Photo Copyright 2008
David Xavier Kenney

Detail Pictures Of The Marble Piece, Depicting The Roman Dux Lucius Artorius Castus (The Roman Arthur)

Research and analysis shows that the helmet seen on this piece has miniature art depicting the career of the Roman dux Lucius Artorius Castus (the Roman Arthur), this is particularly so with what is seen on the dragon crest. It is possible that this dragon crest may have been made in imitation of Castus's personal standard while a dux.

If you would like to see Castus "Riding a Dragon" go directly to Pictures 30 thru 34.

Pictures 1 thru 7 show the marble piece from various angles and close ups. Shaped almost like knuckle bones (that Roman legionaries used for gambling dice), there are fifteen segments on the dragon serpent's body. Including the dragon's collar, there are sixteen. These are all engraved with miniature art and inscriptions. When viewed from various positions these images change; they may represent a form of the ancient animation mentioned with the miniature art on this website. At some time in the future these changing images will be studied for more detailed information. If these segments are doubled, they may represent the years of Castus's total service (either as 30 or 32 years); or they may show that at sixteen Castus was initiated into the Mithraic rites (sixteen is the day of the month that was sacred to the god Mithras, with the most sacred being March 16th). As most of the art depicting Castus's expedition as a dux is on the dragon's collar, these segments may also represent Hadrian's Wall or a portion of Hadrian's Wall. Pictures 8 thru 10 show the bottom of the helmet. Lightly engraved inside the more defined lines are many various figures. The close up in Picture 10 shows a figure with two javelins inside the fan. Pictures 11 thru 16 show that rectangles on the helmet's visor are actually nine figures. These change when put in different positions; there are figures on the helmet swirls and a long haired, turbaned, or haloed figure on the visor's circle post. This image appears to have a religious significance and will be explored at a later date. Pictures 17 thru 20 show the segments as figures depicting the following: bears, beavers, and bird heads (most likely eagle heads). My artifacts show that the bear and beaver were connected in prehistoric Northern European beliefs and this continued until the Viking Era. In my opinion this could be a word play on Castus's name; tribal peoples may have taken his two family names, Artorius and Castus (Arto being a Greek root word for bear and Castus a Roman root word for among other things a beaver) to mean Bear Beaver. The eagle would naturally be of Rome and the legions; he may have been named "The Bear Beaver of the Eagle". Pictures 22 thru 25 show a few segments and the dragon's collar. The top segment (in the picture) shows a large lion man's face (this may represent Commodus as Hercules); in between the next segment and the dragon's collar a large letter "A" is engraved. On the collar the letters "S", "I", "V", and "I" appear. This should stand for Ala Sarmatian I, and the VI should be for Legion VI Victrix. The "A" could also represent Artorius, as when this is moved (pictures soon to be provided) it will read as the bind letters "P" and "F" and a large "D". This should translate as Pia Fidelas (Loyal and Faithful) dux. Pictures 26 thru 29 show this area at a different angle. Seen from the new angle, a large child's head with a small bear on top appears. Inside the child's head is a legionary in profile; the helmet has a plume on a tall rod holder. This should represent Castus prior to his promotion to dux but as a Praefectus Castrorum (Camp Commander). Pictures 30 thru 34 show the dragon's collar as an armored Castus "riding the dragon"; the armor is segmented (stylized) which suggests that Castus was specifically with the Legions (although he had a stint with Naval auxiliaries*) and had never previously been with the Cavalry. The reins are made as an Eastern (most likely Sarmatian) type Victory goddess. She is handing him a stick that may also be a miniature totem; her lower serpentine body has a horse dragon's head. The dragon's jaw can appear as a horse's head or a lioness's head. Pictures 35 thru 38 and 44 show Castus "riding the dragon", but with a beard. This should represent any Germanic or Thracian Cavalry that he may have commanded on his expedition. Pictures 40 thru 43 show Castus (or another figure) with Asiatic features; this should represent the Sarmatians as well as any other Asiatic auxiliaries. Pictures 45 thru 50 show a large face with its mouth open. The image depicted is wearing a tall hat that appears to be made of fur. This suggests a Germanic tribesman. In Pictures 49 and 50 it shows next to the German's face another face to the left wearing a conical hat; this image looks somewhat similar to that seen (with a dragon windsock standard) in a famed example of a Roman stele depicting a Sarmatian (found in Britain). In the pictures that show the dragon's lower jaw, it now appears as a camel's head; this suggests Castus's postings in the east. Picture 51 shows the camel distinctly. Pictures 52 thru 56 show the dragon's head upside down. In this position the dragon head now appears as an arm and a fist. There is a small figure facing a large fish-like face. The art style is somewhat Celtic. This should represent an attack on an enemy Celtic tribe, possibly the Amoricans or a Pictish tribe. Picture 58 shows the dragon's lower jaw but as a lioness head. Behind this is a small face as if on the bow of a ship. The lion but also the lioness were symbols of the Praetorians; this suggests a Praetorian Fleet (such as the fleet at Misenum). Pictures 58 thru 60 show the dragon's upper jaw as a crocodile; this suggests Egypt, perhaps in connection to the Praetorians and the Fleet at Misenum. Pictures 59 and 60 show the dragon's snout as a scroll, but it is also similar to a mine shaft. The nose in fact looks like the entrance to a mine shaft. Picture 61 shows the dragon's mouth holding a circular face; this may represent a coin. The dragon's head has a female face with horns; next to this are other faces engraved on the helmet. Picture 62 shows the dragon (that distinctly looks like a dog dragon) looking up at an engraved face. Pictures 63 and 64 show a bearded long haired figure facing the dragon head holding a staff with a statue head top. There are some letters engraved here. These last pictures suggest that Castus as a Procurator became a Procurator Metallorum (Government official in charge of metal mines) in Dalmatia. The Roman Sarmatian Knight's Pendant in the Roman Officer Permanent Collection suggests that the Romans may have known that the Sarmatians were associated with gold and alchemy. There are also indicators that the Sarmatians may have employed metal smiths from the East. Along with this could have come their superstitions. Another speculation is that the iconography of the following; a Cavalryman, Dragon, Dog, Collar, Sea Nymph Victory Goddess, combined with a connection to Egypt and the Middle East could be seen as similar to the legend of St. George and the Dragon (particularly in the Medieval collection of legends titled the "Golden Legend"). Almost simultaneously St. George and King Arthur become foundations for the British national identity.

* Castus's experience with the Fleet may have been the primary reason that he had been promoted to lead the expedition across the Channel to Armorica.

Copyright 2008 David Xavier Kenney

Revised Apr 08

Photo Copyright 2008
David Xavier Kenney

ICON'S SIDES

The sides have engravings, some paint, and resin/sand work from Roman and later periods. What be can be seen in Pictures 4 and 5 are letters and horse's heads. What cannot be seen is that there is a raised Roman inscription of the Roman Period that reads "L A C", this is the abbreviation for Lucuis Artorius Castus, at a slightly different position this can also read as "ARTOS"a Greek word variation for a bear. When this in turned upside down it will read D . ALA, the Roman Abbreviation for a dux of an Ala (a Cavalry Wing of 500, although it should mean Calvary Wings). Pictures 7 and 8 appears to have numbers that are Medieval and Napoleonic dates. There are other inscriptions that may or may not be of these later periods

Photo Copyright 2008
David Xavier Kenney

ICON'S BACK WITH ROMAN AND LATER ARTHURIAN

The back of the piece has been treated with a lead wash, minute amounts of paint, and wax mixed with sand and resin. The art on this was reworked from an original work created during the Roman Period, the layout is the same of that original period as are some of the figures. For the most part I will focus on what is original from the Roman Period. Picture 2 originally had 6 larger heads over a Roman Cavalry spatha (long sword) that has a break near it's tip, the first head originally had a smaller figure next to it and with it's hand on the spatha. Three of these heads made the Roman letters "V I C", the "C" with this also was an "L". According to information with the VI Victrix Ring (with the Roman Officer Permanent Collection) this is for Legion VI Victrix. The spatha is on top of, or is also a long eared mule fish, it can be assumed that this is a type of Capricorn. According to the VI Victrix Ring a long eared mule had been a symbol of that legion while posted in Northern Britain. Picture 4 shows that the spatha/long eared mule's head is also the head of a narwhal, it's horn is inserted in the mouth of a dog with a hat, over the dog's head is a bright light. The dog may or may not be of a later period. Picture's 7 thru 11 shows the piece on it's side, it has a Victoria over the mule's head and as part of it's ears, this was painted over at a later period. Picture 12 shows the piece on it's other side. Along the bottom it has a boat with a nude female ship's figurehead pointed inboard, this was painted over at a later period, of note are the distinct letters "SC" for Senatus Consultus that are seen with Pictures 15 and 16. Picture 19 shows the piece vertically upside down. It shows a figure in a chair, the chair has a dog, or bear, or bear-dog overhead. This has been heavily reworked, much of this appears to been done during the Napoleonic Period. Pictures 21 thru 25 show a small metal piece that is on the dog, bear, or bear-dog head. Picture 24 and 25 shows the metal piece is a "B" and as a sitting bear, the "B" has bind letters "R", "I", "T", and an "A', there is a larger letter "N" on it. This no doubt stands for Britannia. At least two of my artifacts show that the Romans associated Britannia with the bear. The rest of the pictures show the bottom area from this position. There are various figures. The very bottom of the piece shows with engravings; the sea and a volcanic mountain, there are figures made in paint. The engraving appears to be of the Roman Period, the painted figures appear to have been done at a later period.

Photo Copyright 2008
David Xavier Kenney

ICON'S BACK WITH LATER ARTHURIAN

This group of pictures shows Medieval/Renaissance "Grail" and "Sword In The Stone" themes. Pictures 1 thru 3 shows a sword or dagger in a stone. Behind this there is a figure with a cup that has a face on it, overhead there is a light or a star. Pictures 4 thru 8 shows a sword in the stone. The stone is also a small figure that is being held by another figure.

Copyright 2008 David Xavier Kenney

Photo Copyright 2006
David Xavier Kenney

ROMAN BRONZE MARS QUIRINUS (WAR ROMULUS) CHARIOT STATUE

Material: Bronze (With Traces Of Gold Gilding)
Era: 1st Century. BC to 1st Century AD
Culture: Roman
Style: Greco/Roman
Origin: From an Old Austrian collection, purchased at auction in Paris in 1950, and found in Sicily during a house construction in the 1930's.

This is a late 1st C. BC to 1st C. AD bronze (with traces of gold gilding, possibly traces of silver gilding) sculpture of a chariot with eight spoked wheels, charioteer, and two horses. It is 39 cm in length x 19 cm high (in the second position it is 24 cm high). The charioteer in Attic helmet and apron (holding a javelin and round buckler shield) is not driving the chariot but rather is in a fighting stance. This sculpture is not only exquisite art, it is also a masterpiece of technique and engineering. This sculpture has been welded from hollow bronze pieces, then gilded (only traces of this gilding remain). From a side view the sculpture shows the circle (wheel) and spear (center staff ram) symbol of the Roman god of war Mars, the Greek god of war Ares, and the astrological sign of Aries. The sculpture balances perfectly in two positions. The first position shows the chariot on the ground (the right wheel is on the ground with the left wheel slightly elevated) and the massive cross hitch up; the charioteer is leaning back as if ready to throw his javelin upward at an angle. The second position shows the chariot with both wheels off the ground at an angle, with the massive cross hitch pointing straight forward. The charioteer is standing straight up as if ready to throw his javelin downward at an angle. The charioteer is holding his shield directly to the front; inside the shield there is an inscription which reads AN(C)AT in larger letters and SA(L)H in smaller letters. The “N” has a “C” as a bind letter in word ANAT and there is a distinct heart symbol in between the A and the T in ANAT. The A has an L as a bind letter in SALH. Over the primarily inscription there are two X’s, the top X appears to have symbols or an inscription. Below the primary inscription there at least several more lines of letters which are faint. The javelin head has an engraved chevron S(P)H, the letter P is a bind letter with the H, this inscription is diagonally inside along the chevron,*. On the front of the chariot is a type of art decoration that is done in dots, swirls, and lines. This art shows a woman’s face (this is also in a heart shape); a man-like creature’s face with a ram type shape in profile with a five petal flower for an ear; and a snake’s body with coils ending in a forked tail along the base. The other side of the woman’s face shows a half circle made from a spike type laurel or palm leaf (this may symbolize a palm being used as a whip) with a four petal flower in the center**. At a right angle the flower shows a pillar in the background; viewed from a sharper right angle this becomes possibly the female form. Inside the chariot is the inscription “IMQB” and “DEP.” It is speculated that this reads “Jupiter Mars Quirinus Bellona Departs”, the “I” abbreviation for the god Jupiter is questionable and may mean something else. Behind the right foot of the charioteer is an engraved bullet with wings that may signify Jupiter, although Ovid in his Metamorphosis mentions that Romulus on his ascent to the heavens was like a lead bullet slung from a broad thonged catapult, this could also represent a symbol for a meteor or comet. The winged bullet could also represent a winged omphalos stone. The horse on the right is moving straight ahead as is the woman’s face on the chariot; it is placed slightly more forward than the horse on the left. The horse’s head on the left is turned at an angle and is oriented in the same position as the man-like creature’s face in profile on the chariot front. It is as if the horse on the right which is larger is chasing or being spurred on by the smaller, more streamlined horse on the left. The left horse’s mane is similar to the charioteer’s javelin head (fire or flight?), with the right horse’s mane is similar to the rim design of the charioteer’s shield (spinning water or fear?). The center staff of the cross hitch is in the stylized shape of a ram’s head but is also phallic. The horses’ hitch harness is somewhat similar to an ox’s yoke, which suggest plowing. From a top view the hitch harness shows a serpentine arm, possibly with snake heads (python heads?) at each end. The frontal view of this hitch harness shows a serpentine arm, which has beads of different sizes spaced along the top edge. There are four large beads that are graduated in size along the arm with one in an open left hand (on the left side of the larger horse). This symbolism does not appear to have anything to do with pearls (the goddess Venus), as the left hand to the Romans is sinister. When the chariot is placed with its wheels up (flying) the four large beads appear to be rolling downward along the arm. It is as if the bead in the hand is being dropped off the side (a kind of airborne rolling delivery system). It should also be considered that these airborne beads may represent seeds, either of creation (spring planting) or destruction (hail stones). The center hitch staff and harness is similar to the shape of a cross bow (belly bow or ballista). These weapons suggest that this is what the ancient Romans envisioned what a mythological flying fortress would look like. The design of the cross hitch and the harness hitch also resemble the flying phalluses that were very popular with the Romans, particularly as neck pendants. It appears that these flying phalluses are in fact a symbol of fertility associated with the god Mars of March, Mars Gradivus (Mars’s sudden growth, the marcher, the first in battle, ect.), but also with the war goddess Bellona***.

According to the art and abbreviated inscription this should be the Roman war god Mars Quirinus (charioteer) and his wife or sister (or daughter), the Roman war goddess Bellona (chariot), who is sometimes referred to as his chariot driver. The face of Bellona is connected to the man-like creature with the serpentine body. The man creature should be Tiberinus, the river god of the Tiber. If the art on the front of the chariot is placed on a map of Campus Martius**** (Field of Mars), with Tiberinus’s serpentine body as the Tiber south and west of the Campus Martius, it fits almost exact. The forked tail appears to be the front half of Tiber Island, and in fact it is thought that there was a temple of Bellona there. Bellona’s face appears to correspond with the Campus Martius itself; and the half circle, flower, pillar motif to her left may have had something to do with another of her temples on the Campus Martius. This temple may have been next to the Apollo Temple there. This was where upon declaration of war a spear was thrown over a pillar named the columna bellica (notice the pillar motif just mentioned). The Bellona temple was also where decisions on triumphs were decided and foreign diplomats were met concerning treaties. According to this map orientation, Mars Quirinus as the charioteer should be on top of the Quirinal Hill (the highest of the Seven Hills of Rome), in ancient times this place had been associated with Roman law, since the Renaissance the palace there (Palace of Quirinal) has been a residence for Popes, Italian Kings, Italian Presidents, and it is currently the Italian Presidential residence. Naturally this hill was named for the Sabine god Quirinus (thought to be of the oak and spear), who became associated with Romulus as Romulus Quirinus. It would also appear from the charioteer on this sculpture as Mars Quirinus is in fact a war Romulus. This is not how Mars is usually depicted (he usually has a beard and armor) or how Romulus Quirinus is usually depicted (he is usually portrayed with a beard, wearing religious attire and carrying a sword). Romulus Quirinus is thought to have been a defensive god guarding the walls (protection and traditions) of the city, not a true god of war. The fact that the charioteer is wearing an apron is unusual, as the art style of this piece would usually be associated with a nude and there are many Roman sculptures that depict a nude Mars. The Romans had no problems with nudity in any shape or form. With Romulus as their founding father, perhaps that is another story. It is well known that Bellona is a fierce war goddess, but some of the features on this chariot and the flower motif show that she may have had something in common with Hora, the consort of Romulus Quirinus. Hora was a goddess of beauty who had in life been known as Hersilia and was married to Romulus. According to Ovid, her becoming a goddess may have been associated with a meteorite or a comet event which took place on the Quirinal Hill. Hora as Hora Thallo (new shoots) may have been associated with spring growth. The Campus Martius had originally been a wheat field and flower gardens are mentioned in Roman times. Another possibility is the goddess Flora (a goddess of flowers and prostitution) was associated with Bellona, as Flora provided the herb (flower) to impregnate the goddess Juno with Mars. This should give new meaning to the flower designs (also heart shapes), that are so prevalent with Roman cavalry appliques, to view an examples of these appliques, Click Here. The temple of Bellona on Tiber Island is different in that most of the temples there have to do with medicine (the island was dedicated to the god Aesculapius; in essence it was a medical quarantine area that was a hospital) and a war goddess does not fit that description (although Bellona as the soldier’s nurse or a war nurse is a possibility). The god Tiberinus also had a temple there. According to the layout of the art on the front of the chariot, the chariot would be facing southwest. This implies that symbolically the chariot would be moving toward the port of Ostia (the Tiber river flows in that direction and empties at the Port of Ostia). This implies a western movement from the east (or northeast), which may be significant concerning the javelin in this sculpture. Oriented this way, the javelin would be in the most easterly position, that is, behind the winged bullet, the charioteer, and the shield*****. Ostia in fact was a naval station for embarking legions beginning during the Punic Wars. The Romans had an usual relationship with the god Tiberinus in that they were fearful of him (due to his unpredictable nature concerning floods), but at the same time it was this god who told Aeneas, the legendary Trojan founder of their race, where to establish a settlement that would one day become Rome. With this stated it should be noted that this Tiberinus appears to be a male part of the goddess Bellona as the vehicle but not the vehicle driver. This may be one of the reasons why to my knowledge there have been no depictions of Bellona found in art (although this statue shows that she may have been associated with various symbols); she is a battle monster of nature’s force. The ancient Roman writers referred to Bellona as being dark, and her priests (former gladiators) wore black robes. Bellona is thought to have originated from the Greek battle goddess Enyo but in fact she may also be a Sabine or Etruscan goddess. The much older Egyptian battle goddess Sekhmet may also have been an inspiration for this goddess. In this sculpture it appears that Jupiter represents the spirit (or possibly it is the spirit of Romulus as the founder of Rome) from behind; Mars Quirinus represents the battle leader in place; and Bellona represents the driver of the forces of nature harnessed but yet unleashed to the front.

* Shield and Javelin Inscription
The letters ANAT imply a reference to the very ancient Semitic winged goddess of war of the same name. This fierce war/fertility (also virgin/wanton) goddess had also found her way into the Egyptian pantheon by the 18th Dynasty (later this would be one of the goddesses that Ramses II had on his battle shield). Anat is somewhat reminiscent of the Egyptian war goddess Sekhmet. The letters SAL should have something to do with the Salii. An inscription to the goddess Anat on the shield of the Roman god Mars is quite unusual. The fact that the first three letters including the bind letter are ANC, show that this could have been made to represent the Ancile shield of the Romans. This is the shield that purportedly fell from the sky (or was found after it had fallen from the sky) during the reign of King Numa Pompilius (Rome’s 2nd king after Romulus). Eleven more of these shields were copied from the Ancile and all twelve used in a procession by the Sallii (Leapers). These Salii were made of up 12 patrician members in each of two colleges who honored Mars and Quirinus and were most active in March (the opening of the campaign season) and October (the closing of the campaign season). The Salli wore conical helmets, breastplates, painted tunics, and short cloaks. They carried a buckler shield (a copy of the Ancile or the original); a sword or dagger and a rod. They sang sacred songs while dancing (supposedly this included hops or leaps, this was thought to increase growth for the farmers crops) and beating their rods on the shields. Even in ancient times, there were different opinions about what type of shield the Ancile was. Roman coinage shows an oval type shield, but in fact it is also described as a curved buckler, which is usually a small round shield. They were also entrusted to the care of Mar’s sacred spears (or javelins?). There were many groups of local Salii (called saltatores) throughout Italy, but it was the two colleges in Rome that were sacred. A prophecy stated that as long as the Romans had the original shield (the Ancile), Rome would exist. The inscription on the shield on this statue suggests that the Ancile was thought to be related to the goddess Anat; if so then there is little doubt that the Romans saw this goddess as a Trojan Venus. There is more, as there is a Ugaritic ivory panel bas-relief circa 1,500 to 1,200 BC that shows a youthful and standing winged goddess, with two standing boys feeding from her breasts. It is thought by some that as this goddess depiction is winged that she is the goddess Anat. This image is somewhat similar to the image of Romulus and Remus feeding from the Lupa (she wolf) and could show that part of the Rome founding legend may have had origins in the east. It should be mentioned that the provenance for this chariot statue is from an old Austrian collection but that it had been found in Sicily during the 1930’s. Sicily prior to Roman conquest had strong Greek influence but also Phoenician influence. The Phoenicians in fact worshipped Anat.

**Flowers
These distinct four and five petal flowers could explain a flower motif which may have been associated with the Praetorian Guard. An example of each of these flower types can be seen on two Praetorian shield rim’s which are part of the famed sculpture relief titled “ The Praetorian Soldiers”, Louvre, Paris.

*** Mars
Both the Greek writer Homer and the Roman writer Quintus Smymaeus write about the size of Ares’ (Mars’) spear being massive, yet ancient art depictions do not show this. This cross hitch may give an idea of what they were talking about. It resembles a shoot that sprouts up quickly in the spring (such as asparagus) and is associated with fertility. In the cross hitch with this statue although symbolic of Mars it is actually also of Bellona. (Mars Bellona or Tiberinus Bellona ?).

**** Campus Martius
The Campus Martius was the field that was the favorite of Roman soldiers while in Rome, it was also a favorite of athletes as a public field for physical exercising. As no Roman legionary units were allowed in the city limits, it is not clear what type of soldierly activities occurred there except that it was a meeting place and voting place for soldiers. In other words, it was a place were soldierly decisions were made. There was also a chariot race track there, this could imply that the field was also associated with Mar’s chariot. This field is where Romulus disappeared during a thunderstorm.

*****Position of the shield, the charioteer, the winged bullet, and the javelin
These four parts of the statue appear to be in some form of alignment. If so, then the alignment may refer to planets in conjunction. Providing that this is correct, then the shield should represent Venus; the charioteer, Mars; the winged bullet on the floor of the chariot, behind the charioteer’s foot, Jupiter; and the javelin, the Sun (break of day?). If the winged bullet does not in fact represent Jupiter, then the four parts of the statue would collectively represent Venus, Mars, and the Sun (again, most likely the break of day or the rising sun). If this is so, then it would appear that the Romans may have thought that such an event took place on the eve and morning of their founding day (the founding of Rome was recorded by the Romans as occurring on April 21st, 751 BC). I am of the opinion that the name of the Salii connects them to something solar (sal as in sol). The ancient Roman writers did not seem to know what the origin of the name was either, although it is referenced by Plutarch as not deriving from a Roman story that claimed it originated from a dance instructor named Salius, this dancer was either from Samothrace or Mantinea. I am also of the opinion that the javelin (not the spear) had been the weapon that was first cast in battle by the Romans, and it may have represented the first ray of light at the crack of dawn (first daylight strike). The Romans preferred to initiate a battle in the early hours of the morning (we don't know how early). To be the first thrower of a spear from the Roman ranks (or in my opinion, javelin) was considered a high honor (naturally this was symbolic of the Roman opening of the battle). Again I think the Romans associated this with day break, which would mean that in addition to the tactical advantages of having the sun to their backs, they may have preferred ritually to have been in a position facing westward toward their enemy at daybreak. For other speculations on the possible Roman symbolism associated with the javelin, Click here.

Copyright 2006 David Xavier Kenney

Photo Copyright 2005
David Xavier Kenney

Material: Bronze
Era: Early 2nd Century AD
Culture: Roman
Style: Greco/Roman
Origin: From an old English collection, purportedly found in North Africa in the 1930s.

    This is an Early 2nd Century AD Bronze Muscle Cuirass Piece with a Nemesis (Greek Goddess Of Retribution) Armor Chest Tondo. As there are no other known examples of Roman cuirass armor, this artifact is a highly important artifact. The piece is 28 cm x 27 cm and is made of very thin flexible sheet bronze, this thinness of the metal explains why there have been no other finds of this type of Roman armor. It weighs approximately 11 oz with half of that weight belonging to the nemesis tondo. The piece's collar rim is rolled and the tondo is attached by three rivet nails with a fourth one missing. The bronze sheet's workmanship is refined and shows very little evidence of hammering. Encircling the armor chest tondo is a small amount of dark discoloration. Starting approximately 3 inches below the chest tondo and continuing to the piece's bottom edges is a shiny residue with a similar but darker discoloration. This may be the petrified remnants of wax that would have once been used as a lightweight back filler for gold, silver, or gold and silver appliques applied to the armor. This discoloration and statues depicting cuirasses from this period indicate there were very likely more appliques which were applied to the armor in addition to the nemesis tondo, although the nemesis is the only remaining decoration on this piece. The nemesis tondo should have originally had a circular applique mounting over the nail rivets that would have had a gold or silver foil covering on the face of the tondo. With a thin leather or cloth lining the armor would have been extremely attractive, lightweight, and comfortable. There is no evidence of any gilding or silvering with this armor piece. I suspect that this armor had been stripped of its precious metal appliques, foil, or both in antiquity. The region where this artifact was purportedly found was where the ancient Roman province of Mauritania had once been. This province had one legion (Legion VIII Augusta) which means that the Roman Governor was also the legion's Legate (Commander).

    The basic nomenclature of Roman muscle cuirass armor included the front and back sections of the armor that would attach at both sides of the ribs. There were also two shoulder straps that may or may not have had appliques, if so then the applique would usually be on a small tondo. Some of these tondi would have a string (wire?) that would attach to a ring on each breast. Most muscle cuirass armor would also have leather pteruges extending along the bottom of the armor. These would usually have small stamped tondo appliques on each strip or flap. An example of this type of applique (Of a nemesis) can be seen with this collection.

    Roman muscle cuirass armor was considered a sign of a high ranking commander and was worn by Roman Emperors, Praetorian Prefects, Roman Generals, Praetorian Tribunes, and Legionary Legates. Other examples of this type of armor can be seen in Roman marble statues and engravings at various museums throughout the world. The fact that the armor piece's chest tondo is of a nemesis is key to understanding who may have worn the armor that this piece was part of in antiquity. Very little is known about the symbolism of the different armor chest tondi that adorned the Roman cuirass armor, but usually they represented gods or goddesses, mythological creatures, or the Roman eagle. The nemesis's face (always shown with wings) seems to have had a special place in this type of decoration. My own research indicates that the nemesis armor chest tondo was worn only by Roman Emperors and high ranking Praetorian officers. This may be due to an association that this goddess is thought to have had with those in position of the highest imperial authority. The particular type of nemesis on this armor chest tondo is a cat nemesis with cat ears and a cat's tail that comes from behind the lower portion of the hair on the left side comes across the neck which shows the tip of the tail on the right side. There is also a ribbon coming from the hair high on the left side of the face that mounts on top of the head. This ribbon appears to be a leash, a snake, or both and is also similar to a stylized Uranus of the Egyptian Pharaohs. I have only seen one other cat nemesis cuirass chest tondo depicted on cuirass armor and that is on a statue of the Emperor Hadrian.

    Who would have been the owner of such armor in Hadrian's Mauritania? The Provincial Governor would have had that honor. A couple of events during Hadrian's reign suggest other possibilities. The Emperor Hadrian had visited Mauritania in 123 and 128 AD. Accompanying him during such official visits would have been at least three Praetorian cohorts. Among those Praetorians and the rest of the members of Hadrian's entourage, more than a few could have had the honor of wearing the muscle armor cuirass. Another speculation is that in 117 AD Hadrian tasked his friend from his legionary days, the career soldier Quintus Marcius Turbo Fronto, to effectively put down the rebellions in the Eastern Provinces. Once this was accomplished, Turbo was ordered to lead the Roman Moorish auxiliaries stationed in Judea to put down a rebellion in Mauritania. There is no mention of what happened to the governor of Mauritania at that time but it is very likely that he and his legion had been somewhat overwhelmed. Turbo put the rebellion of the Moors in Mauritania down as ruthlessly as he had the rebels in the Eastern Provinces and was essentially made the Governor of Mauritania for a short time. As Hadrian a few years later promoted Turbo to Prefect of the Praetorian Guard, Turbo may have accompanied him on his tours of Mauritania in 123 and 128 AD.

    The information that this artifact provides is invaluable to those who have an interest in Roman armor, Roman art, and the history of the Roman Imperial era.

Private Collection of David Xavier Kenney

Copyright 2005 David Xavier Kenney

Photo Copyright 2005
David Xavier Kenney

Copyright 2005 David Xavier Kenney (Revised Jan 2007. Apr 08)

Photo Copyright 2005
David Xavier Kenney

    Conventional opinion is that this is a mid to late 1st Century BC Roman Hispaniesis Gladius (Spanish Sword), aka Gladius Hispanicus. This gladius is the only known example of a gladius hispaniesis that had been found with its hilt and furniture, therefore it is a significantly important artifact. As the name suggests this sword had a Spanish origin as in the late 2nd C. BC while campaigning against the Carthaginians in Hispania, Scipio (later to become known as Scipio Africanus) adopted for his legionaries this type of sword from the Hispanic warriors. From that time onward the gladius hispaniesis became the favorite sword of the Roman Army. The gladius has been stabilized with a light protective coating. There is no indication that any other restoration has been done. The slight settling of the blade and the position of the hilt as seen in the picture suggest that this is exactly how the gladius was found when excavated. This ancient sword appears to have been made for someone with a glove size of approximately a size 10. The balance as a thrusting weapon is exceptional. The overall length is 30-1/4 inches. The waisted blade is 23-1/2 inches in length and just under 2 inches in width. The bronze pommel may in fact be made of brass, the bronze guard appears to have a high copper content. The pommel's design appears to have provided for a comfortable hand grip while the weapon was sheathed. The grip has ivory residue, suggesting that it is a Roman Officer's sword. The blade is made of iron and has a distinct mid rib with parallel grooves on either side. The blade tapers to a point. There are no traces of fossilized wood on the blade, which indicates that the gladius had not been in its sheath. The style of the pommel and guard give the appearance of a gladius of the 1st C. AD, but the style of the blade, the length of the blade, and the length of the complete gladius is typical of the gladius hispaneisis of the 1st C. BC. The opinion that the gladius hispaniesis was replaced at the beginning of the 1st C. AD by the shorter and thicker Mainz pattern is based almost entirely on sword artifact finds dated approximately 14 AD. It is quite possible that the use of the gladius hispaniesis continued by higher ranking officers and the Praetorian Guard (much like the Praetorian Guard continued to use the oval shield). It should be noted that the blade length of this gladius is very close to the 24 inches of the 3rd C. AD Roman Officer's spatha. What is definite is that this gladius hispaniesis artifact is an extremely elegant example of ancient Roman weaponry.

New Information:The pommel button (stud) shows heavy fossilized calcium residue that suggests it once had an ivory casing; it is very probable that this had carvings and was of elephant ivory. The pommel has wheat bunches on each side with ribbons on the bottom of these. The lower portion of the pommel has a ribbon or ribbons in circumference. The grip has heavy fossilized calcium residue, again most likely of elephant ivory. The guard has wings on each side; the front of the guard has a single horizontal wheat branch. On the back side of the pommel there are the engraved letters "IVNA" (the N and A are bind letters and are connected by a line to the top of the wheat decorations on the side). These letters should represent the goddess Juno as Juno Iuna (thought to be a Roman version of the Etruscan goddess Uni). This may be connected to where the owner had been stationed, the capital at Colonie Junonia, that is if before 14 AD, or if after then at Golania Julia Carthago (Carthage). The Etruscans equated their goddess Uni with the goddess Astarte of the Phoenicians, thus the Carthaginians (who originated from a Phoenician outpost) worshiped the goddess Tanit, a goddess whom they equated with Astarte. There are specks of gold gilding present, thus the sword's pommel and guard had once been gilded. An engraved inscription of S P A (centered on the lower front side of the pommel) identifies this as a sword connected to the Proconsul (Governor) of Africa. The "S" should be an abbreviated reference to the Senate as the Proconsul of Africa was a one year senatorial appointment. The P A is no doubt an abbreviated reference to the Proconsul of Africa, or Proconsular Africa (the official name of the province). Another consideration is that a cohort of the III Augusta (the only legion stationed in Africa) was assigned as a guard detail to the Proconsul; this cohort may have been commanded by a legionary Tribune instead of a Centurion. Wheat bunches and the wheat branch were symbols of Africa, as this province like Egypt provided much of Rome's grain supply; this is the primary reason why it was a proconsul one year senatorial appointment. It would appear that this wheat bunch laurel (hence a corona) was either a specific Roman African award (from the Proconsul) or that it was a sign of rank. We know that unique crown decorations were awarded by high ranking commanders to their legionaries; this must have also been the same with proconsuls. There is a late 1st C. to early 2nd C. Pompeii gladius which (in my opinion) came originally from the same English estate collection as this gladius. The owner of this sword is a client and a friend. At some time in the last five years the pompeii gladius was authenticated by the British Museum and given the date attribution just mentioned. The furniture on that gladius is almost exact to this gladius hispaneisis. The stylized engravings (suggesting craftsmanship in the provinces) on the pompeii gladius, although deeper, are similar in arrangement to those on this gladius hispaneisis (the pompeii gladius has a palm on each side of the pommel; the same on each side of the guard, and a palm on the front). The palm tree and palm were also symbols of Africa. Just like the cuirass armor piece in the Roman Officer Permanent Collection, the pompeii gladius is reported to have been found in North Africa prior to 1945. I am going to propose that the cuirass piece, the pompeii gladius, and this gladius all originate from the same North African find. I am also going to propose that this sword is of the last decade of the 1st C. AD to the first decade of the 2nd century AD. If so then this suggests that a type of gladius hispaniesis (such as this example) was still in use for the higher ranking legionary officer ranks (and no doubt Praetorian officers) up until the early 2nd century AD. Furthermore the worn engravings on this gladius suggests that this was a dress duty sword, perhaps worn with the cuirass armor. Another speculation is that it may have been worn in the field with the cuirass and an attic helmet as a symbol of an officer of rank.

Private Collection of David Xavier Kenney

Copyright 2005 David Xavier Kenney

Revised 2006, and 2007

Photo Copyright 2006
David Xavier Kenney

    This is a Late 1st C. BC to 1st C. AD Gladius or Pugio (depending on how the hitch piece was used) Sheath Mount Strip with a portion of a Hitch. It is 6 cm in length and the decorations are done in relief. The artifact is from an English Antiquities Dealer and originates from the Rhine River. The decoration on the mount strip shows an Egyptian woman seated in some kind of rectangular suspension system, which resembles a litter or a frame of some kind. Her left arm and right ankle are bound (her ankle is bound to a large ball). Behind her is a cross shaped dagger pointed at her right shoulder. She is hiking her dress up with her right hand (which also resembles a snake head that is holding a dagger, or a stylized pin). Her left arm and hand are raised in front of her. Her hand is cupped (it is also in the shape of a snake head) and is holding something that is quarter or half sphere shaped (most likely a comb) in front of her face. A curved line from her head (representing her hair) is connected to her finger. Beneath her left arm are two bowed lines oriented at the same angle as her arm. These two lines meet and form one line which goes diagonally to the top of the rectangle/frame (this also appears to be a tree, hemlock?). This gives the impression that the form is suspended from the top of the rectangle. In front of this shape are two wider parallel curved lines that together form a tubular phallic shape, which points downward to the area between the woman’s knees. There are various flowers or herbs next to the phallic shape, done in lower relief. This appears to be a legionary view of Cleopatra Capta in the act of committing suicide in 30 BC. It also may allude to Cleopatra’s attempt to imitate the goddess Venus, which would have been when she was summoned to Tarsus by Marc Antony in 41 BC. The reason why Antony had her appear was due to a charge that she was implicated with secretly supporting Cassius in the assassination of Julius Caesar. She seduced Marc Antony on her barge while imitating Venus (in a tableau) with the pearl in the vinegar challenge. The dagger behind her may be a symbol of the Liberators (hence Crassus and Brutus). The death of Cleopatra remains a mystery, as there is no real consensus among ancient writers on how she died, or existing ancient art representations showing this event. The Roman official story is that she died from the bite of an asp, based on evidence from Octavian’s physicians stating that they had found two bite marks on her arm (yet no snake was found). This scene was depicted on an image (thought to be a statue on a couch) for Octavian’s Egyptian triumph, though there are no verifiable examples of this image known to date. Although the art on this piece is done in caricature, this depiction may give some clue as to what some Roman legionaries thought Cleopatra had died from (throughout history usually soldiers tend to have better access to the real facts). It suggests that she may have used several methods. Whatever she used, it was not spontaneous, as it is recorded by Plutarch that she had ruthlessly experimented on slaves to find the exact method or methods that were the most effective. According to this art, she may have taken poison from a hollow comb (this was suggested by an ancient writer); pricked herself in the left arm with snake poison (also was mentioned by an ancient writer); and finally had administered poison in a douche via a syringe (even though the douche is thought to have been first used by Parisian women in the 17th C.). The dagger behind her may suggest that she had been ordered by Octavian to kill herself, perhaps as part of a deal in which her three children by Marc Antony were spared (they were adopted by Antony’s ex-wife and Octavian’s sister, Octavia), even though Cleopatra’s son (Caesarion) by Caesar was assassinated (supposedly while attempting to flee). The death of Cleopatra put to rest the rumors of Cleopatra’s secret involvement in Caesar’s assassination; it would appear to any who believed this that Octavian’s avenging was complete. This type of image on a legionary gladius sheath mount strip is highly unusual. It could be speculated that the legionary who owned this sheath had been one of Octavian’s legionaries for his Egyptian campaign, if not then it is early Roman Empire propaganda. Due to the rarity of the subject depicted, and the fact that it may provide a possible answer to one of history’s greatest mysteries, this small artifact may prove to be highly important.

Private Collection of David Xavier Kenney

Copyright 2006 David Xavier Kenney

Photo Copyright 2005
David Xavier Kenney

This is an extremely rare Roman Officer's Victory Commemorative gladius chape for a Pompeii Gladius. As the chape shows tinning and is 1st Century, it is likely that it had been made for a Centurion. The Victoria as seen on the chape is quite similar to Victoria Augustus, but also with the Victoria on the Victoria Navalis series of Flavian coinage. What is different from the Flavian Victoria Navalis style is that this Victoria has a shield and it is mounted on a globe rather than the prow of a ship. Although not proven, there is speculation that the Flavian Victoria Navalis coins commemorate a naval engagement that occurred during the Jewish Wars of 66 to 73 AD. According to Josephus in his Bellum Judaicarum (Wars of the Jews, or Jewish Wars) there were in fact two battles associated with the sea. The first took place in July of 67 AD when Jewish rebels at Joppa (Modern Jaffa) took to their pirate ships to flee the Roman Army. A storm checked their escape and the rebels were shipwrecked. Any of the survivors who made it to the beach were dispatched by the Roman Army under Vespasian. The other battle that was in fact a bona fide naval engagement took place in September of 67 AD on Lake Tiberius (aka Lake Gennesaret or The Sea of Galilee). This was a one-sided but fierce fight in which the rag-tag Jewish fleet was utterly destroyed by Vespasian's hastily made fleet.

The gladius chape on the upper panel shows two trident-tailed dolphins flanking a face whose lower portion only has been preserved. The face is clean-shaven rather than bearded, so does not appear to represent the Roman sea god Neptune. Under a magnifying glass faint solar rays can be seen around the portion of the face that is preserved. This face portion does resemble those seen on statues depicting Vespasian or his son Titus. The Emperor Nero in the winter of 66 AD had sent the battle-hardened General Vespasian to Judea. He had done this in reaction to the destruction of the XII Fulminata, its sub-units, and auxiliaries by the Jewish rebel Army. The son of Vespasian and future Emperor Titus had been given the command of the XV Apollinaris when his father was sent to Judea. Titus took command of this legion in Alexandria, Egypt and deployed to Judea to join the X Fretensis, the V Macedonia and their auxiliaries. When Vespasian was proclaimed Emperor, Titus was charged with and successfully finished putting down the Jewish rebellion. The face on the chape may very well have been of Vespasian or Titus portrayed as the god Apollo, as dolphins are indeed associated with this ancient god. For the Imperial Romans, the god Apollo was also heavily associated with the Emperor Augustus. Therefore this could be of Vespasian or Titus as Apollo Augustus and his victory at Actium. The chape has fifteen decorative mini roundels on each vertical border piece. It is therefore possible that this chape was made to commemorate a victory of the Roman Fleet during the Jewish war or another Flavian era naval engagement. This chape could have represented the Legion XV Apollinaris, or Vespasian or Titus as Augustus Apollo commemorating the Augustan victory at Actium. There are sixteen dots under the dolphins and face portion. Although the top is damaged, it can be expected that there was also the same number of dots on the upper portion of the chape. Although it could be ac coincidence the number sixteen is a sacred number in the Mithraic Mysteries. The XV Apollinaris is thought to have been one of the first legions to have had an interest in the cult of the solar god Mithra.

Private Collection of David Xavier Kenney

Copyright 2005 David Xavier Kenney

ROMAN MARINE STANDARD LANCE HEAD

    In summary: This Roman Standard lance head should be classified as probably of a Roman Marine unit of the XI Claudia, or an Auxiliary Roman Marine Unit that had been attached to that legion. To my knowledge, this is the first Roman Marine standard lance head find known to date.

Private Collection of David Xavier Kenney

Copyright 2005 David Xavier Kenney

Photo Copyright 2005
David Xavier Kenney

ANATOLIAN (TROJAN?) TANGED JAVELIN HEAD WITH ROMAN COS STAMP

   This is an Anatolian Copper Alloy Javelin Head with the Roman Letters COS and the Roman Numeral II stamped on the tang. At 14 1/2 cm x 3 3/4 cm the weight of the blade is towards the front, so as to give steady flight. Although the blade has a fair amount of patina the blades edges are still very sharp. There is little doubt that this Anatolian javelin head had once been thought to have been a Trojan artifact which had then been punch stamped by a Roman craftsman. This artifact would then have been a gift to a Roman politician who had been elected as Consul for the 2nd time and had claimed a connection to the Trojans of the 12th century BC. A couple of Romans that would fit this description would be Julius Caesar when he made consul for the 2nd time in 48 BC or Octavian (Emperor Augustus) who became the same in 33 BC. On the Trojan claim, it was Caesar's boast that he was a descendant of the legendary Prince Aeneas of Troy (The brother of King Priam, the uncle of Hector and Paris) who was also the legendary founder of the Roman race. Caesar's nephew and heir Octavian would later commission the poet Virgil to write the Aeneid so as to give credence to this claim. The javelin head style and where the javelin head had been found in antiquity would have given the Romans a Trojan identification for this artifact. Ancient Roman writers wrote that Trojan artifacts had been found near Rome and that these could be viewed in a museum, this javelin head may have been one of those artifacts. More likely though, this javelin head had been found by Romans near the Roman Anatolian provincial city of ILIUM (ILION), interestingly enough this city had been built during the reign of Augustus and is not far from the modern archeological site of the historical Troy. This javelin head artifact may very well be of Trojan origin.

In memory of John Piscipo who was the ancient weapons expert that I consulted with concerning this possibly highly important artifact.

Private Collection of David Xavier Kenney

Copyright 2005 David Xavier Kenney

NEW INFORMATION: This javelin head may very well have been a significant presentation gift to Julius Caesar when he became Consul for the second time in 48 to 47 BC. It was at this time that Caesar would also have been given the Dictatorship of Rome for one year (he had previously received a dictatorship in 49 BC for 11 days before resigning it; in 45 BC he became dictator for 10 years; and in 44 BC he was made dictator for “life”). It appears that the Romans associated the javelin with the god Mars (unlike the spear which is associated with the Greek war god Ares), but according to my research it also appears as if it had been associated with the dawn sun. The fact that Caesar claimed descent from the Trojans may have been because he identified with the beginnings of the advent of a Roman-styled eastern solar cult based on the rising sun and the founding of Rome. I believe that part of this founding story is associated with the goddess Anat, who though normally thought of as a Semitic goddess from the Levant, may have also been worshipped as far north as Armenia (this would include Asia Minor and the site of Troy). Specifically, the Romans may have associated her with their goddess of love, Venus (Greek Aphrodite). Anat is a maiden goddess of fertility and war, but according to my research she may also possibly be a goddess of the dawn; she is sexual (a maiden) but also a virgin. This may explain the unusual depiction of Venus on Caesar’s seal ring, that is, a Venus armed with a sword; in essence Venus but also of Mars. In the Iliad, Ares (Mars) sides with the Trojans, and Aphrodite (Venus) was coerced into siding with the Trojans. It is interesting to speculate that Caesar himself could have been presented with this javelin head as a symbol of his pedigree from what was believed to be a Trojan Venus and Mars, giving him the right to rule Rome. If so, then this may explain some of the historical events of the Late to Mid 1st C. BC. It is well known that Caesar, coming from a relatively new aristocratic background touted his family’s claim that the Jules were descended from the Trojan prince Aeneas (Trojan royalty claimed that they were descended from Aphrodite), who escaped to found the race that would found Rome. The fact that Caesar’s rival Pompey the Great had conquered much of the region of Asia Minor (known to the Greeks after the 3rd C. AD as “Ana”tolia, which means “the land of the rising sun”), in a sense would have symbolically given Pompey claim to Caesar’s birthright. It may be no mistake that Caesar after a year in Egypt would go to war with the Phamaces (the son of Mithridates*) in Pontus of Asia Minor at the battle of Zela in 47 BC ( either purposely or by coincidence, Zela was a center for the worship of the Iranian water, fertility and war goddess Anahita associated with the planet Venus; this winged goddess was associated with Anat and also the Persian god Mithra). After this battle Caesar made the most famous statement of all conquerors in history, "veni, vidi, veci" (I came, I saw, I conquered). These are powerful words for Rome's most hardened General who had just fought a quick and relatively easy battle (for Caesar); there must have been another reason for such a pronouncement. Scholars debate if Caesar ever visited the site of Troy, but according to the Roman writer Lucan he did. This may have been the primary reason why he went on campaign to begin with. This may also explain why Caesar was assassinated just three days prior to departing for his Parthian expedition. Interestingly Caesar had been authorized by the Senate to wear a king’s crown once outside of Italy, this “supposedly” was due to a Parthian legend which stated that they could only be conquered by a king. It may very well be that Caesar besides punishing the Parthians for the Crassus disaster and regaining the lost standards (eagles), had planned on doing a ritual at the site of Troy to take claim as coming from the east as the King of the Romans by birthright and deed. This may be one of the reasons that Marc Antony after Caesar’s assassination vigorously pursued an Eastern campaign against the Armenians and Parthians (with the first being successful and the latter being a semi failure); it also may be one of the reasons that Octavian withheld his legions from this endeavor. Octavian may not have seen any reason to pursue this further, as he had been successful in deifying Caesar. Later as Emperor Augustus he commissioned Virgil to write the Aeneid, thus removing any doubts about Caesar’s status as a re-founding father and insured his right to legitimate imperial rule**. This ancient Anatolian Roman javelin head may have been given to Caesar by someone among his circle of supporters who wished to make the statement that Caesar had the royal right of rule. Or it may have been with a group of “Trojan” artifacts that the Romans felt had something to do with the founding of Rome.. The inscription on the shield of the charioteer that is currently being offered may show that at least some Romans thought that the Asian goddess Anat was in fact their founding war Venus, associated with the war god and perhaps the rising sun.

* Mithridates VI warred constantly with the Romans which began when he invaded and conquered Bithynia in 88 BC. After his conquest of all Asia Minor (including the district of Lampsacus which is where the site of ancient Troy was located) he immediately executed all the Romans in that region (some accounts put this figure at 100,000). Although Mithridates was a bad character (an example of this is that he killed off the male siblings in his family and married his sister) his hatred for the Romans as a race was in the extreme, or was it that he had a fear that the Romans had a legitimate royal claim to the region? Three Mithridatic wars followed ending with Pompey defeated him in 65 BC, he then fled to raise another army but committed suicide in 63 BC.

**The fact that Octavian after he became the Emperor Augustus would build a New Ilium (New Troy) should show how serious the Romans took the reestablishment of what they perceived as their ancestral identity. It should be noted that although Augustus fed the ancestral royal Trojan Jules propaganda it was Caesar that initiated this. When the Parthians through Augustus’s threats and diplomacy returned the lost standards of the Crassus disaster Augustus had in essence completed his adopted father’s and grand uncle’s mission.

Copyright 2006 David Xavier Kenney

BACK TO: ROMAN BRONZE MARS QUIRINUS (WAR ROMULUS) CHARIOT STATUE CLICK HERE

 

Photo Copyright 2005
David Xavier Kenney

ROMAN GLADIATOR EQUITE LAMP

    The Equite shown on this lamp mirror is without a doubt entering the arena. He holds an upright lance in his right hand and an upright ribbed gladi in his left hand, it appears that his parma is also being carried in his left hand and not on the forearm. (For some reason the Equites always fought with a gladi sword and not a cavalry spatha). Although the two feathered helmet was not exclusive to this style gladiator his helmet has the classic two feathers usually worn by Gladiator Equites . He wears a typical Gladiator Equite belted tunica (always short sleeved) with V-neck and clavi design (vertical stripes). He has short leather wrappings on his foot and he typically would have had a manica on his right arm (not shown). What is worth noting in this example is the small size of the horse in perspective to the rider. This may be an artistic allowance but this same smaller type horse (but in a pair) is shown with a gladiator procession with dismounted Equites on a tomb relief from Pompeii. It is possible that the Gladiator Equites rode a smaller horse (or pony) and fought with the gladi on foot so as not to overly infringe with the image of the Roman class that ranked just below the senatorial class, who were also named Equites (The Roman Knights).

Private Collection of David Xavier Kenney

Copyright 2005 David Xavier Kenney

ROMAN SARMATIAN KNIGHT'S ARTHURIAN PENDANT

Photo Copyright 2008
David Xavier Kenney

ROMAN SARMATIAN KNIGHT'S ARTHURIAN PENDANT DETAIL OF FIVE ELEMENTS

Information: The details in the pictures show that the Sarmatians believed in a concept of the five naked eye planets and that they associated these with the five elements. The Greeks and Romans also had a fifth element (aether) but it is without form and is above the other four. There are engravings on each of the pellets, these will be analyzed at another time, but they appear to be planets. The elemental symbolism with these is very similar to that of the Chinese Taoist. The Bear Head side shows three pellets (a nose with two eyes) from left to right as; Water (Mercury), Metal (Venus), and Saturn (Earth). The Dragon Head side shows two pellets (two eyes) from left to right as Fire (Mars) and Wood (Jupiter). The Chinese Taoist's have their elements in this order; Water, Metal, Fire, Wood, Earth. For those that contend that a Sarmatian tribe was in contact with the Chinese of the Warring States Period, then the Taoist symbolism on this artifact may be a European source of evidence for this, or it may be that the ancient Chinese developed this belief from a northern more westerly people, a people that the eastern Sarmatian tribes were also in contact with. The sword is very sacred in Taoist ritual, one of the most important sword rituals is associated with the Big Dipper in providing an exorcism. The ancient Chinese metal smiths placed a special significance with swords that were made with male and female energies, most likely these were from a metal smithing technique. The following is initial information with the current pictures provided:

The Water Pellet (Pictures 1 thru 18) has an area with black lacquer that is engraved (it is as a mirror), it reflects and changes when moved (much like the metal mercury). It shows various figures, a staff with a water dragon head, and water plants, there are hints of lightning. The eyebrow is also a bird with a large curved beak, it also shows the beak coming from a fish mouth, it is a water foul.

The Metal Pellet (Pictures 19 thru 22) is the Bear Head's nose. Over this is a figure as if flying (it may be a bee, if so then no doubt it would be associated with honey) with the bind letters "ZA". This should represent the dawn light, but also the Morning Star (morning Venus). The top of the head of the figure is made from electrum (gold / silver alloy). If this is represents dawn, but also the morning star, then the "ZA" with the "NA" (seen with the other pictures above) may be for "ZANA" as the Evening Star (evening Venus). It may be that "ZA" is male and "ZANA" is female (Brother and Sister?). In Avestan the root word "ZAR" means yellow but also gold. This may be significant for those that theorize that the name of the Indo-Iranian Prophet Zoroaster means Golden Light (or Dawn Light), this is thought to be from a later Zoroastrian tradition, it also hints that the founding of Zoroastrianism may have been associated with the advent of a metal working culture. It hints that the fire worshiping Sarmatians may have worshiped Zoroaster in the form as seen here, and that the "SAR" with their name is actually "ZAR".

The Earth Pellet (Pictures 23 thru 26) bottom half is is made from electrum (gold / silver alloy). Under this on the bronze there us an area that has a silversh lacquer. There is an area that has a bright green patina, it is a bird over branches with fruit such as; apples, peaches, pears, apricots, or pomegranates; the bird may have once been gold gilded. At an angle this changes to figures that appear to be in motion. Overhead is the head of the coiled serpent, this serpent head may also be a bird's head.

The Fire Pellet (Pictures 27 thru 32) (this is a snake hole, or meteorite hole, or the mouth of a volcano, or any, or all of these). Over this is engraving that looks like zig zagged sticks, on top of this is a v-chevron (which can be an ancient symbol for fire), there is a bird's head and a suggestion of flames as wings, so it appears that this is a fire bird.

The Wood Pellet shows (Pictures 33 thru 46) shows the first group of pictures (Pictures 33 thru 36) that the helmet nasal is a type of tent peg, harpoon head, toggle, or another type of tool, it is a stick horse's head, just behind this is a small head (with a tall hat at a backward slant) that should be a rider. This is to the right of the Wood Pellet and will soon be moved as the last pictures. Next it shows that the Wood Pellet has a disc face (pointing to the helmet) on top and that there are two disc below this. This should be for wooden disc that were used for divination (according to Caesar's observations of the Gaul's, it is also in Celtic tradition), this is further verified by viewing Pictures 41 thru 44 are of the Fire Pellet side, these show a stake with a stave next to it, on the stave are slashes and, or engravings, this is a divination stick (that is according to Celtic traditions, but probably prominent in much of tribal Europe and Asia), the stave is directly under the helmet nasal. Next, Picture 45 shows the stake on the Wood Pellet side. These stakes are four in number (they are on the Bear Head side as well), they should represent the stakes as tent pegs. As both sets of tent pegs are on each side of one of the two sword blades then they should also represent the two sides of a wooden sword sheath. Apparently the Sarmatians believed that four tent pegs were symbolic of securing a sacred yurt, but that they were also symbolic of securing (and protecting) two swords sacred to a bear shaman god and a dragon warrior god, or two aspects of the same god (a bear dragon shaman warrior god).* The idea of sacred wooden tent pegs may have originated with the Scythians, as the Scythians placed the sword of their war god in or on a bundle of sticks. The stave would be a fifth stick and as it is on the Fire Pellet side it is obvious that it is associated with fire, but then a fire (and a tree) is symbolic of the center for most nomadic peoples. It is very possible that the five elements of the Taoists came in to existence with the advent of metal making, but that the number they chose as their elements originated from four sticks (tent pegs) needed to secure a basic tent (or even a miniature yurt), and that the fifth stick (stave) was a central pole or kept with a center pole. If the sword ribs were included then there would be a total of eight tent pegs, each side of the sword ribs doers appear as a thin tent peg, if so then the four thicker tent pegs would then take on the meaning of being anchor tent pegs. The number eight is another sacred Taoist number. No doubt the Sarmatian word for a tent peg was the same as that for a sword sheath. From this it can be assumed that the Sarmatians put each of these two sacred swords in the ground (most likely in a mound representing the coiled serpent) between two staves. Besides any earth energy symbolism it should also be symbolic of a tree, therefore the Sarmatians may have had a "sword in the tree" myth. It all hints that the Sarmatians may have originated from a woodland, that is prior to their arrival on the Steppes. It should be mentioned that the Wood Pellet on the Dragon Head Side is next to the Water Pellet on the Bear Head side, so the Sarmatians may have had a sacred pond or lake near that woodland. The Bear Head long sword should be a bear shaman's sword associated with; water, the metal smith (or perhaps specifically a gold metal smith), the dawn, and the earth. The Dragon Head short sword should be associated with; the warrior, fire, divination, and a tree. As previously mentioned it is possible that these are combined as a bear dragon shaman warrior god. Picture 46 shows the blade of the short sword and the tent peg on the Wood Pellet side.

*Taoism officially arrives during the Han Dynasty (202 BC-220 AD). This early official form of Taoism also had a type of alchemy (the turning of base metals into gold) and occult practices. With this was the worship of the founder of the Han people, the legendary first Chinese Emperor Huangdi, the Yellow Emperor aka the "Bear Dragon" (c. 2,698 to 2,599 BC). In recent times twenty or more Neolithic stylized jade bear dragons were found in Northern China, these are thought to confirm the legendary bear dragon totem association with Huangdi, but apparently there were other more realistic examples, but until 2005 these were not identified as such. To view three of the finest examples of Neolithic Chinese Bear Dragons known go to www.kingarthurbanner.com , access the artifacts, go to and click on Neolithic Chinese Bear Dragons.

Copyright 2008 David Xavier Kenney

Revised Apr 08

Photo Copyright 2008
David Xavier Kenney

BEAR HEAD SIDE AMAZON SWORD OF VENUS

These pictures are details on the Bear Head side of the pendant. The initial information with these pictures is that they show that the nose of the bear head there us a Latin letter "C", This "C" at another angle is also slightly seen as a serrated circle with a dot, an ancient symbol of the metalsmith and thought to be a solar symbol associated with the Cyclopes of Greek myth. Although we currently do not have the equipment to magnify the following effectively, the "C" also shows that it is also a dog headed headdress on what appears to be a woman's head. On the other side of this is a bearded man's head. Under this is a rectangle indentation that has an engraving inside of it, we hope to be able to provide more information on this soon. The letter "C", the woman in a dog headdress, and the bearded man suggests that this is of the legendary metal working tribe of the Chalybes, but connected to the legendary Amazons. There are those that theorize that the Chalybes may be connected to the origins of the concept of King Arthur's "Excalibur" (initially known in Latin as Caliburnus). The bear's nose may be of the legendary Amazon Island (thought to be the Island of Giresun) on the Black Sea, this is where the Amazons were thought to have a roofless temple to the Thraco Greek war god Aries. Above this on the upside down crescent moon are the Latin bind letters "A" and "M", next to this are the bind letters "F" and V", at another angle the "FV" will also appear as the letter "N". These bind letters should be abbreviations for "Amazons" and for "Felix Venus" ("Lucky Venus"). As this is above the long sword blade (at just about where the sword's guard would be), then it suggests that the sword was connected to a sexual and or, amorous ritual, very possibly as part of an initiation, or a "first rite" upon a completion of an initiation. To the right of this on the two clubs or posts are two tall thin women facing each other, the woman on the right has a small girl next to her facing in the same direction. They are next to the Water / Mercury pellet to their left, hence they are associated with the element of water. They may be three goddesses, perhaps; Venus, Diana, and a dawn goddess. Above the brow of the Bear Head (on the snake coil rim) it shows a theme that should be of the dawn and the Morning Star (Venus), it is made of electrum with some type of resin coating, it will change forms when moved. There are many figures and faces, both human and animal, some of these include a helmet but also as a cup (better pictures to soon be provided). This is very much like the "dew cup" theme as an ancient Holy Grail that I have researched on www.kingarthurbanner.com. Seen from this perspective the Bear Head shows that there may have been a permanent rotunda temple structure made of a wood or stone. This may be an image of the legendary Amazon temple to Aries, but then this shows that it as to Aries (Mars) and Aphrodite (Venus), but with Artemis (Diana), and with the other gods and goddesses having more minor roles. The idea of this type of round standing stone temple is rather similar to the standing stone rotunda at Stonehenge in Britain. There is a lot with the Arthurian with all this.

Copyright 2008 David Xavier Kenney

Photo Copyright 2008
David Xavier Kenney

DRAGON HEAD SIDE SWORD OF MARS

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Photo Copyright 2008
David Xavier Kenney

BEAR DRAGON SWORD DIETY

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Photo Copyright 2008
David Xavier Kenney

BEAR SWORD SMITH

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