Mastery of Design: The Castellani Helios Brooch, c. 1860

This and all related images from The British Museum.

This gold brooch, from The British Museum's Hull-Grundy collection, comes from the Italian Castellani workshop and dates to between 1860 and 1870.  Castellani looked to then-recent archeological discoveries for inspiration and this brooch is an ideal representation of that passion for the past.

The jewel depicts Helios, a Roman sun god, with a mask cast in relief and enameled eyes.  Fine granulation in rows represent the god's hair and rays of light emanate from his head in the form of twisted gold wires. 

Mastery of Design: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.

This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Mastery of Design: The Castellani Helios Brooch, c. 1860

This and all related images from The British Museum.

This gold brooch, from The British Museum's Hull-Grundy collection, comes from the Italian Castellani workshop and dates to between 1860 and 1870.  Castellani looked to then-recent archeological discoveries for inspiration and this brooch is an ideal representation of that passion for the past.

The jewel depicts Helios, a Roman sun god, with a mask cast in relief and enameled eyes.  Fine granulation in rows represent the god's hair and rays of light emanate from his head in the form of twisted gold wires. 

Mastery of Design: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.


This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Mastery of Design: The Castellani Helios Brooch, c. 1860

This and all related images from The British Museum.

This gold brooch, from The British Museum's Hull-Grundy collection, comes from the Italian Castellani workshop and dates to between 1860 and 1870.  Castellani looked to then-recent archeological discoveries for inspiration and this brooch is an ideal representation of that passion for the past.

The jewel depicts Helios, a Roman sun god, with a mask cast in relief and enameled eyes.  Fine granulation in rows represent the god's hair and rays of light emanate from his head in the form of twisted gold wires.

Object of the Day, Museum Edition: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.

This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Gifts of Grandeur: The Castellani Myrtle Tiara, 1860-1869

Tiara/Wreath
Italy, 1860-1869
Gold and pearls
The Victoria & Albert Museum

As archaeological discoveries in the mid Nineteenth Century offered new views of ancient art and fashion, designers of the period turned to these objects for inspiration. The Italian jewelery firm Castellani was notable for their designs which had been influenced by ancient examples. The firm of Castellani was founded in Rome by Fortunato Pio Castellani (1794-1865). In the mid-1820s Castellani won the patronage of the distinguished archaeologist Michelangelo Caetani, later Duke of Sermoneta who encouraged Castellani and his sons Alessandro (1823-1883) and Augusto (1829-1914) to focus mainly on jewelry based on classical models. Castellani’s new designs presented a stylized take on these ancient designs which were celebrated for their theatricality and beauty.

This tiara appears to have been inspired by an Etruscan gold wreath dating to the Fifth century BC, which is on display in the British Museum as part of the Campanari Collection (acquired in 1841). The tiara was part of a suite which was made for Emily, Dowager Countess of Crawford, who presented the parure to the V&A in 1921. The suite contained this wreath, a necklace and a pair of earrings. The Dowager Countess stated that the parure had been made “from the design of Michelangelo, Duke of Sermoneta, in conjunction with Castellani,” and that it was given to her as a wedding gift.

Mastery of Design: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.


This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Mastery of Design: The Carlo Giuliano Mother-of-Pearl Brooch, 1865

Brooch of Mother-of-Pearl and Gold
Carlo Giuliano, 1865
The Victoria & Albert Museum

Inspired by the shape of an ancient Greek leather shield, this brooch of gold and mother-of-pearl is decorated with twisted gold wires, with grains of gold, and with two cast lion masks and three cast heads of lionesses.

This piece, dating to 1865, is the work of Carlo Giuliano (1826-1895) who trained in the celebrated Castellani workshops in Rome before he accompanied Alessandro Castellani to London, in 1860.

In London, Giuliano established his own manufactory at 13 Frith Street in Soho. His work soon caught the attention of important patrons, and it was, notably, much-admired by the Pre-Raphaelite painters and their circle. Upon his death, Giuliano bequeathed his collection of jewelry to the South Kensington Museum (now the V&A). Sadly, most of the best pieces of the collection were stolen in 1899 and never recovered. Giuliano’s sons Carlo Joseph and Arthur made a further gift in 1900, which included this brooch.

Mastery of Design: The Pozzuoli Girandole Earring, 1800-1850

Click image for detail.

Earring
Italy, 1800-1850
The Victoria & Albert Museum

Italian jewelers are often heralded for their lavish designs, but, it’s important to note that, historically, the Italian jewelers are also some of the best at using materials in creative and unexpected ways.

For example, jewelers at the south of Italy took advantage of the warm Mediterranean waters and farmed the gorgeous seed pearls which, there, were abundant in the days before the Industrial Age. Thin gold wires allowed the pearls to be fastened in glorious clusters. This fashion, almost evocative of food, grew into delicious, rich mounts of densely-set multi-colored stones. No more so was this lush style apparent than on the earrings created in Italy in the early to mid Nineteenth Century when Italian women’s appetites for ear baubles was at an all-time high. Grand Tour visitors to Italy noted the glorious earrings sported by the Italian women and brought the fashion to London, and Paris where girandole earrings soon dangled from the most aristocratic lobes.

Here’s a smashing example of such a girandole earring. Sadly, we’ve only got one. Made in Pozzuoli in Campania between 1800 and 1850, this earring has an interesting story. It was shown at the International Exhibition of Paris in 1867 as a perfect representation of Italian craftsmanship. There, despite its uncertain date of creation and unknown jeweler, it became a star of the show. A representative of the famed jewelry firm of Castellani purchased the piece to add to their growing display of Italian Peasant Jewelry—a collection which was used by the firm as inspiration for their own wares. The earring was praised for its enormously rich design as well as the cleverness of the addition of a ribbon (now lost) through the gold loop at the top of the jewel. This ribbon could be tied around the ear to relieve the strain that the heavy jewel would have placed on the earlobe. The earring served its purpose for Castellani who copied it and adapted the style into its archaeologically-inspired line of jewels. 

Let’s look at it, shall we? The girandole earring is adorned in the Southern Italian style with strings of seed pearls. These surround conical mounts which appear to be set with rubies. They are not, however, rubies. They are, in fact, pink sapphires which are backed in red foil. Small pastes of green wax imitate emeralds. The overall effect is one of pure luxury. 

Mastery of Design: Queen Mary's Castellani Pendant, 1860

Pendant
Castellani, c. 1860
Acquired by Queen Mary
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

We’ve looked at a variety of jewels made in the archaeological style by the Italian firm of Augusto Castellani. While most of the examples we’ve seen are from the Victoria & Albert Museum, this one comes to us from the Royal Collection. It is believed that the jewel was purchased by Queen Mary, Consort of King George V. 

The pendant of gold, enamel, Burmese ruby, cabochon rubies, Colombian emerald and an Indian emerald drop was made in 1860. The center of the pendant is set with a Burmese ruby surrounded by four lobes and palmettes with dots. Acanthus leaves in deep green edge the piece which is finished with a Gothic leaf finial. Blue enamel grotesque masks adorn the piece which also boasts a Columbian emerald in a setting of black enamel. An additional pendant set with cabochon rubies and Indian emerald drop hands from the main jewel.

The reverse of the pendant is lovely gold with an oval recess surrounded by engraved acanthus leaves. It is marked by a double ‘C’ monogram—the mark of Castellani. At one point, the central recess on the reverse was likely glazed to accept a lock of hair or a miniature.

Mastery of Design: The Pozzuoli Girandole Earring, 1800-1850

Click image for detail.

Earring
Italy, 1800-1850
The Victoria & Albert Museum

Italian jewelers are often heralded for their lavish designs, but, it’s important to note that, historically, the Italian jewelers are also some of the best at using materials in creative and unexpected ways.

For example, jewelers at the south of Italy took advantage of the warm Mediterranean waters and farmed the gorgeous seed pearls which, there, were abundant in the days before the Industrial Age. Thin gold wires allowed the pearls to be fastened in glorious clusters. This fashion, almost evocative of food, grew into delicious, rich mounts of densely-set multi-colored stones. No more so was this lush style apparent than on the earrings created in Italy in the early to mid Nineteenth Century when Italian women’s appetites for ear baubles was at an all-time high. Grand Tour visitors to Italy noted the glorious earrings sported by the Italian women and brought the fashion to London, and Paris where girandole earrings soon dangled from the most aristocratic lobes.

Here’s a smashing example of such a girandole earring. Sadly, we’ve only got one. Made in Pozzuoli in Campania between 1800 and 1850, this earring has an interesting story. It was shown at the International Exhibition of Paris in 1867 as a perfect representation of Italian craftsmanship. There, despite its uncertain date of creation and unknown jeweler, it became a star of the show. A representative of the famed jewelry firm of Castellani purchased the piece to add to their growing display of Italian Peasant Jewelry—a collection which was used by the firm as inspiration for their own wares. The earring was praised for its enormously rich design as well as the cleverness of the addition of a ribbon (now lost) through the gold loop at the top of the jewel. This ribbon could be tied around the ear to relieve the strain that the heavy jewel would have placed on the earlobe. The earring served its purpose for Castellani who copied it and adapted the style into its archaeologically-inspired line of jewels. 

Let’s look at it, shall we? The girandole earring is adorned in the Southern Italian style with strings of seed pearls. These surround conical mounts which appear to be set with rubies. They are not, however, rubies. They are, in fact, pink sapphires which are backed in red foil. Small pastes of green wax imitate emeralds. The overall effect is one of pure luxury. 

Mastery of Design: The Castellani Bird Brooch

Pendant Brooch
Castellani
Rome, 1860-1900
The Victoria & Albert Museum

This enameled gold pendant brooch was made between 1860 and 1900 by the famed Italian Castellani firm who made a splash with their designs based on archeological finds.

This piece features a curved central line of seven rubies mounted in rectangular collets. Two gold rosettes set with sapphires and a ruby mounted in a collet in a heart-shaped frame add more sparkle. Beneath the rubies, a symmetrical design of enameled openwork gold with a central ruby and four sapphires is an interesting counterpoint to the pearls which hang below the symmetrical profile heads of a bird. The Castellani monogram is twice incorporated into the design.

The jewel was inspired by jewelry made in Europe in the Seventeenth Century. This is one of several versions of this design. In fact, three are also in the V&A.

Mastery of Design: The Carlo Giuliano Mother-of-Pearl Brooch, 1865

Brooch of Mother-of-Pearl and Gold
Carlo Giuliano, 1865
The Victoria & Albert Museum

Inspired by the shape of an ancient Greek leather shield, this brooch of gold and mother-of-pearl is decorated with twisted gold wires, with grains of gold, and with two cast lion masks and three cast heads of lionesses.

This piece, dating to 1865, is the work of Carlo Giuliano (1826-1895) who trained in the celebrated Castellani workshops in Rome before he accompanied Alessandro Castellani to London, in 1860.

In London, Giuliano established his own manufactory at 13 Frith Street in Soho. His work soon caught the attention of important patrons, and it was, notably, much-admired by the Pre-Raphaelite painters and their circle. Upon his death, Giuliano bequeathed his collection of jewelry to the South Kensington Museum (now the V&A). Sadly, most of the best pieces of the collection were stolen in 1899 and never recovered. Giuliano’s sons Carlo Joseph and Arthur made a further gift in 1900, which included this brooch.

Mastery of Design: The Castellani Etruscan Tiara

Tiara Wreath of Gold and Pearls
Castellani
The Victoria & Albert Museum

This lavish tiara was inspired by an Etruscan gold wreath which dated to about the 5th century BC, which is in the Campanari Collection acquired by the British Museum in 1841.

This is the work of the famed Italian jewelry firm, Castellani, which was founded in Rome by Fortunato Pio Castellani (1794-1865).   This masterpiece of gold and pearls takes the form of a myrtle wreath.  It is mounted on a velvet band.

The tiara once belonged to Emily, Dowager Countess of Crawford, who wrote in 1921, when she presented a necklace to the V&A, together with this wreath and a pair of earrings, that they had been made “from the design of Michelangelo, Duke of Sermoneta, in conjunction with Castellani.”

 

Mastery of Design: The Castellani Peace Necklace, 1870

Micromosaic and gold necklace
Castellani, 1870
The Victoria & Albert Museum

The Roman jewelry company of Castellani is considered as one of the first and finest makers of jewelry based on various ancient styles which had been uncovered through then-recent archaeological findings.

Alessandro Castellani remarked upon the firm’s introduction of micromosaic jewelry based on archaeological finds:  "At the time when we took up the subject the greater number of those who followed the occupation of working in mosaic at Rome were almost unemployed; […] We therefore applied mosaics to classical jewellery, imitating at first the antique scenic masks, and many Greek and Latin inscriptions, and our designs were very soon copied elsewhere."

This necklace of gold, made in 1870, shows Castellani’s fine micromosaic work with its woven chain of diverse-shaped pendants matching on each side. The medallions are arranged symmetrically on the chain and depict various symbols of peace, starting at hook clasp: a cherub, doves of peace, two crosses, another cherub and the Christian chi-rho motif; the central pendant with Cupid. The large pendants are hung with smaller pendants which show: roses, christian symbols, flowers, bunches of grapes and the moon and sun.


This necklace is part of an import parure which was once owned by Rosalinde Gilbert who, along with her husband, Sir Arthur, donated this suite along with their impressive collection of gems, gold, snuffboxes, enamels, portrait miniatures and other assorted treasures to the V&A.  

Gifts of Grandeur: The Castellani Myrtle Tiara, 1860-1869

Tiara/Wreath
Italy, 1860-1869
Gold and pearls
The Victoria & Albert Museum

As archaeological discoveries in the mid Nineteenth Century offered new views of ancient art and fashion, designers of the period turned to these objects for inspiration. The Italian jewelery firm Castellani was notable for their designs which had been influenced by ancient examples. The firm of Castellani was founded in Rome by Fortunato Pio Castellani (1794-1865). In the mid-1820s Castellani won the patronage of the distinguished archaeologist Michelangelo Caetani, later Duke of Sermoneta who encouraged Castellani and his sons Alessandro (1823-1883) and Augusto (1829-1914) to focus mainly on jewelry based on classical models. Castellani’s new designs presented a stylized take on these ancient designs which were celebrated for their theatricality and beauty.

This tiara appears to have been inspired by an Etruscan gold wreath dating to the Fifth century BC, which is on display in the British Museum as part of the Campanari Collection (acquired in 1841). The tiara was part of a suite which was made for Emily, Dowager Countess of Crawford, who presented the parure to the V&A in 1921. The suite contained this wreath, a necklace and a pair of earrings. The Dowager Countess stated that the parure had been made “from the design of Michelangelo, Duke of Sermoneta, in conjunction with Castellani,” and that it was given to her as a wedding gift.