Ancient Greek Jewellery

Yu. Polidovych
SCYTHIAN PLATE BRACELETS OF THE 4th century BC

Scythian wide plate bracelets made of gold and silver are analyzed in the paper. Such items were distributed mainly in the steppes of the Dnieper region in the first — third quarters of the 4th century BC. 37 bracelets are known from 15 jewelry sets
and 1 unknown assemblage. All items have bent long edges and central relief ribs — one (31 items) or two (6 items). Plate bracelets were worn by men and women, they were passed on to children as an inheritance. The men-rulers (from Solokha and Kul-Oba barrows) were buried with 5—10 such bracelets.
In the side tomb of the Solokha barrow, the earliest bracelets (first quarter of the 4th century BC) belonging to the Scythian ruler were found. It is assumed that later these items became a sign of belonging to the circle of his descendants or other persons of the elite of Scythian society. Our knowledge is limited by the fact that the largest Scythian mounds of the 4th century BC were looted (the Chmyreva Mohyla, Chortomlyk, Oguz, Kozel, Tovsta Mohyla and others barrows). And we don’t know for sure whether the Scythian rulers wore such bracelets. However, most of the bracelets
were found in elite barrows. This is the burial of the woman and two warriors from the Chortomlyk barrow, the woman and the child from the Tovsta Mohyla barrow, the man and the woman from the Kul-Oba barrow, the man from barrow 8 of the Five Brothers group. The jewelry sets that belonged to these persons are distinguished by their extraordinary splendor. This is «golden» clothing, exquisite neck and chest adornments, earrings, rings. Women’s jewelry sets from the Deev and 1st Mordvinovski barrows show the special status of their owners. Perhaps they were priestesses of the Scythian fertility goddess Api. Findings of plate bracelets in the burials of children (from the Tovsta Moghyla and the Auly barrows) and a teenager (from the barrow 10 near the Mala Lepetykha village) probably indicate the passing of these products as an inheritance.

Bu kısa makalede konu edilen sekiz adet eserin incelenmesi, ilgili Müze Müdürlüğü tarafından 15 Mart 2018 tarih ve 62901608-155.01/E. 228521 sayı ile verilen yazılı bir izin sayesinde gerçekleşmiştir.

This brief article will be displayed in Academia beginning from January 1, 2026, as it can be filed on freely accessible online archives no earlier than one year after the release of its journal. Please e-mail me for obtaining this brief article before 2026: elafli@yahoo.ca

In this brief paper eight Hellenistic and Roman engraved gemstones are presented. They are significant, as very few gemstones are published from the region. At the end of the article six gold rings set with plain gem or glass settings and in one case with the gem missing comprise an appendix.

Keywords: Engraved gems, Hellenistic period, Roman period.

This article discusses a poorly studied child elite burial discovered in 1953 at the necropolis of Panticapaeum, situated near the modern city of Kerch, Crimea. A reassessment of previous research is urgently needed since it did not offer an analysis of Bosporan society from the perspective of childhood studies in general and local approaches to child mortality in particular. This fresh approach sheds new light on social structures and transformations within the northern Black Sea region. A broad chronological and geographical perspective is provided in order to detect changing mortuary rituals regarding deceased children in relation to shifting socio-political situations among North Pontic Greek and non-Greek societies. A survey of current social interpretations concerning the (in)visibility of children in the mortuary customs, particularly between the 4th century BCE and the 1st/2nd century CE, is followed by a detailed description of the history of research in the Panticapaeum necropolis. A comprehensive analysis of the grave goods that accompanied the deceased child is also provided. The discussed material suggests that a new form of elite self-representation, expressed through mortuary rites, appeared around the turn of the first millennium. This included a different approach to deceased children, whose ascribed status and expected, yet unfulfilled, social roles were frequently displayed by the family through the funerary ceremony.

The article is devoted to the analysis of bronze rings of the so-called Ptolemaic type, on the bezels of which there are mainly female portraits. The finger rings in question come mainly from the Northern Pontic region, primarily from the territory of the Bosporan Kingdom. Basing on the analysis and comparison of portraits on coins and rings, attributions of images on the finger rings as portraits of Arsinoe II, Berenice II and Arsinoe III, as well as male portraits, which some researchers identified as images of Ptolemy II and Ptolemy III, are proposed. The peculiarities of the geographical distribution of the finds, the features and chronology of the burial contexts in which the finger rings were found, are analyzed. In conclusion, the problems of interpretation of rings are considered, which could explain the high concentration of their finds in the North Pontic area and especially in the territory of the Bosporan Kingdom.

В графической коллекции Музеев Московского Кремля хранятся папки с акварелями, созданными в 1830-х — начале 1840-х годов Федором Григорьевичем Солнцевым. В документах XIX века они упоминаются как «рисунки академика Солнцева с керченских и фанагорийских древностей» и представляют собой воспроизведения наиболее ценных находок из греко-скифских погребений Керчи и ее окрестностей. Рисунки выполнялись по мере поступления этих древностей в Императорский Эрмитаж и были частью грандиозного издательского проекта, задуманного Алексеем Николаевичем Олениным с целью их скорейшего введения в научный оборот. Сам проект, однако, осуществлен не был, и подготовленные для него акварели остались неопубликованными. С одной стороны, вплоть до сегодняшнего дня эти важнейшие археологические документы находились вне поля зрения исследователей северопричерноморских памятников эрмитажной коллекции и не брались ими в расчет при изучении судьбы этих вещей в новое время. С другой стороны, акварели практически не учитывались и в публикациях, посвященных творчеству самого Солнцева: вся информация об этих листах сводилась лишь к краткому их упоминанию, в то время как интереснейшая история создания рисунков и их непростая дальнейшая судьба оставались неизвестны даже биографам художника. 32 листа с изображениями античных памятников были включены в состав выставки «В поисках античного Боспора» и впервые продемонстрированы широкой публике.

Статья посвящена истории создания роскошного трехтомного труда «Древностям Босфора Киммерийского», подготовленного I Отделением Императорского Эрмитажа «с  Высочайшего разрешения» и под непосредственным контролем императора Николая I и вышедшего в свет в 1855 году. Тираж издания составил 200 экземпляров. В первые два тома вошли исторические, топографические и археологические сведения о Керчи
и ее окрестностях, и главное  — описание большинства хранящихся в коллекции Эрмитажа предметов, найденных в 1830-х — начале 1850-х годов в погребениях греческой и скифской знати.  Третий, иллюстративный том, представлял собой атлас, который включал две карты — Боспора Киммерийского и окрестностей Керчи, 5 листов с планами и чертежами различных погребальных комплексов и 89 листов с изображениями самих находок — золотых, серебряных, бронзовых, стеклянных и деревянных предметов, расписных ваз, терракот и монет. Издание "Древностей" стало уникальным и важным опытом по обработке, осознанию и систематизации археологической коллекции в Эрмитаже, на который так или иначе, учитывая как его достоинства, так и недочеты, будут опираться все последующие публикаторы такого рода памятников. Сам труд, введя в научный оборот ядро причерноморской коллекции, своим высочайшим качеством изображений на многие годы снял вопрос публикации новых воспроизведений этих находок. Время же выхода в свет издания совпало с началом эпохи фотографической фиксации памятников и в дальнейшем подобных дорогостоящих масштабных иллюстративных проектов с привлечением художников и граверов в Эрмитаже более не случалось.

The article presents a comprehensive analysis of ceramic products depicting a menorah from excavations in the Crimea, which are one of the sources for reconstructing the life of the Jewish community in different periods of its existence. The earliest ceramic finds depicting a seven-armed menorah are fragments of amphorae dating from the middle of the fourth century and the first half of the fifth century. The latest are images of graffiti and embossed craft marks of the menorah on 14th century tiles.

The work of the portrait genre, created by the author of this article – Maryna Valentynivna Ponomarenko – in the technique of acrylic painting, is considered. In 2008, while graduating from the portrait studio of the Kharkiv State Academy of Design and Arts, the triptych “Family Treasures” (287x200) was created. The work was performed under the direction of the Honored Artist of Ukraine, portrait artist Viktor Mykolayovych Chaus. The portrait-painting was presented in the dissertation “Artistic and stylistic features of the easel portrait in the painting of Kharkiv XX–XXI centuries”, defended in 2016. The artist’s experience allowed her to theorize his practical work in the field of portrait painting, which is a relevant area in modern Ukrainian art history. The figurative structure of the work is revealed through the archetype of Women-Mother and the idea of an endless cycle of rebirth. Self-portrait with grandmother and mother makes it possible to understand the organizing nature of women, to realize the need to preserve the eternal spiritual values of the clan and nation. The compositional, coloristic structure, material and technique are analyzed. It was revealed that the transformation of the iconography of ceremonial portrait occurred in the direction of sacralization of content: the canonical attributes were replaced with images of ornamented towel – a symbol of the spiritual connection of generations. The side parts of the triptych – ‘Towels” replace the image of the columns (a mandatory component of ceremonial portrait), forming an analogy with the portal, which reveals another reality and refers to the archetype of the temple house, which embodies the microcosm and macrocosm of a man. It is established that the expression of the conditional space, the use of golden acrylic paint as an imitation of gold leaf helps to express the idea of the eternal dominant over the temporary. Reliance on the heritage of world and Ukrainian sacred art, on the canonical form of ceremonial portrait indicates the combination of the principles of secular and ritual art in the modern portrait “Family Treasures”.

Key words: ceremonial portrait, Mother Goddess, space, gold, ornament, painting M. V. Ponomarenko

Bu kısa makalede konu edilen 11 adet eserin incelenmesi, ilgili Müze Müdürlüğü tarafından 23 Aralık 2019 tarih ve 36840858-155.01-E.1062933 sayı ile verilen yazılı bir izin sayesinde gerçekleşmiştir.

This brief article will be displayed in Academia beginning from January 1, 2026, as it can be filed on freely accessible online archives no earlier than one year after the release of its journal. Please e-mail me for obtaining this brief article before 2026: elafli@yahoo.ca

Abstract: In this brief paper eleven Roman gemstones will be presented
which are curated in south-eastern Turkey. They are significant, as very few gemstones are known from this region. At the end of the article three earlier finds related to gemstones will be presented in an appendix.

Keywords: engraved gems, south-eastern Turkey, northern Syria, Roman period.

Сергій Шаменков
Поясний одяг скіфів та сарматів
Ключові слова: скіфи, сармати, поясне вбрання, анаксіріди, ногавиці, панчохи.
Стаття присвячена проблематиці типів та конструктивних особливостей поясного
вбрання кочовиків Північного Причорномор’я скіфського та сарматського часу. Під
час пошуку можливого їх крою було вивчено відомі археологічні знахідки, розглянуті
згадки античних авторів та створена база зображувальних джерел. На основі цих
матеріалів була зроблена оцінка можливого крою поясного одягу скіфів та сарматів,
розглянуті його особливості та поширення окремих типів.
Serhii Shamenkov
Waist clothing of Scythians and Sarmatians
Кeywords: Scythians, Sarmatians, waist clothing, anaxyrides, gaiters, stockings.
The article is devoted to the issues of the types and structural features of the waist clothing of
the nomads of the Northern Black Sea region in the Scythian and Sarmatian times. During the
research of their possible cut, known archaeological finds were studied, mentions of ancient
authors were considered, and a database of pictorial sources was created. Based on these mate-
rials, an assessment of the possible cut of the Scythian and Sarmatian waist clothing was made,
its specifics and distribution of individual types were considered

Історичний стрій – Historical Clothing Сергій Шаменков Поясний одяг скіфів та сарматів Serhii Shamenkov Waist clothing of Scythians and Sarmatians Сергій Шаменков Шкіряні каптани з лосиної шкіри у гардеробі української шляхти та козацької старшини Serhii Shamenkov Leather kaftans (buff-coats) made of elk skin in the wardrobe of the Ukrainian nobility and Cossack officers Сергій Шаменков Гвардійська рота Кардинала «Gardes du Cardinal». Одяг і озброєння у 20–30-ті рр. XVII ст. Serhii Shamenkov Cardinal’s Guard Company «Gardes du Cardinal». Clothing and equipment in 1620–1630s. Сергій Шаменков Образи мешканців Гетьманщини 1740-х років зі збірки Фрідріха Вільгельма Бергольца Serhii Shamenkov Images of the Hetmanate residents in the 1740s from the collection of Friedrich Wilhelm Bergholz Сергій Шаменков Одяг підрозділів урядових військ Речі Посполитої та загону шляхетсько-селянської самооборони «Смоляки» в період діяльності Олекси Довбуша та Василя Баюрака Serhii Shamenkov Clothing of the government troops of the Polish-Lithuanian Commonwealth and the “Smolacy” unit of noble and peasant self-defense during the period of activity of Oleksa Dovbush and Vasyl Bayurak Уніформологія – Uniformology Артем Папакін Однострої польських парамілітарних організацій Східної Галичини (1910–1914 рр.) Artem Papakin Uniforms of Polish Paramilitary Organizations in Eastern Galicia (1910–1914) Максим Ющенко Петлиці Легіону УСС в 1914–1919 рр. Maksym Yushchenko Сollar patches of the Ukrainian Sich Riflemen in 1914–1919 Спорядження – Equipment Володимир Прокопенко Парні застібки-гачки в складі сагайдачних та портупейних поясів Східної Європи XVI–XVII ст. Volodymyr Prokopenko Hook-and-bar belt buckle as part of sahajdak and sabre belts of Eastern Europe in the 16th–17th centuries Володимир Прокопенко, Владислав Безпалько Перший погляд на ручні сталеві мусати Східної Європи XVII–XVIII ст. Volodymyr Prokopenko, Vladyslav Bezpalko First glance on honing steels in Eastern Europe in 17th–18th centuries

In this article, we will focus on the cult building of the Eneolithic world, which was opened in 2012 near the village Nebelivka, Novoarkhangelsk district,  Kirovohrad  region.  Today  it  is  a  recognized  Temple  of  Trypillia  civilization.  Based  on  the  results  of  excavations,  the  main  features  of  the  structure and layout of the building were restored. In the course of the study, it was analyzed that the preparation, technology and sequence of the construction of the sacred structure could have a special cosmogonic status. It is also determined that the construction had an archaeoastronomic interpretation. The design features of the Nebelivka Temple revealed its ritual capabilities, and the internal structure of the ritual hall was probably adjusted  to  the  functioning  of  the  main  temple  symbol.  It  is  noted  that  the  main  features  of  the  design  of  the  Nebeliv  Temple  are  repeated  in  the  visual arts of the Cucuteni-Trypillia group. The following main features of construction and planning of the building have been restored: 1. Outdoor yard; 2. Sanctuary before the entrance to the ritual hall; 3. The main ritual hall with a circular balcony around the perimeter of the second floor. It was established that the main ritual hall of the Temple had a structure with a partially open roof or a structure that provided the opening of part of the roof during the rituals. One of the main design features of the Temple was also the "solar corridor" on the east side of the building, which provided the light passage of solar energy on the days of the annual equinoxes. The whole ensemble of the building was complemented by a symbolic image of bull horns, which is a stable element of the structures of the Trypillia Temples. The main purpose of the article is to comprehend the problem of the origin and sacred purpose of the Nebelivka Temple. Factors such as loca-tion,  position  and  structure  of  the  structure  are  investigated.  With  this,  the  Trypillia  shrine  acquires  the  significance  of  a  monument  of  national  architecture and enters the arena of world culture under the symbol of cosmological religion (for Toporov V. N.).  For the first time in religious studies, the features of the construction of the Nebelivka Temple of the Trypillia civilization are highlighted. Also, for the first time, key issues related to the temple ritual practice of the Trypillia ethnic group are revealed.

Робота присвячена осмисленню релігійної складової у виявах ритуальної
пластики трипільської етнокультурної спільноти. Автор роботи залучає до розгляду
одну з «візитних карток» духовної складової Трипілля – «біноклевидний» (біконічний)
керамічний посуд, який став одним з найбільш характерних візуальних маркерів цієї
культури

У статті розглянуто аспекти використання традиційних для народної архітектури України екологічно чистих будівельних технологій та матеріалів з урахуванням сучасних нормативних вимог щодо енергоефективності, пожежної та екологічної безпеки. Запропоновано к

Статтю присвячено аналізу афінського громадянського «уявного» в класичний період як утопічного та ідеологічного проекту, спрямованого на створення демократичного суспільства. Автор звертається до концепту політичного «уявного» Ніколь Лоро та досліджує способи забуття в античній Греції

For thousands of years, men, women, and children have fondly utilized rings as decorative items. These are made of different metals such as gold, silver, lead, iron and bronze, as well as ivory, tiles, bone, glass and natural stones. Historically gold rings were only used by administrators, high-ranking officials, upper class citizens, and groups with military status. During the Hellenistic Period, it has been determined that people without status in society began to wear gold rings in the Early Roman Period. It is known that in the Late Roman Period, all segments of Roman society commonly wore rings made of precious metals. This shows that wearing rings made of precious metals was no longer a sign of status.

The subject of this study is a gold ring in Burdur Museum. The ring was obtained by the museum through purchase. It was made by lost wax casting and is completely preserved. The form of the ring is a “D” in cross section. The ring stone is an oval-shaped glass cabochon; the bezel of ring is convex and the seat of the stone is flat. A winged goddess (Nike) is engraved on it. The aim of the study is to define the identity and iconography depicted on the ring stone, to determine the status of the person wearing the ring and to determine the period to which the ring belongs.

While evaluating the Burdur Museum example, the focus was primarily on form. Then, the depiction and composition of the goddess on the ring stone were discussed by iconographical way. Finally, the differences and similarities of the rings depicting Nike with the Burdur Museum sample were investigated. Taking these approaches in to consideration, a date proposal was made for the Burdur Museum example.

Takı grubunda önemli bir yere sahip olan yüzükleri binlerce yıldır
erkekler, kadınlar ve çocuklar süs eşyası olarak severek kullanmaktadır.
Bunlar altın, gümüş, kurşun, demir ve bronz gibi farklı metallerin yanı sıra
fildişi, fayans, kemik, cam ve doğal taşlardan yapılmıştır. Tarihsel olarak
altın yüzükler Hellenistik Dönem’de yönetici, yüksek memur ve askeri statü
sahibi kişi ve gruplar tarafından kullanılırken, Erken Roma Dönemi’nde
toplumda statüsü olmayan kişilerin de altın yüzük takmaya başladığı tespit
edilmiştir. Geç Roma Dönemi’nde toplumun her kesiminin yaygın olarak
değerli metallerden yapılmış yüzükler taktığı bilinmektedir. Bu değerli
metallerden yapılmış yüzük takmanın artık bir statü göstergesi olmadığını
göstermektedir.
Bu çalışmanın konusunu Burdur Müzesi’nde bulunan altın bir yüzük
oluşturmaktadır. Yüzük müzeye satın alma yolu ile kazandırılmıştır.
Döküm tekniğinde yapılmış olup, tamamı korunmuştur. Yüzüğün formu
“D” kesitlidir. Yüzük taşı oval biçimli bir camdır; kaş kısmı dışbükey
profilli, iç yüzeyi düzdür. Üzerinde kanatlı bir tanrıça (Nike) tasvir
edilmiştir. Çalışmanın amacı, yüzük taşı üzerindeki tasvirin kimliğini ve
ikonografisini tanımlamak, yüzüğü takan kişinin statüsünü tespit edebilmek
ve yüzüğün ait olduğu dönemi belirlemektir.
Burdur Müzesi örneğinin değerlendirilmesinde öncelikle formu
üzerinde durulmuştur. Daha sonra yüzük taşı üzerindeki tanrıçanın tasviri
ve kompozisyonu ikonografik açıdan ele alınmıştır. Son olarak Nike tasvirli
yüzüklerin Burdur Müzesi örneğiyle benzerlikleri ve farklılıkları
araştırılmıştır. Bu yaklaşımlar dikkate alınarak Burdur Müzesi örneği için
tarih önerisinde bulunulmuştur.
Anahtar Kelimeler: Hellenistik Dönem, antik takı, altın yüzük, yüzük taşı,
kanatlı tanrıça, Nike, Victoria.

For thousands of years, men, women, and children have fondly utilized
rings as decorative items. These are made of different metals such as gold,
silver, lead, iron and bronze, as well as ivory, tiles, bone, glass and natural
stones. Historically gold rings were only used by administrators, highranking
officials, upper class citizens, and groups with military status.
During the Hellenistic Period, it has been determined that people without
status in society began to wear gold rings in the Early Roman Period. It is
known that in the Late Roman Period, all segments of Roman society
commonly wore rings made of precious metals. This shows that wearing
rings made of precious metals was no longer a sign of status.
The subject of this study is a gold ring in Burdur Museum. The ring was
obtained by the museum through purchase. It was made by lost wax casting
and is completely preserved. The form of the ring is a “D” in cross section.
The ring stone is an oval-shaped glass cabochon; the bezel of ring is convex
and the seat of the stone is flat. A winged goddess (Nike) is engraved on it.
The aim of the study is to define the identity and iconography depicted on
the ring stone, to determine the status of the person wearing the ring and to
determine the period to which the ring belongs.
While evaluating the Burdur Museum example, the focus was primarily
on form. Then, the depiction and composition of the goddess on the ring
stone were discussed by iconographical way. Finally, the differences and
similarities of the rings depicting Nike with the Burdur Museum sample
were investigated. Taking these approaches in to consideration, a date
proposal was made for the Burdur Museum example.
Keywords: Hellenistic Period, ancient jewellery, gold ring, ring stone,
winged goddess, Nike, Victoria.

Публикации по отечественному музейному делу первой трети XX в. содержат разрозненные упоминания о проекте создания Археологического музея. Работы по этой теме ограничиваются изучением отдельных сопутствующих событий. Выводы, что c 1917 г. никто не смог продвинуться в части практической реализации и кроме идей для обсуждения ничего не было предложено, во многом спорны. По объективным обстоятельствам создание абсолютно нового музея не было целесообразным, о чем свидетельствуют выявленные источники из архивов Государственного Эрмитажа и ИИМК РАН. Очевидец и непосредственный участник событий тех лет А. П. Манцевич подготовила два эссе для сборника «Теория и практика музейного дела в Эрмитаже», которые не были опубликованы. Изложенные ею факты наглядно демонстрируют вклад, который внесли в разработку методов экспонирования археологических коллекций ведущие археологи и специалисты, совмещавшие работу в этих двух учреждениях. Документы представляют интерес для музееведов и специалистов, интересующихся историей научных отделов Государственного Эрмитажа и экспонирования археологических коллекций.

On the limestone gravestone of the 3rd century A.D. from Pannonia, which is exhibited in the local history museum in Eisenstadt (Austria), pictured the pectoral decoration. It can be considered an iconographic analogy of necklaces depicted on female figures from funerary monuments of the Roman Empire’s eastern provinces. It is known that during the Severus dynasty, numerous immigrants from the eastern provinces of the empire entered Pannonia.
Besides the chest chains in the ancient world, the body chains were popular also. Both types of decorations (pectoral and body chains) are known among objects of the circle of Eastern European barbarian enamels.
Taking into account the connection between Pannonia and the Baltic, thanks to the existence of the Amber Road, it can be assumed that the creators of the eastern European barbaric champlevé enamels style could have been inspired by the luxurious decorations of the people from the eastern Roman provinces, which they encountered in the Danube region.

The influence of nanoparticles made of ifferent metals oxides (ZnO, Al2O3, TiO2, and ZnO/Al2O3) on the in situ formation of microfibrils by the components of a dispersed phase was studied in a thermodynamically incompatible blend of polypropylene/copolyamide (PP/CPA). The viscosity of the melts was determined by capillary viscometry method. Elastic properties were evaluated by the degree of extrudate swelling. The morphology of the compositions was studied by optical polarization microscopy. The method of image analysis was used to quantify the structural characteristics of the blends. It was established that the introduction of 1.0 wt.% of nanoparticles of the studied oxides made from different metals allows tuning the microstructure of the melt of the PP/CPA blend, which is realized in the course of extrusion. More perfect morphology is formed in nanofilled systems: the average diameter of PP microfibrils decreases and their mass fraction increases. The modifying effect of oxide n...

У статті розглянута низка композиційних та сюжетних паралелей між пектораллю з Товстої Могили та «чортомлицькою» серією оббивок горитів. Зокрема, композиція оббивок горитів має тричленну структуру, сюжети кожної з частин (антропоморфні та рослинні
композиції, а також фриз зі сценами шматування та нападу), якої умовно відповідають композиції пекторалі. Найменшу відповідність мають фризи з антропоморфними персонажами. Однак і фризи з рослинним орнаментом та сценами «світу смерті» вирізняє відсутність властивої композиції пекторалі чіткої ієрархії, поділу на центр та периферію. В цілому, композиція оббивок горитів «чортомлицької» серії має вигляд не цілком узгодженої, що свідчить про використання при виготовленні окремих ділянок оббивок різних
матриць. У той же час надмірна деталізація мініатюрних моделей горитів на пекторалі демонструє добре знайомство майстра з цією категорією військового спорядження.

Crimean jewellery from the Sarmatian period (2 nd century BC-4 th century AD) includes a small but interesting group of adornments with traces of damage and repair. These artefacts were elements of grave inventories of the people of the Late Scythian and Sarmatian cultures-deposited exclusively in female and child graves. Most of the repaired personal ornaments are earrings and bracelets. Their quality is usually very low. The existence of repairs made jewellery look less attractive and they were limited to modifications allowing their owners to use such adornments again. The general quality of the repairs seems to indicate that they were performed by people lacking expert knowledge of jewellery making.

У статті йдеться про пам’ятки торевтики IV ст. до н. е., на яких представлені жіночі образи. Вони часто створені за традиціями греко-скіфського мистецтва. Зображення жінок схематичне, узагальнене, але і так звані «портрети», і сюжетні композиції відбивають особливості вбрання скіф’янок, тому мають значний інформаційний потенціал для реконструкції різних компонентів убрання.

A diadem, a necklace with a Heracles knot, a lion’s-head hoop earring, bow-shaped fibulae, a bud-shaped pendant and a finger ring with engraved decoration: these spectacular pieces were placed as grave gifts in tomb Γ at Sedes not far from Thessaloniki. The tomb is dated to the last quarter of the 4th century BC, and the finds are in the Archaeological Museum of Thessaloniki.
The author’s hypothesis, i. e., that purely technical details can serve as attribution marks of goldsmiths here is proved by the close technical study of these jewellery.  Thus it shows that this hypothesis is also valid for jewellery of different types.  However, in the case of jewellery of different types, identification of common features, which can be interpreted as marks of the same hand or workshop, is a more complex task. Several technical features and characteristic imperfections have been found on the Sedes jewellery which make it possible to ascribe almost all the pieces to a single artist.
Concluding from the features observed with microscope and the comparative technical analysis made among the pieces, the author proposes the attribution of this gold jewellery to a single goldsmith and suggests naming him the Sedes Goldsmith after the finding place of the pieces examined.
The comparative analysis also includes the comparison between the main piece of this jewellery group, the Sedes diadema and its closest analogy, the gold diadem from the larnax found in the antechamber of tomb II of the Great Tumulus in Vergina.
The case study presented here illustrates the usability of comparative technical analysis as a tool of master hand attribution of ancient jewellery  and also presents a new direction for research on the goldsmith’s craft in ancient Macedonia.

The kantharoi with biconical body, with the upper part decorated with friezes of cyma and cyma reversa and the lower part decorated with strigil-shaped pattern, with wish-bone handles ending with balls in their upper part and with leaves as lower attachments are attributed to the type Vysochino after the find of a set of 4 such vessels in the cache of the second half of the 1st century AD Sarmatian burial in a Barrow-mound 28 of the group Vysochino-VII in the Lower Don region. These kantharoi have a rather compact area of distribution, with the concentration in the Eastern Crimea, in the South-Eastern part of the Bosporan Kingdom and in the Lower Don area, though their finds originate also from the Mountain Crimea and the Kuban area.
I cannot accept the viewpoint of S. Künzl that the goblets of Vysochino type were manufactured in one of the workshops in the provinces Bithynia, Cappadocia or Pontus. Recent finds of such kantharoi in various sites of the Bosporan Kingdom, including the destruction layer of the fortified site of Artezian in the Bosporan Kingdom with a Greek dotted donative inscription on the bottom of one of them allow to settle the terminus ante quem for their manufacture – 46/47 AD suggest the possibility of their production in the workshop of the Bosporan Kingdom. We have at our disposal a unique series of silver vessels of known origin, including those from well-dated assemblages, which suggests that such standard vessels were made on the eve or during the Roman-Bosporan War of 45–49 AD, which later ended up either in a fortress destroyed during the war, or in military burials on the periphery of the Bosporus and in the Sarmatian elite burials of the Lower Don and the Kuban region. Most of them came out of use not later than in the third quarter of the 1st century AD.
It is noteworthy that the kantharoi discussed show more compact area of distribution than the related group of silver karchesia with a similar decoration of the body and execution of the handles, the finds of which originate from Western Ukraine, in Olbia, South-Western Crimea and the Kuban basin.

Finds of jewellery in the necropoleis of the Cimmerian Bosporus of the late 6th - first half of the 5th century BC are extremely rare. They are represented primarily by two categories: 1) necklaces and individual beads, beads with soldered pendants, pendants, and 2) finger rings. Given the limited scope of the publication, I am focusing on the analysis of the latter. Finger rings, usually made of gold (or electrum), can be divided into two groups: signet rings and rings with decorative shields. In total, out of 15 rings with engraved images of the “Penelope group”, the locations of 12 of which are known, at least 4 definitely come from the territory of the Cimmerian Bosporus. Of the 17 decorative rings recorded here, 11 have a precisely known or most likely place of origin. Of these, 4 come from the Northern Black Sea region, including 3 from the territory of the Cimmerian Bosporus. In spite of the rarity of jewellery items of this period in the Cimmerian Bosporus, also in comparison with Olbia, which has already been repeatedly noted, as the presented analysis has shown, this is not entirely true, and given, in principle, the rarity of finds of jewellery dating earlier than the second half of the 5th century BC in Greece, the Cimmerian Bosporus looks quite decent against this background.