GENERAL DESCRIPTION
Although ear studs were apparently less common than a bauletto earrings [1991.75.13.a-b], pictorial representations indicate that they were popular in Etruria during the 6th century BCE. Actual examples, however, are as rare as they are in Greece, where the type seems to have originated, as evidenced by their frequent representation on statues, in vase painting, and on coins. Ear studs consist of a disk, varying in diameter from two to six centimeters, with a hollow tube—usually of silver—projecting from the back. A corresponding rear piece has a narrower tube that fits into the one on the frontal disk.
This single stud is among the few existing examples, and illustrates a taste for lavish, yet highly organized decoration that was characteristic of Etruscan goldsmiths. It combines repoussé, vegetal appliqués with linear granulation, concentric bands of a pulviscolo granulation, rows of hollow beads, plain and beaded wire, and coiled strips with granulation. The large center may have originally held colored inlay. Despite the face that the goldsmith must have had great experience in producing and applying the innumerable decorative elements, such painstaking decoration was exceptionally laborious. Even so, the price of the gold was probably considerably higher than the cost of the labor.
Adapted from
Barbara Deppert-Lippitz, Ancient Gold Jewelry at the Dallas Museum of Art (Dallas: Dallas Museum of Art in association with the University of Washington Press, 1996), 37; 125.
NOTES
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- updated geo x ref and provenance. entered previously entered provenance as a text entry.
- publication added as a text entry
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PROVENANCE
Until 1991: probably Collection of Dr. Athos Moretti, Switzerland (presented by Robert Haber, New York) [1]
From 1991: Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.
[1] based on existing provenance entry in TMS
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FUN FACTS
- Jewelry was far more than merely ornament to the Etruscans; it was often close to being a magic charm or amulet and implied the protection of the gods.
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General Description
Although ear studs were apparently less common than a bauletto earrings [1991.75.13.a-b], pictorial representations indicate that they were popular in Etruria during the 6th century BCE. Actual examples, however, are as rare as they are in Greece, where the type seems to have originated, as evidenced by their frequent representation on statues, in vase painting, and on coins. Ear studs consist of a disk, varying in diameter from two to six centimeters, with a hollow tube—usually of silver—projecting from the back. A corresponding rear piece has a narrower tube that fits into the one on the frontal disk.
This single stud is among the few existing examples, and illustrates a taste for lavish, yet highly organized decoration that was characteristic of Etruscan goldsmiths. It combines repoussé, vegetal appliqués with linear granulation, concentric bands of a pulviscolo granulation, rows of hollow beads, plain and beaded wire, and coiled strips with granulation. The large center may have originally held colored inlay. Despite the face that the goldsmith must have had great experience in producing and applying the innumerable decorative elements, such painstaking decoration was exceptionally laborious. Even so, the price of the gold was probably considerably higher than the cost of the labor.
Adapted from
Barbara Deppert-Lippitz, Ancient Gold Jewelry at the Dallas Museum of Art (Dallas: Dallas Museum of Art in association with the University of Washington Press, 1996), 37; 125.
Fun Facts
- Jewelry was far more than merely ornament to the Etruscans; it was often close to being a magic charm or amulet and implied the protection of the gods.
Archival Resources
Web Resources
Notes
READ
- updated geo x ref and provenance. entered previously entered provenance as a text entry.
- publication added as a text entry
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1991: probably Collection of Dr. Athos Moretti, Switzerland (presented by Robert Haber, New York) [1]
From 1991: Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.
[1] based on existing provenance entry in TMS
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