Preliminary material -- EXACT PLACE WHERE THE FINDS WERE MADE KNOWN -- ASIA MINOR -- GRAECIA -- ITALIA -- AFRICA -- HISPANIA -- GALLIA -- GERMANIA -- MACEDONIA -- ILLYRICUM -- PANNONIA -- DACIA -- MOESIA -- CHERSONESUS TAURICA -- EXACT PLACE WHERE THE FINDS WERE MADE NOT KNOWN -- GENERAL INDEX -- ACKNOWLEDGEMENTS OF THE PLATES -- PLATE -- ÉTUDES PRÉLIMINAIRES AUX RELIGIONS ORIENTALES DANS L'EMPIRE ROMAIN.

Preliminary material -- THE HISTORY OF THE CULT BEFORE THE TIME OF AUGUSTUS -- OTHER DIVINITIES WITH WHOM SABAZIUS IS IDENTIFIED OR ASSOCIATED -- THE SYMBOLS OF SABAZIUS; THE PRACTICES OF THE CULT -- THE CULT IN THE ROMAN EMPIRE; WHO WORSHIPPED SABAZIUS AND WHY -- THE PROBLEM OF THE LITERARY SOURCES -- ADDENDA AND CORRIGENDA TO CCIS I AND II -- SABAZIUS AND THE SO-CALLED SNAKE-VESSELS -- INDEX OF SELECTED WORDS, NAMES, AND TOPICS -- Plates I-II.

Preliminary material -- INSCRIBED MONUMENTS, EXCLUDING INSCRIBED HANDS -- NON-INSCRIBED MONUMENTS, EXCLUDING HANDS AND STATUETTES ONCE ASSOCIATED WITH HANDS -- DUBIA -- TESTIMONIA ANTIQUA -- TESTIMONIA ANTIQUA DUBIA -- TOPOGRAPHICAL INDEX -- MUSEUM INDEX -- EPIGRAPHICAL INDEX -- ACKNOWLEDGEMENTS OF THE ILLUSTRATIONS -- PLATES.

Band 1.

A masterful deciphering of an extraordinary art object, illuminating some of the biggest questions of the eighteenth century The Throne of the Great Mogul (1701–8) is a unique work of European decorative art: an intricate miniature of the court of the Mughal emperor Aurangzeb depicted during the emperor’s birthday celebrations. It was created by the jeweler Johann Melchior Dinglinger in Dresden and purchased by the Saxon prince Augustus the Strong for an enormous sum. Constructed like a theatrical set made of gold, silver, thousands of gemstones, and amazing enamel work, it consists of 164 pieces that together tell a detailed story. Why did Dinglinger invest so much time and effort in making this piece? Why did Augustus, in the midst of a political and financial crisis, purchase it? And why did the jeweler secrete in it messages wholly unrelated to the prince or to the Great Mogul? In answering these questions, Dror Wahrman, while shifting scales from microhistory to global history, opens a window onto major historical themes of the period: the nature of European absolutism, the princely politics of the Holy Roman Empire, the changing meaning of art in the West, the surprising emergence of a cross-continental lexicon of rulership shared across the Eastern Hemisphere, and the enactment in jewels and gold of quirky contemporary theories about the global history of religion.