Mafia 95. The Wardens' campaign against Urubaen.

The renewed interest in the stone (Chalcedony) during the time of classicism

The popularity of chalcedony faded after the fall of Ancient Rome and the decline of the ancient world under the heel of the Barbarians, but it was rediscovered with the beginning of the era of classicism. Interest in the varieties of chalcedony was stimulated by excavations of ancient Roman cities – gems and cameos made of carnelian, agate, and sapphire became objects of desire for the highest-ranking individuals, they were objects of rivalry, and they were set in brooches, rings, earrings, buckles, necklaces, and tiaras. Interest in ancient culture continued in high society during the heyday of the Empire style. Chalcedony, as one of the most popular stones in Ancient Greece and Rome, became relevant again. The royal houses of Europe possessed huge collections of gems and cameos – the Hermitage collection was especially famous, which contained many thousands of cameos, both of modern production and found in archaeological excavations of that time. A description of the collection has been preserved – numerous shelves and piles, literally overflowing with cameos with mythological subjects and heads made on chalcedony, carnelian, agate, and sardonyx. Napoleon, the poet G. Byron, and A.S. Pushkin each had two chalcedony rings. Chalcedony did not lose its relevance in the 20th century – it became a true symbol of Russian poetry at the beginning of the century. All the leading figures of Russian intellectual circles at that time loved to visit the hospitable Koktebel house of Maximilian Voloshin, who passionately loved striped, blue, and orange chalcedonies, which he collected right on the seashore. Andrei Bely, Osip Mandelstam, Alexei Tolstoy, Mikhail Bulgakov, Alexander Grin, Nikolai Gumilev, and Marina Tsvetaeva became owners of "ferlampiks," as the Crimean pebbles were called by Voloshin's guests.