Castellani’s jeweller’s shop has existed in Rome since the year 1814.  At that time all the efforts of this artist (Castellani the elder) were directed to the imitation of the newest English and French fashions, and particularly to the setting of diamonds.  This he continued till 1823.  From 1823 to 1827 he sought aid for his art in the study of Technology.  And not in vain; for in 1826 he read before the Accademia dei Lincei of Rome, (founded by Federico Cesi,) a paper on the chemical process of coloring a giallone (yellow) in the manufacture of gold, in which he announced some facts in the action of electricity, long before Delarive and other chemists, as noticed in the “Quarterly Journal of Science,” Dec., 1828, No. 6, and the “Bibliotheque Universelle de Geneve,” 1829, Tom. xi. p. 84.

At this period Etruria began to lay open the treasures of her art.  All were struck by the beauty of the jewels found in the tombs; but Castellani was the first who thought of reproducing some of them; and he did it to the great admiration of the amateurs, foremost among whom may be mentioned the Duke Don Michelangelo Caetani, a man of great artistic feeling, who aided by his counsels and his designs the renaissance of Roman jewelry.

The discovery of the celebrated tomb Regulini-Galassi at Cervetri was an event in jewelry.  The articles of gold found in it (all now in the Vatican) were diligently studied by Castellani, when called upon to appraise them.  Comprehending the methods and the character of the work, he boldly followed tradition.

The discoveries of Campanari of Toscanella, and of the Marquis Campana of Rome, gave valuable aid to this new branch of art.

Thus it went on improving; and Castellani produced very expert pupils, all of them Italians.  Fashion, if not public feeling, came to aid the renaissance, and others, in Rome and elsewhere, undertook similar work after the models of Castellani.  It may be asserted that the triumph of the classic jewelry is now complete.  Castellani renounced the modern methods of chasing and engraving, and adhered only to the antique fashion of overlaying with cords, grains, and finest threads of gold.  From the Etruscan style he passed to the Greek, the Roman, the Christian.  In this last he introduced the rough mosaics, such as were used by the Byzantines with much effect and variety of tint and of design.

The work of Castellani is dear; but that results from his method of execution, and from the perfect finish of all the details.  He does not seek for cheapness, but for the perfection of art:  this is the only thing he has in view.  As he is a man of genius, we have devoted considerable space to his admirable productions.