Roman Bronze Mirror

Displaying a figural scene in relief with an arch decorated with egg-and-dart motifs and resting on smooth pillars with foliate capitals; the upper field dominated by Sol wearing a radiate crown with seven rays and driving a facing quadriga, holding a globe and whip in his left hand; the central field showing the Dioscuri on horseback, raising their right arm in salutation of their divine sister Helen of Troy at the centre, the twin on the left, whose horse is trampling a naked prisoner, followed by an armoured warrior holding an oval shield and spear, wearing a crested helmet in pseudo-Attic style, the twin on the left, whose horse is trampling over a big fish, followed by a woman dressed in a long garment and raising her hand in salute; the lower field showing worshippers preparing an offering meal; a coiled serpent to each top corner; mounted on a custom-made display stand. 321 grams total, 10.6 cm including stand



Acquired before 2000. From a Los Angeles collector. with Artemis Gallery, Colorado, USA, 22 September 2016, no.58. Private American collection, New York, USA. Accompanied by an academic report by Dr Raffaele D’Amato.

The complex iconography of the plaque relates to the pre-Christian religions of the Lower Danube region. It was concentrated on the figure of Sol Invictus, the sun god, who was often represented driving a quadriga. This cult came from the Near East but spread into the Roman Empire with imperial patronage; symbolism like this was part of the cult of Mithras that was found throughout the empire from Britain (a temple to Mithras can still be seen in the modern City of London) to its eastern coasts in the ancient colonies of Thracia and Dacia, Moesia, Pannonia and Dalmatia. The rest of the plaque shows worshippers (probably the donors of the votive plaque) who are preparing the offering meal, while the riders on horseback, the divine twins Castor and Pollux, evoke the cult of the Danubian rider. Their sister Helen of Troy stands at an altar of Sol like a priestess, representing fertility. As suggested by Aimone, the presence of the two horsemen seems suggest a military context, a connection underlined by the presence of the fully armoured soldier at the left. This iconography was very popular in the Roman Empire and lasted until the 4th century A.D., being also the subject of other artworks, like the fabulous tray in the recently published Wyvern collection (Aimone, 2020, pp.95ff.).

Comprising a shallow discus framed by concentric lines, low-relief image of a standing male reaching for a bowl with his right hand whilst supporting himself by grasping a low pillar with his left hand, filling hole flanking the pillar; volute to each side of the nozzle; maker's mark 'SVRIEPII'. 80 grams, 10.5 cm



Acquired on the European art market, 1980s. English private collection.

The period of activity of several well-known workshops—L M A D I E C , L M V N S V C , E R O T I S , G A B M E R C , and L M S V —is late Flavian to Trajanic, possibly Hadrianic.Based on this, we will not refer to the broader and too approximate dating given by Bailey to his group IV: Claudian to Trajanic.

Having piriform-globular body and everted rim, tubular neck and flat base with small kick. 20 grams, 11.5 cm high



Acquired 1980-2015. Ex Abelita family collection.

The bottle seems to belong to the type 13 of the De Tommaso classification, but with a more piriform body. By the 1st century A.D., the technique of glass-blowing revolutionised the art of glass-making and allowed for the production of small medicine, incense, and perfume containers in new forms. Glass unguentaria, bottles and vessels of various shapes were manufactured with blow-pipes, free-blown, or mould-blown, and were prevalent throughout the all the provinces of the huge empire.