Roman Finger rings

This article will hopefully incentivize researchers to consider examining the untoward thousands of unprovenanced base metal and silver alloy finger rings being uncovered at sites from the U.K to Eurasia. Documented artifacts from controlled and stratified environments are of course essential towards understanding ring typology and routes of transmission across temporal and spatial environments. However, these standard methodologies should not preclude consideration of random and under-documented finds from non-professional sources. The rationale is simply that, within the last several decades, a significant proportion of new finds have in fact been made through amateur channels; and the rings they've uncovered may potentially contribute to our understanding of these underreported artifacts. Within the last few decades, the proliferation of metal detecting and use of the internet have ensured the issue is no longer of availability, but identity. The era of scarcity is obviously over, in view of the burgeoning array of base metal rings encountered on the international market. Any a priori disqualification of such a vast resource of emerging data is to ignore an untapped resource towards our understanding of ancient societies and the material culture associated therewith The need for reliable and broadly accessible reference material becomes increasingly apparent as more and more finger rings are uncovered and presented through on-line and other sources. Types which were once familiar only to academics have suddenly flooded the public conscience; but with little increase in resources towards the understanding of these artifacts. Small finds such as bronze finger rings are routinely uncovered at archaeological sites in Europe, North Africa, the Middle East and Eurasia. They are typically noted in excavation reports, then cataloged and archived in places such as universities and museums. Unfortunately, both the reports and rings themselves are rarely accessible in mediums available to the general public. In most cases, only other professionals – such as academics and historians – are even aware of their existence. In terms of accessibility, most of this research has been compiled in unfamiliar languages and arcane formats which, to the general public, might as well be written in cuneiform and buried on the dark side of the moon. Many in English speaking countries have some proficiency in languages such as French, German and Spanish. But how many would understand technical reports written in Russian, Polish, Slovak, Bulgarian, Serbian, Romanian, Hungarian, Turkish or Greek – the languages in which much of this research has been published? Unfamiliar languages and limited/restricted formats are significant impediments toward the dissemination of this otherwise invaluable material.

The Hermitage collection of ancient jewellery is extensive and diverse. The greater
part of it consists of exhibits found in the course of archaeological excavations that are
now customarily published as whole sets together with other material. This catalogue
includes only ancient jewellery items acquired by the museum at various times from
private collections. They are assigned to a special group as they have no archaeological
context. We have selected for publication rings and seals made from precious metals
with the use of precious and semiprecious stones. The main section consists of gold artefacts
and significantly fewer silver, stone and gilded bronze rings.

Aus der römischen Kaiserzeit und Spätantike ist eine große Anzahl von Fingerringen mit einer erstaunlichen Vielfalt an Formen, Materialien, Bildmotiven und Inschriften überliefert. Über den rein schmückenden Charakter von Fingerringen hinaus erfüllten sie ganz unterschiedliche Funktionen, bspw. als Mittel der Beglaubigung oder Legitimation, als Votiv, Ehrenzeichen oder Treuesymbol. Im Hinblick auf die Frage nach "Ringen der Macht" liegt der Fokus des vorliegenden Artikels auf den römischen Ringen mit machtsymbolischer Zweckbestimmung sowie jenen Preziosen, denen aus Sicht ihrer Träger apotropäisch-magische oder heilende Kräfte zugeschrieben wurden.

From the Roman Empire and Late Antiquity, a large number of finger rings with a striking variety of forms, materials, motifs and inscriptions has survived. Beyond a purely decorative character, finger rings fulfilled a wide range of functions, for example as a means of authentification or legitimation, as a votive, a badge of honour or symbol of loyalty. With regard  to the question of "rings of power", the focus of this article is on the Roman rings with a power-symbolic purpose as well as on those jewels to which their wearers attributed apotropic-magical or healing powers.

The importance of the small group of Roman gold jewellery from Gerulata (Rusovce) consists in its form and context, with notable interpretive value. Five items are known from the area of Rusovce and its close surroundings. Almost all of them come from archaeological excavations, except for one ring (no. 5). Head decoration is represented by one earring and a pair of earrings. The analysis of the single earring (no. 1) and its technology of production pointed to a trade, personal or manufacturing relation between Gerulata and Scarbantia. The wire surface of the older single earring (no. 1) from the 1st–2nd century AD is compact and glossy and has tiny ends. The surface of other earrings (no. 2), dated to 3rd–4th century AD, shows visible lateral lines and is made of thin twisted gold plate. The bracelet (no. 3) is made of round golden pearls, beads of various shapes and a circular fastening. At least the last segment is here ascribed to the local, provincial workshop. The archaeological context of the bracelet with the circular bead points to the 3rd–4th centuries AD, despite the most frequent use of this decoration being documented for the 1st and 2nd centuries AD. A pendant (no. 4) from thin gold plate displays a scene of a trophaeum and the goddesses Victoria and Minerva or Libertas. It can be interpreted as personal talisman or amulet. The ring (no. 5) is a unique find. An analysis of the gemstone points to similar specimens from Carnuntum. The evaluation of this quite small group of jewels from the area of Rusovce also allowed to show relations between Gerulata and Scarbantia, possibly also with Carnuntum. For definitive future confirmation of the visual analysis, it could be helpful to undertake more detailed laboratory analysis of the materials‘ surface and structure.

The book is available to order from: https://reichert-verlag.de/schlagworte/altaegyptischer_stil_schlagwort/9783954902439_ancient_engraved_gems_in_the_national_museum_in_krakow-detail

This book is a catalogue raisonée of a rich collection of ancient engraved gems housed in the National Museum in Krakow. It offers a thorough insight into ancient glyptic art through the considerable range of almost 780 so far unpublished objects – cameos, intaglios, scarabs and finger rings of various styles, workmanship and cultural circles: Egyptian, Near Eastern, Minoan, Greek, Etruscan, Italic, Roman, Sassanian and early Christian, dated from the second millennium BC to the seventh century AD.

Many pieces in this cabinet are notable not only for their top quality in terms of craftsmanship and design, but also for the materials used and engravings involving complex iconography illustrating religious beliefs, political allegiances, needs and desires that ancient people wished to be fulfill, fears, dangers and terrors from which they sought protection and even their daily occupations. The collection provides with a fascinating gallery of portrait studies presenting Hellenistic rulers and their queens, Roman emperors and members of their families as well as some private individuals. Some specimens are exceptional and unparalleled like the onyx cameo portraying Drusus Maior, likely executed by the hand of Eutyches, son of famous Dioscurides (cover) or a tiny but remarkably cut emerald cameo with a laureate portrait bust of Livia Drusilla as goddess Venus. Some objects have been preserved in their original settings (gold, silver, bronze, iron rings), which contributes to the study of ancient gems’ chronology and indicate their users, while others have been later re-set into eighteenth- and nineteenth-century collectors’ rings and sometimes more elaborated mounts. There are also pieces discoloured due to contact with considerable heat, which may suggest them to have been burnt with other personal objects on the funeral pyres and later deposited in burials. Noteworthy is the number of Greek and Latin inscriptions appearing on intaglios and cameos forming this cabinet. They span from owners’ names to the subtle messages communicated between lovers and invocations to the God.

Each gem is thoroughly analysed, described and exhaustively commented as to the device it bears, chronology and possible workshop attribution. A vast number of parallel objects is referenced too. This combined with provenance study presented in the first part of the book enabled to establish where a number of intaglios and cameos were manufactured, including almost 140 objects most likely to origin from the most important Roman workshop located in Aquileia. It ought to be singled out that many gems in this volume once constituted a part of distinguished collections formed by such personalities as Tobias von Biehler, Alessandro Gregorio Capponi, Auguste le Carpentier, Alessandro Castellani, Comte de Caylus, Count Nikolai Nikitich Demidoff, Baron Albert de Hirsch, Jean François Leturcq, Sibylle Mertens-Schaaffhausen, Dr. George Frederick Nott, Benedetto Pistrucci, James-Alexandre de Pourtalès (Comte de Pourtalès-Gorgier), Paul von Praun, Andrey Kirillovich Razumovsky, Jacques Meffre Rouzan, Philipp von Stosch, Antonio Maria Zanetti and many more. They seemed lost for more than 130 years, but now have been brought back and are accessible to everyone. Consequently, the volume presents three intriguing stories of collectors whose donations contributed to the Krakow assemblage. They not only provide the reader with a sort of background for the objects discussed further, but also illustrate nineteenth- and early twentieth-century collecting practices and the art market for engraved gemstones, contributing to our knowledge of the history of scholarship and collecting. In summary, this book is intended to be useful not only for scholars interested in gems, but also those who study the history of the art market and collecting as well as all the enthusiasts of Classical art and archaeology.

The majority of rings recovered in Aquincum, the provincial capital of Pannonia Inferior, are made of bronze. Finger-rings form into eleven types based on their form. In addition, eight groups have been differentiated after the analysis of the alloys. Concerning the connection between the types and alloys it can generally be concluded that there is only rarely a close relationship between the conscious selection of the alloy and the decorating technique of the jewellery. Finger-rings from Aquincum made of copper-based alloys always contain some zinc, though in variable quantities. Jewellery of the largest amount and of the greatest variety of form is made from the alloy of copper and zinc. The high number of alloys with other composition can be explained by the significantly increased demand for jewellery that has a colour similar to that of precious metal, but which is cheaper and faster to create, and the making of which does not require a specialised workshop.

Roman rings from Gerulata (Finds from the excavations by Ľ. Kraskovská and M. Pichlerová in a new light). The paper presents the finds of Roman rings from the excavations of Ľ. Kraskovská and M. Pichlerová in the light of new information. The discovered rings were also evaluated in a chronological context and taking into consideration the way they were worn and the gender of their wearer. In both reports, a total of 18 items were published, 15 of which were available during the research and preparation of this paper. We were able to identify the characteristic decoration of engraved lines on the shoulders of the rings at the end of the 3rd century and during the 4th century A.D., which appears on several items. The question of the significance of the square plaque with the letter/number X was also addressed. According to the author, this ring might be related to a retired Roman veteran from Vindobona (LEG X GEMINA).

Характерното за този тип пръстен е, че основната украса е изразена в спирали. От една страна, тя е украса, но и резултат на самата технологична изработка, изграждайки пръстена като цяло. Това е непознат до момента тип, който не е включен в никаква класификация в българската научна литература.

This report presents the over 2500 metal small finds and 3000 nails recovered from Britain's largest Roman temple complex in the Ebbsfleet at Springhead. The metal finds include items of personal adornment and dress, household utensils and furniture, objects for weighing and measuring, pieces of toilet or medical equipment, tools associated with manufacture and agriculture, military equipment, and religious objects, including two lead Fortuna figurines.

УДК 94(902 + 904)»652»(063) ББК 63.48(2Рос-6Крм) А 72 Издание осуществлено при финансовой помощи Фонда поддержки гуманитарных наук «Моя история» Издается по решению Ученого совета Государственного историко-археологического музея-заповедника «Херсонес Таврический»

A Roman nicolo gem is studied. The inscription that appears is translated as «Agathê, I, Leonti(o)s, love you». Therefore, the gem was given away as a present for the beloved one. This new Roman gem is dated between the 2nd and 3rd centuries A.D. On the other hand, the nicolo gem must have originally been set in a gold or silver ring.

A model of a glass boat from Salona was found in a woman’s or possibly child’s grave 348 of Salona’s West Necropolis, in a layer dated using the coins found there. Given the finds of coins, olla-form balsamaria, and tubular balsamaria with equal body and neck lengths, I maintain that the layer, like the grave, should be dated to the Tiberian-Claudian era at the earliest, and with regard to the presence of the remaining first-century finds, the grave cannot be younger than the first century AD. Given the analogous example and the find context, we may conclude that the Salona boat is an Italic product of the second quarter or mid-first century AD and possibly served as a container for dice and counters.

In this paper concentration will be given to intaglio and cameo from the Museums of Izmir. A total of 140 engraved gems as well as some other decorated stones from Archaic to Late Roman period were studied. The largest group is gems with intaglio decoration most of which date to the Early Roman period. The most popular themes and personalities are, as expected, mythological ones, such as Hermes, Athena, Zeus, Tyche, Apollo, Demeter, Pan, Nike, Asclepeius, Hygeia and Hercules. Hermes is the most represented one and he has a large variety of types whereas Athena, a very popular goddess in Classical Ionia, appears in two major types. A local deity, Artemis Ephesia as well as bee as her symbol are also common. Late Roman period is represented by a sole gem with an inscription attested to a Georgios. In Izmir collections there is only one cameo that is from the first century A.D. 
The Izmir collections of gems are established by acquisitions by local salesmen and only a few them were brought from the excavations in the surroundings of Izmir. Based on their similar engraving techniques, stone arts as well as Ionic themes a local character is noticeable.

On April 25, 1506, Dürer was in distress. He recorded his anxiety in a letter to Willibald Pirckheimer, his friend in Nuremberg to whom, six and a half weeks earlier, he had sent a sapphire ring that he had purchased in Venice. By this date, Dürer had received no reply. “If it has been lost, I will go half insane,” he writes, and then repeats his unrest in the penultimate line: “Write me again soon, for I shall have no ease until then.” The letter is replete with calculations about weight, value, and time. This essay provides an analysis of Dürer's tabulations of loss and recounts the history of valuation, recalculation, and declarations of "whereabouts unknown" that the letter itself--now in the Royal Society--has undergone.

According to the notes in the records of the Royal Society, the letter was found by William Mitchell in Cod. 263 of the Arundel Collection, a codex formerly housed in the RS. Between 1830 and 1832, the RS rid itself of its collection of books not deemed to fit with its scientific interests, and Cod. 263, along with the Society's collection of books and manuscripts by Dürer, were transferred to the British Museum. It is my suggestion that the Dürer letter was intended for this transfer, but for some reason it was not included with the other Dürer materials. It has remained in the collection of the Royal Society, where it may still be found to this day.

I am happy to provide a PDF of this essay upon request.

A gold ring in which a gold quinarius of Maximinus Thrax is set was discovered by change in Amiens (Somme) in 1790. The ring entered in the Pellerin collection and was described and illustrated by Count Caylus in the fifth volume of his "Recueil d'Antiquitès" (1762). Now it is kept in the Bibliothèque Nationale in Paris. As it is one of the most lavish coin ring, it has been chosen to explore the chronological, typological and social aspects of this kind of coin jewellery.

Tokat Museum Silver Rings
Abstract Rings have been used by men and women with functional purposes such as ornaments, seal, indicating nobility and rank, engagement, charm, key rings, and carrying poison. The sections of rings can be in various forms such as semi-circular, square thin band as they can be worn on fingers as well as toes. In addition to plain circular rings, rings with bezel were used as well. The forms of rings have changed over time and new forms have emerged. Silver rings in Tokat Museum are considered as catalog study in this article. Although all nine rings are stoned, the stones of two rings are missing. Four of the rings have cornelian, two have glass, and one has silver stone. Cornelian stones are engraved with negative descriptions and monogram. Descriptions and monogram are the most popular applications of Rome and Late Rome period. Rings have a wide time range between 1st century B.C. and  5th century A.D. Silver rings evaluated within the context of this study are particularly important for providing data in terms of social and economical status of daily life standards, and culture of individuals of the Rome and Late Rome Period. Considering that all the pieces in the museum are brought from Tokat and its surroundings, the analysis of this group will reveal important information on the important settlement in the Ancient Era in terms of the region’s socio-economical cultural position and its relations with neighboring cities and the way of living of individuals in that area. Within this scope, the cataloging of silver rings from Rome Period in Tokat Museum will provide important information, will be used in comparing other artifacts found in archeological studies and will provide a resource for future research studies.


ÖZET: Yüzükler, kadınlar ve erkekler tarafından süs eşyası, mühür, asalet, rütbe belirtme, nişan, tılsım, nazarlık, anahtar yüzükler ve zehir taşıma gibi işlevsel amaçlarla kullanılmışlardır. El bazen de ayak parmaklarına takılan yüzük halkalarının kesiti yarım daire, kare ince bant gibi farklı biçimlerde olabilmektedir. Düz halka yüzüklerin dışında, kaşlı yüzükler de kullanılmıştır. Yüzük formları zamanla değişerek yeni formlar ortaya çıkmıştır. Tokat Arkeoloji Müzesi'nde yer alan gümüş yüzükler bu makalede katalog çalışması olarak değerlendirilmiştir. Toplam dokuz adet olan yüzüklerin tamamı taşlı olmasına rağmen iki yüzüğün taşları noksandır. Yüzüklerden dört tanesi akik, iki tanesi cam, bir tanesi gümüş taşa sahiptir. Akik taşlar üzerine negatif betimler ve monogram kazınmıştır. Betimler ve monogram Roma ve Geç Roma döneminim sevilen uygulamaları olarak dikkat çekmektedir. Yüzükler MS 1. yüzyıldan MS 5. yüzyıla kadar geniş bir zaman aralığına sahiptir. Çalışma kapsamında değerlendirilen gümüş yüzükler, özellikle Roma ve Geç Roma Dönemi insanının sosyal ve ekonomik durumu, günlük yaşam standartları ve kültürü hakkında vereceği veriler açısından oldukça önemlidir. Müzedeki eserlerin tamamının Tokat ve çevresinden geldiği düşünüldüğünde, bu gurubun analizi Antik Çağ'da önemli bir yerleşim olan bölgenin sosyo-ekonomik kültürel konumu ve çevresindeki şehirler ile olan ilişkileri ve orada yaşayan insanların günlük yaşam şekli üzerine önemli veriler sağlayacaktır. Bu anlamda Tokat Müzesi'ndeki Roma Dönemi gümüş yüzüklerin kataloglanması sonucunda, arkeolojik araştırmalarda bulunulan diğer eserlerin analojisinde kullanılarak ileride yapılacak çalışmalara referans oluşturacaktır.

The studied group of Roman rings includes 110 pieces from private and museum's collections and from the excavations in the territory of Slovakia. They can be divided into l0 basic
Typological groups. Between them are more unique fingerings like Mithras ring from Brigetio surroundings or iron ring with Hercules intaglio from lža-Leányvár.

In this study, a gem with an Aphrodite image on it, obtained from the Philadelphia (Gökçeseki) Excavation in the Isaurian Region will be evaluated in terms of its valuable stone as well as the cultic and iconographical features of the figure. As known, the depictions on the gemme are carved, not on the surface placed on the bezel setting, but to its exterior part. Under the similar finds the Gökçeseki example appears to be the single one with the carving at the surface. Along with this example, it is seen that in addition to the known cameo and intaglio techniques used in ancient times, a third technique, which is the 'rever-se intaglio' technique was applied. In relation to the small size of the material, skillful work was carried out in the Roman Empire period, especially during the Iu-lius-Cladius period. Especially retrospective trends to the Classical and Hellenistic Periods began in large scale and on small objects. In relation to this fact, the Aphrodite will be traced also iconografically which leads us to a variation of the Anadyomene type of Aphrodite. As a result, the ring will be examined in terms of both its cultic and iconogrphical aspects and in the aspect of the transfer of a well-known type to a small-sized material with a new technique.

Bu çalışma Isauria Bölgesi’nde bulunan Philadelphia (Gökçeseki) Kazısı’ndan bir adet yüzük taşı hakkındadır. Bu yüzük taşı, üzerinde Aphrodite betimi bulunan iyi çalışılmış bir eserdir. Antik Dönem’de değerli taş işçiliği oldukça zahmetli ve gerek tasarım gerekse uygulama açısından, malzemenin boyutunun küçük olması ile de bağlantılı olarak, oldukça beceri gerektiren bir iştir (Richter, 2006, XXIV). Burada ele alınan eser, bu açılardan başarılı bir örnektir.
Çalışma konusu olan eser, gerek değerli taş özellikleri gerekse üzerinde bulunan betimi yönünden değerlendirilecektir. Küçük objeler üzerindeki betimlerde Roma İmparatorluk Dönemi’nde özellikle Julius-Cladiuslar zamanında, sanatta Klasizm ve Hellenistik Dönem’e öykünme akımları başlar. Bunun etkisiyle eserlerde Yunan panteonundan tanrı ve tanrıçalar, kahramanlar,  Yunan mitolojisinden ve günlük yaşamdan sahneler ile birçok ünlü Yunan heykelini betimleyen tasvirler tercih edilmektedir. Burada betimlenen de, Aphrodite’nin Anadyomene tipinin bir varyasyonunu çağrıştırmaktadır.
Yüzük taşı üzerinde bulunan figürün temelde kollarını yukarı doğru kaldırarak sol eli ile dolanmış saçını tutması, bu tipin özelliğidir. Çok sık karşılaşılan, çeşitli varyasyonlarıyla çok da tartışmalı olan Anadyomene tipinin genel olarak Praxiteles ile çağdaş bir ressam olan Apelles’in Kos Asklepios Tapınağı için yapmış olduğu resimden (Plinius the Elder, XXXV, 36; Strabon, XIV. II. 19) ortaya çıkan bir tip olduğu kabul edilmektedir (Atheneus, XIII, 60). Bu tipte Aphrodite tam çıplak veya eser üzerinde betimlendiği gibi yarı çıplak olmak üzere iki farklı biçimde betimlenmektedir. Bu tipin en erken örneklerinin görüldüğü bölge olarak İonia kabul edilmektedir (Havelock, 2007, 66-67). Özellikle Myrina ve Tarsus atölyelerinde üretilmiş pişmiş toprak figürinlerde sıkça karşılaşılmaktadır (Işın, 2007, 38). Oldukça yaygın olan bu tip Geç Hellenistik Erken Roma Dönemleri’nde gerek pişmiş toprak ve bronz figürinlerde gerekse heykellerde sık sık tekrar edilmiştir. Yüzük taşı üzerinde betimlenen bu örnek de büyük boyutlu malzemede kullanımı iyi bilinen bir tipin, küçük boyutlu malzemeye aktarımını göstermek açısından incelenecektir.

"Das Tema des Beitrags bilden vier römisch-kaiserzeitliche Ringe, gefunden im Kataster von Bratislava – Rusovce.
Zwei von ihnen stammen aus Rettungsgrabungen des SNM – Archäologischen Museums. (Kat. Nr. 1 und 2).  Die anderen zwei Ringe stammen aus dem äußeren Dorfereich und sie wurden dem Museum von Privatbesitzern zum Dokumentieren zur Verfügung gestellt (Kat. Nr. 3 und 4). Der Verband von Siegelringen aus Bratislava – Rusovce ist heterogen. Für die Herstellung der 4 Ringe verwendete man unterschiedliche Materiale: Eisen, Bronze, Gold, Glaspaste, Halbedelsteine (Granat und weißer Onyx). Die Datierung aller dieser Funde zwischen das 2. Jahrhundert und den Anfang des 4. Jahrhunderts entspricht der historischen Entwicklung und archäologischen Funden aus dieser Fundstelle."

Vysokoškolská učebnica zameraná na rímsky šperk. V jednotlivých kapitolách približuje študentom základné techniky jeho výroby, použité materiály ale aj spôsob nosenia alebo významné historické udalosti, ktoré mohli ovplyvniť zmenu dizajnu a spôsobu nosenia počas doby rímskej. Text je doplnený terminologickým slovníkom, obrazovou prílohou a ilustráciami. Publikovala Katedra klasickej archeológie, Filozofická fakulta Trnavskej univerzity v Trnave.

A college textbook focusing on Roman jewellery. In individual chapters, it introduces students to the basic techniques of its manufacture, the materials used, but also the way it was worn or the significant historical events that may have influenced the change in design and the way it was worn during the Roman period. The text is supplemented by a glossary of terms, an appendix and illustrations.Published by Department of Classical Archaeology, Faculty of Philospohy and Arts, Trnava University.

The ring from Trenčín (Pollakova tehelňa site) is part of a larger set of items from the territory of presumed Germanic settlement. It is specific in terms of its material: a transparent glass gem with a transversal
white vein on which the goddess Venus is depicted. Analogies of the ring and gem are known from various parts of the Roman empire and enable the item to be dated relatively reliably to the 1st century A.D., at the latest to the 1st half of the 2nd century.
We consider the ring to be one of the most interesting Roman imports from Trenčín and its surroundings, which might be linked Marcus Aurelius’ military campaign close to Laugaritio.

Publikácia sumarizuje informácie o význame rímskych prsteňov v rímskej spoločnosti, ich vzhľade a predstavuje vybrané exempláre z územia dnešného Slovenska. Významnou časťou je pohľad antických autorov na možné funkcie prsteňa alebo gemy, vďaka ktorému má čitateľ možnosť komplexnejšie pochopiť pohľad Rimanov na tento druh šperku. Autorka na príklade vybraných prsteňov z územia dnešného Slovenska ponúka možnú interpretáciu niektorých exemplárov v rámci historicko-geografického kontextu alebo poukazuje na jej limity v prostredí za hranicami Rímskej ríše.

The purpose of this note is to make known a fragmentary inscribed silver ring. The object, which was acquired on the UK antiquities market and is now in a private collection in Spain, now consists of only the bezel, the hoop having broken off. This bezel, in the form of a shallow lens with roughly circular base, is engraved directly on the convex face (intaglio) with two lines of text in Greek above a floral motif.

Il saggio è dedicato ad alcune figure professionali del mondo romano legate alla lavorazione e alla vendita dell'oro e di manufatti realizzati con questo metallo prezioso. Nel testo si analizzano in particolare le testimonianze epigrafiche di Roma e quelle di Mutina nel cui territorio, secondo un'antica tradizione popolare, sarebbe stato possibile estrarre masse aurifere.

Este trabajo tiene como objetivo editar un nuevo anillo de oro romano, con una inscripción alusiva a Vtere felix, es decir, "úsalo feliz". Procede de Sevilla y su cronología se sitúa entre los siglos III-IV d.C. El testimonio epigráfico áureo se suma al corpus hoy día conocido.

The majority of rings recovered in Aquincum (Budapest), the capital of the Roman province Pannonia Inferior, in today's Hungary, are made of bronze. Finger rings can be classified in eleven groups by their shapes. In addition, their composition allows the distinction of eight ...

The majority of rings recovered in Aquincum (Budapest), the capital of the Roman province Pannonia Inferior, in today's Hungary, are made of bronze. Finger rings can be classified in eleven groups by their shapes. In addition, their composition allows the distinction of eight groups. Concerning the correlation between the types and alloys, it can generally be concluded that there is only rarely a close relationship between the deliberate selection of the alloy and the decoration technique of the jewelry. Finger rings from Aquincum made of copper-based alloys always contain some zinc, albeit in variable quantities. Indeed, the most common alloy employed for the largest number of ornaments and with the greatest variety of shapes is brass, the alloy of copper, and zinc. The high number of alloys with a different composition indicates that there was a significantly increased demand for jewelry similar in color to precious metal, but cheaper and easy to produce. Its manufacture did not require a specialized workshop.

This doctoral dissertation is on the evaluation of metal materials recovered from archaeological excavations carried out in the Village of Gökçeseki (Philadelphia), within the district Ermenek which is part of the Karaman province.
It is observed that the metal works found in Gökçeseki (Philadelphia) consist of 348 pieces and that they were produced in small numbers from gold, silver and lead but more from bronze. The findings were first grouped according to their intended use.
According to the groupings made by considering the functions of the works, 206 of them consist of Cosmetic / Medical instruments, 29 of them cutting / drilling tools, 82 of them jewelery, belts and clothing accessories, 7 of them lock parts and keys, 4 of them mirror and mirror frames and finally, 12 of them that were not included in these groups were also evaluated. Of the finds in Gökçeseki, 270 are made of bronze, 51 are iron, 7 are silver, 4 are lead, 3 are gold, and 3 are stone artifacts associated with these finds.
It is very important to understand, identify and date the metal finds.  The works evaluated in this PhD thesis were found, arranged in a planned order in a pit. The closure of the pit must be linked to Shapur's campaign (AD 260), which caused a major destruction in the region in the middle of the 3rd century AD. In this context, the terminus ante quem for the dating of the works studied is the 1st century AD and the terminus post quem is the late 3th century AD at the latest.