ACCOUNTS, ESTIMATES, &C. OF THE BRITISH MUSEUM. 3g 



chain and secured by a lock and key (Visconti, PI. vii-xi.) ; inside are five silver vessels, which 

 no doubt served to contiiin precious unguents and cosmetics (Vise. pi. xi.) ; round the body 

 of the casket are eiglit niches, in each of which is one of the Muses (Ibid. PI. viii., ix.) The 

 lid is shaped like a cupola ; it is ornamented wiiii four ribs embossed with birds and 

 arabesques. Tlie top is crowned with a relief of a seated female figure, thought to be the 

 muse Erato; she is engaged in plaiting a garland (ibid. PI. .\.) Caskets of iliis kind for 

 unguents were similar in form to the boxes, scrinia, in which rolls of paper were kept ; 

 hence they were called by the ancients scrinia unguentorum. There can hardly be a doubt 

 that the scrinium heve described was a bridal present, for one similar in form may be seen 

 on the oblong casket, in the hand of an attendant who is bringing It as a present to the 

 bride (Visconti, PI. vi., fig. 6). 



(3.) Another object, belonging, it is to be presumed, to the same toilet service, is a long- 

 necked flask covered with rich arabesques, representing Cupids and various animals within 

 medallions (Visconti, PI. xv., fig. 2). Such flasks were probably used for pouring perfumed 

 oils, drop by drop. 



(4.) The following ornaments were found in this treasure, most of which are engraved 

 (Visconti, PI. xxv). A buckle; leu Jibulcs ; two hairpins ornamented with figures of Venus; 

 several pairs of eai rings; two signet rings; a hand inscribed BYZAN.; a hand holding a 

 torch ; a mouse; a scorpion ; a frog ; a leopard with a fish's tail ; all of which were pro- 

 bably worn as ornaments or as amule-s. 



The above objects all probably belonged to the bride, whose name, Secunda, appears 

 on the principal casket. 



Whether the remainder of the treasure were nuptial gifts presented to the same lady, as 

 Visconti supposes, may admit of doubt. They consist of the followhig objects : — 



(1). A large ewer, balanced so as to be easily inclined for pouring; inscribed PELE- 

 GKINA VTERE FELIX. (Visconti, Pi. xv. figs. 1. 2). 



(2.) A large fiat basin in the shape of a shell, ornamented inside with bands radiating from 

 a central pattern. This basin measures 22 inches in diameter. 



(3.) A shallow dish, 10 in. in diameter, engraved on the inside with shells and fiowers' 

 set in circles. (Visconti, PI. xxi.) 



(4.) Eight smaller dishes, four of which are round, the rest oblong. (Visconti, PI. xiii 

 xiv.) In the centre of each is a monogram inlaid in gold and niello, which Visconti reads 

 Projecia Turci, supposing that the husband of Projecfa was called Turcius Secundus. 

 Two personages of that name, belonging to the noble family of the Asterii, were succes- 

 sively Prsefects of Rome a.d. 339 and 362. On one of four circular dishes is the inscrip- 

 tion SCVT II II. P. V. (Scutellte quatuor, Pondo v.), giving the united weight of lour of 

 these dishes, Scutella. In like manner, on the oblong casket the weight is marked. 



(5.) A fluted bowl, a two-handled vase, and a plain circular dish, present nothing remark- 

 able. There are also eight spoons, one of which is inscribed with a dedication to Juno 

 Lanuvina. This inscription is of an earlier period than that on the casket. 



(6.) Four small seated figures, re[)resenting cities of the Roman Empire (Visconti, PL 

 XIX. xx). One of Ihe^e is certainly Antioch ; in the other three Visconti recognizes, with 

 much probability, Rome, Constantinople, and Alexandria. These figures are chased, 

 partially gilt, and in admirable preservation. At the back of each is a square socket, show- 

 ing that they have been attached to some object as ornaments. The conjecture of Visconti, 

 that they ornamented the ends of the poles of a sella gestatoria, or state litter, is very 

 probable. Such an applicaiion of these figures would explain the use of the vine leaf sus- 

 pended at the foot of eacli, which would swing to and fro as the litter was carried. 



Visconti points out that the figures of the principal cities of the Roman Empire were 

 used as the ornaments of the diptychs and other consular insignia during the period to 

 which this treasure may be referred. 



(7.) Two hands grasping pomegranate fruits (Visconti, PI. xii.) The wrists ^re hollow 

 sockets, which may have been fastened on to the corner of a chair as ornaments, as 

 Visconti supposes. 



(8.) Four chains of plialercE, such as were worn as trappings by horses and mules. 

 (Visconti PI. xxiv.) 



These chains are composed of lions' heads, arranged altei-nately with double Amazonian 

 shields, the whole being gilt and chased. They are wonderfully preserved. 



The oblong and round dishes seem the most modern objects in the treasure. The resem- 

 blance of the monograms on these to the letters on the coins of the Ostrogothic kings 

 suggests the end of the 5th or beginning of the 6th century as the probable time of deposit. 

 Possibly the treasure may have been hidden on the taking of Rome by Totilas, a.d. 546, 

 or its second capture by the same barbaric invader, a.d. 549. Jules Labarte, in his " His- 

 toire des Arts Industriels au Moyen Age," Paris, 1864, cites this treasure and a few silver 

 vases in the Vatican as the only extant specimens of Italian silversmiths' art which can be 

 assigned to the first centuries of the middle ages. The figures and ornaments on most of 

 249. F 3 the 



