Photo-Animation
Copyright 2006
David Xavier Kenney
Venus XSouth Beach
New Information
THERE IS IMPORTANT NEW INFO. WITH THIS ARTIFACT: THE INFO. HERE WILL SOON BE UPDATED. This is the exquisite upper portion (It is actually a fragment) of a 1st C. BC Roman silver statue of Venus Victrix (Venus Victorious, meaning Venus as the bringer of victory). It had been made by casting and sculpting. Except for the head and the upper right quarter arm portion, it is hollow. The silver content is of an exceptionally high grade. The statue originates from a German collection. The original collector purchased it in Split, Croatia (former Yugoslavia) in the 1960's directly from the excavators. Curiously, it's form resembles the famed 2nd to 1st C. BC Venus Di Milo (Greek Aphrodite of the Aegean Island of Melos) which is in Louvre. There are several distinct differences seen with these two statues: First., Venus Di Milo is made of marble and is approx. 203 cm in height, it is a statue, this example is made of silver and is 16 1/2 cm in height, it is technically a statuette (small statue). Secondly, when found the Venus Di Milo statue had half of the upper left arm present (but not attached), it was dismissed as a later addition (this is now disputed), this statue was made in it's present form. Thirdly, the Venus Di Milo statue is Greek and it is of the Greek goddess Aphrodite, this statue is Roman (but in the Greek tradition) and is of the Roman goddess Venus. The style, workmanship, and condition of the statue is consistent with that of Roman or Greek metal artisans of the 1st C. BC. This statue is named Venus X South Beach, as it now resides with this collection located in Miami South Beach, the X factor with this will become evident after reading the next sentence. The statue has been identified as a votive of the Legion X Veneria (aka X Equestris*) for the battle of Philippi in 42 BC, most likely commissioned by a high ranking officer of that legion. As this was Caesar's favorite legion the later Venus title is no surprise, as Caesar claimed to be descended from that goddess**. Upon a detailed inspection the statue shows engravings and inscriptions. The engravings are in two styles, classic Roman and Roman graffiti, these are located on areas of the hair and the torso (this includes the side of the shoulder and the bottom of the upper arm). Unfortunately the statue had been scrubbed and much of the detail on the torso area is faint. The ponytail seen on this statue (as well as on Venus Di Milo) suggests that this Venus is associated with the huntress goddess Diana (Greek Artemis). The top of the ponytail has a small bust figure and a face next to this as part of (and under) a swooping eagle. The figure on the left is positioned is as if feeding the face that is centered under the eagle, it has the Roman letters 'X E" engraved on it, this is the mark of Legion X Equestris (Horsemen, meaning Cavalry). The E's middle is also as a dagger or sword. If this is slightly moved then the eagle will turn into a dog's head. The dog's head looks to be a greyhound. Supposedly when Caesar first met Cleopatra she gave him Italian greyhound pups (toy greyhounds). It may be that this depiction is supposed to represent Caesar's favorite greyhound, perhaps symbolizing his conquest of Gaul as the Romans thought the greyhound originated from that land. Another possible explanation is that it may be of the goddess Diana or Hecate, as the greyhound was sacred to both those goddesses. Another possibility is that it may represent Sirius the dog star, as when it is this position there is a small standing line figure with a club on it's shoulder, this is as the constellation of Orion is usually seen. It should be mentioned that although it is believed that certain ancient dogs were greyhounds, this is only due to speculation on what is seen with ancient art. Further up from the top of the ponytail there is a very miniature engraving (1 to 2 mm) of a dog or a wolf, next to this are the letters VIS, the V is also as an X. The word VIS with the X should mean a force or strength of the 10th. The X Equestris was founded by Julius Caesar in Hispania (Spain) in 61 BC, it was his favorite legion. Of special interest is the hair in front; it is made to appear short and parted in the middle, this is in the style of the ancient Gauls. This hair style may have been popular at that time as to commemorate Julius Caesar's victory over the Gauls in 52 BC. This statue was most likely copied from a large marble contemporary statue modeled in style from the 4th C. BC Greek original by Praxiteles, the Aphrodite of Knidos). The bottom of the right arm quarter shows a distinct stamped "X" with a larger "V" in relief, this should be the legionary abbreviation for the later (or additional) name for the X Equestris, that is X Veneria (dedicated to the goddess Venus), next to this is an engraved letter "P" with a smaller "H" overhead, to the upper left of this is a small stamped bind letter with a helmeted head, it is a mark of Julius Caesar. The placement of the X E (behind the head, as in the past), the X V (the Veneria title is thought to have been given when this legion was reconstituted in 43 BC), and the small mark of Caesar (suggesting Caesar as a founder, but not the commander) suggests that this is when the X Equestris had been under the triumvir Marcus Aemilius Lepidus. It appears that this statue had been created for the X Equestris's participation with the Triumvir's (aka the Avengers; Octavian, Anthony, and Lepidus) victory over the Liberators at Philippi in 42 BC.
The Inside Of The Statue:
The inside of the statue shows a goddess in relief holding an Aquila (Legionary eagle standard), she is in the center of a round shield wall. There is other art done in relief and with an unknown metal treatment process. I have only seen this type of "inside art" with the "Salacia Riding Delphinus" that is with this collection, and with the two Roman Officer helmets that are also with this collection, there must be other examples of this style that have yet to be identified, I assume that this style was not used with hollow statues of gods. It appears that the Romans put an emphasis on the ancient belief of the goddess as a vessel. The "inside art" with the helmets shows both gods and goddesses, suggesting the same meaning but with different symbolism.
Photo Images 4, 5, and 6 were taken from an angle that shows the statue from the perspective from which it was most likely intended to have been viewed. This may explain the elongated neck.
* Legion X Equestris was the most trusted of all Caesar's legions, they took part in almost all of his engagements, in essence they were his elite legion. The X Equestris earned it's title when Caesar made them his mounted bodyguard, this was as a ruse as to keep a treaty with a Germanic tribal chief. The legion was retired in 45 BC, but brought back to active service under Lepidus in 43 BC. After the Battle of Philippi the X Equestris went with Marc Anthony, whereas they were with him right up to his defeat at Actium in 31 BC. From then on they were with Octavian, that is until at some point they rebelled. The legion was disbanded, a new X Legion was formed from legionaries (or units, or both) from other legions, they were given the typical title of a legion reconstituted from members of other legions, the Gemina (Twins).
** The Jules, made the claim that they were descended from Venus through an ancestor of the Trojan royal house (the Romans thought that they were descended from Trojan survivors of the Trojan War; in turn, the Trojan royal house claimed to be descended from the Greek goddess Aphrodite). Either by design or with sincerity, Venus was also Gnaeus Pompey Magnus?s (aka Pompey) favorite goddess, enough so that he built a temple to Venus Victrix in 55 BC on the Campus Martinus (Field of Mars) in Rome. It is evident that both Caesar and Pompey were in a contest trying to convince the Roman people that each had special favor from this goddess. Being preempted by Pompey?s temple to Venus Victrix, Caesar dedicated a temple to Venus Genetrix (Venus as the mother of the Romans, hence the ancient legendary founder of Caesar?s maternal line) in 46 BC. The face seen on this statue may be of one of the women of Caesar?s family; further research is needed to give credence to such a speculation.
Roman Statuette Of Venus Victrix Of The Sea Battle Of Lake Gennesaret / City Of Taricheae (aka Magdala) That Is Titled "VENUS VICTRIX OF MAGDALA", But Also As "SURF BAMBI"
SURF BAMBI: Although it is in an mythological context, the statuette shows the earliest representation of a Surfer in concept, it is a female Surfer on a dolphin. Therefore I have contacted a female professional Surfer and asked her to represent the surfing aspect of the statuette, this is completely separate from the other symbolism on the statuette.
There will be a few series of new pictures of this statuette as to validate at least some of the updated information very soon, although much of the newly discovered symbolism is seen with the art, some it is with Roman Legionary bind letters, only a few of the inscriptions will be identified at this time, the photography with many of those is another project. At a glance this statuette of a goddess would appear somewhat like a modern "Babes and Bullets" military Pin Up of a seductress*, but then there is an immense amount of mythological, historical, and religious information on this that shows that it is an extremely important Roman / Judeo-Christian artifact. Almost all the art is layered, so it is very complex. The primary story with this is that is of the victory of a celestial, then aquatic, and then land (a celestial / amphibian) somewhat erotic cat fight between Venus Victrix (Venus victorious, who is also Venus Victrix Navalis) and a "Semitic goddess" at the battles of Lake Gennesaret and the Town of Tarichaeae led by Vespasian and his son Titus during their Galilee Campaign (from the Spring of 67 AD to Nov. of 67 AD) during the First Jewish Rebellion, but there is much more to this Semitic goddess that will soon be discussed. Just a mention, although the goddess Venus was associated with the gens Julia due to their claim of being descendants of the Royal House of Troy and that goddess, Venus as a Victrix held a particular attraction to Julius Caesar. All indicators suggest that this commemorative statuette had likely belonged to a Roman Officer of some rank who had commanded Roman Marines (Classiarii) detached from one of the Black Sea Fleet's during the First Jewish Rebellion. Information including some with other artifacts (that originated from the same dealer) suggests that those auxiliaries had been used as Mounted Archers, Archers, and Marines / sailors in that war; and that they were primarily Sarmatians. The Roman statuette is made of bronze with a heavy coating of lead, there are traces of gold and silver gilding; then tinning as well as metal tints. It also appears that the statuette had been coated in a resin. Overall the statuette, or part of it must have original appeared as something similar to the aura borealis. It appears to have been made C. July 68 AD to 73 AD. Everything on this statuette is of a Roman mythological view based on historical events, anything Biblical is a Roman interpretation and with a lot of intense propaganda. As previously mentioned, overall this statuette represents a Roman sea victory on Lake of Gennesaret (the Sea of Galilee) and a victory in the town of Tarichaeae (later known as the town of Magdala) over the Jewish Rebels by the Romans and their goddess Venus Victrix, but also it is of Venus Victrix conquering and absorbing what was seen as the Rebel's Semitic Jewish goddess, as in a syncretism of Asherah / Ashtoreth / Astarte (although with aspects of Anat**), but yet this Semitic goddess is also the Jewish Princess Salome, and the Christian disciple of Christ Mary Magdalene. All the goddesses and both Biblical women wear the apparel of a Roman prostitute (Meretrix) from the Eastern provinces, my research shows that there is little difference in apparel of that profession from then until now, and that fertility or war / fertility goddess worship was and to a degree still is a part of the culture of that profession, if it is not the oldest profession, then it certainly is the most traditional.*** As Venus Victrix in her right hand and among other things she holds a wide belt (suggesting a war belt) that is perhaps a symbol of a victory over the Semitic goddess. Both the head of John the Baptist and Jesus Christ of the Passion (with a "T" cross, as well as other instruments of the Passion****) are represented (including a veil or a shroud that shows among other things a bearded face, although when seen in a different position it will transform into a clean shaven face). Although this is of John the Baptist and Salome, it is specifically of Salome as a dancer of "The Seven Veils". There is also a bull calf. There are indicators that the veil or shroud is on a spear (that is looped over on the back and pointed downward) as a type of standard similar to the vexillum (flag) standard of the Roman legions, but defeated. but there is much more to this as the garments of Christ are shown as being of celestial forces, these are connected to a comet associated with the Jewish First Rebellion (a comet that is thought to have appeared in 66 AD), but also Nero's comet of 64 AD (associated with the Great Fire of Rome which broke out during the festival of the Vulcania and Nero's persecution of the Christians there). Some of the other main themes are of Venus Victrix's taking of the lighthouse and it's flame (that is seen as a candle) of Tarichaeae, crushing a boat, and the harnessing of a great dove of Ashtoreth / Astarte - Salome / Mary Magdalene, the great dove has a palm tree with doves for a tail. The dove was sacred to Astarte, but it was also sacred to Venus.***** The great dove is emitting from part of the garment. When the great dove is seen from another view then it transforms into a great dolphin, the great dove's palm tree tail transforms into the great dolphin's tail. The dolphin although an early Christian symbol was also a symbol of the minor Roman god Eros, but then it was also the Zodiac symbol for Pisces and the new age of the era, there is much speculation and controversy as to when the Age of Pisces began, some think that there is a synchronicity' between the birth of Christ and the start of the Age of Pisces. Whatever the actuality of that belief is, it appears to have been extremely important with symbolism in the first century AD. Then from another view the great dove / dolphin transforms into a comet that is part of the garment. It should be noted that the Jewish comet is being penetrated by Nero's comet. It shows that to the Roman mind set of that time, that the Jewish Rebels and, or Christian Jews had seen their comet as completely beneficial and then for at leas the Christian's, that Nero's comet was utterly destructive, but yet with the destruction in the interest of a Roman conquest. So it appears that the statuette had been made after the death of Nero in June 68 AD, there are also suggestions that Nero was in fact "the" anti-Christ of the Apocalypse to the Christians of the first century, and that Nero played bag pipes during the Great Fire of Rome, not the flute as it is now generally supposed.. Due to this I now have little doubt now that the Romans thought that the Christians had perceived Nero's Comet and it's aftermath as being a sign of at least the beginning of their prophesied Christian Apocalypse (the Romans themselves had no apocalyptic beliefs, which my research shows was rather unusual for an ancient people), and for propaganda value that Vespasian and Titus or their soldiers may have wanted to reinforce such a belief in the region of the Galilee. One of the inscriptions is "JUDEA CAPTA NAV" ('Judea Capta Navilis"), once the pictures are posted of the inscription, then I think that it should finely bring some resolve that the somewhat debated "Victoria Navalis" coinage had been of the Sea Battle of Lake of Gennesaret, but that it also included the port town of Tarichaeae. It also should validate that the Victoria Navalis coinage is in fact of the famed Judea Capta Series, but yet it is the only coinage of that series that specifically refers to a battle in that war. On the back of the garment is shaped like a huge shark's tooth (according to what is on a few other artifacts, then this alone when with a Venus shows that she is a Venus Victrix), this is next to the staff (scepter) and the helmet. Behind her and part of the dolphin is a large conical lotus bulb or tulip type flower helmet that has a sea battle scene on it. Next to this and along the huge shark's tooth is a staff that is inscribed with the letters "EBISC" (Hibiscus). The flower helmet may be, or is of the Biblical flower known as the "Rose of Sharon" (in the Song of Solomon). The helmet and the staff on the ground are symbols is of the defeated Semitic goddess. When seen from one side the statuette is shaped like the hilt of a sword with a thin knuckle guard, that is with the inside of the cloak / comet seen as being shear. This is similar to a sword hilt of the Renaissance, but then research shows that this is not unusual for a depiction of Roman god's or goddess's sword in artwork. Underneath the hollow statuette is an outline of the Lake of Gennesaret and a harp (the Hebrew word for the Lake of Gennesaret is Kinnor, or Kinneret, it means harp), there is a figure with a harp inside the hollow bottom. There is a reference to Cocytus ("the river of wailing"). The Cocytus river was one of the rivers that surrounded Hades. In the Medieval work Dante's Inferno the Cocytus is the home of traitors and frauds. Dante most likely drew from an ancient source for his symbolism for the Cocytus, if so then it would explain this as the Roman's cursing the Jewish Rebels to a river of the netherworld that was associated with traitors, such as the Roman viewed the Jewish rebels who were initially rebelling against their own Jewish rulers.
It should be noted that according to what is known from ancient writings, that it appears that neither Vespasian or Titus ever harbored any particular resentment towards the Christians. With that said it was recorded by the traitor Josephus (the Jewish Rebel General Joseph Ben Matthias) in his "War Of The Jews" that after his capture and shortly before the mentioned battles, that as a messenger of Jewish prophecies that he had informed Vespasian that he was not only to be the future Caesar, but the ruler of all; land's, sea's, and the entire human race. Another words Vespasian was to be a type of messianic figure, so there "may" have been a sense of messianic competition, that is at least from Vespasian's soldiers. Another words the symbolism may have been of what was popular, but not official. Vespasian later adopted Josephus into his household and sponsored his writing career. A final note is that according to what is on the statuette, then at least some in that Roman campaign appear to have had a particular interest in at least the concept of the garments of Christ (the tunic or cloak, but most like the tunic known as the seamless garment) in association with Mary Magdalene of Tarichaeae (Magdala) connected to an ancient Semitic war / fertility goddess. This may have been due to Christian beliefs that the garments of Christ were taken by Mary Magdalene and that in some traditions that she is thought have originated from Tarichaeae. All this is associated with the lighthouse of Tarichaeae. There is a hint that such a story "may" have been of interest to Nero, if so then most likely it was gossip.
*The goddess is wearing lingerie, this includes sheer fish net type hose (no doubt suggesting a sea goddess associated with fishing nets), garters, and a garter belt. Although you cannot see it at a glance she is in fact armed, and their are other arms of war.
**The traditional ancient Jews supposedly did not have anything like a goddess, but yet there is at least an allure to a connection to goddess worship in more ancient times, the goddess who is thought to have been of Hittite origin was named Asherah. Then there was the new Jewish religious cult of the Christians in the 1st C. AD that included the empowered female figures of Salome and Mary Magdalene. So it appears that the Romans bundled the Semitic goddesses along with the empowered women of the era for their fertility / war goddess (Venus Victrix) gaining a victory over these "other" indigenous "goddesses". They were probably right with their Semitic Judiac cultural studies as there are many today that hypothesize that the ancient Jews in fact had some form of goddess worship previous to the 4th C. BC, but that she was later disguised or hidden by the orthodox (ie: Song of Solomon, ect).
***On any connect with Venus Victrix, the Semitic goddesses, Salome, and Mary Magdala with prostitutes: Venus was in fact worshipped by Roman prostitutes, the goddess was celebrated by prostitutes at the festival named the Vinalia Urbana on April 23, it was a wine festival shared by Venus and Jupiter. With Asherah, it is general agreed that sacred male prostitution was associated with the Hittite / Semitic goddess Asherah, it is debated if this included females. Sacred prostitution was very much associated with the Semitic goddesses Ashtoreth and Astarte. As there are aspects and a hint of an inscription to the Semitic goddess Anat, she is a violent virgin war goddess. Salome who's name in Hebrew means "peace" is not associated with prostitutes by tradition, but rather as a dangerous female seductress (a sexual Amazon), so to the Romans she may have been seen as representing a mystery cult of an ancient Semitic war / fertility goddess. In Christian tradition Mary Magdalene was usually viewed as a prostitute that had been converted and reformed by Christ. Modern scholars depute that Mary Magdalene had ever been a reformed prostitute, this is now the accepted view, in 1969 the Vatican made that revision official.
****Instruments of the passion seen on the statuette are: A Flail, a large "T" cross (that when seen from another view transforms into a large crutch, what this means I do not exactly know, but the crutch was associated with the Roman god Vulcan), a Hammer and Nail, a Spear. the Garments of Christ, a Veil or Shroud, and the tunic or cloak of Christ. According to various Christian websites on the internet there is a legend that the robes worn by Jesus at the time of his crucifixion had been made in Magdala of the Fishes, at some point in the history of Magdala became known as "Magdala of the Fishes". I have to mention that there are some things that are similar with the goddesses on this statuette and the Proto-Indo-European Apsaras (of Hinduism and Buddhism). Among other things the Apsaras as celestial / aquatic nymphs were associated with dancing, as guardians over fallen heroes, and gambling. The latter is in reference to the Biblical account of Roman soldiers gambling for the garments of Christ, and most particularly the seamless tunic. Although I am not sure as of yet, there may be a hint with the art of the statuette of Hercules's poisoned robe given to him by the centaur Nessus.
*****On the side and below Mount Arbel is a pass that among other names is called the Valley of the Doves, it is a natural access route to Lake. It supposedly is named as such as the wind that will funnel through that pass will sound like dove's cooing. How long it has been called the Valley of the Doves I do not know at this time, but I think there is a connection to it and what is on this statuette. Another name for the Valley of the Doves is the Valley of the Winds. This is because sometimes sudden winds will funnel from the pass causing sudden turbulence of the waves on the Lake of Gennesaret, it may be associated with some of what is on this statuette when the cloak / comet is seen as a sail with turbulence on it.
Private Collection of David Xavier Kenney
Copyright 2012 David Xavier Kenney. All Rights Reserved.
ROMAN SECUTOR GLADIATOR CEREMONIAL GLADIUS OF COMMODUS AS HERCULES OF THE NORTH
New information is that this sword sculpture 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 statue 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 gilding. This sword statue was purchased from an Art Dealer in the Netherlands, it originated in Germany.
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. It 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 2nd C. AD Roman Gladiator gladius was solid cast in brass using the lost wax technique. The sword measures 46 1/2 cm in overall length with the sculpture/handle at 17 1/2 cm, the blade is 29 cm. The statue handle is 8 cm at its widest point and the blade is 4 cm wide. The sword weighs approx. 2 kg. Both the blade's edge and tip are blunt. The sword?s length may very well give an idea as to what the standard size had been for a typical 2nd C. AD gladiator?s straight blade gladius. The form of the sword?s pommel may be a clue to the craftsman/artist giving an ancient identity. The pommel less the club is similar to a more ancient Saminite three pronged sword pommel. The vertical club on the pommel looks like a T and this gives it a more ancient Scythian or Sarmatian appearance, although other ancient Asiatic peoples may have also have had a T type pommel for their swords. What this work of art had been made for is open to speculation. My guess is that it was made either as an offering (votive); or for a ceremony as gladiators did indeed have a cult of Hercules, other possibilities are that it had been made as an award or for a gladiator parade. The gladius?s handle shows Hercules Inivctus wearing his lion skin (Hercules's 1st Labor) and holding his famed club vertically above his head. Hercules?s club held in this fashion could mean that Hercules defeats all adversaries with his sword, similar to the idea that the defeated are under a conquerors spear or yoke. This may also represent Hercules temporarily holding up the heavens for the Titan Atlas of ancient Libya (the Atlas Mountains of modern day Morocco), this occurred during his 11th Labor (Stealing the Golden Apples of the Garden Of Hesperides). This Hercules is also shown with a belt (Hercules 9th Labor). It could also mean The Gate (Or Door) Of Hercules. The straddled pose is similar to this theme which is also known as the Pillars Of Hercules (Straits of Gibraltar). On the sword's guard there are four supporters. They are with an animal and creature in profile on the front and an animal in profile with a creature at an angle on the back. Both front and back sets of supporters have their tails intertwined, forming either snakes or possibly the horns of a bull? The animal biting the Hercules left foot in the front is a hound, the creature biting the right foot in the front is a griffin. The animal biting the left foot in back is a panther, while the creature with the right foot in back (Which faces outward and at an angle) is a sphinx. The art style with this sphinx shows Thracian influence, but yet it does not have wings. The other three supporters have a support base under a front paw which is shown, but the sphinx does not. With art symbolism this should mean that while the hound, griffin, and panther are fixed, the sphinx is in motion. If the Hercules sculpture handle is oriented (With it's front toward the Mediterranean Sea) as the Pillars of Hercules (or Gate Of Hercules) at Gibraltar and Jebelk Musa, then the sphinx's face will be in the direction of South America. If a straight line of direction is then drawn from the sphinx's face to South America, then this line will land on the coast of Brazil between Vitoria and Rio de Janeiro. Located in that area is the Bay of Guanabara in Brazil. The Bay of Guanabara is where two Roman amphora (and possibly others) were discovered by fishermen a little over a decade and half ago. These were first claimed to be of the 2nd C. BC, but are now thought to be of the 2nd to 3rd C. AD, in my opinion they are from the reign of the Emperor Domitian (81 to 96 AD). There were also countless pottery shards and amphora necks (and supposedly one Roman fibula) found. These finds are theorized as having originated from a Roman ship wreck, or Roman ship wrecks. The area of the Bay of Guanabara that is named the "Bay of Jars" is a traditional local name. The sword’s guard has three balls which vary slightly in size placed horizontally along its width. These balls may represent the three Apples of the Garden Of Hesperides (Hercules’s 11th Labor) or possibly also Orion's Belt? Between Hercules’s legs and the tails of the creatures is a half disc portraying a nine pointed shell or rays of the sun, or both. This should represent the Hydra (Hercules's 2nd Labor) and/or the goddess Venus or Hera; or it could represent an island beneath a setting sun to the west.If this island information is put together with the Pillars Of Hercules, then that could represent the legendary Island of Erythia (possibly meaning Red Land) which Hercules visited during his 10th Labor (Cattle Of Geryon). As Geryon was the monster son of Chrysaor, then this sword may or may not represent the sword of Chrysaor (Chrysaor means ?Golden Sword?). The fact that this sword was made out of brass rather than bronze could suggest an association with the metal tin. If this had been the intention, then this could lead to even more speculation that the sword contains a reference to a legendary island in the West (Past the Pillars Of Hercules), an island that is now thought to have had a connection to the ancient trade in tin. Speculations are that this island had been the Isle of Britain (known in antiquity for it's tin mines), or a an island off the coast of Britain. Other more speculative theories are that it had been the semi mythical Isle of Atlantis.
There is a chance that this sword had been made to depict Rome’s infamous Gladiator Emperor Commodus as Hercules. Commodus's family of the Aurelius gens (Meaning of gold) claimed to be descended from Hercules and it is well known that Commodus enjoyed being portrayed as Hercules. It is recorded that Commodus's gladiator style of choice was the Secutor (Chaser). Along with the Provocator gladiator the Secutor also was armed with the straight sword, although at some point in the 2nd C. or 3rd C. the Secutor could also wield a long knife instead of the straight sword. The Secutor was usually matched against the Retiarus; this gladiator was armed with a trident, a dagger, and net. The reason that Commodus may have chosen the Secutor could be due to a connection between this type of gladiator and the god Hercules. The Sector gladiator had originally been named the Samnite gladiator. It is thought by some that the earliest Roman gladiators were all named Samnites and that they may have fought in just one style. The Roman Samnite gladiator had been conceived in imitation of the warriors of the Campanian inland hill tribe known as Samnites. The Samnites were highly warlike and had been both enemies and allies of Rome. It is thought by some historians that it was the Saminites who had invented the concept of the gladiator contest which the Romans would later adopt. Concerning the possible Hercules connection, the Samnites had a very ancient pre Samnite Temple of Hercules at Nola in Campania. They had shared this border town temple with the coastal Campanians (The Campanians of the coast are a different people as they were descended from Greek colonists). Could the Retiarus gladiator with his trident and fishermen's net represent an ancient contest between these two Campanian peoples? The temple of Hercules at Nola may have had an influence with the Samnites and their gladiator beginnings. The Saminites founded the city of Herculaneum (City of Hercules) although it should be mentioned that they had not named that city. If a Samnite Campanian connection with gladiators and Hercules is so that it should be noted that when the Romans founded Rome it was Hercules who had been the first non-Roman god that they adopted. Hercules was always one of Rome’s most favorite gods and as mentioned a god that the infamous Commodus identified himself with. Several Imperial legions would have Hercules as their patron god. Another example of Hercules’s immense Roman popularity is the cult of Hercules Invictus which was celebrated in Rome on August 12th through August 13th. Although this had been a public celebration at the temple of Hercules Invictus the rites were nevertheless still all male, with women celebrating to Venus Victrix (Venus Victorious or love unconquered). On August 13th Roman women also celebrated to the goddess Diana (Goddess of the hunt) and to the goddess Flora (Goddess of flowers and prostitutes). Associated with fertility all three of these goddesses may have been connected to the Roman cult of Hercules Invictus, three apples?
Private Collection of David Xavier Kenney
Copyright 2005 David Xavier Kenney. All Rights Reserved. Revised 4Feb 07 and June 08.
This is a Roman bronze (with lead and remenants of paint) statuette of a Cricket-Man, he has a large phallus and is biting a large wing, the wing is also a pointed shoe. The statuette is not free standing, the correct position is with the cricket-man on his back (this can be seen in the last picture (Picture 13). When in it's correct position if it placed to one side, held with the index finger and then released, it will spring upright and vibrate. When placed on it's side the tip of the wing/shoe shows a dog's head that may also be seen as a short snouted bear's head. The bear and or dog's head on the shoe's tip suggest that the shoe has something to do with a goddess similar to Hecate (goddess of crossroads and witchcraft, she is usually associated with dogs), but yet it also hints of the goddess Artemis (Ro. Diana, huntress goddess, she is usually associated with bears) and Amazons. In many folklore traditions crickets are associated with rain or the coming of rain, so it may be so with the meaning of this statuette. The meaning of the symbolism may also have something to do with a superstition regarding the spring season, or summer, or with agriculture. Whatever the meaning I do not think that it was made just for folly. My research shows that the ancients considered any type of vibration to be sacred (usually associated with creation and life, but also with the magnetic).
Photos Copyright 2009
David Xavier Kenney
Horse Bridle Boss With Vergina Shield Of Alexander The Great's Companion Royal Squadron
"This artifact is included with the Roman Amazon collection as Alexander III (Alexander the Great) is recorded to have had "contact" with Amazons, although the story is thought to be a myth. The advisor and historical writer Onesicritus, who claimed he was with Alexander at the time, reports that the Amazon Queen Thalestris of the lands between the rivers Phasis and Thermodon on the Black Sea went to meet Alexander at Hyrcania ("Wolf's Land", south of the Caspian Sea in present day northern Iran and south western Turkmenistan). She brought three hundred armored female warriors with her. Her plan was to have Alexander father children for her. She spent thirteen days with him and then left, but was later killed in a battle. Lysimachus (a successor of Alexander, and later a King of Thrace), who was an officer with Alexander at that time, disputed the writer's claim as fiction."
The pervious posting of the artifact (that is now archived) showed it upside down. The miniature art shown in that position is of Alexander's famed horse Bucephalus.
This is a Bronze Horse Bridle Boss with a Vergina Shield Of Alexander The Great's Companion Royal Squadron. It is 5 cm x 4.3 cm and purportedly originates from the Balkans. It has traces of gold and silver gilding on thin lead overlay, there are also traces of a white paste and minute amounts of black paint. Although it has miniature art, much of the detail is worn, nevertheless when placed at an angle some of this has been photographed with natural light reflection, naturally the lead causes some blurring. The single crease on the back has all the earmarks of a battlefield or field find, but the damage may have been part of a ritual, if so then it may have been a grave find. The symbolic iconography in the center shows Alexander and Bucephalus (as a cloud horse-bovine) defeating a Thracian tribe or tribes in 335 BC, at least with some of these images it is clear that Alexander is using an Aegis to do this. Other symbolism shows Alexander absorbing the gods of the defeated. It appears that Alexander may have had more then strategic reasons for invading the Balkans, that is prior to his setting out on his eastern conquests. There are hints that his defeating (or allying) the Thracian's may have contributed to his eventual subduing of the Persians and Central Asians. My research with artifacts shows that the Thracians were in constant contact with the East, and that various belief systems and cultural exchanges were common place. It appears that the Thracians in Alexander's Army may have been a key to his success in the East.
To date this is the first artifact find of Alexander's Companion Cavalry, let alone the Royal Squadron. In my opinion there are probably other artifacts, but they have yet to be identified. The basic design is of a Greek aspis (shield) with a concave interior, it bears the Vergina (the Macedonian sun or star burst). The Vergina has eight points with a flower in between each point, the flowers may be a roses This distinct Vergina may have been the insignia of the Royal Squadron; it may also have been the battle insignia of Alexander himself, if so there is a slight chance that it may even have belonged to one of his Personnel Companions. It should be mentioned that it is hotly debated as to whether Alexander's elite Companion Cavalry (this includes the ultra elite Royal Squadron) carried shields. Regardless, a shield insignia is appropriate for any Macedonian soldier.
The Companion Cavalry or Companions were Alexander's elite shock cavalry that were also Alexander's body guard. The Royal Squadron were Alexander's ultra-elite bodyguard and the main element that he led in battle. Initially they were from the noble families of Macedon. Larger than the other Companion Cavalry Squadrons, the Royal Squadron numbered from three to four hundred. Hand picked from the Royal Squadron were seven "Personal Companions"; these were Alexander's attendants at court and they accompanied him in battle at the head of the Royal Squadron. The Companion Cavalry as a whole was a Heavy Cavalry. Prior to Alexander's Asiatic conquests their members were from the better Macedonian and Greek families. Their numbers appear to have fluctuated, but including the Royal Squadron they may have been comprised of eight squadrons of two to three hundred each. As mentioned, the Royal Squadron was the largest of these squadrons. From ancient art depictions (after Alexander's death) it shows that the Companion Cavalry wore cuirass armor and helmets, and were equipped with long lances and kopis swords, any use of shields is debatable.
Photos Copyright 2009
David Xavier Kenney
Rivet and Detail
The rivet has engravings of the the typical 360 miniature art of the ancient world. Among other things in the positions shown there is a beardless figure with a club, when the bridle boss is slightly moved the club will transform into a club with figure or figures, it may be a young Hercules. Other images not shown here suggest that the beardless figure may be Hercules in Garden of the Hesperides
Copyright 2009 David Xavier Kenney
Photo Copyright 2005
David Xavier Kenney
Greek Hair Pin 1, Greek Hair Pin 2, Greek Hair Pin 3, and a Roman Hair Pin
Private Collections of: Renee Z. Bakarian, David Xavier Kenney, and Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
Detail of Greek Hair Pin 1: A Magentic Victrix of a Footrace
From an Antquities Dealer in Germany it appears to have been ritually broken in ancient times (there is engraved art on where the break is). Although it is Greek it may be from the Roman Period. It is made of Ivory. The pin's top shows a woman in the headband of a Victrix of a footrace with her right breast exposed, she may also be an Amazon.
Private Collection of David Xavier Kenney.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
The detail shows that the finishing technique on this pin was with brown dye (or soot mixed with resin) and a lead mercury wash (on certain engraved areas). The technique with the latter allows for light reflection that will transform a figure or scene when the pin is slightly moved. Much of the symbolism of this is not understood, but after studying the detail it shows that it is of a goddess or heroine that is a Victirx in a footrace and that she is also of the magnetic north, she may be an Amazon (or a former Amazon) connected to the goddess Artemis and, or the heroine Atlanta. Her facial features appear to be of a North African, but yet most of the symbolism on the pin is European or Eurasiano Of special interest with her face is her nose, it distinctly represents a Roman Era female stimulator (examples can be seen further down on this page). The first two of those stimulators are in the same form, bit are connected to fertility and magnetic north, hense they give an answer as to a main theme of this pin. My research with symbolism on countless artifacts shows that the ancients associated the magnetic with a mystical sexual act or union in the far north. When of a union then the sex of the participants can vary, it includes different combinations of sexual preference with gods, goddesses, exceptional humans, or creatures - With that said it should be noted that usually certain feminine predatory aspects seem to predominate. It appears that unlike moderns that the ancients associated the far northern regions with their idea of mystical creation, sexual prowess, and sexual liberation.
From an Antiquities Dealer in Germany this pin appears to have been ritually broken in ancient times. Although Greek it may be of the Roman Era. It is made of Gold and Bone. Preliminary research suggests that this miniature bust top may be of Berenice Syria (Berenice Phernophorus). There is punch dot work on the gold foil top that suggest rays or hair. This may represent the Berenice's hair in which a constellation was to be named, but according to the poem by Callimachus, Berenice's hair is storied from events of Berenice II, not Berenice Syria. Berenice Syria won chariot victories at the Isthmian Games, the Nemean Games, and the Olympic Games (132nd Olympics?). Her victories are also thought to have been as the owner of the chariot teams.
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in Germany, although it is Greek it may be of the Roman Era. It is made of Gold and Silver. Preliminary research suggests that this miniature bust top is of Berenice II. Berenice II won chariot victories at the Nemean Games and Olympic Games. Her victories are also thought to have been as the owner of the chariot teams. Berenice II was a Warrior Queen who was also an accomplished equestrian, she appeared on a horse on at least one battlefield.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in Germany. It is made of Silver. The miniature horse's head top could be associated with either a Roman god, a Roman goddess, or the Roman Cavalry. Engraved and centered along the horse's mane are the following letters, or letters and numbers, X I V N V I. Most Roman hair pin top examples show a feminine nature, although it is not unusual to see other Roman hair pins that are topped with a figure that has a martial quality. At least one Roman writer mentions a Roman aristocratic women using a hair pin as weapon.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
ROMAN GERMANIC SAXON WOMAN'S OATH HEAD BAND PENDANT
Our archive is still under construction. Once completed it will include detailed information and pictures of this artifact. The pendant is made from a silver/lead/mercury alloy overlay on bronze with gold wash and copper gilding, there is one gold Insert and tinted sand with resin. It is of the 3rd to 4th Century AD and originates from an Antiquities Dealer in Germany. Among other things it has a primary theme of; a hammer, the magnetic, thunder/lightning, and duel meteors/meteorites. This is of a Saxon thunder/war god associated with; fertility, an armor smith, and a goddess of armor smiths. At least some of the pendant's symbolism may represent what would later become known to the Norse as a Valkyrie, although according to the miniature art unlike the plain Norse version, this goddess is a dark semi-erotic figure that could take heads. There are indicators that this pendant had been made by a legionary armorer of Saxon or Goth heritage.
Photo Copyright 2005
David Xavier Kenney
Roman Greek Bronze Brooch
From an Antiquities Dealer in Germany. This brooch is designed to represent a charioteer and chariot.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in Germany. This brooch is designed to represent a horse and rider, although the design of the front is also made as to represent the front of a chariot with a hitch arm. The horse may or may not represent a unicorn. This brooch definitely shows Celtic and Steppe influence.
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in Germany. This brooch shows Scythian rider on a a hippogriffin, although the design of the front is also made as to represent the front of a chariot with a hitch arm. The mythological hippogriffin is not thought to have been used in art until the Middle Ages. The Scythian rider may represent the Sythian/Sarmatian sun god Khursun, although the hippogriffin could also suggest a connection to the Sarmatians. The reason for this speculation is that it was thought that the mating of a griffin (Scythians) with a horse (Amazons) produced a hippogriffin. The Greek historian Herodotus claimed that the Sarmatians were descended from Scythian fathers and Amazon mothers. According to the Roman poet Virgil the very idea of a hippogriffin symbolized an attempt at the impossible, such was a similar Roman view of the legendary Amazons.
Private Collection of David Xavier Kenney.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in Germany. The design of this brooch has a Greek cross (Equal armed cross) but it also shows a grate. This grate symbolism should be of that which was used during the taurobolium (Bull sacrifice) of the cultic rites of the goddess Cybele. The grate is also one of the symbols of St. Lawrence, this saint is one the Three Saints of Rome.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in Germany. This is an extremely rare Greek or Roman bronze torch holder which has had two top finger grips hammered onto one side. Due to this unique feature this could very well be a runner's torch holder. If so then this would be the only example of an ancient runner's torch holder known. For the ancient Greeks a torch run or a torch relay usually would have been to honor one of the gods associated with fire, such as Prometheus or Hephaestus. Other Greek torch runs or torch relays were for goddesses such as; a mounted night torch relay honoring the Thracian goddess Bendis, a torch run (or relay?) to honor Athena, or a girl's torch race which was part of a festival of the all female cult of Artemis at Brauron. The ancient Olympics never had a torch relay as do our modern Olympics, that is since the first Olympic torch relay of 1936. If this torch holder is of a Roman origin then it would most likely would have been used by legionaries, or others that were of the field. The torch holder measures 13 1/2 cm x 5 cm at it's widest width.
Private Collection of David Xavier Kenney.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in England. This is a Roman hair pin top of the Celtic Gaulish Brigandu, a goddess of arts, crafts, and fertility. Her pagan Irish equivalent was Brigid, a Celtic warrior goddess who represented fire but who was also associated with healing waters and fertility. Brigandu was a threefold goddess but unique in that all three were youthful. St. Bridget of Ireland is thought to be of this goddess.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in the Netherlands. This is a Roman Celtic Square brooch with four stylized, crossed flaming torches forming a swastika. The brooch is bordered by a rope motif and has a circle/dot on the center square. This cross appears to symbolize the Celtic Gaulish goddess Brigandu, who was associated with arts, crafts, and fertility. In Celtic Ireland she was known as Brigit, in Celtic Scotland as Bride, and in Celtic Britain as Brigantia. This brooch shows that the Celtic Gaulish Brigandu may have had much more in common with the Celtic Irish goddess Brigit than was previously known. The reason for this is that the cross shape in this brooch is very similar to the cross of St. Bridget. The cross of St. Bridget is generally thought to have originated with the Irish goddess Brigit. However the shape of this Roman Celtic brooch supports speculation that this style of cross actually could have come from Roman Gaul sometime during the 2nd C. AD. The goddess Brigit was primarily associated with fire but she was also associated with metal smiths, among other things. The circle/dot in the center of the square may be a solar symbol, but it could also be associated with the circle/dot sign of an ancient metal smith (such as those of Thrace). Another possibility is that it could represent Brigit's healing well. The rope motif on the brooch's borders may very well represent Bridgit's Crios (Bridget's Girdle). In Ireland St. Bridget is a highly endeared saint, second only to St. Patrick.
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in England. This is an applique of the Roman goddess Diana. A similar bronze (Less the crowned horns) was found at the site of the hill top fort of Alesia (St. Reine, France). Alesia is most famous for the Battle Of Alesia where Julius Caesar defeats Vercingetorix in 52 BC, but less known is that it had also been an ancient center for bronze works. This may be the image of a Gaulish Diana, possibly the moon/hunting goddess known as Arduinna (Lady Of The Forests). Though with that said it is thought that Arduinna was popular in the region of the Ardennes only, also Arduinna is usually identified due to her sacred animal, the boar.
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in England. This is a bronze artifact that shows the Gallic horse goddess Epona. This is the same horse goddess that would become a favorite with the Roman Cavalry and eventually find a place of honor at Rome. For some unknown reason bronze representations of this goddess are quite rare. The style as seen on the miniature bust is very similar to statues and carvings of Epona that are from the area of ancient Alesia (St. Reine, France). The two flanking heads motif can be seen with more ancient Celtic and Scythian sword pommels. The three leafed water lilly on the bottom also shows that this Epona had been connected to inland water, but also suggest that she had originally been a goddess of the dawn. There are a few other depiction's of Epona which also show a water connection. All this could prove to be significant as the goddess Rhiannon (Epona's Celtic Welsh equivalent) is considered by some to be the inspiration for Vivien or Vivienne (The Lady Of The Lake) of Arthurian legend. This artifact shows that the Gallo Roman goddess Epona should also be given that same consideration.
Private Collection of David Xavier Kenney.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From an Antiquities Dealer in California. A Roman women's silver and bronze mirror with a cupid or lares head on the back. The silver portion has been polished.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
Egyptian Limestone Statue Head of Cleopatra as the Goddess Isis
From Egypt via an Antiquities Dealer in NYC. A limestone statue head of Cleopatra VII as the Egyptian goddess Isis. The headdress appears to have been removed in ancient times, also that same area shows traces of red paint.
Private Collection of David Xavier Kenney.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
Roman Gladius Sheath Mount Strip Depicting
The Death of Cleopatra
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. All Rights Reserved.
These are two Egyptian wooden statuette pendants that appear to have Kushite influence. The fact that they are made of wood suggests that they were made for members of the rural lower classes.
First Pendant: Is 35 mm tall and depicts a female with the typical Egyptian female hair shape, plaited and beaded. The front part has fluting. She is wearing a short plaited type skirt (scorpion tails?) with a long belt end that goes from the waist to the feet. She appears to have feline feet. On her left she holds a kite/diamond shaped shield and on her right she holds a mace with an axe behind the mace. There is a loop in back near her neck. The resin stand has the name of an English Auction House and a lot number. This was purchased as 26th Dynasty (747 to 656 BC .
This pendant is of an unknown war goddess or protector goddess. My speculation is that it is more of the latter and that it represents the minor Egyptian goddess Mafdet, who was is thought to be a very ancient goddess of protection and justice. It also appears to have Kushitic (from the ancient Kushite Kingdom, later to be known as the Kingdom of Meroe, and in Medieval times as the Nubians) influence as although the face is worn it shows a very slight resemblance to Aqaluqa, Queen of the Kushite Pharaoh Taharqa of the 25th Egyptian Dynasty. Mafdet is thought to mean something like ?she runner;? she is considered one or possibly one of the oldest of the Egyptian goddesses. Although there are supposedly several depictions of Mafdet known, the only depiction that I know of is of the 1st Dynasty (3,100 to 2890 BC) and shows this goddess as a cat (or another form of feline) walking (or running?) vertically on a pole with a horizontal knife blade attached that is thought to be an executioner?s weapon. According to pyramid texts Mafdet was a destroyer of venomous creatures, particularly snakes and scorpions. She is thought to have been known as a protector of the Pharaoh's chambers and titled "The Lady of The Palace of Life", If this title is correct then it suggests something to do with the womb, the east, and the rising sun. The title itself does not seem Egyptian but rather it seems more like something Mesopotamian or Anatolian. It is thought that Mafdet has a connection to the god Bes, although this relationship is not understood. She is later replaced with the cat goddess Bast who some think is paired with the human lioness war goddess Sekmet. This pendant looks to be of both of those goddesses. The shield definitely has the shape of a snake head. Egyptian goddesses are not seen carrying shields (although Bast could carry a small aegis, but this was held in front of her chest). The axe could be associated with something to do with a funerary ritual (such as the upside down axe of the jackal or wolf headed god, Wewapet) but the mace is strictly seen in Egyptian iconography as a battle leader?s weapon. If this is of the 26th Dynasty, then it would be right after the Kushite Pharaohs (The Black Pharaohs) of the 25th Dynasty. The first of these two African Egyptian rulers named Taharqa had initiated a return of the Egyptian gods of older traditions. Although the Kingdom of Kush had integrated the beliefs of the Egyptians in the 2nd millennium BC it is still quite possible that at least some of the Kushites of the 25th Dynasty knew that at least a few of Egypt?s earliest deities had originated from their land and their people, perhaps as far back as the Neolithic era. Mafdet may very well have been an ancient Kushite war goddess. It should be noted that several centuries after the Black Pharaohs (after a Persian and a Greek conquest of Egypt) in the Kingdom of Meroe (500 BC to 300 AD) there were female royals known collectively as the Kandakes or the Candaces (Queen Mothers), these African women would wield great power from 332 to 12 BC. The most famous was these was the last of the Candaces, she was known to the Romans as One Eyed Candace but her real name was Queen Amanirenas, as a warrior Queen she had in fact lost one of her eyes in battle.
Second Pendant: 53 mm high and depicts a female dwarf with a beehive hairdo done in a beaded style. It should be noted that this beehive hair do may in fact represent a beehive, but more likely it looks like a certain type of Egyptian helmet. She is holding what appears to be a snakehead to the nipple of her right breast (as if biting?). In her left hand on her side she is holding something longer. I speculate that this is either a snake tail or a scorpion tail. She has an enlarged belly (as if pregnant) with a prominent oblong indentation where her belly button should be. Between her bowed legs a small head is protruding, as if she is giving birth to a creature, that has a face similar to a lion or lioness.
This pendant is of the Egyptian dwarf demon Beset. Beset was the consort of the dwarf demon Bes. Her appearance is thought by some Egyptologists to have arrived at the beginning of the Ptolemaic Period (Greek Period) but yet there are earlier depictions of her. These depictions are explained as being the male Bes, but with a chest that look like breasts. In order to understand Beset it is important to explain Bes. Bes is a demon who is thought to be very ancient, and to have come from Africa. He is described as ?The Lord of Punt,? and Punt is thought to have been a very ancient name for Nubia or a region in Nubia. As the sky/cow goddess Hathor is known as the ?Lady of Punt? he is thought to have an association with her. He was originally depicted as a man with a few lion features, or as a standing lion. Later he took on the appearance of a bearded human dwarf with lion features (ears, feet, tail, etc.) wearing a feathered crown. He is a jolly demon and the patron of entertainment (particularly music and dancing), pleasure, childbirth, fertility (possibly including prostitutes), but foremost he is a protector, and as a protector he can be extremely warlike. Some of the things that he protects against are snakes, scorpions, and evil spirits. He is a god of good fortune and was immensely popular with the common people. Although Bes is a protector, his association with childbirth is considered a mystery, although part of the reason may be due to the fact that the Egyptians may have thought that dwarfs due to the bowed shape of their legs may have had an easier time birthing, nevertheless this does not explain the peculiarity of a male demon being associated with childbirth. His consort Beset may have been the original and much more ancient African female demon or goddess (versus the male Bes), possibly as a childbearing goddess (of a male lion demon like Bes?) but also a war goddess, or connected to a war goddess. The depiction in this pendant definitely shows African influence in the art and the features. Beset may have originally been a pygmy as the both the ancient Kushites and Egyptians knew of these Central African people.
Summary: It is possible that in ancient Kush (or earlier in that region) that Beset had been paired with Mafdet, with Mafdet representing an animal totem that impregnated Beset (as a pygmy or a dwarf?), producing a king, queen, god or goddess that was half feline and half human. There is no doubt that this offspring would be a warrior leader, possibly as a warrior god or goddess. If the feline who did this symbolic impregnating was also female, then this may be where the story of the goddess Flora (Roman goddess of spring and flowers, but also prostitutes) impregnating Juno (Roman majestic mother goddess) originated from, that is by Flora?s touching Juno with an herb or herbs (most likely a flower) to create Mars, this story is particular to the Roman war god Mars but not to his Greek equivalent (Aries). Therefore the two mothers aspect of this European war god?s unique creation may possibly be of African origin. This is all speculation but what is a fact is that the art of both these pendants have African influence and their symbolism appears to be rooted in something much more ancient than the Egyptian Late Period.
This is a 2nd to 3rd C. AD Bronze Roman Dacian Woman's Hair Pin With An Egyptian Theme. It came from the Balkans and was purchased from a dealer in Germany. It appears that this hair pin was made and balanced to be used as a hand punch weapon. The top has a ram's head in the shape of a hammer. The ram's head suggests the Egyptian national creator god Ra Amon (a solar fertility god) , but the hammer suggests the Egyptian god Ptah, who is a creator god of architects, craftsmen, artists, and metal smiths. The pin itself has rope rings (and/or neck rings) and a cat-like creature. To my knowledge, there is only one other known depiction of such a creature in this climbing or running position; that is the 1st dynasty depiction of the goddess Mafdet (this is mentioned in more detail in the previous artifact description of the statue pendant). The art is somewhat African and suggests that the design may be from southern Egypt, possibly from Meroe (aka Kush and Nubia).
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
From a Coin Dealer in Israel. Two bronze loop earrings of a wolf head and a dog's head. The wolf's head and band looks to be in imitation of a Dacian wolf windsock standard. The dog's head looks similar to that of a Canis Pugnax (Roman war dog). Although these appear to have originated from the Middle East they could only have been for women associated with Roman legionaries.
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
Roman Gold Miniature Sculpture of the Empresses Plotina as Venus
From an Antiquities Dealer in Missouri. This is a Roman Gold Miniature Sculpture of the Empress Plotina as the goddess Venus. This miniature work of art most likely would have been an inset for a ring of a woman of the Patrician class. Pompeia Plotina was the wife of the Emperor Trajan and Rome's most revered Empress.
Private Collection of Linda Rouleau.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
Thraco Dacian Gold Miniture Pendent of the Goddess Bendis
From an Antiquities Dealer in California. A Thraco Dacian gold pendant of the goddess Bendis. This style of Bendis appears to be associated with the lunar aspects of that goddess, but perhaps also with a bear cult.
Private Collection of David Xavier Kenney.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
To go back to KingArthurBanner.com website click here.
Photo Copyright 2005
David Xavier Kenney
Thraco Dacian Bronze statue of the Goddess Bendis or Cybele?
From an Antiquities Dealer in Germany. A Thraco Dacian bronze statue of the goddess Bendis or Cybele? The statue shows what could be a likeness to a lioness face. This statue has been purposely made for the viewer to look down while the statue (face) looks up.
Private Collection of Renee Z. Bakarian.
Copyright 2005 David Xavier Kenney. All Rights Reserved.
Sarmatian Gold Pommel Iron Short Sword Circa 300 to 100 B.C. found in the Crimea. The sword's T pommel has a honey colored garnets on each terminal and is covered by hammered gold foil, some of the handle has the impressions of fabric that shows that the handle had once been wrapped with gold wire. The blade has fossilized wood remnants of the sword's sheath. Although it is not probable there is nevertheless a very slight possibility that this sword had once been wielded by a Sarmatian Woman Warrior.
Roman Legionary Eagle Standard and Dacian Goddess Bendis (or a god associated with Bendis) Prayer Statues. Both statues can be attributed to a Dacian serving as a legionary with the Legio XIII Gemina (twin legion). The Bendis prayer statue has the numerals XIII engraved on the front and is also a seal stamp that will produce a seal of a dragon/snake.
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis from the Roman Imperial era, the statue is 38mm x 33mm. This statue has been
purposely made for the viewer to look down while the statue (face) looks up. She wears the knit cap of the males of the Thraco/Dacian aristocracy.
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis from the Roman Imperial era, the statue is 62mm x 38mm. This statue has been
purposely made for the viewer to look down while the statue (face) looks up. She wears the knit cap of the males of the Thraco/Dacian aristocracy.
to go back to King Arthur Banner to view the "Torc Bear Meteorite Pendant of The Thraco Dacian Goddess Bendis" Click Here.
Photo Copyright 2005
David Xavier Kenney
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis from the Roman Imperial era, the statue is 69mm x 50mm. This statue has been
purposely made for the viewer to look down while the statue (face) looks up. She wears the knit cap of the males of the Thraco/Dacian aristocracy.
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis
Roman Dacian Bronze statue of the Dacian Amazon goddess Bendis from the Roman Imperial era, the statue is 44mm x 33mm. This statue has been
purposely made for the viewer to look down while the statue (face) looks up. She wears the knit cap of the males of the Thraco/Dacian aristocracy.
to go back to King Arthur Banner to view the "Torc Bear Meteor Pendant of The Thraco Dacian Goddess Bendis" Click Here.
Photo Copyright 2005
David Xavier Kenney
Roman Officer's Armor Piece
Roman Officer Gold Gilded Scale Armor Piece from the Roman Imperial Era. This scale armor piece was found with Roman cavalry artifacts along Hadrian's Wall in Britain. The style of the scale armor piece is Roman but the gold gilding could suggest that it is of a high ranking Roman Officer influenced by an Asiatic or Euro Asiatic people. Asiatic Scythian auxiliaries and Euro Asiatic Sarmatian auxiliaries are thought to have been in the area of Hadrian's Wall. Speculations are that some Sarmatian women may have been warriors. This is primarily due to Herodotus's (an ancient Greek historian and researcher) account of them, and a few weapons finds in graves of female Sarmatians.
Private Collection of David Xavier Kenney.
Image copyrighted 2005. Revised Feb 2007 All rights reserved.
Roman Dacian Alani Bronze Bear Head and Obsidian Arrow/Spearhead Locket
Roman Dacian Alani Bronze Bear Head and Obsidian Arrow/Spearhead Pendant Locket (Possibly an earring locket) from the Roman Imperial Era. This locket is made in the shape of a bear's face. The two rivets on the bear's ears secure the locket. Besides resembling a bear's face, the locket is similar to the shape of Roman female stimulators. These metal stimulators were once worn on thongs by ancient Roman women and have been discovered with artifacts which are typically found near the sites of ancient Roman brothels. This obsidian arrow/spearhead is made from obsidian with black on the outer edges and clear mahogany/red obsidian in the center. The arrow/spearhead is made so that if the locket is reversed, the obsidian's form appears to be in the shape of a heart. Concerning the position of the arrow/spearhead, there are similar Frankish Dacian Alani legionary auxiliary gold gilded bear head appliques that have a distinct flame in the center of the bear's forehead. The obsidian has the Greek Letters IO and TX engraved on it. The IO is Greek for the word THE and the TX is the Greek abbreviation for Tex which is the root word for TECHNE, which means "of the Fine Arts." There is little doubt that this locket's motif is associated with the constellation Arcturus, or the constellation Ursa Major, or the constellation Ursa Minor. The miniature symbolic utility design of this locket should be associated with female independence and the erotic in ancient times.
Roman Dagger Attributed to a Gladiatrix (Female Gladiator) Pugio
This is a 2nd Century AD Bronze and Iron Gladiator Pugio that is identified by its pommel lanyard loop. A pommel lanyard on the Gladiator Gladi can be seen in various relief's depicting gladiators during Imperial Times. The pugio is 13 1/2" in length and the blade is 8 3/4" x 2". The shape (less the pommel lanyard loop) is similar to a Celtic dagger but the length of the blade is more typical of a legionary pugio. The tang/loop is of a high grade iron (steel) while the blade is of much inferior quality. The tang has the fossilized residue of resin showing that a wooden grip had once been in place. The guard fixed at the tang shows that this wood grip would have been 4 x 2 cm thick around the tang. My speculation is that this wooden grip would have gradually flared out on along the tang until reaching a maximum thickness at the grip's center, then gradually it would have receded in size towards the lanyard loop. This design would give the grip a torpedo shape which is highly desired for a dagger that is made primarily for thrusting (The pugio's guard is designed for thrusting only). The tang and blade are of average size but the guard had been crafted for someone that would have had an approximate 5 glove size. This small hand size indicates that the pugio's guard had been made for a small warrior such as a 2nd century Gladiatrix (Female Gladiator). Although not probable, it cannot be discounted that this guard may have been fitted for use by a gladiator pygmy or midget. It is most likely that this pugio had been made to be issued to any gladiatrix that fought using the pugio, although it is also a good bet that a gladiatrix that was issued this weapon would have been either Egyptian or Ethiopian. To have a weapon custom made for any class of gladiator was not typical, if so then this would have only been for a gladiator who would have achieved some type of special favor. It is accepted by most Roman historians that all gladiators had their weapons issued upon their entry into the arena. The bronze guard has a depiction of a standing woman on one side and a standing lioness with a women's breasts on the other side. The other way around shows on both sides the profile of a woman with an elongated curved neck with a small head in the forward position, this as if to suggest an asp type snake ready to strike. The art on this pugio guard is Roman in style but Egyptian in theme and has the multi dimensional aspects that are usually seen with Scythian or Sarmatian art. The figure on the pugio's guard of a woman/lioness represents the Egyptian goddess Sekhmet. The female snake head like figure shown represents Sekhmet as a type of Medusa. With the four views of these three variations of Sekhmet the tang's shape can be seen as any or all of the following; as a phallic representation, as a long tongue curled at the tip representation, or as the fraction value 1/32 of the Egyptian wedjat (Eye of Horus) representation. It is thought by some that the wedjat fraction value of 1/32 derives from markings found under the eye of a cheetah. Although somewhat rare there are a few sculpture examples that show the "goddess" Sekhmet with a phallus. The fact that the figures on the guard are facing inward (toward the holder) Vs outward shows that the power of the symbol was being invoked by the holder of the weapon. This type of attitude makes sense as for a gladiatrix, Sekhmet was a fierce goddess associated with the forces of nature and destruction. There is a sizable chip on the blade that was created in antiquity. Prior to my acquiring this pugio the tang had been cut so as to straighten and refit the guard with the blade. An indentation on the guard's lower center edge shows that this pugio when found (in recent times) had been bent to one side by approx. by 5 to 7 cm. The direction of the chip on the blade and the direction of the bent tang show that it is probable that this had been done with an iron weapon delivered by a powerful blow. The possibilities with this type of damage are; that this pugio was used as a left handed secondary weapon, that this pugio had been a primary weapon and that the gladiatrix had been left handed, or that the pugio had been on the ground when the weapon had been struck.
The female gladiator is mainly known due to ancient mentions by Roman writers. With the information provided in this description I attribute this dagger as a pugio of the class of gladiator known as the gladiatrix.
THERE IS IMPORTANT NEW INFO. WITH THIS ARTIFACT: THE INFO. HERE WILL SOON BE UPDATED. Made of a silver mercury alloy, this is an early 2nd century AD Roman palm-held mirror. Shown on the back of this mirror is Emperor Hadrian's famed Libyan (or some say Egyptian) Lion Hunt. This lion hunt took place on September 22nd, 130 AD and was held at the request of Antinous (Hadrian's male courtier of Greek origin). The hunt ended up with Antinous having to be rescued by Hadrian from a lion attack. The art on the back of the mirror is in the Greek Heroic fashion, that is with all the figures shown naked, and all heroes equipped with helmet, sword, and shield (both mounted figures are wearing Equestrian boots). Those represented in the scene are from left to right: Antinous's slave (identified by his flight and fearful look, this figure was obviously an after thought, possibly added due to a request); The Commander of the Augusti Singulares Mounted Body Guard (identified by the distinct helmet of that Guard unit); Antinous (identified by his being attacked by the lion); Hadrian (possibly on his celebrated horse Borysthenes); and Hadrian's Praetorian Prefect, Quintus Marcus Turbo, identified by his Roman Attic Helmet). This image of Hadrian appears to show him with a Hispanic helmet and shield, as Hadrian was born and raised in the Roman province of Hispania. Both Hadrian and the Commander wield swords with "S" hilt guards, this unusual type of hilt guard (unusual for the 2nd C. AD) can be seen on an unsheathed Parazonium (or another type of sword that is held like a Parazonium) on a statue of Lucius Verus (co-emperor with Marcus Aurelius from 161 to 180 AD) in the Capitoline Museum. There are two lion heads (tied to the horse's chest in the fashion of the Herculean knot) in front of Hadrian's knees, these should signify the Emperor's Equestrian boots. About one month after this event, on October 28th, 130 AD, Antinous mysteriously drowned while sailing on the Nile with Hadrian and his entourage. Soon after this Hadrian had Antinous officially declared a god, and a cult of Antinous was established. The cult would last until the advent of Christianity. This mirror may have been made soon after a lion hunt reenactment at games for Hadrian's 55th birthday on January 24th, 131 AD. Hadrian would only accept games in his honor on his birthday. This mirror back is the only known complete ancient representation of Hadrian's Libyan Lion Hunt. The only other known representations are partial ones, found on Roman coins. These coins show a mounted Hadrian spearing a lion in the Roman cavalry memorial fashion.
Ancient depictions show that while in public Roman women regularly carried palm mirrors (usually in the right hand) as an accessory. There is a possibility that these may have also been used for protection, as in a metal disc for throwing.
The mirror side of this palm mirror has etched with surveyor's numbers and symbols (written in a style of the first half of the 20th c.). These have been identified as a latitude and longitude. The coordinance is on the northern shore of the Sea of Azov.
Private Collection of David Xavier Kenney.
Image copyrighted 2005. All rights reserved. Revised 2007 and 2008
This is a Roman glass double cosmetic tube from the Eastern Mediterranean. This type of glass container had once been used to hold kohl (black eye paint) and various other cosmetics.
The pendant would have been worn on the front of a head band. It's specific iconography shows that the Meretrix had an identity with the Centurions of the Classis Syriaca.
Photo Copyright 2007
David Xavier Kenney
Roman Meretrix Pendant
This is a 1st to 3rd C. AD Copper Meretrix (Roman Prostitute) Pendant (. It is 6.7 cm x 5.9 cm. It is made to represent; a woman's head, the letter M, and three wavy arms (and hands) that are bound by a line (perhaps suggesting talents as a masseuse, or implying that the Meretrix was a slave). The cutout shows two facing birds, a Roman symbol for love. Turned upside down it may represent; a harp, flames, and three flowers. The Romans associated the metal copper with Venus, hence a metal that was favored by prostitutes. There is little doubt that this pendant is a suggestive advertisement.
Roman Meretrix (Prostitute) Box Applique Of A Centurio Classicus (Marine Centurion) Of Classis Syriaca (Roman Syrian Fleet)
Information to follow soon.
Photo Copyright 2005
David Xavier Kenney
Roman or Byzantine Lady's Shaver
This is a bronze and iron Roman or Byzantine lady's shaver. It appears originally that there may have also have been ivory, bone, or mother of pearl on the handle. This small shaver is made to be held by the index finger and the thumb, that is comfortably for someone with small hands (no larger than a size 6 ring finger). According to ancient statue nudes, Roman women were always shown without body hair. The techniques that were used to accomplish this were by waxing, shaving, or both.
These are three Roman bronze Meretrix (Roman Prostitute) stimulators. The first stimulator is purported to have originated from Lebanon. The second and third stimulators are purported to have originated from the Balkans, these were with legionary artifact finds. The first stimulator is made in the shape of a fish and has three gold nails (representing three gold balls, from great antiquity it is a bear head symbol, after the Roman Period it can take on other meanings) for a finger grip. The inside top shows among other things a painted griffin. The second stimulator is shaped as an arrowhead, there is a flower and leaves engraved on this, the flower is shaped like an arrowhead or spearhead. The third stimulator is shaped like a mirror on a box with a phallus. It was worn with the mirror on top, the box outward, and the phallus inverted. The various loops and, or holes on these stimulators show that they were worn on thongs, when not in use they could comfortably have been worn as pendants, possibly on the same thongs.
This is a silver roundel depicting the goddess Flora. Flora is a fertility goddess of flowers and spring, and presides over her festival, the Floralia, from April 28th to May 3rd. Another of her festivals is the festival of roses. Flora is a goddess of youthful pleasure and she could be quite licentious. Flora was married to Zephyr, the god of the south wind, but was also a co-mother (with Juno) of Mars, the god of war. For obvious reasons, this goddess was a favorite of Roman soldiers.
This is thought to be an Ostrogothic (With Alanic influence) bronze applique of a River Naga (River Spirit). Shown upside down, it is a dragon ship. Most likely it originates from the Ostrogoths when they were in the east, or it is from another culture near the Meotian Sea (Sea of Azov). The applique has traces of gold gilt.
Thraco Sarmatian Axe and Ship Brooch Commemorating The Battle Of Actium
This artifact is a Thraco Sarmatian axe and ship brooch from the 1st century BC. The first view of this brooch shows a snake, a punch dot horizontal spearhead or arrowhead, and an axe head with a punch dot line around the axe's edge. The position of the axe head and the spearhead/arrowhead could also suggest a bow and arrow. The second view shows the snake and spearhead/arrowhead, the letter A, a ship's sail, and a ship with a three-pronged ram (this type of ram is thought not to have been used after 14 AD). This brooch's art, with the snake and the punch dot symbols, appears to symbolize the use of viper venom on an axe head (viper venom may have been the snake poison of choice).
This brooch appears to have been made for a veteran of the battle of Actium in 31 BC. Specifically it appears to have been made for a Sarmatian Marine who originated from the Crimean city of Olbia. Coins from Thracian Olbia show an axe and bow that is Sarmatian and very similar to the art on this artifact. Prior to the Thracian conquest Olbia had been a Greek colony with a great influx of Sarmatians. Elements of a Thracian fleet had fought at Actium for both Octavian and Anthony. That same year the Romans conquered Thrace (including the city of Olbia) and made it a protectorate. There is always the possibilty that this brooch also could be symbolic of Achilles, his ship, and a poisoned battle axe.
This is a Thraco (Dacian) Sarmatian shield brooch. The brooch had been silvered and the boss has traces of gold gilt. The first view shows the shield as it was carried. The second view shows how the shield was held at the ready. This may explain a Thraco Sarmatian battle tactic: The shield while carried was meant to be viewed as a quarter moon. As the shield was made ready it was viewed by any onlooker as a woman's breast. With this symbolism, several hundred or more warriors going from the carry shield to the ready position would have given a tremendous pre-battle image impact to any enemy.
This is a Roman Thraco (Dacian) Sarmatian bronze fibula. The first view shows a ship hull and mast, which suggests Roman riverine auxiliaries. The second view, with the fibula turned upside down, depicts the Dacian wolf wearing a massive headdress typical of the ceremonial horse's headdress seen in the art of the Scythians and Sarmatians.
This is a miniature Roman Sarmatian double eagle head standard which would have topped a miniature pole which would have been mounted on a base. It is thought that miniature standards were given by Roman Officers as legionary awards (or presentations) to legionaries or auxiliaries.
Greco Roman Ring With Intaglio Of Aphrodite Hoplimene
This is a Greco Roman bronze ring with a green glass intaglio of Aphrodite Hoplimene (Soldier) of the acropolis of Korinthos. The intaglio shows Aphrodite holding a rose bud shield that has a spear coming out of it, the spearhead may be a quarter moon. The image also shows a bull's head under her right hand . The nearby Spartans had a similar martial love goddess, the Aphrodite Areia (of Aries). This goddess may very well give an idea as to what the real Helene of Troy was like.
Roman Miniature Statue Fragment Of Venus With Selinos
This is a Roman silver miniature fertility statue fragment of the goddess Venus with the god Silenos as her consort. Most likely this had once been used for votive purposes.
This is an extremely rare Roman Sarmatian bronze dragon ring. There is little doubt that at an American ring size 11 that this ring had once belonged to a cavalryman. The ring looks to have been worn on the same finger as a military unit ring. Between the mouths of the two dragon heads a bridge is shown. This bridge motif could lead to much speculation but may be associated with a Sarmatian view of Trajan's bridge. Sarmatians fought on both sides during Trajan's Dacian Wars.
This is an extremely rare 1st C. AD black burnished terracotta statue fragment of a Palmyran Veiled Dancer. It is one of only two known images of an ancient veiled dancer that is in fact wearing a veil. Many thanks Nadia!
