Jewellery is personal adornment worn on the body, primarily as decoration. In addition to their aesthetic
aspect, the fibulae and pectorals discussed above also
have a functional role. The jewellery is concentrated on the upper body and around the head, and, over time, the quantity increases. The addition of jewellery only
emphasises the fact that the head of the figurines receieved
the most attention, while the body was almost abstract.
The items commonly depicted on the figurines will
be discussed below in relation to their counterparts in real life, in order of appearance: earrings, bracelets, the tight necklace or choker, and the hairband. The analysis will conclude with a general discussion of the application
of jewellery to the figurines in comparison with larger
sculpture and its interpretation, looking once again at the
identity and gender of the figurines.
II.6.h.i Ear studs and earrings
The very earliest earrings on terracotta figurine heads
found at Agrigento are the ear studs or disc earrings. These
early heads, 1200-600 BCE, probably imported from Crete,
have remarkable ear studs, made of a disc of clay applied separately, as for their eyes.564 These, as well as those on the Argive and Locrian objects, seem to be the most common
form of early ear adornment (for example, 2 and 3). The Locrian figurines have a moulded face, but the large
discs were applied later by hand. The locally produced
figurines often wear strikingly large ear adornments and the number of figurines with earrings increased over time. Before 500 BCE, they often take the form of a disc and
sometimes the distinction between the earlobe and the stud
is not clear (99). In this period, abstract geometrical shapes
might have been preferred over the naturalistic shape of
564 Mus. Arch. Agrigento Inv. no.79876. See fig. 2.3 on the left.
the ear. Sometimes the ear stud is just a little larger than the globule of the ear itself, 107, while in other cases, the
ear itself is not visible at all, just the knob (84). The disc-
shape that is common for the shoulder pins and pectoral might have appealed, as the globule of the ear has a similar shape. A disc ear stud repeats the form and is usually just
slightly smaller than the fibulae.565 Such an ear stud in the shape of flower with six petals can also be seen on Locrian
pinakes.566 The disc stud was common in Etruscan jewellery in the sixth century BCE.567 Etruscan antefixes might have influenced the shape of the ear stud, as it did for the facial features, like the antefix named above that wears an ear stud with a knob in the middle (fig. 2.5). It is possible that the locally produced figurines were inspired by the earlier imported Cretan, Argive and Locrian568 examples, but also by examples from contemporary representations from the Italian mainland.569
Earrings appeared later than ear studs, on the figurines in group 2, probably around 500-490 BCE, when the
pectorals were already part of the standard adornment.570
As the ears on some figurines became relatively large,571 the
new ear ring form was introduced. The ears were pieced
by a ring on which a pendant was attached. On 21, for
example, the ears, earrings, and the triangular pendant are all large. 21, 100, and 105-106, mark the introduction of this new model. Sometimes it still features the ear stud from which the ring hangs (105-106). The ring itself
can be boat-shaped, becoming thicker as it descends, for
example, AG9187 (Catalogue fig. 22). The ring was also
sometimes thicker in its entirety. This can be seen on some
of the group with the decorated polos (134). In this group,
the pendant is sometimes more triangular, while in other instances it is conical.572 This is a repeated shape, as the
pectoral pendants are not completely ovoid, but pointing downwards underneath. The shape of the objects on the chest and the pendant on the earring form a set. More
565 These Etruscan 6cm diam. discs from the sixth century BCE seem large for earrings. They are extremely finely decorated. Staatl. Ant. Munich. Wünsche and Steinhart 2010, p.94-5, no.52.
566 Typus 5/20 and 2/25 Mertens- Horn 200/2006, Abb.6, 48 and 49, p.66-67. For both Demeter herself and the dedicant.
567 It is thought to be of Lydian origin. Haynes 2000, p.158.
568 On a Locrian pinax two women, both the goddess and the worshipper apparently wear rosette-shaped ear studs. Orsi 1909, p.413, fig. 5 and
6. Whether they are wearing a sort of pendant earring on another
pinax is not entirely clear. Orsi 1909, p.421, fig.17.
569 One of the most popular types was the disc, even though not so
many real ones have been found. Higgins 1961, p.127.
570 An exception is figurine 103 that has just earrings and no pectorals. It is the body that is exceptional here, not the head or earrings. 571 On other figurines, the ear itself is not depicted. The ring with
pendant is placed unnaturally high on 105‑106.
572 As seen on the pendants, the difference between in the round and flat, here conical and triangular, can be the result of smoothing the surface of the moulded figurine and new generations.
elongated pointed pendants on both earrings and chest are visible on 179. 105‑106 are an exception, as the pendants are of great variety and the earrings with the knob, ring and triangle pendant do not directly match with the shapes on the pectoral pendants. The large earring is often placed on
top of the hair. A figurine of the patterned polos sort, with
horizontally lined hair, 124, but without earring suggests that the earrings are a later addition in this series, taken up in new generations and possibly applied with another mould. In one instance, 133, both the ring and pendant are decorated with notches arranged in irregular lines. Is
granulation or another sort of fine metal working suggested here? On figurines from the latest group, the earrings are
still of this model and rather large. The pendant is similar in shape to the pectoral pendants, but more elongated,
189. The jewellery, like the earlier examples, is therefore
matching. This may show that pectoral pendants from this time were also seen as jewellery.
The representations of the shape of the ears and earrings follows a similar development, parallel to the depictions on Siracusan coins with a female head. There is no consensus on the identity of the depicted woman and she has been seen as a goddess or nymph, representing the town. In the
table below, the different forms of jewellery, as seen on the figurines, are compared with those depicted on the coins from parallel periods in time (table 2.5). The order of models on the figurines corresponds with that on the coins: the earliest
form is a simple knob, with often the same uncertainty over whether it is the earlobe or a stud represented. The following form is the ring with a pointed pendant. The relative size
on the figurines is larger, which could be explained by the
technical limitations of the terracotta moulding. A more realistic size would have been too small to make a clear
impression in clay. The coins confirm the relative date and the development in earrings for the figurines, but point out
that the exceptional earing mould, 201, with its triple form – a model that does not appear on the figurines – is likely from the beginning of the fourth century BCE. The adornment of terracotta representations with fine jewellery continued in
the fourth century BCE, when the production of fine gold jewellery was intensified.
This mould for just an earring, 201, was probably meant for larger statuary. Though it follows the same schedule of disc, ring and pendant it is clearly much more
refined than the examples on hand-sized figurines. It has a
knob decorated with a rosette. A boat/crescent-shaped ring, curling slightly inward and outward like a lyre, slightly thicker on the underside and curling outward at the top hanging from the disc. Three thin pendants are hung from this ring. The earrings made out of it would have been
about 4.5cm, which is larger than would fit most figurines,
but smaller than would be expected for a life-size statue. It could have been meant for large busts or masks. The holes in the ears of such objects show that these could be adorned with real metal earrings.573 When we compare the larger statuary from Akragas, the earrings also appear
and are significantly larger. On the fragment with hair of
what was once a near life-size statue, 202, a thick boat- shape earring hangs from a small knob that is placed on the earlobe. Surprisingly, a pendant is absent. The earrings of the large terracotta mask from Gela mentioned above, consist of a ring with a vase-shape, which she wears on the second row.574 This indicates that matching jewellery was usual in this period.575
Boat-shape earrings were common in South Italy
and remained fashionable for a long time. Partial bronze earrings from Akragas could have belonged to this model. They have been found in a grave-context dated to the end
of the sixth century BCE.576 A gold example with acorns as pendants is dated to around 350 BCE and decorated with
573 Such as AG16085 (bust, h. 37cm) found at the sanctuary at S. Biagio. Bennett and Paul 2002, p.243.
574 Bennett and Paul 2002, p.255, no.59.
575 See Section II.6.h.iv.
576 As the parts are very small, it is unclear whether they belonged to these model earrings. Together with stone bobbins and a dog/lion
stone protome from Necropoli Contrada Pezzino, Akragas, tomb F/398. Presently the finds are in showcase 77 at Mus. Arch. Agrigento.
Coins Short description earrings Figurine example Differences
Siracusan tetradrachm 485‑480 BCEa Knob-like ear studs 84, 107 knob seems fairly small on the coins
Siracusan tetradrachm 485‑479 BCE
Siracusan litra 474‑450 BCE boat-shaped ring with pointed pendant 100133 pendant on figurines are larger,pendant is reworked and coarse in shape Siracusan tetradrachm 450‑439 BCE spiral earring ‑ not appearing on Akragantine figurines Siracusan dekadrachm 405-400 BCE
Siracusan tetradrachm 310‑304 BCEb single alabastron- shaped pendant ‑ appearing on Greek objects, like korai, not on Akragantine figurines Siracusan dekadrachm 400-370 BCEc triple pendant 201 mould features also knob and ring; middle pendant on coin thicker.
Table 2.5: Table with comparisons of representations of earrings on Siracusan coins and Akragantine figurines. (a); Boehringer 1929 series IV, 41 (V26/R25), 42 (V26/R26), 48 (V27/R31). Struck under Gelon; (b) With inscription ‘Koras’. See university website: http://thor.lawrence.edu/omeka/buerger/items/show/354; (c) For photographs and dating of these coins: Boehringer 1929; See Swett 1993.
very fine granulation.577 This shape is oriental in origin578 and could be Phoenician in this case. They might have had
matching pendants. Earlier metal examples are known from
Akragas, Gela and Megara Hyblaea, but have a granular addition, smaller than a pendant.579 The conical pendant on some figurines’ earrings is more similar to examples with just this sort of pendant, finely granulated from the fifth and fourth century BCE, but of unknown origin.580 Clearly similar objects in real life, however, are not available, and it remains unclear whether combining the boat-shape ring
with a pendant influenced by another culture. II.6.h.ii Bracelets
Among the figurines, only a small number wears bracelets.
In these cases, it is not entirely clear whether several bracelets or a single spiral bracelet is depicted. The series of the decorated polos, 115, 135, 136, wears a four-ringed bracelet at the end of her sleeves, around both her wrists. Also 144, 149-151, the fine folded sleeves series, might wear the same sort of bracelets, a development that fits with the increasing adornment of the body and fineness of
jewellery. The bracelets are sizeable compared to the hand, but are not large in diameter, as they are tighter than the
sleeve. On a figurine from Selinous, a spiral bracelet is very
clearly shown, but worn somewhat higher on the lower arm.581 Very similar bracelets are depicted on a life-sized 577 Hamdorf 1996, p.211, no.144.
578 Deppert-Lippitz 1985, p.93.
579 Akragas: lead earrings, bronze beads(?) and a silver fibula. Necropoli Contrada Pezzino, Akragas, tomb 1002. Mus. Arch. Agrigento. Veder Greco 1988, p.298. Other bronze jewellery from tomb 1502. Veder Greco 1988, p.316. For other places see Higgins 1961, p.127. 580 Deppert-Lippitz 1985, p.126-7, no.74-75.
581 Mus. Louvre, Paris Inv. no.Cp5137. See museum website:
http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame
&idNotice=6730&langue=en.
terracotta figurine from Katane (Catania), dated to the first half of the fifth century BCE.582 Such bronze bracelets
are known from the sixth to early fifth century BCE from Northern Greece, Corinth and Sicily.583
A bracelet in bronze with spiral form, circling six times
around the arm, was found at Necropolis Monte Bubbonia tomb 11/71, dated to the sixth century BCE (fig. 2.19).584 It is very likely these bracelets, in particular spiral ones, were fashionable at the time and were therefore added to the
terracotta figurines as a sign of up-to-date luxury.585 II.6.h.iii Necklaces and hairbands
The pectoral is sometimes taken for a necklace. Dewailly distinguishes two forms of colliers, which are mentioned
by Homer in Od. 18, 295. The first is the hormos, which contains several strings of pearls, interpreted here as a pectoral. The second form is the isthmion, which hangs around the neck, a necklace proper. There are two composition possibilities, with one larger pendant in the middle or with several objects of similar size.586
On some figurines, a tight necklace appears, placed
high on the neck, some without pendant, 125, 152?,587 but most with, 115, 140, 189.588 An originally Selinuntine series omits the pendant and is usually more pronounced
582 Pautasso 1996, p.109, no.168, tav.XVII. 583 Deppert-Lippitz 1985, p.131.
584 Now exhibited in the Mus. Arch. Caltanisetta.
585 Bracelets as a jewellery might have become more common in this period. Other examples, not spiral, are two bracelets found at the Sanctuary of Malophoros in Selinous. Trombi 2003, p.99 no.67-8; Gabrici 1927, p.362, fig.155.i.
586 Dewailly 2010.
587 Also a head, which is probably from Akragas. See Catalogue fig. 28.160.
588 On two figurines from the same mould, 179-180, the necklace with pendant was impressed after moulding.
Figure 2.19: Bronze bracelet from Monte Bubbonia. Mus.
(94). Unlike some pendants, and comparable to the
addition of bracelets and earrings, this jewellery item is more likely to be contemporary. It does not belong to the tradition of the pectorals and has no other value than an aesthetic one. It should be seen as bringing the appearance of the goddess up-to-date with that of
contemporary fashion for women. Though it reflects
fashion, it could also highlight the status of the goddess,
as it fits in the tradition of adornment, emphasising the female gender of the figure. It presents her in this way
as an ideal woman. In depictions of women in other sculpture and coins, this tight necklace appears from
the sixth century BCE onwards, as on a Cypro-Archaic II
terracotta head,589 but gains popularity in the first half
of the fifth century BCE. It has a long use afterwards, for
example on a gold pendant of a female head, dated to
between 350-330 BCE.590
Several of the Siracusan coins feature a female head with tight, beaded or plain necklace. The depiction of
the head alone did not leave space for pectorals. On
a demareteion, a silver dekadrachm from Syracuse, multiple beads or pendants on two necklaces, as well as an earring with pendant, are depicted.591 On another coin,
a rare silver tetradrachm from Syracuse, one necklace with a small pendant in front is placed high on the neck, while another larger beaded necklace is depicted just on
the edge of the neck (fig. 2.20).592 This combination of a
thin, high necklace and a lower, larger one is seen on other coins from Syracuse. Some can be precisely dated as being minted under the authority of Gelon.593 The lower necklace might replace the pectoral with pendants,
as that could not be fitted onto the standard depiction
of a head on the coin. The beaded form, the size and placement distinguish these necklaces from the pectorals on the terracottas.
The pearl-rim in the hair may have been part of the jewellery and not of the polos, as seen on 115-118,
126-129, 133, 166?, as it is not clear whether the rim is
part of the polos. Siracusan coins could shed light on the matter as the female head depicted on some wears such
a pearl-band in her hair. On some coins, it is merely decorative, placed around the head (fig. 2.20), on others it functions to keep the hair up from the neck. On the
589 Met. Museum, New York Inv. no.35.11.20, dated to the sixth century BCE. See museum website: https://www.metmuseum.org/ art/collection/search/253497.
590 The thin tight necklace with one small pendant is worn high on
the neck and its depiction is precisely like on the figurines. It is thought to be from Taranto. Hamdorf 1996, p.204-5, no.135.
591 Boehringer 1929, Group III, series 12e. Boston, Museum of Fine Arts Inv. no.35.21. See museum website: https://www.mfa.org/collections/ object/dekadrachm-demareteion-of-syracuse-with-quadriga-1205.
592 Boehringer 1929, p.45 (R 29) without earring. 593 Boehringer 48 (V27/R31) is dated to about 484-483 BCE.
figurines and on some coins, it marks a distinction
between the fringe and the hair on top of the head. Some
of the girls depicted on a pinax from Locri Epizefyrii also wear a pearl hairband (fig. 2.9).594 It might be one of those jewellery items that became fashionable at a certain moment. The pearl-rim appeared somewhat later than
the tight necklace on the Akragantine figurines, and it is
only once that a hair band without polos appears on the
Akragantine figurines, 21.595
Other jewellery is found often among the
contemporary grave goods at Akragas. Six rings, for
example, were found in grave 1477 at Akragas next
to pottery of normal and miniature size, as well as a
terracotta figurine holding a dove.596 Rings might not have been depicted on the figurines for the practical reason of their fineness, which does not fit well with the
technique of moulding used.
II.6.h.iv Comparison with korai jewellery
In the case of larger statuary, the korai, jewellery in stone is often ommitted.597 There are two noteworthy exceptions, however, Phrasikleia and the Berlin Goddess, who wear jewellery as well as a sort of polos or crown. Phrasikleia’s
necklace, earrings and possibly the bracelet have been
reconstructed as gold-coloured. The flower bud she holds
up with her left hand in front of her is repeated on her