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When viewed in reflected light the minute metallic particles are just coarse enough to reflect enough of the light without eliminating the transmission.

In transmitted light the fine particles scatter the blue end of the spectrum more effectively than the red end, resulting in red transmission, and this is the colour observed.

Since it is impossible that the Roman artisans managed to add these incredibly low levels of silver and gold to the volume of the glass used to make the vessel deliberately, the levels were probably added at higher levels to a larger volume of glass-melt, and increasingly diluted by adding more glass.

The interior of the cup is mostly smooth, but behind the main figures the glass has been hollowed out, well beyond even the main outer surface, so that they are of similar thickness to the main outer surface, giving an even colour when light passes through.

This is a feature unique among surviving cups; Harden suggests they were an "afterthought". Like the British Museum's other spectacular work in Roman glass, the cameo glass Portland Vase , the cup represents to some extent the extension of skills developed by cutters of engraved gems , or the larger hardstone carving of vessels in semi-precious stones, which were luxury arts with enormous prestige in ancient Rome.

It seems likely that as many as three separate workshops or factories were involved in the production of the cup, perhaps not in the same part of the Empire.

The glass may have been initially made in a large block of standard clear glass, perhaps in Egypt or Palestine , which both exported great quantities of glass for forming, and sometimes colouring, elsewhere.

The thick "blank" dichroic vessel was probably made by one specialist workshop and passed to another consisting of specialist cutters.

This would certainly have been a rare and highly expensive object, and the secrets of its manufacture, possibly not well understood even by its makers, seem only to have been used for about a century.

There are various small losses, of which the face of the panther is the most significant, and the cup is cracked; the British Museum has never removed the metal rim for this reason.

The base or foot of the cup is damaged, and the original form of the base uncertain. Corning Glass Works has reproduced a blank of a material of similar chemical composition and internal structure, which displays under reflected and transmitted light the same "Lycurgus effect" of green to red colour change as the Lycurgus cup material does.

The figure of Lycurgus, bound by the vine and naked apart from boots, [24] is flanked on the left by a crouching Ambrosia, at a considerably smaller scale.

Behind her one of Dionysus's satyrs shown with a normal human form stands on one foot as he prepares to hurl a large rock at Lycurgus.

In his other hand he holds a pedum or shepherd's crook. Dionysus carries a thyrsus , the special staff of the god and his followers, and his dress has an Eastern, perhaps Indian, flavour, reflecting what the Ancient Greeks generally believed perhaps wrongly about the origins of his cult.

The calf section of one leg has been lost. A streamer hanging behind him from his thyrsus overlaps the raised foot of the satyr with the rock, completing the circle of the cup.

It has been suggested that this not very common scene was a reference to the defeat in by the Emperor Constantine I of his co-emperor Licinius , who was killed in after a period under close guard.

The cup may have been intended for use at Bacchic cult celebrations, [29] still very much a feature of Roman religious life around A letter supposedly from the Emperor Hadrian d.

They are specially dedicated to you and my sister. I would like you to use them at banquets on feast days. Other depictions of the story tend to either depict Lycurgus attacking Ambrosia, often with a double-headed axe, while her companions rush to her aid, or Lycurgus alone, entangled in the vine.

The closest parallel to the scene on the cup is one of the apse mosaics in the triconch triclinium at the Villa del Casale , Piazza Armerina , which may also refer to Licinius.