński under- took a trip to the countries of the Mediterranean, which he described in a diary: A. Moszyński, Dziennik podróży do Francji i Włoch (1784–1786), ed. B. Zboińska-Daszyńska, Cracow 1970; on this trip, see Rekowska-Ruszkowska 1998; Rekowska-Ruszkowska 2002, 53–56. 8 On Chnoubis, see Drexler 1894; Campbell Bonner 1950, 25; Delattre, Derchain 1964, 54–73; Otto 1975; Kiss 1986; Jackson 1985, 74–108; Michel 2004, 166–170 and passim.

3a squeeze of a magical gem in the dactyliotheca of philipp daniel lippert

4 δώρῳ τάφο- ν ἔσπειρεν· λύκος ἤμπρ- ευε ναὶ θυ- 8 ῖα κατέ- φαγεν.

Mr. Broomrape [Leimodoros] sowed the tomb with broomrape [leimodoron]. A wolf dragged out (the plants); it verily devoured the saps.

Erika Zwierlein-Diehl published a transcript of this inscription after a copy of the squeeze in possession of the Martin-von-Wegner Museum in Würzburg.9 It reads as follows:

ΛСΙΜΘΔΩϽΟСΕΟΛΕΙΜΘΛΩΡΩΤΛΦΟΝΕСΠΕΙΡΕΜAΥΚΟСΗΜΗΡΕΥΕΝΑΙΒΥΙΑΚΑΤΕΦΑΙΕΝ

Before we pass to the analysis of the inscription we should raise the question of its authenticity. This question is reasonable as ancient gems were notoriously falsified in the eighteenth century.10 The collection of August Moszyński, to which the original of the gem squeezed by Lippert belonged, is known to have included numerous fakes.11 Nevertheless, it seems to us that the inscription here discussed is authentic, i.e., Lippert’s squeeze was taken from an authentic antique gem.12 Our impression is based on the singularity of the text. It is difficult to imagine that someone in the eighteenth century was able to invent an inscrip-tion so exceptional and at the same time fitting the world of ancient magic as perfectly as this one. What is more, the inscription on the gem finds a parallel, even if an imperfect one, in an authentic Late Antique amulet kept in the British Museum (see below). One should add that eighteenth-century producers of fakes were rarely interested in falsifying magi-cal gems. Their activity concentrated on mythological and historical subjects that allowed them to unfold the wings of their imagination.

1. What we have here is most probably the so-called Chnoubis-sign in a somewhat modified form of three letters dzeta crossed over by horizontal strokes. In the regular form the sign should have consisted of three (or four) vertical sinusoids crossed over by

9 Zwierlein-Diehl 1986, no. 854.10 On the falsification of antique gems in the 18th century, see generally Zazoff 1983, chapter C13: “Fälschungen, Skepsis, Hinwendung zum Original”, 186–190. 11 It should be added here that the collection of gems of the prince Stanisław Poniatowski, nephew of the last

Polish king Stanisław August Poniatowski, consisted largely of fakes; cf. Kolendo 1981a; Kolendo 1981b. 12 Also Zwierlein-Diehl (1986) considers the lost original of the gem as authentic. She dates it to the 2nd century AD.

4 adam łajtar, tomasz płóciennik, jacques van der vliet

a horizontal line.13 The Chnoubis-sign connects the inscribed side of the gem with the other one, which carries a figural representation of Chnoubis, demonstrating that the entire gem was a Chnoubis amulet.

2–4. The proper name Λειμόδωρος seems unattested. Our impression is that it is not a real name, but a literary one, created for the purpose of the story inscribed on the gem, a personification of broomrape (λειμόδωρον).

The plant name λειμόδωρον is attested only once in addition to this inscription, namely in Theophrastus, De causis plantarum, V 15, 5:14 καὶ γὰρ ἡ ὀροβάγχη καλουμένη φθείρει τὸν ὄροβον τῷ περιπλέκεσθαι καὶ καταλαμβάνειν καί τὸ λειμόδορον τὸ βούκερας εὐθὺς τῇ ῥίζῇ παραφυόμενον καὶ ἄλλα δ’ἄλλων, “so the so-called ‘vetch-choker’ kills vetch by entwining round it and holding it fast, strangleweed kills fenugreek as soon as it grows by its root, and there are other killers that have other special victims”.15 The same plant is mentioned by Thephrastus also in his Historia plantarum, VIII 8, 5, but it has the name αἱμόδωρον there:16 τὸ δ’ὑποφυόμενον εὐθὺς ἐκ τῆς ῥίζης τῷ κυμίνῳ καὶ τῷ βουκέρῳ τὸ αἱμόδωρον καλούμενον μᾶλλον ἰδίᾳ. ἔστι δὲ τὸ αἱμόδωρον μονόκαυλον οὐκ ἀπεμφερές [τῷ καυλῷ], πλὴν βραχύτερόν τε πολύ, καὶ ἄνωθέν τι κεφαλῶδες ἔχει ῥίζαν δὲ ὑποστρόγγυλον· οὐδὲν δὲ ἕτερον ἀφαυαίνεται παρὰ τὸ βούκερας, “The plant which springs up straight from the roots of cumin and the plant called broomrape which similarly attaches itself to ‘ox-horn’ (fenugreek) are some-what more peculiar in their habits. Broomrape has a single stem, and is not unlike . . . , but is much shorter and has on the top a sort of head, while its root is more or less round; and there is no other plant which it starves except fenugreek”.17 Most scholars identify λειμόδωρον as broomrape, orobanche,18 a genus of over 200 species of parasitic herbaceous plants in the family Orobanchaceae, mostly native to the temperate Northern Hemisphere [Fig. 6]. The identification with the wild orchid, Limodorum, another parasitic genus,

13 For the Chnoubis-sign, see Campbell Bonner 1950, 25, 58–59; Jackson 1985, 74 ff.14 In the 1990 Loeb edition of De causis plantarum the reading λειμόδωρον was demoted to the apparatus in favour of αἱμόδωρον on account of Historia plantarum. The inscription of the Moszyński gem now shows that it is the reading λειμόδωρον and not αἱμόδωρον which is correct in both places; see the next note. 15 Translation after: Theophrastus, De causis plantarum, vol. III: Books 5–6, edited and translated by B. Ein- arson, G. K. K. Link [= Loeb Classical Library 475], Cambridge, MA – London 1990, 168–170 (Greek text), 169–171 (English translation). 16 The original text of Theophrastus’ Historia plantarum must have had λειμόδωρον as in De causis plantarum; see the previous note. αἱμόδωρον was obviously a folk ety-mology for the plant in question based on the fact that orobanche has a dark-red colour. This is well reflected

in the Polish name for this plant which reads “zaraza krwistoczerwona”, “blood-red pestilence”; similarly in German: “Blutrote Sommerwurz”. An additional fac-tor contributing to the change might have been the visual similarity of the letters lambda and alpha and the phonetic notation of EI as I: ΛΕΙΜΟΔΩΡΟΝ > ΛΙΜΟΔΩΡΟΝ > ΑΙΜΟΔΩΡΟΝ. 17 Translation after: Theophrastus, Enquiry into Plants, vol. II: Books 6–9, translated by A. F. Hort [= Loeb Classical Library], London – New York 1916, 195. 18 Thus, e.g., in the Liddell-Scott-Jones, Greek English Dictionary, s.v. (where the word is lemma-tised: “prob. strangleweed, Orobanche cruenta”, how-ever), Dimitrakou, Mega lexikon tis ellinikis glossis, s.v., and in the English (and the Polish) translation of Theophrastus’ De causis plantarum; for the English translation, see above.

5a squeeze of a magical gem in the dactyliotheca of philipp daniel lippert

found sometimes in the scholarly literature,19 is a modern mistake going back to the famous Flemish physician and botanist Rembertus Dodonaeus (Rembert Dodoens, 1517–1585).20

6–7. ἀμπρεύω is a rare and sophisticated verb, till now attested only in literary (mainly poetic) works of the fifth–third century BC. Its appearance here shows that someone who was familiar with Classical Greek literature composed the inscription. Note that the edi-tor of the inscription also shows a good knowledge of the Greek botanical terminology as reflected in the works of Theophrastus.

7–8. The substantive θυῖον has been evidenced only once in addition to this inscription, namely in Theophrastus, Historia plantarum, V 2, 1: διαροῦσι γὰρ τινες κατὰ χώρας, καί φασιν ἀρίστην μὲν εἶναι τῆς ὕλης πρὸς τὴν τεκτονικὴν χρείαν τῆς εἰς τὴν Ἑλλάδα παραγινομένης τὴν Μακεδονικήν· λεία τε γάρ ἐστι καὶ ἀστραβὴς καὶ ἔχουσα θυῖον, “some indeed make a distinc-tion between regions and say that the best of the timber which comes into Hellas for the carpenter’s purposes is the Macedonian, for it is smooth and of straight grain, and it con-tains resin”.21 In Theophrastus, it has the meaning “resin”, here, because of the plural and the context, the meaning “saps” is probably more appropriate.

The text of the gem belongs to the genre of magical historiolae. The nature and the function of the historiola in ancient magic was studied over ten years ago by David Frankfurter.22 He defines the historiola as “an abbreviated narrative that is incorporated into a magical spell”.23 He detects four basic structural aspects of historiolae:24 (1) a historiola is constructed in the past tense suggesting “that it describes events in mythic time”; (2) “a historiola need not explicitly reflect a well-known mythological discourse like a cosmogony”; (3) a historiola may lack an explicit application which suggests that “the narrative’s power is invoked by implicit analogy”; (4) the magical power of a historiola is “contained within the narrative itself, not sacred names, symbols, or commands”. In other words, the clue to the correct “reading” of a historiola is hidden within the story itself and its logic. There must be an anal-ogon to which the logic of the story applies, otherwise the story would be pointless, which is impossible in magic. The story is not a real-life event, but should be considered on the more abstract level of the magician’s logic and his play with oppositions and analogies.

As far as our historiola is concerned, it obviously does not derive from a mythological prototype. Personified Mr. Broomrape (see above) rather suggests an ad hoc-composition that has broomrape and its properties as its point of departure. Two events (actions) are told in the story and there are two actors (Mr. Broomrape and Wolf). It can be observed immediately that the actions are symmetrical but move in contrary directions:

19 E.g. in Stephanus, Thesaurus linguae graecae, s.v., and Bailly, Dictionnaire grec-français, s.v. 20 Cf. Smith 1798. 21 Translation after: Theophrastus, Enquiry into Plants, vol. I: Books 1–5, translated by A. F. Hort [= Loeb Classical Library], London – New York 1916, 427.

22 Frankfurter 1995. 23 Ibidem, 458. 24 Ibidem, 459.

6 adam łajtar, tomasz płóciennik, jacques van der vliet

Action 1: An herb is sown on a tomb. This is a disturbance of the natural and cultural order, as it implies an improper, even sacrilegious use of a tomb. The first association of a tomb, furthermore, is with death, that of sowing with growth and life. Sowing on a tomb shows a clear mismatch between the action and its object.

Action 2: The herb is dragged out and saps are “devoured”. The dragging of the herb represents the reversal of Action 1 and therefore the restoration of the disturbed order. This is coupled with fluids (“saps”) being “devoured”, which implies their disappearance. “Saps” (θυῖα), not mentioned before, are clearly marked as the focal term of the spell, and their disappearance as the desired outcome of the spell.

As for the actors:Actor 1: Mr. Broomrape who is a personification of a plant. As the English (as well as

the Polish and the German) name of the plant implies, it is a parasite (cf. the description in Theophrastus), which confirms the negative interpretation of Action 1. If we are right in our explanation of the second Theophrastus passage and if we can trust Liddell-Scott-Jones (see note 17), its first visual association must have been with blood.

Actor 2: Wolf. The symbolism of the wolf, which occurs in various other magical contexts,25 is more likely Egyptian (Anubis, Wepwawet) than Greek, although the asso-ciation with tombs is attested for Greek folklore as well.26 In any case, his relation with the tomb is a positive one: as its watcher, he undoes Action 1. It is moreover a voracious animal,27 able to “devour” the spell’s “saps”. In the Philinna Papyrus (see note 25) wolves appear coupled with “springs, waterwells” (κρῆναι), but we rather doubt this is significant here. Rather, the spell on the gem hinges on the association tomb-wolf, with perhaps a sec-ondary reference to the animal’s voracity.

To conclude, in Action 1, a tomb is (sacrilegiously?) sown with a parasite by the per-sonification of that parasite (Mr. Broomrape); in Action 2, order is restored by the tomb’s protector (Wolf) who uproots the plants and, in addition, swallows up the “saps”. These are not mentioned in Action 1 but provide the actual focus of the spell. Structurally, they must be connected with the destroyed herb broomrape. Therefore the spell is aimed at the dis-appearance of “saps” that in one respect or another allow association with broomrape.

25 The best-known wolves from ancient magic are those in the so-called Philinna Papyrus (PGM XX; cf. Suppl. Mag. II, no. 88); see the abundant literature: Maas 1942; Koenen 1962; Henrichs 1970; Faraone 1995; Ritner 1998. 26 For wolves in Greek civilization, see generally Wortmann 1963 (this is the editio princeps of Suppl.Mag. I, no. 34); Mainoldi 1984; Buxton 1978; Pappas 2008. 27 The voracity of the animal is played upon in an inscription on the gem Campbell Bonner 1950, 305,

no. 315: λύκος πί{νο}νων ἐβώσκετο. πίνω ὕδωρ. διψῶ. ἄρτον φάω, “Wolf was fed while drinking. I drink water. I am thirsty. I eat bread”. The text has a similar bipartite structure as this on the gem here discussed: 1. Hungry, the wolf is fed. 2. Hungry, I drink water (and) I eat bread. Desired result: ego drinks and eats “like a hun-gry wolf ”. We would be inclined to interpret this gem as an amulet for a child with feeding problems. This would also fit in nicely with the representation of the horse-man on the verso.

7a squeeze of a magical gem in the dactyliotheca of philipp daniel lippert

In a diagram it looks thus:

[negative: parasite/bloodred] broomrape + saps → [swallowed: positive] sowing dragging tomb + wolf

Legend: + = association = opposition → = movement of action

From Theophrastus we know that broomrape was a parasite and, indirectly, that it was associated with blood presumably through its color, which is confirmed by the identifica-tion proposed by Greek dictionaries and the botanical literature. In view of the color of the herb, we would interpret this gem as an amulet against bleedings.28 Amulets against blood-loss are known without being common. Two examples were described and analyzed by Campbell Bonner in his classical book about magical amulets.29 One of the two, probably of Syrian provenance, bears an inscription reading διψὰς Τάνταλε αἷμα πίε, “viper Tantalos, drink the blood”, where Tantalos apparently is the name of the viper (διψάς), according to popular beliefs suffering of eternal thirst. Like our gem, this one too insists on drinking as a means for a liquid to disappear although blood is explicitly mentioned in the latter inscrip-tion whereas it is only implicitly understood in our case.

The closest parallel to the Moszyński gem, both in functional and textual terms, is yielded by a bronze amulet from the British Museum (BM 455),30 apparently made for a Christian woman.31 On the recto it contains an inscription that was read by the editor in the following way:32 λιμός σε ἔσπειρεν ἀὴρ ἐθέρισεν φλέψ σε κατέφαγεν τί ὡς λύκος μασᾶσαι τί ὡς κροκόδειλος καταπίνεις τί ὡς λέων ΟΡΩΧΙΣ τί ὡς ταῦρος κερατίζεις τί ὡς δράκων εἱλισσει τί ὡς παρᾶος κοιμᾶσαι. This can be translated: “Famine sowed you, Air reaped, Vein devoured you. Why do you chew like a wolf? Why do you gulp like a crocodile? Why do you roar (?) like a lion? Why do you gore like a bull? Why do you roll round like a snake? Why do you lie down like a creature?”. The first part of the inscription on BM 455 contains the same seri-ation of events as the inscription on the Moszyński gem, using three practically identical verbs, only the rare word for “dragging out” (ἀμπρεύω) has been replaced by a more com-mon verb with a similar meaning, θερίζω, “to reap, mow, harvest”. Furthermore, the agents have been changed (although they are still personifications) and the tomb has disappeared.

28 It should be mentioned in this place that Campbell Bonner (1950, 51–62), considered all Chnoubis amu-lets as being digestive in character. Theoretically this is possible also with our gem. In that case, θυῖα, “saps”, could have been identified with, e.g., gastric juices, and the gem can be interpreted as an amulet against hypera-cidity. We find this possibility less likely, however, as we do not see any connection with broomrape.

29 Campbell Bonner 1950, 87–89. 30 Michel 2001, vol. I, 282, no. 455; for the text, see in particular Barb 1972, 344–353, and Spier 1993, espe-cially 45–46; the provenance is apparently Egypt.31 Michel dates it as late as the 6th–7th century AD. 32 According to the editor the inscription refers to the womb that is compared with different animals.

8 adam łajtar, tomasz płóciennik, jacques van der vliet

It seems to us that the opening spell of the amulet BM 455 represents a much later revision of the original spell found on the Moszyński gem.

Two more observations can be made. The subject of the first verb is called λιμός in BM 455. This may be translated as either “Famine” or “Pestilence”, yet — if this spell is indeed a revision of an earlier model — Limos can be interpreted as the remainder of an original Limodoros, which — given the rarity of the word λειμόδωρον — was not understood any-more and was replaced by a nearly identical but much more common word, likewise a per-sonification with negative associations (either Famine or Pest). The amulet BM 455 would therefore confirm the reading of the hapax Λειμόδωρος in the Moszyński gem. The subject of the third verb in the BM amulet is φλέψ, “vein”. As the first meaning of φλέψ is “a blood-vessel” (vein or artery), a container of blood therefore, its occurrence here would confirm our interpretation of the original spell, as found on the Moszyński gem, as a spell against abnormal bleeding. The sequel of the text of BM 455 addresses the womb, which likewise confirms our interpretation.

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adam łajtarInstitute of ArchaeologyUniversity of Warsawa.lajtar@uw.edu.pl

tomasz płóciennikInstitute of ArchaeologyUniversity of Warsawt.plociennik@uw.edu.pl

jacques van der vlietFaculty of Philosophy, Theologyand Religious StudiesRadboud University NijmegenInstitute for Area StudiesLeiden Universityj.van.der.vliet@hum.leidenuniv.nl

12 adam łajtar, tomasz płóciennik, jacques van der vlieti

Fig. 1. Museum in Nieborów and Arcadia, dactyliotheca of Philipp Daniel Lippert (photo P. Starzyński)

Fig. 2. Museum in Nieborów and Arcadia, dactyliotheca of Philipp Daniel Lippert, back side with open drawer (photo P. Starzyński)

13a squeeze of a magical gem in the dactyliotheca of philipp daniel lippert ii

Fig. 3. Museum in Nieborów and Arcadia, dactyliotheca of Philipp Daniel Lippert, drawer 18, mythological section (photo P. Starzyński)

Fig. 4a–b. Museum in Nieborów and Arcadia, dactyliotheca of Philipp Daniel Lippert, squeeze no. 897 (a)

and its mirror image (b) (photo P. Starzyński)

14 adam łajtar, tomasz płóciennik, jacques van der vlietvi

Fig. 5a–b. Museum in Nieborów and Arcadia, dactyliotheca of Philipp Daniel Lippert, squeeze no. 898 (a)

and its mirror image (b) (photo P. Starzyński)

Fig. 6. Slender broomrape (Orobanche gracilis Sm.) (http://pl.wikipedia.org/wiki/Zaraza_krwistoczerwona)