GENERAL DESCRIPTION
In antiquity, bracelets were usually worn in pairs. However, the number of surviving Greek and Etruscan bracelets is surprisingly small. In contrast to another bracelet in the Dallas Museum of Art's collection (1991.75.9), the deft execution of this pair is admirable (see the companion piece: 1991.75.7.2). Each bracelet is composed of a rectangular band with narrower extensions at both ends, decorated with long strips of openwork filigree running alongside strips of plain sheet gold. The undulating gold wire used for the open filigree work is a noteworthy decorative device of Etruscan metalwork of the Orientalizing period.
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), 37-38; 128.
NOTES
READ
- updated provenance and geo x refs in TMS
- added catalog entry as a text entry in TMS
- cut: On each bracelet, eight strips of plain sheet gold alternate with seven rows of undulating gold wire held in place between them. Each strip is outlined with one or two twisted wires, and on the outer edges of the bracelet there are three twisted wires. On both the top and bottom edges of the bracelet the two outermost strips of sheet gold and the two adjacent rows of undulating wire stop at the point of a semicircle. The grouped rows terminate at both ends in lunate plates framed by twisted wire. The central four strips, with their associated three rows of undulating wires, continue to a nearly full circle, but only the two central strips, and the single undulating wire between them, complete the bracelet's full circle and are hinged to the central four strips on the other end. Gold rectangles, decorated with bossess encircled with decorative wire, are laid laterally across both ends of the grouped four strips. On piece "A" the silver hinge pin still bears its looped head.
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
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
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.
TEACHING IDEAS
RULES
Apply to objects where number equals 1991.75.7.1
Category
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General Description
In antiquity, bracelets were usually worn in pairs. However, the number of surviving Greek and Etruscan bracelets is surprisingly small. In contrast to another bracelet in the Dallas Museum of Art's collection (1991.75.9), the deft execution of this pair is admirable (see the companion piece: 1991.75.7.2). Each bracelet is composed of a rectangular band with narrower extensions at both ends, decorated with long strips of openwork filigree running alongside strips of plain sheet gold. The undulating gold wire used for the open filigree work is a noteworthy decorative device of Etruscan metalwork of the Orientalizing period.
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), 37-38; 128.
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 provenance and geo x refs in TMS
- added catalog entry as a text entry in TMS
- cut: On each bracelet, eight strips of plain sheet gold alternate with seven rows of undulating gold wire held in place between them. Each strip is outlined with one or two twisted wires, and on the outer edges of the bracelet there are three twisted wires. On both the top and bottom edges of the bracelet the two outermost strips of sheet gold and the two adjacent rows of undulating wire stop at the point of a semicircle. The grouped rows terminate at both ends in lunate plates framed by twisted wire. The central four strips, with their associated three rows of undulating wires, continue to a nearly full circle, but only the two central strips, and the single undulating wire between them, complete the bracelet's full circle and are hinged to the central four strips on the other end. Gold rectangles, decorated with bossess encircled with decorative wire, are laid laterally across both ends of the grouped four strips. On piece "A" the silver hinge pin still bears its looped head.
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
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1991.75.7.1
source file
object_notes_2_b-0108.xml.nores