The late eighteenth century in Europe witnessed
a revival of interest in the art, architecture and
literature of antiquity. It became customary for
the sons of wealthy families to embark upon a
‘Grand Tour’ as part of their education and Italy
was the principle destination. The ruins of Rome
and the rediscovery of sites such as Pompeii and
Herculaneum helped to stimulate the market for
antiquities. The purchase of souvenirs abroad,
whether genuine or of recent manufacture,
helped to spread this fashion for the antique.
James Tassie (1735-1799) was one of a number
of highly skilled artists who capitalised on this
demand. Born in Scotland he started his career
as a stonemason before returning to study
sculpture and modelling at the Glasgow
Academy. Having travelled to Dublin in Ireland to
seek commissions, he made the acquaintance of
an amateur gem engraver, Dr Quinn. Together
the two men developed a new type of white
enamel that was ideally suited to portrait
medallions. However it was after relocating to
London in 1766 that Tassie’s career as a gem
engraver really took off. He soon acquired an
international reputation, and received a
commission for 15,000 pieces from Catherine
the Great, Empress of Russia. Many prestigious
European collections were made accessible to
him for the purposes of study. His knowledge of
antique designs was highly esteemed and he was
commissioned to provide designs for Josiah
Wedgwood. In fact his gems and medallions
proved so popular that the business continued to
flourish in the early nineteenth century under the
direction of his nephew William Tassie.
James Tassie was highly imaginative in his
interpretations of ancient myths, combining
artistic imagination with scholarship to produce
a
fascinating array of characters. On this lovely
intaglio we see a naked male riding a very large
goat side-saddle. He holds a long staff with a
banner attached fluttering in the wind, while a
dog barks at the feet of the goat. The joviality of
the figure suggests he might be Silenus, the
guardian of the wine god Dionysus. Though
Silenus is usually shown riding an ass, he is also
the father of satyrs, who were half-man and
half-goat. Tassie has here created a delightful
miniature full of life, amusement and
considerable charm.
