Small six-sided boxes such as this one, with millefiore enamel, have been found all over Europe, including Germany, Poland, and the Ukraine. In this technique, the artist fuses together glass rods of different colors. The multicolored rods are then cut into cross-sections, which are placed in a metal base and heated sufficiently for them to adhere. The result is intricate pattern of flowers and checkerboards.
[ Joseph Altounian, Paris (sold 1934)]; [ Brummer Gallery, Paris and New York (1934–sold 1947)]
Henry, Françoise. Emailleurs d'Occident. Préhistoire, Vol. II, fasc. I. Paris: Ernest Leroux, 1933. p. 145, fig. 4.
The Dark Ages: Loan Exhibition of Pagan and Christian Art in the Latin West and Byzantine East. Worcester, Mass.: Worcester Art Museum, 1937. no. 80, p. 35.
Forsyth, W. H. "Provincial Roman enamels recently acquired by the M.M.A." The Art Bulletin 32, no. 4 (December 1950). pp. 297–300, fig. 1, 4.
Romans & Barbarians. Boston: Museum of Fine Arts, Boston, 1976. no. 100, p. 72.
Beck, Françoise, and Michel Kazanski. "La riche Tome de Ketrch du Musée des Antiquités Nationales." Antiquités Nationales 20 (1988). p. 77.
Johns, Catherine. "An enamelled bronze 'pyxis' from a Roman grave at Elsenham, Essex." The Antiquaries Journal 73 (1993). pp. 161–65.
Brown, Katharine R. Migration Art, A.D. 300-800. New York: The Metropolitan Museum of Art, 1995. no. 9, pp. 18-20.
Martín Ansón, María Luisa. "Los Esmaltes Silenses: Problemática Sobre su Origen." In De Limoges a Silos, edited by Joaquín Yarza Luaces. Madrid: Sociedad Estatal para la Acción Cultural Exterior, 2001. p. 27, fig. 8.