1ý

The Bronze Italian Helmet: The development of the Cassis

from the last quarter of the sixth century B. C. to the

third quarter of the first century A. D.

Volume I.

John Miles Paddock

Submitted in fulfillment of the requirements for

the degree of PhD of the University of London.

Institute of Archaeology.

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-1-
nNDLO
This thesis is a study of the bronze Italian helmet over six

centuries, from the last quarter of the sixth century B. C to the end

of the 1st century A. D. It surveys and examines the mainstream

development and evolution of the helmet in the Apennine peninsula, in

particular the nine major forms which dominate the equipment of the

Italian warrior during this period i. e. The Apulo-Corinthian, the

Negau, the Italo-Chalkidian, the Etrusco-Thracian, the Italo-Pilos,

the Samno-Attic, the Montefortino, the Coolus and the Hagenau helmets.

Starting from the premise that the majority of helmets no matter of

what form, were intended to be functional and that their evolution is

entirely dependent upon the type of warfare for which each form was

developed, the changing nature of that warfare and the cultural

affinities of the people who used it, this thesis discusses the

external agencies and cultural influences that can be traced in the

development of each form, the origins of the forms themselves and

provides a definitive typology for each. Where possible it also

establishes an absolute chronology for these typologies, based upon

dated examples, the stylistic evolution of form, the size and shape of

the helmet bowl, its decoration and standards of manufacture and

finish.

Due to the complexities of the manufacturing processes involved in the

production of bronze helmets and as many of the techniques used were

common to all forms this'Study commences with an examination of these

proce and the tools and technology employed including an

examination of the growth of mass-production technique in Italian

helmet production. Where possible workshop groups have been isolated

-2-
for each form and areas of regional production defined. This analysis

is based on a detailed examination and comparison of the distribution

of each type within each form, their dating, fittings i. e crest-

fixtures, cheek-pieces etc and their decoration and its possible

derivation.

Finally the functional aspects of the bronze Italian helmet are

discussed and attempts are made to account for the overwhelming

popularity of the Montefortino helmet which from the the end of the

third century B. C. had eclipsed all other Italian helmet forms. It

examines the disappearance of the majority of these culturally

distinct types which is a marked feature of Rome domination of Italy.

It concludes therefore that it is Rome's centralisation of production

under her political and military control that led to the suppression

of the widespread indigenous Italian arms industries and inevitably

led to the progressive rearmament of the Apennine peninsula after the

Roman and ultimately Celtic fashion and therefore that it is Rome's

cultural control of Italy that led to the supremacy of the

Montefortino helmet.

-3-
Contents: Page No.:

Abstract 2.
"..

Contents 4"
"""

Acknowledgements 5"
"""

List of Figures 7"

"""

List of Plates 30.

"""

Introduction 35.
...

Manufacture 44.
...

Apulo-Corinthian Helmets 78.

...

Negau Helmets 174.

...

Italo-Chalkidian Helmets 265.

...

Etrusco-Thracian Helmets 320.

...

Italo-Palos Helmets 365.

...

Samna-Attic Helmets 400.

...

Montefortino Helmets 469.

...

Coolus Helmets 640.

...

Hagenau Helmets 686.

...

Conclusion 738.
"""

Plates 817.
...

Appendix 1: A catalogue of helmets by museum 853.

...

Bibliography 883.
...

-4-
Acknowledgements.

In the course of the research for this thesis I have visited literally

dozens of museums, where I have been the lucky recipient of

considerable hospitality and the generous assistance of colleagues,

friends and even complete strangers. To these friends and colleagues

I wish now to express my sincere thanks for their time, patience and

effort. Whilst it is perhaps invidious to single out individuals for

special mention I would like to thank the following in particular for

their unstinting efforts on my behalf:

Dr. Ernst Künzl, Rdmisb Germanisches Zentral Museum, Mainz.

Dr. Rolf Michael Schneider, Badisches Landesmuseum, Kai-]sriihe.

Dr. Alain Duval, MusAe de Antiquites Nationale, St. Germain en Laye.

Dr. Francois Baratte, Musee du Louvre, Paris.

Dr. Liliana Mercando, Soprintendenza Archeo]ogica del Piedmonte.

Dr. Luciana Pratti, Museo Civico Ferrara.

Dr. Pontiroli, Museo Civico Cremona.

Dr. Ettore de Juliis, Museo Nazionale Taranto.

The staff of the British School at Rome.

Mr Brian Cook, Greek and Roman Department, The British Museum.

Dr. Ralph Jackson, Department of Prehistoric and Romano-British

Antiqui_tie. s, The. British Museum.

_
Dr. Simon James, Education Department, British Museum.

Mr Ian Eaves, Royal Armouries.

Mr Thomas Richardson, Royal Armouries.

Mr David Edge, The Wallace Collection.

Professor John Wilkes, Institute of Archaeology, London.

-5-
Dr Richard Reece, Institute of Archaeology, London.

Dr. Margaret Roxan, Institute of Archaeology, London.

The Society for the Promotion of Roman Studies.

The staff of the British Library.

The Staff of the Corinium Museum.

Mr Nick Griffiths.

My especial thanks and appreciation must go to both Peter Connolly and

Mark Hassall, Institute of Archaeology, London, without whose advice,

assistance and inspiration this thesis could never have been

attempted.

Finally and perhaps most of aLl I would like to thank my family,

especially my wife Sarah and daughter Alexandra whose long suffering

tolerance has often been strained to the limit during the completion

of this work. To them therefore I would like to dedicate what

follows.

-6-
LIST OF ILLUSTRATTnIS,

1: 1. A detail of a graffito from the Catacomb of Domatilla showing a

smith and his assistant.
1: 2. A modern "Bickiron".

2: 1. A beaked anvil from Silchester.

2: 2. A beaked anvil from Pompeii.

3: 1. A block anvil from Pompeii.

3: 2. A modern "planishing" hammer.
3: 3. A modern "raising" hammer.
3: 4. A combined hammer from Newstead.
3: 5. A "planishing hammer from Hod Hill.

4: 1. A combined hammer from Silchester.

4: 2. Two pairs of metal working tongs from Newstead.
4: 3. The method used for working an indented brow-band.

5: 1. A double loop chin-strap fixture.

5: 2. A helmet lining from a medieval helmet in the Wallace collection.
5: 3. A diagramatic reconstruction of a helmet turning lathe.

6. The stages in the production of a "spun" Hagenau helmet.

7. An Apulo-Corinthian helmet.

8. A map showing the distribution of Apulo-Corinthian helmets

9: 1. An Apulo-Corinthian helmet of Type I, from Sicliy. Now in the

Antikenmuseum Berlin (L27. ).
9: 2. An Apulo-Corinthian helmet of Type I, from south Italy. Now in
the Antikenmuseum Berlin (L28. ).
9: 3. An Apulo-Corinthian helmet of Type I, from Syracuse. Now in the
Antikenmuseum Berlin (L29. ).

10: 4. An Apulo-Corinthian helmet of Type I, from south Italy. Now in

the Bibliotheque Nationale. (2015. ).
10: 5. An Apulo-Corinthian helmet of Type I, from Tomb A. Chiucchari
Necropolis near Melfi. Now in the Nuseo Nazianale di Melfi. (50246).
10: 8. An Apulo-Corinthian helmet of Type I, from Tomb A. Chiucchari
Necropolis near Melfi. Now in the Museo Nazionale di Melfi. (50245).

11: 7. An Apulo-Corinthian helmet of Type I, from south Italy. Now in

the Dallas Museum of Fine Arts.
11: 8. An Apulo-Corinthian helmet of Type I, from Taranto. Now in the
Collection Guttmann, Berlin.

12: 9. An Apulo-Corinthian helmet of Type I, from the Basilicata. Now

in a private Collection in Lucerne.
12: 10. An Apulo-Corinthian helmet of Type I, from south Italy.
Whereabouts unknown.

-7-
12: 11. An Apulo-Corinthian helmet of Type I, from Apulia. Now in the
British Museum (2823.1873.8-20.224. ).

13: 12. An Apulo-Corinthian helmet of Type I, from Ruvo di Puglia. Now

in the Nuseo Nazionale Naples (5732).
13: 13. An Apulo-Corinthian helmet of Type I, from Grave 24" Rutigliano
near Bari. Now in the Nuseo Nazianale Taranto. (140173).
13: 14. An Apulo-Corinthian helmet of Type I, from Ruvo di Puglia. Now
in the British Museum (2831 1856.12-26.616, ).

14: 15. An Apulo-Corinthian helmet of Type It, from south Italy. Now
in the Nurnberg Museum.
14: 16. An Apulo-Corinthian helmet of Type II, from Friuli. Armeria
Reale Turin. (A12).

15: 17. An Apulo-Corinthian helmet of Type II, from Tomb 25 at Ordona.

Now in the Armeria Reale Turin. (A13).
15: 18. An Apulo-Corinthian helmet of Type It, from south Italy.
Present whereabouts unknown.

16: 19. An Apulo-Corinthian helnEt of Type II, from south Italy. Now
in the Collection Guttmann, Berlin.
16: 20. An Apulo-Corinthian helmet of Type III, from Tomb 7, Leonessa
near Melfi. Now in the Museo Nazianale Melfi (52960)

17: 21. An Apulo-Corinthian helmet of Type III, from Tomb F. Chiucchari

Necropolis near Melfi. Now in the Museo Nazionale di Melfi. (50389).
17: 22. An Apulo-Corinthian helmet of Type III, from Tomb 56. Lavello
Now in the Museo Nazionale di Melfi. (52888).

18: 23. An Apulo-Corinthian helmet of Type III, from Tomb F.

Chiucchari. Now in the Museo Nazionale di Melfi. (50388).
18: 24. An Apulo-Corinthian helmet of Type III, from Grave 82
Ripacandida. Now in the Museo Nazionale d i Melfi. (118161).

19: 25. An Apulo-Corinthian helmet of Type III, from Chiucchari Now

.
in the Museo Provincale di Potenza Melfi. (50389).
19: 26. An Apulo-Corinthian helmet of Type III, from south Italy. Now
in the Musee du Cinquantenaire Brussels (A703).

20: 27. An Apulo-Corinthian helmet of Type III, from Pomarico. Now in

the British Museum (2832 1856.12-26.669. )
20: 28. An Apulo-Corinthian helmet of Type III, from Chiucchari. Now
in the Museum of Fine Arts Boston. (69.1075).

21: 29. An Apulo-Corinthian helmet of Type III, from Naples. Now in

the Museo Nazionale Naples.
21: 30. An Apulo-Corinthian helmet of Type III, from south Italy.
Present whereabouts unknown.

22: 31. An Apulo-Corinthian helmet of Type III, from south Italy. Now
in the National Museum Copenhagen. (ABa 889).
22: 32. An Apulo-Corinthian helmet of Type III, from Chiucchari
Necropolis near Melfi. Now in the Museo Nazionale di Melfi. (50753).

-8-
23: 33. An Apulo-Corinthian helmet of Type IV, from Tomb A/34 Banzi.
Now in the Museo Nazionale Reggio Calabria. (50753).
23: 34. An Apulo-Corinthian helmet of Type IV, from Krsko. Now-in the
Antikenmuseum Berlin (L. 30. )

24: 35. An Apulo-Corinthian helmet of Type IV, from south Italy. Now
in the Antikenmuseum Berlin (31590).
24: 36. An Apulo-Corinthian helmet of Type IV, from south Italy. Now
in the Antikenmuseum Berlin (10398).

25: 37. An Apulo-Corinthian helmet of Type IV, from south Italy. Now
in the Museo Poldi Pezzoli Milan (2420).
25: 38. An Apulo-Corinthian helmet of Type IV, from south Italy.
Present whereabouts unknown.
25: 39. An Apulo-Corinthian helmet of Type IV, from Canosa di Puglia.
Now in the Museo Nazionale Bari (2242).

26: 40. An Apulo-Corinthian helmet of Type IV, from Grave 3 Rutigliano.

Now in the Museo Nazionale Taranto. (61488).
26: 41. An Apulo-Corinthian helmet of Type V, from south Italy. Now in
the Antikenmuseum, Berlin (FR1011. ).
26: 42. An Apulo-Corinthian helmet of Type V, from south Italy. Now in
the Antikenmuseum, Berlin (L. 90).

27: 43. An Apulo-Corinthian helmet of Type V, from Canosa di Puglia.

How in the Badisches Landesmuseum Karlsruhe (F430. ).
27: 44. An Apulo-Corinthian helmet of Type V, from Canosa di Puglia.
Now in the Badisches Landesmuseum Karlsruhe (F432. ).
27: 45. An Apulo-Corinthian helmet of Type V, from Montescaglioso. Now
in the Museo Nazionale Materna (9584).

28: 46. An Apulo-Corinthian helmet of Type V, from Ruvo di Puglia. Now

in the Museo Nazionale Naples (5707).
28: 47. An Apulo-Corinthian helmet of Type V, from Grave 77 Rutigliano.
Now in the Nuseo Nazionale Taranto. (165191).

29: 48. An Apulo-Corinthian helmet of Type V, from Grave 19 Rutigliano.

Now in the Museo Nazionale Taranto. (138864).
29: 49. An Apulo-Corinthian helmet of Type V, from Grave 11
Rutigliano. Now in the Museo Nazionale Taranto. (141420).
29: 50. An Apulo-Corinthian helmet of Type V, from Capua. Now in the
Museum fur Völkerkunde Leipzig. (UG134172).

30: 51. An Apulo-Corinthian helmet of Type V, from Taranto. Now in a

private-collection in Köln.
30: 52. An Apulo-Corinthian helmet of Type VI, from Serra di Vaglio.
Now in the Museo Provinciale Potenza(V284).
30: 53. An Apulo-Corinthian helmet of Type VI, from a tomb at Ponte
Cucchiaio. Now in the National Museum Copenhagen (ANa 412. )

31: 54. An Apulo-Corinthian helmet of Type VI, from south Italy. Now
in the St Lucia Museum University of Queensland (77.1. )
31: 55. An Apulo-Corinthian helmet of Type VII, from Vulci. Now in the
British Museum (2722.47.8.6.160)

-9-
31: 56. An Apulo-Corinthian helmet of Type VII, from Etruria. Now in
the British Museum. (2723.1856.12-26.664. ).

32: 57. An, Apulo-Corinthian helmet of Type VII, from south Italy. Now
in the Bibliotheque Nationale. (2017. ).
32: 58. An Apulo-Corinthian helmet of Type VII, from Ruvo di Puglia.
Now in the Museo Nazionale Bari. (7697).
32: 59. An Apulo-Corinthian helmet of Type VII, from Grave 16, Cairano.
Now in the Museo Nazionale Pontecagnano (34809. ).

33: 1. Decoration on helmet No. 6, from Tomb A Chiucchiari.

33: 2. Decoration on helmet No. 21, from Tomb F Chiucchiari.
33: 3. Decoration on helmet No. 49, from Tomb 11 Rutigliano.

34: 1. Construction of crest-fixtures"of Type 1.

34: 2. Construction of crest-fixtures of Type 2.
34: 3. Construction of crest-fixtures of Type 3.
34: 4. Construction of crest-fixtures of Types 4 and 5.

35: 1. Position of chin-strap loops on an Apulo-Corinthian helmet.

35: 2. The chin-strap after Bottini.
35: 3. Chin-strap using a single strap and all three chin-strap loops.
35: 3. Chin-strap using two straps and all three chin-strap loops.
35: 3. Chin-strap using two straps joined to form a"Y' shape and all
three chin-strap loops.

36, A Negau helmet.

37. A map showing the distribution of the Negau helmet.

38: 1. A Negau helmet of Type I, from Grottamare. Now in the Museo

Nazionale Ancona. (15122).
38: 2. A Negau helmet of Type I, from Italy. Now in the Walters Art
Gallery Baltimore. (54168).
38: 3. A Negau helmet of Type I, from Volterra. Now in the Antiken
Museum Berlin. (L. 53).

39: 4. A Negau helmet of Type I, from Marche. Now in the Antiken

}iuseum Berlin. (L. 54).
39: 5. A Negau helmet of Type I, from the Marche. Now in the Antiken
Kuseum Berlin. (L. 55).
39: 6. A Negau helmet of Type I, from Italy. Now in the Antiken Museum
Berlin. (L. 56).

40: 7. A'Negau helmet of Type I, from Sicily. Now in the Antiken

)Iuseum Berlin. (L. 64)'.
40: 8. A Negau helmet of Type I, from Sicily. Now in the Antiken
Museum Berlin. (L. 65).
40: 9. A Negau helmet of Type I, from Casalfiumanse. Now in the Museo
Civico Bologna. (R451).

41: 10. A Negau helmet of Type I, from Imola. Now in the Museo Civico
Bologna. (20696).

- 10 -
41: 11. A Negau helmet of Type I, from Dovadola S. Ruffillo near
Forli. Now in the Museo Archeologico di Forli. (27167).
41: 12. A Negau helmet of Type I, from Italy. Now in the Hermitage,
St Petersburg. (B545).

42: 13. A Negau helmet of Type I, from Olympia. Now in the British
Museum. (250).
42: 14. A Negau helmet of Type I, from Italy. Now in the Musee St.
Pierre Lyons. (X924).
42: 15. A Negau helmet of Type I, from Italy. Now in the Reiss-Museum
Mannheim. No Inv. No.

43: 16. A Negau helmet of Type I, from Italy. Now in the Museo Poldi
Pezzoli, Milan. (2415).
43: 17. A Negau helmet of Type I, from Italy. Now in the Bibliothbque
Nationale Paris. (2021).
43: 18. A Negau helmet of Type I, from Italy. Now in the Musee du
Louvre Paris. (1114).

44: 19. A Negau helmet of Type I, from Italy. Now in the University
Museum Philadelphia. (1409).
44: 20. A Negau helmet of Type I, from Italy. Now in the Castel S.
Angelo Rome. No Inv. No.
44: 21. A Negau helmet of Type I, from Italy. Now in the Musee des
Antiquites Nationales St. Germain en Laye. (4761).

45: 22. A Negau helmet of Type II, from Aleria. Now in the Musee
Archeologique A16ria. (67/320).
45: 23. A Negau helmet of Type II, from Aleria. Now in the Musee
Archeologique A16ria. (67/330).
45: 24. A Negau helmet of Type II, from Aleria. Now in the Musee
Archeologique A16ria. (67/348).
46: 25. A Negau helmet of Type II, from Aleria. Now in the Musee
Archeologique A16ria. (67/462).
46: 26. A Negau helmet of Type II, from Humana. Now in the Museo
Nazionale Ancona. (4364).
46: 27. A Negau helmet of Type II, from Numana. Now in the Museo
Nazionale Ancona. (4369).

47: 28. A Negau helmet of Type II, from Pianello Castelbellino.. Now
in the Museo Nazionale Ancona. (6725).
47: 29. A Negau helmet of Type II, from Numana. Now in the Museo
Aazionale Ancona. (9406).
47: 30. A Negau helmet of Type II, from Nummna. Now in the Museo
Nazionale Ancona. (31533).

48: 31. A Negau helmet of Type II, from Italy.. Now in the Walters Art
Gallery Baltimore. (54167).
48: 32. A Negau helmet of Type II, from Vulci. Now in the Antiken
Museum Berlin. (Fr. 1018).
48: 33. A Negau helmet of Type II, from Italy. Now in the Antiken
Museum Berlin. (10392).

-11-
49: 34. A Negau helmet of Type II, from Italy. Now in the Antiken
Museum Berlin. (10393).
49: 35. A Negau helmet of Type II, from Italy. Now in the Antiken
Museum Berlin. (10394).
49: 36. A Negau helmet of Type II, from Italy. Now in the Antiken
Museum Berlin. Misc. (10399).

50: 37. A Negau helmet of Type II, from Caserata. Now in the Antiken
Museum Berlin. (L. 59).
50: 38. A Begau helmet of Type II, from Sulmona. Now in the Antiken
Museum Berlin. (L. 60).
50: 39. A Aegau helmet of Type II, from Sulmona. Now in the Antiken
Museum Berlin. (L. 61).

51: 40. A Negau helmet of Type It, from Pisa. Now in the Antiken
Museum Berlin. (L. 62).
51: 41. A Negau helmet of Type II, from Istria. Now in the Antiken
Museum Berlin. (L. 63).
51: 42. A Negau helmet of Type II, from Sicily Now in I. Itt, Antiken
Museum Berlin. (L. 66).

52: 43. A Negau he] net of Type 11, from Montericco, Imola. ' Now in the
)iuseo Civico Bologna. (19964).
52: 44. A Negau helmet of Type II, from Certosa. Now in the Museo
Civico Bologna. No Inv. No.
52: 45. A Negau helmet of Type II, from Sta. Maria Maddalena di
Cazzano. Now in the Museo Civico Bologna. -ND Inv. No.
52: 46. A Negau helmet of Type II, from Italy. Now in the Museum of
Fine Arts Boston. (1970.35).

53: 47. A Negau helmet of Type II, from Italy. Whereabouts unknown.
53: 48. A Negau helmet of Type II, from Villamagna near Chieti. Now in

Ao Neg au nneim eii öft'T

from Abruzzi, Italy. Now in the
:4. YCpe?Ii'
Museo Nazionale Chieti. (10781).

54: 50. A Negau helmet of Type II, from Chieti. Now in the Museo
Nazionale Chieti. (10783).
54: 51. A Negau helmet of Type II, from Italy. Now in the National
Museum Copenhagen. (ABa 414).
54: 52. A Negau helmet of Type II, from Italy. Now in the Museo
Archeologico Florence. (1630).

55: 53. A Negau helmet of Type II, from San Cerbone, Populonia. Now in
the Museo Archeologico Florence. (1239).
55: 54. A Negau helmet of Type 'II, from Dovadola S. Ruffillo near
Forli. Now in the Museo Archeologico di Forli. (27163). .
55: 55. A Negau helmet of Type II, from Talamone. Now in the Museo
Aazionale Maremma Grosseto. (70842).

56: 56. A Negau helmet of Type II, from Morine di Sotto Imola. Now in
the Museo Civico Imola. (336A).
56: 57. A Negau helmet of Type II, from Casola Valsenio Monteroni. Now
in the Museo Civico Imola. (338A).

- 12 -
56: 58. A Negau helmet of Type II, from Etruria. Now in the Badisches
Landesmuseum Karlsruhe. (F435).

57: 59. A Negau helmet of Type It, from Etruria. Now in the Badisches
Landesmuseum_Karlsruhe. (F436).
57: 60. A Negau helmet of Type II, from Paestum. Now in the Badisches
Landesmuseum_Karlsruhe. (F438).
57: 61. A Negau helmet of Type II, from Etruria. Now in the Badisches
Landesmuseum Karlsruhe-. (F439).

58: 62. A Regau helmet of Type II, from Caninio. Now in the British
Museum. (2717.1878.10-19.302).
58: 63. A Negau helmet of Type II, from Italy. Now in the British
Museum. (2718.1975.6-3.5).
58: 64. A Negau helmet of Type II, from Italy. Now in the British
Museum. (2719.1856.12-26).

59: 65. A Negau helmet of Type : I, from Italy. Now in the British
Museum. (2720.1975.6-3.4).
59: 66. A Negau helmet of Type It, from Italy. Now in the Royal
Armouries, H. M. Tower of London. (IV. 542).
59: 67. A Negau helmet of Type II, from Italy. Now in the Royal
Armouries, H. M. Tower of London. (IV. 543).

60: 68. A Wegau helmet of Type II, from Italy. Now in the Staatliche
Antikensammlung Munich. (70).
60: 69. A Negau helmet of Type II, from Italy. Now in the J. Paul
Getty Museum Malibu. (73 AC 33).
60: 70. A Negau helmet of Type II, from Italy. Now in the J. Paul
Getty Museum Malibu. (73 AC 34).

61: 71. A Negau helmet of Type II, from Italy. Now in the Römisch,. -
Germanisches Zentral Museum Mainz. (039819).
61: 72. A Negau helmet of Type II, from Egnazia. Now in the Museo
Aazionale Naples. No Inv. No.
61: 73. A Negau helmet of Type II, from Italy. Now in the Germanisches
National museum Nuremburg. (R388).

62: 74. A Negau helmet of Type II, from Olympia. Now in the
Archaeological Museum Olympia.
62: 75. A Negau helmet of Type II, from Orvieto. Now in the Museo
Civico Orvieto. (105).
62: 76. A Negau helmet of Type II, from Orvieto. Now in the Museo
Civico Orvieto. (1057).

63: 77. A Negau helmet of Type II,, from Italy. Now in the Ashmolean
Museum Oxford. (1874.489).
63: 78. A Negau helmet of Type II, from Italy. Musee de l'Armee Paris.
(E10).
63: 79. A Negau helmet of Type II, from Italy. Now in the Musee du
Louvre Paris. (1110 (1373 NS796. ))

64: 80. A Negau helmet of Type II, from Italy. Now in the Musee du
Louvre Paris. (1111 (C6969. ))

- 13 -
64: 81. A Negau helmet of Type II, from Italy. Now in the Musee-du
Louvre Paris. (1112 (C6683)).
64: 82. A Negau helmet of Type II, from Italy. Now in the Musee du
Louvre Paris. (1113 (C6721)).

65: 83. A Negau helmet of Type II, from Italy. Now in the Mus&e du
Louvre Paris. (1115).
65: 84. A Negau helmet of Type II, from Italy. Now in the Mus&e du
Louvre Paris. (1116).
65: 85. A'Negau helmet of Type II, from Italy. Now in the Mus&e du
Louvre Paris. (1117. (C6978. ))

66: 86. A Negau helmet of Type it, from Martino in Gattara. Now in the
Musen Archeologico Ravenna.
66: 87. A Negau helmet of Type II, from Italy. Now in the Castel S.
Angelo Rome. No Inv. No.
66: 88. A Negau helmet of Type II, from Italy. Now in the Museo
Preistorico Etnografico Rome. (5530).

67: 89. A Negau helmet of Type II, from Cavlupo, Vulci. Now in the
Museo di Villa Giulia Rome. No Inv. No.
67: 90. A Negau helmet of Type II, from Gualdo Tadino. Now in the
Museo di Villa Giulia Rome. (43577).

68: 91. A Negau helmet of Type II, from Montellane di Spoleto. Now in
the Museo di Villa Giulia Rome. (44399).
68: 92. A Negau helmet of Type II, from Gualdo Tadino. Now in the
Museo di Villa Giulia Rome. (44429).

69: 93. A Negau helmet of Type II, from Gualdo Tadino. Now in the
Musen di Villa Giulia Rome. (44430).
69: 94. A Aegau helmet of Type II, from Italy. Now in the Musee des
Antiquites Nationales. St. Germain en Laye. (35577).

69: 95. A Negau helmet of Type II, from Italy. Now in the Armeria
Reale Turin. (All).
69: 96. A Negau helmet of Type II, from Italy. Now in the Musen
Gregoriano Etrusco, Vatican. (12300).

70: 97. A Hegau helmet of Type II, from Italy. Now in the Museo
Gregoriano Etrusco, Vatican. (12301).
70: 98. A Negau helmet of Type II, from Italy. Now in the Museo
Gregoriano Etrusco, Vatican. (12302).
70: 99. A Hegau helmet of Type II, from Italy. Now in the Museo
Gregoriano Etrusco,, Vatican. (12308).

71: 100. A Negau helmet of Type II, from Italy. Now in the Museo
Gregoriano Etrusco, Vatican. (12309).
71: 101. A Negau helmet of Type II, from Pianmaiano Bomarzo. Now in
the Museo Gregoriano Etrusco, Vatican. (12310).
71: 102. A Negau helmet of Type II, from Italy. Now in the
Museum Vienna. No Inv. No.
-Naturhistorisches

- 14 -
72: 103. A Negau helmet of Type II, from Vetulonia. ` Now, in the
Naturhistorisches Museum Vienna. (46705).
72: 104. A Negau helmet of Type It, from Italy. Whereabouts unknown.
72: 105. A Negau helmet of Type It, from Italy. Whereabouts unknown.

73: 106. A Negau helmet of Type II, from Italy. Whereabouts unknown.
73: 107. A Negau helmet of Type II, from Italy. Whereabouts unknown.
73: 108. A Negau helmet of Type II, from Italy. Whereabouts unknown.

74: 109. A Negau helmet of Type III, from Italy. Now in the Antiken
Museum Berlin. (Fr 1014).
74: 110. A Negau helmet of Type III, from Canosa di Puglia. Now in the
Museo Nazionale Naples. (5693).
74: 111. A Negau helmet of Type III, from Cairano. Now in the Musen
Nazionale Pontecagnano. (35888).

75: 112. A Negau helmet of Type III, from Italy. Present whereabouts
unknown.

76. An Italo-Chalkidian helmet.

77. A map showing the distribution of Italo-Chalkidian helmets.

78: 1. An Italo-Chalkidian helmet of Type I, from a grave at Paestum.

Now in the Museo Nazionale Naples.
78: 2. An Italo-Chalkidian helmet of Type II, from a grave at Vulci.
Now in the Bibliotheque Nationale, Paris. (2013,5650).
78: 3. An Italo-Chalkidian helmet of Type III, from a grave at Todi.
Now in the Museo Nazionale di Villa Giulia (27,184-86 ).

79: 4. An Italo-Chalkidian helmet of Type IV, from Perugia. Now in the

Musee de Louvre, Paris. (1104, C6698)).
79: 5. An Italo-Chalkidian helmet of Type IV, from the necropolis of
Santa Guiliana near Perugia. Now in the Museo Nazionale, Perugia.
(1101. ).
79: 6. An Italo-Chalkidian helmet of Type IV, from the Frontone
Necropolis near Perugia. Now in the Museo Nazionale, Perugia. (361. ).

80:?. An Italo-Chalkidian helmet of Type IV1 from the Frontone

Necropolis near Perugia. Now in the Museo Nazionale, Perugia. (354
B1654. ).
80: 8. An Italo-Chalkidian helmet of Type IV, unprovenanced but from
the Marche. Now in the Museo Archeologico, Florence. (1238. ).

81: 9. An'Italo-Chalkidian helmet of Type V, from the Abruzzo. Now in

the Collection Leopardi in Penne.
81: 10. An Italo-Chalkidian helmet of Type V, from Locri. Now in the
Xuseo Nazionale, Naples. (5737. ).
81: 11. An Italo-Chalkidian helmet of Type V, from a grave at Ruvo.
Now in the British Museum. (2830,1856,12-26.616. ).

82: 12. An Italo-Chalkidian helmet of Type VI, from Cerveteri, Lazio,

Italy. Now in the Musee des Beaux Arts, Lyons. (X228. ).

-15-
82: 13. An Italo-Chalkidian helmet of Type VI, from Apulia, Italy.
Now in the British Museum. (2822,1873-8-20.225. ).
82: 14. An Italo-Chalkidian helmet of Type VI, unprovenanced but from
Italy. Its present whereabouts unknown.

83: 15. An Italo-Chalkidian helmet of Type VI, from Metaponto. Now in

the MuseQ. Poldi Pezzoli, Milan. (N872).
83: 16. An Italo-Chalkidian helmet of Type VII, from Locri. Now in the
Museo Nazianale, Naples.
83: 17. An Italo-Chalkidian helmet of Type VII, unprovenanced but from
southern Italy. Now in the Huseo Castel S. Angelo. (2010. ).

84: 18. An Italo-Chalkidian helmet of Type VII, unprovenanced but from

southern Italy. Now in the Greek Museum, University of Newcastle upon
Tyne (101. ).
84: 19. An Italo-Chalkidian helmet of Type VII, unprovenanced but from
southern Italy. Now in the Museo Gregoriano Etrusco in the Vatican
(12303. ).
84: 1. A crest-fixture of the type found on helmet No. 11.

85: 1. An Italo-Chalkidian cheek-piece of Type I. -

85: 2. An Italo-Chalkidian cheek-piece of Type II.
85: 3. An Italo-Chalkidian cheek-piece of Type III.
85: 4. An Italo-Chalkidian cheek-piece of Type IV.
85: 5. An Italo-Chalkidian cheek-piece of Type V.
85: 6. Method of securing the chin-strap on an Italo-Chalkidian helmet.

86: 1. An Etruscan fresco from Chiusi, depicting a warrior wearing a

helmet of Type VI.
86: 2. An Etruscan fresco from Ceri, depicting a warrior wearing a
helmet of Type IV.

87. An Etrusco-Thracian helmet.

83. A map showing the distribution of Etrusco-Thracian helmets.

89: 1. An Etrusco-Thracian helmet of Type IB, from Italy. low in the

Husee des Beaux Arts Lyons (X924).
89: 2. An Etrusco-Thracian helmet of Type IB, from Italy. In the
collection of M. Le Marois.
89: 3. An Etrusco-Thracian helmet of Type IA, from a tomb at Orsogna
near Chieti. Now in the Museo Nazionale Chieti (4408. )

90: 4. An Etrusco-Thracian helmet of Type IA, from Egnatia. Now in the

7I"useo Nazionale Naples.
90: 5. An Etrusco-Thracian helmet of Type IB, from Italy. Now in the
11us4e des Beaux Arts Lyons (X 924. )
An Etrusco-Thracian helmet of Type IB, from the Necropolis del
Frontone near Perugia. Now in the Musec Nazionale Perugia. (358
E1251. )

!: 1: 7. An Etrusco-Thracian helmet of Type IB, from Monteluce near

Perugia. Iuseo Nazionale Perugia (328 B1323. )

-16-
91: 8. An Etrusco-Thracian helmet of Type IB, from the necropolis of
Santa Giuliana near Perugia. Now in the Museo Nazionale Perugia
(SG. /32/1. ).
91: 9. An Etrusco-Thracian helmet of Type IB, from central Italy. Now
in the Antiken Museum Berlin. (L 37. ).

92: 10. An Etrusco-Thracian helmet of Type IB, from Perugia. Now in

the Antiken Museum Berlin (L 36. ).
92: 11. An Etrusco-Thracian helmet of Type IB, from Italy. Now in the
Musen Arqueologico Madrid (MAN. 7359. ).
92: 12. An Etrusco-Thracian helmet of Type IB, from Italy. Now in the
Antiken Museum Berlin (L 38. ).

93: 13. An Etrusco-Thracian helmet of Type IB, from Italy. Now in the
Antiken Museum Berlin (10395. ).
93: 14. An Etrusco-Thracian helmet of Type IB, from Perugia. Now in the
Antiken Museum Berlin (L 69. ).
93: 15. An Etrusco-Thracian helmet of Type II, from central Italy. Now
in the Nuseo Gregoriano Etrusco in the Vatican (A47. ). '

94: 16. An Etrusco-Thracian helmet of Type II, from central Italy. Now
in the Museo Gregoriana Etrusco in the Vatican (A43. ).
94: 17. An Etrusco-Thracian helmet of Type III, from Toscana. Now in
the Badisches Landesmuseum Karlsruhe (F433. ).
94: 18. An Etrusco-Thracian helmet of Type III, from Vulci. Now in the
British Museum (2721 1837.6.9.91. ).

95: 19. An Etrusco-Thracian helmet of Type III, from Bomarzo Piamiano.

Now in the Museo Gregoriano Etrusco in the Vatican (12.307. ).
95: 20. An Etrusco-Thracian helmet of Type III, from Campania. Now in
the Musee de L'Armee Paris (E. 9. ).
95: 21. An Etrusco-Thracian helmet of Type III, from Grave 55, Vulci.
Now in the Villa Giulia Rome (63-688. ).

96: 22. An Etrusco-Thracian helmet of Type III, from Italy. Now in the
Antiken Museum Berlin (10396. ).
96: 23. An. Etrusco-Thracian helmet of Type IV, from the Celtic cemetary
at Montefortino. Now in the Museo Nazionale Ancona.
96: 24. An Etrusco-Thracian helmet of Type IV, from Toscana. Now in
the Antiken Museum Berlin (L 39. ).

97: 25. An Etrusco-Thracian helmet of Type- IV, from Talvon Hatzeg,

Romania. Now in the Naturhistorisches Museum Vienna (S. 65. )...
97: 26. An Etrusco-Thracian helmet of Type IV, from Central Italy. Now
in the Museo Poldi'Pezzoli, Milan (2419).
97: 27. An Etrusco-Thracian helmet of Type V, from Toscana. Now in the
xuseo Archeologico, Florence (82318. ).

98: 1 A washer and pin crest-fixture.

98: 2 A detail from the Gela Volute crater.
98: 3 Method of fixing a chin-strap on an Etrusco-Thracian helmet.

99. An Italo-Pilos helmet.

- 17 -
100. A map showing the distribution of Italo-Pilos helmets.

101: 1. An Italo-Pilos helmet of Type I, from Paestum. Now in the

Museo Nazionale Naples.
101: 2. An Italo-Pilos helmet of Type I, from Sicily. Now in the
Metropolitan Museum of Fine Arts New York (08,24. ).
101: 3. An Italo-Pilos helmet of Type I, unprovenanced but from Italy.
low in the Kunsthistorisches'Museum Vienna.

102: 4. An Italo-Pilos helmet of Type I, unprovenanced but from Italy.

Present whereabouts unknown.
102: 5. An Italo-Pilos helmet of Type II, from the Basilicata. Now in
the Bibliotheque Nationale Paris (1994. ).
102: 14. An Italo-Pilos helmet of Type IV, from_Rudiae, Puglia... Italy.
Now in the Museo_ Provincale_di__ Lecce. _
_
103: 6. An Italo-Pilos helmet of Type III, from Canosa di Puglia. Now
in the Badisches Landesmuseum Karlsruhe (F434. ).
103: 12. An Italo-Pilos helmet of Type III, unprovenanced from Italy.
Now in the Frankfurt an Main Museum.

104: 7. An Italo-Pilos helmet of Type III, unprovenanced from Italy.

Now in the Mus4e du Louvre, Paris (1105, C6958. ).
104: 8. An Italo-Pilos helmet of Type III, unprovenanced from Italy.
Now in the Musee du Louvre Paris (ä 1534).

105: 9. An Italo-Pilos helmet of Type III, from Ruvo di Puglia. Now in

the British-Museum (2824.8-20.22. ).
105: 10. An Italo-Pilos helmet of Type III, unprovenanced from Italy.
Now in the Hermitage, St Petersburg.

106: 11. An Italo-Pilos helmet of Type III, from Conservano. Now in

the Museo Nazionale Bari.
106: 13. An Italo-Pilos helmet of Type III, from Rudiae. Now in the
Museo Provincale di Lecce.

107. A Samno-Attic helmet.

108. A map showing the distribution of Samno-Attic helmets.

109: 1. A Samno-Attic helmet of Type I, from Agrigento. Now in the

Xuseo Nazionale Agrigento (AG1310).
109: 2. A Samno-Attic helmet of Type I, from south Italy. Now in the
Musen di Castel Sant' Angelo, Rome (3165).
109: 3. A Samno-Attic. helmet of Type I, from the sanctuary at
Pietrabbondante. ,
-, -Now in the Museo Nazionale, Naples (5741).

110: 4. A Samno-Attic helmet of Type I, from Paestum. Now in the Xuseo

Nazionale, Naples.
110: 5. A Samno-Attic helmet of Type I, from south Italy. Now in the
Musee du Louvre, Paris (1129 C6968).
110: 6. A Sa=o-Attic helmet of Type I, from south Italy. Now in the
The Hermitage, St. Petersburg.

-18-
111: 7. A Samno-Attic helmet of Type I, from south Italy. Now in the
Museo Poldi-Pezzoli, Milan (2427).
111: 8. A Samno-Attic helmet of Type II, unprovenanced but from Italy.
Now in the Museo Arqueologico, Madrid (7360).
111: 9. A Samno-Attic helmet of Type II, unprovenanced but from Italy.
Now in the Museo Arqueologico, Madrid (7364).

112: 10. A Sarno-Attic helmet of Type III, unprovenanced but from

Italy. Now in the Museo Arqueologico, Madrid (7363).
112: 11. A Samno-Attic helmet of Type III, from south Italy. Present
whereabouts unknown.
112: 12. A Samno-Attic helmet of Type III, from south Italy. Now in
the Bibliotheque Nationale Paris (2018).

113: 13. A Samno-Attic helmet of Type III, from south Italy. Now in
the Museo Poldi-Pezzoli, Milan (2422).
113: 14. A Samno-Attic helmet of Type IV, from the River Tyne at
Newcastle. Now in the Yorkshire Museum.
113: 15. A Samno-Attic helmet of Type IV, from a grave at Ruvo di
Puglia. Now in the Badisches Landesmuseum Karlsruhe (F 431).

114: 16. A Samno-Attic helmet of Type IV, from a tomb in region III
at Paestum. Now in theýMuseo Archeologico, Paestum.
114: 17. A Samno-Attic helmet of Type IV, from south Italy. Its
present whereabouts are unknown.
114: 18. A Samno-Attic helmet of Type IV, from Athens, Greece. Now in
the British Museum (2817.1873.8.20-225).

115: 19. A Samno-Attic helmet of Type IVB, from a tomb at Cumae. Now
in the Royal Armouries, H. M Tower of London (II, 197).
115: 20. A Samno-Attic helmet of Type V, from south Italy, Now in the
Musee de 1'Armee, Paris (E7).
115: 21. A Samno-Attic helmet of Type V, from Vulci. Now in the
British Museum (2724 1842.7.28-711).

116: 22. A Samno-Attic helmet of Type V, from Apulia. Now in the Levy
Collection, New York.
116: 23. A Samno-Attic helmet of Type VI, from Pretoro. low in the
Museo Nazianale, Chieti (1103).
116: 24. A Samno-Attic helmet of Type VI, from south Italy. Now in the
Musee de l'Armee, Paris (E5).

117: 25. A Samno-Attic helmet of Type VI, from south Italy. Now in the
Musee de l'Armee, Paris (E6).
117: 26. A Samno-Attic .
helmet of Type VI, from Capodignano. Now in the
Musee de l'Armee, Paris (E4).
117: 27. A Samno-Attic helmet of Type VI, from Pertosa Salona. Now in
the Museo Nazionale, Naples.

118: 28. A Samno-Attic helmet of Type VI, from south Italy. Was in the
Antiquariun, Munich (destroyed in World War II).
118: 29. A Samno-Attic helmet of Type PI, from south Italy. Now in the
John Paul Getty Museum, Malibu. (80AC12).

-19-
118: 30. A Samno-Attic helmet of Type VII, from Ruvo. Now in the
Bibliothbque Nationale, Paris (2002).

119: 31. A Samno-Attic helmet of Type VII, unprovenanced but from

Italy. Now in the Bibliotheque Rationale, -Paris (1998).
119: 32. A Samno-Attic helmet of Type VIIB, from Tomb 10 Conservano
near Bari. Now in the Nuseo Nazionale, Bari (20890).

120: 33. A Samno-Attic helmet of Type VIII, from Herculaneum. Now in

the Museo Nazionale Naples.
120: 34. A Samno-Attic helmet of Type VIII, from Herculaneum. Now in
the Museo Nazionale Naples.

121: 1. A detachable crest-fixture with a "U" -shaped crest-bracket. -,

121: 2., A detail of a Samno-Attic helmet from a painting of a Campanian
cavalryman from Capua but destroyed in the Second World War.
121: 3. A detail of a Samno-Attic helmet from a painting from Capua but
destroyed in the Second World Var. It shows applied horns on a Samo-
Attic helmet
121: 4. Method of fastening a chin-strap on a Samno-Attic helmet.

122.1. A cheek-piece of Type 1.

122.2. A cheek-piece of Type 2.
122.3. A cheek-piece of Type 3.
122.4. A cheek-piece of Type 4.
122.5. A cheek-piece of Type 5.
122.6. A cheek-piece of Type 6.

123. A Montefortino helmet.

124. A map showing the distribution of Montefortino helmets of types

I-IV.

125. A map showing the distribution of Montefortino helmets of types

V-XII.

126: 1 A Montefortino helmet of Type I, from the Tomba di Benacci near

Bologna. Now in the Museo di Civico Bologna, (R144).
126: 2. A Montefortino helmet of Type I, from- Italy. Now in the
British Museum, (2727 47.8.6.1594).
126: 3. A Montefortino helmet of Type I, from Sainte Foy des Lyons,
France. Now in the British Museum, (51.8.13.46).

-127: 4.. A Montefortino helmet of Type I, from Populonia., Now in the

Museo Archeologico Florence, (94404).
127: 5. A Montefortino -helmet of Type I, from Florence. Now in the
Museo Archeologico Florence, (1629).
127: 6. A Montefortino helmet of Type I, from Monteluce near Perugia.
Now in the Museo Nazionale Perugia, (B324 B1325).

128: 7. A Montefortino. helmet of Type I, from Santa Giuliana, Perugia.

Now in the Museo Nazionale Perugia, (SG/36/1).
128: 8. A Montefortino helmet of Type I, from Ancona. Now in the
Musee du. Louvre, (1122 XNC. 1030).

-20-
128: 9. A Montefortino helmet of Type I, from Cerveteri. Now in
the Musee du Louvre, (C6766 (1120)).

129: 10. A Montefortino helmet of Type I, from Tomb VI La Fbschiera

necropolis, Todi, Italy. Now in the Museo Nazionale Villa Giulia,
(9670).
129: 11. A Montefortino helmet of Type I, from Sicily. Now in the
Hetropolitan Museum of Fine Art, New York, (08.2.1).
129: 12. A Montefortino helmet of Type I, from Italy. Now in the
Germanisches Museum Nuremburg.

130: 13. A Nontefortino helmet of Type I, from a Gallic grave at

Casaselvatica di Berceto. Now in the Nuseo Nazionale Parma.
130: 14. A Montefortino helmet of Type I, from Italy. Now in the
Musen Poldi'Pezzoli, Milan, (2423).
130: 15. A Montefortino helmet of Type I, from Tomb VII Gherando
Ghirandini near Voltera. Now in the Museo Guarnacci Volterra,
(756).

131: 16. A Montefortino helmet of Type I, from Italy. Now in the

Real Armeria Turin, (A. 93).
131: 17. A Montefortino helmet of Type II, from the Benacci Necropolis
near Bologna. Now in the Museo Civico di Bologna, (R7).
131: 18. A Montefortino helmet of Type II, from Italy. Now in the
Bibliotheque Nationale, Paris, (2020).

132: 19. A Montefortino helmet of Type II, from Italy. Now in the
Bibliotheque Nationale, Paris, (2019).
132: 20. A Montefortino helmet of Type II, from Apulia. Now in the
British Museum, (2840.1873.8.20.2260.
132: 21. A Montefortino helmet of Type II, from Apulia. Now in the
Badisches Landesmuseum Karlsruhe, (430).

133: 22. A Montefortino helmet of Type II, from Siacca. Now in the
Metropolitan Museum of Fine Arts New York, (G. R. 500).
133: 23. A Montefortino helmet of Type II, from from a well between
Daphne and the Piraeus Greece. Now in the Metropolitan Museum of
Fine Art New York, (08.258.13).
133: 24. A Montefortino helmet of Type II, from Monteluce, Perugia.
Now in the Museo Nazionale Perugia, (326 B1317).

134: 25. A Montefortino helmet of Type II, from Italy. Now in the
Musee du Louvre, (C6677. (1119));
134: 26. A Montefortino helmet of Type II, from Gerace Minor. Now in
the Museo Archeologico Locri.
134: 27. A Nontefortino helmet of Type II, from Italy. Now in the
Schloss Erbach, (256).

135: 28. A Montefortino helmet of Type II, from Italy. Now in the
Musen Poldi Pezzoli, (2416).
135: 29. A Montefortino helmet of Type II, from Italy. Present
location unknown.
135: 30. A Nontefortino helmet of Type III, from Talamme. Now in the
Xuseo Archeologico Florence, (70841).

- 21 -
136: 31. A Montefortino helmet of Type III, from Now
_Pietrabbondante. .
in the Museo Nazionale Naples, (5744).
136: 32. A Montefortino helmet of Type III, f rom- Pietrabbondante. low
in the Nuseo Nazionale Naples, (5745).
136: 33. A Montefortino helmet of Type III, from Italy. Was in the
Burg Rheinstein bei Bingen Museum.

137: 34. A Montefortino helmet of Type III, from Paestum. Now in the
Museo Nazionale Paestum.
137: 35. A Montefortino helmet of Type III, from Italy. Now in the
Musee du Louvre, (C6728 (1118)).
137: 36. A Montefortino helmet of Type III, from Cerveteri. Now in
the Musee du Louvre, (C7228 (1123)).

138: 37. A Montefortino helmet of Type III, from Cerveteri. Now in

the Musee du Louvre, (C6677 (1119)).
138: 38. A Montefortino helmet of Type III, from Vetulonia. Present
location unknown.
138: 39. A Montefortino helmet of Type III, from Istria. Now in the
Staatliches Museum Berlin, (L. 73).

139: 40. A Montefortino helmet of Type III, from Italy. Now in the
Trier Landesmuseum, (3924).
139: 41. A Montefortino helmet of Type III, from Italy. Now in the
Xuseo Stibbert Florence, (3875).
139: 42. A Montefortino helmet of Type III, from Rome. Now in the
Xuseo Gregoriano Etrusco Vatican, (12318).

140: 43. A Montefortino helmet of Type III, from Gallic grave at

Pegazzano. Now in the Museo Civico La Spezia.
140: 44. A Montefortino helmet of Type IV, from Italy. Now in the
British Museum, (2728.1867.5.8202.3).
140: 45. A Montefortino helmet of Type IV, from -Monte Tezio nei
Dintorni, Perugia. Museo Nazianale Perugia, (1014).

141: 46. A Montefortino helmet of Type IV, from Frontone, Perugia.

Now in the Nuseo Nazionale Perugia, (362 B1286).
141: 47. A Montefortino helmet of Type IV, from Italy. Now in the
Museo Nazionale di Villa Giulia, Rome, (51240).
141: 48. A Montefortino helmet of Type IV, from Acquaviva. Now in the
Staatliches Museum Berlin, (L. 72).

142: 49. A Montefortino helmet of Type IV, from Talamone, Italy. Now
in the_Museo Archeologico Florence, (70840).
142: 50. A Montefortino helmet. of Type IV, from Tomb of the Seven
Rooms at Orvieto. Now in the Museo Archeologico Florence, (70517).
142: 51. A Montefortino helmet of Type IV, from Italy. Now in the
Metropolitan Museum of Fine Arts New York, (08.2.3).

143: 52. A Montefortino helmet of Type IV, from Perugia. Now in the
Los Angeles Museum of Art. (50.37.19).
143: 53. A Montefortino helmet of Type IV, from Vulci. Now in the
Museo Gregoriano Etrusco Vatican, (A, 30).

-22-
143: 54. A Montefortino helmet of Type IV, from Italy. Now in the
Xusee de l'Armee Paris, (C. 2).

144: 55. A Montefortino helmet of Type IV, from Lyons. Now in the
Musee de 1'Armee Paris, (C. 1).
144: 56. A Montefortino helmet of Type IV, from Chieti. Now in the
Museo Nazionale Chieti, (10782 ).
144: 57. A Montefortino helmet of Type IV, from Italy. Now in the
Staatlic hesMuseum Berlin, (Fr 1020).

145: 58. A Montefortino helmet of Type IV, from Italy. Now in the
Xuseo Poldi Pezzoli, (2421).
145: 59. A Montefortino helmet of Type IV, from Italy. Present
whereabouts unknown.
145: 60. A Montefortino helmet of Type V, from Italy. Now in the
posession of the Societ6, Arch6ologique de Montpellier.

146: 61. A Montefortino helmet of Type V, from Italy. Now in the

Xusee de Clermont Ferrand.
146: 62. A Montefortino helmet of Type V, from Italy. Now in the
?fusee Borely Marsailles, (2308).
146: 63. A Montefortino helmet of Type V, from Ses Paisses. Now in
the Majorca Museum.

147: 64. A Montefortino helmet of Type V, from a grave at St Laurent des

Arbres. Now in the Musee Calvet Avignon.
147: 65. A Montefortino helmet of Type V, from Lyons. Now in the
Musee de Antiquates Nationale St. Germain en Laye.
147: 66. A Montefortino helmet of Type V, from Thesprotia. Now in
Polydrosso ,
the Civic Collection Thesprotia.
,
148: 67. A Montefortino helmet of Type V, from San Gelbert de Dalt.
Now in the a private collection in Majorca.
148: 68. A Montefortino helmet of Type V, from Tomb 560, Almeria
Villaricos. Now in the Museo Nacional Arqueologico Madrid.
148: 69. A Montefortino helmet of Type V, from Albacate. Now in the
Museo Arqueologico Albacete.

149: 70. A Montefortino helmet of Type V, from Almeria Villaricos.

Now in the Museo Nacional Arqueologico Madrid.
149: 71. A Montefortino helmet of Type V, from Tomb 1080, Almeria
Villaricos. Now in the Museo Nacional Arqueologico Madrid.
149: 72. A Montefortino helmet of Type V, from a shipwreck at Albenga.
Now in the Museo Navale Romano Albenga, (418(F)).

150: 73. A Montefortinö helmet of Type V, from Grave No. 10, Ampurias.
Bow in the Museo Arqueologico Ampurias.
150: 74. A Montefortino helmet of Type V, from Grave No. 13, Ampurias.
Now in the Nuseo Arqueologico Ampurias.
150: 75. A Montefortino helmet of Type V, from Grave No. 110, Ampurias.
Row in the Museo Arqueologico Ampurias.

151: 76. A Montefortino helmet of Type V, from Grave No. 31, Ampurias.
Now in the Museo Arqueologico Ampurias.

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151: 77. A Montefortino helmet of Type V, from Grave No. 7, Ampurias.
Now in the Nuseo Arqueologico Ampurias.
151: 78. A Montefortino helmet of Type VI, from the Necropolis at
Bolsena. Now in the Museo Hermitage, St. Petersburg, (. LOHE).

152: 79. A Montefortino helmet of Type VI, from the Casa di Palloti
near Bologna. Now in the Museo Civico Bologna, (714).
152: 80. A Montefortino helmet of Type VI, from Italy. Now in the
Castel S. Angelo Rome, (2029).
152: 81. A Montefortino helmet of Type VI, from Sanzeno nell'Anaunia.
Present location unknown.

153: 82. A Xontefortino helmet of Type VI, from Tomb XXV, Montefortino.
Now in the Nuseo Nazionale Ancona, (2140).
153: 83. A Montefortino helmet of Type VI, from the River Adda"at
Pizzeghetone. Now in the Nuseo Civico Cremona, (ST 11055 317(332)).
153: 84. A Montefortino helmet of Type VI, from a tomb at Vulci. Now
in the Museo Nazianale di Villa Giulia, (63208).

154: 85. A Montefortino helmet of Type VI, from Canosa di Puglia. Now
in the Badisches Landesmuseum Karlsruhe, (437).
154: 86 A Montefortino helmet of Type VI, from Rieti. Now in the
StaatlichesMuseum Munich, (69).
154; 87. A Montefortino helmet of Type VI, from Italy. Now in the
Schloss Erbach, (150).

155: 88. A Montefortino helmet of Type VI, from a shipwreck in the

harbour of Heraclea Minor. Now in the Museo Nazionale Agrigento,
(C1648).
155: 89. A Montefortino helmet of Type VI, from a shipwreck in the
harbour of Heraclea Minor. Now in the Museo Nazionale Agrigento,
(C1651).
155: 90. A Montefortino helmet of Type VI, from a shipwreck in the
harbour of Heraclea Minor. Now in the Museo Nazianale Agrigento,
(C1649).

156: 91. A Nontefortino helmet of Type VI, from a shipwreck in the

harbour of Heraclea Minor. Now in the Museo Nazionale Agrigento,
(C1650).
156: 92. A Montefortino helmet of Type VI, from Italy. Now in the
Römisch Germanisches Zentral-Museum Mainz, (0.12897).
156: 93. A Montefortino helmet of Type VI, from Italy. Now in the
Römisch Germanisches Zentral-Museum Mainz, (0.39459).

157: 94. A Montefortino helmet- of Type VI, from a Gallic tomb at

Cascina Mairana. Now in the Museo Civico Lodi, (I).
157: 95. A Montefortino helmet of Type VI, from the harbour of
Taranto. Now in the Museo Nazionale Taranto.
157: 96. A Montefortino helmet of Type VI, from a grave find Pago de
Gorrita. Now in the Museo Arqueologico Valladolid, (10.533).

158: 97. A Montefortino helmet of Type VII, from Italy. Now in the
British Museum, (2726.1975.6.3.1).

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158: 98. A Montefortino helmet of Type VII, from Italy. Now in the
-
Xuseo Stibbert Florence, (3874).
158: 99. A Montefortino helmet of Type VII, from- Loreto Apruntino,
Italy. Now in the Collection Leopardi Penne.

159: 100. A Montefortino helmet of Type VII, from Quinta Redonda,

Soria, Spain. Now in the Real Academia de la Historia Madrid.
159: 101. A Montefortino helmet of Type VII, from a grave at
Vöcklabrück. Now in the StaatlichesMuseum Berlin, (L. 74).
159: 102. A Montefortino helmet of Type VII, from Italy. Now in the
Staatliches Museu m Berlin, (L. 89).

160: 103. A Montefortino helmet of Type VII, from Cremona. Now in

the Museo Civico Cremona, (318(331)).
160: 104. A Montefortino helmet of Type VII, from the River Adda near
Castelnuovo Bocca d'Adda. Now in the Museo Civico Cremona,
(320 (329))
.
160: 105. A Montefortino helmet of Type VII, from Italy. Now in the
Museo Nazionale di Villa Giulia, Rome, (63205).

161: 106. A Montefortino helmet of Type VII, from a shipwreck at

Albenga. Now in the Museo Bavale Romano Albenga, (414(B)).
161: 107. A Montefortino helmet of Type VII, from Los Castellones de
Ceal. Present location unknown.
161: 108. A Montefortino helmet ofý Type VII, from Tomb 146 Cabecico
del Tesoro. Present location unknown.

162: 109. A Montefortino helmet of Type VII, from Aljezur. Now in the
Xuseo Regional Lagos.
162: 110. A Montefortino helmet of Type VIII, from Llubi a Inca. Now
in the Museo de la Sociedad Arqueologico Luliana de Palma.
162: 111. A Montefortino helmet of Type VIII, from Wardt Luttingen.
Now in the NiederrheinischesMuseum Duisberg, (71: 36).

163: 112. A Montefortino helmet of Type VIII, from the River Waal near
Millingen. Now in the Rijksmuseum Nijmegen, (XXI. L. 3).
163: 113. A Montefortino helmet of Type VIII, from Italy. Now in the
Ashmolean Museum. (742.1884).
163: 114. A Montefortino helmet of Type VIII, from Buggenum. Now in
the Gemeentelijk Museum Roermond.

164: 115. A Montefortino helmet of Type VIII, from Fliegenhöhle near

,
St. Kanzian. Now in the Kunsthistorisches Museum Vienna.
_.
164: 116. A Montefortino helmet of Type VIII, from the River Lippe near
Offen. Now in the Landesmuseum Münster, (C. 395).
164: 117, A Montefortino helmet of Type VIII, from Cremona. Now in
the Museo Civico Cremona, (319(330)).

165: 118. A Montefortino helmet of Type VIII, from the River Kulpa near
Sissek. Now in the Staatliches Museum Berlin, (L. 76).
165: 119. A Montefortino helmet of Type VIII, from the River Arno near
Florence. Now in the Staatliches Museum Berlin, (L. 75).
165: 120. A Montefortino helmet of Type VIII, from Grave No. 7
Necropolis at Ampurias. Now in the Museo Arqueologico Anpurias.

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166: 121. A Montefortino helmet of Type VIII, from Turkey. Now in the
Staatliches Museum Munich.
166: 122. A Montefortino helmet of Type VIII, from the site of the
Donus Flavia, Rome. Whereabouts unknown.
166: 123. A Montefortino helmet of Type IX, from Italy. British
Museum, (2725 81.7.25.2. ).

167: 124. A Montefortino helmet of Type IX, from a mine shaft near
Alcaracejos, Cördöba, Spain. Present location unknown.
167: 125. A Montefortino helmet of Type IX, from Villa de Foro near
Alessandria. Now in the Museo Civico Alessandria. (635).
167: 126. A Montefortino helmet of Type IX, from Montenerodomo. Now
in the Collection Leopardi, Penne.

168: 127. A Montefortino helmet of Type IX, from a shipwreck at

Albenga. Now in the Museo Navale Romano Albenga (416(D)).
168: 128. A Montefortino helmet of Type IX, from Shipwreck at Albenga,
Italy. Now in the Museo Ravale Romano Albenga (417(E)).
168: 129. A Montefortino helmet of Type IX, from a shipwreck at
Albenga. Now in the Museo Navale Romano Albenga. (413(A)).

169: 130. A Montefortino helmet of Type IX, from a shipwreck at

Albenga. Now in the Museo Aavale Romano Albenga. (415(C))
169: 131. A Montefortino helmet ofType IX, from a shipwreck in Bassin B
at Gruissan. Now in the MusAe Archeologique Narbonne.
169: 132. A Montefortino helmet of Type I, from a shipwreck in Bassin B
at Gruissan. Now in the Musee Archeologique Narbonne.

170: 133. A Montefortino helmet of Type IX, from Italy. Now in the
Römisch Germanisches Zentral Museum Xainz. (0.39674).
170: 134. A Nontefortino helmet of Type IX, from Italy. Present
location unknown.
170: 135. A Montefortino helmet of Type X, from Italy. .
Now in the
Nuseo Gregoriano Etrusco in the Vatican (12315).

171: 136. A Montefortino helmet of Type X, from Italy. Present

location unknown.
171: 137. A Montefortino helmet of Type X, from Italy. Now in the
Pesaro Museum.
171: 138. A Montefortino helmet of Type X, from Italy. Present
location unknown.

172: 139. A Montefortino helmet of Type I, from the River Waal- near
Pannerden. Now in the Rijksmuseum Aijmegen, (BE, XIV, 8B, 27).
172: 140. A Montefortino helmet of Type XI, from Italy. Now in the
Castel S. Angelo Rome, (2030).
172: 141. A Montefortino helmet of Type XI, from Italy.
.ý
Now in the
Museo Gregoriano Etrusco Vatican (12316).

173: 142. A Montefortino helmet of Type XI, from Pompeii. Now in the
Museo Nazionale Naples.
173: 143. A Montefortino helmet of Type XII, from Cremona. Now in
the Museo Civico Cremona, (324(325)).

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174: 1. A cheek-piece of Type 2.
174: 1. A cheek-piece of Type 3.
174: 1. A cheek-piece of Type 1.
174: 1. A cheek-piece of Type 4.
174: 1. A cheek-piece of Type 5.
174: 6. Method of attaching the chinstrap using a stud of Type B.

175: 1. of attaching the chinstrap using a stud of Type A.

-Method
175: 2. Detail from a fresco from Nola, showing a Samno-Lucanian
warrior wearing a Montefortino helmet with applied horns.
175: 3. A cross-section through a Montefortino helmet showing the
method of-attaching a-crest-pin.

176: 1. A 2nd century B. C. fresco from the Esquiline, Rome.

176: 2. Detail of the Montefortino helmet and crest worn by the figure
at-the top right corner.

177. A Coolus helmet.

178. A nap showing the distribution of Coolus helmets.

179: 1. A Coolus helmet of Type I, from Breuvannes. Now in the Musee

des Antiquities Nationale, St. Germain en Laye.
179: 2. A Coolus helmet of Type I, from the Cite de Limes near Dieppe.
Now in the Musee de Dieppe.
179: 3. A Coolus helmet of Type I, from the River Marne near Coolus.
Now in the British Museum (ML 1734).

180: 4. A Coolus helmet of Type I, from the River Donau near Straubing.
low in the Praehistorisches Staatsammlung Munich (S65,66. ).
180: 5. A Coolus helmet of Type I, from Variscourt Aisne. Now in the
Xusee de Soissons.
180: 6. A Coolus helmet of Type I, from the River Les Daubs near Ciel.
Now in the Musee de Chalons sur Saone.

181: 7. A Coolus helmet of Type I, from the River Liinbourg at Tongres.

Now in the Musee Royal d'Art et Histoire Bruxelles.
181: 8. A Coolus helmet of Type I, from Pompeii. Now in the Museo
Nazionale Naples.
181: 9. A Coolus helmet of Type II, from Lacollonge near Belfort. Now
in the Musee de Belfort

182: 10. A Coolus helmet of Type V, from Tomb XVI La Planho, Vielle
Toulouse. Now in the Musee de St. Raymond Toulouse.
182: 11. A Coolus helmet of Type II, from Düsseldorf. Now in the
Rheinisches Landesmuseum Bonn. (39,73).
182: 12. A Coolus helmet of Type II, from ship A Dramont. Present
location unknown.

183: 13. A Coolus helmet of Type III, from the River Po near Cremona.
Now in the Museo Civico Cremona (322(327)).
183: 14. A Coolus helmet of Type IV, from Vadenay. Musee de
Antiquities Nationale, St. Germain en Laye.

-27-
183: 15. A Coolus helmet of Type IV, from a Gallic grave at Numana.
Now in the Museo Nazionale Ancona (6894).

184: 16. A Coolus helmet of Type IV, from Burial XVI, La Planho, Vielle
Toulouse. Now in the Musee de St. Raymond Toulouse.
184: 17. A Coolus helmet of Type IV1 from a Celtic grave at Trier-
Olewig. Now in the Rheinisches Landesmuseum Trier. (69,113).
184: 18. A Coolus helmet of Type IV, from the Rhine at Mainz. Now in
the Mittel Rheinisches Museum Mainz (0,25).

185: 19. A Coolus helmet of Type IV, from the Rhine at Mannheim. Now
in the Badisches Landesmuseum Karlsruhe.
185: 20. A Coolus helmet of Type IV, from Tuscany. Now in the Museo
Archeologico Etrusco Florence.
185: 21. A Coolus helmet of Type IV, from a Celtic grave at Les
Avenieres. Now in the Nusee de Bourgoin.

186: 22. A Coolus helmet of Type V, from Schaan in Liechtenstein. Now

in the Landesmuseum Zurich.
186: 23. A Coolus helmet of Type V, from Schaan in Liechtenstein. Now
in the Vorarlberger Landesmuseum Bregenz.

187. A Hagenau helmet.

188. A map showing the distribution of Hagenau helmets.

189: 1. A Hagenau helmet of Type I, from Hönnpel. Now in the

Rheinisches Landesmuseum Bonn (58,5,16).
189: 2. A Hagenau helmet of Type I, from Wiesel. Now in the
Rheinisches Landesmuseum Bonn (37,45).
189: 3. A Hagenau helmet of Type I, from the River Sava at Rugvica Now
in the Archaeological Museum Zagreb (9228).

190: 4. A Hagenau helmet of Type I, from Zemun. Now in the Narodni

Museum Belgrade (2876/III).
190: 5. A Hagenau helmet of Type I, from Haltern. Now in the Munster
Museum. (39842).
190: 6. A Hagenau helmet of Type I, from Podsusjeda. Now in the
Archaeological Museum Zagreb.
Sremska
191: 7. A Hagenau helmet of Type I, from] Mitrovica. Now in the
Archaeological Museum Zagreb.
191: 8. A Hagenau helmet of Type I, from Neuss. Now in the Clemens-
Sels Museum Neuss. (R5016).
191: 9. A Hagenau. helmet of Type I, from Haltern. Now in the Römisch
Germanisches Museum Haltern.

192: 10. A Hagenau helmet of Type I, from Wardt Luttingen. Now in the
Rheinisches landesmuseum Bonn (59,379).
192: 11. A Hagenau helmet of Type II, from Nijmegen. Now in the
Rijksmuseum G. M. Kam Nijmegen (IXXI. 1).
192: 12. A Hagenau helmet of Type It, from Nijmegen. Now in the
Rijksmuseum G. M. Kam Nijmegen (18.1.22.33).

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193: 13. A Hagenau helmet of Type II, from the River Vaal at Nijmegen.
Now in the Rijksmuseum Van Oudheden Leiden. (N. S 663).
193: 14. A Hagenau helmet of Type III, from Xanten. Now in the
Rijksmuseum Van Oudheden Leiden (M1953/10.1.72).
193: 15. A Hagenau helmet of Type III, from Bosham Harbour. Now in the
Museum of Sussex Archaeology Lewes (E. 1.169).

194: 16. A Hagenau helmet of Type III, from the Valbrook, London. Now
in the British Museum (1950.7-6. ).
194: 17. A Hagenau helmet of Type III, from Berkhampstead. Now in the
British Museum (1813,3-13,1. ).
194: 18. A Hagenau helmet of Type IV, from the Island of Texel. Now in
the Rijksmuseum Van Oudeheden Leiden (g1949/5.1. ).

195: 19. A Hagenau helmet of Type IV, from New Belgrade. Now in the
Srema Sremska Mitrovica Museum (A/258).
195: 20. A Hagenau helmet of Type IV, from St Albans. Now in the
Verulamium Museum (78.8. ).
195: 21. A Hagenau helmet of Type IV, from the River Rhine at Köln.
Now in the Rheinisches Landesmuseum Bonn (37,46).

196: 22. A Hagenau helmet of Type V, from the River Rhine at Nijmegen.
Now in the Ri j ksmuseum G. M. Kam. Nijmegen. (8.4.30. ).
196: 23. A Hagenau helmet of Type V, from the River Rhine at Mainz.
Now in the NittelRheinisches Museum Mainz (037 37).
196: 24. A Hagenau helmet of Type V, from Xanten. Now in the Regional
Museum Xanten (XAV 74/2).

197: 25. A Hagenau helmet of Type VI, from the River Vaal at Nijmegen.
Now in the Rijksmuseum Van Oudheden Leiden. (NS429).
197: 26. A Hagenau helmet of Type VI, from Drusenheim. Now in the
Könin Historisches Museum (20714).
197: 1 A cheek-piece of Type I.
197: 2 A cheek-piece of Type II, from Hod Hill.
197: 3 A cheek-piece of Type III, - from the Thames at Kew.

198. Evolution of the Apulo-Corinthian, Italo-Chalkidia n and Samno-

Attic helmets.

199. Evolution of helmet forms in central Italy.

200. Evolution of helmet forms in southern Italy.

201. Evolution of the Montefortino, Coolus and Hagenau helnets.

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la. A Montefortino Helmet of Type VII (No. 99), from Loreto Apruntino.
Detail shows a maker's mark, consisting of a FR monogram stamped into
the neck-guard. Leopardi Collection, Penne.
1b. Detail of a maker's mark, Q. COSSI Q., stamped into the neck-
guard of a Montefortino helmet (No. 86), from Rieti. Note how the
stamp overlies the cable decoration but is in its turn overlain by the
punched decoration. Staatliches Museum Xunich (69).

2a. Detail of a maker's mark, FRON., stamped into the neck-guard of a

Montefortino helmet (No. 123). British Museum (81.7-25.2)
2b. Detail of an armourer's workshop, depicting an assistant applying
decoration to an Apulo-Carinthian helmet, from the fresco entitled
"Thetis in the workshop of Hephaestus, from Pompeii IX 1,7. Third
quarter of the Ist century A. D. Museo Aazionale Naples (9529).

3a. An armourer adding the finishing touches to a Corinthian helnet.

From a red-figure Attic bowl, c. 480 B. C. Ashmolean Museum, Oxford
(G267 V518. ).
3b. An armourer working a Corinthian helmet with a hammer on a stake.
From a red-figure Attic Pelike, early 5th century B. C. Petit Palais,
Paris.

4a. An internal view of an Apulo-Corinthian helmet (No. 11), showing

the overlapping blows caused by the use of a raising hammer during its
manufacture. British Museum (2832 1873.8-20.224. )
4b. An internal view of the embossed volutes on a Samno-Attic helmet
(No. 21), from Vulci, showing the marks left by an embossing punch.
British Museum (2724 1842.7.28-711).

5a. An Apulo-Corinthian helmet of Type III (No. 27), from Pomarico in

the Basilicata. Side View. British Museum (2832 1856 12-26.669).
5b. An Apulo-Corinthian helmet of Type V (No. 43), from Canosa di
Puglia. Front view, showing the fixing plate for the "ü"-shaped
crest-bracket of Type IV and side mounted feather supports. Badisches
Landesmuseum Karlsruhe (F432 R1079).

6a. An Apulo-Corinthian helmet of Type V (No. 43), from Canosa di

Puglia. Side view; showing the the holes for the chin-strap fixtures
at the side of the helmet and in the neck-guard. Badisches
Landesmuseum Karlsruhe (F432 R1079).
6b. An Apulo-Corinthian helmet of Type V (No. 44), from Canosa di
Puglia. Side view. Badisches Landesmuseum Karlsruhe (F436 R1076).

7a An Apulo-Corinthian helmet of Type V (Na. 44), from Canosa di

Puglia. Front view, showing a "U"-shaped crest-bracket of Type IV and
side mounted feather supports. Badisches Landesmuseum Karlsruhe (F436
R1076).
7b. An Apulo-Corinthian helmet of Type VII (No. 55), from Vulci.
Front view. British Museum (2722.47.8.6.160).

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8a. An Apulo-Corinthian helmet of Type VII (No. 55), from Vulci. Side
view. British Museum (2722.47.8.6.160).
8b. An Apulo-Corinthian helmet of Type VII (No. 56), from Etruria.
Front view. British Museum (2723.1856.12-26.664).

9a. An Apulo-Corinthian helmet of Type VII (To. 56), from Etruria.

Side view. British Museum (2723.1856.12-26.664).
9b. Detail from an Etruscan sarcophagus, from Chiusi, showing an
Apulo-Corinthian helmet in use. 4th - 3rd century B. C. Nuseo
Etrusco, Florence.

10a. Detail from an Etruscan sarcophagus, from Chiusi, showing an

Apulo-Corinthian helmet in use. 3rd century B. C. Museo Etrusco,
Florence.
10b. Detail from the "Altar of Domitius Ahenobarbus", showing a Roman
legionary wearing an Apulo-Corinthian helmet.

11a. A Negau helmet of Type I (No. 18), from Central Italy. Musee du
Louvre (1114).
lib. A Negau helmet of Type II (No. 62), from Canino. Front view.
British Museum (1878,10-19,302).

12a. A Negau helmet of Type II (No. 62), from Canino. Side view.
British Museum (1878,10-19,302).
12b. A Aegau helmet of Type II (No. 64), from Central Italy. Front
view. British Museum (1856,12-26).

13a. Detail of a lining ring from a Negau helmet of Type II (No. 62),
from Canino. British Museum (1878,10-19,302).
13a. Detail of a chin-strap fixture and a lining ring from a Negau
helmet of Type I (No. 18), from central Italy. Musee du Louvre
(1114).

14a. An Italo-Chalkidian helmet of Type IV (No. 8), from the Marche.

Late 5th century B. C. Musen Etrusco Florence (1238).
14b. An Italo-Chalkidian helmet of Type IV (No. 6), from Frontone
near Perugia. Late 5th century B. C. Nuseo )Tazionale, Perugia (361).

15a. An Italo-Chalkidian helmet of Type VI (No. 13), from Ruvo di

Puglia. 4th century B. C. British Museum (2822 1873.8-20.225).
15b. An Italo-Chalkidian helmet of Type VII (Ao. 19), from central or
southern Italy. 4th century B. C. Musen Gregoriano Etrusco, Vatican
(12303).

16a. Detail of a cheek-piece hinge from an Italo-Chalkidian helmet of

Type IV (No. 5), from the_Santa-Giuliana necropolis at Perugia. 4th
century B. C. Musen Nazionale, Perugia (1011).
16b. An Etrusco-Thracian helmet of Type IA (No. 3), from Orsogna near
Chleti. 4th century B. C. Huseo Nazionale Chieti (4408).

17a. An Etrusco-Thracian helmet of Type IB (No. 6), showing the

circular crest-washer and loop crest-fixture. From the Frontone
necropolis near Perugia. 5th - 4th century B. C. Xuseo Nazionale,
Perugia (358 B1251).

- 31 -
17b. An Etrusco-Thracian helmet of Type IB (No. 7), showing the
applied circular ear-guards. From the Monteluce necropolis near
Perugia. 5th - 4th century B. C. Museo Nazionale, Perugia (328
B1323).

18a. An Etrusco-Thracian helmet of Type IB (No. 9), showing the

circular crest-washer and loop crest-fixture, and hook-like chin-strap
fixtures. From Perugia. 5th - 4th century B. C. Staatliche Museen
Berlin (L. 37).
18b. An Etrusco-Thracian helmet of Type II (No. 16), from central
Italy. 5th-4th century B. C. Museo Gregoriano Etrusco, Vatican.
(A43. ).

19a. An Etrusco-Thracian helmet of Type III (No. 18). From Vulci.

5th - 4th century B. C. British Museum (2712 1837 6.9.91. ).
19b. An Etrusco-Thracian helmet of Type IV (No. 25), equipped with
trefoil cheek-pieces. From Talvon Hatzeg. 4th century B. C.
Naturhistorisches Museum Vienna (5.65).

20a. An Italo-Pilos helmet of Type III (No. 6), from Canosa di

Puglia. 4th century B. C. Badisches Landesmuseum Karlsruhe, (F434. ).
20b. An Italo-Pilos helmet of Type III (No. 9), fron Ruvo di Puglia.
4th century B. C. British Museum (2824 1873 8-20.222).

21a. A Samno-Attic helmet of Type IV (No. 15), from Ruvo di Puglia.

4th century B. C. Front view. Badisches Landesmuseum Karlsruhe,
(F431. ).
21b. A Samno-Attic helmet of Type IV (No. 15), from Ruvo di Puglia.
4th century B. C. Side view. Badisches Landesmuseum Karlsruhe,
(F431. ).

22a. A. Samno-Attic helmet of Type V (No. 21), from Vulci. 4th

century B. C. Side view. British Museum, (2724 1842.7-28.711. ).
22b. A Samno-Attic helmet of Type VI (No. 26), from Capodigiano. 4th
century B. C. Side view. Musee de l'Armde, Paris (E. 4).

23a. Detail of a crest-fixture on a Samno-Attic helmet of Type V (No.

21), frdm Vulci. 4th century B. C. British Museum, (2724 1842.7-
28.711. ).
23b. A Montefortino helmet of Type I (No. 2), from central Italy. 4th
century B. C. British Museum, (2727 47.8 -6.1594. ).

24a. A Montefortino helmet of Type II (No. 24), from the Monteluce

necropolis near Perugia. 4th century B. C. Musen Nazionale Perugia,
-(326 B1317. ).
24b. -A Montefortino helmet of Type III (No. 30), from Talamone. 4th
century B. C. Museo Etrusco Florence, (70841. ).

25a. A Montefortino helmet of Type IV (No. 49), from central Italy.

4th century B. C. Museo Nazionale Villa Giulia, (70841. ).
25b. A Montefortino helmet of Type V (No. 60), from northern Italy.
4th - 3rd century B. C. Musee de Societe Archeologique de Montpellier.

-32-
26a. A Montefortino helmet of Type VI (No. 79), from the Casa di
Pallotti, Bologna. 4th - 3rd century B. C. Museo Civico Bologna
(R714).
26b. A Montefortino helmet of Type VII (No. 97), from central Italy.
3rd - 2nd century B. C. British Museum, (2726 1975.6-3.1).

27a. A Montefortino helmet of Type VIII (No. 116), from the Lippe near
Offen. Ist century B. C. Landesmuseum Munster. (C395. ).
27b. A Montefortino helmet of Type IX (No. 123), from central Italy.
2nd - Ist century B. C. British Museum, (81.7-25.2. ).

28a, A Montefortino helmet of Type IX (No. 126), from Hontenerodomo.

2nd - let century B. C. Collection Leopardi, Penne.
28b. A Iiontefortino helmet of Type XI (No. 139), from the Waal near
Pannerden. let century B. C. or let century A. D. Rijksmuseun
Nijmegen. (BE XIV 8B, 27).

29a. A Montefortino helmet of Type XI (No 141), from central Italy.

1st century B. C. Museo Gregoriano Etrusco, Vatican, (12316).
29b. A detail of the applied crest-knob of the same helmet.

30a. Detail of a double-loop chin-strap fixture on a Montefortino

helmet.
30b. Detail of a double-loop chin-strap fixture on a Montefortino
helmet.

31a. Detail of a cheek-piece hinge made of re-used scrap bronze on a

Montefortino helmet (No. 104), from the Po near Cremona. 2nd century
B. C. Museo Civico Cremona (320(329)).
31b: Detail of a cheek-piece of Type I, fitted with a chin-strap stud
of Type A, on a Montefortino helmet (No. 10) from Todi. 4th century
B. C. Villa Giulia Museum, Rome (9760. ),

32a. Detail of the inside of a cheek-piece of Type I, fitted with a

chin-strap stud of Type A, on a Montefortino helmet (No. 10) from
Todi. 4th century B. C. Villa Giulia Museum, Rome (9760. ).
32b. Detail of a cheek-piece of Type IV, fitted with a chin-strap stud
of Type B, on a Montefortino helmet (No. 83) from Pizzeghetone. 3rd -
2nd century B. C. Museo Civico Cremona (ST 11055 317(332)).

33a. Detail of an inscription on the neck-guard of the Montefortino

helmet (go. 83) from Pizzeghetone. 3rd - 2nd century B. C. Musen
Civico Cremona (ST 11055 317(332)).
33b. Detail from an Etruscan sarcophagus, depicting a cavalryman
wearing a Montefortino helmet, with a flowing horsehair plume, and a
mail shirt. From Volterra. 3rd - 2nd century B. C Musen Civico
Volterra.

34a. A Coolus helmet of Type II (No. 10), from the Rhine at Bonn.
Ist century B. C. or 1st century A. D. Rheinisches Landesmuseum Bonn
(39,73).
34b. A Coolus helmet of Type III (No. 13), from the Po near Cremona.
2nd century B. C. Museo Civico Cremona (322(327)).

-33-
35a. A Coolus helmet of Type IV (No. 18 ), from the Rhine at Mainz.
1st century B. C. Mittelrheinisches Landesmuseum Mainz, (0,25).
35b. A Coolus helmet of Type IV (No. 19), from the Rhine at Mannheim.
1st century B. C. Badisches Landesmuseum_Karlsruhe.

36a. A Hagenau helmet of Type VI (No. 25), from the Vaal at Nijmegen.
1st century A. D. Rijksmuseum van Oudheden Leiden, (NS429).

-34-
Introduction.

Our knowledge of pre-Roman Italian and Republican Roman military

equipment has traditionally been based largely on literary references

in the ancient authors supported by surviving pictorial and sculptoral

evidence. These sources have been studied principally by historians

and art historians and although this imbalance has to a certain extent

been redressed by the work of a number of scholars over the last

twenty-five years or so, in particular Peter Connolly, the

archaeological picture is still far from complete. What is certain

.
however is that with the emergence of the Villanovan culture in the

9th and 8th centuries B. C. and the rise of a , powerful ruling elite in

Etruria a century or so later, an indigenous arms industry, with a

clearly definable tradition of bronze working, was firmly established

in Italy.

Over the subsequent eight centuries the products of this- industry

were to be subject to numerous external influences, in particular

Greek colonisation in southern Italy and the Gallic incursions into

northern and central Italy. These external stimuli while

precipitating changes in both form and manufacturing techniques

revitalised this industry rather than causing its demise. The decline

of the Italian armament industry was caused conversely by the conquest

of Italy by Rome and the subsequent expansion of her empire,

culminating in the establishment of permanent frontier garrisons in

the 1st century A. D., far from their original sources of supply in

Italy, that led to the establishment and exploitation of new

manufacturing centres beyond the confines of the Apennine peninsula.

-35-
 As Connolly (1981,87. ) has pointed out: "the weaponry, organisation

and tactics of the Roman army, were not an invention of the Romans but

the result of a process of adoption and adaption".., It might be said

that the same is true of the other Italian military systems as a

whole, no where can this be more clearly seen than in the helmet forms

made and used in Italy from the end of the 6th century B. C onwards.

With the exception of the shield, and because of the extreme

vulnerability of the head in combat and the usually fatal consequences

of a head wound, helmets were and are worn in many cultures in

preference to any other form-of defensive equipment.. Indeed in Italy

this is amply attested to by the military equipment found in

Villanovan contexts and by the equipment of the Roman army of the

Servian reforms, as described by Livy and-Dionysius of_Halicarnassus,

in which only the first class wore body armour and helmets while the

second and third classes wore helmets and only the fourth and fifth

classes (the poorest) being without armour at all, being protected

simply by a shield.

Partially because of the factors discussed above and partially due

to their structural integrity and strength, since they-are often made

of one piece, more bronze helmets survive from antiquity than any

other form of defensive military equipment. It is for this reason

that their study is particularly important not only for the helmets

themselves but for what they can tell us about the nature of the

warfare for which they were developed. -

Over the last century, bronze armour of the classical period has

attracted considerable but variable academic interest. Much of: this

scholarly research and attention has-been focused an the helmets and

-36-
armour of archaic and classical Greece rather than those of Italian

manufacture which seem to have been regarded as somehow inferior. A

number of the bronze helmet forms of both Greece and Italy have been

studied, usually in isolation, but some have received little or no

attention at all in the archaeological literature. As yet these

studies have not produced a single complete survey of the bronze

Italian helmet, its development and manufacture. Nor indeed accounted

for the changes in the design of the Pre-Roman, the Republican Roman

and early Imperial bronze helmets. Therefore the main aim of this

thesis is to produce, for the first time, a comprehensive survey of

the bronze helmets manufactured in Italy during the six centuries from

the last quarter of the 6th century B. C. to the third quarter of the

1st century A. D. To this end it is intended to examine and classify

the nine main helmet forms, the Negau, the Apulo-Corinthian, the

Italian Chalkidian, the Samno-Attic, the Italo-Pilos, the Etrusco-

Thracian, the Montefortino, the Coolus and the Hagenau. The Greek

Carinthian helmet, which was certainly in use in Italy from the 7th

century onwards, has been excluded from this survey for the following

reasons; without doubt this helmet form was widely copied by Italian

armourers in the 7th and 6th centuries B. C. but it was certainly

losing popularity by the last third of the 6th century and had been

superseded by other forms, and as such it falls outside the scope of

this thesis, although of course its influence can be detected in the

Italian derivatives, the Italo-Chalkidian and the Apulo-Corinthian

helmets. Moreover the excellent and comprehensive treatment it has

received from numerous scholars from the 19th century onwards,

especially Furtwängler (1890), Kukahn (1936), Kunze (1961 and 1967),

-37-
has rendered further work in relation to its development unnecessary.

Finally, since, it is extremely difficult to distinguish between the

7th and 6th century native Italian copies of the Corinthian and the

Greek imports and as it is not the purpose of this thesis to study

Greek helmets forms these also have been excluded. In addition,

parade helmets of all forms and derivations have been excluded from

this study on the basis that as parade helmets they are de facto

primarily for display and not for use in battle. As such they fall
,

outside the mainstream development and evolution of the Italian bronze

helmet and have little or no influence on its development, function or

evolution.

A starting date of c. 525 B. C. for this work was chosen for a number

of reasons, not least because it was arguably the period, of the

greatest Etruscan expansion, and power following the Etrusco-

Carthaginian naval victory over the western Greeks at Alalia.

Secondly it coincides with the period immediately following the

military and social reforms of Servius Tullius at Rome and the

adoption of the modified Greek hoplite phalanx., Finally it also

coincides with the appearance of a number of new, specifically

Italian, helmet forms such as the legau, the Italo-Chalkidian and the

Apulo-Corinthian.

Similarly a closing date of the last quarter of the ist, century

A. D. was chosen because it coincides with the virtual disappearance

from-the archaeological record of the last Italian bronze helmet form,

the Hagenau helmet and its complete replacement by the iron "Imperial

Gallic" helmet, of Gallic manufacture as its name implies, and as such

-38-
marks the end of the tradition of bronze helmet manufacture in Italy'

that had lasted for over eight hundred years.

Since many of the techniques used in the manufacture of bronze

helmets are common to all forms, it was decided that the thesis should

commence with an examination of the manufacturing processes involved

and the tools and technology used in Italian helmet production

throughout this period. It seeks to identify and document the growth

of the techniques of mass-production in Italian helmet manufacture,

such as the widespread adoption of spinning at the end of the 2nd and

the beginning of the 1st centuries B. C. By examining the decoration,

construction and distribution of each form it attempts to define

workshop groupings for each type and areas of regional production.

This thesis therefore seeks to trace the development and evolution

of the nine main forms, drawing together for the first time all of the

extant helmets, from this period to provide the completest survey

possible. It discusses the origins of each of the nine main forms and

provides where necessary a new definition of type (e. g Italo-

Chalkidian, Samno-Attic and the Etrusco-Thracian helmets). It attempts

to supply a definitive typology, with where possible an absolute

chronology, based upon dated examples, and linked to a relative

chronology based upon the stylistic evolution of form, the size and

shape of the helmet bowl, its decoration and fixtures, the standard of

manufacture and finish. In addition contemporary pictorial' and

sculptural evidence has been used to help refine some of these

features and the dating where necessary. It examines in detail the

distribution of each type, their dating, fittings, i. e. crest-

fixtures, cheek-pieces and chin-strap fixtures, and their

-39-
decoration. It discusses the development and evolution of each form,

not only in respect of themselves but also of their inter-

relationships one to another. It chronicles the evolution of each

helmet type and examines the external agencies and cultural

influences that can be traced in the development of each form.

The majority of helmet forms are by their very nature functional

and therefore their development and evolution is dependent upon the

defensive qualities of the helmet type itself, the type of warfare for

which it is designed and the cultural affinities of the peoples who

used it. The invention, adoption or adaption of an individual form

may therefore often be related to social and or political change as

well as the impact of a superior or more successful military system.

Like all defensive military equipment the helmet reflects the warfare

for which it has been designed and if it does, not evolve with it the

helmet rapidly becomes obsolete and is discarded. Therefore this

study attempts to examine the Italian helmet in use and its functional

aspects. It seeks to account for the overwhelming popularity of the

Montefortino helmet which from the end of the third century B. C.

supersedes all other forms in Italy. Accordingly therefore it

examines the changes which took place in the armament of the Roman

army during the later Republic and early Empire and discusses the

disappearance of the majority of the culturally distinct Italian

helmet forms which marked Rome's dominance of Italy, both militarily.

and-socially.

Because of the lack of general academic agreement over the exact

derivation and definition of many of the helmet forms. included in this

thesis and because of the inadequacies of such typologies that exist

-40-
the author has had to construct entirely new typologies for the

majority of forms, or re-evaluate and amend the existing ones. The

definitions and typologies used in this thesis are the author's own

and may not in all cases gain universal acceptance. The compilation

of the corpus of information included in the main body of the text has

involved the detailed study of 450 helmets in over 110 museums

throughout Europe as well as searches through the the archaeolgical

literature, museum, sale and collection catalogues, periodicals,

excavation reports and journals. The majority of the helmets have

previously only received cursory attention in the academic literature

and have often been only the subject of a note without any

illustration, details of provenance context, dimensions, decoration or

construction etc which has necessitated their re-examination at first

hand. Some 92 or 20 percent of helmets included in this thesis are

previously entirely unpublished while over 180 or 40 percent of the

remainder are incompletely published, of which some 83 are only

illustrated in Lipperheide (1896) and some 36 are noted in Coarelli

(1976).

One of the major problems with the study of not only the Italian

bronze helmet but that of arms and armour in general is that of

dating. The majority of helmets included in this study do not come

from securely dated contexts. Many were discovered in the nineteenth

century and the early years of this century, when little or no

accurate record was made of the circumstances of their discovery or

their archaeological context. Where items found during this period

are dated, it is usually by association with dateable objects found

with them, for example ceramics. , Often therefore they can only be

- 41 -
dated broadly within a'given century or centuries. This problem has

been alleviated to some extent in recent years by scientific

excavation which has yielded a number of securely dated examples of

most forms. Certainly difficulties concerned with dating are

exacerbated by the funerary customs of the peoples of the Latin league

who did not practice inhumation with armour. Most of the datable

helmets from the late 6th to the first quarter of the 3rd century B. C

come from graves and as the influence and dominance of Rome' spread

through Italy this habit disappears.

A word must be said about the conventions used for the description

of the helmets included in this survey and the scales used for

illustration. The term "assigned date", unless specifically stated

otherwise, Is used to indicate the date given to a helmet by the

author on the basis of its relative position in the typology of that

form and similar helmets from archaeologically dated contexts. With

regard to the tables: table 1 in each chapter is a preliminary listing

arranged in alphabetical order of the museum in which the material is

situated, whereas table 2, which uses the same numbering sequence, is

arranged typologically and alphabetically.

In respect to the measurement, overall width is taken to be the

distance from the outer front edge to the outer rear edge of the neck-

guard, whereas internal width is taken to be the measurement from the

inner edge of the front rim of the helmet to the inside of the

junction of the bowl with the neck-guard. Likewise the breadth is

taken to be the distance from side to side and overall breadth is

measured from outer edge to outer edge and internal breadth from the

inner edge of the helmet rim to inner edge.

-42-
 Each chapter deals with a separate helmet form and is subdivided

under a number of headings as follows: Introduction, which outlines

the form and previous scholarship, Definition, which as explained

above is the author's definition of type, Table 1 which is a

preliminary listing of the material including dimensions and

provenance, Distribution, Manufacture, which discusses manufacturing

processes specific to individual forms, Typology including a dating

table, A detailed listing of the helmets including Museum and

Inventory number, decoration, inscriptions and the full publication of

the helmet, Cheekpieces, Crest-fixtures, Decoration and finally a

detailed study of an example of each type.

The thesis has been divided into two volumes; this is partially

because of the amount of material but also to allow the integration of

the illustrations into the text to which they relate for the benefit

of the reader. The division comes at a natural break between those

helmets of Mediterranean and those of Celtic origin, i. e., the

Montefortino the Coolus and the Hagenau. The division coincidentally

divides those helmet forms that can be shown to have definitely been

used by the Roman army from those which cannot. Due to the number of

helmets encompassed in this survey, (over four hundred and fifty) and

the need to keep the size of the volumes manageable a scale of 1: 3 has

been chosen for the drawings. In the same way the number of

photographs which are to be found at the end of volume II have been

restricted to representational evidence, specific details and

particular helmets.

-43-
The Manufacture of Bronze Italian Helmets.

The period from the 5th century B. C. to the 1st century A. D.

witnessed almost constant military activity throughout Italy and

there must have been many thousands of bronzesmiths producing armour

to supply the needs of the Italian peoples, yet unfortunately none has

left a treatise or a manual on his craft, nor indeed has a single

undoubted armourer's workshop come to light. It is not certain

whether at this early period in Italy the production of helmets was a

specialised craft in itself, as it was to become 'under the late

Empire in the large Imperial "Fabricae" established by Diocletian, or

whether the Italian armpurer followed contemporary Greek practice and

produced a full range of weaponry. The only guides to the techniques

employed by the armourer are the helmets themselves and the surviving

tools, of which it is often difficult if not impossible to say whether

they were specifically produced for bronzeworking and the armourer.

Little can be positively said about the organisation of the

armourers' trade. It is not known if the Italian workshop owners,

again following Greek practice where the industry was staffed almost

completely by slaves, sometimes up to as many as 120, viewed their

businesses simply as an investment. Certainly this is likely to

have been the case towards the end of the Republic when so much of the

agriculture and industry was served by slaves and freedmen. It is

possible that the Italian armament industry, at least until Rome's

complete domination of the peninsula, was organised around free-born

craftsmen. The Etruscan cities of Perugia, Vulci and Caere were

famed in antiquity for their bronze production (Scullard 1967 159ff,

-44-
119ff and 97ff. ) and the large numbers of similar helmets, dating from

the 5th to the 3rd centuries B. C., found in and around the first two

of these cities would seem to indicate that they were large armour

producing centres as well. Both Capua and Aquileia were also noted-for

their armour production and there is no doubt that there were a number

of southern Italian workshops notably in Puglia and Reggio Calabria in

full production at least until the third century B. C.

Although little can be ascertained about the organisation of

individual workshops certain conclusions can be drawn about the scale

of the industry in the 2nd and 1st centuries B. C. Helmets of this

.
period show a considerable decline in the standards of manufacture and
finishing and exhibit all the signs of hurried or mass production.

This is confirmed by three Nontefortino helmets dating to the 2nd and

1st centuries B. C.; these show clear signs of the above mentioned

detiorating standards of manufacture, but in addition they all bear

Latin makers stamps of one sort or another which is a total break with

previous custom and practice. (Chapter 8 Nos. 86,99 and 123. pls la,

lb and 2a. ) By their very presence these stamps imply that since
it was worth while going to the trouble of producing a special die,

the scale of production must have been considerable. This is further

confirmed in the 1st century B. C. when spinning is introduced as a

method of manufacture. The advantages of this method only become

apparent when the scale of production is large because of the time and

effort involved in setting'üp the lathes and preparing the blanks for

spinning.

-45-
 Before discussing the helmets and tools themselves it is Important

to consider the properties of bronze, the medium in which the Italian

armourer of this period was working. The major consistuent is copper,

a soft ductile metal, which is alloyed with tin in greater or lesser

proportions. The addition of tin affects changes in the mechanical

properties of the resultant alloy and hardens. and toughens the metal.

Tin is added in proportions up to but not exceeding 13.2%, an

admixture containing above this quantity makes the alloy too brittle

for subsequent cold working or percussive use (Brown 1976,25. ). The

average proportion in ancient armour is between 8 and 10% (Craddock

1977,111. )

Lead is also often found as a constituent of bronze; it increases

the ductile qualities of the alloy and is essential for bronze which

is to be cast. Analysis on ancient bronzes show that lead can reach

as much as 30% of a bronze mixture but above that level it is hard to

keep the constituent metals alloyed. Objects that are to be reworked

after casting rarely contain more than 10% lead as it make the

resultant metal too soft. It is in fact rare that helmets contain

more than 4%.

-46-
Museumand Cat Cu Ni Zn Al Sn Pb Fe P S
I nv. No. No.
Chalons sur Sane 106 87,4 0,4 4,0 - 8,2 - tr - tr
No Inv, No,

MusenCivico La 162 88.7 - -- 10,5 tr tr - tr

Spezia, No Inv No,

British Museum 174 94,0 015 -- 6,00 05 06 - -

1856,12-26,697 , , ,

British Museum 184 90.0 16 005 - 9,00 06 025 - -

, , , .
1873,8-20,225 -

British Museum 185 90,0 045 030 - 9,5 02 36 - -

. , , ,
18376,9,91

British Museum 188 94,0 045 -- 5,20 10 30 - -

. , ,
18427,28,711

British Museum 189 90,0 040 9.50 13 035 -

, 1010 - . . -
1847,8-6,159

British Museum 191 90,5 050 -- 9,30 07 040 - -

, . ,
1873,8,20,226-

British Museum 192 91,5 040 -- 8,90 10 060 - -

. , ,
1867,5-8,202

MuseoPoldi Pezzoli 240 85,0 - - tr 10,0 4,0 tr - ,5

N872, -

Muse de 1' 308 90.7 tr 15 tr 8,8 - 03 - 05

. , ,
ArmeeC1,

Mussede 1' 307 91.7 - - tr 8,0 25 tr -

ArmeeC2, . ,5

# complied from various sources,

-47-
 Although no undoubted Italian armourer's workshop dating from the

5th century B. C. to the 1st century A. D. has been excavated a number

of depictions survive, some of a slightly later date, and these give a

clear picture of what they were like. The charcoal burning hearth was

an essential part of the armourer's workshop. It is almost invariably

depicted as being raised on a platform, probably of brick or stone

with the fire covered by a hood, this was augmented by a pair of

bellows operated by an assistant. This is clearly shown in a_graffito

from the Catacomb of Domatilla in Rome (fig 1: 1) where the assistant

works the bellows from the rear of the hearth, sheltered from its heat

by the hood, and the smith works his anvil in front. The primary

tools of the armourer's trade were his hammers and anvil and stakes.

A fragmentary fresco from Pompeii, now in the Museo Nazionale Naples,

Inv. No. 9529. (Zschietzchmann 1959,191. and Ling, 1991,126. ),

depicting Venus at the forge of Vulcan, shows an arnourer and his

assistant making a pair of greaves (pl. 2b). The armourer is seated

at his anvil (incus) which is mounted on a wooden block with his

tongs (forceps) and hammers (malleus) at his feet. A marble

sarcophagus relief, now in the Museo delle Terme Rome (Inv. No. 900),

depicts an armourer's workshop manned by putts. At the left is

clearly shown the canopied hearth, next to this two putti are beating

a billet of metal on an anvil whilst it is held steady by with tongs

by a third who is seated. Adjacent to this a seated putto adds the

finishing touches to a shield with a "crosspein" hammer whilst it is

steadied by another. Finally at the right three others carry away a

finished helmet.

-48-
 from the catacomb of Domatilla
1A smith and assistant

2A modern bickiron

FIG. 1 BIEL
LONDON
Ui+IY
 This picture of the armourer's workshop is further augmented by a

relief of Hadrianic date, from the Palazzo dei Conservatori, Rome

(Zschietzschmann. 1959,190. ), which represents Vulcan making armour

for Achilles. Vulcan is seated at his anvil over which is laid a

circular shield. In his right hand he holds a small crosspein hammer

while he steadies the work with his left. Disposed around him are

three assistants wielding large sledge hammers presumably used in the

preliminary stages of the shield's manufacture.

It is apparent from surviving excavated examples of metalworking

tools found at Numantia (Schulten 1909,207. ), Silchester (Evans 1890)

and Newstead (Curie 1911,285-6. ), that many of the basic tools

employed by Italian and Roman smiths and armourers are very similar

to those employed today.

Herbert Maryon (1954,113. ) states that, "hollow vessels of almost

any shape can be hammered from one piece of sheet metal without a

join. This process is known as raising ". A fact as true in

antiquity as it is today. Essential for this process are metal stakes

and hammers. The most important stake being a 'T' shaped anvil or

Bickiron. The overall length- of a modern Bickiron is about 300

millimetres, one arm is flat on top while the other is circular in

section and both taper towards their ends. This tool is usually

mounted in a large block of wood (fig. 1: 2. ). Six examples of Roman

anvils or stakes of this form are known ranging in date from the 1st

to the 4th century A. D., one from an iron working hoard found at

Heiderburg in Germany, now in the Rheinisches Landesmuseum Mainz

(Lindenschmidt 1911 pl. 46,787. ), two from Saint-Die (Vosges), France

(Gallia 38 1980,432. ), one from Silchester (fig 2: 1) (Evans 1890,

-50-
1A beaked anvil

2A beaked anvil from Pompeii

FIG. 2

-51-
142. ), now in the Reading Museum, one from the Waltham Abbey board now

on loan to the British Museum (Manning 1988,4-5. ) and finally one

from Pompeii (fig. 2: 2), now in the Museo Nazionale Naples (Inv. No.

72.035) (Petri 1917,40, pl. XLIII, 45. ).

The Silchester anvil, now in Reading Museum, weighs some 20

pounds and is 330 millimetres in length and is almost

indistinguishable from its modern counterpart. However the majority

of surviving from the period 5th century B. C to the first

anvils

A. D square in shape and about 300

century are approximately

millimetres high. (e. g. a block anvil from Pompeii now in the Museo

Nazionale Naples Inv. No. 71961 (Petrie 1917, XLIII, 43. ). (fig. 3: 1)

They taper slightly towards the base and are set in or onto a block

of wood to bring them to a convenient working height. Sometimes, as

in from Great Chesterford in Essex (Neville 1856), these

an example

are given a slight stem so that they can be mounted into the wooden

block. Anvils of this form would be well suited to the beating of

ingots into billets and billets into sheet indeed one is clearly being

for this purpose by the putti in the relief in the Museo del
used

Terme. An anvil of this form can also be seen on an Attic red figure

bowl c. 480 B. C (pl. 3a) (now in the Ashmolean Museum Oxford Inv. No.

G267 V518) at the feet of a seated armourer holding a helmet and

file. For the refining of the helmet's shape a number of smaller

round headed stakes would be necessary. Unfortunately none have yet

been identified as such. However a 5th century B. C. red figure

Athenian pelike depicting a seated armourer working a helmet on such a

stake is preserved in the Petit Palais in Paris (pl. 3b). In

addition to his stakes the armourer would require a "sinking" block,

-52-
 of tree trunk with different sized hollows cut into
usually a section

to its top.

The other basic tools of the arnourer are his hammers and tongs

neither of which have changed greatly in the intervening years. The

Italian armourer. would have a complete range of hammers from the two-

handed sledge to the light crosspein for delicate raising and

decorative work. The sledge hammers found at Great Chesterford

(Neville 1856,6, pl. 1. ), Silchester (Evans 1894,145. figs. 8 and

9. ) and in pit XVI at Newstead (Curie 1911,285 pl. LXI II, 1 and 11. )

differ little from their modern counterparts. In fact the only modern

hammer form not known in antiquity is the "ballpein" equipped with a

flat face at one end and a ball-shaped one at the other. The ancient

armourer used a crosspein hammer instead, where the flat face is

balanced at the other end by a rounded "chisel" edge set at right

angles to the plane of the handle. This was the most commonly used

type of hammer and corresponds closely to a combination of the modern

"raising " and planishing hammers (figs. 3: 2 and 3: 3). The

resemblance is so close that a hammer head from Southshields fort

(Allason-Jones and Miket. 1984,288. ), now in Southshields Museum

(Inv. No. SS 1900 103. ) conforms almost exactly to the average

dimensions of a modern raising hammer, its length being 74 millimetres

as opposed to 75 and its width and depth respectively 24 and 13

millimetres instead of 30 and 10. Of the thirteen hammers found in

two hoards from Silchester (Evans 1894,146. ) twelve of them were of

this form (figs. 3: 4,3: 5 and 4: 1).

-53-
1A block anvil from Pompeii

ý.
;ý?"'
2A modern planishing hammer

ý'"
<,;.

3A modern raising hammer

-CD..

:; t,;
ý.
"`"i::
',
. ýl i,

4A combined hammer from Newstead

1'

5- A planishing hammer from Hod Hill

G;Zýý
FIG. 3

-54-
 Tongs also formed an important part of the armourer's equipment,

for removing the hot metal from the hearth and holding billets of

metal steady while they are beaten into sheet as is depicted in the

Museo del Therms sarcophagus. There were many different forms of

tongs known from Republican and Imperial Roman sites, the majority of

which are given an outward bow which ends in parallel gripping faces;

examples of this type of tong are known from Pompeii (Petri 1917,41,

pl XLV. ) Newstead (Curie 1911,286, pl. LXIII 2 and 4. ), Silchester

(Evans 1894,146, fig. 10. ), London (Manning 1988,6, pl. 2. ) and many

other sites and they are depicted in the scenes of ärmourers at work

discussed above (fig. 4: 2).

Files are not common archaeological finds although they are

essential to the armourer as well as many other metalworkers. They

took a number of different forms: square varieties are known from

Silchester (Reading Museum 07700-1) and Halton Chesters, now in the

Museum of Antiquities Newcastle (1959.7) (Manning 1976,24 fig. 14,

53. ), Pompeii (Gaitzsch 1980,346. ) and Rheingönheim (Ulbert 1969,53

taf. 48. ). For decorative work such as chasing, repouss6 and

engraving punches graving tools and tracers were also widely used and

are known from London (Manning 1988,11. ).

Although it cannot be categorically said that these tools were

eiiployed in exactly the same way as they are by the modern bronze

worker or that the methods of manufacture described below are

identical, they are without doubt all necessary in the shaping of a

helmet and since the properties of bronze are determined by its

constituents and are therefore to a great extent immutable, so are the

methods for-working it. The folio, ring discussion of the manufacturing

-55-
techniques employed is therefore based partially on those of the

modern bronze worker and partially on the writer's own experiences and

experiments whilst employed for three years at the Tower Armouries

where amongst other things he actually "raised" a simple helmet of a

Coolus form in "gilding" metal (a zinc/bronze).

Whether or not the armourer would have smelted his own ore and cast

his own ingots of bronze is open to question, but as a specialist

himself it is likely that he bought his raw material in ingot form

from a smelter. These ingots would need to be hammered into billets

and sheet for forging into helmets.

Starting then with a thick sheet of bronze, the armourer would

have annealed this by heating it in a charcoal forge to a "cherry

red" colour, 426-676 degrees centigrade. The advantage of bronze over

iron for armour manufacture is that it can be cold worked,

consequently it is an easier medium for working and requires less

fuel. Hammering cold bronze "work hardens" it and will eventually

cause it to crack unless it is annealed. The hardening is due to the

distortion of the crystalline structure and annealing allows this to

reshape itself and restores the softness and the malleability of the

metal. The sheet would then be quenched, the rapid cooling of bronze

unlike that of iron does not harden the metal but further softens it.

Bronze which is allowed to cool slowly in fact becomes approximately

twenty-five percent harder than bronze which has been quenched. (Blyth

1977.. -)

-56-
1A combined hammer from Stichester

?:
` .,
"..:

2 Two pairs of tongs from Newstead

3 The method used for creating an indented- brow-band

FIG. 4

-57-
 The work would be marked out around the central point in concentric

circles to act as a guide for the hammering with a pair of dividers,

finds of which are-common throughout the Roman world. The size of the

sheet of bronze that the armourer would need for a helmet was

partially determined by . the thickness of the bronze sheet he started

with but is also calculated on the basis of the diameter of the

original sheet of bronze being equal to the diameter of the finished

article plus its height. To obtain a smooth curve to the helmet bowl,

it is essential that the hammer blows are consistent and spread evenly

over the metal, spiralling out from the centre, in order to avoid over-

stretching of the metal in any one area.

First the smith would "hollow" or "block" the bronze sheet by

hammering it into a specially cut depression in a tree trunk or sand

bag. This was done by working the metal from the outer edge with

concentric hammer blow spiralling to the centre, thus producing a

shallow bowl shape. After reannealing, the metal was then worked into

a deep bowl, by being driven down over a domed or, round headed stake

to the required depth of the helmet; during this process the bronze

would need constant annealing and quenching. On those helmets with a

crest-fixture raised in one with the bowl e. g the "Montefortino" and

certain types of-"Hagenau" helmets (Chapters 8. and 10. ) an allowance

would have to be left at the apex of the bowl from which to form the

crest knob. The armourer. would be very careful to overlap his hammer

blows as he worked in order to stretch the metal evenly (pl. 4a).

This hammering with a "raising" or crosspein hammer would force the

surplus metal down towards the rim. Concentric hammering would ensure

-58-
an even thickness and a symmetrical bowl. Slowly the metal would

thicken towards the bottom and so begin to form the lower rim.

To produce crest-knobs or Phrygian bonnets in one with the'rest

of the helmet bowl the surplus metal at the apex would be drawn up by

"swelling" the metal with consistent and concentric hammer blows over

a very small area from the inside of the bowl. This being completed

the armourer would proceed to "raise" the crest-knob by drawing in the

swelling to produce a neck and then to form the hollow crest fixture

on a thin round headed rod-like stake. The bowl would be finished by

returning it to the ball headed stake, the armourer then concentrating

on producing an even thickness throughout the skull, usually between

0.7 mm and 2 mm. and forcing any surplus to the lower edge.

The small projecting neck-guard on helmets such as the

"Montefortino" and "Cool us" (chapters 8 and 9. ) were produced by

drawing the metal outwards at the back, whereas on helmets which had

deep fitted neck-guards such as the "Etrusco-Thracian", the "Attic"

and the "Chalkidian" the neck-guard formed an extension to a well-

fitted indented brow-band which was drawn in and downwards by

hammering it over the edge of a flat stake or a bickiron from the

.

angle between the bowl and brow-band. (fig. 4: 3) The line of the brow-

band would be scribed on the outside of the work and the half formed

helmet bowl would be placed over the stake so that the marked line was

a hammer's width away from the edge. The metal would then be struck

on the line and driven downwards. The armourer would turn the work

slightly after each blow rotating it until he had completed a

revolution.

-59-
 The Negau, Chalkidian and Attic helmets, have bowls with marked

longitudinal medial ridges. These must have been formed in one of two

ways or by a combination of both, either, by placing the bowl, over an

elliptically shaped stake and raising the ridge from the outside or by

placing the helmet onto a sand bag or wooden block and hammering the

ridge from the inside using a chisel shaped punch.

When the basic form had been achieved, the lower rim would need to

be finished by evening up the upper line and trimming back the excess.

This would then be "caulked" with, a hammer, i. e. inverted and placed

on a sand bag and the edge thickened by hammering it to give it a

strong even thickness, up to 7 or 8 mm on some Montefortino helmets

(chapter 8. ) but usually about 2 to 4 mm on most other forms. On

some helmets produced between the first century B. C and the first

century A. D. e. g some late Montefortino and some Hagenau helmets this

edge was left squared up, but on the majority of other forms to a

lesser or greater extent it was given a round or oval section.

After reannealing, the armourer would have repeated the hammering

process with the round flat side of his hammer, which would have acted

in the same way as a modern "planishing hammer", to remove all the

dents and marks in the surface produced by the "raising". Planishing

produces the quasi-hexagonal marks so characteristic of articles

raised with the hammer. Usually this surface patterning is removed

when the helmet is ground and polished and can then only be seen on
the inside however a number of poorly finished helmets the 1st
, of

century B. C. have not been ground or polished and so these have

marks

not been removed e. g. two late Montefortino helmets, from

one
Montenerodomo in Italy, now in the collection Leopardi in Penne and

-60-
one now in the British Museum (figs 158: 99,166: 123 and 167: 126.

(Chapter 8, table 1, Nos. 99,123 and 126. ))

All that now remained to be done was the decorating followed by the

"glazing" processes i. e. the grinding and the polishing. The majority

of helmets dating from the 5th to 2nd centuries

the B. C. are decorated
this
in some form or another and on manyjis quite exquisite and complex.

This decoration takes a number of forms, either the embossing of the

helmet bowl or cheek-pieces themselves, by a technique known as

repousse (literally pushed out), or engraving and chasing with punches

and gravers or pointille work or plating or by the applying of

decoration which is soldered or riveted on. This applique work nay in

itself be embossed, cast, or turned on a lathe.

Perhaps the most common form of decoration on Italian bronze

helmets of the 5th to the 3rd centuries B. C. is embossed and chased

decoration. The technique known as repousse is executed from the

inside of the helmet with punches and crosspein hammers. The helmet

is placed face down on a pad of some material that will yield to the

force of the blow given but which will at the same time support the

metal nearby and stop it being disturbed. For this purpose it is

necessary that the supporting material is in continuous contact with

the underside of the metal. The best substance for this purpose is

pitch, which is brittle when cold and so is usually mixed with brick

dust. Before he started the embossing the armourer would gently heat

the pitch block and inbed the helmet. The main shaping of the

decoration is executed from the inside with hammers and punches; a

Samnite-Attic helmet from Vulci decorated with embossed volutes at

each temple, now in the British Museum, Inv. No. 2724 1842.7.28-711.,

-61-
(chapter 7, Table I, No. 21) clearly shows traces of punch and hammer

marks on the inside of the volutes (pl. 4b). Having thus embossed the

basic form of the decoration, the helmet would then be heated gently

to remove it from the pitch block and the fine details such as

individual curls in the the locks of hair and the palmettes on a

Chalkidian helmet now in the British Museum, Inv. No. 2830,1856,12-

26.616., (chapter 4, Table I, No. 11. ) (fig. 81: 11) would then be

chased in from the outside with a fine chisel shaped graver or tracer

and a light hammer. The depth of the engraving, on this and many of

the Apulo-Corinthian helmets leaves no doubt that, it was executed with

similar tools..

Jot all incised decoration was executed with a graver: some was

applied with punches, as on considerable numbers of Aegau helmets

which are, decorated by, a continuous band of punched volutes which

demark the junction between the indented brow-band and the helmet bowl

itself. Quite often on helmets of the later 2nd and 1st centuries
,
B. C. the incised decoration was simply added with a file.

The applied decoration on Italian helmets was manufactured in a

.

number of different ways and calls for expertise in a number of

techniques. Some early 5th century Segau and Chalkidian helmet are

decorated with cast applique figurines, perhaps the most famous of

which is the early Chalkidian helmet from Vulci, now in the

Bibliotheque Nationale, Paris, Inv. No 2013,5650. (chapter 4, Table

1, No. 2. ) Further examples of -cast'-applied decoration occur an a

group of 4th and early 3rd century B. C Etrusco-Thracian helmets

(chapter 5. ) which are equipped with cast bronze zoomorphic earguards

in the form of seven-toed webbed feet. It is impossible to tell
,

-62-
whether the armourer made these castings himself or whether they were

to some extent sub-contracted, but the most likely process employed in

producing then was --"cire. perdue" or lost wax casting. This involved

the modelling of an original in wax and then coating it in a clay

mantle which was then fired to remove the wax. Molten metal was then

poured into the mould and when it had cooled the mantle was simply

broken open. This process is time-consuming and not cost-effective if

a number of similar objects or motifs are to be produced. An

alternative was to produce simple motifs in a similar fashion but in

reuseable two piece moulds, a well tried technique used in Italy from

at least the 7th century B. C.

The Italian armourer also applied repousse and embossed sheet

bronze decoration. The extent and type of this decoration was

regional and varied from one workshop to another and from one helmet

type to another. Its use as a decorative technique is more widespread

in southern than northern Italy. The armourers of Lucania riveted

repousse bronze wings to the sides of Samnite Attic helmets (chapter

7, nos. 17,27,28 and 29. ) and other south Italian craftsmen

decorated the cheek-pieces of a regional variant of the Chalkidian

helmet with embossed bronze sheet rams' heads which are soldered on.

Despite the concentration of helmets utilising this technique in the

south the Etruscan armourers also exploited it e. g embossed sheet

bronze eyebrows soldered to a Chalkidian helmet from Perugia in Umbria

now in the Louvre, Inv. No. 1104 (chapter 4, Table 1, No. 4. ).

Athough some applied repoussd decoration was riveted to helmets,

the overwhelming majority was soldered. Nodern solders are an alloy

of copper,. silver and tin; Theophilus however recommended two parts

-63-
silver to one part copper and this is the most likely composition for

the solder used by the Italian armourer as it combines strength with

ease of use. Softer solders were known : the analysis of a 4th

century A. D. silver hoard from Trapain Law in Scotland has shown that

solders of 85% tin and 15% lead were in use (Piggott 1955,38-50. ).

In addition to casting and embossing the armourer also used the

technique of turning decoration on a lathe. Examples of applied

lathe turned decoration are restricted to the earguards of a number

of Etrusco-Thracian helmets from Perugia and Vulci (Chapter 5. ).

Finally some helmets, albeit a minority, were partially or totally

plated with other metals tin, silver and gold. The plating of the

bronze served two purposes, the first was purely to enhance its

apppearance and the second to protect the bronze from the deleterious

effects of the atmosphere and sweat.

The process of tinning is a simple one and relies on the fact that

the melting temperature of bronze is higher than that of tin. The

arnourer simply poured molten tin into the helmet bowl and swilled it

about and then poured out the residue, similarly the outer surface of

the helmet was plated by pouring the tin on the outside and smoothing

it over to obtain an even coating. To all intents and purposes tinned

bronze appears like silvered bronze. However a number of helmets

totally or partially coated in silver are known (e. g. the Todi

Chalkidian, now in the Villa Giulia Museum Inv. No. 27,184-86. and the

Chalkidian helmet from the Santa Giuliana necropolis near Perugia, now

in the Museo Nazionale di Perugia Inv. No. 1101 (Chapter 4, Nos. 3 and

5. ). Two methods of gilding were known to both the Etruscans and the

Romans: the first consisted of cutting gold foil to shape and

-64-
 the sheets and then simply glueing it or soldering it in
overlapping

The other and the one most readily applied to helmets was
position.

mercury gilding. This was done by making an amalgam of mercury and

coating the object with it and then gently heating the helmet
gold,

whereby the mercury evaporates thus coating the surface in gold.

Obviously any such plating would only be carried out after the helmet

had been polished and assembled but before the lining had been added.

Prior to the final pickling in an acid solution, to remove the

impurities collected on the surface of the bronze during the raising

process, and grinding and polishing, the holes for attaching the

internal and external fixtures such as the cheek-piece hinges and

crest-fixtures would be drilled or punched. In addition to the cheek-

pieces some helmet forms are equipped with a third point of attachment

for the chin-strap, usually a double loop fastening riveted to the

inside of the neck-guard (fig. 5: 1). Hinged cheek-pieces were shaped

separately and riveted to the helmet after polishing.

The number of hasps on the hinges vary between one form of helmet

and another, the Attic and Chalkidian types are multi-hasped whereas

the Montefortino and Coolus helmets have only a single hasp projecting

from the helmet bowl and two from the cheek-piece. However many

hasps the upper section of the hinge has, it is made in the same way.

It consists of a small thin sheet of bronze, usually under 0.7 mm

thick, shaped by simply hammering it over on itself around an iron rod

and then attaching it with two or more rivets to the inside lower edge

of the helmet bowl. The hasps for the lower half of the hinge are

formed from the upper edge of the cheek-piece which are similarly

turned over the same rod. This iron rod is often replaced in helmets

-65-
of the 3rd century onwards by a bronze one. In general on only 5th to

3rd century and some of the 2nd Century B. C. helmets are the hinges

made with care, the corners being rounded and the plate being trimmed

up to size and riveted by two small iron or bronze rivets. On helmets

of the 2nd and ist century B. C. the workmanship in general is shoddy

and the hinge plates are simply formed from any scrap of bronze which

is roughly folded over and riveted wihout any attempt at tidying up or

trimming. This collapse in the manufacturing standards in armour

during the Republic is general and is not remedied until the

_late
early years of the_Pri ncipate, clearly related to the removal of
_and_is
the property qualification for entry to the legions by Marius and the

vast and rapid increase in the size of the armies of the late

Republic. In the year 49 B. C. alone, Caesar raised five fresh

legions, all requiring new equipment: assuming a strength of four

thousand men per legion and a reuse of old equipment and equipment in

store of around twenty percent a conservative estimate of the number

of helmets required would be 16,000. This calculation does not take

into account that Pompey was also raising and arming new legions and

so the total of new helmets supplied in one year would perhaps be as

many as twice this number. (For a possible explanation for the

beginning of the decline of standards see discussion in chapter 11. )

With the exception of host Montefortino helnets produced between

the 5th and the 1st century B. C., the majority of crest-fixtures were

generally made separately and applied to the helmet after it had been

polished. Some show considerably less competence and skill in their

manufacture and application than do the helmets themselves. In these

instances it may perhaps be that this work was passed to an

-66-
apprentice, although as the crest-fixture was usually applied to the

finished item it seems add that the master craftsman would take the

risk of allowing his carefully formed helmet to be ruined by

inexperienced hands. The other possibility is that the helmets were

sold without crest-fixtures to the individual to have the crest of his

choice added or to a middle ; man who simply added more crudely made

crest-fixtures before resale. Unfortunately not enough is known about

the supply of arms in pre- Imperial Italy to be able to say for

certain.

Before the constituent parts of a helmet were assembled i. e. the

bowl and cheek-pieces they would be polished individually. This

process was laborious and the initial stages were probably started

with fine iron files, the armourer then progressing through a number

of abrasive stones and powders including pumice of decreasing

coarseness. Sherlock states that it appears to have been normal

practice throughout the Roman period to polish all regularly shaped

silver vessels on a lathe (Sherlock, D. 1976,17. ) this is also likely

to have been the case for spun bronze items and therefore it seems

likely that the lathe was used to polish at least those helmets

produced by spinning if not those regularly shaped ones produced by

raising

All helmets regardless of how they were manufactured must have a

lining of some sort. No matter how well made or how thick a helmet

is, it is of limited defensive potential without a lining. Whilst the

metal of the helmet may absorb a proportion of the kinetic energy of a

blow and stop it penetrating, if there is no lining the rest of the

force would be transferred directly to the wearer's skull causing

-67-
 fracture at best. The lining is therefore used to
concussion or

absorb and dissipate this force. Scholars have often suggested that

leather was used for lining helmets. This theory can be rejected,

first and foremost on the basis of practicality and secondly by

analogy with other ancient and mediaeval helmets. If not oil tanned,

leather becomes stiff and brittle when subjected to constant soaking.

Therefore a leather helmet lining which would be constantly saturated

with the wearer's perspiration would not only become very

uncomfortable to wear but would deteriorate and need constant

replacement and its use may be rejected on these grounds alone.

Furthermore leather that is wet would chafe the wearer's skull and

cause acute discomfort especially in the heat of the Mediterranean

summer. Leather may also be rejected on the basis of analogy with the

majority of surviving helmet linings up to the 17th century.

Considerable numbers of helmet linings survive in Europe from the

fourteenth century onwards and these are invariably made of coarse

linen quilted over tow wool or grass stuffing. This is a very

efficent shock absorber, comfortable to wear and readily soaks up

perspiration. It is ludicrous to suggest that the peoples of Italy

had not learnt of the advantages of this type of lining, not least

because quilted armour itself was known. From the 5th century onwards

Etruscan sarcophagi show armour of this type in use and Caesar (The

Civil Var Bk III 44,7. ) in commenting on the actions of his troops, at

the siege of Dryacchium states that they prepared quilted jackets for

themselves, to wear over their armour, to counteract the arrows of the

Pompeian troops.

-68-
 ,j

x. ý. ýI
"J

1A double- loop chin-strap fixture

ý/.

o
2A lining from a helmet in the Wallace Collection

3A diagramatic turning lathe

reconstruction of a helmet

FIG. 5

-69-
 The other substance long recognised in the ancient world for its

defensive potential is felt. Indeed in the Iliad (Book X, 265. )

Odysseus is described as wearing a boar's tusk helmet lined with felt.

The forerunners of the Pilos and Boeotian helmet the pilos cap and the

petatos were both made of felt. It is therefore likely that Italian

helmet linings were made of one or more of these materials.

There are no surviving Italian helmet linings from the period

between the 5th century B. C and the 1st century B. C. but there are,

however, three pieces of direct evidence, two from Roman helmets

excavated in Britain and one from a Hellenistic helmet from Kertch in

the Crimea, which cast some light on the subject. The first is a

cheek-piece from Hod Hill (Brailsford 1962,5. ), dating to the Ist

century A. D., which bears traces of having been lined with a coarse

woven fabric, probably linen. The second is a 2nd century iron

"sports helmet", of the type used by the auxiliary cavalry during the

empire, from the fortress at Kewstead. Curie (1911,170. ) states

that the inside was coated with a sticky substance possibly resin

which would act as a, glue for attaching the padded woollen lining.

There is a mask from a similar sports helmet from Hellingen in Holland

which also has a similar substance inside it. Finally evidence from a
3rd. century B. C. Hellenistic helmet from Kertch (Schröder 1912,
-iron-
317. ) would also seem to corroborate this evidence. Where there are

no traces of stitching holes, it must be assumed that linings were

glued in, using a similar substance to that found in the Newstead and
Hellingen helmets.

-70-
 On a number of Chalkidian and Apulo-Corinthian helmets the main

bottom edges of the neck-guard and brow-band are pierced with small

holes, to facilitate the sewing in of the lining. This echoes the 6th

century practice common on the Corinthian helmet. In addition for a

similar purpose, the majority of Negaulhelmets were equipped with a

separate internal, pierced, lining ring. Although it seems likely

that these linings were made of padded textile either felt, linen or

wool, the actual form they took can only remain conjectural. By

analogy with Mediaeval and later helmet linings it is possible that

they were like them divided into four segments each'tapering towards

the top and pierced at their apex for a lace to enable them to be

drawn together to produce a comfortable fit (fig. 5: 2).

In addition to the traditional method of helmet manufacture by

raising it is evident from the study of some extant helmets especially

late Montefortino and Hagenau that a completely different

-helmets

process was also being employed i. e. spinning on a lathe. As with all

ancient manufacturing processes, it is of course impossible to say how

exactly an Italian armourer would set about spinning a helmet bowl,

but in all its principle parts it cannot have been dissimilar to that

employed by a modern metal worker.

The process known as spinning is applicable to-shapes which-are

circular in section, although the finished form may be altered by the

use of -snarling irons or subsequent reshaping over stakes with a

hammer. There is evidence for the use of the lathe by the Etruscans

by the late Republic, before, the 11

and if not process was in general

use amongst Roman bronze-smiths to whom the ease with which a number

of exactly similar copies of a shape was important. This is confirmed

- 71 -
by Vitruvius who says of the lathe "Bon minus quae Bunt...... cisia

torni ceteraque. " (10.1.1) and again in Book 10.4.1. he says "Ad

tornum auf circinum fabricatus (axis). ". According to Pliny the Elder

(Natural Histories Book 7: 198. ) Theodorus of Samos was the inventor of

the lathe. Both Pliny (Natural Histories 36: 90. ) and Vitruvius (Book

9: 86. ) document its use for shaping stone.

The principal tools employed are a lathe, a wooden pattern, called

a' former' and spinning tool. Almost any single geared lathe may be

used.

Dr Mutz has made a considerable and very detailed study of Roman

lathe turned domestic items, and has in addition made a number of

experimental reconstructions of Roman lathes (Mutz 1972,14-52. ) (fig.

5: 3). This lathe incorporates all the features which can be inferred

from the products themselves. This lathe requires a minimum of two

workmen, one to crank the lathe and the other to actually turn the

work. The lathe itself is geared to give seven revolutions of the

spindle for every revolution of the wheel.

The former is a block of hard wood of exactly the desired shape

of the helmet bowl, although slightly smaller by only the thickness of

the metal to be used. When the finished shape is such that the former

may be easily withdrawn from the completed helmet (as is the case with

Hagenau helmets. ) the former is made in one piece. If the shape of

the helmet were complicated by undercuts, a sectioned former would be

employed (fig. 6: 1)

-72-
 The tools used would of necessity be quite large and
spinning

heavy, somewhere in the region of 600 millimetres in length and 20 to

30 millimetres thick made of hardened and carburised iron. All

,

spinning tools would have to have a very highly polished surface with

no sharp edges which might damage the work. To spin a helmet bowl

therefore the smith would first produce a former of the right shape ,

but with a slightly flattened apex which could be coated with pitch to

provide better adhesion to the bronze. A disc of bronze would be

placed between the former and spindle. The disc would be centred by

holding a piece of wood against its outside edge while it rotated.

When centred the tail stock of the lathe would be tightened to clamp

the work, the spinning tool would be placed against a rest and the

smith taking position close to the spindle would press slowly and

firmly against the disc as it rotated, stroking from the centre to the

edge, gradually forcing the bronze against the former (figs. 6: 1 -

6: 5). Because of the beat and friction between the tool and the work,

a lubricant must have been used. For this a mixture of oil and tallow

is most likely. Whenever the metal became work hardened it would have

to be annealed. When the bronze had assumed the shape of the former

it was trimmed to size whilst still in position on the lathe, and

indeed sometimes polished and planished there. Some helmets ( e. g.

Chapter 8, Nos. 131 and 139. and Chapter 10, Nos. 3,15 and 26. ) did

not receive the final polishing process and therefore still exhibit

concentric spinning marks. Occasionally chatter marks a scuffing on

the bronze where the spinning tool has not been held firmly enough and

as a result has skidded across the metal, producing a characteristic

scar (e. g. Chapter 8, No. 139. and Chapter 10, Aos.. 3 and 15. ).

-73-
IA sectioned chuck

2A spun helmet blank In the

form of a flanged bowl

3 Bowl with the flange trimmed to form

the neckguard

4 Bowl with applied crest-knob

5 Finished helmet with cheek-pieces

FIG. 6 Stages in producing a "spun" Hagenau helmet

Scale 1: 5

-74-
 The final result would, of course depend on the shape of the
,

former and the skill of the smith, but in most cases the
original

simplest shape would be a diagnostically hemispherical bowl with an

everted flange at the base, which could be cut away to leave a flat

neck guard,;, as is found on early Imperial Coolus, Montefortino and

Hagenau helmets. Considerable numbers of 1st century A. D. spun shield

umbones must have utilised formers of similar-style.

The advantages of spinning are quite obvious, firstly that it

allows for the production of large numbers of standardised helmets;

secondly helmets could be produced more quickly by-, spinning than by

raising requiring less from the

, and arguably skill armourer.

Considerable numbers of late Republican and early Imperial helmets

display close similarity of shape and dimension. Although, a single

smith raising helmets by hand can achieve impressively consistent

results, it is unlikely if not inconceivable that many hundreds of

smiths working in numerous scattered workshops will acheive the same

consistency. It is therefore, probable that the production of--certain

1st century A. D. helmet forms was widely carried out using spinning

over standardised formers.

The use of spinning in helmet production was, by no means an

innovation in armour manufacture as the author has stressed, earlier

(Paddock 1985,145. ), and the technique had previously been employed

in the Greek world for the manufacture of Piles helmets probably as

early as the 4th if not 5th century B. C. (Paddock 1981,65. ) Although

a number of scholars have suggested that certain helmet forms, not

least the Etrusco-Thracian; may have been spun, the first widescale

application of spinning to Italian military equipment does not occur

-75-
before the end of the 2nd-century B. C. and indeed is closely

associated with the sharp decline in quality of the product noticed

above. By the 1st century A. D. this technique is widely applied to

the manufacture of Hontefortino and Hagenau helmets, shield bosses

commonly used by the Auxiliaries and also that of the military patera

or mess bowl. The application of spinning to these items is in no way

a break with mainstream Italian manufacturing techniques as, from the

end of the 2nd century B. C., it was being widely applied to a large

variety of domestic utensils, vessels and even stone columns, indeed

it would be strange if not incomprehensible that the"Italian armourer

would not have taken advantage of such a technical advance.

been
It has often been said that some ancient helmets may haveA cast,

including some Montefortino forms. This has never been satisfactorily

repudiated. Firstly, casting would make the bowl very brittle due to

the change that the crystaline structure undergoes especially when the

walls of the helmet bowl are usually 1.5 mit thick. Furthermore

without a modern vacuum chamber it is unlikely that the bronze could

be forced to fill all the cavities in the mould. The work involved in

preparing an original and then preparing a mould and finally casting

the item, would far outweigh the cost of it being raised by beating.

It has also been suggested that the basic form of the helmet was cast

and then the bowl was reannealed and worked but this would not

sufficiently alter the cast structure of such thin bronze so as to

overcome the brittleness of the cast metal. These assertions are

confirmed by Craddock (1984) whose recent analyses of Etruscan helmets

in the collections of the British Museum indicate that all the helmets
been
tested had. / raised from sheet metal and not cast.

-76-
 Having discussed the manufacture of bronze helmets in general terms

it is now appropriate to study each form in turn.

-77-
Introduction.

The Apulo-Corinthian helmet is a southern Italian derivative of the

classic Greek Corinthian helmet. It is clearly a development of the

Greek form and is derived from it and the Italian copies of it,

manufactured in the coastal cities of Magna Graecia. From an initial

nucleus in Apulia, the Apulo-Corinthian helmet spread throughout the

whole of southern Italy and, via the Etruscan possessions in Campania,

to Etruria itself. The helmet form emerged in the last quarter of the

6th century B. C. and continued in use to at least the end of the 4th

century. However it continued to be represented in art as late as the

first century B. C. Over the last century the type has been studied by

a number of scholars, each of whom has given it a different name.

This form of helmet was classified by Kukahn in his seminal study

of Greek helmet types (1936,43. note 269. ) as "Ionian Chalkidian"

although, as early as the end of the 19th century, Furtwängler (1890,

169. and note 1. ) had already associated it with southern Italy and

indeed was the first scholar to suggest that these helmets were

intended to be worn pushed back upon the head rather than drawn down to

cover the face. Connolly (1981,99. ) however has used'the term Italo-

Corinthian to describe them. Adamesteanu (1966,199-208. ) was the

first to suggest Apulia as their place of origin and to call them

Apulo-Corinthian.

The majority of the helmets of the form are decorated with

engraving either in the "archaic" Italic styles of the 6th and early

-78-
5th centuries B. C. or the more "naturalistic" Hellenic styles of the

4th century B. C. The restricted decorative repertoire and variation of

form of the early examples are such as to suggest an initial area of

production over a limited period of time, perhaps as little as a

century, followed by a period of dissemination throughout -Italy south

of a line betweeen Naples and Picenum. From the distribution of the

finds of these helmets it is clear that their origin should be sought

not in Magna Graecia in general but more precisely in central and

Aorthern Apulia. In short there can be no doubt that this helmet form

is derived from the mainland Greek Corinthian helmet and that its place

of origin is Apulia: therefore there can be no argument with their

designation as Apulo-Corinthian helmets.

The Apulo-Corinthian helmet is characterised by a low but

prominent and bulbous bowl, which is drawn down at the rear to form a

shallow neck-guard. The neck-guard is sharply everted at its base to

produce a broad flat neck-flange. At the front, the integral cheek-

defences enclose the whole facial area and either touch or are joined

beneath the nasal. The bowl is divided from the rest of the helmet,

at the front by embossed eyebrows and brow-ridges; these converge at

the wearer's temples and the resultant embossed line or step is carried

round the rear of the helmet. In the majority of Instances the eye-

holes are so small as to serve no practical purpose and in fact in the

most developed form there are no eye-holes at all; these being inlaid

or simply engraved. All Apulo-Corinthian helmets are equipped with a

single hole pierced centrally through the neck-flange and a single hole

-79-
in the base each side of the helmet to receive the fastening for the
of

chin-strap.

The majority of these helmets, if worn drawn fully down to cover

the face by virtue of the shallowness of their bowls and the

would,

closeness of their eye-openings, be totally impractical and indeed a

liability and not a defence on the battlefield. Most scholars

therefore accept that these helmets were not intended to be worn in the

same manner as their Greek counter parts (Furtwängler, 1890,109-110.;

Fosdyke, 1929,76.; Emanuele, 1982,174-175. ) although some have gone

as far as suggesting that they were never intended for wear at all

(Bleoch, 1976,87.: Orlandini, 1971,289.: Adamesteanu, 1971. ), that

they were simply votive or parade items.

-80-
FIG. 7

Brow

NasaI-
.

AN APULO- CORINTHIAN HELMET

Bather- support

Bowl

Cheek- guard
.

-81-
Table 1

No, Museum and Inventory No, Cat, Dimensions: Provenance,

No. "- 1. R-

1, Antiken MuseumBerlin (43) 167 250 215 Sicily,

L, 27,

2, Antiken MuseumBerlin (44) 170 270 215 South Italy,

L, 28,

3, Antiken MuseumBerlin (45) 146 257 223 Syracuse, Sicily,

L, 29,

4, Bibliothbque Nationale (309) 200 236 D South Italy,

2015,

5, MuseoProvinciale (357) 169 250 215 Chiucchari, Puglia,

Potenza, 50246, Italy,

6, MuseoNazionale Melfi (231) 185 260 172 Chiucchari, Puglia,

50245, Italy,

7, Dallas Museumof Fine (123) 188 241 219 South Italy.

Arts, No Inv, No,

8, Collection of A. (83) 171 256 173 Taranto, Italy,

Guttmann, Berlin,

9, Lucerne Private (202) 162 247 209 The Basilicata, Italy,

Collection,

10, Present whereabouts (434) 174 246 172 South Italy,

unknown, Sold London
13,7,1987,

11, British Museum (173) 163 231 178 Apulia, Italy,

2823 1873 8-20,224,

12, MuseoNazionale Naples (256) 176 251 - Ruvo, Puglia, Italy,

5732.

13, MuseoNazionale Taranto (393) 201 260 - Rutigliano, Puglia,

140173, Italy,

14, British Museum (174) 187 270 - Ruvo, Puglia, Italy,

2831 1856 12-26,616,

15, Germanisches Museum (291) 180 282 - South Italy,

Nuremburg

16, Armeria Reale Turin (403) 220 285 200 Friuli, Italy,
A,12,

-82-
No, Museumand Inventory No, Cat, Dimensions: Provenance,
No. H. W. B.
17, Armeria Reale Turin (404) 225 277 192 Ordona, Italy,
A, 13,

18, Present whereabouts (435) 215 323 215 South Italy,

unknownsold in Basel
14,3,1975,

19, Collection of A, (84) 182 247 187 South Italy,

Guttmann, Berlin

20, MuseoNazianale Melfi (232) 198 283 175 Leonessa, Puglia,

52959, Italy,,

21, MuseoNationale Melfi (233) 190 304 178 Chiucchari, Puglia,

50388, Italy,

22, MuseoNazionale Melfi (234) 192 305 170 Lavello, Puglia,

52888, Italy.

23, MuseoNazionale Melfi (235) 195 285 173 Chiucchari, Puglia,

50389, Italy,

24, MuseoNazionale Melfi (236) 195 285 173 Ripacandida, Puglia,

118161. Italy,

25, MuseoProvinciale (358) 204 285 - Chiucchari, Puglia,

Potenza, Italy,

26, Musee du Cinquantenaire (102) 213 291 - South Italy,

Brussels, A703,

27, British Museum (175) 220 326 178 Pomarico, Basilicata

2832 1856 12-26,669, Italy,

28, Boston Museumof Fine (98) 191 275 180 Chiucchari, Puglia,
Arts, U,S, A 69,1075, Italy,

29., MuseoNazionale Naples (257) 215 305 178 Naples, Italy.

30. Present whereabouts (436) 210 248 - South Italy,

unknown, Sold London
11,12,1987

31, National Museum (114) 198 300 - South Italy,

CopenhagenABa 889,

32, Melfi Museum (237) 192 279 - Chiucchari, Puglia,

50753, Italy,

33, MuseoNazionale di (362) 250 D 180 Banzi, Puglia,

Regio Calabria, 50753 Italy.

-83-
No, Museum and Inventory No, Cat, Dimensions: Provenance,
No. H. UB
34, Antiken MuseumBerlin (46) 195 240 185 Krsko, Yugoslavia
L, 30

35, Antiken MuseumBerlin (47) 201 322 - South Italy,

31590,

36, PergamonMuseumBerlin (48) 197 283 220 South Italy,

10398,

37, MuseoPoldi Pezzoli (238) 198 242 182 South Italy,

2420

38, A EmmerichGallery (40) 210 276 - South Italy,

Basel Switzerland

39, MuseoNazionale Bari (36) 213 270 - Canosa, Puglia, Italy,

2242,

40, MuseoNazionale Taranto (394) 204 291 - Rutigliano, Puglia,

61488, Italy,

41, Antiken MuseumBerlin (49) 178 270 191 South Italy,

FR 1011,

42, Antiken MuseumBerlin (50) 163 277 213 South Italy,

L, 90,

43, Badisches Landesmuseum(148) 203 295 192 Canosa, Puglia, Italy,

Karlsruhe 432 R 1079,

44, Badisches Landesmuseum(149) 190 290 220 Canosa, Puglia, Italy,

Karlsruhe 430 R 1076

45, MuseoNazianale di (230) 180 200 185 Montescaglioso, Materna,

Materna, 9584 Italy,

46, MuseoNazionale Naples (258) 190 276 210 Ruvo, Puglia, Italy,
5707

47, MuseoNazionale Taranto (395) 207 275 - Rutigliano, Puglia,

165191, Italy,

48, MuseoNazionale Taranto (396) 192 279 - Rutigliano, Puglia,

138864, Italy,

49, MuseoNazionale Taranto (397) 195 282 - Rutigliano, Puglia,

141420, Italy,

50, Museumfur V6lkerkunde (170) 198 269 - Capua, Campania, Italy,

Leipzig, UG 13172.

-84-
No, Museumand Inventory No, Cat, Dimensions: Provenance,
No. H. V. R.
51, Private Collection (160) 207 256 - Taranto, Italy,
Köln,

52, MuseoProvinciale (359) 174 276 - Serra Vaglio, Puglia,

Potenza, V284, Italy,

53, National Museum (115) 177 255 - Ponte Cucchiaio, Toscana,

Copenhagen,ABa 412 Italy,

54, Queensland University (360) 195 305 185 South Italy,

Museum,77,1

55, British Museum (176) 190 243 204 Vulci, Toscana,

2722 47,8,6.160. Italy,

$6, British Museum (177) 190 320 195 Etruria, Italy,

2723 1856 12-26,664,

57, Bibliothbque Nationale (310) 198 224 182 South Italy,

Paris, 2017

58, MuseoNazionale Bari (37) 204 282 - Ruvo, Puglia, Italy,

7697,

59, MuseoNazionale (355) 195 270 - Cairano, Campania, Italy,

Pontecagnano, 34809.

-85-
 Distribution

?tany these helmets were discovered in the 19th century and

of

therefore their exact provenance is uncertain: it is often given as

little than "Italy" or at best "southern Italy". Of the fifty-

more

only thirty-eight have more specific find-

nine surviving examples,

spots than this and only eighteen come from-dated archaeological

contexts. However, given the limits of the evidence, it is possible to

make certain generalisations about the distribution of the Apulo-

Corinthian helmet both spatially and temporally.

Three examples have findspots outside the Italian peninsula and

Sicily, these are helmet No. 16 from Friuli, helmet No. 34 from Krsko

in Yugoslavia and helmet No. 35 from Athens. As these-three finds

fall not only so far outside the spatial bounds set by the distribution

of other examples but also are from museum collections established

before 1896, when they were recorded by Lipperheide, (1896) they must

be viewed with some caution. However it is possible and even probable

that the examples from the head of the Adriatic reached there as the

result of trade. On the other hand without further corroborative

evidence the Athenian provenance must still remain questionable.

Of the thirty-eight helmets, where a more exact location is

available, ninety percent come from Italy, south of a line drawn

between Naples and Foggia. From their distribution in this area, it

is obvious that the origins of the Apulo-Corinthian helmet are without

doubt to be found in Magna Graecia, but more specifically in northern

and central Apulia, The majority of these helmets come from the modern

provinces of Foggia, Potenza, Naterna and Avellina, with the greatest

-86-
concentration being in the Ofanto valley and around Rutiligiano

between Bari and Taranto.

Inside Apulia there are concentrations of helmets around the major

centres of Canosa, Melfi and Ruvo.

Twenty seven percent, i. e eleven helmets (Nos. 5,6,20,21,22,

23,24,25,28,32 and 33. ) come from Melfi and its immediate

hinterland. No doubt as Adamesteanu maintains these represent the

products of an hitherto unlocated school of craftsmen working from a

centre near Melfi. With two exceptions these helnets all date from the

end of the 6th century B. C to the end of the 5th century and thus

perhaps represent the working lifespan of three generations of

armourers making Adamesteanu's hypothesis possible.

There is a concentration of seven helmets, approximately twenty

percent (Nos. 12,14,39,43,44,46 and 58)'from north-eastern Puglia,

around the towns of Canosa di Puglia and Ruvo di Puglia. All of these

date from the end of the 5th century to the end of the fourth century

B. C. which again may be taken to suggest a manufacturing centre at one

r
or both of these important towns.

Likewise there is a group of seven helmets, Nos. 8,13,40,47,48,

49 and 51. from the area between Bari and Taranto, mostly from graves

at Rutigliano. These include examples of types I, IV and V giving

them a date range of between the late 6th century B. C. and the 4th

century B. C.

There is a further group of four helmets from southern Apulia,

from the Basilicata, which are concentrated in the river valleys of

the Gravina and Bradeno (helmets Nos. 9,11 and 27.45). These are of

types I, III and V.

-87-
 Outside Apulia the distribution is more sporadic, the two helmets

from Sicily (Nos. 1 and 3. ), which are both of type I and therefore

early in the sequence possibly belonged to mercenaries serving there.

This would seem to agree with other evidence for Italian mercenaries at

this period as attested by finds of Italic defensive equipment found on

Corsica and in North Africa.

The remaining five provenanced examples fall well beyond the area

of Apulian influence. They consist of two helmets from Campania and

three fron Etruria. The two helmets from Campania (Nos, 25 and 50. )

come from Aaples and Capua respectively and are of types III and V.

This gives them a date range of between the 5th and the 4th centuries

B. C. i. e the period of Etruscan domination. The three remaining

helmets (Nos. 53,55 and 56. ) come from Etruria, two have more accurate

provenances and cone respectively from Chiusi and Vulci.

Although Stary (1982,5. ) has questioned the provenance of at least

one of these three Etruscan finds, he presents little evidence to prove

his case and an Etruscan context is just as likely since these items

could easily have reached Etruria by way of trade and is a reasonable

explanation given their commonplace depiction in Etruscan and Roman

art from the 4th to the Ist centuries B. C.

-88-
FIG. Distribution Apulo- Corinthian helmets
8 of

-89-
Key to Distribution map fig. B.
3) Syracuse, Sicily
5) Chiucchari near Melfi, Puglia, Italy,
6) Chiucthari near Melfi, Puglia, Italy,
8) Taranto, Le Murde, Italy,
12) Ruvonear Bari, Puglia, Italy,
13) Rutigliano near Bari, Puglia, Italy,
14) Ruvo near Bari, Puglia, Italy,
16) Friuli, Foggia, Italy,
17) Ordona,Foggia, Italy,
20) Leonessa near Melfi, Puglia, Italy,
21) Chiucchari near Melfi, Puglia, Italy.
22) Lavello near Meifi, Puglia, Italy,
23) Chiucchari near Melfi, Puglia, Italy,
24) Ripacandida near Melfi, Puglia, Italy,
25) Chiucchari near Melfi, Pugliua, Italy,
27) Ponarico, Basilicata, Italy,
28) Chiucchari near Melfi, Puglia, Italy,
29) Naples, Campania, Italy,
32) Chiucchari near Melfi, Puglia, Italy,
33) Banzi near Melfi, Puglia, Italy,
34) Krsko, Carinola, Yugoslavia,
35) Athens, Greece,
39) Canosa di Puglia, Puglia, Italy,
40) Rutigliano near Bari, Puglia, Italy.
43) Canosa di Puglia, Puglia, Italy.
44) Canosa di Puglia, Puglia, Italy.
45) Montescaglioso Contrada Sterpino, Basilicata, Italy,
46) Ruvo near Bari, Puglia, Italy,
47) Rutigliano near Bari, Puglia, Italy,
48) Rutigliano near Bari, Puglia, Italy.
49) Rutigliano near Bari, Puglia, Italy.
50) Capua, Campania, Italy,
51) Taranto, Le Murde, Italy.
52) Serra di Vaglio near Potenza Italy,
53) Ponte Cucchiaio near Chiusi, Tuscany, Italy.
55) Vulci, Tuscany, Italy,
58) Ruvonear Bari, Puglia, Italy,
59) Cairano near Pontecagnano,Italy.

-go-
Manufacture. I

All Apulo-Corinthian helmets were made in a similar fashion and

indeed in the same way as most other hand raised bronze Italian helmets

of the 5th to 3rd centuries B. C. The sheet metal or billet was first

dished by "sinking", or hammering it into a wooden block or former;

it was then raised over stakes of different sizes and the helmet

finally planished to remove the raising marks, prior to polishing.

The repousso eyebrows, temporal lobes and ridge which encircles the

rear of the helmet, found on every example of this type of helmet,

were almost certainly, embossed in a pitch block during the raising

process. The hammer used in this process was without doubt of a

crosspein form as there are the tell-tale marks left by its use on the

inside of helmets 11 and 2?. The incised decoration found on many of

these helmets was executed with a scriber. The crest-fixtures were

manufactured separately, in one of five ways; (see fig. 34. ) by casting

the piece individually as is the case on helmet 2 or by riveting

various combinations of the component parts together. These were

either riveted in place or were constructed in such a way to be

removable. Likewise the feather supports were made separately and

riveted on.

Typol ogv.

The prototypes for the Apulo-Corinthian helmet were the imported

Greek Corinthian helmets, which started to appear the Italian

on

mainland from the 7th century B. C.. These gave rise to contemporary
locally made copies of the Greek Corinthian, for the
which sake of

-91-
convenience are known as Italo-Corinthian helmets (for Italo-Corinthian

see introduction). In its earliest form the Apulo-Corinthian helmet is

stylistically very similar to its contemporary Greek and Italian

counterparts. The later developments of this form exhibit considerable

divergence from these early prototypes, and within a century the whole

form and defensive attributes of the helmet had changed. Bottini

(1988,107ff. ) divides this helmet form into five types. However

based upon the following analysis of their form, including the

configuration of the face-guard, eye-apertures and neck-guards, and

decoration, it is clear that the corpus of surviving'Apulo-Corinthian

helmets can in fact be divided typologically into seven distinct

groups, some of which are contemporaneous. They reflect the process of

adoption and subsequent adaptation of a mainland Greek import to local

tradition and the changing nature of Italian warfare.

-92-
Table 2- Typology-

No, Museum& Inv, No, Face-guard Nasal Neck- Eyes-Decor Bowl Type
Opening Angle guard Holes
01 23CAM0 MS CONFUCNUD D HL
1, A. M, Berlin, L, 27XXXXXXXXI
2, A. M, Berlin, L, 28* XXX X* XXI
3, A, M, Berlin, L, 29XXX-XXXXI
4, Bib, Nat, 2015 XXXXXXXtI
5, Melfi 50246 XXXXXtXXI
6, Melfi 50245 XXXXXXXXI
7, Dallas F, A, XXXXXXXXI
8, Guttmann Coll, XXX-XXXXI
9, P. C, Lucerne tXX-XXXXI
10, Unknown XXXXXXXXI
11, B, M,2823 8,20,224 * XX -* XXXI
12, M. N, Naples 5732 * XX-XXXXI
13, M, N, Taranto XXX-XXXXI
140173
14.8. M.2831 12.26.616 XxX-XXXXI
15, Nuremburg XXX-XXXX II
16, R, A, Turin, A12 XXX-XXXX II
17, R, A, Turin, A13 XXX-XXXX II
18, Unknown XXX-XX*X II
19. Gutt.nann Coll. XX lr -#X*tII
20, M, N. Melfi 52959 XX X- XXXX III
21, M, N. Melfi 50388 XX X- XXXX III
22, M, N. Melfi 52888 XX X- XXXX III
23, M. N. Melfi 56389 XXXXXXXX III
24, M. N. Melfi 118161 XXX-XXXX III
25, M. P. Potenza XXX-XXXX III
26, M. de C. Brussels XX X- XXXX III
27, B, M,2832 12,26,669 XX X- XXXX III
28, Boston F, A, 69,1075 XX X- XXX III
29, M. N, Naples XXXXXXXX III
30, Unknown XXX-XX*X III
31, N,M, Copenhagen889 XX X- XXXX III
32. M. N. Melfi 60753 XX tk -t#XX III
33, Reggio Calabria XX X- XXXX IV
50753
34, A. M, Berlin L, 30 XX X- XXXX IV
35, A. M. Berlin 31590 XX X- XXX* IV
36, A, M, Berlin 10398 XX X- XXX* IV
37, Poldi Pezzoli 2420 XX X- XXX* IV
38, A Emerich Gallery XX X- XXX* IV
39, Bari 2242 XX X- XXXX IV
40. Taranto 61488 X t- IXtX IV
41, A. M, Berlin 1011 XXX-XXXXV
42, A, M, Berlin L, 90 *XX-XXX*V
43, Karlsruhe F432 XXX-XXXXV
44, Karlsruhe F430 XXX-XXX*V
45, M, N, Materna 9584 *X X- XXXXV
46, M. N. Naples 5707 *XX-XXXXV

-94-
 & Inv, No,
No, Museum Face-guard Nasal Neck Eyes-DecorBowl Type
Opening Angle guard Holes
01 23 C AMO MS to NF UCNUD DH L
47, Taranto 165191 * * * -* *t * V
48, Taranto 138864 * * -* t# XV
49, Taranto 141420 * * -* 1 * t V
50, Leizig UG13172 * * * -* t * * V
S1 P Col K61n * t * * V
ý
52, M. P, Potenza V284 X k -# t * * VI
53, N, M, Copenhagen 412 * VI
54 0ueen5l nh d 77-1 # X -* t t # VI
55, B,M,2722 8,6,160 #X * -# # t * VII
56, B,M,2723 12,26,664 #x X -* # * t VII
57, Bib, Nat, 2017 # k * - 1K #Z * VII
58, Bari 7697 # * # -* *X * VII
59, M, N, Pontecagnano t k X -* * # * VII
3dßnq
Kty--, Faceguard Opening; 0- Open, 1- 1 join, 2- 2 joins, 3- 3 joins, C-
Closed, Angle of slope of Faceguard; A- Acute, M- Moderate, 0- Obtuse,
Nasal length: M- Moderate (over 60 mm,), S- Short (under 45 mm,)
Neckguard; CO- Cutouts in front of neck-guard, NF- Neckflange,
Eyeopenings; U- Usable, C- Closely spaced, N- None,
Decoration; UD- Undecorated, D- Decorated, A- archaic Style, N-
Naturalistic Style,
Height of Bowl; H- High, l- Low,

No. Type Context. Provenance

1, 1, Undated Sicily,
2, I, Undated South Italy,
3, I, Undated Syracuse, Sicily,
d, I Undated South Italy.
5, I, Undated Potenza, Italy.
6, I, Early Sth B. C. Chiucchari Necropolis near Melfi,
7, I, Undated South Italy,
8, 1, Undated Taranto,
9, I, Undated Basilicata,
10, I, Undated South Italy,
11, I, Undated Apulia,
12, 1, Undated Ruvo di Puglia.
13, I, c, 425-400 B. C. Rutigliano,
I I. Undated Ruvo di Puglia.
15, II, Undated South Italy,
16, II, Undated Tombat Friuli Foggia,
17, II, c, 350 - 300 B.C. Tombat OrdonaFoggia
18, II, Undated South Italy,
19. If Undated South Italy.
20, III, End 6th - 5th B.C. Tomb7 Leonessanear Melfi,
21, III, Early 5th B, C, TombF Chiucchari Necropolis, Melfi,
22, III, End of 5th B. C. Tomb56 Lavelle, near Melfi,
23, III, Early 5th B, C, TombF Chiucchari Necropolis, Melfi.

-95-
No. Type. ontext. Provenance
24, III, c, 500-450B.C. Tomb82 Ripacandidanear Melfi,
25, IIi, Early 4th B. C, TombA Chiucchari Necropolis, Melfi,
26, III, Undated South Italy,
27, III, Undated PomaricoBasilicata,
28, III, Undated Chiucchari Necropolis, Melfi,
29, III, Undated Naples,
30, III, Undated South Italy,
31, III, Undated Unknown,
32_ III Undated Chiucchari Necropolis, Melf.
.
33, IV, 4th B.C. TombA Banzi Necropolis near Melfi,
34, IV, Undated Gurkfeld Yugoslavia,
35, IV, Undated Athens, Greece,
36, IV, Undated South Italy,
37, IV Undated South Italy,
38, IV Undated South Italy,
39, IV Undated Canosa di Puglia,
40. TV. Undated Tomb 3 Rutigliano near Taranto
41, V, Undated South Italy,
42, V, Undated South Italy,
43, V, 4th B. C, TombCanosa di Puglia,
44, V. 4th B. C. TombCanosa di Puglia,
45, V. 4th B, C, TombMontescaglioso Contrada Sterpino,
46, V. Undated Tombat Ruvo di Puglia,
47, V, c, 450-400 B. C, Grave 77 Rutigliano near Taranto,
48, V. c, 425-400 B. C, Grave 19 Rutigliano near Taranto,
49, V, c, 425-400 B. C, Grave 11 Rutigliano near Taranto,
50, V, Undated Capua,
51. V. Undated Taranto.
52, VI, Undated Serra di Vaglio,
53, VI, Undated Tombat Ponte Cucchiaio near Chiusi,
54. VI_ Undated South Italy
55, VII, Undated Vulci,
56, VII, Undated Etruria,
57, VII, Undated South Italy,
58, VII, Undated Tombat Ruvo di Puglia,
6q VII. c. 450-400 B. C. Grave 19 Gairano.

-96-
FIG. 10

-97-
Tyne (Helmets 1-13. )
.I
This is the earliest and least developed form of Apulo-Corinthian

helmetl it still closely resembles the early Italian copies of the

classic Greek Corinthian helmet. Helmets of type I are characterised

by a high slightly bulbous skull defined at the front by embossed

forehead lobes and eyebrows; these converge, at the wearer's temples,

and the resultant embossed step is carried round the rear of the

helmet. The central opening in the face-guard is unobstructed and the

nasal is of moderate length. The incline of the face-guard is shallow

and the nasal projects considerably beyond this line. - The majority of

helmets of this type have usable eye-openings, i. e they would not

greatly restrict the wearer's vision when pulled down to cover the

face, however on one example (helmet No. 6) the eye-openings are quite

closely set. All the helmets have a "U"-shaped crest-holder on a

stemmed support, the majority of which are mounted longitudinally.

This was to become the standard type of crest-holder and is found on

every Apulo-Carinthian helmet. This is supplemented on helmets Nos. 4

and 6 by feather or plume supports, of inverted trapezoid shape, which

are riveted to the bowl on either side of the crest-holder, so that

they project at an angle of approximately forty-five degrees. These

two helmets are typologically the most developed of this group and it

is perhaps significant that they, and not those helmets which exhibit

stronger Greek' -influence, should be equipped with these additional

features. Unfortunately only two helmets come from dated contexts,

helmet No. 5 from Potenza and helmet No. 6 from the Chiucchari

necropolis near Melfi. These both date to the period from the end of

the 6th century to the first half of the 5th century B. C. ' This is not

-98-
a sufficiently large number to date this type but it does provide some

form of fixed point.

Type I, (Helmets 14-19. )

This type of helmet has many of the characteristic features of

the previous form. However it exhibits a number of quite significant

developments. It has the usual embossed eyebrows and frontal lobes and

slightly bulbous bowl although this is of a lower form than are found

on the previous type. The face-guard is joined centrally just below

the nasal, which is of moderate length and projects only slightly

beyond the line of the face-guard. The face-defence itself is more

elongated than on the preceeding form although it still projects at a

moderate angle. Its lower portion does not cling to the wearer's face,

as in the previous type, but projects away from it. The eye-openings

are closely spaced but still anatomically correctly positioned and

usable. At the rear the neck-guard is strongly everted, almost at

right angles to the bowl, where it forms a broad flat neck-flange. The

cut-out in the sides of the helmet at the base of the neck-guard are no

longer present.

All the helmets of this type have a "U" shaped crest holder mounted

at their apex. These are accompanied by the trapezoid-shaped feather

supports, which have the appearance of "antennae". These are riveted

at either side of the bowl of the helmet at an angle of approximately

forty-five degrees and give these helmets their distinctive-appearance.

Vhere these are complete they are pierced towards their top edge,

presumably in order to tie on the plumes or feathers.

Unfortunately the only dating evidence for this type of Apulo-

Corinthian helmet comes from the nineteenth century excavations at

-99-
Friuli and Ordona, on the basis of which they have been assigned a date

between the 4th and 3rd centuries B. C. (Angelucci 1890). Stylistically

however they do bridge the gap between type I, which dates to the 6th

to 5th century B. C and type III, which can be dated to the 5th to 4th

century B. C. On the basis of this and the style of their decoration it

seems reasonable to assign this type tentatively to the 5th and

possibly early 4th centuries B. C.

Tyne III. (Helmets los. 20-32. )

This form is more developed than the two preceding types. It is

characterised by a low bowl from which projects an elongated and

obliquely sloping face guard. This is joined in two separate places

beneath a short nasal. The nasal hardly projects beyond the line of

the face-guard. The eye-apertures, on helmets of this type, are set so

closely together and are so small that they cannot possibly have

corresponded to the wearer's anatomy and therefore cannot have served

a practical purpose. The neck-guards have a broader neck-flange than

on the foregoing types. Approximately a quarter of extant Apulo-

Corinthian helmets of this type are undecorated (dos. 23,28 and 32. ).

The majority of the rest have incised decoration executed in the

"archaic" style, usually depicting opposed charging boars or more

rarely horses. Although portraying the same subject matter the

decoration on helmets 20,25 and 30 is executed in a more naturalistic

style.

Yearly all the helmets of this. type were excavated in recent years

and come from dated contexts. Helmets Nos. 20,21,22,23 and 24 can

be dated to the 5th century and helmets nos. 25 and 28 to the 4th

century B. C.

-100-
S. 11

-101-
Type IV. (Nos. 33-40. )
---
This type of Apulo-Corinthian helmet has a low bowl with an

acutely sloping face-guard, which gives these helmets a more

cylindrical appearance than the preceding, types. The face-guard. is

- -

joined in three separate places below a short pointed nasal, which, as

on helmets of type III, is hardly raised beyond the line of. the face-

guard. Similarly the eye-openings are small and closely spaced,

rendering them impractical. At the rear, the neck-guard is everted to

form a moderately sized neck-flange. All helmets of this group are

equipped with the standard form of "U" shaped crest-holders which are

mounted either laterally or transversely at the apex of the bowl.

These are accompanied by the usual side mounted feather supports.

Two thirds of the helmets of this type are decorated with incised

work executed in an "archaic" manner. These designs incorporate

charging beasts confronting each other, either boars or lions, one on

each cheek-guard.

Only one helmet of this type comes from a dated context, helmet No.

33, which comes from tomb A/34 at Banzi and is dated by a Greek stamnos

and other bronzes to the 4th century B. C. Although it is not safe to

base any conclusions about dating on a single find, this form of Apulo-

Corinthian helmet is more developed than the previous type and it would

seem reasonable to assume a date range -for Type IV of between the mid

5th century-B. C. to the mid 4th century B. C.

Type V. (Helmets 41-51. )

This type is characterised by a low bowl with an acutely sloping

face-guard completely closed beneath the nasal. Like the preceeding

form, helmets of type V have a slightly cylindrical appearance. The

-102-
nasal is of moderate length and projects forward from the face-guard

very slightly. At the rear the neck-guards are drawn out to form

large neck-flanges. These helmets are equipped with transversely

mounted 'U' shaped crest-holders, but of a new and more sophisticated

form. These are removable. They are accompanied by the usual side

mounted feather supports which are permanently fixed. The decoration

on these helmets is Hellenic and naturalistic in style and very well

executed.

Six helmets of type V come from dated contexts. They are Nos. 47,

48 and 49, which all come from Rutigliano and date to the last quarter

of the 5th century B. C., Nos. 43 and 44 from Canosa di Puglia, which

date to the mid 4th century, and finally No. 45 from Montescaglioso

Contrada Sterpino, which dates to second half of the 4th century B. C.

T=a. VT. (Helmets 52-54. )

-
Helmets of type VI are very similar to the preceding- form and are

characterised by the same low bowl with an acutely sloping face-guard

which gives them a cylindrical appearance. The face-guards of these

helmets are completely enclosed, the nasal being simply indicated by

engraving. At the rear, the neck-guards are strongly everted to form

large neck-flanges. All three helmets have transversely mounted 'U'

shaped crest holders which were accompanied by side mounted plume

supports. The decoration on these helmets is Hellenistic in style and

well executed. -. Unfortunately none of these helmets come from a dated

context.

-103-
 10

11

-104-
Type VII. (Helmets 55-59. )

Helmets of type VII are distinguished by their low slightly bulbous

and angular bowls which sometimes have a central ridge. They are

equipped with short, acutely sloping face-guards, which are completely

enclosed and have no eye openings. These are usually indicated by

engraving as on helmets Nos. 55,56 and 59, or are inlaid as on

helmets Was. 57 and 58. At the rear, the helmet is extended to form a

small neck-flange. In general this form is very shallow and forms

little more than a skull cap which could only be worn on the top of

the head and not drawn down at all. The "U" shaped crest holders are

mounted longitudinally and although no feather supports survive in

situ there are two rivet holes on either side of the bowl of each

example to show where these were mounted. There is only one dated

example of this type of Apulo-Corinthian helmet, that is No. 59 from a

grave at Cairano which dates to the second half of the 5th century B. C.

However there is plenty of pictorial evidence depicting their use as

late as c. 100 B. C. (i. e. the Domitius Ahenobarbus reliefs, now in the

Louvre, pl. 10b. ). Therefore it would seem reasonable to place these

as the final development of the Apulo-Corinthian helmet probably dating

from the later part of the 5th century B. C.

-105-
1.13

12

13

14

-106-
G. 14

15

16

-107-
1. Sicily. Antikenmuseum Berlin (L27. ). Undecorated. (fig 9: 1. )

Lipperheide, von. 1896,66.

2. South Italy. Antikenmuseum Berlin (L28. ). Decorated: Opposed

archaic leaping horses. (fig. 9: 2. ) Schr6der. 1905,15-30.

3. Syracuse, Sicily. Antikenmuseum Berlin (L29. ). Decorated: Opposed

charging boars in a naturalistic style. (fig. 9: 3. ) Lipperheide,

von. 1896,74.

4. South Italy. Bibliotheque Nationale. (2015. ). Undecorated. (fig.

10: 4. ) Lipperheide, von. 1896,68. Adam. 1984,119.

5. Tomb A. Cbiucchari Necropolis near Melfi, Puglia Italy. Museo

Aazionale di Melfi. (50246). Decorated: Opposed charging boars in a

naturalistic style. (fig. 10: 5. ) Hermann. 1966,317. fig 86.

Orlandini. 1971,290.

6. Tomb A. Chiucchari Necropolis near Melfi, Puglia Italy. Musen

Nazionale di Melfi. (50245). Decorated by a horse on the left side and

a charging boar on the right both in an archaic style. (fig. 10: 6. )

Adamesteanu. 1974,182. Orlandini. 1971,291.

7. South Italy. Dallas Museum of Fine Arts. Decorated: Opposed

charging boars in an archaic style. (fig. 11: 7. ) Hoffmann. 1970,

162-3, No. 77.

8. Taranto, Le Murde, Italy. Collection A. Guttmann Berlin.

Undecorated. (fig. 8. ) Anon. 1977,70, No. 404

--11:

9. The Basilicata, Italy. Private Collection in Lucerne. Decorated:

Opposed charging boars in a naturalistic style. (fig. 12: 9. ) Bloesch.

1974,50. no. 303. Bloesch. 1976,83-7.

-108-
15

17

18

-109-
10. South Italy Sold Sotheby's 13.7.1987 Lot 410. Decorated: Opposed

charging boars in an archaic style. (fig. 12: 10) Anon. 1987,147,

Lot. 410.

11. Apulia, Italy. British Museum (2823.1873.8-20.224. ) Undecorated.

(fig. 12: 11. ) Walters. 1899,349, No. 2823. Stary, 1982,4-5.

12. Ruvo di Puglia, Italy. Museo Naziovale Naples (5732). Undecorated.

(fig. 13: 12. ) Fiorelli. 1869,1, No. 3.

13. Grave 24 Rutigliano near Bari, Puglia, Italy. Museo Nazionale

Taranto. (140173). Undecorated. (fig. 13: 13. ) Lo Porto. 1977,741.

14. Ruvo di Puglia, Italy. British Museum (2831 '1856.12-26.616, ).

Decorated: Opposed charging boars in a naturalistic style. (fig.

13: 14. ) Walters. 1899,349. No. 2831. Stary. 1982,5.

r=QI I..

15. South Italy. Nurnberg Museum. Undecorated. (fig. 14: 15. )

Lipperheide, von. 1896,73.

16. Friuli, Italy. Armeria Reale Turin. (A12). Undecorated. (fig.

14: 16. ) Angelucci. 1890,13. Lipperheide, von. 1896,70.

17. Tomb 25 at Ordona, Italy. Armeria Reale Turin. (A13). Undecorated.

(fig. 15: 17. ) Angelucci. 1890,13. Lipperheide, von. 1896,70.

18. South Italy. Present whereabouts unknown. Undecorated. (fig.

15: 18. ) Anon. 1975,98, pl. 59.

19. South Italy. Collection A. Guttmann, Berlin. Decorated: Opposed

charging boars in a naturalistic style. (fig. 16: 19. ) Anon. 1974,

23, Lot. 200.

-110-
FIG. 16

19

20

-111-
Type III.

20. Tomb 7, Leonessa near Melfi, Puglia, Italy. Museo Nazionale Melfi

(52960) Decorated: Opposed charging boars in an archaic style. (fig.

16: 20. ) Orlandini. 1971,290. Adamesteanu. 1971,105-6.

21. Tomb F. Chiucchari Necropolis near Nelfi, Puglia Italy. Museo

Nazianale di Melfi. (50389). Decorated: Opposed charging boars in an

archaic style. (fig. 17: 21. ) Adamesteanu. 1971,105-6. Orlandini.

1971,290. Tocco. 1971,105.

22. Tomb 56. Lavello Necropolis near Melfi, Puglia Italy. Museo

Aazionale di Melfi. (52888). Decorated: Opposed rearing horses in an

archaic style. (fig. 17: 22. ) Adamesteanu. 1971,115-6. Orlandini.

1971,290. Tocco. 1971,111.

23. Tomb F. Chiucchari Necropolis near Melfi, Puglia Italy. Museo

Aazionale di Melfi. (50388). Decorated: Opposed charging boars in an

archaic style. (fig. 18: 23. ) Adamesteanu. 1971,105-6. Orlandini.

1971,290. Tocco. 1971,105.

24. Grave 82 Ripacandida Necropolis near Nelfi, Puglia Italy. Nuseo

Aazionale di Melfi. (118161). Decorated: Double incised line around

main and subsidary edges. (fig. 18: 24. ) Unpublished.

25. Chiucchari Necropolis near Melfi, Puglia Italy. Nuseo Provincale

di Potenza Nelfi. (50389). Decorated: Opposed charging boars executed

in an naturalistic style. (fig. 19: 25. ) Bertarelli. 1957,. 27.

26. South Italy. Musee du Cinquäntenaire Brussels (A703). Decorated:

Opposed charging boars, lions, cavalry, warriors and a sphinx in an

archaic style. (fig. 19: 26. ) De Not. 1904,69. Amandry. 1949,441,

pl. 25.

-112-
FIG. 17

21

22

-113-
27. Pomarico, Basilicata, Italy. British Museum (2832 1856.12-

26.669. ) Decorated: Opposed charging boars supported by a lion and a

sphinx all in an archaic style. (fig. 20: 27. ) Lipperheide, von.

1896,72. Valters. 1899,349 No. 2832. Stary. 1982,6.

28. Chiucchari Becropolis near Melfi, Puglia Italy. Museum of Fine

Arts Boston. (69.1075). Undecorated. (fig. 20: 28. ) Comstock and

7ermeule. 1971,494-5. p1.589.

29. Naples, Italy. Museo Nazionale Naples. Decorated with palmettes

and snakes. (fig. 21: 29. ) Kukahn. 1936,95, No. 166.

30. South Italy. Sold at Christies, London. 11.12.1987. Decorated:

Palmette on left cheek-guard. (fig. 21: 30. ) Anon. 1987,17, Lot. 38.

31. South Italy. National Museum Copenhagen. (ABa 889). Decorated:

Opposed charging boars supported by a lion and a Sphinx all in an

archaic style. (fig. 22: 31. ) Lipperheide, von. 1896, S. 504.

32. Chiucchari Necropolis near Melfi, Puglia Italy. Musen Nazionale di

Melfi. (50753). Undecorated. (fig. 22: 32. ) Orlandini. 1971,290.

TypeM.
33. Tomb A/34 Banzi, Italy. Xuseo Bazionale Reggio Calabria. (50753)

Undecorated. (fig. 23: 33. ) Pesce. 1936,428-39.

34. Krsko, Yugoslavia. Antikenmuseum Berlin (L. 30. ). Decorated:

Opposed charging boars in a naturalistic style. (fig. 23: 34. )

Lipperheide, von. 1896,69. Kukahn. 1936,95, No. 165.

35. South Italy. Antikenmuseum Berlin (31590). Decorated: Opposed

charging boars in an archaic style. (fig. 24: 35. ) Lipperheide. von.

1896,71.

-114-
 18
.

23

24

-115-
36. South Italy. Antikenmuseum Berlin (10398). Decorated: Opposed

charging boars supported by a lion, horse, eagle and sphinx all

rendered in an archaic style. (fig. 24: 36. ) Bottini. 1988,135,

10.19.

37. South Italy. Museo Poldi Pezzoli Milan (2420). Decorated: Opposed

archaic lions. (fig. 25: 37. ) Cavaliers-Manasse. 1985,36, no. 29A,

pl. 29A.

38. South Italy. Sold in Basel April 1970. Decorated: Opposed

charging boars in an archaic style. (fig. 25: 38. ) A. Emmerich

Gallery. 1970,39, no. 57.

39. Canosa di Puglia, Italy. Museo Hazionale Bari. (2242).

Undecorated. (fig. 25: 39. ) De Juliis. 1983,119.

40. Grave 3 Rutigliano near Bari, Puglia Italy. Museo Hazionale

,
Taranto. (61488). Undecorated. (fig. 26: 40. ) Unpublished.

Type V.

41. South Italy. Antikenmuseum Berlin (FR1011. ). Decorated: A combat

between a centaur, Hercules and Iolaus. (fig. 26: 41. ) Lipperheide, von.

1896,79.

42. South Italy. ` Antikenmuseum Berlin (L. 90). Undecorated. (fig.

26: 42. ) Unpublished.

43., Canosa di Puglia, Italy. Badisches Landesmuseum Karlsruhe (F430. ).

Decorated: Lion on the left cheek-guard opposing a bull on the right

cheek-guard rendered in a naturalistic style. (fig. 27: 43. )

Schumacher. 1890,130. Lipperheide. von. 1896,77.

44. Canosa di Puglia, Italy. Badisches Landesmuseum Karlsruhe (F432. ).

Decorated: Boar on the left cheek-guard opposing a bull on the right

-116-
cheek-guard supported by seabeasts rendered in a naturalistic style.

(fig. 27: 44. ) Schumacher. 1890,130. Lipperheide, von. 1896,78.

45. Montescaglioso, Materna, Italy. Museo Nazianale Materna (9584).

Decorated: Lion on left cheek-piece opposing a boar on the right.

(fig. 27: 45. ) Lattanzi. 1976,130.

46. Ruvo di Puglia, Italy. Museo Nazionale Naples (5707).

Undecorated. (fig. 28: 46. ) Kukahn. 1936,94, no. 164.

47. Grave 77 Rutigliano near Bari, Puglia Italy. Museo Aazionale

,
Taranto. (165191). Undecorated. (fig. 28: 47. ) Unpublished.

48. Grave 19 Rutigliano near Bari, Puglia Italy. ' Museo Bazionale
,
Taranto. (138864). Undecorated. (fig. 29: 48. ) Unpublished.

49. Grave 11 Rutigliano near Bari, Puglia Italy. Musen Nazionale

,
Taranto. (141420). Decorated: Opposed butting bulls supported by

dolphins. (fig. 29: 49. ) Unpublished.

50. Capua, Campania, Italy. Museum fur Völkerkunde Leipzig.

(UG134172). Decorated: Opposed charging boars in an archaic style.

(fig. 29: 50. ) Hoffmann. 1961,106.

,
51. Taranto, Italy. Private collection in Cologne. Decorated: Lion

hunt rendered in a naturalistic style. (fig. 30: 51. ) Anon. 1968,61.

Type
VI.

52. Serra di Vaglio near Potenza, Italy. Musen Provinciale Potenza

(V284). Decorated: Opposed charging boars in a naturalistic style.

(fig. 30: 52. ) Sestieri-Bertarelli. 1957,29, pl. S. 65.

53. Tomb at Ponte Cucchiaio near Chiusi, Italy. National Museum

Copenhagen (ABa 412. ). Decorated: Opposed charging boars in a

naturalistic style. (fig. 30: 53. ) Lipperheide, von. 1896, S409.

-117-
a. 19

25

26

-118-
54. South Italy. St Lucia Museum, University of Queensland. (77.1. )

Decorated: Opposed charging boars in a naturalistic style. (fig.

31: 54. ) Anon'17-1.1977, lot. 189.

Type VII.

55. Vulci, Italy. British Museum (2722.47.8.6.160). Decorated:

Opposed charging boars in a naturalistic style. (fig. 31: 55. )

Lipperheide, von. 1896,75. Valters. 1899,342, No. 2722. Stary.

1982,6.

56. Etruria, Italy. British Museum. (2723.1856.12-26.664. ).

Decorated: Opposed charging boars in a naturalistic style. (fig.

31: 56. ) Walters. 1899,342, No. 2723.

57. South Italy. Bibliotheque Nationale. (2017. ). Decorated: Eyes

inlaid. (fig. 32: 57. ) Lipperheide, von. 1896,76 Adam. 1984.118

no. 149.

58. Ruvo di Puglia, Italy. Musen Nazionale Bari. (7697). Decorated:

Embossed curls of hair eyes inlaid with ivory. (fig. 32: 58. ) De

Juliis. 1983,119.

59. Grave 16. Cairano, Campania, Italy. Musen Nazionale Pontecagnano

(34809. ). Decorated: Opposed charging boars in a naturalistic style.

(fig. 32: 59. ) Bailo Modesti. 1980,25-8.

-119-
FIG. 20

27

28

-120-
Table 41 Cres1aurL

No, Construction Mounted RemoveableFeather Crest Helmet

2 Piece3 Pi ece Long Tr ans Supports Type Type
1, t 1 - 3 I,
2, * * - 3 I,
3, * * - 1 I,
4, 1< 2 I,
5, # x - 3 I,
3 I,
7, k # - 3 I,
8, * - 2 I,
9. * k # - 2&3 I,
10, X * - 2 I,
11. * * * - 2&3 I,
12. k h - 2 I,
13, * t - 2 1,
14. x x x. 3 j
15, x k x 2 11,
16, fi X I~ 3 II
,
17, k aÄ * 3 U.
18, t X k 2 II,
19 t 2 II.
20, X 3 * 2 III,
21, # * * 2 111.
22, * * 2 III,
23, t * k 2 III,
24, X x 2 III,
25, * * I * 5 111,
26, k * * 2 III,
27, * * k 3 III,
28, * t 2 III,
29, t 3 111,
30, * * * 3 III,
31, k * X 3 III,
ý x 1ý 3 III__
, IV,
33, #: X k 2
34, X k * 2 IV,
35, # # 3 IV,
36, 1~ X * 4 IV,
37, * * X 4 IV,
38, * # # 2 IV,
39, t k X 2 IV,
dn x 2 IV.
i
41, * x # t 5 V.
42, x * I 2 V.
43, * t * 5 V,
44, * X * I~ 5 V.
45, * t * 5 V,
46, X * X 2 V.
47, * # ýk 2 V.
48. * # t 2 V.
49, k * x 2 V,

-121-
No, Construction Mounted Removeable Feather Crest Helmet
2 Piece 3 Piece Long Trans. Supports Type Type
50, ## x 2 V,
S1. t 5 V.
52, X* t 2 VI
53, t* X 2 Vi,
54. Xt 2 VI.
55, t # 2 VII.
56, ** t 2 VII,
57, *# x 2 VII,
S8, *k 2 VII,
59, * Y. # 2 VII
_
KEY:
Long_ - Longitudinally mounted,
Trans - Trinsversply mounted.

-122-
FIG. 21

29

30

-123-
FIG. 22

31

32

-124-
Crest-features

The crest-features associated with the Apulo-Corinthian helmets are

nature. All the helmets have traces of a centrally

of a very specific

bracket of a long stem usually some 80-100

mounted crest which consists

holder. With
millimetres in length, from which projects a "U" shaped

the exception of most of the helmets of type I, this is accompanied on

all Apulo-Corinthian helmets by two side mounted plume supports or

holders look like '"antennae". These consist of narrow inverted

which

trapezoid-shaped bronze section. Each is

strips of of rectangular

attached to the bowl by two rivets and projects at an angle of

approximately forty-five degrees. These plume supports are constructed

in two by the lower end of the

one of ways; either simply splitting

trapezoid bending at ninety degrees to form

and each side outwards

flanges, then to take rivets, or by forming the

which are pierced

from two strips of bronze riveted together the ends of which

support

have been bent to form the flanges which are again pierced to
outwards

take rivets. Where the upper parts of these plume supports survive

they sometimes pierced by a single hole towards their

undamaged are

for tying on feathers as can be seen on helmets

upper edge, presumably

20 and 25.

The 'U' shaped crest-holders are made in one of four ways (figs.

34: 1-34: 4) and this taken in conjunction with the style of the engraved

decoration helps to refine the helmet typology. The first form which

is found only on one example, helmet No. 3 from Syracuse, consists of a

cast bronze bracket which is mounted along the longitudinal axis of the

helmet although the "U" shaped bracket is positioned in the same plane

-125-
as the fixing flange so that it must have carried a transverse crest.

Types 2 and 3 are variants of the same general form and are constructed

from two thin bars of bronze riveted together and shaped to form the

crest-holder at the top and a flange at the base which is then pierced

for riveting to the helmet bowl.

The second type is found on thirty-six helmets (Nos. 4, ?, 8,9.

10,11,12,13,15,18,19,20,21,22,23,24,26,28,29,33,34,

38,39,40,42,46- 50 and 52-59. ) and consists of the above mentioned

two strips of bronze riveted together to form the stem; this is then

simply turned out at the base, to form a fixing flange, and shaped at

the top, to form the "U" bracket. All three sections remain in the

same plane. The flange is then riveted transversely across the apex of

the helmet bowl.

The third type occurs on seventeen helmets (Nos. 1,2,3,5,6,7,

9,11,14,16,17,27,29,30,31,32 and 35. ). This is constructed

in the same manner as the previous form, with the exception that the

stem is given a ninety degree twist so that the flange is riveted along

the longitudinal axis of the helmet bowl. A variant of this type is

found on helmet No. 46 from Bari where the stem of the crest-holder is

given a continuous spiral twist for its whole length.

The final two forms of crest-holders types 4 and 5 are arguably the

most complex and sophisticated. They are found mounted longitudinally

(Type 4. ) on helmets Nos. 36 and 37 and transversely (Type 5. ) on

helmets No. 25, from Melfi, Nos. 41,43 and 44, from Canosa, 45 from

Nontescaglioso and 51 from Taranto.

-126-
=IG. 23

33

34

-127-
35

36

-128-
 Both these types of crest-holder are made of three separate pieces

of bronze and are not riveted directly to the helmet bowl. They

consist of a base plate through which is riveted an upright stem, of

square section in the case of helmet 43, this then passes through the

"U"' shaped bracket at the top and is riveted over. The base plate is

pierced with rectangular holes one at either side. These are to

accommodate two loops which project through a second plate riveted to

the apex of the helmet; are made of narrow strips of bronze

-these

which are bent into loops the top half of which is passed through a

plate and the lower half flanged outwards on the inside. These fixed

base plates were riveted to the helmet in three places, centrally and

at each side. The bottom of the crest-holder was passed over these

loops and a split iron pin was inserted through each loop to retain it

firmly in place. An interesting variant of this form of crest-holder

occurs on helmet No. 51 from Taranto which instead of having the usual

straight -upright stem has a curled stem of the type depicted on

numerous Apulian red figure wares, including the famous volute crater

from Canosa, now in the Museo Nazionale in Naples by the Darius

painter, depicting a scene from the burial rites of Patroclus.

The most popular and therefore presumably the most successful of

the types of crest-fixture was type 2. It was fitted to well over half

of the surviving helmets. That this type and type 3 are

contemporaneaous can be seen by the fact that both helmets 8 and 11

were fitted with both types during their working life. Crest-fixtures

of type 4 appear only on helmets of type IV but those of type 5 appear

on helmets of types III and V although the majority are found on

helmets of type V. This last form is also found on Samno-Attic

-129-
helmets of the 4th century B. C. Vhether the idea was transferred from

Samnium and Lucania to Apulia or the other way around cannot be stated

categorically but that they are related is without doubt. In this

respect it is important to note that helmet no 25, from Melfi which

carries a crest-holder of type 5, probably dates to the 5th century at

least fifty years before this form of crest-holder appears on Samno-

Lucanian helmets. It is interesting that this sophisticated removable

crest-fixture was superceeded on helmets of types VI and VII by the

simpler fixed type 2. Perhaps these had proved themselves impractical

in use, or are simply a regional variant, as suggested by the

sophistication and cohesiveness of the decoration of the helmets which

are equipped with them.

Chin-strap Fixture.

Every surviving Apulo-Corinthian helmet is pierced by three holes,

one on either side towards the lower edge of the helmet just forward

of the neck-guard and a third hole in the centre of the neck-guard

flange. These holes must all serve the same purpose. They are part of

the fittings for the chin-strap. Although they are depicted in art,

none of the extant Apulo-Corinthian helmets appear ever to have been

equipped with hinged cheek-pieces similar tp those found on

contemporary helmets of other forms. A different form of chin-strap

fitting was therefore necessary to retain the helmet on the wearer's

head. Bottini (1988.108, fig. 1. ) (figs. 35: 1 and 35: 2) has

reconstructed the chin-strap fitting of the Apulo-Corinthian helmet as

consisting of simply two rings which are attached to the helmet by

split pins threaded through the holes at either side of the helmet

bowl, through which is fitted the chin-strap. This cannot be correct

-130-
as it fails to take into account the role of the hole in the neck-guard

and also would not have given the helmet sufficient stability in wear.

A downward blow on the front of the helmet would have caused it to

pivot on the chin-strap and to be driven down over the wearer's eyes.

The answer must therefore lie in a different chin-strap arrangement

incorporating the third hole. This nay well have consisted of rings

threaded through the holes at either side but the ring at the rear

would have to have been attached by a different method, either a split

pin or held by a piece of bronze threaded through it and then folded

over and riveted to the neck-flange. Such fixtures are found on all

xontefortino helmets and numerous other Italian helmet forms

contemporary with the Apulo-Corinthian helmet. There are no surviving

rivets found in the neck-flanges or the holes in the side of any

Apulo-Corinthian helmet which militates therefore in favour of the

threaded ring or split pin solution.

Irrespective of how these rings were attached, it is clear that

each played an important role in the functioning of the chin-strap.

Two solutions present themselves: the chin-strap may have consisted of

a single strap which was threaded through the ring in the neck-flange,

each end then passed diagonally across the wearer's neck, round under

his chin and was fastened to the ring in the side of the helmet

opposite (figs. 35: 3 and 35: 4. ). Alternatively the chin-strap could

have consisted of two separate straps, one passing through the ring at

the rear and fastening at the chin and a second strap which was simply

threaded through the rings at the side of the helmet, also fastening at

the chin (fig. 35: 5. ). A system using two straps would perhaps be

cumbersome but was capable of modification by either riveting or

-131-
stitching the rear strap to the chin-strap proper at an angle of

approximately forty-five degrees, or by passing the chin-strap through

a loop made from the end of the rear strap, thus forming a "Y" shaped

strap, a type coincidentally often found on helmets of the Middle Ages

(fig. 35: 6. ).

-132-
FIG. 25

37

38

39

-133-
FIG. 26

40

41

42

-134-
No, Embossed
Eyes Incised Decoration Type
Style Subject
Eb Pr It Eg P A N Bo Bu Ho Ln P1 Th Sb Sn Pa Mb Ht V0
1, X k I
2. * t I * * k I
3, X * # * * * *I

5, * * # X * #I
6, k Y * * ** * x I
7, k * * * # X #I
8, I - I
9, * X # I * #I
10, * * # * * # *' I
11, x - I
12. * * - I
13, * # - I
* X * X I
_14.
15, # * - II
16, * * - II
17, # * - II
18, X * - II
19. * >~ * * * * II
20, * * * * * * * III
21, * * * * * * * III
22, * * * * * k * III
23, x k # * * X Ik III
24, * * * * ** III
25, * k * t * *# III
26, * * * I; * *III
27, * * * * * t * III
28, * * - III
29, * * * * * ** * III
30, * # # $ *1 III
31, I I± X 1< # #III
32. * I III
33, t I - IV
34, 1 * X x * * IV
35, * # # t * # X IV
36, I; * * # X * t IV
37, # X I I X # I IV
38, # * # * 1 IV
39, # # - IV
40. 1 IV
41, 1 # * * 1 I", V
42, V
43, # k * I # t # t tV
44, # * * # 1# k tX IV
45, * 1 t * I * I; * IV
46, 1 #: - V
47, k # - V
48. t X - V
49, 1 1 # * X V

-135-
 No, EmbossedEyes Incised Decoration Type
Style Subject
Eb Er 11 Fa P AW Po Eu Ho Ln P1 Th SbiSn Pa Hb Ht V0
5o, tX * # V
91 x* tv
52, k* # * t ** VI
53, Xk t k #*t * VI
94. x x. x VI
55, ttt t * * t VII
56, *k * * t VII
57, *** - VII
58, *** - VII

KEY,;
Embosseddecoration; Eb- Eyebrows Br- Browridges,
Eyes; IL- inlaid; Eg- Engraved,
Incised decoration style; A- archaic; N- Naturalistic,
Incised decoration subject; Bo- Boar; Bu- Bull; Ho- Horse; Ln- Libn;
P1- Plant; Th- Thistle Sb- Seabeast; Sa- Snake; Pa- Palmete; Hb-
Herring-bone Ht- Heart-shape; V- Vandyking; 0- Other.

Decoration.

The one decorative feature shared by all Apulo-Corinthian helmets

is the presence of embossed eyebrows echoed by forehead lobes or brow-

ridges above the eye-openings. These converge at the wearer's temples

and the line of moulding is then carried around the helmet as a step

dividing the slightly bulbous skull from the more close fitting cheek

and neck-guards.

The broad uncluttered cheek-guards offered the bronze worker an

ideal surface for elaborate decoration, a fact they did not fail to

take advantage of. All the seven helmet types contain highly decorated

examples although undecorated helmets are more common in the middle

part of the sequence. The incised decoration found on Apulo-Corinthian

helmets can be divided into two broad categories; those with archaic or

stylised decoration and those with naturalistic decoration of a

-136-
Hellenic style. By far the most popular motif is a pair of opposed

boars which occurs on twenty three helmets. The origin of the animal

motifs and especially the opposed boars are connected to earlier Greek

iconography. Both Orlandini and Bleosch have demonstrated the direct

link between the archaic opposed boars and the decoration on Corinthian

painted vases.

The incised decoration on the majority of the early helmets is

executed in an stylised archaic manner. The main decorative feature

consists of opposed and charging animals, which with the exception. of

helmets No. 2, from Sicily and No. 6, from the Chiucchari necropolis near

Nelfi, are always wild boars. The animals are extremely stylised,

rendered in an angular manner with the details being picked out with

geometric patterns. The tusks of the boars are depicted in such a

manner that they both appear to issue from the top of the snout rather

than from either side of the lower jaw. This gives the tusks the

appearance of the horns and consequently causes each boar to resemble a

rhinoceros.

Helmet No. 6 differs from the rest of the decorated examples of

this type in that the animal on its right cheek-guard is a trotting

horse, which is also depicted in a stylised manner. On helmet 2 both

cheek-guards bear similar horses. The main and subsidary edges, of

helmets 6,7 and 10, are bordered by a single or double line of incised

herring bone pattern contained with single incised lines. Behind each

boar, above the cut-out, and issuing form the outside corner of the

eye-opening is a spikey floral motif possibly a thistle.

-137-
FIG. 27

43

44

45

-138-
FIG. 28

46

47
 In contrast helmets Nos. 3,5, '9 and 14 have incised decoration of

a more naturalistic style incorporating the opposed charging boar

motif. Helmets 3 and 5 have inverted heart-shaped motifs instead of

the thistle-like decoration of helmets 6,7 and 10. These heart-shaped

motifs are accompanied by vandyking or a zig-zag pattern along the base

of the helmet, a feature also forming part of the decorative scheme of

helmet no. 9. Helmets 4 and 8 are devoid of any"incised ornament.

Although the overall shape of helmets 7 and 10 is slightly different,

their decoration is so similar as to suggest a single workshop.

In contrast to helmets of type I, those of type II are, by and

large, undecorated. The only exception is helnet 19 which has

naturalistically rendered charging boars on its cheek-pieces and

incised herring-bone decoration around the eye-openings and the edge of

the nasal, and vandyking along its base.

Vhere helnets of type III are decorated they show a greater

diversification in the engraver's repertoire. Of the surviving eleven

decorated examples, only six bear the common symbolism of the charging

boars. This is executed in an archaic fashion on helmets 20,21 23,

,
27 and 31. The decoration on helmets Nos. 27 and 31 consists not only

of these opposed boars but also of a lion and a sphinx facing each

other across the neck-guard; while the motifs used in the decoration of

helmet 26 are even more diverse. On each cheek-guard is a stylised

lion facing towards the central opening, above each of these is a goat

facing towards the neck-guard. Immediately to the rear of the lions

but facing the same way is a sphinx behind which, on the right, is a

horseman and on the left two men wrestling; finally at the centre back

are two seated warriors. The decoration on helmet 25 however, whilst

-140-
depicting the usual opposed boars, is rendered in a naturalistic

style. This helmet dates from the end of the 5th or beginning of the

4th century B, C. comes from Tomb A in the Chiucchari necropolis and so

is probably the latest example of a helmet of type III.

Helmets of type IV, although probably contemporary with each

other, exhibit a mix of the archaic and the naturalistic styles of

decoration. They retain the same decorative repertoire as the helmets

of the preceeding types. Helmets Nos. 33,39 and 40 bear no incised

decoration whatsoever, whereas helmets 34,35,36 and 38 have incised

herring-bone decoration bordering their main edges and charging wild

boars on their cheek-pieces. The decoration on helmet 34 is executed

in a naturalistic style whereas on the other decorated helmets it is

stylised.

Helmets Nos. 36 and 37 both have stylised decoration, but it is

expressed by a wider range of motifs. Helmet 36, in addition to the

opposed boars is embellished with aa lion horse, an eagle and a

,a

sphinx around its neck-guard and as such has very close links to helmet

no 27 which would suggest a single workshop. In contrast helmet no. 37

has stylised opposed lions on its cheek-guards rather than boars and a

thistle issuing from the corner of each eyeopening. The main and

subsidary edges of the helmet are bordered with an incised herring bone

pattern. The shared decorative features, as well as a workshop link,

between the helmets of types III and IV, indicates that the two forms

were in use contemporaneously.

-141-
FIG. 29

48

49

50

-142-
 The next group of helmets all date to the 4th century B. C. and

although four helmets of type V are undecorated (helmets Nos. 42,46,

47 and 48) the remaining seven exhibit a complete break with the

previous decorative schemes and styles. Whilst still retaining motifs

and elements of the earlier artistic repertoire they show a-freedom of.

interpretation and execution more reminiscent of the Hellenistic

products of Greece and the eastern-Mediterranean (Paddock 1981). These

helmets are distinguished by the use of infilling subsidary motifs such

as the palmettes (on. helmet 51 from Taranto and helmet 45 from

)Iontescaglioso), rows of small incised circles (on helmets 43,44 and

49. ) and scrolling lotus flowers (an helmet 43. ). On helmets of type V

the bronze smiths introduced other new motifs to their repertoire to

include not only lions (helmets 43 and 45) butting bulls,, dolphins,

seabeasts and scallop shells (helmets 44 and 49), but-also scenes from

Greek mythology (helmet 41 shows Hercules and Iolaus fighting a

Centaur. ) These subjects have strong iconographical links with other

applied arts in Apulia and Magna Graecia in general, as exemplified in

small bronzes and other depiction of mythological scenes and

Centauromachies and in the decoration of Apulian red figure pottery,

dating to the 4th and 3rd centuries B. C. specifically in a scene

depicted on a volute krater by the Iliupersis painter (Trendall. 1978,

I, 193,15. ).

For the first time on Apulo-Corinthian helmets,, the use of incised

decoration is extended to the -area- of the embossed frontal lobes above

the eyebrows. This takes the form of an incised scrolling hair motif

(Helmets 43,44,45 and 49. ). Incised decoration is, also extended

along the junction between bowl and neck-guard in the from. of scrolling

-143-
lotus flowers in the case of helmet 43 and incised circles on helmets

44 and 49. The main edges of these helmets are decorated with the

usual incised herring bone patterns but at the corners of the eye-

opening and above the chin-strap hole are three petalled lotus flowers.

Palmettes %re also incorporated into the decoration of some helmets,

for example on helmets 45 and 51. -Both these motifs are borrowed from

the repertoire of painters of Apulian pottery of the 4th century B. C.

The two helmets from Canosa and the helmet from Rutigliano form a

very closely linked workshop group. Helmet 43 is decorated with a lion

opposing a bull. Whereas helmet 44 has a boar opposing a butting bull

supported by two bearded sea beasts on the neck-guard, which are

reminiscent of the knotted snakes on 5th century Chalkidian helmets.

Finally helmet 49 is decdrated by opposed butting bulls supported by

dolphins and a scallop shell on the neck-guard. Bottini (1988,124. )

has suggested that the motif of the butting bull may have derived from

the 4th century coins of Thurii. If this is so then the dolphin and

scallop shell probably similarily derive from the scene of, Taras riding

a dolphin and the scallop shells depicted on the coins of Tarentum of

the same period.

All three helmets of type VI bear the same incised decoration

which is executed in a Hellenic style. This-decoration is once more

restricted in its repertoire and shares few of the features of the

previous type. It-consists of opposed charging boars on the cheek-

guards. The front opening and nasal are indicated by a double line of

herring-bone pattern which also encirles the eye-openings. The bottom

edge of the helmet is bordered by a line of vandyking which stops at

the neck-guard. At the corner of each eye is a heart shaped motif and

-144-
on helmet 53 there is a three petalled lotus incised just in front of

the holes for the chin-strap. A unique feature of this group of

helmets is that below the junction of the eyebrows the embossing is

continued downwards in a straight line, for a short distance along the

nasal between the eye-openings.

Finally helmets of type VII are decorated in one of two ways. On

helmets 57 and 59 the eyes are inlaid, in ivory in the case of helmet

58 from Ruvo. The inlay is missing from helmet no 57. This is

accompanied by embossing round the eyes and an embossed nasal. In

addition helmet 58 from Ruvo has embossed scrolling -curls of hair on

the forehead decorative motif obviously borrowed from helmets, of

,a

type V. The remaining helmets of this type (Nos. 55,56 and 59) are

simply decorated with incised work. These helmets exhibit all the

features of the decoration of the helmet of type VI. They are

decorated with the usual charging boars executed in a naturalistic

style, the position of the eye-openings are indicated by a slight

depression outlined with a herring bone pattern as is the nasal and

the position of the front opening. This pattern is carried round the

lower edge of the helmet to the neck-flange. The continuation of the

embossed eyebrows is also a feature of this group of helmets.

Throughout the two centuries of use the Apulo-Corinthian

_its,
helmet is remarkable for the consistency of its decorative repertoire.

Tot only are embossed eyebrows and brow-ridges -common to all seven

types but so is the use of opposed charging animal motif. The first

major alteration in these decorative schemes is the introduction of the

naturalistic Hellenic style of depiction. This gradually superseded.

the "archaic" Italic styles common on helmets of the 6th and early 5th

-145-
century B. C. This change starts early in the 5th century B. C. and is

complete by the 4th century B. C. Helmets of types III and IV exhibit

a mixture of styles of decoration. Some of these helmets are

contemporary and therefore both styles of decoration must have

coexisted for some considerable time in the 5th century B. C. The

increased artistic repertoire of the bronze worker in the 4th century,

exemplified by helmets of type V, exhibits close links with other minor

applied arts in southern Italy and presupposes common sources of

inspiration possibly in the form of pattern books iron the Hellenistic

world. It is perhaps ironic that a helmet that was inspired by a Greek

form which was adapted to purely Italian usage, should, at the end of

its development, return to the source of its original inspiration for

its decorative repertoire.

-146-
FIG. 30

51

52

53

-1.47-
FIG. 31

54

55

56

-148-
Detailed Studies of an example of each typ

Helmet an-9

Type: I.

Location: Now in a Private Collection in Lucerne.

Inventory No. None.

Provenance: The Basilicata, Italy.

Context: Unknown.

Suggested date: Early 5th Century B. C.

Haterial: Bronze.

Dimensions: Height 162 mm

Vidth (overall) 256 mm

Width (internal) 223 mm

Breadth (overall) 209 mm

Breadth (internal) 199 mm

Thickness (sides) 2 mm

Thickness (bowl) 1.5 mm

Chin-strap Fixtures: A single hole in each side 8mm above the base

level with the wearer's ears. In the centre of

the neck-flange is a single hole to take a

looped fitting for the chin-strap in the same

fashion as is found on other helmet forms e. g.

the Montefortino helmet.

Crest-fixtures: Noýcrest-fixtures remain, however there are six

rivet holes in the apex of the bowl. These

form three pairs of holes. Two sets are pierced to

attach the crest-holder longitudinally and one to

hold it transversely. These are working life

-149-
 repairs and prove that this helmet cannot have been

made as a funerary offering as Bloesch (1976,84. )

maintains. The original pair of longitudinally

spaced holes are in line with the nasal, the second

set are offset at an angle, presumably not to weaken

the central apex of the bowl. The third set of

holes was presumably aligned transversely for a

.,

similar reason.

Decoration: The helmet has the usual embossed eyebrows and brow-

ridges above the eye-openings. These converge at the

temple and the line of moulding is then carried around

the helmet as a step, dividing the slightly bulbous

bowl from the more close fitting cheek and neck-

guards. Around the eye-openings there is an incised

herring-bone pattern and down either side of the front

opening is an unconnected zigzag pattern. On each

cheek-piece, facing inwards, is engraved a charging

boar. The decoration is executed in a fairly

naturalistic manner.

Manufacture: Made by "raising" from a single sheet of bronze. The

crest-fixture was manufactured separately and riveted

in place.

Description: The helmet is low with a hemispherical bowl of

moderate height. At the front, above the eye-

apertures it has embossed eyebrows. Above these, and

echoing the line of the eyebrows, are embossed brow-

ridges. These lines converge at the side of the

-150-
 helmet just over the wearer's temples. The resultant

moulding then continues around the bowl. This line

marks the division between the slightly bulbous bowl

from the face and neck-guards. The face-guard has a

central opening and slopes acutely. The helmet is

equipped with small but usable eye-openings and a

nasal of moderate length. The neck-guard is straight

with a small everted neck-flange. The helmet is

competently made and the decoration carefully

executed. The helmet has a granular green patina.

Other Features: None.

Published: Bloesch. 1974,50, no. 303. Bloesch. 1976,83-7.

Helmet No. 1 6.

Type: II.

Location: Reale Armeria Tu rin.

Provenance: A tomb at Friuli

Context: Unknown

Suggested date: 4th century B. C.

?faterial: Bronze.

Dimensions: Height Overall. 2'72mm.

Height 220mm.

Vidth overall 285mm.

Vidth 240mm.

Breadth overall 200mm

Thickness (sides) tram.

-151-
 Thickness (bowl) 0.5mm

Chin-strap Fixtures: A single hole in each side 10 mm. above the

base level with the wearer's ears. In the

centre of the neck-flange is a single bole to

take a looped fitting for the chin-strap.

Crest-fixtures: These consist of a "U" shaped crest-holder and two

feather supports. The crest-holder is constructed

from two narrow strips of bronze riveted together to

form the stem, this is then simply turned out at

the base, to form a fixing flange, and shaped at

the top to form the "U" bracket. The stem is given

a ninety degree twist so that the flange is riveted

along the longitudinal axis of the bowl. The "U"

shaped bracket is broken away and is now missing.

This is accompanied by two side mounted plume

supports. These consist of narrow inverted

trapezoid-shaped strips of bronze of flattened oval

section. These feather supports are made by

splitting the lower end of the trapezoid and bending

each side outwards at ninety degrees, then

flattening the ends to form flanges which are then

pierced to take rivets. Each is attached to the

bowl by two rivets and projects at an angle of

approximately forty-five degrees. These are broken

along their top edges and are of unequal lengths.

Decoration: The decoration on this helmet only consists of

embossed eyebrows and brow-ridges.

-152-
Manufacture: The helmet is raised from a single sheet bronze
of

with applied crest-fixtures.

Description: This helmet has a low slightly bulbous bowl. At the

front above the eye apertures it has embossed

eyebrows. Above these and echoing the line of the

eyebrows are embossed brow-ridges. These lines

converge at each side of the helmet just over the

wearer's temples. The resultant moulding then

continues around the rear of the bowl. The face-

guard is elongated and projects at a moderate angle,

however its lower section does not follow the shape

of the wearer's face but slopes away from it. The

face-guard is joined centrally just below the nasal.

This is of moderate length and projects slightly

beyond the line of the face-guard. The eye-openings

are closely spaced but still of a practical nature.

The neck-guard is strongly everted to_produce a

flange which is almost at right angles to the bowl.

There are no cut-outs in the sides of the helmet

which sweep up and back to meet the base of the

neck-guard. The helmet is well made and finished

and has a granular patina.

Other features: None. '

Published: Angelucci. 1890,13. Lipperheide. 1896,70.

von.

-153-
 FIG. 32
.

57

58

59

-154-
He1mE±t No. 28.

Type III.

Location: The Museum of Fine Arts Boston (U. S. A)

Inventory No. 69.1075.

Provenance: Chiucchari Necropolis near Melfi.

Context: Unknown.

Suggested date: 5th to 4th centuries B. C.

Naterial: Bronze.

Dimensions: Height overall 285 mm.

Height helmet. 191 mm.

Width overall 275 mm.

Width 221 mm.

Breadth overall 187 mm.

Breadth 170 mm.

Thickness (sides) 0.85 mm.

Thickness (skull) 1 mm.

Chin-strap fixture: A single hole in each side 6 mm. above the base

level with the wearer's ears. In the centre of

the neck flange is a single hole to take a

looped fitting for the chin-strap

Crest-fixtures: These consist of a "U" shaped crest-holder. and two

feather supports. The crest-holder is constructed

from two narrow strips of bronze riveted together to

form the stem, both strips are bent outwards at the

base, to form a fixing flange, and shaped at at the

top, to form the "U" bracket. The stem is given a

ninety degree twist so that the flange can be

-155-
 riveted along the longitudinal axis of the bowl.

This is accompanied by two side mounted feather

supports. These consist of narrow inverted

trapezoid-shaped T- bronze
strips of of rectangular

section. These are made by splitting the lower end

of the trapezoid and bending each side outwards at

ninety degrees to form flanges which are then

pierced to take rivets. Each is attached to the

bowl by two rivets and projects at an angle of

approximately forty-five degrees.

Decoration: This helmet is decorated solely by embossing in the

form of eyebrows and brow-ridges.

?ianufacture: Manufactured from a single piece of bronze by blocking

and raising. The crest-fixtures were made separately

and riveted in place.

Description: This helmet is characterised by a low bowl from which

projects an elongated and obliquely sloping face guard.

At the front above the eye apertures it has embossed

eyebrows which converge over the nasal. Above these

and echoing their shape are embossed brow-ridges.

These lines converge at the side of the helmet just

over the wearer's temples. The resultant moulding then

continues around the bowl. The cheek-guards are

joined in two separate places beneath a short angular

nasal. This only projects slightly beyond the line of

the face-guard. The eye-openings, on this helmet are

set too closely together to have served a practical

-156-
 purpose. At the sides of the helmet the cheek-guards

sweep up and back to meet the base of the neck-guard.

This is given abroad flat neck-flange 54 mm. wide.

The helmet is well made and has suffered no major

damage. It has a smooth brown patina.

Other Features: None

Published: Comstock and Vermeule. 1971,496-7.

Helmet No. 27.

Type III.

Location: The British Museum.

Inventory No.: 2832.1856.12-26.669.

Provenance: Pomarico in the Basilicata.

Context: Unknown.

Suggested date: 5th to 4th centuries B. C.

Material: Bronze.

Dimensions: Height overall 220 mm.

Height helmet. 220 mm.

Width overall 300 mm.

Width 250 mm.

Breadth overall 190 mm.

Breadth 180 mm.

Thickness (sides) 0.85 mm.

Thickness (bowl) 1 mm.

Chin-strap fixture: A single hole in each side above the base level

with the wearer's ears and just in front of the

springing of the neck-guard flange. In the

-157-
 centre of this flange is a single hole to take a

looped fitting for the chin-strap.

Crest-fixtures: These originally consisted of a "U" shaped crest-

holder and-two feather supports. The crest-holder

was shown in place in Lipperheide (1896,72. ) but

is now missing. It was constructed from two narrow

strips of bronze riveted together to form the

stem, these were then simply turned out at the

base, to form the fixing flange, and shaped at at

the top, to form the "U" bracket. The stem is

given a ninety degree twist so that the flange

could be riveted along the longitudinal axis of

the bowl. There are three rivet holes along the

apex of the helmet all about 2 mm. in diameter,

one of which still retains a rivet, implying that

the crest-fixture had been replaced at least once.

This was accompanied by two side mounted feather

supports these are now missing but were also

shown in Lipperheide. These consisted of the

usual narrow inverted trapezoid-shaped strips of

bronze of rectangular section. The left was

attached to the bowl by three rivets and the right

by two. They originally"projected from the bowl at

an angle of approximately forty-five degrees.

Decoration: This helmet is decorated by embossing in the form of

eyebrows and brow-ridges and elaborate incised

decoration executed in an archaic manner. This consists

-158-
 of a charging boar on each cheek-guard behind which is a

thistle pattern. This is accompanied by a seated

sphinx, with recurved wings, on the right and a lion on

the left side. Between these at the centre of the neck-

guard is a stylised plant or tree motif. Around the

edges of the face-opening, the eye-openings and the

nasal is an incised border of herring-bone pattern. This

border also runs along the base of the helmet as far as

the beginning of the neck-flange.

Manufacture: Manufactured from a single piece of bronze by blocking

and raising probably with a crosspein hammer as there

are marks made by a hammer of this type inside the

cheek-pieces. The crest-fixtures are made separately

and riveted in place.

Description: It is characterised by a low bowl from which projects

an elongated and obliquely sloping face guard. At the

front above the eye-apertures it had embossed eyebrows.

Above these and echoing their shape were embossed brow-

ridges. These lines converge at the side of the

helmet. The resultant moulding then continues around

the rear of the bowl. The cheek-guards were joined in

two separate places beneath a short nasal, these

junctions are now broken. The nasal is short and

angular and does not project far beyond the line of the

face-guard. The eye-openings are set so closely

together and are so small that they cannot possibly

have served a practical purpose. The neck-flange

-159-
 is broad, being 50 mm. in depth. The helmet has been

considerably damaged and has been extensively restored.

The frontal lobes have been flattened by restoration

and there is a large hole at the front and apex of the

helmet. There is some damage to the base of the right

cheek-piece and the rear of the neck-flange which is

split. Much of the rear left side of the bowl is

restored. The helmet is in a very poor condition and

is covered with traces of solder and glue from

restoration. It has a patchy light green' granular

patina in places the rest of the helmet has been

cleaned to produce a smooth brown / green patina.

Other Features: None

Published: Lipperheide. von 1896,72. Walters. 1899,349. Forsdyke.

1929.76.

Helmet ao. 34.

Type: IV.

Location: The Antiken Museum Berlin.

Inventory No. L. 30.

Provenance: Krsko, Yugoslavia.

Context: Unknown.

Suggested date: 5th to 4th century B. C.

Xaterial: Bronze.

Dimension: Height overall. 271 mm.

Height 185 mm.

-160-
 Width overall 291 mm.

Vidth 253 mm.

Breadth overall 192 ma.

Breadth 187 mm.

Thickness (sides) 1-0.7 mm.

Thickness (bowl) 2 mm.

Weight 538 Grms.

Chin-strap fixture: A single hole in each side 7 mm. above the base

level with the wearer's ears. In the centre of

the neck-flange is a single hole to take a looped

fitting for the chin-strap.

Crest-fixtures: These consist of a "U" shaped crest-holder and two

feather supports. The crest-holder is constructed

from two narrow strips of bronze riveted together to

form the stem, this is then turned out at the base,

to form a flange, and shaped at at the top, to form

the "U" bracket. All three sections are in the same

plane. The flange is riveted transversely across

the apex of the helmet bowl. This is accompanied by

two side mounted feather supports. These consist

of narrow inverted trapezoid-shaped strips of bronze

of rectangular section. Each is attached to the

bowl by two rivets and projects at an angle of

approximately forty-five degrees. These feather

supports are made by splitting the lower end of the

trapezoid and bending each side outwards at ninety

degrees to fors flanges which are then pierced to

-161-
 take rivets.

Decoration: This helmet is decorated on the cheek-guards by

incised opposed charging boars executed in a

naturalistic style. The eye-openings, the nasal and

the front opening are bordered by a band of herring-

bone pattern. This pattern is continued along the

bottom edge of the helmet and ends at the beginning of

the neck-flange. At the outside corners of the eye-

openings is a stylised heart-shaped motif.

Manufacture: Manufactured from a single piece of bronze by

"blocking" and "raising". The crest-fixtures are made

separately and riveted in place.

Description: This helmet has a low bowl with a moderately sloping

face-guard which gives the helmet a hemispherical

form. At the front over the eye-openings are embossed

eyebrows which converge over the nasal. Above these

and echoing their shape are embossed brow-ridges.

These lines converge at the side of the helmet. The

resultant moulding then continues around the bowl. The

face-guard is joined in three places beneath the short

pointed nasal. This itself lies almost flush with the

line of the face-guard. The eye-holes are very small

and closely spaced rendering them impractical. The

lower edge of the helmet is almost level. At the rear

the neck-guard is everted to form a moderately sized

neck-flange 38 mm. deep. The helmet is well made and

decorated. It is in good condition and is undamaged.

-162-
 It has a smooth green/brown patina.

Other features: None.

Published: Lipperheide, von. 1896,69., Schröder. 1905,17.

Helmet No. 43.

Type: V.

Location: Karlsruhe Museum

Inventory No.: 432 R1079.

Provenance: A tomb near Canosa di. Puglia

Context: 4th century B. C. Dated by association with Apulian wares

found in the Tomb.

Suggested date: Contemporary with the burial.

Material: Bronze.

Dimensions: Height Overall 203 mm.

Height. 198 mm.

Vidth Overall 249 mm.

Vidth 210 mm.

Breadth overall 192 ram.

Breadth 171 ram.

Thickness (sides) 1.5 mm.

Thickness (bowl) 0.5 mm.

Chinstrap Fixtures: The sides of the helmet are each pierced by a

single hole, approximately ten millimetres above

the bottom edge. At the rear in. the centre of

the neck-flange is also a single hole presumably

to take the double loop fixture commonly found

on other contemporary helmet forms.

-163-
Crest-fixtures: On the apex of the the
skull are remains of a type

V crest-holder (see fig 34: 4. ). This consists, of

a rectangular strip of bronze, 2 centimetres wide,

riveted to the skull by three iron rivets, one at

the centre and one at each side. At either end of

this strip is a square cutout through which

projects a small bronze loop. Both loops contain

the remains of iron split pins for fastening the

crest holder. Mounted longitudinally on either

side of the bowl at approximately forty-five

degrees to the perpendicular are two bronze

feather supports. These are both damaged and

attached by only one rivet, whereas they originally

had two. They are made from a single strip of bronze

split at its base to form two projecting flanges

to facilitate its attachment.

Decoration: This helmet is elaborately decorated with incised work

executed in a naturalistic Hellenic style. On the left

cheek-piece is a crouching lion and facing it on the

right cheek-guard is a standing bull. The embossed

brow-ridges above the eyebrows are decorated with

incised scrolling hair. Along the upper line of this-

moulding is a band of decoration consisting'of circles

and dashes. Incised decoration also extends along

the junction between bowl and neck-guard in the form of

lotus flowers joined by scrolling foliage. The main

edges, the nasal and the eye-openings of this helmet

-164-
 are bordered with an incised herring-bone pattern. At

the outer corner of each eye-opening and also above the

chin-strap hole are three petalled lotus flowers.

Manufacture: Forged by blocking and raising from a single sheet of

bronze. It has been both hot and cold worked.

Description: This helmet has a low bowl with an acutely sloping face-

guard. This gives the helmet an elongated cylindrical

appearance. At the front above the eye appertures it

has embossed eyebrows. Above these and echoing

their shape are embossed brow-ridges. These two lines

of embossing converge at the side of the helmet.

The resultant moulding then forms a ridge which continues

around the bowl. The face-guard is completely enclosed

beneath the nasal. The nasal is of moderate length and

of a sinuous form. It does not project forward very

far beyond the line of the face-guard. The eye openings

are closely spaced, almond shaped and small. At

the sides the cheek-guards sweep up and back to meet

the large neck-flange. The transversely mounted crest

holder was of type V and removable. It was accompanied

by side mounted feather supports which are permanently

fixed. The helmet is extremely well made and decorated.

It is-in an excellent condition and has no repairs-or

restorations. It has a smooth brown patina.

Other features: None.

Published: Schumacher. 1890,130, No. 694., Lipperheide, von. 1896,

77.

-165-
FIG. 33: Decoration

1. Helmet no. 6, from Tomb A Chiucchiari

2. Helmet no. 21, from Tomb F Chiucchiari

3. Helmet no. 49, from Tomb 11 Rutigliano

-166-
FIG. 34: Construction of Crest-fixtures.

3. Type 3

4. Types 4&5

-167-
Helmet ao. 54.

Type: VI.

Location: St Lucia Museum University of Queensland.

Inventory no. 77.1.

Provenance: South Italy.

Context: Unknown.

Suggested date: 4th century B. C.

Xaterial: Bronze.

Dimensions: Overall Height 305 mm.

Height. 208 mm.

Overall Width. 305 mm.

Width 247 mm.

Overall breadth 185 mm.

Breadth 175 mm.

Thickness Brim 1 mm.

bowl 1 mm.

Chinstrap Fixtures: A single hole in each side 8 mm. above the base

just in front of the start of neck-flange. In

the centre of the neck-flange is a single hole

to take a looped fitting for the chin-strap.

Crest-fixtures: These consisted originally of a "U" shaped crest-

holder and two feather supports, these latter items

are now missing. The crest-holder is constructed

from two narrow of bronze together to

strips riveted

form the stem, this is then simply turned out at

the base, to form a fixing flange, and shaped at at

the top, to form the "U" bracket. All three

-168-
 sections are in the same plane. The flange is

riveted transversely across the apex of the helmet

bowl. The feather supports were attached to the bowl

by two rivets.

Decoration: This helmet is decorated with the two charging boars,

one on each cheek-guard, executed in a naturalistic

style. The eye-openings are bordered by a band of

herring-bone pattern, as is the outline of the nasal

and the position of the front opening. This pattern is

carried round the lower edge of the helmet to the neck-

flange.

]Manufacture: This helmet is manufactured from a single piece of

bronze by blocking and raising. The crest-fixtures

were made separately and riveted into place.

Description: This helmet has a low hemispherical bowl with a fairly

acutely sloping face-guard. It has a cylindrical

appearance. At the front, above the eye apertures, it

has embossed eyebrows which meet above the nasal.

Extending downwards from this is a line of embossing

which runs the length of the nasal. Above eyebrows

and echoing their shape are embossed brow-ridges. The

eyebrows and brow-ridges converge at the side of the

helmet. The resultant moulding then continues around

the bowl. The face-guard is completely enclosed, the

nasal is no longer made separately but is made in one

with the rest of the cheek-guards. The eye-openings

are closely spaced, almond-shaped and small. At the

-169-
 sides the cheek-guards rise up and sweep back to meet

the moderately deep neck-flange. The helmet is

moderately well made and decorated. It is in good

condition and has a smooth light green patina.

Other features: lone.

Published: Anon «'. 1977, Lot No. 189

Helmet ][0.56.

Type; VII.

Location: the British Museum.

Inventory no. 2723 1856.12-26.664.

Provenance: Etruria.

Contest: Unknown.

Suggested date: 4th B. C.

Material: Bronze.

Dimensions: Height. 190 mm.

Overall Width. 320 mm.

Vidth 283 mm.

Overall breadth 200 mm.

Breadth 195 mm.

Thickness Brim 2.5 mm.

bowl 1 mm.

Chinstrap Fixtures: A single hole in"each side 10 mm. above the

base just In front of the start of the neck-

flange. In the centre of the neck-flange is a

single hole to take a looped fitting for the

-170-
 chin-strap.

Crest-fixtures: These are missing. However, there are two holes, 2

mm. in diameter and 24 mm. apart, pierced one on

either side of the apex of the helmet bowl. This

indicates that the helmet was once equipped with a

transversely mounted crest-holder.

Decoration: This helmet is decorated an the cheek-guards by incised

opposed. charging boars executed in a naturalistic

style. The position of the eye-openings are indicated

by a slight depression outlined with aherring-bone

pattern as is the nasal and the position of the front

opening. This pattern is carried round the lower edge

of the helmet to the neck-flange.

Hanufacture: This helmet is manufactured from a single piece of

bronze by blocking and raising. The crest-fixtures

were made separately and riveted into place.

Description: It has a low slightly bulbous and angular bowl with a

central ridge. The face-guard is short and slopes

forward acutely. It is completely enclosed and is not

equipped with eye-openings which are simply indicated

by engraving. At the front above the eye-apertures it

has embossed eyebrows, these meet over the nasal and

the embossing-is continued in a straight line down it

for a short distance. Above the eyebrows and following

their shape are embossed brow-ridges. These mouldings

converge at the side of the helmet. The resultant

moulding then continues as a ridge around to the rear

-171-
 of the helmet bowl. The lower edge of the helmet is

strongly recurved and sweeps up at the rear to meet the

neck-guard. At the rear of the helmet the neck-guard

is drawn and out to form a small neck-flange 34 mm. in

depth. The helmet is very shallow and is little more

than a skull cap. The helmet is in good condition and

has a smooth light green patina.

Other features: None.

Published: Valters. 1899,342.

-172-
FIG. 35 Chin-strap Fixtures. Scale 1: 6

1 Position of chin-strap loops 2 After Bottini

3 Using single strap

-a

4 Using two straps 5 Two straps joined

-173-
 The Hegau helmet was first defined by St Gabrovec (1966) and was

named after a find of a number of helmets made near Obrat-Zenjak in

Yugoslavia, formerly in the domain of Negau. It is arguably the only

helmet form, dating from the period from the end of the 6th century

B. C to the 1st century A. D., indigenous to Italy, the others, such as

the Italian Chalkidian and Pilos, being derived from the Greeks, and

the Montefortino and the Coolus being derived from the Celts.

The Negau heliaet is clearly derived from the central, eastern

Italian "pot" helmets of the late 7th and the 6th centuries B. C. It

first appeared in central Italy in the 6th century B. C., which is

without doubt its place of origin. Its invention can only be assigned.

to the Etruscans. The vast majority of the extant Italian examples

come from Etruria where the Negau helmet remained in constant use,

certainly from the 6th century to the 5th century and perhaps even

into the 4th century B. C. It disappears from the archaeological

record at the time of Rome's final subjugation of Etruria and its

ruthless 'stamping out of Etruscan resistance. The subsequent

suppression of Etruscan industrial capacity led to the end of over two

and a half centuries of armament manufacture in Umbria and Etruria. .

The Italian Negau helmet is one of the most numerous and most

successful of all ancient helmet forms, with over 112 extant examples

of Italian manufacture surviving. Its distribution spread outwards

from Etruria to Campania in the south, Corsica in the west, and north

-174-
to the Po valley reaching the Alps where it was adopted by the Celts

in the 4th century B. C. From there it spread to the head of the

Adriatic.

The three main areas of Negau helmet production are spatially,

temporally and culturally separate and correspond to central Italy,

the central Alpine range and an area roughly equivalent to modern

Slovenia. The production of the bronze Negau helmets in these

distinct areas is independent although the original inspiration for

the other two industries is that of central Italy. The Negau helmet

form was spread to the Alpine and Slovene regions partly through trade

and partly through the agency of the Celts and their warlike

activities. As these helmets from the Alps and Slovenia are

culturally distinct from those of central Italy, and are not of

Italian manufacture, and as such are not influential on the Italian

form and its development they have been excluded from this survey.

(see St Gabrovec 1962 and Egg 1986),

There are marked differences in the quality and standard of

manufacture, the form and the decoration applied to the Italian Negau

helmet. However they fall into two main groups: those that have a

poorly defined form, raised from thin sheet bronze to produce a helmet

with a homogeneous thickness, these are generally undecorated; and

those helmets that are well formed with a clearly defined shape,

manufactured to produce a variable thickness, with the thicker

portions coinciding with the most vulnerable parts of the helmet i. e.

the apex and sides of the bowl, with carefully executed stamped and

punched decoration.

-175-
 The Negau helmet is invariably made of bronze and is characterised

by a tall, slightly bulbous and angular bowl, usually with a well

defined medial ridge. This ridge or keel inclines the apex of the

bowl sharply, to provide it with two opposed, glancing surfaces,

designed to deflect blows. At the base of the bowl, the helmet is

drawn in to form a strongly indented, concave and fitted brow-band.

This in turn flares at its base to form a narrow but well defined

flanged brim. The helmet has neither a neck-guard nor facial defences

and was therefore solely designed to provide protection to the top of

the head. In addition, with one questionable exception, the Negau

helmet was never fitted with cheek-pieces. The majority of Italian

Negau helmets were fitted with a separately manufactured perforated

lining ring which was soldered inside the brim and it is to this that

the chin-strap was attached.

-176-
FIG. 36

Bowl

Brim

A NEGAU HELMET.

Brow- band

Lining ring

-177-
No, Museum
and Inventory No,; Cat, Dimensions: Provenance
No. - H. W. B.
1, MuseoNazionale Ancona, (24) 180 260 230 Grottamare, Italy,
15122,

2, Walters Art Gallery (34) 188 268 220 Italy,

Baltimore, 54168,

3, Antiken Museum
Berlin (51). 200 270 243 Volterra, Italy
L, 53,

4, Antiken MuseumBerlin (52) 193 268 234 Marche, Italy,

L, 54,

5, Antiken MuseumBerlin (53) 192 263 242 Marche, Italy,

L, 55,

6, Antiken MuseumBerlin (54) 166 260 224 Italy,

L, 56,

7, Antiken MuseumBerlin (55) 204 269 232 Sicily,

L, 64,

8, Antiken MuseumBerlin (56) 195 270 240 Sicily,

L, 65,

9, MuseoCivico Bologna (85) 217 287 256 Casalfiumanse, near

R451, Bologna, Italy,

10, MuseoCivico Bologna (86) 187 265 220 Imola near Bologna
20696, Italy,

11, MuseoArcheologico di (140) 205 265 245 Dovadola S, Ruffillo

Forli, 27167, near Forli, Italy,

12, Hermitage Leningrad (388) 185 250 225 Italy,

B545,

13, British Museum,250, (178) 190 215 200 Olympia, Greece,

14, Mus6e St, Pierre Lyons (204) 210 210 210 Italy,
X924,

15, Reiss-Museum
Mannheim (227) "194 246 223 Italy,
No Inv, No,

16, MuseoPoldi Pezzoli (239) 200 243 214 Italy

Milan, 2415,

17, Bibliotheque Nationale (311) 210 255 225 Italy,

Paris, 2021,

-178-
No, Museumand Inventory No,: Cat, Dimensions: Provenance
No HUP
18, Museedu Louvre Paris (319) 190 260 235 Italy,
1114,

19, University Museum (353) 204 270 240 Italy,

Philadelphia, 1409,

20, Castel S, Angelo Rome (364) 200 251 220 Italy,

No Inv, No,

21, M. A. N. St. Germain en (383) 196 247 227 Italy,

Laye, 4761,

22, MuseeArcheologique (13) 200 245 210 Aleria, Corsica,

Aleria, 67/320,

23, MuseeArcheologique (14) 203 240 210 Aleria, Corsica,

Aleria, 67/330,

24, MuseeArchAologique (15) 205 250 210 Albria, Corsica,

Al6ria, 67/348,

25, MuseeArchkologique (16) 218 255 210 Alßria, Corsica,

Aleria, 67/462,

26, MuseoNationale Ancona, (25) 197 255 223 Numana,Marche,

4364, Italy,

27, MuseoNazionale Ancona, (26) 179 250 220 Numana,Marche,

4369, Italy,

28, MuseoNazianale Ancona, (27) 204 242 215 Pianello Castelbellino,

6725, near Ancona, Italy,

29, MuseoNazionale Ancona, (28) 215 240 215 Numana,Marche,

9406, Italy,

30, MuseoNazionale Ancona, (29) 220 244 222 Numana,Marche,

31533, Italy,

31, Walters Art Gallery (35) 215 244 244 Italy,

Baltimore, 54167,

32, ' Antiken MuseumBerlin, (57) 204 232 216 Vulci, Toscana,
Fr, 1018, Italy,

33, Antiken MuseumBerlin, (58) 192 242 229 Italy,

10392,

34, Antiken MuseumBerlin, (59) 198 237 218 Italy.

10393,

-179-
No, Museum and Inventory No,; Cat, Dimensions: Provenance
No.! H. W. R.
Berlin,
35, Antiken Museum (60) 226 247 223 Italy.
10394,

36, Antiken MuseumBerlin, (61) 191 245 220 Unknown

Misc. 10399,

37, Antiken MuseumBerlin, (62) 211 253 217 Caserata near Capua,
L, 59, Campania, Italy,

38, Antiken MuseumBerlin, (63) 214 229 207 Sulmona, Abruzzi, Italy,
L, 60,

39, Antiken MuseumBerlin, (64) 189 223 192 Sulmona, Abruzzi, Italy.
L, 61,

40, Antiken MuseumBerlin, (65) 209 237 243 Pisa, Livorno, Italy,
L, 62,

41, Antiken MuseumBerlin, (66) 223 260 209 Istria, Yugoslavia.

L, 63,

42, Antiken MuseumBerlin, (67) 203 240 226 Sicily,

L; 66,

43, MuseoCivico Bologna, (87) 190 250 225 Montericco, Emilia Romagna,
19964, Italy,

14, MuseoCivico Bologna, (88) Fragmentary Certosa, Italy,

No Inv, No,

45, MuseoCivico Bologna (89) 219 240 235 Sta, Maria Maddalena
No Inv, No, di Cazzano, Italy,

46, Museumof Fine Arts (99) 227 256 240 Italy,

Boston, 1970,35,

47, Burg Rheinstein bei- (104) Destroyed in Unknown,

Bingen, 1945,

48, MuseoNazionale Chieti (107) 200 250 233 Villamagna, Abruzzi, Italy,
5270,

49, MuseoNazionale Chieti (108) 200 245 223 Abruzzi, Italy,

10781,

50 MuseoNazionale Chieti (109) 200 227 210 Chieti, Abruzzi, Italy,

10783,

51, National Museum (116) 220 250 225 Unknown,

Copenhagen,ABa 414,

-180-
No, Museum and Inventory No,: Cat, Dimensions: Provenance
No. - H. W B.
52, MuseoArcheologico (128) 220 245 225 Unknown,
Florence, 1630,

53, MuseoArcheologico (129) 210 240 210 San Cerbone, Toscana,

Florence, 1239 Italy,

54, MuseoArcheologico di (141) 220 256 227 Dovadola S, Ruffillo

Forli, 27163, near Forli, Italy,

55, MusenNationale Maremma (144) 207 230 202 Talmone, Toscana,

Grosseto, 70842, Italy,

56, MuseoCivico Imola, (146) 209 248 221 Morine di Sotto Imola,
336A, Emilia Romagna,Italy,

57, MuseoCivico Imola, (147) 220 260 216 Casola Valsenio Monteroni,
338A, Emilia Romagna,Italy,

58, Badisches Landesmuseum (150) 225 245 199 Etruria, Italy,

Karlsruhe, F435,

59, Badisches Landesmuseum (151) 219 252 233 Etruria, Italy,

Karlsruhe, F436,

60, Badisches Landesmuseum (152) 203 238 216 Paestum, Campania, Italy,
Karlsruhe, F438,

61, Badisches Landesmuseum (153) Fragmentary Etruria, Italy,

Karlsruhe, F439,

62, British Museum,2717, (179) 234 240 230 Canino Toscana, Italy,
1878,10-19,302,

63, British Museum,2718, (180) 190 240 222 Italy,

1975,6-3,5

64, British Museum,2719, (181) 216 225 201 Italy,

1856,12-26,

65, British Museum,2720, (182) 210 250 210 Italy,

1975,6-3,4,

66, Royal Armouries, Tower (198) 220' 262 200 Italy,

of London, IV, 542,

67, Royal Armouries, Tower (199) 210 243 221 Italy,

of London, IV, 543,

68, Staatliche Antiken- (250) 220 240 220 Italy,

sammlungMunich, 70.

-181-
No, Museumand Inventory No,: Cat, Dimensions: Provenance
No--
69. Getty MuseumMalibu (224) 181 240 219 Italy,
73 AC 33,

70, Getty MuseumMalibu (225) 216 240 210 Italy.

73 AC 31,

71, R,G,2, M, Mainz, 039819, (218) 209 242 226 Italy,

72, Museo Nazionale Naples (259) 210 230 210 Egnazia, Apulia, Italy,
No Inv, No,

73, Germanisches National- (292) 198 240 194 Italy,

MuseumNuremburg, R388,

74, Archaeological Museum (294) 200 240 210 Olympia, Greece,

Olympia,

75 MuseoCivico Orvieto, (295) 200 225 190 Orvieto, Toscana, Italy,

105,

76, MuseoCivico Orvieto, (296) 230 240 210 Orvieto, Toscana, Italy,
1057,

77, AshmoleanMuseum (297) 200 245 223 Italy,

Oxford, 1874,489.

78, Muste de l'Arm6e (301) 200 241 215 Southern Italy,

Paris, E10,

79, Museedu Louvre Paris, (320) 210 232 204 Italy,

1110 (1373 NS796,)

80. Museedu Louvre Paris, (321) 208 243 210 Italy,

1111 (C6969,)

81, Museedu Louvre Paris, (322) 200 245 205 Italy,

1112 (C6683),

82, Muste du Louvre Paris, (323) 197 230 210 Italy,

1113 (C6721),

83, Museedu Louvre Paris, (324) 200 250 192' Italy,

1115,

84, Museedu Louvre Paris, (325) 200 230 210 Italy,

1116,

85, Muses du Louvre Paris, (326) 199 245 230 Italy,

1117, (C6978,)

-182-
No, Museum and Inventory No,: Cat, Dimensions: Provenance
No. - H. U. B-
86, MuseoArcheologico (361) 200 243 217 S, Martino in Gattara
Ravenna, near Ravenna, Italy,

87, Castel S, Angelo Rome (365) 200 242 201 Italy,

No Inv, No,

88, MuseoPreistorico (370) 200 236 209 Italy,

Etnografico Rome,
5530,

89, Museodi Villa Giulia (371) 214 240 221 Cavlupo, Vulci,
Rome, Toscana, Italy,

90, Museodi Villa Giulia (372) 194 235 212 Gualdo Tadino, Marche,
Rome, 43577, Italy,

91, Museodi Villa Giulia (373) 216 242 220 Montellane di Spoleto,
Rome, 41399, Campodi Villa, Umbria
Italy,

92, Museodi Villa Giulia (374) 226 241 226 Gualdo Tadino, Marche,
Rome, 44429, Italy,

93, Museodi Villa Giulia (375) 200 245 210 Gualdo Tadino, Marche,
Rome, 44430, Italy,

94, M, A, N, St, Germain en (384) 218 242 226 Italy,

Laye, 35577,

95, Armeria Reale Turin, (405) 220 240 203 Italy,

All,

96, MuseoGregoriano (408) 194 242 223 Italy,

Etrusco, Vatican, 12300

97, MuseoGregoriano (409) 207 238 238 Italy,

Etrusco, Vatican, 12301

98, MuseoGregoriano (410) 203 235 213 Italy,

Etrusco, Vatican, 12302

99, MuseoGregoriano (411) 224 254 221 Italy,

Etrusco, Vatican, 12308

100, MuseoGregoriano (412) 230 210 214 Italy,

Etrusco, Vatican, 12309

101, MuseoGregoriano (413) 208 245 232 Pianmaiano Bomarzo

Etrusco, Vatican, 12310 Lazio, Italy.

-183-
No, Museum and Inventory No,: Cat, Dimensions: Provenance
No-- H. W. R.
102, Naturhistoriches Museum (422) 205 240 227 Italy,
Vienna, No Inv, No.

103, Naturhistoriches Museum (423) Fragmentary Vetulonia, Toscana,

Vienna, 46705, Italy,

104, Whereabouts unknown, (437) 216 240 210 Unknown,

Sold Christies London
10,7,1974, Lot, 23,

105, Whereabouts unknown, (438) 203 240 210 Unknown,

Sold Christies London
27,4,1976, Lot, 189,

106, Whereabouts unknown, (439) 241 245 220 Unknown,

Sold Sothebys London
10,7,1979, Lot, 301,

107, Whereabouts unknown, (440) 203 240 225 Unknown,

Sold Sothebys London
10,12,1984, Lot, 346,

108, Whereabouts unknown, (441) 215 227 210 Unknown,

Sold Summma Galleries
Califronia, U,S, A
18,9,1981, Lot, 44,

109, 'Antiken MuseumBerlin, (68) 191 190 173 Unknown,

Fr 1014,

110, MuseoNazionale Naples (260) 225 230 210 Canosa, Puglia, Italy,
5693.

111, MuseoNazionale (356) 220 232 208 Cairano, Campania,

Pontecagnano, 35888, Italy,

112,Whereabouts unknown, (442) 240 245 210 Unknown,

Sold Christies London
31,10,1984, Lot, 295,

-184-
 Hany of the extant Hegau helmets were discovered in the 19th

century and therefore their exact provenance is uncertain. Where it

is recorded it is often given as little more than Italy or at best

central Italy. Of the 112 surviving examples only 46 have more

specific find spots and only 20 come from dated archaeological

contexts. However given the limits of the evidence it is possible to

make certain generalisations about the distribution of the Italian

gegau helmet both spatially and temporally.

Only five helmets of type I have firm provenances, although the

majority are recorded as having come from central Italy. A number-, of

the provenanced finds and the undoubtedly Etruscan form of the lion's

head crest-fixtures indicate Etruria as their place of origin (Brown

1966,108. ), although they have obvious links with the earlier forms

of "pot" helmets from the Picenum region and indeed helmet No. 1 from

Grottomare and helmet No. 5 both come from the Marche. Three helmets,

Nos. 9,10 and 11, come from the Romagna which Colonna (1974,3ff. )

suggests may reflect the Etruscan-Umbrian colonisation of the Po

valley. Likewise the inscription on the helmet dedicated by Hieron at

Olympia, No. 12, also confirms an Etruscan origin for this type.

The only two finds that fall far outside this distribution are

helmets 7 and 8 which are said to have come from Sicily. The presence

of these two helmets -- may be explained by the widespread use of

Italian mercenaries by the cities of Sicily and Magna Graecia at this

period.

-185-
 Helmets of type II have a similar distribution: the (Nos.
majority
32,40,53,55; 62,75,76,89 and 103) originate from Etruria. It

seems likely that the concentration of finds from the Emilia Romagna

(Nos. 43,45,54,56,57 and 91. ) also reflect direct Etruscan

influence and are certainly connected with the Etruscan occupation of

this area. The occurrence of four helmets, Nos. 22-25, of this type

on Corsica in the necropolis at Aleria (Jehasse 1974) is also to be

expected, especially in light of its close links to Etruscan trade and

manufacturing industry. Likewise the find from Caserta near Capua No.

37 can be seen as dating from the time of the Etruscan colony.

There is a concentration of twelve helmets of this type (Nos. 26-

30,38,39,48,50,90,92 and 93) in Picenum, where Etruscan armour

forms were extremely popular (Stary 1981. ) and where its occurrence

must reflect trade routes and trading patterns as do the examples

from Liguria, No. 44, and from Istria, No. 41.

There are only two provenanced helmets of type III both of which

come from southern Italy, helmet No. ' 110 from Canosa di Puglia and
helmet 111 from Cairano near Salerno in Campania.

The general distribution of all three types of Negau helmets can

be interpreted as showing an original localised area of production and
distribution in the late 6th and early 5th century B. C. This is

reflected in the provenances of helmets of type I, which are mostly

restricted to central Italy with some examples coming from the Marche.

This distribution is subsequently widened during the early years of

the 5th century B. C. with the advent of helmets type II. Like its
of

predecessor type II exhibits a high concentration, over twenty-one

helmets (nos. 32,40,43-5,52-9,62,75,76,86,89,91,99

and

-186-
103. ), in Etruria and the Enila-Romagna but there are also a

substantial number of helmets spreading into central and southern

Picenum (Nos. 26-30,38-9,48-50,90,92 and 93. ) with a few outlying

helmets distributed from Lazio to Sicily (Nos. 60,72 and 101).

The distribution of the final phase of the development of the

Negau helmet exemplified by helmets of type III appears to be

concentrated in the extreme south of Italy between the bay of Naples

and Puglia. This southerly distribution taken in conjunction with

the high pilos-like bowl of the helmet may perhaps be seen as a local

southern Italian varient of this Etruscan helmet form.

-187-
FIG. 37 Distribution of Negau helmets
Key to Distribution Map. (fig. 37)

1. Grottamare, Marche, Italy.

3. Volterra, Toscana, Italy.
9. Casalfiunanse, near Bologna, Emilia Romagna, Italy.
10. Inola near Bologna, Emilia Romagna, Italy.
11. Dovadola S. Ruffillo near Forli, Emilia Romagna, Italy.
13. Olympia, Greece.
22. A16ria, Corsica.
23. Aleria, Corsica.
24. Altria, Corsica.
25. Aleria, Corisca.
26. Numana, Marche, Italy.
27. Numana, Marche, Italy.
28. Pianello Castelbellino, near Ancona, Marche, Italy.
29. Numana, Marche, Italy.
30. Numana, Marche, Italy.
32. Vulci, Toscana, Italy.
37. Caserata near Capua, Campania, Italy.
38. Sulmona near L'Aquila, Abruzzi, Italy.
39. Sulmona near L'Aquila, Abruzzi, Italy.
40. Pisa, Toscana Italy.
41. Istria, Yugoslavia.
43. Montericco, Imola near Bologna, Emilia Romagna, Italy.
44. Certosa, Piednonte, Italy.
45. Sta. Maria Maddalena di Cazzano near Bologna, Emilia Romagna
Italy.
48. Villamagna near Chieti, Abruzzi, Italy.
50. Chieti, Abruzzi, Italy.
53. San Cerbone, Populonia, Toscana, Italy.
54. Dovadola S. Ruffillo near Forli, Emilia Romagna, Italy.
55. Talamone, Toscana, Italy.
56. Marine di Sotto Imola, Emilia Romagna, Italy.
57. Casola Valsenio Monteroni, Emilia Romagna Italy.
60. Paestum, Campania, Italy.
62. Canino, Toscana, Italy.
72. Egnazia, Apulia, Italy.
74. Olympia, Greece.
75. Orvieto, Toscana, Italy.
76. Orvieto, Toscana, Italy.
86. Martino in Gattara near Ravenna, Emilia Romagna, Italy..
89. Cavlupo, Vulci, Toscana, Italy.
90. Gualdo Tadino, Marche, Italy.
91. Montellane di Spoleto, Campo di Villa, Umbria, Italy.
92. Gualdo Tadino, Marche, Italy.
93. Gualdo Tadino, Marche, Italy.
101. Piannaiano Bomarzo near Viterbo, Lazio, Italy.
103. Vetulonia near Grosseto, Toscana, Italy.
110. Canosa di Puglia, Puglia, Italy.
111. Cairano, near Salerno, Campania, Italy.

-189-
FIG. 38

'ý ....... . Y. .......... _ .ý .1

3
FIG. 39

6 -
 Although Egg (1986,41. ) has suggested that a number of the

heaviest Negau helmets were pre-cast and then "raised" this must

remain a matter of conjecture until sufficent analyses have been

carried out to confirm or disprove this theory. However from close

examination although not analysis it would appear to the writer that

the vast majority were manufactured in the same manner as all other

Italian-made bronze helmets i. e. starting from a sheet or billet of

bronze which was first "hollowed" or "blocked" into a depression in a

wooden block or anvil, then "raised" and planished over a variety of

stakes and formers. Finally they were ground and polished and the

decoration added either by chasing with gravers or in the case of a

considerable number of surviving examples of type II with specially

manufactured punches. All the zoomorphic and palmette crest-fixtures

and supports, found on helmets of type I and II, were cast using the

cire perdue method and then either riveted or soldered to the bowl.

In addition the vast majority of the surviving Negau helmets were

fitted with an internal, pierced, lining ring, made from a single

strip of bronze soldered together. This was soldered to the inside

of the flanged brim. In most cases the intervening space was then

filled with lead. Finally the lining was sewn into the ring.

-192-
FIG. ' 40

-193-
FIG. 41

10

11

12

-194-
No, Bowl Form; Brow-band; Brim: Decoration: Height mm,: Width mm,: Type:
Ana Pul Co High Low WN N. App Inc )220 220f >2S0 250(
1, 3 3 # 3: t 3 I
2. 3 3 * # 3 k I
3, 3 X * k x x I
4, 3 3 3 3 x. 3 3 I
5, 3 3 * 3 3 3 I
6. 3 3 $ 3 X 3 I
7, 3: 3 3 * 3 I
8, 3 X # * # * I
9, 3 3 3 # * * I
10, 3 3 * 3 3 # I
11, 3 3 3 * 3 3 I
12, 3 3 3 # 3 3 * I
13, * X t 3: * * I
14, * 3 3 3 3 3 I
15, 3 x 3 * * I
16, 3 3 3 * k # I
17, * * 3 ýk # I
18, 3: 3 # 3 #: * I
19, * # * 3 # k I
20, * 3 * * k k I
21 # 3 3 * x 3 I
22, x # * 3 * X II
23, 3 * * 3 * # II
24, # # * # * # II
25, t 3 # # k * II
26, t * # k # * II
27, 3 # * 3 * k II
28, 3 X # 3 Y. k II
29, k # # 3 * # II
30, 3 X * 3 3 II
31, X 3 * * * * II
32, # * * # * * II
33, X * 3 x * x II
34, 1 # # 3 # t II
35, 3 3 3 3 # II
36, i: * * 3 * II
37, t * 3 3 # k II
38, k 3 4 * ýk II
39, x x t * x # II
40, 3 X 3 3 # II
41, x x 3 3 x 3 II
42, t # * 3 * * II
43, * # * 3 k X II
44, # # * # t * II
45, z x * * x * II
46, X * # # * 4 II
47, * x * x. 3 * II
48, * * * * * 3 II
49, # # * # # # II

-195-
No, Bowl Form; Brow-band: Brit: Decoration: Height mm,: Width mm,: Type:
Ang Pul Co Nigh Low WN N. App Inc. >220 220( >250 250<
_
50, 1 i; * 1" 3 3 II
51, 1 3 * 1 * II
52, * 3 1 #: # * II
53 3 3 Y. X 3 II
,
54, 1 X # # t II
55, 3 * 3 # 3 3 II
56, 3 3 Y. 3 # II
57, 1 1 1 3 k 3 II
s8, 1 3 Y. # 3 # II
59, 3 3 * 3 R 1 II
60, t x * 3 * 3 II
61, 3 3 * 3 3 * II
62, 3 # * 3 x. * II
63, * 3 k 3 R k II
64,. X 1 * 3 * II
65, 3 # # * 3 1 II
66, z x. * 1 1 x II
67, 1 3 # 1 # # II
68, * 1 # # * * II
69, # 3 # #: 3 >r II
70, 1 X # 3 # # II
71, 1 1 * 1 3 k II
72, #: * 3 1 3 1 1I
73, 1 * # 3 * II
74, # 1 * 1 3 # II
75, 1 3 3 3 3 * II
76, >r x * 3 x II
77, I~ 3 1 1 3 II
78, * X 3 1 1 # II
79, 3 #: k 3 II
80, 3 3 3 1 ! 3 II
81, 3 * k #: t *: II
82, 1 1 * 3 II
83, 3 k 3 1 X * II
84, 8 X #: * 3 1 II
85, 3: i~ I~ 3 1: * II
86, 3 3 * 8 k # II
87, 3 # * 3 * * II
88, 3 k * 3 # * II
89, k 1 # *1 3 ýK II
90, * # 3 3 3 3 II
91, 1 3 * # 3 #: II
92, 1 # * 3 3 II
-#
93, ' t # # 3 3 * II
94, # # * 3 # * II
95, 3 3 # # t # II
96, * * * 1 * x 11
97, * 8 #: # k * I1
98, * * 3 * * # II
99, 1 * * # X * II
100, k 3 * 3 1w * I1

-196-
No, Bowl Form: Brow-band: Brim: Decoration: Height mm,: Width mm,: Type:
A ng Rul Co High Low WN N. App inc. >220 220( )290 250<
101, x x x x x x II
102, x x x x x x II
103, x x x x x x II
104, x x x x x x II
105, x x x x x x II
106, x x x x x x ii
107, x t x x x x II
1 x x x x x x II
109, x x x x x x III
110, x x x x x x III
111, x x x x #: x III
)1 t x_ x xk ITT

KEY: Ang-Angular, Bul- Bulbous, Co- Conical; Brim: W- wide N- Narrow;

Decoration: N- None, App- Applied, Inc- Incised,

-197-
FIG. 42

ýr FvQAK
i pT
Ap

13

14

15

-198-
FIG. 43

16

17

18
Table III' Dating Evidence.

No, Context; Provenance; Suggested

Date B. C-
9, Early 5th century B, C, A grave at Casalfiumanse,
dated by associated _
Emila Romagna,Italy
ceramics

10, Early Sth. century B. C. Grave 72 at Imola, Emila

dated by an associated Romagna,Italy _
Attic kylix crater,

13, Dated by dedication by Olympia, Greece Early 5th

Hieron from the spoils of
the battle of Cumae474 B. C.

22, Early Sth'century B. C, Grave 89 at Alkria, Corsica,

dated by associated _
ceramics,

23. Early 5th century B. C. Grave 90 at Aldria, Corsica,

dated by associated -
ceramics,

24, Early 5th century B, C, Grave 91 at AlUria, Corsica,

dated by associated -
ceramics,

25. Early 5th century B. C. Grave 92 at Altria, Corsica,

dated by associated _
ceramics,

30, Mid 5th century B, C, Grave 520 at Numananear

dated by associated Ancona, Marche, Italy, _
ceramics,

44, Mid 5th century B. C. Grave 180 at Certosa

-
dated by associated Piedmonte,Italy,
Red-figure Kanthoros
Krater by the Eretria
painter,

54, Early 5th century B, C, Grave 3 at Dovadolla S,

dated by associated Ruffillo, Emila Romagna,
ceramics, Italy,

56, Mid 5th century B, C, Grave 9 Imola, near Bologna,

dated by associated Emilia Romagna,Italy, _
ceramics,

57, 5th century B.C. Grave2 at Casola Valsenio,

dated by associated Emilia Romagna,Italy,
ceramics

-200-
No, Context: Provenance: Assigned
Date B. CN
74, Dated by dedication by Dlympia, Greece Early 5th
Hieran from the spoils of
the battle of Cumae474 B. C.

86, Late 5th century B, C, Grave 10 at 6, Martino in

dated by associated Gattara, near Ravena, Emilia
red-figure kylix krater. Romagna,Italy,

89, C,510-500 B, C, dated Grave 47 at Cavalupo, Vulci

_
by associated Athenian Toscana, Italy,
pelike,

92, Mid 5th century B, C, Grave XII at Malpasso

-
dated by associated Gualdo Tadino, Marche,
red-figure column krater Italy,

93, Mid 5th century B, C, Grave XII at Malpasso

dated by associated Gualdo Tadino, Marche,
red-figure column krater Italy,

101, Mid 5th century B. C. A grave at Pianmaiano

dated by associated Bomarzonear Viterbo,
ceramics Lazio, Italy,

111, Mid 5th century B. C. Grave 17 at Cairano near

_
dated by associated Salerno, Campania, Italy,
ceramics

-201-
FIG. 44

19

20

21

-202-
FIG. 45

22

23

24

-203-
TvnoDEM ,

Although Egg (1986) has divided the developed Negau helmet >into

two main categories, the "Volterran" and the "Vetulonian"; types, his

typology seems to include, in the latter variety, a small but

significant group of helmets which would appear to represent a

southern Italian development of this Etruscan form. Therefore whilst

accepting the validity of his division of the main body of these

helmets into two types, Types I and II equating to his "Volterran" and

"Vetulonian" types, it has been felt necessary to add a third

category, type III, to differentiate this final group.

Tage I" (Nos 1-21, )

The helmets of type I are characterised by a high domed bowl which

is provided with a weak medial ridge. The bowl is asymmetrical being

higher at the rear than at the front. It swells above a slightly

concave, fitted, brow-band. This is deep (usually 35 mm. to 48 mm.)

and also rises at the rear echoing the shape ofýthe bowl., The brow-

band flares at its base to form a wide flanged brim some 20-30 mm.

wide. Most of the helmets of this type were fitted with an internal

lining ring, but some helmets (Nos. 1,7 and 20) are pierced at the

side to receive a rivet to retain the lining and chin-strap.

The helmets of this from vary in quality from heavy well made

examples, eg. Nos. 3,4,5,12,15 and 19, with thick well formed bowls

to thin slightly amorphous shaped examples, such as Nos. 1,2,6-11,

13,15,16-18,20 and 21, where the bowl varies little in thickness

and has a slightly battered appearance. Many of the helmets of this

-204-
type possess cast bronze, figurative or zoomorphic crest-fixtures.

These usually take the form of a pair of or a single archaic lion's

head. With one exception, helmet No. 3 from Volterra, the decoration

on helmets of type I is restricted to the brim. This usually takes

the form of horizontal mouldings, sometimes notched vertically.

Type II" (Ios. 22-108. )

Helmets of type II differ from those of type I in a number of

important ways, They are characterised by a steep angular bowl with a

very prominent medial ridge, unlike those of type I the bowl is

symmetrical and does not rise at the rear, although-its longitudinal

axis is significantly greater than its lateral one, this gives the

helmet, bowl an almost "almond"-shape. The bowl is defined along its

base by a right-angled step which marks the junction with the deeply
.

concave but narrow brow-band. This is level and flares at its base

to form a shallow flanged brim. The flange on this form is

considerably deeper than that of Type I.

Most of the helmets of this type were fitted with an- internal

lining ring. The helmets of this form vary in quality from heavy well

made examples (eg. Nos. 26-9,31,37-9,45-8,50,51,56-7,62-5,68-

9,78,80,83-5,89-93,98-9,101 and 103. ) with thick well formed

bowls of graduated thickness, to thin slightly amorphous shaped

examples such as Nos. 30,32-6,40-4,49,52-5,58-61,66-7,70-7,79,

81-2,86-8,94-7,100,102 and 104-8. where the bowl varies little in

thickness and has a slightly battered appearance.

The characteristic form of decoration found on helmets of type II

is executed with stamps. It is restricted to the brim and the bowl,

forming a frieze in the zone immediately above the brow-band. These

-205-
stamps consist of rows of rectangles imitating "egg and dart" or

"dental" pattern which are used on the brim, and volutes and palmettes

which are combined to form the frieze around the bowl. Based on the

combination of these decorative motifs or indeed their absence, it

has been possible for, the writer to establish the presence of at least

five separate workshop groupings for this type of helmet.

Type III. (Kos. 109-111. )

Helmets of type III share many of the characteristics of those of

type II in that they are characterised by a steep angular bowl with a

very prominent medial ridge. Like those of type II the lower edge of

the bowl is level and does not rise at the rear, although its

longitudinal axis is significantly greater than its lateral one. The

main difference however is in the height of the bowl, this is

equivalent to its longitudinal depth thus imparting a much more

attenuated appearance to this type of helmet. The bowl is defined

along its base by a right-angled step which marks the junction with

the deeply concave but low brow-band. This is flared at its base to

form a narrow flanged brim. The decoration on this type of helmet is

restricted once more to the brim and takes the form of plain

horizontal mouldings.

-206-
FIG. 46

25

26

n ý

ý MAAAAAAAAM
-A 610 6)(a

27

-207-
FIG. 47

28

.ý
I

i
.=
1

ýý

'.....
-.
29

30

-208-
UM-1-

1. Grottamare, Marche, Italy. Museo Nazionale Ancona. 15122.

Undecorated. (fig. 38: 1) Egg 1986,197.

2. Italy. Walters Art Gallery Baltimore. 54168. Undecorated. (fig.

38: 2) Unpublished.

3. Volterra, Toscana, Italy. Antiken Museum Berlin. L. 53.

Decorated: Bowl; A pair of engraved lionesses facing each other, one

either side a pair of converging volutes surmounted by a palmette.

Brim; Three beaded, horizontal mouldings. Cast bronze, archaic,

lion's bead crest-fixture. (fig. 38: 3) Lipperheide; von 1896,192.

4. Marche Italy, Antiken Museum Berlin. L. 54. Decorated: Brim;

Single incised line. Cast bronze, archaic, lion's bead crest-fixture.

(fig. 39: 4) Lipperheide, von 1896.188. Schroder, 1905.27. Egg

1986.195.

5. Marche, Italy. Antiken Museum Berlin. L. 55. Undecorated. (fig.

39: 5). Lipperheide, von 189.189. Schrader, 1905.27. Egg 1986.

195.

6. Italy. Antiken Museum Berlin. L. 56. Decorated. Cast bronze,

archaic, swan's head and volute crest-fixtures. (fig. 39: 6)

Lipperheide, von. 1896,196. Schroder. 1905,27. Egg. 1986,196.

7. Sicily. Antiken Museum Berlin. L. 64. Undecorated. (fig. 40: 7)

Schroder. 1905,27. Egg. 1986,206.

8. Sicily. Antiken Museum Berlin. L. 65. Undecorated. (fig. 40: 8)

Egg. 1986,206.

9. Casalfiumanse, near Bologna, Italy. Museo Civico Bologna. R451.

Decorated: Cast bronze, archaic, lion and horse's head crest-fixture.

(fig. 40: 9) Zuffa. 1950,120.

-209-
10. Imola near Bologna, Italy. Museo Civico Bologna. 20696.

Undecorated. (fig. 41: 10) Egg 1986,192.

11. Dovadola S. Ruffillo near Forli, Italy. Museo Archeologico di

Forli. 27167. Undecorated. (fig. 41: 11) Negroli. 1926,27

12. Italy. Hermitage Leningrad. B545. Decorated: Brim; Consists of

two plain narrow mouldings delineated by incised lines over a band of

hatched work over two narrow mouldings separated by incised lines.

(fig. 41: 12) Lipperheide, von. 1896,191.

13. Olympia, Greece. British Museum. 250. Undecorated. Inscribed:

' Iapuv o Aeivopeveos kai Toi Eupakoo! iai Tw of -rupav ano Kupas'"Hieron

son of Deinomenes and the Syracusans, to Zeus: Etruscan spoils from

Cumae. " (fig. 42: 13) Lipperheide, von 1896,170. Forsdyke. 1929,

81.

14. Italy. Musee St. Pierre Lyons. %924. Undecorated. (fig. 42: 14)

Boucher. 1964,102.

15. Italy. Reiss-Museum Mannheim. No Inv. No. Decorated: Brim;

Consists of two groups of three incised lines. (fig. 42: 15) Egg 1986,

196.

16. Italy. Museo Poldi Pezzoli, Milan. 2415. Undecorated.

(fig. 43: 16) Frova, A. 1972 p. 96. Cavalieri Manasse. 1988,37.

17. Italy. Bibliothhque Nationale Paris. 2021. Undecorated.

(fig. 43: 17) Babelon and Blanchet 1895.660. Adam 1984,116.

18. Italy. Musee du Louvre Paris. 1114. Undecorated. (fig. 43: 18)

Ridder, de 1915,3. Egg'1986,197.

19. Italy. University Museum Philadelphia. 1409. Undecorated. (fig.

44: 19) Egg. 1986,196.

-210-
FIG. 48

31

32

33

-211-
FIG. 49

34

35

36

-212-
20. Italy. Castel S. Angelo Rone. No Inv. No. Undecorated. (fig.

44: 20) Unpublished.

21. Italy. Musee des Antiquites Rationales St. Germain en Laye. 4761.

Undecorated. (fig. 44: 21) Unpublished.

22. Aleria, Corsica. Mus@e Archdologique Aleria. 67/320.

Undecorated. (fig. 45: 22) Jehasse 1973,436.

23. Aleria, Corsica. Musee Archeologique Aleria. 67/330.

Undecorated. (fig. 45: 23) Jehasse 1973,422.

24. Aleria, Corsica. Musee Archeologique Aleria. 67/348.

Undecorated. (fig. 45: 24) Jehasse 1973,450.

25. Aleria, Corsica. Musee Archeologique Aldria. 67/462.

Undecorated. (fig. 46: 25) Jehasse 1973,467.

26. Numana, Marche, Italy. Museo Nazionale Ancona. 4364. Decorated:

Restricted to the brim. It consists of a band of egg and dart

moulding surmounted by two incised lines and a band of ring and dot

motif, this is surmounted in its turn by two incised lines and a band

of egg and dart motif. (fig. 46: 26) Egg 1986,204.

27. Numana, Marche, Italy. Museo Nazionale Ancona. 4369. Decorated:

Stamped on brim and bowl. The brim decoration consists of a band of

egg and dart moulding surmounted by two incised lines either side of a

plain band which is surmounted in its turn by a band of egg and dart

motif. The bowl is decorated by. a frieze of palmettes each resting on

a pair of volutes. (fig 46: 27) Egg 1986,204.

-213-
FIG. 50

37

38

39

-214-
F IG. 51

40

41

42

-215-
28. Pianello Castelbellino, near-Ancona, Marche Italy. Museo Nazionale

Ancona. 16725. Decorated: Restricted to the brim. It consists of two

incised lines either side of a plain band which is surmounted in its

turn by a band of egg and dart motif surmounted by two incised lines

either side of a plain band. (fig. 47: 28) Egg 1986,200.

29. Numana, Marche, Italy. Museo Naziovale Ancona. 9406.

Undecorated. (fig. 47: 29) Egg 1986,197.

30. Numana, Marche, Italy. Museo Nazionale Ancona. 31533. Decorated:

Restricted to the brim. It consists of a band of egg. and dart

moulding surmounted by two incised lines either side of a plain band

which is surmounted in its turn by a band of egg and dart motif. (fig.

47: 30) Egg 1986,204.

31. Italy. Walters Art Gallery Baltimore. 54167. Decorated:

Restricted to the brim. It consists of four pairs of incised lines.

(fig. 48: 31) Egg 1986,215.

32. Vulci, Tuscany, Italy. Antiken Museum Berlin. Fr. 1018.

Undecorated. (fig. 48: 32) Egg 1986,212.

33. Italy. Antiken Museum Berlin. 10392. Undecorated. (fig. 48: 33)

Egg 1986, -212.

34. Italy. Antiken Museum Berlin. 10393. Undecorated. Inscribed:

'*,ý`ý'44 (fig. 49: 34) Egg 1986,212.

35. Italy. Antiken Museum Berlin. 10394. Undecorated. (fig. 49: 35)

Egg 1986.212.

36. Unknown. Antiken Museum Berlin. Misc. 10399. Undecorated. (fig.

49: 36) Egg -1986,212.

37. Caserata near Capua, Campania, Italy. Antiken Museum Berlin. L. 59.

Decorated: Stamped on brim and bowl. It consists of two bands of

-216-
dental pattern bordering a frieze of punched volutes but separated by

double incised lines. (fig. 50: 37) Lipperheide, von 1896,207.

38. Sulmona near L'Aquila, Abruzzi, Italy. Antiken Museum Berlin.

L. 60. Decorated: Restricted to the brim. It consists of three bands

of egg and dart moulding contained within single incised lines. (fig.

50: 38) Lipperheide, von 1896,204.

39. Sulmona near L'Aquila, Abruzzi, Italy. Antiken Museum Berlin.

L. 61. Decorated: Restricted to the brim. It consists of three

equally spaced incised lines around the brim. (fig. 50: 39)

Lipperheide, von 1896,203.

40. Pisa, Livorno Italy. Antiken Museum Berlin. L. 62. Undecorated.

(fig. 51: 40) Egg 1986,212.

41. Istria, Yugoslavia. Antiken Museum Berlin. L. 63. Undecorated.

(fig. 51: 41) Egg 1986,212.

42. Sicily. Antiken Museum Berlin. L. 66. Undecorated. (fig. 51: 42)

Egg 1986,206.

43. Montericco, Imola near Bologna, Italy. Musen Civico Bologna.

19964. Undecorated. (fig. 52: 43) Egg 1986,204.

44. Certosa, Italy. Museo Civico Bologna. No Inv. No. Undecorated.

(fig. 52: 44) Zannoni 1876,247.

45. Sta. Maria Maddalena di Cazzano near Bologna, Italy. Museo

Civico Bologna. No Inv. No. Decorated: Restricted to the brim. It

consists of a pair of single incised lines, one at each edge of the

brim bordering a plain moulding, one either side of a pair of bands of

diagonal hatching bordered by single incised lines and separated by a

plain moulding. (fig. 52: 45) Hatt, 1960,362.

-217-
43 44

45

46

-218-
FIG. 53

47

48

49

-219-
46. Italy. Museum of Fine Arts Boston. 1970.35. Decorated: Stamped

on brim and bowl. The brim decoration consists of a band of egg and

dart either side of a frieze of stamped volutes. The bowl is

decorated by a frieze of palmettes each resting on a pair of volutes.

(fig. 52: 46) Anon. 1968,61. Comstock and Vermeule 1971,495,

p1.589c.

47. Italy. Burg Rheinstein bei Bingen. No Inv. No. Decorated: It

consists of an applique in the form of a Gorgon's bead. (fig. 53: 47)

Lipperheide, von 1896,186.

48. Villamagna near Chieti, Abruzzi, Italy. Museo Nazionale Chieti.

.
5270. Decorated: Restricted to the brim. It consists of a band of

egg and dart moulding surmounted by two incised lines either side of a

plain band. (fig. 53: 48) Egg 1986,207.

49. Abruzzi, Italy. Musen Nazionale Chieti. 10781. Undecorated.

(fig. 53: 49) Egg 1986,208.

50. Chieti, Abruzzi, Italy. Museo Nazionale Chieti. 10783.

Decorated: Stamped on brim and bowl. The brim is decorated by a

band of egg and dart moulding surmounted by two incised lines either

side of a plain band. The bowl is decorated by a frieze of palmettes

each resting on a pair of volutes. (fig. 54: 50) Cianfarani 1970,

204, p1.204. Franchi dell Orlo and Regina la 1978,184.

51. Italy. National Museum Copenhagen. ABa 414. Decorated:

Restricted to the brim. It consists of two pairs of incised lines one

-either side of a central -group 'of four-incised lines. (fig. 54: 51)

Egg 1986,212.

52. Italy probably Tuscany. Museo Archeologico Florence. 1630.

Undecorated. (fig. 54: 52) Unpublished.

-220-
FIG. 54

50

51

52

-221-
FIG. 55

53

54

55

-222-
53. San Cerbone, Populonia, Toscana, Italy. 1Museo Archeologico

Florence. 1239 Decorated: Restricted to the brim. It consists of

two groups of three incised lines. (fig. 55: 53) Talocchini 1942,

67. Egg 1986,204.

54. Dovadola S. Ruffillo near Forli, Emilia Romagna, Italy. Museo

Archeologico di Forli. 27163. Decorated: Stamped on brim and bowl.

It consists of a band of dental pattern either side of a plain band

stamped with running volutes. The bowl is decorated by a frieze of

palmettes each resting on a pair of volutes resting on a dental

pattern. (fig. 55: 54) Negroli. 1926,31.

55. Talamone, Toscana, Italy. Museo Aazionale Maremma Grosseto.

70842. Decorated: Restricted to the brim. It consists of three

pairs of double incised lines. (fig. 55: 55) Pernier 1919,18.

56. Morine di Sotto Imola, Emilia Romagna, Italy. Museo Civico Imola.

336A. Decorated: Restricted to the brim. It consists of a band of

egg and dart moulding surmounted by four incised lines which in its

turn is surmounted by a band of egg and dart moulding. (fig. 56: 56)

Mansuelli 1957,17.

57. Casola Valsenio Monteroni, Emilia Romagna, Italy. Museo Civico

Imola. 338A. Decorated: Stamped on brim and bowl. It consists of a

band of egg and dart moulding surmounting two incised lines either

side of a plain band stamped with ring and dot motifs. The bowl is

decorated by a frieze of palmettes each resting on a pair of volutes

over a band of dental pattern. (fig. 56: 57) Arias 1953,218.

58. Etruria, Italy. Badisches Landesmuseum Karlsruhe. F435.

Undecorated. (fig. 56: 58) Schumacher 1890,135.

-223-
59. Etruria, Italy. Badisches Landesmuseum Karlsruhe. F436.

Undecorated. (fig. 57: 59) Schumacher 1890,134,

60. Paestum, Campania, Italy. Badisches Landesmuseum Karlsruhe. F438.

Undecorated. (fig. 57: 60) Schumacher 1890,134. Lipperheide, von

1896.200.

61. Etruria, Italy. Badisches Landesmuseum Karlsruhe. F439.

Undecorated. Inscribed: HASPANA (fig. 57: 61) Schumacher 1890,135

62. Canino, Toscana, Italy. British Museum. 2717.1878.10-19.302.

Decorated: Restricted to the brim. It consists of a band of egg and

dart moulding, surmounting two incised lines, either'side of a band of

stamped volutes (fig. 58: 62) Walters 1899,341.

63. Italy. British Museum. 2718.1975.6-3.5. Decorated: Restricted

to the brim. It consists of four pairs of double incised lines.

(fig. 58: 63) Walters, 1899,341.

64. Italy. British Museum. 2719.1856.12-26. Decorated: Restricted

to the brim. It consists of three pairs of double incised lines.

(fig. 58: 64) Walters, 1899,341.

65. Italy. British Museum. 2720.1975.6-3.4. Decorated: Restricted

to the brim. It consists of a band of egg and dart moulding,

surmounting two incised lines, either side of a band of stamped

volutes. (fig. 59: 65) Walters, 1899,342.

66. Italy. Royal Armouries, H. M. Tower of London. IV. 542.

Undecorated. (fig. 59: 66) Unpublished.

67. Italy. Royal Armouries, H. M. Tower of London. IV. 543.

Undecorated. (fig. 59: 67) Unpublished

68. Italy. Staatliche Antikensammlung Munich. 70. Undecorated.

(fig. 60: 68) Egg. 1986,209.

-224-
FIG. 56

56

57

58

-225-
FIG. 57

59

60

61

-226-
69. Italy. J. Paul Getty Museum Malibu. '73 AC 33. Decorated:

Consists of an applique cast bronze crest-fixture in the form of a

palmette. (fig. 60: 69) Egg 1986,215.

70. Italy. J. Paul Getty Museum Malibu. 73 AC 34. Undecorated.

(fig. 60: 70) Egg 1986,215.

71. Italy. Römische Germanisches Zentral Museum Mainz. 039819.

Undecorated. (fig. 61: 71) Anon 1975,99. Egg 1986,216.

72. Egnazia, Apulia, Italy. Museo Nazionale Naples. No Inv. No.

Decorated: Restricted to the brim. It consists of five equally

spaced incised lines. (fig. 61: 72) Lipperheide, von' 1896,197.

73. Italy. Germanisches National-museum Nuremburg. R388.

Undecorated. (fig. 61: 73) Lipperheide, von 1896,185.

74. Olympia, Greece. Archaeological Museum Olympia. Undecorated.

Inscribed: 'Iapwv o &eivopeveos kai roi Eupakoorioi rw Al rupav ano

Ku}ias'"Hieron son of Deinomenes and the Syracusans, to Zeus: Etruscan

spoils from Cumae". (fig. 62: 74) Touchais. 1980,611.

75. Orvieto, Toscana, Italy. Museo Civico Orvieto. 105. Decorated:

Restricted to the brim. It consists of a line of dental pattern either

side of two pairs of incised lines. (fig. 62: 75) Unpublished

76. Orvieto, Toscana, Italy. Museo Civico Orvieto. 1057.

Undecorated, (fig. 62: 76) Unpublished

77. Italy. Ashmolean Museum Oxford. 1874.489. Decorated: Restricted

to the brim. It consists of a band of egg and dart moulding either

side of a three equally spaced incised lines. ` (fig. 63: 77) Egg

1986,209.

78. Italy. Musee de l'Armee Paris. E10. Decorated: Stamped on brim

and bowl. It consists of a band of dental pattern on either side of

-227-
two incised lines. The bowl is decorated by a frieze of palnettes

each resting. on a pair of volutes. (fig. 63: 78) Mohen, 1970,223.

79. Italy. Nusee du Louvre Paris. 1110 (1373 NS796. ) Undecorated.

(fig. 63: 79) Ridder, de 1915,3.

80. Italy. Musee du Louvre Paris. 1111 (C6969. ) Decorated:

Restricted to the brim. It consists of two bands of egg and dart

mouldings separated by four equally spaced incised lines. Inscribed

ANI. (fig. 64: 80) Ridder, de 1915,3.

81. Italy. Musee du Louvre Paris. 1112 (C6683). Undecorated. (fig.

64: 81) Ridder, de 1915,3.

82. Italy. Musee du Louvre Paris. 1113 (C6721). Undecorated. (fig.

64: 82) Ridder, de 1915,3.

83. Italy. Musee du Louvre Paris. 1115. Decorated: Restricted to

the brim. It consists of two bands of egg and dart moulding

separated by two incised lines either side of a band of stamped

volutes. (fig. 65: 83) Ridder, de 1915,3.

84. Italy. Musee du Louvre Paris. 1116. Decorated: Stamped on the

bowl only, the brim is missing. The decoration consists of a frieze

of palmettes each resting on a pair of volutes. (fig. 65: 84)

Ridder, de 1915,3.

85. Italy. Muscle du Louvre Paris. 1117. (C6978. ) Decorated: An

applique in the from of a classical lion's head. (fig. 65: 85)

Ridder, de 1915,4.

86. Martino in Gattara near Ravenna. Museo Archeologico Ravenna.

Undecorated. (fig. 66: 86) Bermond-Montanari 1969,20.

87. Italy. Castel S. Angelo Rome. No Inv. No. Undecorated. (fig.

66: 87) Unpublished.

-228-
FIG. 58

62

63

64
FIG. 59

65

66

67

-230-
88. Italy. Nuseo Preistorico Etnografico Rome. 5530. Undecorated.

(fig. 66: 88) Egg 1986,210.

89. Cavlupo, Vulci, Toscana, Italy. Musen di Villa Giulia Rome. It

has no Inventory number. Decorated: It consists of two bands of egg

and dart moulding separated by two incised lines either side of a

band of stamped volutes. The bowl is decorated by applied crest-

fixtures in the form of cast bronze archaic lion's heads and Harpies

leading horses. (fig. 67: 89) Ferraguti 1937,107-20. Moretti

1975,40. Egg 1986,207.

90. Gualdo Tadino, Marche, Italy. Museo di Villa Giulia Rome. 43577.

Undecorated. (fig. 67: 90) Unpublished.

91. Montellane di Spoleto, Campo di Villa, Umbria, Italy. Nuseo di

Villa Giulia Rome. 44399. Decorated: Stamped on brim and bowl. It

consists of two bands of dental pattern separated by three equally

spaced incised lines. The bowl is decorated by a frieze of palmettes

each resting on a pair of volutes. (fig. 67: 91) Egg 1986,203.

92. Gualdo Tadino, Marche, Italy. Musen di Villa Giulia Rome. 44429.

Decorated: Stamped on brim and bowl. It consists of two bands of egg

and dart moulding separated by four equally spaced incised lines.

The bowl is decorated by a frieze of palmettes each resting on a pair

of volutes. (fig. 68: 92) Moretti 1975,336. Egg 1986,202.

93. Gualdo Tadino, Marche, Italy. Museo di Villa Giulia Rome. 44430.

Undecorated. (fig. 68: 93) Moretti 1975,336. Egg 1986,203.

94. Italy. Musee des Antiquites Nationales. St. Germain en Laye.

35577. Undecorated. (fig. 69: 94) Unpublished.

95. Italy. Armeria Reale Turin. All. Undecorated. (fig. 69: 95)

Angelucci, 1890.13. Lipperheide, van 1896,199.

-231-
FIG. 60

68

69

70

-232-
FIG 61

71

72

73

-233-
96. Italy. Nuseo Gregariano Etrusco, Vatican. 12300. Undecorated.

(fig. 69: 96) Egg 1986,210.

97. Italy. Nuseo Gregoriano Etrusco, Vatican. - 12301. Undecorated.

(fig. 70: 97) Egg 1986,210.

98. Italy. Museo Gregoriano Etrusco, Vatican. 12302. Decorated:

decoration- restricted to the brim. It consists of a narrow band of

diagonal hatching at each edge with a central band of incised herring-

bone pattern. (fig. 70: 98) Egg 1986,210.

99. Italy. Museo Gregoriana Etrusco, Vatican. 12308. Undecorated.

(fig. 70: 99) Egg 1986,210.

100. Italy. Nuseo Gregoriana Etrusco, Vatican. 12309. Undecorated.

(fig: 71: 100) Egg 1986,210.

101. Pianmaiano. Bomarzo near Viterbo, Lazio, Italy. Museo. Gregoriano

Etrusco, Vatican. 12310. Decorated: Stamped on brim and bowl. It

consists of two bands of egg and dart moulding separated by two

incised lines either side of a band of stamped volutes. The bowl is

decorated with a frieze of egg and dart pattern. (fig. 71: 101)

Baglione. 1976,145.

102. Italy. Naturhistorisches Museum Vienna. No Inv. No. Undecorated.

(fig. 71: 102) Egg 1986,208.

103. Vetulonia near Grosseto, Toscana, Italy. Naturhistorisches Museum

Vienna. 46705. Undecorated. (fig. 72: 103) Talocchini, 1942,66.

104. Italy. Whereabouts unknown. Sold Christies London. 10.7.1974.

Lot. 23. Undecorated. (fig. 72: 104) Anon, 1974, Lot No. 23.

105. Italy. Whereabouts unknown. Sold Christies London. 27.4.1976.

Lot. 189. Undecorated. (fig. 72: 105) Anon, 1976, Lot No. 1 89.

-234-
106. Italy. Whereabouts unknown. Sold Sothebys London 10.7.1979.

Lot. 301. Undecorated. (fig. 73: 106) Anon, 1979, Lot No. 310.

107. Italy. Whereabouts unknown. Sold Sothebys London 10.12.1984.

Lot. 346. Undecorated. Inscribed: CLO. (fig. 73: 107) Anon, 1984,

Lot No, 346.

108. Italy. Whereabouts unknown. Sold Sumrnma Galleries California,

U. S. A. 18.9.1981. Lot. 44. Undecorated. (fig. 73: 108) Anon 1981,

44.

109. Italy. Antiken Museum Berlin. Fr 1014. Undecorated. (fig.

74: 109) Antike helme 1988,438.

110. Canosa di Puglia, Puglia, Italy. Museo Nazionale Naples. 5693.

Decorated: decoration restricted to the brim. It consists of two

pairs of double incised lines. (fig. 74: 110) Lipperheide, von

1896,207.

111. Cairano, near Salerno, Campania, Italy. Nuseo Naziovale

Pontecagnano. 35888. (fig. 74: 111) Bailo-Nodesti. 1980,172.

112. Italy. Present whereabouts unknown. Sold Christies London

31.10.1984 Lot No 295. Decorated: Restricted to the brim. It

consists of three equally spaced incised lines. (fig. 75: 112) Anon

1984,109.

-235-
FIG 62

IV r

SAS.

74

75

76

-236-
FIG 63

"""ýý

`ß:;
"ý , "
' ý-. '1's: " ":.: ý.. :: ýi
r: . .
"

w/ "
... w.. pý`! wý'. ýý".. : ý(ii:: t:: 4: lý:: t: ý Nýý.ý.. \ 141 NA
r.. w. w..: r"!. ý
.... +"/
..,
fill

77

78

79

-237-
Crest-features

Although often depicted with crests, for example on the famous

"Certosa Situla", now in the Museo Civico Bologna and on a late 6th

or early 5th century B. C. bronze circular breastplate from Rapagnano,

now in the Museo Nazionale Ancona, only twenty percent of the

surviving Negau helmets bear any traces of a crest-fixture. When

each type is examined in closer detail a greater disparity appears in

that approximately fifty percent of helmets ofa type I are equipped

with crest-fixtures, whereas only ten percent of type II are so

equipped. Where they do occur, the crest features associated with the

Negau helmet take a number of very specific forms.

The crest-fixtures of helmets of type I are characterised by the

presence of either one or two anchorage points, for a longitudinally

mounted crest-box. These features are fitted at the front and rear of

the helmet, at the centre point of the junction between the brow-band

and the bowl and take a number of different forms. On helmets Nos.

2-5,12 and 19 they take the form of cast bronze, archaic, lion's

heads. These have a projecting lug at the rear which passes through

the helmet bowl and is riveted over on the inside. On helmets Nos. 7

and 21 these anchorage points, although attached in the same manner,

are formed by simple rectangular-shaped pierced lugs. The lugs on

helmet No. 1, instead of being pierced, have a square notch cut out of

their lower edge. Finally the anchorage points on helmet No. 6, now

in the Antikemuseum Berlin Inv. No. L. 56, are of a similar form

although they are shaped to represent the head and neck of a swan.

-238-
 In addition to these anchorage points helmets 5 and 6 have a pair

of cast bronze volutes mounted either side of the medial ridge, along

the longitudinal axis, on the apex of the helmet to support the crest-

box.

The final form of crest-fixture to be found on a Negau helmet of

type I are those found on helmet No. 14, now in the Musee des Beaux

Arts Lyons Inv. No. X924. These consist of two, transversely mounted,

hollow, rectangular-section tubes. These project from circular

flanges soldered to the helmet bowl, one on either side of the medial

ridge. They are pierced towards their upper edge to recieve a crest

pin.

As with helmets of Type I, a considerable number of helmets of

type II seem never to have been equipped with crest-fixtures. Indeed

the majority of this form, eighty percent, have no crest-fixture of

any kind whatsoever.

Of the minority of helmets which are fitted with crest-fixtures,

some retain the earlier forms of crest-features found on helmets of

type I, e. g.; Helmet No. 69 which has front and rear mounted hooks and

cast bronze volutes mounted longitudinally on either side of the

medial ridge. Helmet No 89, from the Varrior's grave at Vulci, now in

the Villa Giulia Museum, Rome retains the lion's heads common on

helmets of type I but instead of the volutes has cast bronze crest-

supports in the form of a winged "harpy' leading a horse. This crest-

support can be paralleled on a Chalkidian helmet of similar date from

Perugia (Chapter 4, table I, No. 7. ).

-239-
FIG 64

80

81

82

-240-
 FIG 65

°' ^y r: 1

83

t_ 84

85

-241-
 Helmets 90,91,92,93 and 108 are equipped with entirely

different crest-fixtures, which are a variant of a form more commonly

found on Apulo-Corinthian or Samnite-Attic helmets produced in

southern Italy from the 6th to the 4th centuries B. C. These five

Negau helmets are all fitted with a 'U' shaped, stemmed crest-

bracket which consists of along stem usually some 80 milimetres in

length which supports a "U" sectioned gutter-shaped crest-support.

This is often accompanied, as on helmets Nos. 90,92 and 93, by two

side-mounted anchorage points or hooks riveted to the sides of the

helmet bowl, just above the junction between brow-band and bawl.

These additional fixtures are necessary in order to secure the ends

of the transversely mounted crest. They consist of small diamond or

leaf-shaped plates of bronze which have a hook projecting from their

upper edge. Alternatively as on helmet No. 108 these additional

anchorage points take the form of a leaf-shaped plate of bronze folded

over at its top edge to retain a bronze ring, and riveted to the side

of the bowl.

These 'U' shaped crest-holders are made in a manner unique to the

Etruscan artnourers and in an entirely different way to those produced

by the armourers of southern Italy. Instead of being constructed

from two bars of bronze riveted together and shaped to form the crest-

holder at the top and a flange at the base which is then pierced for

riveting to the helmet bowl, the-Etruscans chose to make their crest

supports in three sections. These consisted of; the 'U'-sectioned

gutter-shaped crest-holder itself, from the base of which projects a

lug which fits into a narrow tube, made of bronze in the case of

helmets 91 and 92 but of iron on helmet 93. The mounting plate which

-242-
consists of a double leaf-shaped piece of bronze, from the centre of

which projects an upwardly pointing lug which fitted into the base of

the stem. The fixing plate is pierced by two holes and riveted

through these to the apex of the helmet.

Helmets of type III would appear to have carried on this tradition

as the remains of such a "U" -shaped bracket appear on helmet No.

111, from Cairano. However helmet 109, now in the Antiken Museum

Berlin Inv. Fr. 1014, has fixing lugs for a longitudinally mounted

crest-box similar to those found on helmets of type I.

Cheek-pieces.

Only one surviving Negau helmet is equipped with cheek-pieces, i. e.

helmet No. 85 now in the Musee du Louvre (Inv. No. 1117. ) ' These
,

cheek-pieces measure 135 millimetres and are not attached in the usual

manner by hinges but each pivots on a single rivet which passes

through the brow-band of the helmet. The cheek-pieces themselves are

also of an extraordinary form and consist of a circular boss decorated

with concentric circles from which projects a cheek-piece of a weak

and sinuous bicuspid form. The cheek-pieces are fitted with a loop of

bronze at their lower edge which are joined by a bronze chain. These

facts taken in conjunction with the slightly different patina

inevitably lead the writer to the conclusion that the cheek-pieces are

not original and are probably nineteenth century additions. This

being the case it is fair to assume that in antiquity no Negau helmet

was fitted with cheek-pieces,

Chin-strap Fixtures.

Although it is unlikely that any Negau helmet was ever "equipped

with cheek-pieces, all Negau`helmets of whatever type were provided

-243-
with some form of chin-strap fitting. These took one of three forms.

They were either simply single holes pierced' laterally through either'

side' of the brow-band just in front of the wearer's ears; holes

pierced vertically through the brim flange which seem to haveýall

been fitted with a pierced lug (pl. 13a. ); or holes drilled into a

separate lining ring which was soldered to the inside of the brim of

the helmet (pl. 13b. ).

The first option, which made use of a single hole pierced

laterally through the brow-band on each side of the helmet, would

appear to be the earliest as it is derived from the, chin-strap

fixtures found on the 6th century bossed "Pot" helmets which

originated in Picenum. This type of fitting is numerically the

smallest type and is far from common, being found on only seven

helmets (Nos. '" 1,8,20,50,71,78,85,91 and 108. ) and, as perhaps

is to be expected, more popular on helmets found in eastern Italy

along the Adriatic coast.

The other two forms of chin-strap fitting seem either to have been

used independently or in conjunction.

Thirty-two helmets of types I, II and III have two holes

vertically pierced through the brim flange over the wearer's temples

(Nos. 17,18,28,33,35,38,39,40,42,45,52,53,54,58,64,75,

79-84,87,90,95,105, and 112. ). On seven' of these helmets

(Nos. 18,28,33,35,52,53 and 57. ) these holes are filled by a

pierced lug. Each lug hasýa stud projecting from its upper edge

which is passed through the hole drilled in the helmet brim and are

riveted over. It is clear upon close examination of the holes in the

other twenty-five helmets that the majority if not all of them were

-244-
originally fitted with similar pierced lugs. On helmets Nos. 28,33

and 57, these lugs are fitted in conjunction with a pierced lining

ring.

Of the remaining fifty-nine helmets, a third (Nos. -- 15,26,30,

31,34,46,54,55,56,59,62,65,69,77,88, ` 89,96,98 and 101.1

still have a separately manufactured and pierced lining ring. - This

was manufactured from a narrow strip of bronze, approximately 20

millimetres wide and 1 to 2 millimetres thick, forged into a ring, of

truncated conical shape, with the ends soldered together. Along its

upper edge was worked a downward facing flange which is pierced with

stitching holes. The ring was made to be exactly the same size as the

internal measurement of the helmet brim and soldered to the base of

the brim and to the base of the brow-band. The intervening space was

then filled with lead.

The remaining forty Negau helmets now have no trace of a chin-

strap fitting although some bear the traces of a tin/lead solder on

the inside of their brim flanges (Nos. 20,48,64,94 and 96. ). From

this evidence and the relative ease with which these lining rings

could be detached during use, excavation or whilst in museum

collections and lacking an other visible form of chin-strap fitting it

would seem probable that the remaining helmets were also fitted with

similar lining rings. If this were the case- then at, least sixty

percent-of all Negau helmets were fitted with such lining rings. It

is of course possible that the majority of the remaining forty

percent may also have been fitted with them. What is certain however

is that, the chin-strap of the Negau helmet had only two anchorage

points and not three commonly found on other Italian helmet forms. It

-245-
presumably relied on the fit of the brow-band and the lining to give

it stability in wear.

Decoration.

The overwhelming majority, in fact -sixty-two percent of all

Negau helmets are undecorated. Only a third of helmets of type I are

decorated, whereas forty percent of helmets of type II bear some

decoration but it is only on helmets of type III that decoration even

extended to fifty percent of the surviving helmets and on these it is

confined to the brim. The decoration on Negau helmets takes one of

three forms; it is either applied, in the form- of cast bronze

appliques, incised, usually confined to the brim, or stamped, on both

the brim and bowl.

Of the twenty-one surviving helmets of type I, thirteen are

undecorated, of the remaining eight, seven (Nos. 3,4,5,6,9,12 and

19. ) are all decorated with cast bronze appliques of one form or

another. For the most part these appliques serve a dual function,

partly practical, as anchorage points for the helmet crest, and partly

decorative. On helmets 3,4,5,9,12 and 19 these take the form of

an archaic, cast bronze, lion's head mounted at the front of the

helmet immediately below the junction of the brow-band and the bowl.

On helmet 5 the decorative lion's heads are supplemented by cast

the helmet at
bronze volutes, mounted on the apex of either side of

the medial ridge whereas on helmet 6 they are replaced with a pair of

swan's head mounts supplemented by volutes. On helmet 9, from

Casalfuimanse in addition to the cast lion is a cast horse's head

mounted at the rear of the helmet bowl.

-246-
 FIG 66

86

iýý ý'Y

r 87

88

-247-
FIG 67

89

-248-
 In addition to the applique work, some helmets of -type I are

decorated with incised or engraved work. The most elaborate of these

is helmet Ao. 3, from Volterra. This helmet is unique amongst the

existing examples of this type in that its bowl is decorated. The

decoration consists of a pair of engraved lionesses at the front of

the helmet bowl, facing each other on either side of a pair of

converging volutes surmounted by a palmette. " In addition the brim is

decorated with three, beaded, horizontal mouldings.

On helmets 12 and 15tthe incised work is restricted to the brim of

the helmets themselves. On helmet No. 12 it consists of two plain

narrow mouldings delineated by incised lines above a band of hatched

work in turn above two narrow mouldings separated by incised lines and

on helmet 15 of two groups of three incised lines.

Of the eighty-seven surviving helmets of type II forty-nine are

undecorated. The majority of the remaining thirty-eight, in fact

thirty-six, are embellished'with stamped decoration. This is either

confined to the brim or is also extended to a frieze along the

junction between the brow-band and the bowl. In addition to, or

instead of this stamped decoration three helmets are decorated with

bronze appliques. Helmet No 89, from Cavalupo, carries appliques

similar to those found on helmets of Type I, i. e archaic figurative

heads. The other two helmets, Nos. 47 and 85, are decorated with

appliques" of a Greek representational form, and bear medallions

depicting a gorgon's and a lion's heads respectively mounted on the

front of their bowls.

The helmets with stamped decoration can be divided into two broad

categories; those with decoration solely around the brim and those

-249-
where the brim and the bowl are both decorated. Within these two

broad groupings, Egg (1986) has postulated that two workshops are

identifiable, however by studying the stamp types and the combinations

in which they are used, five possible workshop groups can be

discerned.

Those with stamped decoration which is restricted to the brim can

be divided into three workshop groups (A, B and M.

Group A consists of six helmets (Nos. 26,62,65,83,89 and 101).

The decoration consists of a band of egg and dart moulding,

surmounting two incised lines, either side of a- band of stamped

volutes. This group has a wide distribution from Tuscany (62 and 89)

to Numana in the east, (26) and Bomarzo in Lazio (101). As a group,

therefore, it has no obvious centre although Etruria is a likely

possibility.

Likewise group B consists of five helmets (Nos. 28,30,48,77 and

80). In this group the brim decoration consists of a band of egg and

dart moulding either side of a plain band delineated by pairs of

incised lines. Here the distribution is concentrated on the eastern

Italian seaboard, with helmets 28,30 and 48 coming from

Castelbellino, Nunaana and Villamagna respectively.

The final group of this category, group C, consists of nine

helmets (Nos. 31,39,51,53,55,63,64,72 and 75). Here the

decoration consists of two pairs of incised lines, one either side of

a central group of incised lines up to four in number. This group has

a marked concentration of helmets in Etruria with helmets 53,55, and

75 coming from Populonia, Talgnone and Orvieto repectively, and it is

perhaps in Tuscany that the home of this group should be sought.

-250-
FIG 68

92

93

-251-
FIG 69

94

95

96

-252-
 Of those helmets where the stamped decoration is extended to form

a frieze at the base of the bowl, there appears to be two workshop

groupings; groups D and E.

Group D is composed of seven helmets (nos. 27,50,78*, 84,91,92

and 93). On these helmets the brim is decorated by two bands of egg

and dart or dental pattern separated by three equally spaced incised

lines. The bowl is decorated by a frieze of palmettes each resting on

a pair of volutes. Like group B, group D has a concentration in the

Marche and the Abruzzi with all the provenanced examples coming from

these regions. Likewise the comparison of the stamps used on helmets

of groups B and D suggests some connection.

The final workshop group is the smallest and consists of only four

helmets (Nos. 37,46,54, and 57). Here the brim decoration consists

of a band of dental pattern either side of a plain band stamped with

running volutes. The bowl is decorated by a frieze of palmettes each

resting on a pair of volutes resting on a dental pattern. These

helmets have a very scattered distribution with no obvious centre and

stretch from Caserta (37) to Forli (54).

The remaining decorated helmets of type II (Nos. 38,45,56 and

98) do not form a coherent workshop group but are only decorated on

the brim with varying numbers of incised lines and hatching.

Only two helmets (but half the surviving examples of type III

(Nos. 110 and 112. ) are decorated and on these the decoration is once

more restricted to the brim of the helmet and consists simply of a

number of incised horizontal lines.

-253-
FIG 70

97

98

99

-254-
FIG 71

I00

101

102

-255-
Helmet No. 10

Type: I.

Location: Museo Civico Bologna.

Inventory No. 20696.

Provenance: Grave 72 Imola near Bologna, Emilia Romagna, Italy.

Context: Early 5th century B. C.

Suggested date:

Material: Bronze.

Dimensions: Height. 187 mm.

Overall Width 265 mm.

Vidth 259 mm.

Overall Breadth 220 mm.

Internal Breadth 214 mm.

Thickness: Brim 3 mm.

Bowl 1.8 mm.

Chin-strap fixtures: The chin-strap fixture was presumably integral

with the lining ring, as no traces of another

sort now survive.

Crest-fixture: None.

Decoration: None.

Internal Fixtures: There are traces of solder on the inside of the

brim indicating that this helmet was originally

fitted with a separately made and pierced internal

lining ring.

-256-
FIG 72

103

104

105

-257-
FIG 73

106

107

108

-258-
Manufacture: "Raised" from a single piece of bronze. The lining

ring was manufactured separately from a strip of bronze

which was bent to shape and soldered together. This

was then pierced and the whole assemblage soldered into

the rim of the helmet.

Description: This helmet is characterised by a high domed bowl which

has a weak medial ridge. The bowl is asymmetrical being

higher at the rear than at the front. It swells above a

slightly concave, fitted, brow-band., This is deep

(12 mm. ) and also rises at the rear echoing the shape of

the bowl. The brow-band flares at its base to form a

wide flanged brim (18 mm. ).

Other details: None.

Published: Egg 1986,192.

Helmet In. 54.

Type: II.

Location: Museo Archeologico di Forli.

Inventory No. 27163

Provenance: Tomb III Davadola S. Ruf

Ruffillo, near Forli, Emilia

Romagna.

Context: Mid 5th"century'B. C.

Suggested date: Mid 5th century B. C.

Material: Bronze.

Dimensions: Height. 220 mu.

Overall Width 256 mm.

-259-
 Width 248 mm.

Overall Breadth 227 mn.

Internal Breadth 219 mm.

Thickness: Brim 4 mm.

Bowl 2 mm.

Chin-strap fixtures: The chin-strap fixture is integral with the

lining ring.

Crest-fixture: None

Decoration: The decoration is stamped on both the brim and the bowl.

The brim is decorated with a band of dental pattern

either side of a plain band stamped with running volutes.

The bowl is decorated by a frieze of palmettes each

resting on a pair of volutes resting on a dental pattern.

Internal Fixtures: This helmet is fitted with a separately

manufactured and pierced internal lining ring.

The cavity between the rim and the lining ring is

filled with lead.

Manufacture: "Raised" from a single piece of bronze. The lining ring

however was manufactured separately from a strip of

bronze which was forged to shape and soldered together,

then pierced and the whole assemblage soldered into the

rim of the helmet.

Description: This helmet is characterised-by a steep angular bowl

with a very prominent medial ridge, the bowl is

symmetrical but its longitudinal axis is significantly

greater than its lateral one, which gives the bowl an

almond-shape. The bowl is defined along its base by a

-260-
 right-angled step which marks the junction with the

deeply concave but narrow brow-band. The depth of the

brow-band is consistent and it flares at its base to

form a narrow flanged brim.

Other details: lone.

Published: Negroli. 1926,31.

Helmet No. 111.

Type: III.

Location: Museo Nazionale Pontecagnano.

Inventory No. 35888

Provenance: Grave 7, Cairano near Salerno

Context: Late 5th century B. C.

Suggested date: 5th Century B. C.

Material: Bronze.

Dimensions: Height. 220 mm.

Overall Width 232 mm.

Width 228 mm.

Overall Breadth 208 mm.

Internal Breadth 204 mm

Thickness: Brim 2 mm.

Bowl 1 mm.

Chin-strap fixtures: The chin-strap fixture is integral with the

lining ring.

Crest-fixture: At either side of the apex of the bowl are the

remains of a transversely mounted crest support of

-261-
 the stemmed "U" bracket type.

Decoration: None.

Internal Fixtures: Pierced lining ring soldered to the inner face of

the rim. The cavity between the rim and the

lining ring is filled with lead.

Manufacture: Raised fron a single piece of bronze. The lining ring

was manufactured separately and soldered into place.

The crest fixture was probably made in three pieces as

described above and riveted in place.

Description: This helmet is characterised by a tall angular bowl

with a very prominent medial ridge. The lower edge of

the bowl is straight and its longitudinal axis is

significantly greater than its lateral one. The

height of the bowl is equivalent to its longitudinal

depth thus imparting to it an attenuated appearance.

The bawl is defined along its base by a right-angled

step which marks the junction with the deeply concave

but narrow brow-band. This is flared at its base to

form a narrow flanged brim.

Other details: None.

Published: Bailo-Nodesti. 1980.172.

-262-
FIG 74

109

110

111

-263-
FIG 75

112

-264-
Introduction.

Over the last century considerable. time and energy has been

by scholars in trying to define. and differentiate between the

expended

Chalkidian and the Attic helmets. Even so, today, there is little or

The term "Chalkidian" is a conventional one applied to

no consensus.

helmet types derived from the Corinthian form. The term was
certain

was believed that these helmets from

first coined when it originated

Euboea for its bronze

the Greek City of, Chalcis in a city renowned

working.

This identification with the city of Chalcis was first made by

Furtwängler (1890,170) apparently. upon the basis of its regular

figured to the production of that

depiction on black pottery assigned

On these vessels the helmet depicted is similar in general

city.

to the Corinthian helmet, but it has cut-outs for the wearers

shape

larger face openings which provide a lighter helmet.

ears and

The Chalkidian helmet is, clearly derived from the Corinthian

made by Greek in the 6th Century

tradition and the attempts armourers

B. C. to overcome the disadvantages inherent in the design, of that

helmet. Whilst providing excellent protection, the Corinthian helmet

severely limited the wearer's hearing and vision, consequently the,

design of the Chalkidian helmet was an attempt to overcome these

problems.

-265-
 Kunze (196?, 135-7. ) has demonstrated that the Chalkidian helmet

first appeared on the Greek mainland early in the 6th Century B. C.

The earliest dated example comes from a well deposit, of this date, ' at

Olympia. He divides it, in its purely Greek form, into five types

according to the shape of their cheek-pieces. He follows Furtwsngler

in maintaining that this helmet has characteristically Ionic elements

in its design and originated either in Chalcis or one of its colonies.

The Chalkidian helmet is well established in southern Italy by the

late 6th Century, with a wide distribution stretching" from the

Basilicata to Campania. At this time however it only appears as a

minority type, being by far outnumbered by imported and indigenously

produced Corinthian types. Snodgrass (Snodgrass 1967,69-70. ) concurs

with Kunze's suggestion that this helmet'type may have originated in a

southern Italian workshop. More and more it seems likely that this is

the case. Ferrari's (Ferrari 1978; 83ff. ) recent work on the

Chalkidian vases has shown that they also in all probability

originated there.

Contemporaneously ac-variant of the Chalkidian helmet appears in

an 'indigenous form in Etruria. Surprisingly, in contrast to the

contemporary Corinthian helmets, there are no Greek prototypes of the

Chalkidian found in Etruscan tombs. This local Etruscan variant is

similar in some respects to Kunze's Greek type V, especially in the

shape of its cheek-pieces, but it differs in-the shape of the bowl.

It is from these two sources then that the true Italian Chalkidian

helmet evolves.

-266-
Definition.

Lacking a definition and established typology which is universally

endorsed by all scholars, the author defines the Chalkidian helmet as

one which incorporates a marked, angled, junction between the bowl and

the brow-band, and which is equipped with a nasal or vestigial nasal

guard and whose cheek-pieces are usually made in one with the bowl but

may be made separately and hinged to the helmet bowl. The definition

excludes those helmets of a similar form with hinged cheek-pieces of a

bicuspid type which lack the nasal which the author defines as Samno-

Attic helmets.

Chalkidian helmets are derived from the Corinthian tradition and

evolved as a result of experiments carried out on this helmet in the

6th Century B. C. In the past some of the above defined helmets have

been described as Attic, by Furtwängler (1890,170. ) or Lucanian, by

Stary (1982,5. ). The term Attic should perhaps more rightly be

reserved for those types of helmet of this tradition which are

depicted on Attic silver coinage of the 5th Century B. C. I. e. helmets

with no nasal defence and hinged cheek-pieces of a bicuspid form.

Stary's use of the geographical appellation Lucanian is therefore not

only inaccurate but misleading in that helmets of this form occur

widely throughout Italy and are by no means concentrated in Lucania.

-267-
FIG. 76

Bowl

Nasal

Neck-guard

AN ITALO-CHALKIDIAN HELMET

Brow- band

Cheek-piece

-268-
Table I-
No,,,Museumand Inv No,: Cat,: Dimensions: Provenance.:
No. H. UP
1, MuseoNazionale (261) 265 240 205 Paestum, Campania,
Naples, Italy,

2, Bibliot. hbque (312) 240 250 215 Vuici, Toscana,

Nationale 2013, Italy

3, Villa Giulia Rome (376) 225 250 204 Todi, Toscana,

27186, Italy,

4, Mus6edu Louvre (327) 240 250 190 Perugia, Umbria,

1104 (C6698), Italy,

5, MuseoNazionale (341) 220 250 180 Santa Giuliana,

Perugia 1101, Umbria, Italy

6, MuseoNazionale (342) 216 254 162 Frontone, Perugia,

Perugia 361, Umbria, Italy

7, MuseoNazionale (343) 216 254 162 Frontone, Perugia,

Perugia Umbria, Italy
,
8, Museo Archeologico (130) 170 245 195 Marche, Italy
Florence 1238,

9, Collection Leopardi (338) 274 205 169 Abru7zo, Italy

Penne, Italy,

10, MuseoNazionale (262) 260 200 175 Locri, Reggio

Naples 5737, Calabria, Italy

11, British Museum (183) 273 205 170 Ruvo di Puglia,

2830,12-26,616, Puglia, Italy

12, Musee des Beaux (205) 260 231 160 Cerveteri, Lazio,
Arts Lyons X228. Italy

13, British Museum (184) 234 205 167 Apulia, Italy,

2822,8-20,225,

14, Whereabouts unknown (443) 210 238 - Italy,

in 1896 in the
Delhaes collection,

15 MuseoPoldi Pezzoli (240 ) 280 220 170 Metaponto,

,
Milan N872, Basilicata, Italy.

-269-
No,: Museum and Inv No.: Cat,: Dimensions: Provenance,:
No. H. U. B.
16, MuseoNationale (263). 205 205 170, Locri, Reggio
Naples No Inv, No, Calabria, Italy,

17, Castel S, Angelo (366) 210 210 170 South Italy,

Rome, 2012,

18, Greek Museum (278) 200 200 165 South Italy,

Newcastle
University, 101

19, Museo Gregoriano (414) 210 210 182 Italy,

Vatican, 12303.

-270-
Distribution.

As stated above, typologically the Italian Chalkidian helmet can be

divided into seven groups. The first of which appears only in

southern Italy. The helmets of this type are either direct Greek

imports or the products of the cities of Magna Graecia. These appear

at the end of the 6th Century and the beginning of the 5th Century

B. C. and are represented by only one securely provenanced example.

This was excavated from a grave at Paestum in 1805 and its presence

at the Greek colony of Posidonia comes as no`suprise. -

From the seven types into which the author has divided the Italo-

Chalkidian helmet, it is possible to isolate three groups of

typologically and temporally closely linked, Chalkidian helmet forms

(types II, III and IV. ) from northern and central Italy, in fact from

the heartland of Etruria. These differ both temporally and

typologically from the earlier Greek style products (type D. Their

findspots are concentrated around the great Etruscan bronze working

centres of Vulci, Todi and Perugia. Amongst these there is a

significant group of four almost identical helmets (Table 1 Was. 4,5,

6 and 7), dating from the end of the 5th to the 4th century B. C., from

the necropoleis around the great bronze producing city of Perusia

(modern Perugia) and another very similar product helmet No. 8 from

Marche, now in the Nuseo Etrusco Florence. These without doubt

represent a local tradition in design if not the products of a single

workshop.

-271-
 Of the other three indigenous types (V, VI and VII) over sixty

percent are located on sites stretching from the Abruzzi to Locri and

clearly indicate the popularity of this helmet form in southern

Italy. Indeed it is widely depicted in art throughout Lucania and the

south. With such a small sample to work from, it is perhaps unwise to

suggest that the concentration of twenty percent (two examples) of

these helmets in Locri is significant. At least one helmet can be

said to have come from Metapontum due to the inscription it bears in

the Tarantine alphabet (No. 15).

There is a gap in the distribution between the Bay of, Naples and

Marche, this is perhaps significant but it may only reflect the

,

prevailing burial custom of the peoples of the Latin League i. e

cremation without grave goods. To date there are no known examples

from Italy north of Etruria or in Sicily. Regardless of its

popularity in Etruria and south Italy, the Chalkidian helmet was not

long lived and disappears from the archaeological record at the end of

the 4th century B. C.

-272-
FIC. 77 Distribution of Italo-Chalkidlan helmets

-273-
1. Paestum, Campania, Italy.

2. Vulci, Tuscany, Italy.

3. Todi, Tuscany, Italy.

4. Perugia, Umbria, Italy.

5. Santa Giuliana near Perugia, Umbria, Italy.

6. Necropolis del Frontone near Perugia, Umbria, Italy.

7. Necropolis del Frontone near Perugia, Umbria, Italy.

10. Locri, Reggio Calabria, Italy.

11. Ruvo, near Bari, Puglia, Italy.

12. Cerveteri, Lazio, Italy.

15. Metaponto, Basilicata, Italy.

16. Locri, Reggio Calabria, Italy.

-274-
Xanufacture.

All the extant examples of Italian Chalkidian helmets are

manufactured by "hollowing" and subsequent "raising" over stakes.

Regardless of the elaboration of the design the helmets are all made

in one piece. They divide into two basic traditions; those formed

with integral cheek-pieces, and those with the separately made and

hinged variety. All but two of the extant helmets are decorated by

embossed eyebrows; these are either embossed in the metal of the

helmet itself or from separate sheets of bronze and soldered to the

helmet. By and large the decoration found on the majority of these

helmets would appear to have been executed at the end of the main

shaping processes in a pitch block, using the repoussd technique,

shaping the metal of the helmet itself into the decorative design.

The exceptions to this are helmets of type V, which, whilst the

of the decoration on the helmet bowl itself is executed in

majority

this manner, have cheek-pieces which are decorated by applied,

embossed, sheet bronze ram's heads, which are soldered on. A number

of helmets found in Etruria, most especially No. 7, are decorated with

figurines, such as are found on contemporary Negau helmets.

applied

These are cast equipped with a lug on their rear face for riveting

through the metal of the helmet.

-275-
FIG. 78

-276-
No,: Nasal; Cheekpieces: Neckguard; Decoration; Type;
Pr No MS Pr HF RH St C St Ev No App Em AC Epp
m

2. ##*: *#Yt# II

#*#*Xtt III

4, ##### IV

5, ###### IV

6, ####### IV

7, ####### IV

8. t**#ttt IV

9. #########V

10, #########V

i. #X*##t##V

12, ####### VI

13, ###### VI

14, ###### VI

16.1 ##t VI

16, t#### VITA

17, ##### VITA

18, ##### VIIB

19. #t VIIR
Key; Nasal; Pr- Present, No- None, M- Moderate, S- Short,
Cheekpieces; Pr- Present, H- Hinged, F- Fixed, RH- Ram's Head,
St- Straight forward and rear edges, C- Curved rear edge,
Decoration; No- None, App- Applied, Em- Embossed, App I Em-
Applied and Embossed.

-277-
No.: Context Provenance.: Suggested
date
1. Tomb Find. Dated by Paestum, Campania,
associated finds to the Italy.
late 6th or early 5th
centuries B. C.

2. Tomb Find. Dated by Vulci, Toscana, 480 B. C.

associated finds to the Italy.
late 6th or early 5th,
centuries B. C.

3. Tomb Find. Dated by Todi, Toscana,

associated finds to the Italy
early 5th century B. C.

4. Unknown. Probably a tomb Perugia, Umbria, c. 450 -

find. Date assigned Italy. 400 B. C.
because of its close
similarity to helmets
Nos. 5 and 6.

5. Tomb Find. Dated by Santa Giuliana,

associated finds Perugia, Umbria,
including red-figure Italy.
wares to the mid to
late 5th century B. C

6. Tomb Find. Dated by Frontone, Perugia,

associated ceramics to Umbria, Italy
the mid to late 5th
century B. C.

7. Unknown. Frontone, Perugia, Early 5th -

Umbria, Italy. B. C.

8. Unknown. Marche, Italy. Early - mid

5th B. C.

9. Unknown Abruzzo, Italy. Mid 5th

B. C.

10. Tomb find; 'dated by red Locri, Reggio

figure wares to the end Calabria, Italy.
of the 5th century B. C.

-278-
No.: Context Provenance.: Suggested
date
11. Unknown. However the Ruvo di Puglia, 4th B. C.
decorative motifs used Puglia, Italy.
would suggest a late
5th or early 4th
century B. C. date.

12. Unknown Cerveteri, Lazio, 5th B. C

Italy

13. Unknown. The form and Apulia, Italy. 4th B. C.

decorative motifs are
similar to those of
Samno-Attic helmets
found in 4th century
B. C. contexts.

14. Unknown. The form and Italy. 4th B. C.

decorative motifs are
similar to those of
Samno-Attic helmets
found in 4th century
B. C. contexts.

15. Unknown but dated by Metaponto, 4th B. C.

style of the Tarantine Basilicata, Italy.
alphabet used in the
inscription to the
early 4th B. C.

16. Unknown Locri, Reggio

Calabria, Italy.

17. Unknown. South Italy. Late 5th

B. C.

18. Unknown. However the South Italy. Early to mid

decorative motifs used 4th B. C.
would suggest a date
fron the late 5th to the
early 4th century B. C.

19. Unknown. However the Italy. Mid 4th B. C.

decorative motifs used
would suggest a date
from the late 5th to the
early 4th century B. C.

-279-
FIG. 79

A ."ýý . s.

p :l
O

i
i

6
TXpýg

Vhilst acknowledging the pioneering work of Kunze (1967) who

divided the Greek Chalkidian form into five main types, it is clear,

upon the detailed examination of those examples which are of undoubted

Italian manufacture, that his typology is too simple and not flexible

enough to account for the variety of forms to be found in the Italian

peninsula. Therefore it has been necessary to modify his original

typology to provide a parallel typology for the Italian Chalkidian.

Typologically this helmet can be divided into seven distinct

groups, which exhibit some sequential development starting with forms

almost indistinguishable from their Greek prototypes. A number of the

following types of Italian Chalkidian are of purely regional

significance and probably represent the products of individual

workshops or groups of workshops.

A significant proportion of Chalkidian helmets come from Etruria

and can be dated from the early 5th to the early 4th Century B. C.

Although presumably originally inspired by south Italian prototypes

and disseminated from the Etruscan colonies in Campania and their

contacts with the Vestern Greek colonies of southern Italy, these

helmets can be shown to represent a strong regional tradition, with

close links to other Etruscan helmet forms, very different from those

Chalkidian helmets produced in southern Italy. It. is probable

therefore that this tradition does in fact represent a local workshop

in the upper Tiber valley around Perugia, the area from where two

thirds of the finds were recovered. These Etruscan products can

-281-
themselves be divided into three types, although the first two are

only represented by a single example each.

In general terms the development of the Italian Chalkidian helmet

can be divided into two main traditions, those with hinged cheek-

pieces or those with fixed. The other diagnostic features, which have

been judged to have both temporal and geographical significance both

for the production and in the use of the Italian Chalkidian helmet,

are the presence or absence of a nasal defence, its length, and the

form and shape of the helmet bowl itself and the decorative techniques

employed, as well as the form of the decoration itself applied to each

helmet. All these factors have been taken into account in

constructing the following typology.

Type-1, (No. 1)

This type is represented by only one example being a helmet

excavated at Paestum in 1805 and dating to the closing years of the

6th century B. C. It conforms to Kunze's Greek type I/II and is

characterised by a low hemispherical skull with a medial keel swelling

from a fitted brow-band which rises at the front to an apex and is

drawn down to form a short nasal guard. At the sides the brow-band is

drawn down to form rounded cheek-pieces with oval cut-outs for the

eyes and is provided with cut-outs for the ears. - At the rear it is

drawn down to form a straight neck-guard with a basal flange This

.

is a purely Greek product probably produced in the Greek colonies of

lower Italy.

-282-
FIG. 80

'""
I ý; .fit+.""

aa

iý*
A4
ß
ýýýß
1ý
Aa
\p ý

-283-
Type II. (No., 2)

This type is again represented by only one example, the well known

Vulci-helmet, now in the Bibliothdque Nationale (Inv. No. 2013). It is

dated to the late 6th century B. C. and is closely related to the

Corinthian helmet in form. It owes little or nothing to the preceding

type, it has a. high domed bulbous bowl swelling from a fitted brow-

band. The-junction between the bowl and the brow-band is clearly

defined by a marked ridge decorated by an embossed band of tongue

pattern. At the front the brow-band sweeps upwards in a curve and is

drawn down to, form a nasal. The cheek-guards are made in one with the

brow-band, and are of a form very reminiscent to those of, the

Corinthian helmet, although the eye openings are considerably larger.

They have straight front and rear edges, although the rear edge is

only straight for half its length and then is angled to meet the

forward edge. At the sides are cut-outs for the ear and at the rear

the brow-band forms a short straight neck-guard with a sharply everted

flange at its base.

Type III. (No. 3. )

There is only one extant helmet of type III, a fine example from

Todi, now in the Museo Nazionale Villa Giulia. It has a rounded

moderate slightly bulbous skull swelling over a fitted brow-band. The

junction between the two is marked by a pronounced angle. The brow-

band rises at the front to an apex, forming a forehead gable. At its

base - it is drawn down to form a nasal guard of moderate length. The

brow-band has cut-outs for the ears and is extended at the rear to

form a straight neck-guard. This is given a right angled flange at

its base. It has hinged cheek-pieces similar to those of type II in

-284-
farm. These have a straight forward edge to which the rear edge runs

parallel for half its length, it then turns to meet the forward edge

at about 45 degrees. The hinges are multi-hasped and are held to the

bowl and cheek-pieces by three rivets. There is no provision for a

crest. The helmet is elaborately decorated but this decoration is

restricted to the forehead area and the cheek-pieces. This consists of

a pair of embossed and applied silver eyebrows on a ground decorated

with repouss6 and chased palm leaves and a series of waves. The

ridge between the brow-band and skull is decorated with repouss6 and

chased inverted tongue pattern. The cheek-pieces are embossed with

scenes of warriors fighting. The helmet is of the highest quality and

forged in one piece.

Type IV. Mos. 4,5,6,7 and 8)

These helmets are manufactured in one piece but have hinged cheek-

pieces. They are typified by a high domed bulbous bowl which swells

from a fitted brow-band, the junction is sharply angled and decorated.

The brow-band sweeps up at the front to -form a gable, it has cut-outs

for the wearer's ears and is drawn down at the rear to form a fitted

but slightly everted neck-guard. At the front the base of the brow-

band is decorated by embossed eyebrows below which projects a short

thick nasal. The cheek-pieces are of type I and clearly derived from

those of helmet no. 2. They have a straight front edge with a cut-out

for the wearer's eyes. The rear edge is curved round to meet the

forward edge.

-285-
FIG. 81

aitiw. uý : 'üi

10

11

-286-
 ( Nos. 9,10 and 11. )

These helmets are characterised. by a low fitted bowl swelling from

a fitted brow-band. The, bowl has a marked medial ridge and the

junction between it-and the brow-band is marked by a well defined

step. At the front the brow-band sweeps up to a central apex

producing a gable and is drawn down at its, base. to form a nasal guard.

The brow-band is extended at the sides to form cheek-pieces, forged in

one, with the bowl and out into the outline shape of ram's heads.

These are overlaid with repoussd sheet bronze rams' heads, the eyes

being inlaid in enamel. Behind the cheek-pieces are. cut-outs for the

wearer's ears. At the rear the brow-band is drawn down to form a

straight but flanged neck-guard.

These helmets are - all highly decorated in. the same manner with

applied and engraved work and are of the very highest quality.

Helmets Nos. 10 and 11 are almost. identical, the ridge forming the

junction between the brow-band and bowl being decorated with finely

embossed, stylised locks of hair, above which is an engraved tongue

pattern which is surmounted with a guilloche pattern The conjunction

of all these factors and the distribution of the group as a whole

suggests that they may reflect the products of a single workshop,

probably in the area around Locri. The majority of this helmet type

have no crest-fixtures, however helmet No. 11, from Ruvo has a typical

southern Italian, detachable feather holder riveted longitudinally to

the apex"*of the bowl.

Type VI. ( Nos. 12,13,14 and 15.

This group of helmets are well made and each is, forged from a

single sheet of bronze. They are characterised by a high bowl with a

-287-
pronounced medial ridge which swells out over a well defined brow-

band. This is itself extended downwards at the sides and rear to form

the cheek-pieces and the neck-guard. At the front the brow-band rises

to form an inverted "V" shaped gable. A shallow cusp has been cut out

over each eye to provide a vestigial nasal. The helmet is closely

tailored to the back of the skull. It has a well fitted neck-guard

which has a right-angled flange at its base. The main edges of the

brow-band and cheek-pieces in front of the ear cut-outs are

considerably thickened for strength. The cheek-pieces are almost

triangular in form and are of the fixed variety made in one with the

bowl. Below the cut-out for the eye, the front edge of the cheek-

piece is straight. The rear edge of the cheek-piece runs parallel to

this for about half its length and then turns sharply to meet the

forward edge at an angle of about forty-five degrees.

The decoration of this group of helmets is internally consistent

and takes the form of embossed eyebrows on the brow-band, which

extend back almost to the ear cut-outs. Above this is an inverted "V"

shaped fluted ridge echoing the brow-band which rises to an apex at

the centre.

Type VII. ( Nos. 16,17,18 and 19. )

Unlike the foregoing types, helmets of type VII exhibit

considerable variation in their form and decoration. Indeed, some

helmets; Nos. 16 and 17, are undecorated (Type VIIA) whereas 18 and

19 (Type VIIB) are highly embellished. However they share a number of

important characteristics. Like all the other Chalkidian helmets,

they are forged from a single sheet of bronze. They have moderate or

high slightly bulbous bowls with very pronounced medial ridges.

-288-

I
These surmount fitted brow-bands and the junction is marked by an

angular ridge. The brow-band curves up at the front to an apex and is

shaped like an inverted "V". They all have hinged cheek-pieces,

unfortunately now missing and therefore it is not possible to' say

exactly what form these took. These were supported by multi-hasped

hinges attached with three rivets to the bowl. At the sides are cut-

outs for the ears and slight cusps have been cut out at the front over

the wearer's eyes from which projects a short nasal. At the rear the

brow-band is extended to form a deep neck-guard which flares at its

base to form a small flange. The helmets are pierced by numerous

small holes around the ear cut-outs and down the neck-guard,

presumably for sewing in the lining.

1. A grave at Paestum, Campania, Italy. The Museo Nazionale Naples.

Undecorated. (fig. 78: 1) Lipperheide, von. 1896,99, No. 325.

Type II.

2. A grave at Vulci, Tuscany, Italy. The Biblioth&que Nationale,

Paris. (Inv. 2013,5650). Decorated: The decoration consists of a

leaf stem on the edge of the bowl, silver encrustation around the main

edges and an applique on the forehead depicting Hercules and Apollo

fighting over a doe. (fig. 78: 2) Lipperheide von. 1896,82,, No. 516,

Bandon and Blanchet. 1895,659. Adam. 1984,108-10.

Type ITT.

3. A grave at Todi, Umbria, Italy. The Museo Nazianale di Villa

Giulia, Rome. (Inv. 27,184-86 ). Decorated: The decoration consists

of embossed eyebrows on a ground consisting of engraved and chased

palm leaves, sea creatures and a series of waves under a band of

-289-
 I

filligree pattern. The cheek-pieces are embossed and show scenes of

warriors fighting. (fig. 78: 3) Pioretti. 1980,308.

jYP_C IV.

4. Perugia, Umbria, Italy. The Musee de Louvre, Paris. (Inv. 1104,

C669B). Decorated: The decoration consists of a narrow band

encircling the main edges of the helmet and applied, embossed stylised

eyebrows. (fig. 79: 4) Ridder, de. 1915,2.

5. The necropolis of Santa Giuliana near Perugia, Umbria, Italy. The

Museo Nazionale, Perugia. (Inv. 1101. ). Decorated: The decoration

consists of applied embossed eyebrows now missing , and surface

tinning. (fig. 79: 5) Unpublished.

6. The Frontone Necropolis near Perugia, Umbria Italy. The Xuseo

Nazionale, Perugia. (Inv. 361. ). Decorated: The decoration consists

of embossed stylised eyebrows and a band of engraved and embossed

tongue pattern over a plain narrow band from the front of the eye cut-

outs along the ridge between the helmet bowl and the brow-band.

(fig. 79: 6) Unpublished.

7., The Frontone Necropolis near Perugia, Umbria Italy. The Museo

Nazionale, Perugia. (Inv. 354 B1654. ). Decorated: The decoration

consists of embossed stylised eyebrows and a band of engraved and

embossed tongue pattern over a plain narrow band from the front of the

eye cut-outs along the ridge between the helmet bowl and the brow-

band. (fig. 80: 7) Unpublished.

8. Unprovenanced from the Marche, Italy. The Museo Archeologico,

Florence. (Inv. 1238. ). Decorated: . The decoration consists of an

applied cast bronze Triton killing a Hoplite and a band of engraved

and embossed tongue pattern along the ridge between the bowl and the

-290-
brow-band in front of the ear cut-outs. (fig. 80: 8) Lipperheide,

von. 1896,83-4, Nas. 19 and 20. Connally. 1981,98, fig. 1.

Type V.

9. From the Abruzzo, Italy. Now in the Collection Leopardi in Penne,

Italy. Decorated: The decoration repouss6 and

consists of applied

engraved ram's heads on the cheek-pieces these are accompanied by an

incised herring bone pattern around the main edges. On the forehead

are embossed eyebrows joined over the nasal. (fig. 81: 9) Cianfarani.

1970,198.

10. Locri, Reggio Calabria, Italy. Museo Nazionale, Naples. (Inv.

5737. ). Decorated: The decoration consists of embossed and applied

sheet bronze ram's heads on the cheek-pieces. The junction between

the bowl and the brow-band is decorated with embossed and engraved

stylised locks of hair. It has embossed eyebrows which meet over the

nasal. (fig. 81: 10) Lipperheide, von. 1896,104. No. 328.

11. A grave at Ruvo near Bari, Puglia, Italy. The British Museum.

(Inv. 2830,1856,12-26.616. ). Decorated: As above but the hair

finishes at each end in an engraved palmetie and snakes. Above this

is an engraved guillbche. pattern. (fig 81: 11) Walters. 1899,348. "

_

Type Vi.

12. From Cerveteri, Lazio, Italy. Now in the Musee des Beaux Arts,

Lyons. (Inv. X228. ). Decorated: The decoration consists of an

embossed line around the cheek-pieces and nasal, embossed eyebrows and

embossed moulding which follows the line of the browridge. (fig

82: 12) Boucher. 1964,101, fig. 3. v

13. Apulia, Italy. The British Museum. ' (Inv 2822,1873-8-20.225. ).

Decorated: The decoration consists of an embossed inverted V moulding

-291-
 forehead meet over the
on the and underneath a pair of eyebrows which

(fig. 82: 13) Valters. 1899,348., Stary, 1982,5, fig. 16.

nasal.

14. Unprovenanced from Italy. Its present whereabouts unknown, in 1896

S. Delhaes in Vienna. Decorated: The

it was in the Collection of

decoration of embossed eyebrows, a thickened edge to the

consists

cheek-pieces"and eye opening. Around the cheek-pieces and eyebrows

double incised lines. (fig 82: 14) Lipperheide, von. 1896,100,

are

No. 436.

15. Metaponto, Italy. Museo Poldi Pezzoli, Milan. (Inv. 1872).

Decorated: The decoration consists of embossed eyebrows which meet

the nose. Above this are two embossed inverted "V" shaped
over

mouldings echoing the form of the brow-band. Inscribed: ETEViS Xaµ

o'unpe6lXiai aou6Eieia. "Vettenius Can. - Athenae

adavas pcTanovrivas

Metapontinae Audil. " (fig 83: 15) Lipperheide, von. 1896,

sub medicae

102, No. 35., Borrelli. 1957,234-42, pl. 101-3., Cavalieri Manasse.

1985,36, No. 32A.

Type VII.

16. Locri, Reggio Calabria, Italy. Now in the Museo Nazionale,

Naples. Decorated: The decoration consists of embossed eyebrows.

Inscribed: KEMEX<, N. (fig. 83: 16) Lipperheide, van. 1896.112,

No. 327.

17. Unprovenanced, Southern Italy. Museo Castel S. Angelo. (Inv.

2010. ). 'Undecorated. (fig. 83: 17) Unpublished.

18. Unprovenanced from Southern Italy. Now in the Greek Museum,

University of Newcastle upon Tyne (Inv. 101. ). Decorated: The

decoration consists of embossed eyebrows which meet over the nasal in

a volute. At the top of the nasal is chiselled a scallop shell.

-292-
Above the eyebrows is an inverted V shaped moulding decorated with

embossed and engraved tongue pattern. Above the junction between the

bowl and brow-band is an engraved guilloche pattern, above this are

embossed snakes. (fig. 84: 18) Foster. 1978,7-9.

19. Unprovenanced from southern Italy. Now in the Museo Gregariano

Etrusco in the Vatican Rome (Inv. 12303. ). Decorated: The decoration

consists of embossed eyebrows which meet over the nose. Above this

are three plain inverted "V" shaped mouldings. Mirroring these and

forming the junction between bowl and brow-band is a line of embossed

and chased tongue pattern. (fig. 84: 19) Unpublished.

Only a small minority, under a sixth, of Chalkidian helmets have

any form of crest-fixture. When they -occur, they are usually

permanently attached to the helmet bowl. There seems to be no

regional bias in the fitting of crest-fixtures neither does there seem

to be any typological implication in regard to the forms fitted to

any given helmet. Crest-fixtures survive on helmets 7,8 and 11 and

there are traces of the fixtures for one on helmets Nos. 13 and 18.

No traces of crest-fixtures survive on any of the helmets of types I-

III nor indeed on the majority of type IV, although Etruscan frescoes

show them to be universally worn on this type of helmet. This may of

course be only artistic convention, but considering their accuracy in

other respects this seems unlikely; therefore the crest-box must have

been made of an organic material mounted directly to the helmet bowl,

presumably with animal glue, and not recognised when these helmets

were excavated.

-293-
FIG. 82

12

13

14

-294-
 Crest-fixtures survive on two Etruscan products, helmet No. 7 from

Frontone and helmet No. 8 from the Marche (figs. 80; 7 and 8). On the

former these consist of a cast bronze winged demon or god leading a

horse soldered to either side of the apex of the skull to act as a

holder for the crest-box. On the latter they take the form of two

cast bronze palmettes similarly disposed and attached. The nearest

parallel to this type of fixture is to be found an the Negau helmet,

whilst an exact parallel for the crest-fixture on helmet No. 7 occurs

on a Negau helmet from the "Tomb of the Warrior" at Vulci dated to

around 525 B. C. It cannot be purely coincidental that this type of

crest-fixture appears on two near contemporary products of central

Etruria. Helmet No. 18 bears solder marks on either side of the apex

of its bowl and quite probably had a similar form of crest-holder.

Helmet No. 13, from Apulia has a circular solder mark on either

side of the apex of its skull which may have been for feather tubes

like those found on contemporary Samno-Attic helmets (see Chapter 7. ).

Finally helmet No. 11 from Ruvo has the base portion of a crest-

fixture, of a typical south Italian form, riveted longitudinally to

the apex of its bowl (fig. 84: 19). It consists of a narrow strip of

bronze riveted at the centre and either end. Between these rivets the

strip has been shaped over a rod to produce two loops. Originally

another strip of bronze, carrying the crest-fixture itself and pierced

to receive the loops, would have fitted over the original strip. The

whole assemblage would have been held together by pins inserted

through the loops which projected through the upper plate. This type

of crest-fixture is more commonly associated with Samno-Attic and

Apulo-Corinthian helmets where it is usually riveted transversely.

-295-
There is however no evidence that this crest-fixture is a nodern

addition and there is no difference in the pätination or condition of

the two pieces, to suggest that they do not belong together.

Cheek-pieces.

The cheek-pieces on Chalkidian helmets fall into two main groups,

those that are forged in one with the helmet bowl and are therefore of

that and hinged to

a fixed type, and those are manufactured separately

the helmet.

The fixed are either of a roughly triangular form or

varieties

shaped into the profile of a ram's heads. Both of these varieties

found, if in Italy and

occur on helmets not manufactured, southern

an those helmets of Etruscan origin which, with the exception of

not

6th century helmet (No. 2) from Vulci, have hinged cheek-pieces.

The can be divided typologically into five forms

cheek-pieces

(figs. 85: 1 - 5), Type I; which are of a purely mainland Greek

only on helmet No. 1 from Paestum. These are fixed and

variety occur

made in one with the bowl. They are rounded and lobate in form and

are provided with a deep oval cut-out for the eye.

Those of Type II are made in one with the bowl and have a straight

front edge with a deep cut-out for the eye. The rear edge runs

roughly parallel to the front for approximately half its length and

then sweeps forward to meet it at an angle of approximately 45

degrees. This form of cheek-piece is found on helmets of type II and

VI.

The next form, Type III, are similar in shape to type II, and are

clearly derived from them, but are hinged. The hinges are multi-

hasped and are held to the bowl and cheek-pieces by three rivets.

-296-
This form of cheek-piece occurs on helmets of type III and is commonly

depicted in Etruscan art e. g. a painting of a warrior from Chiusi

dating to the 5th century B. C. (fig. 86: 1)

Like the preceding variety, cheek-pieces of Type IV are hinged.

They are a purely Etruscan form and occur only on helmets of type IV.

They are depicted in Etruscan art from the 6th century onwards e. g.

in a tomb painting of an Etruscan warrior from Ceri (Stary 1979,188

pl. 21b and Connolly 1981,98, fig. 14. ) (fig. 86: 2). The cheek-

pieces have a straight forward edge, equipped with a deep cut out for

the eye. The rear edge is strongly curved to meet this, forming

almost a quarter circle. In all cases the hinges are multi-hasped and

are held to the bowl and cheek-pieces by two rivets.

The final form of cheek-piece associated with the Italian

Chalkidian helmet is Type V. These are of the fixed variety formed

in one with the helmet bowl. They are cut into the form of rams'

heads. These are then decorated with applied, repouss6, sheet bronze

rams' heads, with enamelled eyes, which are soldered onto each cheek-

piece.

It is unfortunate that no cheek-pieces survive in association with

a helmet of Type VII and therefore it is impossible to state

whether these took the form of any of the preceeding types, or indeed

were completely different. However the weight of the pictorial

evidence would imply that they were probably of one of the types

described above as no other forms are ever depicted.

-297-
FIG. 83

15

16

17

-298-
Decoration.

The majority of Chalkidian helmets are elaborately decorated.

Helmets Nos. 1,16 and 17 are exceptions and are undecorated. Like
.,
the majority of Italian helmet types the decoration on the Chalkidian-

helmet is restricted to the cheek-pieces and forehead area. One

decorative feature common to all, types, with the exception of type I,

are embossed stylised eyebrows. In addition the junction between the

brow-band and helmet bowl is decorated with embossed and chased tongue

pattern on the majority of types II, II, IV, V and VII .

The late 6th and early 5th century B. C. Etruscan- products,

represented by types II and III, are highly decorated examples of the

armourer! s art. They are enriched with applied silver decoration.

Helmet no. 2 is encrusted with silver dots around the, main edges of

its cheek-pieces and face opening, whereas helmet no. 3 has embossed

and applied silver eyebrows soldered to a chased and embossed forehead

gable decorated with palm leaves, sea creatures and a series of waves

under a_band of filligree pattern. Both types of helmet incoporate

repousse figurative scenes in their decoration. Helmet No. 2 carries a

scene of Apollo and Hercules fighting over a deer on its frontal gable

and helmet No. 3 scenes of warriors fighting on its cheek-pieces.

These scenes are embossed in the metal of the helmet itself rather

than being applied.

The other Etruscan produced Chalkidian helmets, those of Type IV,

are also elaborately decorated although not to the same extent as the

previous two forms which may perhaps be seen as one offs whereas type

IV probably represent the products of a single workshop. In all cases

the decoration incorporates embossed stylised eyebrows although in the

-299-
case of. helmets Nos. 4 and 5 these were embossed from separate sheets

of bronze and then soldered on. All the helmets of this group have a

raised moulding around-their main edge but this, with the exception

that helmet No. 5 is tinned, is the only decoration borne by helmets

Nos. 4., and 5. The other three helmets of this group (Nos. 6,7 and

8. ) however are decorated with a band=of engraved and embossed tongue

pattern over a plain narrow fillet which runs from the forward edge

of the ear cut-outs along the ridge between the helmet bowl and the

brow-band. In addition to this, helmet No. 8 has an applied cast

bronze triton killing a hoplite riveted to the top of-its brow-band at

the front.

Perhaps the most elaborately decorated form of Chalkidian helmets

are those of Type V. The most important elements of their decoration

are the embossed and applied sheet bronze ram's heads, with enamelled

eyes, soldered to each, cheekpiece, which are themselves cut into the

same profile. Like the majority of the Chalkidian helmets they are

also decorated with embossed eyebrows which meet over the nasal.

Helmet No. 9 from the Abruzzo has incised vandyking around the main

edges of its cheek-pieces. This does not occur on Helmets No. 10 and

No. 11 which are not only almost identical in their form but also in

their supplementary decoration. Here the junction between the bowl

and the brow-band is decorated with embossed and engraved stylised

locks of hair, above this a guilloche pattern is engraved encircling

the front of the bowl.

As with the helmets of type V those of Type VI all bear the same

decorative motifs; these consist of embossed eyebrows on the brow-band

-300-
which extend back almost to the ear cut-outs. Above these is an

inverted "V" shaped fluted ridge embossed into the brow-band.

Helmets of type VIIA, like those of type I, are completely devoid

of decoration, with the exception that helmet No. 15 from Locri has

embossed eyebrows. Conversely helmets 18 and 19, Type VIIB, are

highly decorated and borrow elements from both the Etruscan products,

types II, III and IV, and the south Italian, type V. Both helmets

have the usual embossed eyebrows which meet over the nose, and in

addition both have the junction between the bowl and brow-band

decorated by an embossed and chased tongue pattern: Above this on

helmet 18 is an interlace pattern very similar to that found on

helmets 10 and 11. This is further supplemented by an embossed snake

which encicles the bowl and almost meets at the front in two heads.

This motif, although not its execution and its positioning, is found

on helmet 10. This blending of the two styles of decoration may

perhaps suggest that these helmets originated in one of the southern-

most Etruscan colonies.

-301-
FIG. 84

4ýýý.

..
.ýý'.

ýt.:

' .ý

ýý. ý"ý

"ý
p"""..: "ý
f:

18

r)

ä:
r
:.
s-ý
,

19

., .ý;
11
---
---_I.

i o F'
,.

1. Crest-fixture on helmet No. 11 from Ruvo di Puglia

-302-
A detailed study of a hel3_ et of each type.

Helmet No. 1.

Type: Type I.

Location: Xuseo Nazionale Naples.

Inventory No.

Provenance: Paestum

Context: Tomb dating to the late 6th century B. C.

Assigned Date: 6th -5th" Century B. C.

Material: Bronze.

Dimensions: Height: 265 mm.

Overall Width: 240 mm.

Internal Width: 215 mm.

Overall Breadth: 205 mm.

Internal Breadth: 200 mm.

Thickness: Rim: 1 mm.

Bowl: 2.5 mm.

Nasal: 4 mm.

Cheek-pieces: Present: These are fixed and made in one with the

bowl. These are of a rounded lobate form and are

provided with a deep oval cut out for the eye.

Hinge-plates: Not applicable.

Crest-fixture: None.

Decoration: None

Manufacture: The helmet is forged from one piece of bronze.

Description: The helmet is characterised by a low hemispherical

bowl, with a slight medial keel, swelling from a

fitted brow-band. This rises at the front to an

-303-
 apex and is then drawn down at its base to form a

short nasal guard. At the sides the brow-band is

extended to form the cheek-pieces, which are

equipped with oval cut-outs for the eyes. Behind

each cheekpiece is a deep recess for the wearer's

ears. At the rear the brow-band forms a straight

neck-guard which is flanged at the base. The helmet

is very well made and is possibly the product of a

western Greek armourer. It is well preserved and

has a smooth green patina

Other details: None.

Published: Lipperheide, von. 1896,99, No. 325.

Helmet Ho. 2

Type: Type II.

Location: Bibliotbeque Nationale, Paris.

Inventory No.: 2013 S650.

Provenance: A grave at Vulci

Context: After 480 B. C.

Assigned Date: 5th, Century B. C.

Material: Bronze.

Dimensions: Height: 240 mm.

Overall Width: 250 mm.

Internal Width: 220 min.

Overall Breadth: 215 mn.

Internal Breadth: 210 mm.

Thickness: Rim: 3 mm.

-304-
 Bowl: 1 mm.

Basal: 4 =.

Cheek-pieces: Present: These are fixed and have a straight forward

edge with a deep out out for the eye. The rear

edge runs parallel to the front for approximately

half its length and sweeps forward to meet it, at an

angle of forty-five degrees.

Hinge-plates: Not applicable.

Crest-fixture: 'None.

Decoration: This helmet is elaborately decorated. Around the

main edge of the face opening and the cheek-pieces

are three parallel bands of decoration. These

consist of an inner band of punched dots and an

outer band of encrusted silver balls separated by a

plain fillet. The ridge between the bowl and the

brow-band is decorated with a band of embossed and

chased tongue pattern over a running spiral

pattern. On the forehead is an embossed relief,

depicting Hercules fighting Apollo for the possession

of a doe. Apollo carries a bow while Hercules is

depicted with his lionskin and club. Below this are

a pair of embossed eyebrows which meet over the nose

in a silver palmette.

Manufactures The helmet is forged in one piece and decorated with

repousse work which has been subsequently chased to

refine the details. The silver studs are encrusted

on the surface of the bronze.

-305-
Description: The helmet is closely related to the Corinthian in

form. It has a high bulbous bowl swelling from a

fitted brow-band. The junction between the bowl and

the brow-band is clearly defined by a marked ridge

decorated by an embossed band of tongue pattern. At

the front the brow-band sweeps upwards in a curve

and is drawn down at its base to form a nasal. The

cheek-guards are made in one with the brow-band, and

are of a form very reminiscent of developed

Corinthian forms, although the eye openings are

considerably larger. At the sides are cut-outs for

the ears and at the rear the brow-band forms a short

straight neck-guard with a sharply everted flange at

the base. The helmet is superbly made and has a

smooth green patina. It has suffered considerably

since its excavation and the neck-guard shown in

Lipperheide (1896,82. ) is now detached and missing.

Other details: lone.

Published: Lipperheide, von. 1896,82, no. 516. Bandon and

Blanchet 1895,659. Adam. 1984,108-10.

Type: Type III.

Location: Museo Nazionale Villa Giulia, Rome.

Inventory No.: 27186.

Provenance: Tomb in the Aecroplis S. Raffaele at Todi.

Context: 5th century B. C.

Suggested date: 5th century B. C.

-306-
Material: Bronze, with silver encrusting.

Dimensions: Height: 225 mm.

Overall Width: 250 mm.'.

Internal Width: 234 mm.

Overall Breadth: 204 mm.

Internal Breadth: 198 mm.

Thickness: Rim: 2-3mm.

Bowl: 1mm.

Wasal : 4mm.

Cheek-pieces: Present: These are hinged and have aýstraight

front edge to which the rear edge runs parallel

for half its length, it then turns to meet the

forward edge at an angle of-approximately forty-

five degrees.

Hinge-plates: Present: The hinges are multi-hasped and'are held to

both the bowl and cheek-pieces by three rivets.

Crest-fixture: None.

Decoration: The decoration is restriced to the forehead area and

the cheek-pieces. It consists'of a pair of embossed

and applied, silver, eyebrows on a ground decorated

with repousse and chased palm leaves, sea-creatures

and a wave pattern. The ridge between the brow-band

and the bowl is decorated with a band of repousse

and chased inverted tongue pattern. Likewise the

cheek-pieces are embossed with scenes of hoplites

fighting.

Manufacture: The helmet is forged in one piece and decorated with

-307-
 repousse work which has been subsequently chased to

refine the details.

Description: The helmet has a rounded, moderate, slightly bulbous

bowl swelling over a fitted brow-band. The junction

between the two is marked by a pronounced angle. The

brow-band rises at the front to an apex, forming a

forehead gable. At its base it is drawn down to

form a moderate length nasal. At the sides the

brow-band has cut-outs for the ears and is extended

at the rear to form a straight neck-guard. This is

given a right angled flange at its base. It has

hinged cheek-pieces which are derived from late

"Corinthian" forms. These have a straight forward

edge to which the rear edge runs parallel for half

its length, it then turns to meet the forward edge

at about forty-five degrees. This helmet is an

exquisite example of the Etruscan bronze-worker's

artistic and technical achievement. It has a smooth

green and brown patina and is in excellent condition

Other details: None.

Published: Bendinelli. 1916,843. Proietti. 1980,305, fig.

433.

-308-
FIG. 85

-309-
Helmet No. 5.

Type: Type IV

Location: Museo Nazionale Perugia.

,
Inventory No.: 361.

Provenance: Excavated in 1840 in the Necropolis del Frontoase

near Perugia.

Context: Unknown.

Suggested date: 5th century B. C.

Material: Bronze.

Dimensions: Height: 216mm.

Overall Width: 254mm.

Internal Width: 248mm.

Overall Breadth: 162mm.

Internal Breadth: 160mm.

Thickness: Rim: 2-3mm.

Bowl : I mm.

Nasal: 4mm.

Cheek-pieces: Present: These are hinged and have a straight

forward edge with a deep cut out for the eye. The

rear edge is strongly curved to meet this, forming

almost a quarter of a circle. They are attached to

the hinges by two rivets.

Hinge-plates: Present: The hinges are multi-hasped and are held to

the helmet bowl by two rivets.

Crest-fixture: None.

Decoration: The decoration is confined to the forehead area.

The ridge between the bowl and the brow-band, which

-310-
 rises to an apex at the centre front, is decorated

with a band of embossed and chased "tongue" pattern

over a narrow plain moulding. The embossed eyebrows

meet over the nasal. The main edges of the cheek-

pieces are decorated and strengthened by a raised

moulding.

Manufacture: The helmet is forged in one piece and decorated with

repoussd work which has been refined by subsequent

chasing.

Description: The helmet has a high, bulbous bowl swelling over a

well fitted brow-band. The junction is marked by a

well defined ridge. The brow-band curves up at

either side of the front to form an apex. At the

side are cut-outs for the ears and at the rear the

brow-band is drawn down to form a close fitting

short neck-guard which is flanged at its base. The

nasal is short and thick. The helmet is very well

made and finished. It has a smooth green patina and

two dents in the rear of the skull, there is a large

fissure in the left hand side.

Other details: The ear cut-outs and the base of the neck-guard are

pierced with small holes for sewing in the lining.

Published: Unpublished.

-311-
FIG. 86

1. Detail:. from Chiusi depicting Chalkidian helmet

-Fresco -a_

2 Detail: Fresco from Ceri depicting a Chalkidian helmet

-

-312-
Helmet No. 11.

Type: Type V

Location: The British Kuseum.

Inventory No.: 2830,12-26.616.

Provenance: A Grave'at Ruvo near Bari, Puglia, Italy.

Context: Late 5th to early 4th Century B. C.

Material: Bronze.

Dimensions: Overall Height: 273mm.

Overall Width: 205mm.

Internal Width: 202mm.

Overall Breadth: 170mm.

Internal Breadth: 167mm.

Thickness: Rim: 1.5mm.

Bowl: 0.5mm.

Aasal: 4.5mm.

Cheek-pieces: Present: These are, of the fixed variety formed in

one with the helmet bowl. They are cut into the

outline of'a ram's head. On the cheek-pieces are

traces of solder and fragments of the embossed

decorative sheet which overlaid them.

Crest-fixture: The crest-fixture consists of a narrow strip of-

bronze (approximately 20mm. wide) riveted

longitudinally to the apex of the bowl. There are

rivets at the centre and either end. Between these

rivets the strip has been shaped over a-rod to `

produce two inverted "U"-shaped loops. This is the

lower portion of a typical south-Italian crest-

-313-
 fixture. Originally another strip of bronze,

pierced to receive the loops and supporting the

crest itself, would have fitted over this strip.

Pins would be passed through the loops to hold it

in position

Decoration: The helmet is highly decorated with applique and

repousse work. The brow-band rises to an apex at

the front and the resultant ridge is decorated with

very finely embossed stylised locks of hair. Above

this is an engraved tongue pattern which is

surmounted with a guilloche pattern terminating in

snakes' heads either side of a palmette.

Manufacture: The main body of the helmet is forged in one sheet

of bronze. The nasal has been carefully blocked and

thickened to 45mm. The repousse hair decoration

was probably worked in a pitch block and then

chased. The decorative plaques for the cheek-pieces

were embossed separately and applied with solder.

Description: The helmet is of the very highest quality. The low

bowl swells from a fitted brow-band which rises to

an apex at the front. It has a strong medial ridge.

At the front the brow-band is drawn down to form a

short nasal and at the sides it has cut-outs for the

ears. The cheek-pieces are formed in one with the

helmet and are of the "Ram's head" variety. At the

rear the brow-band is drawn down to form a neck-`

guard which was originally strongly everted at its

-314-
 base. The top left side of the bowl is now

completely separated and the base of the neck-guard

broken away. The embossed rams' heads on the cheek-

pieces are now also missing. The helmet has a light

green patina.

Other details: None.

Published: Valters. 1899,348, Ho. 2830. Stary. 1982,5,

fig. 16.

Helmet No. 13.

Type: Type VI.

Location: The British Museum.

Inventory No.: 2822,1873.8-20.225.

Provenance: Apulia, Italy.

Context: Unknown.

Suggested date : 5th-4th Century B. C.

Material: Bronze.

Dimensions: Overall Height: 234mm.

Overall Width: 205mm.

Internal Width: 200mm.

Overall Breadth: 167mm.

Internal Breadth: 164mm.

Thichness: Rim: 3mm.

Bowl: 1mm.

Cheek-pieces: .*Present: These are of the fixed variety made in one

with the bowl. Below the cut out for the eye at the

top, the front edge is straight. At the rear is a

cut-out for the ear and below this the line of the

-315-
 cheek-piece is carried forward to meet the front

edge at an angle of about forty-five degrees.

Crest-fixture: There is none extant but there are circular marks in

the patination at either side of the apex of the

bowl which are probably the remains of feather-

tubes.

Decoration: The decoration consists of embossed eyebrows on the

brow-band, which meet over the nose and extend

backwards almost to the ear cut-outs. Above this is

an inverted "V" shaped fluted ridge, -echoing the

shape of the brow-band, which rises to an apex at

the centre.

Manufacture: The helmet is forged from a single sheet of bronze.

Description: The helmet has a high bowl with a pronounced medial

ridge which swells out over a well defined brow-

band. This is itself drawn down at the sides and

rear to form the cheek-pieces and the neck-guard.

At the front it rises to an apex to form an inverted

"V" shaped gable. From its lower front edges a

shallow cusp has been removed over each eye to

produce a vestigial nasal. The helmet is well

fitted over the rear of the skull to the nape of the

neck. The neck-guard originally had a right-angled

flange at its base but this is now broken away. The

main edges of the brow-band and cheek-pieces in

front of the ear cut-outs are considerably thickened

for strength. The cheek-pieces are almost

-316-
 triangular in shape and sharply pointed. Overall

the helmet is very well made. It has a patchy

medium green granular patina and a hole in the bowl

to the left of the apex.

Other details: None.

Published: Valters. -1899,348, No. 2822. Stary. 1982,5,

.
fig. 17.

Type: Type VII.

Location: The Museo Gregoriano Etrusco in The Vatican, Rome.

Inventory No.: 12303.

Provenance: Italy.

Context: Unknown.

Suggested date: 4th Century B. C.

Material: Bronze.

Dimensions: Overall height: 210mm.

Overall Width: 210mm.

Internal Width: - 206mm.

Overall Breadth: 182mm.

Internal Breadth: 180mm.

Thichness: Rim: 1-2mm.

Bowl : 0.8mm.

Cheek-pieces: Missing.

Hinge-plates: Kissing, but they were originally of the multi-

-317-
 hasped variety and were attached by three rivets.

Crest-fixture: Bone,

Decoration: The decoration consists of embossed eyebrows which

meet over the nose, above this and echoing the shape

of the brow-band, which rises to an apex at the

front, is a plain, broad, embossed band bordered by

two narrow bands. Above this and decorating the

ridge between the brow-band and bowl is a band of

embossed, chased, inverted tongue pattern.

Manufacture: The helmet has been forged from a single sheet of

bronze. The embossing was probably executed using

punches and hammers in a pitch block and was

subsequently chased.

Description: The helmet has a high slightly bulbous bowl with a

very pronounced medial ridge. The bowl surmounts a

fitted brow-band and the junction is marked by an

angular ridge. The brow-band curves up at the front

to form an apex shaped like an inverted 'V'. At the

sides are cut-outs for the ears and slight cusps have

been removed at the front over the wearer's eyes.

The nasal is broken away. At the rear the brow-band

is drawn down to form a deep neck-guard which flares

at its base. The front right side of the brow-band

and neck-guard are now missing and there is a hole in

the bowl to the right of the medial ridge. The

helmet has a patchy smooth light green patina.

Other details: The helmet is pierced by numerous small holes around

-318-
 the ear cut-outs and down the neck-guard, presumably

for sewing in the lining.

Published: Unpublished.

-319-
Introduction

Helmets of this particular form have been described and classified

by scholars in many different ways. Lantier (1955,228. ) would have

it that "they are part of the vast group of helmets known to scholars,

of earlier this century, as 'jockey cap'". However, a close

comparison of the features of these helmets and those of the

Montefortino and Coolus types, shows any such similarity to be very

slight with the exception of the presence of certain stylistic forms

of incised decoration to be found on all these types. Conversely,

Stary (1981, Map. 2 and 1982,6. ) contends that these helmets are of

Sainnite or Lucanian origin. Upon what evidence this opinion is based

is not made absolutely clear, but it would seem simply to be a

misinterpretation of the surviving pictorial evidence from Samnite

tombs such as the "Warrior's Return" Fresco from Paestum, now in the

Museo Nazionale Naples (Weege. 1909,154ff. ). This contention

totally disregards the provenances of the extant examples (see

Distribution Map, fig. 88). Furthermore, Stary ignores the decorative

motifs and crest-features common to all helmets of this type (see

sections on decoration and crest-fixtures. ) which are rarely, if at

all, found on helmets of southern Italian origin but are more commonly

associated with Etruscan and central Italian helmets.

Indeed, as early as 1896 Friedrich von Lipperheide, in his great

work Antike Helme, postulated an Etruscan origin for these helmets.

This is endorsed by Peter Connolly (1981,99-100, fig Ho. 3. ) who

-320-
describes them as "Attic helmets commonly found in Etruria". A close

examination and comparison of the diagnostic features of these helmets

with -those of 5th and early 4th century B. C. Hellenistic Thracian

helmets of the variety without an integral Phrygian bonnet, for

example the helmet from the Lipperheide collection, now in the

Staatliche Museen, Berlin, L. 50 (Schrader 1912,327, fig nos. 9: 3 and

4., Snodgrass 1967,95 pl. 53. and Paddock 1981,5 fig no. 1. )

indicates a different point of inspiration. In particular, both types

have high, bulbous and slightly conical bowls swelling from a fitted

brow-band which is drawn down at the rear to form a neck guard and is

turned outwards at the front to form a peak-like projection. They

differ in only two important respects: the ear-guards of the Greek

variety are formed in one with the brow-band by simply drawing this

out and over the ears whereas the Italian variety has simple cut-outs

for the ears and applied cast ear-guards; secondly, whilst the Greek

helmets invariably have cheek-pieces, the Italian ones do not.

Lipperheide's attribution of an Etruscan origin to these helmets is

beyond doubt correct, especially when viewed in the light of the fact

that all but three of the extant helmets were found in Etruria (see

fig. 88) whilst Lantier was right in ascribing the decoration of the

helmet he describes (table 1 No. 2) to an Italo-Celtic artist.

However, the form is almost certainly an Italian variant of a Northern

Greek original. Given these similarities, and for want of any

contemporary nomenclature, it seems logical albeit somewhat

incongruous to apply to them the term 'Etrusco-Thracian'.

-321-
 The Etrusco-Thracian helmet is invariably forged in one piece and

is characterised by a high, conical but somewhat bulbous bowl issuing

from a well fitted but slightly concave brow-band which is everted at

the front and drawn downwards at the rear to form a neck-guard. There

is no provision for the attachment of cheek guards, but there are

usually cut-outs to accommodate the wearer's ears (see fig. 87).

-322-
FIG. 87

Brow-band Neck-guard

AN ETRUSCO-THRACIAN HELMET

DWI

Chin-strap stud

-323-
No, Museumand Inventory No,: Cat,: Dimensions; Provenance,
No. HIB

1 MuseeSt Pierre Lyons (206) 200 198 160 Italy,

X 924

2 Collection Le Marois (228) 180 280 180 Said to be from Cannae,

No Inventory No, Italy,

3 MuseoNazionale Chieti (110) 225 230 185 Orsogna near Chieti,

4408 Abruzzi, Italy,

4 MuseoNazionale Naples (264) 230 240 190 Egnatia, Campania,

Italy,

5 MuseeSt Pierre Lyons (207) 160 190 160 Italy

X 924

6 MuseoNazionale Perugia (344) 200 220 190 Frontone near Perugia,

358 81251, Umbria, Italy,

7 MuseoNazianale Perugia (345) 190 200 170 Monteluce near Perugia,

328 B1323 Umbria, Italy,

8 MuseoNazionale Perugia (346) 191 Damaged Santa 6iuliana near

S,6, /32/1, Perugia, Umbria, Italy,

9 Antiken MuseumBerlin (69) 202 240 187 Central Italy,

L 37

10 Antiken MuseumBerlin (70) 201 219 185 Perugia, Umbria, Italy,

L 36

11 MuseoArqueologico Madrid (208) 170 215 170 Unprovenanced,

MAN7359

12 Antiken MuseumBerlin (71) 197 216 205 Italy,

L 38

13 Antiken MuseumBerlin (72) 193 210 207 Italy

Misc 10395

14 Antiken MuseumBerlin (73) 163 207 189 Perugia, Umbria; Italy.

L 69,

15 MuseoGregoriano Etrusco (415) 178 D 175 Central Italy,

in the Vatican A 47

16 Museo6regoriano Etrusco (416) 170 220 180 Central Italy,

in the Vatican A 43,

-324-
No, Museumand Inventory No,: Cat,: Dimensions: Provenance,
No. H. W. R.

17 Badisches Landesmuseum (154) 170 230 150 Toscana, Italy,

Karlsruhe 433,

18 British Museum (185) 178 243 166 Vulci, Toscana; Italy,

2721 1837.6.9.91

19 MuseoGregoriano Etrusco (417) 175 DD BomarzoPiamano,

in the Vatican 12,307 Italy,

20 Museede 1'Arm6e Paris (302) 192 245 245 Near Naples, Campana;
E, 9, Italy,

21 Villa Giulia Rome (377) 195 231 - Vulci, Toscana; Italy,

63,688,

22 Antiken MuseumBerlin (74) 200 234 194 Italy,

Mist 10396

23 Museo'Nazionale Ancona, (30) 222 236 - Montefortino, Marche;

Italy.

24 Antiken MuseumBerlin (75) D 232 181 Toscana, Italy,

L39

25 Naturhistorisches Museum (424) 170 215 175 Talvon Hatzeg,

S, 65, Romania,

26 MuseoPoldi Pezzoli, (241) 178 231 182 Central Italy,

Milan, 2419
27 MuseoArcheologico (131) 170 225 195 Near Florence, Toscana;
Florence 82318, Italy.

KEY:D- Damaged

-325-
Distribution

All but one of the Etrusco-Thracian helmets come from the Italian

Peninsula, the only exception to this being the helmet from Talvon

Hatzeg in Romania. Of the remaining fourteen, only three helmets have

provenances outside Etruria; helmet No. 3, from Orsogna near Chieti

helmet No. 4, which was said to have come from somewhere within the

Kingdom of Naples, and helmet No. 23 from the Gallic cemetery at

Montefortino. Although only six of the remainder come from well dated

contexts, the rest have find spots which place them firmly within the

borders of Etruria. It is therefore logical to assume Etruria as

their most likely place of origin. Where the exact provenance and

context can be ascertained, the majority date from the 4th and 3rd

centuries B. C. and were excavated from rich tombs in the vicinity of

Perugia.

The helmets from Talvon Hatzeg and Montefortino are of undoubted

Italian workmanship and must therefore have passed into Celtic hands

through contact of one sort or another with the northern cities of

Etruria. As with the Montefortino helmets of this date, the

concentration of finds around Perugia is noteworthy and may indeed

reflect a local school of armourers.

-326-
FIG. 88 Distribution of Etrusco-Thracian helmets

TYPE:
V25
f1 II " III V IV

0 100

Miles

000%
ý
00
o

67,8
16 14,

° d f23 0
QD
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a° pp 60.
0

-327-
Key to distribution map. (fig. 88)

3. Drsogna Necropolis near Chieti, Abruzzi; Italy.

6. Frontone Necropolis near Perugia, Tuscany; Italy.

7. Monteluce Necropolis near Perugia, Tuscany; Italy.

8. Santa Giuliana Necropolis near Perugia, Umbria; Italy.

10. Year Perugia, Umbria; Italy.

14. A tomb at Perugia, Umbria; Italy.

18. A tomb at Vulci, Tuscany; Italy.

19. A tomb at Bomar--o Piamano, Lazio; Italy.

20. A tomb near Naples, Campana; Italy.

21. Grave 55 at Vulci, Tuscany; Italy.

23. A grave at Xontefortino, Marche; Italy.

25. Talvon Hatzeg, Romania.

27. A tomb near Florence, Tuscany; Italy.

-328-
Manufacture.

All the helmets of this form were made in the usual way, starting

from a sheet or billet of bronze which was first "hollowed" or

"blocked" into a hollow, then raised and planished over a variety of

stakes, and finally ground and polished. However, some of these

helmets have attached ear-guards, either in the form of seven-toed

'duck's feet' or discs decorated by a series of concentric circles.

The zoomorphic ear-guards were, without doubt, made by the lost wax

process and it is possible that the discoid type were also made in

this way, although on a number the concentric circles which decorate

them, most notably the ear-guards on helmt No. 21, were turned on a

lathe. The ear-guards of both forms were attached by rivets to the

helmet bowl. Most of the helmets have, in addition, a decorative

washer and split pin crest assemblage (fig. 98: 1), the washer being

attached to the bowl by the split pin, the arms of which passed

through a hole in the apex of the bowl and were then opened out on the

inside of the helmet to stop it being withdrawn.

-329-
FIG. 89

.. _

-330-
Tabl e 2- Typology

No, Ear-guards: Cut- Crest- Cheek- Decoration: Neck-..Type

outs fixture: pieces: guard:
No M Df Dc Pr No Hole W&P No Tre 0 No Em InL NO ED
1 X X X # X XX # IA,

2 X X X# X X XX X IA,

3 X X #X X # X X_ IA,
.X
a x X X X XX X IA_

5 # X X X X # IB,

6 # #X # X # IB,

7 X x. X X X X # TB,

8 X X # X X X IB,

9 # #' XX X X X IB,

10 X X #X X X X IB,

11 'X X X X X M IB,

12 X X X X X # IB,

13 X X X X X. # IB,

14 X # X X X x TB

15 X X # X X X II,

16 X X X t X X IT.

17 X X # # # X III,

18 # X X X X X III,

19 X X X X X X III,

20 X X X X X # III,

21 X X X X X III,

22 X X X X X III.

233 * t X Y. IV.

24 X X * X X f X IV.

-331-
No, Ear-guards; Cut- Crest- Cheek- Decoration; Neck- Type
outs fixture: pieces: guard:
No M Df Dc Pr No Nole W&P No Tre 0 No En InL NO ED

25 X xx IV,

26 xxxxxx 1V.

27 ttxV.

KEY: No- none M- missing Df- Ducks feet, Dc- Disc, Pr- present
WhP-Washer and pin, Tre- Trefoil, 0- other, Em- embossed,
Inl- Incised lines Imo- other incised decoration, E- everted,
D- deep

Dating Evidence

Whilst this typology forms a basis for classification it is not

possible to date these helmets any closer than the beginning of the

4th century to the middle of the 3rd century B. C. and indeed, all

five types would appear to be contemporaneous.

Table 3- Dating vid n

No, Context, Provenance, Suggested

Date B_C.
1, Unknown Northern central Italy, 4th-3rd

2, Unknown Northern central Italy, 4th-3rd

3, End 4th early 3rd B. C Tombat Orsogna near

Dated by associated Chieti, Marche, Italy,
ceramics,

4, Unknown Egnatia, Campania, Italy, 4th-3rd

S. Unknown Northern central Italy, 4th-3rd

6,. 4th B, C, Dated by the Necropolis Frontone near

ceramics in the tomb, Perugia, Umbria, Italy,

7,4th B. C. Dated by the Necropolis Monteluce near

ceramics in the tomb, Perugia, Umbria, Italy,

8,3rd B.C, Dated by the Necropolis Santa Glullana

ceramics in the tomb, Perugia, Umbria, Italy.

-332-
No, Context, Provenance, Suggested
Date BC,

9, Unknown, North central Italy, 4th-3rd

10, Unknown Perugia, Umbria, Italy, 4th-3rd

11 Unknown Italy. 4th-3rd

12, Unknown Italy, 4th-3rd

.
13, Unknown Italy, 4th-3rd

14 Unknown Perugia, Umbria, Italy, 4th-3rd

15, Unknown Northern central Italy, 4th-3rd

16, Unknown Northern central Italy, 4th-3rd

17, Unknown Etruria, Italy, 4th-3rd

18, 4th-3rd B,C, dated Vulci, Toscana,Italy,

by the ceramics in
the tomb,

19, Unknown BomarzoPianmiano, Italy 4th-3rd

20, Unknown A tomb in Campania,Italy, 4th-3rd

21, 4th B,C, Dated by the Tomb55, Vulci, Toscana

ceramics in the tomb Italy,

22, Unknown North Italy, 4th-3rd

23, Pre 283 B,C, whenthe Graveat Senonescemetery

Senoneswere driven at Montefortino, Marche,
out of Italy. Italy,

24, Unknown Toscana, Italy, 4th-3rd

25, Unknown Talvon Hatzeg, Romania, 4th-3rd

26, Unknown Northern central Italy, 4th-3rd

27, Unknown Toscana, Italy, 4th-3rd

-333-
T logy

Etrusco-Thracian helmets all demonstrate a consistently high level

of skill in their manufacture. They have high, bulbous conical bowls

which swell from an indented, concave brow-band. Their very close

similarity to the Thracian helmets from the Greek mainland, which date

to the 5th and 4th centuries B. C., a century before the earliest dated

Etrusco-Thracian helmet, would indicate a probable Hellenistic

prototype for these helmets. In this respect it seems surprising that

the Etrusco-Thracian helmet did not evolve first in the cities of

Magna Graecia where the tradition of Greek armour manufacture had

been established for centuries. The answer may, however, lie in the

Celtic incursions of the 4th century B. C. and the close proximity of

the Celtic settlements of Northern Italy and the weapons and tactics

that the Celts employed. Both the Etrusco-Thracian and the

contemporary Montefortino helmets have high bowls to allow for a

greater degree of padding to be inserted, and would, therefore, have

given more protection from the Celtic slashing swords.

Based therefore on a comparison of their form, ear-guards, the

presence or absence of ear cut-outs and the decoration and standard of

the manufacture of the helmets as a whole, the Etrusco-Thracian forms

may be divided into the following five types.

TAI (nos. 1 - 14. ).

The overwhelming majority of this helmet form, in fact twelve, are

of Type I. They are characterisied by the usual brow-band and bowl

form. The brow-band has cut-outs to accomodate the wearer's ears. It

extends at the rear to form a slightly everted neck-guard. On helmets

-334-
of Type IA (Nos. 1-4) an embossed ridge forms the junction between the

brow-band and neck-guard whilst helmets of Type 1B (Nos. 5-14) have no

such ridge. All type I helmets are centrally pierced at the apex of

the bowl either to take a simple crest pin or a split pin finial and

washer, similar to those found on Dutch 'potts' of the 17th century.

TyI (nos. 15-16).

These helmets differ from the previous form in two important

essentials; in that they have no cut-outs or provision for guards for

the ears and no surviving example has an embossed ridge defining the

neck-guard and brow-band. These helmets are also a good 20 mm.

smaller in height than Type I.

Tyne III (nos. 17-22).

Helmets of Type III have less bulbous bowls than the two preceding

types. They have deep, plain, straight neck-guards which hug the

wearer's neck and are totally devoid of decoration.

Tye IV (nos. 23-6. )

These helmets are more conical and less bulbous than the preceeding

types. They have the usual fitted brow-band but in this case it has

no cut-outs for the wearer's ears but a pronounced step downwards,

just to the rear of them. The resultant slight deepening of the brow-

band is strongly everted to form a short projecting neck-guard. Both

helmets 23 and 25 have an embossed ridge which defines the junction

between the brow-band and the neck-guard. Helmets 23,25 and 26 are

the only extant Etrusco-Thracian helmets to bear contemporary cheek-

pieces.

-335-
FIG. 90

- """

S. 5

-336-
TAY ( Na. 27. )

Finally, Type V which is solely represented by helmet No. 27. This

helmet has a low, bulbous bowl without a neck-guard or ear cut-outs.

However, it is possible that this helmet, now in the Museo

Archeologico in Florence, is a 19th century forgery, as it is a great

deal thicker and heavier than the rest of the helmets of this form,

and may in fact be a casting.

Type IA.

1. Italy. Musee des Beaux Arts Lyons (Inv. X924) Decorated: The

decoration consists of applied ear-guards in the form of seven-toed

ducks' feet and incised decoration around the bowl. This takes the

form of a band of herring-bone decoration, from which issues stylised

locks of hair. (fig. 89: 1) Boucher. 1964,105. Boucher. 1970,

111, no. 108, p1.108

2. Unprovenanced. It said to have come from Cannae. The collection

of M. Le Marois. Decorated: The decoration consists of applied ear-

guards in the form of seven-toed ducks' feet and incised decoration

around the bowl. The incised decoration consists of a band of

.

vandyking at the apex, a cable pattern and another band of vandyking

at the junction of the brow-band and bowl. (fig. 89: 2) Lantier.

1955,228-30.

-3. A tomb at Orsogna near Chieti, Marche, Italy. The Museo Aazionale

Chieti (Inv. 4408. ) Decorated: The decoration consists of applied ear-

guards in the form of seven-toed ducks' feet and incised and fluted

lines around the rim. (fig. 89: 3) Cianfarani. 1970,205.

-337-
 FIG. 91
.

/1

ýt
t1

....
t8

-338-
4. Egnatia, Campania, Italy. The Museo Bazionale Naples. Decorated:

The decoration consists of a single band of` incised herring-bone

pattern at the junction of the brow-band and helmet bowl. (fig. 90: 4)

Lipperheide, von. 1896,220, no. 331.

Type TB. 1

5. Unprovenanced'but from Italy. Muse des Beaux Arts Lyons (Inv. X

924. ) Decorated: The decoration consists of applied ear-guards in'the

form of discs embellished with incised concentric circles. (fig.

90: 5) Boucher. 1964,104. Boucher. 1970,111, no. 107, p1.107.

6. The Necropolis del Frontone near Perugia, Umbria, Italy. Musen

Nazionale Perugia (Inv. 358 B1251. ) Undecorated. (fig. 90: 6)

Unpublished. '

7. Monteluce near Perugia, Umbria, Italy. Museo Nazionale Perugia

(Inv. 328 B1323. ) Decorated: The decoration consists of applied ear-

guards in the form of discs chiselled with concentric circle and

double incised lines at the junction between the brow-band and bowl.

(fig. ' 91: 7) Unpublished.

8. " The necropolis of Santa Giuliana near Perugia, Umbria, ' Italy.

Musen Nazionale Perugia (Inv. SG. /32/1. ). Undecorated. (fig. 91: 8)

Unpublished.

9. North Italy. The Antiken Museum Berlin. (Inv. L 37. ).

Undecorated. (fig. 91: 9) Lipperheide, von. 1896,223,251.

10. Perugia, Umbria, Italy. The Antiken Museum Berlin (Inv. L 36. ).

Decorated: the decoration consists of double incised lines at the

junction of the bowl and brow-band and a pair of double incised lines

at the rim. (fig. 92: 10) Lipperheide, von. 1896,222,252.

-339-
11. Unprovenanced. The Museo Arqueologico Madrid (Inv. MAN. 7359. ).

Decorated: The decoration consists of a pair of double incised lines

at the junction of the brow-band and bowl. (fig. 92: 11) Blazquez.

1957,146.

12. Unprovenanced. The Antiken Museum Berlin (Inv. L 38. ).

Undecorated. (fig. 92: 12) Lipperheide, von. 1896,224.

13. Unprovenanced. The Antiken Museum Berlin (Inv. Misc 10395. ).

Undecorated. (fig. 93: 13) Lipperheide, von. 1896,502.

14. Perugia, Umbria, Italy. The Antiken Museum Berlin (Inv. L 69. ).

Decorated: The decoration consists of an incised band of vandyking

surmounting a cable around the apex of the bowl. (fig. 93: 14)

Lipperheide, von. 1896,503.

Type II.

15. North Italy. The Nuseo Gregoriano Etrusco in the Vatican (Inv.

A47. ). Undecorated. (fig. 93: 15) Beazley and Magi. 1941,222,

no. 108, pl. 60..

16. North Italy. The Museo Gregoriano Etrusco in the Vatican (Inv.

A43. ). Undecorated. (fig. 94: 16) Beazley and Magi. 1941,222, no.

109, pl. 60.

Type III.

17. Toscana, Italy. The Badisches Landesmuseum Karlsruhe (Inv.

F433. ). Undecorated. (fig. 94: 17) Schumacher. 1890,134-5, no. 701,

Pi. XIII 9.
.
18. Vulci, Toscana, Italy. The British Museum (Inv. 2721

1837.6.9.91. >. Undecorated. (fig. 94: 18) Valters. 1899, 342,

No. 2721.

-340-
FIG. 92

10

lýtý.

i..

ý1

' 11

12

-341-
19. Bomarzo Piamiano, Lazio, Italy. The Museo Gregoriano Etrusco in

the Vatican (Inv. 12.307. ). Undecorated. (fig. 95: 19) Unpublished.

20. Campania, Italy. The Musee de L'Armee Paris (Inv. E. 9. ).

Undecorated. (fig. 95: 20) Lipperheide, von. 1896,221, no. 467.

Mohen. 1970,220-22, p1.9.

21. Grave 55 Vulci, Toscana, Italy. The Villa Giulia Rome (Inv. 63-
,
688. ). Decorated: The decoration consists of applied circular ear-

guards chiselled with concentric circles. (fig. 95: 21) Unpublished.

22. Unprovenanced. The Antiken Museum! Berlin (Inv. Misc 10396. ).

Undecorated. (fig. 96: 22) Lipperheide, von. 1896,505'.

JYM IV.

23. The Celtic cemetary at Montefortino, Marche, Italy. The Museo

Nazionale Ancona. Undecorated. (fig. 96: 23) Brizio. 1899,673, pl.

6,3.

24. Toscana, Italy. The Antiken Museum Berlin (Inv. L 39. ).

Decorated: The decoration consists of a double band of incised

herring-bone decoration around the base of the helmet. (fig. 96: 24)

Neugebauer. 1924,12.

25. Talvon Hatzeg (Siebenbürgen) Romania. The Naturhistorisches Museum

Vienna (Inv. S. 65. ). Decorated: The decoration consists of an incised

band of herring-bone pattern around the base and a pair of double

incised lines at the junction of the bowl and brow-band. (fig. 97: 25)

Moreau. 1958, pl. 10.

26. Central Italy. Museo Poldi Pezzoli, Milan (Inv. 2419).

Undecorated. (fig. 97: 26) Cavalieri-Manasse 1985,38.

-342-
27. Toscana, Italy. The Museo Archeologico Florence (Inv. 82318. ).

Undecorated. (fig. 97: 27) Unpublished.

Crest-fixtures

All the known Etrusco-Thracian helmets are pierced centrally at the

apex of the bowl. Helmets Nos. 3 and 10, from the Necropoli at

Orsogna and from Perugia respectively, No. 6 from the Necropolis at

Frontone near Perugia and No. 9 and No. 12 all have circular washers

at their apex, attached by a split and pierced pin, much like a modern

cotter pin, which passes through the washer and the hole in the bowl.

This pin is then splayed inside the helmet to stop it being withdrawn

(fig. 98: 1). These washers take three forms, two of which are

hemispherical, either plain and undecorated as on helmets Has. 9 and

10, or decorated as on helmet No. 3. The third type, represented by

the helmet from Frontone (No. 6), is shaped like an eight-pointed

star, the interstices of which are filled with a cusp. Helmets No. 9

and No. 12
, which were found in northern central Italy in the 19th

century and are now in the Staatliche Museen, Berlin, have a split

bronze ring inserted through the pierced top of their crest pins; it

may be that this was a common practice or that it is a 19th century

addition. However, the practice of using a pierced pin and loop

crest-fixture is shown on Greek vase paintings of the 5th and 4th

centuries B. C. and coincidentally appears on helmets of the Thracian

type (e. g on a figure of a Greek hoplite depicted on a volute krater,

by the Niobid painter, found at Gela and now in the Museo Nazionale

Palermo, Inv. No. G. 1283. )(fig. 98: 2).

-343-
FIG. 93

13

%' ý.
14

i
15 i
-34 4-
 Whether a separate ring was used or not, the crest must have been

of the 'flowing mane' variety (probably of dyed horsehair) as this is

the crest commonly used on Montefortino helmets and indeed, the use of

a pin in this manner is not greatly different to the crest-fixtures of

the Montefortino helmet, but since the Etrusco-Thracian helmet lacks a

lead-filled crest-knob, into which a straight split pin could be

pushed, the splaying of the pin ends was a practical alternative. On

the other helmets of Types 1 and 2, most especially Nos. 2,4,7 and

16, there are circular marks in the patination at the apex of the bowl

around a central hole indicating that these, too, had crest-

-once

washers. The only exception to this form of crest-fixture appears on

helmet No. 19, now in the Museo Gregoriana Etrusco, which has a

tubular feather holder which terminates in a circular flange by which

it is riveted to the right hand side of the bowl. On the other side

there is a circular mark in the patination and four rivet holes

marking the position of the left hand tube. The helmet itself is much

damaged and flattened so it is not altogether surprising that it is

missing. This feature is unusual on northern and central Italian

products but is by no means unique.

Cheek-pieces

Only three Etrusco-Thracian helmets have cheek-pieces that are

contemporary with their use and manufacture. These are helmets; No. 23

now in the Museo Nazionale, Ancona, No. 25, now in the

Naturhistorisches Museum, Vienna and No. 26', now in the Museo Poldi

Pezzoli, Milan. The cheek-pieces, in all three cases, are of a

trefoil form, most commonly found on Montefortino helmets the 3rd

of

century B. C. except that 'in this case the hinges of these Etrusco-

-345-
Thracian helmets are attached to the bowl by a single dome-headed

rivet instead of the more customary two. The üse of ra single rivet

was a common Celtic practice and can be seen on the Celtic, - bronzeand

iron Montefortino helmets from Filtrano and Montefortino (Brizio 1899

and Baumgärtel 1937 ; Schaaff 1974 passim). It may be that the cheek-

pieces on these helmets are indeed a contemporary Celtic- addition,

most especially since helmet No. 23 was found in the Gallic cemetery

at Montefortino and helmet No. 25 in the Celtic heartland in Romania.

The only other helmet that has cheek-pieces is helmet 27. k These

are of such an unlikely and impractical form (fig. 97: 27) that,

coupled with the difference in patina between them and the helmet,

they may be modern restorations, probably dating to the 19th century.

Indeed, this whole helmet is somewhat suspect as it is both thick and

heavy, and has the appearance of a casting. However, only analysis

would settle this question.

The majority of Etrusco-Thracian helmets have no provision for

cheek- pieces and some have no provision for a chin-strap; in such

cases the chin-strap was presumably attached to the helmet lining.

However, most were provided with a single hole in front of each ear

cut-out. On helmets 4 and 7 these holes are filled with large domed

headed - these are presumably for the attachment of the chin-

-studs,

strap. The chin-strap would need to be split for part of its length

towards each end, to accom nodate these studs. In contrast helmets Nos.

9 and 22, both now in the Staatliche Museen Berlin have a bronze hook-

like fixture riveted in front of their ear cut-outs, presumably for

-346-
the of a chin-strap in a similar manner to helmets 4 and 7.
attachment

This is, borne out by the fact that the hooks on helmet 22 end in

domed headed buttons. On the remaining helmets it is likely

similar

that the rivet holes were for one of these two forms of fitment or to

take a simple ring fixing for the chin-strap.

At the base of the neck-guards of a number of helmets (Nos. 7 and

It is that this must have

22. ) is a domed headed rivet. clear rivet

function to the In this

served an important with regard chin-strap.

the chin-strap would probably have consisted of a single length

case

of leather riveted at its centre to the inside face of the neck-guard,

end then passing under the wearer's chin and fastening over
each

the domed headed stud or hook on the opposite side of the

either

helmet (see fig. 98: 3. )

Decoration

All the helmets of this form have or had decorationýof one sort or

engraved, incised or applied. The

another, either embossed,

decoration is limited to three distinct areas: the crest-washer, ýthe

the rim and brow-band; and in two cases only, helmets

ear-guards, and

No. 2 No. 14, the decoration extends to the bowl of the helmet
and

itself. Applied decoration occurs in two functional forms: either as

or crest-washers. The ear-guards are of two varieties, the

ear-guards

first of which has all the appearance of a seven-toed duck's web

(helmets Nos. 1,2 and 3); the second variety are in the form of

discs with deeply incised concentric circles and are to

embellished

be found on helmets Nos. 5,7,17 and 21. The applied crest-washers

have been dealt with above (see sections on crest-fixtures) however,

they take three forms two of which are hemispherical and the third in

-347-
the form of an eight-pointed star. The fluted washer that occurs on

helmet No. 3 from Orsogna is cast, as are all the ear-guards.

Vhile just over a quarter of the Etrusco-Thracian helmets (Nos.

1,2,3,5,7,17 and 21. ) have ear-guards and a fifth have crest-

and pins extant, all the helmets are pierced by a single hole
washers

at the apex of the bowl and on either side of the brow-band, so that

is is that these fixtures were much more common. Only eleven

probably

helmets have decoration of another form (Helmets Nos. 1,2,3,4,7,

10,11,14,22,23,24 and 25). This consists of embossed bands and

incised decorative motifs of lesser or greater complexity. Helmets

Nos. 1,2,3,4,23 and 25 all have an embossed ridge which forms the

junction between the neck-guard and the brow-band; helmet No. 3,

however, also has an embossed ridge around the front of the brow-band

mirrors the ridge at the rear. These ridges and the bottom edge
which

the brow-band, and the base of the helmet bowl itself, are
of

decorated by simple chiselled lines. Helmet No. 4, from Egnatia, is

decorated by a simple band of incised herring-bone pattern which

the brow-band. This form of decoration may, in fact, be

encircles

derived from a stylised wreath motif. This decoration is also to be

Nos. 1,7,24 and 25. On helmet No. 1 it forms the

found on helmets

junction between the brow-band and the bowl of the helmet. From this

springs incised lines representing stylised hair. On helmet No. 7 it

decorates the rim of the *helmet in front of the ear cut-outs the

neck-guard of this helmet is decorated by a single incised line and

the junction between the bowl and the brow-band is decorated with

three incised lines.

-348-
FIG. 94

16

17

y}"::: ý ''"'s ý;.

`jý' .:
".: raýv Irv' .':.
'

'
: yi

18

-349-
 On helmet No, 25, however, the herring-bone decoration occurs at

the base of the brim and the junction between bowl and brow-band. The

brow-band itself is decorated by two groups of double incised lines.

Helmets Nos. 10 and 11 are simply decorated by groups of incised

horizontal lines. In each case the decoration is limited to the brim

and the junction between the brow-band and the bowl, forward of the

ear cut-outs. On helmet 10, from Perugia, the decoration consists of

double incised lines and in the case of helmet 11, now in the Museo

Arqueologico, Madrid, it is decorated by two groups of three parallel

incised lines.

Finally, helmet No. 2, which unfortunately comes from an uncertain

Northern Italian provenance, and helmet 14 have decorative motifs most

commonly found on contemporary bronze Nontefortino helmets, occurring

in and around the Celtic Senones Cemeteries at Filtrano and

Montefortino (Jacobsthal. 1944, Brizio. 1899, and Baumgärtel.

1937. ). These motifs consist of an obliquely shaded band of vandyking

encircling the apex of the bowl and a plait or cable also encircling
the bowl beneath this (a similar decorative arrangement is to be found

on the well known Celtic Montefortino helmet from Filtrano, now in

the Museum Nazionale di Ancona (Inv. 4192) (Baumgärtel 1937,245ff)).

Below this on helmet 2 the brow-band is decorated by a line of

chevrons set over six parallel incised lines. It perhaps serves as a

confirmation of their' Etruscan origin that all the decorative

techniques, and indeed the motifs found on Etrusco-Thracian helmets

also commonly appear on other products of central Italian and in

particular Etruscan workshops.

-350-
95

19

20

"
",,
ý(ý

ý'ýtýý'

ý:+ ".

+ýý{ý
"ý 1

Yy,

"fý. iý.! fý"i ýý

t'''" ýý ýlý .
";;

21

-351-
Helmet' go. 1

Type: IA.

Location: Xusee St Pierre, Lyons.

Inventory No. X 924.

Provenance: Central Italy. Acquired by M. Fabre.

Context: Unknown.

Suggested date: 3rd century B. C.

Material: Bronze.

Dimensions: Height. 200 mm.

Overall width 198 mm. '

Internal width 196 mm.

Overall breadth 160 mm.

Internal breadth 158 mm.

Thickness: Brim 1 mm.

Bowl 0.5 mm.

Cbin-strap fixtures: None, it can only be assumed that the chin-strap

was attached to the inside of the helmet lining.

Crest-fixture: The apex of the bowl has sustained some considerable

damage but it would appear that there was the usual

central opening.

Decoration: Encircling the bowl of the helmet is a broad band of

engraved herring-bone pattern from which emerges stylised

curls of hair which implies that the herring-bone pattern

may have been intended to represent a stylised wreath or

fillet. In addition to the two-dimensional decoration, the

-352-
 helmet has a pair of applied ear-guards in the form of

cast bronze "ducks' feet" with seven toes.

Internal Fixtures: lone.

Manufacture: Raised from a single piece of bronze with "lost wax"

cast bronze ear-guards riveted on.

Description: High bulbous and slightly conical bowl swelling out over

a fitted, concave brow-band, which is itself slightly

everted at its base to form a peak. It has a closely

fitted neck-guard, with a transverse ridge which

delineates the the junction between it and the brow-band.

The base of the neck-guard is strongly everted. The

helmet is well made and decorated but has suffered

considerable damage over the years especially to the apex

of the bowl and now has a deep olive green and slightly

granular patina.

Other details: None.

Published: Boucher. 1964 105.

,

-353-
FIG. 96

22

y,
`ý
ý.
ý`ý.,: " "ý..,
. "ý, T : "jý; rr.: ",. tý"w"vj`ýnf"Y ýý. "! ý/tt. ýýTy: ".

23

'.. .. ý.
. _
",
..
. .. ..".,"ý

'1

ýý
..
. h, 1
1

24

-354-
Helmet Ho. 7.

Type: IB.

Location: Musen Nazionale d'Abruzzi Perugia, Italy.

Inventory No. 328 B1323.

Provenance: A tomb in the Necropolis of Monteluce near Perugia.

Context: 4th century B. C.

Material: Bronze.

Dimensions: Height 190 mm.

Overall width 200 mm.

Internal width 194 mm.

Overall breadth 170 mm.

Internal breadth 164 mm.'

Thickness: Rim 3 mm.

Bowl 1 mm.

Chin-strap Fixture: The rim of the helmet has one large domed headed

stud rivet in each side of the bowl adjacent to

the front edge of the cut-out for the wearer's

ear. The chin- strap itself was presumbaly split

at each end to admit the stud. (fig. 98: 3).

Crest-fixture: The crest-fixture itself is missing but the apex of the

helmet bowl is pierced by 'a single central hole and

around this is circular mark in the patina indicating

that: the helmet was originally equipped with a loop and

washer crest-fixture.

Decoration: The base of the helmet is decorated by a border of

engraved herring-bone pattern delineated by single incised

lines, around the base of the brow-band in front of the

-355-
 ear cut-outs. Around the base of the neck-guard is a

single incised line. The junction between the bowl and the

brow-band is decorated by a single and double incised

lines. Just in front of each ear cut-out is riveted a

bronze discoid earguard, probably cast, which is decorated

with very deeply engraved concentric circles.

Internal Fittings: In the centre of the neck-guard is a domed headed

rivet which probably held a loop for the attachment

of the chin-strap as on Montefortino helmets (fig.

98: 3).

Manufacture: The helmet was blocked and raised from a single sheet of

bronze with its crest-fixture and ear-guards being

applied with rivets. The lower edge of the helmet has

been knocked back to thicken it and give it strength.

The ear-guards would appear to retain flash marks from

the casting process.

Description: The helmet has a bulbous conical bowl which swells out-

wards above a fitted brow-band with integral neck-guard.

The rim of the helmet is thickened and the brow-band

contains cut-outs for the wearer's ears, in front of

which are riveted discoid ear-guards. The neck-guard is

deep and slightly everted. The helmet has been well and

skillfully made, `but has suffered considerable damage to

its frontal section. The patina is smooth and brown.

Other Information: The helmet has no provision for the attachment of a

lining which must presumably have been glued in.

Published: Unpublished.

-356-
FIG 97

r.ýýitY..,. tiiý{... ýS;:1t.. ; 1.:. ý t"r'. }tiS:.,ý::ý.rý.:.. r.. i.:. ýi{'; i;. vii!. ý
.

ý; ýt:,; .. "" ý.
'ZLC1z ý'1 (ý"rMfi, '. ' " ý'".
rein " ýr"
""""

25 ti ä
`ý^,
'3 jF:ßs::: sxliitý pf
+a.e.. +. 4<ý+,. "ý»nº'E.,F

.'

e+. 'wt.
r. +%.
v. xltiävigiS: Qiwý. hýl.:. +tK,R:::. ""''".::; : :;
"

26

;ýý:

J, ''
.

iai.
ia.
aS i.: L:. ý.. ,'::: ý.:
týai. ýe.. ý.. Y. ".: ". X1 :. t:::. w. waiaaý:::
+4:
ts: ýtýtýi. ý+: +iiý>
ew.
4'Q:
a''. a'

ac
27
1.a .1

-357-
.Q
Helmet No. 16.0

Type: II

Location: The Museo Gregoriana Etrusco in the Vatican.

Inventory No.: A43 ( part of the Gugliemi Collection).

Provenance: Imprecise but from Central Italy.

Context: Unknown.

Suggested Date: 4th to 3rd Centuries B. C.

Material: Bronze.

Dimensions: Height 170 mm.

Overall width 220 mm.

Internal width 208 mm.

Overall breadth 180 mm.

Internal breadth 170 mm.

Thickness Rim 6 mm.

Bowl 2 mm.

Chin-strap fixture: A single hole pierced in each side of the bowl

30 mm. above the edge.

Crest-fixture: The apex of the bowl is pierced by a single hole 3 mm.

in diameter. Encircling this is an area of darker

patination which implies that the helmet was originally

fitted with a washer plate and loop crest-fixture.

Decoration: None.

Internal fixtures: None.

Manufacture: Made from a single piece of bronze.

Description: This helmet has a high bulbous bowl which swells from a

fitted brow-band. The brow-band however`*does not have any

-358-
 provision for the wearer's ears. It is considerably

deeper at the rear where it forms a straight neck-guard

which fits closely to the wearer3s neck. The front edge of

the brow-band is strongly everted to form a slight peak.

The helmet is well made but the neck-guard is now

slightly damaged. The patina is light green and granular.

Any other details: The thickening of the rim and the thickness of the

bowl are exceptional

Published: Beazley. and Magi. 1941,224, No 109.

Helmet No. 18.

Type: III.

Location: The'British Museum, London.

Inventory No. 2721 1837.6.9.91.

Provenace: Vulci, Toscana.

Context: Unknown.

Suggested date: 4th century B. C.

Material: Bronze.

Dimensions: Height 178 mm.

Overall width 243 mm.

Internal width 237 mm.

Overall breadth 166 mm.

Internal breadth 160 mm.

Thickness: Rim (front) 4.5 mm.

(rear) 1.5 mm.

Bowl 1 mm.

Chin-strap fixtures: This helmet is pierced by a single hole, in the

-359-
 brow-band on either side in-front of the wearer's

temples. These holes may have been for the

attachment of a chin-strap, but by analogy with

the other helmets of this type were probably for

the attachment of ear-guards.

Crest-fixtures: The apex of the bowl is pierced by a single hole.

Around this hole is a distinct circular nark in the

patination

Decoration: None.

Internal Fittings: None.

Manufacture: Blocked and raised from a single piece of bronze.

Description: The helmet has a bulbous conical bowl issuing from a

fitted and concave brow-band which contains cut-outs for

the ears and is everted at the front. At the rear the

brow-band is deepened to form a neck-guard, which fits

closely to the wearer's neck, but is slightly everted at

its base. This helmet is more crudely manufactured than

the foregoing types but has a confident and well formed

shape. It is in good condition and has a smooth green and

brown patina.

Any other details: None.

Published: Walters. 1899,342, No. 2721.

-360-
FIG. 98

2 Detail: C,ela Volute Krater

-361-
Helmet 19o. 25.

Type: IV

Location: The Naturhistorisches Museum, Vienna.

Inventory No.: S. 65.

Provenance: Talvon Hatzeg(Siebenbürgen) Romania.

Context: Unknown.

Suggested Date: 4th century B. C.

Material: Bronze.

Dimensions: Height 170 mm.

Overall width 215 mm.

Internal width 209 mm.

Overall breadth 175 mm.

Internal breadth 169 mm.

Thickness: Rim 3 mm.

Bowl 1 mm.

Cheek-pieces: These are of a "trefoil" or lobate form, commonly found

on Montefortino helmets of the 4th and 3rd centuries

B. C. They are constructed of two sheets of bronze

sandwiching a sheet of iron. The outer face of bronze

is embossed to form three groups of two concentric

circles containing a raised central boss.

Hinge-plates: These are present and consist of hinges with single

hasps attached by a single domed headed rivet, set near

the top of the brow-band. The two parts of the hinge

are joined by an iron rod.

Crest-fixture: The apex of the bowl is pierced by a single hole.

Decoration: The rim of the helmet is decorated with a band of

-362-
 incised herring-bone pattern and the junction between the

brow-band and the bowl is embellished with three incised

lines. The neck-guard is defined by an embossed ridge. (For

the decoration of the cheek-pieces see above. )

Internal fittings: Bone.

Manufacture: Made in one piece.

Description: The helmet has a low conical slightly bulbous bowl

swelling from a fitted brow-band. There are no cut-

outs for the ears, but there is a distinctive step

downwards behind, which forms a short but strongly

everted neck-guard. The rim is thickened throughout to

form a lip and at the rear the neck-guard is

strengthened by an embossed band.

Any other details: None

Published: Moreau. 1958, p1.10.

Helmet In. 27.

Type: V.

Location: Musen Archeologico, Florence.

Inventory No.: 82318.

Provenance: Toscana.

Context: Unknown

Material: Bronze.

Dimensions: Height 170 mm.

Overall width 226 mm.

Internal width 218 mm.

Overall breadth 194 mm.

-363-
 Internal breadth 186 mm.

Thickness: Rim 4 mm.

Bowl 1 mm.

Cheek-pieces: These are of a unique form and would provide little or

no protection and have a different patina to the helmet

and are undoubtedly a modern addition.

Hinge-plates: These are present and have the same patination as the

cheek-pieces. They are held by only one rivet and would

appear to be contemporary with the cheek-pieces. This

being the case it seems likely that these rivet holes

were the original holes for the attachment of a chin-

strap.

Crest-fixture: The apex of the bowl is pierced by a single hole.

Decoration: None.

Internal fittings: None.

Manufacture: From a single piece of bronze.

Description: The helmet has a low plain bulbous bowl swelling above a

fitted brow-band which rises at the centre-front to an

apex in a similar fashion to those of the "Chalkidian" or

"Samnite Attic helmets. The brow-band has no cut-outs

for the ears. It is not equipped with a neck-guard.

although the rim is thickened at the rear. The helmet is

competently produced and finished and has a smooth light

green patina.

Any other details: lone.

Published: Unpublished.

-364-
 There can be no doubt that the Pilos helmet is a development of a

conical felt hat worn in Greece and also known as a "pilos". This

hat first appeared in the' 6th century B. C. however the earliest

1

representation of a bronze helmet of 'this form, known to the author,

dates to the period 460-450 B. C. and appears on a pelike by the

Chicago painter, now in the Museo Provinciale Lecce, Inv No. 570.

From the mid 5th century B. C. onwards, Pilos helmets are commonly

depicted on hoplite tombstones from Athens and Boeotia. Related forms

of this helmet occur in the Celtic world and some scholars have

suggested that the Pilos is of Celtic origin. This attribution is

scarcely credible as they appear in Greece long before any large scale

contact with the Celts.

The evidence from the "Nereid" and "Payava" tombs (c. 400-350 B. C. ),

both now in the British Museum, show that their use, by the Greeks,

was widespread in the eastern Mediterranean, and had reached Asia

Minor by the end of the 5th century B. C. where they are depicted on

troops, probably Greek mercenaries, in the service of the satrap of

Lycia.

However when this helmet type spread to the Italian mainland is

harder to assess, although they were certainly in use by the 4th

century B. C. and had probably been so for some time, as at that time a

purely Italian form of this helmet had already been developed.

-365-
 All forms of this helmet have, without exception, a conical bowl,

issuing from a plain brim, the upper and lower edges of which are

usually parallel. It almost invariably continues the profile contour

of the bowl. The bowl and brim are separated by either an embossed

band or a pronounced step. On a very few examples the brim is

extended and drawn down at the rear to form a short fitted neck-guard.

On the helmets of purely Greek form and manufacture (Paddock. 1981,

34. ) the diameter of the helmets is usually equal to the height, and
,,
their overall dimensions are remarkably similar to one another. Those

helmets of native Italian inspiration on the other hand generally have

a more attenuated bowl, with the height being greater than the

diameter.

ýJ

-366-
FIG. 99

Bowl

Brow-band

AN ITALO- PILOS HELMET

-367-
No: Museum& Inventory No,: Cat,: Dimensions: Provenance:
No. H V. B.
1, MuseoNazionale Naples (265) 180 200 200 Paestum, Campania,
Italy,

2, Metropolitan Museum (280) 205 200 200 Sicily,

of Fine Arts, New
York, 08 24.

3, T Kunsthistorisches Museum (425) 180 216 205 South Italy

Vienna,

4, Whereabouts Unknown (143) 180 210 190 South Italy,

in Zschille Coll, 1896

5, Bibliot"que Nazionale, (313) 200 175 175 Basilicata; Italy,.

Paris, 1994,

6, Badisches Landesnuseue (155) 240 235 215 Canosa, Puglia, Italy,

Karlsruhe F 434,

7, Museedu Louvre, Paris (328) 250 235 190 South Italy,

1105C6958,

8, Muscledu Louvre, Paris (329) 240 210 210 South Italy,

51534.

9, British Museum (186) 419 217 179 Ruvo, Puglia, Italy,

2824 8-20.222,

10, The Hermitage, St (389) 250 220 180 South Italy,

Petersburg, No Inv,
No.

11, NuseoNazionale Bari, (38) 255 220 206 Conservano,Puglia,

Italy,
12, Historisches Museum (142) 200 200 - South Italy,
Frankfurt,

13, MuseoProvincale di (163) 276 228 - Rudiae near Lecce,

Lecce Puglia, Italy,

14, "Museo Provincale di (164) 250 200 190 Rudiae near Lecce,
Lette, 85, Puglia, Italy,

-368-
 Yhere the provenances of these helmets have been accurately

recorded and are known with any degree of certainty, their

distribution, on the Italian mainland, shows that their use and

therefore almost certainly their manufacture is limited to Italy south

of the bay of Naples with a marked concentration, over fifty percent

in modern Puglia, the southern-most example coming from Sicily

(Helmet No. 2).

It is significant, but not surprising, that their distribution is

concentrated around the main Greek colonies of Magna Graecia as this

helmet form was almost certainly disseminated by their agency.

-369-
FIG. 100 Distribution of Italo- Pilos helmets

-370-
Key to Distribution. Nap fig. 100..

1. Paestum, Campania Italy.

,

6. Canosa di Puglia, Italy.

9. Ruvo near Bari, Puglia, Italy.

11. Conservano near Bari, Puglia, Italy.

13. Rudiae near Lecce, Puglia, Italy.

14. Rudiae near Lecce, Puglia, Italy.

-371-
Manufacture.

All the extant examples of Italian Pilos helmets are manufactured in

one piece and are made of bronze. Some were undoubtedly raised and
blocked in the traditional way but others were possibly spun on a

lathe. The circular section and overall conical shape of this form

of helmet makes it an ideal candidate for spinning on a lathe, the

shape is simple and without any difficult undercuts. The more

attenuated native Italian varieties with their slightly bulbous

conical bowl were probably raised with hammers. There is ample

evidence from the helmets of Greek form to suggest- that the use of

spinning was widespread in their manufacture: Not least in that their

external and internal dimensions are remarkably consistent at around

200 min. (approximately 10 dactyls. ) (Paddock. 1981,65. ) suggesting

that they were produced to one standard size and probably therefore

spun over a similar shape and size of former.

-372-
FIG_ 101

)"ßl4 ý. f i=ý, ÄäY

...... ":
s':

T11k
"

c,. cf

-373-
Table 2' Typology-

No,: Bowl Form: Neck-, Decoration: Crest-fixtures: Height: Type

St. S LS ER E1 guard App. App.H. Tube 'U' 0N )21 <24

1, #***I

2,2 **I

3, #**#I

d. **I

5. t*** II

6, *##** III

7. ***## III

8, ****t* III

9, * i; #*** III

10,3 3#* '° ** III

ll. I! ** III

12, ***** IV

13, ***** IV

14. *** IV
Bowl: St, S- Straight sided, C,S- Curved Sided, ER- Embossedridge,
El- Embossedline, Decoration: App,- Applied, App,H,- Applied Horns,
Crest-fixtures: Tube- tubular feather holder, 'U'- 'U'- shaped crest-
bracket, 0- Other N- None,

3I

No; Context Provenance: Suggested

date
I. Grave find Mid 5th P, Campania,
.
century B. C. Dated by Italy, -'
associated red figure
wares,

2, Unknown Sicily, 5th-4th B. C.

3, Unknown, But dated by South Italy 4th B. C

Oscan inscription to
the 4th century B, C,

-374-
No; Context Provenance: Suggested
date
4, Unknown South Italy, Sth-4th B. C

5, Unknown Basilicata, Italy, 4th B. C,

6, Grave find, Said to Canosa, Puglia, Italy, 4th B, C

4th century B, C,

7. Unknown South Italy, 4th B, C

8, Unknown South Italy, 4th B, C

9, Unknown Ruvo, Puglia, 4th B. C.

Italy.

10, Unknown South Italy, 4th B, C

11, Grave find, 4th century Conservano, Puglia,

B,C, Dated by Apulian Italy
red-figure wares from
the tomb,

12, Unknown South Italy, 4th B, C'

13, 'Grave find, 4th century Rudiae near Lecce,

B.C, Dated by Apulian Puglia, Italy,
red-figure wares from
the tomb.

14, Grave find, 4th century Rudiae near Lecce,

B,C, Dated ceramics Puglia, Italy,
found in the tomb,

-375-
 ology.

As has been previously stated (Snodgrass. 1967,94. and Paddock.

1981,35. ) there can be no doubt that the bronze Pilos helmet

originates in Greece in the 5th century B. C. and is derived from the

felt cap also known as a Mos. Its development must therefore be

seen against the background of the general tendency from the

beginning of the 5th century B. C. onwards to lighten the defensive

equipment of the Greek hoplite and in Italy as part of the movement

towards more flexible tactics and the lightening of equipment in

general following the Gallic Incursions and the rise-and expansion of

Samnite confederacy.

Based on the foregoing analysis (Table 2. ) of bowl form, height,

decoration and the provision and form of the crest-fixtures, the

writer has divided the Piles helmet used in Italy into four distinct

types. Both the Greek and Italian variants are characterised by a

level, fitted brow-band or brim from which swells a more or less

conical bowl.

Although clearly derived from Greek prototypes the Italian

varieties quickly develop characteristics of their own and differ in

a number of distinct ways, most importantly in the form and curviture

of the helmet bowl itself. As it develops these differences become

more enhanced, the bowl of the helmet becoming higher and more

bulbous. Indeed the addition of a neck-guard and cheek-pieces to

helmets of type IV alter the whole character of the defensive

qualities of the helmet and therefore its raison d'etre, it no longer

being a light open head defense designed primarily against a downward

blow.

-376-
FIG. 102

,'
"" '"Ls :ý
"
i. ": S
1

"
0". Y"" ý: ý"
.... "I .... I. .
" ..
4

O a.

/" ,
"'i 'y ý'"4
'h , fjM1

"
"ý II1. ý. ýt
frl: Li: .
'""r.
" '" "' : ý'.. dC): riý? ßi'4:

ý+` Wiz`<:.
"
5

14

-377-
TAI. (Nos. 1-4)

This type of helmet is typologically the earliest and exhibits the

least development from the mainland Greek prototypes. Only one

example of this type comes from a dated context, i. e. Helmet No. 1 from

a late 5th century grave at Paestum. This type is characterised by a

straight sided conical bowl which swells very slightly from a fitted

brow-band of moderate depth which follows the. general profile of the

bowl. The junction between the two is effected by either a

pronounced step, as on helmets Nos. 2,3 and 4, or in an embossed

ridge, as on helmet No. l. The other diagnostic feature of this group

is that the width of the helmet is equal to or greater than its height

which is incidentally also characteristic of contemporary Pilos,

helmets of undoubtedly Greek manufacture found on the Greek mainland

and throughout the Hellenistic world e. g. a pilos helmet from a well-

in the Piraeus, now in the Metropolitan Museum of Fine Arts New York

Inv. No. 08,258.14. Helmets of type I have no provision for cheek-

pieces and are not equipped with a neck-guard. However at either side

of the brow-band is pierced a single hole for the attachment of a

chin-strap.

Helmet No. 4 (from the Zschille collection) Is equipped with a bronze

tubular plume-holder. This is flanged at its base to facilitate its

attachment to the apex of the helmet. The flange is divided into

four leaf-shapes, through each of which passes a rivet. Helmet To. 2

from Sicily has four similarly disposed rivet holes and was presumably

equipped with a similar fitting.

-378-
 ( No. 5. )

Helmets of type II are represented by only a single example, from a

grave in the Basilicata and now In the Bibliotheque Nationale, Inv.

No. 1994. This type represents an intermediatory form halfway between

the strongly Greek influenced Type I and the fully developed native

Italian Type III.

It has a moderately high and slightly bulbous conical bowl. This

swells from a vertical brow-band the lower edge of which has been

caulked back to thicken it. The junction between the two is marked by

a shallow indented line. The overall height of the'helmet (200 mm. )

is greater than the width (175 mm. ) and once again this feature

heralds the transition from the Greek inspired form to the purely

Italian types where the height to width ratio is increased even

further and the bowl is elongated and attenuated. Like the previous

type the width and breadth measurements are the same giving the helmet

a circular section.

Another feature common to this type of helmet and the more

developed type III is the presence of two short horns, in this case

curved, which project from a base plate, one is riveted on each side

high up the helmet bowl. These are pierced by a single bole and

were intended to support large detachable sheet bronze horns which fit

over the smaller ones and were held in place by a pin passing through

both. The large horns are now missing in the case of helmet Ao. 5, but

they would certainly have been similar to those found on helmets 6,8,

9 and 11.

-379-
FIG. 103

r77...
;ýý
\` wir xY 12

-380-
Type III. ( Nos. 6-11. )

This type is numerically the largest and is, a. purely Italian

derivative of the Pilos helmet. The helmets where precise contexts

are known date to the end of the 4th and beginning of the 3rd

centuries B. C. It exhibits very strong local influences on the

imported Greek helmet type which has been modified, and, adapted to the

changing face of Italian warfare.

These helmets are well made and are characterised by high

attenuated conical bowls. They have strongly curved sides which

impart a "waisted" appearance to them. The junction-between the bowl

and the brow-band is marked by a shallow embossed ridge. The brow-

bands themselves are strongly flared and their lower edges are caulked

to thicken and strengthen them. They are considerably deeper than on

the other forms of this helmet. The overall heights of this type of

Pilos helmet are far greater than their widths, which are in turn

greater than their depth. One form of crest-fixture is intimately

associated with this type. This consists of a bronze "U" shaped

bracket the majority being mounted on a vertical stem riveted either

directly to the apex of the helnet or to a fluted, hemispherical cup

which is soldered to the helmet. There are two exceptions to this

form of crest-fixture and they occur on helmets Nos. 7 and 11. Helmet

No. 7, now in the Louvre, is adorned with a cast bronze griffon

mounted on the apex of the helmet and helmet No, 11 has a "U" bracket

terminating in chariot wheels mounted directly to the fluted cup.

All the helmets of this type have applied decoration of one form or

another. Helmet No. 7 in addition to the cast bronze griffon crest-

fixture is decorated by an applied bronze medallion portraying a

-381-
galloping Pegasus. Likewise helmet No. 10, from the Hermitage, bears

an applique in the form of a Medusa's head. Helmets Nos. 6 and 11

from Canosa and Conservano respectively are both decorated by applied

chariot wheel motifs.

Finally the majority of helmets of this type share a single

decorative motif. This consists of applied sheet bronze horns, in the

case of helmets No. 9 and 11 in the form of "dragons" heads. These

horns slot over two short trapezoid-shaped supports which project from

a base plate riveted one on either side of the helmet bowl. Each

support is pierced by a single hole in order to receive a pin with

which to retain the sheet bronze horns.

rya( Nos. 12-14. )

All three helmets of Type IV apparently date from the 4th century

B. C. and differ from all the previous types in one important respect,

in that they are all equipped with a neck-guard.

These helmets are markedly conical in form and the shape of the

bowls are very similar to those of Type I, except that their width is

invariably greater than their depth. They are straight sided with a

domed apex. The bowl swells from a shallow fitted brow-band. The

junction between these is formed by a narrow indented line. At the

rear beneath the rim of the brow-band projects a slightly everted

neck-guard. Helmets 12 and 14 are equipped with chin-strap fixtures

consisting of a single hole pierced in either side of the brow-band

which implies that they were not equipped with cheek-pieces as these

are rarely supported by single rivets at this date. However helmet

No. 13, from Rudiae, is equipped with simple bicuspid cheek-pieces,

similar in form to those of helmet No. 10, now in the Hermitage.

-382-
These are supported by multi-hasped hinges riveted to. the helmet bowl

by two rivets.

As a group these three helmets are well made, but have very little

in the way of decorative features simply having an indented line

dividing the brow-band from the helmet bowl and they are not equipped

with crest-fixtures.

TypeI.
-
1. Paestum, Campania Italy. Musen Nazianale Naples. Undecorated.

Lipperheide, von. 1896,129, No. 382. (fig. 101: 1) Connally, 1981,

110.

2. Sicily. Metropolitan Museum of Fine Arts New York (Inv. No. 08,

24. ). Undecorated. (fig. 101: 2) Richter. 1905,420.

3. Unprovenanced but from Italy. Kunsthistorisches Museum Vienna.

Undecorated. (fig. 101: 3) Lipperheide, von. 1896,130, no. 112.

4. Unprovenanced but from Italy. Present whereabouts unknown but was

recorded in the Collection of R. Zschille of Grossenhain in Saxony in

1896. Undecorated. (fig 102: 4) Lipperheide, von. 1896,131, No.

269.

INDETI.

5. The Basilicata, Italy. Bibliotheque Nationale Paris (Inv. No.

1994. ). Decorated: The decoration consists of short applied curved

horns, which may be the supports for larger horns. (fig. 102: 5)

Lipperheide, von. 1896,133, No. 340. Adam. 1984,120, No. 152.

Type III.

6. Canosa, Puglia, Italy. Badisches Landesmuseum Karlsruhe (Inv. No.

F434. ). Decorated: The decoration consists of applied miniature

-383-
bronze chariot wheels and applied sheet bronze horns. (fig. 103: 6)

Schumacher. 1890,132 No. 697. Lipperbeide, von. 1896,136, No. 26.

7. Unprovenanced from Italy. The Musde du Louvre, Paris (Inv. No.

1105, C6958. ). Decorated: The decoration consists of an applied

crest-fixture in the form of a griffon and a medallion portraying a

galloping Pegasus. (fig. 104: 7) Ridder de. 1915,2.

8. Unprovenanced, Italy. The Musee du Louvre Paris (Inv. No. S 1534).

Decorated: the decoration consists of an applied and fluted crest-

fixture, applied curling' sheet bronze horns and an applied gilded

wreath. (fig. 104: 8) Lipperheide, von. 1896,137, No. 362.

9. Ruvo, Puglia, Italy. The British Museum ( Inv. No. 2824.8-20.

22. ). Decorated: The decoration consists of applied sheet bronze

horns in the form of dragons' heads. (fig. 105: 9) Lipperheide, von.,

1896,140, No. 245. Walters. 1899,348, No. 2824. ' Stary, 1982,6, pl.

23.

10. Unprovenanced, Italy. The Hermitage, St Petersburg. Decorated:

The decoration consists of an applied cast bronze Gorgon's head.

(fig. 105: 10) Lipperheide, von. 1896,138.

11. Conservano, Apulia, Italy. Museo lazionale Bari. Decorated: The

decoration consists of an embossed youths head on the bowl and

embossed dogs on the brow. It has a fluted dish-shaped crest-fixture

surmounted by a pair of miniature bronze chariot wheels. (fig.

106: 11) Connolly. 1981,122, fig no. 1.

Typs-IY.

12. Unprovenanced from Italy. Frankfurt an Main Museum. Undecorated.

(fig. 103: 12) Lipperheide, von. 1896,135, No. 221.

-384-
13. Rudiae near Lecce, Puglia, Italy. Museo Provincale di Lecce.

Undecorated. (fig. 106: 13) Ponti. 1973,52, p1.187.

14. Rudiae near Lecce, Puglia, Italy. Museo Provincale di Lecce.

Undecorated. (fig. 102: 14) Ponti. 1973,51, No. 85.

Crest-fixtures.

Just under a third of the extant Pilos helmets, Nos 1,3,12,13

and 14, have no provision for a crest-fixture of any kind. The crest-

fixture on the majority are composed of two types, those with feather

tubes, helmets Nos 2,4 and those with some form of "U"-shaped

bracket, Nos; 5,6,7,8,9,10 and 11.

As has been discussed above, helmet No. 4 -is equipped with a

tubular bronze plume-holder, which is flanged at its base to form

four separate leaf-shaped flanges, by which it is riveted to the apex

of the helmet. Helmet No. 2 has a similar arrangement of rivet holes

and so can be presumed to have had a similar crest-fixture.

On those helmets equipped with "U"-shaped crest-brackets the vast

majority are supported by rod-like stems mounted on the apex of the

bowl. They are attached in one of three different ways. They are

either riveted directly through the helmet bowl, as on helmet No. 9

and possibly helmet No. 6, although the base of the stemmed crest

support on this helmet, from Canosa, has been altered in modern times

and has been threaded to receive a nut which fastens inside the

helmet, or riveted to fluted bronze cup-like features which are

soldered to the helmet as is the case on helmets Nos. 8,10 and 11, or

finally they are detachable as in the case of helmet No. 5 where they

use a similar system to that found on Samno-Attic and Apulo-Corinthian

Helmets. The actual "U" brackets on helmets 9 and 11 terminate in ivy

-385-
leaf motifs. The exceptions to the stemmed bracket variety of crest-

holder are helmets 7 and 11 and to a lesser extent helmet No. 9. On

helmet 11 from Conservano the "U" bracket is mounted directly to the

fluted cup and each arm terminates in a chariot wheel motif. In the

case of helmet No. 7 the "U"-shaped bracket takes the form of a cast

bronze griffon attached directly to the helmet bowl and finally helmet

9 instead of the "U" bracket being supported by a straight stem its is

borne by a scrolling tendril of bronze. In addition to the stem

mounted crest-brackets helmets los. 9 and 10 have small bronze loops

attached to the bowl and set at right angles to, the brackets to

provide anchorage points in order to tie down the crest-box and make

it more stable. This last feature is also commonly to be found on

Negau helmets (see Chapter 3).

The majority of Pilos helmets have no cheek-pieces and are simply

equipped with chin-strap fixtures which usually take the form of a

single hole pierced in opposing sides of the brow-band. In the case

of helmet 9 from Ruvo, now in the British Museum, there are two holes

each side, whereas on helmet No. 6 from Canosa, now in the Badisches

Landesmuseum Karlsruhe, and helmet 11 from Conservano these fixtures

are provided by the chariot wheels which are riveted to either side of

the helmet.

Only two piles helmets bear any traces of ever having been fitted

with cheek-pieces, these are helmets To. 13, from Lecce, and No. 10,

now in the Hermitage. In both cases the cheek-pieces are of a simple

bicuspid form (fig. 106: 13) and are supported by multi-hasped hinges

which are attached high in the brow-band by two rivets.

-386-
FIG. 104

"ý,.

'ý'ý;:

's. ; a-ý ý.
.. 'wý%ýý

: iC "i .
1. "J.

" . ii
"'. Z ri. :7
."

-387-
Decoration.

Nearly a half of the extant Piles helmets, in fact those of Types I

and IV which are derived directly from Greek prototypes, are devoid of

decoration. The remaining helmets, those of types II and III have

applied decoration of one form or another. The majority, helmets Nos.

5,6,8,9 and 11, have detachable sheet bronze wings which take one

of several different forms. Helmet no. 5, from the Basilicata, no

longer retains its wings and only has two short horn-shaped mounts

riveted to the bowl which are pierced to accept the retaining pins for

the larger sheet bronze wings which would have fitted over them.

Helmets 6 and 8 sport simple curved wings which end in leaf motifs

fixed to mounts similar to those found on helmet No. 5. The wings on

helmet No. 9 differ in two respects, first they take the form of

dragons' heads facing outwards from the bowl and secondly they fit

over trapezoid-shaped mounts riveted to the bowl of the helmet.

Helmet No. 11 from Conservano has damaged wings and their overall from

is not distinguishable except in that they are curved in a similar

manner to those of helmet No. 9. They are also constructed to fit

over similar trapezoid mounts riveted to the helmet bowl.

In addition to the wings all the helmets of type III have other

applied decoration. Helmets 6 and 11 have two bronze four-spoked

wheel motifs riveted to the sides of their bowls just above their

brow-bands. Helmet No. 8 is adorned with a wreath constructed of

sheet gold leaves which is soldered to the bowl and covers the

junction between the bowl and the brow-band. Helmets 7 and 10, on the

other hand have applied, cast bronze medallions fixed to the front of

their bowls. On helmet 7 this takes the form of a rondel depicting

-388-
Pegasus which is soldered on, whilst on helnet' No. 10 this applique

consists of a Medusa's head pinned onto the bowl.

Decoration is also extended to the crest-fixtures of some Pilos

helmets and fluted crest-cups are to be found on helmets 8,10 and 11

and probably originally on helmet No. 6, from Canosa. This helmet has

a circular mark in the patination at its apex and its crest-fixture is

now held to the helmet by a modern nut.

Finally only one pilos helmet, No. 11, has repousse decoration.

This takes the form of a youth's head embossed at the centre of the

front of the bowl and attenuated hunting hounds running around the

brow-baud. Connolly (1981,122. ) has suggested that the decoration of

this helmet is of purely Celtic nature and origin. This however seems

unlikely since the style of the embossed youth's head is purely

Italic in inspiration and execution.

-389-
FIG--105

®,
.

(I 0
,
r,

11

"1
_______

10

-390-
Helmet No. 2.

Type: Type I.

Location: Metropolitan Museum of Fine Arts New York.

Inventory No.: 08 24.

Provenance: Sicily.

Material: Bronze.

Context: Unknown.

Suggested date: 5th-4th centuries B. C.

Dimensions: Overall height: 205 mm.

Overall width: 200 mn.

Internal width: 196 mm.

Overall breadth: 200 mn.

Internal breadth: 197 mm.

Thickness: Brim: 2 mm.

Bowl: 0.8-1 mm.

Chin-strap Fixture: At either side towards the base of the brow-

band is pierced a single hole which either held

a loop for the attachment of the chin-strap or

into which was riveted the chin-strap.

Crest-fixture: Missing. There are four rivet holes disposed

radially around the apex of the bowl. This

arrangement is similar to that found an helmet

No. 4, from the Zschille collection, where the crest-

fixture consists of a tubular feather-holder, made

of sheet bronze, which has four right-angled

-391-
 flanges at its base shaped like vine leaves. The

fixture is held in place by four. rivets one through

each leaf. It is probable therefore that this

helmet was fitted with a similar crest-fixture to

that of helmet No. 4.

Decoration: None.

Manufacture: The helmet is formed from a single sheet of bronze

and was probably "blocked" and "raised", there is

however a possibility that due to its shape and

totally round section that it was spun an a lathe.

unfortunately any traces of this technique have been

removed when the helmet was polished.

Description: The helmet bowl is fairly conical with a slightly

domed apex. The sides have a slight outward curve.

The bowl swells from a straight, fitted brow-band and

the junction between the two is marked by a

pronounced step. The lower edge of the brow-band is

caulked back to thicken it. The helmet has a

battered appearance overall and has a number of

slight cracks. It has a green/blue patina.

Other features: None.

Published: Richter. 1905,420.

-392-
FIG. 106

Qw, A.

;° 11

rQJt

"' ". '!..

ý^,

;ý
.}ice".

13

-3 9 3-
Helmet No. 5.

Type: Type II.

Location: The Bibliotheque Nationale Paris.

Inventory No.: 1994.

Provenance: The Basilicata, Italy.

Context: Unknown.

Suggested date: 4th- 3rd centuries B. C.

Material: Bronze.

Dimensions: Overall height: 200 mm.

Overall width: 179 mm.

Internal width: 175 mm..

Overall breadth: 179 mm.

Internal breadth: 175 mm.

Thickness: Brim: 1.5 mm.

Bowl: 0.5 mm.

Chin-strap Fixture: None. The chin-strap must have been attached to

the helmet lining.

Crest-fixture: Remnants of the crest-fixture survive. They

consist of a narrow strip of bronze riveted

transversely across the apex of the helmet. This

strip has been shaped over a rod to produce two

raised loops and then folded underneath itself. and

riveted in place. It the same form of mount used

for a detachable "U" bracket type of crest-holder

that are found on contemporary Apulo-Corinthian and

Samno-Attic helmets.

Decoration: The decoration consists of an indented line forming

-394-
 the junction between the brow-band and the helmet

bowl itself. At either side of the bowl is riveted

a short curving horn projecting from a flat base

plate. ' These horns are pierced by a single hole

towards their upper edge probably for securing

larger decorative sheet bronze horns similar to

those found on helmets 6,8,9 and 11.

Manufacture: The helmet is "raised" from a single sheet of

bronze.

Description: It has a high conical bowl with strongly curved

sides which form a domed apex. The brow-band is

virtually` vertical and straight. It has been

caulked back to thicken the rim. The junction

between the bowl and brow-band is effected by an

indented step. The section of the helmet is very

nearly circular. It is very well made and in

excellent condition. It has a smooth but granular

green patina

Other features: None.

Published: Babelon and Blanchet. 1895,657. Lipperheide, von.

1896,133,340. Adam. 1984,120, No. 152.

He1tnt No. 9.

Type: Type III.

Location: The British Museum.

Inventory No.: 2824.1873 8-20.222.

Provenance: Ruvo near Bari, Puglia, Italy.

-395-
Context: Unknown.

Suggested date: Late 4th-3rd centuries B. C.

Material: Bronze

Dimensions: Overall height: 419 mm.

Height of Bowl: 256 mm

Overall width: - 217 mm.

Internal width: 215 mm.

Overall breadth: 179 mm.

Internal breadth: 176 mm.

Thickness: Brim: 2.2 mm.

Bowl: 0.5, mm.

Chin-strap Fixture: These consist of two holes (3 mm apart and 2

mm. in diameter) pierced in either side of the

helmet bowl just above the embossed ridge.

Crest-fixture: This consists of a bronze "U"-shaped bracket

riveted to the top of a scrolling "S"-shaped

support. This assemblage is attached to the apex'

of the helmet by a single rivet. The terminals of

the "U" bracket are cut into the shape of "Ivy"

leaves.

Decoration: This consists of applied sheet bronze horns in the

form of "dragons'"heads facing outwards. The rear

edge of the horns is scalloped to indicate the crest

of the dragon and the bottom edge ends in heart-shaped

terminals. These horns slot over two short trapezoid-

shaped supports, which project from heart-shaped base

plates. These are riveted one on either side of the

-396-
 helmet bowl. Each support is pierced by a single

hole, ' towards its upper edge, in order to receive a

pin with which to retain the sheet bronze horns.

Manufacture: This helmet is raised from a single sheet of bronze.

Description: The helmet bowl is tall and conical. It has a

slightly bulbous form with strongly curved sides

which impart a "waisted" apppearance to it. The

lower rim of the helmet is caulked to thicken it.

Approximately 42 mm. above the rim is an embossed

moulding, 5 mm. wide. Below this is a shallow flaring

brow-band. The helmet is well made and in good

condition although it has a'perforation in the top

left side of the bowl. Overall it has a dark green

granular patina.

Other features: At the front and rear of the bowl, in line with

the crest-fixture and 115 mm. above the rim is

mounted a single bronze ring attached by a looped

rivet. This was presumably used to tie down the

crest-box.

Published: Lipperheide, von. 1896,140, No. 245. Walters. 1899,

348. Stary. 1982,6, pl. 23.

Helmet No. 14.

Type: Type IV.

Location: The Nuseo Provinciale di Lecce.

Inventory Ho.: 85.

Provenance: 4th century grave at Rudiae near Lecce, Puglia,

-397-
 Italy.

Context: Second half of the 4th century B. C.

Suggested date: 4th century B. C.

Material; Bronze.

Dimensions: Overall height: 260 mm.

Overall width: 200 mm.

Internal width: 196 mm.

,
Overall breadth: 190 mm.

Internal breadth: 187 mm.

Thickness: Brim: 1-2 mm.

Bowl: 0.5-1 mm.

Chin-strap Fixture: This consists of a single hole (2 mm. in

diameter) pierced in either side of the brow-

band, in front of the neck-guard and towards

the lower edge.

Crest-fixture: None.

Decoration: The decoration consists simply of an indented line

demarcating the junction between the brow-band and the

helmet bowl itself.

Manufacture: It is "raised" from a single sheet of bronze.

Description: The helmet is markedly conical in form. The bowl is

straight-sided with a domed apex and swells from a

shallow fitted brow-band. The junction between these

is formed by a narrow indented line. At the rear

beneath the rim of the brow-band projects a neck-

guard. This is slightly everted and drawn down at the

sides to form short lobate projections similar to

-398-
 those found on some Samna-Attic helmets (see Nos. 31

and'32 and Hellenistic Greek helmets in general

(Paddock 1981. ). The chin-strap fixtures consist of a

single hole pierced in either side of the brow-band

and this implies that this helmet was not equipped'

with cheek-pieces. The helmet is well made and in a

good state of preservation. It has a smooth patchy

green patina.

Other features: None.

Published: Ponti. 1973,51, No. 85.

-399-
Introduction.,

This form of helmet is a development of the Greek Chalkidian/Attic

helmet of the 5th century B. C., as defined by Furtwängler (1890,170. )

Kunze (1967,135ff ) and Snodgrass (1967,94. ). The form, however

modified or debased, occurs in Italy, in contexts dating from the 5th

century B. C to the 1st century A. D. The majority however date. from

.
the end of the 5th to the early 3rd century B. C. It is found

predominantly in southern Italy and occurs regularly in Samno-Lucanian

warrior tombs of this period. They are closely associated with the

Sannite panoply consisting of either a triple disc breastplate or

muscled cuirass, a belt and greaves. Indeed at least five of these

complete panoplies have been found, mostly in Campania but at least

two come from near Ruvo in Puglia. It is the helmet depicted in

conjunction with such equipment in the famous "Warriors' Return"

fresco from Paestum. The Samno-Attic helmet is the most commonly

depicted head gear in Samno-Lucanian tomb paintings and Campanian

wares. The conjunction of these factors, its close association with

the Samnite tribes and its derivation from the Greek Attic helmet

would seem to suggest that the term Samno-Attic is the most logical

way to describe them.

-400-
 Samno-Attic helmets are generally very well made and have low

closely fitted bowls with a pronounced medial ridge. They are

invariably made of one piece of bronze, are open faced and have hinged

cheek-pieces. The bowl swells from a fitted brow-band. The junction

is marked by a pronounced embossed ridge. The upper edge of the brow-

band is either straight or rises up at the front to an apex to produce

a gable. The base may be straight or drawn down to form a slight "V"

shaped paint over the wearer's nose, at the front. The brow-band is

equipped with cut-outs for the wearer's ears and is drawn down at the

rear to form a closely fitted neck-guard, which usually slopes forward

under the wearer's ears. The neck-guard is sometimes slightly everted

at the bottom. The majority are decorated with more or less complex

embossed designs.

-401-
FIG. 107

Brow-band

Neck-guard

A SAMO-ATTIC HELMET

Bowl

Cheek-piece

-402-
Table 1: Samno-Att.ir Helmets.

No, Museum& Inv, No,; Cat Dimensions in mm: Provenance

No. - H. L. B.
1, Agrigento Museum (1) 120 220 150 Agrigento, Sicily,
AG 1310

2, Castel S. Angelo (367) 210 230 175 South Italy,

Rome, 3165,

3, MuseoNazionale (266) 220 249 170 Pietrabbondante, Lucania,

Naples, 6741, Italy,

4, MuseoNazionale (267) 220 228 180 Paestum, Campania,Italy,

Naples,

5, Mus6edu Louvre (330) 210 220 180 South Italy,

Paris 1129C6968

6, The Hermitage (390) 225 230 178 South Italy,

St, Petersburg,

7, MuseoPoldi-Pezzoli (242) 215 213 195 South Italy,

Milan, 2427,

8, MuseoArqueologico (209) 265 202 160 South Italy,

Madrid 7360,

9, MuseoArqueologico (210) 245 176 140 South Italy,

Madrid 7364,

10, MuseoArqueologico (211) 170 170 140 South Italy,

Madrid 7363,

11, Whereabouts Unknown(444) 225 216 163 South Italy,

Sold London 21,5,84

12, Bibliothbque Nat, (314) 200 220 164 South Italy,

Paris 2018,

13, MuseoPoldi-Pezzoli (243) 240 225 183 South Italy,

Milan, 2422,

14, Yorkshire Museum (429) 146 195 185 River Tyne, Newcastle,
No Inv, No, Great Britain,

15, Badisches Landes- (156) 185 236 159 Ruvo, Puglia, Italy,
MuseumKarlsruhe
F 431,

16, MuseoNazionale (299) 138 210 150 Paestum, Campania, Italy,

Paestum, No Inv No,

-403-
No, Museum& Inv, No.: Cat Dimensions in mm: Provenance
No. - HL- 8.
17, WhereaboutsUnknown(445) 279 205 145 South Italy,
Sold London10,12,84

18, British Museum (187) 229 238 155 Athens, Greece,

2817 8,20-225

19, The Royal Armouries (200) 205 215 175 Cumae,Lucania, Italy,
London, II 197

20, Museede 1' (303) 231 251 144 South Italy,

Arm6e Paris E7

21, British Museum (188) 200 212 170 Vulci, Tuscany, Italy,
2724 7-28,711,
,
22, Levy Collection (279) 263 250 192 Apulia, Italy,
NewYork,

23, MuseoNazionale (111) 213 250 150 Petoro, Marche, Italy,

Chieti 1103,

24, Musclede 1'Arm&e (305) 190 214 173 South Italy,

Paris E5

25, Muse de l'Armee (305) 236 236 169 South Italy,

Paris E6

26, Muse de l'Arm6e (306) 222 214 160 Capodignano, Campania,

Paris E 4, Italy

27, MuseoNazianale (268) 220 210 170 Pertosa Salona, Campania,

Naples 119,920 Italy,

28, The Antiquarium (249) 231 237 - South Italy,

Munich

29, J, P, Getty Museum (226) 225 210 148 South Italy,

Malibu, 80 AC12

30, Bibliothtque Nat, (315) 210 212 180 Ruvo, Puglia, Italy,
Paris 2002

31, Bibliotheque Nat, (316) 240 209 118 South Italy,

Paris 1998,

32 MuseoNazionale (39) 305 225 185 Conservano,Puglia, Italy,

Bari, 20890

-404-
No, Museum & Inv, No,: Cat Dimensions in mm: Provenance
No - H. L R.
33 MuseoNazionale (269) 182 225 175 Herculaneum,Campania,
Naples Italy,

34 MuseoNazionale (270) 179 220 178 Herculaneum, Campania,

Naples Italy.

-405-
 Distribution.

The strongly Greek influenced Samno-Attic helmet predominates in

the Samnite controlled areas of central and Lower Italy most

especially in Apulia, Lucania and Campania, only one example (helmet

No. 21) being found in northern Italy at Vulci in Eturia and one

outside the Italian peninsula at Athens (helmet No. 16. ). Both of

these helmets are now in the British Museum but were acquired in the

early part of the last century and Stary (1982,6. ) has cast some

doubt on the accuracy of their stated provenances. Indeed Lipperheide

(1896,119. ) gives a provenance for helmet no. 21 as a grave in the

Basilicata, although Walters (1899,342. ) states categorically that

it comes from Vulci. Of the remaining helmets where the provenance is

accurately recorded seven come from Campania, two from Ruvo near Bari

in Puglia and one from Agrigento in Sicily. Because of the paucity of

firmly provenanced examples little can be ascertained from the

distribution in terms of workshop groupings or temporal development.

11

-406-
FIG. 108 Distribution of Samno- Attic helmets

TYPE

II 0 111 f IV

AV 13 VI 0 VII V VIII

aQ
oý
a
C
ýd a°ý
e o
40 o°po
A 27
00
Cýb

o
ab
4oa
A3
0

Qo

19 f18
3334

26
15,30

16 03

p° o0o 00

-407-
Key to Distribution map fig. 108.

1. Agrigento, Sicily, Italy.

3. Pietrabbondante, Lucania, Italy.

4. Paestum, Campania, Italy.

.
14. The River Tyne near Newcastle upon Tyne, Great Britain.

15. Ruvo near Bari, Puglia, Italy.

16. Paestum, Campania, Italy.

18. Athens, Greece.

19. Cumae, Campania, Italy.

21. Vulci, Tuscany, Italy.

23. Petoro near Chieti, Marche, Italy.

26. Capodigiano, Campania, Italy.

27. Pertosa Salona, Campania; Italy.

30. Ruvo near Bari, Puglia, Italy.

32. Conservano, Apulia, Italy.

33. Herculaneum, Campania, Italy.

34. Herculaneum, Campania, Italy.

-408-
Manufacture.

These helmets have all been "blocked" and "raised" from a single

sheet of bronze in the manner described above. (see Chapter 1).

However, by analogy with most modern repousse work, the embossed

decoration was probably executed in a pitch block. The work is

embossed from the inside using hammers and punches as can clearly be

seen in a number of examples in particular helmet No. 21 (see pl. 4b. ).

Then the outside is chased with gravers to enhance the forms and

crisp up the lines. There are no integral cheek-pieces or crest-

fixtures associated with the Samno-Attic form and therefore they were

manufactured separately and either riveted or soldered on to the bowl

at a latter stage presumably just before or in the case of cheek-

pieces probably just after the preliminary polishing.

-409-
 FIG. 109
,

-- ,

--I
No, Forehead: Brow Embossing: Neckguard: Ed: Cheek-pieces: Type
St. Dip. St Ape Vol. Sb. L St Ev. Pr. Bi. RE. RCP 0.
1, t t k X I,

2, t 3 t t r * I,

3, X k k X I,
x x

5, * 3 k i 3 3 k I,

6, x 3 X k I.

7# k * # I.

8. # # 3 i # 3 * II,

g 3 3 3 3 x x 3 11

10, >" x iX I` lr 1~ III,

k I; III .
11. I" l; I~

12, R k 3 X x III,

1ý 3k 3 IIi

14, X k k # % X I; IV,

15, k 1 x 3 t x x IV,

16, 3 X X * R k 3 * IV,

17, * k x x x x 3 x IV,

18, x * x * k x # * IV,

19 #t # X 3 3 X # 1V a-

20. '- # xx * t. X V.

21. * #t X # # V.

22 t x* * x x 3 3 x V
23,* *t 3: k X x 3 VI,

2b,ß x* 33 VI.

-411-
No, Forehead: Brow Embossing: Neckguard: Ed: Cheek-pieces: Type
St. Dip- St. Apex. Vol_ Sh. L. St. Ev. Pr. 8i RE RCP. D
25, # #### Vi,

26, # ######## VI,

27, # #X### VI,

28, # ##### Vi,

29. # X###**1X V1_

30, # ##### vii,

31, # ####t VII,

321 Xx#xX VII R.

33, ######### VIII

Sd. 1X1###xX VIII

KEY: St- straight: Dip-Dipping to a point over the nose: Apex- Rising to a
central apex: Vol- Terminating in Volutes: Sh- Short: L- Long: Ev- Everted: Ed-
Edged by raised border; Pr- Present: Bi- Bicuspid: RE-
Raised Edges RCP- Raised central panel' 0- Other-

-412-
 3ý

No, Context Provenance: Assigned

Date:
1, First half-of the 4th century A grave at Agrigento, -
B.C. Dated by associated Sicily,
ceramics,

2, Unknown, South-Italy. 4th B. C.

3, Sanctuary deposit dated before Pietrabbondance, Campania -

the end of the 4th century B,C, Italy,

4, Unknown, Paestum, Campania, Italy, 4th B. C.

5, Unknown, South Italy, 4th B. C.

6, Unknown, South Italy. 4th B. C,

7, Unknown, South Italy, 4th B. C.

8, Unknown, Italy, 4th B. C.

9, Unknown, Italy, 4th B. C.

10, Unknown, Italy, 4th B. C.

11, Unknown, South Italy, 4th B. C.

12, Unknown, -South Italy, 4th B. C,

13. Unknown, South Italy, 4th B. C.

14, The River Tyne near Newcastle South Italy, Ith B'C'
upon Tyne, Great Britain,
Probably part of an antiquarian -
collection,

15, Unknown. A grave at Ruvo, Puglia, 4th B.C.

Italy.

16, c, 350-300B,C, Dated by Tomb,Region III, Paestum-

associated bronzes and CampanianCampania, Italy
red figure wares,

17, Unknown, South Italy; - 4th B, C,

18, Unknown, Athens, Greece, 4th B. C.

19, c, 375 B, C, Dated by associated Tombnear Cumae,Lucania -

ceramics, Italy,

20, Unknown, South Italy, 4th B,C,

-413-
No, Context Provenance: Assigned
Date-
21, Unknown, Vulci, Toscana, Italy, 4th B.C.

22, Unknown, Apulia, Italy 4th B.C.

23, c, 360-330 B. C. Dated by A grave at Pretoro, -

associated ceramics Abruzzi, Italy,

24, Unknown, South Italy, 4th B. C.

25, Unknown, South Italy, 4th B.C.

26, c, 350-300 B, C, dated by Capodignano, Campania, -

associated red figure wares, Italy

27. Unknown, Pertosa Salona, Campania, 4th B. C,

Italy,

28, Unknown, South Italy, 4th B. C.

29. Unknown, South Italy, 4th B. C.

30, Unknown, Ruvo, Puglia, Italy, 4th B. C.

31, Unknown, South Italy, 4th B. C,

32, c, 310 B. C. Dated by associated Tomb10, Conservano, -

bronzes and ceramics, Puglia, Italy,

33, Unknown, But must pre-date the Herculaneum, Campania Ist B. C.

the eruption of Mount Vesuvius Italy, /A D,
.
in 79 A.D.

34, Unknown, But must pre-date the Herculaneum, Campania Ist B'C'
the eruption of Mount Vesuvius Italy, /A D.
.
in 79 A.D.

-414-
FIG. 110
Typology.

Type T. - (Nos. 1-7. )

Helmets of type I are typologically and temporally- the earliest

Samno-Attic helmets and date from the end of the 5th to the early

4th centuries B. C. They are typified by a low slightly bulbous bowl

with a pronounced medial ridge. The bowl swells from a fitted brow-

band. The junction is marked by a pronounced embossed ridge. The

upper edge of the brow-band is slightly undulating at the sides and

back being higher over the ears than elsewhere. However at the-front

both its upper and lower edges are straight. The brow-band is

equipped with cut-outs for the wearer's ears and is drawn down at the

rear to form a very deep and closely fitted neck-guard, which slopes

forward under the wearer's ears. The neck-guard is strongly everted

at its base.

The helmets are competently made and finished. They are "blocked"

and "raised from a single sheet of bronze. The cheek-pieces, which are

of a slightly bicuspid form, and the, crest-fixtures, where they are

fitted, are manufactured separately. Helmets of type I are

undecorated presumably relying on the intrinsic beauty and simplicity

of their form alone for their aesthetic appeal. Approximately half of

the surviving helmets (Nos. 2,5 and 6. ) were equipped with. crest-

fixtures. These take the form of two types of removeable feather

holders. These are either in the form of a tapering conical tube or

bronze spring-like structures which are mounted at each end of a thin

bronze strip shaped to the profile of the bowl. The strip is pierced

by two square holes cut into it so that it can pass over the 'pierced

-416-
lugs or loops attached to the bowl. The whole assemblage is secured

by bronze split pins inserted into the loops or lugs.

Type IT. (Nos. 8 and 9).

Helmets of type II are represented by only two examples, both in

the Museo Arqueologico Madrid, and although lacking a secure context

exhibit a degree of development from the previous form towards the

fully developed and therefore later Samno-Attic helmet. They are

characterised by a low, hemisperical, slightly bulbous bowl. This

swells from a fitted brow-band. The junction between the two is

marked by a pronounced embossed ridge. The brow-band rises up

slightly at the front to form a point and Is equipped with cut-outs

for the wearer's ears. It is drawn down at the rear to form a

shallow straight neck-guard. At the front there are shallow cut-outs

over the wearer's eyes producing a small, 'V' shaped point over the

nose. Around the main edges of the helmet is an embossed rectilinear

moulding. The helmets are decorated by a pair of embossed eyebrows on

the forehead.

They are forged from a single piece of bronze and the cheek-pieces

formed separately. The hinged cheek-pieces are of type III and are

derived from Chalkidian originals of type VI. The cheek-pieces of

helmet No. 8 are embossed with rams' heads, also a Chalkidian

decorative motif. However they differ from the Chalkidian prototypes

in 'that the rams' heads are embossed in the metal of the cheek-piece

itself and are not an applied sheet which has been soldered on and

that they are not shaped to the outline of the ram's head. The

helmets are competently made and finished.

-417-
FIG. 111
Type III. (Nos 10-13)

Helmets of this type have a well shaped low bowl which swells

from a fitted brow-band. The junction between the bowl and brow-band

is marked by a pronounced angle. At the front the top edge of the

brow-band rises to form a gable, while the lower edge is straight. It

is equipped with cut-outs for the wearers ears and is drawn down at

the rear to form a straight but fitted neck-guard. The helmets are

well made and are forged in one piece. The cheek-pieces are hinged and

of a moderately bicuspid form. These have a raised outer edge and

have multi-hasped internal hinges

The decoration is embossed using the repousse technique and

invariably consists of a pair of embossed eyebrows on the brow and

an embossed rectilinear moulding along the main edges, which is

supplemented in the case of helmet No. 10 by an embossed inverted 'V'

shaped brow-ridge. This decorative feature is common on the more

developed of helmets of Type VI.

Type IV. (Nos. 14-19).

These helmets are a hybrid of the previous two forms. They have

moderate hemispherical bowls with a pronounced medial ridge. The

skulls are narrow and swell from fitted brow-bands. The junction

between the two is defined by a pronounced angle. At the front, the

brow-band rises to an apex and is decorated with embossed stylised

eyebrows, which meet over the nose. The main edge of the face opening

has two slight cut-outs over the wearer's eyes and is given an inward

hemispherical roll forming a strengthening and decorative moulding. At

the sides the brow-band has cut-outs to accomodate the ears. It is

-419-
drawn down at the rear to form a shallow straight neck-guard-which is

slightly everted at its base.

The helmets are very well made and finished and are raised from a

single sheet of bronze and decorated with repousse work. The cheek-

pieces are of moderate bicuspid form with a raised outer edge. These

are attached to the bowl by multi-hasped internal hinges.

Vhilst having all the characteristics of a helmet of Type IV helmet

15, from Ruvo, is a highly decorative example. At the front, echoing

the shape of the brow-band, are two inverted "V" shaped embossed and

fluted mouldings. The cheek-pieces are also highly decorated with

repousse work in the form of eagles' heads. The rear edge being given

a scalloped line to indicate the birds plumage. Helmet no. 19, from

a tomb near Cumae, now in the Royal Armouries (Inv. II, 197) whilst

exhibiting the characteristic attributes of helmets of type IV also

has the decorative motifs of helmets of type V. and bears applied

embossed sheet bronze wings common on helmets of type VII and crest-

fixtures which are only paralleled on helmet no. 5, type I. Therefore

it has been designated as type IV. B.

Type V. (Nos. 20,21 and 22. )

Type V is represented by three examples but these are almost

identical. There can be no doubt that helmets 20 and 21 are the

product of the same workshop if not of the same individual. All three

helmets have a well fitted low bowl with very deeply embossed

and pronounced inverted "V" shaped crest-ridges. The brow-band has

two shallow cut-outs over the wearer's eyes to produce a "V" shaped

vestigial nasal. The brow-band is also equipped with cut-outs for the

ears and is drawn down at the rear to form a straight and well fitted

-420-
neck-guard, which slopes in behind the ears. The helmet is very well

made and finished and has been forged in one piece. Only helmet 22

retains its cheek-pieces and these are of the usual bicuspid form, but

with a deeper cusp at the base.

The decoration is executed in repousse work and consists of a

narrow rectilinear raised moulding which encircles the whole of the

base of the helmet. Above this at the front is one broad embossed

band in the form of an inverted "V" shape which terminates in large

embossed volutes over the temples. On either side of this band are

narrow flutes. Below this is a pair of embossed eyebrows. The neck-

guard is decorated and strengthened by a plain embossed band.

Type VI. (Nos. 23-29)

Type VI represents numerically the largest group of Samno-Attic

helmets and arguably the most developed. They would appear to be a

hybrid of Types III and V. They have a similar form to type III and

similar decoration to type V. The helmet bowls are of the usual low

hemispherical type which swell from a fitted brow-band. The junction

between the two is defined by a pronounced angle. The brow-band is

equipped with cut-outs for the wearer's ears and is drawn down at the

rear to form a deep fitted straight neck-guard. At the front it rises

up to an apex. The lower edge is straight or has very slight cut-outs

over each eye. The helmets are extremely well made and finished. The

bowl of the helmet is formed from one piece of bronze.

The majority of the cheek-pieces are of a broad, bicuspid form with

raised edges, although the cut-outs for the eyes and mouth are only

very slight. The cheek-pieces on helmet No. 24, however, are of a

completely different form with a convex forward edge and a concave

-421-
rear edge. These are possibly derived from the Chalkidian forms

decorated with embossed rams' heads which they closely resemble in

outline. Both these types of cheek-piece-are attached with external

multi-hasped hinges, which are wrapped over the top edge of the cheek-

pieces and the lower edge of the helmet bowl and then riveted in place

with three rivets.

The decoration is executed in repousse work. and is an integral

part of this helmet design. It consists of two embossed inverted "V"

shaped brow-ridges separated by a flute and rising to an apex at the

centre. These terminate at either side in a single large volute.

Over the eyes the base of the helmet is decorated by an embossed band

forming stylised eyebrows. The neck-guards an helmets Nos. 26-28-are

adorned with an embossed rectilinear moulding which follows the

contour of its base. On, helmet No. 26, from Capodigiano, these

terminate in volutes. This helmet is exceptionally well made and

elaborately decorated with an Athena's head embossed on its brow and

horse's heads on its cheek-pieces.

Type VII. (Nos. 30-32)

Helmets of this type have a well shaped moderate bowl which

swells from a fitted brow-band. The junction between the bowl and

brow-band is marked by a pronounced angle. At the front the top edge

of the brow-band rises to form a high gable, while the lower edge is

very -slightly concave. Across the face opening the lower edge is

given a slight outward flange to strengthen it. It is equipped with

cut-outs for the wearer's ears and is drawn down at the rear to form a

deep fitted neck-guard. At its base two cuts were made in the bottom

edge and the central portion was turned into a flange leaving a lobe

-422-
like projection down each side of the wearer's neck. This form of

neck-guard provides excellent protection' and is commonly found on

Greek and Hellenistic helmets, most especially the Thracian helmet,

from the 4th century onwards (Paddock. 1981, The helmets are

very well made and finished, the bowl being raised from a single sheet

of bronze.

The decoration is very simple and consists of an applied, embossed,

sheet bronze wing riveted at each temple. Vhere the cheek-pieces

survive those on helmets No. 30 and 31 are of the same form as those

on helmet No. 24 with a convex forward edge and a concave rear edge.

Helmet No. 32 on the other hand has moderate bicuspid cheek-pieces.

Although typologically part of type VII, helmet No. 32, from

Conservano, differs from the majority of this type in a number of

important ways. The bowl of the helmet, instead of being of the usual

hemispherical shape, has an integral "Phrygian" bonnet with an

embossed wave pattern, crest-fixture soldered along its length. The

forehead is also decorated with embossed locks of hair.

Type VIII. (Nos. 33-34)

These two helmets represent the latest known examples of the

Samno-Attic tradition and exhibit a very marked decline in all

aspects. They are nearly identical both in form and decoration, so much

so that there can be no doubt that they are the product of a single

workshop. There are no definite contexts for these helmets which were

found in the nineteenth century, but their provenance is given as

Herculaneum in Campania. Both are very poorly made and finished in a

yellow bronze. They resemble 2nd and early Ist century B. C.

Montefortino helmets, in their general quality, execution and the lack

-423-
of care taken in their decoration and finish. They have a terminus

ante quern of 79 A. D., but given the general trends in helmet design

and manufacture during the 1st century A. D. it is unlikely that they

represent a product of the second half of that century. However the

crest-fixtures consist of a circular plate, with a raised and slotted

centre, soldered to the crown and retaining hooks for the crest-box

which are riveted at the front and rear. This arrangement first

appears on Italian helmets of the first century A. D. and therefore it

seems probable that helmets of Type VIII date to the end of the 1st

century B. C. and the beginning of the Ist century A. D..

The helmets are raised from a single sheet, but are equipped with

reinforcing bands wrapped around the neck-guard flange. The cheek-

pieces are supported by hinges, attached to the bowl by a single

rivet, and which have only a single hasp.

The helmets have rounded, slightly bulbous skulls with deep

straight neck-guards, which are not fitted to the rear of the skull

and neck, but form an almost straight line between the bowl and the

neck-flange.

The decoration on both helmets is identical and consists of two

narrow embossed brow-ridges, the upper one rising to an apex at its

centre, the lower one passes straight across the brow. Both terminate

in the sane debased volute at each temple.

-424-
FIG. 112

10

11

12

-425-
TY-ý

1. Agrigento, Sicily. Nuseo Nazionale Agrigento (Inv. AG1310).

Undecorated. (fig. 109: 1) Unpublished.

2. South Italy. Museo di Castel Sant' Angelo, Rome (Inv. 3165).

Undecorated. (fig. 109: 2) Connolly, 1981,107.

3. The sanctuary at Pietrabbondante, Lucania, Italy. Musen Nazionale,

Naples (Inv. 5741). Undecorated. (fig. 109: 3) Cianfarani, 1970, fig.

303. Lipperheide, von. 1896,110, No. 303.

4. Paestum, Campania, Italy. Museo Nazionale, Naples. Undecorated.

(fig. 110: 4) Lipperheide, von. 1896,106.

5. South Italy. Nusde du Louvre, Paris (Inv. 1129 c6968).

Undecorated. (fig. 110: 5) Ridder, de. 1915,4-5.

6. South Italy. The Hermitage, St. Petersburg. Decorated: The

decoration consists of an applied medallion bearing a Gorgon's head

mounted onto the forehead of the helmet. (fig. 110: 6) Lipperheide,

von. 1896,117, No. 400.

7. South Italy. Musen Poldi-Pezzoli, Milan (Inv. 2427). Undecorated.

(fig. 111: 7) Cavaleri-Manasse. 1985,38.

Type -IT.

8. Unprovenanced. Museo Arqueologico, Madrid (Inv. 7360). Decorated:

The decoration consists of an embossed ram's head on each cheekpiece.

(fig. 111: 8) Blazquez. 1957,150.

9. Unprovenanced. The Museo Arqueologico, Madrid (Inv. 7364).

Decorated: The decoration consists of embossed eyebrows. (fig. 111: 9)

Blazquez. 1957,154.

-426-
FIG. 113

13

14

15

-427-
Type III.

10. Unprovenanced from the collection of the Marques of 'Salamanca.

Musen Arqueologico, Madrid (7363). Decorated: the decoration

consists of embossed eyebrows. (fig. 112: 10) Blazquez. 1957,153.

11. South Italy. Present whereabouts unknown, Sold at Sotheby's

London 21.5.84 lot no. 341. Decorated: The decoration consists of

embossed eyebrows and a double brow-ridge in the form of an

inverted'V'. (fig. 112: 11) Anon. 1984(1). 66.

12. South Italy. Bibliotheque Nationale Paris (Inv. 2018)

Undecorated. (fig. 112: 12) Blanchet. and Bandon. 1895"--660.

Lipperheide, von. 1896,109, No. 352. Adam, 1984,126.

13. South Italy. Museo Poldi-Pezzoli, Milan (Inv. 2422). Undecorated.

(fig. 113: 13) Frova. 1972.92. Cavaleri-Manasse. 1985.36.

Tyne IV.

14. The River Tyne, Newcastle upon Tyne, Great Britain. The

Yorkshire Museum. Decorated: The decoration consists of embossed

eyebrows. (fig. 113: 14) Paddock. 1981,30-1.

15. A grave at Ruvo near Bari, Puglia, Italy. The Badisches

Landesmuseum Karlsruhe (Inv. F 431). Decorated: the" decoration

consists of embossed eyebrows and a double brow-ridge rising to an

apex at its centre. The cheekpieces are embossed to the shape of

eagles heads. (fig. 113: 15) Schumacher. 1890,20, fig. XIII, 3.

Lipperheide, von. 1896.116, No. 256.

16. A tomb in regione III at Psestun, Campania, Italy. The Museo

Archeologico, Paestum. Decorated: the decoration consists of

embossed eyebrows and applied embossed wings. (fig. 114: 16)

Sestieri. 1957,171-180.

-428-
17. South Italy. Its present whereabouts are unknown, Sold at

Sotheby's, London 10.12.84. Decorated: The decoration consists of

embossed eyebrows. (fig. 114: 17) Anon. 1984(2) Lot No-303.

18. Athens, Greece. The British Museum (2817.1873.8.20-225).

Decorated: The decoration consists of embossed and fluted brow-ridge

and embossed eyebrows and an applied silver satyr, s head. (fig.

114: 18) Walters, 1899,348. Lipperheide, von. 1896,115, No. 249.

Type IV. B

19. A tomb at Cumae, Lucania, Italy in 1856. The Royal Armouries,

H. M Tower of London (II, 197). Decorated: The decoration consists of

an embossed brow-ridge rising to an apex at its centre and terminating

in volutes. the brows of the helmet are engraved with stylised locks

of hair and boars. At either temple are riveted embossed sheet bronze

wings. (fig. 115: 19) Lipperheide, von. 1896,107. Connolly.

1981,109.

Type V.
20. South Italy, The Musee de 1'Armee, Paris (Inv. E7). Decorated:

The decoration consists of an embossed and fluted brow-ridge rising to

an apex and terminating in large volutes at the wearer's temples, over

embossed eyebrows. (fig. 115: 20) Mohen, 1970,218.

21. Vulci, Tuscany, Italy. The British Museum (Inv. 2724 1842.7.28-

711). Decorated: The decoration consists of an embossed and fluted

brow-ridge rising to an apex and terminating in large volutes at the

wearer's temples, over embossed eyebrows. (fig. ' 115: 21) Lipperheide,

van. 1896,119, No. 241. Walters, 1899,342.

-429-
22. Apulia, Italy. The Levy Collection, New York. Decorated: the

decoration consists of an embossed and fluted brow-ridge rising to an

apex and terminating in large volutes at the wearer's temples, over

embossed eyebrows. In the middle of the gable formed by the brow-

ridge is an engraved palmette with lateral tendrils. Below the

browridge spring engraved locks of hair. The neck-guard is

embellished with a palmette over a volute tendril The cheek-pieces

are decorated with embossed and chased horses' heads. (fig. 116: 22)

Cahn. 1990,114-117.

Type VI.

23. Pretoro near Chieti, Marche, Italy. The Museo Yazionale, Chieti

(Inv. 1103). Decorated: The decoration consists of embossed eyebrows

and two brow-ridges rising to an apex at their centre, all of which

terminate in a single large volute at each side. (fig. 116: 23)

Cianfarani, 1970,196. fig. 183.

24. South Italy. The Musee de l'Arn&e, Paris (Inv. E5). Decorated:

The decoration consists of embossed eyebrows and two brow-ridges

rising to an apex at their centre, all of which terminate in a

single large volute at each side. (fig. 116: 24) Lipperheide, von.

1896,121, No. 466. Mohen, 1970,219-20.

25. South Italy. The Musee de l'Armee, Paris (Inv. E6). Decorated:

The decoration consists of embossed eyebrows and two brow-ridged

rising to an apex at their centre, all of which terminate in a

single large volute at each side. (fig. 117: 25) -hohen, 1970,215-6

-430-
F il
26. Capodignano near Paestum, Campania, `Italy. The Xusee de l'Armee,

Paris (Inv. E4). Decorated: The decoration consists of two embossed

brow-ridges, separated by a deep flute, rising to an apex at the

centre. 'At either side these terminate in a single large volute.

Beneath the apex is a repoussd diademed head of a' woman. ' At the base

of the helmet is an embossed band forming stylised eyebrows. The

neck-guard is adorned with a raised band following the contour of its

base and terminating in volutes. Finally each cheek-piece bears the

embossed head of' a horse. (fig. 117: 26) Mohen, 1970, '' 214-5.

Lipperheide, von. 1896,122.

27. Pertosa Salona, Campania, Italy. The Museo nazianale, Naples.

Decorated; The decoration consists of two embossed brow-ridges rising

to an apex and terminating in a large volute at each side. At the

base of the front of the helmet is an embossed rectilinear band

forming stylised eyebrows. The neck-guard is adorned with a'raised

band at the nape of the wearer's neck. (fig. 117: 27) Lipperheide,

von. 1896,118, No. 336.

28. South Italy. The Antiquarium, Munich (destroyed in World War

II). Decorated; The decoration consists of two embossed brow-ridges

rising to an apex and terminating in a large volute at each side. At

the' base of the front of the helmet is an embossed rectilinear band

forming stylised eyebrows. The neck-guard is adorned with a raised

band at the nape of the wearer's neck. (fig. 118: 28) Lipperheide,

von. --1806,120, No. 37.

-432-
29. South Italy. The John Paul Getty Museum, Malibu. (Inv, 80AC12).

Decorated: The decoration consists of two embossed brow-ridges rising

to an apex and terminating in a large volute at each side. At the

base of the front of the helmet is an embossed rectilinear band

forming stylised eyebrows. (fig. 118: 29) Zimmerman, 1982,113.

3:ype VII.

30. Ruvo, Puglia, Italy. The Bibliotbeque Nationale, Paris

(Inv. 2002). Decorated: The decoration consists of an embossed

triangular brow-ridge rising to an apex at the centre. The neck-guard

is decorated with an incised wave pattern. At each temple is an

applied embossed bronze wing. (fig. 118: 30) Blanchet. and Bandon.

1895,657-8. Lipperheide, von. 1896,111, No. 342. Adam, 1984,

123-4.

31. Unprovenanced from Italy. The Bibliotheque Nationale, Paris

(Inv. 1998). Decorated:, The decoration consists of an applied, embossed

sheet bronze, wing at each temple. (fig. 119: 31) Blanchet. and

Bandon. 1895,657. Lipperheide, von. 1896,108, No. 341. Adam,

1984,121-2.

Type VI T. R.

32. Tomb 10 Conservano near Bari, Puglia, Italy. The Nuseo

Nazionale, Bari (Inv. 20890). Decorated: The decoration consists of

embossed stylised hair on the forehead and applied embossed, sheet

bronze wings riveted on each side over the wearer's temple. Soldered

down the crest-ridge is a crest-holder in the form of stylised waves.

(fig. 119: 32) Bianchi-Martini, 1964.161-4. Connolly. 1981,110.

-433-
Tyne VInI.

33. Herculaneum, Campania, Italy. The Museo 'Mazionale Naples.

Decoration: The decoration consists of two narrow embossed brow-

ridges, the upper one rising to an apex at its centre, - the lower one

passing straight across the brow. Both terminate in the same debased

volute at each temple. (fig. 120: 33) Lipperheide, von. ' 1896,256.

Robinson. 1975,65.

34. Herculaneum, Campania, Italy. The Nuseo Nazionale Naples.

Decoration: The decoration consists of two narrow 'embossed brow-

ridges, the upper one rising to an apex at its centre, the lower one

passing straight across the brow. Both terminate in the same debased

volute at'each temple. (fig. 120: 34) Robinson. 1975,65.

Over half of the extant Samno-Attic helmets have no provision'for a

crest, the remainder have a crest-fixture of one of six types. 'The

overwhelming majority of` these, borne by over thirty-three percent of

the surviving helmets of this type, are feather tubes. These are of

one of three different types. The first are independently mounted,

inverted, conical feather trubes which are attached permanently to the

helmet bowl either by rivets or solder. These occur on two helmets

of type IV and one helmet of type VII, (Tos. 16,17 and 32

respectively). In the. case of both helmets 16 and 32 these are

partially hidden'by"the applied sheet bronze wings. Those on helmet

16 are riveted to the helmet through small circular flanges at their

base, whereas those on helmet no. 32 are soldered directly to the

internal face of the bronze wings. Helmet no. 17 has three separate

-434-
feather tubes which terminate in similar circular flanges but in this

case these are embossed and soldered to the helmet bowl, one centrally

and one to each side. Two circular solder marks, one on either side of

the apex of helmet No. 14 are without doubt the remains of this type

of fixture.

The two other forms of feather tube are closely related and are

detachable. They consist of a single bronze strip usually mounted

transversely across the helmet bowl. At each end is a feather tube.

On helmet 6,20 and 21 these are of inverted conical form

_(fig.
121: 1), produced by hammering the sheet around a. conical triblet.

However on helmets 5 and 19 this plate terminates in bronze spring

like feather tubes. On both types. the crest-fixture is pierced by two

rectangular holes to admit either pierced bronze lugs or loops,

through which pins are passed to hold the crest-fixture in position.

Helmet 2, now in the Castel S. Angelo, has three such pierced lugs

arranged transversely across the apex of the helmet

.
Helmet no. 6,

now in the Hermitage, St Petersburg, is also equipped with this type

of crest-fixture, although it is mounted longitudinally, and from its

centre springs a third conical feather tube. It may be that this was

common practice as both helmets 20 and 21 have a square central hole,

which is now empty. This may have been for a third feather tube but

alternatively it may have been intended to receive a stemmed "II"

shaped bracket, like that on helmet No. 19, now in the Royal Armouries

in the Tower of London (Inv. II 197. ) (fig. 121: 1). This type of

bracket is commonly associated with Apulo-Corinthian and Piles helmets

from Puglia and the Basilicata, but occurs in other Italian helmet

forms most notably the Etruscan Negau. This type of crest-fixture

-435-
does occur on other Samno-Attic helmets but only ever as a minority

type. It seems not to be confined to one typological group and

remains of them occur on helmets 11,15,19,22 and 30. In the case

of helmets 11,15 and 30 they are accompanied by pierced lugs set just

above the junction between helmet bowl and neck-guard which were

presumably used to fasten the rear of the crest-box. On helmet no. 22

there are small ring mounted in pierced lugs set at either end of the

crest-ridge.

The remaining two types of crest-fixture associated with these

helmets are completely different, the Phrygian bonnet, of helmet no. 32

is equipped with an embossed sheet bronze crest-box soldered down

either side of the apex; this is unique on a helmet of Italian

manufacture although this form of crest-fixture is not unknown on

helmets of Hellenistic origin, most notably a helmet now in the Greek

Museum of Cyprus in Nicosia which was excavated in 1976 ( Inv. XII

15/3 ).

The final type of crest-fixture occurs on helmets Nos. 33 and 34

both of type VIII and probably dating to the'early years of the first

Century AD. These crest-fixtures consist of a circular plate, with a

raised and slotted centre, soldered to the crown of the helmet and are

accompanied by retaining hooks for the crest box, which are riveted at

the front and rear. They owe nothing to the Samno-Attic tradition

and are more commonly associated with bronze copies of Imperial

Gallic helmets, for example one in the Museo Civico at Cremona and

another in the Museo Stibbert in Florence.

-436-
FIG. 115

19

20

21

-437-
Cheek-places. (fig. 122)

Approximately three quarters of the extant Samno-Attic helmets

retain their cheek-pieces. They are missing on helmets nos. 1,4,6,

12,20,21,25 and 27. There are six types of cheek-piece associated

with this form, three are bicuspid in outline and represent types

I, II and III. The most commonly found cheek-piece, type I (fig.

122: 1), is a moderate bicuspid variety with a raised outer edge. On

over half of the extant helmets the cheek-pieces are of this form and

are fitted to all types with the exception of type II.

The other two types of bicuspid cheek-piece are-far less common,

these have a raised centre rather than edge. The cheek-pieces of type

II (fig. 122: 2) are moderately bicuspid and occur on helmets Nos. 3,

18,33 and 34. The final bicuspid form, Type III (f I g. 122: 3), are

represented by only one example, helmet no. 15 where they are

zoomorphic and are shaped to in the form of eagles' heads facing to

the rear.

Cheek-pieces of Types IV and V are clearly derived from Chalkidian

prototypes. Type IV (fig. 122: 4) are associated only with helmets of

type II (nos. 8 and 9) and are derived from the cheek-pieces of the

Italian Chalkidian helmet type V, they have a straight forward edge

which is equipped with a cut-out for the wearers eye. The rear edge

runs parallel to it for about half its length and then is brought

forward at approximately forty-five degrees to meet the forward edge.

The cheek-pieces of helmet no. 8 are decorated with a repousse ram's

head also derived from Chalkidian decorative motifs.

In this connection it is not suprising therefore that cheek-pieces

of type V (fig. 122: 5), which occur only on helmet types VI and VII,

-438-
should also apparently derive from this source. Like the previous
..
four types these are very much of a minority form, however they are

associated with the more developed types of Samno-Attic helmet. These

cheek-pieces have ,a convex forward edge and sinuous rear edge which

bulges out at the top and then curves inwards and round at the base to

meet the forward edge. In outline this is very similar in shape to

the fixed rams'head cheek-pieces which occur on Chalkidian helmets.

..
The final type of cheek-piece (fig. 122: 6) is more commonly

associated with Montefortino helmets and is of a trefoil or trilobate

form, they are known from Bovianum and the shrine at Pietrabbondante.

The association of this type of cheek-piece with the Samno-Attic

helmet was-. first postulated by Connolly (1981,111. ). " They are

similar in design to the Samnite triple disk breastplate. Connolly

reasons that as this cheek-piece has a five loop hinge it must come

from an Attic helmet rather than Montefortino one which only ever

have 3 looped hinges. Whilst his assertion about Montefortino helmets

is perfectly correct, without further corroborative evidence it would

perhaps be rash to concur, wholeheartedly with this assumption.

An integral part of the cheek-pieces are their hinges. Hinges

survive on over three quarters of the extant Samno-Attic helmets and

of these all but two, los. 8 and 24, are multi-hasped. The Samno-

Attic helmet is unique amongst Italian helmets in that a considerable

proportion of them are equipped with external hinges for their cheek-

pieces; the upper half of the hinge being wrapped around the lower

edge of the helmet bowl, this is then riveted in place by three or

more domed headed rivets. These external hinges occur on helmets 1,

16,22,23,24,25,26,27,28 and 29. They are therefore closely

-439-
associated with helmets of type VI. The remaining two thirds are of

the usual internally mounted multi hasp type.

Very few of the extant cheek-pieces have any form of chin-strap

fixture. Where these do occur they consist simply of a hole either in

the rear or the forward edge of the cheek-piece. As none of these

holes retain any type of fixture it is impossible to say quite how

these worked; however it is probable that they contained a simple loop

through which could be threaded a thong for securing the helmet. No

Samno-Attic helmet has any additional form of chin strap fixture, such

as the double loop fittings commonly found on Montefortino helmets.

Where no chin-strap fittings occur on the cheek-piece it can only be

assumed that these were sewn to the lining. The closely fitting

nature of the neck-guard, common to nearly all types of Samno-Attic

helmet which hugs the wearer's skull and neck, would render a third

point of attachment in the neck-guard unnecessary, not least in that

the closely fitted skull and brow-band would be unlikely to be

dislodged from the wearer's head by a blow.

-440-
Decoration.

The overwhelming majority, approximately ninety percent, of Samno-

Attic helmets are decorated in one form or another; the only exception

to this are helmets of type I. In fact in some cases the decoration

is an integral part of the helmets design and serves a functional role

of strengthening portions of the helmet. The decorative work varies

in the degree of elaboration and in. the style and manner of its

execution. The armourer employed one of, ora combination of three

techniques i. e. repousse, applique or engraving. The decoration is

without exception restricted to the front of the helmet and the cheek-

pieces. The vast majority of helmets, le. all except type I and type

VII, share one decorative feature, that is,. repousse eyebrows which

meet over the wearers nose.

On the helmets of types V, VI and VIII these embossed eyebrows are

invariably accompanied by, embossed brow-ridges which rise to an apex

at the front and terminate in volutes at the temples. On helmets of

type V this takes the form of a broad embossed band of inverted "V"

shape which terminates in a large embossed volute over each temple.

On either side of this band are narrow flutes. Whereas on helmets of

type VI it consists of two embossed brow-ridges rising to an apex and

terminating in a large volute at each side. Finally on helmets of

type VIII, it take the form of two narrow embossed brow-ridges, the

upper one rising to an apex at its centre, the lower one passing

straight across the'brow. Both terminate in a debased volute at each

temple. These decorative schemes are very similar and obviously derive

from a common source. However helmets of type VIII show a

-442-
considerable decline both in the design and execution of the

decoration,

Although this form of decoration is universal on the foregoing

types, examples of brow-ridges do occur on helmets of types III and

IV, i. e. helmets Nos. 11 and 15. On helmet No. 11 this takes the

form of a double inverted "V" shaped brow-ridge while on-helmet No.

15 are two inverted "V" shaped embossed and fluted mouldings echoing

the shape of the brow-band. However neither helmet has volutes at the

temples.

Embossed eyebrows are a common feature on many .types of Italian

helmet and occur universally on Italo-Corinthian, Apulo-Corinthian and

Chalkidian helmets. In addition to the eyebrows an embossed brow-

ridge is found on many Chalkidian helmets. This further emphasises

the links between these two forms of helmet. Conversely the embossed

volutes would appear to be a unique feature of the Italian made Attic

helmet. The repouss6 technique is also used to embellish the cheek-

pieces of helmet No. 8, which are decorated with rams' heads, helmet

No. 15, which take the form of eagles' heads, and helmets Nos. 22 and

26 which are embellished with horses' heads. It has also been used to

produce the "Athena's head" just below the apex of the brow-band of

helmet No. 26 and the stylised locks of hair decorating the forehead

of helmet no. 32.

To supplement the repoussd work, certain helmets have bronze

applique decoration. These are only a small minority and by and large

this form of decoration only occurs on helmets of type IV and VII. On

helmets 16,19,30,31 and 32 this decoration consists of applied,

embossed and engraved sheet bronze wings which are riveted to either

-443-
side of the helmet bowl and in some cases are used to disguise the

feather tubes. Connolly (1981,111. ) has suggested that this type of

decoration can be used to identify Samnite helmets. Certainly

helmets of this type can be seen on Samno-Lucanian wall paintings from

Campania, now in the Museo Nazionale in Naples, but they do not

apppear on the "Warriors' Return" fresco from Paestum, and so the

evidence is far from conclusive. Although these bronze wings are the

most common form of applied decoration, helmet Ma. 18 has an applied

silver satyr's head, and helmet No. 6a medallion engraved with a

"Medusa's head" soldered to their foreheads.

Supplementary decoration, especially on the most elaborate helmets

ie. Nos. 19,22,25,26 and 32 is added by engraving. This takes the

form of either scrolling tendrils and palmettes as on helmets Nos. 22

and 26 or wave pattern as on helmet No. 25. In all cases this

decoration is restricted to the forehead area and is used in

conjunction with repouss6 work. Helmet No. 17, now in the Royal

Armouries in the Tower of London, exhibits all three forms of

decoration. It has applied sheet bronze wings embossed and brow-

ridges, which terminate in volutes. This in turn is embellished with

engraved scrolling locks of hair from which issue charging wild boars.

-444-
FIG. 117

25

26

27

-445-
Detailed study o f an exanple of ea ch typ

Helmet No. 5.

Type: Type I.

Location: The Musee du Louvre, Paris.

Inventory No. 1129 (C6968).

Provenance: South Italy.

Context: Unknown.

Suggested date: 4th-3rd centuries B. C.

Material: Bronze.

Dimensions: Height: 210 mm.

Overall width 220 min.

Internal width 214 mm.

Overall breadth 180 mm.

Internal breadth 173 mm.

Thickness: Rim: 3 mm.

Bowl: 0.7-1 mm.

Cheek-pieces: Present. These are of a bicuspid form. The

forward edge has two shallow cusps removed,

corresponding with the wearers eyes and mouth, the

rear edge curves forward to meet it. The cheek-

pieces have a raised central panel and a thickened

outer edge.

Hinge-plates: Present. These are internal and have three hasps

at the top and button. They are attached to the

bowl by five rivets and the cheek-pieces by four.

Crest-fixture: This consists of a strip of bronze, 20 mm. wide.

At either end is riveted a bronze feather holder

-446-
 which takes the form of a loosely coiled bronze

spring. The crest-fixture is attached to the bowl

of the helmet by two bronze loops, these project

through the helmet bowl, and are flanged outwards

on the inside to secure them. Each loop passes

through a rectangular opening in either end of the

crest-fixture. This is secured by passing iron

pins, similar to modern cotter pins, through the

projecting loops but over the bronze strip

Decoration: None.

Manufacture: The helmet is "blocked" and "raised from a single

sheet of bronze. The cheek-pieces and crest-fixture

were manufactured separately and attached as

described above.

Description: The helmet has a low slightly bulbous bowl, with

a pronounced medial ridge. The bowl swells from a

fitted brow-band and the junction is marked by a

pronounced embossed ridge. The brow-band is

equipped with cut-outs for the wearer's ears and is

drawn down at the rear to form a very deep and

closely fitted neck-guard. This is strongly

everted at its base. The helmet has hinged

bicuspid cheek-pieces. It is competently made and

finished. It is well preserved but restored and

has a granular green patina.

Other Details: None.

Published: Ridder. 1915,4-5.

-447-
FIG. 118

28
Helmet Ho. 8.

Type: Type II.

Location: The Museo Arqueologico, Madrid.

Inventory No.: 7360.

Provenance: Unknown.

Context: Unknown.

Suggested Date: 5th-4th centuries B. C.

Material: Bronze.

Dimensions: Height: 265 mm.

Overall width: 202 mm.

Internal width: 198 mm.

Overall Breadth: 160 mm.

Internal breadth 156 nm.

Thickness: Rim: 2 mm.

Bowl: 1 mm.

Cheek-pieces: Present. These are of an unusual form clearly

derived from the cheek-pieces of the Italian

Chalkidian helmet type V. They have a straight

forward edge with a cut-out for the eye. The rear

edge is parallel to this for about half its length

and then is brought forward at approximately 45

degrees to join the forward edge. Each cheek-piece

is decorated with an embossed-ram's head also very

reminiscent of Chalkidian decorative motifs.

Hinge-plates: Present. These are internal and have a single upper

hasp and double lower hasps. They are attached to

both the bowl and the cheek-pieces by two rivets.

-449-
Crest-fixture: None.

Decoration: The decoration consists simply of an embossed

rectilinear moulding around the main edges of the

helmet and embossed eyebrows. On each cheek-piece

is an embossed ram's head.

Manufacture: The helmet was forged from a single piece of bronze

and the cheek-pieces formed separately. They differ

from the Chalkidian type in that the rams' heads

are embossed in the metal of the cheek-piece itself

and are not an applied sheet which has-been soldered

on.

Description: The helmet has a low hemisperical slightly bulbous

bowl. The bowl swells from a fitted brow-band and

the junction is marked by a pronounced embossed

ridge. The brow-band is equipped with cut-outs for

the wearers ears and is drawn down at the rear to

form a shallow straight neck-guard. At the front

there are shallow cut-outs over the wearer's eyes

forming a slight vestigial nasal. Around the main

edges of the helmet is a raised moulding of square

section. The helmet has hinged cheek-pieces, of

type IV. It is competently made and finished: It

is well preserved and has a smooth brown patina.

Other Details: None.

Published: Blazquez. 1957,150, pl. 4.

-450-
FIG. 119

31

32

-451-
Helmet Jo. 10.

Type: Type III.

Location: The Museo Arqueologico, Madrid.

Inventory No.: 7363.

Provenance: South Italy.

Context: Unknown.

Suggested Date: 4th century B. C.

Material: Bronze.

Dimensions: Height: 170 mm.

Overall width: 170 mm.

Internal width: 164 mm.

Overall Breadth: 146 mm.

Internal breadth 140 mm.

Thickness: Rim: 3 mm.

Bowl: 1 mm.

Cheek-pieces: Present. These are of a moderate bicuspid form.

The forward edge has two slight cusps cut out for

the eyes and the mouth. The rear edge is straight

for approximately two thirds of its length and

then curves sharply towards the forward edge, where

it forms a lobate terminal. Height: 110 mm. The

right cheek-piece is missing.

Hinge-plates: Present. These are internal, carefully made and

attached to both the helmet bowl and the cheek-

pieces by three rivets.

Crest-fixture: None.

Decoration: The decoration consists simply of a pair of

-452-
 embossed eyebrows on the brow and an embossed

square-sectioned moulding along the main edges.

Manufacture: The helmet has been forged in one piece as have the

cheek-pieces which are attached by hinges. The

decoration is embossed using the repousse

technique.

Description: It has a-well made low bowl which swells from a

fitted brow-band. This is equipped with cut-outs

for the wearer's ears and is drawn down at the rear

to form a straight but fitted neck-guard. At the

front the brow-band rises to form a gable. The

junction between the bowl and brow-band is marked

by a pronounced angle. The helmet is well made and

has a smooth dark green patina.

Other Details: None.

Published: Blazquez. 1957,153, pl. 3a, b.

gel mPt No 14.

Type: Type IV.

Location: The Yorkshire Museum.

Inventory No.: None.

Provenance: The River Tyne, at Newcastle upon Tyne, Great

Britain.

The provenance of this helmet is both uncertain and

surprising but there is no doubt that this helmet was

originally manufactured somewhere in Southern Italy.

It was purchased by the Yorkshire Museum circa 1870.

Context: Unknown. River Tyne.

-453-
Suggested Date: 4th Century BC. Assigned on the basis of its

close stylistic affinities with dated helmets of

this type.

Material: Bronze.

Dimensions: Height: 146mm.

Overall Width: 195mm.

Internal Width: 180mm.

Overall Breadth: 185mm.

Internal Breadth: 170mm.

Thickness: Rim: 1mm.

Bowl: 0.5mm.

Cheek-pieces: Present. These are of a moderate bicuspid form, they

have raised and embossed borders (type I). Height:

110mm. Width: 7.5mm. They have a hole pierced

10mm. in from their rear edge.

Hinge-plates: Present. These are of a multi-hasped variety with

triple upper hasps and double lower hasps. The

central pivot pin is now missing, The hinges are

internal and attached to the cheek-pieces by two

domed headed rivets.

Crest-fixture: There is no crest-fixture present. However there

are two circular solder marks one on either side of

the apex of the helmet. These probably represent the

position of two feather tubes originally soldered to

the crown.

Decoration: This consists of a pair of embossed eyebrows which

meet over the nose and a raised square-sectioned

-454-
 moulding along the lower edge of the face and ear

openings.

Manufacture: The helmet is raised from a single sheet of bronze

as are the cheek-pieces. The decoration is executed

in repouss6 work.

Description: The helmet has a low hemispherical skull with a

pronounced medial ridge. The bowl swells from a

fitted brow-band, the junction between the two being

defined by a pronounced angle. At the front the

brow-band rises to an apex and is decorated with

stylised eyebrows. The main edge of the face

opening has two slight cut-outs over the wearer's

eyes leaving a "V"-shaped projection above the nose,

this is given an inward hemispherical roll for both

decorative and strengthening purposes. At the sides

the brow-band has cut-outs toacconinodate the

wearer's ears and is drawn down at the rear to form

a straight shallow neck-guard which is slightly

everted at its base. It is 180mm. deep and 185mm.

wide and is now detached; the everted flange

measures 15mm. at its widest point. The helmet is

very well made and finished but has been considerably

damaged and shows signs of' many modern repairs. It

has a patchy smooth green and brown patina.

Other Detail s: none.

Published: Paddock. 1981,30-31, fig. 6: 7., Connolly. 1981,61,

fig. 19.

-455-
FIG. 120

33

34

-4 56-
Helmet No. 15.

Type: Type IV.

Location: The Badisches Landesmuseun, Karlsruhe.

Inventory No.: F 431.

Provenance: Ruvo near Bari, Puglia, Italy.

Context: Unknown.

Suggested Date: 4th century B. C.

Material: Bronze.

Dimensions: Height: 185 mm.

Overall width: 236 mm.

Internal width: 232 mm.

Overall Breadth: 159 mm.

Internal breadth 156 mm.

Thickness: Rim: 2-3 mm.

Bowl: 0.7-1 mm.

Cheek-pieces: Present. These are of a modified bicuspid form and

are shaped and embossed into the form of eagles'

heads facing downwards and to the rear. The eagle's

head forms a raised central panel. Height: 130 mm.

Hinge-plates: The cheek-piece hinges are internal and have four

lower and three upper hasps. The hinge is held to the

bowl by three rivets and to the cheek-piece by four.

Crest-fixture: On the apex of the bowl are the remains of a"U"

shaped crest-bracket held by two rivets. The

crest-holder and stem are now missing. This is

supplemented by a loop at the front and rear of the

medial ridge for fixing the crest-box into

-457-
 position. At either side of the medial ridge are a

pair of holes and the remains of an iron crest-

fixture of an indeterminable type. These were

attached by two rivets each.

Decoration: At the front the brow-band rises to an apex and is

decorated with embossed stylised eyebrows, which

meet over the nose. The main edge of the face

opening is given a hemispherical, inward, roll thus

forming a strengthening and decorative moulding.

Echoing the shape of the brow-band are two inverted

"V" shaped embossed and fluted mouldings. The

cheek-pieces are highly decorated with repousse

work in the form of eagle's heads. The rear edge

of the cheek-pieces are given a scalloped line to

indicate the bird's plumage.

Manufacture: The bowl is raised fron a single sheet of bronze

and decorated with repousse work. The cheek-pieces

are similarly manufactured and hinged.

Description: It has a moderately high bowl with a very pronounced

medial ridge. The bowl is narrow and swells from

a fitted brow-band which has cut-outs to acconodate

the ears. It is drawn down at the rear to form a

shallow straight neck-guard which is slightly everted

at its base. The helmet is very well made and

finished.

Other details: None.

Published: Schumacher. 1890,20., Lipperheide, von. 1896,116.

-456-
FIG. 121

ýQý. ýý rs
. ý.

1. Crest-fixture

-459-
Helmet Ho. 21.

Type: Type V.

Location: The British Museum

Inventory No.: 2724.1842.7-28.711.

Provenance: Vulci, Tuscany, Italy.

Context: Unknown.

Suggested Date: 4th century B. C.

Material: Bronze.

Dimensions: Height: 200 mm.

Overall width: 212 mm.

Internal width: 205 mm.

Overall breadth: 170 mm.

Internal breadth 166 mm.

Thickness: Rim Front: 4.5 mm.

Rim Rear: 3 mm.

Bowl: 0.7 mm.

Cheek-pieces: Missing.

Hinge-plates: Missing. These were originally iron and attached

to the bowl by three very small rivets.

Crest-fixture: The crest-fixture is made in one piece and consists

of a single strip of bronze, 18mm. wide. At each end

the strip has been hammered round a tapering conical

triblet to form an inverted conical feather tube,

the right is now missing. At the centre is a hole

for either a further feather tube or a "U" shaped

crest-holder. The crest assemblage is held to the

bowl by two rivets. It is definitely contemporary

-460-
 With the helmet and carefully fitted to it but is,

however, pierced by two rectangular holes to admit

lugs which this helmet does not have. (This type of

fixture has been discussed above. )

Decoration: This consists of a narrow rectilinear raised moulding

which encircles the whole of the base of the helmet.

Above this at the front is one broad embossed band in

the form of an inverted "V" shape which terminates in

large embossed volutes over the temples. On either

side of this band are narrow flutes. Below this is a

pair of embossed eyebrows. The neck-guard is

decorated and strengthened by a plain embossed band.

Manufacture: The helmet has been forged in one piece and the

decoration executed in repousse work.

Description: It has a well fitted low bowl with a very pronounced

deeply embossed crest-ridge. The brow-band has two

shallow cut-outs over the wearers eyes to produce a

"V"-shaped vestigial nasal. The brow-band is also

equipped with cut-outs for the ears and is drawn down

at the rear to form a straight and well fitted neck-

guard. The helmet is very well nade and finished and

has a smooth light green patina. The crest-ridge is

slightly damaged and holed.

Other Detail: None.

Published: Walters. 1899,342.

-461-
Helmet No. 26.

Type: Type VI.

Location: The Musee de L'Armde, Paris.

Inventory No.: E 4.

Provenance: A Tomb at Capodignano, Campania, Italy.

Context: 4th century B. C.

Material: Bronze.

Dimensions: Height: 222 mm.

Overall width: 214 mm.

Internal width: 209 mm.

Overall breadth: 160 mm.

Internal breadth 155 mm.

Thickness: Rim: 2.5 mm.

Bowl: 0.5 mm.

Cheek-pieces: Present. These are of a moderate bicuspid form

with a raised edge (Type 1). The central panel of

each cheek-piece is raised and decorated with a

superbly executed horse's head in repouss6 work.

Hinge-plates: Present. The hinges are held to the bowl by two

rivets and are external. The right upper hinge is

missing. The hinges have four lower and three

upper hasps.

Crest-fixture: None apparent.

Decoration: The decoration consists of two embossed inverted

"V"-shaped brow-ridges separated by a flute and

rising to an apex at the centre. These terminate

at either side in a single large volute. Beneath

-462-
 the apex is the repouss6 head of a diaderned woman.

Above this is an engraved palmette and scrolling

at
hair design. Over the eyes, the base of the helmet

is an embossed band forming stylised eyebrows. The

neck-guard is adorned with a raised moulding

following the contour of its base and terminating

in volutes. Finally each cheek-piece bears the

embossed head of a horse, facing forwards.

Manufacture: The bowl of the helmet is formed from one piece of

bronze. The cheek-pieces were formed and decorated

separately and attached with hinges. The

decoration on the helmet bowl is executed in

repouss6 work.

Description: It has a low hemispherical bowl which swells from a

fitted brow-band. The junction between the two is

marked by a pronounced angle. The brow-band is

equipped with cut-outs for the wearer's ears and is

drawn down at the rear to form a deep fitted

straight neck-guard. At the front it rises up to an

apex. The lower edge has a cut-out over each eye,

producing a "V" shape over the nose. The cheek-

pieces are hinged and are of type I. The helmet is

extremely well made and finished and has a patchy

green patina.

Other Details: None.

Published: Lipperheide, von. 1896,122., Mohen. 1970,214-5.

-463-
FIG. 122

-464-
Helmet Ao. 31.

Type: Type VII.

Location: The Bibliatheque Nationale, Paris

Inventory No.: 1998. -

Provenance: South Italy.

Context: Tomb.

Suggested Date: 4th century B. C.

Material: Bronze.

Dimensions: Height: 240 mm.

Overall width: 209 mm.

Internal width: 204 mm.

Overall breadth: 188 mm.

Internal breadth 184 mm.

Thickness: Rim: 2-3 mm.

Bowl: 0.7 mm.

Cheek-pieces: Present. These are undecorated and of type IV.

They have a convex forward edge and a slightly

concave rear edge.

Hinge-plates: Present. These are internal and held to the bowl

and cheek-pieces by two rivets. The hinge has three

upper and two lower hasps.

Crest-fixture: There are the remains of a "U" bracket form of

crest-holder on the apex of the bowl. These

consist of two rectangular plates riveted either

side of the apex. At the rear just above the

junction between the bowl and neck-guard is a small

stud-like fitting for attaching the crest-box.

-465-
Decoration: The decoration is very simple and consists of an

applied embossed wing of sheet bronze riveted at

each temple.

Manufacture: The helmet bowl is raised from a single sheet of

bronze and the cheek-pieces and the repousse wings

were-manufactured separately and riveted on.

Description: It has a well shaped moderate bowl which swells

from a fitted brow-band. The junction between the

bowl and brow-band is marked by a pronounced angle.

At the front the upper edge of the brow-band rises

to an apex, while the lower edge is very slightly

concave. This is given a slight outward flange to

strengthen it. The brow-band is equipped with cut-

outs for the wearer's ears and is drawn down at the

rear to form a deep fitted neck-guard. At its base

two cuts were made in the bottom edge and the

central portion was turned into a flange leaving a

lobe-like projection down each side of the wearer's

neck. The helmet is well made and finished. It has

a dark green granular patina and is strongly

oxidised. The apex of the brow-band and the frontal

portion of the bowl are damaged and holed.

Other Details: None

Published: Blanchet. and Bandon. 1895,657., Adam. 1984,121-2.

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gel t A(3.83.

Type: Type VIII.

Location: The Museo Hazionale, Naples

Inventory No.: Unknown.

Provenance: Herculaneum, Campania, Italy.

Context: Unknown, before 79 A. D.

Suggested Date: 1st century B. C.

Material: Bronze.

Dimensions: Height: 182 mm.

Overall width: 225 mm.

Internal width: 196 mm.

Overall breadth: 175 mm.

Internal breadth 171 mm.

Thickness: Rim 2 mm.

Bowl: 0.7 mm.

Cheek-pieces: Present. These are of an exaggerated bicuspid

form, they have a deep raised central panel and an

external stud for the attachment of the chin-strap.

Hinge-plates: Present. These are internal and have a single

upper hasp and a double lower hasp and are attached

to the bowl and cheek-pieces by a single rivet.

Crest-fixture: This consists of a circular plate, with a raised

and slotted centre, soldered to the crown and

retaining hooks for the crest-box which are riveted

at the front and rear.

Decoration: The decoration consists of two narrow embossed

brow-ridges, the upper one rising to an apex at its

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 centre, the lower one passing straight across the

brow. Both terminate in the same debased volute at

each temple.

Manufacture: The helmet is raised from a single sheet, but is

equipped with a reinforcing band wrapped around the

neck-guard flange. The cheek-pieces and crest-

fixtures are manufactured separately.

Description: It has a rounded slightly bulbous skull with a deep

straight neck-guard, which is not fitted to the

rear of the skull and neck, but forms an almost

straight line between the bowl and the neck-flange.

The helmet is very poorly made and finished. The

patina has been removed and the helmet is of a

yellow bronze colour.

Other Details: None.

Published: Lipperheide, von. 1896.256, No. 333.,

Robinson. 1975,65.

CUNIV
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N