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Etruscan

DIETRICH

VON

Pectoral

BOTHMER

CuratorofGreetandRomanArt

whichhasnow yearago the Museumacquireda goldpectoral,or breastplate, exhibition goldandsilverobjectsin a provisional joineda selectionof otherclassical in lastyear'sAlnnualReport on the secondfloor.Thispectoralwasbrieflymentioned were theillustrations butsincein bothinstances issueof Alrchaeology, andtheJanuary following the small,andsincethe objecthasneverbeenproperlypublishedbefore, greaterdetail. it in somewhat accountpresents or crescentshape.Madeof a singlesheet is of horseshoe Thepectoral(Frontispiece) of verythingold-not thickerthanthreetenthsof a millimeter-itmayhavebeen of cupricchlorideacrossthe shortlapelssugfastenedto a tunic.Greendiscolorations gestthatit mayhavebeenheldin placeby bronzefibulas.Goldso thincouldhardly havebeenwornlikenormaljewelryandmusthavebeendestinedfor the tomb.The in low relief; withnarrowrowsof animalsandornaments entiresurfaceis decorated withstampsintothegoldsheetplacedfacedownin pitch.Minor thesewereembossed in the angleand can be explainedby differences amongthe impressions variations sheetwashit too the instances In several whenthe stampsstruckthe metal. pressure thatbecomevisiblewhentheobjectis heldagainst in tinyperforations hard,resulting the light.The edgesareslightlyfrayedandweresomewhatcrumpled. carats,andis of thenatural Thegoldis verypure,betweentwentyandtwenty-three are testsindicatethattheonlyimpurities alloyin whichit wasmined.Spectrographic silver(betweenfive and ten percent)andcopper(lessthanone percent),the usual foundin ancientgold.Basermetalswereslaggedoffin themeltingprocessS proportions werenot removedby refining,as theyare but in antiquitynaturalsilveradmixtures when today.Overthe centuriesthissilverproduceda silversulphidediscoloration; deposits. andspotsof blackish therewerestreaks firstcameto theMuseum, thepectoral was surface The and benzol. Thesehavesincebeenremovedin a bathof morpholine andwrinkled. whereit hadbeencreased alsosmoothed of andprivatecollections Amidthegreatwealthof ancientjewelryin themuseums the world,onlyoneobjectprovidesanycloseparallelto thepectoral:a goldpectoral A

Contents An EtruscanPectoral DI ETRICH VON BOTHMER

26I

Greek,Roman, c1ndEtruscanJewelry ANDREW

OLIVER,

JR.

269

FRONTISPIECE:

Goldpectoral.Etruscan,earlyv centuryB.C. Heights3S inches (33.7 cm).FletcherFund,65.I I .I O

ON THE COVER:

Pairof Greekarmbands,with a tritonand a tritoness,discussedon page279

26I

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foundin I836 in a tombnearCerveteri,the importantEtruscanand Romancity some thirty milesnorthwestof Rome.The contentsof the tomb arepreservedin the Museo GregorianoEtruscoof the Vatican,and have been namedafter their discoverers,the Archpriestof Cerveteri,AlessandroRegolini,and GeneralVincenzoGalassi.Though about four inches bigger in both width and height, the Regolini-Galassipectoral (Figures2 and 3) iS of the sameshapeas the Museum's,decoratedaccordingto similar principles,andworkedin the identicaltechnique.The sametiny perforations,the same small irregularities, and identicalblackishdiscolorationsappear.No tests have been madein the Vaticanto determineits compositionor to analyzeits accretions,but the two pectoralsare evidently closelyrelated,not only in shape,decoration,and scale, but alsoin materialand technique. The methodof decorationfor both is as follows:startingfrom the edge, the artist addednarrowregistersuntil he reachedthe center.On the Vaticanpectoralthe center is shapedlike an escutcheon,and for this area the arrangementis abandonedfor a horizontalpattern.Sixteendifferentstampswere employed,includingwingedhorses, lions,chimeras,and human beings,and, in the center,stylizedpalmettes.These palmettesareof theso-calledPhoeniciantype,and,like the fantasticanimalsandmonsters, are associatedwith the Orientalizingperiodof Greekand Etruscanart. This period, OP P OSIT E : . Detail of theMuseum'spectoral. whichin Greecebeganin the last quarterof the eighth centuryand lasteduntil the Enlargedzzz .64 thirtiesof the seventh,startedin Etruriasomewhatlater (perhapsabout 700 B.C.) and continueduntil the end of the seventhcentury.It was characterized both in Greece and in Etruriaby the prevalenceof Near Easternornament.It is worthremembering that Etruriawas exposedto Easternart not only throughGreekimports,but also throughNearEasternobjectsthat reachedEtruriadirectly. On the Museum'spectoral,which is smallerand less ambitious,the registersare carriedall the way to the very core, leavingonly a small segmentdecoratedwith palmettefronds.On both pectoralsthe width of the registersis remarkablyuniform. Becauseof the differencein size, the Vaticanpectoralhas severalmoreregistersthan the Museum's.The most significantdifferencebetweenthe two, however,lies in the

THE

METROPOLITAN

VOLUME

XXIV,

MUS EUM

NUMBER

ART

Bulletin MAY

96 6

PublishedmonthlyfromOctoberto Juneandquarterly fromJulyto September. Copyright(P I966 by TheMetropolitan Museumof Art,FifthAvenueand82ndStreet,NewYork,N. Y. Io028.Second classpostagepaidat NewYork,N. Y. Subscriptions $s.ooa year.Singlecopiesfiftycents.Sentfreeto Museummembers.Fourweeks'noticerequired forchangeof address. Backissuesavailable on microfilmfromUniversityMicrofilms, 3I3 N. FirstStreet,AnnArbor,Michigan.Editor-in-chief: Gray Williams, Jr.;Editors:SuzanneBoorsch,AnnePreuss,Katharine H. B. Stoddert,andLeonWilson. Designer:PeterOldenburg. 262

2. Detclilof the Vclticcln pectorcll.Engrclvingfrom Cclv.Luigi GriMi, MonumentidKiCereA>nticcl (Rome, I84I), 3. GoldK pectorcll. Etrusccln, VII century B.C. FromtheRegolini-Gcllclssi tomb,neclrC,erveteri. HeightI 6 Vclticcln, MuseoGregoriano Etrusco 265

pl.

inches(42 cm).

4. Detclilof the Museum'spectoral: goat, enlctrged I :3.43. Lengthof stampI.55 cm

5. Detclil:horse,enlargedI :3.43. Lengthof stclmpI.55 cm

6. Detail: lion, enlargedI :3.43. Lengthof stampI.58 cm

7. Detail:quadruped, enlargedI :3.3. Lengthof stampZ.s5 cm

ornament.On the Museum'spectoralonly six stampswere used. Four of these are animals:an unidentifiablequadruped(possiblya dog) (Figure7), a goat (Figure4), a horse(Figure5), anda lion (Figure6). Aftereachof thesewasusedoncein turn,the quadrupedand goat stampswere repeated.Along the outer edge is a narrowbandof chevrons,and after every two bandsof animalsis placedone of palmettes.On each lapelis an additionalpalmetteand a horse. The lines of dots betweenthe rows,the palmettesin the lapels,and the frondsof the palmettein the centralsegmentwereworkedfreehand.Thereare a few mistakes. In the secondregisterthe spacinghadnot yet beenperfected,so that the frontpartof an odd quadrupedoccupiesthe remainingempty space(Figure7). A horsein another registershowsa correction:first the artistuseda lion stampof the next registerand then overstampedhis error,with the resultthat the lion'slegs and tail arestill visible (Figure8). The horsenext to it hassufferedfroma doublestrike. None of thesestampsis the sameas any usedon the Vaticanpectoral;thereis, moreover, a subtle differencein their style. There are no fantasticcreaturesamong the animals,and they are modeledwith greaternaturalism.The graceful,shell-likepalmettes(FigureIO), whichprovidewelcomevariety betweenthe bandsof animals,are faradvancedover the heavy ornamentsin the centerof the Vaticanpiece (Figure9). The two pectoralssuggestthe transitionfromthe Orientalizingto the Archaicperiod, a transitionthat had alreadytakenplace in Greece,but did not reachEtruriauntil the latterpartof the seventhcentury.Thus the Vaticanpectoralcan be datedearlyin

8. Detail:doublestrikein onehorseandcorrection throughoverstamping in thenext,enlargedI :3.43

267

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Valgcan

the last thirdof the seventhcentury;the one at the Museummust be later,and may perhapsbe datedin the earlysixth century. Placing the ornamentsstylistically,however,-doesnot furnishan answerto the centralriddlesposedby thesetwo objects:wheredid they originate,and how did they come into use?Funerarypectoralsof one shapeor anotherare knownfrom tombsin variouspartsof prehistoricnorthernEurope,all the way fromIrelandto the Balkans, We do not knowenoughabout the transbut arehardlyknownin the Mediterranean. mittal of shapes,customs,and techniquesto be sure how the custom of their use reachedEtruria.The Vaticanpectoralwas foundin an exceptionaltomb, containing materialsof variousperiods,in the heartof Etruria.An unconfirmedreportindicates that ourswas foundfar to the north,in the regionof Novara.Neither of them need is indubitablyEtruscan. havebeenmadewhereit wasfound,althoughthe workmanship The allegedprovenanceof our piece, froman outpostareaclose to the Alpinepasses, perhapsgives a useful hint: pectoralswere traditionalin northernEurope,and the traditionmay havefiltereddownfromthe northinto Italy. If this weretrue, it would help throwfurtherlight on the complexandoften mysteriouscompositionof Etruscan culture.

NOTE

by Luigi nel sec. VII A.C. (Vatican,I947), pp. I90ff., pl. 9. The Vaticanpectoralis fullydescribed Paretiin La Tomba Regolini-Galassidel Museo For the chronologyconsultalso P. J. Riis in Gregoriano Etruscoe la Civilt2dell' Italia Centrale GnomonXXIII

(I95I),

67-69.

Greek, and

Roman, Etruscan

Jewelry

AN D R E W O L I V E R, JR . SsszstantCuratorof GreetandRomanJrt

Modern jewelryis prizedforits pearlsandprecious stones-forthe finecuttingof the stonesandfor theirelaborate setting.Thiswasnot the casein antiquity,when diamonds andrubieswerevirtuallyunknown, andwhenemeralds andsapphires were extremely rare.Thepearlsandtheprecious andsemiprecious stonesthatweresparingly usedin Hellenistic andRomanjewelrywereusuallyleftrough,orif cut,cutcabochon, thatis, in a smoothroundedform. Ancientjewelrywastreasured forits gold,and,to a muchlesserextent,its silver. Goldhadbeenvaluedsinceremoteantiquityon accountof its rarityandincorruptibility.Thesurvivalof GreekandRomangoldcoinsandgoldjewelry,as wellas the reportsof goldvesselsandstatuesoncedepositedin ancienttreasuries but nowlost, revealthe valueplacedon thismetalandthespecialusesto whichit wasput. Silver,on the otherhand,thoughfarmorecommonthangold,corrodes. The vast numbers of ancientsilvercoinsandvesselsthatwe havetodayowe theirsurvivalto theirrelativelysubstantial form.Delicatejewelryof thatmetalcannotbe expected to havesurvivedin quantity,and,indeed,littlehas.Therealreason,however,maybe s. Goldpendantin theform of two thatlittlewasmade.Tarnishing, it wouldsoonbecomeunsightly. Andwhenin contact rampantlions.Mycenaean, ISOO-I200 B.C. Height1X6 inch. withskinforrepeated periods, silvercancauseinfection. Theancients surelydiscovered, Bequestof RichardB. Seager, forinstance,thatsilverearrings werenotsuitableforpiercedears. 26.3I.426 The Metropolitan Museumpossesses a richcollectionof ancientjewelry.To illustratethe tasteof variousperiods,a smallselectionwillbe discussed here.A fewhave beenillustrated elsewhere, butareincludedbecausetheyrepresent periodsnototherwisecovered.Thisis not intendedto be a surveyof the historyof ancientjewelry, but is meantratherto show,withsomesmalltriflingobjects,andsometruemasterpieces,the rangeandvaryingaspectsof Greek,Etruscan,andRomanjewelry. Theearliestobjectto beshown(FigureI) iS a Mycenaean goldpendantin theform of tworampant lions,picturedheretwiceactualsize.It is madein twohalves,stamped in thesamemold,thatformthefrontandback,so thatthelionsarefullymodeledon bothsides.Thesubjectbringsto mindthemonumental scuipture of the twoheraldic lionsoverthegateof thecitadelat Mycenae,on whichtwolionsplacetheirforepaws 269

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ex M :- iR y

2. Drawingshowinghow the pin in Figure3 mighthavebeenused

on the baseof a columnthatstandsbetween them.Thedatesuggested fortheconstruction of the liongateis I250 B.C., but the pendant cannotbedatedsoprecisely because themotif of twoheraldicanimalsoccursin ivoriesand on sealsseveralcenturies beforetheliongate, and alsobecausesomewhatsimilarrepousse ornaments areknownfromearlierMycenaean tombs.The bestrangeof datesfor thisornamentis I500 to I200, the periodwhenMycenaeflourished. Contemporary with the pendantbut from a differentpartof the Mediterranean world is the pin shownin Figure3. Pinshavealwaysbeenstandard itemsof dress,andit is notsurprising to findsomein thisregalmetal. Pins with a hole in the shaftlike the one illustrated herehavebeenfoundin quantity on Syrian,Palestinian, andCypriotsites,and musthavebeenin usethroughout thesecond 4. Goldornament.Melian,VII centuryB.C. millennium B.C. Whether they wereusedin Heighth inch,diameterIh inches.Rogers thehairor to fastenclothingcannotbeascerFund,I2.229.24 tained,buthowtheymighthavesecuredtwo layersof a garmentis illustrated in Figure2. The pin wasprobablycastin a moldin one piece.This examplecan be datedby exca- as the site of manufacture because,out of vatedparallels to aboutthe fourteenthcen- somesixteencomparable examples, eighthave turyB.C., butit is difficultto saywhetherit beenfoundthere. was madein Cyprusor on the Levantine Theornament is ofelectrum, a naturalalloy mainland. of gold and silverthat was often usedfor Jewelrywasscarcethoughnot entirelyab- archaicGreekjewelry.The functionof this sentin GreecefromaboutI000 B.C., thetime pieceis not knownforsure,but it probably of thedisintegration of theMycenaean world, served,togetherwith fouror five others,to until about 800. Then, in the eighthand adorna goldheadband or diadem.It consists seventhcenturies,with colonization andin- of a flatsheetof gold,cut to resemblea sixcreasing contacts withforeigners accompanied petalledrosette.Each petal is edgedwith by a risein prosperity, jewelryagainbecame beadedwireandgranulation, andis further plentifulin Greece.Figure4 showsa mid- ornamented with little rosetteselaborately seventh-century ornamentmadeon one of fashioned withgoldleaf,filigree,andgranutheAegeanislands.Meloshasbeensuggested lation.The headof a griffinrisesup through a collarin the center.Amongthe favorite imaginary beastsof the Greeks,griffinshad the bodyof a lion,the headandwingsof an 3. Goldpin.Cypro-Mycenaean, 1400-1300 B.C. eagle,and the earsof a horse.Threeof the Length2%6 inches.RogersFund,54. 11. 4 littlerosetteshavea holein the center,where, 270

eachorigtiny wreathshownbelow.Twobranches, examples, to judgefromothersurviving clusters several and leaves with twelve inally goldbeeswereonceattached,to giveanaddigold wire. with together bound are of berries, tionalsenseof realism. and fragile, was obviously this like A wreath to the In antiquitya wreathwaspresented as an ornaprimarily it served that it is likely winnerof anathleticcontest;it wasalsocusplacea wreathin a tombto signify mentfor the tomb.The styleis similarto a tomary-to the funerary gold myrtlesprayfoundin a fifth-century the victoriesof life. Sometimes wreathswereof gold.Goldwreathswerealso tombexcavatedby LordElginnearAthens date tothegods. in I804. Thefifthcenturyis a probable asdedications placedinsanctuaries wreath also. ivy for the The leavesor spraysof certaintreesand shrubswerefavoredforthesewreathsbecause Beforethe fourthcenturyB.C., the beads wereusually of Greeknecklaces with Greekdeities:oak andpendants of theirassociation of being instead strings with Zeus,ivy with Dionysos,laurelwith strungon perishable For chains. or metal braids to attached firmly Apollo,and olive with Athena.Myrtlewas the of arrangement the proper and,in addition,had this reason withmarriage associated and fifth-century of sixthelements different of beingwornby initithespecialdistinction forevenin scienis oftenuncertain, of Eleusis.Goldwreaths necklaces atesat themysteries locationof the exact the in the formof oak, ivy, laurel,olive, and tific excavations, in a tomb, fre- 5. Goldivywreath.Greet,v century lying myrtlefirstappearin Greecein thefifthand beadsand pendants for theirdisposi- B. C. Width12 inches.Gift of B.C., but fewhavesurvived. quentlythe only evidence fourthcenturies C. RuxtonLove,Jr., 64.304.7 astheivy tion,is difficultto note,andtheorderhasto natureasaccurately Theyrendered

beheaded by Perseus,andherhorriblevisage becameoneof the classicapotropaic, or evilavertlng,1magesln anclenthmes. Here lt servedastheornament of thecentralpendant of a necklace.Her featuresare renderedin repoussewith certaindetailsin othertechniques.The eyebrows arechased;the second row of curlsis indicatedby filigreecircles, eachcontaining a granule; theteetharea row of granulations; the one remaining earringis a littlediskwitha raisedfiligreeborder. Thestyleof thefacesuggests a fifth-century 6. Goldpendantin theform of a date.Verylikethispendantis anotherin Bergorgoneion. Greet,v centuryB.C. lin, alsoshowinga gorgoneion. It wasfound FromCyprus.HeightIh in a fifth-century gravein Cyprus,a circuminches.The CesnolGI Collection, stancethatconfirms thedateof theMuseum's purchasedby subscription, pendant. 74-5I3397 The silverfibula,or safetypin, shownin Figure7 is a handsome exampleof a semibarbaric type that has beenfoundat many be restoredby guesswork. Hundreds of gold sitesin the Balkansandin northern,but not beadsand pendants,manystrungtogether southern,Greece.Thesefibulasspreadinto arbitrarily in moderntimes,cameto theMu- Greecefromthe north,but evidentlynever seumin the I870S aspartof the collectionof becamegenerally accepted.Mostof themare Cypriotantiquities evidenceindicatesthat formedby GeneralLuigi silver.Archaeological Palmadi Cesnola. Cesnola, whowasAbraham they weremadefromthe late sixth to the B.C., andthisonemaybe Lincoln's appointee as consulto Cyprus,was latefourthcenturies to the mid-fourth centhe firstDirectorof the Metropolitan Mu- datedby comparison tury.The pin that extendedfromthe palseum,fromI879 untilhisdeathin I904. at oneendof thebowto the Mostpendants of thisperiodaresimplyin metteornament theformof littlebuds,nuts,or jars.Feware catchnearthehollowballsat theoppositeend 7. SilverJibulcl(sclfetypin). Greet, as elaborate with as the exampleshownin Figure is missing.Thebowitselfis ornamented IF centuryB.C. WidthI%6 whichhavegiventhename 6. Suspended froma hollownut-shaped bead five"mill-wheels," inches.Gift of JclmesJ. Rorimer, by a shortcollaris a gorgoneion, fibula"to thisclass. the headof "mill-wheel The fourthand thirdcenturieswereper52.36 Medusa.Medusa,one of the Gorgons,was hapsthe most illustriousin the historyof Greekgoldwork.Alexander theGreat'sconqueststowardthe endof the fourthcentury exposedan alreadyflourishing art to fresh ideasandnewmarkets. Thepairof earrings shownin Figures8 and g providesgood evidenceof the technical skillandpatienceof Greekgoldsmiths in this period.The disksat the top are coveredin frontwitha floralrosetteandhavea hooked pin on the backthatenabledthe earrings to beworn.Themainpendantis crescent-shaped andcoveredwithgranules arranged in lozenge patterns.Justaboveit is a representation of .

Nike drivinga two-horsechariot,a masterpiecein miniature.All aboutare palmettes androsettesthatmaskthejoinsof thevarious onfinechains fromthecrescent parts.Hanging threefemalecreaarethreerowsof pendants: in swaddling; tures,theirlowerpartswrapped beads;and five fluted four spindle-shaped nutsor litmeantto represent beadsperhaps tle jars. werefoundin AsiaMinortoTheearrings getherwith two pairsof bracelets,several the anda sealring,alldating-from necklaces, late fourthcentury.Otherexamplesof this

IR of one of the 8. Enlargement in Figure9 eclrrings

111 U1

9. Pclirof gold earrings. I V centuryB. C. Greet, FromSsic/Minor.Length 48.I

1.2,3

i | |

type of earringare known:anotherpairin this Museumwasfoundat Madytoson the a pairin Londoncame Gallipolipeninsula; pairin Istanbul fromCrete;a fragmentary shore wasfoundat Rizeon the southeastern of the BlackSea; and severalother pairs, in the werediscovered nowin theHermitage, Scythiantombsof SouthRussia.It is evident weremade,most theseearrings that,wherever were exportedto customersliving on the fringeof the Greekworld. northwestern The exportof Greekjewelryofteninflu273

of beingmadein one piece,and therefore rigid,it is composed of threesections:a rectangular centerpiece, thesettingfora garnet, and two armsthat form the curveof the bracelet.Theframeforthegarnetconsistsof thinstripsandbeadedwire.Thetwoarmsare hingedto theoblongmount,andaremovable. The knobbedportionsof eacharm,donein repousse, andframedaboveandbelowby thin strips,are curiouslyzoomorphic and appear to represent caterpillars - perhaps anamusing touchonthepartof thegoldsmith. Wireloops at the two extremities enabledthe bracelet to be secured.A third-century dateis likely. so. Pairof gold andglass bracelets. encedforeigntaste.In thefourthcentury,for The piece came to the Museum together Greet, IV or earlyIII century instance, nearlycircular bracelets withanimalwith other bracelets and earrings that are B.C. Diameter 2% inches. Harris headSnialswerepopular withthe Achaemesaidto havebeenpartof a hoardof jewelry BrisbaneDict Fund,57.I I . 8,9 nians.Theywerederived fromGreekbracelets discovered in Thessalyin the late I920S. The of this shapethat had beenmadesincethe majorpartof thishoard,famousbecauseit is Archaicperiod.A fourth-or third-century oneof thelargesttreasures of classical jewelry Greekpairis shownin FigureIO. In theEast everfound,is in Athens,in theStathatoscolsuchbracelets werewornby bothmenand lectionin the NationalMuseumandin the women,but in Greecetheywereornaments BenakiMuseum. Theevidenceby whichthis solelyforwomen.Whereas mostof theAchaebraceletis associated with that hoardis cirmenianexamples haveplainroundhoops,the cumstantial, but thestyleis comparable, and majorityof the survivingGreekexamples thestorymaywellbe true. havespirallyflutedhoopsor hoopsof thick The knot of Herakles - two interlocking tWlSteC . Wlre. . .. l1S palr 1S un1que 1none re- loops- was a popular motifin ancientjewelry spect:thebodiesof thebracelets arecomposed fromthe timeof Alexander the Greatto the of blueglass.Theglassis spirally grooved,and RomanImperialperiodand beyond.It was is boundwithtwistedgoldwire.Theendsare calledby thatnamebecause no endswereviscappedwithSnialsin theformof lionsheads, ible,makingit exceedingly difficultto untie. andthecollarsbehindtheheadsaredecorated In the diademshownon the oppositepage, with Sligreepalmettesand laurelwreaths. a knot of Heraklesformsthe centralornaThroughtime the glasshasacquireda gray ment.Theloopsareedgedwithtwistedwire, surface,butwhenfreshtheeSectof the blue I I . Gold bracelet. Greet, III and theirendsareconcealedby rectangular centuryB.C. Width3h8 inches. againstthe goldmusthavebeenstunning. plaques. In thecenterof theknotis a faceted A diSerenttype of braceletis represented Purchase, JosephPulitzer garnet,framedby a palmette.Arranged symby the exampleshownin FigureI I. Instead Bequest,45.I I .9 metrically aboutthe loopsarefourlittlegarnetsandfourgoldrosettes.The sideplaques arebordered withtwistedwireandlittledisks, andarefringedwithfiligreezigzags.Attached to the lowercornersnearthe loopsare two setsof pendants,eachwith threepomegranatessuspended by finechainsfroma satyr's mask.Thenarrow bandsofgoldleafextending diagonally on eachsidewerefoundwith the centralornament andbelongto the diadem, buttheywerenotnecessarily arranged in this fashion. .

I2,

Golddiadem.Greet,lateIV or III century.c. Fromtheislandof Ithaca.Widthof central piece2%6 inches.Purchase, JosephPulitzerBequest,58.11.5

I3.

simplediademcompared withSapphoin ancientsources.The associaThisis a relatively to some of the richlydecoratedexamples tionof the twonamesis actuallyto be found ForLaodamia literature. known,butnonehasso curiousa history.In onlyin Renaissance Italian a sixteenth-century the earlynineteenthcentury,the Ionianis- teguerri-Petrucci, off thewestcoastofGreece,had poetof Pistoia,andSappho,the ancientpoet lands,situated by AgnoloFirencomeunderBritishprotection,andbecause of Lesbos,werecontrasted of theirlocationtheybecamea favoritestop- zuolain hisDialogodellebellezzedelleDonne, An ancient onehavingthe virtueof purelove,theother pingplacefor Englishtravelers. on oneof the theviceof unwholesome love.Thisworkfirst cemeteryhadbeendiscovered was appearedin I548 but was reprintedmany islands,Ithaca,andits casualexploration pastime. timesthroughthenineteenthcentury.It was foundby manyto be an agreeable of thesetwonames thejuxtaposition In DecemberI 8I 2, an amateurexpedition probably Dialogo thatinspiredthe inby JohnLee,a travelingfellow in Firenzuola's wasarranged University,to dig on Ithaca. scriptionon the diadem. of Cambridge The spoilsof the Ithacadig weredivided FourfriendsjoinedLee, one of whomwas Stackel- amongthefinders.Lee'sshare,whichdidnot BaronvonStackelberg. OttoMagnus bergwasengagedwith Cockerellandothers includethe diadem,passedto the Societyof andin I920 to the BritishMuthe sculptureof the temples Antiquaries, in transporting another seum.Whofirstobtainedthe diademas part at AeginaandBassaeto Zakynthos, we do know,howof the Ionianislands,wheretheyweresubse- of his shareis uncertain; Britquentlyboughtby the Glyptothekin Mu- ever,thatGeneralSirJamesCampbell, of the IonianislandsfromI8I4 nichand the BritishMuseum,respectively. ishGovernor of thediademthree and the rest of the to I8I6, wasin possession Lee and Stackelberg hunt, yearsafterits discovery,for H. E. Bunbury luckin theirtreasure partyhadexcellent withseveralsuperbsilverves- receivedthe piecefromCampbellin I8I5. beingrewarded in the Bunburyfamily selsanda quantityof finegoldjewelryamong Thediademremained whichwasthediademnowin theMetropoli- untilthe I930S. Then,in I958, afterhaving tan.Theywereevidentlyin highspiritsas a changedhandsseveraltimesin the intervenyears,it wasacquiredby the inscribed, ing twenty-odd resultof theirsuccess,andsomeone Laodamia and Museum. Sappho of Metropolitan names the a joke, as in theform s4. Pairof goldearrings weremade typesof earrings in Greekcapitalson the backof the diadem. Manydifferent III century of doves.Greek, having those and period, in name Hellenistic the common in was a Laodamia Although .c. HeightI1X6 inches. especially been to have seem birds associated of is form name the that of no girl antiquity, FletcherFund,25.78.39,40 popular.A pairin theformof dovesis shown at the left. Separategold sheetswereused forthe twohalvesof eachbird,whilea third, sheetservedasthetail.Thewings, fan-shaped, tailfeathers,andcollarwithrosettependant aremarkedwith twistedgoldwire.A cylindricalbaseundereachdove,aswellas a roswithgold etteabove,arelikewiseornamented wire.The loopedpin is tightlyboundwith goldwirewhereit is solderedalongthe seam on topof thedove. Madein thesamemanneras the doveearin theformof adolphin ringsisa singleearring (FigureI6), formerlyin the collectionof

tude separate two halves off;0;0000000000itiQi;t; leaping gold ffi;0000000030000000000000000000000Xti00000000000 from sheets. t00000000000000;000 gold through t$iVt :00000 ti000000000 sheets; i iThe iTft?f00 0f00 inches. the Rogers scales Fund, 43 .ZZ. 9waves. the are fins Strung indicated at the |

Richard Norton,Director of the School ofClasslcal Studles lnRomefromI 899 to I907. Thebodyofthedolphin wasmadein

American _ _ l

side,therosettes surrounding theeyes,and thepalmettes in frontandat thetailareof

between theclasps andthesimple goldchain | of thenecklace areseveral whiteandpurple | glassbeadsframed withgoldcollars. Colored glassandsemiprecious stones areusedincreasinglyafterthefourthcentury, andtheprac- __ ticecontinued through Roman Imperial times. Thepairof earrings withpendants in the ;00<

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withtwistedwire,andtheeyesthemselves arerendered by littlehollowballs.Several closeparallels areknown,onepairsaidto be fromTaranto in southern Italy.A South Italianprovenance is suggested forthisearringalso. Dolphins withtailsin theair,likethisone, occurassupports forstatues of Poseidon and Aphrodite. Theconnection withPoseidon is obvious; theassociation withAphrodite isnot accidental butisanallusion toherbirthfrom thesea.In thisearring thedolphin shouldbe considered asa symbolof Aphrodite and,as such,anappropriate ornament fora lady. Dolphlns appear alsoas theclaspsof the goldnecklace illustrated at theright.They arefashioned of thingoldsheets,not solid nuggets, andareshownin thefamlllar attl-

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z5. Goldnecklacewithglassbeads.Greet,Iss or sI centuryB.C. Lengths4S inches. Rogr; Fund,S7 2Scl.r>7

Goldearringin theformof a dolphin.Greet,ssI or II centuryB.C. LengthSS 277

Erotes(FigureI7) weresaid formof hovering to havebeenfoundaboutI900 nearRhodovanion Creteat the site of ancientElyros. Theywerethegiftin I930 of Mrs.AlbertM. of EgyptianArt Lythgoe,wifeof theCurator whoretiredinI929. Thewingedfigureof Eros pendantsin Greek is one of the commonest but thequalityof modandRomanearrings, elingin this pairis far betterthanin most cape,and others.EachEroswearsa billowing carriesan oinochoeanda torch,the end of which-ismissing.TheSguresarecastsolidin onepieceexceptforthearms,whichareadded separately.The wingsand capesare hamblades. meredsheets,attachedat theshoulder pinsand The disksthathid the attachment areborfromwhichtheErotesaresuspended deredwith twistedwire,andhavea central tonguesof gold. rosettemadeof overlapping goldring Erotesalsooccurona magniScent of the thirdor secondcenturyfromCyprus (FigureI 8); like the gorgoneionpendant mentionedabove,it is partof the collection formedby GeneralCesnola.A of antiquities

B.C. III century in theformof Erotes.Greek, 7. Pairof goldearrings FromCrete.Height2 inches.Giftof Mrs.HIbertM. Lythgoe, 30. I I 6. I ,2

Greet,III or 8. Goldringwith clnclmethyst. Height II centuryB.C. FromCyprus. purchased Collection, 1%6 inch.TheCesnola 74.51.4074 by subscription,

278

Spittl trmintlR r- n

largeamethystis containedin a box setting richlyornamented with beadedand twisted wire.TheErotes,arching backward, formtwo sidesof the hoop.Witharmsandwingsupraised,andfeet plantedsquarelyon the spirallyboundwirethatcompletes thehoopbelow,theErotesactassupports forthesetting. Over his rightshouldereachEroswearsa bandolier hungwithlittlependantballs.The detailsof the figuresand the ornamentare considerably blurredthroughconstantwearing,asonewouldexpect,andit is becauseof theeffectsof wearthatmostrings,unlikethis elaborate example,areof simpledesign. A ringof verysimpledesignandsetwitha largepolished garnet(FigureI9) wasrecently givento the Museum.The ovalsettingis in severaldegrees,andis plainexceptfor one step,nearthewidestspreadof thebezel,that is hatchedall around.The ringis reported tohavebeenfoundin a tombonMelosin July of I825 by a nativeof the island.Thefinder soldit a yearlaterin Smyrnato anAmerican, GriffinSmith,who wasactingin behalfof

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havebccrwornollthcuppcr arlll,foronly _ sg. Goldringwitha garnet.Greet, III or II centuryB. C. FromMelos.HeightI M inches. Giftof Mrs.HarrietW. McKimField, 62.42

20.

Pairof gold armbands witha tritonanda tritoness.Greet, III century B.C. Heightof thetritonarmband 5h inches, heightof the tritonessarmband6H inches.RogersFund, 56s I .5,6

279

2I.

22.

sense.Little staples (just visible over the elbow of the tritonessand above the draperyof both figures),were attached to the wearer's dressat the shoulderto preventthe armbands fromslippingdown to the elbow. Whatwe callEtruscanculturefirstappeared in CentralItaly about700 B.C., andit is in the seventh century that the earliest Etruscan jewelrycan be dated. Goldsmithsof Etruria wereby no meanslessaccomplishedthantheir Greek contemporaries,but their early jewelry, althoughemployingessentiallythe same techniques,has a particular,and sometimes barbaric,flavor. The gold fibulashown at the left is among the earliestpieces of Etruscanjewelry. It is GoldJibula(safetypin). Etruscan,VII centuryB.C. Length2 inches.Fletcher actually a translationinto gold of a fibula commonin bronzein Etruria.The gold sheets Fund,3I .I I.I of the bow and the long catchfor the pin are coveredwith hundredsof granulesarranged in zigzagsandcomplicatedmeanders.In style, the fibulacloselymatchesthe goldworkthat hasbeenfoundin the rich tombsof Pracneste and Cerveteri,and may be dated to the seventh centuryB.C. Later,in the sixthandfifthcenturies,Etruscan jewelry became increasinglyinfluenced Pair of gold earrings.Etruscan,VI or early v centuryB.C. HeightIS inches. by Greek motifs, as the pair of earringsin RogersFund,59.I I .2 I ,22 Figure22 illustrates.The rosettesand flowers, symmetricallyarrangedin a square,and the palmetteon top in whichtwoharesarecrouching areborrowedfromthe extensiverepertory of Greek ornament.The earringsthemselves are composedof a gold strip, folded so as nearlyto makea cylinder.The pin is attached to one end of the strip, and is maskedby the openworkpalmette. Earringsof this design werecommonin Etruriain the sixthandearly fifth centuries.No two pairshave quite the call them samepatterns.Italianarchaeologists orecchinia baulebecauseof their resemblance to a valise. can Hares,similarto thoseon the earringsS be seen on an Etruscandiademcomposedof twelve rectangularplaques(Figure23). They are joined to each other by means of two strings that pass through tubes on opposite sidesof eachplaque.The hares,twenty-fourin all, crouchbesideblossomsemergingthrough

280

23, 24. Golddiademanddetailof oneplaque.Etruscan,earlyv centuryB.C. Lengthsoh inches, lengthof plaque1S6 inch.RogersFund,47.sZ.so

A roundedpuncheonwas collars. Birdsperchontopof theflow- madeindividually. tubular the designinto a goldsheet used to hammer crushed pieceshavebeen ers.Theindividual of placed overa core,perhaps which had been a disarrayed the diadem places, giving in many look today,but in antiquitythe birdsand pitch. A pointedinstrumentproducedthe of dots.At somestage,thesheet haresmust have been moreclearlydistin- background guishableagainstthe blossoms.Similardia- wasfoldedoverintoa tube,anda flutedcollar a lenticular beadwasaddedat one demsexistin the FoggMuseumat Harvard embodying in theVaticanMuseum,andin a endof thehoop. University, privatecollectionin New York,andareall The pairof earringsshownin Figure26 of theGreekdesignof disk working exhibitsinfluence goldsmiths theproductsof Etruscan in the earlyEfthcenturyB.C. andpendant.Here,the centralpendantis a in theformof a tubularhoopwere garnetcut cabochonand mountedin gold Earrings inEtruriaduringthefourthcentury. collarsaboveand below.Chainsendingin common Figure25 showsoneofseveralpairsthatcame flowersor budshangon eitherside.Above, to the Museumin I895 aspartof the exten- set in the centerof the diskthatshieldsthe andRomanjewelry pin, is a smallergarnet.Gold granulations ofEtruscan sivecollection formedby SamuelT. Baxter.The embossed covertheserrated edgesof thedisk.Earrings of anacan- of thistypearecommonin Etruscanjewelry oneachearringconsists decoration thus stalkborderedby wave patterns,but of the thirdandsecondcenturies.Theirabpointthewayto Romanjewtheyarenotidenticalin detailalthoughobvi- stractornaments ouslyof the samegeneraldesign.Eachwas elry,in whichgeometricformspredominate.

B ELOW: 25.

Pair of gold earrings.Etruscan, centuryB. C. HeightZM in thecollection inches.Formerly of SamuelT. Baxter. by subscription, Purchased IV

95.IS.I82,I83 26.

Pair of gold earrings.Etruscan, III or II centuryB.C. Height in the ZM inches.Formerly collectionof SamuelT. Baxter. by subscription, Purchased 95.Z5.20I,202

__,, _l At ljEing the border. incorporated Caeaa ends | period s ofFigure thehave ;into chain, The 29 been E and of two ustne shows Etruscan an necklaces found ; and gold ornament. an -set corns illustrated forming ewelry. aureus into 1n * thts The on pendants. part t7 wav these of pracmav the pages ofgo _

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- In the RomanRepubliclavishuseof jewelry was frownedupon and in some cases * * the Augustan by law.Not untll prohlb1ted periodwasjewelrymadein quantity.In style of lateHellenistic it is the logicaldescendant

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twowidespread 27 and30)represent (Figures types of Romannecklace,one havinggold

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aagl_

w eelsstudded the clasp,aretwo openwork withgoldballs.Necklaceswithsimilarpendantsandwheelshavebeenfoundat Pompeii. Both necklacescan be datedin the firstor secondcenturyA.D thependanttakes he formof a Sometimes goldcoin,mountedandframedby a cut-out

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EmperorPhilipthe Arab,whoreig from A.D. 244 to 249 It is likelythatthe coinhad formanyyearsbeforebebeenin circulatlon

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backto thefirstcenturyA.D., forcoinsof that

A.D. Length Goldnectlacewithpearlsandberylbeads.Roman,I or II century D. Pratt,25.I92.I inches.Giftof George I3

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A.D. withpearlsandberylbeads.Roman,II or1ll century z8. Pairofgoldearrings bysubscrzptzon, purchased Collectzon7 TheCesnola I % znches. Length 74-5I-39483949

282

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here nola The

necklace collection. (Figure

28)illustrated Ais cut-out an

example ingold Figure selected crescent

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Jf PA?ilip tEzeArab.Roman,1ll centzgry A.rV. Diameter a gzsreza

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_ Pomponius, a Romanjuristwhoflourished in the Srsthalfof thesecondcentury,andwho is quotedin Justinian's Digestof Laws,men- _ tionsthatgoldandsilvercoinswerehabitually usedasornaments. Themajority ofsuchpendants,however,havecoinsof the thirdand __ fourthcenturles A.D. _

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itscounterpart in earrlngs, andthepalrshown randomfrommanysimilaronesin the Museum'scollection.Withnumerous variations, _ the typehasbeenfoundat manysitesof the _ RomanEmpire.Thispairwasfoundin Cyprusandcameto the Museumwiththe Cesattachedto the pin, whilepearlsand beryl beadsarethreaded togoldtriangular pendants __ below.Suchearrings wereprobably inexpensiveobjectsandmusthavebeenmadeinquantity duringthesecondandthirdcenturies. _t FlaviusVopiscus,the blographer of Aurelian(Emperor fromA.D. 270to 275),recorded __ thatit wasduringhisreignthatsoldiers were firstpermittedto wearfibulasof goldinstead _ simplyof silver.Thefibulaillustrated in Figure31, discovered at Arezzoin 1866,is prob- __ ablythesortreferred to. It is of thecrossbow type,havinga bowwitha catchat oneend, and a transverse memberat the other, whichthepin (nowmissing) washinged.The cross-plece is decorated withhollowballsand two cut-outdolphins.Bronzefibulasof type werecommonin the thirdandfourth _x_ centuries. It isnotthegold,however,thatsets _

| |

Sil

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to -

this _

Goldfbula (safetypin). Roman, earlyIV centuryA.D. Length 2 inches.Formerlyin the collectionof SamuelT. Baxter. by subscription, Purchased 95-I5I '3

this fibulaapartfrommost others,but rather the Latin inscriptionengravedon both sides SEMPER AUGUSTE of the bow: HERCULI Augustus,may you always V I N C A S (Hercules conquer). A brief historicalresume is necessaryto interpretthe inscription.In A.D. 293, the EmperorDiocletianenlargedthe governmentby creatinga tetrarchy,a formof administration havingfourrulers,two co-regentsin the West with the titles "Augustus"and "Caesar,"and two in the East with the same titles. Diocletian placedthe Easternbranchof the tetrarchy underthe protectionof Jupiter,and the WesternbranchunderHercules.The inscription on the fibularefers,therefore,to a ruler in the Westwith the title of Augustus.There are a numberof possiblecandidates.A stylistically similarfibulain Turin, bearingan inscriptionwith the nameof Constantine,makes it highlyprobable,however,that the inscription on this fibulaalso refersto Constantine. He becamea memberof the tetrarchywith the title of Caesarin 306, and assumedthe title of Augustusa yearlater.In 3I 0, he abandonedHerculesas his protector,and adopted Sol Invictus instead. Constantinecan only have used the title "HerculiAuguste"from 307 to 3Io, and the fibula, which probably belongedto a high-rankingsoldierin his command, must have been made during those years.Jewelrymademuchlater than this fibula cannotproperlybe calledRomanbecause 284

in 325 Constantineonce againtransferredhis allegiance,givingup Sol Invictus to proclaim Christas his protector,and we may say with good reasonthat this momentousact marked the closeof the age of classicalantiquity. NOTES

AND

REFERENCES

Dietrichvon Bothmernoticedthe juxtaposition andSapphoin Branof the namesof Laodamia tome'sViesdes Dames Galantes,and fromthere it waspossibleto tracethe namesto the original reference. sixteenth-century The Museum'scollectionof classicaljewelry hascomefromdifferentsources.A largeamount Greek,and Romanjewelryfrom of Mycenaean, Cypruswasacquiredwith the Cesnolacollection in volumeIII of in I874. Muchof it is published 4 DescriptiveAftlasof the CesnolaCollectionof in The MetropolitanMuseum CyprioteAMntiquities of Afrt(New York, I903). A smallercollection,

of EtruscanandRomanjewprimarily composed elry, formedin Florenceby SamuelT. Baxter, wasacquiredin I895. Only a portionhas been Sincethenmanyexcellentpieceshave published. cometo theMuseumby giftorthroughpurchase, and the best have beenillustratedin Christine Jewelry,The Afrtof the Goldsmithin Alexander's ClassicalTimes (New York,I928), in her Greek and EtruscanJewelry(New York, I94I), and in G. M. A. Richter'sHandboot of the Greet ColA good handbookin I953). lection (Cambridge, Englishon classicaljewelryis R. A. Higgins's Greet and RomanJewelry(London,I962). The recentexhibitioncatalogueby H. Hoffmannand GoldJewelryfrom the Afge P. F. Davidson,Greek (Brooklyn,I965) givesan excellent of AMlexander accountof Hellenisticjewelry.

THE

METROPOLITANMUSEUM

ART

BOARD OF TRUSTEES RobertLehman,Vice-Pre.<ident

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r h cnucth Loughry, Treasurer

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AMERICAN PAINTINGS AND SCULPTURE: Robert Beverly Hale, Curator.Albert TenEyck Gardner, Henry Geldzahler, and Stuart P. Feld, AssociateCurators AMERICAN WING: James Biddle, Curator.Berry B. Tracy, Associate Curator. Mary C. Glaze, AssistantCurator

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THE COSTUME INSTITUTE:

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EVENTS:

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FAR

AND ROMAN ART: Dietrich von Bothmer, Curator. Brian F. Cook, Associate Curator.Andrew Oliver, Jr., AssistantCurator

GREEK

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ART:

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AND THE CLOISTERS: William H. Forsyth, ResearchCurator. Vera K. Ostoia, AssociateResearchCurator.Carmen Gomez-Moreno, Assistant Curator.Thomas Pelham Miller, ExecutiveAssistant,and Bonnie Young, SeniorLecturer,The Cloisters MEDIEVAL

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INSTRUMENTS: Emanuel Winternitz, Curator A. Hyatt Mayor, Curator.Janet S. Byrne and John J. McKendry, Associate Curators.Caroline Karpinski, AssistantCurator

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WESTERN EUROPEAN ARTS: John Goldsmith Phillips, Curator.Carl Christian Dauterman, AssociateCurator,Ceramics,Glass, and Metalwort. JamesParker, Associate Curator, Furniture and Woodwork. Edith A. Standen, Associate Curator, Textiles. Yvonne Hackenbroch, Associate Research Curator, Goldsmiths' Wort. Olga Raggio, AssociateResearchCurator,RenaissanceArt. Jessie McNab Dennis, AssistantCurator

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