Bracelet or armband

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Spectacular hollow gold bracelet made up of ten pieces or rectangular links. Each of these has two hollow truncated pyramids topped with glass beads. These are mostly blue but there are also some green ones. They are ringed and decorated with filigree curls and granules. These rectangular pieces are linked together with hinges and are joined to a circular central cartouche showing the same filigree decoration but with a central larger turquoise-coloured bead, circled by eight other smaller beads. The bracelet can be opened and closed by means of a pin fastener.

Filigree was one of the kinds of metalwork most used in Ancient Greek jewellery, and which was inherited by the Romans. It is at the same time both a system of construction and decoration based on the use of threads of metal, of gold, silver, bronze, or some other alloy.

Since antiquity, the world of jewellery has had a close relationship to a determined status. Both men and women enjoyed being surrounded by luxury and enjoyed the use of precious stones and metals. However, while men introduced these into their life in general, for example, in the decoration of their houses, women were the only ones to wear adornments. The only exception in the case of men was that they did wear rings.

Roman jewellery reached heights of invention never seen before and never surpassed until the Renaissance. Imperial Rome was the world centre for jewellery and great quantities of precious stones and materials were imported for use in this field.

Initially the style of the pieces was typically Etruscan or Greek, but soon a style of its own developed in Rome. Pieces were ornate and sumptuous with mountings of precious stones, opus interassile metalwork and mosaics of small stones set on gold and silver. Another specialty of Roman craftsmanship was the cutting of gems, the highly-esteemed engraving and sculpting, above all on cameos of agate and onyx, stones with diverse layers of colours that, once the working on the piece was finished, produced an effect of depth and polychromy. Mostly cameos were dedicated to portraiture.

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GUARDAPELOS IBERICO J. BAGOT ARQUEOLOGIA

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(+34) 93 140 53 26
info@jbagot.com

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