A rare agate cameo. Christ. The effigy of Christ is depicted frontally, from the waist up. The face is rather round (reminiscence of the late-antique ivory diptychs) and characterized by peculiar features: long hair, tidily and symmetrically arranged on two sides, big eyes with the pupil engraved as a cavity, small mouth, short beard. Above the neck, on the stone, we can notice a carve (as a cavity) ending on both sides with a spherical element (?). The subject seems to be depicted while breaking bread (a reference to the Last Supper?), whose two halves are kept each in one hand. A finger in the left hand is lifted up, as to suggest a symbolic meaning. The figure is wearing a finely engraved garment, in which particular attention has been paid to the fabric pleats and the decorated edge near the neck. The piece can be referred to glyptic productions of the age of Frederick, specifically to Frederick II of the Hohenstaufen (1194-1250). During this period, the call of the antiques, the rebirth and the restart of the art of engraving stones, especially with biblical subjects, is truly linked to the figure of Frederick II. The Emperor, indeed, on the occasion of particular happenings, used to order to the court's artisans to create engravings and cameos which were full of allusions, and capable of expressing, through symbols, attributes, personifications and allegories, some specific cultural choices or warnings. The small but precious pieces could be exhibited, in order to enhance Frederick's figure, or given as gifts, in order to reinforce subjections and alliances. At the moment, only a very small number of Suevian cameos are known, and partially still to be detected, but we know that in the inventory of the imperial treasury (pledged by Konrad IV of Swabia to the Genoeses in 1253) are mentioned 546 intaglios and 137 cameos, many of which without being mounted, and hard-stone vases (more over, the treasury should have included also several ancient and late-antique specimens, and partially reworked, especially after the latin sack of Costantinople). In such context, a remarkable value was assigned to sardonyx and to multicoloured and striped agate types. In cameos, the figures gained a marked sculptural quality and a strong colouristic impact, thanks to the layering of the material used. This cameo has been made according to a certain refinement and care for details, which are enhanced by a skilfully made mirror-finish polishing and the wonderful type of striped agate. This type gets greenish shades, and close to yellow, with dark tones but also more transparent and bright areas, plus some white and bluish shades. On the back it is possible to admire the beauty and peculiarity of the stone, whose particular cut shows, in transparency, all the lumps, the which progressively expand through the faceted surface (three vertical facets). This detail could lead to think about a possible reuse of the precious matter, perhaps from an artifact of the imperial age or late-antiquity (cup). Interesting work, to go deeper into, and of a particular rareness, probably manufactured in a Southern Italy workshop and by a creator who was taking Byzantine models into consideration. During this time period, indeed, some cameos often get to a formulaic classicism while others tend to repeat older iconographies, according to a graphic taste related to the surfaces. For any insight: A. Giuliano, I cammei dalla collezione Medicea del Museo Archeologico di Firenze, pp. 59-60; Il cammeo Gonzaga. Arti preziose alla corte di Mantova, a cura di Ornella Casazza, pp. 261-262 per rif. bibliogr.; Le gemme dei Medici al Museo degli Argenti. Cammei e intagli nella collezione di Palazzo Pitti, p. 327. 12th - 13th century A.D.
25 x 34 x 8 mm.