The cameo depicts Augustus as a triumphant demigod wearing the aegis, a cape usually associated with Jupiter and Minerva. Here, it is decorated with the head of a wind god, perhaps intended as a personification of the summer winds that brought the corn fleet from Egypt to Rome and so an oblique reference to Augustus’s annexation of Egypt after the defeat of Mark Antony and Cleopatra at Actium in 31 B.C.

Ex-collection, Earl of Arundel (1585-1646); by 1870, collection of the Duke of Marborough; by 1900, collection of Sir Arthur Evans; acquired December 3, 1941, purchased from the estate of Sir Arthur Evans through his agent Mr. Jacob Hirsch, New York.

Story-Maskelyne, M.M.N. 1870. The Marlborough Gems. London: Printed for private distribution, no. 481.

Furtwängler, A. 1900. Die antiken Gemmen: Geschichte der Steinschneidekunst im klassischen Altertum. Leipzig, Berlin, Giesecke & Devrient, pl. LXV, 49.

Burlington Fine Arts Club. 1904. Exhibition of Ancient Greek Art. London : Printed for the Burlington Fine Arts Club, M137, pl. CXII.

Evans, Sir Arthur. 1938. An Illustrative Selection of Greek and Greco-Roman Gems to which is Added a Minoan and Proto-Hellenic Series. Oxford: s.n., no. 140.

Richter, G.M.A. 1942. Ancient Gems from the Evans and Beatty Collection. New York: The Metropolitan Museum of Art, no. 52.

Richter, G.M.A. 1942. "Multum in Parvo: An Exhibition of Newly Acquired Engraved Ancient Gems." American Journal of Archaeology 46: 488-489, fig. 1.

Richter, G.M.A. 1948. Roman Portraits. New York: The Metropolitan Museum of Art, no. 24.

Richter, G.M.A. 1949. Hommages à Joseph Bidez et à Franz Cumont. Bruxelles, Latomus, Revue d'études latines, p. 299, pl. XXII, 10.

Richter, G.M.A. 1956. Catalogue of Engraved Gems: Greek, Etruscan, and Roman. Rome: L'Erma di Bretschneider, no. 648.

Vollenweider, M.L. 1966. Die Steinschneidekunst und ihre Künstler in spätrepublikanischer und augusteischer Zeit. Baden-Baden: Grimm, p. 67, n. 10, p. 68, n. 17, pp. 79ff, n. 78, pl. 72.3.

Hafner, G. 1969. "Der Adlerkameo und die Auffindung des Telephos. Aachener Kunstblätter 38: 215-217, fig. 7.

Kyrieleis, H. 1971. "Der Kameo Gonzaga." Bonner Jahrbücher des Rheinisehen Landesmuseum in Bonn 171: 169-170, fig. 6.

Giard, J.B. 1978. "L'illusion du portrait." Bulletin de la Bibliothèque Nationale 3: 30, 32, fig. 5.

Bastien, P. 1980. "Egide, Gorgonéion et Buste Impérial dans le Monnayage Romain." Numismatica e Antichità Classiche: 254.

Zwierlein-Diehl, E. 1980. "Der Divus-Augustus-Kameo in Köln." Kölner Jahrbuch Für Vor-und-Frühgeschichte 17: 13, n. 9, p. 30.

The Metropolitan Museum of Art. 1987. Greece and Rome. New York: The Metropolitan Museum of Art, no. 71, pp. 11, 98.

Thomas, R. 1995. "Hellenistischen Wurzeln Römischen Herrscherikonographie." Jahrbuch des Deutschen Archäologischen Instituts 110: 368-69, fig. 2.

Milleker, Elizabeth J., ed. 2000. The Year One: Art of the Ancient World East and West. New York: The Metropolitan Museum of Art, no. 47, pp. 59-61, 206.

Zwierlein-Diehl, E. 2007. Antike Gemmen und ihr Nachleben. Berlin/New York: Walter de Gruyer, p. 436, fig. 622.

Picón, Carlos A., et al. 2007. Art of the Classical World in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, no. 384, pp. 333, 481-82.