Antique Arms & Militaria

A Wonderful, Around 1200 Year Old Original Viking Bronze Ring, Four Claw Bezel Setting With Its Original Amber Glass Cabochon Gem. Punched Dot Decor Around The Ovoid Surround Of The Claw Setting

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 were Viking rings, around 1200 years old, recovered from Normandy, Northern France. Likely from the Viking sieges of Paris.

Although feminine in its appearance men wore such rings as did female Viking warriors.

While the majority of Viking warriors were men, some women actively participated in combat as shieldmaidens, and their presence is attested in historical texts and archaeological findings.

A notable example is the Birka female Viking warrior, whose grave was found to contain weapons like a sword, ax, spear, and shields. DNA analysis confirmed the individual was female, challenging earlier assumptions that the grave belonged to a male warrior.

Viking sagas and historical accounts mention shield-maidens, women who fought alongside men. These stories often depict them as skilled warriors, sometimes even legendary figures. Valkyries: In Norse mythology, Valkyries were female figures who chose which warriors would die in battle and be taken to Valhalla.
The evidence suggests that while Viking women warriors were not the norm, their presence in battles and as figures in legends and sagas is undeniable. The discovery of the Birka female warrior { a Viking warrior, whose grave was found to contain weapons like a sword, ax, spear, and shields. DNA analysis confirmed the individual was female, challenging earlier assumptions that the grave belonged to a male warrior.} and other archaeological finds, along with historical accounts, have contributed to a more nuanced understanding of the role of women in Viking society and warfare.

Saxo Grammaticus reported that shield-maidens fought on the side of the Danes at the Battle of Brávellir in the year 750:
"Now out of the town of Sle, under the captains Hetha (Heid) and Wisna, with Hakon Cut-cheek came Tummi the Sailmaker. On these captains, who had the bodies of women, nature bestowed the souls of men. Webiorg was also inspired with the same spirit, and was attended by Bo (Bui) Bramason and Brat the Jute, thirsting for war."

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.

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.
1 inch, maximum ext. size, UK ring size, 0 1/2

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of trading  read more

Code: 25803

A Most Attractive, Serpent, Bronze Age Power Bracelet, Armilla, & Arm Ring. A Fabulous 1000 B.C. Arm Adornment, With Most Beautiful Natural Aged Patination Colour of Rich Emerald Green, In Superb Condition With Substantial Heft & Gravitas

Ancient Bronze Age, in D section form, around 3000 years old.

Armillae , bracelets worn by the Ancient Romans, in both the early republic era and the later imperial age, from Augustus, the 1st Emperor, thereafter. They were always a sign of status and power, alongside the status ring, and often, when the shape of a serpent, they were to represent renewal and immortality.

The serpent was associated with the goddess Salus protector of health and well-being, making these bracelets highly sought after in ancient civilizations. In the pre-Roman era they often had a connection to Cernunnos, the ram horned serpent. A Celtic pagan deity, sometimes depicted with horns, and, as a serpent, Cernunnos represents the earth, fertility, and the cycles of nature.

In recovered ancient art and statuary one can see great warriors and nobles adorned with such serpent based arm rings, especially in Ancient Egypt representing the Sacred Serpent Goddess Wadjet

Snake jewelry was not limited to Egypt in the Ptolemaic and Roman Periods, and, in fact, was not a traditional Egyptian sort of jewelry adornment before the Ptolemaic Period although it was very popular as an art form. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC, and spread to Greece in the fifth century BC, and came to Egypt mainly with the Ptolemaic Dynasty. In Greek culture there were certainly healing associations with snakes, but there may have been other associations, too.

Pictures in the gallery are of Ancient Egyptian wall art from tombs, depicting figures adorned with Wadget snake Goddess bracelets, arm rings, and crowns. Detail, from the second gilded shrine of King Tutankhamen, 13th century BCE

(Left) detail paintings of “The Roses of Heliogabalus,” Lawrence Alma-Tadema, 1888 | (Right) and “Portrait of Simonetta Vespucci,” Piero di Cosima, 1480

Gold Snake Rings, Roman Period, 1st century AD, the Metropolitan Museum of Art

2.6 inches across, just under 3 ounces in weight, maximum thickness 0.4 inch  read more

Code: 25804

Ancient Roman Gladiator's Aes Corinthiacum Bronze Ring, Of A Colosseum Barbary Lion Late Old Republic Era To Early Empire Period. Over 2000 Years Old. Made & Used From the Reigns of Julius Caeser to Emperor Trajan

Over 2000 years old. Unusually it is a good wearable size. UK size R

*Corinthian bronze, also named Corinthian brass or aes Corinthiacum, was a metal alloy in classical antiquity. It is thought to be an alloy of copper with gold or silver (or both), although it has also been contended that it was simply a very high grade of bronze, or a kind of bronze that was manufactured in Corinth.

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. Gladiators rings would be intaglio engraved depicting the exotic and fearsome beasts they fought, such as Lions, Tigers, Bears, Rhinocerous or even Sharks in giant water tanks complete with ships, or, armoured gladiators in combat. Could one imagine simply the logistics of transporting live sharks from the sea into the middle of Rome, it is simply astounding.

Julius Caesar (though he was never officially an emperor, he held the title of dictator perpetuo and is often considered the precursor to the imperial system)
The Julian Dynasty
Augustus (also known as Octavian, he was the first official emperor, reigning from 27 BC to AD 14)
Tiberius (reigned from AD 14 to 37)
Caligula (reigned from AD 37 to 41)
Claudius (reigned from AD 41 to 54)
Nero (reigned from AD 54 to 68)
The year of the 4 emperors, preceded by reign dates.
June 68 - Jan 69: Galba
Jan 69 - Apr 69: Otho
Apr 69 - Dec 69: Vitellius

The Flavian Dynasty
69 - 79: Vespasian
79 - 81: Titus
81 - 96: Domitian

The Nerva-Antonine Dynasty
96 - 98: Nerva
98 - 117 a.d.: Trajan

The Gladiators from Caeser to Trajan
In 65 BC, newly elected curule aedile Julius Caesar held games that he justified as munus to his father, who had been dead for 20 years. Despite an already enormous personal debt, he used 320 gladiator pairs in silvered armour. He had more available in Capua but the senate, mindful of the recent Spartacus revolt and fearful of Caesar's burgeoning private armies and rising popularity, imposed a limit of 320 pairs as the maximum number of gladiators any citizen could keep in Rome. Caesar's showmanship was unprecedented in scale and expense; he had staged a munus as memorial rather than funeral rite, eroding any practical or meaningful distinction between munus and ludi.

Gladiatorial games, usually linked with beast shows, spread throughout the republic and beyond. Anti-corruption laws of 65 and 63 BC attempted but failed to curb the political usefulness of the games to their sponsors. Following Caesar's assassination and the Roman Civil War, Augustus assumed imperial authority over the games, including munera, and formalised their provision as a civic and religious duty. His revision of sumptuary law capped private and public expenditure on munera, claiming to save the Roman elite from the bankruptcies they would otherwise suffer, and restricting gladiator munera to the festivals of Saturnalia and Quinquatria. Henceforth, an imperial praetor's official munus was allowed a maximum of 120 gladiators at a ceiling cost of 25,000 denarii; an imperial ludi might cost no less than 180,000 denarii. Throughout the empire, the greatest and most celebrated games would now be identified with the state-sponsored imperial cult, which furthered public recognition, respect and approval for the emperor's divine numen, his laws, and his agents. Between 108 and 109 AD, Trajan celebrated his Dacian victories using a reported 10,000 gladiators and 11,000 animals over 123 days.

*Pliny the Elder distinguished it into three kinds, depending on the metal that is added to the copper base: in the first, gold is added (luteum); in the second, silver (candidum); in the third, gold, silver, and copper are equally blended. Plutarch and Cicero both comment that Corinthian bronze, unlike many other copper alloys, is resistant to tarnishing, and the ring certainly appears to have resisted tarnishing at the bottom two thirds of the intaglio seal engraving.  read more

Code: 25491

A Super Roman Dagger Pommel and Scabbard Mount. Around 2000 Years Old, From 100 bc to 100 ad

From the Roman Republican to Imperial Rome era. Made for and used by a Roman noble, senator or gladiator. It may even be the same form of dagger that was used to assassinate Caeser on the Ides of March. The blade grip and scabbard have not survived as is more than usual. A superb pair of Roman dagger mounts from the historical time of Julius Caeser, the first Emperor, Augustus, Mark Anthony and Cleopatra, and last, but not least, Jesus of Nazareth. The Ides of March comes from the ides, a term the Romans used to note the middle of a month. Every month has an ides around the middle (as well as a calends at the beginning of the month and nones eight days before the ides). The Ides of March feels special for a couple of reasons: it's the day Caesar was murdered, and it's the subject of a soothsayer's spooky prophecy in William Shakespeare's Julius Caesar. Before Caesar, Roman nobility and military were free to plunder the provinces they ruled. But under Caesar, Rome controlled the process and sent inspectors to check up on everything, so they could only exploit their provinces under Caesar's supervision.

That slight was compounded by Caesar's rebranding of political real estate in his name ? he built statues in his image and renamed monuments for himself. He brought power to his family by giving them political appointments and honorifics, and drew allies outside the charmed circle of Roman nobility, like his soldiers and leaders in the provinces. As far as epic betrayals go, we tend to imagine Brutus in the same league as Judas. In reality, that infamy should be reserved for someone called Decimus.

Caesar trusted Decimus much more than he trusted Brutus ? and that made his betrayal more shocking. Misspelled in Shakespeare's Julius Caesar as "Decius," Decimus was much more important than most of us realize. "There were three leaders of the assassins' conspiracy, Brutus, Cassius, and Decimus." Decimus dined with Caesar the night before his assassination and convinced Caesar to leave his house the next morning (he was staying home because his wife, Calpurnia, was worried). Decimus' betrayal followed an adult life spent at Caesar's side. Brutus, however, had often fought against Caesar, like when he took Pompey's side against Caesar in the Civil War that lasted from 49 to 45 BC. He only came over to Caesar's side after a handsome cash award and profitable political appointment. When he was stabbed, most of the sources say he tried to get up and escape. Unfortunately for Caesar, the conspirators were trained soldiers, so they'd formed a tight perimeter. "They knew how you carry out an ambush,and some of the senators were assigned the job of crowd control."

As far as what Caesar said when he died, "Et tu, Brute" is a Renaissance invention. But Caesar did perform a few resonant gestures. He tried to escape, like any soldier would, but when death was near, he covered his face before he died. It may have been an attempt to preserve his dignity. Bibilography; Professor Strauss, Cornell, Classics and History. As with all our items it comes complete with our certificate of authenticity.  read more

Code: 21864

A Fabulous 10th to 12th Century, Crusader Knights Period, Original, Large Reliquary Pectoral Cross Pendant, Crucifix. Possibly Cleaved By a Sword Cut

With a deep relief cast Jesus Christ on the cross, dressed with a long robe (sticharion) and single remaining flanking small figure (probably Saint John) to Christ’s right, the left arm has been struck off and now missing. It may well have been damaged by such as a sword cut, breaking off an arm and separating the crucifix into town pieces, of course this is only speculation. Christ stands on a pedestal that resembles a suppedaneum used to support the feet in a crucifixion.

The hollow portion formed inside the box was intended for the sacred relic that the faithful would have worn around the neck. Part of the amazing collection of Crusades period Crucifixes and reliquary crosses for the early Anglo Norman Crusader knights and Jerusalem pilgrims. As used in the early Crusades Period by Knights, such as the Knights of Malta Knights Hospitaller, the Knights of Jerusalem the Knights Templar, the Knights of St John.The new Norman rulers were culturally and ethnically distinct from the old French aristocracy, most of whom traced their lineage to the Franks of the Carolingian dynasty from the days of Charlemagne in the 9th century. Most Norman knights remained poor and land-hungry, and by the time of the expedition and invasion of England in 1066, Normandy had been exporting fighting horsemen for more than a generation. Many Normans of Italy, France and England eventually served as avid Crusaders soldiers under the Italo-Norman prince Bohemund I of Antioch and the Anglo-Norman king Richard the Lion-Heart, one of the more famous and illustrious Kings of England. An encolpion "on the chest" is a medallion with an icon in the centre worn around the neck upon the chest. This stunning and large neck worn example is bronze front panel. 10th to 12th century. The hollow portion formed inside the cross was intended for the sacred relic that the faithful would have worn around the neck. The custom of carrying a relic was largely widespread, and many early bronze examples were later worn by the Crusader knights on their crusades to liberate the Holy Land. Relics of the True Cross became very popular from the 9th century, and were carried in cross-shaped reliquaries like this, often decorated with enamels, niellos, and precious stones. The True Cross is the name for physical remnants from the cross upon which Jesus Christ was crucified. Many Catholic and Orthodox churches possess fragmentary remains that are by tradition believed to those of the True Cross. Saint John Chrysostom relates that fragments of the True Cross were kept in reliquaries "which men reverently wear upon their persons". A fragment of the True Cross was received by King Alfred from Pope Marinus I (Anglo-Saxon Chronicle, year 883). An inscription of 359, found at Tixter, in the neighbourhood of Sétif in Mauretania, was said to mention, in an enumeration of relics, a fragment of the True Cross, according to an entry in Roman Miscellanies, X, 441.

Fragments of the Cross were broken up, and the pieces were widely distributed; in 348, in one of his Catecheses, Cyril of Jerusalem remarked that the "whole earth is full of the relics of the Cross of Christ," and in another, "The holy wood of the Cross bears witness, seen among us to this day, and from this place now almost filling the whole world, by means of those who in faith take portions from it." Egeria's account testifies to how highly these relics of the crucifixion were prized. Saint John Chrysostom relates that fragments of the True Cross were kept in golden reliquaries, "which men reverently wear upon their persons." Even two Latin inscriptions around 350 from today's Algeria testify to the keeping and admiration of small particles of the cross. Around the year 455, Juvenal Patriarch of Jerusalem sent to Pope Leo I a fragment of the "precious wood", according to the Letters of Pope Leo. A portion of the cross was taken to Rome in the seventh century by Pope Sergius I, who was of Byzantine origin. "In the small part is power of the whole cross", says an inscription in the Felix Basilica of Nola, built by bishop Paulinus at the beginning of 5th century. The cross particle was inserted in the altar.

The Old English poem Dream of the Rood mentions the finding of the cross and the beginning of the tradition of the veneration of its relics. The Anglo-Saxon Chronicle also talks of King Alfred receiving a fragment of the cross from Pope Marinus (see: Annal Alfred the Great, year 883). Although it is possible, the poem need not be referring to this specific relic or have this incident as the reason for its composition. However, there is a later source that speaks of a bequest made to the 'Holy Cross' at Shaftesbury Abbey in Dorset; Shaftesbury abbey was founded by King Alfred, supported with a large portion of state funds and given to the charge of his own daughter when he was alive – it is conceivable that if Alfred really received this relic, that he may have given it to the care of the nuns at Shaftesbury

Most of the very small relics of the True Cross in Europe came from Constantinople. The city was captured and sacked by the Fourth Crusade in 1204: "After the conquest of the city Constantinople inestimable wealth was found: incomparably precious jewels and also a part of the cross of the Lord, which Helena transferred from Jerusalem and which was decorated with gold and precious jewels. There it attained the highest admiration. It was carved up by the present bishops and was divided with other very precious relics among the knights; later, after their return to the homeland, it was donated to churches and monasteries.To the category of engolpia belong also the ampullae, or vials or vessels of lead, clay or other materials in which were preserved such esteemed relics as oil from the lamps that burned before the Holy Sepulchre, and the golden keys with filings from St. Peter's chains, one of which was sent by St. Gregory the Great to the Frankish King Childebert.

Encolpion, a different anglicization of the same word, covers the early medieval tradition in both Eastern and Western civilisation.

Surface in very good condition, right arm broken off, with typical natural aged patina with encrustations. As with all our items it comes complete with our certificate of authenticity.  read more

Code: 23496

An Original Medieval Caltrop 13th-15th Century, Recovered From the Battle Site of Agincourt. Known to The Ancient Romans As A Tribulus. One of The Oldest Forms of Incredibly Effective Combined Offensive & Defensive Strategies of War

Part of an incredible collection of Roman, Viking, and Medieval antiquities we have just acquired, including these amazingly interesting pieces, a few, original, battlefield recovered caltrops from the Anglo French wars of the 14th and early 15th centuries, all acquired from a ‘Grand Tour’ of 1820, either from the regions surrounding the battle site of Agincourt, . Some were listed specifically as from Agincourt, others as from either the Poitiers or Crecy battle sites. However they were all constructed the same by English blacksmith armourers, between 600 to 700 years ago. As well as historically incredibly interesting it is also an amazing, and especially a somewhat gruesome, conversation piece.

In many respects as equally important to the medieval former King’s armies at the time as the long bow and arrow. Yet they have almost disappeared from the history books as to their incredible significance and highly useful service in all of those battles. For example, by just 50 men casting thousands of these caltrops, across, say, a 25 acre field, it would effectively deny an entire French army the ability to out-flank the British across that particular terrain. Thus, with that ingenious ability, a king could manipulate to a great degree, and with relative ease, an entire defensive or offensive position for an oncoming battle, or even hopefully negate a surprise attack from a particular direction. And to caste them behind the ranks of a retreating army would create a huge advantage potentially for survival against an attack from behind. There is no greater advantage to the discouragement of an enemy French foot soldier to know that he, and up to fifty percent of his pursuing force comrades, might well be crippled for life before even engaging with the enemy English in hand to hand combat. Upon being caste on hard and barren flat ground, in daylight, they would be easy to spot and thus, with relative caution, avoid, but upon grassy ground, or woodland, especially when the ground was wet, they would be near impossible to see.

The caltrop is an ancient anti-personnel weapon made up of forged and very heavy grade sharp nails or spines arranged in a pyramidical manner so that one of them always points upward from a triple spine stable base. In the wars with France they could be issued to English foot soldiers to caste behind if they made a rapid withdrawal and were likely to be pursued. Used thus they would incapacitate, often permanently, an infantryman or foot knight, if trodden upon, and create the same result if trodden upon by a harsh man’s mount. They would also be forged in significant numbers in order to remove or deny an area of a battlefield or defences from the enemy’s access. The prominent spike being of such a height and strength, they would easy penetrate the thickest leather shoe sole, and especially a bare foot or hoof, as many medieval soldiers marched and fought barefooted.
Iron caltrops were used as early as 331 BC at Gaugamela according to Quintus Curtius (IV.13.36). They were known to the Romans as tribulus or sometimes as Murex ferreus, the latter meaning 'jagged iron'.

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.

Caltrops, known as tribulus to Romans, were recorded as used as such in the Battle of Carrhae in 51 BC.
The late Roman writer Vegetius, referring in his work De Re Militari to scythed chariots, wrote:

The armed chariots used in war by Antiochus and Mithridates at first terrified the Romans, but they afterwards made a jest of them. As a chariot of this sort does not always meet with plain and level ground, the least obstruction stops it. And if one of the horses be either killed or wounded, it falls into the enemy's hands. The Roman soldiers rendered them useless chiefly by the following contrivance: at the instant the engagement began, they strewed the field of battle with caltrops, and the horses that drew the chariots, running full speed on them, were infallibly destroyed. A caltrop is a device composed of four spikes or points arranged so that in whatever manner it is thrown on the ground, it rests on three and presents the fourth upright. Undoubtedly the most unusual weapon or military device surviving from seventeenth-century Virginia in America was a caltrop, a single example of which has been found at Jamestown. In fact their importance of use in close combat warfare was so important they were still in use by the British and US special services of the SOE & the OSS, as anti tyred vehicle sabotage devices, caste upon roads and lanes to incapacitate German trucks and staff cars.
Although by then, hand forging was fortunately redundant, as modern manufacturing methods could easily create pointed hollow steel tubed versions to ensure an immediate deflation of tyres.

The Battle of Agincourt;
After several decades of relative peace, the English had renewed their war effort in 1415 amid the failure of negotiations with the French. In the ensuing campaign, many soldiers perished due to disease and the English numbers dwindled, but as they tried to withdraw to English-held Calais they found their path blocked by a considerably larger French army. Despite the disadvantage, the following battle ended in an overwhelming tactical victory for the English.

King Henry V of England led his troops into battle and participated in hand-to-hand fighting. The French king of the time, Charles VI, did not command the French army himself, as he suffered from severe psychotic illnesses with moderate mental incapacitation. Instead, the French were commanded by Constable Charles d'Albret and various prominent French noblemen of the Armagnac party.

This battle is notable for the use of the English longbow in very large numbers, with the English and Welsh archers forming up to 80 percent of Henry's army. The decimation of the French cavalry at their hands is regarded as an indicator of the decline of cavalry and the beginning of the dominance of ranged weapons on the battlefield.

Agincourt is one of England's most celebrated victories. The battle is the centrepiece of the play Henry V by Shakespeare. Juliet Barker in her book Agincourt: The King, the Campaign, the Battle ( published in 2005) argues the English and Welsh were outnumbered "at least four to one and possibly as much as six to one". She suggests figures of about 6,000 for the English and 36,000 for the French, based on the Gesta Henrici's figures of 5,000 archers and 900 men-at-arms for the English, and Jean de Wavrin's statement "that the French were six times more numerous than the English". The 2009 Encyclopædia Britannica uses the figures of about 6,000 for the English and 20,000 to 30,000 for the French.

Generic photos are used here in the photo gallery as they are all taken from of our small collection are extremely similar looking examples of rare, finely handcrafted, original, medieval hammer forged workmanship, recovered from ancient battle sites. Their three dimensional proportions shows they all, approximately, occupy same size {though not shape of course} as an English cricket ball. And they are all now superbly conserved for another millennium, for the enjoyment of future generations for fascinating historic interest.  read more

Code: 23981

A Stunning Ancient Roman Ist Century AD, Galloping Oryx Intaglio Engraved Bronze 'Status' Seal Ring.

Henig type Xb bronze Roman ring around 1900 years old. In copper bronze with great, natural age patination. Beautifully carved intaglio seal detail of an oryx in full flight.

From a small collection of British recovered original Roman rings, all in excavated condition, found in the 19th century from the same location. Examples of this type can be found in Henig, M. (1974) A corpus of engraved gemstones from British Sites, British Archaeological Reports 8 (II): 90.

The oryx has a most interesting history through ancient times, firstly representing the image of the Egyptian God Set, Ancient Egyptian god and patron of the 11th province, of Upper Egypt. A trickster, he was a sky god, lord of the desert, and master of storms, disorder, and warfare. He was the brother of Osiris, whom he killed, and he was antagonistic to Horus, the child of Osiris’s sister, Isis. Seth’s cult largely died out in the 1st millennium BC, and he was gradually ousted from the Egyptian pantheon. He was later regarded as entirely evil and identified as a god of the Persians and other invaders of Egypt.and later as the likely source in the earliest mistaken translations of the Bible as the unicorn of mythology.

Depictions of this magical and beautiful animal have been found on ancient seals, Egyptian Greek and Roman, and early Greek writers believed the unicorn originated from India. Re’em is the Hebrew name for oryx, but the Jewish ancient scholars were confused by the descriptions in the Old Testament. The original Jewish texts mention nothing about the animals horns, but the King's scribe chose, despite this, to call the animal monoceros, which can be translated into "a horn" singular. The translation was continued when the Jewish texts became the Old Testament. The Bible mentions the unicorn seven times

The engraved intaglio seal ring was important for displaying the Roman's status. For example Tiberius, who was after all left-handed according to Suetonius, thus displays a ring in his bronze portrait as the Pontifex Maximus: The complete Roman Empire had around a 60 million population and a census more perfect than many parts of the world (to collect taxes, of course) but identification was still quite difficult and aggravated even more because there were a maximum of 17 men names and the women received the name of the family in feminine and a number (Prima for First, Secunda for Second…). A lot of people had the same exact name.
So the Roman proved the citizenship by inscribing themselves (or the slaves when they freed them) in the census, usually accompanied with two witnesses. Roman inscribed in the census were citizens and used an iron or bronze ring to prove it. With Augustus, those that could prove a wealth of more than 400,000 sesterces were part of a privileged class called Equites (knights) that came from the original nobles that could afford a horse. The Equites were middle-high class and wore a bronze or gold ring to prove it, with the famous Angusticlavia (a tunic with an expensive red-purple twin line). Senators (those with a wealth of more than 1,000,000 sesterces) also used the gold ring and the Laticlave, a broad band of purple in the tunic.

So the rings were very important to tell from a glimpse of eye if a traveller was a citizen, an equites or a senator, or legionary. People sealed and signed letters with the rings and its falsification could bring death.
The fugitive slaves didn’t have rings but iron collars with texts like “If found, return me to X” which also helped to recognise them. The domesticus slaves (the ones that lived in houses) didn’t wore the collar but sometimes were marked. A ring discovered 50 years ago is now believed to possibly be the ring of Pontius Pilate himself, and it was the same copper-bronze form ring as is this one.

Limestone architectural fragment; a door jamb, part of a doorway. From the temple of Set (which was built by Thutmosis III) at Ombos, Egypt. 18th Dynasty. The Petrie Museum

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading  read more

Code: 25137

Original Solid Gold Mounted Viking Elfshott Amulet. Used As Protection Against Wið Færstice & Gif Hors Ofscoten Sie, Created By Invisible Elf Arrows or Witchcraft. "There Every Herd, By Sad Experience, Knows How, Winged With Fate, Their Elf-Shot Arrow..

An absolute stunning and beautiful, original & historical piece of small mystical solid gold jewellery, a protective amulet of an ancient Viking around 1200 years old. A Viking glass bead talisman fashioned into a arrow form encased in pure gold with a ring mount. The same type of amulet as such as the popular amulet of Thor’s Hammer. This is certainly one of the best examples we have had in over 50 years.

Elves were thought to shoot darts or arrows where such pains had no obvious external cause. Elfshott associated with "elf arrows", Neolithic flint arrowheads or glass beads used as amulets.
Elfshot or elf-shot is a medical condition described in Anglo-Saxon medical texts (notably Wið færstice) believed to be caused by elves shooting invisible elf-arrows at a person or animal (most often cattle), causing sudden shooting pains localized to a particular area of the body. Modern diagnoses might include rheumatism, arthritis, muscle stitches or cramps.

The term "elf-shott" is variously understood and used across different contexts. It has been interpreted as referring not only to disease caused by elves using projectiles but also to witchcraft involving projectiles without elves or fairies. Additionally, it can denote prehistoric arrowheads believed to be used by fairies or witches to cause harm or serve as protective amulets. Consequently, scholarship on elf-shot has been marked by significant confusion, with different sources applying divergent definitions and missing connections between them.

Origins and background
Before the causes of certain diseases or ailments were scientifically evidenced, they were often attributed to supernatural phenomena, and in such cases often seen as the malevolent actions of supernatural beings. It has been argued that attributing certain aches and pains to the arrows or "flying venom" of elfkind was a practice common throughout Anglo-Saxon and Scandinavian Europe.

The Old English spell Gif hors ofscoten sie, "if a horse is elf-shot," meaning some kind of internal injury, may be an allusion to the magical elf-shot. However, the term aelfsogoða, which describes the internal pain from jaundice or a disorder of bile, is perhaps a more suitable fit. Along with elves, there also exist historical claims of witches firing elf-arrows. Per the testimony of Scottish accused witch Isobel Gowdie, these elf-arrows were given to witches by the Devil, who asked them to be fired (by flicking with the thumb, rather than shot with a bow) in his name.

The noun elf-shot is first attested in a Scots poem, "Rowlis Cursing," from around 1500, where "elf schot" is listed among a range of curses to be inflicted on some chicken thieves. The term may not always have denoted an actual projectile: shot could mean "a sharp pain". But in early modern Scotland, elf-schot and other terms like elf-arrowhead are sometimes used of neolithic arrow-heads, apparently thought to have been made by elves. In a few witchcraft trials, people attested that these arrow-heads were used in healing rituals, and occasionally alleged that witches (and perhaps elves) used them to injure people and cattle.34 A 1749–50 ode by William Collins includes the lines:35

There every herd, by sad experience, knows
How, winged with fate, their elf-shot arrows fly,
When the sick ewe her summer food forgoes,
Or, stretched on earth, the heart-smit heifers lie

In later medieval prayers, Elves appear as a threatening, even demonic, force. For example, some prayers invoke God's help against nocturnal attacks by Alpe. Correspondingly, in the early modern period, elves are described in north Germany doing the evil bidding of witches; Martin Luther believed his mother to have been afflicted in this way. As in Old Norse, however, there are few characters identified as elves. It seems likely that in the German-speaking world, elves were to a significant extent conflated with dwarves (Middle High German: getwerc). Thus, some dwarves that appear in German heroic poetry have been seen as relating to elves. In particular, nineteenth-century scholars tended to think that the dwarf Alberich, whose name etymologically means "elf-powerful," was influenced by early traditions of elves.

Ref;

Hall, Alaric ‘Getting Shot of Elves: Healing, Witchcraft and Fairies in the Scottish Witchcraft Trials’, Folklore 116 (2005b), 19-36
McGowan, Joseph ‘Elves, Elf-shot, and Epilepsy: OE ælfādl, ælfsiden, ælfsogeþa, bræccoþu, and bræcsēoc’, Studia Neophilologica 81 (2009), 116-120

3/4 of an inch long

Elfshot amulets or pendants, popular in Viking and Anglo-Saxon societies, typically contain a small, often oval-shaped, stone or glass bead, sometimes fashioned into an arrowhead shape, set within a precious metal (often gold) frame. Ours is fine pure gold. These pendants were believed to offer protection against invisible elves who were thought to shoot invisible arrows causing internal pain and illness.
The core element of the pendant or amulet is usually a small, smooth stone or glass bead. These were sometimes shaped like arrowheads or other simple shapes.
The stone/bead is encased in a metal setting, often gold, which also includes a loop for suspension from a chain or cord. The pendants or amulets were not just decorative; they were talismans believed to ward off the harmful effects of "elfshot," a folk belief about illness caused by unseen elf arrows.  read more

Code: 25799

A Remarkably Beautiful & Elegant Proto Celtic Bronze Age Bracelet Circa 2600 Years Old. That Continued Use Into Era Of The Great Iceni Celtic Queen Boudica. And, The Bracelet That Inspired Gustav Klimt One Of The Greatest Art Nouveau Artists In The World

This is an original Celtic 2600 year old bronze serpentine ringed cuff bracelet, 'object vertu' that was directly copied by one of the greatest Art Nouveau artists in the world, Austrian, Gustav Klimt leader of his Art Nouveau Jugendstil Vienna Secession Movement. Gustav Klimt's painting "Dame Mit Fächer" (Lady with a Fan) sold at Sotheby's in London, in 2023 for $108.4 million. See photo in the gallery of the {circa 1895} Jugendstil Vienna Secession bracelet, an obvious direct copy.

From the 8th to 6th centuries BC, developing out of the Urnfield culture of the 12th century BC (Late Bronze Age) and followed in much of its area by the La Tène culture. It is commonly associated with Proto-Celtic speaking populations.

By the 6th century BC, it had expanded to include wide territories, falling into two zones, east and west, between them covering much of western and central Europe down to the Alps, and extending into northern Italy. Parts of Britain and Iberia are included in the ultimate expansion of the Celtic culture. Where the snake serpentine designs of jewellery and adornments continued into Ancient Britannia, and the realm in Norfolk of the greatest and most famous Iceni Queen, Boudica, scourge and destroyer of the 70,000 to 80,000 Britannia based 9th Legion of Rome and their pro Roman supporters, in 61 A.D. In the Roman towns of Camulodunum, Verulamium, and Londinium.

This bracelet was the direct inspiration, but actually it is clearly an identical copy, for Gustav Klimt's
Art Nouveau Jugendstil Vienna Secession, brass cuff bracelet

See the gallery the stunning Gustav Klimt Jugendstil Vienna Secession brass cuff bracelet, circa 1895, currently offered by exclusive jewellery and object vertu dealers DFS in New York
Sale price $5,500.00.

The history of the evolution of the Celts from their Austrian origins

In German historiography, these seats of power are called fürstensitz. These were large, fortified hill forts situated on easily defendable locations. There were at least 16 such seats of power, while there were probably more just waiting to be discovered. The most important ones were at Hochdorf, Wurzburg, Heuneburg, Hohenasberg, Breisach, Mont Lassois, Vix, and Camp de Chassey, amongst others. These fortified settlements were protected by a complex system of ditches and earthen ramparts.

Most modern scholars and historians associate the culture with the Celts. It is commonly understood that this intriguing culture was the foundation from which emerged the wondrous Celtic world that we all know so well. In many aspects, this was is clearly the earliest, Proto-Celtic stage in Bronze and Iron age Europe.

2,25 inches across, 1 inch high.

Photo 10 in the gallery is a same period Celtic Diadem in the Metropolitan Museum in the USA. One can clearly see the distinct design in this piece reflected in the bracelet. Possibly both forms of these adornments were worn together and simultaneously by the Celtic hi-born {tribal leaders, princes princesses and the like} A diadem is a type of crown, specifically an ornamental headband, often jeweled, worn by monarchs and others to signify royalty or high status. It can also refer to a jeweled ornament in the shape of a half crown worn by women. In a broader sense, "diadem" can be used to describe any emblem of regal power or dignity.

For reference see; Stead, I. M. (1997). Celtic Art. Harvard University Press

https://www.metmuseum.org/

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of trading  read more

Code: 25815

A Most Fabulous, Large, Ancient Bronze Coiled Serpent Armilla or Armlet Arm Ring, From The 2nd Millenium B.C., From the Eras of the Pharoahs Ahmenhotep To Tutankhamun

One of two we acquired from an ancient antiquity collection, not quite a pair but very similar from the same period and country of origin, and we are offering them separately, but they were in fact often worn with one on each arm and may indeed came from the same tomb etc. 200 years or so ago. See catalogue item number 24880

Over 3,300 to 3500 Years Old, 18th dynasty ancient Egyptian period, that includes Pharoah Ahmenhotep, Queen Nefertari, the most venerated Queen in Egyptian history, Pharoah Thutmose III, who became known as the greatest military pharaoh ever, and the most famous Pharoah in history, Tutankhamun.

A bronze serpent armilla arm ring that could be worn at the top of the arm or on the forearm, as it was adjustable in its day, expanding to the size required.

Worn by ancient Egyptian men or women of status, and we show pictures of original tomb art depicting figures of Egyptian dieties such as Osiris, almost all wearing armillae, but in their case likely made of gold, but the bronze type such as this would be polished bright and appear as gold as well.
Arm decoration and ornamentation was a very important sign of status and position in Ancient Egyptian society, and as it did in all the empires that followed over the next two thousand years. An intricate gold armlet from the artifacts of Nubian Queen Amanishakheto is displayed in the State Museum of Egyptian Art, in Munich, Germany. The armlet features a gold winged goddess. Another beautiful gold armlet is exhibited in Cairo Museum bearing the name of the pharaoh, Ahmose I, founder of the 18th Dynasty. The ancient Greeks and Romans also wore armlets, which were usually made from bronze or gold, and some of which were in the shape of serpents, winding plants, or embellished with images of gods and goddesses. Large, heavy armlets had hoops on the backs that attached to garments to help support their weight.

The Ancient Egyptian Dynasty XVIII was founded by Pharoah Ahmose I, the brother or son of Kamose, the last ruler of the 17th Dynasty. Ahmose finished the campaign to expel the Hyksos rulers. His reign is seen as the end of the Second Intermediate Period and the start of the New Kingdom. Ahmose's consort, Queen Ahmose-Nefertari was "arguably the most venerated woman in Egyptian history, and the grandmother of the 18th Dynasty." She was deified after she died. Ahmose was succeeded by his son, Amenhotep I, whose reign was relatively uneventful.

Amenhotep I probably left no male heir and the next pharaoh, Thutmose I, seems to have been related to the royal family through marriage. During his reign, the borders of Egypt's empire reached their greatest expanse, extending in the north to Carchemish on the Euphrates and in the south up to Kurgus beyond the fourth cataract of the Nile. Thutmose I was succeeded by Thutmose II and his queen, Hatshepsut, who was the daughter of Thutmose I. After her husband's death and a period of regency for her minor stepson (who would later become pharaoh as Thutmose III) Hatshepsut became pharaoh in her own right and ruled for over twenty years.

Thutmose III, who became known as the greatest military pharaoh ever, also had a lengthy reign after becoming pharaoh. He had a second co-regency in his old age with his son Amenhotep II. Amenhotep II was succeeded by Thutmose IV, who in his turn was followed by his son Amenhotep III, whose reign is seen as a high point in this dynasty.

Amenhotep III's reign was a period of unprecedented prosperity, artistic splendour, and international power, as attested by over 250 statues (more than any other pharaoh) and 200 large stone scarabs discovered from Syria to Nubia, Amenhotep III undertook large scale building programmes, the extent of which can only be compared with those of the much longer reign of Ramesses II during Dynasty XIX. Amenhotep III's consort was the Great Royal Wife Tiye, for whom he built an artificial lake, as described on eleven scarabs.

Akhenaten, the Amarna Period, and Tutankhamun

Akhenaten and his family adoring the Aten. Second from the left is Meritaten, daughter of Akhenaten.
Amenhotep III may have shared the throne for up to twelve years with his son Amenhotep IV. There is much debate about this proposed co-regency, with different experts considering that there was a lengthy co-regency, a short one, or none at all.

In the fifth year of his reign, Amenhotep IV changed his name to Akhenaten and moved his capital to Amarna, which he named Akhetaten. During the reign of Akhenaten, the Aten became, first, the most prominent deity, and eventually came to be considered the only god. Whether this amounted to true monotheism continues to be the subject of debate within the academic community. Some state that Akhenaten created a monotheism, while others point out that he merely suppressed a dominant solar cult by the assertion of another, while he never completely abandoned several other traditional deities.

Later Egyptians considered this "Amarna Period" an unfortunate aberration. After his death, Akhenaten was succeeded by two short-lived pharaohs, Smenkhkare and Neferneferuaten, of which little is known. In 1334 Akhenaten's son, Tutankhaten, ascended to the throne: shortly after, he restored Egyptian polytheist cult and subsequently changed his name in Tutankhamun, in honour to the Egyptian god Amun. His infant daughters, represent the final genetically related generation of the Eighteenth Dynasty
Ancient Egyptian art shows both men and women wearing pairs of armlets.

The 10th Duke of Hamilton had a strong interest in Ancient Egyptian mummies, and was so impressed with the work of mummy expert Thomas Pettigrew that he arranged for Pettigrew to mummify him after his death. He died on 18 August 1852 at age 84 at 12 Portman Square, London, England and was buried on 4 September 1852 at Hamilton Palace, Hamilton, Scotland. In accordance with his wishes, Hamilton's body was mummified after his death and placed in a sarcophagus of the Ptolemaic period that he had originally acquired in Paris in 1836 ostensibly for the British Museum. We have been acquiring similar such items from Duke's descendants from the family's 'Grand Tour' collection for the past 30 years or more.  read more

Code: 24823