{"id":1213,"date":"2019-04-02T10:05:13","date_gmt":"2019-04-02T10:05:13","guid":{"rendered":"https:\/\/antoniocolonna.com\/?p=1213"},"modified":"2026-06-17T11:29:01","modified_gmt":"2026-06-17T11:29:01","slug":"history-of-jewellery-in-medieval-rome","status":"publish","type":"post","link":"https:\/\/www.antoniocolonna.com\/en\/blog\/storia-del-gioiello-roma-medioevo\/","title":{"rendered":"History of jewellery: from Rome to the Middle Ages"},"content":{"rendered":"

In this second part of the journey dedicated to history of jewellery<\/strong>, let's start again from the Roman period and go right through to the Middle Ages.<\/p>\n

It is a long and fascinating passage, in which the jewel is not merely an ornament, but becomes a sign of power, devotion, belonging, technical skill and cultural transformation.<\/p>\n

\"History
The history of jewellery spans different eras, techniques and symbols, right up to the great era of goldsmith workshops.<\/figcaption><\/figure>\n

The history of jewellery after the Roman era<\/h2>\n

During the Roman imperial age, the art of goldsmithing asserted itself with increasingly rich workmanship. We are not just talking about rings, necklaces, or bracelets, but also fabrics inlaid with gold threads, shoes decorated with golden fringes, and jewel-anklets.<\/p>\n

In the third century AD it was not uncommon to find precious items containing coins, transformed into ornamental and symbolic elements. During this same period, a technique of great refinement was becoming increasingly popular: the\u2019opus interrasile<\/strong>.<\/p>\n

What is opus interrasile<\/h2>\n
\"Opus
Opus interrasile is an openwork goldsmithing technique that makes a sheet of gold look like lace.<\/figcaption><\/figure>\n

Theopus interrasile<\/strong> it is a technique through which gold leaf is worked in openwork, until a light and refined effect is obtained, similar to lace.<\/p>\n

It is workmanship that bears witness to the technical evolution of ancient goldsmithing and the ability of artisans to transform precious metal into complex surfaces, rich in solids and voids.<\/p>\n

During that period, many figures were portrayed with elaborate jewellery, a sign not only of wealth, but also of social status and cultural belonging.<\/p>\n

It is interesting to note how certain fashions of the era have cyclically returned throughout history. The long necklaces wound several times around the body, falling as low as the hips, are in fact reminiscent of styles that were later revived in the twentieth century, particularly in the 1920s.<\/p>\n

The barbarian period<\/h2>\n
\"Iron
The Iron Crown is one of the best-known examples of early medieval goldsmithery.<\/figcaption><\/figure>\n

During the barbarian period, goldsmithing made a major expressive leap. The surface gave way to the power of the line, at the crossroads of barbarian art, classical tradition, and Byzantine influence.<\/p>\n

Testifying to the renewed vigour of the goldsmith's art are numerous finds: brooches, diadems, crosses, decorative elements and precious objects recovered from Lombard necropolises and major centres of early medieval Italy.<\/p>\n

\"Cross
The Cross of Desiderius bears witness to the symbolic and religious value of medieval goldsmithing.<\/figcaption><\/figure>\n

The style is often polychrome, with widespread use of polished stones set in gold. Goths, Lombards and Franks used techniques and ornamental solutions capable of blending different traditions.<\/p>\n

Among the best-known works of this period, we can mention:<\/p>\n