All 18 entries tagged Undergraduate Research
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January 01, 2018
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.
An oil lamp showing an image of a
A token from the Ashmolean museum
depicting a charioteer.
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.
|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.
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.
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!
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).
April 01, 2017
Denarius of Mark Antony (RRC 545/1), 31 BC
Obverse: Bare head of Mark Antony, M·ANTONIVS·AVG·IMP·IIII·
Reverse: Victory standing left holding wreath tied with fillet in right hand
and palm-branch over left shoulder with left hand. Laurel-wreath as border. D·TVR
The battle of Actium in 31BC was the most important event in Augustus’ campaign of justification after assuming more power and influence than any other individual. This battle was the climactic clash between Augustus and Antony in 31 BC, in which the victor would gain control of the Roman world. We may be tempted to think of this battle as a symbol of the triumph of a military despotism, but Augustus used a multitude of methods to convince the Romans otherwise. But Augustus himself unwittingly confirmed his misdoings: the Res Gestae opens with brazen assertions of high treason and a cliché-ridden defamation of a consul of the republic. Augustus was therefore forced to cleverly exaggerate the extent of his victory by following a systematic denigration of Antony. The reason for Augustus’ campaign against his enemies was to debase their character and make their deposition seem as far from a power struggle as possible, hoping instead that he would appear as the bulwark against immoral and dangerous individuals for the Romans. This was a countermeasure to seeming as if he was declaring war on Antony for his own private interests. The Antony of Cicero, associated with prostitutes and corteges of actresses and often drunk is the foundation of Augustus’ Antony. This disparagement of Antony was important in denying monarchical claims to power, it characterised Antony as unsuitable for power and dangerous to the republic, which forced Augustus to champion the defence of the republic. This was similar to the character assassination of Sextus Pompey. Augustus branded Sextus as a pirate, rather than admit to engaging in civil war: ‘I pacified the sea from pirates ’ (Res Gestae 25), preferring to claim he acted out of compulsion and loyalty to the state.
Augustus confronted Rome with ‘the will which Antonius had left in Rome, naming his children by Cleopatra among his heirs, opened and read before the people ’ (Suetonius, Life of Augustus, 17). It allowed Augustus to reassert this status as the champion of the Roman people, however it is exceptionally pertinent to remember that Augustus’ extortion of the vestal virgins in procuring this will was something wholly illegal. Augustus juxtaposed himself and Antony through his mausoleum. Though completed in 28BC, it was important in the propaganda war: Augustus’ monumental tomb offered a demonstrative and public contrast to Antony’s alleged desires to be buried in Alexandria. This may have encouraged the Romans, in their indignation, to believe that the other reports in circulation were also true: if Antony should succeed, he would bestow their city upon Cleopatra and transfer the seat of power to Egypt.
Despite Augustus’ best efforts to brand Antony as traitor, Antony’s denarius of 31 BC shows a different story. The coin depicts Antony with a full list of titles, advertising his role as augur (AVG), imperator for the fourth time (IMP IIII), consul for the third time (COS TERT) and triumvir (III·VIR·R·P·C). This was an undeniable assertion that he was far from a foreign enemy, suggesting instead that Augustus’ behaviour was exceptionally anti-republican (to openly share such enmity with a fellow Roman would be a source of revilement). Antony’s use of a denarius is wily; it reaffirmed his legitimacy as a member of the Roman elite while suggesting Augustus’ lust for power as a man willing to enter into civil war for supremacy. The reverse features Victory standing left, a blatant reminder that it would be Victory who supported Antony. The denarius openly deconstructed Augustus’ campaign of invective and propaganda; it was a poignant reminder to the people of Rome that Antony was not the Eastern enemy he was made out to be.
This month's coin entry was written by Alfred Wrigley. Alfred is a third year Ancient History and Classical Archaeology student with a great research interest in Julio - Claudian numismatics
Image copyright Trustees of the British Museum (1855, 1118.3)
November 01, 2016
Antoninianus. RIC V 64
Obverse: IMP AVRELIANVS AVG. Radiate and cuirassed bust of Aurelian facing right.
Reverse: ORIENS AVG. Sol Invictus holding laurel-branch and bow, treading on fallen enemy.
Γ (mintmark) behind Sol, XXIR in exergue.
This is an antoninianus (a denomination theoretically worth 2 denarii) of Aurelian, who was emperor of the Roman Empire AD 270-275. It is worthy of study because of the sheer amount of information we can draw, in terms of military, economic and religious history, from this one type of coin.
We see that Aurelian wishes to be seen as a military figure; this is conveyed through his depiction on the obverse in armour and on the reverse the depiction of Sol treading down on an enemy. To properly understand the meaning of this imagery we have to consider the state of the empire as Aurelian comes to power. The empire has fragmented with Queen Zenobia ruling in the east out of Palmyra and Tetricus declared emperor in the West as part of the Gallic Empire (see map below). In AD 272 Queen Zenobia, who was in control of Egypt, cut off the grain supply to Rome. Aurelian responded by taking his army east and defeating her, regaining control over the eastern portion of the empire. In AD 273 he gained the title Restitutor Orientis (Restorer of the East) which he placed on his coinage (RIC V 140). In 274 after returning to Rome, Aurelian marched West, defeating Tetricus at the Battle of Chalons, reunifying the empire and gaining the title Restitutor Orbis (Restorer of the World). This coin type has a date range of AD 270-275. At the beginning of his rule, imagery of victory might have been associated by the average Roman citizen with Aurelian’s victory against the barbarians at Alemanni in northern Italy. In AD 275 this type of imagery might have been interpreted as representative of the victories that had reunified the empire (Zosimus 1.25). In this case the legend on the coin, ORIENS AVG, refers to the east, and suggests that the intended message was Aurelian’s successes in this region.
Map of the Roman World in AD 271
The economic history this coin reveals is also interesting. The radiate crown on Aurelian’s head is there to indicate that this is an antoninianus rather than a denarius. This denomination was introduced in AD 215 to combat a lack of silver. Its introduction may have helped generate the rampant inflation that led to the silver purity of the antoninianus crashing to just 3.79% by AD 270. This specific coin is an example of what followed: Aurelian reformed the coinage, motivated by a desire to restore some confidence in the currency and to curb inflation. We know this because the legend in the exergue of this coin reads ‘XXI’. This was a guarantee that 20 of these coins could be exchanged for one argenteus of pure silver (20:1, XX:I). The coins were promised to have 5% silver, although if we actually drilled into the coin we would probably only find a purity of 4.1%, due to surface leeching of silver over the years. Another part of Aurelian’s coinage reform was increasing the physical weight of the coinage; before the reform between 86-98 coins were made from each pound of billion (debased silver), following the reform this was lowered to a range of 81-90, giving a theoretical weight to each coin of 4.03g.
The religious history we can gain from this coin is the changed role of Sol in this period. No longer is he merely pictured in his traditional form with the whip or globe standing emollient. Now he appears with a traditional whip but also a bow, treading down the enemy, invoking the new cult of Sol Invictus in action, even if the legend is limited to ORIENS AVG (Rising (Sun) of the emperor). Coins were also produced with the legend SOLI INVICTO (Sol the Unconquerable) (RIC V 154). This represents a change in this period in the Rome pantheon, with the rise of Sol Invictus to a position of prominence. Aurelian’s victories are associated with Sol rather than Jupiter. There is scholarly debate over the exact nature of this cult, with the traditional view being Aurelian imported an eastern deity, but recent scholarship has challenged this, suggesting that the cult may have developed out of the traditional Graeco-Roman god Sol. The additional evidence for Sol Invictus taking greater prominence is Aurelian’s new temple built to Sol Invictus in Rome and the setting up of a new priestly college, pontifices dei solis. A final thought on the influence of Sol Invictus on our world today is his holy day, dies Invictus Natalis. This was placed on the 25th December and while it was an important day anyway within the Roman calendar, being the winter solstice, one is left to wonder whether the particular rise in the importance of that date due to Sol Invictus influenced early Christians in their decision to adopt this date as the birth date of Christ.
This month's coin was written by William Tait, Third year undergraduate in Ancient History and Classical Archaeology with a particular interest in the 3rd century AD and how coinage can improve our understanding of this period.'
Drinkwater, J.F. (1987), The Gallic Empire: Separatism and continuity in the north-western provinces of the Roman Empire, Franz Steiner Verlag, Stuttgart.
Halsberghe, G. (1972), The cult of Sol Invictus, Leiden: Brill.
Hijmans, S. E. (1996), The Sun which did not rise in the East; the Cult of Sol Invictus in the Light of Non-Literary Evidence. Babesch 71: 115-150.
Southern, P. (2015) The Roman Empire from Severus to Constantine, Routledge, London.
Watson, A. (1999), Aurelian and Third Century, Routledge, London and New York.
Zosimus, New History, trans. T. Chaplin & W. Green (London: Green and Chaplin 1814)
Coin image reproduced courtesy of Classical Numismatic Group Inc., (Auction 88, lot 1399) (www.cngcoins.com)
September 01, 2016
The Emperor Decius came to power in late AD 249 having killed his predecessor, Philip the Arab, in battle (Potter 1990, 40-45). This manner of succession was far from unusual for the period. By this time no Roman emperor had died of natural causes for a little over a hundred years. As such a Roman citizen could be forgiven for believing their new leader’s reign would be as short, and end as messily, as those that had filled the preceding century. Whilst said cynical citizen would have been entirely correct (Decius and his son were killed in a swamp fending off marauding Scythians a mere two years into his reign according to Zosimus) this was not an opinion the new emperor was keen to encourage. As such he commanded all citizens to make sacrifices to the gods for the health and stability of the empire and concurrently issued a series of coins, now known as the ‘Divi series’.
Antoninianus minted at Mediolanum (Milan), RIC IV Trajan Decius 77
This series of coins is remarkable because they do not, as we would expect, feature the image of the new emperor – a feature we know provincials regarded as distinctive in Roman (as opposed to local) coinage (Mark 12:17). Instead on the obverse they picture the faces of eleven of his predecessors, crowned with radiate crowns; Augustus, Vespasian, Titus, Nerva, Trajan, Hadrian, Antonius Pius, Marcus Aurelius, Commodus, Severus and Alexander (Ando 2000, 209). The image on the reverse of the coins varies, however most commonly they feature either an eagle (a representation of apotheosis, perhaps most notably seen on the Arch of Titus in Rome) or an altar – presumably to the divine emperor shown on the obverse. This is reinforced by the coins’ respective legends which, on the obverse, give the pictured emperor’s name with the prefix ‘Divo’, meaning divine, and on the reverse read ‘consecratio’, meaning consecrated. Notably we have examples of these coins from mints across the empire, not just from Rome, suggesting that Decius was keen for them to be viewed by as large a number of people as possible. They would seem to be the Roman equivalent of a public Facebook post, rather than a message meant for those immediately around the new ruler.
Imperial portraits also played a key role in the sacrifices Decius demanded for the empire’s continued stability. Whilst the deities sworn to varied from town to town across the empire’s provinces (Tertullian To the Nations 2.8.7), with Roman religion being flexible enough to incorporate local deities from far flung reaches of the empire, each ceremony was enacted before a series of imperial statues, perhaps even in some contexts the same emperors featured on the coinage (Ando 2000, 209). The message Decius hoped to deliver is clear. Here were a group of exceptional, and deified, emperors who moved the empire forward. He would be the next in the ‘canon’ of greats and a citizen of Rome was secure under his rule.
Moreover Decius was emphasising the power of the emperor. On his later coinage various Roman mainstays are depicted, but divine figures are almost entirely absent (Mattingly 1924). By presenting his predecessors as essential figures in Roman religion, to the detriment of the traditional pantheon, Decius promoted his office as something quasi-divine and by association raised himself above the concerns of petty mortals. If successful this public relations initiative could only have increased his authority and hold on an increasingly fractious state. It was also something of a change from the policy of his immediate predecessor who, as discussed in last month’s blog, was sympathetic to Christianity – a religious creed incompatible with the Imperial Cult.
Antoninianus minted at Mediolanum (Milan), RIC IV Trajan Decius 84b
So what kind of an impact did Decius’ Divi have? Whilst we cannot be sure we can be confident that his coinage was well known by later Romans. Gregory of Tours, a sixth century historian and bishop tells us that seven young Christians (and their dog) fled to a cave to escape persecution for refusing Decius’ edict to sacrifice to the pagan gods (Lane-Fox 1986, 450, 490). Naturally they then fell asleep for nigh on two centuries, awakening in the Christian empire of Theodosius II. When one of their number left cave to buy food the coinage he used was immediately recognised as from the time of Decius (Ando 2000, 227), which provoked wonder amongst the town’s folk – wonder presumably compounded when the sleepers all promptly fell dead (Gregory of Tours, Passio septem dormientium 7-8). Whilst the story itself isn’t terribly believable it likely grew in the telling from events that truly happened. It is not so hard to imagine Christians fleeing rather than submitting to the emperor’s edict, indeed reactions to said edict were a subject of much later controversy within the church (Lane-Fox 1986, 550). Moreover if those Christians were to have fled with any money it doesn’t seem beyond the realms of possibility that the emperor’s newest coinage would have featured prominently in their collections. If a cache of their belongings were later discovered and spent there would have been a sufficient framework for the myth to have grown. Whilst there’s a fair amount of conjecture there I like to think that Decius’ Divi were still being recognised two centuries after his death and were being talked about by even later historians.
This month’s coin entry was written by Ben Howarth. Ben is about to begin an MA in the Department of Classics and Ancient History at Warwick. He has an interest in the development of Christianity in the Roman Empire and his undergraduate dissertation was on the persecutions of ‘others’ by Christians in the late 4th and early 5th centuries – an interest he hopes to develop further during his MA.
Coin images reproduced courtesy of Numismatica Ars Classica (Auction 33, ot 404), and Classical Numismatic Group Inc., (Mail Bid Sale 66, lot 1420) (www.cngcoins.com).
April 01, 2016
|Denarius of Augustus from 28 BC.|
The first recorded time a crocodile appeared on a Roman coin was 37/36 BC, under the authority of M Licinius Crassus, an official who had authority over the Greek island Crete and the African region of Cyrenaica. Scholars have attempted to claim that this was the son of the triumvir Crassus who in 53 BC famously conducted the Parthian disaster. The historical content of the Crassus coinage is dubious and complicated but it would be fair to assume and accept scholarly debate that his crocodile represented renewed Egyptian authority over Cyrenaica, an honour that was ceded to the Ptolemaic ruler Cleopatra VII by the cunning Marc Antony.
However, when Augustus utilised the crocodile on his coinage it was as a focal point of celebration towards Rome’s acquisition of Egypt and revered his military triumph. The crocodile interestingly could serve as a sign of continued power and dynastical tenure or the polar opposite of capitulation. With the caption of ‘Aegypto capta’; ‘captured Egypt’ we are able to understand the multi-faceted potential of a crocodilian representation and how the crocodile signified power dependant on the way it was utilised .
To understand the sole purpose of the crocodile on the denarius of 28 BC would be enormously difficult. Commonly in Egyptian practice, crocodiles were to supposed to allude to, and be associated with, their relationship to the river god Nilus, from whom Egypt’s affluence and prosperity was supposedly derived. The crocodile was the epitome of Egyptian power and was typically indigenous to the Nile so it often acted like a glorified mascot. Augustus had left his use of the crocodile imagery purposefully open to interpretation so that it could represent the formidable animal in which the Romans were so curious about, and were so proud to have enslaved, because it embodied the fate of Egypt. Or did it signify and celebrate the prosperity of Egypt through the crocodile’s relation to Nilus?
The best insight into the truth is the coinage of the colony of Nemausus (Nîmes) struck under Augustus: here a crocodile is depicted chained to a palm tree and is undeniably the sign of Egypt subdued to the power of Rome and presumably is a continuation of attitude from the denarius of 28 BC. The obverse of the denarius of 28 BC, a bareheaded and heroically unadorned bust of Augustus, has a protuberant brow alongside a wry smile which is meant to reaffirm the legitimacy of his autocratic reign by reasserting his military success, ultimately bringing us back to the subject of power. The crocodilian imagery on these coins was a boast of power, eastern luxury, but more importantly, it was who wielded and subjugated the crocodile that decided who the ancient beast would transfer its power to.
This month's coin was written by Alfred Wrigley. Alfie is a second year ancient history and classical archealogy student who is hoping to specialise in and write his dissertation on Julio Claudian coinage.
Coin image reproducted courtesy of the Trustees of the British Museum.
March 01, 2016
|Figure 1: Proculus Billon ‘Radiate’ (2.96g, 19.27mm)|
Before discussing this particular coin of the month, please forgive the Herodotus-esque digression on the context of its appearance. The day was November 7th 2012, and it began much like every other for one Yorkshire metal detectorist. The site he had chosen for the day had produced numerous finds in prior visits, most of which had suggested that he was walking in the footsteps of his Romano-British forebears. At this point, a thought may even have crossed his mind that his next find might be something other than Roman ‘grot’(derogatory archaeological slang for a heavily corroded and illegible Roman (typically) coin). Yet one object was, and all it took was just one signal, one hole, and one turn of the spade to unearth something virtually unique. However, this was not realised by the finder, Colin Popplewell, until he had posted images to an online forum. Further unbeknownst to him, his chance discovery would reignite a debate over the very existence of a third century usurper, and the contentious issue of his having struck coinage. The coin he found (Fig.1), provided an overt reference to a character by the name of Proculus having assumed the imperial purple. The legend reads:
IMP C PROCVLVS AVG // VICTORIA AVG
Emperor Caesar Proculus Augustus // Victory of the Emperor
This legend has only appeared once previously on a coin from a German collection, sold in 1991. Given its inherent rarity, it was unsurprising that this latest find was first met with scepticism, and then denunciation as a later forgery by some academic circles. However the author recalls a remarkably similar scenario occurring in the case of another usurper: Domitianus II. This case was only resolved in 2003, when a hoard from Chalgrove, Oxfordshire securely contextualized a coin bearing Domitianus’ name. Whilst a scenario such as this is yet to arise for Proculus, the reliable context of this second discovery compels my subsequent analysis to be conducted on the presumption that both examples are genuine.
|Figure 2: Both coins superimposed|
With only two coins, it would seem extremely difficult to produce a convincing argument for reinvestigation. However by overlaying images of one coin on top of the other, it is immediately apparent that the obverse and reverse designs are identical (Fig. 2). To a numismatist, this is a definitive indication that the same pair of dies produced both coins. This also strongly suggests that they were produced at the same workshop, if not even by the same hand (Morgan 2006: 175. For Domitianus II die linkages also proved crucial in authenticating both coins). Furthermore, the presence of intelligible legends on these two coins must indicate that they are also the product of a literate manufacturer. This particular factor also questions their potential alternative identification as so-called “barbarous radiates” (which also happened to be in contemporary circulation). However, most of these coins were low-grade imitations of official currency, and were seemingly produced by local, illiterate satellites. Consequently, the only plausible conclusion to draw from this appraisal of Proculus’ coinage is that they resemble the products of a coordinated and sanctioned series.
Having therefore established credentials for our coin, an assessment of other extant material can now be made, to establish whether this additional numismatic evidence for Proculus conforms to our historical impressions of the individual. The iconography of the coin itself helps to narrow our search of literary material to the later third century AD. This is evident from the size of the coin and the depiction of a radiate crown, which is emblematic of this period. Our main historical record for this period is the Historia Augusta, which is unfortunately notorious for its fabrication of stories (Dessau 1899). On account of its reputation, it is therefore unsurprising to find that it has provided two conflicting accounts for the character of Proculus. The first has him revolt in Cologne during the reign of the Emperor Probus (HA Life of Probus XVIII.5), whilst the second records his rebellion occurring in Lyon (HA Lives of Firmus, Saturninus, Proculus and Bonosus I.4, XIII.1). Other surviving references to Proculus are more questionable on account of their even later publication dates (Eutropius IX.17, Epitome de Caesaribus XXXVII.2). Consequently as the literary source most contemporary to the life of Proculus, the Historia Augusta must be consulted in contextual discussion of these enigmatic coins.
“One fact, indeed, must be known, namely, that all the Germans, when Proculus asked for their aid, preferred to serve Probus rather than rule with Bonosus and Proculus.”
HA Life of Probus XVIII.7
This suggests that Proculus usurped during the reign of Emperor Probus alongside a figure by the name of Bonusus, although no such indication of this partnership is given on our coins (the recognised dedication for multiple rulers is expressed by the number of Gs in ‘AVG’ - Proculus’ coinage has just one). More significant though, is the explicit mention of a location that accords with the find-spot of this latest example. Proculus is documented as having claimed the province of Britannia along with Gaul during his usurpation (HA Life of Probus XVIII.5), thereby assuming control of the Legion stationed in York (near to the site of the coin’s eventual deposition). However, in the view of the author, if the revolt had occurred during the reign of Probus, our examples of Proculus’ coinage would be stylistically out of date. This is owing to a coin reform enacted by Probus’ predecessor Aurelian, during the middle of AD 274 (Carson 1965, Weiser 1983). Alongside the addition of mintmarks and marks of metal or face value, the style of imagery depicted notably changed. Comparing the pre- and post-reform currency of Aurelian clarifies this point further, (Fig. 3 and 4) as design focus visibly shifts away from large draped busts to depictions of elongated necks wearing cuirassed attire. Whilst usurpation may have led to cessation of contact with the Empire, knowledge of monetary design appears to spread unaffected. Confirmation of this can be found in the usurper Saturninus, who apparently revolted in the East at the same time as Proculus did in the west (HA Life of Firmus, Saturninus, Bonosus and Proculus). His coinage (Fig. 5) depicts significant iconographic similarities to Aurelian’s reformed coinage, as the long neck and military uniform are his most noticeable features. Had Proculus’ rebellion been contemporary to Saturninus, one would expect to see more stylistic similarities between the two series. However, their style remains notably different, with Proculus’ strong facial dominance being more akin to pre-reform types. Consequently, iconography forces us to consider the possibility that Proculus coined, and thus usurped, much earlier than the literary sources suggest; prior to the Summer of AD 274.
|Figure 3: Pre-reform issue of Aurelian||
Figure 4: Post-reform issue of Aurelian
|Figure 5: AV Aureus of Saturninus||
Figure 6: Antoninianus of Tetricus
(AD 270-3), VICTORIA AVG, RIC V.2 141
Pursuing this theme further identifies a striking iconographic relationship between Proculan types and Tetrican coinage of the late Gallic Empire (AD 271-4). The depiction of a radiate crown alongside the stylistic rendering of the hair and beard seem, at first glance, to be virtually indistinguishable. There is however an unusual feature to Proculus’ coin that challenges the combination of the reverse legend and the personification depicted. The legend being whole on the new discovery confirms the personification to be related to ‘victory’. However there appears to be no reflection of Victoria’s most recognisable attribute (wings) on the figure itself. Yet, similarly dedicated Tetrican issues clearly depict these iconic wings alongside the legend (Fig. 6). The author however notices the remarkable similarity of Proculan imagery to Tetrican representations of Pax [Peace] (Compare Fig. 1 and 7). If such confusion is a sign of ignorance on the part of the die engraver, the rest of the coin design reflects only overt and literate skill. Consequently, iconology allows us to isolate a distinct relationship between the coinage of the Tetrican dynasty and Proculus, furthering the contention for a revisal of our current date for his revolt.
|Figure 1: Proculus reverse||
Figure 7: Tetricus Antoninianus
(AD 270-273) PAX AVG reverse
Intriguingly our other surviving literary reference to Proculus affirms this idea, by bizarrely also recording his revolt during the reign of the Emperor Aurelian:
“…to see to it that … Bonosus and Proculus and Firmus, who revolted under Aurelian, be not be passed over in silence.” (HA I.4)
Given this new date, earlier accounts need reappraisal in order to identify whether available evidence has been overlooked or even originally misrecorded. Given the previous association of Tetrican and Proculan coinage, the histories recounting the fall of Tetricus and the end of the Gallic Empire are of particular interest. They document how the Gallic usurper defected to Aurelian as a consequence of his inability to control his Legions’ ‘evil deeds’ (HA Life of Aurelian XXXII.3). The ambiguity of this account is problematic, as too is the implausible scenario of Tetricus simply defecting to Aurelian on account of his failure to discipline his army. Moreover, numismatic evidence clearly suggests that Tetricus had dynastic intentions for his own household, as he produced coins in the name of his son. This can only be perceived as a view to dynastic succession, thus directly contrasting with the notion of a voluntary, uncontested surrender. However, later histories allude to a mutiny within his legions at this time (Eutropius IX.13.1), and even the establishment of a rival usurper by the name of Faustinus (Aurelius Victor XXXV.4). Zonaras even adds that Aurelian succeeded in suppressing this usurper soon after receiving the surrender of Tetricus (Zonaras XII.27). Mutiny thus provides a more plausible explanation for Tetricus' surrender, as it implies that his actions were out of compulsion.
However the overall narrative is confounded by a lack of reference to the usurper “Faustinus” at any point in the Historia Augusta. Yet every indication from later sources imply that his reign lasted up to several months, easily affording him time to produce currency, especially if accounts accurately record the revolt at the Gallic mint site of Trier (Konig 1981: 181). Yet no such coins have ever appeared in the name of Faustinus and no account is provided for him in our most contemporary and complete text on third century Gallic usurpers. This history, however, strikingly resembles the picture thus far painted from a study of Proculus’ coinage. As previously argued, the idea of Proculus being the rival usurper who drove Tetricus out in AD 274 also fits significantly better with the coin iconography he displays. Such a narrative would also account for the significant rarity of Proculus’ coinage, as Aurelian was already marching on Gaul to remove Tetricus at the time of this subsequent revolt. Circumstantial evidence may therefore tempt us to entirely replace the character of Faustinus with Proculus, but neither exists on mutual exclusivity. Nevertheless, literary material still allows us to tentatively advance our knowledge on the figure of Proculus. Histories clearly indicate that a revolt occurred in Gaul at the end of Tetricus’ reign, prompting his downfall. Given the further existence of textual and iconographic data that plausibly attribute Proculus’ rebellion to this time, and to this location, Colin Popplewell’s find provides us with a new and significant opportunity to reconsider the date for this most enigmatic of usurpers.
Must it truly take one coin, in one hoard, to truly return Proculus to the annals of history?
Written by Greg Edmund, an Undergraduate Finalist at the University of Warwick, studying Ancient History. His interests are in Ancient and Medieval Numismatics.
Carson, R.A.G (1965) ‘The reform of Aurelian’, Revue Numismatique, Vol.6, No. 7, pp225-235
Dessau, H (1889) ‘Uber Zeit und Personlichkeit der Scriptores Historiae Augustae’, Hermes 24, pp337-392
König, I (1981) Die gallischen Usurpatoren von Postumus bis Tetricus (München)
Morgan, L (2006) ‘Domitian the Second?’, Greece and Rome Vol 53, No.2, pp175-184
Weiser, W (1983) ‘Die Münzreform des Aurelians’, Zeitschrift für Papyrologie und Epigraphik, 53, pp279-295
Figure 1: DNW Auction (10 April 2013) Lot 694.
Figure 2: Umberto Moruzzi and Fabio Scatolini ‘The usurper Proculus and his coinage’, Coins Weekly [Accessed: 30th January 2016)
Figure 3: Aurelian pre-reform radiate: RIC 29 (http://www.wildwinds.com/coins/ric/aurelian/RIC_0029.jpg) [Accessed: 22nd February 2016]
Figure 4: Aurelian post-reform radiate (http://www.coinshome.net/) [Accessed: 22nd February 2016]
Figure 5: Dirty Old Coins (http://www.dirtyoldcoins.com/roman/id/Coins-of-Roman-Emperor-Saturninus.htm) [Accessed: 30th January 2016]
Figure 6: Wildwinds (http://www.wildwinds.com/coins/ric/tetricus_I/RIC_0141.1.jpg) [Accessed: 30th January 2016]
Figure 7: Wildwinds (http://www.wildwinds.com/coins/ric/tetricus_I/RIC_0100.jpg) [Accessed: 30th January 2016]
October 01, 2015
Silver denarius of Julius Caesar (RRC 443/1)
One of Julius Caesar's most famous coin issues is the ‘elephant denarius’. The reverse features a group of religious symbols: a culullus, aspergillum, an axe decorated with animal imagery, and an apex. On the obverse, the denarius shows a right facing elephant with the word "CAESAR" in the exergue. An estimated 22.5 million pieces were minted, making this coin the third most frequent in the Republican era and adequate to pay eight legions. It is often dated to 49 B.C, the year Caesar took large quantities of gold and silver from the treasury in the Temple of Saturn in Rome. This metal was probably used to fund his new denarius. The date is one among the questions about the coin that continue to be debated. Other undecided issues include what the elephant is standing on.
The elephant may symbolize Caesar's Gallic campaign against Ariovistus in the battle of Vosges in 58 BC, especially if the object on which the elephant treads is a Gallic war trumpet. But this object could arguably be a snake, meaning that the coin communicates the victory of good over evil. Among other propagandizing purposes, it could have been intended to humiliate the self-important and supercilious Pompey, who had tried to associate himself with Alexander by riding a symbol associated with Alexander the Great, the elephant, in his triumphal procession. Pompey had, embarrassingly, failed to actually manoeuvre the animal into the city. The image might represent the snake as a natural enemy of the elephant.
The religious symbols associate Caesar with his prestigious pontifical position as the head of Rome's religious hierarchy. Caesar had been Pontifex Maximus since 63 B.C. The symbols are similar to the augural ones that are more common on Republican Roman coins, including the lituus. Because Caesar did not become an augur until 47 B.C, and since the coin is dated to, at the earliest, the 50s, or more likely 49, it should be noted the symbols here are not augural.
However the view of some scholars suggest that the imagery of the elephant suggests that Julius Caesar considered himself on the same footing as famous military generals such as Alexander the Great and Hannibal.
This month's coin was written by Alfred Wrigley. Alfred is a 2nd Year Ancient History and Classical Archaeology student with great interest in Julio-Claudian Numismatics and is hoping to specialise in numismatics of Julius Caesar.
Coin image reproduced courtesy of the American Numismatic Society.
May 01, 2015
Coin of Titus Carisius
Obverse: Victoria right, SC behind. Reverse: Victory driving a Quadriga, T.CARISI in exergue (Sydenham 985, Crawford 464/5)
If one were to poll 100 individuals about the name ‘Titus Carisius’, all 100 would be forgiven for having never heard of him. His appearance in the Roman Republican monetary record is simply overshadowed by the folklore popularity of contemporary figures such as Pompey the Great and Julius Caesar. Even Roman historians only briefly record the exploits of the gens Carisia, the lineage from which Titus descends. Cassius Dio refers to a ‘Titus Carisius’, presumably the same individual as our moneyer, defeating the native Astures in the province of Hispania and founding a colonia there (Dio LIII.25.8). However, the later historian Florus records the same feat of 25BC as the exploits of a legate with the praenomen ‘Publius’ not ‘Titus’ (Epitome II.33; Florus lived from c. 70 – 140 AD). It would appear from the subsequent coinage of the new colonia founded for the Legio V Alaudae and Legio X Gemina that Florus was correct in his documentation as coin legends clearly record P. CARISI as the legate and pro-praetor. Such confusion therefore compounds the disappearance of Titus Carisius from history. This article seeks to re-establish this forgotten triumvir monetalis of 46 BC alongside the recognizable names of the period, by evaluating one example from the fascinating series of coins he produced.
The actual coin used in this article is a recent discovery from Britain that has inspired this piece. At first glance it would appear to most as an ordinary example of Republican coinage, displaying the personification of a goddess on the obverse with a symbol of Republican Rome on the reverse. In this case it depicts a quadriga (4-horse chariot); a symbol used on the earliest denarii of 211 BC. This traditional symbol twinned with a goddess here would not look out of place amongst those late 3rd century BC issues, were it not for the goddess depicted on our coin. The personification of Victoria with the legend S.C adorns the coin’s obverse, a symbolization therefore of a victory commemoration.
History does not record a triumph of the gens Carisia in 46 BC when this coin was struck, nor is there a documented history of the Carisian line before the mid 1st century BC. So it is unlikely this coin issue commemorates a family victory. It must therefore herald the victory of a contemporary event or figure - Julius Caesar. Such a conclusion should not be remarkable, considering Caesar had just been declared a dictator for ten years. He was therefore well-known, holding a position of direct and indirect influence over the coinage minted. Another known type of Titus Carisius depicts a cornucopia above a globe with a sceptre and rudder on either side (Crawford 464/3A). Such imagery evokes ideas of wealth and prosperity over the globe, with the rudder acting as a guide. This is comparable with Caesar’s accomplishments in annexing Gaul and forays to Britain in the previous decade.
Furthermore, connections between the quadriga-issue and a Caesarian triumph can be identified when Caesar’s own coin types are considered. It is widely accepted that Caesar continued his own coin production from his moving Spanish mint in 46 BC, striking types that reference his victory in the bello gallico of 58-50 BC (See RSC 13; Sydenham 1014; Crawford 468/1). Further links between the two can be found from an inscription (Figure 1) discovered in Avignon in 1841 believed to date from the third quarter of the 1st century BC (see Christol, M: Une nouvelle dédicace de T(itus) Carisius, praetor Volcarum, près d'Ugernum (Beaucaire, Gard) 2005 for more information). It briefly records a “Titus Carisius, son of Titus, Praetor of the Volcarum”, leading to speculation that Titus may have been the son of a soldier of the Volques tribe of Southern Gaul, granted Roman citizenship during Caesar’s time. This offers a potential explanation for a lack of records for a gens Carisia prior to the 1st century BC and even circumstantial evidence of historical connections between a character likely to be our moneyer and Caesar. Therefore it is by no means a stretch of the imagination to compare their coinages.
Figure 1: Avignon Inscription (Wikimedia Commons)
The reverse of our coin has similar Republican-themed imagery, with an unmistakable figure driving a quadriga with T.CARISI beneath in the exergue. Once more the personification of Victory appears, again suggesting that this coin’s message of victory is too forceful to be unintentional – hinting at the fusion of existing Republican iconography with contemporary Caesarian ideology. On reflection, this may provide the ultimate reason why ‘Titus Carisius’ has been virtually erased from history. The fact this coin type is so similar to many other Republican issues, as well as being loaded with Caesarian propaganda, aided Carisius’ disappearance. However one factor remains that explains how I am able to write such an article upon Carisius’ coinage - his name. The very fact that Titus Carisius ascribed his own coinage, a standard practice among Republican moneyers, gives us a small window into the dying days of the Republic, a time clearly dominated by the actions of one man and his heirs. Yet this coin offers more; it provides insight into the actions and presumably the aspirations of other forgotten members of the ruling classes. Does this coin, however subtly clouded in Caesarian propaganda, radiate a hope for the restoration of earlier Republican values by utilizing an established coin design, or does it simply confirm the acceptance of a dictator? However likely the latter is from the available evidence, the true meanings of the coin have unfortunately been lost to the passage of time. I am however certain of one thing… I’m glad he left us his name.
Written by Gregory Edmund, currently a 2nd Year Undergraduate studying Ancient History at the University of Warwick. His main interests lie in Republican Roman coinage (after 211BC) as well as Iron-Age and Roman Britain.
April 01, 2015
It is the 15th of March 44 BC, and as Julius Caesar sets forth from the threshold of his house to commence his journey to the Theatre of Pompey to convene with the Senate, he has no idea that he will not return later this day. Never would he have imagined that his life would come to such a brutal and bloody end at the hands of those he deemed so close to him. Indeed, as Plutarch informs us, the man was stabbed a total of 23 times by various senators, all so incredibly eager to partake in this momentous event in history that “many of the conspirators were wounded by one another, as they struggled to plant all those blows in one body” (Plutarch, Caesar, 66). To say that Caesar’s assassination was a veritable bloodbath would be a mere understatement. Well, what if I were to tell you that one of history’s most infamous murders could have been motivated by a single coin?
Denarius with portrait of Julius Caesar on the obverse (RRC 480/3)
In the very same year of Caesar’s assassination the moneyer P Sepullius Macer minted a silver Roman denarius with a portrait of Caesar on the obverse. Such a tradition was not new to the ancient world as demonstrated by earlier coins depicting the visage of Alexander the Great, however, there can be no doubt that this custom was new to Rome. And this is incredibly important because in doing so not only did he break with an important tradition, but more to the point, he dangerously associated himself with the trappings of a king. To the majority of us living in the modern world the concept of kingship is widely accepted but it is crucial to stress that for the Romans the term ‘king’ had acquired a seriously negative connotation by this point. In many ways, to associate one’s self with the trappings of a king was political suicide because of Rome’s inherent fear of too much power landing in the lap of one individual.
On the obverse of the coin the legend states “CAESAR DICT PERPETVO” meaning “Caesar, dictator for life” clearly suggesting that Caesar had arrived at a position of unrivalled power in which he undisputedly exerted a huge amount of control over Rome. Furthermore, the reverse of the coin depicting Venus holding Victory in her palm advocates an obvious message that Caesar is the man responsible for Roman peace and prosperity; he is of a higher status than any of his political rivals; he is the pinnacle of Roman greatness. One can’t help but wonder if this representation may have brought to mind for the political elite a concern that history might repeat itself culminating in the rebirth of another cruel King Tarquin.
It would also be worth considering that through the medium of coinage Caesar’s face would quite literally have been ‘in the face’ of his political enemies each and every day. Although the majority of Romans were illiterate and therefore unable to read the legend on the coin, they would still be affected by Caesar’s ‘propaganda’ because they could interpret the images and symbols. It is also worth remembering that there were numerous other suggestions of kingship including the curule chair that Caesar sat on in the senate, the fact that he was always allowed to state his opinion first, and that he gave the signal for the games to begin in the Circus.
On the other hand, it is important to consider the argument that the coin’s portrayal of Caesar was neither kingly nor divine and therefore it can be disregarded as a motivation for his assassination 44 BC. For instance, why would Brutus have followed in Caesar’s footsteps and placed his own portrait on the EID MAR coin (as seen below) in the following year if it was seen as unacceptable in the eyes of the Romans? If one of Brutus’ motivations to murder Caesar was that Julius Caesar was becoming more and more like a king then why would he, after killing him for that very reason, have portrayed himself in a kingly manner also? Moreover, Caesar’s veiled head on the obverse seemingly shows that he is supplicating the gods and therefore he is disassociating himself from the divine to show that he is mortal. This is further highlighted by the representation of his facial features like his sunken cheeks and pronounced Adam’s apple, which, in contrast to the eternally youthful appearance of gods, clearly show that he is human.
|Denarius of Brutus with his portrait on the obverse (RRC 508/3)|
Although the coin of Macer was clearly not the sole factor responsible for Julius Caesar’s famous demise, one can be sure that what it symbolises and represents must have played a pivotal role. In this respect, it seems only just to finish by saying that this object should be seen much more than simply a coin. It is an invaluable historical artefact that tells the story of how one man’s ambitions drove Brutus and Cassius along with the rest of the conspirators to take action and inadvertently set in motion a series of events that were to plunge the Roman Republic into more than a decade of civil war from which it would re-emerge as the Roman Empire.
This month's coin was chosen by George Heath. George is a first year undergraduate studying Classical Civilisation. He enjoys coin collecting and has a particular interest in early Republican coinage. He is also interested in the period surrounding Octavian's rise to power and the Augustan principate.
Images © The Trustees of the British Museum
February 01, 2015
Oderint, dum metuant: ‘let them hate as long as they fear’, a quote commonly accredited to the reign of the Emperor Gaius or Caligula (AD 37-41). Gaius is frequently seen as a manic Emperor. Some speculate his madness derived from epilepsy in a time that had no treatment for this illness, leaving Gaius in a constant state of panic and paranoia. He is accused of sleeping with other men's wives and bragging about killing for mere amusement, deliberately wasting money on his bridge, causing starvation, and wanting a statue of himself erected in the Temple of Jerusalem for his worship, despite the governor Petronius warning him there would be 'rivers of blood'. Once, at some games at which he was presiding, he ordered his guards to throw an entire section of the crowd into the arena during intermission to be eaten by animals because there were no criminals to be prosecuted and he was bored. The later sources of Suetonius and Cassius Dio provide additional tales of insanity. They accuse Caligula of incest with his sisters, Agrippina the Younger, Drusilla, and Livilla, and say he prostituted them to other men. They state he sent troops on illogical military exercises, turned the palace into a brothel, and, most famously, planned or promised to make his horse, Incitatus, a consul and actually appointed him a priest.
Sestertius of the emperor Caligula (RIC 1 36).
It seems hard to believe that one of the finest Julio-Claudian coins, with its exquisite detail, is from the reign of Caligula. The coin, shown above, suggests clever propagandizing. The reverse of this bronze sestertius, which was minted in Rome, depicts Caligula standing togate, whilst the attendants provide an insight into the attire of the early empire with one carrying an axe in his belt. The figure in the centre of the pediment of the temple wielding a spear and patera is likely Divus Augustus. On the left edge of pediment is either Mars or Romulus. On the right corner of the pediment is Aeneas, Ascanius and Anchises, a commonly reoccurring scene in art and architecture. This group communicated legitimacy through descent from Aeneas, fitting since Gaius’ rule was incredibly tenuous. The DIVO AVG clearly refers to the temple of Augustus. Interestingly the plan to build the temple of the deified Augustus was initiated by Tiberius in AD 20, but it was Caligula who opened and finally dedicated the building. The obverse displays pietas, veiled and draped, seated left, holding a patera in her right hand and resting her left arm on a small draped figure, which stands on a base.
This month's coin was selected by Alfred Wrigley. Alfred is a 1st year Ancient History and Classical Archaeology student who has a great interest in Julio-Claudian numismatics, with particular emphasis on Gaius.