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

The pictures with this artifact have a focus on a micro piece of silver metal (it is 1 mm in length), 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. In 2007 a major museum in the U.S. announced the finding of miniature art on a painting done by a master artist, it is considered to be an important discovery. There are certain artifacts that may contain relics that are listed on this website and on kingarthurbanner.com. The micro metal piece on this Marble Icon of Lucius Artorius Castus may represent a piece of a: standard, helmet or armor. 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

An image of this artifact is published with permission in the Athena book King Arthur: Tra storia e leggenda. Da Cimitile a Camelot, by Mario de Matteis and Antonio Trinchese. Currently this image is be included in an superb upcoming educational DVD. This image has also been in many numerous newspapers and magazines.

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 AD
Culture: Roman
Style: 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.

To my knowledge there are three other known examples of this statue. Two of the others are smaller, have less detail, and are not capable of tipping forward in the flying position. A third example was recently brought to my attention, it is in an old Swedish collection and was found "in the sea of Naples", this should mean the Bay of Naples or thereabouts, it was obtained prior to 1914 from the well known art and antiquities dealer/consultant Ludwig Pollak. The statue is exact as this example, but the engravings on the chariot are different and it is missing the javelin, it also understandably has a thicker patina. After extensive research I wrote a paper on the statue seen here a few years ago. Among many other things I had at the time speculated that it may have been made at a Roman foundry in Neopolis (modern Naples), and that due to the technique that the foundry may have mass produced, I am now convinced of this. Although this type of statue was of Mar's in the City of Rome itself, they may have been made exclusively in Campania, it is of a type of Mars as Mars Quirinus (Mars Romulus) that had just as much to do with fertility and agriculture as war, another words it is the earliest form of Mars, but combined with Quirinus (Romulus deified). It also gives the answer to the Mars winged phallus pendants that were so popular with the Romans, they represent this type of Mars as the ram of spring, the seeding of the earth, and the opening of the campaign season. Interestingly reproductions of such pendants are still produced in Naples and are (or once were) popular with visiting sailors as curios, the pendants are (or once were) nicknamed the "Flying Flynn'" (the name is another story) by British sailors, so at least this statue of this statue type is now named. The large face on the chariot's front may be the closest to ever seeing an image of Mar's consort (or sister) the war goddess Bellona (there are no known images of Bellona from antiquity), it is made so that when it is viewed from different positions it will change from a beautiful woman's face to a wavy hideous face. Unlike Mars who is the ideal of war, Bellona is a changing force of nature and the reality of war.

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.

Until recently the identity of the 17th Legion at the Teutoburg has been unknown (as well as that of the 18th and 19th legions). With that said, the art and inscriptions on two of the rivets on this cheek piece specifically identify the 17th Legion at the Teutoburg as the 17th Classica Victrix.

(Archived)

(Archived)

(Archived)

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.

Miniature art and inscriptions have been found on all three of the existing rivets, althoiugh the photographing of these is a bit of a challenge. This is mainly due to a shellac coating that was used to preserve the artifact in the mid 20th C. Nevertheless we expect to have at least a few pictures posted soon.

Material: Gold
Era: 9 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.

This is a gold cap for a stylus that is made to appear as a gladius pommel/tang cap, it is 17 mm in length. It has miniature depictions and inscriptions. Unfortunately prior to it becoming a part of this collection, it had been scrubbed. It has traces of fossilized wax. It appears to have once had a hard wax filling and a metal tang. Although it may have been mounted on a wood or metal stylus, it is very likely that it was on an ivory or bone stylus. There are seven miniature roundels, on top of these are decorative motifs, there are twelve of these. There are also seven roundels that may be symbolic of seven Germanic tribes or six tribes and Rome. Together these make a total of nineteen decorative motifs, it may hint that there is a connection to Legion XIX. There is one roundel that has the Roman letters "VAR" inscribed on it (seen in Pictures 2 and 3), this will change to other letters when moved (Picture 4), it is an abbreviation for the Roman General Publius Quinctilius Varus of the Teutoburg Forest disaster in 9 AD. The focus is on the roundel next to it (seen in Pictures 5 thru 11), as it is of the Germanic rebel and Roman traitor Arminius and his tribe the Cherusci. A stylized depiction of a helmeted clean shaven Arminius can be seen with Picture 11, on the helmet there are the bind letters "MAR" (the Roman war god Mars) that can also be seen as "ARM" (Arminius), with the indented center there is a cup that holds three figures .

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 3/4. There were two classes of Romans who wore "The Gold Band", those of the Senatorial class (the Nobles) and those of the Equestrian class (the Roman Knights or lesser Nobles). Picture 1 shows the ring itself. There are two areas on one side of the ring's edge that have engravings seen with the followig pictures. Picture 2 shows an animal's head, it may be a horse or a deer's head. There are figures behind this that may symbolize the hunting of that animal. Pictures 3 and 4 show small figures and the letters "M' and "R". Pictures 5 and 6 show a man's face in an Roman Attic helmet. On the helmet's crest there are several stacked figures, the bottom figure is in a balcony that is also the helmet's visor. Under the face there are the Roman letters "ARO", this should be a Roman reference to ploughing. Therefore the symbolism must be of Romulus and his ploughing of a square (in order to found Rome). The figures overhead may be either ancestors, semi-divine, or celestial figures. Picture 7 shows a boy in a conical hat, this should be a Penates or Lares. The following depictions and inscriptions are not seen with the pictures provided. 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. There are other depictions and inscriptions, one of the inscriptions is the "S C" (Senatus Consulto) of the Roman Senate. In legend the Roman Senate originated as a councilor group to Romulus.

Copyright 2008 David Xavier Kenney

Revised Nov 08

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

The pommel tang cap and grip are made of ivory, both have eleaborate engravings.

Material: Iron, Silver/Lead Alloy, Bronze, and Ivory
Era: 213 AD
Culture: Roman Provincial
Style: Roman
Origin: From an Antiquities Dealer in California

Inscriptions (TRECEN) on the top of the pommel's stud show that this sword had belonged to a Trecenarius of Legion II Traiana Fortis. Although it is well established that the Praetorian Trecenarius had been the top Centurion, the position of the Legionary Trecenarius has not been established. There is one theory that the rank was second to the Praefectus Castrorum. Part of the inscription (II TR GER) suggests that this sword had been commissioned when Legion II Traiana had been awarded the title Germanica, most likely in 213 with the defeat of the Alamanni (although the fighting actually ended with a treaty, the Romans considered it a victory) or shortly thereafter. The inside of the stud has inscriptions and symbols of the defeated Germanic tribes. The idea of the defeated being thrown into a hole can be seen with various artifacts on this website. The iconography on the pommel highly suggests that the sword has meteorite metal. Under the green patina, the guard is black with work done in white overlay. The blade has engravings and decorations, most notably is a sword with a dragon grip and lighting (that is in fact chromium) coming from the sword's tip. The blade appears to have been treated with a tinted black chromium or with an alloy with chromium, hence the Class I to II condition that deems it as the finest example of a gladius known.

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.

As seen in the Anness book "The Illustrated Encyclopedia of Swords and Sabres" by Harvey J. Withers

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 Cavalry spatha (long sword) grip. It measures 44 mm in height, 41 mm in width, and is 23 mm thick. This artifact was a gift from friends in England. It is from a well known Old English collection, it was described as a Roman gladius grip segment. Recent findings with the miniature art show that it is in fact a Britannic Roman Sarmatian memorial piece, and that it was once on the spatha of a Roman Sarmatian Cavalryman of some rank. For those interested in the Samaritans in Britain, it is an important discovery. Detail pictures of the miniature art will soon be posted.

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: Late 2nd to Early 4th 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.

As seen as a Roman Contos in the Anness book "The Illustrated Encyclopedia of Swords and Sabres" by Harvey J. Withers

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 Legion II Adiutrix

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

(Archived)

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

Pictures are provided of the inside of the trophy, pictures of the outside will be provided at a later date. This is the head of the Aquila of Legion XXI Rapax, it was captured and then made into trophy pendant for the Sarmatian Chieftain that had destroyed that legion in 92 AD, it is also a writing tool (a type of stylus). It is identified and categorized by miniature inscriptions and art, some of these on the inside have tints and minute amounts of resin paint. The art on the inside shows some of what happened to the Rapax and any prisoners, it also shows much of the Sarmatian belief system. Some of the art on the thin lead overlay on the outside is distinctly different then the art on the lead on the inside. The inside and around the edges of the three openings had been reworked by another artesian, due to the technique and art style the artesian appears to have been of a Germanic Roman background. It is made of bronze that had once been gold gilded. It's dimensions are 7 cm x 4 1/2 cm; it weighs 5.7 ounces. A fair amount of lead was added to the inside top as to weight the trophy pendant, the lead makes up for approx. 1/3rd to 1/2 of the total weight of the piece. Considering that the Aquila's truck (finial stand) had been made of thin gilded copper (or thin gilded bronze) plates, then the weight of the Aquila and truck may have been somewhere between 0.9 to 1.4 kilos (2 to 3 pounds). There at least a few similarities with the miniature art and it's symbolism (almost 1900 years latter) with a Nap II Eagle from the Franco-Prussian War in 1871. It is a German Cavalry Brigade's trophy of a French Infantry Regimental Eagle.

To view this Amazing TrophyClick here

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

(Archived)

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.

The statue has miniature art. Some of this has to do with the followin; the Roman invasion of Britain in 43 AD, Vespasian, a comet, and local legends of the Silures. When our archive is completed it will include more detailed information and pictures. When this statue was in the previous collection it was identified as a representation and legionary votive of Hercules, along with the current identification this may also be so, in fact it appears that it may be a specific type of Hercules associated with Britannia, this concept will be explored at a later date.

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

Information

Information

Information

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

Material: Silver and Onyx
Era: 2nd or 3rd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in the Netherlands

Material: Bronze
Era: C. 121 AD to Possibly 160 AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer In California

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

Info.

Material: Silver
Era: Late 1st C. BC to Early 1st C. AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in Germany

Material: Silver and Carnelian
Era: 2nd to 3rd Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in the Netherlands

The eagle is flanked by two saluting signifier standards. One of the eagle's wing's has a heart shaped ribbon or laurel. This suggests that the XI Claudia may have had an entire Cavalry Ala (Wing of 500 Cavalrymen) permanently attached to it, that is at the time the ring was made.

Information to follow soon.

    This is a typical Late Roman Legionary Propeller Belt Applique. What is unique about this applique is that it depicts the helmeted head of a Late Roman Era Sarmatian. The art style is known as Roman grotesque, which is usually associated with entertainment, not with Roman soldiers. The crudeness of the subject does not appear to be a result of poor craftsmanship, as the excellent detail shown on the scale chin straps suggest a fairly skilled artist. One eye is placed lower than the other and the face has a distinct, animal like snout. The artist may have portrayed his subject like this as Sarmatians were associated with the dragon. Or it could be that the craftsman/artist had been commissioned to purposely create a homely face. Tacitus wrote in his Germania that he viewed the Sarmatians as having a physically repulsive appearance. To date there is no evidence to verify such a statement or not, but there are a few theories.

  This brooch may validate my theory that some Roman gladiator colleges had a belief in resurrection, at the very least it shows that some fans (most likely female) believed that; at least one Murmillo (fish man) gladiator had been resurrected, or that the Murmillo gladiator was connected to the concept of resurrection, or all gladiators were connected to such a concept (or any combination of those, or all of those). Inside the Murmillo helmet near the top there appears to be a large mustached figure (possibly with one eye), this may be a Gallic or Germanic sea god, the Murmillo was also known as the "Gaul", the reason for this is unexplained. The triangular sword has inscriptions on it, the larger Roman letters appear to spell "SIAR" or SIARS, it may be the Gallo / Celtic word "Siar" that means "West", this may be a reference to a western Gallic tribe, or? If the sword is viewed from the side with the tip downward, it will appear as a triangular face with a pilum (imperial Roman military javelin) head for an ear, he is wearing a turban (from the hand guard padding of the gladiator, the turban being a reference to Middle Eastern Christians?)), the central part of the face appears as a chalice. The top of the turban (the pommel) also appears as a hawk or an eagle head. While in this position, to the lower left (on the shield) there is a stout bearded figure with a large nose wearing a hood. The shield has a large line design that is the shape of a stylized eagle or hawk head. The diagonal line of this is also a type of long thin herm (it has a head on top), to the top front of this line there is a black woman (in niello) with an oval piece of copper. The horizontal bottom line has an eagle's head (in the other position this is the bearded hooded figure) that appears as if biting a tail. This is a type of "eagle or hawk headed ouroboros" (a Greek word meaning tail swallower that is usually a serpent or a snake), it is a very ancient universal symbol of resurrection, if the bird is a hawk then this suggests Horus, the Egyptian god of resurrection . Under this line to the right as an idol type large breasted woman (viewed from the left she appears as if veiled). If the brooch is put on it's other side the head of the eagle (that is also the bearded hooded figure) will turn into a short man (with a ball on his head) holding a chalice, next to him is a taller figure that appears to be a woman, in front of this taller figure is the letter M on top of a V. There are depictions of various figures on the legs and on the back of the brooch. . The black woman (in niello) on the shield is reminiscent of the Greek black figure pottery (popular C. 700 to 530 BC), she should be the goddess Aphrodite, but as her Roman equivalent Venus, the copper and the dolphin suggests that she is specifically of the Isle of Cyprus, the dolphin may in fact be a stylized outline of that island (from a northern perspective). The woman on the bottom appears as an ancient matronly priestess or goddess (a priestess of the goddess Juno?), she appears as if commanding the diagonal herm. On both sides in back there are copper inserts in bronze pin swivel bar holders. The copper insert on the right (in back of the gladiator's left foot) appears to be connected to the figures on the right side of the shield. This shows two long women as if kissing that are near and on a bowl (one figure is on the bowl), the bowl is actually the pin's swivel bar. In front of this scene is a large triangle with the point down, this has a face of a man in profile (as if viewing the scene on the bowl. The lines on top and below this the copper insert show what appear to be crosses on top and figures on the bottom. Behind this (on silvered bronze) is another triangle but with the point up. From a slightly side angle the scene on the pin's swivel bar shows a dark haired woman (with a large earring?) as if kissing a small girl with hood or a hair net, the lines on top and below this on the copper insert are now somewhat more defined, they show what appears to be a ritual (or a parade, or a battle?), on top there is a rectangle face (but as or on a shield?), spears, oval shields, and crosses. This scene may be of gladiator ritual, or a Gallo / Celtic or Germanic ritual, although it is doubtful there is a connection, the cross would later become a Christian symbol. The engraving on the pin swivel bar on the other side shows a helmeted or crowned figure holding either a palm, a sword. or a staff, this may be a victorious gladiator. The depictions seen on this brooch appears to be of various cultures of the provinces of the Roman Empire, it also appears that these were cultures that believed in the concept of resurrection of the dead.

Private Collection David Xavier Kenney

Copyright 2007 David Xavier Kenney

Revised July 07

Material: Bronze
Era: 2nd Century AD
Culture: Roman Provincial
Style: Roman
Origin: From an English collection and originally found along Hadrian's Wall

Material: Lead Alloy
Era: 2nd to 4th Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in the Netherlands

Note the similarity of the Short Gladius or Pugio seen on this brooch and the actual weapon seen (after the next two artifacts listed) with our ROMAN SECUTOR OR MURMILLO GLADIATOR SHORT GLADIUS (Sword) OR PUGIO (Dagger).

Material: Brass, Lead Overlay, and Traces of Gold Gilding
Era: 2nd Century to Early 3rd C. AD
Culture: Roman
Style: Roman
Origin: An Art Dealer from the Netherlands, purported to have originated from a German Collection.

This sword is a highlighted artifact on Part 2, Disc 4, 24: "Emperors as Performers" of The Teaching Company's Course: "Experiencing Rome: A Visual Exploration of Antiquity's Greatest Empire". It is of Commodus as Hercules of the North (either Septubus, Arctos, or both), other titles may have been Hercules of the Midnight Sun, Hercules Lapis (lodestone), Hercules Orbis (Hercules of the World), or Hercules Navalis (Hercules of the Seas and, or Oceans). His overhead club may represent a piece of driftwood, suggesting Hercules as the first sailor, if so then may also be a Scythian (and later Sarmatian) connection to this (if this interest you go to the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" on www.kingarthurbanner.com. This may be why there is a slight curve with the hilt, is so then the feet are planted as the Pillars of Hercules, but the hilt is of a North Atlantic (more likely as an Isle of the North Atlantic) theme. This is a type of Hercules that I have been researching for several years, he is usually seen with a cup in his right hand. He is generally not known in typical Greek or Roman inscriptions or votives, this may be due to his association with the lode stone (Hercules Lapis) and the water compass (as Hercules's Magnetic Cup). The ancient peoples of the Mediterranean may have considered the water compass as a nautical secret. This may have been the type of Hercules that Commodus worshipped most, it may have also been the same with gladiators. Information on the "Roman Sarmatian Navigator's Nose Ring Of Ala I Sarmatarum (a Wing of Sarmatian Cavalry posted to Britannia)" and the "Roman Legionary Ring Of The VI Victrix" that are with this collection suggests that Commodus may have been interested in exploration of the North Atlantic (as the origin of magnetic north as the realm of "Hercules of the North"), there may have also been strategic reasons (with the Roman conflict with Germania) with this. There are indicators that this sword had been made for a ludi (gladiator school), familia gladiatoria (gladiator group), or a collegia gladiatoria (gladiator collegia) The sword's hilt has some lead overlay and a few traces of gold and silver gilding. New information is that this sword "may" have been used in an initiation of a mystery of Hercules and magnetic north, as it also has a theme of a Secutor gladiator gladius then it could suggest that Commodus had given that style of gladiator a hyper status. The Secutor was Commodus's favorite, he often fought in the arena as a Secutor.

Pictures 26 thru 30 shows a bronze and lead overlay Thracian slide buckle for an over the shoulder sword belt, it most likely had once been gold gilded. Although it this was purchased from a dealer in the Germany, it most likely originated in the Balkans. An exact but refined depiction as this can be seen on a plate with the Rogozen Treasure in Bulgaria. In the scene Hercules is seated on a rock (with two flowers) with Apollo bowing, Hercules's left foot is on Apollo's right foot and Apollo's covered quiver (symbolizing that his solar arrows are hidden) is under Hercules. My research shows that this depiction is of Apollo bowing to Hercules of the North. This should be Hercules of the Lapis (Hercules of the Stone, or the lodestone) as Hercules of the land of the Midnight Sun. If so then it may have been the Thracians or Proto-Thracians who introduced the water compass to the Phoenicians. Certain depictions on Neolithic Nordic artifacts suggests that the water compass was known in Baltic thousands of years before it's advent in the Mediterranean (if this interest you, then go to the Ancient Miniature Art on this website). There are many indicators that the Thracians and their descendants had continuous contact with the ancient Nordics.

   This extraordinary Roman gladiator ceremonial (or votive) gladius is solid caste brass using the lost wax technique. It measures 46 1/2 cm in overall length with the statue handle at 17 1/2 cm in length, the blade is 29 cm in length. The statue handle is 8 cm's at it's widest width with the blade at 4 cm's wide. It weighs approx. 2 kg.
*For speculations for a possible additional significance with this artifact (or just a fun idea) go to our Roman Amazon Permanent Collection. Click Here.

Information to follow soon.

Information to follow soon.

(Archived)

Material: Iron, Bone Residue, and Bronze
Era: 2nd to 4th Century AD
Culture: Roman Provincial
Style: Roman
Origin: An Antiquities Dealer in Germany

The amount of fossilized bone and wood residue on the blade and tang suggest that the weapon's handle and guard had been made of bone and wood. Most likely this short gladius or pugio and pendant had been for a Secutor or Murmillo gladiator, or it is also possible that these had been made for a gladiator fan. Both artifacts were purchased at the same time from the same source.

Material: Bronze
Era: 1st to 2nd Century AD
Culture: Roman
Style: Roman
Origin: An Antiquities Dealer in New York

Material: Concrete
Era: Mid 1st Century BC To Early 1st Century AD
Culture: Roman Provincial
Style: Roman Provincial
Origin: From a Private Collection in Austria

   Found at the Roman Amphitheater at El Jem, Tunesia in the 1930's. This Concrete (from volcanic ash and lime) Gladiator Advertisement Shingle is 18.9 cm x 14.3 cm, 17 mm thick, and weighs 0.43 Kgs (approx. 1 pound). This was a hand held advertisement for one of the following; the gladiator games, a gladiator event, or a specific gladiator match. It may also have been made for a fan. There is no doubt that the gladiator seen in the relief was a star of the arena.

Material: Terracotta
Era: 1st Century AD
Culture: Roman
Style: Roman
Origin: From an Antiquities Dealer in the Netherlands

Material: Terracotta
Era: 1st Century AD
Culture: Roman Provincial
Style: Roman
Origin: From a Collection in England

* For More Information Concerning The Possible Significance Of This Piece Go To Important Artifacts: Click here

Information to follow soon.

This ring is a highlighted artifact on Part 2, Disc 4, 24: "Emperors as Performers" of The Teaching Company's Course: "Experiencing Rome: A Visual Exploration of Antiquity's Greatest Empire". The detail art and inscriptions on this ring have been studied and researched off and on for over a year. Pictures of these will be provided soon, they have a priority. We hope to have photographs that are exact with the following descriptions. Please bear in mind that obtaining exact images of any object made with a silver and lead alloy is difficult. At least some additional pictures of this ring will be provided for at 2100 EST on 31 May 08

Due to the metal alloy of this ring not photographing well, some of the information with these images has yet to be captured on a photograph or photographs, this is particularly so with the inscriptions. We are hoping to have the desired photographs soon. In the meantime we will soon update the information as to state what can not be seen with the current images.

This is a legionary ring of Legion's X Fretensis and VI Ferrata (among other things these are identified by engravings on the bottom of the ring's band) during the reign of Publius Helvius Pertinax (Dec 31st, 192 AD to March 28th 193 AD)*, or later in 193 AD (the "Year Of The Five Emperors"). The ring is made of a silver lead alloy with electrum electroplating and minute amounts of tinted metal. There are areas that have ancient miniature art that will transform, there are also three areas that show manual animation that is the most superb that I have seen to date. Whoever commissioned or made this ring knew a great deal about Lucius Aurelius Commodus Antoninus's (161 to 192 AD, aka Commodus the "Gladiator Emperor) actual mythos and the details of his death. The miniature art on this ring shows that Rome's most famous gladiator event was in fact a private affair, as the gladiatorial depiction on this ring shows that it took place at the imperial palace in Rome and ended with the assassination of Commodus. It also suggests that this may have been meant to take place (but obviously with a different outcome) in the arena of the Colosseum on Jan. 1st, 193. According to the "Augusta Historica" (either of the late 3rd or early fourth century), on Dec. 31st Commodus's favorite concubine Marcia had discovered that she was suspected of involvement in a conspiracy and that she was on Commodus's execution list for the following day (those on the list also included the new Consuls), although it is more likely that she had known of the list for a week or more. Continuing with the story, she then sought the assistance of the Praetorian Prefect Laetus and a chamberlain named Electus who was her lover**, they immediately orchestrated and implemented Commodus's end by poisoning, when this did not work they had an athlete named Narcissus strangle him in his bath. Commodus had planned to have those on the list executed on New Year's day, he also had planned to enter the arena as a gladiator with a gladiator entourage. If this is the actual story then the gladiatorial combat depicted on this ring may suggest that it was rumored that Commodus had planned to fight Marcia (who would be portrayed as an Amazon) and then execute her in the Colosseum Arena. Such a display may have been thought of as a represention of the legend / myth of Hercules's victory over Hippolyte, the Amazon Queen (in one version Hercules mistakenly thought that Hippolyte had betrayed him, he then killed her and took her ruler's girdle of Aries), and a lesson to the treasonous. This may seem ridiculous to those of reason, but Commodus was insane and he actually thought that he was a reincarnation of Hercules. Commodus had treated Marcia as a type of concubine queen (although from 182 or 187 AD he was married to Bruttia Crispina, who was accused of treason and exiled, then executed). On occasion he had Marcia dress as an Amazon and renamed the month of September after her as "Amazonius".

The ring's bezel shows what may be a combination of Pertinax and Marcia, or just Marcia as a Retarius gladiator and Commodus as a Sector gladiator with a lion skin. Commodus preferred to be a Sector and his later matches were in fact with Retarius gladiators, the lion skin is a symbol of Hercules. The semi-nude Retarius with a fishing trident and net may have been seen as symbolic of the Christian God as the "Fisherman". On the head of the Returius are the letters "P A R" , under the "P" is the letter "M". In front of this "M" there are the much smaller letters of "CI" that combined with the "A R" in the word "P A R" will spell "MARCI. Another view of these letters will show a distinct "A M" which may be for "AMAZONIA MARCI ". The "P A R" with the "M" should be for "PARTHICA" "MAXIMUS"; this was a title won by Lucius Verus the co-emperor (who campaigned in the east) with Marcus Aurelius, although Aurelius was also given this title it was Verus who had been earned it. However when the ring is slightly moved the "P" will then display an "E" in front of it, with the large "R" this is no doubt for "PERTINAX". It suggests that Pertinax had been on campaign against the Parthians with Verus, this would have been when he was an Auxiliary Centurion commanding the "Cohors VII Gallorum Equitata" (the VII Cohort of Mounted and Infantry Gauls). It should be mentioned that although it is recorded that Pertinax had commanded that auxiliary cohort in Syria, his participation in the Parthian campaign is a speculation. Upside down there is a face that is drinking from a cup, the cup is also a legionary cup (a cup with a handle), when moved the handle on this will show a figure as if rising up, it is a theme of resurrection, this is the first example of manual animation. An inscription of "L F X" identifies this as being specifically associated with the X Fretensis. It is thought that Marcia was influential in Commodus not issuing edicts against the Christians and providing some Christians with imperial appointments. Although the ancient writers do not mention her as a Christian, in my opinion the depiction and inscriptions seen on this ring shows that she was in fact a Christian. It also suggests that Pertinax may have had a sympathy or even an empathy with the Christians. Either way it is evident that Pertinax was viewed as a "Great Hope" for the Christians, as well as the rest of Rome. Among the principle conspirators there may have been agreement beforehand that Marcia was to be the front and Latius the tool for the death of Commodus, but in fact it was Pertinax that had initiated that event. On the Sector's chin there are the letters "COMMA"; the "A" can also be transformed into a "D", naturally this is for the name "Commodus".

The Marcia Retarius Gladiator: The art and inscriptions relating to this theme will show that in the late 2nd C AD, the Legion X Fretensis had Christians in their ranks, and that the heritage of this legion was viewed as having a connection to the Christian belief of the passion and the resurrection. There is a hint that Pertinax's Cohors VII Gallorum Equitata may have been attached to this legion. When seen upside down the images will show how the executions of the twelve Scillitan Martyrs (symbolically shown as three heads, one female and two male, there is a sword overhead) and the Roman Senator and Christian Apollonius (seen as a head in a Roman Attic Helmet with the letter "A") had instilled a resentment in Marcia and her fellow Christians, other images make it is evident that they are connected to the passion and crucifixion of Christ. The spear shaft (note that there is no spearhead) is of the Praetorian Prefect Quintus Aemilius Laetus. On this it shows that the athlete Narcissus who strangled Commodus was a Dacian, and that he had used Marcia's Mamillare (a breast wrap), and perhaps her strophium (underwear, but in this instance it is more like a thong) to strangle Commodus. The servant Eclectus is also represented.

The Commodus Sector Gladiator: The art and inscriptions relating to this will show Commodus as the Emperor Nero, with a rope like garment round his neck (this has the second example of manual animation). It will also suggest that in the late 2nd C AD, the Legion VI Ferrata had at least some Christians in their ranks, and that the heritage of this legion was viewed as having a connection to the Christian belief of the birth of Christ, although there may be more to this. There is a hint that Pertinax's Cohors VII Gallorum Equitata may have also been attached to this legion. As mentioned above, it will also shows that Commodus was seen as the reincarnation of the Emperor Nero. The shield is a scroll (that through clever manual animation will roll open and close (this is the third example of manual animation), it shows that the Nero association is directly attributed to his father Marcus Aurelius (who was the greatest persecutor of Christians since Nero). Among other things, the scroll shows a woman with a cup in front of what appears to be Commodus. This should be Marcia poisoning Commodus, that is prior to his death at the hands of Narcissus. When placed upside down it will show that a child was born in the Middle East who was either Christ or "the" Antichrist. There is a scene in a cave much like the nativity, this is within a large letter "M". There is a male figure in a golden fez hat (it is like a pill box hat) and garment holding up a child in a fez hat with a tassel, on the male figure's fez hat are the letters "L N" in black and then the letter "B" in gold. The fez is thought to have been first worn by the ancient Greeks, but particularly the Eastern Greeks, the Fez hat may symbolize Syria or Palestine. Next to the child's head is a comet. This may be the Christ child or the child may be the "Beliar" of the "Martyrdom and Ascension of Isaiah" (one of the apocalyptic pseudepigraphas). If of the Christ child then the abbreviated inscription would read as the "Lampetia" (shining), "Nazarene", and "Bethlehem. If not then it may be a reference to a sacred child legend / myth of the Nabateans. If of the Beliar then the abbreviated inscription would read as "Lampetia" (shining), "Nero", and "Beliar". Either Legion VI Ferrata Legion or IV Scythica may" have been seen as having a connection to the birth of Christ or a Nerodian Antichrist. When the ring is seen from the side and then turned downward, the golden scroll will roll up, at the same time the silver Commodus-Nero face will turn and then disappear. The message is very clear as it says, so ends Rome's chapter of Commodus-Nero's 12 years of his "Golden Age" (at some point Commodus had proclaimed his reign as a "Golden Age").

* Publius Helvius Pertinax was born in Alba Pompeia in Liguria as the son of a freedman. He was educated as a teacher in grammar but then decided on a career in the Army. After being turned down for enlistment as a Legionary Centurion he enlisted as an Auxiliary Centurion with a Cohors Equitata"and was stationed in Syria. After several years of service (of which there is no record of) he was promoted as a military Tribune and posted with the VI Victrix in Britannia. After this he excelled and continued up the ladder with promotions (both military and civilian) and commands (taking part in conflicts and wars all over the empire) that were almost unheard of at that time, this included his commanding the legions of the east. He finely ended up as Praefectus Urbi (Mayor of Rome) and became a Consul for the second time. When Commodus was assassinated Pertinax was not supposed to have had knowledge of it, but just after he was suddenly offered the imperial title by the Praetorian Prefect Laetus. He only ruled for 186 days as he was killed in a confrontation with a group of Praetorian Guards. There was an immediate sense of loss as an awareness set in that Pertinax was in fact trying to restore the recent devastation brought on by Commodus's misrule and an epidemic of plague. Within a few hours the Praetorians auctioned off the imperial title to Didius Julianus. This set off a civil war of the Generals with Pescennius Niger in Syria, Clodius Albinus in Britain, and Septimius Severus in Pannonia all vying for the purple, Severus would be the victor and the restorer, but not for the Christians, eventually Severus would issue edicts against them. This may have been seen as a temporary setback for their gains during Commodus's reign would be followed up on in the 3rd and 4th Centuries, that is until they and Rome were one in the same.

Copyright 2008 David Xavier Kenney