Search

Copyright of Respectus Philologicus is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the potential of blockchain technology to revolutionize the jewelry supply chain by enhancing trust, transparency, and efficiency. Utilizing Ethereum, we developed a blockchain network tailored to the industry's needs. Blockchain operates as a secure, immutable ledger, ensuring data integrity and transparency while preventing fraud and tampering due to its decentralized nature. Ethereum's key features, including nodes, addresses, and smart contracts, make it an ideal platform for this application. The system incorporates robust security measures, addressing vulnerabilities such as reentrancy attacks and unauthorized access. Performance tests on networks demonstrated the solution's viability, with Layer 2 optimizations reducing transaction costs. The system also uses IPFS (InterPlanetary File System) to store certificate templates in order to improve scalability and data accessibility. Six primary participants in the supply chain, from miners to customers, engage with the blockchain, ensuring full traceability and transparency. Certificates are dynamically generated by retrieving transaction hashes from the blockchain. The certificate template is stored on the InterPlanetary File System (IPFS), and when needed, the relevant data is populated into the template in real-time to produce the certificate. While challenges remain in terms of industry-wide adoption and regulatory compliance, the solution's potential to enhance transparency and efficiency positions it as a significant advancement for the jewelry supply chain within the Industry 4.0 framework., Competing Interests: Declarations. Compeing interests: The authors declare no competing interests., (© 2025. The Author(s).)

Archive documents, press news and pictorial and photo-graphic portraits allow the reconstruction of the origin and the special history of the set of diamonds and emeralds jewels made by Félix Sam-per in 1862 for the Spanish Queen Isabella II, whose magnificence was praised and rewarded at the time.

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Far from being a simple social phenomenon, without apparent logic, explicable through pre-reflexive mechanisms, fashion is, according to Gilles Lipovetsky, a form fashion, in other words, a socio-cultural mechanism which designates not only competitive rapports between social groups but also dynamics of individual history. It is full of symbols and signs, and it includes a proper vision of the world and makes a hierarchical distinction which leads to self-assertion. Fashion thus goes from appearance to essence. In this perspective, our article tackles the poetic-hermeneutical dimension of fashion as poets and poetry theoreticians such as Baudelaire, Mallarmé or Roland Barthes emphasized in their work. [ABSTRACT FROM AUTHOR]

Images of hands bookend Sir Arthur Conan Doyle's The Sign of Four, but hands are more than a framing device in the text. Through a close reading of these hands and their connection to the popular nineteenth-century science of palmistry, this article illustrates how deeply embedded misogynist and colonial stereotypes are in this canonical work. Dr. John Watson's hands figure as strong and masculine emblems of the British Empire, for instance, frequently depicted as taking hold and taking care of Mary Morstan's gloved and modest hands. In the context of an historical palm reading, the cowardly Thaddeus Sholto's hands are described as effeminate; in reference to their smallness and unrestrained emotionality, the text draws a parallel between Sholto and Tonga, the novel's diminutive antagonist. A colonial subject, Tonga is so dehumanized in the text that Holmes looks to the baser appendage of his feet, rather than his hands, in deducing his character. In this way, a holistic view of the hands allows readers to analyze what Anne McClintock has called layers of hierarchy. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A principios del siglo XVI, la Casa Ducal de Medinaceli era una de las familias aristocráticas más distinguidas en Castilla. El matrimonio formado por los II duques de Medinaceli, don Juan de la Cerda y doña María de Silva y Toledo, desarrolló una especial sensibilidad hacia el arte y la cultura. Los encargos de joyas para la duquesa de Medinaceli son una prueba de ello y permiten avanzar en el conocimiento de su valor y los nombres de los plateros, orfebres tardogóticos, que se vieron implicados, así como contextualizar el foco de Valladolid y los marcadores de plata que se documentan como Abdinete o Francisco de Cuenca, cuyos punzones se distinguen hoy en otras piezas conservadas. At the beginning of the 16th century, the Ducal House of Medinaceli was one of the most distinguished aristocratic families in Castile. The couple formed by Don Juan de la Cerda and Doña Maria de Silva and Toledo developed a special interest in art and culture. Jewelry orders for the Duchess of Medinaceli prove this interest and allow us to know their value, and the names of the late Gothic master silversmiths and goldsmiths who were involved in the process. This study also allows us to contextualize Valladolid and the markers of silver that are documented as Abdinete or Francisco de Cuenca, whose bodkins are still recogized today in other preserved pieces.

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay reflects on jewels as means of seduction for Greek women and, specifically, on those of Aphrodite, a multifaceted deity whose main action is framed within the sphere of sexuality and love. This goddess is the owner of a magical ornament, the kestos himas. On its surface are embroidered some human emotions like desire, seduction and love. This jewel has a leading role in some very interesting episodes of Greek literature, especially the one known as Dios Apate or Hera’s deception of Zeus in order to seduce him. [ABSTRACT FROM AUTHOR]

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores how Mary, Queen of Scots and Elizabeth I utilized jewelry in political settings to construct meaning, represent themselves, and negotiate personal and political relationships. Studying the complexities of jewelry's exchange and circulation between the courts of England and Scotland provides a more nuanced picture of early modern diplomacy and material culture. Jewelry provided a valuable resource from which rulers and diplomats regularly drew when framing their political discourse. Jewels used in diplomacy were as politically meaningful as the gestures and rituals of formal diplomatic audiences and domestic ceremonies. As an object of exchange with a variety of functions, jewelry was absorbent of meaning and memories. Thus, jewelry could forge bonds between those who exchanged it, and also bring about hostilities and complications. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The objects found at Big Atrjasi village in the Tetjushy district of Tatarstan is considered in article. The village is known by the unique cemetery with stone gravestones of 1314 – 1323. Three hidden treasures of silver coins have been found in the XX century at the Big Atrjasi village. Treasures were buried in the end of the 1390s. More than 47 000 silver coins were hidden inside them. The findings that were found at village in the beginning of the XXI century are also studied in the article: bronze and silver jewelry, household items, iron arrowheads, numismatics. Coins related to an epoch of Golden Horde: single findings are basically related to first half – the middle of XIV century, three treasures –the end of XIV century, and an jewelry – end Х–XII centuries, XIII–XIV and XVII–XIX centuries. The ceramics, found on settlement, is dated mainly XIII century. The materials studied in article allow the authors to suggest that in the end of XIII – first half XIV centuries the modern Big Atrjasi village had a big settlement, which were the one of trade centre on this territory.

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay proposes that a number of the concerns expressed in Dracula can be read through Bram Stoker's employment of the imagery of precious metals and jewels. Focusing on the materiality of place - the treasure-laced landscape of Transylvania and the cliffs of Whitby famous for their reserves of jet - and the association between these materials and vampirism, I argue that analysing the symbolism of precious materials leads to a fuller understanding of many of the novel's key anxieties. Not only does this analysis demonstrate Stoker's elaborate use of jewel imagery in developing the notion of the female vampire as a hard, penetrative woman, it identifies the imperial implications of the trade in precious materials. In doing so, it claims that Stoker employs a 'language of jewels' in Dracula, through which he critiques the imperialistic plundering of Eastern lands, and demonstrates how these monsters - intimately entwined with these materials - attempt a rejection of Western appropriation. [ABSTRACT FROM AUTHOR]

The article is devoted to the part of the inheritance from the last national king of Hungary, John Sigismund Zapolya, that fell to the Jagiellons. The author discusses in detail the circumstances in which the Polish envoys received the inheritance in the capital of Transylvania (Alba Iulia) from the executors of the king's will; the division of the inheritance between members of the Jagiellon family: King of Poland Sigismund Augustus and his sisters -- Princess Anna, Queen Catherine of Sweden and Sophia, Duchess of Brunswick; as well as the controversies suiTounding the matter. Inheritance inventories kept in the Landesarchiv Hannover as well as documents from the Archivio Segreto Vaticano provide the basis for a reconstruction of a complete or nearly complete list of the valuables that eventually found their way, as the property of Sigismund Augustus, into his private treasury at the Tykocin Castle. Particular attention is paid to the gold royal insignia (crown, orb and sceptre) that were part of the inheritance. In this part of the article the author focuses on correcting erroneous ideas and theses, well-established in historiography, concerning primarily the role the so-called Hungarian crown apparently played in the coronation of Stefan Batory in 1576, and the look of the insignia. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents a typological and technical study of gombiky (hollow spherical pendants) from the excavations of the Early Medieval cemetery "Lumbe's Garden" in Prague Castle, in which the state elite linked to the early Czech princely environment was buried. The goal of the research is the characterization of the material and the manufacturing techniques. The Gombiky were characterized by optical stereomicroscope (Olympus SZ60), X-radiography, scanning electron microscopy (SEM), supplemented by electron microanalysis (EDS), and metallographic examination. Replicas were manufactured by a goldsmith. The typological and material study evidenced five main types of gombiky, according to the shells' shape, the decorative technique, and the material. Most of the pieces were of unalloyed copper or copper alloys with a small amount of tin (ca. 2%) and were fire-gilt. The different components are soldered with an Ag-Cu hard solder. A pair of gombiky was made of almost pure silver with ca. 2% of copper. A gold alloy was also identified. The gombiky are decorated by chasing and repoussé, but also with granulation and filigree work, glass cabochons, and gilding. [ABSTRACT FROM AUTHOR]

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the framework of a wide project aimed to study the potential of Raman spectroscopy in characterizing gems, jewels and jewellers' collections, in this work the results of a micro-Raman investigation on red gemstones are proposed. In detail, a set of red gems supplied by a jeweller as representative of the current red gems in the trade were analyzed by using micro-Raman instrumentations equipped with different laser excitation sources. The obtained results allow not only discriminating rubies from simulant and fakes but also achieving useful information on inclusions and treatments, obtaining a complete characterization of the studied red gems. Copyright © 2016 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

This work is a part of a large scientific project aimed at highlighting the potential of portable Raman equipment in characterizing jewelry materials preserved in museums, carried out in collaboration with gemologists and archeologists. In detail, we report the results of a measurement campaign performed for the study of gems and jewels preserved in the well-known Medagliere section at the Paolo Orsi Regional Museum of Siracusa (Sicily). The studied materials consist of exquisite examples of engraved loose gems and really rare examples of Hellenistic-Roman jewels, mainly coming from relevant Sicilian archaeological sites. Portable Raman measurements have been carried out using two instruments equipped with different excitation wavelengths. The obtained results have allowed for a complete characterization of the studied gemological materials, also suggesting sometimes misclassification for some valuable objects and gems. [ABSTRACT FROM AUTHOR]

In recent years, the use of mobile Raman equipment as an archeological, artistic, and conservation tool has largely increased due to the possibility to obtain quick and nondestructive compositional analysis on precious, vulnerable, and unique art objects. In particular, art and archeological museums can take great advantage in carrying out in situ measurements in short times and without moving the artifacts. In this work, we report on the Raman measurements carried out by portable instruments on an important jewelry collection dated back to 17th-18th centuries and preserved in the Messina Regional Museum (Sicily, Italy) with the goal to verify the identification of the gems and gemological materials of the collection, previously made by conservators. Although most of the previous identifications were confirmed, some important reclassifications have been proposed. Finally, interesting and unusual combinations of different materials were detected in some jewels. Copyright © 2015 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

In An Englis[h[ expositor[:] teaching the in[ter]pretation of the harde[st] words [vsed] in our language, John Bullokar notes that the word carbuncle ‘hath two significations, namely a precious stone, and a dangerous sore’.(sig. D2r) Generally speaking Renaissance texts keep these two meanings separate: in ways which are inevitably conditioned by the nature of their subject matter, Renaissance authors tend to be interested in exploring either the idea of carbuncle as jewel or the idea of carbuncle as tumour without ever registering the possibility of the alternative meeting for the word. Nevertheless the ambiguity is there: a jewel, a thing of beauty intended for the adornment of the body, is also in some sense potentially a disfiguring mark, a scar on the body marking the site of a trauma. In A Cyborg Manifesto, Donna Haraway asks “Why should our bodies end at the skin?” (online); in this essay, I shall argue that as far as Renaissance jewels are concerned, bodies do not in fact end at the skin, for jewels mark not the end of the body but an edge, a hinge between body and mind as much as between body and dress, in ways which activate fears about permeability, boundary blurring and the monstrous. One of the rare instances of evoking both senses of carbuncle comes in The Comedy of Errors, where Dromio of Syracuse, having defined the kitchen-maid Nell as “spherical, like a globe”, says that “America, the Indies” are located in her nose, because it is ‘all o’er embellished with rubies, carbuncles, sapphires, declining their rich aspect to the hot breath of Spain’ (III.ii.120, 140-3). To varying extent, the horror of the gross, the extreme and the unnatural which is implicit here can be seen as potentially lurking in all Renaissance descriptions of jewellery.