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The hoard was contained in a terracotta vessel, which held another silver one (Bastien and Metzger 1977, 214)
The hoard was contained in a terracotta vessel, which held another silver one. In the silver vessel were gold and silver coins of the Late Empire (Bastien and Metzger 1977, 214)
a necklace comprising 20 lengths of gold chain, made from intricately plaited gold wire. Each length of chain is linked to the next by a spacer. The spacer is made from gold wire which has been bent to form a loop at each end. 10 of the spacers are threaded with a cut emerald bead. The other 10 have lost their stone. The necklace is incomplete and is missing its clasp
a necklace comprising 8 lengths of gold chain, made from intricately plaited gold wire. Each length of chain is linked to the next by a spacer. The spacer is made from gold wire which has been bent to form a loop at each end. 3 of the spacers are threaded with a cut emerald bead. The other 4 have lost their stone or were not originally decorated. The necklace retains its clasp which comprises a hook and eye. This necklace is of a type (gold elements alternating with precious stones or pearls), which is dated to the late or second or third century AD.
a necklace comprising 18 links of gold wire on which are threaded two coloured stones. One is an emerald; the other a large garnet. The links are of the same type as those used as spacers for Beaurains B1 and Beaurains B2. However, the gold wire used in the construction of this necklace is significantly thicker. Although the necklace clasp comprising a hook and eye are extant, the necklace appears to be incomplete, as it is too short to be worn.
a fragment of a necklace made from small, square links. The necklace clasp, comprising a hook and eye is extant.
a fragment of a necklace made from small, square links. Probably part of the same necklace as Beaurains B4a.
a jewellery element made from gold wire in the form of a Herculean knot. The motif of the Herculean knot was commonly used to decorate items of personal adornment, both for its decorative value and for its apotropaic associations.
a plain D-section wire bracelet. Of the same type as Beaurains B7.
a plain D-section wire bracelet. Of the same type as Beaurains B6.
a closed bracelet comprising a rectangular-section ring with small square cut-outs and decorated with 16 cabochons, which were inlaid with emeralds, garnets, amethysts and glass. The cabochons are rectangular or circular in plan, with a pattern of a single rectangular cabochon appearing after every three circular cabochons.
a closed bracelet comprising a series of 21 decorated and plain sub-circular bosses. The bracelet is not solid but filled with a whiteish material which was visible where one of the bosses was damaged. This material was not analysed. 12 bosses are decorated with incised, cast or moulded decoration, 9 are plain. The decorative motifs used include geometric shapes, leaves, pine-cones, parallel lines, grids and florets within lozenges. The pattern of decorated and undecorated bosses is not regular.
a closed bracelet comprising a series of 21 decorated and plain sub-circular bosses of the same type as Beaurains B9. 10 of the bosses are decorated and unlike Beaurains B9, they alternate between being plain and decorated. The decorative motifs are again pinecones, grids, parallel lines, florets and different types of foliage. Although similar to the other bracelet, these motifs are not identical. This type of bracelet dates to the third or fourth century AD and examples are known from Cologne and Alexandria in Egypt.
a gold finger-ring with intaglio setting. The hoop is D-sectioned in shape and extends to shoulders decorated with a central scroll motif, inlaid with niello and flanked by openwork decoration. The circular intaglio is set in an octagonal bezel. The intaglio depicts Theseus standing left holding the sword of his father. This is a well known theme in Roman engraving. A similar example can be seen in the Cabinet des Medailles de Paris.
a finger ring with a rectangular-section hoop. The hoop is engraved on one side with the name 'PATERNA' and on the other 'VALERIANVS'. The letters are filled with niello. The hoop extends to a setting of aquamarine supported by a bezel comprising four 'claws'. This type of setting is quite common for finger rings dating to the third century AD and there are many comparable examples in the British Museum. The engraved names on the finger ring suggest that it may be a wedding ring.
an oval amethyst pendant with gold mount. The mount is undecorated with s small double-grooved suspension loop. The amethyst is engraved and depicts a bearded man wearing a chlamys, armed with a sword, being trampled by a sphinx. Usually a Severan date is given for this type of engraving although it could be much later.
A circular engraved sardonyx pendant with a gold mount. The engraved sardonyx depicts a peacock standing left, with a butterfly above. The mount is openwork in design with the decoration comprising a pattern of alternate semi-circular open arcs and solid triangles, derived from a Classical palmette motif. The inner circumference of the mount is decorated with an irregular beaded pattern. A suspension loop with double-grooved decoration extends from one end. The style of decoration exhibited by this pendant is most common in the third century AD.
an oval amethyst pendant with a gold mount. Although the decoration is not openwork, the mount is very similar to that of Beaurains B14 with a design comprising a pattern of alternate semi-circular arcs and solid triangles, derived from a Classical palmette motif. The inner circumference of the mount is also decorated with an irregular beaded pattern. On the underside of the mount are four regularly spaced attachment loops
An oval topaz pendant set in a gold mount. The mount is decorated with a pattern of alternate semi-circular open arcs and solid triangles, derived from a Classical palmette motif. A suspension loop with double-groove decoration extends from one end.
A rectangular glass pendant with gold mount. The glass setting is green in colour and has a mount with a double-grooved suspension loop. The mount comprises a border of two, twisted gold wires, a technique frequently used in Roman jewellery dating to the third century AD.
A sub-oval sardonyx cameo depicting the head of Medusa facing slightly to the left. There is no trace of a mount.
A gold lunular pendant with suspension loop. These amuletic pendants were considered to have apotropaic properties and were particularly popular during the first to third centuries AD.
a gold pendant in the form of a club, with a small suspension loop at the narrow end. The pendant is divided into three registers with applied gold wire; each register is decorated with applied granules, intended to represent knots in the wood. It is of a type which was common during the first to third centuries AD and is likely to form part of a necklace or earring.
a pair of gold earrings with elaborate gold wire decoration and settings for gemstones which are missing. They are likely to date to the second or third century AD
a small gold buckle frame, with a separate gold pin looped around the frame. This type of buckle is difficult to date, with production starting in the third or fourth century and continuing until the sixth century AD.
elements of a gold necklace, comprising 8 coins mounted in decorative openwork settings, interspersed with 6 cylindrical gold beads. The chain on which these elements were originally threaded was lost. The coins are: 2 aurei of Hadrian, 1 aureus of Faustina II, 1 aureus of Commodus, 1 aureus of Julia Domna, 1 aureus of Postumus
an incomplete silver candlestick, belonging to class of articulated candlesticks, whose height is adjustable. The uppermost part of the candlestick is incomplete. It comprises a disc-shaped plate on which rests a spherical element. A cut-out at the top of this spherical element indicates where the candle would originally have been fixed. The main body of the candlestick comprises two square-section rods, which can be moved up and down to alter its overall height. A pin allows the two rods to be fixed together at the appropriate height. Three small holes indicate three possible heights. The entire length of the principal face of each rod is decorated with an incised wave motif, filled with niello. The rods are separated from the foot of the candlestick by a flat, circular plate beyond which is an undecorated spherical element. The candlestick is supported by three feet in the form of dolphins. From the beaks of the dolphins, there extend three flat pelta-shaped plates which may represent schematic seashells. The eyes are rendered as two concentric incised circles, filled with niello. The fins are rendered in relief. The lateral fins are decorated with small incised parallel lines filled with niello. The candlestick was bent in three when discovered.
Updated by C. Gazdac (Mar. 2020).
