A group of 24 bronze finger-rings threaded onto a wire bracelet was unearthed in 2018 at the Roman vicus at Wareswald (the “Forbidden Forest”) in Gallia Belgica. The find is analyzed here alongside evidence for the use, sale, and production of Roman rings. The find represents the work of a local craftsman, active in the first quarter of the 4th c. CE. While the rings were made in a small rural town, they closely imitate expensive global ring forms. The function and meaning of the very common class of trinket rings to which the Wareswald rings belong are considered, along with how these rings were used to make statements about identity, including local and regional affiliations, literacy, marital status, or other social connections. It is suggested that the popularity of many trinket rings lay in their ability to provide a sense of participation in upper-class fashion at a very low price.

This article offers an account of Roman imperial cameos as an archaeological category, and argues that the production of large high-quality cameos was more restricted in time than currently allowed; that the controversial dates and subjects of individual cameos need to be set in the wider sequence of the main examples; and that early imperial praise poetry sits in relationship to court cameos in a way that can be usefully investigated around their shared concern to understand the particular character of imperial divinity. An Appendix gives details of forty-one examples illustrated and discussed.

Since the late sixteenth century parts of the ‘imperial frieze’ of the Ara Pacis have been known. The most striking figure in the background of the southern frieze is that long thought to be a portrait of Maecenas, the Etruscan prince and literary patron of the Augustan era. This article attempts three things: to discover

1. 1. Where and how this identification originated,

2. 2. What evidence there now is for that identification, and

3. 3. What alternative identifications can be offered.