AJL

Archaeological revival refers to the neo-styles of the 18th and 19th centuries inspired by the
excavations and discoveries of Roman, Egyptian, Hellenistic and Etruscan sites. The first revival
came after excavations of the buried cities of Pompeii and Herculaneum, which led to
the neoclassicism of the 18th century. The second revival was inspired by finds in Etruscan burial
sites. It is characterized by granulation and filigree decorations. The granulation technique was
rediscovered by Castellani after studies of ancient Etruscan jewelry artifacts. It is mainly the Etruscan
revival which is depicted as archaeological revival in jewelry history.
GIA

Revival jewellery embodies a long-standing tradition of drawing

inspiration from the past – either by copying or reinterpreting
ancient motifs. It is a way for us to wear jewellery pieces that
connect us to the rich history of the beginning of civilisation.

ARCHAEOLOGICAL REVIVAL

Archaeological Revival was spurred by the discoveries of buried

artefacts – after the eruption of Mt Vesuvius in 79 CE – uncovered in
the cities of Herculaneum in 1738 and Pompeii in 1748. A century
later, haphazard excavation techniques had improved somewhat,
creating a second wave of interest in revival jewellery prompted by
discoveries in Etruscan burial sites.

After opening the Regolini-Galassi tomb in 1836, jewellers Fortunato

Pio and Alessandro Castellani were granted access by papal
authorities to study the ancient gold jewellery. They were also given
access to huge collections of antiquities between 1840 and 1850,
making it possible for the Castellani family to study the art of
Etruscan granulation, filigree and other gold work. They began to
uncover the mystery of how the ancients created their designs by
soldering details to the metal rather than carving, punching or
cutting.

By then, Italy was rife with excavated treasure from the country’s glorious past,
starting with Pompei in the 18th century and continuing with excavations in Rome
and Tuscany. A tourist could easily buy ancient artifacts as souvenirs then. It’s no
accident that Castellani set up shop across from the Trevi Fountain, tourist central in
Rome.
“They were absolutely catering to a grand tour audience,” says Stoehrer. “But the
Castellanis were also involved with the fight for unification of Italy, so I think there
was a strong political motivation in buying and wearing their jewelry. By the 1860s,
they stopped importing fashionable jewelry from Paris and started to focus wholly
on Revivalist jewelry.”

Etruscan Revival: The Etruscans, an ancient Italian civilization, influenced this style characterized by
intricate goldwork, granulation, and the use of cabochon gemstones. Carlo Giuliano, an Italian
jeweler working in London during the 19th century, was instrumental in popularizing this style.

Renowned Jewelers

Castellani: Founded by Fortunato Pio Castellani in the early 19th century, the Castellani family played
a pivotal role in popularizing archaeological revival jewelry. They meticulously recreated Etruscan and
Roman styles, using ancient techniques to achieve the desired effect. Their pieces were highly sought
after by European nobility and influenced many contemporary jewelers.

Giuliano: Carlo Giuliano, an Italian jeweler based in London, was celebrated for his Etruscan revival
pieces. His attention to detail and exquisite craftsmanship earned him a place among the most
respected jewelers of his time. His creations continue to be prized collector's items today.

Carlo and Arthur Giuliano: The Giuliano brothers continued their father Carlo's legacy, producing
some of the most sought-after pieces of Egyptian and Etruscan revival jewelry during the late 19th
and early 20th centuries. Their work graced the collections of influential figures and institutions,
solidifying their place in the annals of jewelry history.

Castellani-Style Revival: In the 20th century, there was a resurgence of interest in archaeological
revival jewelry. Notable jewelers like Bulgari, who created pieces inspired by ancient Roman and
Greek motifs, embraced this style and contributed to its enduring appeal.

Conclusion

Archaeological revival jewelry has carved a unique niche in the world of adornment. Its timeless
appeal lies in its ability to connect wearers with the grandeur and symbolism of ancient civilizations.
Styles inspired by Egyptian, Etruscan, Greek, and Roman art continue to captivate jewelry enthusiasts
and collectors alike. With the influence of legendary jewelers like Castellani and Giuliano, as well as
contemporary designers who pay homage to this rich tradition, archaeological revival jewelry
remains a testament to the enduring allure of the past in the world of fashion and adornment.

By the early 1850’s they were solely producing Archaeological inspired jewels and the workshop was
experimenting with the techniques of the Ancient goldsmiths in an attempt to be able to recreate
their work as faithfully as possible.

As well as his interest in jewellery Alessandro was also very active politically and unfortunately he
endured interrogation and even imprisonment for his beliefs. In 1859, risk of renewed imprisonment
led him to flee Rome for Paris where he took an apartment and later opened a business premises on
the Champs-Elysées. Whilst he kept in close contact with his father and brother back at home, the
running of the Rome workshop was left to Augusto, especially after Fortunato retired in 1861.
Alessandro’s stay in Paris enabled him to promote both the Castellani name and the appreciation of
revivalist jewellery abroad and he was introduced to a wide circle of affluent and influential potential
clients. He was also ideally positioned to be able to assist in the purchase by the French government
of part of the Campana Collection. The Castellani’s had been instrumental in the acquisition,
restoration and cataloguing of the ancient jewellery in this exceptional collection (the close study of
which had provided so much inspiration for them) and whilst Fortunato believed the sale of the
collection outside of Italy was a national tragedy, it went ahead in 1861.

The loss of this collection from Italy prompted Fortunato to form his own collection which he divided
in to eight different periods and displayed in showcases around the walls of the showroom. By this
time they had moved to new premises at 88 Via Poli and it was here that customers would be
introduced to the marvels of original jewellery from Ancient civilisations and then given the
opportunity to purchase finely crafted replicas straight from the workshop. No nineteenth century
lady or gentleman visiting Italy would consider a tour of Rome complete without a stop at Castellani’s
to marvel at, and likely purchase, one of his by now hugely fashionable pieces of Archaeological
Revival jewellery. The opening of a branch in London at 13 Frith Street, which was managed by
Castellani’s pupil Carlo Giuliano, had helped to further popularise the style and it was now being
widely copied both at home and abroad.

In 1881 the business moved for the final time to the Piazza Fontana di Trevi. After Alessandro died in
1883 Augusto ran the business with his son Alfredo who was therefore well versed in the running of
the workshop and showroom when he inherited it upon his father’s death in 1914. By this time
trade had diminished greatly as the European taste in jewellery had changed but the firm was kept
running by the demand for jewelled souvenirs inspired by the proximity of Rome’s ancient ruins and
Archaeological marvels. Alfredo had no children and so knowing that the Castellani firm would die
with him he made extensive arrangements to gift the family’s collections and archives to various
museums. Perhaps the most significant of these was the collection of antiquities and jewellery
coupled with 526 pieces made in the Castellani workshop that was placed in the care of the Museo
Nazionale Etrusco di Villa Giulia in Rome. Alfredo died on January 8th 1930 and whilst the firm
closed its doors soon after, the name of Castellani lives on and is today regarded as the preeminent
creator of 19th century Archaeological Revival style jewellery.