The ancient aspis or hoplon was the lynchpin of the Classical Greek land-based hoplite phalanx of tighly-packed interlocking ranks of infantry. Each hoplite soldier would hold his massive shield in front of him - 1m or so in diameter, made of wood and covered with bronze - to protect not only himself, but the chap next to him as well. This extraordinary powerful military formation was considered a symbol of cohesion and tactical discipline that defined ancient Greek warfare.

Towards the end of the 6th C BCE, the new hoplite phenomenon resulted in a class of Athenian citizens who were not only a formidable military force, but who realised that they also held considerable political leverage. The resulting upheaval led to the evolution of Athenian Democracy in the last decade of that century. 10 years later, at the Battle of Marathon, it was these hoplites who put the new shield-wall phalanx into practice, to defeat the Persian army.

At Marathon in 490BC, however, you have seen no uniform design on the shields, as there was no standardisation or 'state identity' as yet. Instead, the battlefield was awash with a colourful chaos of shields, variously painted with family crests, mythical beasts, and loud geometric patterns!

Medusa was one of the most popular choices. Her hideous, glaring face with snaky locks was intended to 'freeze' and 'petrify' opponents with terror! Pegasus appeared on shields from Corinth, and the club of Herakles on shields from Thebes. Lower budget options included geometric motifs such as the Greek key meandros.

The Spartan LAMBDA (Λ), the most famous shield emblem in ancient history, is an interesting one. Leonidas - with the 300 - is often represented as carrying the hoplon emblazoned with the (painted) LAMBDA, but the massive wall of uniform LAMBDA shields didn't even exist in 480BCE at the Battle of Thermopylae! It was introduced during the Peloponnesian War (431-404BCE) between Sparta and Athens, when the Spartan government replaced the hitherto 'individual' choice of artwork in favour of a single letter representing the State.

The owl of Athena was used by the Athenians, especially towards the end of the 5thC BCE during the bitter conflict with Sparta.

As a symbol of healing and protection, the serpent was associated with the cult of Asklepios, god of medicine, who is represented in ancient Greek art with his serpent entwined staff. Twin intertwining serpents were also an integral part of the kerykeion of Hermes (aka the caduceus of Mercury) the messenger god and the god of transitions.

The Greeks feared it for its tremendous powers, but it was also revered as a defender and guardian. It was a symbol of regeneration and renewal, and the Romans later regarded it as representing the spirit, or 'genius', of the family.

Hephaistos would be amazed by the craftsmanship and quality of this wonderful collection!

These superb bronze pieces are cast in Greece using the traditional lost wax method. As nothing is mass-produced, there will inevitably be slight variations in texture, patina, and colour. No two pieces are ever the same. If mounted, the base is of black marble.

Please note that there may be a variation of some millimetres in the dimensions of the base from time to time, and that accessories such as spears, tridents or javelins may vary in length or height! If you need precise dimensions and weight, email me!

If you need a piece to fit a very specific space, or if you want me to take a photo of a couple of pieces so you can pick the one you want, I will do so with pleasure.

Every piece is deliciously tactile.

It's All Greek is so grateful and so proud to have been working closely with the Semitekolo family foundry since 1999. It has been a privilege and a joy to handle, live with, to photograph and describe these gorgeous pieces, before passing them on to passionate and grateful customers all over the world.

If you already own one of these pieces, cherish it!