home  previous exhibitions Castellani and Italian Archaeological Jewellery

5 May to 18 September 2005

Owl brooch, Italy, c.1860, gold, agate.

Rome, in the second half of the 19th century, was a magnet for an ever-growing stream of international travellers. The city’s rich artistic and architectural heritage had made it an obligatory stop on the European Grand Tour in the 18th century but now Rome was catering for the new bourgeois tourist from Europe and America.

Fashion-conscious ladies headed for the Castellani shop near the Trevi Fountain to purchase archaeological-style jewellery as stylish and affordable souvenirs – wearing Castellani was in itself a statement which, at the same time, conferred on the wearer an appreciation of Classical and early Christian history.

In John Murray’s A Handbook of Rome and its Environs, published in 1869, the entry for Castellani states that ‘It is impossible to surpass in taste and beauty some of his works, unrivalled amongst the Roman jewellers’. From the local aristocracy to visiting celebrities including the literary couple Robert and Elizabeth Barrett Browning who purchased jewellery from the firm in 1860 and 1863, the Castellani client list was a veritable Who’s Who of European and American society.

The popularity of Castellani jewels was such that Punch lampooned the style in a comic caricature in July 1859 titled "A Young Lady on the High Classical School of Ornament".

Castellani and Italian Archaeological Jewellery, the first exhibition to explore in depth the artistic and scholarly contributions to jewellery made by three generations of the Castellani family in 19th century Rome, will be staged by the Gilbert Collection from Thursday 5 May to Sunday 18 September 2005. This landmark exhibition was organised by The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, where it made its debut.

Cumae diadem, Italy, c.1860, gold, agates, pearls, glass beads, enamel.

The London exhibition comprises more than 150 objects, selected from the New York show, on loan from private collections and major public institutions including the Victoria and Albert Museum, a patron of Castellani. It explores the work and legacy of the firm and illustrates the wide-ranging aspects of the family’s artistic and cultural activities. Outstanding Castellani jewellery from the National Etruscan Museum at Villa Giulia and the Capitoline Museums in Rome also features in the exhibition.

The exhibition presents the full range of Castellani jewellery styles including the Egyptian, Classical, Medieval and Renaissance, many examples of which were made using the ancient techniques revived by the family. Archaeologically-inspired jewellery includes the ‘Cumae’ diadem - pictured right - a faithful and masterfully executed copy in gold, agate, pearls, glass and enamel of an exquisitely beautiful piece supposedly excavated at Cumae near Naples.

Bacchus pendant, Italy, late-19th/early-20th century, gold.

Castellani’s appreciation of the craftsmanship of ancient jewellery and his desire to improve contemporary Italian craft and design drove him to pursue the rediscovery of the ‘lost’ art of granulation, the technique of applying tiny granules of gold to an object’s surface, shown to best effect by the gold Bacchus pendant - pictured left. This quest absorbed the Castellani family for decades and the revival of this and other ancient techniques was one of their greatest contributions to the history of jewellery making.

Above, micromosaic brooch with Medusa, mosaic Luigi Podio, before 1888, gold, glass tesserae, enamel. Below, Egyptian micromosaic necklace set with scarabs, c.1860, gold, glass tesserae, faience scarabs.

Castellani single-handedly revived the fashion for micromosaics, tiny plaques created from hundreds of tesserae, minute pieces of gold, silver or coloured glass, for which the Gilbert Collection is so celebrated. Exceptionally fine examples are the gold and enamel Medusa, griffin and owl brooches - pictured right and at foot of page.

In response to the fashion for all things Egyptian that had swept through Europe, the Castellani created Egyptian-inspired jewellery such as the spectacular gold and micromosaic necklace and brooches set with Egyptian scarabs - pictured right.

More about the Italian mosaics in the Gilbert Collection

Nineteenth century Rome was famous for its cameo carvers. The Castellani introduced new approaches to cameo jewellery, commissioning semi-transparent gems such as sapphires and emeralds, cut by contemporary carvers and mounted in elaborate settings for their wealthiest clients. Among the cameos and intaglios is a gold, agate, emerald and enamel brooch with a cameo of a battle scene - pictured below - and a parure set with cameos that was the gift of King George I of Greece to the wife of the French prime minister Emile Loubet.

Brooch with cameo of a battle scene, Italy, c.1860, gold, agate, enamel, emeralds.

Castellani also responded to the revival of interest in the Gothic and Renaissance periods. A virtuoso example of his medieval revival designs displaying the technical mastery he achieved is a gold and enamel paperknife with a seated angel, possibly designed by Michelangelo Castellani. An elaborate parure with cameos representing biblical and mythological subjects set in gold with rubies, emeralds, pearls, onyx and enamel, epitomises his appreciation of 16th century Renaissance jewellery.

The passion that was ignited in the 19th century for Castellani jewellery is still going strong. Castellani ceased trading in 1927 but collectors, connoisseurs and trend-setters still prize their jewellery today. This splendid exhibition offers a rare opportunity to rediscover and appreciate the craftsmanship and scholarship of the Castellani family who had an immense influence not only on jewellery design but also on the developing political and cultural institutions of 19th century Rome.

More about Castellani

Great Blitznitza parure, gold.

Fortunato Pio Castellani (1793–1865) first opened his workshop in 1814 and soon became known for his fashionable jewellery imitating contemporary French and English work. In the 1830s, he was inspired by the ancient jewellery being unearthed at such Italian archaeological sites as the Etruscan Regolini Galassi Tomb (1836). Encouraged by Duke Michelangelo Caetani (1804–82), he became the first 19th century goldsmith to create works modelled after ancient Greek, Etruscan and Roman prototypes thereby creating a new and immensely popular fashion.

Castellani’s appreciation of the exquisite craftsmanship of ancient jewellery and his desire to improve Italian craft and design drove him to rediscover the technique of applying tiny granules of gold to a surface to create decorative patterns which had been perfected by the Etruscans in the 9th to 4th centuries BC but long since forgotten. The quest to master the art of ‘granulation’ absorbed the Castellani family for decades, and the revival of this and other ancient techniques was one of their greatest contributions to the history of jewellery making.

Above, Etruscan fibula with a winged lion and two ducks, 19th century, gold Below, Egyptian-style micromosaic brooch set with scarab, c.1860, gold, glass tesserae, faience scarab.

In the 1850s Fortunato Pio’s two sons, Alessandro (1824–83) and Augusto (1829–1914), assumed management of the firm and sold their archaeological jewellery with great success not only to the local and international aristocracy but also to famous and wealthy tourists and artists visiting Rome. In the 1860s Alessandro opened shops in London and Paris and founded his own workshop in Naples while the firm also exhibited in Florence, London, Paris and, later, New York. The widespread acclaim for the pieces increased demand for this style of jewellery and gave rise to many imitators throughout Europe.

Italian micromosaics in gold, glass tesserae and enamel. Top: brooch with owl, 1866-1888; above: brooch with griffin, below: pendant with head of Christ, both c.1860.

The distinctive Castellani jewels tend to use simple geometric designs enhanced with patterns made of tiny gold granules, small blossoms, and filigree wire applied with absolute precision. Exquisite micromosaics evoke the early Christian masterpieces of Rome, Ravenna, and Constantinople. Gems, cameos, and scarabs, both ancient originals and imitations, provide the focal point of some pieces, while others achieve their effect from a variety of enamel techniques in a wide range of rich colours.

A key motivation for the Castellani interest in reviving the styles and techniques of the ancient Romans and Etruscans was the rising nationalism that would lead to a united Italy. The Castellani were genuinely committed to promoting the cultural significance of Italy at a time when French and English tastes predominated. Fuelled by patriotic feelings and a desire to educate, the Castellani pursued an ambitious goal of studying and reviving all periods of Italian jewellery. In addition to their classical innovations, they produced a highly successful line of Medieval and Renaissance revival pieces.

The Castellani were also active in the trade of antiquities, sponsoring excavations, restoring artefacts and dealing on a large scale. In an effort to preserve the best works for Rome, the family assembled extensive collections of fine vases, jewellery, and bronzes found at Etruscan and other Italian sites. Augusto Castellani’s ‘museum’ was the highlight of his palatial shop next to the Trevi Fountain and helped to promote the firm’s business.

Deeply involved in the cultural and political life of their city and country, Fortunato Pio and Augusto held various public offices and supported Roman museums. Alessandro, the elder son, was arrested and exiled for his republican activities but later became the firm’s colourful and successful representative abroad and founder of his own jewellery and antiques business in Naples. Alfredo (1856–1930), son of Augusto, carefully cultivated the family’s legacy and arranged for the donation of its important collections to the Italian State upon his death.

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