Merovingian/Ostrogothic Buckle:

This is a 5th to 6th Century AD Merovingian/Ostrogothic Buckle.. The Merovingians (Salian Franks or Salty as in Salt Water Franks) were the ruling clan of the Franks until the advent of the Carolingians. The scalloped style of the buckle itself and the two large domed rivets on the belt attachment plate are typical of Merovingioan, Ostrogothic, and other Germanic Migration Period belt buckles. What is unique with this buckle is the design on the buckle's plate. The engraving on the plate of this buckle shows a miniature vexillium. This miniature vexillium has an X within a square border, each of the V quarters of the X shows a crosslette as a stylized bear face with a pointed cap. Each of these four designs may be as a symbol of the star/constellation of Arcturus (The Bear Guard or Bear Watcher)). The crosslettes are flanked near the top by two quarter moons with a circular motif. Near the bottom and on the saltire cross there are also two circles. What is of interest with these crosslettes is that that each individual crosslette's circles once combined may show a representation of the constellation Arcturus also known as the Bear Guard. This constellation and it's symbolism in antiquity are thought by many to represent a powerful mystical herding figure (Keeper of animals, hunt leader, ect.) that is supposedly the ancient inspiration for the legends of King Arthur. Furthering this is that the motif that is around the two flanking quarter moons show a cock's head and an Easter Lilly. The quarter moon on the right shows the first quarter moon and the cock's head on top with the Easter lily on the bottom. The quarter moon on the left shows the last quarter moon with the Easter lily on top with the cock's head on bottom. This implies a cycle of the seasons with an emphasis on spring and fall, this theme is also associated with Arcturus. The buckle's tongue shows three crocodile heads with an elephant head that has a serpent trunk. This combination creature is not known in European, Anatolian, Middle Eastern, or African mythology, but it is known in the Indo European Hindu mythology. This combination creature of a crocodile, elephant, and sometimes serpent is what is known as the Makara, the mount of Varuna. The Indo European god Varuna was a white god clad in golden armor, he carried in one hand a conch shell and in the other he wields a serpent lasso. His mount is the makara and although he is the king of Indo European gods he is primarily a god of contracts, also the god that punishes those that do not keep their word. In later vedic writings this god is reduced in status to a sea god and is compared by Westerners to Poseidon and his mount to the Capricorn. The Merovingians had a legend that their first King Merovich had two fathers, one was his father King Chlodio and the other was a sea monster called a Quinotaur (5 bulls, or 5 beasts, or 5 horned?) that came from across the sea and ravished his mother while she was swimming. The Merovingians are thought to have mixed their pagan beliefs with Christian beliefs (much like King Arthur of legend). Some believe that there is a connection with the Merovingians and Euro Asiatic mysticism. Some of these theories connect the Merovingians as having the sacred blood of Christ, as guardians of the holy grail, founding the Knights Templar, and being inspirational to the heretical Cathars. As far as I know there is no historical evidence to support those claims but the speculations are interesting. What is a fact is that this belt buckle shows that there was in the 5th to 6th centuries AD a group (or unit) of Merovingians who fought under one very fascinating banner, a crosslette banner featuring the constellation of Arcturus shown four times in the banner's four quarters. It is highly likely that the buckle's tongue makara motif was known only to the owner of the buckle and the craftsman that made the buckle.

Copyright 2005 David Xavier Kenney  

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Christian Celtic Cross (With Mannaz Rune) Pendant

This is a Cross pendant that appears to be from the 9th to the 13th century AD. It could be Byzantine in origin, Kievan Rus, Viking , Norman, Saxon, or British, or of another culture altogether. The pendant is identical on both sides. There is one horizontal arm which has been melted. This melting could be the result of a ritual and is very similar to the damage on one of the horizontal arms of the bear brooch that is part of this collection. The center cross is in the style of a four-armed Celtic wheel cross which contains five knobs that also form a cross. The top terminal with the suspension loop has a design that is the Norse rune symbol for Mannaz (Man). This also appears as a bearded face with a long mustache, with the suspension loop also possibly representing horns. The bottom terminal has an "x" with knobs on each bottom terminal, the "x" is connected to the circle on around the cross. This may be the Norse rune for Gebo (gift). The "x" could possibly represent a rope with a ball on each end. This is similar to the outline created by the paws of a tied lion skin in the depictions of Hercules in ancient Greek and Roman art. Five of the remaining six terminals contain the Latin, Greek, or Cyrillic letter "A" with a wedge underneath, each flanked by a knob (each of these could imply a stylized five pointed star). The five A's Vs six A's may have been symbolic of something which is now unknown. The A's could also symbolize the ancient Greek god Apollo, but it is unlikely. The A's could also represent the Gnostic god Abraxas as he is a solar god of the of the yearly cycle, but to the best of my knowledge Abraxas is never seen incorporated into a cross symbol, that is either in Romant times or Medieval times. There are eight terminals and along with the five knobs on the cross this makes a total of thirteen. If all the knobs are counted including the ones that are missing on the damaged arm and the those on the inner cross then these would number twenty one. The center Celtic cross is considered to be a solar cross but is also known as the sun wheel, Odin's cross, and the wheel of Taranis. With the outer circle withn eight arms this transforms into what is known as the eight spoked wheel of the year cross. This cross represents the pagan celebrations (beginning at the top) of the Summer Solstice (June 21 st); the Lammas (Aug. 1st); Autumn Solstice ( Sept. 21st ); Samhain ( Oct. 31st ); Winter Solstice ( Dec. 21st ); Imbolc ( Feb 2nd ); the Spring Solstice ( Mar. 21 st ), and Beltaine ( May 1st ). There may be a symbolic meaning with the outer cross and, or, the inner cross and the Round Table or the Knight's of the Round Table in Arthurian legend. The Norse rune Mannaz's symbolism is associated with humanity, individuality, and selflessness and may be similar to the Christen message of Christ, but there is little doubt that the Mannaz rune on this cross should also be connected to Manannan mac Lir the Celtic (and particularly the Irish Celtic) god of the sea, it should also be connected to the Norse god Heimdall a protector god. There is a possibility that the Mannaz rune on this cross pendant could be a symbol of the Magician Merlin in the Arthurian legends. If so then the god Manannan may have been the original inspiration for the Merlin of the Arthurian writers. The "A" letters may stand for the constellation/star Arcturus. The Celtic Irish god Manannan mac Lir (his Welsh equivalent is Manawydan) was of the Tuatha De Danann and as mentioned was a protector magician warrior god of the sea, air, fertility, and weather. His domain was the sea, various mythical otherworld islands including "Emain Ablach" (land of apples), and a land of youth similar to the Isle of Avalone, which was either an island or a place at the bottom of the sea. The Isle of Man was named after him. He had a cloak of invisibility that may have been associated with a cloak of protective mist, a flaming helmet, and sometimes the sword Fragarach. He also had a chariot and a horse (or horses) which could travel over water, and a ship that was self-propelled. He was married to the goddess Fand, who left him for the Irish Ulster hero Cuchulainn, but he also had other goddesses as wives or lovers. As a magician, he could create an illusion against enemies by turning sea shells into ships. It is also thought that he created the clouds that the Tuatha De Dannan arrived on when they entered Ireland. Manannan's name is most likely a nickname; if so then his real name is not known. The Norse god Heimdall is thought by some to have originated from the Celtic god Manannan mac Lir. Heimdall is the Guardian god of the Bifrost Bridge, and is also associated with the sea. Heimdall carries the horn Gjallar and one of his names, Hallinskidi, is thought to mean "Ram." His sword and possibly his armor are named Hofund (Ram's Head). He is the son of the god Odin, who fathered him by sleeping with nine sisters who were either water nymphs or giantesses. He is associated with white (due to his white armor) and gold (his teeth are gold); but he is also associated with the color red. He is a founding god credited with the fathering of three sons, who established the three classes of the Norse. Guarding the entrance to Asgard, he is the ultimate guard as he has exceptional sight and hearing even for a god. Heimdall will sound the beginning of the battle of Ragnarok (Norse final battle of the gods) and will kill and be killed by the evil god Loki. It is thought that Bifrost Bridge is the Milky Way and that Heimdall stands guard somewhere nearby. This god may very well be associated with the star/ constellation of Arcturus (Bootes), which is also associated with guarding (Arcturus the Bear Guard) and is in fact in the thick disk of the Milky Way galaxy. As mentioned, some believe Heimdall originated from the Celtic god Manannan mac Lir, and he is highly associated with the Norse rune Mannaz, which sounds very close to Manannan. It could be suggested that both the gods Manannan and Heimdall may fulfill some similar functions as the Christian saints St. Peter, St. Michael, and St. George, but particularly St. Michael. The 8th to 9th century Welsh chronicler Nennius records in his Historia Brittonum (History of Britain, circa 796 AD) that the British General and battle leader Arthur in 516 during his 12th and final victory against the Saxons at the battle of Badon Hills wore a cross on his shoulder. Many modern Arthurian experts think that shoulder was a metaphor for his shield. Even if this description is historical, no one knows what this cross looked like (Nennius was writing nearly 300 years after this Arthur lived, and claimed that Arthur killed 940 men in this battle alone; was this symbolic of the number thirteen?). This pendant may or may not give a clue to such speculations.

Copyright 2005 David Xavier Kenney

Posted on 29-NOV-05

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Arcturus Ring ?

This is a Keivan Russ or Slavic 9th to 15 c AD silver ring with a diamond-shaped bezel with a star symbol engraved on it. The star symbol has a center circle (in an oval?) with a dot and may symbolize an eye. The lines creating the star form five letter A’s, the top A's (right over a smaller A) which is upsaide down is faint. These A’s may be Latin or Greek but are more likely Cyrillic and may represent the star Arcturus in the constellation of Arcturus (aka the constellation of Bootes). The horizontal lines on the A’s together form the broken outline of a circle. Besides the star Arcturus, this design could also represent a solar symbol. It cannot be ruled out that the A’s could symbolize the Greek god Apollo, although this is highly unlikely as this ring was found in Eastern Europe, any connection with an ancient classical god is unlikely, even if the ring had been made after the 15th c. The A's may symbolize the Medieval Gnostic god Abraxas as he is a solar deity and a lord of time, but the star symbol on this ring is not typical of that mystic god. The A’s being connected to Arcturus and possibly having a solar meaning may be explained by a written piece titled Arcturus, Ghost Of The Summer Sun (posted on the internet) by Bruce McClure. In this piece he states that in mid-October the star Arcturus appears to mimic the summer sun's path. McClure also suggests that due to this and perhaps the appearance of that star that the Jack-O’-Lantern may be a symbol of the bright orange (or dark yellow with a reddish tint) star Arcturus.

Copyright 2005 David Xavier Kenney

Posted on 2-DIC-05

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5th Century Jute Great Square Headed Brooch (Found In Kent)

The research and speculations concerning this artifact are ongoing. In my opinion this brooch validates speculations that the 6th C. AD British Roman writer Gildas was the first to write about a war leader of the British Isles who was an "Arthur figure." This war leader and his band appear to have been mid 5th C. AD Scandinavian / Germanic mercenaries. This leader may have actually been someone associated with what I speculate to be a Jute Saxon god referred to by the Romano Britains as "Arthor or Bear Thunderer", the word Arthor being a combination of Greco Latin (or Old Welsh, as in British Celtic) and some form of the Germanic. My proposed thundering war god of "The Big Dipper", among other things. A very similar name may have already been known among that population at that time. That name was Artorius, of the 2nd C. AD Roman Cavalry dux Lucius Artorius Castus. The writing concerning this artifact is not complete; however, I consider public knowledge of this artifact to be important enough to warrant this immediate posting.

This is a 5th C. AD Gold Gilded Jute Great Square Headed Brooch found in Kent County, England. It comes from the estate of a well known English collector of militaria. Besides any Arthurian historical information that this brooch may provide, it is in itself an extremely important historical artifact. The brooch is 5 1/2" in length and was made with the chip carving technique. Unlike later brooches of this style (which are very rare), it is not solid cast but is made in three independent parts that were assembled. From the 6th C. onward this type brooch is thought to have been worn exclusively by the Jute and Anglo Saxon women of nobility. This may or may not be so in the 5th C. The great square headed brooch of the 5th C. is found on the continent. If found in England (but particularly in the county of Kent), it can be assumed that these brooches belonged to the first warlords of the Anglo Saxon war bands. These are the war bands that were recorded by Saint Gildas (a Romano British Priest who wrote of events in 6th C. AD Britain) as being hired to fight the northern enemies (the Picts) of the Romano British confederate ruler Vortigern. They fought as agreed, but then disputed their pay and turned on their former employers. This is exactly the time period in which later Arthurian writers describe a Romano British warlord named Arthur fighting the Saxons. Interestingly, it appears that this first wave of these hired mercenaries were in fact not Angles or Saxons (Anglo Saxons), but Jutes. The Jutes are thought to have originated in the Jutland (modern day Northern Germany and Denmark). The next wave of conquering Germanic immigrants was thought to have been the Saxons (a larger tribal confederation to the south of the Jutes); and the last wave was the Angles (a tribal group that came from an area south of the Jutes but north of the Saxons). The great square headed brooch is usually associated more with the Jutes and other Germanic Scandinavian tribes of the late Vendal Age. There can be little doubt that the great square headed brooch was imitated from the Roman Thraco Dacian Auxiliary standard brooches from the 2nd C. AD. The designs (four lozenge shaped diamonds with a circle in the center) of these miniature standards are the same as those seen on the more ancient Thracian war belts (there may or may not be a meaning in that). If you would like to view two of the Roman Thraco Dacian Auxiliary standard brooches, Click Here.

BROOCH RIGHTSIDE UP (Picture 1)

The First A Plate at the top of the brooch is independent and shows a design that suggests a hammer (much like the hammer of later Norse god Thor, but particularly the type associated with the Norse Swedes and a Finnic version). On the left there is a coiled snake (but also a partially revealed horse's head) with rope and one eye on the top of its head. On the right there appears to be a rodent dog-type creature (this may be a type of fantastic wolf, or a bear wolf?) with a rope around its neck (but also connected to its ear). Some of the lines on this creature's head have black paste (or onyx) inlay. The creature's ear appears to have had some paste inlay, but possibly of a different color (red paste?). There is a small hole in the eye of this creature, which suggests that a small gem or stone had once been inset there. This additional jeweler's work shows that this creature had a leading role in the iconography on this brooch. This horse's head along with the horses' heads in "The First Plate B" would make three horses' heads. All three of these have ropes on their heads; the rodent dog-like creature does not. Another feature which is distinct to the three horses' heads is that they each have a square bar on their manes; the rodent dog-like creature has the same shape of a mane, but without the square. The rodent dog-like creature appears to be connected to the boar, as if in pursuit of the boar. The two rope ends are attached to each corner of the curved or curled design of these two motifs, which also hints at goat and ram horns. To summarize, this portion of the plate has the symbolism of a thunder god. The hammer part of this plate has no gilding but it does have some relief and a small engraving still showing (note that the hammer is also the right paw and the body of the dog rodent-like creature). Some of this relief shows a centered figure with both stick like arms outstretched. The torso of this figure is made in a circle or oval that may or may not have laurels. Just to the right of this circle there is a vertical spear with vines, which goes from the top to bottom of the hammer. The hammer suggests that this is of the Saxon thunder god Thunar but the spear suggests the Saxon supreme god Woden. In fact, there is more which suggests that the icons on the hammer may be of gods of a triad god. To the bottom left of this spear is a smaller, more defined figure with a Phrygian hat. This figure is holding up a hammer in one hand and holding a figure down in the other hand. One of the figure’s legs is only half as long (suggesting a thigh; the thigh is a very ancient symbol of fertility) and is shaped either like a horse, bird, or griffin’s head. This head has a lightning bolt that goes around the figure’s longer leg. Under this are various forms that suggest a heap (of some sort). There is other less defined relief which may show more representation of this god or gods. Along the upper edge of the left hand corner of the hammer where there is a small amount of gilding still intact there is a bear head engraved that has either a wavy spear coming from its mouth, or the spear is just under the head, symbolizing riding the spear (this is somewhat similar to the engraved polar bear seen on the East Panel of the next artifact listed with this collection (Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god) . The symbolism of the hammer combined with what is known about Germanic mythology, the mythology of the Norse of the Viking Age, Egyptian mythology, and other speculations suggests that the meaning may be as follows: The central figure should be of the Saxon god Thunar as a supreme god (but again this may be of the Saxon supreme god Woden), or of three gods as one (triad god), although it should be mentioned that the Saxon's three main gods were Woden, Thunar, and Saxnot (Saxnot is speculated by most to have been a sword god; his name means something like "sword companion"). The shape of the hammer is very similar to the Greek Tau cross. The central figure with outstretched arms on a T cross (hammer), possibly with a female figure below suggests a theme similar to the Christian Christ, but in iconography only. In Christian art the figure Jesus was not depicted on a cross until the 7th C. The central figure may be of the pole star and the spear may be symbolic of an Indo European “lightning tree,” the oak tree. This suggests the later Norse god Odin's role as a shaman god of the spear. This is not his battle spear but rather it is an unnamed spear (thought by many to be the world tree axis, which is thought to be ash or an oak tree) that he hung on for nine days and nights in order to gain wisdom. The figure in the Phrygian hat suggests someone similar to the servant of the later Norse god Thor named Thialfi or his sister Roskva (also a servant to Thor). The reason for this is that when Thor visited a farmer and his family he offered to share his road food (these were his two goats that pulled his chariot). Thor when traveling, would kill his goats with his hammer, eat the flesh, put the bones in the skins, and then in the morning he would use his hammer to resurrect the goats. Thiafli took a thigh bone from one of Thor’s two goats (to get the bone marrow) which made one of Thor’s goats lame. In compensation Thor was given the two children as servants (this suggests that in more ancient times there may have been child sacrifice to this god). Thiafli was known as the fastest runner in the Norse god’s home of Asgard. If this is the same figure as that seen on this hammer then it would appear that the figure is of an executioner, but one perhaps who is also in charge of resurrection, or a transmission of the life force. The fact that he is a runner and connected to a spear (similar to a pole), is very similar to the Egyptian cat like goddess Mafdet. The figure’s form does appear to be more female, so this may be Thialfi’s sister Roskva. If so, this may show where some of the concept for the Norse Valkries comes from. The Egyptian goddess Mafdet is very ancient and any depictions of her on a pole are extremely rare. A 2nd to 3rd C. AD Roman Dacian bronze hair pin (made also as a woman’s push spike dagger) was recently discovered that appears to depict this Egyptian goddess in the Roman Imperial era. If you would like to view photos of this hair pin Click here. Therefore it is possible that the Northern Germanics may have heard of this goddess via the Dacians (or Egyptian’s that for various reasons may have relocated ?) of Moesia (modern Balkans), or from Egyptians serving with the Roman legions that were stationed in this region; although the Phrygian hat would give her a Scythian, Persian, or Anatolian identity. The bear figure with the wavy spear on the upper edge of the left hand corner of the hammer may be symbolic of something sacrificed and may be connected to the snake (as in a life force). The snake figure looks similar to a “hammer stone.” Hammer stones were thought by Medieval Northern Europeans to be lighting bolts. These hammer stones are in fact Neolithic hand hammers, which may or may not have been known when this brooch was created. Most of these stones are oval shaped (some are round) and may have also been associated with eggs (possibly something to do with solar worship). Coincidentally, both lightning and eggs were primary symbols of fertility. The right side of the hammer (with the dog-like rodent creature) may have represented the fetcher and the snake hammer stone thunder bolt the thrower. The circle on the god’s torso may have been symbolic of the god Thunar’s sacred enclosures (thought to have been groves). The spear may be symbolic of the god’s tree that was next to a grove. If so then this is where the ancient Northern Germanics and Scandinavians would have conducted their sacrifices which are thought to have included war captives, slaves, tribal undesirables, and in at least one instance a Scandinavian King.

The Second A Plate shows a center square with a panel on each side (similar to the later Byzantine icons). The center square shows a squinting face, it looks very similar to a vexillum (a square flag centered on a staff under a finial). There is a humped creature with three heads that appears to be a dragon. Behind the dragon is a bear with a horizontal rectangular arm holding a bird (eagle?) and a vertical object that is curved (a palm or the dragon’s tail?). If the brooch is viewed at a distance then the art will change to show the dragon looking more like a horse with a rider (from the curved palm or dragon's tail shape) holding to its rear a head in one hand and a sword which is pointed down. This sword may have inlaid paste; if so it is connected to the creature in the First A Plate. From another perspective, the rider's head appears to be a wolf head (the wolf head emerges from a different perspective of the bird shape). If these two rider images are correct then it would suggest a warrior god of the dead. The right panel shows a boar’s head, which when turned to its side changes into a bird that looks like a pheasant or a peacock. The boar’s head may symbolize the Angle fertility war god known as "Ing" (the root word for the name England). The pheasant is a symbol of the dawn, and the peacock is a symbol of resurrection. On the left panel it shows a horse, which when turned to its side it changes into a dragon. With this dragon horse symbolism one could speculate that the White Horse of Uffington was known on the continent. This second plate in summary displays a bear man hero as a three headed dragon slayer (or dragon conqueror), but also perhaps a war god or a god of the dead. This shows a bear man as a charioteer (the outer curved edge of the humped creature is perforated, suggesting a chariot wheel's spokes). The three headed dragon may in fact be a three headed horse (or dragon horse), possibly representing three horses.** Both the panels suggest solar worship, but also possibly resurrection. This suggests that the plate is of an Indo European people.

The Curved (finger half loop) Third A Plate has a top square where the gilding has been worn off (hence there is little or no engraving to to be seen). The top square has a raised border (a metal smith's firing pit ?) and contains a beveled rectangle (as this is on the brooch's finger half loop it could suggests a hill). This has miniature scratch work engravings and punch dot. The right side of the bevel of the rectangle shows engraved flames. These flames go around to the bottom bevel. If the brooch is turned to its side with the top to the right, the top of the rectangle on the finger half loop portion shows a scratch engraved upright sword's top half at an angle (there are several lines connected to the sword's handle, which appear to be connected to the flames on the bottom bevel). Half way up the sword top there is a horizontal javelin (or arrow) at a slight angle, this may be symbolic of a magnetic needle (it is likely that this brooch's art and top are oriented to the north). This javelin possibly represents the sword's cross guard, but it is also connected to the square punch dot. This longer type of cross guard is not thought to have been in use until the Medieval era, although cross guards with swords of Euro Asiatics (Huns, Alanic Sarmatians, etc.) of the early Migration era are somewhat longer. Next to this is a punch dot square (much like a vexillum), which has two punch dot faces in it. On the left border of the square there is an engraved vertical line with a wave on top (much like an eagle or a dragon standard). On the two faces there is an engraved V. Next to this is a bind letter V with a Greek A. Under the punch dot square there is a bind letter E with an X. This could not be a reference to the Medieval French word "Excalibur", but it could be of several Latin words that are put together to make the word Excalibur. This speculation is according to Brewer's Dictionary of Phrase and Fable (first published in 1870 by Rev. Ebenezer Cobham Brewer). In this dictionary Brewer states that the word Excalibur is Latin for "Ex calce liberatus," which translates as "to free from the stone. " There are many who think that this translation is verified from a Bronze Age casting technique for making bronze (the stone being two stone halves of a casting mold). On top of the square border there is a Latin letter L. When the brooch is turned on its right side, the sword's top half is shown downward with its lower portion slightly on the bottom bevel. The sword top's lower portion on the bottom bevel is in between two A's. Back on the rectangle the sword (which now takes the shape of a "sword in the stone" type image) has next to it a large square face (possibly wearing a faint two diamond shaped eye mask) with a triangular point on top; this is done in scratch engraving and punch dot. The bottom square has scratch engravings that have yet to be analyzed. In summary, this Plate shows that the sword top seen in the scratch engraving is of a celestial fiery nature. It is cast in a mold, perhaps symbolizing a metal ore (that is liquid?) originating from a meteorite (and / or thunder and lightning) and most likely connected to the sword of the wolf rider figure in the First A Plate. It should be noted that although this symbolism may be of a legendary sword's casting (but also possibly it's forging, and hammering) the sword top still appears as a sword top at an angle, thus suggesting that it is also of the Scythian or Sarmatian "sword in the stone" (but more like a "sword in the anvil, or both the "sword in the stone" and the "sword in the anvil" as the ancient Norse did in fact have rectangle shaped stone anvils) theme. The bear perspective with the wolf rider figure shows an arm that in fact does look like some type of casting mold. A couple of the figure's primary symbolic functions may be as a bear metal smith god and a wolf warrior hero. Most likely this is from some type of Jute myth or mythic legend that has a "sword in the stone" or a "sword in the anvil" as its central theme. The fact that the rectangle and its art are horizontal is significant, as it implies a grave, a casting mold, an anvil, or all of these. The rectangle area is where the thumb (most likely the right thumb) would have been used to attach the brooch; this shows that this area has primary symbols of importance. The two faces in the square-type vexillum could be of the constellation Gemini, or they could represent two legendary twins (such as the legendary Jute war lords Hengest and Horsa), or male and female energies. However, both the faces look feminine, so they could be two aspects of an unknown goddess, perhaps similar to the Ethiopian Queen Cassiopeia in Greek myth. The constellation of Cassiopeia looks like a W or two V's (when this unique constellation turns upside down it changes into an M) and is with the northern constellations. If so then this may hint that there was a Jute belief in a hero's or god's origin from two mythical mothers (perhaps similar to the Roman war god Mars).

The Fourth A Plate shows a highly abstract square face, this also looks very similar to a vexillum. There is a center square (but with a rectangle in the center square) that has a beaded border around the bottom and the sides (but not the top). On the bottom there is a distinct key which is placed horizontally. On the sides of the center square/rectangle there are wavy columns, but this along with the top motif looks somewhat like an Avestan or Middle Eastern script, this may represent a Zoroastrian fire temple. This all suggests an Indo Iranian fire worshipping people. Interestingly, on the inner rectangle there is miniature scratch work in the shape of a Greek or Latin “A,” with an animal head that looks like a dragon or a bull’s head and holding a downward line that suggests a lance, or a fire tending fork. This “A” looks more like a sideways Phoenician letter Alp, or a sideways Aramaic letter Alep (both of these letters are thought to symbolize an ox or a bull). Overall it looks like a stick figure that represents an animal headed warrior (mounted?) or a fire attendant. There is more scratch work which appears to have letters and symbols, but also shows a slanted head in profile that is made of flames (this may hint at something associated with a tribe of fire worshipping Asiatic Steppe Nomads, the Sarmatians worshipped fire and some Late Sarmatians practiced artificial sloped skull deformation). This rectangle appears to be associated with the Curved Third A Plate, if so then this could lead to further speculations with the art of both rectangles.

The Fifth A Plate is independent and has a center design that looks like the front hull of a ship (the overall shape of the brooch looks like the stylized front of a ship with a sail). The left design looks like a bear’s head entwined in rope, but also something like an Asiatic shoe. Part of the rope is in the shape of a dragon ship facing inboard. The left design looks like a bird’s head entwined in rope (this bird’s head looks quite similar to the 4th to 6th C. AD animal head of the Roman Germanic ship’s figurehead that is in the British Museum). Again part of the rope also appears as a dragon ship facing inboard.

BROOCH UPSIDE DOWN (Picture 2)

The First B Plate at the top of the brooch shows a hammer with two partially revealed horses’ heads with ropes on top. This type of two horse (sometimes with a god’s or goddess’s bust in the middle) motif was popular with the Scythians, but also the Celtic peoples.

The Second B Plate shows a square with a center square that has a beaded border on the top and on the sides (but not the bottom), another vexillum? On top of this is what looks like a horizontal lightning bolt. On the right it looks like a fire altar. On the left it looks like the top half of a sword (or a sword with a short blade and long handle) and suggests some type of sword in the stone symbolism. The bottom script once again looks either Persian or Middle Eastern. If this were Latin it would read “DIN”, or perhaps “IDIN”.. If so then this would suggest the god Woden (Wodin?) or the much later Norse Odin as a thunder, warrior, and fire god. Also to be taken into consideration is the fact that the word "Din" in Old Welsh means "fort." This could also mean "receptacle" (see footnote below about Gildas' writing). Most of the symbolism seen on this plate implies influences from an Indo Iranian people.

The Third B Plate shows a rectangle in a square, which has miniature engravings and punch dot and is described and explained in the caption for the Curved Third A Plate.

The Fourth B Plate shows a center square with a panel on each side, and another vexillum? The center panel shows a one-eyed face squinting. This is somewhat similar to the face seen in Image 2 of "The Eastern Saxon or Kievan Viking Ring" that is with this collection. On top of this face it looks like a drape, suggesting that this is a hidden face that is being revealed (or a face that is being hidden?). On each side there are stylized figures that are reaching up, as if controlling the drape. This may be a god or goddess of the dawn or dusk (reveling or disappearing), but it also suggests the Northern Germanic earth goddess Nerthus mentioned by Tacitus. This goddess was worshipped by seven different Germanic tribes, one of these tribes was named the Angli (thought by many historians to be the same or the forerunner of the later Angles). He mentions a ritual in which this goddess (thought to be an inanimate image of some kind) was brought in a cart pulled by oxen to a lake on an island (thought by some to be on an island off the coast of Denmark). According to the origins of the Jutes in Jutland and the meteor speculations tied to the Third A Plate, this sacred Island lake of Nerthus may have been Kaali Crater on the Island of Saaremaa off the coast of Estonia (to read more of this go to "The Eastern Saxon or Kievan Viking Ring" with this collection). The goddess was accompanied by slaves who attended “her” bathing and then were drowned. The sacrifice of the slave attendants was to cover up some secret that Tacitus had no knowledge of. The secret may in fact be that the goddess had only one eye and this was only revealed to “her” priests and attendants when “she” was uncovered at the lake. If this is that goddess then it could be the female counterpart (or muse) to the dragon slaying hero (or conquering hero, or hero god). The one eye symbolism may have later been manifested in the Norse god Odin (there are some speculations that Odin was a bi sexual god). In fact the god Odin gave up an eye to gain wisdom at Mimir's Well (this suggests the Greek hags with one eye in the story of Ulysses in the Odyssey). Any one eyed symbolism is also thought to be associated with an unknown solar cult of ancient metal smiths. This could be the goddess that the ancient Celts and Germanics threw weapons (or their enemy’s weapons?) in order to gain favor, as according to Tacitus during Nerthus’s festival all weapons were put away. There are many who think that this ancient lake goddess (known by various names) was the inspiration to the Medieval writers for the “lady of the lake.”

The Fifth B Plate is independent and has a center design that looks like the front hull of a ship. The left design looks like a human sloped head entwined in rope. Part of the rope is in the shape of a dragon ship facing inboard. The left design looks like a grotesque head and a small amount of vertical rope forming its body. There is also rope which appears as a dragon ship that is facing inboard.

Current Summary:

This brooch appears to give credence to my theory that a primary aspect of the god of the Saxons (hence the Jutes and Angles) at the time of Gildas was a thundering war god, very possibly named Arthor. This theory is explained in the caption for the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" (the next artifact listed with this collection) under the section titled "The possible Saxon and Arthurian meaning of this ring." These ancient Northern Germanics appear to have known that their culture was a combination of both Indo European and Indo Iranian influences, although they homogenized these they also to a degree appear to have kept them separate. This two god group identity within a pantheon shows up later with the later myths and legends of the Norse of the Viking Age. The Norse of that age made a clear distinction between their gods and goddesses of the Vanir (European gods and goddesses) and their gods and goddesses of the Aesir (Asiatic gods and goddesses). This can be seen with the symbolism on the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god". Most of the British Saxons are thought to have dedicated their worship to their god Woden (The Saxons of Exeter are thought to have been dedicated to the sword god Saxnot, although I am of the opinion that Saxnot was just another aspect of Woden and Thunar (gods of a triad god). It is thought that the Jutes and Angles had similar Wodenic worship, but they also may have had their own distinctions with that worship. The Saxon nobles (and their later Royals) made claim that they were directly descended from their god Woden. According to the art on this brooch the Jute nobility may have had this same belief. This claim of a royal linage from a god was made by later writers, any such belief in the 5th C. AD has never been verified (early Saxon artifact finds are very scarce, Jute and Angle artifact finds are even scarcer ). According to the 8th C. AD English writer St. Bede, the first Germanic mercenaries were the Jutes, whose war bands appeared in three ships and were led by two brothers named Hengest and Horsa. There is a theory that the name's Hengest and Horsa were either noble titles or twin horse gods. Hengest is thought to mean stallion, and Horsa in Anglo Saxon means horse; the two horses and ships motif on “Panel A” may give clues to this. There are some who theorize that the first Jutes arriving in Britain were in fact a ruling class and the other classes were made up of Saxons (or a mixture of Saxons, Franks, Angles, and Frisians). In my opinion this brooch shows influences from all three of the main groups mentioned (Jutes, Saxons, and Angles) but the Jute influence is most prominent. It is interesting to speculate that this brooch may have belonged to one of the original members of the "Jute nobility of the three ships". In fact the three ships may have been symbolic; they actually may be represented on the brooch as three horses drawing a chariot thunder hammer that is led by a hound, with the charioteer being a bear man hero god. In essence, this may represent a 5th C. AD "Arthor's Chariot," which would become known (at some later time) in British slang for the "Big Dipper" as "King Arthur's Chariot." As the name Arthor (a theorized name) and Arthur have their roots in the word for "bear," these titles suggest a bear's chariot that circles the Pole Star, this when combined with the brooch's "sword in the stone" symbolism is absolutely outstanding!

* Nennius (Welsh monk, writer or editor, 8th C. AD) in the “History Of the Britons” mentions that a Battle Leader (Dux Bellarum) named Arthur had a hound named Cabal; this hound hunted a great boar called Troynet.

** Saint Gildas (Gildas Badonicus, 5th to 6th C. AD) in his "The Ruin Of Britain" (written in Latin) mentions the wickedness of a charioteer from the "receptacle of the bear" named "Cuneglasus." He goes on to say that Cuneglasus means "Red Butcher" in Latin (the gem or stone for the rodent dog-type creature's eye may have been red). Yet this name is not Latin, it is Old Welsh. The name in Modern Welsh is Cynlas, coming from the root word "cwn" which means hound or wolf. If my theory is correct, Cuneglasus, a Romano British King of Powys, converted to a belief in the Jute Anglo Saxon god Thunar (who perhaps was a triad god). If so then this would explain Gildas’s outrage against him, although according to his sermons Gildas seems to have been outraged against everyone.

Copyright 2006 David Xavier Kenney

Revised 2006

Posted on 20-Sept-06

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Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god

UPDATE: Without a doubt certain aspects with the iconography of this ring have a primary theme with the making of the Soma of the Indo-Europeans and, or the Homa of the Indo-Iranians. It appears that there were two processes in the making of that sacred drink. The first process is shown with the ring upside down, it shows that it is a drink of the gods (that possibly had been made as a votive), there are indication that it would have been poisonous to humans. The second process is shown with the ring right side up shows, the symbolism shows that the actual effect of that drink was as an energizer and fertility enhancer. Along with this it could be speculated that the first stages of the making of that drink gave it hallucinogenic properties, therefore it can be assumed that this may have been for lower level initiates or to trick those who had stumbled on the ingredients and process. The art with this is even more abstract and hidden, although it is exact. Other art and inscriptions identify various Saxon or other Germanic gods and goddesses. Some of the iconography and inscriptions on this ring are similar to those seen on the Roman Germanic Saxon Woman's Oath Head Band Pendant with the Roman Amazon Collection on romanofficer.com. A separate category with other information and pictures is posted after this picture group and information.

New information will be added as research continues with this artifact

Current information concerning this Saxon ring is divided into four sections as follows:

1. Description of this ring and its connection and meaning to the Scythians.

2. The Saxon and Arthurian meaning of this ring.

3. Artifact Group

4. Bear Artifact Group

Description of this ring and its connection and meaning to the Scythians.

This is a 4th to 5th C. AD Saxon silver and iron ring done in a Celtic Saxon abstract style. It is an American size 11 1/4. New information suggests that this ring may also be of the Heruls (Heruli) and, or the Ostrogoths, or a descendant of those peoples. The square shape of the bezel is typical of the various Germanic tribes of the Migration era, but most particularly of the Goths and the Saxons. Some of the Saxon identification is based on the art style, but mainly on the two large W’s (or M’s) on the top and bottom of the bezel. This motif is seen on artifacts of the Germanic tribes of the Migration Period (and also with the cultures that they were in contact with), but none so much as the Saxons. Interestingly, some of the engravings show influence from the Alans (a nomadic Iranian speaking Steppe tribe associated with the Scythians and Sarmatians), the Zoroastrian Sassanids (aka the 3rd Persian Empire), but also a bit from the Byzantines. Therefore it can be suggested that this ring had a connection to someone associated with the Silk Road, possibly a merchant or a mercenary. The fact that the ring is made of silver does not suggest that the owner could not afford gold. If gold had been used, only a fraction of the detail of the engravings would be visible. The ring’s square bezel may have been created from a seal stamp with additional engraving (and scratch engraving) added to create more detail. An example of a 7th to 8th C. Saxon silver pendant is shown with the Artifact Group Pictures as Artifact Group picture 1. Much of the detail of the miniature art seen on this ring indicates that it had to have been done with the aid of a magnifying lens (although not completely proven, there are artifacts and ancient writings that attest that magnifying lenses were in use in ancient times). Due to the high level of miniature detail on this ring, photographs will be updated periodically as my photographic technique progresses. Although I believe this ring to be of Saxon origin with Herulic and Ostrogothic influences (and also possibly Celtic Germanic Alani influnces) from the 4th to 5th centuries AD, much of what is shown on the ring’s bezel suggests that it is associated with the myths and legends of the ancient Scythians (8th to 3rd C. BC, but existing as scattered tribes up until the 3rd C. AD, some under Sarmatian rule), as well as with other even more ancient peoples. Much of this may have been absorbed by the Celts, the Germanic tribes, and the later Norse. At least certain aspects of the mythology represented appear to be Arthurian. Many of the themes that can be seen here may be in line with the theories of Linda A. Malcor and Scott Littleton, authors of “From Scythia to Camelot”.

BEZEL
The ring shows among many other things, a god which appears to have three aspects (a triad god). The first aspect can be seen in an abstract depiction of a god kneeling in his chariot; the chariot may in fact be a sea shell and the back appears to be a drum top. The god is wearing a wide band (as if fur?) cap with three balls (this is done with miniature cutout, showing the three balls in shadow form) and a pointed top; the cap is tilted back. Directly on top of this hat is a horizontal arrow head (much like a Scythian triangular arrow head) pointing to the front. If this is viewed closer it will show horizontal lines that look like fingers and a diagonal vertical line. Facing in the same direction is a cutout of a square faced bear head with a long neck. The square head is similar to Europe's extinct cave bear (speculated to have become extinct circa 11,000 BC). The long neck resembles that of a polar bear. This may be a created image or it may be of an unknown ancient hybrid that became extinct. This hints of a theme of navigation, as the polar bear is known to have an usually good sense of direction both on land and in the water. There are circle dots that form a triangle near the lower front portion of the bear's head, this represents a fang that is also a female bear (sow)or bear cub's face, although it may not be related it should be mentioned that the polar bear is the only bear known that will hunt humans. The line with the fingers is on top of this; the finger motif and the diagonal line shows that this is where the bear's eye would be. Therefore the fingers which form the bear's eye, the diagonal line, the top of the god's head, and the bear's tooth are all connected. Behind the god is what appears to be a Saxon concept of the world tree (and also Aurvandill’s basket?). In front of this tree type motif is a long upside down L staff. This may be a type of staff that is used by Siberian Shamans, who use a staff to lean on when communicating with the other world, or an L drum stick; or, it could represent an axe/hammer (with two balls done with indentations on the bottom; these two balls may represent drum heads) which the god is holding from behind.* There are curved diagonal lines facing upward towards the corner; when these are viewed with the cutout of the bezel edge and the bottom back of the chariot they resemble a sperm whale's head. In this instance the fingers with the diagonal line that represent the bear's eye and are on top of the god's head will appear as a water spurt coming from the whale's blow hole. Under this at the same area as the god's face is where the sperm whale would carry its spermaceti. If I am correct, the diagonal line with the fingers should represent a needle; this would mean that the needle comes from the top of the god's head, the bear's eye, or the whale's blow hole, but is also connected to the bear's fang. It should be mentioned that the whale is in the direction of what appears to be the pole star. This suggest a knowledge of an actual sea journey to reach the Arctic land mass (or an island that was perceived as the same) that may have been thought to be the connected to the pole star, or was the pole star (there are a few of parallels with the theme seen on this ring's bezel and Melville's 1851 "Moby Dick" classic). The god is clutching in his hand a smoking pipe (a type of pipe that would be used while lying down on one side). In front of the bottom stem of this pipe is a poppy flower (a narcotic extract from the poppy flower is thought by some to have been used by ancient Steppe Shamans). This poppy flower may also be a forge bellows, which may connect this more to the Indic Fire god Agni.** It appears that there is a connection with the front of the poppy flower and the rear of the horse. There is a horizontal V on the horse's rump (part of the rump as a bellows?) at an upward angle that may suggest a funnel (as to receive something from the poppy flower, as in the flower's pollen or juice, or smoke from the pipe?). This may have a fertility meaning, or it may be related to the first step of the process of milking mares that the Scythians practiced (this is mentioned by Herodotus in his Book IV of "The History, aka Melpomene"). If this depicts this milking process then it suggests that the Scythians may have used an actual mare to filter the effects of the poppy flower's extract. The resulting milk may be the Soma drink, or something like the Soma drink; there will be more on the subject of Soma later. The god is holding his arm (which is twisted suggesting a rope, as in a hemp rope, perhaps for measuring?) and hand (the hand is done in scratch engraving that is faint) straight out in front. In the exact spot where the wrist of the rope-like arm meets the scratch engraved hand there is an upward line which gives the impression of blood spurting up. The hand is shown as if holding a scratch engraved claw (as if connected to the bear cutout), fang, or tooth (or a horn tip type cup), but with a configuration of other lines. The top edge of the claw cup displays a semicircle done in dots; over this is a horizontal spoon; through this is a line which runs in a semicircle through the cutout that looks like a helmet to the tip of the arrow head (but also as fingers and a needle) on the god’s hat, bear's eye, and whale's spurting water. The claw cup also has a line running to a Y (which is shaped like a fork; this Y shaped symbol appears throughout the art on this ring; it is evident that it represents the direction of a magnetic force, and that the direction of the two ends of the Y is the pulling force) that continues to a circle with a cross and four dots (a solar symbol?). The line then loops around and stops directly on top of the horse’s head. This is just behind a small vertical half sized spear head on the front top of the horse’s head (this may represent a torch). In my opinion the claw cup, the needle, and the spoon show the making of a water compass. This needle having originated from the god's head, the bear's eye and fang, and the whale's blow hole, thus showing that the god has the ability of that type of bear with a powerful sense of direction (similar to the polar bear), and the sperm whale who also has a powerful sense of direction, these both speculated to be connected to the magnetic. As the scratch engraving alludes to what is not physical, then the fact that the god appears to be giving up his hand to accomplish this making should represent a sacrificial form of giving up one thing in order to obtain (or to give) another. The claw cup may be a Scythian idea of the holy grail; the fact that it ends up on the horse’s head may bring this from the mythical to the legendary. To view a possible 12th C. AD version of this concept: Click Here. The Scythians had an oath-taking ritual in which they would put weapons (this included arrows) in a large clay bowl of wine mixed with their blood (note that this blood was obtained from the oath takers cutting their hands). They would then in turn collectively drink from this bowl. The other arm raised diagonally in front is actually formed from a wavy seax sword or knife shape (perhaps a pattern welded blade, but also possibly symbolizing smoke); this arm appears to also symbolize a poppy leaf. Between the arm and the sword there is a lightly engraved tooth that looks to a be a narwhal horn, or a whale's tooth. There is an indentation in the tree symbol in the background that is the same shape, suggesting that this is where the seax came from. This indentation has a symbol which may have a fire or light meaning but also may be the sign of this sword’s name or maker. The body of the god with the elongated abstract arms suggests a highly stylized shape of the Ursa Major constellation. On the rear top edge of the seax is a vertical line with a circle on top; this may depict a round type of hammer (the Egyptians had such hammers) but more likely it has something to do with measuring. The fact that the flat edge of the seax blade is at eye level with the god suggests that the seax was originally used as a primitive type of sextant (or astrolabe). It is interesting that this aspect of the god also reminds one of symbols of Christianity (but absolutely not its meaning); as well as Santa Claus (chariot, hat with ball, pipe, magnetic north). Another aspect of the god can be seen when noticing that in front of the seax is a horizontally placed Y shaped fork which represents a magnet or tongs, but also serves to give the helmet an eye guard type mask (something typical of a helmet of the early Migration Period), that suggests a one-eyed god. On top of this fork is a cutout depicting a flat topped, bell-shaped helmet with a point on the top front (the top of a nose guard?) and a point on the top middle. In front to the right of this helmet is a cutout of a spearhead that has a scratch engraving trail. The intention is to give the impression that the spearhead has arrived to an indentation of the same form in front of the fork; the lines show that it is arriving from the upper left hand corner of the piece. The spearhead’s shape may or may not have something to do with the constellation/star Arcturus. The spear head shooting towards the fork or tongs may have something to do with the Norse story of a mythic battle between the god Thor and the giant Geirrod. It should be mentioned that due to the Trickster god Loki's treachery, Thor arrives for this battle without his hammer and belt, but prior to the battle a sympathetic giantess gives Thor her magic belt, iron gloves, and magic staff. As this battle begins Geirrod grabs a pair of tongs, picks up a glowing molten iron piece and hurls it at Thor. The god catches this with the iron gloves given to him by the giantess, and hurls it back at the giant who is hiding behind an iron pillar. The iron piece pierces the pillar and hits Geirrod in the stomach. This tale may symbolize a metal smithing process, an unknown weapon, a celestial event, or perhaps all of these. Under this is a cutout that is a semicircle suggesting a cloak but also someone of immense size; this should be another aspect of this god. The Germanic god Woten was a god of the spear, and in fact his later Norse equivalent (the god Odin) had a magic spear which when thrown always returned to his hand (therefore the god and spear were magnetic). If the ring is tilted slightly to the right, a third aspect of the god can be seen. A large Phrygian cap appears on the head of the god, and lines slanting backward show the god to be connected to the rear legs of the horse. In essence the figure at that angle looks like a centaur with a very large Phrygian hat. It should be noted that this is the only image of this god that has a more realistic physical form (this physical image factor is important when I get to the Scythian connection to the art on this ring bezel). So this suggests that there are three aspects to this god, as in the typical very ancient Indo European/Indo Iranian triad god. The chariot’s wheel has a Celtic styled four armed cross wheel (but yet the wheel's hub is shown with an atypical diamond shape, notice that the diamond hub is similar to the previous artifact listed, the "Arcturus Ring"). The horse has a cutout on its belly that appears to be in the shape of an anvil; this may suggest that an anvil was referred to as a horse (or an iron horse) by some people of the Migration Era (aka Dark Ages). From the horse’s mane to the top of the horse’s torso (and top of the horse’s cutout) is an upside down axe pointed diagonally upward. A photo example of a Germanic (Frankish?) Axe Brooch that is in this upside down fashion is included with the Artifact Group Pictures as Artifact Group picture 2. The axe’s downward handle is in the shape of a running horse, but turned upward it is the shape of a hunter’s horn (with a round bell on the horse’s face, and a plumb bob for a nose?) and also a ram’s head and skin (the ram’s head and skin vaguely suggest a human female form). The axe’s head is connected to one of the horse’s legs; the shape of the axe as the horse's leg suggests that it is also some sort of utility device (possibly associated with the Scythian milking of mares mentioned above?). If the axe is a utility device then this horse may have been considered three legged (a three legged horse fits in with Celtic, Germanic, and Norse Wild Hunt myths). Behind the back tip of the curved axe handle (or horse leg) is a small round indentation. The top scratch lines on this suggest that it has arrived from the horse's chest area. On the lower left hand corner edge there is a reclining figure with a tall conical hat that is similar to what would be associated with the Sarmatians of the 1st and 2nd C. AD. This reclining figure appears to have something in his hand (such as a cup) and a cauldron in front; the cauldron may have something to do with the small round indentation behind the curved axe handle (or horse's leg). The axe head is very similar in shape to the claw cup and it appears that after the axe cuts (or creates) the horse thunder and lightning meteors, then it continues to take on a metaphysical form as the horn tip cup (severing the god’s hand?). On top of the axe head (under the running horse handle) there is another small horizontal bolt that should represent a thunder bolt. Emitting from the axe’s front edge is a horse’s head; over this horse’s head is a small horizontal bolt, which should represent a lightning bolt. Under this cutout there are two egg-shaped motifs with scratch engraved trails which appear to move diagonally as meteors or comets (hereafter referred to as meteors). One of these meteors appears to be connected to the axe’s running horse’s handle and the thunder bolt. The other meteor appears to be connected to the axe head’s horse head and the lightning bolt. It should also be noted that the Phrygian hatted centaur aspect of the god appears to be at the same diagonal angle as the meteors, which suggests that this is the aspect of the god that is controlling this event. If the meteorites are viewed upside down, they take on the form of two human reptilian figures (seen in Bezel pictures 14 and 16). These figures may also represent either plant or flower shoots. The mare's cut out (lower chest and belly area) when viewed from the side does hint of a flower symbol, perhaps a rose. The first reptilian figure appears to be a male and the second figure appears to be a female (the axe head and horse belly in this position hint that these figures are in between a bull's horns). The symbolism suggests that these human dragonesque figures are created from a celestial navigator chariot god of the poppy flower (among other things) and a celestial mare goddess of the axe and the cup. (It is interesting to note that these figures resemble almost exactly, the modern images associated with aliens from another planet.) The charioteer creator god and mare goddess of these dragonesque figures may represent actual Scythian founders of another people (or peoples) of the dragon (Sarmatians or Alans?). If the two meteorite figures are in fact human dragons, then the two gold dragons of King Arthur's father Uther (made for him after he had witnessed a dragon comet) and the red and white dragon fight of the Celtic British (Welsh) and the Saxons could possibly be associated with these two figures. The iconography is also similar to that found in the Medieval Irish Celtic legend Noinden Ulad, “The Debility of the Ulsterman.” In this legend, the main character, Macha, who is pregnant, is forced by the King of Ulster to race horses. She complies and wins the race, then immediately gives birth to twins (a male and a female). She then curses the King and the Ulstermen and dies. Macha is also the name of an Irish fertility war goddess and a legendary Queen. It should also be mentioned that according to a 12th C. Welsh writer, the Irish High King of Tara had relations with a white mare (thought to be a form of consummated marriage of the land and the king). The mare was then sacrificed, cut up, and made into a soup in a huge cauldron. The king then got into the cauldron while he and his people consumed the soup. The reclining figure (holding what is possibly a cup in his hand) with the cauldron in front and the small round indentation behind the curved axe handle (or horse's leg) on this ring's bezel may symbolize something similar to this Royal Irish fertility ritual. The iconography with this Saxon ring and my suggested ancient Scythian connection may give credence to claims that a group of legendary Scythians were at some point in Northern Ireland (if so then they were most likely legionary Scythic auxiliary deserters from Roman Britannia, or perhaps retired legionary Scythic veterans from Italica, Hispania). Along the bottom of the bezel there appears to be a staff which has a split about midway. Out in front of this staff is a shape which resembles a cauldron, which looks as if it is being shot forward from the staff. The corner of the staff looks like a shoot from a cut plant or tree branch. It is placed immediately over the area (out of view) where there is the head of a bull and a distorted human face (in the East Panel). I described this figure in the explanation of East Panel information as possibly being Prometheus of Mt. Elbrus in the Caucasus Mountains. If that is accurate, then the plant shoot or tree branch very well could represent the fennel shoot (or another type of plant shoot or branch) that Prometheus brought fire to man in. The cauldron appears in this instance as a projectile. This suggests that there was a fire projectile type of device known from the Caucuses or from the Chinese, at the time this ring was made (6th to 8th C. AD) that behaved like a “Roman candle.” (The early history of black powder and fire arms is debated, but most credit the Chinese with first using black powder with fireworks from the 6th to the 11th centuries AD). Fire in a disc type shape moving vertically (but also apparently stopping in mid air) is also suggestive of an unexplained natural phenomenon known as ball lightning. This lightning can also appear as a ball or oval, which could suggest a connection to the small round indentation behind the curved axe handle (or horse's leg). Interestingly, there is one English report of ball lightning heating water (heated water as in the soup in the Irish King’s cauldron?). If this is seen as ball lightning shooting from the top of Prometheus’s head via a fire shooting device, it suggests a natural phenomenon combined with a legendary piece of technology and a mythological figure (that perhaps was based on a legendary shaman or a tribe). The cauldron/projectile is right over the sword in the South Panel. This could have further meaning, which will be explained with the information on the South Panel. Looking at this detail from another perspective, the reclining figure could also be making a cauldron from a meteorite that has landed, with fire coming from the staff. The art style is unique to the rest of the ring's art and is somewhat similar to that of the Neolithic Hongshan jade artifacts of Northern China. The ring's bezel and top is made in a square shape. The faces of the bezels on three sides are slanted; however the fourth (the top side) is relatively flat. These slanted faces are unique and could suggest a square anvil (among other things that will be mentioned in a moment). I believe that the bezel shows a triad of Germanic Saxon gods that were in fact inherited from the more ancient Scythians of Russia, and that the maker of this ring was showing these gods with their original Scythian meaning. This is stated keeping in mind that this may not have been known to but a few, such as the individual who made this ring or had it made. On all four sides there are mini engravings that I think show some of the Scythian beliefs and what the Scythians perceived as the boundaries of their world. It appears that the layout of their temples also projected those boundaries (see below). Inside the ring and under the bezel are more engravings that may symbolize the founding figures of the Scythian people. There are markings on each side of the outside of the ring’s band. On each side of the bezel and on the outer bottom of the ring’s band there are also engravings. The 5th C. BC Greek historian and traveler Herodotus wrote about what he knew concerning Scythian temples in his “The History”: Herodotus mentioned that although the Scythians sacrificed to their gods, it was only their war god who had a temple. Their war god was also the only god who had an image, which was an ancient iron sword. As mentioned, the art on the bezel of the ring suggests that this war god may have actually represented only one aspect of a god who was part of a triad. Herodotus may have not understood this, as the Greeks did not have a true concept of a combination triad god. Herodotus stated that in the center of every government district there was a temple to the war god. He said that the temple consisted of a massive pile of wood sticks, and that on this pile of wood was a square platform. One side had a ramp which provided access to the platform. On top of this platform an ancient iron sword was inserted, as this was considered the image of their war god. Every year when the temple sank due to weather conditions, wagon loads of brush were added to the temple. One out of every hundred prisoners that were taken in battle was sacrificed (although he does not specify it appears that these human and animal sacrifices were held once a year). His description of this ritual is that wine was poured over the war prisoners’ heads; they were then killed over a vessel. The vessel was then brought to the top of the temple, and the blood was then poured over the sword. To one side of the temple the right arms and hands of the dead victims were cut and then tossed into the air. The limbs, hands, and bodies were left where they fell. Then the other victims were sacrificed (this must mean the horses and cattle). After that those who performed this ritual departed. Again, the ancient Scythian themes on the ring's bezel appear to dominate. As mentioned, it is square in shape and there are three sides that are similar in that the faces are slanted inward; the top side is relatively flat. If this depicts a Scythian temple then the top side of the ring bezel should therefore represent the side with a ramp. The bezel shows a sword, a hand sacrifice, and a type of horse sacrifice. Later I will show that the art on the right side shows a bull sacrifice and possibly a human sacrifice having to do with the world tree and the polestar. For reasons that will be explained, the ring should be oriented with the top as north, the bottom as south, the right as east, and the left as west. Each of the sides will be referred to as a panel. Although the ring is Germanic Saxon, the art on these panels gives many clues to a map of the Scythian territory, particularly that of the Royal Scythians. It would appear that the platform on the temple of the Scythian war god may in fact have also been a map referring to the Royal Scythians’ history and at some point the establishment of their borders. I will start with the underside of the ring bezel, then go to the south panel, then the east panel, the north panel, the west panel, and finally to the band.

UNDERSIDE OF THE BEZEL
The underside of the ring bezel shows a figure in a sloped hat in profile; the figure has an arm with a squared hand (this may suggest where the hand sacrifice began). Behind this figure there is a serpent figure that may have also been intended to show the shape of a woman. Turned the other way around, the figure shows a face in profile wearing a large trailing headdress that reminds one of Hercules in his lion skin, the outline of the headdress looks like a leaping bear coming from the mouth of a serpent, a bear dragon?). The hat has a separate form and may represent a river bend or an island. This figure may represent Scythes, the legendary founder of the Scythians who with two other brothers was the offspring of Hercules and a creature whose lower body was that of a serpent and whose upper body was that of a woman.

SOUTH PANEL
The South Panel shows a large vague type of engraved W or M. The art shows that there are three separate sections, perhaps suggesting three different regions. The first section is in the direction that the two meteors on the ring’s bezel are traveling towards. To the left near edge is what appears to be a sword or a dagger pointed downward; next to this are two figures that are unidentifiable. To the left of these figures is an upright mace club with jagged edges and a face. This section of the South Panel appears to represent an iron meteorite sword and club of the two meteors. This coincides with a theory of Linda Malcor’s, that is that the Scythians and Sarmatians worshipped a meteor type sword of their war god that fell from the heavens into a mound. If the cauldron/projectile symbol mentioned in the Bezel information originates from ball lightning, then this suggests that an event involving another natural phenomenon became associated with a sword in the mound. Any hovering ball lightning that was disc shaped could also be thought of as a type of mystical cup of the heavens (a flying holy grail). It also may be associated with the Scythian vessel (cup) that was used to pour the blood over their sacred sword on top of a platform. According to speculations based on the iconography of this ring, this would directly connect the sword to the mythical Prometheus (who in fact in myth was chained by the Greek metal smith god Hephaestus). This would suggest that the Scythians, the later Scythic peoples, and the later Saxons had a keen interest in what in their day would have been perceived as an understanding of technology combined with myth and legend. This may explain why likewise the legends of King Arthur and his Knights of the Round Table gained such immense popularity in the 20th century, quickly overtaking the somewhat more traditional religious legends of Charlemagne (of the Holy Roman Empire) and his Paladins. As seen in the description of the bevel mentioned previously, the meteorites may also be associated with a running horse of lightning and a horse’s head of thunder. Therefore the sword should be called the lightning, and the club the thunderer. The lightning definitely reminds one of the sword Excalibur of the Arthurian legends. The hammer or club suggests Mjolnir of the Norse god Thor, or the hammer or club of Thor’s Germanic equivalent. The sword may represent technological powers and the mace club the creative powers; in fact the Norse god’s hammer club besides being a weapon of war was also used with fertility rites and had regenerating abilities. This club may also be of a plant or a shrub. If so it may be the plant that Soma is made from.*** The fact that these two weapons originate from two distinct sections of the horse’s belly suggest that the meteor sword is from the horse’s rib (similar to the Biblical Eve, suggesting Christian or Judaic influences, or a very ancient Steppe myth) and the meteor mace club is from the horse’s belly (thunder as the rumble of a horse’s belly). The fact that the left meteorite (on the bezel) is in female form suggests that the "sword in the stone" was once considered feminine, while the mace club was considered masculine. These two hand held objects may have been considered symbolic of dragonesque male and female twins as a sky delivered (depending on the perspective, either heavenly or alien) couple who were founders of a people (or as founding sky delivered male and female twins as competitors?). The fact that the dragon female is associated with a sword may suggest something to do with St. Margaret, or more likely an older Scythian Amazonian legendary figure who is similar to St. Margaret. In the next section there is a combination creature of a winged dragon, a rhinoceros, and a male griffin (no wings) standing on top of four horizontal humps (this should symbolize a mountain chain but also a segmented serpent or dragon). To the right of this is a large bird’s head; the bird appears to be a raven (the Zoroastrian raven?). If viewed from another angle it looks like a stork looking right; alongside this to the left is an eagle’s head, which if viewed with the larger engraved lines appears as an eagle in profile. The engraved lines form an upside down small “y” which is the Anglo Saxon "cen" rune (but from the older Saxons), that is a the symbol for a torch. It is also similar to the Hungarian rune (the Rovas) that symbolizes the word AS and the Norwegian rune that symbolizes the word A, both of these appear to symbolize an eagle, perhaps originating from an ancient Iranian fire bringing eagle that had more antiquity as just an eagle symbol (Assyrians?). The vertical straight line is pointed as if piercing the dragon’s head (done with a dot technique). At a tilted angle the figures change slightly and also show scenes with the indentations. To the left, just under the winged dragon’s neck the indentation appears as two figures on each side of a stupa (a stupa is a Central Asian type of temple, these temples were popular during the rise of Buddhism in that region that was south of the Central Asian Steppes). The figures appear to be putting twigs on a stack of twigs. This scene as well as the scene in the previous section is similar to what is seen in Zoroastrian fire altars on Sassanid coinage. An example of one of these coins is shown with the Artifact Group as Artifact Group picture 3. This fire altar scene suggests an Indo Iranian people, not the Indo European Scythians. The griffin and the rhinoceros become combined and turn into a larger creature with a massive bird’s head and beak. In the center just above the second and third dragon’s hump is a seated bear with one (or two) paws in a bowl that is made with a dot technique (like the segmented dragon’s head). The segmented dragon’s head may represent a bed of magnetite (lodestone) and the bowl made in the same dot technique may represent that it is supposed to be from this magnetite bed. When turned upside down the segmented dragon turns into what appears to be a tent top, but also a dragon windsock. From this view the bear and cup appear to turn into a man with a cap riding (but more like driving) in an Anatolian or Persian type shoe to the right. To the right of this is a hole that appears to be a cave, formed by the eye of the eagle (when right side up). It appears looking at this South Panel that East of the Sea of Azov and the Caucasus mountains is an area associated with the Scythians but also with a fire worshipping Indo Iranian people, such as the Persians, the Alans, the Sarmatians, the Parthians, and the Sassanids. The sword and mace club from the Scythian gods may have been a dual meteor event from a more ancient past; my guess is that if there ever was such an event then the area where this occurred is somewhere near the lower eastern half of the shores of the Sea of Azov in Russia. In fact the legendary Amazons were supposed to have worshipped a black stone (meteorite?) on an open air altar on an island named Aretias off the coast of Colchis. The segmented dragon should be a part of the northeastern Caucasus Mountains. The fact that one of the fantastic combination creatures is a giant rhinoceros may suggest a memory of the prehistoric Elasmotherium, which is thought by some modern writers to have been known in North Eastern European folklore, that is according to an account of stories told to the medieval Arab traveler with the Vikings Ibn Fadlan. The bear and the bowl suggest the Kupula festival mentioned elsewhere with the KAB Collection; when put upside down it suggests that the flower is a type of “lady slipper”. In fact the lady slipper flower is known to temporarily capture a bumble bee that is in search of pollen; this may be a perceived connection to a bear. The lady slipper is also known to have a sedative as strong as the Valerian flower. A single shoe is also a Christmas symbol in some European cultures; it is associated with receiving a gift (much like the wider known version of the Christmas stocking). The fact that the bowl is shown as a round cap on a man (a bear tastes from a cup and then turns into a man?) and he is riding in a shoe (lady slipper) towards the cave suggests a Shamanistic journey beginning under the tent and banner of a dragon; but perhaps then the return is to arrive from the eye of an eagle. The next panel should give an idea of what the Shaman’s journey may have been about.

EAST PANEL
The East Panel at the bottom corner shows a man’s face distorted as if in pain. There are engravings on the top corner (on the man’s forehead) that have not yet been analyzed. The area is approx. 2/11 mm. While in a vertical position turned slightly it shows a bull’s head with a Y on its forehead, which looks more like a bison forehead (Caucasus Bison?). Horizontally in front of this is a knife overlapping a spear head; this spear head has a peculiar shaft. The knife has a polar bear riding on two spears (or snakes?) with a spear tail; the polar bear has flame type engraving at his front (done in a herring bone fashion). This appears to show that the polar bear is sending (or blowing) a breaking fire to his front. The knife style is a certain type of pointed seax rarely seen but may be from the Greek machaira (Greek cutting sword). I have included a picture of this type of blade with a Late Roman era scalpel (or other cutting tool) with the Artifact Group Pictures as Artifact Group picture 4. The tip of the knife is pointed at the bull’s throat, but also towards the back of the man’s neck (this could suggest that the bull is in fact a bull man, or an ancient bison shaman?). The lines on and around the knife give the impression of great energy and thrust. The location of this suggestion of sacrifice may have something to do with the Scythian sacrifice at one side of their temple to their war god. When the panel is turned upside down, the top (by the corner with the bull’s head) shows the face of a bearded man with a Phrygian hat; the mustache is made to appear as a Y (this is the same Y on the bull’s forehead). The side of the panel and the bottom edge (the bottom while in this upside down vertical position) is made to appear as if it is the elongated body and foot of the bearded man in the Phrygian hat. On top of the foot of this figure is the peculiar spear head shaft which is made to appear as a thick phallus. The spear head itself probably represents semen; the shape also appears similar to ancient scalpels. The summary of the East Panel is that this side of the ring should represent the eastern boundaries of the Royal Scythians (or perhaps the founding Scythians). This boundary appears to be where they felt their world tree existed, a world tree which leads to the polestar. The eagle (that is on the corner of the south panel), the bull’s face (or bison), and the man’s face should represent Prometheus. Prometheus who was bound to a rock, Prometheus who against the will of the gods was the bringer of fire to mankind. His punishment was to be bound eternally to a column or rock while an eagle pecked at his liver. Prometheus also taught man how to sacrifice to the gods; the animal used in this sacrifice was a bull. According to Greek legend this took place of place of Mt. Caucasus. According to local legend of the Caucasuses this all took place on top of Mount Elbrus in the Caucasus Mountains. So if the Scythians had the water compass, then the boundary may have been from Mt Elbrus to the magnetic north, or perhaps true North from Mt. Elbrus to the place where they saw the Polaris in the heavens. The polar bear on the seax knife has a tail that is a spear which points exactly to the upper corner (while in the horizontal position), but then beside the spear head of the spear is another spear head pointing to the phallus. This should represent the Little Dipper pointing both to magnetic north and to Polaris. The phallus shaft of the spear head I believe is Polaris, and also the toe of Aurvandill, Aurvandill’s toe being a Norse kenning for the phallic Polaris. (The expression used for the lodestone as “Hercules’s stone” may have originally have had some similar meaning). The spear head may have been an actual ritual object, it may have been made of ivory or bone. The fact that both the seax knife and spear head resemble ancient medical instruments may allude to a connection with ancient physicians (or rather, shaman physicians). The summary of the east panel can be stated as follows: besides showing the eastern boundaries of the Scythians, it also appears to be once again referring to the Indo Iranians. If so, these Indo Iranians appear to have had more contact with their northerly and northeasterly Finnic neighbors and less so with their southerly Semitic neighbors. The Scythians may have had a traditional belief that the Caucasus Mountains were an original homeland of the Indo Iranians. This region was the homeland of various peoples over the centuries but it is also thought by some to be the birth place of Zoroaster and his dualistic religion of fire worshippers. Using the Greek myths and legends, the theme of this panel gives a hint as to the origins of some of the ancient Iranian beliefs and later the cult of Mithraism.

NORTH PANEL
The Northern Panel’s left corner edge shows a figure accepting something from an eagle. Under this is a symbol. This minute engraving is less than a millimeter in length and has yet to be photographed. On the complete panel there is a heavily engraved W. On the left hand corner on the edge of the panel is a face in profile looking left, but also in very faint dot technique the face shows a physical form naked from the waist up. The face has a hat or helmet with two sloped upside down Y’s in front. These appear to be connected to the phallus spear head shaft on the East Panel. To the lower right is a standing bear (or a mythical bear wolf?) holding a rod downward; this rod has an upside down U with two dots on top. Behind this is a standing figure which is not identifiable. To the right of this on the bottom edge is a jagged mountain range. On the left top of the mountain range is a triangular feminine face (but also somewhat in the shape of a heart) that has a large jagged (fur?) ear sticking out to the left (this is at eye level and above, so a bear’s, or a wolf’s, or a mythical bear wolf’s ear?), two embedded specks of iron (possibly meteorite iron) for eyes and a six pointed star for a mouth (the lower right point of this six pointed star is much longer than the other five points), after careful considerations with many artifacts I now consider this type of star to represent a celestial fang and claw intersecting, with this symbolizing the origins of the magnetic, meteor/meteorite iron, and the water compass, a secondary symbol would be the six pointed star. There also appear to be a couple of whiskers on the left side only. It should be noted that the vertical line of five stars is right over the circle top of a vertical line on the seax that the god on the bezel is holding. The nose on top of this star has four smaller stars (with various different points) in a vertical line, so there is a total of five stars on this face. This is right behind the bear fang that is also a female (sow) or bear cub's face (on the bear head cutout) on the bezel, this suggests that the fang is made of iron. To the right of this there appears to be what looks like clouds. Besides the rest of the W and the mountains, there does not appear to be any other engravings. If this is turned upside down then the W turns into an M. The face turns into the lips and jaw of another larger face (sort of a Janus head). The bear or wolf (or bear wolf) holding the rod turns into a kneeling figure in a Phrygian hat holding an upright rod with an upside down U with two dots on the tips. This upside down U with the dots is centered on top of the face’s forehead, as if pulling it or branding it (this is much like the Hindu Tiaka symbol which is put on the forehead, so it is the mark of a god, or an initiate, or a magnetic metal smith?). This standing bear is very similar to the Neolithic Chinese bear dragons with the KAB collection. To the right the large triangle face turns into a small rectangle (but also similar to a sled, or a shoe) with the small metal speck on top; over this is a figure with a long skirted gown, a speck of metal (where the right foot would be), and a tilted pointed hat. If this is slightly tilted then it shows a muscular human figure leaning forward (again with the speck of metal for a right foot, but there is also a line that curves slightly up suggesting skis) as if pulling the rectangular platform and speck of metal (this definitely suggests an object on a sled). The fact that there are three small bear type figures on the south, east, and north panels, plus the large female bear type face on the north panel which represent a cup bear, a weapons bear, a magnetic bear, and a large female bear (but of the celestial?), can only remind one of the bears in Hrolf Kraki’s saga or the name of Beowulf (meaning bee wolf, but speculated as a kenning to mean bear wolf). The summary of the North Panel is that it appears that a northerly mountain range was the border of the Royal Scythians. This mountain range was to the left or west of where they envisioned Polaris was. A proposed location of this northern mountain range may in fact be the Kola Peninsular of the Murmank Region of Russia (this is a tundra region beyond the polar circle).**** It would appear that this region was connected to the five star constellation of Cassiopeia.***** According to Herodotus, the Scythians did not venture to the far north as they thought that it was impossible due to feather storms (it is hardly likely that his sources were telling him the truth; more than likely they did not want the Greeks to know something – possibly related to a secret amber route or even a superstition, as this group appeared to worship the polestar). The fact that there is a bear or a wolf and a Phrygian hatted figure suggests a Finnic people who were somehow connected to the creation of the magnetic (this is possibly associated with the spear head and the seax on the East panel) and that which became magnetized (Scythian shaman?). The fact that the two eyes of the female animal head are made of specks that are possibly of another metal (such as iron) suggests stars; is this where the Scythians thought meteorite iron came from before entering a celestial horse? The figures with the rectangular platform and speck of iron suggest a legendary meteorite find in the far north, perhaps associated with the direction of true north. It should be noted that if this ring’s bezel is symbolic of a Scythian temple to their sword god and the flatter north panel symbolizes the ramp to that temple, then it was to this direction that they focused ritual and worship.

WEST PANEL
The West Panel shows to the left an egg shaped face with an egg shaped open mouth with a dot in it. To the right of this are what appear to be reeds or sticks and a triangular face that appears feminine. To the right of this are more reed or stick like lines, then what appears to be a rune. Towards the top of this panel there is a trail that starts at the eye on the left of the egg-like figure (this would be this figure’s right eye) and ends at the bottom of the panel in the horizontal; this is much like a comet. On the top corner there is an upside down tear drop that shows a beaded face with antennae, which appears to be an insect’s face, such as a bee or an ant. In summary, this West Panel egg-like face should be of the sun; the egg-like mouth with a dot should symbolize a shout. In many primitive societies a shout is how creation begins, so it may be as such with this solar figure. The egg is also a universal symbol of creation, but also origin. So it just may be that this area is where the Scythians thought they originated. It could be further speculated that this is where the Indo Europeans (the much more ancient ancestors of the Scythians) originated from. The egg mouth also hints of an island. It should be noted that this is where the circle cross symbol in the left hand corner of the ring’s bezel is located. The triangular face next to the egg shaped face may be of a lunar goddess, or a huntress goddess, or both. The reeds should represent a great marsh. The rune next to this I believe symbolizes a large lake or sea (further research may confirm this). My speculation is that this lake or sea is the Sea of Azov. The comet type insect coming from the egg shaped sun’s right eye should symbolize amber. Amber was thought to be the tears of the sun by many ancient people; the bee was sacred to the Greek sun god Apollo, but also to his sister the lunar goddess of the hunt Artemis. It would appear that the northeastern borders of the Scythians were where there were amber finds, such as the Eastern Baltic Sea. Below this a great marsh would exist, such as Pripet Marshes (or the Great Marsh) of the Ukraine, and the southwestern boundary would be the Sea of Azov. This would appear to be an amber trade route with river connects; evidently the Scythians could only control the eastern side. The fact the insect comet figure is moving in the direction of the southwestern edge of ring bezel suggests that this amber trade supply was to the Greeks, and perhaps the Egyptians.

BAND
On both sides of the ring’s bezel there are engravings. It appears that the Band East Pictures have a scene showing Rostam, the dog monster Simorgh, and Mt. Damavand of the Iranian Elbruz mountain range (this is not Mt. Elbruz of the Caucacus Mountains, although they may be connected in Iranian myth and legend). This mountain range would appear to have formed some kind of eastern outer border (or outlands) for the Scythians. The engravings on the Band West Pictures show a wolf face (this face, shown in Band West Picture 1, looks feminine; perhaps this represents a tribe worshipping a wolf goddess, Amazons?) and horizontal flying objects that look like stone weapons. This may have something to do with a people who were still in the Stone Age, possibly existing in a western outland bordering Scythian territory. On the Band Bottom Pictures there is a highly decorated dagger, arrow head, or spear head. This appears to be made either of stone or raw metal. It is portrayed horizontally; turned around, this dagger becomes a mounted figure with a round face (this is made from embedded iron, and can be speculated to be meteorite iron, perhaps associated with the male meteor or comet and the mace on the South Panel), with a headdress, (holding a mace-like club (scepter?) and the front of a horse’s head (as if charging to the front) . The figure and the mace club also appear to be a plant or shrub.****** It should be mentioned that although this may be the mark of the maker of this ring (or the mark of the ring’s original owner), it is more likely that this image is of some heroic figure of the Sassanids, most likely Rostam (the Persian Hercules who had seven labors, a powerful mace, and a horse named lightning) or Peshotan (a Zoroastrian apocalyptic savior figure). The hero Rostam is considered to have some things in common with Irish Celtic heroes and King Arthur. The mace with a human or animal face is very typical of the Luristani, the Persians, the Parthians, the Sassanids and Indo Persians. To the Sassinids, the mace was a symbol of a Sassanid Knight. Later the Byzantine Army as well as other armies equipped their cavalry officers with maces. The dagger, or spear head, or arrow head, or spear head together with the mace club (or scepter) may be associated with two of the engravings seen in the first section of the South Panel; notice that the mace in the first section of the south panel also has a human face. This type of mark on the bottom of an ancient ring’s band is more typical of Roman legionary rings. I have one example that shows an arrow head or spear head; this is a ring of one of the two 6th legions. It has an engraving of Sol Invictus with a dagger (or arrow head, or spear head). The figure on the ring band bottom appears to have been designed to give the impression that it is moving straight up in the direction of the viewer (this is also south of underside of the ring bezel, suggesting a descendant of Scythia’s first ruler ?), or moving from the western outer range (a European mountain range) to the eastern outer mountain range.

NOTES
* The staff that the god holds with the upside down L with two balls appears to be very similar to a modern Masonic symbol for the 3rd degree of a Master Mason; this is the degree of a full fledged member of that fraternal organization. This symbol is known by masons as the Tubal Cane or the “Two Ball Cane”. Tubal Cane is used as the password for a Master Mason. The name Tubal Cane is mentioned in the Bible as a descendant of Cain and an ancient metal smith (much like the god Vulcan). He is thought by some to be from northern Anatolia on the Black Sea or the Caucasus Mountain region. There does not appear to be any known origin for the Tubal Cane Masonic symbol.

** The Indic (from India and the Vedas, the writings where we get most of our information on the Indo Europeans) god Agni has three heads (much like the god seen on the ring bezel), is red in color, carries a fan (bellows), a spear, a cup, and a spoon, and his mount is the ram. He is associated with the god Soma, a god of a sacred drink (a juice from a plant) that later also became a lunar god; he has twenty seven daughters.

*** Soma is an unknown plant that was used by the Indo European war god Indra and prepared by the Indo European priests as an invigorating drink for warriors. It was also a god of the moon name Chandra. The Zoroastrian Indo Iranian equivalent is called Haoma. Modern researchers have given evidence that this may have been made from the ephedra plant/flower (or from a variant). The mace club seen on the North Panel may in fact be of that plant or a similar plant, or shrub.

**** Located in the Kola Peninsular are the Khibuny Mountains and the Lovorozero Tundra. The area has been inhibited by the Saami (Laplanders) for at least 3,000 and possibly 4,000 years. A mountain known as Kuyvchorr has a naturally occurring image of a giant human figure (formed from rocks, rock shadows, and lichen). Some reports say that it is called the “Old Man”, others that it is a dead petrified warlock. There are two U shaped (or horse shoe shaped) mountain ranges in this area. The one of particular interest is in the Lovozero Tundras, whose U shape is formed around Lake Lovozero (it is possible that the U mountains around Lake Lovozero are connected to the figure with the rod and U seen on the Saxon ring’s north panel). This region is known for its unexplained natural phenomena, combined with irrational human reactions to these phenomena. Most of this probably has to do with the magnetic. The Saami have many legends about this; it can be expected that we only know a portion of these. It is most probable that whoever made this ring was aware of this region, and gave its location as true north, just west of Polaris. It can be expected that besides any Scythian (or later) shamans making their imagined “journey” to this area, at least one or more actually made the hike in order to give a “description” of the “landscape”. It should be noted that the insect comet figure that runs the length of the West Panel and the long upside down figure in the Phrygian hat that runs the length of the East Panel both suggest great distance. This should show that although the Scythian territory was viewed as square, certain symbolism shows it was actually known to be a long rectangle.

***** The W, as seen on the North Panel of the ring should represent the nearby five star constellation of Cassiopeia. This constellation according to Greek myth was of an Ethiopian Queen by that name. The constellation can be viewed year round but it is sometimes upside down (thus sometimes appears as an M, other times as a W). The Greeks attributed this to a crime of vanity. In the myth Cassiopeia was extremely beautiful and married to the Ethiopian King of Jaffa, Cephues. Together they had a beautiful daughter Andromeda. Poseidon had a sea monster that was going to attack Jaffa so her parents as rulers consulted an oracle. The oracle told them that they had to sacrifice Andromeda to the sea monster. They then had Andromeda tied to a cliff overlooking the sea as a sacrifice to the sea monster. Andromeda was seen and rescued by the Greek hero Perseus (this is thought by some to be very similar to the princess in the St. George and the dragon legend). For punishment, Zeus put Cephues and Cassiopeia in the heavens as constellations. Cassiopeia was put on a throne but has to spend part of her time upside down to teach her humility, supposedly she never learns as she is a symbol of vanity but also possibly pride. The Saxons and other Germanic peoples may have seen this constellation as a type of wolf (perhaps shown in the dragon wolf Dacian standards of the 2nd C. AD?). I mention this as during the Viking Age up until the Late Middle Ages, there were on the sockets of their axe heads wolf or fox ears that indeed form an M or a W. If you would like to view an example of this within this collection, Click Here.

****** The mounted figure and the mace club may be in line with a theory on a second plant used to make the Indo Iranian Haoma. Two researchers, David Flattery and Martin Schwarz, proposed that Haoma was made from the ephedra plant and the Syrian rue plant. In fact the heads of both the mounted figure and the mace club do look somewhat like that plant in its capsule seeding stage, or it may be of another plant. It should be observed that the club on the South Panel does look different from the club on the outer ring band.

The possible Saxon and Arthurian meaning of this ring.
I am of the opinion that besides the Scythian meaning, this chariot god is also supposed to represent the Saxon god Thunaer (to the Germans Donar; to the Anglo Saxons this was Thunar; to the Norse Thor; and to the later Normans Thur. All these names are thought to mean Thunderer, as a celestial chariot driver of the bear (Ursa Major) and the Big Dipper (or Little Dipper) driving around the polestar, but also as a navigator, smith, creator fertility hero war god of navigation, thunder, lighting, comets, or meteors. The symbolic; god, bear, and sperm whale (along with other creatures and forces) creating a celestial water compass is utterly profound. The name Thor Bear in fact was known in Medevial Times as a character in the Icelandic Hrafnkels saga (Thorbjorn); this should show that Thorbear was an Old Norse name. It should be mentioned that in the saga Thorbjorn is a righteous man of high character. If the root of the Celtic word for Bjorn (Art or Artos) were put in front of the Norse name Thor, then this could read Arthor or Artothor; in the Saxon it would be Arthunaer; in the Anglo Saxon it would be Arthunar; to the Germans Ardonar; and to the Normans it would be Arthur. I believe Thunaer was the god that the Romano British monk writer Gildas was referring to when he wrote of what some think is a reference to King Arthur in the form of a Welsh King named Cuneglasus. He mentions him in the De Excidio Britanniae (On the Ruin of Britain, c. 450 AD) as such: thou bear, thou rider and ruler of many, and guider of the receptacle which is the bear. Cuneglasus is only mentioned by some Arthurian theorists because of the connection of his name to the bear chariot. Gildas writes that Cuneglasus ignores his wife and lusts after his sister (Cuneglasus is either a very bad character or Gilas hates him for an unknown reason). He also states that his name means “Red Butcher,” but yet his name in Welsh is Cynglas, which in fact is thought to mean Gray Hound. Red is the color of all Germanic war gods (and most ancient war gods and goddesses) but it is also the color most associated with the god Thunaer. Based on the symbolism of this ring I am of the opinion that Gildas was convinced that Cuneglasus had converted to the pagan Saxon ways; this would have been an outrage to Gildas’s Roman Christian faith but also to his Romano British cause. Gildas ranted against the deteriorating conditions of the Britons after Rome’s soldiers left. He mentioned that the Saxons were invited by the Britons as mercenaries against the Picts, but that they then demanded more compensation. After this compensation was refused they sought the conquest of their former employers; a leader named Ambrosius Aurelianus then drove the Saxons out (others believe that Aurelianus may have been the original British Arthur figure). The name Arthur is mentioned for the first time in a Welsh poem by a poet named Aneirin in The Gododdin (c. 594 AD). He writes, "he charged before three hundred of the finest, he cut down both center and wing, he excelled in the forefront of the noblest host, he gave gifts of horses from the herd of winter (this sounds very much like an ancient Scythian or Sarmatian ritual), he fed black ravens on the ramparts of a fortress (this hints at a Zoroastrian Persian tower of the dead ritual), although he was no Arthur.” This sounds like a Saxon comparison to their god Wodan aka Wotan (the Norse god Odin) but implying that to some British pagan romantics (or Christians wanting to combine the religions) the god Thunaer was admired more than Odin or was preferred to be invoked over Wodan. Possibly the Saxons had influenced the Welsh with a cult of Arthunaer, which later had become a Welsh Arthur. There are later references to Arthur as a battle leader but it would not be until the 12th c. AD that Geoffrey of Monmouth's romance Historia Regum Britanniae refers to Arthur as King Arthur. There is little doubt that with more research, the historical written sources relating to the Arthurian legend will provide more information about the god Thunaer (or Arthunaer?), the Big Dipper, his chariot, his axe, hammer or axe/hammer, his seax, and his horse anvil. History records that when the Saxons were defeated by Charlemagne they were required to denounce their old gods (these gods were Woden, Thunaer, and Saxnot) and accept the god and saints of the Christian trinity. There is no mention of any other gods, therefore I propose that these Saxon gods were one god of an ancient Scythian (but derived from the Indo European) triad. This was after the most brutal war in Charlemagne’s career; the Medieval writers leave no doubt that the Saxons were the most warlike and savage of the German tribes of the Migration Period. If the Saxons were still worshipping a more direct version of the ancient god of a Scythian triad then there is no doubt that they were a more primitive (but apparently highly sophisticated) people than the other Germanic tribes. What is ironic is that if Charlemagne, a German Frank, had battled for the Christian trinity while believing he had the spear of destiny on his side, the Saxons may have had a triad god with a magical spear head. This must have been viewed at that time as the ultimate battle of good vs. evil. In essence it was a Roman spear that symbolized enforcing an end to human sacrifice battling against a spear that required human sacrifice. Legend states that the nail inserted in the spear of destiny (put inside a hollowed center part of the spear) was used during the crucifixion. In the Norse pagan belief and folklore the Polaris star is referred to in a kenning as a “spike”. If there is any truth to the belief that a conqueror takes power from the conquered then Charlemagne and the Christian church may have been perceived by some in the same light as taking the role of the Saxon or ancient Germanic (from the Scythians?) bear charioteer circling Polaris with his spear, but with Charlemagne as the guardian against the beliefs and practices of the Saxons. This may be why the Big Dipper is referred to in France as Charlemagne’s Chariot. There are many that are of the opinion that Charlemagne and his Paladins were the medieval inspiration for the tales of King Arthur and his Knights of the Round Table; in my opinion this is highly likely. I believe that the symbolism on this ring shows the Saxon god (but yet derived from the Scythians) as Thunaer (possibly as Arthunaer) riding his chariot in a shamanistic flying fashion (seated on his knees), and taking a sword from the world tree to create The Big Dipper (or Little Dipper). This may be another explanation for the unusual shape of the seax blade which does indeed have an outline that is similar to the handle of both Dipper constellations. Although it is thought that the Saxons derived their name from these swords and knives, all northern Medieval European peoples carried a seax, mostly as a knife that was used as a tool. In the most northern regions of Scandinavia, a smaller, more slender version of these knives is still highly regarded and carried as a hunting or fishing utility knife. As mentioned with the Scythian information, this may have once also been a sextant; if so then this would reflect the fact that although many northern peoples of Europe are socially progressive they tend to be somewhat more traditional than their southern neighbors. The helmet appears to represent the cup of the Big Dipper but also the magnetic god Odin. The diamond spearhead shape representing a spear (the primary weapon for Germanic and Nordic warriors) comes from either the sun (the egg sun shown on the West Panel) or from another constellation. If of another constellation then I expect that this should be from the kite-shaped constellation/star of Arcturus (to some the constellation Bootes and the star Arcturus, Arcturus is from the word Arktos, which is Greek for bear). If this spearhead does represent Arcturus, then this would imply a leader as the Bear Guard in charge of his herd (horse herd, animal herd, or a hoard?). This may have something to do with a celestial event at a certain time of the year or some celestial event that was observed only once in antiquity. The cloak would complete a warrior hero or warrior leader’s essential equipment. This cutout figure may be Thunaer’s warrior creation as Arthunaer (his bear warrior side as Odin). The staff axe/hammer as mentioned before may be of the world tree, hence it may be made of wood, stone, or iron or even more likely a combination of wood, stone, and iron, although wood would suggest fertility. This weapon/fertility symbol may be similar to the mystical unknown treasure called the Sampo, which is mentioned in the Finnish national epic the Kalevala. This object may have originated from legends attributed to the Saami people of Lapland. The Sampo is made by a smith in order to create a wife; it is the most powerful object in the world which will bring benefit to those that own it (it is thought to be associated with the world tree, an ash or an oak tree as in Nordic tradition?). (This reminds one a little bit of the biblical story of Adam whose partner Eve is created from one of his ribs and may show Christian influence). It brings great good fortune in the story but it is eventually stolen. There is a recovery battle at sea and it is smashed and then lost overboard. A few fragments are recovered that assist in bringing some prosperity for the tribe that owns them (the Saami?); nevertheless there is a hope that the Sampo will someday return whole. This mythological object is thought to possibly be some sort of mill (the possibility of this being a lodestone or an ancient water compass should also be considered, without a course of direction an ancient hunting fishing tribe could not survive intact, then again that message could apply to any group of people, and at any time). If the god Thunaer or “Arthunaer” rides around the polestar, then this could in fact be perceived as the actions of an ancient miller. If the staff axe/hammer was to be associated with this milling (as a handle?) then it may in fact be the Sampo. The staff axe/hammer should have something to do with the horse anvil. If the anvil is hit with the mystical staff axe/hammer, then this could very well be associated with creating (or as seen with this horse and anvil, giving birth); thunder, lighting, comets, and meteors. This implies that any one of these events, some of these events, or all of these were associated with fertility. It is interesting to note that the maypole is also part of a fertility rite, in which the participants circle around the pole topped with a horse's head, similar to the way Thunaer or Arthunaer rides around the polestar. King Arthur’s shield Pridwen (Fair Face) was reported by Geoffrey of Monmouth in the 12th c. to have had the Virgin Mary depicted on it, but in the Welsh Mabinogion (written down in the 14th c. but believed by some to be from a 12th c. tradition) it is referred to as Wynebgwrthucher (Face of Evening), which could be symbolic of the Ethiopian Queen Cassiopeia. The fact that the Irish Ulster hero of legend Culann had a mermaid painted on his shield (he had captured and released a mermaid with her vow of victory if he painted her image on his shield) is rather coincidental in that it also sounds somewhat similar to the part of the Cassiopeia story where Perseus rescues Andromeda. If the Northern Germanics and the Vikings had Cassiopeia as part of their myths, then there may or may not be a connection with this and the Black Madonna of Poland. The fact that Thursday (Thor’s Day) is the fifth day of the week and there are five stars in the constellation of Cassiopeia may be a coincidence, or not. There are speculations by some that Thor was an older god than Odin and that he was demoted to being Odin’s son when he was replaced by Odin. The two wolves of Odin (Geri and Freki) may in fact have originally represented Thor’s relationship with the constellation of Cassiopeia. I am of the opinion that this constellation to the Germans and the Vikings represented a symbol of protection, possibly inherited from the more ancient Dacian dragon wolf standards as although the constellation’s M or W does look like wolf (or fox) ears, it could also represent a serpent or serpent’s crest. There are many traditions that refer to the Big Dipper as a chariot. It is called King Arthur’s chariot in some English traditions (others refer to this constellation as a plough), King David’s Chariot in the Irish tradition, Charlemagne’s Chariot (or the Great Chariot, or Charles’s Wain) in the French traditions, Odin or Thor’s Chariot in the Viking tradition, and Donar’s Chariot in the Germanic tradition. It should also be mentioned that the Big Dipper is also referred to more often as a wain (wagon) in some of these traditions. In Richard Hinkley Allen’s “Star Names and Their Meanings” (1899, second printing1963) he quotes a Swedish folk rhyme about an idol at the Nordic pagan religious center at Uppsala of Thor. “The God Thor was the highest of them, he sat naked as a child. Seven stars in his hand and Charles's Wain.” This ring shows that without a doubt, the seven stars in the rhyme were those of the Big Dipper. The Nordic god Thor is the best known of all the Germanic thunder gods. This is due to the Medieval Icelandic Sagas which are thought to have originated in the Viking Age. Thor is as mentioned Odin’s son; he is the largest of the Nordic gods and is red haired. Thor has a chariot driven by two he goats; the Germanics may or may not have the goats pulling Thunaer’s, Thunar’s, or Donar’s chariot; we don’t know. More than likely they are horses. Thor has a magic war hammer named Mjolnir (thought by some to mean lightning; I am of the opinion that it means lightning mill) that creates lightning and thunder. It is a weapon but it is also associated with fertility. When thrown it will always return to Thor’s hand. When Thor becomes hungry he will eat his chariot goats, then wave his hammer over the bones wrapped in skins to restore the goats to life. He has a magic helmet, a magic belt, a magic cloak, and magic gloves. Thor’s consort is named Sif; she is associated with the harvest. She was deceived by the Trickster god Loki into cutting her hair. The gods then made him make her a blonde wig; this wig took a permanent hold to become her hair. This all suggests that Sif had another color of hair, most likely red; if so then this would suggest that she had once been a war goddess prior to becoming Thor’s wife. Thor was the most popular Norse god as he was viewed as the most trustworthy and the most protecting; he was in essence the Nordic working man’s god. It is thought by some that Thor may be a non-Indo European god and that he originated from the Finnic peoples’ thunder god that has a name that means “high or high one.” The Finnic Estonians call him Tharapita, Toor, or Taara. As Tharapita, he is thought by some to be associated with the meteor event at Lake Kaali on the island of Saaremaa. The Saami peoples of Lapland know this god as Turms.

Artifact Group

Artifact 1
7th to 8th Century Saxon Silver Pendant, possibly of the goddess Eostre (a Saxon spring goddess) on a bull or a cow with a human face. This artifact also appears to represent the Saxon thunder god Thunar; in fact it may be of Thunar as a thundering fertility goddess. This may have something to do with the Norse myth of the recovery of Thor’s hammer (Mjollnir). In this myth Thor disguises himself as the goddess Freyja in order to deceive the giants, he also at some point consumes a whole ox. The style of the bovine is similar to what is seen in ancient Middle Eastern art.

Artifact 2
6th to 8th Century Germanic (Frankish?) Silvered Bronze Axe Brooch that is made to be worn upside down. It may have a similar meaning as the mare's axe seen on the Saxon ring's bezel, or it may have represented an ancient style of overhand axe throw, more then likely it is both.

Artifact 3
7th Century AD Sassanid drachm: This is the reverse of the coin showing a Zoroastrian fire altar with male and female attendants with bull and cow heads.

Artifact 4
4th to 5th Century AD Roman Scalpel (or other cutting tool) from the site of a Roman sea fort on the Black Sea.

Bear Artifact Group

Saxon Bear Knife Handle
This is a 5th to 8th C. AD Saxon or Anglo Saxon Bronze Bear Knife Handle from Essex, England. It is 47 mm long. The pommel has a bear’s head, the handle shows a W (and also an M) design on the bear collar. There are seven circle dots on each side of the bear’s head, with three over the head and four under, the four under form a square cup. There are 21 circle dots, adding 6 which appear on the W adds to 27 total (this is a number that may or may not be associated with the Indo European Soma god’s daughters in relationship to an unknown constellation). The handle has four vertical bars which have engravings that suggest fur. There is little doubt that the circle dots on each side of the knife handle separately represent the Big Dipper. The other 7 circle dots on top and bottom may also represent the Big Dipper as an aspect of the bear being threefold. It was found in Essex County, England. Essex is the only of the “seven” Saxon kingdoms where the god Saxnot (who is thought to be a sword god) was the primary god; the other six kingdoms had Woden for their high god. Essex is also where Colchester is located. Colchester is considered a candidate for a British Arthurian Camelot.

Migration Era Bear Brooches
These are five Migration Era Bear Brooches. The first three brooches are from the Early Migration Era circa the 4th to 7th c. AD. The fourth and fifth brooches are from the height of the Migration Era circa the 3rd c. to 6th c. AD. All five of these brooches are made of bronze and most likely originate from the Balkans. The brooches accompany this ring as an artifact group due to possible connections to the constellation/Star Arcturus and to the constellation Ursa Major and the Polestar. Brooches number one and two appear to have more Celtic influence, while the third brooch appears to have more Germanic influence and may be of a later date. The fourth brooch appears to have more Roman influence. Although it is speculated that these brooches are of a Germanic people, there is a possibility that they are of an unknown Slavic people. They are done in a swastika style, however they are technically not swastikas as they are not equal armed. The ancient swastika’s true meaning is unknown and appears to have had a different meaning to different peoples at different times. It is thought by some to have been a symbol of the thunder god’s hammer of the Northern European peoples of the Migration Period (Thunaer, Thunar; Donar; and Thor’s Hammer). The thunder meaning of this symbol may have earlier come from the east. It is also possible that this thunder symbol may have initially been perceived as being against the thunderbolt of the Roman legionary eagle. In comparison to this if you would like to see a legionary eagle with a possible Sarmatian thunder symbol in its clutches, Click Here. The first two brooches are kite shaped and the third brooch is wider horizontally. The first brooch shows a bear head on the bottom arm and three dragon horses on the other three arms, with a circle representing each of the creatures’ eyes and a larger circle in the center. The second brooch shows a bear dragon on bottom with three horse dragons on the other arms. The third brooch shows a bear dragon on the bottom with three horse dragons on the other three arms; there is a circle for each of the creatures’ eyes and two larger circles on each side of the center; the heads and necks are done in segments which suggest armor. When the brooches are put upside down, the bear or bear dragon gives the impression of riding a horse (with the smaller curled horse heads suggesting motion) or all three horses. In my opinion the first two are definitely of the constellation Arcturus with the bear’s head representing the star Arcturus. The motif suggests that Arcturus is a charioteer or a rider who moves or displaces from a stationary position. It is very possible that the three horses are initially of the constellation Arcturus (Bootes) as the stars Alkalurops, Nekkar, Seginus, with the bear as the star Arcturus, then move to become the three stars of the Big Dipper's handle (Alkaid, Mizar, and Alioth) with the bear being the cup corner star Megrez or Dubhe. Other considerations are: the first brooch may have something to do with the Polaris; the second one with its more jagged edges and no circles may have something to do with lightning, a comet, or a meteor; the third brooch may have something to do with the handle of the Big Dipper (Mizar in the Big Dipper's handle is in fact a double star) or another constellation or an unknown star group. There is a hint that these heads with their long curled necks may have been associated with windsocks. It is my opinion that these bears as shown represent a bear god of Arcturus which is probably associated with Ursa Major. The Saxon god Thunaer or possibly the hypothetical Arthunaer (mentioned with the ring) are related possibilities. The dragon horse was not known to the Europeans or Middle Easterners but is known in China beginning in the Warring States Period. There is a possibility that the idea of the dragon horse arrived in Europe with the Sarmatians or later with the Huns; this may also be so with the bear dragon. The fourth brooch (Photos 5 and 6) shows a cat-like polar bear walking (or skiing?) straight up toward the sky. The open work (or cutout work) shows a horse's leg and hoof; once again this suggests a bear as a horse rider. Until modern times any depiction of a polar bear that is not of an Arctic people is highly unusual, although with that said, on the Eastern Panel Saxon ring there is in fact an engraving that shows a polar bear. The fifth bear brooch shows a stylized bear climbing in the same fashion as that of the fourth brooch. Both the fourth and the fifth brooches are of the same culture and era. In comparison, it shows that the makers of these brooches knew that there was such a creature as a polar bear.

Many thanks to Antonio Trinchese who provided information on ancient mythology and the magnetic!

Copyright 2006 David Xavier Kenney

Revised 2006

Posted On: 10-Apr-06
Revised: Aug 06, Oct 06, Feb 07, Apr 07, May 07. Nov o8, and Jul 09

Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god / Soma and, or Homa of the gods

Speculations with the exact ingredients and the processing of the drink is purposely being kept vague. If you have an interest and want to develop your own conclusions, then these images should be of assistance.

Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god / Soma and, or Homa of men

Once again, speculations with the exact ingredients and the processing of the drink is purposely being kept vague. If you have an interest and want to develop your own conclusions, then these images should be of assistance. top of page

Roman Legionary Dragon Head Armor Piece

This is a 4th C. Roman Legionary or Auxiliary Bronze Armor Piece for a Jerkin. The piece shows two dragonesque heads that are very similar to those seen on the "Bezel" of the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" that is listed prior to this artifact. I am of the opinion that the heads on this armor piece relate to the same theme as the Saxon Ring; that is they represent a Persian and Sarmatian or Alani (or just two Sarmatians, or Alans) divine male and female meteors/meteorites, which may reflect a myth of their founding Indo Iranian ancestors. The first head is slightly larger, and the facial features are placed lower than those in the second face (which I believe represents being first in a dual meteor event). The eyes are shut. Speculation is that this is a male. The second head has one eye that is half open; I speculate that this means that this half open eye represents wisdom, or a prophetess. On top of the piece between the two heads there is a splayed eagle, the eagle is also in the shape of a poppy flower, this shamanistic flower theme is also seen on the Saxon Ring. To the left around the male head there are what look like chain links. To the right there is a long necked bird head with a pointed beak. In between the lower portion of the heads are two feathers that could also be flames that are slanted towards under the female head. Just under this and diagonal with the feathers are flames; under those is a long necked bird. As mentioned before these heads should represent the same creatures that are depicted on the Saxon Ring, except the position of the two sexes is reversed here, with the male on the left and the female on the right. The two birds associated with the female head should identify her as a fertility figure, but the eagle and the firebird should associate her male consort with a fire thief much like Prometheus. These could be brother and sister consorts, but I speculate that they represent mother and son consorts from a dual ancient meteor/meteorite event on or near the eastern part of the Sea of Azov. If so then this may give some answers not only to the beliefs of the Sarmatians, who had a mother and son icon (most likely originating from an ancient Finnic bear worship) seen during the Roman period (it can be expected that it was the same for the Alans), but also to the Ossetians (a people of the Northern Caucasus Mountains that are descended from the Indo Iranians) with their Nart (Knight) legends (written in the 19th C. AD, but thought to be ancient). Based on the appearance and possible related theme of these heads there could also be speculations associating them with the two swamp monsters (Grendal and Grendal's mother) of Beowulf (some of the shallow Sea of Azov is a swamp). Germanic tribes that were on the northern coast of the Black Sea and the Sea of Azov during the Roman period were the Goths, Gepids, and Heruls; all three tribes were attributed as having Scandinavian origins. This Anglo Saxon story of Beowulf could also have been a legend about a Sarmatian or an Alani tribe that had made an incursion into Scandinavian lands. What is seen on this armor piece (which I believe are dragonesque images of two meteorites) may reflect how Romans perceived the Sarmatians and the Alans; this may explain the harsh descriptions from Tactius (1st C AD) and Jordanes (6th C AD). Here is what Jordanes wrote about the Alans in his 'Origin Of The Goths": "For by the terror of their features they inspired great fear in those whom perhaps they did not really surpass in war. They made their foes flee in horror because their swarthy aspect was fearful, and they had, if I may call it so, a sort of hideous lump, not a head, with pinholes rather than eyes. Their audacity is evident in their threatening appearance." In my opinion that description is not far off from what is seen on this armor piece.

Copyright 2007 David Xavier Kenney

Posted On: 7MAY07

Torc Bear Meteor Pendant of The Thraco Dacian Goddess Bendis

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This is a 2nd to 4th C. AD Silvered Bronze Torc Pendant. It is 4.1 cm in length. This central pendant with sockets was fastened on the tips of a longer type of Thraco Dacian torc. The front shows a bear head and paws. The overall shape is the same as a Roman Thraco Dacian Bendis Head Statue. To view an example of this in the Roman Amazon Permanent Collection on romanofficer.com, Click Here. Therefore the wearer of this pendant was a follower of that goddess, but there is much more to it than this. The front also shows a meteor event streaking diagonally from the viewer's left to right. The second streak is connected to the bear's left eye, which either represents the meteor impacting, or a second meteor. If of the latter, then it may be a depiction of the same two meteors (or comets) seen on the bezel of the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" that is with this collection. The bear's right ear shows a face in profile looking inward (with a halo or moon above) as if looking at the path of the meteor. Just to the right of this there are two small holes and under these a gash. This creates what resembles the face of an ape, which could be intended to represent the face of a primeval force. The bear's left ear shows an eagle looking inward (with a halo or moon above), again as if watching the path of the meteor. Upside down (or if worn and the wearer looks down) the form and engravings turn into a crowned wolf/bear dragon head with quarter moon eyes. There is also a vague likeness to a feminine woman's face with large hoop earrings. On the back of the pendant is a heavily engraved centered and vertical line. A little more than half way down this line is a lightly engraved slightly curved diagonal intersecting line (creating somewhat of an upside down "y"). If this is turned upside down, then the lines show that it is a line drawing of a figure holding a torch (or a flaming torch tipped with a flower that appears to be a rose). The center line is tipped by a lightly engraved spearhead, which also appears as a fleur-de-lys. In its original position (as an upside down "y") it is very similar to the Anglo Saxon "cen" rune that is also a symbol for a torch. To my knowledge the Anglo Saxon runes are thought to have first appeared around 400 AD among the Saxons, but it now appears that they may have had an earlier origin with the Thraco Dacians of the Roman Province of Mosia (Roman Dacia), or another people in their region. This engraving may give credence to those that theorize that the Germanic and ancient Nordic runes were developed by the Goths (or the later Ostrogoths) and, or the mysterious Heruls (aka Heruli), that is when these two supposed ancient Scandinavian tribal groups (most likely mixed with Scythians and, or Sarmatians) were located in the region of the Black Sea and the Sea of Azov, or after they had migrated west into Roman Mosia. The engraving is also similar to a later Medieval rune that has the same meaning.

This should represent the Thraco mystery goddess of the moon and hunt Bendis, perhaps as a goddess of the entire northern skies, but also possibly only as the Ursula Constellation and of the Garden Hesperides; she may also be seen as the mother of the Titan fire bringer Prometheus. The dragon motif is rather Asiatic and suggests a more easterly origin. It should be mentioned that very little is known about this goddess and most of what is written is based on speculations. The line figure on the back should be the symbol of Prometheus as the fire bringer, or light bringer. The South Panel of the “Saxon Ring of Arthur as the Scythian Navigator, Thunderer, and War God” in this collection shows this exact same symbol, and if it represents an event in the Caucasus Mountains, then this is exactly where it should be. The engraved spearhead and the two flower symbols may also be meaningful.

Copyright 2007 David Xavier Kenney

Posted on 22-Apr-07

Torc Bear Meteorite Pendant of the Thraco Dacian Goddess Bendis

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This is a 2nd to 4th C. AD Silvered Bronze Torc Pendant. It is 3.7 cm in length. This central pendant with sockets was fastened on the tips of a longer type of Thraco Dacian torc. The front shows a bear head and stylized paws. The overall shape is the somewhat similar to a Roman Thraco Dacian Bendis Head Statue. To view an example of this in the Roman Amazon Permanent Collection on romanofficer.com, Click Here. Therefore the wearer of this pendant was a follower of that goddess, but there is much more to it than this. The shape shows a stylized bear's limb and paw (also as a lock of hair) that comes to a point on one side, on the other side the point is missing*, The front has a small piece of embedded iron centered over the bear’s eyes. The bear's right ear shows a helmeted head in profile facing inward (with a halo or moon above) as if blowing towards the embedded iron. The bear's left ear shows a fantastic looking creature with a flat top conical hat and facing inward, again as if looking in the direction of the embedded iron. The bear’s ear forms the outline of a highly stylized eagle’s head. Just under and in front of the eagle is a mini engraving of a man facing the eagle's middle. He has horizontally spiked hair in profile (as if moving). He holds a stick that is hollow (like a thin funnel) in front of him. There is a double-ended hand on a curved limb that is coming from under then over the bear’s left eye, which gives the impression that it is pitching the man. Upside down (or if worn and the wearer looks down) the form and engravings turn into a crowned wolf/bear dragon head with quarter moon eyes, One can also see a feminine woman's face with large hoop earrings; the embedded iron forms her mouth. On the back of the pendant the embedded iron is centered.

This should represent the Thraco mystery goddess of the moon and hunt Bendis, perhaps as a goddess of the entire northern skies, but also possibly only as the Ursula Constellation and of the Garden Hesperides; she may be seen as the mother of the Titan fire bringer Prometheus. The dragon motif is rather Asiatic and suggests a more easterly origin. It should be mentioned that very little is known about this goddess and most of what is written is based on speculations. The iron in this pendent should be of a meteorite. It may have originated from a meteorite that had been associated with a meteor/meteorite event of myth and legend. A speculation is that such a meteorite may have been an earlier inspiration for the Excalibur of Medieval legend. This is from interpretations of the art seen on this pendent and the Saxon Ring (that is with this collection). Another speculation is that it is now thought that the iron embedded on the Saxon Ring's Band Bottom may have been associated with a meteorite symbolic of a male force, while the iron embedded in this pendant may have been associated with a meteorite symbolic of a female force. This is from interpretations with the art of; the Saxon Ring, this Pendant, and the Torc Bear Meteor Pendant. If so, then the meteorites shown on the Torc Bear Meteor Pendant should symbolize a duel meteor event.

* The missing point may have symbolic meaning. First, it should be mentioned that there is no evidence that this had been broken off in antiquity, in contrast it has the appearance of having been purposely made this way. A clue as to why this may be so is with the first artifact in the "Greco Roman Germanic Celtic Thraco Dacian Artifact Group" that is with this collection. The artifact titled "Romano Germanic Celtic (Dacian?) brooch of a god (or goddess?) with a button shield boss" is thought to represent a Roman era European barbarian sword god. This god may have been connected to the bear goddess Bendis (or an equivalent). It is similar to this pendant as it has a stylized right limb that is shorter, thus implying a missing hand, or in the instance of this pendant, a missing paw. This may symbolize that a right hand or paw had been sacrificed in order to be used in a sacred sword making. If this is correct, then the helmeted figure on the bear's right ear may depict a sword god in the process of making a sword. For information with Scythian beliefs on this subject the bezel of the Saxon Ring should be referenced.

A protocol is being arranged for a scientific expert analysis of a sample of this pendant's iron.

Copyright 2007 David Xavier Kenney

Posted on 22-Apr-07

Capped Bear Head Appliques

These are six small Bronze Capped Bear Head Appliqués from various sources. Judging from the fourth example, most likely they were all once gold gilded. They are approx. of the 6th C to the 10th C. The culture is not known, but they may be Alanic Frankish, Eastern Saxon, Kievian Rus, or Slavic. The image will change to another creature or to a man’s bearded face when held upside down. Some of the other themes associated with the bear head with a pointed cap are: An insect's head (suggesting amber, or a bee’s head, or a bee bear, Beowulf?); a puffin's head (an Arctic bird, from the Barents Sea?); a skull; a plumed helmet; and a spearhead. I speculate that these were associated with a bear god, shaman, fire, and possibly a meteor/meteorite. These were most likely used on belts, wallets, or purses.

Copyright 2007 David Xavier Kenney

Posted on 23-Apr-07

Neolithic Anatolian Bear and Dragon Statue

New Information: The statue has been found to be made of painted green marble. This miniature painting may provide an immense amount of information about the meaning of this statue. Most notably the bear is shown biting (in half) a long arm (this is painted, but it is also in relief) that originates from the dragon's head. The head also has two painted busts shown in profile; a female in a hat, and a bearded male in a hat. The arm appears to be coming from the male figure. This may suggest a very ancient ritual arm sacrifice, or punishment. In relief there is a temple below the bear's snout, this is painted with figures and is difficult to see. This particular scene may be associated with the later one arm war god of the Northern Germanics. It also may be in line with the right hand sacrifice of Egyptian war captives, and the same with the later Scythians (and possibly certain Northern Germanic tribes). Additional pictures have been provided, improved pictures will soon be provided.

This is a small Early Neolithic Bear Attacking and Biting a Dragon Statue (approx. 5,000 to 3,200 BC). It is purported to be from ancient Anatolia. It originates from an old collection via a dealer in NYC and is made of green marble and painted with white paste; it is 2.4 cm in length. The colors most likely have a meaning associated with the iconography. The shape of the dragon is somewhat similar to the Constellation of Cassiopeia. Besides the sculpting there are three areas that have engravings. These are: the bear’s head with the two eyes and a vertical dash centered between the ears on top of the head and another smaller one between the eyes; there are lines where the bear is biting the dragon; and there is a human face engraved on the bear’s hindquarters. To my knowledge the depiction of a human face is highly unusual for this period. If the statue is turned upside down then the bear’s hindquarters appear as a meteor or comet with an engraved starburst, which appears to be coming from the dragon’s tail. To my knowledge this is the earliest depiction known of a bear / dragon combat. If there is a connection to King Arthur’s name and the bear and as a dragon slayer, then this could be one of the first images of the original story.

Of all the artifacts on this website, this statue may contain the most important clues concerning the ancient mythical origin of the King Arthur Legends, as it shows a bear with two marks on its head biting a dragon, and a possible meteor. These marks and another dragon theme are seen on the Torc Bear Meteor Pendant of the Thraco Dacian Goddess Bendis included in this collection. The Torc Bear Meteorite Pendant of The Thraco Dacian Goddess Bendis, also in this collection, has one mark on the forehead (of embedded iron) and also has the dragon theme. These two pendants came about at least 3,000 years after this statue. A dual meteor event is also seen on the Saxon Ring and possibly on the Roman Legionary Dragon Head Armor Piece, also in this collection. The theme is recurring. In my opinion this statue shows that there was an ancient belief that centered around a celestial bear who bites a dragon, which impregnates the dragon with iron (according to the Saxon Ring, from the bear's iron fang?); the dragon gestates this and then spits out one or two meteors, or perhaps more, the single meteor event may be of a hero while the two meteor event may have to do to have to do with a founding. The Saxon ring shows a horse giving a caesarian birth rather than a dragon spitting, but yet the figures sent forth as meteors are dragonesque (suggesting that the miniature torch seen on the horse’s head may identify it as a horse dragon). This statue may be a reflection of the original myth that thousands of years later would become the inspiration for the Arthurian legends.

Copyright 2007 David Xavier Kenney

Revised: May 07, June 07

Posted on 23-Apr-07

Ancient Ebla Fox or Wolf Sword in the Stone Axe Statue?

This is a Neolithic Lapis Lazuli Statue, purported to be from Ebla (White Rock), in northern Syria. It is from approx. 3,500 BC to 2,800 BC. It originates from an Australian collection via an English dealer; it is 3.1 cm in length. The Lapis is of the highest quality and appears to be from Blue Mountain in Afghanistan. In the pre-classical ancient world this lapis was associated with royalty. The color blue most likely has a meaning associated with the iconography. The piece shows a fox or a wolf (or a combination) and a bearded man’s face (possibly with a mask of one of those animals) holding (but also biting) an axe head. The animal’s front limb when viewed upside down is similar to a flame. The animal’s hindquarters form a human lower leg and foot (this motif was important to the later Hittites; in my opinion it represents a symbol for life, but also the soldier). The tail (axe head edge) is distinct. There are traces of pyrites on the front of the tail; note that this is the only area on the statue that displays this.

I speculate that the fox/wolf/man shaman seen on the axe head represents the origin of the later Canaanite metal smith god Kothar-u-Khasis (skillful and cunning) and that the axe head is a depiction of the weapon known as Aymur (driver); furthermore that the axe head may have been known as “the blade (sword) in the stone.” Here is why: The story of Kothar is known from a written work that is titled the “Baal Cycles.” The alphabetic cuneiform clay tablets for this story were found not far from Ebla in 1928. It is thought to have been written some time between 1,400 to 1,300 BC, but that it originated from an older tradition. The main figure in the cycles is Baal-Haddad (known by the Canaanites as Haddad, but to the Phoenicians as Baal), a Semitic Bull storm and fertility god. Kothar is his metal smith, architect, and builder (at one point he also fetches lapis, along with cedar, silver and gold, in order to build Baal’s mountain palace). In part of the Baal Cycles Baal goes to battle his rival prince Yam, a river god who had been picked by the supreme ruler god El to be a regent of the gods. Kothar provides Baal with two magical weapons for this combat; one is named Yagrush (chaser) and the other Aymur. In the contest Baal first throws Yagrush and strikes Yam in the chest (this suggests a spear), but to no avail*. Baal then throws Aymur and strikes Yam in the head, knocking him unconscious for a victory. Both weapons are referred to as swooping like an eagle, which suggests an overhand throw. The statue shows an axe head that has a separate edge. This may be a metal insert, such as an iron insert, or if later then a copper or bronze axe head with an iron insert. Naturally it can be assumed that the only iron known at that time would have been iron from a meteorite. If so, then in the 3rd millennium or greater antiquity this would have been a weapon of great prestige. In the last five years an axe head such as this was found and reported in the media; I have not been able to find any more information on this axe head.

For comparison I have included a white stone battle axe head pendant of a bearded bull. It is from Ebla, Syria and is dated approximately 2,800 to 2,500 BC. The fact that it is white may or may not be connected to the name Ebla (White Rock, named for the limestone in that area). The tail of the bull also forms a separate edge. This should be a depiction of an early West Semitic war god that is possibly associated with thunder and lightning. As it is of a bull, it is much like the Baal of the Baal Cycles. The position of the pendant’s loop hole insures that the axe head edge will point up.

*The fact that the first magical weapon fails suggests that it is a weapon of great antiquity. The “Neolithic Ancient Anatolian Bear Attacking and Biting a Dragon Statue” in this collection may or may not give an answer to this.

Copyright 2007 David Xavier Kenney

Posted on 23-Apr-07

Flying Bear Pin

This is a Late Roman or Early Migration Period Woman's Billon Flying Bear Hair Pin. It originates from the Balkans, it is speculated to be of an Eastern Germanic people, possibly of the Heruls.

The first picture shows a Bear with round ears on it's back, it is in the form of a Sled Like Ladle of one of the Dippers, in my opinion this is the Big Dipper Asterism (an asterism is a star group, the seven star Big Dipper is in the hindquarters and tail of the Constellation of Ursa Major). The second picture has the pin to it's side (as a hair pin is sometimes worn) and shows a Horse's head and forequarters, this should show that the bear sled (polar bears in fact do slide on the ice) is being bulled by a horse. The third picture shows a Bear Wolf with pointed ears that is the same form as the other side, in my opinion this is the six star Little Dipper (aka the Constellation Ursa Minor). The fourth picture with the pin to it's side once again shows a horse's head and forequarters, this should be a bear wolf sled being pulled by a horse. The fifth picture shows that the bear and the bear wolf may also be a bear dragon. The sixth picture shows a Late Roman to Early Migration Era Silver Woman's Diamond Topped Hair Pin. This type of women's pin was common in the ancient world, to my knowledge it's meaning has never been researched. My speculation is that it represents the Pole Star (aka Polaris). The ancient Nordic's viewed the pole star as a spike with a jeweled nail head that the world revolved around (the World Spike). Therefore, if the Dipper Pin had been placed with the Diamond Topped Pin, then it would have a symbolic meaning of the two Dippers revolving around the Pole Star. According to artifacts lore with the bear being associated with the Constellation Ursa Major (and, or the two Dippers) may have been common with ancient eastern Germanic tribal peoples and the Scythic peoples of Eurasia and Asia. Interestingly the Abenaki (originally of Me, NH, and Vt), Iroquois (originally of Penn, Upstate N Y, Ontario, and Quebec), and the Cherokees (originally of N C, SC, and Va) of North America also associate the Big Dipper with the bear. For any, or all of the ancient or traditional bear cults this pin most definitely depicts a shaman's flying bear journey. It should be noted that the art style of the bear seen on this pin is very close to the Neolithic Chinese Bear Dragons that are also with this collection.

Copyright 2007 David Xavier Kenney

Posted on 11-Feb-07

Hercules Arctos Smoking Pipe Tamper

This Billon Smoking Pipe Tamper is from the Late Roman Era to the Early Migration Era, it is speculated to be of an Eastern Germanic people, possibly of the Heruls. It appears to represent the demi-god Hercules Arctos (Hercules of the Northern Sun, which I theorize refers to be Hercules as a Navigator and the god of navigators), as his Club, but also a Phallus, a Three Wheeled Cart, and a Driver. It originates from the Balkans. The pendant came from the same source and at the same time as the Flying Bear Pin. Although there may not be a connection it should be mentioned that the; club, phallus, and cart theme is similar to the club of the ancient Irish All father god Dagda.

The first picture shows the pendant standing front. The second picture shows the pedant standing left side. The third picture shows the pendant standing rear view. The fourth picture shows the pendant standing right side. The fifth picture shows the pendant front detail. The sixth picture shows the pendant standing left side detail. The seventh picture shows the pendant standing right detail. The eighth picture shows the pendant horizontal. The ninth picture shows the pendant horizontal detail. The tenth picture shows the pendant horizontal front detail. The eleventh picture shows the upper left side in detail. The twelfth picture shows the upper back left side in detail. The thirteenth picture shows the middle back side in detail. The fourteenth picture shows the upper left back side from the top in detail. The fifteenth picture shows the middle right back side from a bottom view in detail. The sixteenth picture shows the back right side of the arm in detail. The seventeenth picture shows the right side of the arm in detail. The eighteenth picture shows the left wheel while the pendant is in a horizontal position in detail. The nineteenth picture shows the left wheel while the pendant is horizontal from a slightly overhead view in detail. The twentieth picture shows the right rear wheel while the pendant is horizontal in detail. The twenty-first picture shows a Legionary Ring of the V Alaudae (with the two stars of the Disocuri overhead?).

In the upright position the pendant's top shows a type of man's head but also an elephant head (a shaman's headdress?), this has an elephant tusk on one side and an elephant trunk in front*. There is a distinct split on the top back of the head, this most likely represents a phallus elephant head combination. There is one protruding arm that is bent or flexed, it looks as if the hand is missing (of the Germanic or Scythic one handed war god, or god of navigators, or both?). If the pendant is placed on it’s side it shows a three wheeled (3 apples, or apple grinds, mushroom buttons, or mushroom buttons that are named apples?) club cart with a hooded driver. The club also appears to be a White Whale (Belugas) or a hornless Narwhal (named an Elephant Whale?), but as a cart or a cart boat. The driver's hood may represent the wearing of an ancient water proof hooded suit (from seal skin?). There are more details: From the back the head shows that it has wavy lines that look a bit like the head of a hawk (or a falcon?) but also may represent snow drifts. However due to where it is positioned it may represent semen. It becomes more streamlined (as if flowing, but also like an elephant’s trunk) and extends to the back. The Egyptian god of the lodestone was a hawk headed god known as Haroeri. He is a very ancient god, and may be a more ancient form of Horus. The lodestone was called “the bone of Haroeri.” To magnetize an iron needle requires touching the lodestone for a period of time, but this is usually done more hurriedly using friction. The Egyptians had a creation myth that involved masturbation (semen seeding is mentioned in many ancient creation myths), they also had a ritual related to this. The upper right side shows the wheel is actually a coiled serpent, with the serpent’s head (that has a wedge between it's eyes, representing a fang?) positioned as if biting the top of the shoulder that has a star shape. This appears to be the universally symbolic serpent bite of death and rebirth, but it could have another meaning. The wavy lines from the right top of the head and the lines from the star extend over the upper back to the left side. The left side shows an axe headed figure (with eyes, that may in fact be a dragon, or an axe dragon?) that appears to be holding a triangular shaped object like a vessel (or a fang vessel?); the wavy lines and the lines from the star connect to this as if pouring into the vessel. When the axe headed figure is seen from the left it changes to a horse’s head (or a dragon horse's head, with flames outlining the head) and forequarters holding the triangular object/vessel. If the wavy lines on top of the head do represent semen, then is this symbolic of Hercules as an elephant/serpent/star inseminating a mare, or magnetizing the mare’s vessel, or both? The art style is similar to the “King Arthur or Beowulf Ring” that is in this collection, although the symbolism may be more similar in meaning to that seen on the Bezel, East Panel, and North Panel of the “Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god” that is also with this collection. The iconography on the back top of the pendant and the arm should represent a lodestone (the “Stone of Hercules”, but as a celestial lodestone?) and water compass being charged. The left rear wheel while the pendant is horizontal and seen from the side shows a coiled dolphin (or porpoise). If this is seen from a slightly overhead view it appears to change to a Harp Seal (or a combination bear seal type creature?) that appears to be biting. This may or may not represent the Constellation of Delphinus, that possibly was associated with the seal (or bear–seal?) by an ancient Finnic or unknown tribal people. The right rear wheel while the pendant is horizontal and seen from the side shows a circle with flames on the lower right; this has white paste (or residue). This should be a round type of stone lamp or stove that was used in antiquity, but particularly by northern people. It should represent the Pole Star (aka the Lode Star), although a solar significance cannot be ruled out. I think that this may be symbolic of an unknown version of Hercules's 11th Labor (the Apples of Hesperides) that is connected to the Pole Star, and possibly the Lodestone. Hercules's 11th Labor takes him to the Hyperborean's (a legendary northern people) of Scythia (modern Russia and the Ukraine), but also it takes him to the Atlas Mountains of Libya (modern Western North Africa). This may be based on a prehistoric (or perhaps just a very ancient) legend of an adventurer from what would become southern Scythia (or from ancient Anatolia?) journeying to the north to encounter a mammoth hunting tribe (or an ancient Finnic tribe that had access to prehistoric mammoth tusks**), and then later encountering a white whale hunting tribe (a people on or near the Kola Peninsula that separates the White Sea and the Barents Sea?). As this pendant pestle came from the same source as the Flying Bear Pin, it should be mentioned that polar bears do in fact hunt white whales, that is if any unfortunate whales become stuck in water holes in the ice. It may have been associated with an ivory trade in mammoth tusks (Hercules is a patron god of merchants, in my opinion this has never been adequately explained). If a very ancient ivory trade had originated from the north of Scythia, but then had been transferred to Libya, then the mammoth identity for ivory would have been transferred to the African elephant, any contact with peoples of the North Atlantic would have the Hyperboreans moved to that region of Europe's northwest. The possible ancient Egyptian theme with this also may be related to the Phoenicians, as Hercules was a particularly favorite god of theirs.

This pendant should represent a shamanstic journey through a smoking ritual, it also "may" have been used for a fertility ritual. It appears to be balanced and weighted to be swung on a string, thong, chain, ect, but in only one position. If put on a string and held shoulder width and waist high, then swung back and forth, it is balanced to gently (the size and flatness of the bottom insure this) and continually make contact with the groin area.

*This may explain the Elephant Head on Coinage of Alexander The Great. These coins issued soon after Alexander's death by Ptolemy I have baffled coin experts for years. They are theorized by some to symbolize the conquest of India. This may be so, but Alexander's coinage usually depicts him with the ram's head of the Egyptian god Amun, or put's emphasis on his family's claim of being descendants of Hercules (lion head, ect.), not battles or conquests.

** I will soon post a ring that shows that ancient tribes in Eastern Europe may have continued a memory of the mammoth long after that prehistoric animal's demise, and right up until the Early Middle Ages, the iconography also appears to have been connected to a Roman Catholic Saint.

Copyright 2007 David Xavier Kenney

Revised APR 09

Posted on 11-Feb-07

Roman Herulic Bird Bear Ship Brooch

This is a 3rd to 5th C. Roman Herulic (of the Heruls, aka Heruli), but possibly also Gothic or Ostrogothic, Bronze Brooch. It was silvered and has traces of blue enamel; there is one trace of red paste. The brooch is first shown in its upright position (the position that it was meant to be worn in), upside down, to the left, then to the right.

The brooch in its upright position shows a large beaked bird. The standing posture of this bird is similar to the extinct Great Auk (last seen circa 1830's) of the North Atlantic. The beak is distinct and also looks like a claw or a fang; it is similar with eagles that in art style are thought to have come from the east with the arrival of the Huns. In my opinion this may not be entirely so. Two pictures are included with the photos of this brooch (Pictures 10 and 11) that show an example of a Herulic or Ostrogothic bronze knife pommel which shows a similar bird, but with a shorter beak, that could also represent the aft of a rowing ship (with four diagonal lines representing oars). It is thought that as a rule this bird inhabited lands of the; Eastern Canadian coast, Western European coast, Iceland, and only as far east as the Norwegian coast, although this information is dated as of the recorded discovery of the bird's existence (from the 15th to 16th centuries, perhaps even earlier). The Great Auk did not have the power of flight but was a swimmer. They may have had exceptional long distance homing skills. Remains of these birds have been found in Florida (from what are thought to be winter migrations). There are four knobs on the bird's chest. These are possibly associated with the four winds; this will be explained shortly. For a possible connection to a figure on the Saxon Ring go to "East Picture 5" of the Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" that is in this collection. When put upside down the outline of the bird gives the impression of a figure that is flexing his arm (holding something in front of his chin, possibly a water compass), and wearing a hat that has corners. A similar pose (and meaning?) can be seen with the "Fish Man Applique" artifact that is with this collection. The hat also resembles a pigeon roosting. This type of hat is very similar to the traditional hats worn by the Sami of Lapland. The pigeon could be the rock pigeon, which is a bird that is very well known for its keen sense of direction. When the brooch is turned to the right it possibly appears as an ancient type of knife handle that has a hooked grip and sometimes a finger guard (or a semi finger guard). This is usually associated with the Greeks or the Hispanics. Showing just the knife or sword handle may imply that there is an unseen blade of a mysterious force, possibly related to the magnetic as in the poles or meteor metal, but also possibly related to the aura Borealis and the magnetic. The last and most information important position is to the left. This shows a Roman styled ship with four hooded (or helmeted) rowers, aft is a polar bear leaning forward, and a crouching figure on the fore and prow, this should represent the ship's captain. There are eight diagonal lines that should represent either 16 or 14 rowers. If doubling the rowers as seen is correct, then the two figures fore and aft should represent 2 commanders and 2 lead figures, for a total of 20 to 18 for a ship's captain and crew. In actuality this should represent a Roman Riverine Marine Patrol (most likely on the lower Danube), but as the crouching figure appears as if ready to spring, then it may also be considered an amphibious assault craft/ship. This would be much like the later Vikings and there may in fact be a connection with these Late Roman era Heruls (or Ostrogoths) and the Vikings. The details in this brooch show that the polar bear's tail (this unusual feature will be explained) is actual a wavy type of long spear that goes almost the length of the ship; the spear is also a bit like a harpoon. The bear's left front leg and paw with claws are just under the front rower's face; the most prominent top claw makes it look as if the front rower has a beard, or as if he is biting, or smelling the claw, the polar bear is noted as having a heightened sense of smell. Among other things the polar bear may have been a warrior totem animal, as it is the only type of bear that will hunt humans. The ship facing to its aft resembles a phallus; facing to the fore it resembles a Minke whale, which is a whale of the northern seas and arctic. The crouching figure appears similar to a sphinx but is in fact a European otter. It should be noted that the otter is an excellent swimmer in rivers and lakes but a bit awkward on land; the polar bear is the only marine bear and is very adept at moving on land or water. Both the male otter and polar bear are more or less solitary creatures. The polar bear's tail should represent the Big Dipper (the ancient gave the constellation's Ursa Major and Minor tails) and the bear's head may or may not represent the Pole Star. The front rower may be Hercules as the lodestone and the navigator (I have connected this type of Hercules to the ancient term "Hercules Monoikos," which means Hercules Alone). I interpret the polar bear claw theme as deriving from the fact that the captains of these craft may have worn them, in imitation of their type of Hercules who received direction from a supposed polar bear god (most likely named something in the eastern and north eastern Roman Provinces like Urctos, Urctius, Arctos, Arctius, or Arthur, etc). The primary symbolism contained in this brooch is: a group of ancient northern whalers knew how to observe animals that had a keen sense of direction and that they associated this with what I presume to be their own technology (the water compass). The Great Auk must have had keen abilities to travel great distances in the ocean. The rock pigeon, the polar bear, and the minke whale are all known for their uncanny sense of direction; researchers associate this with something in these creature's cells and the earth's (ocean's) magnetic fields. The figure that is highly prominent among the riverines is the polar bear. I am of the opinion that the polar bear (or an unknown bear hybrid) was the primary creature associated with an ancient mythology that what would eventually become the inspiration for the King Arthur as the man of legend.

What follows is a separate speculation that for now is just for fun. The brooch when it is in its upright position and oriented north shows that the sphinx is pointed in a southwest direction. Firstly, this sphinx is similar to the Egyptian Great Sphinx of Giza (although The Great Sphinx faces east), not the Greek sphinx which has wings. I have various artifacts that show that the northern Germanics from the Migration age onward were quite aware of the Great Pyramid and perhaps the Great Sphinx. In some instances these images seem to have been incorporated into their religious beliefs. I am of the opinion that these were also used as geographical markers. According to some quick research and speculation: if a direct line was drawn from the sphinx on this brooch to the east coast of Africa, then it would end up somewhere near Dakar, Senegal. If that line was extended across the Atlantic to a coast, then it would end up near the ocean mouth of the Amazon River in Brazil. This would imply an overland trade route from northern Egypt to the West African Coast, which is highly plausible. A further Atlantic oceanic route may have just been a legend (but based on an ancient expedition?), or? To note here: the sphinx on this brooch is a bit similar to the one that is on the hilt of the "Roman Secutor (or Provocator) Gladiator Ceremonial (or Votive) Gladius Of Hercules Invictus (Victor), Commodus?" that is included in the "Roman Amazon Permanent Collection" of RomanOfficer.Com

Copyright 2007 David Xavier Kenney

Posted On: 03MAY07

King Arthur or Beowulf Ring?

This is a seal ring with a carved iron bezel. It is a US ring size 12 1/4. Speculation is that it is 7th to 12th C. AD. The culture it is from appears to be Germanic, possibly Saxon. The ring was purchased from the same American source and at the same time as the Irish King statue that is with this collection. The patina is similar as to what is seen with artifacts that originate from Britain. The ring’s theme may suggest that it contains meteorite iron. The ring’s bezel shows a dragon face with a converse dragon crest, it has a fire starter for a mouth. There is another face (with a phallus) that is just under the dragon head. In between these two faces there is also an axe head. When the bezel is turned it shows a stylized horse’s head (at another angle this also hints of an eagle or vulture's head). The seal itself shows a face with a converse dragon crest (the dragon’s head looks a bit like a Migration Era helmet plume) and a mace or scepter with a face much like a jester’s scepter (bauble). If so then this would give it a date from the 12th C onward.). When turned 180 degrees, the head of the dragon is directly over a bear which is holding a plant or flower as if eating it. The dragon above or behind the bear could be related to something Arthurian as King Arthur’s father’s name is thought to mean “head dragon.” It is thought that King Arthur’s name in Welsh Celtic (or according to other sources Greco Latin) means “bear.” If King Arthur is associated with the folklore of the Big Dipper (also called King Arthur’s Chariot) then the pole star (Thuban) moving from the Dragon constellation to the Bear constellation (speculated to have happened between 5,000 to 3,000 years ago, or later) may have something to do with the idea of someone with a name meaning “bear” being the son of a dragon. With that said I do believe that this ring’s meaning has more to do with the legend of Beowulf (which is thought to mean “bear”) possibly or a similar Saxon or Northern Germanic story. At one time, King Arthur and Beowulf may have been connected in folklore. If the flower or plant depicted is a lady slipper flower then in my opinion this would definitely be of Beowulf. For more information on my theory of Beowulf being connected to a flower that temporarily captures a bee (the lady slipper as a bee eater) go to the South Panel of the Saxon Ring listed with this collection. There are more fine details with this ring that have not yet been examined.

Copyright 2006 David Xavier Kenney

Posted On: 8-Sept-06

The Making Of The Sword Of Mars

Little is known about the Sword of Mars (Ares); it is the spear or javelin of Mars that is mentioned more often by the ancients. I am of the opinion that this sword may be related to an earlier weapon of an ancient Anatolian or Semitic war god and war goddess. There are speculations by some that Attila the Hun’s sword of Mars may have been an inspiration for the sword Excalibur in the Arthurian legends. Finding the origin (as in the making) of this weapon of Mars most likely will give the answers as to what it was or what it represented. In my opinion it is mentioned in Homer’s “Odyssey” Book VIII. Here is a shortened version of that part of the story, which is titled “Banquet in the House of Alcinous, The Games”. Note that I have mostly used Roman titles for the gods and the goddess for this Greek story.

The story is that Vulcan found out from Apollo that Venus had been accepting the advances of Mars. He then forged a net of chains (whose links were so small even the gods could not see them) and suspended it over his bed posts from a large rafter. He then pretended to go to the Isle of Lemenos.

Venus came home after visiting her father Jove. When Mars arrived, she told him that Vulcan had gone to Lemenos to be among his worshippers, the Sintians. The Sintians were Lemnians of Thracian or Pelegasian stock. (As they worshipped Vulcan, it can be assumed that they were a people who had a tradition of metal smiths). Venus then enticed Mars to the "couch."

Mars and Venus began to make love when the magical invisible net entangled them. Apollo then told Vulcan what had happened. Vulcan complained to his father Jove that he wanted compensation for Venus's infidelity and neglect as a wife.

Upon hearing of this the goddesses went and hid for Venus’s shame. The gods Neptune, Mercury, and Apollo arrived in a circle around Vulcan’s house to witness Mars and Venus in the net and the cunning of Vulcan's entrapment, which overcame the stealth and strength of Mars. Apollo remarked to Mercury that it would be worth enduring Mars’s humiliating chains in order to sleep with the beautiful Venus; Mercury replied that it would be worth enduring threefold the chains in order to sleep with her (threefold is a key word for an incantation; threefold spells are particularly associated with Mercury). At this the other gods burst out laughing, that is all except Neptune. Neptune pleaded for Mars's freedom and asked Vulcan to release him, and vouched that Mars would pay compensation for his actions. Vulcan questioned whether Mars was trustworthy to pay the compensation. Neptune then said that if Mars failed to pay, he would pay. Vulcan agreed to this and released the two. Mars then went to Thrace, and Venus to Papho on Cyprus. At Paphos the Three Graces anointed her with oil of ambrosia (the drink of immortality) and she was clothed in a beautiful garment.

This story suggests to me the making of a male / female weapon such as a sword blade, although the weapon may be far older than the sword and may have originally been interpreted to be a spear or javelin head. As its origin is hidden in a myth, it suggests that a male / female weapon (the planets Mars and Venus seen as having metals that had been mixed, then sent forth as a meteor?) may have been considered too powerful for ordinary mortals, and that it was only for a god to wield. The figures on the "Viking Odinic Gungnir (Mystical Spear) Shield Ring" that is included in this collection show such a weapon being made. The fact that Vulcan is a smith god who captures the male and female deities of physical perfection, the male warrior and the female fertility figure, on Vulcan’s couch (Forge) in their passion (Fire) only to be released by request of the god of the seas (Water) also suggests a purifying process with metals, particularly with iron. The deities represented in the witnessing are an all male club, with Jupiter (thunder and lightning), Apollo (the sun but also heat), Mercury (the occult), and Neptune (water but also horses). This suggests a craftsman’s profession such as metal smiths. All these gods have aspects which would seem to take part in this “making” process. When Mars is released he goes to Thrace, a land that will worship Mars more than any people prior to the Romans (the Greeks who were not overly fond of Ares claimed that he had originated from Thrace. The Thracians were considered overly warlike and barbaric). Some of this worship included worshipping Mars in the form of an upright sword (the exact opposite of the Scythian downward sword worship). Venus goes to Paphos at Cyprus. The anointing and clothing of Venus at Paphos can be compared to oiling a sword before putting it in its sheath. The offspring that was thought to be from this adulterous union was the goddess “Harmonia” (others say Harmonia was from a union of Jupiter and Electra).* If so then Harmonia’s husband Cadmus may have something to do with the continuance of this story.**

I believe that the geographic location for an earthly projection for “Vulcan’s Couch” may have been the Golden Horn of the Bosporus, near Istanbul, Turkey.

The fact that the Thraco Dacians (descendants of the Thracians) worshipped an upright sword can be seen in the many small Thraco Dacian bronze Roman sword pendants (made to represent either legionary or gladiator swords) that are found in the Balkans. The only other region where I know of an example being found is Cyprus.

The making of a male / female war sword may have been a celestial event; this may or may not have been a recurring event. There is a theory by Marshall Faintich (author of the book “Symbolic Messengers of Medieval Man”) that on April 20th in 360 AD, the planet Mars was between the horns of the constellation of Taurus the Bull, and the planet Venus was on the shoulder of Taurus. Then on May 4th in 360 AD the planet Venus had a conjunction with the planet Mars to form a single star in between the horns of Taurus. His theory further states that this event is seen on the coinage of Julian II (360 to 363 AD, the last pagan Roman Emperor). The coinage shows a bull with a star above his shoulder and another between the bull’s horns. As Julian II had believed that he was reviving Rome’s glorious pagan past, he may have seen this as a sign. If this was seen as the making of the sword of Mars, then Julian II may have seen it as verification of a refounding of Pagan Rome. If a portion of the Roman population had believed that Vulcan had created (or reforged) a male / female sword of Mars, then it would have been perceived as a symbolic spiritual matter, not an actual sword; this may have not been so in the provinces. With this in mind, enter Attila the Hun (405 to 453 AD). Attila did in fact believe that he had the actual sword of Mars (aka the sword of god). According to Jordanes’s recounting of the tale from Priscus, a Sheppard while tending his flocks had seen a heifer limping. Upon investigating, he found a trail of blood which he followed until he found a sword (which must have been partially buried). He then dug it up and brought it to Attila, who was convinced that it was the sword of Mars. All this took place in the lands of the proto Thraco Dacians. This event is thought by some historians to be from a Steppe tradition of sword god worship. Although this may be so, I think that the Thraco Dacian sword of Mars worship is different and is of a Greek and ancient Anatolian variety. I think that Attila knew this and was trying to use this for propaganda with the Romans, particularly those in the eastern provinces. This may be one of the reasons that Attila is viewed as heroic in many eastern European traditions (and northern European traditions). It also may be one of the reasons that the western European tradition views Attila as a pagan devil. There are others who think that the knowledge of Attila’s sword may have been what the Medieval Arthurian authors may have been referring to when they wrote about the sword Excalibur. (Although, as mentioned previously, a male / female weapon in the Greek and Roman tradition appears to have been a weapon for the gods only.) This is possible, but I believe that the Steppe sword tradition more likely their source of inspiration.

*If Harmonia (Concordia to the Romans, she was the goddess of marital harmony and faithfulness) was the offspring of Mars and Venus from their liaison on the couch of Vulcan, then she may in fact be the sword of Mars (and Venus). This goddess may or may not have been a continuance of the sword of Mars story or it may be her own story. Harmonia was given by Mars to the mortal hero Camdus, the founder of Thebes. All the gods attend this wedding. Vulcan gave as a wedding present a necklace (a hint at another type of net?) and Athena gave a robe. The necklace brought great misfortune to whoever possessed it, particularly those that were of the House of Cadmus.

Note: During Harmonia’s wedding there is reference to a serpent as a companion to the “northern wagon” (Big Dipper) bringing a “bride adorning season” to the wedding (Nonnus’s Dionysiaca). This suggests a connection with Harmonica and the constellation of Draco (Cadmus?). If so this may also suggest that the cursed necklace is in fact the constellation of Casseopeia.

**Camdus was one of three sons of the Phoenician King Agenor of Sidon, a son of Poseidon (many Greeks contend that Camdus was of Greek heritage). When his sister Europa was abducted by Jupiter (disguised as a bull) his father sent him and his two brothers to find her. They never find their sister but they have many adventures and all three founded cities. Cadmus initially goes to Thrace but then leaves for Greece. Once in Greece he went to see the oracle at Delphi and was instructed to follow a cow in order to found a city, this he did and founded the city of Thebes. Immediately after this all his men were killed by a giant water dragon (a son of Mars) guarding a spring sacred to Mars. Cadmus slew the dragon and then took the dragon’s teeth as a trophy, later for this offense he would atone by serving Mars for eight years. With instructions from Athena he planted half of the dragon’s teeth (the other half were given to Minerva, she would later give these to Jason) from which sprang fully armed warriors known as the Spartoi (sown men). As these warriors proved uncontrollable he threw pebbles in their midst so that they fought each other. Five survived to become Cadmus’s paladins and the founding fathers of Thebes. After Cadmus served his eight years Mars gave him Harmonia as a reward. The couple had children and ruled Thebes as good rulers, but after tragedies with a child and grandchild the royal couple left Thebes in self exile. Cadmus accepted a commission to lead the Encheleans to conquer the Illyrians; with Harmonia at his side he accomplishes this and they became King and Queen of the Illyrians. After a time when they had grown to an old age both Cadmus and Harmonia were transformed into serpents (others say they left on a chariot pulled by two dragons to the fields of Elysium). In Nonnus’s Dionysiaca, Cadmus and Harmonia are transformed into stone snakes (others write about a single stone snake). Nonnus describes this mythical event as taking place at the mouth of the snake breeding Illyrian Gulf (this suggest a serpent or dragon worshipping people somewhere on a gulf or inlet of Illyria). If Cadmus and Harmonia were in fact associated with serpents (Cadmus) and swords (Harmonia), then the ancient snake breeding gulf of Illyria may have been where the tradition of Celtic antennae sword pommels originates from. These impractical bowed serpent like antennae sword pommels could very well have been interpreted as a “sword in the stone (sword in the stone serpents).” The story of Cadmus and Harmonia does seem to have some of the overtones of the Arthurian.

The first artifact pictures (Artifact Pictures 1/1, 1/2, and 1/3) show what I believe is a 4th C. Roman ring depicting the conjunction of Mars and Venus in the Horns of Taurus on May 4th 360 AD. Notice the spear head sign of Mars on each side of the band pointing in the direction of the horns.

The second artifact picture shows a cleaned ivory engraving (in the shape of a large thumb, or thumb nail) of what appears to be Venus (or Venus and Mars) in the horns of Taurus. It should be noted that this could be the Apis bull of Egypt.

The third artifact pictures (Artifact Pictures 2/1 and 2/2) show a white stone battle axe head pendant of a bearded bull. It is from Ebla, Syria and is dated to approximately 2,800 to 2,500 BC. This should be a depiction of an early Semitic war god, also possibly associated with thunder and lightning. The position of the pendant’s loop hole insures that the axe head edge will point up (the same as with the Thraco Dacian bronze Roman sword of Mars pendants). Notice the similar shape of the bovine’s horns as seen in the ring artifact.

The fourth artifact picture is a group of Thraco Dacian bronze Roman sword pendants. The first example is a legionary sword, the second is a cavalry spatha, the third is a gladiator sword, and the fourth (found in Cyprus) is a gladiator long knife.

Copyright 2006 David Xavier Kenney, Revised Feb 07

Posted On: 5-Sept-06

Late Roman Intaglio Depicting King Rua, Father Of Attila The Hun

This is a Late Roman carnelian intaglio that shows the image of intaglio is of King Rua (Roas, or Rugilas, or Rugila), father of Attila the Hun and founder of the Hun Nation (although this also could also have been one of Attila's names). A miniature inscription verifies this image. The face shows a closely trimmed beard. The long hair is purposely tucked into the collar. This was possibly an exclusive status symbol of the mounted Huns. The helmet seen is purposely made to be worn at an angle (either due to deformation of the skull, or mimicking skull deformation). The helmet's top fixture features the front of a stylized griffin. This may also be a combination creature composed of a griffin in front and a cock in back (this may suggest that as the cock is a creature of the rising sun of the east, the mythical griffin may have been thought to follow the sun westward). The helmet has a rear ring for three streamers (Hun battle standards are theorized to have had streamers made of horse tails). While there are some things known about Attila, there is little known about the Hun's themselves, even their original homeland is open to speculation (although it is generally thought to be Central Asia). What is known is that they were Steppe nomads who once in Europe continued at least some of their Steppe traditions. There are no known verified depictions of any Hun, let alone Attila. Grave goods from very rare Hun finds show that they favored the animal and geometric art styles. It is speculated that even these may have been made by European craftsmen. The Huns left no written records. It is known that from Hun skull finds that at least some Huns flattened their skulls (this binding process began when they were babies), but it should be noted that this is also the same with other Steppe tribes who penetrated Europe of the Roman era, and also with the tribes that they influenced. From the information with the miniature art of this intaglio, the Huns worshipped the following; The Huns had worship of the following: Sun, Moon, Stars, Sky, Morning Dew, Fire, Dew Cup, Shaman's Drum (symbolizing the sun and the moon), Sword, Swordsman, Helmet, Wolf, Mare, Griffin, Cock, Dragon, (associated with a shaman's drum and the weather), Four Trees As Pillars (the four cardinal points with one of these as a primary). The Hun Royal Standard was a disc with a wolf head and a horse head, but also possibly with the heads of a human male (associated with the wolf) and female (associated with the mare) tribal founding, or merge. The sun, the moon, and fire play into this, as well as the dew cup. Their earthly founding story goes like this: A boy mounted on a wolf and with a wolf pack chases and mates with a mare, the offspring are the Huns. Pictures to soon be provided

Concerning the Hun worship of the sword and swordsman, recent theories that connect Attila to the Arthurian are mainly to do with Attila's "sword of god", referred by the Romans as the "Sword of Mars". From an excerpt from the previous posting titled "The Making Of The Sword Of Mars", in bold is the more specific information :

"The making of a male / female war sword may have been a celestial event; this may or may not have been a recurring event. There is a theory by Marshall Faintich (author of the book "Symbolic Messengers of Medieval Man") that on April 20th in 360 AD, the planet Mars was between the horns of the constellation of Taurus the Bull, and the planet Venus was on the shoulder of Taurus. Then on May 4th in 360 AD the planet Venus had a conjunction with the planet Mars to form a single star in between the horns of Taurus. His theory further states that this event is seen on the coinage of Julian II (360 to 363 AD, the last pagan Roman Emperor). The coinage shows a bull with a star above his shoulder and another between the bull's horns. As Julian II had believed that he was reviving Rome's glorious pagan past, he may have seen this as a sign. If this was seen as the making of the sword of Mars, then Julian II may have seen it as verification of a re founding of Pagan Rome. Of all the ancient peoples, the Romans were probably the most practical and any superstitions about weapons was not in the average Roman's mind set; however this was not the case in the Roman provinces. If a portion of the Roman population had believed that Vulcan had created (or reforged) a male / female sword of Mars, then it would have been perceived as a spiritual matter, not an actual sword; this may have not been so in the provinces. With this in mind, enter Attila the Hun (405 to 453 AD). Attila did in fact believe that he had the actual sword of Mars (aka the sword of god). According to Jordanes's recounting of the tale from Priscus, a Sheppard while tending his flocks had seen a heifer limping. Upon investigating, he found a trail of blood which he followed until he found a sword (which must have been partially buried). He then dug it up and brought it to Attila, who was convinced that it was the sword of Mars. All this took place in the lands of the proto Thraco Dacians. This event is thought by some historians to be from a Steppe tradition of sword god worship. Although this may be so, I think that the Thraco Dacian sword of Mars worship is different and is of a Greek and ancient Anatolian variety. I think that Attila knew this and was trying to use this for propaganda with the Romans, particularly those in the eastern provinces. This may be one of the reasons that Attila is viewed as heroic in many eastern European traditions (and northern European traditions). It also may be one of the reasons that the western European tradition views Attila as a pagan devil. There are others who think that the knowledge of Attila's sword may have been what the Medieval Arthurian authors may have been referring to when they wrote about the sword Excalibur. This is possible, but I believe that the Steppe sword tradition was more likely their source of inspiration."

Other speculations are that Attila may have some things in common with King Arthur. As the Hungarian King Etzel in the Germanic Nibelungenlied he is a noble leader and champion. Etzel (in Hungarian Etzel is Ethele ) is a legendary national founding hero to many Hungarians. The Bulgarians have a similar tradition with their founder (Bayan I) being a grandson of Attila. Even more speculations are that his Huns brought Asiatic legends and superstitions (possibly a mixture of Central Asian, Iranic, and Scythic/Sarmatian folklore) to add to the European variety.

In the 4th C. the Huns ruled a vast Asiatic/Euro empire on the peripheries of the Eastern Roman Empire. This was known as the Hunnic Empire. This Empire would directly engage Rome and come to it's peak under Attila's leadership. It appears that the Huns conquered by terror in mass (the Huns were noted at the time as being foremost in their brutality and absence of mercy) on the weaker and then incorporation of the stronger. Attila became a symbol for both terror and incorporation. To the Romans he was the "Scourge of God" but to Roman haters he was a savior with a plan. It appears that Attila was initially more pragmatic, but then became superstitious, this perhaps was when he had started out with a propaganda ploy with the supposed sacred sword found by a sheppard but then believed he actually held "the sword of god". His first and only defeat would come after this by Roman General Aetius's Roman Army (a huge army made up of Romans and their tribal allies) at the horrific "Battle of Chalons" in 451 AD. Although the Hunnic Empire was still intact at his death (of drink on his wedding night, or by poisoning) it would appear that the defeat at Chalons had put enough confidence in his enemies (mainly the Romans, Gallic Romans, and various Germanic tribes) that the Huns would not conquer Europe. The following year after Chalons Attila did conduct a large scale invasion of Italy, but turned back. This retreat from Italy was probably due to plague, but Christian legend has Pope Leo I at the River Mincio convincing Attila to turn back in order to spare the city of Rome. This legend was believed by the masses and convinced the Christians that their Pope and religion had defeated the Huns. The Hunnic Empire immediately split up after Attila's death but the Huns as a people survived for a while at a tribal level, mainly by supplying mercenaries to the Romans. If the claim by some is that the ancient Hungarians and Bulgarians are of the Hunnic origin, then there may something of the Arthurian with Attila.

Copyright 2007 David Xavier Kenney

Revised Dec 2007

Posted 18-Jan-07

Late Roman Intaglio Depicting a Hun Dawn god or goddess - Artifact Group Showing Roman Provincial Winged Deities

Purchased at the same time and from the same source as the previous intaglio posted (Late Roman Intaglio Depicting King Rua, Father Of Attila The Hun). The engraving on the intaglio shows a dragonesque Hun dawn god or goddess (most likely both) holding a slightly curved sword, and holding a large haloed head facing forward (a dawn deity). This may have inspired with the Christian belief in the sudden reappearance of St. John The Baptist's head (in 453 or 454 AD at Emesa). Another intaglio from this group shows a walking winged figure (no helmet) holding a hooded and bearded head, to the front of this is a fire and alter. This is most likely a symbol of a dusk Hun god or goddess, but also of a fire renewal, Pictures and information will soon be posted

SPECULATIONS WITH INFORMATION POSSIBLY CONNECTING THIS TO THE ARTHURIAN LEGENDS TO BE POSTED.

For Comparison - Included with the Larger Images is: An Artifact Group Showing Roman Provincial Winged Deities:

Artifact 1: Intaglio Showing a Winged, Bird-Like Creature with Sword and Backward Feet. This is from a Florida collection and has an unknown origin. It is speculated that it was made in the Eastern Provinces, perhaps Syria. The figure shown appears to represent a hummingbird. That is not possible, as the hummingbird is only known on the North American and South American Continents. With that said, recently prehistoric fossils of hummingbirds have been found in Germany and the Caucasus. Needless to say besides the overall appearance, the backward feet do suggest a hummingbird (as well as forward hummingbirds can fly backward, or hover.) However it also suggests the god Roman god of metal smiths Vulcan (Vulcan's bird is the woodpecker, this may be a stylized version of that bird), who in ancient art can be seen with backward feet. To my knowledge the backward feet with this god is unexplained. The figure holds a short sword and also appears to be wearing a helmet (or halo, or both?). If all features are combined, it suggests an aerial war god that is also a metal smith. If this is of the early Christians, then it may be a sect version of St. Michael the Archangel.

Artifact 2: Intaglio showing a Winged Man with a Bee Hive (Behind him), Horn or Antennae, with Extended Arm and Hand over a Kneeling Figure (Giving or Receiving a Plant or Flower) with Wings.This suggests a type of Bee King of the Essenes (the ancients mistook the Queen Bee for a King Bee) with an initiate. This may or may not be connected to the Jewish Essenes, known from Josephus's Late 1st C. AD writings. If this is of the early Christians, then it may be a sect version of St. Gabriel the Archangel.

Artifact 3: Large Antler Base Disc (Approx. 7 cm in diameter) Carving Showing a Scene of the Roman Deity Telesforos (Son of Asclepius) with Wings, and on a Cart Receiving a Votive. This appears to have to do with known medicinal herbs. More info to be posted.

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Roman Bronze Mars Quirinus (War Romulus) Chariot Statue As The Constellation/Star Arcturus (?)

This is a late 1st C. BC to 1st C. AD bronze (with traces of gold gilding, possibly traces of silver gilding) sculpture of a chariot with eight spoked wheels, charioteer, and two horses. It is 39 cm in length x 19 cm high (in the second position it is 24 cm high). Inside the chariot is the inscription “IMQB” and “DEP.” It is speculated that this reads “Jupiter Mars Quirinus Bellona Departs”, the “I” abbreviation for the god Jupiter is questionable and may mean something else. The charioteer as Mars Quirinus and the chariot as Bellona is proposed to be a type of war Romulus. The chariot itself is of the goddess Bellona but also hints at a connection with the goddess Hora, the consort of Romulus Quirinus. Hora was a goddess of beauty who had in life been known as Hersilia and was married to Romulus. According to Ovid, her becoming a goddess may have been associated with a meteorite or a comet event. This story fits in with the mysterious disappearance of Romulus, who according to Livy, was enveloped in clouds during a thunder storm and disappeared while reviewing his army at the Campus Martinus. Hora in her human form as Hersilia was taken to the Quirinal Hill where a “gliding star” fell and lit her hair on fire. She then traveled with this star through the atmosphere to be with her husband Romulus, who was deified as the son of Jupiter (son of god), as Quirinus. Hersilia then became his goddess wife Hora. There is much about Romulus to suggest that his story could have been a Mediterranean inspiration for the story of King Arthur. Romulus is an orphan born under mysterious circumstances; has to prove that he is a leader; unites his tribes; and then founds a kingdom. His ending is a bit Arthurian in that he personally fails (being swept up in a thunderstorm is not success), however his followers make him a deity and his kingdom goes on to become the only superpower in the then known ancient world (from a European and Mediterranean perspective). Looking at this chariot statue from above, a design can be seen that is very similar to the line shape of the constellation of Arcturus (aka Bootes). From this viewpoint the star Arcturus would be in the exact position where the charioteer is standing (Mars Quirinus). This could be a coincidence or it may be that the ancient Romans knew of this star as the chariot plow man (we know the Romans referred to the constellation as the plow man) and had this in the layout of their city. It is a fact that Romulus in the founding of Rome plowed the boundaries of the city (the tradition required that this be done with two white oxen). The Romans viewed Ursa Major as Septentrio (Seven Oxen), the oxen of the plow man. In contrast some ancients saw Arcturus as the bear guard. It should be mentioned that the primary symbol for Romulus for the Romans was the wolf and twins; nowhere is there a mention of anything to do with a bear, although a bear symbol does appear in the Roman Army in the form of the bear skins worn by signifiers (but also some wore wolf skins). Nowhere is this explained. In recent times some Arthurian researchers and enthusiasts have focused on certain semi-historical figures as candidates for a King Arthur who lived at the time the Romans left Britain. It just could be that a great founding figure was immediately needed when the Romans left taking with them their own version of a King Arthur, that is their founding King Romulus. It may be that the constellation/star Arcturus was a type of special symbol for that first king of the Romans.

Copyright 2006 David Xavier Kenney

Posted On: 18-Apr-06

Etruscan Or Roman Republician (or Celtic?) Crossbow Applique

Although it could be even older, I believe that this artifact (Artifact 1) is a 4th to 2nd c BC Bronze Etruscan or Roman Republician (or Celtic) Applique which may have been used as an insignia for a helmet. There are two holes for rivets with a stud on the back. The art is somewhat similar to a later type of stylized Celtic art and it may even be from that culture. If of the Celts then the symbolism should have at least some association with the god Ogmios (a Celtic version of the Greek Hercules) who was a god of speech (note the open mouth on the face of this applique) and the inventor of the Druidic alphabet, his weapons were the bow and, or, a club...Click here for more information and images.

Copyright 2005 David Xavier Kenney

Posted on 14-DIC-05

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The premise of this writing is based on a hypothesis that the earliest origin of a figure who may serve as the root for the King Arthur legends, is in fact from Chinese sources written during the Zhou and Han Dynasties of the Warring States Period (481 to 221 BC). These writings mention a great legendary founder known as Huangdi (“Yellow Lord” or later “Yellow Emperor”). His name means “Yellow Earth” and it is thought that this is because he had been born where the earth was yellow (this could also suggest sand as in a desert location, such as the Gobi desert). Huangdi was recorded as a great leader and warrior lord, unifier, civilizer, and inventor. He was also known as the Bear Dragon, which may have been his personal coat of arms. This first of the five Han Emperors is alleged to have ruled from 2,698 to 2,599 BC. In the book of Auguries (Han Dynasty) it was written that his mother gave birth to him from lighting, which came from a bright light emitting from the “Dipper god” (the Dipper god being the Big Dipper of the constellation Ursa Major). One of Huangdi’s titles (written during the Han Dynasty) was “Keeper of Bears” (Youziong), which is very close to the “Bear Guard” title given by later Westerners to the star/constellation of Arcturus. It should be noted that Huangdi is credited with having invented the bow (or perhaps the compound bow) and arrow which may give him a solar association. Perhaps this association is the real reason he was named the Yellow Lord. As or even more likely is an association with a star or meteorite event or a comet. Another invention credited to Huangdi is the chariot, but interestingly a chariot with a compass, which enabled his forces to penetrate an army shielded by mist. According to further speculations based on jade artifacts, Huangdi may have had a connection to the Chinese mythological beings known as the Dark Lord of the North (Xuan Wu, or Black Tortoise) and the Queen of the West (Xi Wang Mu). The Dark Lord of the North may have been a combination of Lancelot (warrior/lover), Weyland (trickster/weapons smith) and Merlin (magician). The Queen of the West is a magical fertility goddess that may have been a mixture of Guinevere, Lady of the Lake, and the three maidens. Some of these myths may have arrived in Europe with an Asiatic Bronze Age people who were trading or making incursions with the Thracians and the Celts. They may have become even more known when the Emperor Shi Huangdi founded the Qin Dynasty (221 to 206 BC). When Shi Huangdi created his short-lived but impressive dynasty from subjugating the Warring States he decided to take the name of the legendary Yellow Emperor as the first emperor. Although Shi Huangdi is considered to be the founder of China (Qin) as a nation, unlike the legendary Huangdi his reign was noted for its immense harshness. Stories of the Yellow Emperor’s “rebirth” as Shi Haungdi must have traveled to peoples to the West via the Parthians, Sarmatians, and Scythians. One of the first European places where such tales would have arrived would have been Thrace. If there had been any previous legends or beliefs of the legendary Huangdi which had traveled to the West, then any stories of Shi Huangdi would have been mixed with those and given a mythological prestige. These stories would later travel to Europe via the Silk Road and any Steppe Nomads (Huns, Avars, Magyars, ect.).

Until recently the Legendary Yellow Emperor was considered by Chinese scholars to be a tale of their legendary founding prior to written history. That is, until their archeologists excavated over 20 small jade pendants that have a stylized bear dragon motif from the Neolithic Hongshgan culture. These finds appear to have given some credence to the Yellow Emperor having once existed, or at least that an unknown ancient people of Mongolia and China had this symbolism as a part of their belief system.

Bear Dragon Statues:

These are three Neolithic jade bear dragon statues. All three were purchased from a jade collector dealer in California, described as being from the Neolithic Cultures (c. 7,000 to 2,000 BC). Purported to have been found in the Autonyomous Region of Inner Mongolia, they are most likely from the Hongshan culture. The first one is black jade (which may or may not have been the color black when it was carved); the next two are both green nephrite jade.

The 1st Statue:

Is 5 cms in height. It shows a sitting bear dragon holding a cong (which resembles a small barrel with no top or bottom, placed on its side). The cong also looks very close to a wheel and the dragon bear does look like he is being pulled by it. Actually, as the buttocks of the figure form a smooth round ball, it will glide on any smooth surface, turn to one side, and with a tug will right itself. It suggests movement and travel. On the back of this bear dragon is a stylized owl. This is unusual as the cong (chi, or breath of life, or life force) is a positive symbol, but according to Chinese tradition the owl is only known as evil; it is believed that in order to exist it has to eat its own mother. The Chinese name for owl is “xiao;” this means little but also young and can also mean brave and ferocious. The name for the Chinese god of prisons is Hsiao-Wu but also Xia-Wu. This name designation is most likely to establish that a night owl has the same attributes as a prison guard (Bear Guard helper?). If this symbolism is correct, then this may imply that this bear dragon has an owl watching his back (or watching his charge?) while moving forward with his cong. The fact that this is a bear dragon and the unique position of the cong could imply that he is the inventor of the wheel (or chariot?). My speculation is that this bear dragon represents the legendary Huangdi (Yellow Lord) as warrior and as the Dark Lord of the North. I believe that it is likely that the ancient jade carver had selected black jade for this statue.

The 2nd Statue: Is 66 mm in height. This shows a bear dragon with wolf (or fox) ears making love to a human female. This subject is a fertility symbol but there may be more to this. On the back of this upright bear dragon is an arrow (although of the Neolithic this very well could show where the expression “straight as an arrow” came from). The arrow may be symbolic of Huangdi as the inventor of the bow and arrow or it may have the meaning of a celestial arrow. If of the latter, then this could imply that Huangdi’s celestial father as the Dipper god may have in fact also been a bear dragon, or that he was the original bear dragon. It should be noted that this bear dragon example has three peaks on its head, (ears and arrow tip); this may have something to do with a mountain range.

The 3rd Statue: is 65 mm in height. This shows an upright bear dragon with ears that are more rounded (more like a bear’s ears) making love to a human female. On the bear dragon’s back when the statue is turned upside down there “may” be a stylized jerboa. The jerboa is a small nocturnal rodent that can jump as high as 10 feet and is noted for its exceptional night vision. They hop as a means of locomotion but can also walk on their hind feet. The males are solitary except for mating. The females can produce several litters a year. If this is of a jerboa, then it should symbolize the bear dragon as a fertility figure; Huangdi had 25 sons. It may also show that he had the sight of a jerboa watching his back even at night.

More Jade Artifacts That May Have A Connection With The Bear Dragon:

This 4th Statue: Is a 59 mm high light green nephrite jade statue that shows a male making love to a female. The female appears to have a hairdo which is shaped to form two rounded cat ears. If so then this object may represent Huangdi in a different form making love to (or according to the legend, being instructed by) Su Nu (Plain Girl), who taught Huangdi techniques in lovemaking (he was having problems in that area). However this could also represent Xi Wang Mu (Mother Queen of the West). In a Song (960 AD to 1279 AD) text it was related that Huangdi was in trouble during a battle, so the gods sent a Celestial woman to assist (this goddess is obscure, but it is thought by some to be the Mother Queen of the West) by teaching him techniques in the art of war. The Mother Queen of the West lives in a jade palace on a sacred mountain range that was known as Kun-lun and was near the Lake of Jewels. It was a place where her favorite mortals could come to her chambers and become immortal (she had peaches that bestowed this favor). Her primary animal is a feline (either a panther or a tiger). In summer she could go to meet with an Emperor to bestow this same gift of immortality. She and the goddess Xiu Wenyin (goddess of lightning and thunder) at some time may have been one in the same. The male figure is somewhat in the crouching stance of a frog or a toad. In Chinese mythology, the toad is associated with the moon and immortality.

This 5th Statue: Is 22 cm long and is made of green, possibly with some black jade; there is some reddish discoloration. It was described by a jade dealer as coming from the Hongshan culture. The carving shows a smiling face with a pointed chin wearing a helmet with horns (bull?) that have grooves, but also look like the ears of a fox. It should be noted that some of this same style of horn ears can be seen on some ancient Anatolian stone amulet carvings. The figure has an arm with a paw on each side. There is no doubt the outline shape of the face and helmet with the two circular eyes are suggesting male genitalia, but if turned upside down, it looks more like a spearhead. The statue gives the impression that its subject is flying; the open eyes cancel out any suggestions of a sleeping god. The round eyes may suggest someone from the more northern Steppes. My speculation is that this is the Dark Lord of the North as a fox man, possibly as a shaman metal smith. With the picture of this statue I have included a Neolithic jade spearhead (this has been polished in modern times); this is similar as to the shapes of the spearhead on the face (when upside down).

This 6th Statue: Is 22 cm and 3 mm’s long and is a mix of green and black jade, again with some reddish discoloration. It was described as originating from the Hongshan culture. The face shows a nose that is shaped like a fleur de lys (this is an extremely early depiction of a fleur de lys, which may be significant in itself) but also like a spearhead. The outer shape of the eyes are almond, but inside these there are two circular eyes that are close together as if meant to portray someone cross-eyed. On top of the large face is a small round face with two round eyes; the small face is flanked by a serpentine arm. This (the small face and the serpentine arms) has an outline shape that could suggest three mountains. If the statue is turned upside down, the statue shows a turtle or more likely a tortoise looking up at the viewer. If you turn the statue over, you can see a form with three rudders. On close inspection, the middle rudder that has the small face appears as a battle mace. If this statue is put on a smooth surface and is given a push, it will glide easily by using the bottom of a foot; there is actually some wear on the right side of the statue (left side as you look at it) that does suggest this practice in antiquity. This statue should represent the arms of the Dark Lord of the North, as the black tortoise warrior and protector. The shape of the tortoise shield face suggests that it may represent a female face, or a young male (the ancient Chinese believed that tortoises were female and could only mate with a male snake; the tortoise could live ten thousand years and so was a sign of long life). The battle mace is part of the tortoise but yet separate as it looks to be a snake. This symbol of the snake and tortoise (snake being the active force as a mace would be used and tortoise being a protective female shield) would have been regarded as a symbol of the ultimate shaman warrior. It is thought that at some time during the Shang Dynasty a snake tortoise symbol was placed on the standard of the imperial bodyguard. It would appear that the black jade would symbolize the tortoise and the green jade would symbolize the snake. During the latter part of the 2nd Millennium BC, The Dark Lord of the North is given form as a powerful human warrior that has long hair and is dressed in a tribal costume. It would appear that this was to represent the wild nomads to China's north. He is a punishing god but also a redeeming god; it appears that his rather close association with a goddess would imply that he was also a fertility figure closely connected to nature. This god was worshipped by those of the military and martial artists. One tradition says that he was born during the reign of the Yellow Emperor and interestingly enough the Big Dipper (of Ursa Major!) depicted as a tortoise and a snake is called the Xaun Wu Constellation. This sculpture appears to actually symbolize The Big Dipper, with the mace (the four stars as the male snake, ) as the handle and the shield (the four stars as the female tortoise) as the bucket. If true, this would support the idea that the Neolithic people of the Autonymous Region of Mongolia (and the Neolithic Northern people of China) may have associated these symbols/stars with an even more northernly people. There are seven stars in the Big Dipper and the ancient Indo Iranian people did in fact worship seven gods. The same beliefs have been recorded among the Scythians and then the later Sarmatians. If these Neolithic people regarded Ursa Major as a bear constellation (we don't know if this so but the Greeks, the Hebrews, the Native Americans, and also possibly the ancient Finnic peoples did see this constellation as a bear), then the bear may be the primary animal behind the snake (or dragon?) as the mace and the tortoise as the shield; these two components being part of the whole bear, which may have been too sacred to identify as such? The spear (the fleur de lys may have something to do with the protective goddess or something totally different) may symbolize an unknown cosmic event. It may be that the original belief was that the bear (or bear dragon?) is the actual Dark Lord of the North. The bear could refer to a northern, more primitive tribe that had a bear as a totem or could even hint at a people who had the physical characteristics of a standing bear, being big or tall with long hair and beards. This would give any bear legends or myths to do with the stars more credence, based on an actual people.

Based on my interpretation of the symbolism of these jade artifacts and speculations with Chinese legends and myths, I believe that it is very possible that this is one of the earliest beginnings of a record (in art) of stories that were in the spirit of the Arthurian tradition. As mentioned, The Yellow Emperor/bear dragon foretells of Arthur; the Mother Queen of the West of Guinevere; and the Dark Lord of the North as a combination of Lancelot/ Merlin/Weyland. These legendary or mythical characters and their mystical stories may have been brought initially to the Celts and Thracians of Europe by an unknown Asiatic people and later by the Scythians. A second wave may have been brought by the Parthians, Sarmatians, and a third wave by the Huns, Avars, Magyars, etc. The bear constellations as identified in the West (including the star/constellation Arcturus) may have in Neolithic times been a primary source of inspiration for a powerful myth for both Eastern and Western peoples.

Note: It should be mentioned that the dux Lucius Artorius Castus (aka the Roman Arthur) is thought to have led Roman Saramatian Cavalry auxiliaries (according to the research with the writings of Linda A. Malcor and C. Scott Littleton) in an expedition against the Amoricans in 185 AD In my opinion the name Artorius, which I believe is from the Greek word Artos (bear), may have been viewed as advantageous by his superiors. The Sarmatians would have known something of the Greek language (or at least some Greek words) and if they did in fact practice bear worship (or had a bear character in their legends or myths) along with their dragon totem (possibly a knowledge of stories of the Yellow Emperor as the bear dragon?), then in essence their Roman commander's name as bear would have had special meaning. The Sarmatians had draco (dragon) standards, and may possibly have had dragon crested helmets for the officers, or for the general officer only? If Lucius Artorius Castus wore such a dragon crested helmet (similar to the one seen on the marble fragment artifact that is shown on this page) then his image would have been perceived as the "Bear Dragon" by his Euro Asiatic troopers. If this speculation has merit, then an interesting question would be, who among Castus's superiors had the type of insight and foresight to recommend taking this senior Centurion of the VI Victrix, and promoting him to the extraordinary rank of dux (special General, a rare and highly prestigious General rank in the 2nd C. AD) in order to insure the loyalty of the legions of Cavalry auxiliaries that he would lead?

Copyright 2006 David Xavier Kenney

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RELIC IN THE DWARF STATUE

(Archived)

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This is C. 117 AD silver Greco Roman styled ring from a dealer in the Netherlands but originating from the Balkans. The bezel has a beige cameo carving in travertine of a head and neck in profile of a bearded Dacian aristocrat (Tarabostes). The travertine appears to be Macedonia travertine, the profile is that of the Great Dacian King Burebista, who ruled from 82 to 44 BC. To my knowledge there are no verifiable images of this Dacian king, but it is close to modern images which can be seen that are from Roman sculptures of Dacian leaders. On the face in miniature art there is the other famous Dacian King, Decebalus, who ruled from 87 to 106 AD, his name is thought to mean Strong Dacian or the Strongest Dacian. It is speculated that Decebalus’s image is represented on a carving on Trajan’s column; this image shows different facial features from those seen in the image on this ring. Most notably, the forehead is slanted on Trajan’s column’s example, as opposed to the straight, high forehead as seen on this cameo face. Admittedly, the Dacian aristocrat that is supposed to be Decebalus on Trajan’s column may have been shown differently as a bit of propaganda on the part of the Romans. The Dacian aristocrat’s cap (much like a modern ski cap) appears to have a loop with a braided pig tail. If this was supposed to be the same on both sides of the face then it may very well represent the Dacian fertility, hunt, and mystery goddess Bendis (somewhat similar to the Greek Artemis). Furthermore, a pigtail on a ring may have been the sign of a Dacian King or High King as a fertility figure to that goddess. Braided pig tails were worn by Dacian women as a sign of national identity but also as a sign of Bendis who is speculated to be one of their most important goddesses. According to my artifacts, Bendis is also sometimes shown with a small circular disc on each side of her head; also these two discs can be asymmetrical.

Burebista was a great warrior king who unified his people (known to the Romans as the Dacians) in the region which is now in the Eastern Balkans and includes parts of Bulgaria, Macedonia, Romania, Moldovia, and the Ukraine. The Dacians were descended from the more ancient Thracians, who developed a loose system of semi-independent minor kings or nobles with hilltop fortresses. On occasion the Thracians could have great kings who would rule a coalition, but this usually did not last long and reverted back to the system of independent rule. In many ways the Dacians retained their Thracian identity, hence a term known as Thraco Dacians was invented by a modern historian to describe these people. (Burebista formed the nation known as Dacia from his tribe of Dacians and other tribes of Thracian heritage, but the people of the whole region were also still called Thracians). Most of what we know of the Dacians is from reports from Greek writers about the more ancient Thracians. Thrace was known to the Greeks as a wild place that was both mystical and fearful. The Greeks believed that many of their gods had originated from Thrace (hence the Greek term for Thrace as “country of the gods,” or “god’s country”), but the god that they most identified with as coming from Thrace was their god of war, Aries. The Thracians as well as the later Dacians were an agricultural cattle herding people. They were better known though as a fierce, warlike people who did not fear death, as the druids of their god Zalmoxis taught them not to. In return for their worship, they believed they gained immortality. The lower classes (the Comati) were ruled by nobles (the Tarabostes), but it is thought that the druids who were in a partnership with their nobles actually held the real power. Of all their gods and goddesses (many with Greek equivalents), the most mysterious was their god named Zalmoxis, mentioned previously. The belief in this god required the sacrifice of one of their finest men every five years as a messenger to that god; this was done by throwing the messenger on three upright spears. Along with this sacrifice, Greek writers also mention the ritual sacrifice of captives and slaves. They also mention that the Dacians practiced many hedonistic rites and that their nobles practiced polygamy; also that the Thracians would without shame sell their children into slavery. The symbol of the noble was a knitted cap, but also the sword and the war horse. The lower classes are thought not to have been allowed to wear any type of hat, but kept their hair long for protection from the elements. Much like the Scythians of the Steppes (in modern day Russia), the lower classes were not allowed the privilege of owning a sword; however it appears that to cleverly compensate for this many carried two long knives. The noble Thracian or Dacian horseman was legendary, enough so that after the Roman conquest, a universal cult developed in Dacia that based its worship on a single Thracian horseman. The horseman was perceived as the ultimate symbol of protection. Thracian and Dacian metalsmiths were renowned in the ancient world for their craft. Some of this may have been technological, but it can be expected that some was also mystical.

As mentioned before, Burebista united the tribes of his region into a powerful nation. Burebista created his central authority at a place called Argedava (Arg in IE should mean silver or white or shining and dava in Dacian means a citadel, hence it should mean the silver fortress or the white fortress or the shining fortress, most likely the latter) in the Orastie Mountains (in modern Romania). Burebista’s wife is thought to have been a queen and high priestess named Zina (this is from coinage found in modern times in Romania). His chief “advisor” was the high druid Dicineus who assisted in unifying the Dacians by reinforcing the cult of Zalmoxis at the religious center at the Kogaion (Sacred Mountain) of Zalmoxis (this mountain is also in modern day Romania). He also reinstituted what are called the Belagines Laws (Nature Laws). Burebista warred with a Roman Army during the 2nd Mithridatic War as a liberator of Greek cities on the Black Sea and was victorious; he then conquered territory to the northeast (modern day Moldavia and the Ukraine). Some of this confidence may have been due to another Dacian leader’s initial but phenomenal success against the Romans (but under very different circumstances), that is the leader of the Roman slave revolt which occurred from 73 – 71 BC, Spartacus. Later he allied himself with Pompey against Caesar. After Pompey’s defeat Caesar planned a punitive campaign against Burebista (this may have been for practical reasons but treachery on Burebista’s part may have been the actual reason); however this was thwarted when Caesar was assassinated in 44 BC. Burebista died that same year; it is speculated that he was murdered during a court intrigue. Although Dacia continued as the name of region, much of the nation that Burebista created soon fell apart. What historians know about Burebista is scant and the Dacians like their Thracian ancestors had no written language to give a better idea of what this great king was like or more about his life and accomplishments. However he very well could be one of the original European inspirations for stories that would lead to the Medieval King Arthur legends. Here is why: The aristocratic mounted warriors of the Dacians with their sense of superority were much like the Medieval knights of Arthurian lore. Burebista unified these elite warriors giving them a sense of purpose as in fighting the Roman invaders and conquering more lands. He had a chief advisor who was a high druid. His queen appears to have been the high priestess who must have been influenced by his chief advisor, the high druid. Burebista had built a new city fortress to create a unifying location for his people. The Thracians were the first to inlay their swords with gold and silver symbols (as did the later Dacians and Celts). It should be expected that they were the first and foremost Europeans to place mystical significance on their swords, which only a noble (or a king) could wield; much like the sword in the stone story. The Thracians had always interacted with the Scythians, who placed swords in a mound as a form of worship to their war god. At the time of Burebista, the Sarmatians, who followed this same sword in the mound practice, may have been making inroads into Dacia. Soon after Burebista some Sarmatians would begin making incursions into Thrace and eventually some would settle there. After Trajan’s conquest of Dacia in 106 AD many Dacians would serve in the Roman Army as legionaries or auxiliaries. Many of these would serve in the Roman Provinces; most notable to an Arthurian connection are those who would serve in Britain which had remnants of a “type” of druid who was very similar to the Dacian druids. The name “Burebista” is a title or slang used by the Greeks; Burebista’s real name is unknown. My speculation is that Burebista may mean something like "bear bite" or "bear teeth," although boar teeth (tusk) cannot be ruled out either and boar tusk helmets were in fact known in more ancient times. If the meaning is "bear teeth," then this would very much connect the name or title to the goddess Bendis, who like Artemis was associated with the bear. The name if associated with the Greek Artemis may have seemed similar in meaning to the name Arthur, that is if the name Arthur does in fact have anything to do with Artemis. A further speculation is that the style of knit cap as seen on this ring could be symbolic of bears' teeth. or boar tusk.

Another great Dacian king named Decebalus would accomplish much the same with the Dacian people as Burebista had, towards the end of the 1st C. AD. In essence though he would have appeared as an imitation to the Dacians and unlike Burebista, his nation was eventually to be conquered by the Romans. Burebista brought together a fiercely independent and harsh people in order to create a nation. This would be with the aide of his chief druid, no doubt his priestess wife, and his aristocratic Dacian knights, no doubt all meeting at the “shining fortress (castle)” atop a mountain, and then issuing forth under the Dacian wolf dragon windsock standard (although we only know of this type standard from the late 1st C. AD to the early 2nd C. AD). He would become confident enough to challenge Rome, the greatest power of the day, enough to become a player in the power struggle with two of Rome’s greatest generals. His decision to back the loser may have led to his demise with his own as everything about the Dacians seemed unforgiving. If more is to be discovered about Burebista, Dacian beliefs, and their legends then it very well could reveal that the rise of Burebista is a major source for other lore that may have later inspired the Medieval Arthurian legends. These may have continued after Burebista left the scene, then been accented as propaganda during the time of Decebalus, waned for a time, and then brought back during the last days of the Roman Empire. One thing is for sure: unlike most other conquered nations under Roman rule, the Dacians never assimilated in spirit. There has to be a very good reason for this, such as the memory of their Great King Burebista.

Copyright 2006 David Xavier Kenney

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ARTIFACT 1: Is a Late 1st C. BC (?) bronze statue bust on part of a roundel that appears to depict Vercingetorix (72(?) to 46 BC). This is based on legends and the only verifiable image of Vercingetorix on gold coins that bear his profile (done in the Greco Roman style with shaven face). Vercingetorix was a Gaulish chieftain of the Arverni tribe. His name in Gaulish means “over king of the hundred or hundred;” we do not know his real name. Vercingetorix’s father was named Celtilus (most likely another name that was a title). He had been murdered when he tried to unite the Gaulish tribes. The Gauls did not believe in central authority and any attempt at uniting them under a supreme king was a taboo viewed as sacrilege. Needless to say, somehow Vercingetorix blamed the Romans for his father’s death, who since 58 BC had been conquering Celtic lands to the north and the east under Julius Caesar. In 54 BC at the supposed age of 18, Vercingetorix began his own rise to power by overthrowing any opposition and uniting the Gaulish tribes under his authority. By 52 BC Vercingetorix was ready to battle the Romans. He had a scorched earth policy (to deny the Romans local supplies) and then retreated to a fortified position. This strategy proved to be successful until his last battle at Alesia (St. Reine, France) in that same year; this siege battle lasted over two months. Vastly outnumbered, Caesar brilliantly defeated the large Gaulish Army at Alesia (with the help of Germanic cavalry), that is even when another larger Gaulish relief Army appeared in support. Vercingetorix surrendered. Caesar brought Vercingetorix to Rome where he was imprisoned and then in 46 BC was strangled during Caesar's triumph. Vercingetorix may have been an inspiration in the Arthurian tradition as it is thought by many that the culture, legends, and the mythology of the Celts and the Gauls had a particularly strong influence on the Arthurian legends. At the time, Vercingetorix’s uniting the Gauls was considered an impossible task; his young age must have added to his mystique. Perhaps to compensate for his inexperience, he used drive and fear. The fact that his father was murdered for trying to unite the Gauls could be seen as similar to the Arthurian stories. According to Caesar's accounts Vercingetorix was courageous but also a harsh general; he treated all Gauls as if they were soldiers. Although his cultural lore and his brief unification of the Gauls could have been in the Arthurian tradition, the location of his last battle may be just as important. Alesia was a hilltop fortress city that had foundries that are thought to have been for making bronze. Besides the thunder god Taranis, there was a local smith god named Ucuetis (which means “the protector of bronze workers”); also a goddess named Bergusia who was thought to be a goddess of crafts and may have been his counterpart. Alesia may have been associated with weapons such as swords; if so, then the Celtic reverence and superstition for swords is well known. This would not mean anything to the Romans as they had neither. It is thought that Alesia was a center of worship for the horse goddess Epona but it is not known if this was so in 52 BC. Besides being a goddess of horses, Epona was a Gallo Celtic fertility goddess and can also according to some depictions be associated with water as a type of nymph. She is also seen with flowers as in a rose garland, the cornucopia, dogs, birds, and apples. The fact that many Epona depictions show her sitting on a horse sideways could suggest that she was somehow associated with the path of the sun or the moon, if the birds that are sometimes seen with her are pheasants, then perhaps originally a dawn goddess? A connection with the immensely popular Dacian (Thracian) Rider Hero or Knight (a sort of demi-god that is seen in small bronze statues as a protector of the Dacians during Roman times) is possible. This goddess became immensely popular with the cavalry of the Roman Army and became the only Gaulish deity to be accepted in Rome. The name Epona may be Gallo Celtic but it also may be from other outside sources, such as the Greeks as the word for horse in Greek is “Hippo;” or from “Bubona,” a Roman barn goddess who protected cattle. The wife of Asclepius (the Greek god of medicine), “Epione” may also be a consideration as the name is similar. Any protection from disease for people must have been seen as the same for livestock, and more so for highly prized livestock such as horses. The goddess Rhiannon (Epona's Celtic Welsh equivalent) is considered by some to be the inspiration for Vivien or Vivienne (The Lady Of The Lake) of Arthurian legend. The earliest representation (that is verifiable) of Epona is known from a wall fresco in Pompeii, so that dates Epona at Pompeii from before 79 AD. There was a weapons foundry at Nola in Campania which is not that far from Pompeii and the region in that part of Campania may have had other foundries. Based on this somewhat small amount of evidence it is my theory that there may have been a 1st C. BC connection between the metalsmiths of Campania and Alesia, and that the goddess Epona may have been part of that connection. The metalsmiths of Campania and Alesia may have also had a connection with metalsmiths in Dacia. After the Gauls’ defeat, Alesia may have become a symbol of nation to the Gauls, with stories developing about another Vercingetorix coming from Alesia to found a Gaulish nation. The horse goddess cult centered there may be part of this as the Roman writer Livy noted that when Vercingetorix surrendered (supposedly to have the lives of his soldiers spared) he rode his horse alone completely around the Roman encampment before entering the camp and throwing his weapons and himself at Caesars’s feet. Livy describes Vercingetorix riding in that circle as if he were casting a magical spell as if to bind Caesar. It can be considered ironic that Caesar did not last long after the execution of Vercingetorix, and suffered the same fate as Vercingetorix’s father Celtilus for attempting to do the same, that is unify his people under his rule. What Caesar had that Vercingetorix did not was a quiet little nephew then known as Octavian; little Octavian’s destiny was not in the Arthurian tradition.

ARTIFACT 2: Is a Gallo Roman Bronze Artifact of the Goddess Epona. According to the style it may have been made at the Alesia foundry.

ARTIFACT 3: Is a Gallo Roman Bronze Applique Of Diana. The art is very close to that seen with a similar applique found at Alesia. This may be the image of a Gaulish Diana, possibly the moon/hunting goddess known as Arduinna (Lady Of The Forests). Though with that said it is thought that Arduinna was popular in the region of the Ardennes only. Arduinna is also usually identified by her sacred animal, the boar, possibly due to the lunar shape of a boar tusk.

Copyright 2006 David Xavier Kenney

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Roman Eagle Standard (Clutching A Serpent) Hair Pin

This is a 2nd C. Roman Eagle Standard Ivory Hair Pin. or stylus. This may have been commissioned by or for a Roman woman associated with a Legionary Officer (as a woman's hair pin), or it may have been made for a Legionary Officer's personal use (as a stylus). It appears to be a miniature of an eagle scepter (perhaps in imitation of one that had been used during a triumph). Instead of a thunderbolt, the eagle is clutching a serpent with an open mouth. The eagle has Roman Germanic cavalry heart wings that have an eye on one wing and a motif that resembles scale armor (possibly showing in a higher relief a weapon or a warrior in profile?) on the other wing. This serpent probably represents a windsock most likely made to celebrate a victory over the Sarmatians during the Marcomanni wars (or a legion that had a large number of German and Sarmatian auxiliaries?). The eagle has a necklace with nine circle knobs; this may suggest that the legion that attained this victory was the IX Hispana (there is some speculation that this legion may had been destroyed during that war). This should show that the dragon/serpent windsock symbolized lightning (meteors, comets, etc.). The fact that the serpent windsock is in the place of the Roman thunderbolt should show that displaying another's thunder or standard (windsock) was the ultimate trophy. According to a recent Roman Parazonium find in the Roman Officer Permanent Collection, the dragon to the Romans (as well as others) may have been associated with a meteor or comet event near the Black Sea (or Sea of Asov), this possibly may have been connected to an ancient legendary sword. The dragon windsock on the helmet shown on the Roman Marble Fragment of a Senior Roman Cavalry Commander (with this collection) is a significant symbol of a Roman Officer's command over Sarmatians.

Copyright 2006 David Xavier Kenney Revised Feb. 07

Posted 12-Apr-06

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Statue of The Lion of Judah of The Bar Kochba Revolt

NEW INFORMATION AND DETAIL PICTURES: The entire statue has been found to have much more art hidden in the design work. This art also includes what appears to be Ancient Middle Eastern writing that may be a form of Aramaic; there are also inscriptions in Greek and Roman. Miniaturist lead with silver and gold gilding technique is also present. This is an extremely rare art technique that was used in ancient sculpture. If turned and viewed from a different angle the figures will appear to move, in some instances they will appear as a three dimensional hologram. The new information shows that the lion's tail tip is also a comet or meteor star. Near the top of the lion's back there is an engraved area (somewhat in the shape of a small letter M) that is indented. The lion's hindquarters form a massive figure in profile that appears to represent a mountain god. The bottom of the lion's tail forms a pool in a crevice that leads up to the engraved area, representing a waterfall. The massive head is made to look as if drinking from the pool. From a front view the crevice shows a woman's face with a five pointed star on her head (from another view this will appear as a six pointed star); from another viewpoint there are two women's faces. To the side of the pool there is a group of people in ancient Middle Eastern/Persian dress who are facing the mountain god; they appear to have jar vessels in front of them, as if giving offerings. When this area is turned and viewed from the back of the lion's hindquarters, it shows the top of the tail as a ship with round shields (a war ship), on the lion's hindquarters the abstract line design shows figures and shapes (more on this later) as if moving in the same direction. This art appears to signify a sea and land line of departure, or a movement to a line of departure. There is much more detail shown in this area and the statue in general; this information will be updated at a later date. A current opinion is that this appears to be a messianic call to arms and an attack based on a comet or meteor event; this may in fact be of the First Jewish Revolt. As stated, more to come.

This is a 1st to 3rd C. AD Roman Bronze Lion Statue, with faint traces of gold gilding. I believe that this statue is a representation of the Lion of Judah. The Lion of Judah is a ancient biblical symbol of the Jewish people which according to tradition derives from their third Patriarch Jacob (circa 2,000 BC). However it also symbolizes the Davidic bloodline (legendary Royal Jewish blood line of King David) and Simon Bar Kochba (Simon the Son of the Star - star shot from Jacob), the Jewish Messianic Rebel Leader and General of the Jewish Revolt of 132 to 135 AD. Bar Kochbar is also referred to as Nasi Israel (Prince of Israel). Although his rebellion against Roman rule is called the Bar Kochba Revolt it is also referred to as the 2nd Jewish Revolt or the 2nd Jewish-Roman War if that isn't confusing enough, it is in all actuality the 3rd and final Jewish Revolt.

As a Jewish Messiah Bar Kochba was titled “The Lion of Judah” and a star was one of his symbols. The statue may in fact have been a ritual object, perhaps to be used on scrolls. This statue may also give more meaning to the various ancient "Lion's Paw and Thorn Legends."

As this Lion represents the Bar Kochba Revolt it is a rarity. Besides the symbolic, there are very few artifacts known to exist from that rebellion; most of these are coins. It appears that both the Romans and the Jews did not want to be reminded of what was an exhausting and overly destructive campaign, even by ancient standards. Therefore there is very little known about the details of this rebellion. It also appears that anything that reminded them of this rebellion was destroyed.

Although a somewhat abstract concept, I am of the opinion that Bar Kochba may have been at least a minor inspiration to legends in the Arthurian tradition. A primary reason for this is that this rebel leader attempted and failed to establish a nation; almost two millennia later he would be the inspiration to many when the nation of Israel was established. Another reason is that he came to authority due to a religious leader (Merlin was a type of religious leader) who believed in the mystical. To many Jews he is a great hero possessing leadership, strength and wit; to others he is the reason for a great catastrophe (the loss of their homeland and their centuries of wandering). Having initially achieved many victories, his demise would come from a Roman General who was called by the Emperor Hadrian from Britain. It is thought that when this general (Julius Severus) had been called to Judea he had been conducting a campaign against Celtic British (Britons) rebels in what is now Wales (Medieval Welsh writers are the primary British source for the later Arthurian legends).

There is almost nothing known about Bar Kochba’s beginnings, except that he claimed to be of the Davidic line. He achieved the support of the influential Rabbi named Akiva, who gave him the title of Bar Kochba. After gaining the support of most of the non Nazarene Jewish population, Bar Kochba led the 2nd Jewish Revolt. In the first year he sent two legions (X Fretensis and XXII Deiotariana) in retreat (he may have destroyed the XXII). He appears to have captured Jerusalem. He began establishing a government; in response Hadrian sent seven legions and various detachments under Julius Severus. Severus sized up his enemy and the guerilla war that he was engaged in. He vied for victory using an initial strategy of containment. As a result, Bar Kochba’s support began to dwindle. When the legions went on the offensive in force, Bar Kochba’s forces were doomed. Bar Kochba was supposedly killed in action, and his sponsor Rabbi Akiva was executed by the Romans. It is thought by some that Bar Kochba’s army may have at one point numbered from 200,000 to 400,000. He supposedly either required or was going to require each of his soldiers to cut off a small finger as an initiation. This supposedly led to the Rabbi’s protesting in which Bar Kochba created a new initiation. In this ritual a mounted initiate would pull up a tree (most likely a sapling) at a gallop. This suggests that Bar Kochba relied on cavalry and that he may have had a hand picked mounted body guard (perhaps similar to King Arthur’s knights). To the Romans the rebellion was their most costly to date; it had long term consequences for their empire. The Jewish result of the revolt was that over half a million Jews lost their lives; many were taken as slaves; and the majority of the rest suffered a forced relocation. To some Jews, Bar Kochba became known as Simon bar Kozeba ("Son of the Lie").

This statue is 4.6 cm in length, 2.2 cm at the widest width, and 3.1 cm high. It was procured from an antiquities dealer in North Carolina in 2001 and is purported to have been purchased in the Middle East in 2000. The statue is in the Roman style of art, but the iconography is Judaic. The appearance of the V on the lion’s head reminds one of the palm trees (in a stylized form) on some 1st C. and Early 2nd C. AD Judea coin issues. The shape of the face and mane is similar to the grape vine cluster on the reverse of certain issues of Bar Kochba Revolt coin issues (note the vine leaf shape on the back of the lion’s mane). See photos posted of: JEWISH BRONZE COIN OF THE BAR KOCHBA REVOLT. The shape is also similar to a ram’s head (representing a Messianic symbol, or war symbol, or both?).

The statue shows a lion walking forward in profile with head turned at the viewer. The tail is running between the legs, then under the belly, curving up diagonally over the back toward the mane. In my opinion this suggests something more than a sexual symbol; in fact it may be symbolic of the letter “Tet” of the Hebrew alphabet. “Tet” is thought to represent a serpent that symbolizes the letter 9; hearing; teaching; and the constellation of Leo (perhaps just the tail of Leo). The face of the lion is distinct. Without the mane, the face resembles that of a panther. The pointed ears give a somewhat demonic, warlike appearance. The eyes are held wide open in a fierce expression. To the left side of the mane there is attached to three strands a phallus pointed downward. If this was a fertility symbol then this should be pointed up; therefore it is my speculation it is symbolic of circumcision*. It should be mentioned that to ancient people the lion’s mane was a symbol of male sexual vitality and aggression.

To the left of the lion’s back paw there are at least two different symbols. One looks to be either a four or an eight pointed line star (both types of stars are seen on the temple of the obverse of some Bar Kochba coin issues, they are thought to be messianic symbols); the other appears to be a Sukkot symbol (sacred Jewish holiday plants, this is also seen on the reverse of some Bar Kochba coin issues). To the side and just forward of the lion’s left paw is an engraved paw print. The paw print in the base of the statue should represent dominance, but as it appears to be connected to the front right paw there may be more to this. The iconography of the right front paw suggests something celestial, but it is on the ground. In my opinion this is symbolic of an ancient meteor impact event that may have been thought to have had a solar origin. There are various Biblical writings that allude to celestial events of this nature occurring in antiquity; these are all subject to interpretation. One such celestial event that may be tied to this statue is when in 66 AD a comet appeared over the Roman Province of Judea. This was thought by the Jews to be a sign that their Jewish Messiah was coming and it assisted those who had vied for rebellion against the Romans (1st Jewish Revolt). The result was a devastating war for the Jews in which their temple was destroyed. Later Bar Kochba is thought to have used that comet event as an inspiration for his messianic claim and revolt. If the lion is turned upside down, its mane does in fact look like a comet, or a type of meteor that is referred to as a fireball. The mane goes to the lion's left paw, which is just next to the paw print. When the lion is right side up, the right side of the lion's mane shows engraved lines that from a distance appear as a pointed beaked bird's head, most likely a dove's head. Closer up these same lines show the form of a long necked hook beaked bird's head, most likely a vulture's neck and head (or an eagle's neck and head?) with the top of a flame coming from the mouth (if of a vulture then perhaps this has a similar meaning as the Egyptian Royal protector goddess Nekhbet?). The long necked hook beaked bird's head issues from a line coming from the lion's left eye. The bottom part of the flame issues from the left side of the lion's mouth. The flame points downward on the lion's right paw. In front and under the right paw there is an engraved pointed ribbed blade (this is slightly wavy and may also represent the lion’s tongue, or a flame in the shape of a tongue). The flame (coming from the long necked hook beaked bird's head) on the lion's right paw is lined up with the ribbed blade. Around the paw there are lines in a circle, much like a sun. The blade suggests that the meteorite was made of iron; therefore it should represent a meteorite blade (javelin head, spear head, sword, or dagger, most likely it represents the latter) from the metal of such a meteorite. It is evident that this is a battle lion.

The statue is made with two flat nibs on each end of the underside; this feature allows it to glide on a smooth service. The base of the statue also may represent a map. If the base is positioned with lion's head facing South next to an outline of the Dead Sea (the elongated Dead Sea is positioned vertically on a somewhat North/South orientation) at a certain point on a map (that is properly scaled), then a portion of the outline will fit exactly with the statue's edge. In this position, the star to the left of the lion’s back paw (mentioned previously) would be exactly on top of the location of the city of Jerusalem. It should be noted that the edge of the base of the statue is raised on the side next to the water (similar to the water wake of a large lake, or small sea such as the Dead Sea) but this is not so on the opposite side**. The form of this raised portion of the base may or may not represent a musical horn; if so then it may represent the Jewish Shofar (the sacred ram's horn of the Jews; among other things it is used for sounding the Jewish new year). If the Lion's base is positioned at a certain point next to an outline of the Dead Sea with its head facing North, not only will a portion of the edge of the statue's base once again fit exactly, but the lion’s paw and the blade would be directly on top of the town of Bethel (which could lead to even more speculations concerning the Patriarch Jacob and the Lion of Judah).

* The Jewish practice of circumcision was one of the primary reasons for the 2nd Revolt. The revolt broke out shortly after Hadrian issued a decree against this practice which was sacred to the Jews but considered a mutilation by others. Although today the reasons for circumcision are medical, to Semitic peoples it is a sacred symbol that goes back to their founder Abraham. Which tribe had practiced this first is to this day claimed by various peoples who are descended from those tribes. Archeologically it is thought that the oldest evidence of circumcision is from the Egyptians of the Late 2nd Millennium BC. It is not thought to have been typical of ancient European peoples, but this is based on later traditions. Included with the artifact pictures are two Mesolithic phallic surgical instruments that appear to have been used for circumcision. The first example is made of obsidian and is circa 7,000 to 4,000 BC, it is in fact a circumcision knife. From an old collection, it is formally described as a 7,000 to 5,000 BC obsidian tool originating from ancient Anatolia. It is 6.1 cm in length and on one side of the the cutting end it is razor sharp. The second example is made from flint and is circa 6,400 to 4,000 BC. Found in Hessel, Germany, it was described as a Mesolithic flint knife and is from the Sorensen collection. It is 7.8 cm in length and is very sharp. See photos posted of: POSSIBLE MESOLITHIC CIRCUMCISION INSTRUMENTS.

** My speculation is that the outline of the base of the statue (in either the South or North positions, or perhaps both of these combined) may be the outline of a proposed legendary Territory of Judah (circa 1,400 to 1,050 BC), or the Judah lands of the legendary United Monarchy (circa 1050 to 930 BC), or even the legendary Kingdom of Judah (circa 930 BC to 586 BC). Or perhaps it is of the area that Bar Kochba was controlling during the 2nd Revolt.

Copyright 2007 David Xavier Kenney (Revised Jan. 2007)

Posted On: 6-Jan-07

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ARK KNIFE AND CIRCUMCISION INITIATION

This is a 11,000 to 6,000 year old Obsidian Circumcision Knife from ancient Anatolia, it is shaped like a phallus. It is in fact the oldest validation for circumcision that is currently known. The knife is 6.1 cm in length and is carved, engraved, and painted with miniature art; there are also some areas with engraved paste. Some of the iconography suggests that it is oriented to a north south axis, that is with the phallus head cutting edge oriented to the north. It was purchased from a New York antiquities dealer and is from an old collection. Among other things the miniature art on this artifact has highly important new information on a prehistoric great deluge. There are suggestions with some of the iconography that is similar to stories and or symbolism of the; Sumerians, ancient Greeks, ancient Iranians. and those of the Abrahamic religions. There is iconography that shows a barn like ark, due to where it was purported to be found then the ark may be the story of a Biblical Noah, and or a Summerian Ziasudra (known to the Babylonians as Utnapishtim) type figure, the ark of the Greek Deucalion is also another possibility, as he is the son of Prometheus, the bringer of fire this is particuarly so. Yet there is even more there is one area that shows what appears to be the story of an Atlantis type event. There are also two references to the narwhal. one of these is as a sea bee and a comet or meteor. In my opinion this validates the narwhal as a creature of the much later Anatolian goddess Venus Victrix (as seen with the Venus X South Beach on romanofficer.com, it is the same Venus who's favor both Julias Caesar and Pompey sought This artifact is also shown with the previously listed artifact the "Statue of the Lion of Judea of the Bar Kochba Revolt". On the cutting end of the knife there is one area that is razor sharp, on the other side there is another small area that is jagged (like a micro saw), so the knife may have also been used in the cutting of a string or cord. This group of pictures shows that the phallus head is also a large fanged cat like creature with a comet or a meteor for a nose. On the underside there is a small engraved phallus with paint on the inside. The inside of this shows that at another angle and closer that the phallus head is also a bear dragon. Under the bear dragon there is a large face that appears to be a tiger boy. On a closer examination it shows that the right eye is shut while there is a bee girl type figure placing a round dark object on the left eye, but yet the dark round object is also the bee girl's eye. The phallus head/bear dragon is positioned as being placed on the tiger boy's head. My speculation is that the bear dragon is a smith god and that the helmet as a smith's helmet represents the circumcision of a tiger boy initiate, the small dark round object being placed in the tiger boy's left eye should represent a meteor or meteorite brought by a bee girl for a bee type goddess.

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NAVIGATION MYSTERY

The first few pictures with this picture group show the knife's phallus head as a female holding a heart that is also a bovine head (although it "may" also represent a tooth). This female somewhat resembles a celestial goddess figure seen on the "Paleo Resurrection Stone" with the Ancient Miniature Art on romanofficer.com, therefore she may represent a goddess from as far back as the Lower Paleolithic Period. Picture's 4 and 5 show faces on the heart/bovine head, there also appears to be a scene. Pictures 6 and 7 show the outline of the heart as a man's face in profile. Pictures 8 thru 11 show the phallus head as a female as a type of cloak (so she is a mystery goddess). There are figures near the top of the heart. Pictures 12 thru 14 shows that the heart/bovine head is now a long snouted bear's head. There is a figure in front of a cup, one side of the cup shows a claw, this should be a bear's claw, according to my research when a claw is seen with a bear and a cup, then it usually is symbolic of the water compass. The cup could be seen as coming from the cutout on the bear's forehead, according to my research to the ancients of Europe and Asia the forehead of the bear is a sacred area that is usually associated with either; fire, comets, meteors, or any combination of these. The bear's eye appears to be a meteorite that is being carried by figures around it, the meteorite itself may be of a feline. Near the bottom of the back of the bear's jaw there is a small yellow speck in an open area, this may be a sacred flower or a plant. The bear's nose has an oval ring, according to my research the nose ring is once again symbolic of the water compass, there is a faint figure in front and in the ring, it may be a bee man. Pictures 15 and 16 show the Bear's eye/meteorite is now a bovine, the figures and metallic lines near this suggest that it has something to do with metal. The yellow speck under this now does in fact appear to be a four petaled flower. Pictures 17 and 18 show the heart/bovine head as an arrowhead or spearhead, there is a figure inside holding a coiled snake. Pictures 19 and 20 show an arrow, inside the arrowhead there appears to be a man's head in a short brimmed hat.

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NARWHAL COMET OR METEOR

This group of pictures shows a diagonally striped fish that is either a comet or a meteor, among other things the diagonal stripes should represent a horn, in some pictures the fish can be seen with a single straight horn, therefore the fish is in fact a narwhal. The straight horn is also somewhat like a bee's stinger and there are lightning bolt type lines emitting from the narwhal, therefore the narwhal was seen as a streaking celestial ocean bee. I have three examples of narwhal symbolism on artifacts from the Roman period, one is connected to Julius Caesar and the other two with Vespasian and Titus. Pictures 7 thru 10 show figures on the narwhal as if it is a celestial surfboard. Pictures 11 thru 15 show two figures on the narwhal, they may be what the twin stars known to the Greeks as the Dioscouri. The image with Pictures 16 thru 18 are most important as they show a "Jonah and the whale" type scene. There is a bearded man either being swallowed or being emitted from the narwhal's mouth. The bearded man has a flat topped turban, there is a very small figure that is either placing or taking off a checkered band on the turban. There is a branch in front of the bearded man's face, one shoot is also part of his mustache. The diagonal lines on the narwhal now hint at ropes that have captured the creature, also there are three clumped figures on the narwhal facing it's tail, the center figure holds a harpoon. Pictures 19 thru 21 shows what could be a mammal holding up the narwhal, it may any of the following mammels; a Beaver (a more northern European animal), an Ermine, a Marten, a Badger, or an Otter; there are various human figures around this. How could the arctic narwhal come to be known by a people in prehistoric Anatolia can only be speculated on, but it highly suggests that these people were not indigenous to that region, also we have no idea as the range distribution of the narwhal from 11,000 to 6,000 years ago.

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UNDERGROUND ICE AGE ENCLOSURE

The general idea of this group of pictures is that long center area represents an enclosure that may be underground, but yet there is a suggestion of radiance and floating figures. Over this there is club with an animal's head, it's face is in a cup, it may be a dog or horse's head. The pasted figures with Picture 11 shows a boat like shoe, much like the shoe seen on the Saxon Ring it most likely representing a shamanistic journey. Picture 21 was done with bright reflection in order to obtain this image, it shows the outline of a man's face that is shaved. Pictures 21 thru 31 shows figures with a torch in front of the enclosure (this is best seen in Picture 27), the torch's flame also has a face (this is best seen in Picture 31). In my opinion the symbolism of this area of the knife and in this position represents a story similar to Yima's Vara (enclosure) of the Persian Avesta (thought to have originated from the ancient Iranians). In my opinion this may suggest an actual enclosure used during the last Ice Age. The torch symbolism may also be similar to the much later Zoroastrian Sadeh fire ritual, or as a connection to the Greek Prometheus (the fire bringer) as the father of Deucalion.

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ARK

This group of pictures is the knife upside down that is seen with Title: UNDERGROUND ICE AGE ENCLOSURE. Pictures 1 thru 17 shows an ark. In some of these pictures the top part appears as a glacier. Pictures 14 and 15 show the glacier part are now as planks, there are also figures, it is of an ark being built. Picture 18 is the boat shoe upside down, it shows figures on and in a horse, the horse's neck and main is also as a cock's head. Picture's 20 thru 24 show figures made of a paste, it is of a scene that has yet to be analyzed, it may have something to do with a woman and a bear, or a dog, or a lioness and the combination figures in front of these. Picture 25 shows that the top of the ark has areas that may be pens. Picture 26 shows the front of the ark, there is a kneeling figure, in front pf this figure is a twin peaked hat that is spewing something on the kneeling figures arm (the arm may also be tool). Pictures 27 thru 44 show a lion's head or at another angle a lioness's head. With these, Picture's 28 thru 30 shows a sax like knife sword, it has a hilt that is similar to a inverted letter "E", it is of a woman holding a larger figure (to see this go to Picture 44), there are figures on top and the right of the knife sword. Pictures 35 thru 43 show a light boy with a black figure that may be a woman, the black figure is holding something that may be a statue. Pictures 45 thru 47 show a face with large ears that are like wings, there is a mountain to the right. Pictures 48 thru 50 show a dragonesque figure with a axe head in front, to the right there is a light yellow face, under this and coming from the mountain is a curved sword with a long hilt made of paste. Pictures 50 and 51 shows a large sperm whale, the whale may have a connection to the curved sword and the mountain, the dragonesque figure is now a figure in a peaked hat, in Picture 51 he is holding a curved knife as if carving out the axe head. Picture 52 shows a crocodile type of sea monster creature (that is the narwhal when seen on the other side of the knife) with the sword over it. Picture 53 shows the curved sword now as if splitting a piece of rock or slate in two (this could remind one of the biblical Moses with his splitting of the rock, but also the two sacred tablets of the commandments). This part of the knife is of an ark, but yet it is connected to swords, dragons, a sperm whale, and a mountain. According to covenantal thought swords should not exist at such an early period, but with that said I have seen the sword motif on miniature art on other artifacts that are just as ancient, or even more ancient. Therefore I have every reason to believe that prehistoric shamans did in fact make swords, they may or may not have been made of metal such as tin, lead, copper, or iron. All this may be of a legend that had to do with flooding at the end of the last Ice Age, the lion and the lioness should be primary totem animals. This may be the origin of the story of Noah's Ark and, or Ziasudra's ark.

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SACRED OCEAN BEE AND TREE

This group of pictures centers around one area that has paste engravings, in the first position it shows what appears to be a bee narwhal type figure. Pictures 1 thru 6 show a figure with a long stinger, in some of the pictures it shows that this is also a type of trunk. There is a tiger figure in front that is grabbing the stinger. It is very possible that the tiger due to it's stripes was seen as connected to the bee, but also the narwhal as the ocean bee. Until recently the Caspian tiger was in fact native to Turkey (the region that was once ancient Anatolia), although there is no knowledge as to what the distribution range for that tiger 11,000 to 6,000 years ago. Picture 4 and 5 also shows a bearded man in a hat connected to the tiger. In the Shahnameh the Persian hero Rustam wore a magical tiger skin coat (possibly a tiger skin cuirass) and a leopard skin hat. The first legendary Persian King Keyumars was from a tribe that wore leopard skins, but a Medieval painting shows Keyumars in a leopard skin standing on a tiger skin, in my opinion this hints that a people of a tiger totem were the original indigenous peoples of ancient Iran, and that they were conquered by a people of a leopard totem. The combination creature the Manticore was of Persian origin, its name was "man-eater", it is thought by some to have originated from the distinct human like facial appearances of the Caspian tiger. Finely, the Greek root word tigris for tiger is thought to have originated from a Persian word for an arrow that means speed. Pictures 7 thru 10 show a figure that may be a tiger holding up a type of standard that is made of paste. Miniature art on Paleo artifacts shows that this type of standard is very ancient and appears to have been central as to a group or tribe's belief identity. The bottom of the standard pole is curved, it should be an animal's tail, possibly that of a tiger. The standard itself appears be of a woman in a hat, a closer view shows the woman as a clean shaved man. Under this and to the right this figure is holding a child, the lower back part of the child is also a woman's face. Pictures 11 thru 15 shows a "Y" type figure, it should represent a two branched tree with a triangle trunk. The branch on the left is connected to an overhead goat, or stag, or moose figure. The branch to the right may be a tiger man, this figure is reaching towards a figure that is made of paste. The paste figure has many various smaller figures on it, overall it is a narwhal or a fish that is connected to or as if chasing the overhead goat figure. This symbolism may be similar to Gayomart. In the Zoroastrian creation myth the non-sexed Gayomart's body came from a tree that bore the first man and the first woman. Gayomart is the equivalent of the first Persian King Keyumars of the Medieval book the Shahnama. Pictures 16 thru 23 show a man's head as if suspended in mid air, the head is also various smaller figures, he is wearing a headdress or a helmet with a long spike, there are also smaller figures connected to this, this may be a figure like Gayomart, but in his original non-sexed form. These images suggest that this is a first man/first women creation myth. The tiger as a totem animal appears to be central to this, but yet so does the narwhal, once again the narwhal appears to also be a bee. In my opinion the narwhal/bee totem suggests a northern sea people that settled in ancient Anatolia where the tiger was worshiped by indigenous people, it may suggest that the people of the narwhal/bee were seen as being connected to tigers by the local people, those northern people may have been blondes. With that said blondeism is usualy associated with the Indo-Europeans, chances are that this was made long before the Indo-Europeans came on the scene. What is usually not mentioned is that the Sami people also have some blondeism, in fact they have a unique gene where as some Sami are born as blondes and then soon after develop darker hair. We know very little about the Sami in pre-history, but their mythology and traditions show that they are most likely a very ancient people. At any rate, there may or may not be a connection with a unknown prehistoric tribe of blondes and a prehistoric amber trade.

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VOLCANIC ERUPTION AND GREAT DELUGE

The miniature art with this group of pictures contains some of the most significant information on this artifact. Pictures 1 and 2 shows a woman's head facing to the left. Behind this and in the center is a mountain that is also a bearded man in a peaked hat, he is holding or taking the upper portion of a horse that is made of paste. Pictures 3 shows figures on the lower portion of the women's cheek, one figure is holding a long object under the woman's nose; the mountain now appears as a volcano. Picture 4 shows that the mountain/bearded man has figures on top. Picture's 5 and 6 shows a figure holding a bowl or a cup on top of the volcano. Pictures 7 thru 14 show what appears to be boats on a slope. There are some areas that have small amounts of paste. The top part that is flat is the same area as where the narwhal comet or meteor was, it is as if this top area is creating a downward wave. The longer paste is where the flame of the torch (and in another position the sword hilt) was, it now appears as small figures. The area that was the sword now appears as a tube. The paste figures and the tube are in a boat and connected to a face that is as if blowing into the tube. Pictures 15 thru 18 show the boats at a downward slant, under this is a figure facing left in a different type of boat, it is as if the boat is sliding down from the volcano, there are vertical lines (two of these have points) that suggests an airborne or celestial pelting, to the right of this it shows either one or two volcano's that are erupting. To the left edge there is a light brown figure with one dark eye in a hat. Pictures 19 and 20 show this scene at more of a slant, the figure in the boat is more distinct and is now facing right, the boat appears to be made of skins, it appears to be colliding with the back end of a larger boat that is connected to the top of the volcano (that now looks to be more like a mountain). All this appears to be as a catastrophic volcanic eruption and deluge scene. Although this may be along the coast of ancient Anatolia, or a Mediterranean or Atlantic island, it could also be theorized that it is somewhere on the coast of, or on an island of the North Atlantic. The reason for such a hypothesis is due to the possibility that is connected to the narwhal. Either way this may be a missing link to the mystery of Atlantis. It could also be suggested that one aspect of a prehistoric narwal goddess was as a great detroyer/renewer, there is every reason to believe that such a myth had been based on an actual catastrophic comet or meteor strike.

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SACRED DAGGER AND DELUGE

Pictures 1 thru 7 show what appears to be a dagger with a face on the hilt. With this in mind, there are many depictions of a distinct dagger or knife with miniature art on ancient tribal artifacts, they almost always appear to be made of bone, antler, or stone and are connected to a sea theme. This suggests that a legendary or specific dagger or knife was considered to be sacred icon by many ancient tribes; it may have something to do with boats, the weather, fishing, or any combination of these. Pictures 6 thru 8 show the dagger upside down, it is now as a knife with a handle grip. Pictures 9 thru 11 show what appears to be a type of Madonna and child figures on the knife with a handle grip's tip. Pictures 12 thru 16 show the circumcision knife's flat end, there is a bovid or a cervidae that is being swallowed by a large mouthed fish that is also like a giant wave, on the animal's head and around the inside of the fish's mouth there are human figures in a boat. There are also figures in a boat near the bottom of the fish/wave. Pictures 14 and 15 shows a clean shaven man in a hat that is facing the bovid or a cervidae. Pictures 17 thru 19 show the knife's flat end upside down, it appears as a dog and a wolf facing to the right, there is also a hint of a boar, facing to the right it may be a cervidae. Inside this there is a figure that is facing the viewer, in front of the figure is a plant shoot. The first group of images of the knife's flat end appears to suggest some type of deluge event where some are swallowed and others are saved. The second group of pictures (with the knife's flat end upside down) may be something similar to the plant that brings youth (that is located at the bottom of the ocean) in the Sumerian "Epic of Gilgamesh". Bear in mind that the circumcision knife appears to be oriented to a north south axis, therefore the pictorial story on the knife's flat end should be near or on a southern sea or ocean. With reference to the turban figure in the narwhal's mouth (seen in Title: NARWHAL COMET OR METEOR), it could also be speculated that a southern sea is where a swollowing by a great fish takes place, and that northern sea where a release by a narwhal takes place.

Copyright 2009 David Xavier Kenney

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GALLI SAKA NECKLACE

This artifact had been purchased due to a speculation that some of it's miniature iconography may be of the Mithraic mystery cult, a cult that was popular with the Roman Army, instead it is in fact of the mystery cult of the goddess Cybele. The piece was purchased from a reputable British Antiquities Dealer with no further provenance. the pictures that are posted and this information is to be archived. This is a silver with mixed resins (possibly with some amber) choker necklace with a phallus pendant that appears to have been worn by a Gallus Priest, in some areas the silver is a silver alloy (with lead and mercury). There is information contained in miniature art on this piece that suggests that it may in fact have been worn by one of the higher initiates of the Galli Roman priest college, who were apparently known as the Galli Saka (this translates as Gallic Scythians (or Gaulish Scythians)). As of right now this is the only known verifiable piece of Galli jewelry. The necklace is 31.7 cm in diameter (on the inside of the necklace) and appears to have been permanently intertwined so that the wearer never removed it. The engraving on the resins in front could only have been done after it had been put on. The slight waved curves on each side of the necklace show it had been worn for some time, due to the distinct type of waved curves it does not appear that was made for a statue or as a votive offering, but the possibility of the former cannot be ruled out, it should be noted that in this position the phallus pendent is inverted, the symbolism with this is evident. The miniature art on this piece is done in a style that is of the Eastern Provinces of the Roman Empire. It is of the 2nd to 3rd C. AD. An engraved inscription shows the name "Sablia" (not seen with the pictures provided). A speculation is that this is a feminine variation of the name of the "Sabeans" of Arabia Felix. This hints that some of the resin may be of Frankincense that is from the region, or that the Galli Saka that wore this may have originated from that region. If so then according to current scholarly information, if a feminine name then it must have been a name that was only used in the priesthood, it is thought that in public the Galli only used masculine names.

The Galli Priests were members of an effeminate Roman priest college of the Magna Mater (Great Goddess) Cybele. Until the 1st Century AD, Roman citizens were barred from membership in this priest college; it can therefore be assumed that in keeping with tradition, many of the Galli Saka continued to be foreigners. According to descriptions of ancient writers, the initiates castrated themselves during a ceremony known as the Dies Sanguinis (Day of Blood); this was done in imitation of their emasculated Phrygian god Attis. In short Attis's story is as follows: The attractive, effeminate Attis was driven mad by Cybele's sexual jealousy. He committed self castration (with a knife) on her sacred mountain (Mount Ida) under a pine tree, he dies with his life's blood turning into flowers (usually violets), he then turns into a pine tree. Cybele finds him and brings him into a cave, he then descends into the underworld for three days, upon his return he is reborn as Cybele's daughter lover; in essence Attis was reborn as a fatherless goddess worshipping transgendered woman. The Dies Sanguinis ritual took place at the same time that Attis as a decorated pine tree was paraded in the streets to be brought to the temple of Cybele. During this ecstatic ritual the priests danced in a frenzy, the dress of the priests was described as outlandish. It should be mentioned that any descriptions of this cult by the ancient Roman writers Juvenal and Firmicus is not favorable, they very much viewed it as un-Roman and degenerate. What is not mentioned is that according to the information on this necklace that at the very least the higher initiates of the Galli Saka were a disciplined priesthood. Speculations with any Galli sexual preferences are as follows: There are hints that the Galli Saka may have only had sex with each other, or with women, or both of these, or that they may have been a-sexual. There are suggestions that the lower initiates were in fact male temple prostitutes, but that they attended classes and were expected to attain a certain knowledge in order to be elevated, that is, the same as any other lower initiate in a Roman priest's college.

The cult of Cybele was brought to Rome during the second Punic War (in 204 BC). This was due to a passage in the Sibylline Books that stated that in order to be victorious over all Rome's invaders, the goddess (a statue of Cybele with a meteorite embedded in its brow) should be brought to Rome from Pessinos in Asia Minor. The statue was procured and then ceremonially brought to the Temple of Victoria; later a temple for Cybele was built. The worship of this goddess was brought to new heights by the Emperor Augustus. During and after the Augustan Era, Cybele and her priests became a major part of the Roman belief system. It has baffled some historians as to why a cult of foreign, goddess worshipping transgendered priests would be given such a status with the Roman State and people. The information on this necklace concerning this mystery cult may explain at least some of it. Later the Rome's mainstream Christians (but not the Gnostics) would go to great lengths to wipe out even the memory of the cult of Cybele; for the most part they were successful. Some of the iconography seen with on this necklace may show why the Christians were so determined to do so.

Pictures 3 thru 8 shows engraved inscriptions near the top of the necklace. This is the area that has the inscription Sablia (again this cannot be seen in these pictures), it also on the right side (of the wearer) that has the ring with the resins. This is a style of inscription that has letters that will transform into figures, when moved these will change, it is a type of ancient short-hand. Picture 9 shows a long stick with a male head on top and a whip with a female head on top made of branch bark (most likely from a pine tree). Although it cannot be seen in the pictures the stick has an inscription that is of Mt. Berecyntus. The whip is of Mt. Ida and the goddess Cybele. Picture 10 shows a small figure in a pilus cap coming from under the branch bark whip. The small figure is holding a bowl, just behind the small figures face there is a female face that is somewhat part of the small figure's face, this should represent Attis. Pictures 11 and 12 show various engraved figures. Notice that it picture 12 there is a cross, but in fact it is not a cross, it is a sword with a cruciform hilt, the lighter engravings show flames, so it is a flaming sword. According to other art on Roman artifacts the cruciform hilt in the Roman world is never an actual sword, but rather it is symbolic of the magnetic and possibly something celestial. This flaming sword is significant to the Galli Saka and will be seen again on the arm band area of the necklace. Pictures 13 thru 15 show a deeply engraved letter "G" that is also a "C". This has to do with the the goddess Cybele and the spur of Mt. Ida known as Gargarus. This also has to do with the Trojan War, there are hints that this may also have to do with the goddess Cybele and Roman Army battle award known as the Corona Muralis.

Copyright 2008 David Xavier Kenney

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Necklace Finger Ring

This area of the necklace is referred to as "The Necklace Finger Ring". The reason for this is that it suggests that it is an imitation of an actual initiate's serpent ring that the Galli Priests wore, there are suggestions that these were presented upon a completion of the lower level mysteries. There are suggestions with this that the Galli in fact were named for the Gallus River in Phrygia, and that the actual meaning of the name Gallus is something like a "Water Nymph of Cybele". Pictures 1 thru 4 show scenes on the serpents head. It appears to have something to do with a temple, two figures in a bed and a large figure that may be a temple house with legs and arms. Picture 5 shows the serpent head as male and a female heads as if kissing. Pictures 6 and 7 shows the serpents head as a serpent/bird head with a figure coming from the beak. Pictures 8 thru 23 show that the area with the resin has two wavy lines that suggest the labia. There is a distinct letter "C" for Cybele. the middle in what is the vagina there are different resins that may be frankincense, myrrh, and amber (possibly seen as symbolic for gold metal). It also suggests honey, in fact some of the figures are somewhat bee like and there is one large flower. The top resin figure can be seen as if nursing from Cybele. Pictures 19 and 21 show a phallus as if being presented to Cybele, behind this there is what appears to be a woman and a child. The wavy lines can also be seen as symbolic of a river, the position hints that it is also a mountain torrent of water (a cleansing torrent). The right side can be seen as a crescent moon and an offering dish, this appears to be an aspect of Cybele as a moon, nature, river, and a late winter or spring mountain waterfall goddess, all this suggests a spring mountain baptism. Pictures 24 thru 29 show figures in a row, these will change when moved. Pictures 26 and 27 show one figure holding a small sphere, it may be made of amber. Picture 29 is most significant as it shows what appear to be a group of initiates in a line, one of the figures in front is holding up a tablet with figures on it, this may suggest some type of diploma.

Copyright 2008 David Xavier Kenney

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Necklace Armband

This area of the necklace is referred to as "The Necklace Armband". The reason for this is that it suggests that it is an imitation of an actual initiate's serpent armband that the Galli Priests wore on the left upper arm, there are suggestions that these were presented upon a completion of a higher level mystery or mysteries. Pictures 1 thru 5 show the serpent's head as a male head that when moved will change into a female head. Pictures 6 and 7 show a figure that appears to be male and female, there is a wavy line down the middle as if the figure is split. Pictures 8 thru 12 show the figure now has a flaming cruciform sword that is splitting the figure down the middle, the sword is striking the figure's genitals, the lower part of the figure is on a large triangle, this is also where the sword is striking. This appears very similar to a sacred Scythian sword that symbolized their War god, it was place on top of a platform in a bundle of sticks. The Scythians did in fact worship the goddess Cybele and they did have transgendered eunuchs from the upper levels of their society. Pictures 13 to 15 show various figures on the armband's coils, many of these appear as if they are the reflections of a mirror, they are of a Steppe people, most distinct is an engraved figure on the first coil, it is on top of a head in a Phrygian hat (Attis), this may be a Scythian priest of Cybele. The head in the Phrygian hat is made of a silver but it is overlaid with a tar pitch, most likely coming from the sap of a pine tree. Pictures 16 thru 21 show that there are many small figures that make up larger figures, it also shows that the engraved figure on top of Attis's head is the hilt of a knife, this knife can also be seen as a dagger. Pictures 22 thru 24 show two figures as if embracing, the figure on the left is a nude bodacious looking female with her hair up (most likely Cybele in some form), to the right is a male or female figure. Picture 25 shows a prone figure as if peering into a crevice. Picture 26 shows a bovine head. There is every indication that the Galli armband was of an initiation that was symbolic of a celestial fire, a splitting as in a type of baptism by fire. It is evident that it was associated with the Scythians, not the Phrygians.

Copyright 2008 David Xavier Kenney

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Necklace Pendant A

This is the phallus pendent. It is made with resins and tinted metal, some of the tinting is in gold gilding. Picture 1 shows the pendant that way it was worn on this necklace. The top part shows a Asiatic woman holding a dragon serpant. The serpent is also the letter "C" that can also be seen as the letter "G". The serpent's head is also part of a large letter "S", there are also the smaller letters that can make this read as SACA or as PACA, This should be Roman for the Greek word Saka (Scythian) and perhaps the "PACA" is a word for contract, hence it may read something like "The Scythian Pact". Below this is a Scythian (identified by his long hair, headband, and beard) with a figure that has a rope around his neck, the rope is also a device that is being used to remove the Scythian's testicle. The Scythian's face can also be seen as two small figures, notice that only one testicle is shown, this hints that this may have been the actual ritual, not the castration of both testicles, or a complete removal of the genitals that is speculated by some. Picture 5 shows a side view. Picture's 6 thru 9 shows this area upside down. It has various figures, the most important is a tall figure with a long whip, the whip is over a man's face, this part of the whip makes for a large letter "C", once again this should be another aspect of the goddess Cybele as a flagellator. Picture 10 shows the front of the phallus pendant. although on this necklace this it was worn inverted. Pictures 11 thru 13 shows the loop as three figures, under this is a large letter "C". Picture 14 shows that the phallus has a lightly engraved streaking face, it hints of a meteor strike. Pictures 15 and 16 show something like a tee pee shaped yurt, that is also a bit like a letter "A", it may alss suggest a pine tree. The streaking head above this is more intense, it now looks much more like a meteor striking Under this is a lion and a lioness head (once again these have many smaller figures inside of it), the lion and lioness are the chariot bearing animals of Cybele, their noses are also the letters "C" and "S", possibly for Cybele and Saka. Picture 17 shows what now definitely looks like a meteor strike. Picture 18 shows a horned bovine with a disc (with a cross in it) on top of the horn to the right. The bull is another sacred animal of Cybele, it is the animal of the sacrificial blood rite of Cybele's tauribolium.

Copyright 2008 David Xavier Kenney

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Necklace Pendant B

This is the phallus pendent. It is made with resins and tinted metal, some of the tinting is in gold gilding. Picture 1 shows the pendant that way it was worn on this necklace. The top part shows a Asiatic woman holding a dragon serpant. The serpent is also the letter "C" that can also be seen as the letter "G". The serpent's head is also part of a large letter "S", there are also the smaller letters that can make this read as SACA or as PACA, This should be Roman for the Greek word Saka (Scythian) and perhaps the "PACA" is a word for contract, hence it may read something like "The Scythian Pact". Below this is a Scythian (identified by his long hair, headband, and beard) with a figure that has a rope around his neck, the rope is also a device that is being used to remove the Scythian's testicle. The Scythian's face can also be seen as two small figures, notice that only one testicle is shown, this hints that this may have been the actual ritual, not the castration of both testicles, or a complete removal of the genitals that is speculated by some. Picture 5 shows a side view. Picture's 6 thru 9 shows this area upside down. It has various figures, the most important is a tall figure with a long whip, the whip is over a man's face, this part of the whip makes for a large letter "C", once again this should be another aspect of the goddess Cybele as a flagellator. Picture 10 shows the front of the phallus pendant. although on this necklace this it was worn inverted. Pictures 11 thru 13 shows the loop as three figures, under this is a large letter "C". Picture 14 shows that the phallus has a lightly engraved streaking face, it hints of a meteor strike. Pictures 15 and 16 show something like a tee pee shaped yurt, that is also a bit like a letter "A", it may alss suggest a pine tree. The streaking head above this is more intense, it now looks much more like a meteor striking Under this is a lion and a lioness head (once again these have many smaller figures inside of it), the lion and lioness are the chariot bearing animals of Cybele, their noses are also the letters "C" and "S", possibly for Cybele and Saka. Picture 17 shows what now definitely looks like a meteor strike. Picture 18 shows a horned bovine with a disc (with a cross in it) on top of the horn to the right. The bull is another sacred animal of Cybele, it is the animal of the sacrificial blood rite of Cybele's tauribolium.

Copyright 2008 David Xavier Kenney

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Frankish Silver Engraved Individual Miniature Prayer Statue

This is a 4th or 5th C AD Frankish (The Franks were a Germanic tribe that would eventually become the French) silver engraved individual miniature prayer statue that was made similar to Roman legionary examples of the 2nd and 3rd C.. It shows a female figure with a two-pointed headpiece standing to the right of a male figure with a three-pointed headpiece (from the viewer's perspective, the female is on the left, the male is on the right). The points of both headpieces would be five points, possibly as in 5 horns or 5 branches? This may have been a representation of a goddess and god or a tribal founding couple. Between the two figures is a fish (possibly a salmon, or another type of fish?) which may also have been made to represent a tree. The female figure appears to have lines connected to the fish's head, which suggests a net. The male figure appears to be holding a leaf; there is horn shape to the male's left side which extends from the ground up to shoulder height. The female figure's hand appears to be reaching into her pocket? When the statue is placed on its side, her hand resembles a bird's head and the two-pointed headpiece looks like a bird's or fish's tail. Seen from a left to right view it also resembles a crocodile's head with its mouth open. This may represent the Celtic three aspects of the goddess as a maiden, a matron (a bird in the hand, or pocket), and a hag (crocodile). From this same perspective, the male figure shown left to right looks like an aggressive sea creature with the male's upper body in its mouth. From right to left, this same portion of the statue resembles a fish with a long snout (horn?) and a three-pointed tail. Another speculation is that the bird above the fish (bird on the female portion, fish on the male portion of the statue) may represent an osprey. * The more northern Franks were from a tribe called the Salian Franks (Salty Franks, or Sea Franks), which was one of the two main groups of Franks (the Franks originated from a tribe earlier known as the Sicambians). The other Franks were the Ripuarian Franks (River Franks). The Salian Franks are thought to have originated in what is now the Netherlands and parts of Belgium, possibly from one of the Northern Frisian tribes. The Salian Franks would eventually dominate the other Franks and become the Merovingians.

According to the 7th century chronicler Fredegar the Merovingians had a legend that their first King Merovich had two fathers, one was a chief named Chlodio and the other was a sea monster called a Quinotaur (5 bulls, or 5 beasts, or 5 horned?) that came from across the sea and ravished his mother while she was swimming. This sea monster was supposedly part man, part bull, and part sea creature. It is just my opinion but the word Merovich sounds very similar to hypothetical words such as Mervic or Mirvix, which in Latin would literally mean “Sea Victorious.” Merovich’s son was Childeric, who sided with the Roman General Aetius against Attila and the Huns at the battle of Chalon in 451 AD. So the historical Childeric would claim a royal heritage possibly based on the legend of his father Merovich’s mystical birth. Childeric’s son was Clovis I who would convert to Christianity in 496 AD and become the first Frankish Merovingian Christian King. If a fish/sea creature had been part of the Salian Frank’s legends then the fact that the Christians used a fish as a symbol may have been appealing to Clovis I.

This prayer statue is purported to have been found in Germany. It appears that the statue's female figure is a representation of one of the Germanic moon and earth goddesses such as Holle, Holda, Berchta, or Perchta. The country of Holland is thought to be named after the goddess Holle. These goddesses are also associated among other things with fertility, witchcraft, wild animals the dead, Yule, and the weather. The male figure may be associated with Holler the King of Winter (Holly King), who tested Holle when he summoned her. One of the requirements was that she appear neither naked nor clothed, so Holle arrived wrapped in a fish net. This male figure may also be associated with Herne the hunter or the Green Man (representing nature). It should be noted that the Celtic bull god named Tarvus is sometimes shown with 3 horns. More than likely the male figure as seen on the statue, although aquatic, is also associated with the wild hunt, the Germanic god Wodan? The fish engraved in the center of the statue between the female and male figure may also be a tree or plant. If so, one guess is that it could be an apple tree. The reason for the apple tree is that the female's face may be representing an apple and the male figure may be holding an apple leaf, although to my knowledge there are no known legends that connect a fish to an apple tree. The fish and the horn (which may be a hunter's horn or a cornucopia?) to the right of the male figure may suggest a narwhale. The shape of the fish within the male figure as seen when the statue is on its side also suggests a fish with a horn, also resembling a narwhale. How would people living in North West Europe in the 4th/5th C. know of the Arctic narwhale? Most likely from the Vendal people (4th to 8th C. AD Scandinavians) of ancient Norway who had scavenged narwhale horns from carcasses which had washed ashore, or possibly from trade with the Sami of coastal Lapland. It is a fact that in the Middle Ages narwhale horns were sold by Vikings to others as unicorn horns. These horns were some of the most prized trophies of Medieval Europe. The Royal Scepter of England is made from a narwhale horn.

In summary, it appears as if this prayer statue had belonged to a mobile Frank, probably of the Salian Franks, possibly a Late Roman legionary. Speculation with the iconography is that it represents a Germanic goddess associated with a bird who captures a fish/sea creature in a net, which transforms into a man or god who is of the hunt, possibly associated with winter. This appears to be symbolic of a sea people's legend but the headpiece styles suggest that there may be influence from a more Eastern inland people, or perhaps a more northerly people who had Eastern influence. This artifact may also have an indirect connection to the Arthurian legend (by way of the mystical Merovingians), but with that aside it does give credence to a 4th or 5th C. belief in the legendary founding of the Salian Franks. This is at least two centuries earlier than the written record of this legend.

*It should be noted that the osprey is very rarely seen in northwestern Europe, but is readily seen on the East coast of Scotland.

Copyright 2005 David Xavier Kenney

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Fish Man Applique

This is a 3rd to 5th c AD Roman Celtic (or Frankish, or ?) Bronze Applique of a fish with a horn, two waves (possibly also made to represent a ship with a rostrum and two waves), and a tail that is in the shape of a rooster head. Turned upright the fish’s body also forms a man’s face in profile with an extending curved arm with a round hand with four or five curved fingers (a solar symbol?). The face has a false beard, a hat or helmet with a fleur-de-lis crest and long hair. The art style is somewhat typical of the Late Roman Era Celts but the theme seems to be of the earlier Phoenicians, my speculation is that this was made in the Roman provincial city of Maseillia (modern Marseille, France). This is most likely a Roman Era version of the amphibious fish man god known to the Greeks as Oannes and to the Sumerians as Enki. Enki begins with the very ancient Sumerians and continues with different names (Ea, Dag, and Dagon) with other Mesopotamian or Middle Eastern peoples (Akkadians, Assyrians, Chaldeans, Babylonians, Phoenicians, etc.). The false beard and long hair should identify this depiction with a memory of an Assyrian tradition. Oannes was a teacher priest who taught the ancients many useful things and humanity. He arrived from the Erythraean Sea (an unknown ancient sea thought to be either the Persian Gulf or the Indian Ocean) and instructed his people. He is followed by seven more teacher priests who were named the Annedoti by the Greeks. Oannes warned his followers of the flood. He and his priests are protectors of their people (the priests’ numbers increase), but particularly they protect royalty. Oannes may have been inspiration for the fish monster referred to in the tale of the founding of the Merovingians; he may also have been an inspiration for the Fisher King in the Medieval Grail legends.

This type of fleur-de-lis mounted on a hat or helmet can be seen on at least one art representation of an Assyrian Apkallu (Annedoti). No one knows where the French fleur-de-lis originates from, but legend has it that the Merovingian King Clovis I (considered to be the founder of the Frankish nation and reigning from 481 to 511 AD) prior to fording a river on his way to the battle picked a lily or an iris and put it on his helmet; he was victorious. Other legends say that Clovis chose this symbol when he had been converted to Christianity and that it had been put on his crown at his coronation. The French fleur-de-lis is supposed to symbolize the Holy Trinity or the virginity (purity) of Mary.

The fish’s horn on this applique could be symbolic of the sword fish, but as it has a twist it may symbolize the horn of the Arctic narwhal. If so then this suggests that the narwhal horn (or the idea of a narwhal horn) may have been a symbol in ancient times, the fin shown on the top of this fish man applique would suggest that the narwhal was a mysterious creature without an accurate description (this sea mammal does not have a top fin). The German tribes of the Roman Era may have known of the narwhal horn as some of their iron work from that period have a twisted shape. I have included photos of such an example, a 2nd to 5th c AD Roman German Cavalry Auxiliary javelin standard top that shows this type of metal work.

Copyright 2005 David Xavier Kenney

Posted on 29-NOV-05

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Germanic Gothic Buckle

This is a 5th to 6th C. Germanic Gothic buckle. Oval shaped, the buckle is formed by a two-headed creature with its heads facing inward toward each other. Each creature's mouth is holding the center bar. The creature's body has zigzags and is a crescent shape which forms a ship. The buckle's tongue has a ram's head for a tip. This type of buckle is typical of the various Germanic tribes that were associated with riverines during the Late Roman Empire and the Migration Period. What is unusual about this example is that the creature on the left appears to be of a bear and the creature on the right appears to be a dragon. This type of buckle may be seen with dragon heads but not with bear heads; a bear head and a dragon head is even more distinct. This buckle may be connected to the earlier mythical Germanic hero Beowulf, of the 10th/11th Century Old English (Anglo-Saxon) poem of the same name. The story of this poem is thought to have been brought to Britain by the Saxons. The name Beowulf means "Bee Wolf;" it is thought to be a kenning for a bear. Beowulf's final battle is with a dragon. There are some that believe that Beowulf may have been an actual heroic character of the 6th C. Geats (a Swedish tribe) or of the Danes. There are some that believe that the Poem of Beowulf may have had an influence on the Medieval Arthurian writers, a bear name similarity of Arthur and Beowulf is obvious.

Copyright 2005 David Xavier Kenney

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Byzantine Bear Brooch and Artifact Group

This artifact is a Byzantine 11th to 12th C. AD inlaid bronze brooch that is 58 mm long and 55 mm wide. The style of the brooch is different from what is usually seen in Byzantine pieces, as it also shows Celtic, Frankish French, Norman, Rus, Nordic and perhaps even Pictish influences. The design could possibly be associated with a couple of Christian saints, the bears in the Hrolf Kraki Saga, and the Varangian Guards (an elite Byzantine Viking Guard unit). More specifically, clues from this design lead to speculation that the Nordic people may have had just as much influence on the Medieval writers of Arthurian legend as the Celts, and that the Vikings (with earlier influences of an Eastern people?), particularly the Varangian Guard, may have influenced certain pagan aspects of the Knights Templar. For more information and pictures of other artifacts that may explain the design of this brooch, Click here: Byzantine Bear Brooch and Artifact Group

Copyright 2005 David Xavier Kenney

Posted on 14-OCT-05

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Varangian Guardsmen Miniature Statuette and Miniature Axe Head

This is a miniature statuette of what appears to be a 14th C. Varangian Guardsman. The artifact is 28 mm in height and is purported to have originated from the Balkans. Preliminary research suggests that it may be a pawn piece of a chess set. It is bronze with a fair amount of heavy gold gilding which is mostly covered with patina. There is quite a bit of corrosion on part of the face, the shield, and part of the axe head. Medieval metal chess pieces are extremely rare, most chessmen from that era which have survived are made of ivory. There are only three sources of proposed Medieval depictions of Varangian Guardsmen, all three are debated:

The clothing and equipment as seen on this piece is as such:

The figure has a short brimmed, crested kettle helmet (no neck flap, nor appearance of long hair); short skirted scale armor; long axe staff with a triangular bearded axe head (the top of the axe front is missing); a long heater shield (thought to be exclusively Late Byzantine); wide studded belt; baggy trousers; and high peaked boots.

The figure appears to have a long mustache and possibly a short beard. The mouth is made in an “O” shape. The figure's forearm is shown across the chest, signifying a ready position or a salute?

The shield has a cross pattee with a sphere bottom. It is almost exact to the cross seen on a Byzantine marble column with runic a inscriptions attributed to members of the Varangian Guard, this is located in Istanbul, Turkey. A photograph of this find is shown on the web encyclopedia Wikipedia, this can be located there by using the keyword "Varangians". If you view the photograph of the inscribed column, notice that there are two birds on the bottom quarter sections of the cross:

There is a fleur de lys on the shield’s left quarter; there are pellets on the right quarter (just barely visible, these pellets may form a flower). The two bottom quarters are too corroded to distinguish any motifs. The sphere on the bottom of the cross has in micro miniature: A cross potent on a pellet (possibly 3 pellets). Under this is a long-haired figure in profile holding up a chalice. In front of this is a large two-headed bird in profile (a two-headed eagle or two eagles?); one bird's head has its beak in the cup and the other is facing directly in front of the cross. Photographs of this micro miniature art will be posted soon.

It is possible that the cross design on this shield originates from Isaac I (Isaac Comnenus, 1005 to 1061 AD). It was Isaac I who is thought to have introduced the double-headed eagle to the Byzantine Empire, although not as a Byzantine symbol, but rather for his personal use. There is speculation that he adopted this symbol from the Seljuk Turks. Another speculation is that he adopted this from a local legend of such an eagle, which he probably knew of from his origins in the Province of Paphlagonia. Either way, it is quite evident from the motif on the sphere on this shield's cross that it symbolizes a "Christian" conversion of a pagan double eagle. The use of European coats of arms among the Byzantine nobility and Imperials began with the Palaeologus dynasty in the 13th C. Although the Comnenus dynasty only lasted from 1057 to 1185, the bloodline continued with other Byzantine Imperials until the fall of Constantinople, most European Royals can claim some sort of descendancy from the Comnenus's through the Palaeologus's.

Further Speculations with the arms of the shield:

The cross on the shield and as seen on the column may have been on the Varangian Guards’ shields from their beginnings, or it may have been added in the 13th or 14th C.

The cross pattee on a sphere motif may be symbolic of the sword in the stone.

The cross on the sphere may have the same meaning.

The long-haired figure seen on the sphere is without halo but yet is a chalice holder. This may be a Byzantine type of grail symbol; the meaning may be that the grail to the Byzantines was a cup symbolizing a Christian conversion and nothing more; or some other concept.

The sphere may represent some type of globus cruciger (globe cross, an orb with a cross). The use of this is thought to have originated from the early Byzantines as a symbol of Christ's rule over the universe. Supposedly the European sovereign's version contains some earth from a sacred site from the land that they rule (orbis terrarum). The French refer to this as a mound, to the English it is a symbol of the monarch as the defender of the faith.

Although there are certain aspects about the arms on this shield that are similar to the Knight's Templar legends, there is no indication that the Templar's ever used personal, family, or royal arms on their shields, although the cross pattee and the cross potent were in fact the two crosses most used by the Templar's. I am of the opinion that at some point in Medieval Times that some members of the Varangian Guard had an association with at least some of the Templar's. I am also of the opinion that the Varangian Guardsmen and the Templars were aware of Arthurian type legends that had originated from the Germans, the Slavs, and the Norse.

The Miniature Axe Head seen in the fifth photograph was purchased from the same source as the miniature statuette, it is made of silver and is 22 mm in length. As it appears to be the same style axe head as seen on the miniature statuette then these two artifacts may be from the same origin. There are different types of miniature silver axe heads from various cultures and centuries, coin dealers and archeologists usually refer to these as "votive's" or “pendants.” This may be so, but they may also be from miniature axes, there are in fact some Slavic peoples which have a tradition in which a boy is given a miniature axe as a rite of passage.

Copyright 2006 David Xavier Kenney

Posted on 27-JUN-06

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Roman Intaglio Of Alexander The Great As Conqueror Of The Griffins

This is a 1st C. BC to 2nd C. AD Roman Intaglio that depicts Alexander The Great wearing a griffin head and skin (hence, Alexander The Griffin Conqueror). It was selected to explore a possible antiquity with Lambert le "Tort’s Roman d’Alexandre" (circa 1170).

RESEARCH CONTINUES ON HOW ANCIENT LEGENDS MAY HAVE BEEN THE INSPIRATION FOR THOSE POEMS, AND ALSO HOW THOSE SAME LEGENDS MAY HAVE INSIPRED THE MEDIEVAL ARTHURIAN WRITERS.

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Celtic Germano Slav Druidic Knife Handle - With The Tradition Of An Irish King?

This is a miniature bronze sculpted handle measuring 65 mm long. It is of a Celtic Germano Slavic people of Eastern Europe, but yet it has a theme that could be connected to the Celtic Irish Kingship. How this could be so is open to speculation, but it could be from a tradition of one of the ancient legendary invaders of Ireland. The Artist that crafted this was definitely a master at combining different styles of art. I estimate the date of this artifact to be late 7th C. AD, although it could be much earlier. The front shows a sculpted face (possibly with a hood, or habit) with a left arm coming from the body and bending upward and inward with a crude circle and dot for a hand. This is over a center motif that looks like a standing stone with an engraved circle and dot centered above a vertical line. This standing stone has an arm that extends vertically and is bent inward with what appears to be a hoof. This right hoof is opposite from and touching the left circle hand. This along with the circle and dot centered above a vertical line could be seen as a one-eyed standing stone with bull horns, or a standing stone with a ring, or perhaps a standing stone as a naval stone? The bottom portion of the statue has a rectangular shape with a horizontal line on top and on the bottom. In the center of the rectangle there is a right oblique line and a left oblique line with a horizontal line through the center. A side view shows that the bottom portion has a similar rectangle on the back side of the piece. The rectangle pieces are joined at the top, and slant outward, separating at the bottom, creating a base that resembles a slightly open clothespin or a sandwich board. The back shows a sculpted club on top of a rectangle which again has the same design as that which is seen in front (this design resembles an “X” with a line drawn horizontally through its center, with two horizontal lines at the top and bottom of the rectangle).

The art of the midsection, which contains the standing stone with bull horns, is vaguely similar to that of the Gundestrup Cauldron. Although found in Denmark, the Gundestrup Cauldron is thought to have originated from a Thracian (of South Eastern Europe) culture which had Celtic influence. The date of the cauldron is estimated at 300 to 100 BC. This type of Celtic art is called Late Le Tene (predominantly of present day Eastern France and Southern Germany). The face may or may not be Medieval, but the style is Greek or Roman. Le Tene style art was still prevalent in Ireland up until the 7th or 8th C. AD. The overall shape of the handle is similar to that of a finger. It may have been used as a utility tool rather than a knife.

The handle appears to depict a female or a male associated with wearing a hood. If this is a female, then the piece should be of a goddess who is connected to a club. This brings to mind the Irish goddess Danu whose consort is assumed to be the god Bile (sacred tree). Her (or their) son is the god Dagda (the good god, aka Eochaidh Ollathair, or the “all father”), who among other things had a magical club that could kill 9 men with one blow at one end, and at the other end could resurrect the dead. This club was so large that it had to be carried in a cart. The goddess Danu was a universal mother goddess of the Tuatha De Danaan (tribe or people of Danu), who were a mythological (or legendary) Celtic people who conquered the Formorians of Ireland, but were in turn conquered by the Milesians, who are thought to have originated from Spain. It appears that Bile was a god of the dead and is connected to the Milesians. There are some who claim that Beli along with the Continental Belenus had been derived from the Semitic bull god Bel (Baal). If so, then this statue could be seen as portraying a bull-like creature with the stone and horns. The engraving on the stone with the circle above a vertical line could be seen as a possible symbol from which the later sword in the stone motif may have derived, that is as long as the sword motif had a circle or round pommel. The hoof and circle dot hand could be also seen as breasts of the goddess Danu, or it could represent the pose of someone driving a chariot (drawn by a bull?), or both. The line motif on the rectangle is similar to the Foreda letter EA (Eadhadh) as seen in the Ogham alphabet (the Ogham is a line script of the Celts in which each letter is assigned a tree identity. The Foreda is a later addition). If so, then this would have been after 650 AD when the Benedictine monks arrived in Ireland and introduced the 5 new letters (The Foreda) from Greek to the Ogham.* The line motif is also similar to that which is seen on the wheels of the goddess of animals on the Gundestrup Cauldron. This could represent a goddess of the cart. Goddesses of the cart are usually seen in ancient art facing to the front while flanked by wheels which are viewed from the side. This statue may represent a universal mother goddess (Danu) symbolically mating with a fertility stone (Bile) to produce an offspring (Dagda). Therefore the goddess, the bull standing stone, and the club may have been symbols of sovereignty. As mentioned above, the standing stone as shown on the statue is most likely an Irish standing stone. The standing stone that comes to mind is the cross pillar at Kilfountan. The similarity of the club-like shape of that standing stone and this statue is obvious (more about this similarity is explained with the next artifact). The connection to bulls for at least some of these standing stones of Ireland, the British Isles, France, and even Armenia, may be associated with a scratch post stone that later became associated with a specific animal or solar event, or both. They may also have used these to tether bulls to. The meaning of this statue may be associated with both Welsh and British gods and goddesses; however I am inclined to think it is Irish due to a pattern which can be seen from an aerial view of the hill of Tara. The iconography of the hoof and circle hand on this statue is fairly exact to the two ring forts on that hill. These are known as the Royal Enclosure (Cormac’s House) and the King’s Seat. Nearby is a standing stone that is referred to by the Irish as the Stone of Destiny (Lia Fail). This standing stone was supposed to roar three times when a true Irish King stepped on it. It is supposed to have been brought to Ireland by the Tuatha De Danaan but it is also associated with the Milesians. (Other claims are that the Stone of Destiny was taken to Scotland; this stone was then seized by the victorious English King Edward II and brought to England. Used in the British Royal coronations for centuries, this stone was recently permanently loaned back to the Scottish.) Again this is one claim, and there is disagreement if this, the standing stone at Tara, or any stone is the authentic legendary "Stone of Destiny".

According to tradition, the hill of Tara was the seat of a King of the Irish (later the Irish High Kings) and the place of inaugurations. One of the tests for kingship was a battle contest with other qualified contenders for the right to wed the fertility goddess of intoxication, Maeve (or Medbh). There are some who believe that this contest was fought using wooden clubs. There was also a semi-legendary Queen Maeve who was a fertility and battle queen; a ring fort named Rath Maeve on Tara is named for her. This suggests that an actual woman (Priestess) who would have held the title “Maeve,” may have represented the goddess who may have had temporary rule if no qualified leader was available.

If this handle is of a male figure, then the face should show a beard or mustache, although this may not be necessarily so if of Christian Ireland of the 7th C. AD. Nonetheless if male, it may depict the god Dagda or Lugh of the long hand (an Irish hero god of light and a king of the Tuatha De Danaan who is thought to be connected to the Dagda). Possibly the horned stone represents the smith of the gods, named Gobinu (envisioned by some as a dwarf). Needless to say if this is of a male, then due to the lack of facial hair it would have to be a youthful figure (an example of this is that many classical depictions of a youthful Hercules show him clean shaven). The hoof and the circle dot above the standing stone bull (seen from a front view as bull horns) could possibly be seen as a horizontal cup and a face. If so then this would imply a sacred Irish drinking cup of marriage or of kingship.

It should be noted that there is a possibility that this handle may be of the Welsh goddess Don (an equivalent of the Irish Danu) and the Welsh Beli (an equivalent of the Irish Bile). This statue may also be of any of the following:

- The Irish goddess Brigid (a daughter of the Dagda but also of Danu?) of fire, childbirth, war, water, smiths, and crafts.

- The Welsh goddess equivalent Brighid.

- The British goddess equivalent Brigantia.

- The Irish goddess Eiru (another daughter of the Dagda) whose name was given to Ireland.

- The Irish Gobinu, a smith god of the Irish gods.

- The Welsh equivalent Govannon, a son of Don, also a brother of Gwydion and Amaethon.

- The Irish god Nuada of the silver hand, a war and sea god. Because Nuada as the King of the Tuatha De Danaan lost his hand in battle (later he had a silver hand made) he gave the kingship to Lugh. (One of the requirements for being King of the Irish was physical perfection). Lugh’s grandfather was Balor, a Formorian who had one huge eye which was used in battle. When the Tuatha De Danaan warred with the Formorians, Lugh killed Balor by piercing his one eye with either a spear or a sling shot pellet.

- The Irish god or hero Ogma, who invented the Ogham alphabet. Ogma’s Continental Gaelic equivalent, the god Ogmios, is identified with Hercules and carries a club.

There is a remote possibility that this handle may be of a Celtic Slavic origin. If so, then it may represent the Slavic god known originally as Savarog Rod; however later Savarog and Rod were separate deities. The god Savarog Rod is the oldest Slavic god who was the creator and ruler of the universe. He was a god of light, fertility, protector of blood lines, and smiths but also the god of sovereignty and rulership. In some Slavic cultures he has a consort known as Rozanica, a fertility goddess. The goddess Rozhanitsy, another fertility goddess (or goddesses), and her daughter are also thought to be associated with Perun. In other Slavic cultures he has a consort known as Perkunika; she is the goddess of lightning (more about this goddess is explained with the next artifact). The Slavic thunder god Perun sometimes carries a club and is thought to be connected to Savarog Rod, he is usually depicted with a mustache. To my knowledge there are no known verified representations of Savarog Rod or Rod.

Although there is no way to completely verify the origins of this handle, the symbols that it contains are exceptional in revealing a possible Celtic Germano Slavic and Irish (and, or Welsh) connection to the Arthurian.

* The letter symbol EA (Eadhadh) or possibly the letter E of the Ogham Alphabet is associated with the Aspen or White Poplar tree. The Aspen tree is associated with being connected to the otherworld, possibly associated with ancestor worship. It may have been used in ritual with the Celtic or Nordic sid (magical trance). Its associations are with the color white or silver and with shields; with the Romans there may be a connection to the god Hercules. In Christian belief the Aspen has negative connotations.

Copyright 2005 David Xavier Kenney

Revised 2006, APR 07

Posted On: 19-OCT-05 and 19-OCT-06

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Celtic Germano Slav Druidic Knife and Artifact Group

I am proposing the term “Celtic Germano Slav” to represent a mix of Migration Era Southeastern Germanic peoples with the early Slavic peoples. In my opinion some Germanic tribes who had mixed with Slavic tribes previously had more Celtic influences and less Thracian or Scythian influences. I am also of the opinion that many of the Northern German tribes and the Vendi Scandinavians were more heavily influenced by the Thracians (of the modern day Balkans) and the Scythians (of modern day Russia), and the later offshoots of those two cultures.

This is a 5th to 8th C. AD iron knife that has a bronze sculpted handle. It is 14 cm in length. The handle has been made so that the knife can lie on a flat surface with the blade facing up, which is unusual. It originates from Eastern Europe. The handle shows a figure that has a face shrouded in a hood. The face has a right eye which is almond shaped and appears to be squinting. The left eye is larger, round and lobed, and gives the face a startled expression. The mouth is open. There is a hollow upright lunula (representing a bull’s horns?) on the throat which has a torc (of a hook and loop style) over it. The side view shows that the neck also has ribbons wrapped around it. Under the neck is a thick band. Under the band there is a lobed circle dot with a vertical line; this portion of the handle is somewhat bowed. Under this is a rectangle where the knife’s blade is inserted. The back shows that the handle is shaped like an upright club. The figure’s left eye may symbolize something to do with the sun. The open mouth should symbolize speech (or singing, or even shouting). The lunette gorget with the torc over it may represent a device that would distort the voice. If one’s fingers and thumb are cupped (forming a shape similar to the lunula) and held tightly to the throat during speech it will lower the voice and also give it a reverb. The purpose of this may have been to sound otherworldly, but also it may have been to produce a sound which had an association with thunder. A clue to this is the Irish legend of the “Moran (aka Morann) Collar.” Moran was a legendary Irish Druid who was a judge in the 1st C. AD and the son of a Firbolg king; he was from Connacht. According to Irish legend, this collar (or torc) was reputed to have been used by Moran (or by any judge, but also by the accused) in order to give credence to speaking the truth. It was supposed to automatically tighten if the wearer spoke a misjudgment or a falsehood. If a lunula torc throat device was used to lower and reverb a voice (to sound otherworldly or mimic thunder), then this may have been one of the powers of the ancient Druids. If so, it could be supposed that the Druids would have worn this as an exclusive right, perhaps only when reciting or giving judgment. The Druids were known to have been the bards of the ancient Gauls and Celts (this is very much the same with the Eastern European tribes). They had a god of speech, learning, and writing named Oghma. Oghma is noted by the 2nd C. AD Greek writer Lucian as being the same as Hercules and Hermes, although according to his Gaulish source unlike Hercules's physical prowess Oghma’s strength was due to his eloquence. Much like Hermes he is a god of communication (Hermes is also a god of commerce, to a lesser degree so is Hercules). He is depicted as an old man with a lion skin, a club, and, or, a bow. In ancient art the lion skin and the club are typical of Hercules, but not so much the bow (See Artifact 1). The bow in ancient art is usually associated with hunt gods and goddesses but also with solar worship (to a lesser degree it is associated with lunar worship). The knife handle's shape reminds one of Hercules wearing his lion skin as a hood and cape, the similarity with the 'herm" of Hermes is obvious (a herm is an ancient Greek or Roman boundary marker, usually it is a rectangular pillar (or a pillar on a rectangular base) with the head of Hermes, often the pillar will have a protruding phallus). The Irish equivalent of Oghma, who is known as Ogma, is the son of the god Dagda and the goddess Danu. Ogma is also known as “sun face” and “honey mouth.” He is a warrior Druid that finds “Orna, the talking sword of Tethra” (Tethra was a Fomorian sea god who became a god of the abyss) during a battle. When this mythical sword is taken out of its sheath, it shines, sends out light, thunders, and tells of the deeds of its previous owners (although it is of the deep it has the overtones of a solar sword, but also a sword of thunder and lightning). This is somewhat similar to the "sword of the lady of the Lake" and the "sword in the stone" of the Arthurian legends. In my opinion Ogma as “sun face” suggests that he should be a god associated with youth, similar to the Greco Roman god Apollo. In Greek art the legendary mythic Thraco Greek cultural hero Orpheus’s head is often shown with its mouth open (this is because the head is singing; Orpheus is a patron of music and poetry) as it travels a river to the Isle of Lesbos (See Artifact 2). Interestingly, to my knowledge Celtic gorgets are found exclusively in Ireland; they are thought to be a symbol of religious and/or noble status.

It is not known what this knife had been used for but its small size suggests that it may have been used to cut herbs or perhaps for carving (symbols?). The figure on the handle suggests that it is connected to the following: The hooded head associated with a club suggests a connection to the woodpecker. The woodpecker was sacred to the Roman war god Mars, the lightning goddess Perunika, and the Norse guard of light god Heimdal. The club may suggest a goddess or god of the oak, thunder and lightning, but it could also be of another type of wood with another meaning. The distinct eye that is round and lobed should represent the sun; this is similar to the Norse god Odin. This eye could also represent a flower associated with the sun, such as the peony (sacred to Apollo). The lunula gorget and torc should be of thunder and/or the moon. The ribbons may represent lightning or solar rays. The band should represent a deity of oaths. The bowed shaped below this could represent a pillar. The lobed circle dot with the vertical line should represent the sun, birth, a bull ring, or perhaps lightning and rain; or it could represent all of those. The overall shape is similar to a finger; the meaning of this may be connected to lightning, spells, or oath giving, if so with the later, then this meaning may be enhanced by the thick band (ring) in the middle. The club may represent the Slavic god Perkuns, or Perkuns and Perunika, or a similar Slavic deity or deities. The similarities with those gods and goddesses and the Irish Ogma, Dagda, Danu, and Bridget are obvious. One of the more famous standing stones in the county of Kerry, Ireland is the Kilfountan cross pillar, it is shaped very much like this handle. Furthermore there is a circle cross on this pillar that corresponds to the area where the face is located on this handle. Under this is an M zig zag shape that has two swirls; it also has Ogham engravings. The M zig zag is somewhat similar to the lunette on the handle; this suggests that it has the same meaning. Speculations are that the standing stones with Ogham engravings were made during the 4th though the 7th centuries AD. If this knife were to be pushed into the ground, then the handle would appear much like the Kilfountan cross pillar. Certain standing stones of the British Isles "may" have once had a symbolic "sword in the stone" attribution. Interestingly, County Kerry also has an area that was known in ancient times as the "Plain of Swords" ("Clar na Cliabh"); it is mentioned in the "Book of Rights" ("Lebor na Cert"). There is little doubt that this knife has some similar meaning to the previous artifact listed (the “Irish King Sculpted Handle”).

Artifact Group
Artifact 1
This is a 2nd C. to 4th C. AD Roman Thraco Dacian Silver Earring of Hercules' Club. As Hercules was a patron god of musicians, it most likely had belonged to a musician.

Artifact 2
Dedicated To My Friend Christina:
This is a 2nd to 4th C. AD Greco Roman Silver Ring of Orpheus. It is an American size 11. The figure eight shape may be associated with an unknown ancient lyre (perhaps similar to the Medieval viol, aka the "guitar fiddle" and the "octave fiddle"). This most likely had belonged to a musician, an actor, or a poet.

Copyright 2006 David Xavier Kenney

Posted On: 19-OCT-06

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Anglo Saxon (with Briton influence) Bronze Carving Knife Handle.

This is a 7th C. AD Anglo Saxon Bronze Carving Knife Handle that is chip carved. Although it is Anglo Saxon it appears to have more Angle influence, but also with a degree of native Celtic British (Briton) influence. It is 8 cm in height. It was found on a farmer’s land in Northern England in the early 1970s. What type of blade this handle was used for is open to speculation, but the shape and the art suggests that it may have been on a crooked knife (a woodworking carving tool), it also has the aspects of a palm knife and an auger. If there is a connection to an auger then the symbolism may be similar to "rati" the auger of the later Norse god Odin. It was made for someone with an 8 to 9 1/2 American glove size. The overall shape of the piece is similar to a stout club with a head on it. The face on the figure’s head shows a man with a long upturned mustache (in the Briton Celtic style), the mustache looks similar to boar’s tusks (although the right side has a squared tip that is more similar to a whole beaver's tooth). The figure’s mouth is made to appear as if talking, under the mouth is two indentations, next to this is four smaller indentations that trail to the left (but also to two indentations seen on the right side of the mustache). This hints at a beaver’s two front teeth, but also at a trail of fire perhaps symbolizing a comet legend or a fire spitting speech, or wood chips, or all of these. The top of the head is almost completely flat. The hair is medium length and pulled straight back. The figure’s neck shows that it may have once held a miniature neck torc, which most likely was made of precious metal. Another speculation is that this may have been for a string, perhaps a lanyard, if so then this would suggest a god of the hanged, such as the Germanic god Woten or the later Norse god Odin. Below the neck is a turned down collar (this type of collar is not usually seen until a later era) that has line engravings which seem to represent fur. On the body in the front are five discs with horizontal lines that resemble buttons. On the right are three large swirls that are halved as they disappear under the discs. On each side of these decorations there are two sets of arms and paws alongside a long tail which ends in a teardrop shape under the bottom paw. The paws and tail resemble those of a beaver. There are similar arms or paws in the back of the figure, placed symmetrically next to the paws in the front. From the side, these paws and the tail are separated by two vertical lines that have horizontal dash’s (this may represent some type of codex) which has a form that is similar to a dragonfly (this is the same on both sides of the figure). If the image on both sides of the figure does represent a pair of dragonflies, then this could have many different meanings. Dragonflies are in fact associated with inland bodies of water and their marshes; superstitions about these insects abound in Central and Northern European lore. The dragonfly in those regions is often associated with darning needles, interestingly the Swedes call the dragonfly the “hobgoblin fly”, in their lore it is used as a hobgoblin’s twisting tool (a wood carving knife?). It is thought that the Norse connected the dragonfly to Freyja, their goddess of fertility. In the front of the figure just under the collar there is on each side a U shaped design, possibly representing the eyes of a larger creature which is formed by the designs on the torso of the figure (this is the same on the back of the figure). In the back there is a large swirl type La Tene (a Celtic culture that flourished from 450 to 50 BC) decoration that possibly represents a lady slipper flower (with an animal head?). The flower is capturing a stylized bee (that looks a bit like an animal). This should be the lady slipper as the "bee eater," possibly aka beowulf "bee wolf." There is a lip which circles around the lower part of the figure, separating the top portion from the bottom. The bottom portion of the handle has a more simple design with what appears to be blade sheaths on all four sides, possibly representing a marsh, but also a palisade (beaver carved wood stumps?), which would suggest a fort (a fort on or near a marsh?). Under this there are three smaller lips which circle the very bottom of the handle, this is where it would have met the material inserted into the handle.

The five discs of different sizes each have a different symbol in their center. This may represent five different trees that are associated with the beaver, these may also be associated with celestial bodies. These discs have a similarity to Roman legionary phalerae (disc shaped battle decorations worn with leather straps). The first three discs, large swirl, and lines appear to form a bear (or bear dragon) whose face and legs are in a horizontal position, a top triangle formed by the collar may represent a peaked helmet (or cap) with three feathers on the peak, it may also represent a hut or a tent. This may be associated with the front top right paw. The second swirl, disc and lines appear to form a serpent. This may be associated with the front bottom right paw. The third swirl, disc, and lines also appear to represent a serpent (this is particularly so if it is viewed upside down); this bottom disc is more rounded and defined than the other four. This bottom swirl/serpent is connected to the beaver tail on the right. Although I have no speculations yet concerning the symbols on the discs, the bottom disc appears to be a mushroom. This combined with the beaver tail and serpent may represent the oak tree as certain mushrooms are in fact associated with this tree. If so then it is highly probable that it also represents thunder, and or, lightning. The top disc may be a solar symbol. With the eight beaver paws (front and back) there are seven which appear to have some form of an animal or human head on them. Only one of these is done in relief, and is located on the front top right paw. It appears to represent the head of either a horse, this is the same paw that appears to be connected to the bear (or bear dragon) motif.

The figure represented on the handle is probably an unknown Briton god of the beaver or an unknown Angle (the Angle invaders of the Jutland settled mostly in north eastern England) god connected to the beaver, or both of these. The reason for this is that the; position of the paws, the shape of the teardrop tail, the two indentations under the mouth, the weak chin, and the hair style (straight back) do resemble a beaver’s. It may be of a beaver man god who was among other things thought to be an architect, builder, and inventor of chip carving. The chip carving wood and metal crafting technique is thought to have originated with the 5th C. AD Germanics, but the 5th C. attribution is speculative and it may in fact be much older. The European beaver (Castor fiber) has been extinct in England, Wales, and Scotland since the 17th C. AD; it was last seen in Wales (to my knowledge the beaver has never been known in Ireland). There are some who think that the Briton Briboci tribe (a south eastern tribe mentioned by the Romans in the 1st C. BC) were a beaver clan, this is based on their name possibly meaning beaver. For a tribe of Britons to worship the beaver makes sense, as the beaver may in fact have been associated with a Celtic god of communication, such as the god Ogmois, and may have been associated with an early Celtic form of runes (writing symbols, usually cut into wood or chiseled into stone). The reason for this is that Celtic runes (known as Ogham) are associated with trees and it is thought that each set of line marks (these are done on a vertical line) is for a separate tree designation. The 1st C. AD Roman writer Tacitus in his “Germania” states that the German Druids did divination by cutting a twig from a fruit bearing tree; cutting this twig in two; then cutting marks on each of these; and finally throwing them on a white cloth. No other animal is associated with trees more than the beaver, as this animal cuts down trees and uses them to build its home. When aquatic plants are out of season, the beaver will use wood bark for food. The beaver builds its lodge on a river, pond or lake as an island; therefore islands may have been thought to have been sacred to the beaver. The large island of Britain may have been seen as a Druidic cult center for a beaver deity (the Briton Druid center of at least the 1st C. AD on the Ile of Mons, (modern day Anglesey) may have had a similar reputation). Caesar mentions that the cult of the Druids was thought to have originated in Britain and that the Druids of Gaul would go there to attend renowned centers of Druidic learning. Speech and writing are thought to be the primary traits of the god Ogmios who is associated with the Greco Roman gods Hercules and Mercury. Ogmios is shown with a club, a bow, and a skin that is thought to be a lion skin; the skin may in fact be of a legendary giant beaver. The fact that a beaver’s tail does in fact look like a club should also suggest that this animal’s tail may have been thought to be that primitive weapon. It also suggests that a type of Ogmios may be the original god that later became known as Hercules, as Hercules’s lion skin does not fit with the environment of his alleged origins in antiquity (modern day Russia), but a bear or an animal associated with the bear would. The beaver may have been associated with thunder as when a beaver in the water senses a threat it will slap it’s tail creating a loud crack, then dive. It is alleged that this is to warn other beavers that can hear this from up to a mile away. Any possible associations with the beaver and the god Mercury as a guide to the other world would be easy to understand. Beaver lodges are built to be hidden and with no access by land dwellers (they have two subterranean water entrances). Although beavers do not hibernate they do stay in their lodges when the ice freezes over. This is accomplished by storing their food (tree branches for the bark), which translates into an animal with foresight; thus the beaver could be seen as a knower of the future. The favorite trees of the beaver are the aspen, birch, oak, willow, and ash, but this depends on availability as there are many other trees which the beaver will cut down, including fruit bearing trees such as the apple tree. Any Angle connection with this artifact could possibly be with their fertility god Ing (Ing is thought to be the older version of the Norse Freyr, the brother of Freyja). Ing is a founder god (of the Swedish Royal line and the founder of the Angles, aka Ingles or Engles) and is usually associated with the boar, stallion, and stag;. In my opinion the ancient Celts and Northern Germanics may have thought of the beaver as being part of the bear family. If this is so then I further speculate that if there had been a legendary giant beaver then this would have been due to the finding of fossilized giant beaver teeth (the pre historic giant beaver is thought to have become extinct 10,000 years ago). Beaver teeth may have had some symbolic meaning to the Anglo Saxons, the British Museum has a 7th C. AD beaver tooth amulet that hints at this. In fact the blade that went in this handle may have been a beaver tooth, or an iron or bronze beaver tooth replication. Stories traveling from upper Scandinavia about the polar bear may also have led to a belief in the giant beaver. From a front view the polar bear does in fact appear similar to a giant beaver. The beaver may have also been associated with water snakes or serpents as anyone who has seen a beaver with a stick in its mouth in the water could see how this may have come to be. Lastly, it should be mentioned that the beaver has since ancient times been associated with medicine. This is due to the fact that it was thought that musk from a male or female beaver’s reproductive organs was an aphrodisiac and medicinal called “castorium.” There was also a superstition that lasted until well into the Renaissance that the male beaver when hunted would bite off his testicles and throw them to a hunter, so that the hunter would get what he wanted and let the beaver live. This castration myth hints that the beaver may have had a possible connection to a boar myth from an Eastern Mediterranean imported belief (such as the boar in the Attis myth). In summary, very little is known about the Britons, who had many local gods and goddesses, there is little more known (as fact) about the gods and goddesses of the Angles (the Angles cremated their dead, this was not so with the Jutes and Saxons). This artifact may shed some new light on at least some of their belief systems, this should lead to information of interest concerning the Arthurian. It is expected that this posting will be regularly updated.

Copyright 2006 David Xavier Kenney

Posted On: 1-NOV-06

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Scottish Knight Oval Plate

Further examination and research has shown that this artifact is from an English Knights Templar, possibly from the City of York. Information will soon be updated.

This is a Medieval bronze or brass oval plate with punch dot engraving, circa 12th to 15th C. The origins of this piece are unknown. It appears to have been hammered from a coin and may have been a funerary eye plate. There are two specks of gold on the plate, which suggests that it had been gold gilded. The punch dot design around the border appears to represent a lion's mane. The central figure is also done in punch dot, made in the shape of a shield; it depicts a knight's face with chain mail. The eyes along with the punch dot around the eyes (chain mail) may represent a stylized double headed eagle. On top of the face/shield in punch dot are 6 separate vertical lines. The mouth of the knight is made to represent a temple front, with three columns. On the lower left of the face the number 61 is engraved. There may be a Scottish Knights Templar (or Scottish knight of another order) association with this plate.

The lion's mane may suggest the Scottish lion. The Scottish Lion came into use when William I of Scotland (William The Lion 1142 to 1214) used his personal banner of a red lion rampant on a yellow field, as a Scottish banner. Supposedly William had donated land to the Knights Templar, as had David I of Scotland (David the Saint 1084 to 153). The shape of the face/shield with the lines on top suggests a thistle. Other legends say that Robert the Bruce right after the battle of Bannockburn formed an order called the Royal Order Of St. Andrew of the Thistle, although historians claim that this order had been founded by James II in 1440. The founding of this order also has a 9th C. legend . The temple mouth may suggest the Knights Templar. According to legend, certain Scottish families are connected to the Knights Templar; the Templar hidden treasure; and the Holy Grail. This legend further states that shortly after the Knights Templar had been forcibly disbanded by the Vatican in 1309, some knights went to Scotland as refugees and were granted the protection of Robert the Bruce, who was an excommunicated Catholic. The number 61 may be or may not be significant, as sixty-three of these refugee knights supposedly appeared at the side of Robert the Bruce at the battle of Bannockburn in 1314. It appears that no one knows why the number was set at 63; it could have just as easily originally been 61 and then changed for an unknown reason. The only historical reference known for a Templar group at Bannockburn states that a group of Scottish camp followers with banners flying suddenly appeared from the rear of the outnumbered Scottish force and gave aide, turning the battle into a Scottish victory. Those that believe that these reinforcements had been the Knights Templar contend that only a highly disciplined force of mounted professionals could have caused such an English route. The legend further states that these same refugee Knights Templar may have continued on to form a Scottish Masonic lodge. Both the Scottish rite (founded in 18th C. France) and the York rite claim inspiration from the Templars. What is unusual about this iconography is that there are no Christian symbols. The combination of a knight's face, a shield, a lion's mane, a thistle, a temple, and the number 61 could lead to the speculation that the image on this plate depicts a Scottish Refugee Templar who was thought to have been at Bannockburn. If not then it may depict a Scottish knight of some obscure early Scottish order. There is also a very remote possibility that the number 61 had been a number codex for something much earlier in that region, such as the Roman Legion VI Victrix plus one. The VI Victrix had been stationed in Northern England (at York) for centuries with duty along Hadrian's Wall. The "One" may have been a reference to that legion's Legate (Commander), or to a more illustrious leader from that legion, such as the dux Lucius Artorius Castus who had been that legion's Primus Pilus (Centurion First Spear). It should be mentioned that to my knowledge there are no known Orders of knighthood that have 61 members, although in 1827 the Knight's of the Thistle had their number increased from 12 to 16, currently that Order's number is set at 16 members.

Copyright 2005 David Xavier Kenney

Posted on 19-OCT-05

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Saxon Wyvern Seax (Sword) Pin

This is a Dark Ages or Medieval (Circa 6th to 10th c. AD ?) bronze silvered pin of a Wyvern (a type of Medieval dragon with wings and legs) head atop a Seax (Northern European sword knife). The use of the Seax leaves little doubt that this pin is a Saxon symbol and quite possibly an Anglo Saxon symbol. The Wyvern is a type of dragon that is usually associated with the Welsh. The silvering suggests a white Wyvern; the Seax with a Wyvern head for a handle could mean something more. Geoffrey of Monmouth mentions that the name Merlin gave to King Arthur’s father Uther was Pendragon. Pendragon means “dragon head.” Geoffrey explained that Uther dreamed of a dragon appearing as a comet. This could imply a meteorite which may be associated with meteorite iron metal. This very possibly associates the dragon with a weapon such as Excalibur. This pin seems to have all the qualifications of a dragon sword. Geoffrey then says that when Uther became king he had two dragon standards made. In other writings, Geoffrey mentions the red and the white dragon conflict as a contest in which the white Anglo Saxon dragon defeated the red Welsh dragon, giving the Anglo Saxons rule over Britain. There are some in modern times that claim the type of dragon associoated with Uther Pendragon had been a Wyrven. This pin’s motif may also have a connection to Beowulf.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

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Viking Horse Pendant

This is a 10 C. AD Bronze Viking Horse Pendant.

Copyright 2008 David Xavier Kenney

Posted on 10-JAN-08

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Viking Gram (Mystical Sword) In The Tree Shield Ring

This is a bronze round shield bezel ring that is attributed as Saxon or Viking, although the ring style is 13th to 15th C. the engraving may show a Migration Era or Viking Era sword handle with a mushroom pommel suggested. This ring was purchased from the same seller in England as two other rings that are also attributed as Saxon or Viking. All three rings appear to be from the same source and range in American sizes from 10 ½ to 13. They are purported to have been found in Eastern Europe. My guess is that the country had been Hungary or Romania. The thinness of this ring suggest that it had been made for ceremonial purposes. The ring’s bezel has been reattached to the band with a plastic epoxy. The engraving on the round shield type bezel shows a sword handle (Saex?)with two Hungarian/Magyar Rova’s (Rune’s) encircled by 9 or 10 Rova’s, it also shows a sun burst. If the ring is turned to it's side the sword handle will then be in a vertical position showing the sun burst with a stylized face. This makes it evident that the Medieval engraver was putting an emphasis on a solar weapon. The sword handle should represent “The sword of the Volsungs” that was named Gram. This was the sword that the god Odin thrust into the Branstock (or Barnstock, a tree that King Volsung had his palace built around) during a wedding for King Volsung’s daughter. The story goes that the god Odin arrived disguised as an old man and thrust the sword into the tree and said that whoever pulled the sword would get gifts from him. He then announced that it was the finest sword known and then departed. All of King Volsung’s 10 sons tried but only the oldest, Sigmund (who would be the father of Sigurd the dragon slayer), could pull the sword. This sets off a whole chain of events with Odin eventually shattering the sword (and the death of Sigmund) with Sigmund’s son Siguard inheriting the sword pieces. “The Story (Saga) of the Volsungs” was translated in the late 19th C. from 13th C. writings of an unknown Icelandic author. As King Volsung becomes King of Hunland, it may suggest a 5th or 6th C. inspiration for the story. The sword pulling part of the story is very similar to the King Arthur and Excalibur sword in the stone story.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

Viking Odin Shield Ring

This is a bronze partially silvered round shield bezel ring that is attributed as Saxon or Viking, although the style is 12th to 14th C. This ring was purchased from the same seller in England as two other rings that are also attributed as Saxon or Viking. All three rings appear to be from the same source and range in American sizes from 10 ½ to 13. They are purported to have been found in Eastern Europe. My guess is that the country of origin had been Hungry or Romania. The thinness of this ring suggests that it had been made for ceremonial purposes. The ring shows a stylized engraving of the Saxon god Wodan or his Norse equivalent Odin with his horned helmet, beard, and arms held up with a wolf head under each. Turned upside down, the ring shows Wodan’s or Odin’s head with a brimmed hat (or helmet) topped by an eagle (or hawk) and a raven on each side. His face is veiled by hair, perhaps in the fashion of the Chatti cult warriors mentioned by Tactius in his Germania. He may be wearing a torc, or the two curved lines may represent his arms. This suggests that the ring, when viewed one way represents Wodan or Odin as god of the hunt and perhaps fertility; and when viewed from the other perspective shows him as a god of battle and the god of the dead.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

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Viking Odinic Iron Diamond Ring

This is an iron (with traces of gold gilt) ring that is attributed as being Saxon or Viking, although the style is 10th to 16th C AD. This ring was purchased from the same seller in England as two other rings that are also attributed as Saxon or Viking. All three rings appear to be from the same source and range in American ring sizes from 10 ½ to 13. They are purported to have been found in Eastern Europe. My guess is that the country had been Hungary or Romania.

This double diamond ring appears to represent the one-eyed god Wodan or Odin. Besides the diamond shaped eye, which should represent the sun, there are a couple of other possible symbols that can be associated with Odin. There is an X shaped design, which in the Middle Ages was sometimes associated with the pagans (the devil). The two top points of the double diamonds may represent a wolf's ears (or a fox's ears?); the bottom two points of the double diamond may represent two fangs. Wolves were associated with Odin's warriors. As this ring is made of iron it may very well have been a ring for a warrior dedicated to Odin. It could also be the ring of a metal smith, but more particularly an iron metal smith (such as a maker of weapons?). This may imply that the iron used for this ring was from meteorite iron; possibly from the iron of a well known ancient meteorite event; perhaps a meteorite that had been associated with a wolf or a fox? There is much speculation among Norse enthusiasts that the one-eyed god Wodan or Odin may have originally been a god of metal smiths. The Viking Axe Head 1 shown with this collection may give credence to this theory. The fact that this iron ring has traces of gold gilt implies a solar connection. If the iron used was related to an ancient meteorite event, then most likely this iron had been from the Kaali crater on the island of Saaremaa. This island, which is located off the coast of modern day Estonia, is where a great meteorite event happened, that is, according to modern geologists. From copied works it is recorded that the 3rd C. BC Greek explorer Pytheas stated that "the Aests showed him the sun's grave, or a place where the sun fell asleep." The Aests are thought to be the Aestii who were a Finnic people (Known by the Romans to be from the area of modern day Estonia) and this place "of a sleeping sun" is speculated to be the Kaali crater (now a small lake). There are 9 craters from the ancient meteorite impact but the Kaali Crater is the largest. The timing of this event is debated but according to geologists it had either been an ancient event (Circa 800 to 400 BC) or a very ancient event (Circa 6,000 BC to 2,000 BC). According to archeologists there is evidence that the crater once had been encircled by a wall, with a fort with five towers (note the segmented diagonal line on the right diamond part of this ring's bezel may represent 5 pillars ?), and smitheries. Another possibility is that this ring may be a symbol of the Norse mythological smith Volund (known to the Anglo Saxons as Weland, or to the Germans as Wieland). Volund who was the maker of the sword Gram (the sword in the Story of the Volsungs) may be of a Finnic origin, possibly of the Sami of Lapland. Part of Volund's story is that he and his two brothers find three swan maidens (Valkyries) bathing near a lake. They take these swan maidens for wives, but after seven years the swan maidens are called to duty. Volund's brothers go in search of their wives, but Volund stays at home. In the saga (story) the name of this home is Wolfsdale and the name of the lake (where Volund and his brothers had first seen the swan maidens) is Wolf Lake. There may or may not be a connection with the wolf symbolism of this ring, the mythological Wolf Lake, and, or an unknown wolf legend of Kaali Crater Lake. The diamond on the double diamond ring may also represent the Germanic Saxon or Danish Viking rune for the god Ing (or Eng), the segmented line may represent the rune Isa. The god Ing was a fertility god that was the equivalent of the Viking god Frey, he was known in Denmark as Ing. It is thought that this god gave the Anglo Saxons of Britain their name. The Ynglings (a founding Royal line of Sweden) are supposed to be descended from the god Ing.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

Revised on 09-NOV-05

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Viking Odinic Gungnir (Mystical Spear) Shield Ring

This is an 8th to 10th C. AD billon round shield ring that probably belonged to a Saxon or Viking warrior. Centered on the ring's bezel is a spearhead or lance head. Flanking this spearhead engraving are two lightning bolts that are also two runes (which actually represent thunder). The runes could be Viking but they could also be Hungarian/Magyar Rovas (runes)*. The lighting bolt rune on the right is topped with a “Y” shape. The lighting bolt rune on the left is topped with a trident or cross shape. These two lightning bolt runes also appear as two working sticks as in the making of the spearhead. The iconography on the ring's bezel also looks like the spearhead is centered on top of the A frame of a building, hut, or tent (Yurt?) top. That said, there appears to be in the center a third rune which includes the spearhead and the shape of an X combined, this could represent a rune for symbolizing a storm. The complete engraving gives the appearance of an angry face with a hat or helmet, in Viking art this is just as Wodan (or Odin) as a war god is usually depicted. Flanking the bezel on the band are stylized splayed wolves. There appear to be indentations in the shape of V V or Y Y with each wolf, or also as W’s for Wodan, or for two wolf fangs, the word wolf (or the Anglo Saxon word wulf) does take two front teeth to say that word? The engravings on this ring at first glance look like a symbol or depiction of the Germanic god Wodan or the Viking god Odin and a mystical spearhead. According to this iconography it appears that a mythological or legendary spearhead had been thought to have been made in the heavens, which should symbolize the actual smelting of a spearhead from meteorite iron. All this information translates to the Saxon god Wodan or the Viking god Odin and his mystical spear Gungnir, this is the mythical invincible spear that never misses it's mark and always return's to the god's hand. Both Wodan and Odin were angry war gods and had two companion wolves; also, the spear Gungnir had been given by Loki but it had been made by two magical dwarves, these dwarfs are referred to as the sons of Ivaldi. These runes may represent the letters for these dwarves’ names, or? Although a spearhead, this weapon has a resemblance to the sword Excalibur in the King Arthur tales. Due to the magical rune lightning (meteorite) metal theme with this ring's art I am convinced that the Vikings may have gained this influence from a more Northern people, or from an Eastern people, or from both. Speculation on who the more Northern people would have been are the ancient Sami of Lapland. Speculations on who the Eastern people may have been include the Huns, the Sarmatians, the Magyars, and possibly the Avars.

* If Rova's, according to modern decipherment the two runes shown on the ring's bezel could read as T and Sz. This may be of the Teutonic war god Tiwez but it also could be of Thiazi, the Norse Giant and father of Skadi. In my opinion this Norse Giant that who was associated with riches had once been a smith god, if so then this may show that the one eyed god Odin had originally been connected to a weapons smith, or perhaps had been a god of weapons smiths. Others have speculated for years that because Wodan (or Odin) had one eye he should be associated with an ancient smith, the reason for this speculation is due to the protective eye patch worn by ancient smiths. The two dwarfs as the sons of Ivaldi mentioned in the making of the spear Gungnir may possibly be connected to the two stars of the Giant Thaizi. If so then it should be no coincidence that the father of Thaizi was named Olvaldi.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

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Byzantine Viking Thiazi/Skadi Ring

This is a Byzantine styled 10th to 13th C. AD bronze Viking ring. The bezel has a stylized depiction of a face with a pointed cap (possibly also representing a mountain) and two eyes. The face also has a line figure that looks like it has long streamer type hair, moving on skis, and holding an upright stick. The face should be that of the Giant Thiaz; the skier should be his daughter, the Norse goddess Skadi (aka Skada, Scandinavia is named for her). If the ring is turned upside down it shows what looks like a pile of rocks on the top half, with two eyes, a dot nose, and under this an open mouth shaped like a V triangle with a beard and mustache (it looks very much like a snowman). This probably represents the Giant Olvaldi (Alvaldi), Thiaz’s father and Skadi’s grandfather. The Norse story of the goddess Skadi tells that her grandfather Olvadi was very rich. When he died he gave each of his three sons a mouthful of gold; these sons were Thaiz, Idi, and Gang. Thiazi became tangled up with the trickster Loki and because of this relationship got into a dispute with the Aesir (Norse gods), they unknowingly (Loki's work) killed him. Skadi, who was a huntress goddess, went to seek revenge but was thwarted when her claim was deemed legitimate. In compensation Odin as chief of the gods offered her a choice of a god for a husband. She chose Njord, the Norse god of the wind and sea, thinking that he was the handsome Balder, the Norse sun god. As additional compensation to Skadi Odin took Thiaz’s eyes and tossed them into the heavens turning them into two stars. Njord and Skadi did not pair well so Skadi left Njord and according to some, then went with Uller, the Norse god of winter. According to others this did not work out either, so Skadi became a lone goddess who according to some accounts, would only couple with Odin. This semi-virgin goddess was the Norse goddess of the hunt, the bow and arrow, winter, skiing, forests, and mountains. She is also a goddess of justice and vengeance. She is last mentioned in the Norse Sagas as the goddess who was tasked to put a poisonous serpent dripping venom over Loki’s head, this was when Loki was bound by the gods for being responsible for the death of Balder. If the runes on the on the Viking Odic Gungnir Ring posted on this website are Rova's (Hungarian/Magyar runes), they may indicate that her father Thiaz may have been a smith. However as a smith of the heavens, he became a smith god? Some believe that Hans Christian Anderson’s characters the “Ice Princess” and the “Snow Queen” were based on Skadi.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

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Viking Eye Of Odin Ring

This is a bronze silvered Viking ring that could be from the 9th to the 14th C AD. The thinness of this ring suggests that it was made for ceremonial purposes. The ring shows a stylized line engraving with an "X" (a cross could also be suggested).contained in an eye-shaped bezel. This most likely represents the face of the Germanic Saxon god Wodan, or the Norse Viking god Odin, with long hair and a beard. Turned upside down, the ring will show the same design. Wodan, and particularly Odin, was a two faced god. Turned on its side, the bezel will show another face with a pointed hat and pointed chin. On the other side, it will show a slightly different version of this pointed face. The engravings probably represent the eye of Odin, which may be associated with Odin as a creator god or as the god of wisdom. Odin as a world creator god was assisted by his two brothers, Vili and Ve. Loki is Odin's blood brother (some see this as a codex for a secret brother, or perhaps as a bastard brother, so this may be the other side to Odin on the ring.) This ring may be of the three Odinic brothers as the eye of creation. As mentioned before, another possibility is that this eye represents the eye of wisdom. This is Odin's eye that he gave the giant Mimir for a drink from the well of wisdom; this well was at the bottom of the Viking world tree (the ash tree named Yggdrasil). Later on, when Mimir was killed, Odin kept his head as a source of reflection and intuition (Odin talked to this head). In essence, Mimir is Odin's eye of wisdom. As Odin's one eye was said to be fiery like the sun; it is without a doubt that his eye of wisdom was of the moon and the occult.

Copyright 2005 David Xavier Kenney

Posted on 20-OCT-05

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French or Norman Crusader Knight's Iron Cross Standard Finial

This is a French or Norman Crusader Knight's (or Eastern Saxon, or Kievan Rus Knight's?) Iron Cross Standard Finial of the 13th C AD. The cross's outline has been made to appear as an animal face (very likely a bear face). As it is made of iron, it is a military cross. The bottom arm of the cross is made as a Medieval arrowhead, thus it is a Crusader cross. Notice that one of the horizontal arms is longer than the other; this type of cross can be seen cleverly disguised on some Knight Templar seals.

Copyright 2007 David Xavier Kenney

Posted on 01-MAY-07

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Kievan Rus Naval Standard Finial

A Kievan Rus Naval Iron Standard Finial of the 11th to 12th C. This may or may not be of the Varangian Guards.

Copyright 2007 David Xavier Kenney

Posted on 01-MAY-07

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Viking Axe Head 1

This is a Rus Viking (Kievan, or Eastern Viking) Iron Axe head from somewhere between the 9th to 13th C. AD. The length of the ax head is 21 cm. The main battle weapon of most Vikings was the spear, but axes along with swords were also used. Most Vikings carried a number of axes both for utility and as weapons. This type of axe head could be used as a hammer and as a weapon (although the hammer end so no signs of wear). It is quite possible that this had been used as a throwing axe. There is engraving on the piece which incorporates some of the form of the axe head in profile. The engraving and shape suggest a wolf’s head (or fox head?) at the hammer end, blowing a flame which can be seen on the blade. The wolf’s eye shows more deterioration than the rest of the piece and had been applied on the axe from different iron. I am speculating that the eye was from a piece of meteorite iron. The original Viking owner may have belonged to a cult of the Viking god Odin as wolves were sacred to this god (or had been a Christian Viking who had been a member of such a group). The possibility of a warrior wolf cult as having been of the berserkers cannot be ruled out. The use of meteorite iron for the wolf’s eye would be very significant. This would mean that the smith that had forged the axe head was expecting to harness the power of the heavens (according to an unknown Viking or other Northern European legend of a meteorite event?) for his client’s aim and force. The only legend of this type of celestial wolf that I am aware of is not European, but Asian. The small clan that Genghis Khan came from claimed that they were descended from a legendary founder who came from the skies. The name of this tribe was the Borjigin, which means “of the Blue Wolf.” Genghis Khan’s birth name had been Temujin, which means “the smith.” To date, no one has effectively explained why Genghis Khan had been named Temujin, and given his clan’s legends it may have been a name that came with high expectations. The blowing flame is unique and is usually associated with Medieval dragons. The ancient Dacians of present day Bulgaria and Romania had a wolf-type dragon for a military standard, but it did not depict flames. There is a very remote possibility that this wolf axe head could have had something to do with the monster wolf in Norse mythology known as Fenris, although this would have been extreme even for a Viking, that is if they had a belief in or knew of Norse myth. This axe head along with the other three posted here (for comparison) all have art on only one side of the axe head, the other side is plain. If these weapons were for right handers, then the image would be facing the holder and not shown to others. This suggests that some Vikings were concerned with what secret force were assisting them, and did not want an opponent to see what that was. As shown by the sword Excalibur, mystical weapons are also an important theme in the Arthurian legends. Later I will show the connection between Excalibur and magical battle axes.

Copyright 2005 David Xavier Kenney

Posted on 1-NOV-05

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Viking Long Axe Volcano Pendant

Here is a large 10th c AD Viking Long Axe Head silver pendant on a large ring that probably would have been sewn to clothing or a leather belt, this would have been used for a religious rite or a festival. The punch dot and engraving shows a volcano with a lava top emitting an eruption. There is a circle with a dot and above this there is another circle with a dot, but with eight dots around it. There are two smaller circle dots on each side where the lava top and the eruption are connected (possibly the eruption and dot circles are in the shape of a bird?). There is an “x” on the axe’s head and a rake with three horizontal nubs. This art appears to show a Norse creation myth that is unknown but coincides with the Norse concept of Muspelheim (a southern land of fire and destruction), which meets with a northern land of ice and fog (Niflheim), which creates Ymir, the primeval giant and the cow Adhumla. This is the beginning of the world's creation. Although in a different part of the Norse creation myth the two vertical circles in the art may show the male moon god (Mani) as the bottom circle and the female sun goddess (Sola) as the top circle (or the other way around?). The two horizontal circles could represent the female night (the goddess Nott) and the male god of the dawn, Dellinger, or his son Dag, the god of daylight. If not of Nott and Dellinger (or Dag) then the two smaller horizontal circles may be the two wolves Hati and Skul that chase Mani and Sol. As Muspelheim is in the south, one of the ancient volcanic eruptions of the Mediterranean would be the most likely source for Muspelheim. Or, this place could have been a reference to Iceland with its active volcano Hekla (or Hecla), discovered and settled in the 9th c AD by the Norse. The Vendel people (a pre Viking Era Scandinavian people) or the coastal Sami of Lapland may have known of the Icelandic volcano from an unknown source. Legends travel, an example of this is the legendary land of Thule of the Hyperboreans. This mysterious place and it’s people had been recorded in ancient times by the Greeks. The location was given as being north of the north winds, it was thought by the Medieval Norse and Germans to be Iceland. Looking closer at the art on the axe head pendant, it may be symbolic of birth coinciding with the female monthly cycle. It should be noted that, as with the art of the fire breathing wolf’s head which appears on the axe head tool (also in this collection as Viking Axe Head 1) that certain Norse axe heads were associated with an event connected to the element of fire.

Copyright 2005 David Xavier Kenney

Posted on 29-NOV-05

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Viking Axe Head 2 (For Comparison With Viking Axe Head 1)

This is a small Rus Viking (Kievan, or Eastern Viking) Iron Axe head dating anywhere from the 9th through 13th C. AD. The length is 15 cm. This type of axe head could be used as a hammer, a chopping tool, or a weapon. This axe has the appearance of a horse’s head when viewed in profile.

Copyright 2005 David Xavier Kenney

Posted on 1-NOV-05

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Viking Axe Head 3 (For Comparison With Viking Axe Head 1)

This is a small Rus Viking (Kievan, or Eastern Viking) Bearded Iron Ax head dating from the 9th through 13th C. AD. The length is 15 cm. This type of axe head could be used as a hammer, a chopping tool, or as a weapon. The shape and where there is an eye shows resemblance on the hammer head end to a boar or a pig, There is a face on the hammer end that has a spear head (or tree?) as a nose. The right eye on this piece (left to the viewer) has the same type of special iron as the eye of the wolf axe head. (It should be noted that this is the right eye, whereas on the wolf head axe it is the left eye in profile.) This difference if meteorite metal may possibly represent the sun vs. the heavens, or?

Copyright 2005 David Xavier Kenney

Posted on 1-NOV-05

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Viking Axe Head 4 (For Comparison With Viking Axe Head 1)

This is a small Rus Viking (Kievan, or Eastern Viking) Iron Ax head from the 9th through 13th C. AD. The length is 17 cm This type of axe head could be used as a hammer, chopping tool, or weapon. There is a bear face on the hammer side and a Cyrillic (Slavic) letter for “P.” Next to this to the left is a very faint circle (or semi-circle) with an “X” in the center (Cyrillic letter for K); the circle has small dashes around it. There may or may not be the letter A next to the P. This may read something like “Kurrra.” In Old Norse (13th C. Icelandic/Norwegian) this would translate as “to growl” or “growler.” This shape may be similar (in some of it's form) to a bear claw.

Copyright 2005 David Xavier Kenney

Posted on 1-NOV-05

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GERMAN KNIGHT'S OR VARANGIAN GUARD'S PASSION BATTLE AXEHEAD

Copyright 2006 David Xavier Kenney

Posted on 12-MAR-06

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Eastern Saxon or Kievan Viking Ring

I believe this to be an 8th to 11th C. gold (speculation is that the gold content is between 10 to 15K) Eastern Saxon or Kievan Viking Ring. The ring has some thin patina and has not been cleaned, The gold may represent something solar or something to do with solar heat. The bezel shows a line and scratch drawing of a wolf (or fox, or dog) looking back over its shoulder at its tail. The possibility of this representing a wingless griffin cannot be ruled out, but considering the complete symbolism (later explained) it is unlikely. Above this figure is what appears to be a comet or meteor fire ball (shooting star) shape connected to the tail. It should noted that the wolf’s legs and front paws are formed from heavier scratch work which appears to represent more abundant fur. There are 3 dots, one for the wolf’s eye, one on the wolf’s left shoulder, and one on the wolf’s hindquarters. If these dots were connected, they would form a horizontal wedge shape. This wedge shape may represent an ax head or it could represent something else, perhaps part of a constellation (Canis Major?). If not, then it should represent something significant, as it is very distinct. The wolf and tail symbolism could be from a fox story. The Finns call the Aurora Borealis (Northern Lights) “fox fires” (in Finnish, revontulet). There are various stories speculating why this natural phenomenon is called “fox fires,” but the most well known is that a running Arctic fox’s tail creates flying sparks (reflections from the snow?). The name revontulet and this folk tale are thought to originate from the Sami of Lapland. The Arctic fox is the only mammal that has a color that morphs. Some Arctic foxes are white, and others blue during the Arctic winter months. Those that are white will morph to gray in summer and those that are blue will morph to brown in summer; they are therefore associated with colors that change. The Arctic fox’s feet have more abundant fur, which the Sami associate with a rabbit's feet. The fact that the Finnish/Sami story is of a fox should not be restricted to just that animal, as it could also suggest that the Arctic fox may in the past have been interchangeable with the wolf, perhaps the Arctic wolf, or even a dog. The Arctic wolf’s colors vary (although not from season to season) and can be red, white, gray, and black. The wolf (or fox or dog) and tail shown on this bezel could fit in somewhat with this story, except that the comet shape or meteor fire ball is distinct. It can be expected though that ancient peoples may have thought that meteors originated from constellations, planets, the sun, or the moon.

I have seen countless examples of this type of rustic Byzantine art from the Migration Period up until the Late Medieval Period, and believe that if a jewelry artist was attempting to show the Northern Lights then the art would do just that, as abstract as this type of art may be, it is usually exact. As stated, the image in this drawing looks much more like a comet or meteor fire ball. This ring could be symbolic of a meteor event that is associated with a wolf, but more specifically with a wolf’s tail. The trail or train that a meteor or meteor fire ball creates (a fire ball looks much like a comet) could be associated with an animal’s tail as depicted in this ring; or with a spear; or a sword blade. These could all be associated with a meteorite impact event. Specifically, this ring may represent the meteorite impact which formed the Kaali Crater on the Island of Saaremaa off the coast of Estonia.

If the ring is turned sideways, it shows a squinting face with one eye. The one-eyed face shown does not fit with any type of animal legend that I know of, but rather it should be associated with a metal smith. The metal smith of legend that first comes to mind is Volund. Volund has some traits that are in common with the god Odin. (See the Viking Odinic Iron Diamond Ring with this collection). What is evident is that the one eyed face is connected to a wolf and a meteor. This identity may have been for a type of metal smith guild, a religious group, a tribe, or all of those. Any meteorite with an iron content must have been legendary; particularly so prior to the advent of the Iron Age. There is a possibility that the Finnish story of the fox fires may have been interchangeable with a meteorite event. The Kaali Crater may have been part of legends associated with weapon making. If so then this legend could have been the inspiration for the Arthurian Excalibur named first as Caliburnus by Geoffrey of Monmouth, also possibly other legendary swords of Nordic and Celtic legends. The sword Caliburnus was supposed to have been forged on a the mystical Island of Avalon (Apple Isle) where at the end of Geoffrey’s story King Arthur is taken to be healed. In later texts by other writers the sword is called Excalibur (a French word) and is associated with the magician Merlin. Some believe that this word originates from the legendary Irish sword Caladbolg (Irish for hard lightning). If so then lightning may have easily been associated with a meteor event. The origin of the word Caliburnus or Caliburn is highly debated. It could be a Medieval writer’s invention or it could be ancient, possibly very ancient. I have no idea about the origin of the name Kaali, of the Kaali Crater. It may be a coincidence that it sounds close to the first part of Caliburnus, as in Cali. If there is anything to this coincidence then I expect that it will be found with the Sami of Lapland and may be associated with something to do with heroes, shamans, iron, smithing, wolves, foxes, or dogs.

It should be noted that the author (and a former President of Estonia) Lennart Meri has written a couple of books on the Kaali crater. Although I have not read these books (yet), it is well known that he presents an excellent hypothesis that the Kaali meteor event is referenced in the Kalevala (published in 1835 by Elias Lonnrot it is a Finnish national epic poem of folk legends, Kalevala means land of heroes) and had influence on Finnic, Nordic, and Germanic legends and their pre Christian religious beliefs. The original source of the information on the travels of Pytheas (mentioned in the description of the Viking Odinic Iron Diamond Ring in this collection) most likely came from one of Lennart Meri’s books. In fact this ring may represent something concerning Seppo Illmarnen (Eternal hammer) who is the magical metal smith in the Kalevala. Among other things Seppo fashions the Sampo (an unknown object that brings luck to the owner) and the dome of the sky.

The crater at Kaali may have been the inspiration of an ancient Finnic/Nordic people worshipping a creator god or god of metalsmiths, perhaps associated with the sun or a constellation, or both. If this place had been a source (possibly even a hidden source) for meteorite iron, then the group connected to this may have had great prestige with other peoples. Even well into the Iron Age, when iron became abundant due to mining, this particular iron may have been highly prized.

The wolf motif is a very well known symbol of the famed swords (or blades) of the Baverian City of Passau and the German City of Solingen. Their symbol, which is a running wolf, was first used in the 14th Century AD by the sword makers of Passau and then later in the 15th Century by the sword makers of Solingen. No one knows where this symbol came from, but when German swords surpassed those that were made in Toledo, Spain, the running wolf mark became famous throughout Europe as a trademark of excellence. Some of these running wolf marks have a double running wolf (over and under) which in part looks like a double diamond (See the Viking Odinic Iron Diamond Ring with this collection). There may be a connection between the origin of the running wolf mark of Passau and Solingen steel and a Baltic wolf (or fox or dog) legend associated with iron smithing. The flying sparks mentioned in the Finnish running Artic fox legend "fox fires" could be considered as similar to the hammering of hot metal at a forge. This legend may have been known, or known in part, or may have been a forgotten legend that continued only as a tradition.

Copyright 2005 David Xavier Kenney

Posted on 14-NOV-05

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Late Medieval By- Knife With Sword In The Stone Maker's Mark

This is a Late Medieval By- Knife with maker's mark. The maker's mark has an inverted cruciform sword that also has; a cross, three balls, and is topped by a letter S (made as a serpent or dragon). The outline may also show a sword puller and a hound's head. Upside down it may depict; a crown (with three balls), a cross, and two plumes. This may be the maker's mark of a guild or an individual. It is currently being researched as possibly being of an unknown blade maker, perhaps from Chambery, possibly connected to the House of Savoy.

INFO. WITH A POSSIABLE MEDIEVAL ARTHURIAN CONNECTION TO SOON FOLLOW.

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Medieval French or Norman Miniature Sword Punch Dagger

This as ARTIFACT # 1 is a Medieval French or Norman miniature silver sword punch dagger that has traces of gold gilt circa 12th to 14th c AD. There is a small amount of rust, which suggests that there is an iron or steel tang and spike under the silver. Of course the only way to verify this would be to x-ray the dagger. The dagger is 16 cm in length and 3 ½ cm at its widest part. The blade’s edges are blunt. The traces of gilding can be seen only on the handle. The dagger is balanced where the shield guard meets the handle. It is also amply balanced for throwing. Although this dagger could have been made for novelty, it very likely was designed to be used as a small punch dagger...Click here for more information and images.

Copyright 2005 David Xavier Kenney

Posted on 29-NOV-05

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Papal Bulla Of Pope Gregory IX

Found in Norfok, England this is a lead alloy Bulla (Papal Correspondence Seal) of Pope Gregory IX (Pontiff 1227 to 1241). The depictions of the two heads on the obverse is of St. Peter and St. Paul. The inscription reads: (Obverse) SPA . SPE, (Reverse) GRE . GORIVS . PP . VIIII.

INFO. POSSIABLY CONNECTING POPE GREGORY IX AND KING HENRY III (OF ENGLAND) TO THE MEDEVIAL ARTHURIAN TO SOON BE POSTED

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Medieval Shield Arms Applique of Edmund Crouchback

This is a Bronze (with traces of gold gilding) Shield Arms applique of Edmund Crouchback, 1st Earl Of Lancaster (1245 to 1296), second surviving son of Henry the III of England, brother and Cadet to Edward I of England. The applique shows the three leopards (aka lions) of England (late Arms of Richard I) with an extremely rare four points (each charged with three fleur-de-lys ) on the label. Usually these Arms show three or five points. This is only seen with one other example, that is on the tomb of Edmund Crouchback.

INFO. WITH EDMUND CROCHBACK'S MEDEVIAL ARTHURIAN CONNECTION TO SOON FOLLOW.

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Shang (?) Jade and Iron Dagger (or Miniature Sword)

This jade and iron (alloy?) dagger was purchased from a jade collector in California as a Shaman King’s Meteorite Dagger of the Shang Dynasty (1523 to 1027 BC). Speculation that this object dates from the last days of the Shang Dynasty is based on the jade and metal analysis of the collector/dealer; the motifs are definitely of the Shang Dynasty. In my opinion, the shape of the dagger is meant to represent a miniature Shang short sword blade. The object was also described as being from a legendary great shaman king’s tomb from approximately the 11th to 10th c BC. This tomb was supposedly discovered in 1946, in a mountain of the Honan province. The blade is purported to be of meteorite metal. These attributions may or may not be accurate. I have no way of verifying the first claim and so therefore I will not elaborate on it. As for the second claim, an ancient weapons expert explained that without melting down a portion of the iron there is no way to verify if the metal is or has meteorite metal. This makes sense and therefore to my knowledge the only way to give partial verification to this claim is to study the art and symbols on the artifact.

The white jade handle, iron blade, and white translucent jade case are 18 cms long. The blade itself is 6 cms long. There are twelve Shang taoties (a taotie is a creature’s face, often the face of a combination creature, in the Shang style of art) on the object; four on the bottom of the handle, four on the bottom of the case and four on top of the case. On one side of the handle there is an unknown Shang symbol and another one on the case. Combined with the twelve taoties, this makes fourteen motifs. In my opinion, the taoties (when the blade is down) appear to be of reindeer (or stags?). The symbol on the case (when the blade is down) may be of a metal smith, but with a horned face on the stomach it suggests a metal smith with a horned animal son, or the animal son symbol for a metal such as iron? The symbol on the case (with the smooth end down) appears to have two bowed vertical lines flanking a horizontal line, beneath this is what looks like a trident vessel with a covering? If my speculations are correct, I interpret the taoties and the symbols as follows: the white reindeer (or stag) is a symbol for lightning (the antlers of either animal could have been viewed as a symbol for lightning); the smith and son are the metal maker and the metal; the two bowed lines and horizontal line should represent a passageway; and the trident vessel should represent a female vessel, perhaps with the trident associating her with war or royalty, or both. The lightning should represent a comet or meteor. The symbols including the taoties may have a different meaning when the sword and case are upright. It should be noted that when the dagger has the case on, it gives the appearance of a finger but also a comet or meteor. The translucent jade case should be no coincidence, as if the blade were to be heated red hot then enclosed in the case then this would indeed make the jade appear as a miniature comet or meteor. The possibility that this may have been used in an actual metal smith fertility rite cannot be ruled out. Women do in fact figure into the making of swords in some Chinese legends. It is my speculation that this was meant to be seen as a sword coming from a constellation (the Big Dipper may have been seen as a reindeer head or a stag head) or a sword brought by a celestial smith god to a war goddess or royal woman. It is thought by most historians that iron did not come into use by the ancient Chinese until the Warring States period, although in my opinion there are findings that dispute this.

Nowhere are there as many stories of mystical weapons as there are in China. The most famous of these stories has to do with the Chinese swords Kan-chiang and Mo-yeh, aka the legendary swords of good and evil, they are named for the sword smith and his wife of the same names. There are many versions of this story, with some being fanciful and others being gory. The gorier versions remind one a bit of the Nordic metal smith Volund’s story. On a website with information titled Trival Pusuits (Page of Myths), written by Sylvia Volk, there is a version of this tale titled The Magic Swords. In this version of the story, the metal smith Kan-chiang takes 3 years to create two swords (one male and the other female). The king finds out and becomes enraged, as he considers this to be a threat (due to an oracle?). This occurs just as Kan-chiang’s wife is about to give birth.. Kan-chiang hears of the king’s rage and tells his wife that if the child is a boy, to have him at a certain age go to a certain south hill and there will be a sword (this is the male sword) stuck in a pine tree that is on a stone (notice the similarities between the Viking Gram sword, the Viking Hrolf sword and of course the sword in the stone of Arthurian lore). Kan-chiang delivers the female sword and the king kills him. When Kan-chiang’s son Ch'ih comes of age his mother Mo-yeh tells him the story. He goes and finds the pine on the stone but no sword, so he takes his axe and halves the pine and finds the sword. The king hears of Ch'ih and offers a reward for his head. Ch'ih flees to the mountains where he meets a stranger who offers to avenge Ch'ih’s father if he gives him the sword and his head. Ch'ih does this and the stranger goes to the king for the reward but tells the king that he must boil Chi’ih head in a cauldron as Ch’ih was very brave. The king does this but gets tricked by the stranger, who cuts off the king’s head and puts it in the cauldron. The stranger then cuts off his own head and puts it in the cauldron, and the three heads then become one. The king’s people then divide the head into three parts and bury them at a place called the Tomb of the Three Kings.

There are several things to note:

1. The two swords take three years to create. The male smith has a wife who is also a smith ( a creator) as she gives birth. Creating a sword may have been seen as giving birth. The smith, his wife, and son appear to be the Indo European principle of three.
2. The female sword (made of bronze?) is for the king, but the male sword (made of iron?) is for the avenging hero; in this story the female sword appears to be purely symbolic (of kings?).
3. The sword in the tree that is initially stuck in a tree, but then years later is hidden within the tree: this legend may have been from stories of a tree where meteorite metal had been embedded and then later enveloped by a tree, only to be found when the tree was cut open. A tree growing on a rock or partially on a rock is not unheard of but it is always deemed special by any local people.
4. The three heads (or three skulls) in a circle is a motif that can be seen with the ancient Celts and ancient Germanic peoples, but also with the Scythians. Thracians and Anatolians but in a more stylized version. This may be a symbol of the male sword but also of an ancient god or an ideal type of battle leader, or of kingship. In the Magic Sword story, the three heads are from a hero (Ch'ih), a magician (stranger), and a king (royal); these three heads in one (circle) may have been considered the perfect type of leader. The three heads in a circle may have also been the symbol of a metal smith or a sword smith, or it may have had some more ancient forgotten meaning. Supposedly the 1st Grand Master of the Knights Templar had a shield with a field of gold and three black heads painted on it. Three balls in a triangle was a symbol of the ancient Germanic Lombards (prior to their entry into Italy). The Thraco Dacians and the Anatolians also had such a symbol. This symbol is also of St. Nicholas (of Anatolia) and pawn shops but always in gold (the St. Nicolas story states that they are three gold coins used by St. Nicholas to free three child virgins sold into prostitution slavery). Three balls are also a symbol of fertility but also possibly a bear head (bear goddess?) in a stylized form (two round bear ears and a central round nose). It appears that the Lombards may have used the three ball symbol to represent their fertility goddess (a bear goddess?). The Chinese story of the Magic Swords should show that the Shang had weapons smiths who associated fertility and sword making as one in the same. In fact the male sword and the female sword may be the same sword and the son may represent that metal (or iron) can be reforged if broken. This may have been enhanced by a projection of the metal (iron) coming from a god or goddess in the heavens in the form of meteorite metal. In essence an invincible sword made or sent, or made and sent from the gods. The three heads made into one head may mean a circle with three heads, as in the three heads being a symbol of the female principle and the whole being a male principle. The fact that the king’s people divide the whole head into three parts says that it is brought back to the female principle when buried. Or it could be that the three heads symbolize the male and the whole head represents the female?
5. This story most likely is from the Shang era as the warlike Shang did in fact sacrifice war captives’ heads to their war god. This seemed to be a regular part of their ritual, as they had specific raids on other peoples for the purpose of collecting sacrificial victims.
6. The concept of having a woman involved in the arrival of a sword is reminiscent of the “Lady of the Lake” in the Arthuian Legends. It should be noted that there are in fact two swords in those legends: Excalibur as the sword in the stone (lightening as in the male principle); and the second version of Excalibur from the Lady of the Lake (water as in the female principle).

In my opinion the Shang may have used or been influenced by shamans from their most northerly neighbors. If so, then a good many of their beliefs would have come from a more primitive nomadic source. The people that I believe can give some answers to the art of the Shang are the Evenki people of Eastern Siberia. These people are believed to be of Mongolian and Turkic stock. They speak an Altaic language and their religion is shamanistic, which includes a cult of the bear (the bear’s head is a central feature). They are hunters, reindeer herders, and fishermen. Wild white reindeers are considered sacred by their hunters and are not hunted (this is similar with the white stag among some traditional American hunters). They wear furs and live in conical tents, and they are nomadic and ride reindeers. If a meteorite event or if meteorite metal had been first found in a region where an ancient people like the Evenki were located, then it could be that the animal art of those people would become highly revered by their southern neighbors. These people may also have been an original source for that metal. The reindeer taoties on this Shang dagger and case may have been a white lightning god seen as a white reindeer (or stag) of an ancient nomadic people like the Evenki. There are theories that the original inhabitants of the Korean peninsular were a people of the Evenki or a people like the Evenki.

Copyright 2006 David Xavier Kenney

Posted: 27-Mar-06

This green jade and iron (alloy?) sword was purchased from a jade collector in California. It was described as a Warring Kings Meteorite San Xing Dui (aka Sanxingdui)* Sword of the Xiongnu Empire (403 to 221 BC). It was also attributed to be a magical protector weapon from the Maodun’s plundered jade treasure trove. The Maodun was a Yuezhi (the Yuezhi were an eastern Scythian type people) who became the ruler of the Xiongnu Empire and then conquered his own people. These attributions may or may not be so. I have no way of verifying the origin of the sword, and so therefore I will not elaborate on that. As for the claim that it is of meteorite metal, an ancient weapons expert explained that without melting down of a portion of the iron there is no way to verify if the metal is or has meteorite metal. The Sanxingdui art which is typical of 1,200 BC was probably copied based on a Xiongnu knowledge of the Sanxingdui. Dating this from the Xiongnu Empire was done based on the jade and metal analysis of the collector / dealer; the motifs are definitely in the Sanxingdui style.

The green jade handle and iron blade is 52-1/2 cms long and had been polished prior to acquisition. The blade itself is 35-1/2 cms long. The handle’s pommel is shaped like a head on both sides, but turned with the pommel down it shows a fish hawk type head (Osprey) on each end. The top of the pommel shows an eye inside a lotus like flower. On the handle’s grip it shows a cicanda creature on each side. On the portion of the handle that is similar to a guard there are 12 motifs of two designs that alternate. One design has an X type motif and the other has three circular swirls in a circle; from a distance the three swirling patterns look like circles. The blade has waves all along its cutting edge. This chopping sword type is known as a dao, and is thought to be the first Chinese sword. Amazingly there is a good balance with this ceremonial weapon for up and down movement. This balance is with the jade handle and interestingly it is centered where the X’s and swirl motif is. It is possible that this weapon had been used in a sword dance ceremony, although the holder would probably have had to have a hand that was at least the size of an American glove size 11 (which, all considered, is rather large).

Although unlikely, there is a possibility that the handle had originally been from a 1,200 C. BC Sanxingdui bronze ceremonial sword (or, it could have been from an original iron sword in which the iron had deteriorated (although according to most historians iron weapons in the East did not exist during that period?). The blade could have been replaced during the Warring States Period. The art of the handle of the sword is most typical of the Sanxingdui culture, featuring large animal ears, a long nose, mask like eyes, and a horizontal line for a mouth. The fish hawk heads may be unique or they may also be on some of the statues of Sanxingdui, but have gone unnoticed (a consideration is that if the fish hawk had been known to the Sanxingdui as a type of “thunder bird” then the meteorite metal attribution may be in fact so). This small detail of the fish hawk heads may give a clue to the origin of the Sanxingdui’s art, possibly of the origins of the Sanxingdui people themselves. In my opinion the cicada creature shown on each side of the handle is either a fish or a combination creature of a cicada and a fish (a sea cicada?). The cicada is a symbol of regeneration to the Chinese. The motifs near the guard end of the handle appear to be almost exact as to what is seen in Celtic and later Germanic art of the Migration Period (Sarmatians, Huns, or Avars?). This motif is close to what was described for the previous artifact (Shang Dagger) with the story of “The Magical Swords” and the three heads. They may be symbolic of regeneration or invincibility, but the motif may also be symbolic of a sword smith. It is possible that this sword was used ceremonially as a symbolic flying sword that had to do with controlling, fighting, or protecting against the weather, but also in connection with regeneration. The sword blade’s wavy edges suggest clouds, or wings, or both; when held with the pommel down the two fish hawk head’s faces will show. The eye at the top of the pommel is an all-seeing motif (but also a creation motif); the lotus to the Chinese is known as a sign of regeneration and good luck; it is called a sea rose. The cicada was a symbol of regeneration under the Han Dynasty (202 to 220 AD) and was used in funerary rites. My speculation is that the art shown in this sword may be connected to a Chinese myth about a mythological creature known as the Kun Peng. This is a fish known as Kun that lives in the north sea that turns into a huge bird that then becomes known as Peng. This bird is so big that its wings can appear as clouds in the sky. When there is a storm in the north sea the Kun Peng will fly to the south sea. This myth was no doubt inspired by some ancient who was impressed when he saw a fish hawk with a fish. The north south movement suggests a migration of people of that totem? More important is that this may give clues about the location that the Sanxingdui were influenced by or originated from. An ancient people archeologists know only as the Okhotsk people may have been the group from which the Sanxingdui originated. The descendants of the Okhotsk may be the Koryak people of the Kamchatka region on the coast of the Okhotsk Sea. The Koryak on the coast are a settled people, while those more inland are nomadic. The Koryak in fact have a primary belief in a bird god founder/protector known as “Big Raven.” The culture of the Koryak should give clues as to the origins of the Sanxingdui and their ancient belief system. Other tribal people of that region and the Evenki people should also be considered. Another possibility could be an ancient people who were related to the ancestors of the Ainu of Japan.

The symbolism of this sword appears to have something to do with protection, weather, and rebirth, possibly something that only the Sanxingdui or their descendants may have known about. The fact that there are no traces of gold on this sword suggest that it was not of or for any type of royalty, nevertheless a royal connection cannot be completely ruled out. This sword may give some idea as to the Arthurian concept of a returning warrior or ruler, aided by a legendary sword of a Merlin type sorcerer (a sorcerer of a weather deity?).

* The mysterious Sanxingdui in Sichuan Province were an ancient people who were only discovered in the last century. This was the capital of the kingdom of Shu and is in an area known by the local people as the “three star mounds;” could this be the burial place of “The Three Kings” of the Magical Swords story? If so then the three star mounds could symbolize the handle of the Big Dipper or the stars of the Belt of Orion, the three heads may or may not be part of this symbolism. Although the initial discovery for the Sanxingdui was in the 1920’s verification for this culture came in 1986 and with great fanfare. The dates of this culture are still debated but speculations are that the Sanxingdui rose in the 13th C. BC and mysteriously disappeared in the 3rd or 2nd C. BC. The Sanxingdui left no written language and there is no mention of these people in ancient records. There are many questions about these people, but none so much as what their style of art represents about their beliefs. There are bronzes of different types, but the most interesting sculptures look the way the jade handle on this sword does. Some of the bronze works are masks that were put on poles, there are some that are partially in hammered gold. Excavations continue at the archeological site known as the three star mounds, new information on these mysterious people is very much anticipated.

Copyright 2006 David Xavier Kenney

Posted: 28-Mar-06

Royal Kraton (Palace) Meteorite Keris

This is a rare Royal Kraton (Royal Palace at Solo) Keris from the later part of the 19th C. This was originally purchased in Java by a respected Western keris dealer of the early 20th C. The total length of the sword (keris) and sheath (wranka) is 51 cms. The sword is 45 cms with the blade at 33 ½ cms. The handle (hulu) is made of tayuman wood with the carved stylized face of benevolent demons (patras). The bottom tang cup in between two beaded rings (mendak and selut) is encased in gold copper alloy with six topazes, this is a rarity as gems on the tang cup are highly unusual for a Javanese keris (possibly a sign of position or status or for a special ceremony, but for a male or for a female?). The pamur (acid etching) on the blade may be of the pattern of the Kulit Semangka (watermelon skin) but should be researched further; it has a 5 luc (5 curve points with the blade). The sheath’s top (wranka) is in the ladrangan style of Solo (boat like top) with the sunggingan (a painted ladrangan) of the Solo Royal Seal of the Kingdom (this is for royalty and court officials only, the gold paint is real gold). The rest of the sheath (the wooden gandar) is encased in dark red velvet with open work in a gold copper alloy (the metal pendok) that has been laminated with a resin or shellac. The red velvet suggests that this was made for a higher ranking court official as red sheaths are for royalty while brown is the color for court officials, due to the absence of any pure precious metals it is doubtful that this keris had been made for a member of the Sultan’s family. Royal Kraton keris’s are the only keris that are guaranteed to have meteorite metal.

No other national sword has as much mystical quality as the Malaysian keris (there are other styles that are in regions from Southern Thailand to the Philippines). This short sword is a thrusting weapon and could be considered a long dagger, but yet it is usually referred to as a sword. The keris is worn diagonally on the small of the back in a wide sash. The modern keris is not a fighting weapon as much as it is a magical protective symbol. Enough so that the keris’s blade is made dull and is usually never sharpened. The sword is a male symbol with the sheath being seen as a female symbol. Traditionally it was given a name and could even stand in for a groom at a wedding. The success of an entire family could depend on one or more of these swords. Most kerises are handed down from generation to generation (this tradition is called pusaka). There are stories of these swords being able to fly out of their sheaths, attack enemies, and then return to their owner’s hands, there are other stories of flames shooting from the tip of a keris at an enemy. The keris in essence is believed by the Javanese to be highly magical. There is a ritual washing and oiling of the keris that is viewed by some as feeding the keris. During this process arsenic mixed with lime is used, due to the arsenic many 19th C. Westerners thought of the weapon as poisonous. The keris sword smith (Empus, meaning a lord) has his own ritual making his blades as it is he who instills a spirit into the blade. The belief is that a keris must be compatible with its owner or the keris of protection and good fortune could bring misfortune. This belief in protection was so much that a keris attached to the top of a room’s rafters is considered to provide home security. The pamor is the individual distinctive mark (acid etching) on the blade and the dapur is the shape of the blade; both of these are thought to have magical qualities. The origin of the keris is highly debated, but there are examples of Chinese daggers from the Warring States period that do indeed look similar to the keris. The keris in Malaysia has been known since at least the 13th c. AD. This may or may not have been earlier introduced by the Indians with the Hindu cult of Shiva. The keris is very much associated with lightning and meteorites. This may have been part of a traditional folklore but in 1797 it took on new meaning when a meteor (the Prambanan meteor) was found near Solo. This meteorite supposedly fell as a fireball (dates vary but 1729 and 1749 are thought to be possibilities) and was found in two parts, the larger portion (supposedly a one meter cube) was claimed by the reigning Sultan and moved to the Surakarta Kraton (Solo Palace) where the Sultan issued the meteorite metal to be used for kerises for his family and court (this meteorite can be seen at the Kraton). The royal sword smiths, were allowed to take some of this metal for their own use. Today there is much debate on which kerises may have the metal of the Prambanan meteorite (or not). Only royal kerises that are verified are thought to have legitimate claims.

A keris made from metal from the Prambanan meteor is reminiscent of the Irish legendary sword known as Caladbolg (lightning sword) of Fergus mac Roich. The name of this sword is thought by some to be the source for the Welsh Arthurian sword known as Caledfwlch. Geoffrey of Monmouth translated this into Latin as Caliburnus. The French Arthurian writers referred to the sword as Excalibur. The concept of Javanese kerises (but more so with the Royal Kraton kerises) is very much in line with the sword of Arthur.

Copyright 2006 David Xavier Kenney

Posted: 28-Mar-06

Germanic (Saxon?) or Irish Celtic Plaque

From a dealer in the Netherlands, this is a 5th to 8th c. AD lead Germanic (Saxon?) or Vendal (pre-Viking Nordic people) or Celtic Irish or Celtic Irish/Norse Plaque that was most likely a funerary votive for a warrior. The plaque shows a hippogriffin (a winged or wingless horse with an eagle head) with wings (which actually resemble bat wings) which also looks like a headless rider with two legs and another set of legs in front. The two human legs in the front may symbolize a deceased warrior. The plaque is bordered with a fence type motif. The depiction should be a mixture of Nordic and Celtic myths having to do with a Celtic night rider that heralds those who are about to die. There is a headless horseman known in Irish Celtic mythology as Dullahan; this god may have originated from the Irish god of the Harvest Crom Dubh (the city of Dublin is named after this god). In fact Dullahan, being headless, may have once also been a god or goddess of war or associated with a god or goddess of war, as prior to Christianity arriving in Ireland Celtic Irish warriors took the heads of their enemies. The Legend Of Sleepy Hollow's headless horseman is thought to have been inspired by Dullahan.

The plaque shows a very early representation of a hippogriffin, which is normally thought to have been unknown in art prior to the Middle Ages. I have a theory that at least some Europeans may have associated the Sarmatians with hippogriffins. There is little doubt that the Polish Winged Hussars of the 16th/17th c. AD did, as their fantastic szyszak helmets and winged armor made them appear as giant eagles on horses. These famed Hussars were of the Polish nobility and claimed to be descended from the ancient Sarmatians. The depiction on this plaque also hints at the Norse god Odin as a Valkyrie (Valkyries are winged mounted female choosers of slain warriors who died bravely in battle) ; or is it Odin riding a hippogriffin that is the Valkyrie? It should be noted that the eye of the hippogriffin is made as a rosette; usually in art a rosette represents a female. The Norse gods stayed in places that were fenced and were known as gards (guards, similar to the gard or pen of the Arcturus Bear Guard?), such as their mythological fortress in the heavens Asgard. Supposedly Valkyries when they were not "working'" stayed in a gard. Additional things to note are that Odin's horse Sleipner had eight legs, as is seen with the legs (human and hippogriffin) shown here. It should also be noted that the Knights Templar had two mounted knights on one horse on their original seal. According to legend the Templar's proposed that this had been due to their vow of poverty, possibly so, but the horse's four legs and the mounted knight's four human legs do total to eight legs.

In my opinion, there has never been a reasonable answer as to why this group of famed Christian Knights may have had this two rider symbol from their earliest beginnings. There is speculation that this seal is associated with the Templar's founder Hugh de Payens who founded that Knight's Order in 1118 AD. If this is so then the Templar two rider seal with this plaque's iconography could hint that the Templars had a dual dedication very early on. That is, publicly professing to be Christian warrior monks while actually worshipping a Norse god, or god, or gods and goddesses. To this day, no one knows for sure what influenced these knights to supposedly later on dabble with Gnosticism (Norse Gnosticism?) and perhaps "other" beliefs which would give their enemies (Phillip IV and Pope Clement V) cause to purge them harshly in 1309. (Note, the causes for the Templar demise are highly disputed.) Most historians claim that any possible Templar straying from the Church was mainly due to their immense earlier successes which brought on a later arrogance (power corrupts, etc.); maybe not.

Copyrighted 2005 David Xavier Kenney Revised FEB 2007

Posted 12-Jan-06

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12th c. AD HOLY CHALICE (EUCHARIST) RING

Copyright 2005 David Xavier Kenney

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This is a 5th to 4th C. BC Thraco Greek Terracotta Statue Fragment that is 5 cm. in height. It was purchased from an Antiquities Dealer in Germany and the origin should be from somewhere in the Balkans. The statue shows a face in a tear drop shape. Above the face is a headdress or hairdo that comes to a peak above the center of the forehead; it forms a circle which contains a disc. Two circles in outline form the eyes and the nose is shaped like a wedge, this forms to a diamond shape that is outlined on the forehead. The mouth is made with two horizontal lines. On the bottom of the shoulder there is a trident symbol (symbolizing water?); next to this are two vertical side by side lines. On the chest area in what appears to have once been a round shape (that is slightly concave) is a circle with a four or five petaled flower centered (the petals appear to be squared). Next to this is a small circle outlined, then below this is another larger circle another flower with four petals, possibly with a dot in the center There is part of a hole that looks to have been at the center of the larger concave circle when this artifact was whole. The back of the head of the statue fragment is flat. Based on the appearance of the large circle (which is the chest but also a lap), I speculate that when whole, the statuette had four circles with flowers in a cross motif on the chest area with a center hole, and that it was made to place against a flat surface. It has all the earmarks of having been an offering vessel, possibly some kind of candle holder (or flower holder?) and something to do with a festival that included flowers I suspect that this piece may have had something to do with a ritual of a Thracian or Northern Greek people. If so, then this ritual more than likely had something to do with fertility rites. If this is correct, here are my further speculations:

There are aspects with the art and symbolism of this statue fragment which may be seen with Attis, the Phrygian spring equinox god of death and rebirth. The style of headdress or hairdo (similar to a Phrygian cap), the tree, and perhaps the flowers are typical of Attis. The disc in a circle on the headdress's or hairdo's peak and the trident symbol are not typical of Attis. The date of this statue fragment is also a bit early for a Greek Attis as worship of that god is thought to have just been in its beginnings in the 4th C. BC. This worship was on an individual basis only.

This statue when whole may have symbolized an ancient ritual very close to what we know of the Slavic ritual of Kupalo. The word Kupalo is thought to be Rus (Old Russian) for bathe or bathing (the Russian verb “kupati” means to bathe), but another possible but unconfirmed meaning is something like “white and shining” (the Slavic sun was symbolized by a white ball or disc) and it was celebrated on the summer solstice on the 21st or the 22nd of June. This ritual is known from Medieval Christian writings of the century, but it is accepted that it is probably a rite from ancient times. These writings refer to a sexually wild ritual that may have been tame by more ancient standards. The Christian church could not completely suppress this ritual so they decided to substitute that day with the feast of the birth of St. John The Baptist on the 24th of June and hence the feast was named Ivano (John) Kupalo. It is thought that the Kupalo also signified the end to the spring ritual season.

It is supposed by some that the Slavic Kupalo was an ancient winter fertility god of love and the harvest, but also possibly somehow connected to spring and healing. At some point and in only some traditions he is joined with his sister/wife the female goddess Marena, a Slavic goddess of winter and death. There are many different versions of the Kupalo ritual which may vary from region to region. The Slavic god Puran (a sun god but also connected to fire, lightning, and thunder) may have an association to this god or ritual, as according to Slavic myth on the summer solstice the goddess of dawn Zarya reinvigorated an exhausted Puran by bathing him in the morning dew. In Polish mythology the goddess of water, sorcery, fertility, trees, and flowers is named Kupala and her feast day is similar to the Kupalo and is also on the summer solstice; her Lithuanian equivalent is Kupole and her Latvian equivalent is Ziedu Mate. I am of the opinion that Kupalo may in ancient times have been a Thraco-Scythian hermaphroditic deity of the dawn (most likely with another name) but also possibly associated with a tree, such as a tree that would have been positioned at a vantage point so that its top would have experienced the crack of dawn on that day first. The Thracian diamond symbol may have been that deity’s symbol. To the ancient Thracians and Scythians, this dawn deity would be one that would suddenly appear and disappear, having a brief but special role in both solstices and both equinoxes, also possibly eclipses. The night before the summer solstice the ritual would begin with single youths gathering at a body of fresh water (a lake, pond, spring, or river) and creating bonfires. At some point the whole community would come to watch the ritual, or participate? The women would wear flower diadems, a garland or garlands of flowers, and herbs with scents for the purpose of attracting the male participants. There was leaping over the bonfires by ones and twos (couples). A sapling representing Kupalo or his sister wife Marena was decorated with flowers, fruits, nuts, and in some traditions with candles; was burned, thrown in the waters, torn apart, or buried as to signify the summer solstice. The sister/wife and hermaphroditic themes probably represent the male and female sides of Kupalo himself. In some traditions a straw effigy dressed in women's clothes and representing Kupalo was put under a tree. This symbolism could be explained by the fact that the moon/night is traditionally associated with the feminine; and the sun/day is associated with the masculine; dawn is somewhat a combination of both, however so briefly.) At a certain time Kupalo is put next to a freshly cut sapling that is ornamented and represents Marena; the following day the crowd strips the straw effigy and the sapling and then throws both into the water. The youths sing erotic songs and dance around the fires, play erotic games in the water, and at some point the females throw their garland with a lit candle in the water as to determine the future of their romantic destiny and more. The behavior of the garland on the water and how it reaches a destination is what decides the girl’s love future. For the boldest there is also an individual hunt for the Tsvit Paporoti (fern flower, fire flower, or magic flower). This is a legendary flower which is hidden in the forest and only blooms at midnight on the eve of the feast of Kupola. To find this flower and bring it back to the sacred area where the Kupola is insures all kinds of good fortune as in love, health, wealth, and happiness. Others say that it gives the power to avoid misfortune and find treasure only. The challenging part is that it was believed that every living thing in the forest was supernatural or animated on that eve and threatening; all the waters of the forest were thought to contain beautiful but deadly sirens; and deadly wood nymphs were believed to be about. If the individual found the flower he or she was never allowed to tell anyone about it or it would void its luck. Although it can be expected that the flower hunt is symbolic and that no such flower ever existed, it is supposed to be of the color red, or of so bright a white light that it cannot be looked at, or at least can barely be looked at. In some traditions which have this hunt, if someone finds the flower they must sprinkle a circle of white powder around their self and the flower, they must then battle demons that will try to penetrate the circle, only when the demons are defeated will they be able to cut the flower. It should be mentioned that this flower is supposed to be cut not picked. This implies the use of a blade of some sort, most likely a knife which would be blessed for such an enterprise. If so then that would very much be in the Arthurian tradition of sacred weapons for important quests.

In this ritual it appears that although the forest and water are dangerous, staying by the bonfires is reassuring. That evening the young women put a bowl out in the open (some traditions say the bowl is put under a tree) where the bowl will catch the morning dew. At dawn they would wash their faces with this water which they thought was a restorative. All dew on that morning is thought to have been able to cure or prevent disease in whoever would walk barefoot or roll naked in it. I am of the opinion that any pagan aspects of the Holy Grail of the Arthurian legends may have originated from these dew cups of the Kupalo ritual and the hunt for the mystical Tsvit Paporoti (fern flower, fire flower, or magic flower). The connection with this ritual to St. John the Baptist may also shed light on the origins of the dedication of the Templars to that saint and also their legendary connection to the grail. Any of the partially Slavic Varangians may also have been at the root of introducing the Templars to this belief. Any medieval people who had heard stories of the Kupola and the Templars’ dedication to St. John the Baptist may have drawn the conclusion that these connections were more than coincidental.

This Thraco-Greek fragment appears to have all the symbols for something to do with an ancient rite similar to the Kupola. The face may be that of a goddess or it may be that of an hermaphroditic deity. The shape of the head may have erotic suggestions; it could also represent a dew drop or even a flame, or both. The disc in a circle at the peak above the forehead may be a solar symbol. The nose in the shape of a tree but also possibly a spear could be significant; the diamond on the forehead is similar to what would be seen with deities further to the east. The trident and the two vertical lines on the shoulder (rim) could represent symbols of a far older Indo Iranian deity. The flower in the circle beneath the chin and the double circle with a dot suggest that this motif with the same design on the bottom and on the other side would have had a cross shape with a hole in the center. The Byzantine cross design of five circles named as the five wounds of Christ may have had its origins with this motif. This hole may have been where a candle was placed (or something else similar) but the shape as if on the lap could also very much represent a bowl as a dew catcher. To my knowledge there are no other examples like this fragment for comparison. If all the fragments were present some of these speculations may be verified. There should be a connection to Eos the Greek goddess of the dawn (the goddess Aurora is the Roman equivalent) who is the "sister" of both the sun god Helios and the moon goddess Selene. Interestingly, she is called rosy-fingered and has two chariot horses, one named "Firebright" and the other "Bright Daylight." In some accounts she also has the winged Pegasus. She may have once been a war goddess as she had an association with Ares the god of war, having had an affair with him. This brought the wrath of Aphrodite on her. The Indo European goddess of the dawn Ushas and the later Proto Indo European Hausos may be closer to this statue fragment's ancient meaning. There could also be speculation that this artifact could have a connection to Tabiti, the Scythian goddess of fire and animals; she is also associated with a sacred tree. The Thracian moon/hunt goddess Bendis and the Scythian love/moon goddess Artimpasa also come to mind. The next two artifacts listed are a 4th C. BC Thraco Scythian Bronze Cart Finial and a Greek Bronze Torch Holder. These had been purchased from the same group of Antiquities Dealers in Germany at approximately the same time as this statue fragment. They may or may not be connected to this piece.

Copyright 2006 David Xavier Kenney

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This is a 4th to 1st C. BC Thraco Scythian Bronze Cart Finial and a 4th C. BC to 1st C. AD Greek or Roman Bronze Torch Holder. The cart finial measures 114 mm x 65 mm x 54 mm. The torch holder measures 13 1/2 cm x 5 cm. It is possible that both of these artifacts originate from the same location as the statuette fragment. The patina on the torch holder and cart finial are very similar in color and texture. If these objects date to the 4th C. BC, then the torch holder would be Greek or Thraco Greek only. Because of its distinct finger grip, the torch holder also appears to be a runner?s torch. The cart finial shows a few traces of gold gilt and the top has fossilized calcium deposits.

The cart finial has a typical Thracian and later Dacian zigzag motif with its shape. The top when in profile is shaped like a tear drop and most likely had been fitted with a streamer or streamers. It should be noted that the tear drop s not centered, but is placed to the left. This appears to be the way the object is intended to be oriented. There are four distinct animals to be seen on this design. The front view (as described above) or south, shows a wolf with a ball shaped nose. On the back (or north) side is what appears to be a smaller wolf with a ball shaped nose (hence a fox). The left (or west) side shows a Scythian styled horse?s head; the right (or east) side shows a distinct Scythian stag?s head. Again to summarize, if orienting this object with the stag?s head facing east and the horse?s head facing west, then the wolf would face south and the fox would face north.

As much as these may represent the four cardinal points, these may also be four primary animal totems of different peoples, or four primary tribes of one great people. The Scythian style art and the Thracian design would indicate that this is Thracian but was used in rituals that would have originated with the Scythians. To my knowledge the ancient Greek writers do not mention just four Scythian tribes but there is a Greek reference to four Sarmatian tribes in the 1st C. BC; this hints that the Sarmatians may have inherited this number of primary tribes from the Scythians, or that this cart finial may have been influenced by the early Sarmatians of the 4th C. BC. If so there would have been an eastern stag tribe, a western horse tribe, a southern wolf tribe and a northern fox tribe. All four of these animals were also sacred to the Thracians, although the Thracians placed a lesser emphasis on the stag. It should be noted that according to ancient Thracian art and Greek written accounts, the horse was always associated with the Thracian national hero god, the Thracian Rider. The stag in animal combat art is seen with Thracian metalwork. The wolf?s head was the battle standard of Thracian warriors. Thracian warriors wore fox skin hats and boots; the boots had four leaf-shaped flaps at their tops. This style looked somewhat similar to the shape of the zigzag design on this cart finial. The top of the tear drop shape on the finial as mentioned has fossilized calcium deposits; this leads to speculation that there had been some kind of bone or ivory attachment. If the bone or ivory was a ball shape then this may have symbolized the sun as the ancient Scythians may have had a similar belief as the Slavs, that is that the sun was a white, hot, ball or disc. If so then the tear drop shape may suggest a solar deity of the dawn. This then would be very close to the shape of the face and meaning with the previous statuette fragment artifact. If this were of a solar deity carried in a cart then it most likely would be viewed with a statue of the deity facing sideways on the cart, as to have the face mimic the sun?s path from east to west. This all leads to my speculation that this cart finial may have once been on a cart that was used in an ancient ritual similar to what we know as the Kupalo, if not then it certainly would have been on a cart, wagon, or chariot that was used in another ritual with another deity. The torch may or may not have been used in this speculated ritual, but if so then it suggests that at least one torch runner would have been involved in that ceremony.

Copyright 2006 David Xavier Kenney

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ARTIFACT 1: Is from a collection in England, this is a completely intact bronze Romano Germanic Celtic (Dacian?) brooch of a god (or goddess?) with a button shield boss. My best guess for a date would be circa 3rd C. AD. This brooch had been in an English collection for 20 years and had originally come from an old English collection of British artifacts. It is thought to have been found in England and was identified by the prior owner as a 1st C. AD Romano Celtic. The brooch has traces of silver gilt, particularly around the eyes, and faint traces of gold gilt around the shield boss. The button on the boss has white paste but possibly also a few traces of red paste. The head has a bead on each side, with one being smaller and more cylindrical in shape. The long neck shows a thick torque with three circles. The semicircle shape on the chest shows a boss, but the left side of the semicircle has lines suggesting a hand. If of British origin, I am of the opinion that this is from one of the Germanic tribes, very possibly one of the Germanic tribes in the East (who were Germano Celts), connected to the Dacians. I do not think that the brooch was of the indigenous British Celts, but rather had found its way to Britian through a legionary or an auxiliary. What this brooch represents is open to speculation but I am of the opinion that this is a Germano Dacian war god of the sword and shield that may have been associated with a goddess. I should mention that the only written evidence that is known on the ancient Germanic gods is from two sources, Caesar in the 1st C. BC and Tacitus in the Late 1st C. AD. In both instances much of what is mentioned is compared to Roman equivalents, therefore speculations on the actual Germanic information is based mostly on archeology and the theories of historians. The scant sources of information on the Dacian gods are pretty much the same. The peculiar shape of this brooch shows that it could represent the hilt of a more ancient Celtic sword, a shield, and possibly also a bridge. The head with the two knobs may be associated with a god of super hearing but also this may show an association with a bear totem; the fact that one side has a more cylindrical shape could also very much represent a horn. The fact that there may be only the left hand represented is significant. There are many similarities with this symbolism and those of a Germanic war god, a Dacian goddess, a Saxon sword god, and a couple of Nordic gods. They are: Tiwaz, the Germanic war god. Bendis, the Dacian hunt goddess but as a torque goddess, and with a son, Arcturus a guard god. Saxnot (or Seaxneat), the Saxon (or Anglo Saxon?) god of the sword but also their founder. Tyr, the Nordic war god. And last but most important, Heimdall, as the Nordic guard god. Tiwaz was the Germanic war god who was thought to be the god that Germanic warriors sacrificed prisoners to. Part of this ritual was taking the right arms of prisoners and nailing them to trees. That primitive practice may have been associated with their god having a left arm only, as the left arm is usually used for a shield and the wood of certain types of trees was used to make shields. This may imply that this god was originally a god (or goddess?) of the shield, as in a god invoked to provide protection in battle, although it could also be because Tiwaz was the god of oaths (associated with the right hand/arm). It should be noted that the Scythians took the right hands of battle captives and put these on the mound which they stuck a sword into; the sword represented their war god. Information on Bendis is scant but a few very rare early bronze representations that are proposed to be from the 1st C. BC show a resemblance to the face and art style on this brooch. Bendis is primarily known as a hunt, fertility, and mystery goddess but I am proposing that Bendis was also a torque goddess and a bear goddess associated with the star constellation Arcturus (Bootes). As mentioned, Saxnot or Seaxneat was the Saxon (or Anglo Saxon?) god of the sword but also their founder. Although not much information is known of this god, it is widely accepted that his original name was “Sahsginot,” which means “sword companion.” The term “sword companion” highly suggests a shield, and this god may have originated as a shield god (or goddess?). Tyr is thought to be from the Germanic god Tiwaz; he was the Nordic victory god of war who sacrificed his right hand when he went to bind the monster wolf Fenrir. Heimdall is the Norse Guardian shining god of light (his sword and armor are noted for their shining) and the Bifrost Bridge constellation, but he is also associated with the sea. Heimdall is a youthful god much like is seen on this brooch. Heimdall carries the horn Gjallar and one of his names, Hallinskidi, is thought to mean “Ram,” which suggests a war god. He is the son of the god Odin but may have preceded him in the German pantheon. Odin fathered him by sleeping with nine sisters who were either water nymphs or giantesses. He is associated with white (due to his shining silver armor) and gold (his teeth are gold); but he is also associated with the color red. The silver and gold with white and red all looks close to what is seen in this brooch. He is a founding god credited with the fathering of three sons, who established the three classes of the Norse. Guarding the entrance to the shining citadel of the Norse gods called Asgard (this sounds a bit like the name of the Dacian capital of Burebista, mentioned in the previous artifact information on the King Burebista Ring), he is the ultimate guard as he has exceptional sight and hearing even for a god. Heimdall will sound the beginning of the battle of Ragnok (Norse final battle of the gods) and will kill and be killed by the evil god Loki. It is thought that Bifrost Bridge is the Milky Way and that Heimdall stands guard somewhere nearby. This god may very well be associated with the star/constellation of Arcturus (Bootes), which is also associated with guarding (Arcturus the Bear Guard) and is in fact in the thick disk of the Milky Way galaxy. If this information is correct then some of these same themes can be seen reading the Medieval writers, most notably the white knight of the grail legend and the description of the shield Galahad acquires (white, but later white and red), as well as the way he carried it (around his neck) in Malory’s “Le Morte d’Arthur Thirteenth Book” Chapter X. This brooch appears to be something that is close to a Germanic god that preceded Heimdall but must have had the same meaning. It is evident that the brooch was worn for protection.

ARTIFACTS 2: Originate from the Balkans and are a Roman Legionary Individual Prayer Statue Set of an Aquila (Eagle Standard) and the Thraco Dacian Goddess Bendis (or a god associated with this goddess) from the Late 2nd C. to the 3rd C. AD. The Bendis miniature statue may have been made from a brooch simular to ARTIFACT 1.

ARTIFACT 3: Originates from the Balkans and is a Thraco Dacian Gold Miniature Pendant of the Goddess Bendis from the 1st C. AD to the 3rd C. AD. This style of Bendis appears to be associated with the lunar aspects of that goddess, but perhaps also with a bear cult and as a torc (neck ring) goddess.

ARTIFACT 4: Originates from the Balkans and is a 3rd C. BC to 1st C. BC Greco Thracian Marble Engraved Relief of the Goddess Bendis Artemis Holding a Torch Riding Backwards on a Stag. The relief also shows Bendis with quiver holding an unknown creature that appears as if it is being attacked by a hound. There is a figure on a circular pedestal in the background that looks Amazonian. When Bendis or Artemis as Bendis/Artemis are seen on a stag it should be viewed as reminiscent of the Scythian stag goddess. This may have something to do with the Calydonian Boar Hunt or a similar story.

Copyright 2006 David Xavier Kenney

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Dave Kenney