- Material: Sardonyx Shell, 15k gold tested.
- Size: 2 7/8" by 2 3/8", cameo itself is 2 2/8" by 1 7/8".
- Date and Origin: Circa 1870 Italy.
- Conditions: Immaculate.
Museum quality cameo depicting a rarest subject, Jesus carrying his own cross. This cameo is simply amazing, please look at how the carving is made. Look at the beauty of His facial features, He seems alive. The details of this cameo are exceptional, Jesus is an enough rare subject in a cameo and I was lucky in finding a Museum Quality one. Look at the face of Jesus and to His closed eyes, look at the crown of thorns that is penetrating in his head, you can feel His suffering as it is clearly shown on His wonderful face and on his curved shoulder while he carries his own cross. Despite that His face has even a serene expression because He knows that His sacrifice saves the humanity. This cameo touches heart and soul, its beauty is amazing. The skill of the carver can be clearly seen on this cameo, he represented not only a mere subject but a real man with his own feelings and emotions. We can also speak about the detailed carving, the crown of thorns worn by Jesus is amazingly made as the cross and what He is wearing. Look at Jesus hair, they just seem real. This cameo has a fantastic expressivity and an absolute, perfect beauty, an outstanding cameo carved by a true artist. Not to be missed. The pictures really don’t show well the true beauty of this cameo. A very desirable collectors piece.
A bit of history Christ Carrying the Cross
on his way to his crucifixion is an episode included in all four Gospels, and a very common subject in art, especially in the fourteen Stations of the Cross, sets of which are now found in almost all Catholic churches. However, the subject occurs in many other contexts, including single works and cycles of the Life of Christ
or the Passion of Christ. Alternative names include the Procession to Calvary
, Road to Calvary
and Way to Calvary
, Calvary or Golgotha being the site of the crucifixion outside Jerusalem. The actual route taken is defined by tradition as the Via Dolorosa in Jerusalem, although the specific path of this route has varied over the centuries and continues to be the subject of debate. The episode is mentioned, without much detail, in all the canonical Gospels: Matthew 27:31–33, Mark 15:20–22, Luke 23:26–32 and John 19:16–18. Only John specifically says Jesus carried his cross, and all but John include Simon of Cyrene, who was recruited by the soldiers from the crowd to carry or help carry the cross. Modern scholars, following descriptions of criminals carrying crossbars by Plautus and Plutarch, often take the Gospel description as meaning Jesus, then Simon, carried only a heavy patibulum, the crossbar, to a pole, stipes, which was permanently driven into the ground at Golgotha. However, in Christian imagery Jesus, and Simon, carry the complete cross—both patibulum and stipes.
Only Luke mentions the "women of Jerusalem", who were in later patristic writings and Christian art taken to include the Three Marys and the Virgin Mary. This meeting was usually located at the city gates, as in the painting illustrated, which is also typical in following Luke and showing Jesus turning his head to speak to them. The other episodes were later elaborations, with the Veil of Veronica appearing from the 13th century, and the falls of Christ, eventually three, first found in the Late Middle Ages. Luke mentions that the two thieves were also in the group walking out to Golgotha, but does not say that they had to carry their crosses, and though they may be identifiable among the walking figures, their crosses are very rarely anywhere to be seen in depictions of the group. Some works, like Raphael's Il Spasimo
, Bruegel's Vienna Procession
(see below for both), and the London Jacopo Bassano, have the thieves' two crosses already set up at the place of execution in the distant background. Also of relevance is Matthew 16:24, with which St Francis of Assisi began his first Rule of 1221: "Then Jesus said to his disciples, “Whoever wants to be my disciple must deny themselves and take up their cross and follow me". St Francis also used to be led with a cord around his neck as a penitential exercise, the cord being a detail added to many depictions of the episode from two Old Testament passages. These are Isaiah 53:7: "He was oppressed and afflicted, yet he did not open his mouth; he was led like a lamb to the slaughter, and as a sheep before its shearers is silent, so he did not open his mouth" and Jeremiah 11:19 "I had been like a gentle lamb led to the slaughter...", both of which were very frequently cited by medieval commentaries. In medieval typology, Isaac carrying wood up the mountain for his sacrifice is the most common parallel for the episode, and often shown as a complementary scene; this scene is "Isaac Bearing the Faggots" (or "wood") in traditional art history terminology.