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The brooch is classified as pseudo-penannular, in that its terminals are closed and do not contain a gap through which a fastening pin could have passed. [24] It is bilaterally symmetrical [ 25 ] with a basic structure of a circular hook, semi-circular and linked terminals, a long pin and a string likely used for additional support to keep it ...
With a penannular brooch, the pin is pushed through folds of the cloth, which are then pulled back inside the ring; the free end of the pin passes through the gap in the ring. The pin is then rotated around the ring by 90 degrees or so, so that as long as the pin is held down by slight pressure it cannot escape over the terminals, and the ...
Brooch designs were many and varied: geometric decoration, intricate patterns, abstract designs from nature, bird motifs and running scrolls. [8] Zoomorphic ornamentation was a common element during this period, in Anglo-Saxon England as well as in Europe.
Lombardic gilded silver brooch from Tuscany, c. AD 600, one of the largest of its kind (British Museum) [2] A fibula (/ˈfɪbjʊlə/, pl.: fibulae /ˈfɪbjʊli/) is a brooch or pin for fastening garments, typically at the right shoulder. [3] The fibula developed in a variety of shapes, but all were based on the safety-pin principle.
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An example of Lea Stein's Art Deco jewellery. This poised cat brooch is called "Quarrelsome." Léa Stein (born 11 February 1936) is a French artist and accessories maker, known for her compressed plastic buttons, brooches and bracelets. She is often hailed as "the most notable and innovative designer of plastic jewelry of the 20th century". [1] [2]
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Brooches of the Anglo-Saxon era were worn primarily by women. According to clothing historian, Penelope Walton Rogers, "For the Anglo-Saxon woman, brooches, pins, clasps and buckles were as essential to her clothing as modern button and zip-fasteners. However decorative their appearance and however much they were used to express social and ...
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