Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

MARIANNA DÁGI: Training the Eye: Technical Details as Clues in the Attribution of Ancient Jewellery

they are not clear from the context, I will attempt to define them as I go. Should there be any doubt, see the Glossary at the end of this article. See the survey on jewellery research, which covers the period down to the mid 1990s, by W. Rudolph, "Toward a Historiography of Jewelry Research", m Ancient Jewelry and Archaeology, ed. A. Calinescu, Bloomington and Indianapolis 1996, 17-25. A useful survey of the following period can be found in this and the following volume: The Art of the Greek Goldsmith, ed. D. Williams, London 1998. Earlier we can speak only of isolated experiments, rather than systematic research. Of these, the following two are especially noteworthy. Herbert Hoffmann and Patricia Davidson suggested in the Brooklyn exhibition catalogue of 1965 that several pieces in the exhibition could be linked on technical and/or stylistic similarities to the same master or workshop with pieces there, or in other collections. In this publication they also called attention to the idea that thorough examination and comparative study of technical details and ornaments might bear fruit in attributing jewellery. (See II. Hoffmann and P. Davidson, Greek Gold, Jewellery from the Age of Alexander, Mainz 1965, X, 13-15, 18-19.) A fine example of their work are the gold Herakles-knot and the fibula-pair from Squinzano in the catalogue, which they showed on the basis of the circular punch marks on their ornamental rosettes and the identical thickness of the filigree-wire used to be by the same hand (ibid., 202-3, 221, no. 79 and 89). About twenty years later Wolf Rudolph attributed precious metal objects, jewellery, and a hydria from the Pontic region to the same master. In his short note he did not justify his assertion that the cited pieces were all the work of the Certomlyk Alaster; he published a more detailed study of the Master, and his workshop only later. (W. W. Rudolph, "A Graeco-Scythian Gold Pectoral from Tolstaja Mogila near Ordzonikidze", in American Journal of'Archaeology 90 (1986), 208-9; Id., "The Great Pectoral from the Tolstaya Alogila. A Work of the Certomlyk Master and his Studio", in Metalsmith 11, no. 4 (1991), 30-35.) Several pieces identified by him have also been attributed by Dyfri Williams, but to another goldsmith. (See more in his article published in 1998, mentioned in n. 6.) VV. Rudolph, however, considers the identification of workshops rather than master-hands to be the most promising and productive direction for research. See W. Rudolph, "The Sanctuary Workshop at Ephesos", in The Art of the Greek Goldsmith 1998, 105-9, n. 4. Williams' pioneering work on the attribution of ancient jewellery: D. Williams, "Three Groups of Fourth Century South Italian Jewellery in the British Museum", in Römische Mitteilungen 95 (1988), 75-95. Further studies: D. Williams and J. Ogden, Greek Gold. Jewellery of the Classical World, London 1994; D. Williams, "The Kyme Treasure", in Ancient Jewelry 1996, 117-29; Id., "Identifying Greek Jewellers and Goldsmiths", in 'The Art of the Greek Golds?nith 1998, 99-104; Id., "From Phokaia to Persepolis. East Greek, Lydian and Achaemenid Jewellery", in The Greeks in the East, ed. A. Villing, London 2005, 105-14.