GOLD AND MICROMOSAIC BRACELET, CASTELLANI

Composed of nine circular medallions depicting various Christian symbols, including four medallions decorated with the Chi-Rho symbol for Christ flanked by Alpha and Omega, two depicting the Agnus Dei or lamb of God, one a dove for the Holy Spirit, one with fish, an anchor and Alpha and Omega, and the central medallion with Greek letters in a cross spelling the word ichthys (fish) for Christ, all within gold collets, the edges decorated with filigree, length 8¼ inches, unsigned; circa 1860.

Sotheby's New York, December 6, 2006, Castellani & Giuliano, The Judith H. Siegel Collection, lot 56. Comtesse de Comminges, née Mary Allen van Rensselaer Thayer (1901-1981) thence by direct descent, sold at Sotheby's New York, April 12, 2000, Magnificent Jewels, lot 50.

Castellani and Italian Archaeological Jewelry, The Bard Graduate Center, New York, November 2004-February 2005, p. 365, no. 129. Also exhibited at Somerset House, London, May -September 2005 and Villa Giulia, Rome, November 2005-February 2006.  

In very good condition, with some small areas of discoloration commensurate with age. Metal tests as 22 karat gold. A couple very small dents on the reverse side of the links, and one with a very small gap between gold layers.The tesserae are vividly colored and in good condition, a few with very minor abrasions and chips visible under 10x magnification. The black and white Chi-Rho link with a slightly yellowed area of adhesive towards the bottom of the micromosaic. Width of links approximately ¾ inch. Bracelet is unsigned.
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A bulla locket by Castellani decorated with a mosaic similar to the first of the medallions in this bracelet (fish and anchor) is illustrated by Munn, Castellani and Giuliano, Revivalist Jewellers of the 19th Century, pl. 56. The anchor, the ancient symbol of Christian hope, is above the fish for Christ, flanked by Alpha and Omega, 'the beginning and end.' Castellani made a number of mosaics inspired by early Christian examples found in Rome and Ravenna, under the guidance of Luigi Podio who presided over mosaic workshops from 1851 until his death in 1888. The firm did much to raise the level of the mosaic and their examples are always tightly and neatly executed with the completely smooth surface that characterized their best work. See Munn (ibid) p. 117.