Engraved gem in the context of "Minoan seals"

The art of Ancient Rome, and the territories of its Republic and later Empire, includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass are sometimes considered to be minor forms of Roman art, although they were not considered as such at the time. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also highly regarded. A very large body of sculpture has survived from about the 1st century BC onward, though very little from before, but very little painting remains, and probably nothing that a contemporary would have considered to be of the highest quality.

Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price. Roman coins were an important means of propaganda, and have survived in enormous numbers.

The Natural History (Latin: Naturalis historia) is a Latin work by Pliny the Elder. The largest single work to have survived from the Roman Empire to the modern day, the Natural History compiles information gleaned from other ancient authors. Despite the work's title, its subject area is not limited to what is today understood by natural history; Pliny himself defines his scope as "the natural world, or life". It is encyclopaedic in scope, but its structure is not like that of a modern encyclopaedia. It is the only work by Pliny to have survived, and the last that he published. He published the first 10 books in AD 77, but had not made a final revision of the remainder at the time of his death during the AD 79 eruption of Vesuvius. The rest was published posthumously by Pliny's nephew, Pliny the Younger.

The work is divided into 37 books, organised into 10 volumes. These cover topics including astronomy, mathematics, geography, ethnography, anthropology, human physiology, zoology, botany, agriculture, horticulture, pharmacology, mining, mineralogy, sculpture, art, and precious stones.

Etruscan art was produced by the Etruscan civilization in central Italy between the 10th and 1st centuries BC. From around 750 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta (especially life-size on sarcophagi or temples), wall-painting and metalworking especially in bronze. Jewellery and engraved gems of high quality were produced.

Etruscan sculpture in cast bronze was famous and widely exported, but relatively few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was relatively little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans.

Carolingian art comes from the Frankish Empire in the period of roughly 120 years from about 780 to 900—during the reign of Charlemagne and his immediate heirs—popularly known as the Carolingian Renaissance. The art was produced by and for the court circle and a group of important monasteries under Imperial patronage; survivals from outside this charmed circle show a considerable drop in quality of workmanship and sophistication of design. The art was produced in several centres in what are now France, Germany, Austria, northern Italy and the Low Countries, and received considerable influence, via continental mission centres, from the Insular art of the British Isles, as well as a number of Byzantine artists who appear to have been resident in Carolingian centres.

There was for the first time a thoroughgoing attempt in Northern Europe to revive and emulate classical Mediterranean art forms and styles, that resulted in a blending of classical and Northern elements in a sumptuous and dignified style, in particular introducing to the North confidence in representing the human figure, and setting the stage for the rise of Romanesque art and eventually Gothic art in the West. The Carolingian era is part of the period in medieval art sometimes called the "Pre-Romanesque". After a rather chaotic interval following the Carolingian period, the new Ottonian dynasty revived Imperial art from about 950, building on and further developing Carolingian style in Ottonian art.

Cameo (/ˈkæmioʊ/) is a method of carving an object such as an engraved gem, item of jewellery or vessel. It nearly always features a raised (positive) relief image; contrast with intaglio, which has a negative image. Originally, and still in discussing historical work, cameo only referred to works where the relief image was of a contrasting colour to the background; this was achieved by carefully carving a piece of material with a flat plane where two contrasting colours met, removing all the first colour except for the image to leave a contrasting background.

A variation of a carved cameo is a cameo incrustation (or sulphide). An artist, usually an engraver, carves a small portrait, then makes a cast from the carving, from which a ceramic type cameo is produced. This is then encased in a glass object, often a paperweight. These are very difficult to make but were popular from the late 18th century through the end of the 19th century. Originating in Bohemia, the finest examples were made by the French glassworks in the early to mid-nineteenth century.

In art history, the French term objet d'art (/ˌɒbʒeɪ ˈdɑːr/ ; French pronunciation: [ɔbʒɛ daʁ]) describes an ornamental work of art, and the term objets d’art describes a range of works of art, usually small and three-dimensional, made of high-quality materials, and a finely-rendered finish that emphasises the aesthetics of the artefact. Artists create and produce objets d’art in the fields of the decorative arts and metalwork, porcelain and vitreous enamel; figurines, plaquettes, and engraved gems; ivory carvings and semi-precious hardstone carvings; tapestries, antiques, and antiquities; and books with fine bookbinding.

The National Maritime Museum, Greenwich, London, describes their accumulated artworks as a: "collection of objets d’art [which] comprises over 800 objects. These are mostly small, decorative art items that fall outside the scope of the Museum’s ceramic, plate, textiles and glass collections." The artwork collection also includes metal curtain ties, a lacquered papier-maché tray, tobacco boxes, cigarette cases, découpage (cut-paper items), portrait miniatures, a gilt-brass clock finial, plaques, statuettes, plaquettes, a horse brass, a metal pipe tamper, a small glass painting, et cetera.

The Lothair Crystal (also known as the Lothar Crystal or the Susanna Crystal) is an engraved gem from Lotharingia in northwest Europe, showing scenes of the biblical story of Susanna, dating from 855–869. The Lothair Crystal is an object in the collection of the British Museum.

Plato's theory of the soul, which was inspired variously by the teachings of Socrates, considered the psyche (Ancient Greek: ψῡχή, romanized: psūkhḗ) to be the essence of a person, being that which decides how people behave. Plato considered this essence to be an incorporeal, eternal occupant of a person's being. Plato said that even after death, the soul exists and is able to think. He believed that as bodies die, the soul is continually reborn (metempsychosis) in subsequent bodies. Plato divided the soul into three parts: the logistikon (reason), the thymoeides (spirit, which houses anger, as well as other spirited emotions), and the epithymetikon (appetite or desire, which houses the desire for physical pleasures).

Cameo glass is a luxury form of glass art produced by cameo glass engraving or etching and carving through fused layers of differently colored glass to produce designs, usually with white opaque glass figures and motifs on a dark-colored background. The technique is first seen in ancient Roman art of about 30 BC, where it was an alternative to the more luxurious engraved gem vessels in cameo style that used naturally layered semi-precious gemstones such as onyx and agate. Glass allowed consistent and predictable colored layers, even for round objects.

From the mid-19th century there was a revival of cameo glass, suited equally to Neo-Grec taste and the French Art Nouveau practiced by Émile Gallé. Cameo glass is still produced today.

Lioni Leoni (c. 1509 – 22 July 1590) was an Italian sculptor of international outlook who travelled in Italy, Germany, Austria, France, Spain and the Netherlands. Leoni is regarded as the finest of the Cinquecento medallists. He made his reputation in commissions he received from the Habsburg monarchs Charles V, Holy Roman Emperor and Philip II of Spain. His usual medium was bronze, although he also worked in marble and alabaster, carved gemstones and probably left some finished work in wax (in which many of his sculptures were modelled), as well as designing coins. He mainly produced portraits, and was repeatedly used by the Spanish, and also the Austrian, Habsburgs.

Lapidary (from Latin lapidarius 'stone, stony') is the practice of shaping stone, minerals, or gemstones into decorative items such as cabochons, engraved gems (including cameos), and faceted designs. A person who practices lapidary techniques of cutting, grinding, and polishing is known as a lapidary or lapidarist. Hardstone carving requires specialized carving techniques.

In modern contexts, a gemcutter is a person who specializes in cutting diamonds, but in older contexts the term refers to artists who produced hardstone carvings; engraved gems such as jade carvings, a branch of miniature sculpture or ornament in gemstone.

Abraxas (Biblical Greek: ἀβραξάς, romanized: abraxas, variant form ἀβράναξ romanized: abranax) is a term for the "Great Archon" in Gnostic Christianity. The word is found in Gnostic texts such as the Holy Book of the Great Invisible Spirit and the Apocalypse of Adam, and also appears in the Greek Magical Papyri. It was engraved on certain antique gemstones, called on that account Abraxas stones, which were used as amulets or charms. As the initial spelling on stones was Abrasax (Αβρασαξ), the spelling of Abraxas seen today probably originates in the confusion made between the Greek letters sigma (ς) and xi (ξ) in the Latin transliteration.

The seven letters spelling its name may represent each of the seven classic planets. The word may be related to Abracadabra, although other explanations exist.