Gems are images carved in gemstones either as intaglios or cameos. The
design in intaglios is cut into the
surface of the gemstone as a “negative” relief (concave surface). In Classical
antiquity they were usually worn on a string around the neck or wrist, but more
often they were mounted in signet rings because they were used as seals. When an
owner pressed one into sealing wax or clay, the impression appeared as a
positive of the engraved motif, which served as a signature. The image in cameos, on the other hand, is carved in
“positive” relief (convex surface). They mainly exploit layers of differently
coloured stone, so that a light image is contrasted by a dark background or
vice versa, and they exclusively served as decoration. A collection of gems is
called a daktyliothek.
In the age of
Neoclassicism, i.e. in the time of the so-called Grand Tours to the centre of
Antiquity – Rome – and parallel revival of Classical culture, rivalry grew,
both among scholars and noblemen, over the preservation of Classical art. Because
not many works, whether sculptures or paintings, from the ancient times were
available, gems were even more highly valued.
In addition to collections of original gems, rich
collections of their casts were also built up. In the 17th century carved
copies after originals began to appear as cheaper substitutes to meet the needs
of collectors. They became widespread in the 18th and the 19th centuries for
the purpose of both collecting and studying, but in the first place as
souvenirs to be taken home by Grand Tourists from their journey.
At the beginning
of the 19th century a collection of gems, presently known worldwide, was amassed
by the Polish nobleman, politician and diplomat Prince Stanisław Poniatowski
(1754–1833), nephew of the last King of Poland, Stanisław II August Poniatowski.Gems were made for him by the most renowned contemporary
artist-engravers of Rome, but Prince Poniatowski declared his gems to be
Classical originals. The motifs were taken from Classical literature, Homer,
Ovid and Virgil in the first place, rather than from Antique fine arts. Hardly anyone had access to the Poniatowski Collection
of which rumours began to spread, for it was believed to be one of the richest
(with over 2000 gems). After the Prince’s death it was sold and the gems dispersed
all over the world.
In a private collection in
Slovenia, fifty casts in glass paste were recognized as having been made after
the gems in the Poniatowski Collection. At the present exhibition they are
shown to the public for the first time. Glass casts of gems were
highly valued because, in contrast to plaster casts, they keep the
lustre and translucency of original gemstones. It is
known that among other engravers in Rome there were also Bartolomeo
Paoletti (1757‒1834) and his son Pietro Paoletti (1785‒1844/45) who made such
casts and it is plausible to attribute the present exhibits to their workshop.
Collections of
gems or their casts resemble illustrated encyclopaedias of Antiquity whose
mythological stories, images of gods, goddesses and heroes, portraits of
notable personages, as well as images of animals and mythological creatures
invite to infinite interpretations, reflections and re-experience of the past, or
they just offer aesthetic pleasure. They combine in themselves the perfection
of painting and sculpture and the power, beauty and grandeur of the Classical
world.
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Exhibition opening, video
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Author of the exhibition and project leader
Alenka Simončič
Professional associates
Christoph Steidl Porenta, Klemen Kordež
Graphic design and exhibition set-up
Katarina Štok Pretnar
Educational programmes
Sandra Bratuša, Živa Rogelj, Tjaša Debeljak
Technical organisation
Jože Raspet; RPS d.o.o.
The project was supported by
Ministry of Culture of the Republic of Slovenia
16 November 2017 – 11 February 2018
National Gallery of Slovenia
Prešernova 24
1000 Ljubljana