Journal articles: 'Jewelry, Byzantine'

1

Барбалат, О. В., and О. В. Школьна. "ВІЗАНТІЙСЬКО-КИЄВОРУСЬКІ ЕМАЛЬЄРНІ ТРАДИЦІЇ У ДИЗАЙНІ СУЧАСНИХ ЮВЕЛІРНИХ ВИРОБІВ УКРАЇНИ." Art and Design, no. 2 (September 21, 2020): 14–26. http://dx.doi.org/10.30857/2617-0272.2020.2.1.

Full text

Abstract:

The purpose of this research is to understand the integration of the Byzantium-Kyivan Rus enameling traditions in modern Ukrainian jewelry design. The research is applied historical-cultural and artistic-design scientific approaches in combination with comparative and presentation methods. The results of the research prove the influence of Byzantine and Kyivan Rus enamel traditions on modern Ukrainian jewelry. The stylistic and artistic features of the items were examined on example of outstanding enamel jewelry of Byzantine and Kyivan Rus time. As a result the main principles of design requirements and quality of hot enamel jewelry were defined. This research highlights the principles which elites, as bearers of the highest spiritual values, used as guide lines when choosing and ordering jewelry products in ancient times. In order to understand the manufacturing and producing ancient enamel jewelry pieces the ancient jewelry centers are being studied and characterized in this research. We have analyzed the influence of Byzantium and Kievan Rus enameling traditions on the modern Ukrainian jewelry design. Also we studied how it changed with changing the conditions and intensity of manufacturing. Thanks to this research it has been explained how the Byzantine and Kievan Rus enameling traditions influenced modern Ukrainian jewelry design. The researchers were determined to create a symbiosis of modern scientific and technical methods with the ancient hot enamel techniques. This way the research reveals the newest methods of working with hot enamel that are on their initial phase in modern Ukrainian jewelry industry. The material of this research can be used in development of academic disciplines related to enameling techniques and jewelry design. It can be used as a source of inspiration for creating new conceptual jewelry collections using hot enamel. This research can help influence modern jewelry design in Ukraine. Results of this research can be used not only to popularize the Byzantine-Kievan Rus jewelry traditions in Ukraine but also for quality representation of Ukrainian jewelry art in the world

APA, Harvard, Vancouver, ISO, and other styles

2

Volodarets-Urbanovich, Ia V. "ABOUT ONE TYPE OF JEWELRY OF THE HEAD OF THE SLAVS: ON THE MATERIALS OF MALYI RZHAVETS AND MARTYNIVKA TREASURES." Archaeology and Early History of Ukraine 30, no. 1 (March 25, 2019): 201–17. http://dx.doi.org/10.37445/adiu.2019.01.16.

Full text

Abstract:

The article analyses «bobo-similar» plates jewelry from Malyi Rzhavets and Martynivka — four specimens. In 1889 near the village Malyi Rzhavets was found a small treasure of women’s jewelry. In 1907, in the village Martynivka was found another treasure that included the women’s and men’s jewelry and Byzantine wares. Both complexes belong to the treasure of «Martynivka» type or the first chronological hoard-group by O. A. Shcheglova. One can assume the interpretation of these products as large temple ornament or decoration of scythe. Quite similar (though not entirely similar) bronze ware — lamellar temporal rings — are known in the antiquities of Roman times in Central Lithuania. The chronology of these jewelry — the phase B2 or B2 / C1 — 100—230 АD. Finds from Central Lithuania and treasures from Malyi Rzhavets and Martynivka differ in some design features, ornamental motifs and sizes. This can explain the chronological difference.

APA, Harvard, Vancouver, ISO, and other styles

3

Zhilina, Natalya V. "Volga Bulgaria and Old Rus’. Comparative Characteristics of Attire of Adornments in Reconstructions of the 11th – 13th Centuries." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 34 (December 15, 2020): 125–44. http://dx.doi.org/10.24852/pa2020.4.34.125.144.

Full text

Abstract:

On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weaving were combined in Bulgarian jewelry. Adornments were complemented with bead pendants of new shapes. In Rus’, enamel attire of the sacred-ascetic style created innovations, the niello one was distinguished with a variety of ornamentation (wide bracelets), the filigree retained Slavic traditions. At the end of the 12th – the first third of the 13th century the best jewelry was created. In Bulgaria the temporal rings were complemented by a miniature filigree sculpture, necklaces and chains with pendants presented. Original filigree bracelets with oval endings were famous. In Rus’, enamel and black attires were made in exaggerated and lush styles; luxurious frames of jewelry with filigree technique were used. Filigree attire changed constructively, moving away from folk traditions. In Bulgarian attire the traditions of local and eastern jewelry combined; in Russian attire – of local and Byzantine jewelry.

APA, Harvard, Vancouver, ISO, and other styles

4

de Bruijn, Erik, and Dennine Dudley. "The Humeima Hoard: Byzantine and Sasanian Coins and Jewelry from Southern Jordan." American Journal of Archaeology 99, no. 4 (October 1995): 683. http://dx.doi.org/10.2307/506189.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Mastykova, Anna. "About Bracelets with Zoomorphic Ends from Dzhurga-Oba Necropolis in Eastern Crimea (Great Migration Period)." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 169–80. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.11.

Full text

Abstract:

The paper considers burial 40 of Dzhurga Oba necropolis in the Eastern Crimea. Two bracelets, elements of a prestigious female costume of the second half of the 5th century and weapons (sword elements) were found in the catacomb. It is possible that there were two inhumations – male and female ones. Two bronze gilded bracelets from this burial have gold zoomorphic endings in the form of heads, usually interpreted as dragons, and a hinged lock in the form of a disk. The origins of this type of bracelets should be sought in the traditions of Mediterranean jewelry art. Bracelets with a lock in the form of a plate on hinges appeared in the Mediterranean in the 2nd – 3rd centuries and existed until the 7th century (inclusive). It should be noted that there is a noticeable Byzantine / Mediterranean component in the female costume from Dzhurga Oba, which is represented primarily by the cloisonne inlay style jewelry – earrings, rings, bracelets. At the same time, the presence of a pair of brooches from the East German tradition indicates the mixed character of the female prestigious costume from Dzhurga-Oba, which is typical for the Cimmerian Bosporus of the Great Migration Period.

APA, Harvard, Vancouver, ISO, and other styles

6

Zhilina, Natalia V. "BYZANTINE ART AND ITS SLAVIC-RUSSIAN CONTEMPORANEITY. BASED ON MEDIEVAL JEWELRY ART OF 6–11TH CENTURIES." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 3 (2017): 9–25. http://dx.doi.org/10.28995/2073-6355-2017-3-9-25.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Ashkenazi, D., I. Taxel, and O. Tal. "Archeometallurgical characterization of Late Roman- and Byzantine-period Samaritan magical objects and jewelry made of copper alloys." Materials Characterization 102 (April 2015): 195–208. http://dx.doi.org/10.1016/j.matchar.2015.01.019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ." Art and Design, no. 2 (August 11, 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.

Full text

Abstract:

Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indicated period are identified. The system of transformation of plant motifs into meaningful symbols of spiritual truth embedded in Christianity is analysed. The stylistics, symbolic meaning and artistic peculiarities of plant ornaments applied in jewellery of the above period are investigated on the example of outstanding jewellery items. Jewellery items decorated with floral ornaments from the early Byzantine and iconoclastic periods from renowned museum collections worldwide are examined. The peculiarities of the sign symbolism of phytomorphic ornaments in the Byzantine jewellery of the IV–IX centuries are identified. Artistic technologies and terminology of the Byzantine goldsmith's period are characterized and specified. Scientific novelty. The sign symbolism of phytomorphic ornaments in the Byzantine goldsmith's art of the IV–IX centuries was investigated in a comprehensive way. The causes for the use of phytomorphic ornaments in jewellery items of that time as elements specifying Christian images at certain stages of their canonical formation have been revealed. The article proves the importance of the use of the sign symbolism of phytomorphic ornaments in Byzantine jewellery for further qualitative formation and perfection of Christian traditions. Practical significance. The material of this research can be reflected in the writing of academic disciplines related to artistic technologies in jewellery. As a source of inspiration they can be applied in the process of creating new jewellery collections of Christian themes.

APA, Harvard, Vancouver, ISO, and other styles

9

Khairedinova, Elzara. "Finger Rings with the Image of Archangel Michael of the Late 6th – 7th Centuries from Crimea." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 32–46. http://dx.doi.org/10.15688/jvolsu4.2019.6.3.

Full text

Abstract:

Introduction. In the Early Middle Ages, Crimea was in the sphere of influence of the Eastern Roman Empire. In the material culture of the Early Medieval population of Crimea imprinted with archaeological monuments “Byzantine components” are quite clearly visible. The group of jewellery that clearly demonstrates the Byzantine influence includes bronze finger rings with the image of Archangel Michael originating from the GothoAlanian burial grounds of the South-Western Crimea and from the necropoleis of the Kerch Peninsula. The article substantiates the attribution and dating of the finger rings, reveals a circle of analogies, interprets the meaning of the images, and also considers the peculiarities of wearing this type of jewellery. Methods. The author determines dating of the Crimean findings by the accompanying inventory in the graves. The paper reveals a circle of analogies for the attribution of the finger rings, analyzes findings from the territory of the Eastern Roman Empire and from areas with political and economic ties. Analysis. In the late 6th – 7th centuries bronze finger rings with the image of Archangel Michael imported from Byzantium and produced in local workshops on imported samples were popular in Crimea. The signet ring of variant A of the late 6th – the first quarter of the 7th cc. with a profile portrait of the Archangel and the monogram of his name, undoubtedly, refers to Byzantine products brought from Asia Minor. The two finger rings of variant B engraved with the face and the almost full-length figure of the Archangel were made by Bosporan artisans in the 7th century on the Byzantine samples. The finger rings from Crimea depicting the Archangel belonged to young women who had a high social status. They were worn on hands, as a rule, on the right forefinger and in breast necklaces that connected fibulae. Christian symbols and plots placed on signet rings, in the view of the ancient Christians, should have given the jewellery the properties of an amulet which protected the person wearing it from all sorts of troubles. Results. The presented finger rings depicting Archangel Michael are an important source for studying the early stage of the history of Christianity in the South-Western Crimea and the Bosporus. Findings of this kind testify to the unity of culture in the Christian world and are a good example of close economic and cultural ties between the region and the Byzantine Empire in the Early Middle Ages. Key words: South-Western Crimea, Bosporus, Crimean Goths, Byzantine jewellery, finger rings, amulets, Archangel Michael.

APA, Harvard, Vancouver, ISO, and other styles

10

Oddy, Andrew, and Susan La Niece. "Byzantine gold coins and jewellery." Gold Bulletin 19, no. 1 (March 1986): 19–27. http://dx.doi.org/10.1007/bf03214640.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Tolkachov, Yu I., and O. Yu Zhurukhina. "GLASSWARE FROM THE EXCAVATIONS ON THE TERRITORY OF THE MEDZHYBOZH FORTRESS IN 2015." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 226–29. http://dx.doi.org/10.37445/adiu.2018.04.10.

Full text

Abstract:

Excavations conducted on the territory of the Medzhybozh Fortress in 2015, explored the cultural layer, in which among various archaeological material were found objects of glass. Finds are divided into three categories: vessels, jewelry, and decor elements. Most of them are jewelry: the bracelets and beads. The vessels, beads, and bracelets, according to their morphology and technology, have Ancient Rus’ origin. Some of the bracelets were produced in Byzantium. The fragments of the window glass belong, probably, to the later period.

APA, Harvard, Vancouver, ISO, and other styles

12

Ostrowski, Donald. "Methodological Traps, Pitfalls, and Fallacies in the Study of Intellectual Silence." Russian History 46, no. 2-3 (August 27, 2019): 225–37. http://dx.doi.org/10.1163/18763316-04602005.

Full text

Abstract:

This article is a response to four responses to my book Europe, Byzantium, and the “Intellectual Silence” of Rus’. That book in turn responded to the question posed by Francis Thompson, “Where was the Russian Peter Abelard?” It began with two premises − that theology was “the crown jewel of disciplined thought” in both the Eastern and Western Churches during the medieval period and that medieval Christian theology represented an amalgamation of prior Christian thought with Neoplatonism. The literature of early Rus’ was little more than what would have been contained in a large Byzantine monastic library, because those in charge of educating the newly baptized pagan Rus’ on the basic principles of Christianity felt compelled to provide them only necessary information to save their souls. But why did the package not include the seven liberal arts (including dialectic), which were the basis of the Western Church curriculum?

APA, Harvard, Vancouver, ISO, and other styles

13

ΚΑΡΔΑΡΑΣ, Γεώργιος. "Μεταξύ Αττίλα και Βαϊανού. Το Βυζάντιο και οι νομαδικοί λαοί από το 453 έως το 558." BYZANTINA SYMMEIKTA 24, no. 1 (November 5, 2014): 67. http://dx.doi.org/10.12681/byzsym.1139.

Full text

Abstract:

Between Attila and Bajan. Byzantium and the nomads from 453 to 558  The paper highlights the relations of Byzantium with the nomads in the period between the collapse of the Hunnic hegemony in Central Europe and the coming of the Avars to the northern frontiers of the Empire. Taking into account the written testimonies, as well as the archaeological finds, the geographical area of the nomadic settlements, the conflicts and treaties with Byzantium, the role of the nomads in the Byzantine-Persian relations, the nomad mercenaries in the Byzantine army and certain Byzantine finds, as jewellery, swords, pendant capsule or other decorative motifs are considered. These relations are distinguished in two periods, before and after 491. During the first one, the Empire was able to control the activity of the nomads offering them settlement permit on Byzantine soil, while for the second is noted, beside the strong conflicts, the cultural influence of Byzantium through Christianity and, on the other hand, the nomadic influences on the Byzantine army.

APA, Harvard, Vancouver, ISO, and other styles

14

MANOJLOVIĆ NIKOLIĆ, VESNA. "ANTHROPOMORPHIC REPRESENTATIONS ON MEDIEVAL RINGS IN SERBIA." ИСТРАЖИВАЊА, no. 27 (December 19, 2016): 45–57. http://dx.doi.org/10.19090/i.2016.27.45-57.

Full text

Abstract:

Jewellery represents a very indicative and chronologically sensitive type of archaeological material, expressing the fashion and style of a certain period, and certain examples have characteristics related to specific cultures and indicating ethnic affiliation of persons wearing it. Medieval rings, just like jewellery in general, represented an integral part of the traditional garb as well as a decorative piece that an individual carried in life and was often buried with it too. Their unchanging shape makes them the most conservative piece of jewellery, which has retained the same form until the present time. What varied through time/space were materials the rings were made of, the quality of production, the choice of motives and also the appearance of the hoop and the shape of the head of the ring.This paper offers an analysis of medieval rings with anthropomorphic representations. According to the number of figures represented on the head of the ring, two groups are distinguished: rings with one or with two human figures. With respect to the elements represented alongside the figure defining it more precisely, the first group includes rings with warriors and holy warriors. With respect to the variations in compositions with two figures, we can distinguish four groups of rings: the ones with a cross between human figures; the ones with hands raised in the act of benediction; the ones with a halo; the ones without a halo around the figures’ heads.The rings are dated back to the 12th century and the first decades of the 13th century. According to results of archaeological research, they are mostly found on necropoles in Eastern Serbia. Similar to the most of the rings from this period, they belong to the Byzantine cultural circle, i.e. they imitate Byzantine models, and certain examples can be linked to the strengthening of Christianity among the Slav populations of the Balkans.

APA, Harvard, Vancouver, ISO, and other styles

15

Cvetkovic, Branislav. "Panagiarion of despotissa Barbara Frankopan." Zograf, no. 42 (2018): 119–38. http://dx.doi.org/10.2298/zog1842119c.

Full text

Abstract:

The paper presents the results of analysis of typological, stylistic- technical, epigraphic and iconographic features of the luxurious panagiarion, part of a complex reliquary, in the treasury of the Tersatto Monastery near Rijeka. The size and content of the panagiarion, made of jewels, pearls and relics in silver gilded revetments, provide basis to classify it within the group of Late Byzantine pectoral panagiaria-reliquaries and enkolpia of diverse forms. The dedicatory inscription on its reverse refers to despotissa Barbara Frankopan, the wife of the Serbian despot Vuk Grgurevic, as its patron. The inscription on its rim and capsule with a miniature relief of the Virgin with Christ place it within the field of Orthodox personal devotion.

APA, Harvard, Vancouver, ISO, and other styles

16

Baratte, François. "Late Roman Precious-Metal Deposits: Worth their Weight in Gold?" Britannia 43 (July 4, 2012): 427–30. http://dx.doi.org/10.1017/s0068113x12000426.

Full text

Abstract:

Over recent years the question of ancient hoards, in particular of precious metal, coins, plate or jewellery, has been the subject of numerous considerations (notably S. Gelichi and C. La Rocca (eds), Tesori. Forme di accumulazione della richezza nell'alto medioevo (secoli V–XI) (Rome, 2004)) in order to try to grasp the characteristics of a complex phenomenon that relates to multiple aspects of society in whatever period is under consideration: the economy, social organisation, the possible role of the images … The difficulties encountered by researchers when addressing these problems are illustrated by the ambivalence, indeed the ambiguity in many languages of the term ‘trésor/hoard’. Richard Hobbs has thus chosen, very judiciously, to take as his subject here ‘deposits of precious metal’, which defines the topic perfectly. On the other hand, one could question the descriptor ‘late Roman’ when applied to the period covered here, five centuries, from a.d. 200 to 700. There could be discussion over whether the third century should be included in Late Antiquity; others will challenge whether the sixth century still belongs to that same world. But from the first page H. effectively corrects his title by stating that it also covers the early Byzantine period, something I would feel is a better definition. It may certainly be felt that these are just questions of nomenclature, but they do have their importance for the topic of this study. All the same, the important thing is that H. wanted to study an extended period, as stated by the book's sub-title. One cannot but approve of his choice.

APA, Harvard, Vancouver, ISO, and other styles

17

Razumov, S. N., N. P. Telnov, S. D. Lysenko, and V. S. Sinika. "EARLY MEDIEVAL STAMPING MOULD FOR BELT-ENDS FROM THE LOWER DNIESTER REGION." Вестник Пермского университета. История, no. 1(52) (2021): 61–69. http://dx.doi.org/10.17072/2219-3111-2021-1-61-69.

Full text

Abstract:

A bronze stamping mould for belt-ends was found in 2016 on the outskirts of Slobodzeya on the territory of a multi-layered settlement on the left bank of the Lower Dniester. The item has traces of long-term use; the front side is badly worn out. The stamping mould shows a full-face anthropomorphic male face with a long mustache and beard. An analysis of the finds of early medieval metal stamping moulds for a belt set showed that the overwhelming majority of them are connected with the territory of the Eastern Roman Empire (urban centers) and the Avar Khaganate (graves of "jewelers"). Matrices are dated back to the 7th and 8th centuries. However, the study of items from belt sets with male guises led to the conclusion that such images were quite widely represented in the 9th–10th centuries in different areas, for example, in Moravia, the Upper Dnieper region, the Middle Volga region, the North Caucasus, and the South Ural region. Similar images on objects of toreutics, which had Byzantine and / or Iranian roots, appeared, according to available sources, in the 7th century. Then, parts of a belt set with alike images marking the high social status of the wearer were used by various peoples for several more centuries. It is highly probable that the published stamping mould is related to the nomadic Early Hungarian cemetery (to the sites of Subbotsevo type) (9th century), which was sunk into the Bronze Age barrow at a distance of about 1 km from the place of its discovery. In this case, the finding of the stamping mould may indicate the wintering place of this nomadic group, where the parts of the belt sets were made.

APA, Harvard, Vancouver, ISO, and other styles

18

Ogden, Jack M. "Casting Doubt: Economic and Technological Considerations Regarding Metal Casting in the Ancient World." MRS Proceedings 185 (1990). http://dx.doi.org/10.1557/proc-185-713.

Full text

Abstract:

AbstractThe lost wax casting technique is almost impossible to use if the finished object must be of a specified weight or must utilize all of a given batch of metal. This basic fact helps to explain why Old World ancient gold jewelry, particularly of Hellenistic, Roman and Byzantine origin, is almost always-hand wrought rather than cast. Similar considerations relate to the manufacture of copper-alloy weights or other objects which appear to be of pre-determined weight.

APA, Harvard, Vancouver, ISO, and other styles

19

"Similarities in iconographic art between rural churches from Transylvania in the 17th century and Caesarea of Cappadocia." European Scientific e-Journal, 2017. http://dx.doi.org/10.47451/art2020-11-005.

Full text

Abstract:

The idea of the speech, goes round the importance of byzantine art inside Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with relevant importance in Byzantine iconography. The popular character of this type of art developed on the walls of these architectural jewels manifests itself in the left-handed, but expressive and with such great spontaneity drawing: also with predilection for narration that lends many elements from the illustration of the Apocryphes, which were born from people’s inclination to very detailed stories. This byzantine style we have had for centuries and which is tight to our Christian roots, was cultivated in Wallachia and Moldova and Transylvania in the 14th and 15th centuries and the post-byzantine style in Wallachia in the 15th and 16th centuries. There are similarities between churches raised in the 17th century in Transylvania and the ones from Caesarea of Cappadocia. We refer mainly to the iconographic painting of the hunedorian churches

APA, Harvard, Vancouver, ISO, and other styles

20

Hetherington, Paul. "The Jewels from the Crown: Symbol and Substance in the Later Byzantine Imperial Regalia." Byzantinische Zeitschrift 96, no. 1 (January 2003). http://dx.doi.org/10.1515/byzs.2003.157.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Williams, W. S., and J. W. Flanagan. "Analysis of Gold Hoard from Late Roman/Early Byzantine Period Found in Jordan." MRS Proceedings 462 (1996). http://dx.doi.org/10.1557/proc-462-155.

Full text

Abstract:

ABSTRACTThirty-four gold solidi coins and two pairs of gold/jewel earrings were discovered at an archaeological site in Jordan, Tell Nimrin. The coins have stamped images of six late Roman/early Byzantine emperors who reigned from 346 AD to 518 AD. These objects were analyzed by X-ray radiography, SEM/EDS and density measurements to find the gold content for comparison with other coins ofthat period to support their authenticity and to see whether debasement of coinage had occurred. The average surface gold content was found by EDS to be 98.1 wt %--typical of the period--but the bulk content calculated from density values was 1 to 3 wt % lower. The reason offered is that when a molten gold-copper or gold-silver alloy solidifies, the region in contact with the blank coin mold freezes first and is gold-enriched. Small “silvery” specks were observed on the obverse (”heads”) side of several coins and found by EDS to be Os-Ir-Ru alloys, which come from placer mining and indicate that the gold also came from placer mining.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Jewelry, Byzantine'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles