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Gold diadem, Castellani, circa 1860
of Etruscan-Revival style, the two bands decorated with figures in relief, joined by a knot of Hercules, fixed to a later red velvet and leather display band, inner circumference approximately 255mm.
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出版

Cf.: Geoffrey C. Munn, Castellani and Giuliano Revivalist, Jewellers of the Nineteenth Century, London, 1984, pg. 110, plate 126, for an early photograph of a similar diadem, taken from the sale of Alfredo Castellani’s jewellery in December 1930.

Cf.: Susan Weber Sordos and Stefanie Walker, Castellani and Italian Archaeological Jewelry, Singapore, 2004, pg. 267, for a photo of a similar diadem on display at the Exposition Universelle, Paris, dated 1878. 

相關資料

The 19th century was characterised by a renewed interest in ancient and classical art. Economic growth contributed to the development and enrichment of the middle and upper classes, with visits to cities such as Rome becoming a fashionable must as people embarked on The Grand Tour. It was a time of unprecedented archaeological discoveries; for example the excavation of Pompeii became much more extensive during the French control of Naples (1806-1815), and the 1830's onwards marked the discovery of several Etruscan tombs.

The Roman jeweller Fortunato Pio Castellani responded to this trend by producing what he termed as ‘Italian archaeological jewellery’, drawing on the Etruscan, Roman, Greek and Byzantine motifs that were so popular at the time. He and his sons Alessandro and Augusto would copy ancient techniques such as filigree work and granulation, ensuring that Castellani was one of the most popular jewellers in the 19th century, supplying both royalty and the aristocracy. Signatures in the company visitor’s book reflected the prominence of their clients, including Frederic, Lord Leighton and the Prince of Wales. The London shop continued to trade until 1930, closing following the death of Alfredo Castellani, son of Augusto, and last of the family line.

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