Torah Finials

The mid-eighteenth-century discovery of ancient Pompeii, with its wealth of classical frescoes and objects, inspired a return to classical motifs and symmetry in European silver design and ornamentation. In England, one of the main centers of the neoclassical style, silversmiths created works with light, graceful shapes and delicate decoration. These rimmonim (Torah finials) exemplify the British neoclassical style of the late eighteenth century in their open, airy form, consisting of two cylindrical bands alternating with three tiers of classical palm leaves and sheaves. The effect of openness is further enhanced by the cutout roundels in the central band and by the simple engraved floral decoration that catches and reflects the light. This technique of decoration was commonly used for silver cruet stands, cake baskets, sugar bowls, and salt cellars, as exemplified in the work of the Bateman firm and others. The Batemans produced several pairs of rimmonim that are similar in form and style to the pair shown here.

British neoclassicism disseminated to Europe and to the far-flung British Colonies, where it was frequently imitated. These rimmonim are probably examples of colonial silver, for their hallmarks are similar but not identical to those in the well-documented British hallmark system. There were no official assay offices or registries of silversmiths' marks in the colonies during this period, and silversmiths were free to mark their works as they wished. Many, particularly in the United States and Canada, chose to use "pseudo-British" hallmarks.

During the period when these rimmonim were fashioned, Jewish communities existed in the British (or formerly British) territories of the United States, Canada, and the West Indies. As little has been published on West Indian silver work, and even less on Jewish ceremonial silver from that region, these rimmonim may be rare and important examples of this genre.