Antique jewelry object group
Parure (matching set of jewellery) consisting of a bracelet, brooch, and earrings.
Condition
Remarkably well-preserved, especially given its age and the delicate nature of micromosaic jewellery.
As is not uncommon for micromosaic jewellery of this period, there are some small missing tesserae (tiny pieces of coloured glass or enamel used to create the mosaic) in
various places, though they are not particularly noticeable.
The earrings were originally designed as dangling pieces that passed through the earlobe. The upper sections have been preserved, while the lower parts have been carefully and reversibly converted into clips. The only modification is the removal of the
small loops that originally connected the two parts. Although all original components are still present, we have chosen not to restore them to their original state. This allows the future owner to decide whether to keep them as they are—with their
historical evolution intact—or to have them restored to their original design, which remains easily possible due to the reversible nature of the alteration.
The original case bears the marks of its ± 170-year journey, adding to its historical authenticity.
Both the brooch and the bracelet feature a circular compartment on the reverse, sealed with glass. Each compartment measures approximately 24 mm in diameter and was likely intended to hold a personal memento, such as a lock of hair or a miniature
keepsake. This delicate feature remains intact, adding to the historical charm of the set.
more info on our condition scale
Country of origin
Italy, Rome
Style
The Victorian era (1837–1901) is characterised by an eclectic revival of historic styles and an increasing fascination with intricate craftsmanship and fine detailing. Influences from the Middle East and Asia became prominent in decorative arts,
including jewellery, furniture, and interior design.
In jewellery, the Victorian period saw a remarkable diversity in design, evolving from sentimental and romantic motifs to bold, ornamental creations. The Arts and Crafts movement, the Aesthetic movement, Anglo-Japanese style, and Art Nouveau all have
their origins in the later part of this era.
See also: Victorian
more info on styles
Style specifics
The Victorian era (1837–1901) is traditionally divided into three stylistic periods: the Romantic Victorian Period (1837–1860), the Grand Victorian Period (1860–1880), and the Late or Aesthetic Victorian Period (1880–1901).
This parure dates back to the Romantic Victorian Period, an era shaped by Queen Victoria’s reign and its strong emphasis on sentimental and symbolic jewellery.
Jewellery from this period is known for its intricate craftsmanship, including delicate carvings, fine enamelling, and innovative techniques that created an impression of opulence while using less precious metal, as gold and silver were relatively
scarce.
Favoured materials included amethyst, coral, garnets, seed pearls, and turquoise, often set in designs with Gothic and Renaissance influences. Common motifs included anchors, birds, branches, crosses, hearts, and serpents, each carrying deep symbolic
meaning.
Period
ca. 1870
Events & facts of this era,
poetry of this era,
fashion of this era.
Source of inspiration
This exquisite micromosaic parure is deeply connected to the Grand Tour, a cultural phenomenon that reached its peak in the 19th century. The Grand Tour was a traditional journey through Europe undertaken by wealthy young men, particularly from Britain
and America, as a form of cultural education. Rome was a key destination, and visitors often purchased fine souvenirs to commemorate their travels.
Micromosaic jewellery, with its intricate craftsmanship and depiction of classical landmarks and motifs, became a highly sought-after memento among Grand Tour travellers. These pieces were typically commissioned from skilled Roman artisans, many of whom
operated near the Spanish Steps and the Vatican Mosaic Workshop.
This parure, created in Rome in the second half of the 19th century, reflects both the artistic refinement and the growing demand for such jewellery during this period. While some micromosaic pieces were mass-produced due to their popularity, the quality of materials and execution in this parure indicate that it was commissioned from a highly skilled workshop, possibly in collaboration with renowned specialists.
Theme
This stunning micromosaic parure draws its inspiration from nature and classical decorative elements, both highly favoured in Victorian Grand Tour jewellery. The central motifs of intricately detailed flowers, insects, and ornamental patterns reflect the 19th-century fascination with botanical studies and the symbolism of nature.
The floral micromosaic in the centre of each piece showcases an exquisite arrangement of blossoms, meticulously crafted from tiny glass tesserae (small coloured glass or enamel pieces). These floral motifs often symbolised romantic devotion, beauty, and
the fleeting nature of time, common themes in Victorian jewellery.
Additionally, the beetle micromosaic inlays on the earrings and bracelet add a further layer of meaning. Insects, particularly beetles, were admired for their associations with resilience, transformation, and eternal life—a theme deeply rooted in both
Victorian and ancient Roman symbolism.
The overall symmetrical and ornate design, with delicate filigree-like goldwork, evokes the grandeur of Renaissance and Rococo influences, which were often revived in Victorian jewellery. This blend of naturalistic themes and historic revival styles
makes this parure a true masterpiece of Grand Tour micromosaic jewellery, capturing both the artistry and sentimentality of its era.
Material
18K
yellow gold (touchstone tested)
more info on precious metals
Technique
This parure showcases the exceptional craftsmanship of 19th-century Roman micromosaics, a technique perfected in the Vatican Mosaic Workshops and widely popular during the Grand Tour era.
Micromosaics are created using tesserae (tiny pieces of coloured glass or enamel) that are carefully arranged to form intricate images. The technique used in this piece is known as smalti filati, where opaque enamel is heated and pulled into fine,
thread-like strands, which are then cut into tiny segments to be meticulously placed in the design. This method allows for an extraordinary level of detail, mimicking the softness and depth of painted artworks.
The supporting structure for these mosaics varies depending on the scale of the work. In jewellery, tesserae were often set in gold, copper, or glass bases, ensuring durability while preserving the delicate artistry of the composition. The combination of vivid colours, precise execution, and harmonious composition makes this parure a prime example of 19th-century Roman micromosaic mastery.
More background information on
This parure is a significant piece of 19th-century Roman jewellery, both for its exceptional craftsmanship and its documented connection to Menichini Giacomo.
The master’s hallmark G136M, identified in archival records, confirms that this parure was crafted by Menichini Giacomo, a 19th-century Roman goldsmith.
While there is no known evidence that Menichini specialised in micromosaic jewellery, by the late 19th century, many goldsmiths in Rome collaborated with highly skilled micromosaic workshops to meet the growing demand for Grand Tour jewellery. The
refined execution of this parure suggests that it was created in partnership with a specialised micromosaic atelier, rather than being the sole work of Menichini himself.
Despite his documented hallmark, there is no confirmed evidence that Menichini Giacomo personally produced micromosaics. Given the exceptional detail and craftsmanship of this parure, it was likely commissioned from a specialised Roman micromosaic
workshop, rather than being the sole work of Menichini himself.
Unlike Castellani, who had well-documented micromosaic artists such as Luigi Podio, Menichini Giacomo's work remains relatively obscure. However, this parure’s refined execution places it among the finest Roman micromosaic jewellery of its time.
This makes the parure not only a stunning collector’s piece, but also an important historical record of the goldsmiths who contributed to the vibrant Roman jewellery trade of the 19th century.
We extend our sincere gratitude to Maurizio Fioravanti, an expert in 19th-century Roman jewellery, whose archival research confirmed the attribution of this hallmark to Menichini Giacomo. His expertise has provided invaluable insight into the historical
significance of this parure.
Hallmarks
This parure bears the master’s hallmark G136M, attributed to Menichini Giacomo, a Roman goldsmith who worked from his
home in Via di S. Lucia della Tinta. Although little is known about his broader body of work, this documented piece
offers a rare glimpse into his craftsmanship.
The hallmark does not appear fully formed in a single location but has been stamped in multiple places. Based on these
fragmented impressions, we have created a composite sketch, which can be seen in the accompanying photos.
more info on hallmarks
Dimensions
bangle: circumference 16,00 cm (6,30 inch), widest part 5,25 cm (2,07 inch)
brooch: 5,28 cm (2,08 inch) x 5,10 cm (2,01 inch)
earclips: 5,05 cm (1,99 inch) x 1,72 cm (0,68 inch)
hanging earrings: 2,36 cm (0,93 inch) x 1,08 cm (0,43 inch)
see picture with a ruler in millimeters and inches
Weights
bracelet: 78.40 gram (50.41 dwt)
brooch: 31.50 gram (20.25 dwt)
earclips: 16.40 gram (10.55 dwt)
earrings: 4.20 gram (2.70 dwt)
Total weight: 130,50 gram (83,91 dwt)
Adin Reference Nº
25043-00119
Copyright photography
Adin, fine antique jewellery
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