Mastery of Design: The Shepherds and Goats Signet Ring, 200-100 BC

Intaglio Ring
Italy, 200-100 B.C.
The Victoria & Albert Museum

A vertically-positioned oval intaglio of brown-hued carnelian is the centerpiece of this ancient ring which nicely demonstrates the mastery of early Roman gem carving.

It’s thought that this ring was meant to represent a shepherd. The conclusion makes sense since it depicts a young man with a goat which, I’m guessing, represents his flock. It’s hard to carve a whole flock of goats onto a ring. Don’t let the fact that the young man is nude bother you.

Others suggest that since the fellow has no clothes on, he could be the god Mercury. I don’t know if I’d want to be a shepherd with no pants. So, Mercury is a good guess, too, especially since Mercury’s attribute is often a ram and he does tend to be shown wearing the sort of broad-brimmed hat favored by farmers and travelers.

Either way, the goat’s not too happy. Maybe he doesn’t like the pan flute. Goats probably don’t care for pipe music.

The ring was made in Italy circa 200-100 BC. Of course, it ended up in the collection of the Reverend Chauncy Hare Townshend (1798-1868), who preferred collecting jewelry to being a clergyman. I agree with him wholeheartedly.

Gifts of Grandeur: Pendant of the Dwarf God Bes, c. 600 BC

Pendant of the Dwarf God Bes
Egypt, c. 600 BC
The Victoria & Albert Museum

I confess, I picked this jewel for today because I was tickled by the title of “The Dwarf God Bes.” Bes, it seems, was an Egyptian deity of music, war and childbirth. I’m not sure how all of those things go together, but there you have it. Oh, and, yes, he was also a dwarf. And, he was thought to be good luck. Charms of Bes were placed around the home to protect the house and pendants such as this one were worn to protect the wearer during war, childbirth, or…um…music. Again, they don’t really go together. But, who am I to argue with a dwarf god? 

This pendant is constructed of gold and adorned with glazed steatite. It was made in Egypt between 600BC-100BC.

The Home Beautiful: A Section of the Portières des Dieux, 1740-1760

Tapestry Panel
Gobelins, 1740-1760
The Victoria & Albert Museum

The famed Portières des Dieux series, designed by Claude Audran III (1658-1734) was made by the French royal tapestry manufactory, the Gobelins. The celebrated series of woven silk and wool panels depicts the four seasons and the four elements. So popular was the series that it was rewoven numerous times between 1700 and 1789.

This panel depicts Saturn, the God of agriculture who was often employed as an allegory for winter. Saturn’s feast—Saturnalia—was celebrated during the month of December, and, in fact, many of the traditions associated with Saturnalia have been borrowed for Christmas.

Here, Saturn is shown, seated in profile. He holds his attribute, the scythe of the harvest. From beneath, two putti come forth from clouds, blowing the first snows of winter. The group is framed by foliate, fruit-bearing garlands and arabesques.

Pierre-François Cozette (1714-1801) served as the maker of this original panel for Gobelins between 1740 and 1760. Claude Audran III (1658 -1734) was the designer. The entire series also includes scenes of Diana, Neptune, Jupiter, Bacchus, Venus, Ceres and Juno, each with his or her respective attributes.

Figure of the Day: The Staffordshire Harpy, 1780-90

Harpy
Burslem Factory, Staffordshire
1780-1790
The Victoria & Albert Museum

Here’s a nifty Staffordshire figure. Not the usual happy scene or elegant portrait, this lead-glazed earthenware figurine depicts a harpy seated on a four-lobed oval base.

With the head of a lady and a bird’s wings and tail, she’s got the body of a lion. And just to make sure that she’s fancy enough for you, her tail is also a whistle! Well, well…that’s handy. She was made between 1780 and 1790 at the Burslem Factory in Staffordshire.  

Mastery of Design: The Shepherds and Goats Signet Ring, 200-100 BC

Intaglio Ring
Italy, 200-100 B.C.
The Victoria & Albert Museum

A vertically-positioned oval intaglio of brown-hued carnelian is the centerpiece of this ancient ring which nicely demonstrates the mastery of early Roman gem carving.

It’s thought that this ring was meant to represent a shepherd. The conclusion makes sense since it depicts a young man with a goat which, I’m guessing, represents his flock. It’s hard to carve a whole flock of goats onto a ring. Don’t let the fact that the young man is nude bother you.

Others suggest that since the fellow has no clothes on, he could be the god Mercury. I don’t know if I’d want to be a shepherd with no pants. So, Mercury is a good guess, too, especially since Mercury’s attribute is often a ram and he does tend to be shown wearing the sort of broad-brimmed hat favored by farmers and travelers.

Either way, the goat’s not too happy. Maybe he doesn’t like the pan flute. Goats probably don’t care for pipe music.

The ring was made in Italy circa 200-100 BC. Of course, it ended up in the collection of the Reverend Chauncy Hare Townshend (1798-1868), who preferred collecting jewelry to being a clergyman. I agree with him wholeheartedly.

Object of the Day, Museum Edition: A Section of the Portières des Dieux, 1740-1760

Tapestry Panel
Gobelins, 1740-1760
The Victoria & Albert Museum

The famed Portières des Dieux series, designed by Claude Audran III (1658-1734) was made by the French royal tapestry manufactory, the Gobelins. The celebrated series of woven silk and wool panels depicts the four seasons and the four elements. So popular was the series that it was rewoven numerous times between 1700 and 1789.

This panel depicts Saturn, the God of agriculture who was often employed as an allegory for winter. Saturn’s feast—Saturnalia—was celebrated during the month of December, and, in fact, many of the traditions associated with Saturnalia have been borrowed for Christmas.

Here, Saturn is shown, seated in profile. He holds his attribute, the scythe of the harvest. From beneath, two putti come forth from clouds, blowing the first snows of winter. The group is framed by foliate, fruit-bearing garlands and arabesques.

Pierre-François Cozette (1714-1801) served as the maker of this original panel for Gobelins between 1740 and 1760. Claude Audran III (1658 -1734) was the designer. The entire series also includes scenes of Diana, Neptune, Jupiter, Bacchus, Venus, Ceres and Juno, each with his or her respective attributes.

Unusual Artifacts: The Neptune Candelabrum, 1818-1819

The Victoria & Albert Museum

Known for its triumphant depiction of the god Neptune, this magnificent candelabrum is adorned with a figure of the Roman god of the sea, depicted kneeling on a sea horse or hippocamp, on a rocky base cast and chased with shells and a host of other sea creatures. Neptune, as usual, bears a trident in his left hand and supports, with his right, a shell from which a hydra (that wacky mythical many-headed snake) springs out to form the branches which hold the candles.


Made between 1818-1819, this was just one part of a massive table garniture ordered by the Duke of York. In 1827, when the Duke of York’s silver was auctioned, the catalog listed the candelabrum as attributed to the antiquarian and silver retailer Kensington Lewis, whose trade card described him as “Silversmith and Jeweller to his R. H. the Duke of York.”


And, certainly, The Duke of York was Lewis’ most important patron.  Lewis’ business suffered enormously after the Duke’s death.

Unfolding Pictures: The Venus Interceding with Jupiter Fan, 1730-1769

Venus Interceding with Jupiter Fan
French, 1730-1769
The Victoria & Albert Museum

Many Eighteenth Century fans were inspired by stories from Classical mythology. Here’s a great example. Known as the “Venus Interceding with Jupiter” Fan, it was made in France between 1730 and 1769. The leaf of the fan shows the high standards for fan-painting as well as serves as an excellent example of French Baroque painting. The hallmarks of Baroque painting—theatricality, intense and brilliant colors and unnaturally exaggerated lighting—are all clearly evident in this delicately painted scene. A Chinoiserie scene—also fashionable at the time—graces the reverse of the fan. 

The fan’s sticks and guards, also, are indicative or Baroque style with their intricate carving and piercing, painted cartouches and inlays of mother-of-pearl. 

Click images for larger pictures

Unusual Artifacts: The Mars and Venus Snuffbox, 1700

Snuff box of tortoise shell, mother-of-pearl and brass wire
England, 1700
The Victoria & Albert Museum

This handsome snuff box has been crafted from tortoiseshell and inlaid with mother-of-pearl, gilt-brass wire and green-stained ivory. Inlaid tortoiseshell in this style is typically known as “piqué work.”  Here, the piqué work of the lid depicts a scene of the classical gods Mars and Venus.

When this box was made in the early Eighteenth Century (about 1700), a fashionable gentleman (and sometimes a lady) was never without a snuff box. They were indispensible accessories which naturally leant themselves to be collected.  The proud owner would coordinate his or her snuffbox with the ensemble being worn. 

The taking of snuff was considered healthful.  However, many people simply collected these opulent boxes because they were fashionable status symbols. The finest boxes were constructed of the most precious of materials and few accessories showed the owner’s status as neatly.

The Home Beautiful: A Section of the Portières des Dieux, 1740-1760

Tapestry Panel
Gobelins, 1740-1760
The Victoria & Albert Museum

The famed Portières des Dieux series, designed by Claude Audran III (1658-1734) was made by the French royal tapestry manufactory, the Gobelins. The celebrated series of woven silk and wool panels depicts the four seasons and the four elements. So popular was the series that it was rewoven numerous times between 1700 and 1789.

This panel depicts Saturn, the God of agriculture who was often employed as an allegory for winter. Saturn’s feast—Saturnalia—was celebrated during the month of December, and, in fact, many of the traditions associated with Saturnalia have been borrowed for Christmas.

Here, Saturn is shown, seated in profile. He holds his attribute, the scythe of the harvest. From beneath, two putti come forth from clouds, blowing the first snows of winter. The group is framed by foliate, fruit-bearing garlands and arabesques.

Pierre-François Cozette (1714-1801) served as the maker of this original panel for Gobelins between 1740 and 1760. Claude Audran III (1658 -1734) was the designer. The entire series also includes scenes of Diana, Neptune, Jupiter, Bacchus, Venus, Ceres and Juno, each with his or her respective attributes.

Gifts of Grandeur: Bracelet from a Parure with Cameos

Bracelet from the Cameo Parure
Italian
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This bracelet was made in Turin, Italy in 1829 and is assembled from cameos which were carved between the Sixteenth and Seventeenth Centuries. The bracelet is part of a parure of pieces comprised of cameos set in frames of Burmese rubies set in closed gold collets. The rubies are foiled to enhance their fire. 

The parure was purchased by Queen Mary, consort of King George V. The cameos on the bracelet depicts scenes from Roman history as well as mythological subjects such as cupid, Mars and Venus and a depiction of the sacrifice of a goat.

Mastery of Design: Pendant of the Dwarf God Bes, c. 600 BC

Pendant of the Dwarf God Bes
Egypt, c. 600 BC
The Victoria & Albert Museum

I confess, I picked this jewel for today because I was tickled by the title of “The Dwarf God Bes.” Bes, it seems, was an Egyptian deity of music, war and childbirth. I’m not sure how all of those things go together, but there you have it. Oh, and, yes, he was also a dwarf. And, he was thought to be good luck. Charms of Bes were placed around the home to protect the house and pendants such as this one were worn to protect the wearer during war, childbirth, or…um…music. Again, they don’t really go together. But, who am I to argue with a dwarf god? 

This pendant is constructed of gold and adorned with glazed steatite. It was made in Egypt between 600BC-100BC.

Gifts of Grandeur: The Mars and Venus Snuffbox, 1700

Snuff box of tortoise shell, mother-of-pearl and brass wire
England, 1700
The Victoria & Albert Museum

This handsome snuff box has been crafted from tortoiseshell and inlaid with mother-of-pearl, gilt-brass wire and green-stained ivory. Inlaid tortoiseshell in this style is typically known as “piqué work.”  Here, the piqué work of the lid depicts a scene of the classical gods Mars and Venus.

When this box was made in the early Eighteenth Century (about 1700), a fashionable gentleman (and sometimes a lady) was never without a snuff box. They were indispensible accessories which naturally leant themselves to be collected.  The proud owner would coordinate his or her snuffbox with the ensemble being worn. 

The taking of snuff was considered healthful.  However, many people simply collected these opulent boxes because they were fashionable status symbols. The finest boxes were constructed of the most precious of materials and few accessories showed the owner’s status as neatly.

Mastery of Design: The Shepherds and Goats Signet Ring, 200-100 BC

Intaglio Ring
Italy, 200-100 B.C.
The Victoria & Albert Museum

A vertically-positioned oval intaglio of brown-hued carnelian is the centerpiece of this ancient ring which nicely demonstrates the mastery of early Roman gem carving.

It’s thought that this ring was meant to represent a shepherd. The conclusion makes sense since it depicts a young man with a goat which, I’m guessing, represents his flock. It’s hard to carve a whole flock of goats onto a ring. Don’t let the fact that the young man is nude bother you.

Others suggest that since the fellow has no clothes on, he could be the god Mercury. I don’t know if I’d want to be a shepherd with no pants. So, Mercury is a good guess, too, especially since Mercury’s attribute is often a ram and he does tend to be shown wearing the sort of broad-brimmed hat favored by farmers and travelers.

Either way, the goat’s not too happy. Maybe he doesn’t like the pan flute. Goats probably don’t care for pipe music.

The ring was made in Italy circa 200-100 BC. Of course, it ended up in the collection of the Reverend Chauncy Hare Townshend (1798-1868), who preferred collecting jewelry to being a clergyman. I agree with him wholeheartedly.

Mastery of Design: The Persephone Chalice, 1914-15

Chalice
Phone Anna Traquair
1914-1915
The Victoria & Albert Museum

Typically, one uses the word chalice to refer to a footed wine cup which is used in the performance of a mass. However, the term is loosely used when describing any sort of decorative or ceremonial cup.

This chalice is made of an emu egg which has been divided to become both a cup and a cover. Made between 1914 and 1915, this chalice draws upon centuries of inspiration and nods at similar cups made of exotic and natural materials (often set in gold and mounted with jewels) which were constructed during the Renaissance.

The enamel plaques which have been fitted to the piece illustrate the classical myth of of Persephone, the daughter of the harvest goddess, Ceres, who was carried off by Pluto, the King of the Underworld, after he became overwhelmed by her beauty.

The enamel plaques are the work of Scottish genius Phoebe Anna Traquair whose exceptional pieces we’ve studied before. Traquair has backed the enamel pieces with foil on copper so as to better reflect light through them. The remainder is adorned with scenes of nature and grotesque bird-like beasts. The whole is surmounted by a green stone finial.

Figure of the Day: The Staffordshire Harpy, 1780-90

Harpy
Burslem Factory, Staffordshire
1780-1790
The Victoria & Albert Museum

Here’s a nifty Staffordshire figure. Not the usual happy scene or elegant portrait, this lead-glazed earthenware figurine depicts a harpy seated on a four-lobed oval base.

With the head of a lady and a bird’s wings and tail, she’s got the body of a lion. And just to make sure that she’s fancy enough for you, her tail is also a whistle! Well, well…that’s handy. She was made between 1780 and 1790 at the Burslem Factory in Staffordshire.  

To Serve and Project: The Palissy Sauce Boat, 1550-1600

Sauceboat
French, 1550-1600
Bernard Palissy
The Victoria & Albert Museum

I wouldn't want to put gravy in this. It’s too pretty.  That, and there are naked people in it, and gravy and nudity don't mix for me.  Well, and it's also lead-glazed.

Still...

This exceptional earthenware sauceboat features figures of Bacchus and Ceres.  It’s quite French, obviously, and dates to the Sixteenth Century.  You see, by the Sixteenth Century, the rest of Europe had already noticed that the French had the art of dining well under control and they looked to France to determine the latest trends in elegant and sophisticated foods and food-related items.

This is the work of French artist Bernard Palissy (1510-1590) who was celebrated for his novel and attractive vessels.  Palissy successfully combined design elements of metalwork and ceramics into items for every aspect of fine dining.  This sauceboat is an excellent example of his work—bright polychrome figures and beautiful curving planes. 

Sophisticated dining implements, such as this, would have been displayed proudly when not in use at grand dinners and other special occasions. Palissy was quite clever with the design, knowing that dinner guests would have been impressed and amused as the sauce drained away to reveal the figures beneath.

A similar sauceboat by Palissy, decorated with a bathing nymph inside, can be found in the Musée des Beaux Arts, Paris.

And, as an added bonus, it looks a bit like a seven-toed foot.

Unusual Artifacts: The Actaeon Fountain, 1560

Fountain
Germany, 1560
The Victoria & Albert Museum

A figure of Actaeon, with a stags head, surmounts this fountain's central column. In his left hand he holds a boar-spear and in his right a hunting horn. Two eager hounds spring up to attack him. When activated, water would emerge from the mouths of the hounds, from Actaeon and from the hunting horn.

Three nude female figures adorn the fountain's base, along with couchant stags. All of these figured spout water, too. The whole of the base is adorned with an acanthus frieze and five grotesque masks. On the underside, three putto masks are featured in high relief.

In the famous legend, Actaeon spied on Diana and her nymphs bathing, and was transformed into a stag and devoured by his own hounds. Such mythological themes were popular in Sixteenth Century fountains. This particular fountain is unusual inasmuch as it was made to be used indoors. Indoor fountains were produced in great quantities in Nuremberg foundries in the third quarter of the 16th century and were widely exported.