Mastery of Design: The Castellani Diadem, 1860

Diadem
Castellani, c. 1860
The Victoria & Albert Museum

The Italian jewelry firm of Castellani made this diadem around 1860 based on an Etruscan original which dated to about 300 B.C. The original is the Campana Collection in the Louvre.

This tiara was copied four more times with each of the copies remaining in private collections. This one was shown at the International Exhibition in London in 1862. There, the works of Castellani garnered much attention and acclaim. So many flocked to the Castellani exhibit, in fact, that a policeman was stationed outside of the display to control the crowds. Certainly, the diadem was the centerpiece of the group.

The piece is made of gold with open floral-work. It is set with pearls, and beads and features enameled, serrated leaves and beaded blue berries. 

Object of the Day, Museum Edition: The Castellani Diadem, 1860

Diadem
Castellani, c. 1860
The Victoria & Albert Museum

The Italian jewelry firm of Castellani made this diadem around 1860 based on an Etruscan original which dated to about 300 B.C. The original is the Campana Collection in the Louvre.

This tiara was copied four more times with each of the copies remaining in private collections. This one was shown at the International Exhibition in London in 1862. There, the works of Castellani garnered much attention and acclaim. So many flocked to the Castellani exhibit, in fact, that a policeman was stationed outside of the display to control the crowds. Certainly, the diadem was the centerpiece of the group.

The piece is made of gold with open floral-work. It is set with pearls, and beads and features enameled, serrated leaves and beaded blue berries. 

Mastery of Design: The Castellani Diadem, 1860

Diadem
Castellani, c. 1860
The Victoria & Albert Museum

The Italian jewelry firm of Castellani made this diadem around 1860 based on an Etruscan original which dated to about 300 B.C. The original is the Campana Collection in the Louvre.

This tiara was copied four more times with each of the copies remaining in private collections. This one was shown at the International Exhibition in London in 1862. There, the works of Castellani garnered much attention and acclaim. So many flocked to the Castellani exhibit, in fact, that a policeman was stationed outside of the display to control the crowds. Certainly, the diadem was the centerpiece of the group.

The piece is made of gold with open floral-work. It is set with pearls, and beads and features enameled, serrated leaves and beaded blue berries. 

Sculpture of the Day: The Sleep of Sorrow and the Dream of Joy, 1861

The Sleep of Sorrow and the Dream of Joy
Raffaelle Monti
London, 1861
This and all related images from:
The Victoria & Albert Museum

Since today’s trade card was so glum and sluggish, I thought we’d look at other historically grim and lethargic artwork today. Hooray! It’s a holiday weekend in the U.S.. Let’s look at depressed children. Well, at least this marble sculpture gives us some hope for better times.

The work of Italian-born sculptor Raffaelle Monti (1818-1881), this allegorical figural group was carved in 1861 to be shown in the International Exhibition in London in 1862. The group depicts a veiled figure of the “Dream of Joy” who hovers above the slumbering figure of “Sorrow.” So, Sorrow dreams of Joy? That seems about right. While the allegory is quite clear, the group was also meant to be a metaphor for the political climate at the time in Italy—a hopeful sign of growing cultural unity with the proclamation of a kingdom there on March 17, 1861.

Monti, born in Milan, worked predominantly in London where he enjoyed the patronage of the wealthy English. He’s best known, perhaps, for the enchanting sculptures which he created for the grounds of the Crystal Palace. Later in his life, Monty was employed at the famed Elkington & Co. where he was involved with the production of electrotypes. For Elkington, Monti created the largest known electrotype monument--an equestrian statue of Charles William Stewart, 3rd Marquess of Londonderry (1778-1854).

The sculptor’s work was quite beloved by the English. In fact, this sculpture was praised during the International Exhibition of 1862. Afterwards, it’s believed that the figure group was purchased by the chairman of the London Stereoscopic Company. Over the next century, it passed through the collections of many families. Eventually, it came into the hands of Mrs. Sarah Hoda of Essex who lent it to the V&A for an large display of items from the 1862 Exhibition, in celebration of its hundredth anniversary. Hoda sold the group to the V&A in 1964.

Unfolding Pictures: The Schott Iron Fan, 1862

Cast-Iron Hand Fan
One of a Pair
Edward Schott, 1862
The Victoria & Albert Museum

This handsome, but somber, hand fan, is one of a pair which was made under the direction of Edward Schott at Ilsenburg-am-Harz, Germany, to demonstrate the fineness and delicacy which could be achieved in iron castings.

The pair was shown at the International Exhibition of 1862. The mate to this fan was presented to Princess Frederick William (later the Empress Frederick William) of Prussia (1840-1901), Queen Victoria's eldest daughter.

The segments  of filigreed  cast iron are adorned with architectural motifs and are held together at the base by a pin and at their top by a ribbon.