Libra Earrings Medusa Rondanini

Medusa Rondanini

Libra Earrings Medusa Rondanini

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$220.00
$220.00
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Each piece comes to life at the moment of purchase and is handcrafted especially for you.

CHARACTERISTICS

  • Collection: Libra
  • Type: Drop Earrrings
  • Model: OR15
  • Hook: 18kt gold-plated bronze
  • Crown: 18kt gold-plated bronze
  • Finish: Glossy
  • Shape: Round 0.79 in
  • Motif material: Handcrafted resin with raised detailing
  • Total weight: approx. 14 Grams

DETAILS

  • Composition: Nickel Free
  • Fit: Elongated and harmonious, they frame the face with a light movement and an elegant presence, defined by the delicate chain.
  • Sizes: One size fits all

CRAFTSMANSHIP

  • Production: Handcrafted in Rome, 100% Made in Italy.
  • Slight variations in finish or tone reflect the uniqueness of each piece and its artisanal character.
  • Each jewel is accompanied by a certificate of guarantee and authenticity.

JEWELRY CARE

It is recommended to avoid contact with water, perfume, and impacts, in order to preserve its beauty over time.

Notes importantes

Les couleurs des bijoux sur la photo peuvent différer légèrement de la réalité, en fonction de la résolution. Chaque objet est fait main et présente des caractéristiques uniques.
Medusa Rondanini

Medusa Rondanini

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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