GENERAL DESCRIPTION
One of the most popular types of Etruscan jewelry is the fibula, a garment fastener consisting of a straight pin coiled to form a spring at one end, a catchplate that secures the pin at the other end, and a decorative element that holds pin and catchplate together.
Typologically, this fibula belongs to the same group as 1991.75.2, though the curved, separately made extension of the catchplate assumes the shape of a pair of horses' heads, and the hollow bow features a very different type of added decoration. The bow of this fibula is covered with pieces of flat gold wire in longitudinal rows. Each piece, made of a narrow strip of sheet gold with slightly raised edges, curls under on both ends in little loops. Incorporated into the overall design on both sides of the bow is a floral projection in the shape of a stylized rosette. These rosettes are constructed of two radiant circles of curled strips of gold, a smaller one atop a larger one, with a gold pellet in the center. A small section of the underside of the bow, surprisingly, reveals granulated ornaments.
Excerpt 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), 34, 122.
NOTES
READ
- updated provenance and geo x ref
- added publication as a text entry in TMS
- cut: The front of the catchplate is decorated with granulated double lines forming palmette-shaped ornaments, and a straight double line marks the lower edge. Covering the join of the curved extension to the end of the catchpate is a cuff decorated with granulated zigzag lines framed by twisted wire. The top of the catchplate is covered with the same curled strips as on the bow, which continue over and around the curved extension. The stylistic diversity of the bow, catch, and finial is remarkable.
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 1991.75.3
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General Description
One of the most popular types of Etruscan jewelry is the fibula, a garment fastener consisting of a straight pin coiled to form a spring at one end, a catchplate that secures the pin at the other end, and a decorative element that holds pin and catchplate together.
Typologically, this fibula belongs to the same group as 1991.75.2, though the curved, separately made extension of the catchplate assumes the shape of a pair of horses' heads, and the hollow bow features a very different type of added decoration. The bow of this fibula is covered with pieces of flat gold wire in longitudinal rows. Each piece, made of a narrow strip of sheet gold with slightly raised edges, curls under on both ends in little loops. Incorporated into the overall design on both sides of the bow is a floral projection in the shape of a stylized rosette. These rosettes are constructed of two radiant circles of curled strips of gold, a smaller one atop a larger one, with a gold pellet in the center. A small section of the underside of the bow, surprisingly, reveals granulated ornaments.
Excerpt 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), 34, 122.
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 ref
- added publication as a text entry in TMS
- cut: The front of the catchplate is decorated with granulated double lines forming palmette-shaped ornaments, and a straight double line marks the lower edge. Covering the join of the curved extension to the end of the catchpate is a cuff decorated with granulated zigzag lines framed by twisted wire. The top of the catchplate is covered with the same curled strips as on the bow, which continue over and around the curved extension. The stylistic diversity of the bow, catch, and finial is remarkable.
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
1991.75.3
source file
object_notes_2_b-0112.xml.nores