DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.49928#0256
Figs, ii, 12.—Fibulae of Bronze from Villanova,
In the Museum, Bologna. Prehistoric (ef. Pl. 98,
fig· 7)·
Martha, Archeologie etr. et romaine, fig. 4.
Of the same pattern as the modern safety-pin. Similar
fibulae have been found at Mycenae, and on other prehistoric
sites in Greece.
Fig. 13.—Jewelry from Pompeii.
In the Naples Museum.
Overbeck, Pompeii, fig. 319.
Rolfe, Complete Handbook to Naples Museum, pp. 178-180.
In the centre at the top is a golden bulla (Naples,
No. 24,650), such as was worn by the children of the rich
at Rome as an amulet. Below this is a bracelet in the shape
of a serpent (No. 24,824, found on a skeleton in the “House
of the Faun ”) weighing about a pound. Inside is a gold ring
with an engraved stone. Below is a necklace of gold ribbon
with solid hasps, and a large number of pendants hanging
from pearls (from S. Agata dei Goti). On each side of this
is a view of an earring with pendent pearls. Above, on the
left of the bulla, is a ring in the form of a serpent, on the
right another serpentine ring with two heads (Daremberg et
Saglio, fig. 346); and above this a hair-pin, surmounted by a
genius (Bliimner, Kunstgewerbe, ii., fig. 109).
Fig. 14.—Lady visiting.
Red-figured Painting, with White, Blue, and Yellow
impasto, on Two-handled Vase, in the Canfarelli Col-
lection at Aderno in Sicily. The Early Fourth Cen-
tury b.c.
Benndorf, Gr. und Sieil. Vasenbilder, Pl. 45, 1.
The scene is a boudoir. In the centre, on a throne, sits a
woman, so closely wrapped in a veil, that only her left hand
and her eyes are visible. Tear-drops stain her mantle, and
she has evidently covered her mouth to stifle her sobs. To
the left a maiden stands trying to console her, while, on the
right, a second maiden opens a casket and tries to draw her
attention to her jewels. A little love-god hovering in the air,
shows the source of her trouble.
Fig. 15.—Gold Wreath from a Greek Grave, Armento
in South Italy, now in the Antiquarium, Munich.
Gerhard, Antike Bildwerke, Pl. 60.
Guhl and Koner, Life of Greeks and Romans, fig. 225.
Baumeister, Denkmdler, fig. 858.
Daremberg et Saglio, Diet., fig. 971.
Smith, Diet. Ant. i., p. 546.
Seyffert, Diet., p. 647.
Christ u. Lauth, Fiihrer d. d. Ant. in Miinchen, p. 38,
No. 619.
Two twigs of oak form the groundwork. Amidst the leaves
are rose, myrtle, convolvulus, narcissus, ivy, and aster flowers,
all picked out with coloured enamels. In the centre a figure
of Victory stands on a pedestal. Beneath her are two smaller
Victories and four love-gods. The pedestal of the Victory is
inscribed in letters of gold wire ΚΡΕIΘΩΝ IOCΗΘΗΚI TOE I
ζΤΗΦΑΝΟΝ = Κρει^ώνιος εθηκε τον στέφανον. I'he characters
seem to belong to the fourth or third century b.c.
Many such crowns have been found in tombs, sometimes
actually on the head of the skeleton, notably in the Crimea.
160
In the Museum, Bologna. Prehistoric (ef. Pl. 98,
fig· 7)·
Martha, Archeologie etr. et romaine, fig. 4.
Of the same pattern as the modern safety-pin. Similar
fibulae have been found at Mycenae, and on other prehistoric
sites in Greece.
Fig. 13.—Jewelry from Pompeii.
In the Naples Museum.
Overbeck, Pompeii, fig. 319.
Rolfe, Complete Handbook to Naples Museum, pp. 178-180.
In the centre at the top is a golden bulla (Naples,
No. 24,650), such as was worn by the children of the rich
at Rome as an amulet. Below this is a bracelet in the shape
of a serpent (No. 24,824, found on a skeleton in the “House
of the Faun ”) weighing about a pound. Inside is a gold ring
with an engraved stone. Below is a necklace of gold ribbon
with solid hasps, and a large number of pendants hanging
from pearls (from S. Agata dei Goti). On each side of this
is a view of an earring with pendent pearls. Above, on the
left of the bulla, is a ring in the form of a serpent, on the
right another serpentine ring with two heads (Daremberg et
Saglio, fig. 346); and above this a hair-pin, surmounted by a
genius (Bliimner, Kunstgewerbe, ii., fig. 109).
Fig. 14.—Lady visiting.
Red-figured Painting, with White, Blue, and Yellow
impasto, on Two-handled Vase, in the Canfarelli Col-
lection at Aderno in Sicily. The Early Fourth Cen-
tury b.c.
Benndorf, Gr. und Sieil. Vasenbilder, Pl. 45, 1.
The scene is a boudoir. In the centre, on a throne, sits a
woman, so closely wrapped in a veil, that only her left hand
and her eyes are visible. Tear-drops stain her mantle, and
she has evidently covered her mouth to stifle her sobs. To
the left a maiden stands trying to console her, while, on the
right, a second maiden opens a casket and tries to draw her
attention to her jewels. A little love-god hovering in the air,
shows the source of her trouble.
Fig. 15.—Gold Wreath from a Greek Grave, Armento
in South Italy, now in the Antiquarium, Munich.
Gerhard, Antike Bildwerke, Pl. 60.
Guhl and Koner, Life of Greeks and Romans, fig. 225.
Baumeister, Denkmdler, fig. 858.
Daremberg et Saglio, Diet., fig. 971.
Smith, Diet. Ant. i., p. 546.
Seyffert, Diet., p. 647.
Christ u. Lauth, Fiihrer d. d. Ant. in Miinchen, p. 38,
No. 619.
Two twigs of oak form the groundwork. Amidst the leaves
are rose, myrtle, convolvulus, narcissus, ivy, and aster flowers,
all picked out with coloured enamels. In the centre a figure
of Victory stands on a pedestal. Beneath her are two smaller
Victories and four love-gods. The pedestal of the Victory is
inscribed in letters of gold wire ΚΡΕIΘΩΝ IOCΗΘΗΚI TOE I
ζΤΗΦΑΝΟΝ = Κρει^ώνιος εθηκε τον στέφανον. I'he characters
seem to belong to the fourth or third century b.c.
Many such crowns have been found in tombs, sometimes
actually on the head of the skeleton, notably in the Crimea.
160