




The face of Medusa presents itself with a clarity that strikes at first glance. The intaglio emerges calmly from the golden surface of the Lux Ring — every line is defined, every volume in its place, and the whole projects a tranquillity one feels immediately. The clean design of the 18 kt gold-plated bronze amplifies this sensation: the smooth, luminous base mirrors the subject, and the two elements find an accord so natural it feels inevitable.
On the hand, the ring has a solid and reassuring presence. The polished surface responds to light with continuous reflections that enliven the intaglio with every movement. The weight is felt, the metal is warm, and Medusa gazes from the bezel with that quiet firmness belonging only to those who know their own strength. It is a jewel that communicates something words can barely touch — a beauty so direct that one need only look.
The first time we saw this ring worn by someone, what we had imagined became reality. A subject like Medusa, which we had managed to render in a totally unexpected way through the most contemporary materials, had here found a new form of expression. The person who chose it wanted to feel its weight and at the same time have a dramatic ring, with commanding proportions. They wanted to see it and to feel it, through the metal and through the colour. The photo we took of that hand wearing this ring — that person still keeps it.
The colours do the rest, and they do so in entirely unique ways. Pale Blue adds a limpid, airy serenity, as though Medusa’s gaze were opening towards an infinite horizon. White defines every detail of the hair and features with pure serenity. Black makes the gaze even more magnetic and profound, charging the relief with a density that draws one in. Pink softens the entire composition with an unexpected grace, bringing glow and life to the firmness of the face — a gaze that never stops surprising.
Notas importantes
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.
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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