f:wheel shaped medallion: 3 x 3/16 in. (7.6 x 0.5 cm)
b,d,j,h:4 lotus bud plaques: 3 5/16 x 2 1/16 x 3/16 in. (8.4 x 5.2 x 0.5 cm)
e,g:largest cylindrical beads: 2 x 3/4 in. (5.1 x 1.9 cm)
c,i:cylindrical beads: 1 7/8 x 11/16 in. (4.8 x 1.7 cm)
a:smallest cylindrical bead: 1 x 1/2 in. (2.5 x 1.3 cm)
The consummate skill of goldsmiths in Nasrid Granada is evident in these necklace elements, which combine filigree, granulation, and cloisonné enamelwork. The Latin inscription on the central pendant, "Hail Mary, full of Grace," the salutation of the archangel Gabriel when he revealed to the Virgin Mary that she would give birth to the Christ Child, leaves no doubt that this necklace excavated in Granada before 1916 was meant to be worn by a Christian. Among a series of exceptional works that have been attributed to the same Nasrid workshop are items that were clearly destined for Muslim, Christian, and Jewish patrons.
J. Pierpont Morgan, London and New York (until 1917)
Jenkins-Madina, Marilyn, and Manuel Keene. Islamic Jewelry in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1983. pp. 92-93, fig. 52.
Welch, Stuart Cary. The Islamic World. Metropolitan Museum of Art series, Vol. 11. New York: The Metropolitan Museum of Art, 1987. pp. 58-59, fig. 42.
Jenkins-Madina, Marilyn. "Mamluk Jewelry: Influences and Echoes." Muqarnas vol. 5 (1988). pp. 35, 37, fig. fig. 15 (b/w), (central ornament).
Dodds, Jerrilynn D., ed. Al-Andalus: The Art of Islamic Spain. New York: The Metropolitan Museum of Art, 1992. no. 73, pp. 302–3.
Piotrovsky, Mikhail B. Earthly Beauty, Heavenly Art: Art of Islam, edited by John Vrieze. Amsterdam and London: De Nieuwe Kerk Amsterdam, 1999. no. 271, p. 40, 274, ill. p. 40.