January 01, 2018

The Animal Tokens of Rome

Token are coin-like objects, often made of lead, and interestingly, many examples have been found depicting animals of various species, from lions and elephants, to domestic animals such as horses. Often these items pertain to events organised for entertainment, such as chariot races, hunting, and finally the games themselves, and from studying other depictions of these same animals in Roman art, it becomes clear they may have had a use in these environments.

oil lamp charioteer token
An oil lamp showing an image of a
charioteer
A token from the Ashmolean museum
depicting a charioteer.













wax seal
A wax seal, from the British Museum,
depicting a horse and palm branch.

Chariot racing was perhaps the most popular sport in the Roman world, as can be seen when Lucian recounts that the “craze for horses is really great, you know, and men with a name for earnestness have caught it in great numbers” (Nigrinus, 29). In Rome, the event was held in the Circus Maximus, which could seat up to 150,000 people, and thus at any given time contain a sixth of the population. Horses feature commonly on tokens in many guises, such showing their domestic function of carrying heavy objects, but also, as seen above, in a more competitive atmosphere of the races. Since such imagery is seen elsewhere, such as an oil lamp, it clearly indicates tokens had a role within the stadia, possibly as entrance tickets for the races. Moreover, some tokens depict horses alongside palm branches. These branches are a symbol of victory, and the very same imagery can be seen on a wax seal from the 1-2nd century AD, also in relation to chariot racing. Thus it could also be suggested that tokens could commemorate a successful day at the races, or have a role in betting. Like today, the Romans would bet on horses, since chariot races involved four different teams, each with their own groups of supporters.

Furthermore, there is also a suggestion that tokens could have had a role in hunting. Hunting had been important in Roman society for centuries, starting as a way to catch food, but later developing into an elite hobby, intended to both train young men for military action, and improve their morality. Some aristocrats had game parks, and there are scenes of the hunt depicted in mosaics, to decorate the domestic space. This indicates how the sport was a popular pastime, and even a status symbol. Some images on tokens are very similar to this mosaic, showing a hunter closing in on a boar, holding his spear aloft. Perhaps therefore, tokens were invites to a hunt, or a commemorative item. This particular image however, could also have come from the games, as boars were hunted both privately, and as part of the entertainment provided in the amphitheatre.

mosaic 1 mosaic 2
Two scenes from a mosaic which depicts a wild hunt.















Additionally, the games are perhaps one of the most famous aspects of the Roman world for the modern reader, and their importance can be seen in the way Juvenal suggests all the Roman people wanted was “bread and circuses” (Satires, 10). Alongside the famous gladiators, animal shows, called venationes, were commonly held. During these events, great effort was made to make the colosseum appear like a hunting ground, including the use of scenery, and many animals are recorded as being used, such as big cats, elephants, bears, and herbivores such as boar, deer, and more exotically, zebras. These unfortunate creatures were transported from the conquered provinces, as symbols of Roman superiority over nature, and their empire. Importantly, all these animals can be seen on tokens. Although many tokens are unclear because of the damage they have incurred over the centuries, lions and elephants are instantly recognisable because of their manes and tusks respectively. Elephants were important symbols during the games, and were even depicted coinage. Their size and strength made them signs of the emperor’s might and generosity, thus they became a representation of the games as a whole. Furthermore, lions were commonly used both in the games and images across the Roman world, such as mosaics, where they are seen as vicious, and fearful creatures, who would have been impressive in the amphitheatre. Both these animals therefore hint at the role tokens could have had in the games, again perhaps as a commemorative item.

coin showing colosseum mosaic from pompeii
A Roman coin featuring an elephant fighting a big cat in the amphitheatre.
A mosaic from Pompeii depicting a lion.


Perhaps the most illuminating piece of information about the use of tokens in relation to the games comes from literature. Martial tells us “now a large number of tessera allots animals which were watched…now a bird rejoices to fall into a safe lap and is assigned owners by lottery in its absence, to save it from being ripped apart” (Epigrams, 8.78.7-12). This seems to suggest that the meat of the animals would have been distributed to the crowds after the shows, using the tessera, the Latin word for tokens, for ease. Indeed there is no evidence of storage space, or the burial of the dead animals in the colosseum, and while this is disgusting to the modern reader, this practice would have provided a way to both please the populous, and deal with waste. This therefore seems like their most likely use, especially since some tokens do depict birds, as mentioned in the extract.

There are certainly many different examples of animal tokens, and many different possible uses for them, including both practical and commemorative functions. They show how tokens could be closely connected to the world of entertainment, as well as the variety of animals in Roman society.

rebecca rolfe

This month's piece was written by Rebecca Rolfe, a Classical Civilisation with Study in Europe student currently on her year abroad in Italy. She is interested in the importance of iconography in Roman artwork, and the symbolism of images on Roman coins. Over the summer of 2017 Becky conducted research on the animal tokens of Rome with the support of Warwick's Undergraduate Research Support Scheme. As part of her research she translated a segment of Rostovtzeff's Latin catalogue of Roman tokens related to spectacles into English. If you want to learn more about these tokens, the translation is available here!

Bibliography:

Anderson, John Kinloch (1985), Hunting in the Ancient World (Berkley, University of California Press).

Bell, Sinclair and Willekes, Carolyn (2014) ‘Horse Racing and Chariot Racing’, in The Oxford Handbook of Animals in Classical Thought and Life, ed Gordon Lindsay Campbell (Oxford, Oxford University Press) 478-491.

Harrison, George (2001), ‘Martial on Sportula and the Saturnalia’, in Mouseion: Journal of the Classical Association of Canada, Vol 1, No. 3, pages 295-312.

Jennison, George (1937), Animals for Show and Pleasure in Ancient Rome (Manchester, University of Manchester Press).

Kyle, Donald (2007), Sport and Spectacle in the Ancient World (Oxford, Blackwell).

MacKinnon, Michael (2014) ‘Hunting’, in The Oxford Handbook of Animals in Classical Thought and Life, ed Gordon Lindsay Campbell (Oxford,Oxford University Press) 203-216.

Meijer, Fik (2010), Chariot Racing in the Roman Empire (Baltimore, John Hopkins University Press).

Scullard, Howard Hayes (1974), The Elephant in the Greek and Roman World (London, Thames and Hudson).

Shelton, Jo-Ann (2014) ‘Spectacles of Animal Abuse’, in The Oxford Handbook of Animals in Classical Thought and Life, ed Gordon Lindsay Campbell (Oxford, Oxford University Press) 461-478.

Toynbee, Jocelyn (1973), Animals in Roman Life and Art (London, Thames and Hudson).


December 20, 2017

Charon's obol and the brass tokens of Lepcis Magna

token_cohen_kantharus token_cohen_modius

Brass token in the Ashmolean Museum. A kantharus is shown on one side and a modius with three grain-ears emerging out the top on the other. (Cohen VIII p. 272 no. 55)

Amongst the Roman tokens issued in brass (orichalcum) is a series that displays a kantharus (drinking cup) on one side and a modius (a container for wheat or corn) on the other (Cohen VIII p. 272 no. 55). Brass or orichalcum was a metal also used to make Roman imperial coinage, and the use of the metal here, alongside the high quality of the design, suggests that perhaps this series of tokens was made at the Roman mint at the request of an individual or group.

Although we don’t know the precise function this token was made for, we do possess some remarkable information about some of their later lives. During archaeological survey work by Roma Tre University around the North African city of Lepcis Magna FOUR of these tokens were found in tombs surrounding the city, between Lepcis and Khoms. Only this type of token, no other token types, were discovered.

map_2

Google Map showing Lepcis Magna and Khoms.

One token was found in a disturbed hypogeum tomb near Gasr Gelda; the other contents of the tomb suggest the structure was used from the Flavian period until the mid second century AD. A second token was found in another hypogeum west of Wadi er-Rsaf, again dated to the second century AD on the basis of other finds (mainly ceramics). The token in this tomb was found in a coffin-shaped urn with faint red letters that named the deceased as Tiberius Claudius Orfitus. The bones in the urn were those of an adult male; the Tiberii Claudii were a family of elevated social rank in the city of Lepcis Magna in the first and second centuries AD. Two additional tokens with the kantharus and modius design were found in hypogeum tombs in Khoms, also in use between the Flavian period and second century AD (mention is also made of a fifth token of this type).

It is extraordinary that so many brass tokens of the same type should be found around the city of Lepcis Magna; this type of object is a relatively rare archaeological find in the Mediterranean. It suggests that at some point in the second century AD a series of these particular tokens arrived in the city, perhaps brought back by merchants or contained in a shipment of small change. These tokens, being the same metal and the same size as Roman coins, may have come to circulate as small change after their initial use. Amongst the coin finds from the tombs were anonymous quadrantes (the smallest coin denomination) and here too there were multiple finds of the same type (e.g. four examples of RIC II 19, with the helmeted head of Mars on the obverse and a cuirass with the letters S C on the reverse). This suggests that there was a shipment of small change to the town, which may have included these brass tokens. Whatever their original use, these tokens, looking and feeling like coinage, were pressed into service to ensure the liquidity of the Roman economy.

In the Greek and Roman worlds one needed to be buried with a coin in order to pay the ferryman to cross into the underworld, and the coin buried with the deceased was called “Charon’s obol”. This is why many burials from the Greek and Roman worlds contain one coin (or coin like object); some even contain more than one! The tokens found in these tombs thus acquired a third use - to cross into the underworld. They were likely chosen because they were a small denomination; they may have also been selected for this use because they looked slightly different from other coins, but this is much more speculative.

These contexts are important in that they suggest a date for this type of token - they were likely created towards the end of the first century AD, or in the first half of the second century.


This blog was written by Clare Rowan as part of the Token Communities in the Ancient Mediterranean Project.


Bibliography:

Di Vita-Evrard, G., L. Musso, F. Mallegni and S. Fontana (1996). L'ipogeo dei Flavi a Leptis Magna presso Gasr Gelda. Libya Antiqua 2: 85-134.

Di Vita-Evrard, G., S. Fontana and M. Munzi (1997). Le necropoli di Leptis Magna III. Une tombe hypogée de la nécropole occidentale: Laurentii ou Claudii? Libya Antiqua 3: 119-138.

Munzi, M. (1997). Quadranti anonimi e tessere monetali dalle tombe di Leptis Magna. Annotazione Numismatische 26: 589-593.



December 01, 2017

A stater of Stymphalos

stater stymphalos
A stater of Stymphalos, © The Trustees of the British Museum

Obverse: Head of Artemis (?) with laurel wreath.

Reverse: Nude Herakles; ΣΤΥΜΦΑΛΙΩΝ upwards on left, ΣΟ beneath.

Dated mid fourth century BC, diameter 25mm, weight: 11.75g.

Stymphalos was located near the present-day town of Stymfalia, in a mountain valley in north-west Arcadia. In Greek literature, it is famous as the site of the sixth Labour of Herakles – in which he battled the carnivorous Stymphalian birds. The site was first excavated by Anastasios Orlandos during the 1920s. More recently, excavations by the University of British Columbia (led by Prof. Hector Williams) took place between 1994 and 2001. Amongst the finds were a large quantity of coins – 492 in total – yet of this figure, only five of the coins found were minted in Stymphalos itself.

This coin is a silver stater, minted in the mid fourth century BC. On the obverse, we see a bust of a female deity, crowned with a laurel wreath. This has previously been identified as Artemis, due to the archaeological material pertaining to a female goddess at the acropolis sanctuary at Stymphalos. Archaic figurines found in the excavation are seen holding a small animal in one hand – thought to be a hare – an animal often depicted with Artemis. In addition, references attesting the worship of the ‘Braurion Artemis’ at Stymphalos support the view of there being a sanctuary to the goddess. However, votive offerings found at the sanctuary allude to dedications to Eileithyia, and we know from Pausanias that she was worshipped in the region. Coins at Argos have also been found bearing the portrait of Eileithyia, and so it is not unreasonable to suggest that the deity depicted here could be either Eileithyia or Artemis.

The reverse displays a portrait of Herakles in action: with one hand raised, holding a club, and the other with bow and arrow, with the inscription ‘ΣΤΥΜΦΑΛΙΩΝ’ on the left-hand side. The lionskin that he is usually depicted wearing as a headpiece is instead flung around his left arm. This depiction of Herakles differs from other coins minted at Stymphalos (one is pictured below), where he is shown in portrait style, with an image of a Stymphalian bird in profile on the reverse. It would be safe to presume in this instance, that the two images: Herakles and the Stymphalian bird, have been combined in an active portrait showing Herakles in the midst of battle in his sixth labour.

obol of stymphalos
Silver obol of Stymphalos, c. 350 BC, 12mm, 0.95g.

From Xenophon, we know that citizens of Stymphalos were employed as mercenaries at the end of the fifth century and throughout the fourth century BC. This would account for the presence of foreign coinage at Stymphalos, and would perhaps indicate why so little of the city’s own coinage was in circulation – perhaps it was being carried and traded at other cities across Greece. Coins from neighbouring city mints such as Phlious were found at Stymphalos in larger quantities than the local mint, suggesting that Stymphalos only minted currency when necessary, such as in recovery after an attack. Xenophon dates the attack of Iphikrates to 391 BC, but Schaus gives reason for suggesting that if the attack took place, it more likely would have occurred in 370-369 BC. If we take Schaus’ suggestion, then the timing of the attack would seem a reasonable catalyst for the minting of this coin and other from the mid fourth century BC.

Stymphalos was neighboured by Argos, Corinth and Sikyon within a 30 mile radius, and their prominence overshadowed the city. This coin demonstrates a strong regional identity, with mythology interwoven as part of the historical fabric of the city. Distribution outside the city at the hands of mercenaries allows the iconography of this coin to re-establish Stymphalos’ significance in the mythological history of Greece.


alice clinch

This month's entry was written by Alice Clinch, a Masters student in the department of Classics and Ancient History at Warwick. She has worked on fieldwork projects in Greece and Sicily, and is particularly interested in constructed sacred space and ritual activity in cults.

Bibliography

Imhoof-Blumer, F. and Gardner, P. (1885). Numismatic Commentary on Pausanias. The Journal of Hellenic Studies, 50-101.

Robinson, E. (1901). Report of the Curator of Classical Antiquities. Annual Report for the Year ... (Museum of Fine Arts, Boston), 28-72.

Schaus, G. P. (2014). Stymphalos: Ancient Sources and Early Travellers. In G.-L. e. al., & G. P. Schaus (Ed.), Stymphalos, Volume One: The Acropolis Sanctuary (pp. 6-11). Toronto: University of Toronto Press.

Sturgeon, M. (2014). Sculpture. In Garvie-Lok. et. al., & G. P. Schaus (Ed.), Stymphalos, Volume One: The Acropolis Sanctuary (pp. 36-55). Toronto: University of Toronto Press.

Weir, R. (2007). The Stymphalos Hoard of 1999 and the City's Defenses. American Journal of Numismatics, 9-32.


November 01, 2017

Two Sides of a Coin: Slavery and Religion in the First Servile War

eunus coin










Coin of Eunus (King Antiochus). © The Trustees of the British Museum.

Obverse: Head of Demeter right, veiled with grain-wreath.

Reverse: Ear of grain; ΒΑΣΙ(λέως) upwards on left, ΑΝΤΙΟ(χου) downwards on right.

The late Republic was rocked by three major slave revolts which were unique in their size and extent. The first, and largest, was the First Servile War from c.135 to 132 BC. The extent was such that rebel slaves began to mint coinage and a large portion of eastern and central Sicily was under their control including Enna, Tauromenium, Agrigentum, and possibly Morgantina, Catana, and Syracuse. However, it was a doomed effort and the revolt was finally put down 132 BC as the last cities, Enna and Tauromenium were captured by the consul Publius Rupilius.

robinson 1920
Robinson 1920, 175

The revolt began when the slave Eunus led a band of slaves and captured the city of Enna. This city was famous and renowned in antiquity for its cult of Demeter. Cicero stated the people seemed, “not to be citizens of that city, but to be all priests, to be all ministers and officers of Ceres” and when going to the city’s temple one was “going not to a temple of Ceres, but to Ceres herself” (Cicero, Against Verres 2.4.108, 2.4.111). Eunus was then crowned King Antiochus at Enna and minted four issues of coins. These coins are exceptionally rare and only 18 specimens are known. The rarity combined with a poor state of conservation has left the imagery on three of the coins uncertain but local gods and religious imagery are among the possibilities. These coins also included the legend Basileus Antiochou ([coin] of King Antiochus) which advertised Eunus’ newly assumed name and title as well as his legitimacy as King. This month’s coin (with a drawing of the type reproduced here) is the only of these four issues to bear imagery which has been identified with certainty. It depicts Demeter, the goddess of Antiochus’ capital Enna on the obverse with an ear of grain, a symbol associated with the goddess, on the reverse.

The literary sources on Antiochus’ revolt are universally hostile and interpret the role of religion in the revolt differently than what is suggested through the coinage. Instead of Demeter or any of the other local gods which may have been depicted on his coinage, the literary sources emphasize Eunus’ status as a charlatan, a magician, and a follower of the foreign goddess Atargatis which manipulated and deceived his fellow rebels. This served to not only dissociate the revolt from Demeter, the goddess of Enna who was also revered and respected by the Romans, but also to support an account filled with negative slave stereotypes.

Gordon stated, “slave was synonymous with gullible in the Roman mind” [Gordon 1999, 194]. Roman slave owners were specifically warned against allowing slaves to consult fortune tellers, prophets, diviners, and astrologers “who incite ignorant minds through false superstition to spending and then to villanies (flagitia)” (Cato, On Agriculture 5.4).

Antiochus is depicted as exactly the type of fortune teller, prophet, and diviner that Roman slave owners had been warned about.

There was a certain Syrian slave (King Antiochus)… and [he] had an aptitude for magic and the working of wonders. He claimed to foretell the future, by divine command, through dreams, and because of his talent along these lines deceived many. Going on from there he not only gave oracles by means of dreams, but even made a pretense of having waking visions of the gods and of hearing the future from their own lips. Of his many improvisations some by chance turned out true, and since those which failed to do so were left unchallenged, while those that were fulfilled attracted attention, his reputation advanced apace. Finally, through some device, and while in a state of divine possession, he would produce fire and flame from his mouth, and thus rave oracularly about things to come. (Diodorus Siculus 34/35.2.5-9).

Coinage helps to provide a voice for those who do not have their own. The slaves of the revolt have only their coinage to provide their side of the story. This coinage directly contradicts the stereotyped accounts in the literary history and instead depicts a king who represented himself not with a foreign goddess Atargatis but instead with Demeter and traditional iconography.

james currie

This month's coin of the month was written by James Currie. James is a PhD candidate in the department, researching The Transformation of the Sacred Landscape of Republican and Early Imperial Sicily. His research aims to better understand the province of Sicily’s transition from the Republican to early Imperial period through the sacred landscape by investigating the transformation and continuity of “public” religion through the temples and sanctuaries. It also seeks to better understand the province’s political and social changes and how these were both impacted by and influenced the sacred landscape.


Bibliography

Bradley, K. 1989. Slavery and Rebellion in the Roman World 140 BC-70 BC. London: Batsford.

Dickie, M. 2001. Magic and Magicians in the Greco-Roman World. Routledge.

David, E. 2011, "Ein syrisches Sizilien? Seleukidische Aspekte des Ersten Sizilischen Sklavenkriegs und der Herrschaft des Eunus-Antiochos." Polifemo 11: 233–251.

Gordon, R. 1999. "Imagining Greek and Roman Magic". in Ankarloo, B. and Clark, S. (eds) Witchcraft and Magic in Europe: Ancient Greece and Rome. 159-275. London.

Hinz, V. 1998. Der Kult von Demeter und Kore auf Sizilien und der Magna Graecia. Wiesbaden.

Manganaro, G. 1982. “Monete e ghiande inscritte degli schiavi ribelli in Sicilia”. Chiron. 12: 237-244.

Manganaro, G. 1983. “Ancora sulle rivolte servili in Sicilia.” Chiron. 13: 405-409.

Manganaro, G. 1990. "Due studi di numismatica greca". Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia 20: 409-27.

McKeown, N. 2012. "Magic, Religion, and the Roman Slave: Resistance, Control and Community". in Hodkinson, S. and Geary, D. (eds) Slaves and Religions in Graeco-Roman Antiquity and Modern Brazil. 279-308. Cambridge.

Morton, P. 2013. “Eunus: The Cowardly King”. Classical Quarterly: 63: 237-252.

Robinson, E.S.G. 1920. “Antiochus, King of Slaves” Numismatic Chronicle 4.20: 175-6.

Sánchez León, M.L. “La amonedación del basileus Antíoco en Sicilia: (Siglo II AC.)” in Chaves Tristán, F and García Fernández, F.J. (eds) Moneta qua scripta: la moneda como soporte de escritura: actas del III Encuentro peninsular de numísmatica antigua, Osuna (Sevilla), Febrero-Marzo 2003. 223-8. Sevilla.


August 17, 2017

Gaius Mitreius, Magister Iuventutis, and the Materiality of Roman Tokens

Amongst the ancient tokens kept in the coin cabinet of the Ashmolean Museum in Oxford is this piece struck from brass (orichalchum). One one side is a male bust (perhaps of Mitreius or more generally a representation of "youth") surrounded by the legend C. MITREIVS L. F. MAG. IVVENT - Gaius Mitreius, son of Lucius, master of the youth (the iuventutes was a youth organisation). On the other side is a two-story building with columns that looks very much like a basilica. On the building is inscribed L. SEXTILI∙ S.P. = Lucius Sextilius, at his own expense.

mitreius token obverse mitreius token reverse













Token from the Ashmolean Museum (Oxford). (20mm, 3.58g, die axis 6).

In his analysis of Roman tokens Rostovtzeff discusses this type (p. 60), noting that the example in Paris has a countermark underneath the bust. This piece has the number X (10) etched into the exergue on the reverse, but other specimens carry the numbers VIIII and IIII. The structure on the reverse also varies on different examples (as is typical of numismatic representations of buildings) - other representations show a more circular structure that has been identified as an amphitheatre. The representation of the same or similar scenes with differing numbers is reminiscent of the famous spintriae, bronze tokens that carry sex scenes on one side and differing numbers on the other. The fact that the numbers appear to be incised into the token after it was struck is also similar to a practice known in late antiquity, where contorniates (late antique tokens whose purpose remains debated) where inscribed with Christian symbols, palm branches or other designs after striking. One example of this practice is shown below on a piece from the British Museum: a palm branch has been etched into a contorniate that shows Homer on one side and Bacchus on the other.

contorniate with palm branch etched into it

We don't know anything further about the Lucius Sextilius named on the token, nor about Mitreius beyond the fact that he held an office connected with the iuventutes, the youth organisations that existed in the western part of the Roman Empire (also known as collegia iuvenes). But we do possess inscriptional evidence for the Mitreius name at Rome and in Gubbio (CIL VI, 28976 and 38641, CIL XI, 5861, AE 1988, 347). A Mitreius token like that shown above was reportedly found on the island of Capri, although this specimen is now lost (Federico and Miranda 1998, 363).

This was not the only token struck by Mitreius in connection with his position as magister iuventutis. He also struck a type with the same obverse (a male bust and his name) with a facing lion's head within a wreath on the reverse. Other bronze types carried the same obverse with a number within a wreath on the reverse (IIII, XI and XII are known - Cohen VIII 12-15, and Triton IV, 449, the specimen pictured below) - this again is very similar to the design of spintriae. Another specimen, now in a private collection, carries Mitreius' name and a tripod on one side and two clasped hands with a poppy seed on the other - this token also appears to be countermarked in the image.

Mitreius was not the only official connected to Roman youth organisations to strike tokens; several types exist in lead that refer to youth groups or to festivals connected to these same groups. One example is shown below: on one side is a youthful male portrait with the legend PPETRI SABI (Publius Petronius Sabinus) and on the other side is the legend MAG VIIII IVV (Magister Iuvenum VIIII - Master of the Youth, Nine) (TURS 834).

mitreius_token_nnumber.jpg sabinus token
Mitreius bronze token. Sabinus lead token.










That officials associated with youth organisations struck tokens in orichalcum, bronze and lead suggests that different materials might be used for tokens that were ultimately used in the same context. In this sense we should study all Roman tokens together as one class of material, rather than, as has previously been the case, separating the bronze from the lead, or the "spintriae" from other types. Clay tokens are also known from Rome, and may also ultimately provide further illumination on what, and in what contexts, these objects were used for. But these types are further evidence that some tokens were used within Roman colleges or other organisations, and may ultimately have been connected to feasts, games, celebrations or festivals.


This blog was written by Clare Rowan as part of the Token Communities Project. Thanks are due to Denise Wilding for undertaking the photography and recording of this and other tokens from the Ashmolean collection.


Bibliography:

Federico, E. and E. Miranda, eds. (1998). Capri Antica. Dalla preistoria alla fine dell'età romana. Capri, Edizioni La Conchiglia.

TURS - Rostowzew, M. (1903). Tesserarum urbis romae et suburbi. St. Petersburg.

Rostowzew, M. (1905). Römische Bleitesserae. Ein Beitrag zur Sozial- und Wirtschaftsgeschichte der römischen Kaiserzeit. Leipzig, Dieterich'sche Verlagsbuchhandlung.



August 01, 2017

The King and the Hybrid

tasciovanus coin











Tasciovanus silver coin, ABC 2619, c.25-10 BC.
Obverse: crossed wreath and two teardrop motifs, back to back crescents in centre, TASC in angles.
Reverse: winged capricorn right, VER below.

This Coin of the Month is one of the many silver coins of the British King Tasciovanus. He is believed to have ruled an area that approximately corresponds to modern day Hertfordshire towards the end of the 1st century BC. Little is known of his history or circumstances, but he is best known for being the grandfather of Caractacus and Togodumnus, the British kings who fought the Romans during their final invasion of Britain in AD 43.

Tasciovanus was one of the earliest of the British kings to present classical Roman imagery on his coins, with Pegasus, griffons and hippocamps making appearances. The imagery of this coin is part of this trend towards classical imagery, but with one exception: the Capricorn, a beast of the sea, is given the wings of a beast of the air.

Tasciovanus ruled during the reign of Augustus, the first Roman emperor. Augustus used the Capricorn, his star sign, as one of his many symbols. Even without the wings, the Capricorn was already a strange creature, with its front comprised of half of a goat and its rear the back of a fish. Despite this imagery appearing across Rome during the time of Augustus, little is known about the creature’s origins, or its role in ancient myth.

Perhaps it was this mystery that attracted Tasciovanus’ die engravers to the image. Capricorn is never portrayed with wings in the Roman world, so these were a British addition. The inclusion of another element to an already elaborate hybrid was inspired by what is known as Celtic religion. The peoples who inhabited Gaul, modern-day France, and Britain at this time saw their deities not as men and woman, like the Greeks and Romans, but as something beyond the human and natural world, or rather something that stood between them. As a result, the horned god is a popular feature of their mythology, and may explain the prominent horns of the Capricorn on Tasciovanus’ coins. The Tarasque monster, a statue found in France of a terrifying dog like creature, and the elephants with spotted fur depicted on the Gundestrup cauldron from Denmark are another part of this belief. The gods do not walk as men or animal, but as a mixture of the two, or of many beasts, and are nothing like what can be seen with human eyes.

Hybridised creatures of classical mythology, such as the Pegasus or griffon, were attractive images to a culture with such beliefs. The Capricorn was no exception, but perhaps it was not deemed alien enough. The use of wings on the Pegasi and griffons had apparently been pleasing to British audiences, so this might have inspired the addition to the Capricorn here. Adding wings to a sea creature that does not apparently need them makes the monster less natural, and thus more appropriate to the divine forms familiar to the British inhabitants.

The fascination with winged creatures can be witnessed on the many British coin types displaying Pegasus. Rarely used in Roman imagery, the original image may have been taken from the Pegasi shown on coins of Emporion, a Greek colony in Iberia, modern-day Spain. The horse was a powerful image in Celtic art, appearing on coinage and many other forms of material culture, a popularity due to its effectiveness in Celtic warfare, the prestige value of its ownership and possibly the religious rituals associated with the animal. Witnessing a Greek depicting of their venerated animal with the addition of wings would have inspired the Celtic imagination. From then on, the presence of wings on a creature was a popular theme, accounting for the many Celtic coin images of classical monstrosities as well as deities, like the Roman winged goddess Victory.

david_swan.jpg

This month's coin was written by David Swan. David is a postgraduate researcher at the University of Warwick. His thesis examines coinage and hoarding trends along the trade routes of the eastern Atlantic, from the 5th century BC – 1st century AD. He specialises in Celtic coinage.


Bibliography:

J. Creighton, Coins and power in late Iron Age Britain, Cambridge University Press, Cambridge 2000

M. Green, The Gods of the Celts, Alan Sutton, Gloucester 1986

M. Green, An Archaeology of Images: Iconology and cosmology in the Iron Age and Roman Empire, Routledge, London 2004

A. Ross, Pagan Celtic Britain: studies in iconography and tradition, Routledge, London 1967

M. Russell, Bloodline: The Celtic Kings of Roman Britain, Amberley, Stroud 2010

P. Zanker, The power of images in the age of Augustus, University of Michigan Press, Ann Arbor 1988


July 01, 2017

Who gets the glory? Marius, Sulla, and the defeat of Jugurtha (RRC 426/1)

RRC_426_1












Roman Republican Denarius, 56 BC, RRC 426/1

Obverse: FAVSTVS. Bust of Diana right, draped and wearing diadem; above, crescent; behind, lituus. Border of dots.

Reverse: FELIX. Sulla seated left; on left, Bocchus kneeling and holding olive-branch in right hand; on right, Jugurtha kneeling with hands tied behind back. Border of dots.


This month’s coin is an issue of 56 BC, but the story which lies behind it, represented on its obverse, takes us back to the latter years of the second century BC and Rome’s war against the Numidian prince Jugurtha.

Following the death of King Micipsa in 118 BC, the kingdom of Numidia was divided between the brothers Hiempsal, Adherbal, and Jugurtha. Jugurtha had Hiempsal assassinated, and later, in 112 BC, besieged Adherbal in Cirta. Jugurtha managed to take the town and kill Adherbal, but there were also many casualties among the population of resident Italian businessmen. The Romans, who had been involved all along as mediators and interested observers, wanted vengeance for the deaths of the Italians. The war which then began proved difficult to win; politicians at Rome made accusations of incompetence and corruption against the aristocratic generals who were conducting the war.

In 107 BC, the new consul Gaius Marius took over the command. Marius was both an excellent soldier and an outsider in Roman politics with no consular ancestors. The young quaestor who accompanied him, Lucius Cornelius Sulla, was just the opposite: a descendant of an old but impoverished noble family. The sources tell us that Sulla was ambitious and was looking for an opportunity to perform some memorable exploit which would help him in his political career at Rome (Plutarch, Sulla 3). His friendship with the king of Mauretania, Bocchus I, provided the opportunity. Bocchus was the father-in-law of Jugurtha, but was hesitant about which side to support in the war. When Jugurtha lost most of his army and fled to him, Bocchus gave him shelter, but considered handing him over to the Romans. Sulla travelled to the region and organised a meeting with Bocchus, during which he convinced him to betray Jugurtha to him in a planned ambush (Sallust, Jugurthine War 111). The ambush went ahead and Bocchus surrendered the bound Jugurtha to Sulla.

This is what is represented on our coin. On the left, Bocchus is kneeling and holding out an olive branch to the central figure of Sulla, who is seated. On the right, the bound Jugurtha kneels in submission. Why was this scene so important that it was represented on a coin more than fifty years later?

Jugurtha’s capture sparked a competition between Marius and Sulla for the glory of having brought the war to an end. Moreover, the ancient sources point to this incident as the beginning of the personal enmity which led eventually to the disastrous civil war between Marius and Sulla in the 80s BC (Plutarch, Marius 10).

Marius, as the overarching commander, was awarded a triumph for finishing the war against Jugurtha. The triumph was especially noteworthy and magnificent as Marius celebrated it on the first day of his new consulship in 104 BC. He had been elected with popular support and in contravention of the law forbidding successive consulships so that he could lead the war against the Germanic tribes who were migrating across northern Italy. Marius’ glory in this moment was matched by his arrogance; after finishing the triumph with the concluding sacrifices in the temple of Jupiter Capitolinus, he convened the senate still wearing the purple triumphal garb, rather than the senatorial toga. The senators were horrified at this authoritarian gesture, and Marius changed his clothing before continuing to preside over the session.

Marius memorialised his victory by setting up a trophy. Later, after his victory over the Germanic tribes, the Cimbri and Teutones, he set up another commemorative trophy. The city of Rome itself became a witness to the victories and glory of Marius. This accorded with the usual republican practice of glorifying military successes, and especially the general under whose leadership they had been achieved.

But Sulla was not content with this. He made a rival claim to the glory of this campaign. He had the scene of Jugurtha’s submission depicted on his seal ring, so that in any correspondence with him the recipient would be reminded that this was the event which ended the war and defined his career (Plutarch, Sulla 3).

Bocchus himself also intensified the situation in 91 BC by setting up a statue group on the Capitol which depicted him handing over Jugurtha to Sulla (Plutarch, Sulla 6). The iconography of our coin likely reflects the design of this monument. Marius was greatly annoyed at both Bocchus and Sulla over the perceived challenge to his military reputation, but the Social War broke out around the same time, and the issue was left unresolved.

Marius died during the civil wars, and Sulla eventually captured Rome and instituted a bloody dictatorship, marked by proscription – the state-sanctioned murder of a set list of individuals. After his period of sole rule, Sulla resigned his power and retired to his villa, where he spent his time composing his memoirs. He died only a year later.

Despite the deaths of both Sulla and Marius, the issue of their respective reputations, including the debate over who was responsible for the end of the Jugurthine war, remained potent. During his aedileship in 65 BC, the young Julius Caesar, a nephew of Marius, concocted a bold plan: overnight, he had all of the trophies and statues of Marius which had been removed in the civil wars restored to their former places (Plutarch, Caesar 6). Regardless of whether the trophies were the originals or replicas, they suddenly brought back into the city’s public space the memory of Marius’ great campaigns. Caesar had already begun rehabilitating Marius’ memory a few years earlier, when he had given a public funeral for his aunt Julia, Marius’ widow. During the funerary procession, the images of Marius were displayed for the first time since his death.

Twenty years later, Sulla’s son Faustus reiterated his family’s claim to the glory of Jugurtha’s capture by depicting it on this coin. The coin issue was part of a series of four which celebrated both the achievements of Faustus’ father Sulla and those of his soon-to-be father-in-law Gnaeus Pompeius Magnus. On this coin, type 1 in the series, the victory over Jugurtha is paired with an image of Diana, one of Sulla’s patron deities. On the other types, Hercules and Venus also feature prominently, while the names Faustus and Felix (an honorific name for Sulla) are themselves a reminder of the special divine favour which Sulla claimed to enjoy. Types 3 and 4 refer to Pompey and bring him into this conversation about glory and divine favour. The reverse of type 3 (RRC 426/3, below) shows the three trophies which were the emblem on Pompey’s signet ring, while the reverse of type 4 (RRC 426/4, below) shows the globe, four wreaths, and an ear of corn; all are references to the magnificent achievements of Pompey in ridding the Mediterranean of pirates, celebrating three triumphs over three continents, and ensuring the Roman grain supply through his special commission. The joining of Sulla and Pompey in this multi-layered iconography of victory and divine favour is fitting, as it was Sulla who had essentially given Pompey his political start. Pompey’s first great action was raising an army of his father’s veteran soldiers to fight for Sulla in the civil war.

RRC 426 3 RRC 426 4
RRC 426/3 RRC 426/4


Why did the question of who was responsible for the capture of Jugurtha matter so much not only to Marius and Sulla, but also to the next generation? Roman politics was intensely competitive, with individuals striving against each other for opportunities to serve the state. If one could demonstrate that one’s ancestors had already served the state gloriously, this was one way to gain prestige and a better chance of election. The memories and monuments of past successes mattered so much to Roman politicians because their lives were defined by the competition for glory, praise, and honours. These had to be publicly bestowed and commemorated. Politicians would remind the Roman people of their ancestor’s achievements in the hopes that they too would be allowed to serve the state and achieve glory. It was a competition for symbolic capital which consistently, though not exclusively, returned the members of the same few families to the highest magistracies.


hannah_and_plancus.jpg

This month's entry was written by Dr. Hannah Mitchell. Hannah specialises in the political culture of the late republic and Augustan periods. She is writing a book on political careers and aristocratic self-presentation during the civil wars of the 40s and 30s BC.

Coin images reproduced courtesy of the British Museum (©The Trustees of the British Museum).

Bibliography

Flower, H. 2006. The Art of Forgetting: Disgrace and Oblivion in Roman Political Culture, Chapel Hill.

Harlan, M. 2015 (2nd edn). Roman Republican Moneyers and their Coins, 63 BC – 49 BC, London.

Mackay, C.S. 2000. ‘Sulla and the Monuments: Studies in his Public Persona’, Historia 49.2, 161-210.


June 16, 2017

Token Characteristics: Some Preliminary Thoughts

photo of the conference.jpg  
Talking Tokens: The Warwick Conference  

Earlier this month, the Token Communities project played host to scholars from around the world for the conference Tokens: Culture, Connections, Communities. As tokens from all periods and places werex presented, I was struck by the way that these objects acted in similar ways across time and space. English defines the word "token" as something representative of something else, "something that serves to indicate a fact, event, object, feeling, etc" (OED). Below are some preliminary thoughts about what might be characteristic of tokens, what they do in human society, and how they interact with hierarchy, human relationships, and human cognition. It is clear that tokens have played a multitude of roles across time, from the prehistoric to the modern day, but here are some characteristics of these objects that emerged from the papers presented at the conference. (And thank you to all who attended!)

Memory Devices

The earliest tokens were used in accounting, to represent, count and redistirbute goods. In this sense they acted as external memory devices to remember our relationships, transactions and obligations with others. But the memory aspect of tokens also manifests itself in other ways. Tokens might also act as souvenirs or mementoes or particular life events, relationships, festivals or other occasions. For example, pilgrim tokens like this pictured here from the shrine of St. Symeon, acted as objects that mementoes that could provoke or embody memories of a pilgrimage to a particular holy site, as Vicky Foskolou's work has shown. Similarly, love or convict tokens acted as an object that embodied the memory of a particular person or relationship. The relative frequency with which tokens from the ancient Mediterranean are found pierced suggests that these objects too may have functioned (in a secondary context) as a memento of a paricular event or person.

pilgrimage token convict ove token
Pilgrim Token from the Shrine of St. Symeon, The Walters Art Museum, Museum purchase with funds provided by the S. & A.P. Fund, 1946

Convict love Token. Produced using content from the National Museum of Australia’s Convict love tokens interactive.


Hierarchy

palmyrene banqueting tessera
Palmyrene Tessera from the Met.

By controlling access to particular events, societies or distributions, tokens contribute to the creation and maintenance of particular social hierarchies. The mere existence of tokens suggests a group of those "who have" tokens (and what they represent/provide) and those who "have not". The best known tokens from antiquity are the "banqueting tesserae" of Palmyra in Syria, objects that served as entrance tickets to particular religious banquets in the city. The distirbution of these objects to particular groups in the city would have reinforced particular communities and groups by excluding others, and likely meant that particular cultic spaces within the city became "members only" at particular moments in time. Similarly the use of jetons in early modern France created a dialogue of "inclusion" and "seclusion" that served to reinforce social norms and the hierarchy that existed within the monarchy, as Sabrina Valin has explored.


Money

The relationship between "tokens" and "money" is complex, but there is clearly a relationship at work between the two. Some tokens, whether in antiquity or in the more modern age, acted as a form of money, whether this be small change issued by merchants, or the "company coinage" of groups in the Roman Republic. But in other cases tokens represent money or an amount of money (like the Roman token giving the names of Olympianus and Eucarapus and the sum of 1000 sestertii), mediating transactions in lieu of official money, or in a way that played with official currency. Tokens might act in ways similar to money by ensuring the distribution of goods and efficient account keeping without ever taking on the role of 'money' itself. In many ways tokens are "like money, but different", and perhaps this was intentionally the case in antiquity to ensure a clear delineation between "official money" and other objects that acted in monetary ways. One wonders whether tokens connected to festivals (like those connected to the festival of Isis in Rome) may have acted in this way - 'money but not quite money' used for particular cultic events.


Singularity

One key way in which many tokens appear to have differed from money is that many of them appear to represent a single item (e.g. grain, wine) or are intended for a single use (and thanks to Bill Maurer for this observation!) This "single use" aspect applies to tokens from the prehistoric period (which were thrown away after use) as well as the "tokenisation" used in modern day societies (in credit card transactions for example, where each number released as a token is sequential and individual). By contrast, money circulates and is used again and again, to be exchanged for any number of goods and services.


There is a lot more digesting to do from the conference, and a lot more thinking to be done about what tokens are and what they do in society. Stay tuned! ;-)


This post was written by Clare Rowan as part of the Token Communities in the Ancient Mediterranean project.


June 01, 2017

Let's play with the portrait of Augustus! "Tesserae" and Roman Games

augustus gaming piece
Bone gaming piece showing and naming Augustus.
(From Rostovtzeff's 1904 publication of the find).


A variety of objects are given the Latin label “tesserae” by modern scholars: mosaic pieces, lead monetiform objects, spintriae, and small circular objects made out of bone or ivory, like the piece pictured above. On one side is a carved portrait of Augustus, while the other side gives his name in Greek (Σεβαστός) and the number one in both Latin and Greek numerals (I in Latin, A in Greek; the Greeks represented numerals through letters). Scholars originally thought that these bone objects, found all over the Roman world, served as tickets to the theatre, amphitheater or circus. But then this “tessera” and fourteen others were found in a child’s tomb in Kerch (Russia) in 1903, and our understanding of these objects changed completely.

Fifteen bone “tesserae” were found in the tomb placed in a wooden and bronze box, neatly stacked in twos. Each piece had an image engraved on one side and on the other a word accompanied by a number in both Latin and Greek. The numbers range from 1 to 15. The designs of the pieces are as follows, according to the publication of Rostovtzeff 1905 (the counters are now in the Hermitage):


  1. Head of Augustus / CΕΒΑCΤΟC (Augustus), I and A.
  2. Head of Zeus / ΖΕΥC (Zeus), II and B.
  3. An "athletic head" (probably Hermes) / [ΕΡΜ]ΗC (Hermes? The legend is partly obliterated), III and Γ.
  4. Entrance to an Egyptian building / ΕΛΕΥΣΕΙΝ(ΙΟΝ) (Eleuseinion), IIII and Δ
  5. Head of Herakles / ΗΡΑΚΛΗΣ (Herakles), V and E
  6. The word ΗΡΑΙ(Α) (Heraia) in a wreath / YII and the letter vau
  7. Bust of a praetextatus (a young man wearing a toga) / ΛΟΥΚΙΟΥ (a referenece to a Lucius), VII and Z.
  8. Head of Kronos / ΧΡΟΝΟC (Kronos), VIII and H.
  9. The Greek letter Θ / ΠΑΦΟΥ in a wreath (shown below).
  10. Young female head with a hairstyle of the Augustan age / ΑΦΡΟΔΙΤ(Η) (Aphrodite), Χ and I
  11. Head of Pollux wearing an athletic headband / ΔΙΟCΚΟΡΟC (Dioscurus), XI and IA.
  12. Head of Castor wearing an athletic band / ΚΑCΤΩΡ (Castor), XII and IB.
  13. Head of Aphrodite / ΑΦΡΟΔΙΤ(Η) (Aphrodite), XIII and ΙΓ.
  14. Bust of Isis / ΙCIC (Isis). The inscription is damaged, but III and ΙΔ are visible.
  15. Head of Hera / [ΗΡ]Α (Hera, although the inscription is damaged), [X]V and IE.


gaming piece 9
Gaming piece no. 9, reproduced from
Rostovtzeff 1905.

Numerous other pieces similar to this have been found throughout the Roman world (e.g. Pompeii, Asia Minor, Athens, Syria, Crete, Vindonissa north of the Alps), but a complete set like this is rare, if not unique. Comparison with other pieces reveal that the numbers do not correlate with any particular image; so while Zeus is paired with number two here, on another set he may be number ten or fifteen, for example. Other pieces have the portraits and names of other emperors and empresses, though none later than Nero; some specimens represent Julius Caesar and one piece carries a portrait of a Ptolemy. This, in addition to the find spots (particularly in Pompeii, and in the abovementioned tomb) suggests a production date ranging from the second half of the first century BC to first century AD, although they may, of course, have been used later than this.


nikopolis gaming piece
"Token", Early 1st century, Ivory. 2.9 cm
(1 1/8 in.) Gift of Marshall and Ruth
Goldberg. J. Paul Getty Museum, CC-BY.

This complete set has led scholars to conclude that these are gaming pieces. Many of the surviving specimens carry Egyptian, or more specifically, Alexandrian designs. Our number four, for example, likely represents a sanctuary in Eleusis, which was a suburb in Alexandria. Other suburbs in the city, for example Nikopolis, are also shown and named. On the right is an image of one of these pieces: an obelisk stands next to an Egyptian-style building; the other side names Nikopolis and provides the Latin and Greek number four: IIII and Δ. Egyptian deities feature alongside the busts of gods, rulers and other well-known personalities (e.g. athletes, poets, philosophers, characters from comedies). The current theory, then, is that this was an Alexandrian game that then became popular across the Empire in the first century AD. We have no idea how the game was actually played, although it might have been a mixture of a local Egyptian game and the Greek game of petteia (πεττεία).

We might pause to think what it meant that one could play a game in Pompeii, for example, or in modern day Russia, that represented and played with the Alexandrian landscape, its suburbs, buildings and gods. Could the experience be similar to a modern monopoly board, where British streets and locations are experienced and named by people all over the world? I think we should also consider that people thus might also ‘play’ with the emperor’s portrait; how then did this affect people’s experience of the emperor and his family? But finally, since these bone and ivory objects are gaming counters, we should probably stop calling them “tesserae”!


This Coin of the Month entry was written by Clare Rowan as part of the Token Communities in the Ancient Mediterranean Project.


Bibliography:

Alföldi-Rosenbaum, E. (1976). Alexandriaca. Studies on Roman Game Counters III. Chiron 6: 205-239.

Alföldi-Rosenbaum, E. (1980). Ruler portraits on Roman game counters from Alexandria (Studies on Roman game counters III). Eikones. Studien zum griechischen und römischen Bildnis. ed. R. A. Stucky and I. Jucker. Bern, Francke Verlag Bern: 29-39.

Rostovtsew, M. (1905). Interprétation des tessères en os avec figures, chiffres et légendes. Revue Archéologique 5: 110-124.



May 09, 2017

The lead tokens of Roman Britain


Roman tokens found in Britain have previously received very little study. Discerning what form they take is key to understanding their purpose. To date the possibilities to be explored include a set of tokens bearing similarity to those from Rome, and leaden coin copies.

One form of token has been found primarily on the Thames foreshore by metal detectorists, as well as in East Anglia. They are not, however, particularly prevalent. In appearance they depict imagery similar to that found on coins. Deities feature heavily, while animals, busts and letters are also present. A variety of objects are also depicted, such as modii (a dry measure for products such as corn), palm fronds and boats. The imagery is, however, incredibly varied (plates of images from Rostovtzeff’s publication can be found here.

Face1: Corn modius flanked by stars

Face 2: Fides carrying plate of fruit and corn ears













It is evident that those found here in Britain have parallels elsewhere in the Roman Empire. For example, one token found on the Thames foreshore depicts a corn modius between two stars on one side (see above left) and a goddess on the other (probably Fides carrying a plate of fruits and corn ears, see above right). Parallels to this are housed in museums in France and Rome, as is the case with other tokens found in Britain. This therefore implies that these tokens are not native solely to Britain, and are more likely to have arrived here from elsewhere, or form a part of an object type recognised and used by Rome.

Another form the tokens may take is that of leaden coin copies (see below left). A few are recorded on the Portable Antiquities Scheme database, and it is possible that rather than trying to imitate coinage (lead after all is heavier than copper alloy and would have perhaps been obviously unauthentic when exchanging hands), they instead represent a token value. Some of the tokens on the PAS database are from Piercebridge (see below right), an assemblage which is believed to have had ritualistic significance due to its deposition over time in a river. This perhaps adds credence to the possibility that these copies had a function beyond merely being forgeries, especially as some have been folded or squeezed, thereby implying a votive significance. Tokens also form part of votive assemblages in Italy, for example in the river Garigliano.


A lead coin from Yorkshire, depicting Emperor with radiate crown, possibly also used as a token (PAS database YORYM-AF42B3)

Folded lead denarius from Piercebridge, possibly also used as a token (PAS database NCL-125BD7)










One reason for the paucity of tokens discovered in Britain could be that they are not recognised as such. When lead corrodes it often forms a protective and stable layer, but this obscures surface detail, thereby resulting in an undiagnostic lead disc. So far, the majority of the known tokens have been discovered by metal detectorists, rather than through excavation (the exception is a token found in the drains of the baths at Caerleon). If more tokens come to light perhaps their findspots and distribution will help to illuminate their purpose.


Bibliography

Rostowzew, M. (1903). Tesserarum urbis romae et suburbi. St. Petersburg. https://finds.org.uk/database/artefacts/record/id/383971 (YORYM-AF42B3) https://finds.org.uk/database/artefacts/record/id/100215 (NCL-125BD7)

Denise Wilding, PhD student on the Token Communities ProjectThis month's blog was written by Denise Wilding, a PhD student on the EU-funded project Token Communities in the Ancient Mediterranean.


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