Folia archeologica 12.

Kádár Zoltán: Adatok a dunavidéki későantik ezüstedények problematikájához

142 Z. Kádár First of all we have to mention as an addition to the description of M„ Lenkei that the Roman cursiva inscription seen on the largest silver dish among the finds examined by her refers to the weight of the object: P(ondo

) S(emissem

) XX (Unciarum) VII, i. e. cca 3425 gr, an item scarcely different from the results of recent weighing. At the beginning of the punched Greek inscription we see the sign Л representing the series, then follows the name of the master: AAhOJNOC. (Fig. 35.) The largest dish of the find unearthed near Cerven breg is very similar to the Moesian silver dish with the rosette ornament; their style and technique reveal a common or at least related workshop. From the historical point of view, however, the other two pieces of the find are much more significant, as they bear tbe medallion portrait of the emperor Licinius in their centres with the following inscription: Licinius, invici(us) Augiustus) ob. diem X. suorum. Both dishes bear the stamp of the workshop, made with the technique of punching similarly to the aforementioned treasure; on their testimony the pieces are derived from the workshop of Flavius Nicanus. On the basis of the stamp of this master, visible on a silver plate found near Sabác earlier, the Moesian treasure was enclosed in the circle of Flavius Nicanus' workshop by M. Lenkei already, functioning at Sirmium in her view. Though both finds contain a dish each, having an identical character and the rosette ornament, it is just these which have no inscription, so the derivation of the Moesian treasure from the workshop of Flavius Nicanus is not proved even by the Cerven breg find without doubt. It seems to be probable, however, that the dishes with the rosettes belong to the fourth century instead of the third, as M. Lenkei has dated them. Further AAKisiNOC is probably the master's name and not the proprietor's. Besides the two mentioned Bulgarian silver dishes we know more silver vesseis connected with the cult of Licinius. Three of these are derived from the neighbourhood of the Moesian-Naiss-us (today Nis), one came to light near the Pannonian Solva (today Esztergom) together with a piece of similar shape, material and inscription (Pl. XXVII. no 1—2.); a cup from Esztergom bears also the stamp of the master with punched letters: ERMES VASÇcularius

) F(ecit). The aforementioned vessel decorated with inscriptions in the praise of Licinius are connected with the so-called decennalia festivals, belonging to the imperial largitio. We know several silversmiths' works related to the late ancient decennalia, so two silver dishes of Constantius II, the missoria of the emperors Valentinianus II, Theodosius I and the consul Aspar; nay the late Roman gilt bronze emperor's portrait (figuring Constans or rather Gratianus), proserved in the Historical Museum, Budapest, and derived from Kővágószöllős in all probability, belonged to such a votive memorial too. The silver vessels related to the decennalia of Licinius' rule commemorate the most brilliant period of the emperor's life. The co-emperors Constantine the Great and Licinius made their peace after a short quarrel in 314. They made a common front against the attacks of the Sarmatians and the Goths, they rebuilt jointly the Tropaeum Traiani in the Dobrudja; then Licinius was awarded the consul's title the fifth time and his son became a caesar. So the decennalia-festivities in 318 marked a double triumph for Licinius, he may have felt his victory on the military and political planes equally. Therefore the proud