Medusa enters this ring not as a mythological threat, but as an image of absolute control. Her face, held within the oval bezel, does not ask to be feared: it asks to be looked at. In classical art she has been carved, cast, copied and transformed countless times, yet here she becomes smaller, closer, almost secret. The power of the figure is no longer dramatic. It is concentrated in the stillness of the portrait, in the tension between beauty and mystery, in the gaze that seems to protect before it seduces. Medusa is not restless. She is contained. Ancient, iconic, unmistakable. A face that belongs to history, but on this ring becomes a personal emblem of strength, silence and self-possession.
The Dalmatian animalier print gives this Medusa a sharper, more contemporary character. It does not simply decorate the ring: it changes the rhythm of the jewel. The contrast of the black and white pattern brings movement, graphic energy and a refined eccentricity to the classical portrait. Around her face, the oval shape creates the feeling of a miniature emblem, something ancient reinterpreted through a modern and unexpected surface. The snakes lose every harshness and become part of the ornament, almost merging with the visual rhythm of the print. The profile remains balanced and severe, but the Dalmatian pattern makes it more striking, more playful, more distinctive. This is Medusa in a bold and elegant version: magnetic without excess, powerful without aggression, classical without losing a contemporary spirit.
In porphyry, Medusa takes on a deeper, more grounded presence, as if carved from a fragment of ancient stone shaped by time itself. The material gives her features a compact intensity, making every line feel deliberate, every detail anchored in a sense of permanence. The surface holds a quiet strength, absorbing light rather than reflecting it, and transforming the face into something both austere and magnetic. This Medusa does not seek to dazzle; she endures. Her power is not in transformation, but in resistance, in the silent authority of a form that feels eternal, unyielding, and profoundly rooted.
Important Notes
The jewels' colors in the photo may look different from the original one. This depends from the resolution. Each object is handmade and has unique characteristics.Size chart
SIZE GUIDE
Find your size
Simple steps to measure the correct size of your finger:
- Measure your finger at the end of the day;
- Do not measure your finger when it is either too hot or too cold;
- Don’t forget that our hands are not identical, and that a ring that might fit on a finger on our left hand might not fit on the same finger on our right hand;
- Please be sure to check that your selected size slides along the full length of your finger.
To measure the circumference of your finger, you can use a taylor’s tape measure, or take a look at our video demonstration for another technique (which will require a ring that fits on your selected finger.) This size corresponds to the circumference, which you must use to find your corresponding appropriate size. (S - M - L - XL)
| Size | Italy | USA | France | Diameter (mm) | Circumference (mm) |
|---|---|---|---|---|---|
| S | 12 > 13 | 6 > 6,5 | 52 > 53 | 16,5 > 16,9 | 52 > 53 |
| M | 14 > 15 | 7 > 7 1/4 | 54 > 55 | 17,2 > 17,4 | 54 > 55 |
| L | 16 > 17 | 7,5 > 8 | 56 > 57 | 17,8 > 18,1 | 56 > 57 |
| XL | 18 > 19 | 8, 5 > 9 | 58 > 59 | 18,5 > 18,8 | 58 > 59 |
| 2XL | 20 | 9 | 60 | 19,1 | 60 |
| 3XL | 22 | 10 | 62 | 19,7 | 62 |
| 4XL | 24 | 10 3/4 | 64 | 20,4 | 64 |
| 5XL | 26 | 11 3/4 | 66 | 21 | 66 |
Medusa
The so-called “Rondanini Medusa”. Marble, Roman copy of a 5th-century BC Greek original by Phidias, which was set on the shield of Athena Parthenos. The Munich Glyptothek’s Medusa Rondanini is possibly a 5th-century BC work, and the oldest-known ”beautiful gorgoneion” sculpture. The design may have been copied from a gilded bronze aegis that once hung in the Acropolis, where it would have been meant to ward off evil and bad luck. A revision of the grotesque, disk-shaped death masks of older gorgoneia, the Medusa Rondanini appears to borrow the idealized likeness of Athena of Velletri, wreathed in decorative snakes and delicate owl wings—Chthonic dread and death mixed with Olympian beauty and cunning. While on display in the Palazzo Rondanini in Rome, it was noticed and first brought to the attention of Northern European art connoisseurs in the 1780s by Johann Wolfgang von Goethe, who wrote, “I would say something about it if everything one could say about such a work were not a waste of breath.” Located in the Glyptotheum of Munich
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