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  • 1 Fellow, The Courtauld Institute of Art, University of London, Somerset House, London WC2R 0RN.
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Summary

This article attempts to provide contexts for the three types of enamel on the Holy Crown of Hungary. The enamels on the corona graeca, which are securely dated by their inclusion of a portrait of the Hungarian king Géza I (1074–1077), occupy a mid-point in the development of technically similar Byzantine enamels. By reference to both Byzantine and western medieval practice, the enamels on the corona latina are established as twelfth-century productions. Finally, the akroterioi, or ‘pinnae’, the triangular and semicircular projections attached to the upper edge of the corona graeca, are placed in a long but little-recognized tradition of technical virtuosity.