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The elaborate earring depicts a Sphinx with a female head, pronounced breasts, and a bird's body with raised wings seated on a trapezoidal base. She is heavily adorned, with a necklace, straps crossing between the breasts, and multiple garnets. The large, central stone of her headdress is missing, but above she is wearing the crown of the Egyptian goddess Hathor, consisting of a sun-disc inscribed in cow horns with two plumes above. Outside of the myths, the apotropaic character of the Sphinx as well as of other monsters such as griffins, sirens, and the Medusa could transform them into guardians and protectors, and make them in this case even into an appropriate motif for jewelry.
Greek
H: 1 15/16 x W: 11/16 x D: 5/8 in. (4.9 x 1.7 x 1.6 cm)
medium: gold, garnet
culture: Greek
Walters Art Museum, 1931, by bequest.
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This intaglio shows the head of a youthful Herakles in profile to the right. He has long, curly hair covered in part by the lion skin on his head. The paws are tied on the hero's chest in the typical fashion, the so-called Herakles knot. Gems were used as seals and as jewelry and could depict mythological figures.
Bezel H: 5/8 x W: 1/2 in. (1.6 x 1.2 cm)
Ring H: 13/16 x W: 7/8 x D: 7/8 in. (2 x 2.22 x 2.22 cm)
medium: carnelian; mount: gold
Walters Art Museum, 1931, by bequest.
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An incomplete pearl-bordered roundel frames a diamond containing a pair of confronting peacocks that flank a Tree of Life and stand on a pair of confronting lions or dogs. Interspaces between diamond and border contain a pair of griffins (above) and a floral/vine motif (below). Winged bodies of confronting goats(?) stand on top of roundel and at right is an ornate palmette supported by a griffin. Tangential to the roundel at the upper right is a smaller pearl-framed medallion containing a circular Kufic inscription around a diaper-patterned center.
Iran ?, in the style of the Buyid period (945–1055)
Silk: lampas weave
Overall: 21 x 23.5 cm (8 1/4 x 9 1/4 in.)
Purchase from the J. H. Wade Fund
This pricket candlestick is enameled in the combination of blue, green and white with delicate detailing in gold that is characteristic of Venetian painted enamels in the years around 1500 and can be compared with that of a large Venetian Footed Bowl in the collection (44.203). Enameling involves the application of a vitreous layer (essentially melted glass) to a support, in this case copper. As a Venetian specialty, it was a natural extension of the glass-making industry for which Venice was internationally famous.
Particularized description: At the base of the pricket is a gadrooned grease-pan. It is enameled inside in white, outside in white-and-blue and green-on-white with gilt ornament. It rests on a blue globe with green stars, which is supported by a green-enameled capital with six crockets picked out by gilding. This tops a tapering columnar stem enameled in white and decorated with a gilt diaper design enclosing fleurs-de-lys. The convex bottom of the stem has eight white gadroons on a blue ground and is attached by means of a depressed molded base, in green enamel with gilding, to a quadrangular trapezoidal plinth, the sides of which have gently undulating surfaces. The top of the plinth is white, the sides are blue and are decorated on each of three faces with a varying vase-shaped ornament from which spread two symmetrical white stems bearing running leaves and ending in scrolls. The fourth side shows a gilt wreath framing a white medallion whereon is painted in black and gold a bird holding a fleur-de-lys in its bill. The plinth rests on four brass balls, and is enameled on its inner surface in blue on white.
H: 8 11/16 in. (22 cm)
medium: painted enamel on copper
Walters Art Museum, 1931, by bequest.