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	{{short description\|Gothic treasure}}		{{short description\|Gothic treasure}}
	]'s ''Trésor de Petroasa'' (1889), by ].]]		]'s ''Trésor de Petroasa'' (1889), by ].]]
	The '''Pietroasele Treasure''' (or the '''Petrossa Treasure''') found in ], ], in 1837, is a late fourth-century ] treasure that included some twenty-two objects of gold, among the most famous examples of the polychrome style of ]. Of the twenty-two pieces, only twelve have survived, conserved at the ], in ]: a large eagle-headed ] and three smaller ones encrusted with semi-precious stones; a ], or round sacrificial dish, modelled with ] figures<ref>Campbell, Joseph. ''The Masks of God: Creative Mythology''. 1968.</ref> surrounding a seated three-dimensional goddess in the center; a twelve-sided cup, ] with a ], a large tray, two other necklaces and a pitcher. Their multiple styles, in which ] styles have been noted in the belt buckles, ] styles in the golden bowls, ] motifs in the baskets, and ] fashions in the fibulae,<ref>Herbert Kühn, "Asiatic Influences on the Art of the Migrations" ''Parnassus'' '''9'''.1 (January 1937, pp. 13-16, 43) p. 14</ref> are characteristic of the cosmopolitan outlook of the ] in a region without defined ] confines.		The '''Pietroasele Treasure''' (or the '''Petrossa Treasure''') found in ], ], in 1837, is a late fourth-century ] treasure that included some twenty-two objects of gold, among the most famous examples of the polychrome style of ].

			Of the twenty-two pieces, only twelve have survived, conserved at the ], in ]: a large eagle-headed ] and three smaller ones encrusted with semi-precious stones; a ], or round sacrificial dish, modelled with ] figures<ref>Campbell, Joseph. ''The Masks of God: Creative Mythology''. 1968.</ref> surrounding a seated three-dimensional goddess in the center; a twelve-sided cup, ], a large tray, two other necklaces and a pitcher.

			== History ==

	When ] published his book on the treasure,<ref>Odobescu, Alexandru, ''Le Trésor de Petrossa'', ], 1889-1900.</ref> he considered that such magnificent work could only have belonged to ] (died 381), leader of the ], a Gothic people. Modern archaeologists cannot connect the hoard with such a glamorous name.		When ] published his book on the treasure,<ref>Odobescu, Alexandru, ''Le Trésor de Petrossa'', ], 1889-1900.</ref> he considered that such magnificent work could only have belonged to ] (died 381), leader of the ], a Gothic people. Modern archaeologists cannot connect the hoard with such a glamorous name.

	The treasure was shipped to ] in December 1916, as ] armies advanced through ], and was ~~never fully~~ returned; ~~parts were returned in~~ 1956.		The treasure was shipped to ] in December 1916, as ] armies advanced through ], and was not returned until 1956.

		⚫	The artifacts were restored in a way that has been questioned more recently. For instance, old photos show that the head of the largest bird brooch was originally detached, and the present restoration has the head on the wrong way round. In its original state the head would have faced forwards and the brooch would have sat like a bird on the shoulder fastening a cloak in imitation of the Roman fashion.<ref>David Brown, The brooches in the Pietroasa Treasure, ''Antiquity'' 46, 1972, 111-6</ref>

			== Interpretation ==
			The hoard represents multiple artistic styles: the ] influence has been noted in the belt buckles, the ] influence in the golden bowls, ] motifs in the baskets, and ] fashions in the fibulae.<ref>Herbert Kühn, "Asiatic Influences on the Art of the Migrations" ''Parnassus'' '''9'''.1 (January 1937, pp. 13-16, 43) p. 14</ref> Such heterogeneity is characteristic of the cosmopolitan outlook of the ] in a region without defined ] confines.

	An atomic analysis of the Pietroasele gold hoard has concluded that from the point of view of Ir/Au, Cu/Au and Ag/Au concentrations the three styles are clustered. At least from the iridium concentration data, the assumption of a Dacian provenance of the hoard raw material is highly improbable as also the hypothesis that Roman imperial gold coins were used for manufacturing Pietroasa artifacts is not in accordance with the elemental concentrations.<ref>Journal of Radioanalytical and Nuclear Chemistry, 240 (1999) 897 Nuclear analyses of the Pietroasa gold hoard, Viorel Cojocaru, Cãlin Besliu and Cristina Anton Manea</ref>		An atomic analysis of the Pietroasele gold hoard has concluded that from the point of view of Ir/Au, Cu/Au and Ag/Au concentrations the three styles are clustered. At least from the iridium concentration data, the assumption of a Dacian provenance of the hoard raw material is highly improbable as also the hypothesis that Roman imperial gold coins were used for manufacturing Pietroasa artifacts is not in accordance with the elemental concentrations.<ref>Journal of Radioanalytical and Nuclear Chemistry, 240 (1999) 897 Nuclear analyses of the Pietroasa gold hoard, Viorel Cojocaru, Cãlin Besliu and Cristina Anton Manea</ref>

		⚫	== Gallery ==
⚫	~~Old~~ photos show that the head of the largest bird brooch was originally detached, and the present restoration has the head on the wrong way round. In its original state the head would have faced forwards and the brooch would have sat like a bird on the shoulder fastening a cloak in imitation of the Roman fashion.<ref>David Brown, The brooches in the Pietroasa Treasure, ''Antiquity'' 46, 1972, 111-6</ref>

⚫	=== Gallery ===
	<gallery>		<gallery>
	File:Tezaurul de la Pietroasele Closca MNIR Tezaur.JPG\|An eagle-shaped fibula		File:Tezaurul de la Pietroasele Closca MNIR Tezaur.JPG\|An eagle-shaped fibula
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	File:Tesoro di pietroasele, missorio, IV-V sec.JPG\|Plate with concentric ornamentation		File:Tesoro di pietroasele, missorio, IV-V sec.JPG\|Plate with concentric ornamentation
	File:Expozitie Aurul Romaniei MNIR0014.JPG\|]		File:Expozitie Aurul Romaniei MNIR0014.JPG\|]




	</gallery>		</gallery>

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	==External links==		==External links==
	*, at the National Museum of Romanian History		* {{Webarchive\|url=https://web.archive.org/web/20070527214027/http://www.mnir.ro/ro/colectii/tezaur/Pietroasa/tezaur-Pietroasa-1.html \|date=2007-05-27 }}, at the National Museum of Romanian History
	*		* {{Webarchive\|url=https://web.archive.org/web/20070109061606/http://www.mnir.ro/ro/colectii/tezaur/Pietroasa/tezaur-Pietroasa-foto.html \|date=2007-01-09 }}
	*		*
	*		*
	*''Vivid: Romania through international eyes'', Tim Judy, "The treasure of the Pietroasa"		*''Vivid: Romania through international eyes'', Tim Judy, "The treasure of the Pietroasa" {{Webarchive\|url=https://web.archive.org/web/20190731184729/http://www.vivid.ro/index.php/issue/77/page/archaeology/tstamp/0 \|date=2019-07-31 }}

	{{commons category\|Pietroasele treasure}}		{{commons category\|Pietroasele treasure}}

Latest revision as of 19:10, 17 November 2024

Gothic treasure

The Pietroasele Treasure (or the Petrossa Treasure) found in Pietroasele, Buzău, Romania, in 1837, is a late fourth-century Gothic treasure that included some twenty-two objects of gold, among the most famous examples of the polychrome style of Migration Period art.

Of the twenty-two pieces, only twelve have survived, conserved at the National Museum of Romanian History, in Bucharest: a large eagle-headed fibula and three smaller ones encrusted with semi-precious stones; a patera, or round sacrificial dish, modelled with Orphic figures surrounding a seated three-dimensional goddess in the center; a twelve-sided cup, a ring with a Gothic runic inscription, a large tray, two other necklaces and a pitcher.

History

When Alexandru Odobescu published his book on the treasure, he considered that such magnificent work could only have belonged to Athanaric (died 381), leader of the Thervings, a Gothic people. Modern archaeologists cannot connect the hoard with such a glamorous name.

The treasure was shipped to Moscow in December 1916, as German armies advanced through Romania in World War I, and was not returned until 1956.

The artifacts were restored in a way that has been questioned more recently. For instance, old photos show that the head of the largest bird brooch was originally detached, and the present restoration has the head on the wrong way round. In its original state the head would have faced forwards and the brooch would have sat like a bird on the shoulder fastening a cloak in imitation of the Roman fashion.

Interpretation

The hoard represents multiple artistic styles: the Han Chinese influence has been noted in the belt buckles, the Hellenistic influence in the golden bowls, Sasanian motifs in the baskets, and Germanic fashions in the fibulae. Such heterogeneity is characteristic of the cosmopolitan outlook of the Chernyakhov culture in a region without defined topographic confines.

An atomic analysis of the Pietroasele gold hoard has concluded that from the point of view of Ir/Au, Cu/Au and Ag/Au concentrations the three styles are clustered. At least from the iridium concentration data, the assumption of a Dacian provenance of the hoard raw material is highly improbable as also the hypothesis that Roman imperial gold coins were used for manufacturing Pietroasa artifacts is not in accordance with the elemental concentrations.

Gallery

An eagle-shaped fibula
Eagle-shaped middle fibulae, worn in pairs by Gothic women
Cup of gold, silver, garnet and tourmaline
Patera from the Pietroasele hoard, National Museum of Romanian History (Inv. 11427)
Detail on the patera
Plate with concentric ornamentation
Oenochoe

Notes

Campbell, Joseph. The Masks of God: Creative Mythology. 1968.
Odobescu, Alexandru, Le Trésor de Petrossa, Paris, 1889-1900.
David Brown, The brooches in the Pietroasa Treasure, Antiquity 46, 1972, 111-6
Herbert Kühn, "Asiatic Influences on the Art of the Migrations" Parnassus 9.1 (January 1937, pp. 13-16, 43) p. 14
Journal of Radioanalytical and Nuclear Chemistry, 240 (1999) 897 Nuclear analyses of the Pietroasa gold hoard, Viorel Cojocaru, Cãlin Besliu and Cristina Anton Manea