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Intaglio - Priam ordering Agelaus to take the infant Paris and kill him
  • Priam ordering Agelaus to take the infant Paris and kill him
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Priam ordering Agelaus to take the infant Paris and kill him

  • Object:

    Intaglio

  • Place of origin:

    Italy (made)

  • Date:

    1820-30 (made)

  • Artist/Maker:

    Unknown

  • Materials and Techniques:

    Engraved gemstone, carnelian, chalcedony, microquartz

  • Credit Line:

    Given by R. C. Lucas

  • Museum number:

    239-1865

  • Gallery location:

    In Storage

The art of engraving gemstones can be traced back to ancient Greece in the 8th century BC and earlier. Techniques passed down to the Egyptians and then to the Romans. There were major revivals of interest in engraved gems in Europe during the Byantine era, the Middle Ages, the Renaissance, and again in the 18th and 19th centuries. At each stage cameos and intaglios, these skillful carvings on a minute scale, were much prized and collected, sometimes as symbols of power mounted in jewelled settings, sometimes as small objects for private devotion or enjoyment. This gem is in the neo-classical style popular in the late 1700s and early 1800s, when taste in the arts echoed the subject matter and style of the Greek and Roman masters. Thousands of gems were made in this style in Italy and brought back by British Grand Tourists, who went there to visit the newly-discovered classical antiquities and archaeological sites. It once belonged to the collection of Prince Stanislas Poniatowski (1754-1833), a wealthy collector who commissioned about 2500 engraved gems and encouraged the belief that they were ancient. Many even bore the signatures of the most celebrated Greek and Roman engravers. The collection was sold in 1839 following Poniatowski's death, and later the scandal of its true background emerged and many gems subsequently changed hands for very low prices and were widely dispersed. The Poniatowski affair is often credited with causing a loss of confidence in the market for engraved gems, and the subsequent decline in the art from the mid nineteenth century onwards. Nowadays, ironically, the Poniatowski collection is of increasing interest as most of the gems were the work of a small group of neo-classical gem-engravers in Rome, including most probably the great Luigi Pichler (1773-1854),and have come to be regarded as important works of gem-engraving. The engravers of the Poniatowski gems took their subjects from Classical literature, especially the works of Homer, Virgil and Ovid. According to Greek myth the birth of Paris was inauspicious, foretelling disaster for Troy. Reluctantly his father King Priam ordered the herdsman Agelaus to remove the child and kill him. Unable to do so, Agelaus left Paris to take his chance, exposed on Mount Ida. In the event he survived, suckled by a she-bear, and grew up to fulfill the prophesy, bringing about the fall of Troy through his pursual of Helen. Here the engraver shows King Priam commanding Hecuba to surrender the child to Agelaus.

Physical description

Horizontal oval intaglio. Orange-red translucent carnelian. Depicting Priam to the left, standing and pointing to the right with his right hand. He is bearded and wears a knee-length tunic, a cloak and a helmet and carries a long spear in his left hand. In the centre is the figure of Hecuba in flowing drapery and with hair untied, holding the infant Paris and pleading with Priam. To the right a third, male, figure probably the herdsman Agelaus wearing a cloak and also gesturing to the right.

Place of Origin

Italy (made)

Date

1820-30 (made)

Artist/maker

Unknown

Materials and Techniques

Engraved gemstone, carnelian, chalcedony, microquartz

Marks and inscriptions

Greek inscription
Polykleitos
Spurious signature of Greek gem-engraver

Dimensions

Width: 46 mm, Height: 30 mm

Object history note

Ex Poniatowski Collection. Given by the British neo-classical sculptor Richard Cockle Lucas in 1865. Cockle Lucas' gift comprised twenty-two ivory carvings, twelve waxes, seventeen gems seven of which were from the Poniatowski collection, a marble group and a portrait in plaster. This gem is one of eighteen intaglios owned by the Museum which come from the Poniatowski collection. These were all included in the Poniatowski sale catalogue of 1839 (Christie's sale 29 April-21 May, 1839, Catalogue of the ...collection of antique gems of the Prince Poniatowski, this gem lot 976), but purchased privately and withdrawn from the sale. They were then in the collection of John Tyrrell who purchased around 1200 in total. They subsequently passed into the collection of Lord Monson. In 1853 these gems were sold by the executors of Lord Monson, along with over two hundred similar Poniatowski gems (Christie's sale 18 May, 1853, Gems from the Poniatowski Collection, this gem lot 133). Eleven were bought at that stage by the Museum, and seven were subsequently given in 1865 by Cockle Lucas.

Historical significance: Engraved gemstones of all dates were widely collected in Italy in the eighteenth and nineteenth centuries. Many were brought back by British Grand Tourists, and important collections were formed.

Historical context note

Prince Stanislas Poniatowski (1754-1833) was a wealthy collector who commissioned about 2500 engraved gems and encouraged the belief that they were ancient. Many even bore the signatures of the most celebrated Greek and Roman engravers. His collection was sold in 1839 following his death, and later the scandal of its true background emerged and many gems subsequently changed hands for very low prices and were widely dispersed. The Poniatowski affair is often credited with causing a loss of confidence in the market for engraved gems, and the subsequent decline in the art from the mid nineteenth century onwards. Nowadays, ironically, the Poniatowski collection is of increasing interest as most of the gems were the work of a small group of neo-classical gem-engravers in Rome, including most probably the great Luigi Pichler (1773-1854),and have come to be regarded as important works of gem-engraving. Claudia Wagner of the Beazley archive is working on assembling online as complete a list as possible of all the Poniatowski gems, including images, and this is available to consult as a Work in Progress.

Descriptive line

Intaglio, oval carnelian, depicting Priam and Hecuba, Italy, 1820-30

Bibliographic References (Citation, Note/Abstract, NAL no)

Inventory of Art Objects acquired in the Year 1865. Inventory of the Objects in the Art Division of the Museum at South Kensington, arranged According to the Dates of their Acquisition. Vol. 1. London : Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 30
Machell Cox, E., Victoria & Albert Museum Catalogue of Engraved Gems. London, Typescript, 1935, Part 2, Section 1, pp. 178-9
The Beazley Archive (online), Gems, The Poniatowski Collection database, Ref. T750
Catalogue des Pièrres Gravées Antiques de S.A. le Prince Stanislas Poniatowski, 1830-33, V.4
Prendeville, James, Explanatory Catalogue of the Proof-Impressions of the Antique Gems possessed by the Late Prince Poniatowski and now in the possession of John Tyrrell, Esq., 1841, 750

Production Note

Spuriously attributed to Polykleitos

Attribution note: Orange-red translucent chalcedony. Fine fracture leading from lower edge. J Whalley, May 2009

Materials

Carnelian; Gemstone; Chalcedony; Microquartz

Techniques

Gem engraving

Categories

Sculpture; Myths & Legends

Collection

Sculpture Collection

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