Nymph and Swan ca. 1830–40 Cameo by Benedetto Pistrucci Italian Even the most celebrated carvers did not scruple to borrow freely from authoritative sources. Nathaniel Marchant had already treated this composition in an intaglio carved for Lavinia, Countess Spencer (private collection, United Kingdom), but Pistrucci added an original flourish of drapery. One might understandably interpret the subject as Leda and the swan had not Marchant identified it as the nymph in Ariosto’s Orlando Furioso who accepts tablets bearing the names of deceased worthies from a fleet of swans (hence the disklike o
Nymph and Swan ca. 1830–40 Cameo by Benedetto Pistrucci Italian Even the most celebrated carvers did not scruple to borrow freely from authoritative sources. Nathaniel Marchant had already treated this composition in an intaglio carved for Lavinia, Countess Spencer (private collection, United Kingdom), but Pistrucci added an original flourish of drapery. One might understandably interpret the subject as Leda and the swan had not Marchant identified it as the nymph in Ariosto’s Orlando Furioso who accepts tablets bearing the names of deceased worthies from a fleet of swans (hence the disklike object proffered by the swan). Castellani’s delicate “archaeological-style” setting perfectly frames the curvilinear Nymph and Swan. Italian, Rome. ca. 1830–40. Agate cameo; gold mount with black enamel. Lapidary Work-Gems
Size: 3000px × 4000px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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