Medieval Rings

les Enluminures
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THE UNION OF TWO PORTRAIT CAMEOS, THIS DOUBLE RING IS A PHYSICAL REMINDER OF TWO PEOPLE JOINED BY FRIENDSHIP AND LOVE

Roman Empire, 2nd century

Gold and glass

  • 11.600 €
  • £10,400
  • $13,500
  • THE UNION OF TWO PORTRAIT CAMEOS, THIS DOUBLE RING IS A PHYSICAL REMINDER OF TWO PEOPLE JOINED BY FRIENDSHIP AND LOVE

    Roman Empire, 2nd century
    Gold and glass
    Weight 4.4 gr; circumference 43; US size 2¾; UK size E½

    The women’s hairstyle with their low chignon is reminiscent of the fashion under Marc Aurelius (147-175).  Portraits of his wife Faustina II on coins display a similar hairstyle, with the hair weaved and assembled in a low bun.  Cameos made of glass cast in molds were popular during the Roman imperial period. They usually imitate the color and shape of hard-stone cameos. While rings composed of separate hoops joined together are typical of the Roman period, rings with a double bezel set with cameos are very rare.

    Description
    The small double ring is joined at the hoop and by two gold beads at the shoulders. The double bezel is set with two glass cameos displaying the portrait busts of two women facing each other.

    Literature
    For comparisons, see British Museum (a Roman ring with triple hoop branching out at the bezels which are of oblong shape, Marshall, 1907, n. 967); Hashimoto collection (a Roman gold ring with two red cabochon garnets set in a bezel divided in two sections, published in Scarisbrick, 2004, n. 63); and the Alice and Louis Koch collection (a 1st century ring with joined bezels set with cabochons, Chadour, 1994, n. 139, and a ring in a gold gem-imitation, thought to represent Faustina, displays the same style, also published in Chadour, 1994, n. 270).

    Reference number: 281

  • Cameo

    Relief carving (a carving that comes up above the surface) on a shell or stone. In multi-colored cameos, a layered substrate is used (with two different colors), and when part of the upper layer is carved away, the second color emerges as the background.

  • Ancient

    The term “ancient” can include everything from Egypt to Etruscan and Phoenician to Greece, literally thousands of years of history. Here we are concerned primarily with Hellenistic and Imperial Rome. The Hellenistic age extends from c. 325 B.C. until the inauguration of the Roman Empire in 27 B.C.; and Imperial Rome thereafter until the reign of Constantine from c. 306-327 and the Sack of Rome in 410 by the Visigoths led by Alaric.

    Both gold (from extensive new mining operations) and precious stones (from new trade routes) were plentiful during the Hellenist Age, and jewelry was highly prized as conveying social status. Multicolored gemstones were in frequent use, chalcedonies, cornelians, and above all garnets (from India). Seed pearls, emeralds, and amethysts also are found by the first and second centuries B.C. While Hellenistic jewelry much imitated Greek prototypes, some forms originate during this era, and they include the Heracles knot that remained popular through Roman times and the hinged ring.

    At first, Roman rings of the Imperial period were relatively simple, but by the first century the taste for luxury and displays of wealth was much noted by Roman writers. Martial and other critics of Roman society parodied the newly rich (see Spier 2012, p. 12). One of his epigrams ridicules the dandy Charinus, who wears six rings on each finger and never takes them off because he does not have a gem case (implying that he does not own them they are rented). In Petronius’s Satyricon, Fortunata the wife of a former slave is mocked for wearing at least “six and half pounds on her” during a banquet. These accounts speak to the wide availability of jewelry during this era. Among the new forms, the new pierced openwork in gold (opus interrasile) is worth noting. By the later Roman Empire, especially the third through fifth centuries, Roman jewelry becomes more sophisticated: among the forms that date from this time are double- and triple- bezel rings, as well as the pyramid setting.

    A certain amount of information survives concerning the making of jewelry in antiquity. Jewelry is almost always described by weight and if there are stones the weight without the stones is given. These weights are closely related to those of coinage, so customers may have supplied coins to itinerant or shop-based craftsmen. There were certainly guilds in Roman times. We also suspect that children worked as jewelers and engravers; there is a tombstone of a 19 year old gem engraver known. Archeological finds reveal that shops surrounding the marketplace belonged to retail traders dealing with the local market; there are transfer and rental agreements for jewelry shows (see Ogden 1982, p. 177). The shop of one jeweler was only 5 feet by 4 feet in size, much like artisan’s workshops throughout the medieval era. Certainly itinerant goldsmiths must also have existed.

  • ring
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ring

THE UNION OF TWO PORTRAIT CAMEOS, THIS DOUBLE RING IS A PHYSICAL REMINDER OF TWO PEOPLE JOINED BY FRIENDSHIP AND LOVE

Roman Empire, 2nd century
Gold and glass
Weight 4.4 gr; circumference 43; US size 2¾; UK size E½

USD $13,500

The women’s hairstyle with their low chignon is reminiscent of the fashion under Marc Aurelius (147-175).  Portraits of his wife Faustina II on coins display a similar hairstyle, with the hair weaved and assembled in a low bun.  Cameos made of glass cast in molds were popular during the Roman imperial period. They usually imitate the color and shape of hard-stone cameos. While rings composed of separate hoops joined together are typical of the Roman period, rings with a double bezel set with cameos are very rare.

Description
The small double ring is joined at the hoop and by two gold beads at the shoulders. The double bezel is set with two glass cameos displaying the portrait busts of two women facing each other.

Literature
For comparisons, see British Museum (a Roman ring with triple hoop branching out at the bezels which are of oblong shape, Marshall, 1907, n. 967); Hashimoto collection (a Roman gold ring with two red cabochon garnets set in a bezel divided in two sections, published in Scarisbrick, 2004, n. 63); and the Alice and Louis Koch collection (a 1st century ring with joined bezels set with cabochons, Chadour, 1994, n. 139, and a ring in a gold gem-imitation, thought to represent Faustina, displays the same style, also published in Chadour, 1994, n. 270).

Reference number: 281

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