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: Faithful and True -- A Brooch, 1862

The British Museum

This English brooch with a reversed crystal intaglio of the head of a white German Spitz dog features, on the reverse, a commemorative inscription and a glass-covered locket which preserves a lock of the dog's hair.

The reverse is inscribed:

FAITHFUL & TRUE/ MUFF Obit. Nov. 24th 1862 at Dinapore. Aged 8 Years & 6 Months

The British Museum

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 Hand Pinching an Ear Ring, 150-200CE

Intaglio Ring
150-200
The Victoria & Albert Museum

Engraved and carved gemstones have been  employed in jewels since ancient Greece in the 8th century BC and earlier. The art developed over time into cameos and intaglios. 

This Roman imperial intaglio depicts a hand, reaching out to pinch an ear, and would have been intended as a gift to a loved.  What exactly does this motif mean?  Historically, a hand pinching or touching an ear was meant to symbolize a stimulus to memory, thought to derive from the writings on natural history by Pliny the Elder.  It’s a fairly common theme in Roman gems, and the Greek inscription of “MNHM/O/NEYE” translates as “Remember.”

The intaglio is crafted from a translucent, deep-red carnelian.  It dates between 150-200 CE. 

Unusual Artifacts: The Ceres Signet Ring, 100-200 A.D.

Sardonyx Intaglio Signet Ring
Rome, 100-200 A.D.
The Victoria & Albert Museum

This gold and sardonyx signet ring is so finely made that you’d, at first, not believe that it dates between 100 and 200 A.D. Made in Rome, the bezel-set intaglio of this ring has been engraved with an ant—a traditional symbol of the Roman goddess Ceres who was considered the mother goddess of grain and fertility. Her name, in fact, was adapted into the word, “Cereal,” which is considered her gift to humankind. A ring such as this was intended to bring prosperity to the person who wore it. Other similar rings were engraved with bees and butterflies. 

Unusual Artifacts: A Brooch with an Intaglio of King George IV

Intaglio Brooch with Bust of King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made by Rundell Bridge & Rundell circa 1820-1830, I noticed this brooch among a new lot of images in the archives of the Royal Collection.  The magnificent centerpiece, an intaglio in Siberian amethyst is set in a frame of silver gilt with gold collet mounts, framed by open scroll-shaped mounts in silver set with smaller brilliants, interspersed with eight larger cushion-cut diamonds.

My girl, Mary of Teck (properly Queen Mary, consort of King George V, King of the United Kingdom (1867-1953)), "acquired" the brooch at some point.  It is suggested by the curators of the Royal Collection that this brooch:

May be identifiable with the 'large Amethyst set with diamonds with George the Fourth's head engraved upon it' bequeathed by Princess Mary Duchess of Gloucester to Augusta Duchess of Cambridge in 1857. 

That would, therefore, suggest that the piece came into the Royal Collection upon the death of the Duchess of Cambridge who bequeathed many of her most magnificent jewels to her granddaughter, Princess May of Teck (the future Queen Mary).

The intaglio bust of George IV (1762-1830) depicts the one-time Prince Regent in profile to the right donned in classical drapery.  The carving is signed in reverse below the drapery: R . B & R . F t ., (for the Royal goldsmiths, Rundell, Bridge and Rundell from 1797 to 1840).

Crown Copyright
The Royal Collection

Mastery of Design: The Sailor's Hat Brooch, 1900

Reverse Crystal Intaglio Brooch
England, 1900
The Victoria & Albert Museum

A reverse crystal intaglio of a sailor's hat with the ribbon inscribed: HMS MINOTAUR is the central jewel of this brooch. The intaglio is set on a gold bar brooch. The piece was made in England in 1900. 

Not much is known about the piece. Most likely, it was made to commemorate the naval service of a loved one for whom the brooch was made. 

Gifts of Grandeur: The Victory Intaglio Ring, 1810

Gold Ring of Rose-cut Diamonds and a Carnelian Intaglio Depicting Victory
Roman intaglio.  Mount: 1810.
The Victoria & Albert Museum

Dating to 1810, this gold ring is mounted with an intaglio of carnelian cut with a representation of Victory as a winged figure driving a chariot.  During the Nineteenth Century, the taste for intaglios cut with classical subjects was once again fashionable for gentlemen.   

The golden shoulders of the ring widen to an oval bezel of rose-cut diamonds set in silver around the intaglio.  The intaglio may, in fact, be an ancient carving, possibly of Roman origin.

  

Mastery of Design: An Intaglio of Mars, Seventeenth Century

Ingalio of Mars
Seventeenth Century
Agate, Diamonds, Silver Gilt, Pearls, Emeralds
The Royal Collection

First recorded in the Royal Collection—when found amongst a drawer-full of jewels at Windsor Castle—this intaglio of gray agate set in a lacey mount of silver-gilt, rose-cut diamonds, pearls and emeralds dates to the Seventeenth Century.

The intaglio shows a head of a bearded warrior (probably Mars)—depicted in profile to the left. He wears a necklace and a helmet which is adorned with a horse-drawn chariot. Another figure is also depicted—to the right of the profile. There, we see a small, full-length female figure who holds aloft a flowing piece of drapery.

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

Pets of the Belle Époque: A Gold and Carved Crystal Brooch of a Yorkshire Terrier, 1875

Gold, set with crystal which is carved and painted
from the underside.
English, 1875
The Victoria & Albert Museum



Always on the forefront of the arts, the British devised a variety of new techniques in the creation of jewelry. For instance, British artists pioneered the art of the reverse intaglio wherein a hardstone or crystal was carved from the underside, and often painted to create a startling three dimensional effect.


This crystal brooch, set in gold, dating to 1875, is an excellent example of early British reverse intaglio. Here, we see the figure of a Yorkshire terrier which has been carved from the reverse and painstakingly painted. With its pointed ears and bright blue bow, this adorable doggie appears to be looking at us from behind a window. It’s a beautifully rendered likeness and an exceptional piece of jewelry.

Mastery of Design: The Hands and Palm Trees Intaglio, 200 BCE

Intaglio
Rome, c. 200 BCE
The Victoria & Albert Museum

I always wonder who wore these pieces of jewelry, especially these ancient examples whose original owners are typically unknown. This was a jewel which was full of meaning and sentiment. To whom did it belong? How much did it mean to him or her?

Made around 200 BCE, this ring is set with an intaglio which was likely carved in Rome. The intaglio of clasped hands above a branch of palm is carved into translucent orange-red carnelian. The design is a heraldic device known as the “fede.” This image of two hands joined together was a popular symbol for wedding rings, however, such rings were exchanged between friends, and even between captains of armies and nations to show fidelity.

Above and below the hands, the words “Sesichoros” and “Eros” have been inscribed. The setting of the ring is silver which was later gilt, likely in the early Nineteenth Century. It was acquired by the South Kensington Museum (now the V&A) and first exhibited in 1871. 

Mastery of Design: The Mermaid Pendant, 1860-1880

The Victoria & Albert Museum

In the late Nineteenth Century, designs from the Renaissance enjoyed a revival and jewelers looked to older jewels for inspiration. This pendant, made in the nineteenth century, is an excellent representation of the Renaissance Revival style. The pendant hints at a potential practical use. It features a lapis lazuli base which was intended to be engraved with an intaglio like a seal. However, the stone was uncut, and, so, the pendant remains purely decorative.

The enameled jewel is in the shape of the mermaid formed around a large baroque pearl. This concept was borrowed from Renaissance pendants made during the sixteenth century. Renaissance-era jewelers looked at pendants like this as small-scale sculptures meant to showcase the skill of the modeler, chaser, enameller and jeweler. The Florentine sculptor and goldsmith Benvenuto Cellini (1500-71) was known for his creations in this style, and this work is clearly meant to replicate Cellini’s triumphs.

Gifts of Grandeur: A Carnelian Intaglio

Hardstone Intaglio
The British Museum

Of unknown origin and date, this handsome intaglio of jasper comes to us from The British Museum. Common sense tells us that the piece is of ancient origins, possibly Roman. Ancient Roman gem carvers set the standard for intaglio and hardstone work for centuries to come. This piece is especially interesting. The red jasper has been carved with a double mask. One shows a youthful visage while the other shows an aged and bald countenance—no doubt, a reminder of the passage of time and its effect on all of us.

Mastery of Design: The Ceres Signet Ring, 100-200 A.D.

Sardonyx Intaglio Signet Ring
Rome, 100-200 A.D.
The Victoria & Albert Museum

This gold and sardonyx signet ring is so finely made that you’d, at first, not believe that it dates between 100 and 200 A.D. Made in Rome, the bezel-set intaglio of this ring has been engraved with an ant—a traditional symbol of the Roman goddess Ceres who was considered the mother goddess of grain and fertility. Her name, in fact, was adapted into the word, “Cereal,” which is considered her gift to humankind. A ring such as this was intended to bring prosperity to the person who wore it. Other similar rings were engraved with bees and butterflies. 

Mastery of Design: The Knyvett Seal, 1580

Seal and Case
1580
The Victoria & Albert Museum

This beauitful engraved sapphire seal mounted in enamelled gold dates to about 1580 and was most likely the seal of Sir Thomas Knyvett (1539-1618). Kynvett was the grandson of Sir Thomas Knyvett, Master of the Horse to Henry VIII. Sir Thomas the younger was knighted 1579/80 and was created the High Sheriff of Norfolk. Sir Thomas later married Muriel, the daughter of Sir Thomas Parr, Treasurer of the Household to Queen Elizabeth.


While such a household was not considered Royal or even aristocratic, such close association with the monarch ensured that the family would want for nothing. Their position is evident in the quality of this seal with its enamelled gold case. An object such as this one would, most likely, have been a gift from the Royal Family—given for loyalty. 

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 Sailor's Hat Brooch, 1900

Reverse Crystal Intaglio Brooch
England, 1900
The Victoria & Albert Museum

A reverse crystal intaglio of a sailor's hat with the ribbon inscribed: HMS MINOTAUR is the central jewel of this brooch. The intaglio is set on a gold bar brooch. The piece was made in England in 1900. 


Not much is known about the piece. Most likely, it was made to commemorate the naval service of a loved one for whom the brooch was made. 

Gifts of Grandeur: The Butterfly Intaglio Ring, 1850

Intaglio Ring
Agate and Gold
Italy, 1850
The Townshend Collection
The Victoria & Albert Musuem

Intaglios like this one have been carved into gemstones since the 8^th Century BC, starting in ancient Greece.  The art of gemstone engraving has been revived throughout history, especially during the Byzantine era, the Middle Ages, the Renaissance, and again in the 18th and 19th centuries.  With each revival, intaglios and carved cameos were increasingly prized and adored. 

This gem, daring to c. 1850, is done in the neo-classical style which was quite popular in the late 1700s and early 1800s, when fashion mimicked the style of the Greek and Roman masters.   The subject nods to 2nd century Roman mythology wherein the beautiful young woman Psyche was Cupid's lover, who after many ordeals, was united with him in heaven. Psyche came to symbolize the Soul and she is frequently depicted as accompanied by or even represented by a butterfly.

This rectangular intaglio of pale brown and white layered agate (essentially the variety we call “sardonyx”) depicts a butterfly.  It is set in a gold ring.  The piece was made in Italy.

I should note that this gem was part of the famous collection of jewels of the Reverend Chauncy Hare Townshend (1798-1868), who bequeathed his important collection to the South Kensington Museum (later, the V&A) in 1869.

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. 

Mastery of Design: The Hand Pinching an Ear Ring, 150-200CE

Intaglio Ring
150-200
The Victoria & Albert Museum

Engraved and carved gemstones have been  employed in jewels since ancient Greece in the 8th century BC and earlier. The art developed over time into cameos and intaglios. 

This Roman imperial intaglio depicts a hand, reaching out to pinch an ear, and would have been intended as a gift to a loved.  What exactly does this motif mean?  Historically, a hand pinching or touching an ear was meant to symbolize a stimulus to memory, thought to derive from the writings on natural history by Pliny the Elder.  It’s a fairly common theme in Roman gems, and the Greek inscription of “MNHM/O/NEYE” translates as “Remember.”

The intaglio is crafted from a translucent, deep-red carnelian.  It dates between 150-200 CE.