Overall: 21 5/8 x 1 15/16 x 3/8 in. (55 x 4.9 x 0.9 cm)
chain: 21 5/8 in. (55 cm)
hexagonal shaped beads: 1 7/16 x 3/8 in. (3.6 x 0.9 cm)
medallions: 1 15/16 x 1 1/2 x 1/4 in. (4.9 x 3.8 x 0.7 cm)
petal shaped pendants: 1 7/8 x 1 x 1/4 in. (4.7 x 2.6 x 0.7 cm)
The intricately worked pendants are separated by hexagonal spacers.
Opus interrasile was a technique used by goldsmiths to make elegant jewelry from the 200s through the 600s. Designs were traced onto sheets of gold; the background was punched with holes of various sizes to highlight the pattern; and fine details were then worked on the surface. The patterns formed by piercing the metal ground encouraged the play of light and shadow across an object's surface.
[ Amedeo Canessa, Paris (sold 1911)]; J. Pierpont Morgan, London and New York (1911–1913); Estate of J. Pierpont Morgan, New York (1913–1917)
Brown, Katharine R., Dafydd Kidd, and Charles T. Little, ed. From Attila to Charlemagne: Arts of the Early Medieval Period in the Metropolitan Museum of Art. New York and New Haven: The Metropolitan Museum of Art, 2000. p. 123, 341, fig. 11.6.
Cutler, Anthony. "The Enduring Present: Gifts in Medieval Islam and Byzantium." In Gifts of the Sultan: The Arts of Giving at the Islamic Courts, edited by Linda Komaroff. Los Angeles; New Haven and London: Los Angeles County Museum of Art, 2011. no. 238, p. 78-79, fig. 70.
Komaroff, Linda. Gifts of the Sultan: The Arts of Giving at the Islamic Courts, edited by Linda Komaroff. Los Angeles; New Haven and London: Los Angeles County Museum of Art, 2011. no. 238, p. 285.
Evans, Helen C., and Brandie Ratliff, ed. Byzantium and Islam: Age of Transition, 7th–9th century. New York: The Metropolitan Museum of Art, 2012. no. 130, p. 190.