Mastery of Design: A Hellenistic Gold, Emerald and Garnet Necklace, 200 B.C.-100 B.C.

Necklace
Gold, Emeralds, Garnets, Glass
Greek, 200-100 B.C.
The Victoria & Albert Museum

In Greece, during the Hellenistic period (323-27 BC), all of the arts thrived and artists of every conceivable medium began to examine the relationships between different colors. Even Hellenistic jewelers had become fascinated with the concept of color and began to play with different combinations of gold and gemstones. 

During this period, garnets were the most popular gemstone—prized for their deep, wine color. Garnets were often combined with emeralds, carnelian, rock crystal, agates, onyxes or lapis-lazuli to great effect. While the gems were not faceted in the manner of more modern gem cuts, they were often elaborately carved, pierced, and polished. Jewelers even began to toy with the idea of using colored glass to simulate the look of costlier stones. In this necklace, for example, glass was used to imitate onyx and pearl.

Reverse

The fashion of the day dictated that necklaces should be worn tight around the neck like a modern-day choker. This magnificent necklace of gold, polished garnets and emeralds, originally featured a ribbon at the back to allow the wearer to fasten it snugly against her throat. Necklaces such as this were meant to be worn with others, rising high upon the neck. Usually, the central piece was ornate, as is the case of this one, augmented by tight strings of beads in matching colors.

Object of the Day, Museum Edition: Ithaca Grecian Islands, 1839

Ithaca
Grecian Islands
G.T. Vigne, 1839
The Victoria & Albert Museum

Thought to be the island home of Odysseus (Roman—Ulysses), the Grecian island of Ithaca has inspired many a work of art. For example, this 1839 watercolor by Godfrey Thomas Vigne (1801-1863) shows the island in a misty, ethereal light.

Vigne painted this piece while on a long sea voyage from India to his home in England. Created with rapid, flowing strokes, Vigne’s work reinforces the mysterious power of the Grecian islands and attempts to give Nineteenth Century eyes an insight into why ancient Greeks were so fascinated with the isolated land masses around their coast.

Object of the Day: For Worms in Children

Click image to be graceful.

Sometimes, Christianity borrowed the iconography of previous cultures in order to communicate a concept. An example of this is “The Three Graces.” In Greek mythology, the Three Graces (or Charities) represented concepts such as charm, beauty and creativity, among other similar concepts. The graces were typically personified as three diaphanously-clad young woman who would often huddle together. Christianity, having three graces of its own, used a similar depiction to communicate to concepts of Faith, Hope and Charity.

So, what does that have to do with worms? We’re about to find out.

Dating to about 1870, this trade card boasts, on the obverse, a very handsome chromolithograph of “The Three Graces.” And, they don’t look at all Greek, do they? So, you’d think this was a card for something pretty…like silk, or jewelry, or…well, not this.

The reverse is rather shocking, in fact. It reads:

FAITH, HOPE, AND CHARITY, the
Album picture on the other side, is a new treatment in
miniature, for our special use, of the celebrated painting, “The
Christian Graces.” We trust it will prove acceptable, and that
The following suggestions will share your attention, Dr. D.J. & S.
THE BEST TONIC—for grown persons and
children—safe, effective, and reasonable in price, is Dr.
Jayne’s Tonic Vermifuge. In DYSPEPSIA, a disease from which
so many adults suffer, and the prominent symptoms of which
are—a variable appetite, heartburn, oppression and soreness
of the stomach, low spirits, sick headache, fever and languor,
this Tonic is really invaluable. It should be taken in small
doses after each meal, using in connection the Sanative Pills
when needed, as per directions. So also when used
FOR WORMS IN CHILDREN, this Ver-
milifuge is exceedingly useful. The presence of these
dreadful pests, which prey on the delicate systems of the young,
until through irritation and general debility, their constitutions
are broken down—may be known by a capricious appetite,
craving of strange articles, weakness of the bowels, swelling of
the abdomen, fevers, sallow complexion, fitful sleep, grinding
of teeth, picking of the nose, flushed cheeks, twitching and a
wasting away. The Vermilifuge should be used according to
directions, remembering that it will not only destroy Worms,
but reason of its excellent Tonic powers (possessed by no
other worm medicine,) the proper action of the stomach will
be restored, and the general health re-established. It will also
be found of much value in Fever and Ague in children.
FOR SUMMER COMPLAINTS of either
Adults or Children, such as Colic, Cramps, Cholera,
Morbus, Diarrhœa, and Dyssentery, Dr. Jayne’s Carminative Balsam
is the SUREST CURATIVE KNOWN. No Family or Traveler
should be without it, as by its prompt use, much suffering and
many lives may be saved.Presented by 

L. COUDRY
                        Greenwood, McHenry Co.,
                                                                 Illinois. 



Well, that was a treat to type.

I hope you read it all. If you didn't, go back and read it. Because, I'll know...

So, let me understand…worms cause children to pick their noses and grind their teeth and twitch until they die. That’s a lot to pin on a little internal parasite. But, hey—I got to type Diarrhœa again and use my little œ. That’s twice in a week. Pretty good rate for something I’ve never used before.

And, really, thank the stars that someone is finally addressing my Summer Complaints.  

In short, Dr. Jayne hopes you like this card which he commissioned—a copy of a famous painting done FOR THEIR OWN SPECIAL USE!!!! He hopes you like it so much that you’ll read all about worms and loose bowels and maybe buy some Balsam Tonic. It’s enough to make you want to pick your nose until you die.

The Home Beautiful: The Henry Holiday 'Aspasia in the Pnyx' Window, 1886-1890

Aspasia In Pynx
Henry Holiday, 1886-1890
The Victoria & Albert Museum

Henry Holiday (1839-1927) was a renowned designer of stained glass, and painter, who, between 1863 and 1891, worked as a freelance designer for the glass makers Powells at Whitefriars in London. In 1891. Holiday set up his own stained glass studio through which he took on some of his most impressive commissions.

This piece was one of the last Holiday created for Powells. It was completed between 1886 and 1890. The image on this panel was probably taken from the painting “Aspasia in the Pnyx,” which Holiday painted between 1886-8. Aspasia was the mistress of Pericles, the great and controversial Athenian leader of Greek antiquity. “The Pnyx” refers to an area of land where the Greek popular assembly met.

The original painting was included in Holiday’s book “Reminiscences of My Life” which was published about 1914. Miss Kathleen Douglas-Pennant (later Lady Falmouth), daughter of Lord Penrhyn, was employed as the model for Aspasia.

Here, Holiday has incorporated his painting into a quatrefoil panel of clear and colored glass, which has been painted and stained.

Object of the Day, Museum Edition: A Nineteenth Century Porcelain Figurine

Figurine
Gilt Porcelain
The Victoria & Albert Museum

This hard-paste white porcelain figural group by an unknown Nineteenth Century maker stands on an oval four-footed base and features two classically dressed, Greek-style female dancers in flowing gilt draperies. The base is adorned with swags of gilt garlands in relief.

The figures stand in opposition to each other in contrappasto, delicately balanced.

Representations of classical Greece were on an upswing again by the end of the Eighteenth Century in paintings, sculpture, painted vases and reliefs which were inspired by archaeological sources. Such classical, idealistic images were considered noble and elegant.

Classically-inspired figural groups such as this one were usually designed to be made in pairs which would then be displayed symmetrically on a mantel or sideboard.

Object of the Day, Museum Edition: Ithaca Grecian Islands, 1839

Ithaca
Grecian Islands
G.T. Vigne, 1839
The Victoria & Albert Museum

Thought to be the island home of Odysseus (Roman—Ulysses), the Grecian island of Ithaca has inspired many a work of art. For example, this 1839 watercolor by Godfrey Thomas Vigne (1801-1863) shows the island in a misty, ethereal light.

Vigne painted this piece while on a long sea voyage from India to his home in England. Created with rapid, flowing strokes, Vigne’s work reinforces the mysterious power of the Grecian islands and attempts to give Nineteenth Century eyes an insight into why ancient Greeks were so fascinated with the isolated land masses around their coast.

Object of the Day: For Worms in Children

Click image to be graceful.

Sometimes, Christianity borrowed the iconography of previous cultures in order to communicate a concept. An example of this is “The Three Graces.” In Greek mythology, the Three Graces (or Charities) represented concepts such as charm, beauty and creativity, among other similar concepts. The graces were typically personified as three diaphanously-clad young woman who would often huddle together. Christianity, having three graces of its own, used a similar depiction to communicate to concepts of Faith, Hope and Charity.

So, what does that have to do with worms? We’re about to find out.

Dating to about 1870, this trade card boasts, on the obverse, a very handsome chromolithograph of “The Three Graces.” And, they don’t look at all Greek, do they? So, you’d think this was a card for something pretty…like silk, or jewelry, or…well, not this.

The reverse is rather shocking, in fact. It reads:

FAITH, HOPE, AND CHARITY, the
Album picture on the other side, is a new treatment in
miniature, for our special use, of the celebrated painting, “The
Christian Graces.” We trust it will prove acceptable, and that
The following suggestions will share your attention, Dr. D.J. & S.
THE BEST TONIC—for grown persons and
children—safe, effective, and reasonable in price, is Dr.
Jayne’s Tonic Vermifuge. In DYSPEPSIA, a disease from which
so many adults suffer, and the prominent symptoms of which
are—a variable appetite, heartburn, oppression and soreness
of the stomach, low spirits, sick headache, fever and languor,
this Tonic is really invaluable. It should be taken in small
doses after each meal, using in connection the Sanative Pills
when needed, as per directions. So also when used
FOR WORMS IN CHILDREN, this Ver-
milifuge is exceedingly useful. The presence of these
dreadful pests, which prey on the delicate systems of the young,
until through irritation and general debility, their constitutions
are broken down—may be known by a capricious appetite,
craving of strange articles, weakness of the bowels, swelling of
the abdomen, fevers, sallow complexion, fitful sleep, grinding
of teeth, picking of the nose, flushed cheeks, twitching and a
wasting away. The Vermilifuge should be used according to
directions, remembering that it will not only destroy Worms,
but reason of its excellent Tonic powers (possessed by no
other worm medicine,) the proper action of the stomach will
be restored, and the general health re-established. It will also
be found of much value in Fever and Ague in children.
FOR SUMMER COMPLAINTS of either
Adults or Children, such as Colic, Cramps, Cholera,
Morbus, Diarrhœa, and Dyssentery, Dr. Jayne’s Carminative Balsam
is the SUREST CURATIVE KNOWN. No Family or Traveler
should be without it, as by its prompt use, much suffering and
many lives may be saved.Presented by 

L. COUDRY
                        Greenwood, McHenry Co.,
                                                                 Illinois. 



Well, that was a treat to type.

I hope you read it all. If you didn't, go back and read it. Because, I'll know...

So, let me understand…worms cause children to pick their noses and grind their teeth and twitch until they die. That’s a lot to pin on a little internal parasite. But, hey—I got to type Diarrhœa again and use my little œ. That’s twice in a week. Pretty good rate for something I’ve never used before.

And, really, thank the stars that someone is finally addressing my Summer Complaints.  

In short, Dr. Jayne hopes you like this card which he commissioned—a copy of a famous painting done FOR THEIR OWN SPECIAL USE!!!! He hopes you like it so much that you’ll read all about worms and loose bowels and maybe buy some Balsam Tonic. It’s enough to make you want to pick your nose until you die.

Mastery of Design: The Dame Joan Evans Greek Necklace, 200 B.C.

Necklace
Hellenistic, Greek
Owned by Dame Joan Evans
The Victoria & Albert Museum

That Dame Joan Evans! She certainly had some great jewelry—and, thankfully, she left it to the V&A so that we can all enjoy it. Dame Joan’s collection wasn’t just limited to items made during her own lifetime, she collected jewels from antiquity onward. Here’s an exceptional example of a Hellenistic Greek piece from Dame Joan’s monumental collection.

By the Hellenistic period (323-27 BC), Greek jewelers were introducing more colorful stones in their work, slowly making color one of the most important aspects of the era. With settings of gold, the Greeks favored garnets above all other stones. They, however, also used emeralds, carnelian, rock crystal, agates, onyxes or lapis-lazuli. While the stones were not cut and faceted in the manner to which we are accustomed now, the stones were presented in their best possible light. The stones were pierced, cut, abraded and polished and carved. Some gems were left in their natural crystalline state in order to showcase their original beauty. Often, colored glass was used in imitation of stone. For example in this necklace, glass was used to imitate onyx and pearl. 


Hellenistic Greek necklaces, were typically worn tight around the neck, like a contemporary choker or ribbon. Sometimes, they were made to be worn in a looser fashion at the base of the neck. This necklace is a good example of the type of enclosure used--tied at the back by means of a cord. Greek ladies liked to wear their necklaces in multiples, especially alternating necklaces with simple beads with one of more a more elaborate form like this one which is comprised of female heads, gold with granulation, garnet, emerald, and the aforementioned glass in imitation of onyx and pearl. It was made between 200 and 100 B.C. 

The Home Beautiful: The Henry Holiday 'Aspasia in the Pynx' Window, 1886-1890

Aspasia In Pynx
Henry Holiday, 1886-1890
The Victoria & Albert Museum

Henry Holiday (1839-1927) was a renowned designer of stained glass, and painter, who, between 1863 and 1891, worked as a freelance designer for the glass makers Powells at Whitefriars in London. In 1891. Holiday set up his own stained glass studio through which he took on some of his most impressive commissions.

This piece was one of the last Holiday created for Powells. It was completed between 1886 and 1890. The image on this panel was probably taken from the painting “Aspasia in the Pynx,” which Holiday painted between 1886-8. Aspasia was the mistress of Pericles, the great and controversial Athenian leader of Greek antiquity. “The Pynx” refers to an area of land where the Greek popular assembly met.

The original painting was included in Holiday’s book “Reminiscences of My Life” which was published about 1914. Miss Kathleen Douglas-Pennant (later Lady Falmouth), daughter of Lord Penrhyn, was employed as the model for Aspasia.

Here, Holiday has incorporated his painting into a quatrefoil panel of clear and colored glass, which has been painted and stained.

Mastery of Design: A Gold and Sapphire Signet Ring, 1275-1325

Signet Ring
100 BC to 1400?
The Victoria & Albert Museum

It’s quite grand that this medieval ring, set with a much earlier sapphire intaglio (which was probably carved in Greece around the first century BC) has survived in such good condition.  In the Middle Ages, between the Twelfth and Fourteenth Centuries, ancient gems like this one were frequently re-set for use as personal seals which were employed in authenticating letters and legal documents.

The inscription around the bezel of this ring: “Tecta lege, lecta tege” is translated as “Read what is written, hide what is read.”  So, clearly, this ring was employed as a personal signet.  Why this intaglio of a woman in profile wearing a veil was chosen, we may never know. The ancient sapphire is set in an open-backed mount, allowing it to touch the skin of the wearer. During this period, direct contact of the stone with the skin was believed to convey a medicinal or amuletic benefit.

Most certainly, the setting comes from England.  The stone has been attributed to Greece, and, for awhile, possibly Alexandria, Egypt.

Curiously, the ring was found in a well in Hereford in 1824. 

Object of the Day, Museum Edition: A Nineteenth Century Porcelain Figurine

Figurine
Gilt Porcelain
The Victoria & Albert Museum

This hard-paste white porcelain figural group by an unknown Nineteenth Century maker stands on an oval four-footed base and features two classically dressed, Greek-style female dancers in flowing gilt draperies. The base is adorned with swags of gilt garlands in relief.

The figures stand in opposition to each other in contrappasto, delicately balanced.

Representations of classical Greece were on an upswing again by the end of the Eighteenth Century in paintings, sculpture, painted vases and reliefs which were inspired by archaeological sources. Such classical, idealistic images were considered noble and elegant.

Classically-inspired figural groups such as this one were usually designed to be made in pairs which would then be displayed symmetrically on a mantel or sideboard.

Mastery of Design: A Hellenistic Gold, Emerald and Garnet Necklace, 200 B.C.-100 B.C.

Necklace
Gold, Emeralds, Garnets, Glass
Greek, 200-100 B.C.
The Victoria & Albert Museum

In Greece, during the Hellenistic period (323-27 BC), all of the arts thrived and artists of every conceivable medium began to examine the relationships between different colors. Even Hellenistic jewelers had become fascinated with the concept of color and began to play with different combinations of gold and gemstones.
During this period, garnets were the most popular gemstone—prized for their deep, wine color. Garnets were often combined with emeralds, carnelian, rock crystal, agates, onyxes or lapis-lazuli to great effect. While the gems were not faceted in the manner of more modern gem cuts, they were often elaborately carved, pierced, and polished. Jewelers even began to toy with the idea of using colored glass to simulate the look of costlier stones. In this necklace, for example, glass was used to imitate onyx and pearl.

Reverse

The fashion of the day dictated that necklaces should be worn tight around the neck like a modern-day choker. This magnificent necklace of gold, polished garnets and emeralds, originally featured a ribbon at the back to allow the wearer to fasten it snugly against her throat. Necklaces such as this were meant to be worn with others, rising high upon the neck. Usually, the central piece was ornate, as is the case of this one, augmented by tight strings of beads in matching colors.

Sculpture of the Week: The Laocoön Group

Pope Julius II's vision of what the sculpture
would have resembled.

At the same time he stretched forth to tear the knots with his hands
his fillets soaked with saliva and black venom
at the same time he lifted to heaven horrendous cries:
like the bellowing when a wounded bull has fled from the altar
and has shaken the ill-aimed axe from its neck.

--Virgil, The Aeneid

Originally from a lost play by Sophocles, the story of Laocoön and his sons has been translated dozens of times and influenced the works of many Hellenistic Greek writers as well as their contemporary counterparts. The most well-known account of Laocoön comes from Virgil’s Aeneid who described the grisly death of brave Laocoön whose attempt to expose the trickery of the Trojan Horse (by piercing it with an spear) so angered Athena that she sent vicious serpents to strangle him and tear him to shreds, an act which also engulfed his sons.

Laocoön and his sons inspired many works of art—the most famous being the group of sculptures commonly called The Laocoön Group. The group is presently in the collection of the Vatican Museums. Given the age of the statue, there is much debate about its exact origins. Some believe it to have been a later copy of another sculpture created between 42 and 20 BCE. However, other scholars feel that the group was sculpted nearer to 160 BCE. So, let’s just say it was created sometime between 160 and 20 BCE. No matter how you look at it—that’s old. I’m always tickled when I hear people seriously refer to something in the U.S. as “ancient,” especially when they’re referring to an object from, say, the 1910’s. THIS is ancient.

Pliny, the ancient historian, suggested in his Natural History that the group was located for a time in the palace of Titus and that the statue was created from one unified piece of rock. We now know, however, that the statue was sculpted from individual stones for each figure and assembled. Others feel certain that the piece was sculpted as a commission by a wealthy Roman. This is also a matter of some debate. One thing we can be sure of is that the group was unearthed in 1506 and was put on display on the Belvedere Gardens of the Vatican by Pope Julius II.

The Group as seen in a photo dating to 1860
howing the Renaissance era arm replacements.

When the sculpture was found, various pieces of it were missing. Laocoön’s right arm was missing as was the portion of snake it held. Similarly, the arm of one child was broken off as was the hand of the other. Pope Julius—always up for a good time—held a contest to see which sculptor could create the best replacement limbs for the piece. The contest was to be judged by Raphael. Michelangelo (not one to keep silent about his opinions) insisted that Laocoön’s arm had to have been bent backward. The pope and Raphael disagreed, and, so an arm extended toward heaven in a heroic pose was chosen and added to the sculpture along with an new hand and a new arm for the youngsters.

In 1906, an archaeologist and art dealer, discovered a fragment of an ancient arm which he felt was a piece of the original arm of Laocoön. The piece of the arm was clearly bent backwards as Michelangelo had thought it should have been. The fragment did, indeed, turn out to be the only surviving chunk of Laocoön’s missing right arm. But, the Vatican tends to be busy. So, the arm sat in their warehouse until the 1950’s upon which time someone remembered it. The Sixteenth Century replacement limbs were removed and Laocoön’s right arm-piece was restored. The children were left in their original handless and armless state. In restoring the statue, art historians discovered that the sculpture was indeed created from several pieces of stone—which they promptly disassembled. In doing so, they realized that at one point, the group had been configured differently—the figures standing closer together. However, with the addition of the original arm, the group was restored to the composition in which it had been discovered in 1506.

The Sculpture as it is today with the original arm fragment
and the removal of the sons' newer limbs.

Many consider this sculpture to be one of the finest ever created. The looks of anguish on the faces of the figures challenge us to believe that it is stone and not flesh. The figures seem to move and have such a natural weight and presence that it’s difficult to imagine they could be anything less than real.