




MEDUSA RONDANINI — EVERY ERA GAVE HER A NEW MEANING The EOS ring chooses lightness as its first principle . The slender open shank wraps the hand with surprising discretion , letting the skin breathe — the jewel becomes a luminous detail, almost imperceptible as the hand moves . The outer surface is gently domed , the inner core smooth and flat : the metal follows the finger without pressing. The two ring’s bands open and close at the base, adjusting to any finger with a single gesture . The GTc signature on the back of the bezel . On shields , on armour , in Roman cameos : Medusa has looked straight ahead for two millennia . Something in that face — frontal , direct , incapable of turning away — made every era choose her again . Those who wore her said something precise about themselves . The carving on the bezel renders her with the same intensity : the serpents moving around the face like a living headdress , the lips set firm , the line of the eyes shifting with the light. The round frame is minimal and open, leaving all the space to her . Sky blue, black, gold , pearl — four Medusas . Sky blue gives the portrait lightness : gentle and powdery as early morning , the coils seem carved into the air. Black gives her body and substance — the cameo gains density , every line resolute. Gold unifies : the same metal as the shank , all warmth , the relief surfacing without boundaries . Pearl diffuses a gathered , iridescent light that softens the features without taking away their character — like the lustre of pale marble . Medusa has always been a declaration . On this ring, she is yours .
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
Show all products

