Torkvesi ili kolutaste ogrlice čine omiljeni nakit za vrat koji se javlja tijekom brončanog doba. Obično su od jednog komada metala bronce, željeza, srebra ili zlata. Mogu biti glatki, tordirani, cjevasti, čvorasti kao i bogato ukrašeni. Većina ima otvorene krajeve koji završavaju različitim inačicama. Tijekom mlađe faze željeznog doba Europe postaju oznaka keltskih ratnika, plemenskih vođa i heroja. Za Kelte je torkves bio mnogo više od običnog nakita - predstavljao je predmet identiteta jednog naroda. Običaj nošenja masivne ogrlice nastavlja se i kod rimskih vojnika, a prisutni su i u opremi pokojnika ranog srednjeg vijeka. Ogrlice - torkvesi spadaju u obručast ukras koji se nosio pojedinačno ili više komada zajedno. Tordirani srebrni torkves s otoka Krka, pronađen na položaju Šinigoj u gradu Krku, s krajevima u obliku stiliziranih ptičjih glava, predstavlja izuzetan nalaz kojeg promatramo u okviru sjevernojadranskog mlađeg željeznog doba.A twisted silver torc has been recovered at the site of Šinigoj in the town of Krk. Being a unique find of its kind on the island of Krk, the torc has triggered thoughts about the richness and artistic value of similar neck jewellery. The torc, a circular neck band, was a popular neck adornment of the large majority of prehistoric communities in Europe. From the Bronze Age on, the torc was, among other things, notably a mark of distinction of Celtic warriors. However, the custom of wearing torcs continued throughout Roman times and deep into the Middle Ages. Apart from the noted artistic value, torcs also bear a deep symbolic meaning. They offered protection to the part of the body they enclosed, while at the same time were thought to ensure a safe trip to the other world and represented faith in resurrection. The torc, a neck band, was either worn singly or combined with several others at the same time. The body of double or multiple torcs could be smooth, tubular, twisted, or knotty. They were mostly circular, but omegaform torcs have also been observed. The twisted shape was accomplished by twisting a single wire or two wires together. The cross section of the wire is predominantly circular, but it could also be square. The ends of torcs are very varied. The bent or twisted torcs of the east Adriatic groups and cultural groups from the nearest hinterland - Histrian, Central Dalmatian, those belonging to Liburnian groups, or Iapodian torcs mostly have spiral ends. Torcs could be richly embellished by pendants, beads or decorations made of coral or red enamel. They are neck adornments in the first place, although the Iapodes wore them on skullcaps. Torcs have been found in graves, hoards, as single finds or parts of sculptures. They could be parts of female and male attire. They were very popular in the European Bronze and Iron Ages. Torcs flourished in the Late Iron Age when artisan workshops employed the best artisans to produce the most beautiful applied art examples. The first massive bronze torcs have been documented to date from the Bronze Age. They were elements of a rich attire of people from all phases of the Urnfield culture. The island of Krk, from where our bronze torc most probably originates, was part of the territory of the Liburnian cultural circle in the Iron Age, and incentives for the use of the torc and its origins can be seen in the nearer or wider surroundings. The torc was very popular with all neighbouring groups: the Histri, the Iapodes, the Delmatae, groups residing in the pre-Alpine area, the Balkan interior (Glasinac) and the Apennine peninsula (the Piceni). According to Batović, torcs appeared with the Liburnians in the 9th century BC, in the 1st phase of the shaping of this cultural group, and they are not direct successors of the previous phase because of the interruption caused by the Balkan-Pannonian movements of people. The Liburnians used various items of jewellery produced by local workshops which made products adapted to local circumstances. With regard to the Liburnians, we can distinguish two types of torcs, while the silver example from Krk represents an exception because of the material from which it was made, its shape and the circumstances surrounding the find. Taking into consideration the rich repertory of items made of silver and recovered from the hoard in Baška, and the discovery of items made of gold near the village of Garice, our torc probably originates from a grave of a necropolis located outside the defensive walls of the prehistoric settlement located where the city of Krk stands today. The Liburnians used silver profusely as a result of the strong Hellenistic influence. The motif of a stylized bird’s head is not alien to the Liburnian culture. The bird, due to its strong symbolic meaning, was a favourite motif on items which accompanied the dead on their voyage to the other world. In the 4th phase of the Piceni culture, torc ends bearing sculptured pine cones, mermaids or human heads have been observed. More to the north, at the necropolis of Sočerb (San Servolo), a bronze torc has been recorded with ends in the form of stylized birds’ heads. The authors are of the opinion that this torc shows direct influences of the Piceni culture in North Italy. The ends of torcs with stylized birds’ heads can be compared to examples from Rumania and Horedt’s type C1b. However, it is hard to directly link the find from Krk to well-known finds and to examples of necklaces made of knitted silver wire in the area from Caput Adria to the Iberian peninsula in the west and Dacia in the east. The torc from Krk can be dated in the last, the fifth, phase of the Liburnian culture when it was made under the strong influence of the Hellenistic way of working the silver, either as a product of one of the local workshops or imported