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: Queen Mary's Ruby and Thirteen Cameo Tea Brooch, Sixteenth to Nineteenth Centuries

Crown Copyright The Royal Collection Courtesy of Her Majesty Queen Elizabeth II

Queen Mary rescued more jewelry from being broken apart than Sting has rescued Rain Forest trees. This brooch of gold, Burmese rubies and thirteen onyx cameos was part of an impressive parure dating back to the Sixteenth Century. Queen Mary was known to wear the brooch for teas and less formal occasions when diamonds would not have been appropriate. The current arrangement of the cameos dated to the early Nineteenth Century when the piece was reconstructed with additional rubies and a mounted hook for a detachable pendant drop. Her Majesty admired the brooch and accompanying suite which had been part of another collection, acquiring it in 1932.

The cameos depict a rather odd assortment of subjects:

1. Two female figures, in long dresses.
2. Seated male nude, possibly Dionysus, approached by a satyr blowing a horn.
3, Male nude running towards a bonfire.
4. Male nude, making a sacrifice at an altar.
5, Orpheus, nude, with a small animal.
6. Female musician with her right breast exposed.
7. The Adoration of the Magi
8. Male musician, wearing a tunic.
9. Cupid, walking to the right, reading from a scroll.
10. Cupid, walking to the left, carrying a vessel.
11. Cupid, facing left, teasing a bird.
12. Cupid, walking to the left, again.
13. Kneeling male nude, offering an object to a seated male wearing a tunic, possibly a slave serving his master.

Mastery of Design: Queen Mary's Ruby and Thirteen Cameo Tea Brooch, Sixteenth to Nineteenth Centuries

Crown Copyright
The Royal Collection
Courtesy of Her Majesty Queen Elizabeth II

Queen Mary rescued more jewelry from being broken apart than Sting has rescued Rain Forest trees. This brooch of gold, Burmese rubies and thirteen onyx cameos was part of an impressive parure dating back to the Sixteenth Century. Queen Mary was known to wear the brooch for teas and less formal occasions when diamonds would not have been appropriate. The current arrangement of the cameos dated to the early Nineteenth Century when the piece was reconstructed with additional rubies and a mounted hook for a detachable pendant drop. Her Majesty admired the brooch and accompanying suite which had been part of another collection, acquiring it in 1932.

The cameos depict a rather odd assortment of subjects:

1. Two female figures, in long dresses.
2. Seated male nude, possibly Dionysus, approached by a satyr blowing a horn.
3, Male nude running towards a bonfire.
4. Male nude, making a sacrifice at an altar.
5, Orpheus, nude, with a small animal.
6. Female musician with her right breast exposed.
7. The Adoration of the Magi
8. Male musician, wearing a tunic.
9. Cupid, walking to the right, reading from a scroll.
10. Cupid, walking to the left, carrying a vessel.
11. Cupid, facing left, teasing a bird.
12. Cupid, walking to the left, again.
13. Kneeling male nude, offering an object to a seated male wearing a tunic, possibly a slave serving his master.