SEAL MATRIX

2006 -T126: Silver Seal Matrix with re-used Intaglio / Gem-Stone

Coroner: Mr. J.P. Ellery

District: Mid and North Shropshire

Artefact date: Medieval: c. 1200 - 1350 AD

Findspot: Bayston Hill, Shropshire

Date of discovery: 15^th February 2006

Circumstances of discovery: Whilst searching with a metal detector

Description:

Silver seal matrix with a centrally set, oval, gem-stone. The seal matrix is oval (vesica-shaped) in plan and irregular in cross section. The silver seal has been formed from three separate pieces. When these are combined they create a central hollow, which is filled from behind by the gem-stone setting. The three pieces consist of a) the inscribed front plate, with an oval hole cut through its centre, b) a collar positioned on the reverse face to create the hollow setting, and c) a smaller back plate with integral loop. Each of the three pieces has been soldered, or possibly hammer-welded, together to form the back plate. The joins between these sections are visible due to differential tarnishing of the silver. The back plate is stepped in profile, with a raised central mid-rib, which tapers to a point at one end and terminates in a circular pierced lug / suspension loop. This loop is set at 90° to the plane of the matrix face and projects above the cross in the inscription.

The inscription on the front face of the seal matrix is in Latin. It is formed from evenly spaced, well shaped letters, with serif like terminals. The inscription reads + SERVITE • DOMINO • IN TIMORE which can be translated as, 'Serve [the] Lord in Fear'. The first two parts of the inscription, SERVITE DOMINO, are separated by unevenly shaped pellets, and the word DOMINO is divided into two parts DOMI - NO. The inscription is contained by two oval shaped borders, one inner and one outer, both of which have been deeply cut. The outer border is relatively fine, whilst the inner border is wider, clipping at least one of the letters in the inscription. A further, small, raised oval border is present within the inner border, and this frames the central gem-stone.

The gem-stone is a mid, milky, blue colour. Dr. Martin Henig has identified the stone as chalcedony, an onyx with a white upper layer on a dark ground. The cut figure / subject is a kneeling satyr, holding two pipes (auloi). Dr. Henig has suggested that this example can be compared with a number of similar gem-stones with satyr figures; specifically the satyr on a cornelian in the Dutch Royal Collection, (Maaskant-Kleibrink, 1978; no.341) and a seated satyr with double flute (Vollenweider, 1984; no.205). The chalcedony / onyx intaglio has been dated stylistically to the Augustan phase of Roman art, dated to the end of the 1^st century BC.

The gem-stone has moved (sunk slightly and twisted) within its setting. This is probably due to a combination of factors including pressure caused by movement in the ploughsoil. It is also possible that the setting was originally padded with an organic material, which has since decayed, allowing the stone setting to move. An example of this padding has been noted in a seal-ring from Lichfield; Staffordshire (Henig and Ford, 1998; 81). The movement of the stone has revealed the edges of the metal setting. These are relatively thin, and have been broken (feathered) around the edges. It is likely that these edges formed a slight lip against which the stone setting originally rested. This would have formed a semi-seal preventing the stone from slipping forward during use, or being lost whilst in transport. Other damage to the seal is limited. There seems to be relatively little damage caused by abrasion, and the edges of the matrix are complete and un-warped.

Dimensions:

Seal Matrix: length; 25.2 mm, width; 20.3 mm, thickness; 8.4 mm, weight; 5.57 grams.

Gem Stone: length; 12.4mm, width; 9.7mm

Discussion:

Gem-set seal matrices are a relatively uncommon Medieval find. However, a number are known from both Britain and the Continent. Martin Henig (2000) provides a good summary of this artefact type. In his paper Henig examines the use of Roman intaglios, and contemporary (Medieval) copies, within both seal matrices and seal-rings. He also provides examples of other re-used gem-stones, which have been variously set as cameos, in shrines and within other high status religious objects (ibid: 2). From the numbers of known gem-set artefacts, it is suggested that there was veritable trade in these high status objects, with many (if not the vast majority) being brought in from Italy and further afield (ibid).

Unlike many medieval seals, the lack of a specified place, person or family in the inscription precludes the identification of a single owner. However, the choice of the motto and intaglio can reveal further information about both the seal, and the person who commissioned / purchased it. The inscription, + SERVITE • DOMINO • IN TIMORE, is taken from the Second Psalm (The vain efforts of persecutors against Christ and his Church); verse 11: Servite Domino in timore et exultate in tremore (Serve ye the Lord with fear: and rejoice unto him with trembling). This inscription may therefore shed light on the choice of the intaglio. The satyr is depicted on bended knee, a supplicant, pose which has religious interpretations. Such a re-interpretation of a classical scene has been identified in other re-used gem-stone seals (ibid: 1-2). The mottos on Medieval seals fall within three major groups; personal, secular and religious. This example clearly fits within the third group. However, like many forms of personal expression, the use of a religious seal does not necessarily mean that the owner was especially religious or pious. It is more likely that they wished to portray a specific persona, or emphasise a particular element of their lives. Society in Medieval Europe revolved to a large degree around the Christian Church; religious personal expression may be seen as a facet of this.

A search has been undertaken with Shropshire Archives to try and identify the impression of this seal, or that of other similar gem-stone matrices in their Medieval collections. This search is currently ongoing.

Dating:

Henig and Heslop suggest that of all personal seals surviving as wax impressions on documents, such as charters in the archives of record offices, up to 8 % may be from gem-set matrices. Furthermore, this style of seal matrix is represented in significant numbers in the collections of both the Public Record Office; London, and the archives in Durham. The nature these impressions, and the documents on which they are preserved, is variable. It is unlikely that a complete pattern of use will be identified from these sources alone. They do, however, show that this style of matrix was most popular in the period 1290-1310, but was probably in primary use between 1200 and 1350 AD (Henig and Heslop, 1986; 307-308).

A number of similar intaglio / gem-set seal matrices have been reported under the Treasure Act (1996) in the past 7 years. These include a silver seal matrix (with the gem-stone missing) from the Tarrant Valley; Dorset (Robinson, 2000a), a silver seal matrix from Wallingford; Oxfordshire (Robinson 2000b also Henig and Gilmour, 2004: 419 fig: 2), a silver seal matrix from Swanly; Kent (2005-T75) and a silver seal matrix from Manston; Dorset (2005-T319 also see PAS record: SOMDOR-A23EB6)

Metal Content

I believe that the precious metal content (silver) of the seal matrix fulfils the requirements stated in the Treasure Act (1996) in that it is greater than 10%.

Conclusion

This silver seal matrix fulfils the criteria set out in the Treasure Act 1996; in that the object is from a well dated artefact type, which is more than 300 years old, and contains the required percentage of precious metal.

Acknowledgements

Sincere thanks are extended to Dr. Martin Henig, Institute of Archaeology; Oxford, for his help with identifying the central intaglio / gem-stone, providing references for this style of seal matrix and for his comments during the preparation of this report.

Update: Compare NMS-49F121 (2020T730), a damaged silver seal matrix with central Roman intaglio and a partial inscription probably also derived from a psalm.