Search results

1

“When the Stars are Glittering with Gold up in the Sky...”. Jewellery Metaphors in Descriptions of the Sky Phenomena in Roman Literature

100%

Piętka R.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

275-291

EN

The paper traces the use of metaphors and comparisons concerning jewellery in the descriptions of the sky in Roman literature, most of all in poetry. As it is shown in the paper, many of those poetic devices served as a means highlighting the vividness and perfection of the natural sky phenomena. Analysis of jewellery imagery helps also to demonstrate the occurrence of some changes in descriptive conventions and aesthetic attitudes in Roman literature.

2

„Kiedy gwiazdy się na niebie złocą…” Metaforyka jubilerska w rzymskich opisach nieba

100%

Piętka R.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2015

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vol. 25

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issue 2

35-51

PL

Metaphors and comparisons are typical features of the ancient texts describing celestial bodies, and they can be treated as a part of a broader cultural practice of seeking analogies between earth and sky phenomena, inspired by the microcosm/macrocosm theory. To explain such a practice we can refer to the modern theory of imagination as well, according to which appreciation of nature is based, among others, on the so-called “projective imagination”, transferring mentally the images from the terrestrial reality to the sky. One of the obvious instances of such an analogical thinking is “katasterismos”, mythic narration about the item placed in the heavens as a star or constellation. It appears that among the objects on the sky described as a result of “catasterism” we can find some specimens of jeweller’s craftsmanship (e.g. Ariadne’s Crown as Corona Borealis). This is, however, a specific situation; astronomical descriptions usually emphasize the brightness and perfection of the sky phenomena using above-mentioned poetic devices associated with jewellery. Most popular among them is the metaphoric epithet of “gold”, linked commonly with stars and the sun, but besides this, in the works of Roman authors can be detected more original imagery (e.g. the cosmos as a necklace). It is argued in the paper that this kind of astronomical descriptions can be interpreted against the backdrop of the history of the “visual metaphors of value”, as they were defined by Ernst Gombrich.

3

Considerations on bracelets with “globular” and “pineal-shaped” endings from the Sarmatian period Crimea

88%

Polit B.

Materiały i Sprawozdania Rzeszowskiego Ośrodka Archeologicznego

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2018

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vol. 39

71-89

EN

This work discusses the issue of bracelets occurring in the Sarmatian period in the Crimea, known in archaeological literature as “bracelets with globular, conical, or pineal-shaped endings”. Basing on a group of 57 artefacts from Late Scythian and Sarmatian necropolises, as well as those dated to the Late Roman period, a typological classification of the items has been made. At the same time, on the basis of the chronological analysis of sets containing bracelets belonging to the discussed type, data allowing us to determine their chronological range have been obtained. The question of the provenance of such items, the issue of their occurrences in graves (taking into account the sexes of the buried persons), as well as the methods of wearing them, have been discussed.

4

Beads and pendants from Inqitat (Dhofar, Sultanate of Oman)

88%

Lischi S.

Polish Archaeology in the Mediterranean

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2020

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vol. 29(1)

EN

Archaeological campaigns conducted during 2016 and 2017 at the site of Inqitat (Al Hamr al-Sharqiya), in the area of Khor Rori (Dhofar), produced an interesting assemblage of jewellery of various materials. The characteristics of the site are exceptional because they show traces of occupation from (prehistoric times)/ Prehistory right up to the Islamic period. Its geographical position(location), near Sumhuram, and its socio-political situation explain why bead assemblage here is so important. The use of particular stones indicates the presence of links with the area of the Persian Gulf and the Eastern part of the Indian Ocean. Furthermore, the discovery of some tools used for the production of the beads demonstrates a local production of some of these. The long life of the site could help to identify typical materials of each period thus allowing for a more complete comprehension of Dhofar and of the international connections of the area.

5

Zbiór dzieł złotniczych i biżuterii Leonarda Lepszego w Muzeum Narodowym w Krakowie

88%

Myśliński M., Paś M.

Biuletyn Historii Sztuki

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2013

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vol. 75

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issue 1

71-87

EN

The collection of goldsmithery and jewellery at Cracow’s National Museum contains a group of over 40 works donated in 1903-1913 coming from the former collection of Leonard Lepszy, a known researcher into goldsmithery and material culture in Cracow, lover of monuments, author of many publications on history of art. The collection may have been created starting already from the 1880s when Lepszy held the position of the inspector, and later head of the still-then Austro-Hungarian Hallmark Office. It may have been started with the pieces brought to the Office in order to have them melted either to receive the metal or the money in return. Leonard Lepszy tried to purchase as many as he could of the most precious and interesting works, thus saving them from a total destruction. At the same time the works served him as the grounds for pioneer, systematic research into the hallmarks visible in old silver pieces; e.g. hallmarks cut out from the historic pieces brought to the Hallmark Office in Cracow and Lvov and given to Karl Knies who used them to publish a study on Austrian hallmarks. A part of Leonard Lepszy’s collection was presented in Cracow in 1904 at metal craft exhibition; confrontation of the catalogue notes with the Museum’s archival records allowed for a hypothetical reconstruction of the collection from before 1913 as well as identification of respective works in the Museum’s collection.

6

Těšínské stříbrné krojové šperky

88%

Branna W.

Národopisný věstník

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2008

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vol. 25_(67)

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issue 1

34-38

EN

For many years, the attention of specialists has been aimed at Těšín folk costumes decorated with silver jewellery. They are the result of a gradual diffusion of city jewellers’ products among wealthier countrymen; amateur craftsmen (so called fušeři - dabblers) used to make jewellery for less wealthy people. Jablunkov and Těšín were main centres of this production. Jewellery was primarily made of silver, but copper, tin, lead and later new materials (German silver) were used as well. The most common methods of making silver jewellery were casting (the oldest technology), extrusion and filigree. There are following types of jewellery: hooks, belts, buttons, chains, necklaces and different brooches. Grotesque, arabesque, auriculated and also zoomorphic (lion, bird, lamb) and anthropomorphic (king David, angel) ornaments prevail on the oldest jewellery. Silver belts became the height of art and craftsmanship of Těšín jewellers’ work. The most extensive and comprehensive collection of Těšín silver folk costume jewellery is owned by the Museum of Těšínsko in Český Těšín.

7

Ancient Adornments of Central Asia Influenced by the Greek Jewellery of the Classical and Hellenistic Period

75%

Belaňová P.

Studia Hercynia

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2016

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vol. 20

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issue 1

111-126

EN

Central Asia absorbed the stimuli of shifting cultural influences and for many centuries created an original artistic expression, which can be observed in all branches of arts and crafts. One of these branches is jewellery production. Many pieces of jewellery were largely inspired by the culture of the ancient Mediterranean. The attention of the article is focused on the Central Asia jewellery finds, the production of jewellery and examples of the influence of ancient Greek jewellery of the Classical and Hellenistic period on the jewellery production in Central Asia from the points of view of technology (production and decoration processes), typology (types of jewellery) and iconography (frequently occurring themes as inspirations from the ancient mythology).

8

Symbolische Kommunikation, transkontinentale Handelsnetzwerke, Raubökonomie: Kontexte und Konstellationen der Silberzirkulation und -redistribution zu Zeiten Bolesławs des Tapferen

75%

Adamczyk D.

Wiadomości Numizmatyczne

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2022

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vol. 66

141-166

PL

Panowanie Bolesława Chrobrego cieszy się od wielu lat dużym zainteresowaniem zarówno historyków, jak i numizmatyków. W centrum badań tych pierwszych znajdują się dzieje polityczne jego władztwa, tych drugich jego mennictwo. Zdecydowanie mniej uwagi natomiast poświęca się fiskalnym i prestiżowo symbolicznym kontekstom obiegu kruszcu, który na przełomie X i XI w. składał się niemal wyłącznie z importowanych monet oraz srebra w postaci niemonetarnej, głównie biżuterii. To rodzi wiele pytań: jak dostęp do towarów luksusowych wpływał na sprawowanie władzy? Za jakie ekwiwalenty i w jakich okolicznościach nabywano obce monety? Jak chęć przejęcia kontroli nad sieciami dystrybucji srebra między Miśnią, Pragą a Kijowem w pierwszych dekadach XI stulecia kierunkowała ekspansję Bolesława? Metodologicznie artykuł łączy analizę skarbów z interpretacją źródeł pisanych.

EN

The reign of Bolesław I the Brave has for many years been very popular among historians and numismatists. The political history of his rule is at the centre of the research of the first one, and the history of his coinage of the latter. On the other hand, much less attention is paid to the fiscal and prestigious-symbolic contexts of the circulation of bullion, which at the turn of the 10th and 11th centuries consisted almost exclusively of imported coins and silver in a non-monetary form, mainly jewellery. This raises many questions: how did access to luxury goods affected the exercise of power? What equivalents and under what circumstances were foreign coins purchased? How did the desire to take control of the silver distribution networks between Meissen, Prague and Kiev in the first decades of the 11th century directed Bolesław’s expansion? Methodologically, the article combines the analysis of the hoards with the interpretation of written sources.

9

Tradycyjna biżuteria tybetańska

65%

Greniewska N. W.

Studia Azjatystyczne

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2017

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issue 3

52-60

EN

The purpose of this paper is to present the phenomenon of Tibetan jewellery, its history, characteristics, styles, applied patterns and ornamentation. The work focuses on traditional jewellery, its application, execution methods, tools and materials used by jewellers, as well as on the symbolism, mainly Buddhist one, with broad meaning and often used during execution of the ornaments.

10

Interdisciplinární pohled na zlaté kování z doby stěhování národů z Kounic

63%

Čisťakova V., Beneš Z., Zlámalová Cílová Z., Hanus R., Lapčák L., Msallamová Š., Trojek T.

Zborník Slovenského národného múzea Archeológia

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2022

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issue 116

329-354

EN

The random find of a small piece of gold fitting in the cadastral territory of Kounice, district of Nymburk, is so far one of the few artefacts of Eastern provenance produced with the so-called cloisonné technique in Bohemia. Thanks to the use of archaeometric methods a whole range of remarkable information was found – the utilised stones are garnets from the Central Bohemian Uplands; the manufacturing technique of this jewel is at a relatively low level and it shows perhaps also signs of repairing; the purity of used gold is also relatively low. In terms of style, this object corresponds to production from Black Sea Lowland, but with regard to manufacturing quality it reminds rather Pannonian workshops from about the 2nd third of the 5th century. In the Bohemian region this is an extraordinary find. Nevertheless, according to discovery circumstances, it is possible to think that it represents an accidentally lost piece in the roads between the quite densely populated areas of Prague eastern edge (on the west side) and the drainage basin of the Výrovka river (on the east side).

11

Biżuteria z wczesnośredniowiecznego grodziska w Kamieniu Pomorskim

63%

Górkiewicz-Bucka E.

Materiały Zachodniopomorskie

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2016

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vol. 12

463-481

EN

Abstract: The article presents items generally referred to as jewellery from the early medieval stronghold in Kamień Pomorski. Its aim is a presentation of finds and an attempt to verify the dating of settlement layers.

12

W jednym pierścieniu. Zarys relacji intermedialnych literatury i sztuki jubilerskiej

63%

Suszek E.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2021

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issue 10

33-65

EN

The article is synthetic in character and attempts to outline of multi-faceted, elaborate, but unevenly structured relationships between literature and jewellery art products. Referring to examples of projects from different eras, the author aims to emphasise the importance of these relationships for the development of the two media, and to highlight the significance of examining this field, which has been rather marginalised by researchers so far. Not only does she analyse this issue by using Werner Wolf’s concept of medium and intermediality in the broad sense of the term, which is open to traditional arts, but also examines categories connected with intermediality, including extracompositional intermediality, intracompositional intermediality, and their subcategories. The author does not underestimate the usefulness of the ontological intermediality category; therefore, the conclusion of the paper includes reflection on jewellery-oriented metaphors.

PL

Artykuł ma charakter syntetyczny i stanowi próbę wstępnego zarysu wieloaspektowych i złożonych, choć nierównomiernie budowanych związków literatury z dziełami sztuki jubilerskiej. Autorka, przywołując przykłady projektów z różnych epok, stara się podkreślić znaczenie tych relacji dla rozwoju obu mediów oraz zaakcentować wagę podjęcia studiów w tym zakresie, dotąd dość marginalizowanych. Do analizy zagadnienia przyjmuje teorię medium i szeroko rozumianej intermedialności Wernera Wolfa, którą można aplikować do badań nad tradycyjnymi sztukami. Autorka wykorzystuje więc kategorie intermedialności wewnątrzkompozycyjnej i zewnątrzkompozycyjnej oraz związane z tymi obszarami podkategorie. Nie bagatelizuje jednak przy tym użyteczności kategorii intermedialności ontologicznej, dlatego w finale artykułu podejmuje również refleksję nad jubilerską metaforyką.

13

Kobiecość w pradziejach - ozdoby w kulturze luboszyckiej

63%

Amrozińska P.

Ogrody Nauk i Sztuk

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2015

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issue 5

231-234

PL

Celem artykułu jest przedstawienie ozdób kobiecych charakterystycznych dla kultury luboszyckiej. Omówione zostaną w nim poszczególne elementy biżuterii od przedmiotów noszonych na szyi po te zdobiące dłonie bądź ręce. Dodatkowo zaprezentowane zostaną części stroju mogące pełnić jednocześnie funkcję użytkową oraz dekoracyjną. Badania nad ozdobami kobiecymi łączonymi z kulturą luboszycką są ważnym elementem poznania rzeczywistości okresu rzymskiego i stanowią przyczynek do badań nad istnieniem tejże kultury.

EN

The purpose of this paper is to present women's ornaments characteristic to the Luboszyce culture. The article discusses particular elements of jewellery, from objects worn round their neck to these decorating hands. Additionally will be presented Items of clothing which perform both a utilitarian and decorative function are also presented. Research on women's ornaments connected with the Luboszyce culture are an important element in the cognition of the reality of the Roman Period, and are a stimulus to a study of the existence of this culture.

14

Franciszek Jaworski (1873–1914) – pierwszy historiograf biżuterii polskiej

63%

Letkiewicz E.

TECHNE. Seria Nowa

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2021

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issue 7

107-118

EN

The article concerns the figure of Franciszek Jaworski (1873–1914), a historian, antiquarian, collector, journalist, and journalist from Lviv. His works on Polish historical rings from 1911–1913 are the first to document these items from the end of the 18th century and the 19th century. Especially the work on rings, written in 1913, had a significant impact on the subsequent literature on Polish jewelry. Its author was the first researcher to perceive the ring as an important historical object, a document of the culture of bygone times, seemingly only a small, meaningless object. The items collected in the work Historical Polish Rings were divided by Jaworski into groups arranged chronologically. The four oldest rings related to the decline of the Polish-Lithuanian Commonwealth, and the remaining 114 were related to people and events of the 19th century (the last of the rings was from 1894). The ring typology introduced by Franciszek Jaworski became important for the subsequent systematization of Polish jewelry. Although it was a group of works accidentally collected by him, it became a basis for the next generations to distinguish a new category of jewelry, known today as “patriotic jewellery”. For this reason, Franciszek Jaworski should be treated as the first historiographer who drew attention to the need for research in this unrecognized field with his study.

PL

Artykuł dotyczy postaci lwowskiego historyka, antykwariusza, kolekcjonera, dziennikarza, publicysty Franciszka Jaworskiego (1873–1914). Jego prace poświęcone polskim pierścieniom historycznym z lat 1911–1913 są pierwszymi, które dokumentują te przedmioty, pochodzące z końca XVIII stulecia i z wieku XIX. Zwłaszcza praca o pierścieniach powstała w 1913 roku wywarła znaczący wpływ na późniejsze piśmiennictwo poświęcone polskiej biżuterii. Jej autor był pierwszym badaczem postrzegającym pierścień jako ważny obiekt historyczny, dokument kultury minionych czasów, na pozór tylko przedmiot drobny, pozbawiony znaczenia. Zabytki zebrane w pracy Pierścienie historyczne polskie podzielił Jaworski na grupy uporządkowane chronologicznie. Cztery najstarsze pierścienie odnosiły się do schyłku Rzeczypospolitej, a pozostałe 114 wiązały się z osobami i wydarzeniami XIX wieku (ostatni z pierścieni pochodził z 1894 roku). Typologia pierścieni wprowadzona przez Franciszka Jaworskiego stała się ważna dla późniejszych systematyzacji polskiej biżuterii. Choć była to grupa dzieł przygodnie przez niego zebranych, stała się dla kolejnych generacji podstawą do wyodrębnienia nowej kategorii biżuterii, znanej dziś jako „biżuteria patriotyczna”. Z tego powodu Franciszka Jaworskiego należy traktować jako pierwszego ich historiografa, który swoim opracowaniem zwrócił uwagę na potrzebę badań na tym nierozpoznanym polu.

15

Utworzenie Urzędu Probierczego w Krakowie i jego działalność w latach 1843–1853

63%

Mataniak M.

Studia z Dziejów Państwa i Prawa Polskiego

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2016

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vol. 19

179-198

EN

The article presents the circumstances of setting up the Assay Office in the Free City of Kraków and also its activity in 1843–53. The source base consisted of regulations of the Governing Senate on the organisation and competence of the Assay Office, and documentation related to its activity, being a part of the complex of the Archive of the Free City of Kraków. The fundamental task of the Assay Office was to supervise Kraków jewellers and goldsmiths. The supervision especially focused on gold and silver objects brought for stamping. The office charged fees defined by the government for its services. The article also mentions prosecution of crimes against the assay stamp, which was a prerogative of the administrative authorities: the Senate, and later the Administrative Council and the City Council

PL

W artykule przedstawiono okoliczności powstania Urzędu Probierczego w Wolnym Mieście Krakowie, a także przebieg jego działalności w latach 1843–1853. Podstawę źródłową stanowiły rozporządzenia Senatu Rządzącego dotyczące organizacji i kompetencji Urzędu Probierczego, a także związana z jego działalnością dokumentacja, stanowiąca część zespołu Archiwum Wolnego Miasta Krakowa. Podstawowym zadaniem Urzędu Probierczego było nadzorowanie krakowskich jubilerów i złotników, przy czym kontrola obejmowała zwłaszcza przynoszone przez nich do ostemplowania wyroby ze złota i srebra. Za swoje czynności urząd pobierał opłaty według taksy rządowej. W artykule wspomniano też o ściganiu przestępstw probierczych, co należało do władz administracyjnych: Senatu, a następnie Rady Administracyjnej i Rady Miejskiej.

16

Striving for modernity: The jewellery making in The Second Polish Republic (1918–1939)

51%

Lipczik A.

TECHNE. Seria Nowa

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2021

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issue 7

119-133

PL

Artykuł stanowi próbę opisania sytuacji jubilerstwa w międzywojennej Polsce oraz wskazania głównych problemów hamujących jego rozwój. Omawiając wystawę biżuterii na Powszechnej Wystawie Krajowej w 1929 r., wskazano główne trendy w produkcji, a także najważniejszych przedstawicieli branży. Zwrócono również uwagę na jubilerów, których prace mogą być przykładem poszukiwań polskiego stylu art déco. W oparciu o treści publikowane na łamach krajowej prasy branżowej, która stanowiła główną platformę komunikacji dla rzemieślników i kupców w Polsce, uwypuklono wpływ czołowego na świecie przemysłu francuskiego. Zauważono, że choć jubilerzy w Polsce napotykali w okresie międzywojennym wiele trudności, starali się czerpać z doświadczeń swoich kolegów z Paryża. Dotyczyło to zagadnień związanych z projektowaniem i produkcją biżuterii oraz prowadzeniem działalności gospodarczej. Jako jeden z pierwszych poświęconych tej tematyce, artykuł może stanowić punkt odniesienia dla dalszych badań związanych z biżuterią w latach 20. i 30. XX wieku, nie tylko w Polsce, ale także w Europie Środkowo-Wschodniej.

EN

The article attempts to describe the condition of jewellery making in interwar Poland and to indicate the major problems hampering its development. While discussing the jewellery exhibition at the Polish General Exhibition in 1929, the main trends in the commercial vein, as well as the most important representatives of the industry were indicated. Attention was also paid to the jewellers, whose works might be an example of the search for the Polish Art Déco style. Based on the content published in the domestic trade press, which was the main communication platform for the craftsmen and merchants in Poland, the influence of the world’s leading French industry was highlighted. It was noted that even though the jewellers in Poland faced many difficulties throughout the interwar period, they tried to learn from the experiences of their colleagues from Paris. This applied to issues related to the design and manufacturing of jewellery as well as running businesses. As one of the first devoted to the topic, the paper may serve as reference for further research related to jewellery making in the 1920s and 30s, not merely in Poland, but also in East-Central Europe.

17

Niezwykłe materiały biżuterii art deco - celuloid, galalit, bakelit, akrylik

51%

Letkiewicz E.

Roczniki Humanistyczne

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2017

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vol. 65

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issue 4: Historia sztuki

145-168

XX

Biżuteria art deco, wykonywana z kosztownych metali i kamieni, zyskała w ciągu ostatnich piętnastu lat solidne opracowania. Dużo mniej informacji można natomiast znaleźć na temat ogólnie dostępnych, od lat dwudziestych XX wieku, nowo wprowadzanych materiałów, które z racji swych unikalnych walorów znalazły zastosowanie przy wytwarzaniu biżuterii art deco. Od drugiego dziesięciolecia XX wieku „plastiki” – bo o nich mowa – dzięki przystępnej cenie przebojem zdobywały rynki, docierając do masowego odbiorcy na całym świecie. Przełomu w ich zastosowaniu dokonał Leo Hendrik Baekeland pod koniec pierwszej dekady XX wieku, który jako pierwszy stworzył w sposób chemiczny materiał całkowicie syntetyczny, doskonale imitujący wiele materiałów naturalnych, nazwany od jego nazwiska bakelitem. Przed odkryciem Baekelanda, znane od drugiej połowy XIX wieku były sztucznie wytwarzane substytuty materiałów naturalnych: ebonit, wulkanit, gutaperka, parkesyna, celuloid, xylonit, galalit. Nie wszystkie z nich przetrwały pierwszą wojnę światową, zostały wyparte przez nowe sztuczne produkty. Jednym z nich był doskonale przeźroczysty acrylic, który wszedł na rynki w 1928 r. (znany też pod nazwami: plexiglas, plexi, perspex, lucit). Od roku 1930 w biżuterii zastosowanie znalazł polystyren. W artykule przybliżona została historia najpopularniejszych materiałów sztucznych używanych w biżuterii art deco. Niezwykłych materiałów, sztucznie stworzonych, znajdujących zastosowanie z biżuterii i akcesoriach stroju było znacznie, znacznie więcej. Projektanci biżuterii plastikowej – podobnie jak pionierzy awangardy – czerpali pomysły z najbardziej śmiałych i błyskotliwych kreacji okresu. Tworzona przez nich biżuteria plastikowa stała się ważnym składnikiem ówczesnego życia codziennego i odświętnego, biorąc udział w wykreowaniu oryginalności nowoczesnego stylu lat międzywojennych, zrywającego z romantyzmem szkół końca XIX wieku.

EN

Art Deco jewellery, made of expensive metals and stones, has become a theme for solid studies over the last fifteen years. Much less information can be found on the generally available, since the 1920s, newly introduced materials, which due to their unique value are used in the production of art deco jewellery. From the second decade of the 20th century “plastics – because they are in question – by affordable price hit the market to reach a mass audience around the world. Leo Hendrik Baekeland’s breakthrough came at the end of the first decade of the 20th century. He was the first to create a completely synthetic material, perfectly imitating many natural materials, that was later named after him as bakelite. Before Baekeland’s discovery, artificially produced substitutes for natural materials: ebonite, vulcanite gutta-percha, parkesine, celluloid, xylonite, galith had been known from the second half of the 19th century. Not all of them survived the First World War. Some were supplanted by new artificial products. One of them was a perfectly clear acrylic, which entered the markets in 1928 (also known as plexiglas, plexi, perspex, lucite). Since 1930, polystyrene has been used in jewellery. This article presents the history of the most popular artificial materials used for making art deco jewellery. There were much more unique materials, artificially created, used for production of jewellery and clothing accessories. The designers of plastic jewellery, like the avant-garde pioneers, took their ideas from the most bold and brilliant creations of the period. Their plastic jewellery has become an important part of everyday life and special occasions, contributing to the originality of the modern style of the interwar period and breaking with the romanticism of the late 19th century schools.

18

Metsamor in Armenia: the sixth season of fieldwork in 2018

51%

Jakubiak K., Mkrtchyan R., Simonyan H.

Polish Archaeology in the Mediterranean

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2019

|

vol. 28(2)

287-308

EN

Archaeological exploration of the eastern part of the settlement in Metsamor in 2018 uncovered several rectangular structures. Most of these structures were dated to the early Iron Ages I and II. Roman-period graves were recorded in the ruins of the Iron Age settlement. An anthropological assessment of human remains from three of the burials (sex, age, cranial and postcranial measurements as well as the selected paleopathologies) is presented in the appendix.

19

Bona Sforza d’Aragona i rola mody w kształtowaniu jej wizerunku

45%

Bender A.

Fabrica Litterarum Polono-Italica

|

2020

|

issue 2

33-52

IT

The main goal of the article is to examine how queen Bona Sforza’s taste and interest in fashion has been influenced by her nearest milieu – including her mother, Isabella of Aragon – since her childhood in Italy and until her arrival in Poland. In the first part of the text, the author seeks to obtain an answer to the question of how the Renaissance fashion could influence Bona’s look and garments. The author proposes her own translations of several sources which shed new light on the subject. The description of wedding celebrations written by Giuliano Passero, Giuliano Passero cittadino napoletano o sia prima pubblicazione in istampa, delle Storie in forma di Giornali (Napoli, 1785) is especially important for this article. The new translation of this text differs occasionally from that published by Władysław Pociecha several years ago. In the second part of this article, the author analyses ceremonial dress and jewellery which we can see on the earliest preserved portrait of Bona, painted most likely in Italy, around 1518. The woodcut, included in Jost Ludwik Decjusz’s De Sigismundi regis temporibus liber III in 1521, could not precisely depict the facial features and details of the young queen’s apparel.

PL

L’obiettivo principale dell’articolo è esaminare come il gusto e la sensibilità per la moda di Bona Sforza siano stati influenzati da sua madre, Isabella d’Aragona e dall’ambiente italiano, prima del suo arrivo in Polonia. Nella prima parte l’autrice cerca di ottenere una risposta alla domanda su come la moda rinascimentale aveva influenzato l’aspetto e il modo di vestire di Bona. Per dimostrare le sue tesi, l’autrice propone una propria versione della traduzione dei testi, che gettano nuova luce sull’argomento. In particolar modo degna di nota è la descrizione del matrimonio di Giuliano Passero, Giuliano Passero cittadino napoletano o sia prima pubblicazione in istampa, delle Storie in forma di Giornali (Napoli, 1785). La nuova traduzione presenta delle differenze rispetto alla versione di Władysław Pociecha, pubblicata negli anni Cinquanta. Nella seconda parte dell’articolo è stato analizzato l’abito cerimoniale e i gioielli indossati dalla giovane Bona nel suo unico ritratto, realizzato probabilmente in Italia all’incirca nel 1518. La xilografia, inclusa in De Sigismundi regis temporibus liber III di Jost Ludwik Decjusz nel 1521, non rendeva riconoscibile precisamente le caratteristiche del viso e i dettagli dell’abbigliamento della giovane regina.

20

Późnośredniowieczne skarby monet z dolnego Nadodrza i dolnego Połabia z zawartością biżuterii i ozdób

26%

Szczurek T.

Studia Lednickie

|

2014

|

vol. 13

49-76

EN

In this paper the author offers an overview of hoards containing ornamental items, that is, jewellery, dress ornaments as well as ornaments used to decorate other artefacts. Je mapping of finds, starting with those from the second half of the 12th c., does not display any concentration in the discussed territory. However, there is quite a large concentration of deposits with ornaments in the southern borders, or actually beyond them—in Anhalt, Saxony-Wittenberg and in Thuringia (Fig. 1). When the finds are arranged chronologically, it turns out that deposits which were hidden in the period from c. 1360 to c. 1500 are the most numerous. Earlier hoards, however, are much richer in decorative artefacts. In later deposits such artefacts are either single specimens or their number is limited to but a few finds. There are occasional hoards dated back to the Early Middle Ages (to c. 1070) containing ornaments only or ornaments and non-monetary silver (in the form of clumps and bars). However, from the second half of the 12KP c. onwards there are no finds which contain ornamental items only. Although there are ornaments in deposits with bars (Gusskönige), they are accompanied by coins. An overwhelming majority of the ornamental items was made from silver. From the 13th c. onwards, gilding appears on the silver artefacts. Je technique of gilding is commonly used in silver jewellery artefacts from the 14th and 15th c. A silver ring from the hoard from Bardowick is ornamented in the niello technique. Gold artefacts occur very rarely, and it seems that they appear as single finds only. Bronze artefacts are truly unique. Specimens from the 14th and 15th c. are ornamented with semi-precious stones, a glass mass and enamel, while pearls are found sporadically. Amber does not occur in the discussed territory; on the other hand, it is known from small artefacts in other parts of Europe (e.g., from the Austrian hoard in Fuchsenhof, c. 1275–1278). Je assortment of ornamental artefacts for decoration of the body (jewellery) and of dress is quite similar to that from the present time. It encompasses rings (often with eyelets), annuli and signet rings, brooches used as clasps, buckles and the fittings of belts, knobs used as buttons, but also as dress ornaments, fittings (thin metal sheets with openings, used to ornament dresses, purses and caskets) in the shape of round and heraldic shields, or heraldic eagles and lions. In some hoards there are large numbers of buckles (some of these are similar to brooches, somewhat resembling fibulae). Crosses-pendants, earrings and hair pins are not common. Items of cutlery are rather sporadically found (silver spoons and silver fittings for knife handles). The largest hoards are known from the territory of the Wendic Hansa and they were discovered in urban areas. "ere is no doubt that these were gathered by members of the patriciate. On the other hand, rich hoards with gold artefacts are known from the Rhineland, but also from Erfurt in Thuringia and from Środa Śląska.

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