Antique Arms & Militaria

A Most Scarce Early 17th century Jamdhar Katari Dagger From the Mountains of Nepal And the Hindu Kush,

An most early and rare Nepalese dagger classified as the Jamdhar Katari. 17th century, and developed as a fighting weapon in the 17th century. With a thin slightly swollen double edged blade 23.5cms long, painted with red devotional designs (sandlewood oil) on one side, iron hilt with swollen grip and slightly down-turned pommel and guard. Tip lacking. GC
For reference see Egerton Nos. 344 and 345 for similar.

Another very similar Jamdha Katari is in The Met Collection Fifth Ave. New York, [Accession Number:36.25.820] Donated to The Met by the legendary George Cameron Stone [Author of the seminal work A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times, known as 'Stone's Glossary'] in 1935.

It was regarding another most similar example we had, about which Mark Hawkins engaged in a most interesting conversation with the now late US President Ronald Reagan [in the 1970's]. President Reagan displayed a knowledge of this particular weapon, in his conversation with Mark, that was surprisingly extensive and certainly impressive.  read more

Code: 22528

Superb Original US Civil War Cavalry Sabre By Roby, Chelmsford Mass. Dated 1864 Identical to General George Armstrong Custer's Cavalry Sabre, An 1864 Roby Contract Sword, Inspected by AGM For Custer's Wolverines. Possibly Made For The Michigan Brigade

Roby, of Chelmsford Massachusetts is a Civil war sword maker for which we have been seeking examples of his swords for decades, especially ones inspected by Alfred Munnings. He was a very fine and well recorded maker, and a contractor for some of the most historically interesting cavalry used by the Union in the Civil War. Especially so, the most famed of all, Custer's Wolverines. As we have dedicated our business's 'modus operandi' to seek and find the most interesting and significant pieces, this maker of sabres fits beautifully into that criteria, of our dedication to continually seek and discover new pieces to add to our unique selection of intriguing and historical artefacts. This is our latest stunning addition to that pedigree of Custer's swords from the Civil war.

The Model 1860 Light Cavalry Sabre. Traditional three bar brass hilt, cushion pommel and ribbed wooden grip. Made by the same maker in the same year and even inspected by the very same man A.G.Manning as Custer's and his Wolverine's sabres. Made by C.Roby of Chelmsford Mass. Civil War Union Government inspectors initials stamped at blade forte 'A.G.M'. One of the US Army sword inspectors, Alfred G. Munnings. This is the very same sword pattern, year, and maker, as was used by Col.George Armstrong Custer, that was also inspected by Alfred Munnings.

Custer's sword was late of the Charles A.Custer's family collection, and it's maker, date and inspector's initial stamp AGM are well documented. Custer is shown wearing his sabre in a photo in the gallery for information only not included with sword. This sabre was obviously made, and part of, the same Union cavalry contract as the swords supplied to Col. Custer, and 'Custer's Wolverines, the Michigan Brigade'. This sword is a Union contract purchased sword, with the sword's blade maker marked by C.Roby of Chelmsford, Mass. American government contract inspector stamped, AGM Alfred G. Manning, and dated 1864. The Michigan Brigade, sometimes called the Wolverines, the Michigan Cavalry Brigade or Custer's Brigade, was a brigade of cavalry in the volunteer Union Army during the latter half of the American Civil War. Composed primarily of the 1st Michigan Cavalry, 5th Michigan Cavalry, 6th Michigan Cavalry and 7th Michigan Cavalry, the Michigan Brigade fought in every major campaign of the Army of the Potomac from the Battle of Gettysburg in July 1863 to the Confederate surrender at Appomattox Court House in April 1865.

The brigade first gained fame during the Gettysburg Campaign under the command of youthful Brigadier General George Armstrong Custer. After the war, several men associated with the brigade joined the 7th U.S. Cavalry Regiment and later fought again under Custer in the Old West frontier.

In the first half of the war, the Confederates enjoyed the advantage in cavalry, as southern men were more accustomed to the riding and shooting life, and most of the experienced cavalry officers from the regular army had chosen to side with the Confederacy . A notable example was Bedford Forrest, who effectively dominated Tennessee & northern Mississippi until the end of the war.

By the second half, from 1863 onward, the Union Army had gained an equal cavalry capability, through Benjamin Grierson’s brilliant deception tactics in the Mississippi valley, and Philip Sheridan’s aggressive movements, while in command of the Army of the Shenandoah at the end of the war in Virginia.

Cavalry units proved highly expensive to maintain, and unscrupulous agents would often exploit shortages by supplying defective animals at exorbitant prices. Offensive actions were certainly not unknown, however, but they were more frequently employed against enemy cavalry than against infantry. Examples of offensive actions include the Battle of Brandy Station and the Battle of Yellow Tavern; cavalry versus cavalry examples include the First Battle of Bull Run and Elon J. Farnsworth's ill-fated charge on the third day of the Battle of Gettysburg.

Reconnaissance was the key to effective cavalry, as it remains today in modern armies (although modern cavalrymen use light armored vehicles or helicopters instead of horses). The cavalry serves as the "eyes" of the army. Reconnaissance was a crucial component in the Gettysburg Campaign, where cavalry under Union General Alfred Pleasonton attempted to find the wide-ranging Army of Northern Virginia on its invasion of the North, and Confederate cavalry under J.E.B. Stuart effectively employed counter-reconnaissance to screen passes in the Blue Ridge Mountains and hide Robert E. Lee's movements.

Long-distance raids were the most desirable mission for cavalrymen, primarily because of the fame that successful raids would bring, but they were often of little practical strategic value. Jeb Stuart became famous for two audacious raids on the Union Army of the Potomac in 1862; in his third such attempt, during the Gettysburg Campaign, he squandered much of the cavalry forces of the Army of Northern Virginia and deprived Robert E. Lee of adequate reconnaissance at the beginning of the Battle of Gettysburg, one of the principal reasons for the Confederate defeat there. Union attempts at strategic raids had mixed success. George Stoneman's raid in the Battle of Chancellorsville was a failure; Benjamin Grierson's raid in the Vicksburg Campaign was a strategic masterpiece that diverted critical Confederate forces away from Ulysses S. Grant's army; James H. Wilson's massive 1865 raid in Alabama foreshadowed the armored warfare maneuvers of World War II. In general, strategic raids were used more effectively in the Western Theater of the war.

Defensive actions by the cavalry were critical in the retreat from Gettysburg. Pursuit and harassment of enemy forces were often neglected (particularly by the Union after Gettysburg and Antietam), but can be seen in their finest form in the pursuit of Robert E. Lee during the Appomattox Campaign. This sword has just returned from days of hand conservation and hand polishing in our workshop.  read more

Code: 25490

Super 1850's 'Crimean War' Russian Military Officer's Campaign Trunk

A wooden and steel strap banded military officer's campaign trunk from the Crimean war. Painted in faded pale Russian blue-grey. From family history, it was been used by an officer of the 17th Lancers after he acquired it from various kit and officers campaign equipment captured from a Russian baggage train in 1854 around Balaklava. The British officer then used it for his gun case and military kit during his campaign in the crimean, and later by his sons. Campaign furniture is an umbrella term for the portable items of furniture used by the military in the eighteenth, nineteenth and early twentieth centuries. It is comprised of a huge number of objects, from chairs to chests, wardrobes to washstands and games tables to camp beds. A number of celebrated British furniture makers created pieces of campaign furniture, elevating it beyond its roots in functional, army-based design to desirable, collectible decor that continues to add a beautiful, innovative touch to homes today. The Crimean War started with Russia's invasion of the Turkish Danubian principalities of Moldavia and Wallachia (now Romania). Britain and France both wanted to prop up the ailing Ottoman Empire and resist Russian expansionism in the Near East.

Although Russia fought a largely successful war against the Turks in Armenia, and British and French fleets operated in the Baltic Sea, it was the events in the Crimea that had the biggest impact on Britain. In September 1854 the allies landed troops in Russian Crimea, on the north shore of the Black Sea, and began a yearlong siege of the Russian fortress of Sevastopol. Major engagements were fought at the Alma River on September 20, at Balaklava on October 25 (commemorated in ?The Charge of the Light Brigade? by English poet Alfred, Lord Tennyson), and at Inkerman on November 5. On January 26, 1855, Sardinia-Piedmont entered the war and sent 10,000 troops. Finally, on September 11, 1855, three days after a successful French assault on the Malakhov, a major strongpoint in the Russian defenses, the Russians blew up the forts, sank the ships, and evacuated Sevastopol. Secondary operations of the war were conducted in the Caucasus and in the Baltic Sea. The last picture shows the bottom rear strap loops for mounting the trunk on the rear of a horse drawn baggage coach. 13 inches deep x 21.5 inches wide x 11.5 inches high.  read more

Code: 22604

A Fine Cased Pair of 1840's Victorian Rear Admirals Epaulettes.

Overall in jolly good condition for age, in their original Japanned lacquer tin case. Made and used in the days of sail, aboard the great ships-of-the-line and the '100 gunners'. Admirals always served aboard the larger vessels in the fleet [also known now as capital ships] in the Royal Navy, His vessal would be known as the admiral's 'flag ship' and flying his personal rank flag. Rear admiral is a naval commissioned officer rank above that of a commodore (U.S. equivalent of rear admiral lower half) and captain, and below that of a vice admiral. It is generally regarded as the lowest of the "admiral" ranks, which are also sometimes referred to as "flag officers" or "flag ranks".
It originated from the days of naval sailing squadrons and can trace its origins to the Royal Navy. Almost all of the modern traditions of the world's navies can trace there traditional origins back to the British Royal Navy. Each naval squadron would be assigned an admiral as its head, who would command from the centre vessel and direct the activities of the squadron. The admiral would in turn be assisted by a vice admiral, who commanded the lead ships which would bear the brunt of a naval battle. In the rear of the naval squadron, a third admiral would command the remaining ships and, as this section of the squadron was considered to be in the least danger, unless from a surprise attack from the rear. The admiral in command of the rear would typically be the most junior of the squadron admirals. This ranking has survived into the modern age, with the rank of rear admiral the most-junior of the admiralty ranks of many navies. Epaulette is a type of ornamental shoulder piece or decoration used as insignia of rank by armed forces and other organizations. In the French and other armies, epaulettes are also worn by all ranks of elite or ceremonial units when on parade. It may bear rank or other insignia, and should not be confused with a shoulder mark - also called an shoulder board, rank slide, or slip-on - a flat cloth sleeve worn on the shoulder strap of a uniform (although the two terms are often used interchangeably).

Epaulettes are fastened to the shoulder by a shoulder strap or passenten, a small strap parallel to the shoulder seam, and the button near the collar, or by laces on the underside of the epaulette passing through holes in the shoulder of the coat or by a metal slide arrangement. Colloquially, any shoulder straps with marks are also called epaulettes. The placement of the epaulette, its colour and the length and diameter of its bullion fringe are used to signify the wearer's rank. Although originally worn in the field, and they certainly were when these were made, epaulettes are now normally limited to dress or ceremonial military uniforms. A photo in the gallery of Nelson's shot-through epaulette from Trafalgar. He has two stars due to his superior Admirals rank.  read more

Code: 21806

A Most Scarce Victorian Antique Honourable Artillery Company Officer's Sword. In Field Service Scabbard

Typical gilt metal hilt with the HAC grenade. Etched blade, with surface wear. Regulation field service steel mounted leather scabbard.

The South African War: 1899-1902
Around 200 members of the Company fought in the South African War with various units. The majority of these members served with the artillery, infantry or mounted infantry sub-units of the City Imperial Volunteers (CIV) between January and October 1900. The CIV was formed under the auspices of the Lord Mayor of London. The HAC’s Colonel and Commanding Officer, the Earl of Denbigh and Desmond, was instrumental in raising and equipping the CIV Battery, which was officered and, for the most part, manned by members of the HAC. This was the first occasion that the Company’s membership saw active service overseas and six members died whilst serving during this war.

The HAC can trace its history as far back as 1296, but it received a Royal Charter from Henry VIII on 25 August 1537, when Letters Patent were received by the Overseers of the Fraternity or Guild of St George authorising them to establish a perpetual corporation for the defence of the realm to be known as the Fraternity or Guild of Artillery of Longbows, Crossbows and Handgonnes. This body was known by a variety of names until 1656, when it was first referred to as the Artillery Company. It was first referred to as the Honourable Artillery Company in 1685 and officially received the name from Queen Victoria in 1860.

The regiment has the rare distinction of having fought on the side of both Parliament and the Royalists during the English Civil War 1642 to 1649.

Pictures in the gallery of the HAC HQ, the HAC Armoury, and the HAC parade and cricket ground, all in the heart of the City of London  read more

Code: 25484

A Most Rare Early19th Century, Georgian to William IVth Irish, Crum Castle Infantryman's Large Shako Helmet Plate

This is a super, and incredibly desirable large Bell-Top Shako helmet plate, from one of the small Irish Militia of the early 19th century. Their motto was 'Rebels Lie Down'. Surviving artefacts of this militia are so scarce that we know of only one other surviving piece of early uniform militaria, a shoulder belt plate, regimentally named and also bearing their motto.
Early 19th century Irish Militia helmet plates are incredibly rare, highly prized and very collectable indeed.

Crum Castle was the alternative old spelling of Crom Castle, County Fermanagh. Although the Yeomanry’s official existence ended in 1834, the last rusty muskets were not removed from their dusty stores till the early 1840s. With unintentional but obvious symbolism, they were escorted to the ordnance stores by members of the new constabulary. Although gone, the Yeomen were most certainly not forgotten. For one thing, they were seen as the most recent manifestation of a tradition of Protestant self-defence stretching back to plantation requirements of armed service from tenants then re-surfacing in different forms such as the Williamite county associations, the eighteenth-century Boyne Societies, anti-Jacobite associations of 1745 and the Volunteers. Such identification had been eagerly promoted. At the foundation of an Apprentice Boys’ club in 1813, Colonel Blacker, a Yeoman and Orangeman, amalgamated the siege tradition, the Yeomanry and 1798 in a song entitled The Crimson Banner:

Again when treason maddened round,
and rebel hordes were swarming,
were Derry’s sons the foremost found,
for King and Country arming.

Moreover, the idea of a yeomanry remained as a structural template for local, gentry-led self-defence, particularly in Ulster. When volunteering was revived in Britain in 1859, northern Irish MPs like Sharman Crawford tried unsuccessfully to use the Yeomanry precedent to get similar Irish legislation. Yeomanry-like associations were mooted in the second Home Rule crisis of 1893. The Ulster Volunteer Force of 1911-14—often led by the same families like Knox of Dungannon—defined their role like Yeomen, giving priority to local defence and exhibiting great reluctance to leave their own districts for training in brigades. Two loop mounts [one with old re-bedding] 6.25 inches high.  read more

Code: 23283

Original Ancient Imperial Roman ‘Cross-bow” Fibula Bronze Toga Pin Military Issue, Fine Piece For Higher Ranking Figures in the Legion, Such As a Centurion or Tribune

Bow Fibula with a folded or rolled sleeve hinge, c. Early Imperial - Beginning of 2nd Century. We acquired a very small collection of roman toga pins, from super, small collection of original, historical, Imperial Roman and Crusader's artefacts
Shaped in the form of a roman military crossbow fibula, in bronze.
It became the most popular form of closure for Roman fibulae, and is characteristic of the bow brooches from the early imperial times to the beginning of the 2nd century. Outside the Roman Empire and after that time, this type of hinge was seldom used. The sleeve hinge consists of a small sleeve at the top of the head which is forged from a square sheet metal plate and then rolled up. In a center-cut slot, the spiked needle is inserted and held by a shaft (usually iron) passing through the whole sleeve. At the ends of each of the Aucissa fibulae and their early successors were buttons holding the hinge axis; later, the hinge axis was clamped in the sleeve and needed no buttons. The needle always carries a thorn-like projection on its perforated oval plate, which beats against the head of the fibula and, by virtue of this resistance, causes the suspension to spring forth. The sleeve hinge is used exclusively in bow fibulae. The needle is primarily rectilinear, but bends hand in hand with the flattening of the bow to the outside to continue to leave enough space between the bracket and needle. The sleeve hinge is considered a typical Roman construction. The paludamentum was usually worn over one shoulder and fastened with a fibula (ancient version of a safety pin). Arguments abound over what shoulder was exposed, but it seems fairly clear that the garment was fastened loosely enough to move around, The paludamentum was a cloak that was specifically associated with warfare. A general donned one for the ceremonial procession leading an army out of the sacred precinct of the city of Rome and was required to remove it before returning to the city…a sign that he was no longer a general, but a common citizen. The paludamentum or sagum purpura (purple cloak) was the iconic red cloak worn by a Roman general (Legatus) and his staff officers. Originally, it’s distinctive red/purple color clearly delineated between these officers and the rest of the army, which sported the sagum gregale (cloak of the flock). Although the sagum gregale, worn by the rank and file, started out the color of the flock (i.e. undyed wool), it seems likely to have transitioned to a coarser version of the sagum purpura by the imperial period (27BCE – 476CE). Outfitting the entire army in red garments would have been a mark of the great wealth of Rome – well, that and the fact that the Romans controlled the source of purple dye by then.The pin is now frozen through two millennia in a fixed position. Fibula 58mm x 28mm not including pin , pin is now rigid in position.

For example; With regards to some expert conservation methods of bronze objects {and some other materials} The dirt from the surface of the object could be removed manually using a scalpel under magnification. Care would be taken not to dislodge the powdery, corroding surface. Where the surface was in particualrly bad condition the dirt will be left in situ and small areas might be locally consolidated using 2.5% HMG Paraloid B72 (methyl ethyl methacrlylate) in 50:50 Acetone (propan-1-one/dimethyl ketone) and Industrial methylated spirits ethanol,methanol.
The above practice is just one form of conservation method also used by the British Museum.  read more

Code: 24610

Wonderful 12th-13th Century Crusader & Pilgrim Knight's Heraldic Seal Ring Of a Fantastical Beast The Manticore, A Human Headed Tiger or Lion. Used In Medeavil Heraldry On Shields, Banner, Accoutrements & Indicated To Which Noble Family A Knight Belonged

A superb naturally patinated bronze, realistically engraved with an intaglio of the Manticore a Man-Tiger or Man-Lion. For example, in the 1400's it was the Heraldic Badge of William Lord Hastings. Often used as a supporter for a noble coat of arms. The ring is also very unusual in that it is designed to be sectioned on the inside ring so as to be self adjusting for finger size.

The royal supporters of England are the heraldic supporter creatures appearing on each side of the royal arms of England. The royal supporters of the monarchs of England displayed a variety, or even a menagerie, of real and imaginary heraldic beasts, either side of their royal arms of sovereignty, including lion, leopard, panther and tiger, manticore, antelope and hart, greyhound, boar and bull, falcon, cock, eagle and swan, red and gold dragons, as well as the current unicorn.

In ancient Greek culture, the manticore represented the unknown lands of Asia, the area it was said to inhabit. In later times, the manticore was recognized by many Europeans as a symbol of the devil or of the ruthless rule of tyrants. This may have originated in the practice of using manticores as royal decorations, and heraldic devices.

The Manticore In Art, Literature, And Everyday Life
During the Middle Ages, the manticore appeared in a number of bestiaries, books containing pictures or descriptions of mythical beasts.

The manticore was also featured in medieval heraldry—designs on armour, shields, and banners that indicated the group or family to which a knight belonged.

The medieval Maniticore is featured in numerous medieval manuscripts known as Bestiary, a book written in the Middle Ages containing descriptions of real and imaginary animals, intended to teach morals, religion and to entertain.
The bestiary — the medieval book of beasts — was among the most popular illuminated texts in northern Europe during the Middle Ages (about 500–1500). Medieval Christians understood every element of the world as a manifestation of God, and bestiaries largely focused on each animal's religious meaning. Much of what is in the bestiary came from the ancient Greeks and their philosophers. The earliest bestiary in the form in which it was later popularized was an anonymous 2nd-century Greek volume called the Physiologus, which itself summarized ancient knowledge and wisdom about animals in the writings of classical authors such as Aristotle's Historia Animalium and various works by Herodotus, Pliny the Elder, Solinus, Aelian and other naturalists.

Following the Physiologus, Saint Isidore of Seville (Book XII of the Etymologiae) and Saint Ambrose expanded the religious message with reference to passages from the Bible and the Septuagint. They and other authors freely expanded or modified pre-existing models, constantly refining the moral content without interest or access to much more detail regarding the factual content. Nevertheless, the often fanciful accounts of these beasts were widely read and generally believed to be true. A few observations found in bestiaries, such as the migration of birds, were discounted by the natural philosophers of later centuries, only to be rediscovered in the modern scientific era.

Medieval bestiaries are remarkably similar in sequence of the animals of which they treat. Bestiaries were particularly popular in England and France around the 12th century and were mainly compilations of earlier texts. The Aberdeen Bestiary is one of the best known of over 50 manuscript bestiaries surviving today.These bestiaries held much content in terms of religious significance. In almost every animal there is some way to connect it to a lesson from the church or a familiar religious story. With animals holding significance since ancient times, it is fair to say that bestiaries and their contents gave fuel to the context behind the animals, whether real or myth, and their meanings.

UK size R1/2  read more

Code: 25481

A Rare Original Roman Gladiatrix, {A Female Gladiator} Size Bronze Ring, Early Imperial Roman Period. Featuring A Coliseum Barbary Lion in a Combat Pose Around 1900 Years Old

An amazing original historical ancient Roman artefact featuring a detailed intaglio hand engraving of a lion, in a gladiatorial standing pose, with its large mane and proud tail, from such as the gladiator and gladiatrix's arena in the Colosseum in Rome, from the time just before the Emperor's Marcus Aurelias and Commodus. The era superbly depicted in Sir Ridley Scott's blockbuster movie, Gladiator, starring Russell Crowe, and soon to be released Gladiator II.

The gladiatrix was a female gladiator of ancient Rome. Like their male counterparts, gladiatrices fought each other, or wild animals, to entertain audiences at games and festivals

Very little is known about female gladiators. They seem to have used much the same equipment as men, but were few in number and almost certainly considered an exotic rarity by their audiences. They are mentioned in literary sources from the end of the Roman Republic and early Roman Empire, and are attested in only a few inscriptions. Female gladiators were officially banned as unseemly from 200 AD onwards, but the word gladiatrix does not appear until late antiquity.
Tacitus writes of women of high status flaunting themselves in the arena during the time of Nero (Annals 15.32). Cassius Dio tells of the Emperor Titus putting on a combat where women were pitted against foes (Historia Romana, 67.8.4).

Petronius mentions a troupe of professional gladiators which included a woman fighting on a chariot (Satyricon 45). According to the gossipy Suetonius, the Emperor Domitian sponsored torch-lit combats at night between men and also between women (Domitian 4). Many Roman oil lamps feature gladiators, a handful of which show what seem to be female gladiators.

In copper bronze with stunning, natural age patination, in a regular female size of the time. By far the greatest percentage of rings from the Roman era were engraved in the stylised form, but a very small percent, perhaps less that .01 of a percent, were engraved in the realism form. This is one of those rare types of more realistic engravings.

The wearing of the ring was the prerogative alone of Roman citizens or those of high rank and esteem, that some gladiators always aspired to but rarely achieved due to their short life span within their violent craft. However some did achieve such great success and were rewarded with riches, freedom and the right to wear the traditional Roman bronze status ring.

Romans seem to have found the idea of a female gladiator novel and entertaining, or downright absurd; Juvenal titillates his readers with a woman named "Mevia", a beast-hunter, hunting boars in the arena "with spear in hand and breasts exposed", and Petronius mocks the pretensions of a rich, low-class citizen, whose munus includes a woman fighting from a cart or chariot.

Some regarded female gladiators of any class as a symptom of corrupted Roman sensibilities, morals and womanhood. Before he became emperor, Septimius Severus may have attended the Antiochene Olympic Games, which had been revived by the emperor Commodus and included traditional Greek female athletics. Septimius' attempt to give Romans a similarly dignified display of female athletics was met by the crowd with ribald chants and cat-calls.26 Probably as a result, he banned the use of female gladiators, from 200 AD.27

There may have been more, and earlier female gladiators than the sparse evidence allows; *McCullough speculates the unremarked introduction of lower-class gladiatores mulieres at some time during the Augustan era, when the gift of luxurious, crowd-pleasing games and abundant novelty became an exclusive privilege of the state, provided by the emperor or his officials. On the whole, Rome's elite authorities exhibit indifference to the existence and activities of non-citizen arenari of either gender. The Larinum decree made no mention of lower-class mulieres, so their use as gladiators was permissible. Septimius Severus' later wholesale ban on female gladiators may have been selective in its practical application, targeting higher-status women with personal and family reputations to lose. Nevertheless, this does not imply low-class female gladiators were commonplace in Roman life. Male gladiators were wildly popular, and were celebrated in art, and in countless images across the Empire. Only one near-certain image of female gladiators survives; their appearance in Roman histories is extremely rare, and is invariably described by observers as unusual, exotic, aberrant or bizarre.
The following historical quote from Antiquity is from Cassio Dios book of Roman History and is translated by Earnest Cary and Herbert Baldwin Foster. The succeeding quote is from Juvenals book Satire; which is translated by Niall Rudd.

“There was another exhibition that was once most disgraceful and most shocking, when men and women not only of the equestrian but even of the senatorial order appeared as performers in the orchestra, in the Circus, and in the hunting-theatre Colosseum, like those who are held in lowest esteem. Some of them played the flute and danced in pantomimes or acted in tragedies and comedies or sang to the lyre; they drove horses, killed wild beasts and fought as gladiators, some willingly and some sore against their will.”

“What sense of shame can be found in a woman wearing a helmet, who shuns femininity and loves brute force… If an auction is held of your wife’s effects, how proud you will be of her belt and arm-pads and plumes, and her half-length left-leg shin guard! Or, if instead, she prefers a different form of combat, how pleased you’ll be when the girl of your heart sells off her greaves! Hear her grunt while she practices thrusts as shown by the trainer, wiling under the weight of the helmet.”

A gladiator was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. Some gladiators were volunteers who risked their lives and their legal and social standing by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalised, and segregated even in death. However, success in the arena could mean riches and fame beyond their wildest dream. For many this was the greatest escape from slavery there was.

Irrespective of their origin, gladiators offered spectators an example of Rome's martial ethics and, in fighting or dying well, they could inspire admiration and popular acclaim. They were celebrated in high and low art, and their value as entertainers was commemorated in precious and commonplace objects throughout the Roman world.

The origin of gladiatorial combat is open to debate. There is evidence of it in funeral rites during the Punic Wars of the 3rd century BC, and thereafter it rapidly became an essential feature of politics and social life in the Roman world. Its popularity led to its use in ever more lavish and costly games.

The gladiator games lasted for nearly a thousand years, reaching their peak between the 1st century BC and the 2nd century AD the time of Emperor Commodus. Christians disapproved of the games because they involved idolatrous pagan rituals, and the popularity of gladiatorial contests declined in the fifth century, leading to their disappearance.

Commodus was the Roman emperor who ruled from 177 to 192. He served jointly with his father Marcus Aurelius from 177 until the latter's death in 180, and thereafter he reigned alone until his assassination. His reign is commonly thought of as marking the end of a golden period of peace in the history of the Roman Empire, known as the Pax Romana.
Commodus became the youngest emperor and consul up to that point, at the age of 16. During his solo reign, the Roman Empire enjoyed reduced military conflict compared with the reign of Marcus Aurelius. Intrigues and conspiracies abounded, leading Commodus to revert to an increasingly dictatorial style of leadership, culminating in his creating a deific personality cult, with his performing as a gladiator in the Colosseum. Throughout his reign, Commodus entrusted the management of affairs to his palace chamberlain and praetorian prefects, named Saoterus, Perennis and Cleander.

Commodus's assassination in 192, by a wrestler in the bath, marked the end of the Nerva–Antonine dynasty. He was succeeded by Pertinax, the first emperor in the tumultuous Year of the Five Emperors.

Most gladiators paid subscriptions to "burial clubs" that ensured their proper burial on death, in segregated cemeteries reserved for their class and profession. A cremation burial unearthed in Southwark, London in 2001 was identified by some sources as that of a possible female gladiator (named the Great Dover Street woman). She was buried outside the main cemetery, along with pottery lamps of Anubis (who like Mercury, would lead her into the afterlife), a lamp with the image of a fallen gladiator, and the burnt remnants of Stone Pine cones, whose fragrant smoke was used to cleanse the arena. Her status as a true gladiatrix is a subject of debate. She may have simply been an enthusiast, or a gladiator's ludia (wife or lover).17 Human female remains found during an archaeological rescue dig at Credenhill in Herefordshire have also been speculated in the popular media as those of a female gladiator

As with all our items it comes complete with our certificate of authenticity

*McCullough, Anna, “Female Gladiators in the Roman Empire”, in: Budin & Turfa (eds), Women in Antiquity: Real Women across the Ancient World, Routledge (2016), p. 958, citing Scholia in Iuvenalem Vetustiora, on Juvenal, Satire 6, 250-251 nam vere vult esse gladiatrix quae meretrix "for she really wants to be a gladiator who is a harlot"

Detail from the Villa Borghese gladiator and gladiatrix mosaic, AD 320, and discovered in 1834 (Galleria Borghese, Rome, Italy).

UK {female} size I approx. Slightly ovoid through ancient wear  read more

Code: 25465

Most Rare & Desirable, Status Ring, An Original Ancient Roman Bronze Ring Engraved With A Roman Legion’s Eagle Standard. An Image Of An Ancient Roman Legion's Standard Possibly For The Legion's Aquilfer {Standard Bearer} Circa 1700 Years Old

A fabulous Ancient Roman bronze Legionary's ring, from the era of Emperor Constantine The Great. The ovoid bezel is intaglio engraved with a Legionary Eagle, with its head turned to the viewers left (Aquila) with what appears to be the lightning bolt within its left claw. In superb, original, natural age patina of a rich dark bronze colour. The eagle was a powerful symbol to the Roman military. With each Roman legion a special eagle-bearer (aquilifer) had the honour of carrying the Legionary Eagle standard into battle and to guard its existence. Unusually, it is a comfortably wearable sized ring {which is somewhat rare due to original ancient Roman rings and armilla being usually smaller sized} In copper bronze with stunning, natural age patination.. By far the greatest percentage of rings from the Roman era were engraved in the stylised form, but a very small percent, perhaps less that .01 percent, were engraved in the realism form. This is one of those rare types of more realistic engravings. The wearing of the ring was the prerogative alone of Roman citizens or those of high rank and esteem, and legionaries. Some gladiators always aspired to but rarely achieved the ring likely due to their short life span within their violent craft. However, some did achieve such great success and were rewarded with riches, freedom and the right to wear the traditional Roman bronze status ring.

The decisive moment in the civil war of 312 ad came when Constantine I defeats his rival’s armies at the Battle of Turin – Constantine I also defeats forces loyal to Maxentius. At the Battle of Verona – Constantine I defeats more forces loyal to Maxentius. An on the 28 October – Battle of Milvian Bridge – Constantine I defeats Maxentius and takes control of Italy. Constantine was now in full control of the Roman West. But, more importantly, the victory over Maxentius marked a crucial threshold in the Roman Empire’s history. Apparently, prior to the battle, Constantine saw a cross in the sky and was told: “In this sign shall you conquer.” Encouraged by the vision, Constantine ordered his troops to paint their shield with the chi-rho emblem (initials symbolizing Christ). The Arch of Constantine, built to commemorate the victory over Maxentius, still stands in the centre of Rome.


The eagle was a powerful symbol to the Roman military. With each Roman legion a special eagle-bearer (aquilifer) had the honour of carrying the Legionary Eagle standard into battle and to guard its existence.

During a battle, the standard was carried by the aquilifer, or "eagle-bearer."

The standard was the mode of communication for generals and troops. A horn blast would instruct the soldiers to look to the emblem, then the aquilifer would wave, raise, or lower it to direct the troops on their next move.

The bearer was also tasked with guarding the standard. In terms of rank, aquilifers fell just underneath centurions. Within the legion, they received higher pay and better rations than the typical soldier.

The standard served as a symbol to place the legion as a collective above the individual. Losing a standard was emotionally devastating because of its intense symbolism. When one was lost in battle, the surviving legionaries were left in shame for failing their fallen brothers in arms. The group promptly disbanded and members devoted themselves to reacquiring the lost icon.
Standards often included an image of the reigning emperor or his name beneath the eagle, adding to the importance of the symbol. In many instances, the eagle on the standard was perched above an orb, signifying Rome's dominion over the entire world.

Subdivisions of legions each carried a smaller standard that identified their group number or name. These were used to quickly assemble the components of the legion when mobilizing for battle.
Some of the most famous standards in Roman history were the ones lost at the Battle of Teutoburg Forest in 9 AD. During a long campaign to conquer Germania, the tribes lured three legions into the forest and launched a guerilla warfare campaign, slaughtering the Roman soldiers.

In 16 AD, General Germanicus led his Roman troops into Germania to seize the lost standards, crossing borders established by Augustus.
Eagles played a central role in Roman life and culture, right from the society's inception.

The aquila, or eagle, is one the most enduring symbols of Roman civilization.

While different animals and mythological creatures served as meaningful signifiers throughout the Republic and Imperial eras, the eagle continuously symbolized power and authority.

In the city's founding myth, the brothers Romulus and Remus agreed to settle their dispute over where to build their kingdom by letting the gods decide. Remus spotted six eagles and Romulus later spotted twelve of the birds.
The eagle was considered majestic and transcendent, to the point that live birds were often caged on emperors' funeral pyres. Once they broke free and flew skyward, the Romans considered it a manifestation of the deceased emperor's transition to godhood.

Ancient Romans esteemed the eagle and adopted it as a symbol of victory. Pliny the Elder wrote extensively on eagles, noting that they possessed excellent eyesight and were skilled parents.

Symbolically, he claimed eagles were the only creature immune to lightning strikes, underscoring their divinity. Up to modernity, eagles are depicted with lightning bolts clutched in their talons.
The earliest standard used by the Roman army was a bundle of straw affixed to a tall staff. Over time, the Romans began using emblems of eagles, wolves, minotaurs, horses, and boars.

Following a crushing defeat in 105 BC at the Battle of Arausio during the Cimbrian War, the Romans completed a self-assessment. The consul Gaius Marius led a reorganization of the military structure. Marius' reforms transformed the Roman legions from a loose militia into a professional fighting force.

As part of the restructure, he declared the eagle as the military's standard and retired the other four creatures mentioned above. Putting the emphasis on the eagle was meant to place its central qualities, bravery and power, at the forefront of the army's identity.

From the mid-Republican era onwards, the standard was a bronze or silver Aquila with spread wings.

Emperor Constantine the Great
Emperor Constantius died in York, England. The system of succession at the time demanded that another Caesar should become emperor but the soldiers in York immediately proclaimed Constantine their leader. It proved to be a pivotal moment in history. He is known as Constantine the Great for very good reasons.

After nearly 80 years, and three generations of political fragmentation, Constantine united the whole of the Roman Empire under one ruler. By 324 he had extended his power and was sole emperor, restoring stability and security to the Roman world.

Constantine also abandoned Rome as the most important city in the empire, building a new capital modestly named Constantinople (now Istanbul). In the next two centuries, Rome and Italy became vulnerable to barbarian invasions. The much more easily defensible Constantinople lasted for another thousand years.

Finally, and perhaps most famously, Constantine’s strong support for Christianity had an incalculable impact on European history. He is said to have been converted to the faith in AD 312, although this has not been corroborated.

At the time only around ten per cent of the Roman empire’s population was Christian. The majority of the ruling elite worshipped the old gods of Rome. Constantine was the first emperor to allow Christians to worship freely, helping to unite and promote the faith. He went on to instigate the celebration of the birth of Christ we call Christmas.

One image in the gallery is of The Battle of the Milvian Bridge that took place between the Roman Emperors Constantine I and Maxentius on 28 October AD 312. It takes its name from the Milvian Bridge, an important route over the Tiber. Constantine won the battle and started on the path that led him to end the Tetrarchy and become the sole ruler of the Roman Empire. Maxentius drowned in the Tiber during the battle; his body was later taken from the river and decapitated, and his head was paraded through the streets of Rome on the day following the battle before being taken to Africa.
*Note behind the mounted figure of emperor Contantine is the emperor's legion's eagle standard, held aloft by his aquilfer.

Outside diameter: 22mm, UK size Q1/2, US 8.25 Signs of light wear consistent with age and use, yet still wearable.  read more

Code: 25475