The fine style of this gem and the perfectly balanced composition indicates that this is the work of a master engraver. Although the artist did not sign his work, and indeed only very few gem-engravers ever did during the Roman period, there are enough stylistic similarities to suggest that this might be associated with the work of the gem engraver Sostratos, who signs at least three cameos and one intaglio. Other unsigned gems have been attributed to him based on style (see Vollenweider, Die Steinschneidekunst und ihre Künstler in spätrepublikanischer und augusteicher Zeit, pp. 32-63; and Spier, Ancient Gems and Finger Rings, p. 154). His works is characterized by a preference for Bacchic scenes, the use of complex poses, as seen here in the twisting three-quarter maenad, and, on his cameos, the skillful use of the drill for minute details, something seen here along the tail of the hippocamp. Although this gem may not be by the artist himself, there are enough elements in common to suggest it could at least be from his workshop. For female figures riding on a hippocamp, Nereids are typically depicted (see the cameos, no. 59 and 68 in Gasparri, Le Gemme Farnese); the presence of the thyrsus indicates that our rider should be a maenad, a female follower of Dionysus.