Search results

Start typing

Italy

Cruciform brooch from a ruby parure with cameos Cameos: 16th-17th c.; Brooch: early 19th c.

Onyx: white on translucent grey; gold and Burmese rubies; closed gold collets and surrounded by foiled Burmese rubies of varying faceted cuts in collet and claw settings | 7.5 x 8.0 x 1.4 cm (whole object) | RCIN 4189

Your share link is...

  Close

  • A brooch, with thirteen onyx cameos, with a basic cross shape with surrounding cluster; early 19th century (attached to a later brooch mount with hook for a pendant drop).

    The thirteen cameos show:

    Two female figures, in long dresses. The figure facing the right is holding an object which she is offering to the woman walking towards her.

    Seated male nude facing right, possibly Dionysus, approached by a satyr blowing a horn.

    Male nude running to the right towards a bonfire. The figure is bearded and has a drape wrapped around his waist. He extends his left hand towards the fire. This could be a depiction of Mucius Scaevola as he burns his hand in front of the Etruscan enemy, Porsenna, though traditionally he is depicted burning his right hand. The legend of Mucius Scaevola, like that of Horatius Cocles, was popular during the Renaissance as an example of courage, endurance and civic duty.

    Male nude, facing right, making a sacrifice at an altar.

    Orpheus, nude, facing left with his foot resting on a rock, playing his lyre. To his right a small animal crouches beneath a tree.

    Female musician, wearing a chiton with her right breast exposed, holding a viol in her right hand and the bow in her left.

    The Adoration of the Magi: the Holy Family beneath a temple structure is shown with Joseph standing in the background and the Virgin and the Christ Child seated in the foreground, all facing right. Before them, one of the Magi kneels with his offering, as the other two look on. At the top shines the star of Bethlehem.

    Male musician, wearing a tunic, holding a viol in his left hand and the bow in his right.

    Cupid, walking to the right, reading from a scroll.

    Cupid, walking to the left, carrying a vessel (both legs deficient).

    Cupid, facing left, teasing a bird (left leg and arms deficient).

    Cupid, walking to the left. Left leg and right arm deficient.

    Kneeling male nude, facing right, offering an object to a seated male wearing a tunic, possibly an enslaved man serving his master.

    The brooch is part of a parure - an interchangeable set of jewellery. Parures became fashionable in the 19th century. The ladies attending Princess Charlotte, on her marriage in 1816, wore matching sets of amethysts, chrysolites and topazes given by the Prince Regent. Empress Joséphine and her court were the first to embrace the fashion of Greek dress and cameo jewellery. Ancient, Renaissance and modern Roman copies of engraved gems were set in magnificent parures. By the 1850s the jewellers Castellani and Giuliano from Rome had revived the interest in Archaeological styles in jewellery and gem cutting. Earlier, in England Queen Charlotte is also known to have had a collection of cameo-set jewellery, including a parure with a bandeau of five large and eight small cameos.

    Text adapted from Ancient and Modern Gems and Jewels in the Collection of Her Majesty The Queen, London, 2008
    Provenance

    Acquired by Queen Mary in 1932

  • Medium and techniques

    Onyx: white on translucent grey; gold and Burmese rubies; closed gold collets and surrounded by foiled Burmese rubies of varying faceted cuts in collet and claw settings

    Measurements

    7.5 x 8.0 x 1.4 cm (whole object)

  • Alternative title(s)

    1. Two female figures, in long dresses. The figure facing the right is holding an object which she is offering to the woman walking towards her.

    2. Seated male nude facing right, possibly Dionysus, approached by a satyr blowing a horn.

    3. Male nude running to r towards a bonfire. Figure is bearded & has a drape wrapped around his waist. He extends his l hand towards the fire. Could be a depiction of Mucius Scaevola as he burns his hand in front of the Etruscan enemy ...

    3. cont ... Porsenna, though traditionally he is depicted burning his right hand. The legend of Mucius Scaevola, like that of Horatius Cocles, was popular during the Renaissance as an example of courage, endurance and civic duty.

    4. Male nude, facing right, making a sacrifice at an altar.

    5. Orpheus, nude, facing left with his foot resting on a rock, playing his lyre. To his right a small animal crouches beneath a tree.

    6. Female musician, wearing a chiton with her right breast exposed, holding a viol in her right hand and the bow in her left.

    7. The Adoration of the Magi: Holy Family beneath a temple structure shown with Joseph in the background, the Virgin and the Christ Child in the foreground, all facing r. Before them, one of the Magi kneels with his offering ...

    7. cont. ... as the other two look on. At the top shines the star of Bethlehem.

    8. Male musician, wearing a tunic, holding a viol in his left hand and the bow in his right

    9. Cupid, walking to the right, reading from a scroll.

    10. Cupid, walking to the left, carrying a vessel (both legs deficient).

    11. Cupid, facing left, teasing a bird (left leg and arms deficient).

    12. Cupid, walking to the left. Left leg and right arm deficient.

    13. Kneeling male nude, facing right, offering an object to a seated male wearing a tunic, possibly a slave serving his master.


The income from your ticket contributes directly to The Royal Collection Trust, a registered charity. The aims of The Royal Collection Trust are the care and conservation of the Royal Collection, and the promotion of access and enjoyment through exhibitions, publications, loans and educational activities.