Nymph and Swan
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 design.
Artwork Details
- Title: Nymph and Swan
- Maker: Cameo by Benedetto Pistrucci (Italian, 1783–1855, active England)
- Maker: Mount by the firm of Fortunato Pio Castellani (Italian, 1794–1865)
- Date: ca. 1830–40
- Culture: Italian, Rome
- Medium: Agate cameo; gold mount with black enamel
- Dimensions: Overall: 1 11/16 x 1 3/8 in. (4.3 x 3.4 cm); visible cameo: 26.9 x 18.6 mm
- Classification: Lapidary Work-Gems
- Credit Line: Purchase, Assunta Sommella Peluso, Ada Peluso, and Romano I. Peluso Gift, in memory of Ignazio Peluso, 2007
- Object Number: 2007.30
- Curatorial Department: European Sculpture and Decorative Arts
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