Material: Gray Marble
Era: Late 2nd to Early 3rd Century AD, Medieval, Renaissance, and Napoleonic
Culture: Roman and Neapolitan
Style: Roman and Neapolitan
Origin: Campania, Italy via an Australian collector of the 1930's via an Atlanta Antiquities Dealer.

Our archive is still under construction. Once completed it will include detailed information and pictures of this artifact. The pictures with this artifact have a focus on a micro piece of silver metal, it may be a relic. To the scientific mind the belief in relics is mere primitive superstition and it is dismissed as such. To the believer, relics (either real or supposed) are viewed as anchors of the past that provide faith in the present and future. Apparently jewelers and other artisans whenever possible or by commission would incorporate relics or bits of relics with miniature or micro art in their creations. Research of miniature art on artifacts shows that weapons makers, artists (sculptures and painters), and jewelers were the keepers and recorders of the history and, or beliefs of a people; furthermore miniature art on prehistoric artifacts show that this practice is extremely ancient. According to my observations, miniature art still continues among some traditional jewelers and a few metal smiths (apparently usually with little or no knowledge of this on the part of the client), but it appears to have disappeared with sculptures and painters; it may be last seen with the older European artists of the 1950's. There are certain artifacts that may contain relics that are listed on this website and on kingarthurbanner.com. On this website they include: the Marble Icon of Lucius Artorius Castus (micro metal piece), the Pearl In The Dwarf (Pearl), and the Ft. McHenry Powder Horn (wood bottom and copper nails). On kingarthurbanner.com they are: Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god (micro iron insert); Torc Bear Meteorite Pendant of the Thraco Dacian Goddess Bendis (iron insert); and the Relic In The Dwarf Statue (relics of St. Thomas). The micro metal piece on this Marble Icon of Lucius Artorius Castus may represent a piece of a standard or helmet. According to new research on the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god", it appears that there are at least a few symbols that represent the Soma of the Indo Europeans. As soon as information with the "Saxon Ring" is updated, speculations concerning this proposed relic will be posted.

Copyright 2008 David Xavier Kenney

The first additional pictures show the artifact's oultine in various positions, these appear as a: bear's head, horse or dog's head, lion or dog's head, horse or dog's head, and women's face in a tall hat as an oven. The latter additional pictures are of the artifact's back, they show Arthurian scenes done over Roman themes of Legion VI Victrix, then the silver metal micro piece in various positions.

Material: Bronze and Copper (With Traces Of Gold Gilding, Silver Gilding, Lead, and Niello)
Era: 1st to 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in the Netherlands

Material: Bronze (With Traces Of Gold and Silver 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.

Over the past year I have been contacted twice concerning statues that were similar to this example. The first example was from pictures provided by a professor in the US, his statue was somewhat smaller, with some differences, and had very little detail. The statue was stationary (it was not made to be displayed in one of two positions as seen with this example). The other statue was from information provided from an individual in Europe concerning an online auction offer. That statue was smaller then this statue, but larger then the statue just mentioned, the condition was not as good and it had less detail. Although no artifact can be fully authenticated with pictures, it appears that all three of these statues were made by the same ancient foundry in Sicily or Campania, they may or may not have been funerary pieces. If you find this statue interesting, then it is suggested that you view the "Praetorian Guardsman's Ring Commemorating The Siege / Battle Of Jerusalem Of The First Revolt" that is will this collection.

Dave Kenney

Material: Bronze
Era: 1st Century AD to Early 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in California

Material: Bronze, Lead Overlay, and Fossilized Leather  
Era: Augustan (30 BC TO 14 AD)
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer from England, found in 1988 near the village of Venne, Germany. Nearby from the village of Venne is Kalkriese (Osnabruck), Kalkreise is now thought to have been where Varus's legions made their last stand.

Material: Bronze
Era: 2nd Century AD
Culture:Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in California, origin attributed as from the Balkans.

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.

Material: Gold
Era: 1st Century AD
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer from the Netherlands, purported to have been found in an area of Germany near where the Teutoburg Forrest Disaster took place.

Material: Gold
Era:1st BC to 1st Century AD
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer from New York

The ring is an American size 9 1/4. Although somewhat worn, it has miniature art on the inside, with this there are Roman letters and one large Etruscan or Oscan figure eight letter (thought to be for the Roman letter "F"). This figure eight letter is also made as a bear drinking from a cup, when slightly turned the bear will change into a wolf. In the bottom loop there s a boy's face. Next to this are Roman bind letters. The letters appear to be an abbreviation for the "Aventine". When turned slightly the letters will change and appear as an abbreviation for the Palatine. When seen upside down, it is a boy holding a crested bird (wood pecker). When seen from one side, it is two semi-coiled serpents. Finely when seen from the other side, it is a serpentine man with an unknown serpentine animal. It is evident that the two boy figures are Romulus and Remus and that the two serpents are symbolic of the Aventine and Palatine hills.

Copyright 2008 David Xavier Kenney

Material: Copper Alloy
Era: 1,200 to 800 BC/1st Century BC
Culture: Ancient Anatolian/Roman
Style: Ancient Anatolian/Roman
Origin: From an Old Danish Collection

The javelin head is sharp, due to this and other factors it suggests that it had been considered an artifact during the Roman Era. It may even have been though of as a relic, then stamped COS II, and then given as a presentation or gift. It has a thin silver/lead alloy over-coating, this has miniature art and inscriptions. At some point in the near future these will be examined. It is expected that they will provide an exact identification for this artifact.

Material: Iron, Bronze, Silver (With traces of gold gilding), and fossilized Wood.
Era: 2nd to 3rd Century AD
Culture: Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in California

An Early 2nd C. AD Knife with an Eagle-Headed Hilt was discovered by Archeologist and collector Marcel Julsing. It may be of a type that had been a weapon of status that was worn by a Parazonium owner. The hilt is bronze (this may have once been gold gilded) with an iron blade, it is 23.5 cm in total length and shows some of the same design themes and iconography as the Parazonium sword (or long dagger) just viewed. The knife though small in size shows that it is functional and would have also had utility for a soldier in the field. The hilt bears a remarkable resemblance to a Parazonium tucked into an aristocrat's torso sash, worn by a Roman Officer portrayed on Trajan's column. The grip and guard are in the shape of a Corinthian column. A portion of both the grip and pommel appear as a type of plant shoot (a fennel shoot?) with an eagle's head facing forward. The blade's shape could suggest an eagle's talon. The overall shape of the knife gives the impression that it may represent a streaking meteor or comet. It appears that this knife has much of the same meaning as the Parazonium, the blade is either of meteorite iron or contains at least some meteorite iron. From pictures of the Parazonium, Marcel speculates that this knife and the Parazonium may have been found together, or in the same general vicinity. To my knowledge this is the only known example. To view this Parazonium hilted knife Click here.

Archeologist and collector Marcel Julsing of the Netherlands specializes in Carolingian Era research and artifacts. He has an extensive Medieval collection and a collection of rarities of various eras. If you would like to contact Marcel he can be emailed at: narimaan@hetnet.nl or bodemvondsten@hetnet.nl

Material: Iron, Silver / Lead Alloy, Bronze, Ivory, Paint, Lacquer, and Paste
Era: 69 to 79 AD
Culture: Roman / Roman Provincial
Style: Roman and Ancient Syrian, Anatolian, or Armenian
Origin: From a Dealer in Germany, purported to have originated in Germany

Material: Bronze (One trace of gold gilding) and Iron
Era: Late 1st to 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in Germany

  The overall length of the Eating Knife is 23 cm, the blade near the hilt has remnants of four square teeth. The Eating Knife has miniature engravings and inscriptions including a Triton with standards, the inscriptions appear to be of Legion XV Apollinaris.

Copyright 2007 David Xavier Kenney.

Material: Iron and Bronze
Era: Late 1st C. BC to Early 2nd C. AD
Culture: Roman
Style: Roman
Origin: From an Old English private collection

Material: Iron, Silver, Bronze, and Ivory
Era: Late 2nd to Late 3rd Century AD
Culture: Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in California

Material: Iron, Bronze, and Ivory. Fossilized Leather and Fossilized Wood.
Era: 293 AD to 313 AD
Culture: Roman Provincial
Style: Roman and Roman Provincial
Origin: An Antiquities Dealer in England, purportedly from an Old English Collection and found in Spain.

Material: Iron, Bronze, and Fossilized Bone
Era: First Half of the 1st Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in California, purported to have been found in Germany.

Material: Iron and Bronze
Era: 2nd to 3rd C. AD
Culture: Roman Provincial
Style: Roman
Origin: From an Old English private collection

Material: Bone
Era: 1st to 3rd C. AD
Culture: Roman
Style: Roman
Origin: From an Old English private collection

   This is the first segment of a two segment bone sword handle. It measures 44 mm in height, 41 mm in width, and 23 mm thick. Although this could have been for a Legionary Officer's gladius or spatha the larger size suggests that it had once been on a Roman Officer's Cavalry spatha.

Material: Bronze
Era: Late 1st C. BC to 1st C. AD
Culture: Roman
Style: Roman
Origin: From and Identified by English Archeologist and Antiquities Dealer Lord A. Murray, Found in the Rhine River.

Miniature inscriptions and iconography on this gladius chape suggests that it had been awarded to a Centurion of Legion V Macedonia for leading a Cohort in a first contact on Lake Tiberius (aka Lake Gennesaret or The Sea of Galilee) in September of 67 AD. At some point in the near future we will post pictures of the miniature work.

Material: Iron and Bronze (With Traces of Silver Gilding)
Era: Late 1st to Early 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in California.

Material: Iron, Traces of Bronze, and Fossilized Wood
Era: First Half of the 1st Century AD
Culture: Roman
Style: Roman
Origin: A renown English private collection of militaria, found in Devon, England

Material: Iron
Era: 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer from England, found on a hilltop in Norfolk County, England, it is 39.6 cm in legnth.

Material: Bronze
Era: 1st to 2nd Century AD
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer in England, from an English Collection

Speculation is that this shield boss may have belonged to a Legionary of the II Adiutrix

Material: Lead and Paint
Era: Flavian
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer from California

Material: Terracotta
Era: Flavian
Culture: Roman
Style: Roman
Origin: An Antiquities Broker from New Jersey, from an Old Collection

Material: Bronze with Traces of Thin Lead Overlay and One Trace of Gold Gilding
Era: 16 AD to 92 AD
Culture: Roman and Sarmatian
Style: Roman and Roman Provincial
Origin: An Antiquities Dealer from the Netherlands

Material: Silvered Bronze (With Two Faint Traces of Gold Gilding)
Era: 2nd AD
Culture: Roman Provincial
Style: Roman/Roman Provincial
Origin: An Antiquities Dealer in Virginia

Material: Bronze
Era: 2nd Century AD
Culture: Roman
Style: Roman Provincial
Origin: An Antiquities Dealer in the Netherlands

Material: Bronze
Era: Late 2nd or 3rd Century AD
Culture: Roman
Style: Roman and Roman Provincial
Origin: An Antiquities Dealer from NJ

Material: Bronze (With Traces Of Gold Gilding)
Era: 2nd to 3rd Century AD
Culture: Roman
Style: Roman Provincial
Origin: An Antiquities Dealer in California

Material: Iron
Era: 3rd to 5th Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer from California

Material: Bronze, Lead Overlay, Paint, and Electrum
Era: Late 3rd To Early 4th C. AD
Culture: Roman Provincial
Style: Roman Provincial
Origin: An Antiquities Dealer from California

Material: Bronze, Lead Overlay, Lead, Paint, and Gold or Electrum
Era: 4th Century AD
Culture: Roman Provincial
Style: Roman / Roman Provincial
Origin: An Antiquities Dealer from Germany

Material: Bronze
Era: 2nd Century AD
Culture: Roman
Style: Roman and Roman Provincial
Origin: An Antiquities Dealer from NJ and an Antiquities Dealer from California.

Material: Bronze
Era: 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer from New York and Germany

Material: Bronze and Lead
Era: 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer from California

Material: Bronze
Era: 1st or 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer from England, purported to be from an Old English Collection and originally from Turkey.

BACK TO: ROMAN AMAZON, VENUS SOUTH BEACH CLICK HERE

Material: Bronze
Era: Second Half of the 1st Century BC
Culture: Roman Provincial
Style: Roman
Origin: From a Dealer in England

Material: Bronze
Era: 1st to 3rd Century AD
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer in Las Vegas

Material: Terracotta
Era: 1st Century AD
Culture: Roman
Style: Roman
Origin: Antiquities Dealer in Illinois

Material: Silvered Bronze
Era: 2nd to 3rd Century AD
Culture: Roman
Style: Roman Provincial
Origin: An Antiquities Dealer in Nevada

Material: Bronze and Enamel
Era: 1st to 2nd Century AD
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer in England, found in Gloucester, England

Material: Silvered Bronze
Era: 1st Century BC
Culture: Greco/Roman
Style: Greco/Roman
Origin: An Antiquities Dealer from California

Material: Bronze, Gold Gilt, Silver Gilt, Lead, and Paint with Lacquers
Era: Second Half of the 1st Century AD
Culture: Roman Provincial
Style: Roman Provincial
Origin: From a re-known English Collection, found in 1982 near the site of the Caerieon (Welsh for "Fortress of the legion") Roman Fort, Gwent, Wales, Headquarters of Legion II Augusta from 75 AD to Approx. 300 AD.

This is a silver alloy and carnelian Roman intaglio ring that most likely belonged to a Praetorian Guardsman. The ring is an American size 11. Our archive is still under construction; once completed it will include detailed information and pictures of this artifact. The ring appears to be initialed by the intaglio maker; this will be researched at a later date. On the ring's band is art that commemorates the Siege / Battle of Jerusalem of the 1st Revolt; it is made in a scratch and dotted graffiti style. There are various inscriptions, two of these are abbreviations of the Praetorian Guard (P PR) and Legion XV Apollinaris (LEG XV AP). The art and technique on the intaglio is highly sophisticated. It was done with various levels of very refined miniature work and a gold wash. Much of the miniature art on the face and helmet has to do with rituals to the god Sol Indiges. Most of the miniature work is not displayed with the pictures that are provided here. The ring appears to have a small amount of damage to its bezel and intaglio. Upon close inspection it shows that this is not so, and that it was purposely made this way. The figure on the bezel is not a Praetorian as such, but is the figure of a god whom the Praetorians evidently worshiped, Quirinius (this Romulus deified by having been given the identity of the Sabine war god Quirinius) , but it is also of Titus (perhaps as a Praetorian Prefect, a General, or as Emperor). The spear has engravings and inscriptions around it. There is a ship that may also be seen as a sheath of a grain; on this are the letters "SOL" and Etruscan letters. Above this area is a figure who may be the god SOL. The inscription is similar to that which appears on the lance head of the "Roman Bronze Mars Quirinius (War Romulus) and Bellona Statue" that is included with this collection. Due to this there are hints that Mars Quirinus had a solar cult of a death; a night journey, and a return. The spear or lance would represent a ray of the sun (a symbol of perseverance). The following are speculated to be primary symbols of a proposed Roman Praetorian (and possibly a Roman Officer) state cult; a Roman Attic Helmet (Quirinus / Mars), a cup (Sol Indiges), a spear or javelin (Sol Indiges), an agrial flagellum (Quirinus / Mars as a fertility figure), and a cloak (Sol Indiges). Secondary symbols may be a certain type of fibula and a muscle cuirass armor*. Interestingly the bezel has an engraved scorpion tail which also forms a whip/flagellum around the intaglio. The scorpion was a primary symbol of the Praetorians, and is speculated to be symbolic of Tiberius's birth sign (Scorpio). However, considering this new information, this may or may not be so. The scorpion whip/flagellum when turned slightly will change into an Ouroboros (serpent biting it's tail). When moved slightly the Ouroboros's head can also be seen as a bird's head with an open beak and the tail as a sword fish (the bird's open beak is swallowing the swordfish's bill). The bird's beak and sword fish's bill may be of an unknown mythology of the wood pecker's tough beak (with the Omphalos as the wood pecker's opening to it's nest). The wood pecker was sacred to the Romans as the bird of Mars. The Omphalos's head is situated near the small opening on the ring that will be discussed shortly, it has the following on it: A wolf biting a bear on the forehead, the bear has a fish body. Two figures in front of a stepped pyramid with a box on top and a disc over it. With this is an inscription that reads "A R I S" (the letters are also very small figures), under this in smaller letters is "C O S", then under this there is a large letter "L" (it is directly over the disc). When tuned to another position it shows the head of a water serpent, this can also be seen as two human bee figures. When turned again this will change into an Omphalos (naval stone), when turned slightly it will change into a head wearing a mitre. When turned once more it will change into a swan or duck's head (this may symbolize the Trojan Royal House), inside the swan's head there are two figures in a fish, overhead there are the letters "M S I L O". It should be mentioned that an Omphalos with wings is also seen on the statue previously mentioned, it is located on the back of the floor of the chariot . Among many other things, there are miniature iconography/inscriptions on the inside of the bezel under the intaglio, some of which can be viewed from a small opening between the bezel and intaglio (this is the area that at first glance appears to be gouged out by damage, but is actual intentionally formed as such). In a certain position this small opening will appear as if illuminated, which is caused by the light penetrating the carnelian and being reflected by the bright metal. There are various small figures that will change when moved, and there is an inscription that reads "Q M R" (Quirinus Mars Romulus). This inscription is similar to the one seen on the inside of the chariot of the statue that was previously mentioned. To the right of this there are several figures that transform into a large face, there are also hints of a helmet; under this area are the letters "R O M" (Romulus). All this should suggest that there was a cave type shrine dedicated to Quirinus Mars and Sol Indiges on the Quirinal Hill. This may or may not be in line with the recent findings of Archeologist Andrea Carandini of Rome University. Either way, the new information associated with this ring suggests that besides the fact that there was a state cult of Quirinus (Mars Quirinus), there was also a Praetorian (and most likely Roman Officer) cult. Under the bezel on the inside of the ring there is a long building column / capital with engraved figures, it also has long engraved figures on either side, one of these is woman in a headdress (Rhea Silvia) holding a sitting boy in a pilus hat, the boy has one wing that is shaped like a wolf's head (this wing / wolf's head is also as a mount for a female rider, perhaps the goddess Diana), when slightly turned the boy's head changes into two faces that are looking backward (Romulus and Remus). Over this is a scene with the god Mars (identified due a horned helmet and the letter "M") seducing the woman in the headdress, behind Mars there are two boy's or young men's faces (Romulus and Remus). When the ring is turned upside down it shows other figures. This column is also a tree trunk; on it there is a lightning bolt, a javelin or pilum, two men's faces in profile with a third as a semi-fish head. The faces are intertwined with; a bear's head, a wolf's head, and a cow or bull's head. Below this is a fat bearded man with breasts(most likely Vulcan). All these together, including the boy in a pilus hat make for a large woman's head and bust in profile, she is wearing a helmet (or helmet type headdress) with a fish head, this may represent a mystery goddess of the Vulcanalia festival that was held on 23 August, during this festival fish and small animals were thrown into a fire. Due to the great fire of 64 AD an alter to Vulcan was put on the Quirinal Hill, it is thought that this was by order of Emperor Domitian. It appears that this represents a column / tree trunk that was central to an older belief and ritual, it's location on this ring suggests that it was hidden under a cave shrine, it may have been from an ancient temple**. Due to the possible importance of these new findings, there will be at least some research and additional photographs taken, which will be posted as soon as possible..

* Some of these symbols appear in later Christian iconography, there may or may not have been a connection, either way they suggest that the Praetorians (and possibly all Roman Officers) identified with a state cult of Rome's founder (Romulus) as the god Quirinus with his god father (Mars) regenerating with the assistance of Sol Indiges. This may have to do with; the winter solstice, fertility, the spring equinox, agriculture, and war. Some of this may also be associated with the story of the Trojan Prince Aeneas and the founding of the Roman race. If all this is so, then the cult of Quirinus may very well be the secret of Rome's long existence.

** The column / tree trunk area has a layer of fossilized charcoal soot mixed with a resin, it is part of the art technique. This is only known due to the same with scratched art on a Nordic stone age knife. Why this type of art medium is on this area of the ring is not known. It could be speculated that this charcoal had been used in a special offering. although there may be more exact answers with the miniature art. So far there are hints that this may be connected to the Vulcanalia, and perhaps even to the great fire of 64 AD. If so then the primary message of the iconography is truly one of Roman regeneration.

Copyright 2008 David Xavier Kenney

Revised Nov 08

Material: Bronze
Era: 2nd to 3rd Century AD
Culture: Roman Provincial
Style: Roman Provincial
Origin: An Antiquities Dealer In California