Ancient Viking Gemstone Clawset Bronze Ring. Circa 9th Century. 1820 Grand Tour Souvenir from Northern France

Like many of our selection of antiquities, many originally arrived in England as souvenirs of a Grand Tour, from around 200 years ago,

Like many of our selection of antiquities, many originally arrived in England as souvenirs of a Grand Tour, from around 200 years ago. Two such pieces are gemstone claw-set Viking rings, around 1200 years old from Normandy, Northern France


Richard Lassels, an expatriate Roman Catholic priest, first used the phrase “Grand Tour” in his 1670 book Voyage to Italy, published posthumously in Paris in 1670. In its introduction, Lassels listed four areas in which travel furnished "an accomplished, consummate traveler" with opportunities to experience first hand the intellectual, the social, the ethical, and the political life of the Continent.

The English gentry of the 17th century believed that what a person knew came from the physical stimuli to which he or she has been exposed. Thus, being on-site and seeing famous works of art and history was an all important part of the Grand Tour. So most Grand Tourists spent the majority of their time visiting museums and historic sites.

Once young men began embarking on these journeys, additional guidebooks and tour guides began to appear to meet the needs of the 20-something male and female travelers and their tutors traveling a standard European itinerary. They carried letters of reference and introduction with them as they departed from southern England, enabling them to access money and invitations along the way.

With nearly unlimited funds, aristocratic connections and months or years to roam, these wealthy young tourists commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.

The wealthy believed the primary value of the Grand Tour lay in the exposure both to classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. The youthful Grand Tourists usually traveled in the company of a Cicerone, a knowledgeable guide or tutor.

The ‘Grand Tour’ era of classical acquisitions from history existed up to around the 1850’s, and extended around the whole of Europe, Egypt, the Ottoman Empire, and the Holy Land.

There were two Norse sieges of Paris. The first was in 845; and though a fairly minor affair in terms of battle, it had great symbolic significance. The second was roughly two generations later, in 885-886; was much larger (and deadlier); and had greater direct ramifications. Before the first siege, Viking raids were a new and growing problem for the peoples of Western Europe; but hitherto raids had been made by relatively small war bands bent on plunder. The Scandinavian adventurers might sack monasteries or villages, but would usually shun larger, better defended targets (Churchill, 1956). However, success was making the Norsemen bolder.

Aware of this growing threat, the aging emperor, Charlemagne, built a series of maritime defenses to protect his coasts and rivers from these new dragon ships. For the first few decades, the defenses worked; but the Vikings were growing in number, ability, and ambition and a new breed of leaders was coming to the fore. One of these leaders was a man the Frankish chroniclers call Reginheri; but who has since been widely equated with the semi-legendary figure Ragnar Lothbrok (Dzhak, 2016). Under Ragnar, Vikings were ready to step foot on the world stage. They were ready to capture the jewel of Western Europe, the city of Paris.

So, in Spring of 845, 120 dragon ships carrying about 5000 Scandinavian warriors, broke through the late emperor’s defenses and surrounded the walled city of Paris (Dzhak, 2016). In the ninth century, Paris was already more than a thousand years old. It was wealthy from its position as a trading center, and was the seat of one of Charlemagne’s three competing heirs, Charles the Bald. At this time, the heart of the city was confined to the islands in the center of the Seine, the Île de la Cité where the cathedral of Notre Dame stands today. This position made Paris eminently defensible in the eyes of the Frankish elite that ruled there; but it made it easily surrounded by the ship-born Vikings.  read more

Code: 26431

A Stunning & Most Rare Large Viking Bronze Stylus With Bulbous Finial and Circular Eraser for Wax Tablets. Similar to Another In Oldsaksamlingen, Historisk Museum, Oslo, Norway. 9th Century. Often Buried With a High Rank Viking To Take To The Afterlife

A typical 9th-century Viking bronze stylus was dual-purpose, operating as both a pen and an eraser:

These styli were used to compose temporary text, layout draft designs, and teach literacy. They were utilized for writing everything from Norse runes to Latin and Glagolitic characters depending on the trade network. Because metal writing tools were expensive and wax tablets required specialized upkeep, styli are typically recovered from high-status trading hubs, early Christian churchyards, or rich pagan burials where merchants and elites wanted to take their prized tools to the afterlife

Extant examples from this era show incredible regional variety. For example, a 9th-10th century bronze stylus found in Borre, Norway features an intricate bulbous finial formed by curved bands, while other regional variants found across Eastern Europe (such as the Kievan Rus spheres) display highly unique zoomorphic symbols or attached suspension rings
The opposite end featured a flattened, widened, or bulbous decorative side. This was used to smooth or flatten the wax out, essentially "rubbing out" mistakes or clearing the tablet so it could be reused.

The Viking afterlife
Valhalla: Odin's golden hall in Asgard, where half of the elite warriors slain in combat are chosen by the Valkyries to train and feast in preparation for Ragnarök.
Fólkvangr: The "field of the host" ruled by the goddess Freyja, who claims the other half of those who fall in battle. Poetic Edda poem Grímnismá.
Fólkvangr er inn níundi,
en þar Freyja ræðr
sessa kostum í sal;
halfan val
hon kýss hverjan dag,
en halfan Óðinn á.
Rán's Realm: An underwater domain beneath the waves presided over by the sea goddess Rán, welcoming those who drowned at sea.

The Schøyen Collection (MS 1987/12): Houses a famous Viking Stylus from Norway dating to the 9th–10th century. Discovered near Borre, Vestfold, it is an 18 cm bronze piece featuring a round, flattened eraser.
7.5 inches long  read more

Code: 26422

Louis XVI Portico Clock Signed François-Pierre Jolly Known as Gaston-Jolly in White and Black Marble and Gilt Bronze Ornamentation, Enamel Dial Surrounded by a Large Laurel Wreath Sumounted by Four Columns. Napoleonic Directoire Period

Each of the four columns are encircled with gilt bronze foliage, rich decoration of urns, flowers, acorns and chains, radiating mask pendulum, small toupie feet, from the late 18th century to early 19th century Napoleonic era.

François-Pierre Jolly, known as Gaston-Jolly, is one of the most important Parisian horologists of the late 18th century and the early 19th century. After he became a master, on May 6, 1784, he established his workshop in the rue de Arcis and quickly earned a reputation among Parisian horological connoisseurs. During the Directoire and the Empire, he created several clocks, which were sought-after due to the quality of their movements and their original compositions. He is recorded first in the rue Pavée Saint-Sauveur from 1810 to 1820, then in the boulevard Poissonnière in 1820. Certain of his creations were recorded during the Empire as belonging to important collectors of the day, such as the wife of Charles-Philibert-Marie-Gaston de Lévis, comte de Mirepoix, la comtesse Alexandrine-Marie-Julie-Félicité de Montboissier-Beaufort-Canillac. See picture five in the gallery of her portrait in the Louvre. She is widely believed to be the subject of Jeune femme attachant un bouquet de fleurs (around 1784), a miniature portrait painted by Jacques-Antoine-Marie Lemoine. The piece is housed in the Department of Prints and Drawings at the Louvre Museum. Her father, Philippe-Claude de Montboissier-Beaufort-Canillac, marquis de Montboissier was executed by guillotine in 1794, during the French Revolution.

Another famous collector of Jolly's clocks was Bernard-Charles-Louis-Victor, Marquis de Lostanges, Napoleon’s Chamberlain. During the First Empire, Lostanges-Béduer was noted among Parisian connoisseurs and collectors of luxury decorative arts, notably acquiring fine horological works from renowned clockmakers such as François-Pierre Jolly. Lostanges-Béduer died in 1812, the same year as Napoleon's ill-fated Russian campaign, in which many officers of the Imperial Household participated.

Picture 5 in the gallery is a portrait of renown Gaston {François-Pierre} Jolly clock collector, now in the Louvre 'Jeune femme attachant un bouquet de fleurs (around 1784), a miniature portrait painted by Jacques-Antoine-Marie Lemoine.'  read more

Code: 26430

A Superb Victorian & WW1 Senior Naval Officer's Sword Bicorn Hat and Eppaulettes All In Superb Condition With Profile Shaped Helmet Storage Tin and EppauletteTransit and Storage Case

The sword is in fabulous condition with all its original mercurial gilt to the hilt and scabbard mounts.

The 1827 Pattern British Royal Navy Officer's Sword was introduced during the reign of George IV, replacing the 1805 spadrun pattern. It features a half-basket gilt-brass hilt with a crowned fouled anchor, a lion-head pommel, a white fishskin (shagreen) or ray-skin grip bound with wire, and a distinctive hinged folding inner guard designed to lock into the scabbard pin. Early versions used a "pipe-backed" blade style until 1846, when standard fullered and straight blade specifications evolved

the Royal Naval Bicorn hat is is very nice condition within its original bicorn profile shaped tin case with name plate.

A lovely officers silk bicorn with bullion scrolls and King's Crown buttons for King Edward VIIth. The bicorne or bicorn (two-cornered) is an archaic form of hat widely adopted in the 1790s as an item of uniform by British naval officers. It is readily associated with Napoléon Bonaparte and Admiral Nelson, but in practice most generals and staff officers of the Napoleonic era, of all European nations wore bicornes, and it survived as a widely worn full-dress head dress until at least 1914 in the Navy.

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: 26429

Japanese Koto, Sengoku Period, 500 Year Old Samurai Mounted Combat and Court Sword. Original Edo Era Mounted Ito-Maki No Tachi, With Original Edo Black and Red Tsugaru-nuri (津軽塗) With the Kara-nuri (唐塗) Technique Urushi Lacquer Saya.

Japanese Court Sword Ito-Maki No Tachi, blade cms signed Koto period, straight itame hada and hamon, in tachi koshirae, Edo period silk Ito bound over samegawa ( giant rayskin) tsuka, engrave, sinchu mounts with fine engraving, gilt dai seppa aoi tsuba with seppas, in its Tsugaru-nuri (津軽塗) lacquered saya with binding and mounts en-suite with hilt.
Traditional Japanese Tsugaru-nuri (津軽塗) lacquerware finish, specifically featuring the Kara-nuri (唐塗) technique in a red and black (Nashi-guro / 梨黒) colourway with metallic powder accents.

Kara-nuri It features a mottled, speckled, or raindrop-like abstract pattern created through a painstaking traditional process involving up to 48 separate steps of applying layers of colored lacquer, drying, and polishing.
Artisans use a specially notched spatula (called a shikake-bera) to carve patterns into the layered lacquer before sanding and polishing it down to reveal the colourful, organic strata beneath.

Tsugaru-nuri is a renowned traditional craft from Aomori Prefecture, Japan, celebrated for its intricate multi-layered application of lacquer, distinctive speckled patterns, and extreme durability.

A tachi (太刀) is a traditional, single-edged, curved Japanese sword worn by the samurai class, predominantly used during the Kotō period (900–1596). It is the historical predecessor to the iconic katana.

Measuring typically longer than the katana, the tachi was designed primarily for cavalry warfare. Its pronounced, deep curvature (especially near the hilt) made it exceptionally effective for delivering powerful, sweeping slicing cuts while riding a horse. Even after the mass-infantry-focused katana overtook it in popularity during the Muromachi period, the tachi remained a highly revered status symbol worn by high-ranking samurai for in the daimyo's or shogun's court.

In the Sengoku period (1467–1615) or the Azuchi–Momoyama period (1568–1600), the itomaki tachi (itomaki no tachi, 糸巻太刀), which means a tachi wound with thread, appeared and became the mainstream of tachi after that. Itomaki tachi was decorated with lacquer decorations with many maki-e and complex coloured threads, and could used for presentation, a ceremony, or an offering to the kami of Shinto shrines.

In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of the ruling class wore their sword tachi-style (edge-downward), rather than with the scabbard thrust through the belt with the edge upward. This style of swords is called handachi, "half tachi". In handachi, styles were often mixed, for example, fastening to the obi was katana style, but metalworking of the scabbard was tachi style.

Overall condition very good indeed, the Edo period silk Ito binding is age worn but only as to be expected for 160 year old silk.
Photographed as is at present, we are awaiting the blade to be expertly cleaned to reveal its hidden beauty, it will then be photographed in detail.

Blade 27.3 inches long, 38 inches overall  read more

Code: 26428

A Most Fine Original, Antique, Early Napoleonic Wars Period 19th Century Antique North African Moukhala Snaphance Lock Gun With Wonderful Intricate Silver Wirework Inlay & Ivory Butt Plate

The lock is an Arabian North African made version of a Dutch snaphance. The lock plate is 20 cm long, and is of considerable thickness and is shaped with a decorative finial at the tail and a simple point at the front. Screwed to it is a long deep gutter shaped pan whose outer end is closed by a thick iron disc having its outer face covered in sheet silver. The flat-faced cock has a prolonged tail that engages with the nose of the horizontal sear where it protrudes through the plate and is arrested by a buffer screwed to the plate. The square frizzen is operated on by a spring whose outer edges are filed to a waved shape. The rod that links the tumbler with the pan cover is missing. The lock is fastened to the stock by three dome headed screws
There is a circular makers mark stamped on the outside of the lockplate below the buffer.

A most similar example in the Royal Armouries collection was made by tradition for the Viceroy of Tetuan, Morocco in the early 19th century

At present in the Leeds Armoury, Asian and African Gallery.

In inlaid silver there is an Islamic inscription that 'may' translate to "Allah (God) is sufficient for me, and He is the best disposer of affairs." (Alternatively: "Sufficient for us is Allah, and He is the best Disposer of affairs.")
This phrase comes directly from the Quran (Surah Ali 'Imran, 3:173). Inscriptions of this form are notoriously difficult to interpret, as they can use numerous different forms of Islamic script .

حسبي الله ونعم الوكيل

This type of flared butt musket is typical of Tetuan, in Morocco, see A C Tirri, Islamic weapons, Maghrib to Moghul, 2003, fig. 2. A7.722 centre gun.

These are often called Kabyle guns.
Cites registered.

Not suitable for export, UK mainland sale only.  read more

Code: 26427

Some of The Best Ideas For Christmas Have Come From The Lanes Armoury, Britain's Favourite & One Of The Oldest Families of Antique Collectors Shops. Our 105th Christmas, and Still Counting

Now is the time to choose that perfect gift for Christmas, even if it's for yourself!!

Unique, ancient, antique and vintage beautiful items are our speciality, and be sure and certain that anything from us will be the best choice you can make this Christmas time.

Every item will be accompanied with our unique, presentation quality, 'Certificate of Authenticity' that will not only fully certify it's genuineness, but it will detail the circumstance of it's origin, and where and when it may have been used in it's specific or generic history.

And please be further assured, all gift purchases may be changed after Christmas for any form of suitable alternatives.

"Doesn't someone you know deserve something unique from The Lanes Armoury"

The Lanes Armoury once described by the 'New York Times' as one of the very best stores to visit when in Europe.
A living, breathing gallery containing a huge ‘Cabinet of Curiosities’ containing thousands of original pieces from the ancient long past, to the near recent.

We are certainly not the biggest premier store in Europe recommended by the New York Times, in fact we are probably the smallest, but what we lack in size, apparently, we more than make up for in amazement, and, we have been doing so for over 100 years

For example, we added recently items that range from an Ancient Roman Republic centurian's bronze shield boss, some incredible samurai swords, many museum pieces, plus a sword once used by one of Napoleon's generals, and numerous other Napoleonic wars swords.  read more

Code: 24523

An Original And Beautifully Exotic North African or Arabian Heavily Decoratively Inlaid Snaphaunce Lock Kabyle Musket With 7 Florid Engraved Silver Cappuchines (Barrel Bands) Circa 1790 to 1820 with Carved Butt

Kabyle Flintlock Musket (Moukhala) with sheet silver and bone decoration, late 18th C.Steel, wood, sheet silver, bone, brass. Long North African flintlock musket of Moukhala type with smooth round barrel, secured by multiple capucines clad in sheet silver. Flintlock with fine engraving and sheet silver overlay. Straight wooden stock with carved flat butt, and rich bone inlay decoration and sheet silver mounts in florid patterns. Ramrod present. Wedge-shaped shoulder rest with characteristic ribbed structure and bone appliqués. The stock and trumpet-shaped butt is enhanced with a carved butt.
With a good Snaphaunce lock of 17th century style form, fine detailed engraving around the stock, distinctive deep flattened butt, and the stock is inlaid.

Two systems of gunlock prevailed in Kabyle guns, one, which derived from Dutch and English types of snaphance lock, usually with a thicker lockplate. Half cock was provided by a dog catch behind the cock. At full cock, the sear passing through the lockplate engaged the heel of the cock. The other mechanism was the so-called Arab toe-lock, a form of miquelet lock, closely allied to the agujeta lock (which required a back or dog catch for half cock) and the Italian romanlock. The term miquelet is used today to described a particular type of Snaplock. The miquelet lock, in all varieties, was common for several centuries in the countries surrounding the Mediterranean, particularly in Spain, Italy, the Balkans, and the Ottoman Empire domains including the coastal states of North Africa. The type of musket would be described as a Kabyle snaphance

The Moukhala is the traditional flintlock musket of the Berbers and Kabyles of North Africa, particularly the Algerian Kabylia region. The elaborate decoration with sheet silver mounts and bone inlays identifies this as a high-quality piece, possibly intended as a ceremonial or prestige weapon. The flintlock shows influences of the Miquelet type, which reached North Africa via the Spanish and Italian arms-making traditions. Comparable examples are held by the Metropolitan Museum of Art, New York, and the Royal Armouries, Leeds.

This example is all locally made, and probably originates from anywhere from Morocco in the West to Saudi Arabia in the East. It features a very attractive snaphaunce style lock.

King Philip III of Spain signed an EDICT OF EXPULSION in 1609 to purge the nation of over half a million "Moors" who had arrived in Spain over the previous 500 years. These unfortunates were compelled to return to their ancestor's lands in North Africa. When leaving they took many "Western Skills" learned in Spain with them. Gunmaking was one such skill and a contingent of Muslim Gunsmiths set up in the City of Tetuan in what we now call Morocco.


They continued to make the latest style of firearms then dominant in Spain which was the Snaphaunce system, a forerunner of the traditional flintlock soon to be introduced in France.These Arab made long guns intended for use from the saddle of a Camel were smooth bored but surprisingly accurate and production of the same ignition system continued for over 200 years and more even through the late Victorian era.

What we offer here is a beautiful example of the snaphaunce muskets made between 1800 and 1820 using the finest materials available in the region, and enhanced in masses of Coin Silver most likely smelted from Spanish 16th and 17th century "Treasure" looted or mined in South America.
In Europe these most distinctive and elaborate Snaphaunce guns gained great favour in the Elizabethan era and their influence was greatly felt in Arabia, originally along the eastern trade routes, that were travelled and used by early Europeans in order to buy the finest eastern silks, gemstones & spices. They were continually used in the Middle East and the Maghrib long after they had become unfashionable in Europe. One of the most renown Berbers in history was Saint Augustine it is said of him "Of all the fathers of the church, St. Augustine was the most admired and the most influential during the Middle Ages ... Augustine was an outsider - a native North African whose family was not Roman but Berber ... He was a genius - an intellectual giant" Interestingly this gun would have been likely last used in the resistance battle against French colonial conquest of Algeria, and one of the most famous was a woman, a warrior leader called Lalla Fadhma n'Soumer (born Fadhma Nat Sid Hmed in Abi Youcef, Algeria c.1830) She was an important figure of the Algerian resistance movement during the first years of the French colonial conquest of Algeria. She was seen as the embodiment of the struggle. Lalla, the female equivalent of sidi, is an honorific reserved for women of high rank, or who are venerated as saints. Fadhma is the Berber/French spelling of the Arabic name Fatima, which is colloquially pronounced Fatma in most Arabic dialects as well as Berber

One of a Kind. The Kabyle (sometimes Jezzail from the Arabic) is a simple, cost-efficient and typically handmade muzzle-loading long arm commonly used in the Middle East region in the past. These were all highly personalized, so no two were alike.

Barrel 43.5 inches long, overall 58 inches

Not suitable for export. UK mainland sale only.  read more

Code: 26425

A Simply Stunning & Unique 'Good King Wenceslas' Art Nouveau Original Illuminated Calligrafic Manuscript Watercolour, From The Golden Age of illustration, By Arthur B Packham. In The Manner Of Alberto Sangorsky. Calligrapher and Illuminator for Riviere

This wonderful original illuminated manuscript would make a superb and most pertinent Chistmas Gift, or a singularly fine addition to any collection of rare works of art, especially dedicated to the golden age of illustration

Circa 1897. A.B.Packham's artistry, calligraphy and illumination is incredibly similar to renown calligraphic illuminated manuscript artists Alberto Sangorsky, and William Morris. Sanghorsky was the Calligrapher and Illuminator for Riviere & Son world reknown bookbinders. His works within bound volumes, that are including his original manuscripts, can achieve from £20,000 to over £150,000. Sangorski's profession was as a secretary to a goldsmith until he was 43 years of age, whereupon he began to create works for his brother at Riviere and Sons.

The first two lines and last two lines of the carol's first verse are part of the calligraphy on pure gold leaf.

The painting is in two sections, Good King Wenceslas observing from his window, {the second section} a poor man gathering winter fuel.

Good King Wenceslas looked out
On the feast of Stephen,

When a poor man came in sight,
Gathering winter fuel.

The words to the carol were written in 1853 by John Mason Neale but the melody is much older – it’s a 13th-century tune called ‘Tempus adest floridum’ in praise of the spring.

The carol was written for the Feast of St Stephen, better known as Boxing Day. And it celebrates the long tradition of charitable giving on the Second Day of Christmas.

It’s become one of the best loved carols ever written – and was even performed by The Beatles.

A. B. Packham was an architect by profession but illustrated several books based around country properties and walks around Sussex. Being a professional man, apparently, he had no interest in marketing his skillful works, so very few of his watercolurs are recorded. This example has to be one of his premier works.
Whether he followed the art of his famous contemporary, Alberto Sangorski, or followed his own path is not known, but his artistry is superb, and this wonderful piece may have been created for a book that we are currently unaware of.

The combination of "Art Nouveau" and "illuminated manuscript watercolours" describes a modern artistic approach that blends the decorative, organic style of Art Nouveau with the historical techniques of illuminated manuscripts, often using watercolor as the primary medium for modern creations. This fusion results in contemporary works that feature Art Nouveau's characteristic flowing lines, nature-inspired motifs (like tendrils and organic forms), and intricate details, but are created on a modern medium and often utilize watercolor techniques for coloring and shading. It is distinct from the original medieval practice of illuminated manuscripts, which used pigments like tempera and gouache, not watercolors

Key characteristics
Art Nouveau's influence: Incorporates the style's hallmarks, such as sinuous, organic lines, natural forms, and complex decorative patterns.
Illuminated manuscript tradition: Draws inspiration from historical manuscripts, often focusing on decorative initial letters and intricate borders.
Watercolor medium: Uses watercolor for coloring, shading, and creating effects, unlike the historical use of pigments like tempera or gouache.
Nature-inspired motifs: Features designs rooted in nature, such as flowers, leaves, and other botanical elements.

In frame 11.5 inches x 8.75 inches, the manuscript is 8.75 x 5.75 inches

Within its original wooden banded frame {bearing a couple of nicks}

Interestingly it was framed over 125 years ago by our former neighbours, W. Stepney gilders and frame makers in Bond St. Brighton  read more

Code: 25957

A Roman or Pre-Roman Copper-Alloy Bronze Shield Boss {Umbo} Featuring A Stunning Lions Head and Mane. 3rd Century To 1st Century BC. Made and Used During the Roman-Etruscan Wars Era 509-264BC

A Roman or pre-Roman bronze shield boss (umbo), likely from the area later known in the Republic Era of Augustus as Italia, featuring a lion's head was a rare, striking piece of military hardware designed to intimidate opponents and display strength or status on the battlefield. Roman-Etruscan wars era, 509-264 BC.

Shaped or hammered into a bold lion's portrait with prominent facial features (eyes, nose, ears, and mane).
The lion image was intended to inspire courage in the wearer and strike fear into the enemy.

While standard Roman legionary shields (scuta) typically featured iron or plain bronze bosses to protect the center grip, specialized or decorative lion-head bosses were sometimes linked to cavalry units (such as a turma), senior officers, or parade/ceremonial armour.
Similar lion-emblem shield traditions trace back earlier through Etruscan and Mediterranean metalwork (dating from the 7th–5th century BC onwards) before appearing in Roman-era contexts around the 1st to 3rd century AD.

The Copper-Alloy Bronze Lion's Head Shield Boss, most similar to ours, {see photo in the gallery} is displayed as an object spotlight in Segedunum's 'Following the Eagle' exhibition, in North East England, this striking bronze shield boss featuring a bold lion's head design was uncovered near the Vindolanda Roman Fort along Hadrian's Wall  read more

Code: 26418