The scutum from Dura Europos.

The request for a 3rd century rectangular Roman shield (a scutum), based on the famous finding from Dura Europos, has given us the opportunity to make some interesting considerations on its decoration.

The shields from Dura Europos, both the rectangular one discussed here and the other oval ones, have a very articulated and complex decoration.

This may seem inappropriate for a commonly used combat tool.

However, when we dealt with this complex decoration, we realized that it wasn’t so strange after all.

Our conception of reproduction implies the attempt to understand and imitate as closely as possible the way in which these objects were made in ancient times, albeit within the limits imposed by the fact that we deal with reproductions intended for historical re-enactment and not for experimental archaeology projects.

Thus, in creating these decorations, we have not sought a graphically, exact and slavish reproduction of the repertoire, but instead we have tried to understand and reproduce the system with which these decorations could be applied, in order to replicate their overall effect.

The backgrounds and spaces within which to circumscribe the decorations were indicated with light pencil or chalk marks, or a chalk guide was traced for the more complex ones. The geometric and floral decorations of the circumscribed part of the metal boss were executed freehand.

Preparation for the spaces and the background

Detail of the original shield and our reproduction

In fact, from the analysis of the available images of the original, it is possible to note the presence of various discrepancies in the execution of the wave or spiral decorations.

Even the asymmetries in the swastikas, the execution of the twisted decoration, show a freehand and sometimes rather cursive execution. As indeed it was legitimate to expect: the decoration of the shields had to fulfil an aesthetic function at medium distances, but it was still applied to an easily perishable object, whose speed of execution and cheapness of realization were in any case an important characteristic.

Reproducing the figures that decorate the upper and lower parts of the shield, i.e., the Jovian eagle surrounded by two winged Victories and the lion, it was possible to hypothesize that in the creation of these figures the first phase was a black background, to outline the figure, followed by the parts “in light” painted in yellow ochre, enlivened by summary brushstrokes in dark ochre-brown, and finally thin strokes in white that defined contours and details.

The lion of the shield from Dura Europos and our replica, made by using the most similar pictorial techniques

The decoration of the upper part of the shield from Dura Europos and our replica, made by using the most similar pictorial techniques

Most probably the whole execution took place “a fresco”, without waiting for the previous layer to be completely dry, giving the possibility to mix and partially blend the colours.

Our reproduction of the shield from Dura Europos. Only difference from the original, a metallic rim instead of a leather one (read below to know more about this).

Our hypothetical reconstruction of a 3rd century shield

On this occasion we decided to create a second “Dura Europos-type” shield: in this case “type”, as we did not exactly reproduce the decoration of the repertoire.

The decoration of the area surrounding the boss was done in almost the same way: it is certainly to be considered a widely used decorative model; in fact, part of the motifs takes up very ancient motifs, dating back to the classical Greek era.
For example, the twisted decoration made up of the “S” motif and subsequent dots, closely recalls a twisted decoration motif already used to decorate hoplite shields and also known in architecture, in mosaic pavements and so on; the spiral motifs, placed around the border of the decoration that surrounds the boss, seem to be nothing more than an evolution of the ubiquitous and everlasting wave pattern.
The same or very similar motifs are also used on two of the Dura Europos oval shields, so we were able to consider it likely that other shields of the same period also showed very similar decorations.

On the other hand, the figures in the top and bottom area of the shield are different: above Mars (from whom decided to name our reproduction “Shield of Mars”) and a standing winged victory surround the Jovian eagle in place of the two flying victories; below the she-wolf suckling the twins.

Decoration of the upper portion of our “Shield of Mars”.

Details of the decoration of the upper part (Mars and a winged Victory)

Detail of the decoration of the lower part of the shield (the She-Wolf suckling Romulus and Remus)

The figures are taken from decorations on armour plates from the 3rd century, in which there are very recurring motifs, and in which the motif of the eagle surrounded by victories in flight presented by the shield of Dura Europos, is also found. This means that all these figures belonged to a repertoire common to the decorations of arms and armour of the period, often including the spiral motif. It is therefore reasonable to believe that they were motifs that could also be used to decorate shields.

Two armour plates from the 3rd century AD which served as inspiration for the decorations of our “Shield of Mars” (from “Decorated Roman Armour”, di R. D’Amato e A. Negin)

In the decoration of this second shield, it has been noted how the reproduction of the geometric decorative motifs, benefited considerably from the experience of decorating the first shield, to the point of incisively limiting the time required for execution.

We therefore guess that it was possible to decorate in a very short time, and very economically, a large number of shields, according to repeтιтive and well-known motifs, by the hands with dexterity and experience deriving from the habit of this operation.

Even the execution of the animal and human figures confirmed the extreme simplicity and speed in decorating a shield in this way by those who have acquired sufficient practice in freehand execution.

The final result of our hypothetical reconstruction. The “Shield of Mars” is on sale: if you want to know more, click here.

Ultimately it could be concluded that it was a largely justifiable operation to make the shields of Roman legionaries live up to the expectations of the time, even if they were objects generally intended for a short (or sometimes very short) life.

Our shields, unlike the find, have a protective border in brᴀss instead of leather: according to Hilary & John Travis in “Roman Shields”, metal borders, probably for climatic reasons, were more common in the western part of the empire, while leather edgings were more common in the eastern part.

Our “Shield of Mars” is on sale: if you want to know more and you want to equip yourself with a 3rd century Roman shield highly close to the originals, click here.