Etruscan Gold Book

An ancient book comprising six pages of 23.82-karat gold (measuring 5 centimeters in length and 4.5 centimeters in width) bound together by gold rings. The plates contain a text written in Etruscan characters and also depict a horse, a horseman, a Siren, a lyre, and soldiers. According to Elka Penkova, who heads the museum's archaeology department, the find may be the oldest complete book in the world, dating to about 600 b.c.

The content of the book suggests that it was made for the funeral of an aristocrat who was a member of the Orpheus cult.1 The Greek philosopher Pythagoras spread the beliefs of the cult (which originated in Thracia) in southern Italy and among the neighboring Etruscan tribes. According to Penkova, about 30 pages from Etruscan books are known from elsewhere, but only in single sheets. The Bulgarian find is the only complete version.

An 87-year-old Bulgarian man from Macedonia, who wishes to remain anonymous, donated the book to the museum. He had discovered the treasure in a tomb unearthed 60 years ago when he was a soldier working on the construction of a canal along the Strouma River in southwestern Bulgaria. According to Bozhidar Dimitrov, director of the museum, the find has been authenticated by experts in Sofia and London. Bulgarian professor Valdimir Georgiev is working on a translation of the text.

Celtic Mirrors: Birdlip Grave Group

1st century BC — mid 1st century AD

Discovered in 1879, found in Female burial, Birdlip Gloucestershire.

“Buried with a group of iron-age treasures around AD 50 along with the owner. In 1879 workmen discovered three skeletons in a quarry between Crickley and Birdlip overlooking the Vale of Gloucester. With the bones were some amazing Iron Age artifacts. The most important object is a handheld mirror of bronze.” 

“The Birdlip mirror design on the back of the bronze mirror is etched in to the metal. The pattern is composed of interlocking triskeles which end in groups of two or three flourishes. The handle of the mirror consists of a series of interlocking loops, the final loop, encloses another smaller circle of metal. Red enamel dots can be found on this circle, as well as on the top of the handle, where the handle meets the body of the mirror. This area could be defined as a pelta, or a small mushroom shape, similar in form to the Egyptian lotus bud.”

The front of this was originally highly polished for reflections, but the rear is decorated with flowing patterns worked into the metal. It is one of the finest items of Celtic art to survive in Britain and perhaps the finest example housed outside a national museum. The smaller items are also remarkable. There are fine bronze bowls and bracelets. The stylised face of a bird or animal can be seen in a silver gilt brooch and a bronze knife handle is shaped as the head of a bull or ox. There is also a bead necklace of amber and an exotic stone possible collected from as far away as China.

Celtic Mirrors

Desborough Mirror 

One of the most beautiful items of Celtic treasure are mirrors. These were owned by well-off ladies and were made of bronze. One side was polished brightly for the lady to see herself. The back and handle were usually decorated, with engraved lines and shapes.

Often spaces between lines were filled with 'hatching' - little marks cut into the bronze, to make an area 'darker', so the overall pattern stands out better. It is these decorations that make many Celtic mirrors great works of art.

The Celts are oft portrayed as barbarians only interested in drinking and fighting. This mirror alludes to another facet of Celtic culture: fashion and grooming. This artifact has an intricate swirling design that may have been mapped out with a compass, which is typical of La Tene art. There are several faces hidden in the design that had not been discovered until a while after its initial excavation and examination.

The level of detail certainly indicates the prestige of the owner and also sheds some light on Celtic culture. Roman historians would have us believe that the Celts were an uncultured people, however this artifact proves they also would appear to have an interest in personal hygiene and appearance. Dating to 100 BC, the mirror accentuates the social standing of women in Celtic Society, indicating that they may have had a similar role to that of Anglo Saxon women holding authority over men in certain social situations.

The Great Chesterford Mirror


The Great Chesterford Mirror, though only twenty three and one half centimeters, displays a magnificent design.  This Celtic bronze mirror, much like the Old Warden Mirror from Bedfordshire, contains a design based on three-sided voids, rather than lobe patterns.  Six matted shapes are located around the perimeter of the mirror.  These shapes appear in different form, yet all are connected by the interwoven basket-hatching.

The artist who created this mirror included a Celtic trademark found in many other mirrors, metamorphosis.  First, one bird-like image and one human image appear in the design.  When holding the mirror in hand, a human face emerges near the top of the mirror.  Two closed roundels form the eyes, while the nose is formed by a three-sided void.  After hanging the mirror from the wall, the bird-like image pops out causing the human face to disappear.  Again, a closed roundel forms the eye, while the nose is created with an elongated three-sided void.

Another Celtic trademark included in this design is tripilism.  As mentioned earlier, three-sided voids dominate the mirror back.  Two tiny triskeles are present, one located to the far left of the design and the other located to the far right of the mirror.  These triskeles consist of three appendages.  Four rosettes are present, three of these rosettes have closed roundels while one rosette is open.  Tripilism is also seen in the mirror handle.  Three circle-in-circle figures attach the handle to the mirror.

Nothing about his design is symmetrical, thus making it extremely unique.  At first glance, many other Celtic Mirrors appear symmetrical, however, upon closer examination, the viewer notices slight asymmetry.  The design on the Great Chesterford Mirror does not at all appear to have symmetry.  The mirror handle, on the other hand, does have symmetry; much like handles on Celtic Mirrors.

The Great Chesterford mirror
Essex, England
1st century BCE
British Museum, London

National Museum of Ireland - Archaeology Decorated gold discs

The general belief is that the discs relate to a cult of the sun and that the cruciform shapes of the design are intended to represent its life-giving rays.

One interpretation of the gold discs is that they were placed as symbolic breasts on the chest of a king, creating an image that fused the leader with the life-giving deity…

A gold disc with almost prefect concentric circles within larger circles of the disc.

 Gold disc, perhaps a terminal from a collar or ear spool. 800-700 BC. National Museum of Ireland.  

Celtic Gold

The Frasnes-lez-Buissenal pot-hoard found near a spring in Belgium. Dated 50 B.C. the hoard, which consisted of two gold torcs and nine gold coins, was probably a ritual offering to a spring deity worshiped because the two gold torcs were not designed to be worn by its Nervii tribal owners.

The ancient Greek writer, Diodorus, writing circa. 20 B.C. commented about the astonishing Celtic religious practice of safely and freely depositing gold offerings such as the Frasnes-lez-Buissenal hoard in temples and other sacred sites.

 Nervii tribal hoard

Although no provenance is provided for this Celtic gold ring, it is dated to 400-300 B.C. (early La Tene period). Part of a trio of gold rings, the ring has a ram's head motif similar to the gold torc found in the Nervii tribal hoard. The Nervii were one of the most powerful Belgic tribes; living in northern Gaul at the time of its conquest by Rome.

Again, sadly this iron/copper alloy sword and scabbard has no provenance. Dated late La Tene period at 60 B.C. the museum believes that the hilt depicts a warrior; however, ther figure is just as likely to depict a deity.

Reposted From The History Guru

The Staffordshire Hoard

This mysterious piece, almost four inches long, uses the same principle as the brake lights of modern cars: The wafflelike texture of the gold under each garnet increases the gem's reflectivity.

Photograph by Robert Clark

All artifacts owned by: Birmingham Museums and Art Gallery; Potteries Museum and Art Gallery, Stoke-on-Trent



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