File:Roman anthropmorphic handle (FindID 496854).jpg

The handle appears to be near-complete, with some damage to the socket and crushing on one face (with a length of 61.8mm, a maximum width of 31.6mm and a thickness of 18.8mm). The handle is comparatively heavy (at 83.6g) and is either composed of a heavily-leaded bronze or the socket contains lead, presumably as the remnants for a fixing. The decoration comprises a human face on each side, facing in opposite directions and adorned with elaborate headgear, which depicts a boar's head. The two faces vary considerably in style; one side may be young or female, while the other is an older, mature male. Both faces are depicted in a naturalistic style; the young face has pointed oval eyes with the right eye containing a central dot, while the left eye has a dot positioned at the top of the eye. The eyes on the older male are also depicted differently, where the left eye has an additional lateral incised line, making it appear narrower. The hairline is stepped to the brow on both faces and the hair is depicted as curvilinear incised marks. The older face is depicted with a moustache, long beard and furrowed brow, also defined by curvilinear incised marks. The nose is raised on both faces. The stepped hairline of the older face also represents the lower jaw line of the boar's head. The boar is also depicted in a naturalistic style; the sub-triangular ears are raised as a central ridge depicting the mane, enhanced with incised lines. Both pointed oval eyes contain a central punched dot. The snout at the terminal has an encircling groove, with a more prominent groove, depicting the mouth, slightly opened. A circular aperture (of 4.0mm diameter) perforates the snout, with wear or deep rubbing marks above and below, suggesting its use for suspension. Between the terminal and aperture, moulded triangular tusks are depicted, largely destroyed on one face by the suspension scars. The socket is oval (11.3mm x 6.8mm and 33.2mm deep) and had a raised border preserved at the base of the neck below each face but is torn, damaged and crushed on each side. The surface is worn but is well preserved with a dark-green patina.

Metallurgical analysis was conducted using X-ray fluorescence, demonstrating that the metal is a leaded bronze consistent with Romano-British alloys and alloys of other periods. The handle is difficult to closely parallel in the archaeological literature. It would seem likely that the iconography on the handle contains symbolism, now difficult to ascertain. It is possible that the joined opposing faces represent both opposition and duality. Similar iconography is commonly represented on depictions of Janus, facing both into the future and the past and possibly here represented as both an old and young man. Furthermore, the iconography of Janus is linked with transitions, doorways and boundaries and therefore the possible function of the handle as a key handle is of particular relevance. The significance of the boar however is not obviously linked to Janus. Classical depictions of a bearded Silenus sometimes incorporate a younger, opposing face of Bacchus or Dionysus and Silunus is also linked with animal iconography and attributes, sometimes associated with a horse although, not generally with a boar. Depictions of Silenus with opposing heads are sometimes represented on gemstones from finger rings (Henig 1978, nos 373-380)<a href="#_ftn1" title="">[1]</a>, including examples with Minerva in a crested helmet, pan or a youthful head. Other representations include an elephant's head or a third head with elephant's tusks (ibid. nos 379-8). The treatment of the eyes, if deliberate is also difficult to interpret. The 'opposed head' has been adressed by Amit (2009)<a href="#_ftn2" title="">[2]</a> in relation to earlier La Tène art, who argues that depictions of death are often portrayed through the treatment of the eyes on opposing heads. Amit (ibid.) references a cast bronze fibula from Niederschönhausen, Germany depicting a young male joined to an older bearded male with a conjoined ram's head and suggests that the iconography represents different states of being, possibly incorporating spirits or ancestors.
<a href="#_ftnref1" title="">[1]</a> Henig, M., 1978 (2^nd ed.); A Corpus of Roman Engraved Gemstones from British Series; BAR British Series 8 <a href="#_ftnref2" title="">[2]</a> Amit, I., Janus in furs? Opposed human heads in the art of the European Iron Age; in G. Cooney, K. Becker, J. Coles, M. Ryan and S. Sievers ed.; Relics of Old Decency: archaeological studies in later prehistory; Festschrift for Barry Rafety, pp 279-286