Farnese Cup

In his analysis of the Tazza Farnese, Dwyer builds upon previous analyses by experts in the field, including Ennio Quirino Visconti, Frederic Louis Bastet, and Reinhold Merkelbach, among others. Dwyer's two major assertions are that the iconography found in the interior and exterior carvings is a sophisticated mix of Greek and Egyptian philosophic and religious concepts and that the composition of the carved figures correspond to specific constellations which, in their orientation, resemble a map of the night sky during the time of year in which the flooding of the Nile would have occurred. In assigning the piece a multi-faceted religious and philosophic meaning, Dwyer repeatedly references the Corpus Hermeticum. More specifically, he points to the Poimandres and how the figures of the interior carving closely match the elements it presents in its discussion of the creation of life. He uses this reference to assign each figure a corresponding Greek and/or Egyptian god. In this sense, Dwyer sets up the piece as a direct illustration of the creation of life that would have been easily understood by both Greeks and Egyptians living at the time the Tazza was created. Though he credits Merkelbach with first coming up with the theory, Dwyer also discusses the figures' and their placement on the piece as corresponding to specific constellations in an astronomical map. In particular, Dwyer assigns each figure to constellations that would be seen together in the sky during the time of year when the flooding of the Nile took place. He argues that through this apparent map of the night sky, the creator of the Tazza was directly referencing the time of the Nile flooding in order to present more fully the concept of divine creation of life.[4]

Fischer is one of the few who have assigned the Tazza Farnese an Augustan date rather than a Hellenistic one. Her analysis of the piece therefore focuses on reexamining preconceived notions arrived at by other scholars who have assigned it a Hellenistic date, as well as attempting to provide evidence for her assertion of an Augustan date. Fischer's main evidence for placing the piece in the Augustan period is its size and the material it was carved from. She discusses the unstable economic position of the Ptolemaic Court, asserting that the funds for such a piece would not have been available until the improvement of the economy during the Augustan period. Fischer also discusses that while the piece features a mix of Greek and Egyptian figures, concepts, and methods, it also contains distinctly Roman aspects, especially in the Romanesque features of the Gorgon carving found on the piece's exterior.[2]

Like Julia C. Fischer, John Pollini attributes the Tazza Farnese to the Augustan period in Rome. His evidence is also based on the size and material used, but Pollini's primary focus is providing analysis of the piece's iconography in an attempt to prove that it was made during Augustus' reign, and was possibly even commissioned by Augustus himself. To this end, Pollini discusses the figures carved on the inner and outer surfaces, and how the symbolism found in each relates it to an aspect or region of the Augustan empire. Pollini's interpretation of the piece's iconography leads him to assert that it was meant to convey the Golden Age of Augustus and act as a sort of talisman to propagate the strength of the empire.[3]