Plaster Casts & Engraved Gems

Neo-classical gem engraving was a revival of an ancient art form practised in ancient Egypt, Greece and Rome. The revival of interest in gem engraving, which lasted roughly from the mid-eighteenth century to the early nineteenth century, was part of a larger return to taste for classical forms and subjects. Passionate collectors assembled collections that included both ancient and modern engraved gems both as precious objects and as a means of studying ancient subjects and themes. For this latter purpose, casts were also desirable when, perhaps, the originals were not available. Indeed, gem engravers themselves also produce casts of their gems, not only to spread knowledge of their work, but also to document their creations to act as a kind of copyright protection. The casts were produced in a variety of materials including glass, ceramic, wax, sulphur and plaster.

Gem carving could be in the form either of cameo (the design raised above the plane of the stone) or intaglio (the design cut into the stone), although most of the finest neo-classical gem-engravers preferred intaglios. Whether taken from cameos or intaglios, the casts are invariably cameos. Subject matter was invariably classical or classically inspired. At their best, neo-classical engraved gems are perfection in miniature with strong, clear images and fine detail, such that the art form was not considered inferior to painting or sculpture on a larger scale.

Grand Tour of Italy

The passion for engraved gems and casts corresponded in time with the Grand Tour and the miniature artworks were a typical souvenir. The Grand Tour was a journey undertaken during the eighteenth century and early nineteenth mainly as a form of education. The vast majority of travelers were young men of the European, especially British, privileged classes, but some women also made the trip.

The journey could last a number of years, the leisurely pace allowing time to make important social contacts and to admire and study famous art, architecture and antiquities along the route.

There was no prescribed route or itinerary, but the tour would include the great cultural centres, especially in France and Italy. In France, Paris was, of course, essential. After experiencing French art and culture at its best the grand tourist would make the difficult journey through the Swiss Alps before reaching northern Italy. In Italy, visits to such centres as Venice, Florence and Pisa would culminate in Rome, the key destination and principal attraction. There, remains of the ancient city as well as masterpieces of modern architecture and art surrounded travelers. The sojourn in Rome would almost certainly have included visits to its renowned museums, villas and palaces. From Rome, many travelers went south to Naples and the recently discovered ancient cities of Pompeii and Herculaneum, buried by the eruption of Mount Vesuvius in 79 AD.

Of course, no self-respecting tourist would return home without souvenirs. The English tended to dominate the market to such a degree that there was a saying in Rome that “Were our Amphitheatre portable, the English would carry it off.” (Mead, 204) A great variety was available and choices varied according to means and taste. The wealthiest tourists could take home major works of art, such as sculpture, paintings and antiquities; those with more modest means could find lesser works of art and, perhaps, copies, including beautiful and highly portable plaster casts of engraved gems. A great variety of subject matter was available, featuring the work of many artists. Those selected for this component depict great works that could be seen by a typical grand tourist and are arranged to evoke a typical tour.

The Collection of Casts