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A Manuscript Description in Kraków of the ‘Trivulzio Museum’ in Milan

100%
Rambach H. J.
Studies in Ancient Art and Civilization
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2017
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vol. 21
261-274
EN
An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled ‘Breve Descrizione del Museo Trivulzio’, describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder – Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time.
2
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Kwestia chronologii, typologii i pochodzenia szklanej biżuterii z wczesnośredniowiecznego ośrodka grodowego w Gnieźnie

73%
Sawicka J.
Folia Praehistorica Posnaniensia
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2020
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vol. 25
247-289
EN
The study presents 175 artefacts from the settlement center in Gniezno – beads and rings. The materials come from settlement levels from around the mid-10th to the 13th centuries. The latest chronological findings based on 14C dating have made it possible to refine the dating, especially of the early settlement levels of the stronghold, where the vast majority of glass artefacts come from. Threeba sic groups of beads have been distinguished based on the technique of their production – beads made of a drawing a tube, the technique of winding a glass strip, as well as casting and sintering. The results of 7 physico-chemical analyzes of the glass composition (performed with the X-Ray Fluorescence, XRF method) are presented. Physicochemical analyzes of the chemical composition of the tested beads made it possible to determine the technological group and the type of glass. An attempt was made to explain the origin of the starting material (glass) for jewelery. A comparative analysis made it possible to indicate in a general manner possible manufacturers and to outline the likely directions of the influx of these glass ornaments to Gniezno.
3
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Nazewnictwo i symbolika ozdób starogermańskich

67%
Kowalski A. P.
Acta Universitatis Lodziensis. Folia Germanica
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2017
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issue 13
149-166
EN
The paper is devoted to possible concepts that ancient Germans held about ornaments. Cultural categories related to wealth, prestige, gift, sacrifice and deposit are carefully discussed. The main accent is on the etymological analysis of Proto-Germanic names for brooch or fibula, ring, necklace, belt, buckle. These are items found by archaeologists in the areas of Barbaricum dating from the period since the Bronze Age. The changes that led to the development of the Wielbark culture iden­tified with the Goths were very important. The population of this culture did not place weapons and tools in graves, but only ornaments. Such a norm may have resulted from the mythical convictions confirmed in the Poetic Edda. The Old Norse goddess called Gullveig (literally ‘gold strength’) was the reason for the war of the divine generations of Aesir and Vanir.The Aesir were rulers and warriors, whereas the Vanir represented farmers and producers.Aesir used weapons, Vanir tools.Gullveig, burned three times at the stake and three times reborn, seems to be a symbol of ornaments. The Goths used only female burial equipment, putting a taboo on military accessories typical of Aesir.In addition, some Old Nordic poems associate ornaments with a mythical snake.This aspect is confirmed by archeological and linguistic data. The mythical technique of making jewellery is also important. The Old Nordic divine blacksmith called Völundr folds it from the bodies of the dead princes. In this way, he refers to the cosmogonic myth of the sacrifice of Ymir. The techniques of making ornaments, based on the reintegration of elements, resemble folk methods of treatment and are related to the Germanic idea of beauty as a complex whole.
PL
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