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French silver made for export carries an assay mark in the shape of the head of Mercury, along with a number to indicate the millesimal fineness: "1" for .920, "2" for .840 and "3" for .750. French silver also is punched with the mark of the maker, by law in the shape of a lozenge, usually with the maker's initials and a symbol.
The 9th century Roscrea Brooch is one of a number of transitional brooches; though its form is highly ornate, with a large flat triangular pin head, the ring is thick plain silver, the gold filigree panels occupy relatively small areas, and their workmanship is a "coarse" or "crude" imitation of that of earlier works. [49]
With the rise of metal detecting over the last thirty years, the creation of the Portable Antiquities Scheme in 1997, and the addition of a considerable number of brooch artefacts to the Portable Antiquities Scheme database, these brooches now are considered a common brooch style of the mid to late Anglo-Saxon England. [12]
A Luckenbooth brooch is a Scottish heart-shaped brooch. These brooches often have a crown above one heart, or two intertwined hearts. They are typically made of silver and may be engraved or set with stones. The name comes from the Luckenbooths of Edinburgh, where jewellery and trinkets used to be sold, including this type of brooch. [1]
Hallmark for gold Closeup view of the hallmarks in an antique silver spoon from China In the modern world, in an attempt at standardizing the legislation on the inspection of precious metals and to facilitate international trade, in November 1972 a core group of European nations signed the Vienna Convention on the Control of the Fineness and ...
The Tara brooch was likely made for a High King of Ireland or a dignitary or cleric, probably from the Kingdom of Brega, a branch of the Uí Néills, who ruled over much of today's Leinster. The owner would have worn it on ceremonial occasions. [7] [8] Gilt and silver zoomorphic brooches were status symbols in Early Medieval Ireland
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The discovery of an increasing number of important products of the Quoit Brooch ″school″ in northern France, however, shows that neither the style, nor the forms of jewellery are purely insular developments [10] and that they cannot be linked with any particular ethnic group. An alternative theory has therefore been advanced that they are ...
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