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Castellani (goldsmiths)

From Wikipedia, the free encyclopedia

The Castellani were a family of goldsmiths, collectors, antique dealers and potters who created a business "empire" active in Rome during the 18th and 19th centuries.

History

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Fortunato Pio Castellani (1794–1865) is regarded as the forefather of the family. In 1814, Fortunato opened his own workshop in Rome. The progenitor specialized in the creation of jewels emulating the ones that then came to light from the necropolis of Etruria, that were found in the excavations of Pompeii and Herculaneum or that could be observed in the Campana collection. Initiating a partnership with Duke Michelangelo Caetani, a lover of fine arts and a designer of jewels himself, allowed Fortunato Castellani to quickly work for the most illustrious aristocratic families, initially Roman and at a later date even European. Fortunato also imported luxurious goldsmith works from the rest of Europe to be resold in Rome.[1]

Fortunato had three sons. His sons Augusto and Alessandro worked with their father and continued their activities as goldsmiths and antiquarian; his third son, Guglielmo, instead devoted himself to the art of ceramics. Fortunato Pio retired in 1850. The Castellani of the second generation devoted themselves only to the trade of jewels of their own production or to the sale of archaeological finds. The creative part was entrusted to Alessandro Castellani and Michelangelo Caetani, while Augusto was mainly interested in the financial aspects of the company. In 1859, the Castellani devoted themselves for five months to the restoration and cataloguing of the Campana Collection; they thus had the opportunity to refine their observations on the technique of granulation and filigree and to finally achieve an acceptable reproduction of them.[2]

During the second half of the 19th century, the Castellani goldsmiths had a leading role in the European market. Alessandro, who had fled to France for political reasons in 1860, opened with great success new locations in Paris and Naples in which antiquities, mainly of Etruscan origin, were traded. Clients included Napoleon III, the Louvre Museum and the British Museum, directed by Sir Isaac Newton. It has been hypothesized that some Etruscan finds traded by the Castellani were imitations.[3] Recent chemical analyses on some antiquarian finds sold by the Castellani to the Berlin Museum have confirmed that Alessandro Castellani sometimes also sold false finds.[4]

When Alessandro died in 1883, his brother Augusto transformed the shop into a private museum. The trading activity continued with the nephews Alfredo and Torquato, sons of Augusto and Alessandro respectively; the first was a goldsmith, the second a ceramist. Their deaths, which occurred in the 1930s, coincided with the end of the family's trading activity.

Family members

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Castellani jewellery collection

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The Castellani have preserved and donated to the Italian State the jewels they created during their centenary activity that remained in their possession. These jewels are now exhibited in the National Museum of Villa Giulia. Augustus, who had donated a large collection of rare pieces to the Capitoline Museums and the Artistic-Industrial Museum of Rome, left his collection of Greek, Italiot and Etruscan vases, bronzes, ivories, jewels and coins to his son Alfredo on his death. Alfredo, the last male descendant of the Castellani, donated almost all of the collection to the Italian State with only two exceptions: a gospel blanket in gold, sapphires, pearls and ivory, and a votive crown in gold, pearls and rubies left, by testamentary will, to St. Peter's Basilica in the Vatican City, where they are exhibited at the Basilica's Treasure Museum.[11]

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References

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  1. ^ Ignazio Caruso, Collezione Castellani. Le oreficerie. Museo Nazionale Etrusco di Villa Giulia, Roma 1988.
  2. ^ Pompeo Fabri, Il marchese Campana. Fallito tentativo di costituzione di una Soc. An. per Azioni onde impedire l'esodo all'estero delle sue collezioni, in Strenna dei Romanisti, vol. 15, Roma, Staderini Editore, 1954, pp. 181-185.
  3. ^ Marina Bertoletti, Maddalena Cima, Emilia Talamo, Centrale Montemartini. Musei Capitolini, Roma 1997
  4. ^ Elizabeth Simpson, "Una perfetta imitazione del lavoro antico", Gioielleria antica e adattamenti Castellani. In: I Castellani e l'oreficeria archeologica italiana, Op. cit, pp. 177-200
  5. ^ Edilberto Formigli, Wolf-Dieter Heilmeyer, «Einige Faelschungen antiken Goldschmucks im 19. Jahrhundert», Archaeologischer Anzeiger 1993, pp. 299-332
  6. ^ L'arte nella industria, Roma: Tip. Elzeviriana, 1878
  7. ^ Luigi Mosca, Napoli e l'arte ceramica dal XIII al XX secolo: la riforma dei musei artistici-industriali, Napoli: R. Picciardi, 1908, p. 116
  8. ^ Torquato Castellani, Le industrie dei silicati, 1925
  9. ^ De Mauri, L'amatore di maioliche e porcellane. p. 198
  10. ^ Ignazio Caruso, Collezione Castellani. Le oreficerie. Museo Nazionale Etrusco di Villa Giulia, Roma 1988.
  11. ^ Edilberto Formigli, Wolf-Dieter Heilmeyer, «Einige Faelschungen antiken Goldschmucks im 19. Jahrhundert», Archaeologischer Anzeiger 1993, pp. 299-332

Bibliography

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  • G. Bordenache Battaglia, «CASTELLANI». In: Dizionario Biografico degli Italiani, Roma: Istituto della Enciclopedia Italiana, 1978 (on-line).
  • Ministero per i Beni e le Attività culturali, Soprintendenza per i Beni Archeologici del Lazio, I Castellani e l'oreficeria archeologica italiana : New York, the bard graduate center for studies in the decorative arts, 18 novembre 2004-6 febbraio 2005; Londra, Somerset house, 5 maggio-18 settembre 2005; Roma, Museo Nazionale Etrusco di Villa Giulia, 11 novembre 2005-26 febbraio 2006, Roma: "L'Erma" di Bretschneider, 2005. ISBN 88-8265-354-4 (Google books).
  • Sante Guido, L'oreficeria sacra dei Castellani in Vaticano, Città del Vaticano: Edizioni Capitolo Vaticano, 2011 - (Archivium Sancti Petri). ISBN 9788863390223.
  • Sante Guido, Il Calice Castellani nel Museo della Basilica Papale di Santa Maria Maggiore , Roma: Lisanti Editore - (Studia Liberiana IV). ISBN 9788890583810.
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