JEWELRY FROM THE CASTELLANI COLLECTION

The Castellani workshop in a historic photo

Goldsmithing was the Castellani family’s principal occupation. The history of their workshop (1814–1927), which was located in Piazza Trevi from 1869 and attracted members of the European aristocracy, was closely intertwined with their passion for collecting and dealing in antiquities—an interest that proved fundamental to their work as goldsmiths. 
Theirjewelry was deeply inspired by ancient jewelry, reinterpreted and reproduced for a modern audience through the revival of goldsmithing techniques, materials, and languages from the Etruscan, Greek, Roman, Late Antique, Medieval, and Renaissance periods.

Gold necklace (19th cent.) with silver coins (4th-3rd cent. a.C.)

Displayed on the tactile table are four pieces of jewelry from the Castellani collection. They illustrate the defining principles of the Castellani workshop: the study of antiquity, technical experimentation, and artistic creation.  
The gold necklace set with silver coins from Magna Graecia and Corinth (4th–3rd century BC) exemplifies a type of jewelry that was especially popular during the nineteenth century.  At the time, ancient coins were relatively easy to acquire and were embellished in modern jewels much like precious stones. In this necklace, coins bearing the heads of deities are arranged symmetrically in descending size around the central element—a Corinthian drachma dating to 400–375 BC, depicting Athena on the obverse and Pegasus on the reverse.

Gold pendant featuring the head of Achelous (19th cent.)

Another significant example is the necklace pendant featuring the head of Achelous, created by the Castellani after a Greek original of the 5th century BC that belonged to another prominent collector of the period, Marquis Giampietro Campana (1808–1880). 
This jewel represents one of the most refined achievements of the workshop's experimentation. It stands out for the exceptional quality of its fine granulation, a technique created through the application of tiny gold granules that produce richly detailed surfaces and subtle effects of light. 

To revive this ancient craft, Alessandro Castellani devoted years to studying archaeological jewelry and experimenting with ancient goldsmithing techniques, transforming his knowledge of antiquity into a new form of artistic creation.  

Gold brooch with a lion and two ducks (19th cent.)

This technique consists of shaping thin sheets of metal—gold, silver, or bronze—from the reverse side to create raised decoration on the visible surface. Etruscan goldsmiths often combined repoussé with granulation and filigree to create lightweight jewels of remarkable decorative richness, an effect that the Castellani successfully revived in their nineteenth-century reinterpretations. 

Gold and micromosaic bracelet element (19th cent.)

The bracelet represented on the table, with two sides and with elements on one side in gold and on the opposite side in micromosaic, is also a "speaking jewel," in which words and images become an integral part of the jewel. The micromosaic side bears the motto NON RELINQUAM ("I will not abandon you"), while the reverse side reads NON RELINQUES ("You will not abandon me"). Together, these paired inscriptions create a symbolic dialogue, transforming the jewel into a mutual declaration of devotion and fidelity. 
The bracelet's final element features a small micromosaic flower, while the gold side bears the workshop's raised hallmark in the form of a double C. The mark refers both to the Castellani family and to Michelangelo Caetani (1804–1882), Duke of Sermoneta and Prince of Teano, who collaborated closely with the workshop and designed numerous jewels, particularly the celebrated “speaking jewels”.