July 01, 2019

The 'man with the shovel' on the 'plomos monetiformes' of Baetica

plomos monetiformes showing man with a shoel











A lead token from the 'series de las minas'.

Obverse: a naked man walking left, a shovel marked PRVM on his shoulder, holding out a bell. P S to either side; wreath border.

Reverse: Naked man standing right pouring water from an askos onto a beribboned phallus; broom below on exergual line, Q. CO ILLI Q around and LVSO in a tablet in the exergue; wreath border.

Stannard PC 25. American Numismatic Society, New York, Richard B. Witschonke Collection. Ex CNG 31, 9 September 1994, lot 1857 Casariego 1987, p. 26, no. 1, Carbone 2018 pl. 29 no. 3.


In Spain there exist large (45-50mm) struck lead monetiform pieces whose precise function remains elusive. Many of the pieces are decorated with the design shown on the specimen above: a naked man carrying a 'shovel'. Because of this image they were traditionally believed to be monetary pieces associated with mining in the region - the naked man was interpreted as a miner. But the figure looks very different to known representations of Roman miners, and Stannard has demonstrated that this figure (and other images) are actually shared between Baetica (Spain) and central Italy, appearing on monetiform objects in both regions. It is thus not a miner - but who is it? Stannard (1995) suggested the figure might be associated with agriculture (a farmer going off to work with a shovel, shown watering his plants on the other side) or with Italian theatre, since often the figure is shown with an overly large phallus.

close up picture of shovel
Close up of the 'man carrying a shovel' inscribed with PRVM
or PRVNA and carrying a bell. (Stannard et al. 2017 fig. 25).

Many other pieces connected to this series show imagery related to the baths or the palaestra, and it perhaps in this context that we should seek clues as to the identity of our individual. As briefly mentioned by Stannard et al. (2017), the figure should likely be understood as a fornacator, the individual responsible for stoking the fires in the bath house to get the water warm. These individuals can be shown as naked and ithyphallic, as seen in the mosaic shown below. Our 'naked man with shovel' also holds a bell in his right hand, a variation only found in Baetica and not in Italy. This is likely a reference to the bell or gong that was rung by bath houses to announce that the water had reached the optimum temperature - so come take your bath now! This practice is referenced by several ancient authors and a bell was found in 1548 in the baths of Diocletian in Rome bearing the inscription FIRMI BALNEATORIS. A gong, uncovered in the Palaestra of the Stabian baths of Pompeii, probably served a similar function; bells might also be rung to indicate that the baths were soon closing and now was the last opportunity for a bath (Nielsen 1990, 111). If the fornacator was responsible for making sure the water was at the right temperature, then it would make sense that he is depicted with the bell that was rung when the temperature for bathing was perfect. Having identified the individual as a stoker of fires, we might return to the legend inscribed on the man's shovel: PRVM. I wonder if the legend might actually be PRVNA, the Latin term for glowing charcoal, with the N and A ligate (joined together). The figure on the other side of this lead piece, puring water from a vessel, may be a slave attending a master in the bath complex or bath attendant.


screen_shot_2019-06-28_at_101314.png token showing man with shovel
Mosaic from Thamugadi showing a fornacator (stoker). (Nielson 1990) Plomo monetiforme showing an ithyphallic man with shovel. Stannard PC no. 29















Are these pieces then bathing tokens? Stannard et al. 2017 argue they are not, since images related to bathing in this series are connected with other imagery that is not connected to the baths at all; some specimens also carry value marks, which suggests they had a monetary function. Lead tokens found in bath complexes in Italy, however, (e.g. in Fregellae and in Ostia), do not necessarily carry 'bathing' imagery; a wide variety of images may have been used in this particular sphere (just as mosaics in Roman bath houses are not all necessarily related to the activity of bathing). Those in Fregellae also appear to carry value marks. The alternative is that an image of a low-ranking bath worker should be chosen as an image for a pseudo-coinage, or a monetary series commemorating an act of euergetism related to the baths (as suggested by Stannard et al. 2017). This possibility is an intriguing one; hopefully future work will offer us further information in this regard!


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


Bibliography:

Carbone, L. (2018). The unpublished Iberian lead tokens in the Richard B. Witschonke collection at the American Numismatic Society. American Journal of Numismatics 30: 131-144.

Casariego, A., G. Cores and F. Pliego (1987). Catálogo de plomos monetiformes de la Hispania Antigua. Madrid.

García-Bellido, M. P. (1986). Nuevos documentos sobre minería y agricultura romanas en Hispania. Archivo español de arqueologia 59: 13-42.

Nielsen, I. (1990). Thermae et Balnea (2 vols). Aarhus, Aarhus University Press.

Spagnoli, E. (2017). Un nucleo di piombi 'monetiformi' da Ostia, Terme dei Cisiarii (II.II.3): problematiche interpretative e quadro di circolazione. Per un contributo di storia economica e di archeologia della produzione tra II e III secolo d.C. Annali dell'Instituto Italiano di Numismatica 63: 179-234.

Stannard, C. (1995). Iconographic parallels between the local coinages of central Italy and Baetica in the first century BC. Acta Numismàtica 25: 47-97.

Stannard, C., A. G. Sinner, N. Moncunill Martí and J. Ferrer i Jané (2017). A plomo monetiforme from the Iberian settlement of Cerro Lucena (Enguera, Valencia) with a north-eastern Iberian legend, and the Italo-baetican series. Journal of Archaeological Numismatics: 59-106.


June 01, 2019

Countermarks on Athenian Tokens

Athens is the city in the Classical world that minted tokens on a scale previously unparalleled, only to be superseded by Rome. Tokens in Athens had a continuous life of about seven centuries and facilitated numerous aspects of public life: the functioning of the Council, the Courts, the Assembly, participation in the Dionysia, the Panathenaea and the other festivals.

Researchers have commented on the relations between tokens and coins and have asked to what extent coins functioned as an archetype for tokens. The answer is clearly negative. Classical tokens do not resemble coins and functioned in an altogether different manner. They were probably used for the selection procedure of citizens who would fill offices and serve as public functionaries, and consecutively for the allotment of citizens to offices and even ‘workplaces’.

IL1463
1.) Agora Museum IL1463.
Alpha with countermark of winged
caduceus, 31 mm.

Tokens with letters signify the allotment, the fact that citizens would be allotted randomly to offices (fig. 1). And here is a seeming similitude to coins: there exist letter tokens which are countermarked. But contrary to coins, where countermarking meant the revalidation of the item, so that issues were put afresh into circulation, the countermarking in this case signifies the particular sector of public life and complements the token design. Flans are particularly wide, probably because the placement of the countermark was conceived from the beginning. The designs of the countermarks – the winged caduceus (fig. 1), the kernos and the amphora in an ivy-wreath – are well attested in categories of official artefacts and they qualify as designs of the state seal (sphragis demosia). The exact offices they represent can only be conjectured but they can be seen as analogous to the stamps on the juror’s allotment plates; here the ‘owl in wreath’ stamp meant that the citizen was eligible for jury allotments and the ‘Gorgoneion’ stamp meant magisterial allotments.

It seems that the solution of the countermark was short-lived because only three out of the approximately three hundred Hellenistic tokens excavated in the Athenian Agora have a countermark placed next to a letter type.

Contrary to the rarity of countermarks on tokens dated to before Sulla’s sack of the city (86 BC), which practically marks the end of the city’s independence, countermarks are far more common in Athens of the Roman Imperial Period (fig. 2). In particular more than 200 specimens demonstrate at least one countermark out of the 620 tokens that can be securely dated to the period between the first century AD and AD 268, when the destruction inflicted on the city by the Herules marked the end of token use in Athens. It is worth noting that most of the tokens in strata and deposits containing Herulian debris carry countermarks. Our attention is particularly attracted by the countermarks of ‘snail and rabbit’ and ‘stork holding lizard by the tail’, which are the most abundantly attested. In the trench containing dumped fill as a result of clean-up operations after the Herulian sack, countermarked tokens co-exist with un-countermarked specimens, albeit they are found on the same types. These mainly celebrate the cults of Asklepios, Hygieia and Telesphoros (fig. 3) or Asklepios alone, Dionysos (fig. 4), Serapis, Zeus and Nike, Athena and Nike and also Themistocles, and the Minotaur, alone or with Theseus. The latter cases may be related to the claims of Athenian elite families for status and prestigious ancestry.

selection of tokens from agora
2.) Selection of tokens excavated in and around the Attalos Stoa,
Athenian Agora (Archives of the American School of Classical
Studies 2012.25.0091).


















IL384 IL 1113
















The same pattern is also encountered on the tokens found in piles on the floors of the Attalos Stoa and also in the immediate vicinity of the Attalos Stoa to the south.

IL 1116

Specimens are also quite often found to have been countermarked twice by the same stamp, such as the token with an Athena bust and two countermarks of the snail and rabbit type (fig. 5). More puzzling are the Herakles and tripod tokens, which on their reverse side bear three distinct countermarks: stork and lizard, snail and rabbit, and a third design not easily identifiable (fig. 6).

Both the designs of stork and lizard and of snail and rabbit relate to universal symbols and refer to narratives that could be easily adapted as badges and emblems. The stork in particular was very popular in medieval heraldry.

The meaning of the countermarks is not easy to decode. The countermarked tokens capture only a moment in the history of Athens, because they represent the types and specimens that were in circulation at the time of the Herulian Invasion and their preservation may be thought random. Even the hoarding of countermarked pieces together with un-countermarked specimens may have been occasioned by the circumstances that prevailed shortly after the destruction. The interpretation of the countermarks is all the more hindered by the scarcity of tokens in the centuries from the Augustan Period to the mid-third century AD, which could serve as a point of comparison.

Margaret Crosby suggested that the same countermark on varying types might help to identify the same authority behind the issuing of the tokens. The purpose of these tokens would have been admissions to games and festivals, such as those referred to in inscriptions of the third century AD. In fact the legend on two of the types reads ‘of the Gerusia’, the council formed by notable Athenians and instituted by the emperor Commodus in the year AD 178/9, which had the agonothesia of festivals. The Attalos Stoa was thought to provide an advantageous view of spectacles and processions going along the Panathenaic Way and in view of this function, tokens excavated there seem to come as no surprise.

It is well known that the holding of offices in the Hellenistic and increasingly in the Imperial period involved considerable private expense. The iconography of the countermarks and even some of the token types might then be related to wealthy gerusiastai and office-holders in general, who competed for the recognition of the people, an idea already advocated by Margaret Crosby.

il584

Along these lines, the countermarking a second or even a third time of tickets is to be considered as a renewal of their otherwise short lifetime. Roman period tokens were literary ‘time stamped’ and given out for a second or a third use since all the festivals were naturally recurring events. The registration of singular events constitutes the very essence of tokens across time, not unlike the modern-day block chain and its digital database or ledger.


This month's entry was written by Mairi Gkikaki as part of the Marie-Sklodovska-Curie Project, Horizon 2020-MSCA-IF-2017, Project ID: 794080. It is based on a chapter from an upcoming monograph on the Tokens of Athens.


Bibliography:

W. Bubelis, ‘Tokens and imitation in ancient Athens’, Marburger Beiträge zur Antiken Handels-, Wirtschafts-, und Sozialgeschichte 28 (2010), 171-195.

E. Curtius, Über Wappenstil und Wappengebrauch im klassischen Altertum (Berlin, 1874).

M. Crosby, ‘Lead and Clay Tokens’, in M. Lang and M. Crosby, Weights, Measures and Tokens. The Athenian Agora, vol. 10 (Princeton, 1964), 69-146.

D.J. Gaegan, The Athenian Constitution after Sulla, Hesperia Supplements 12 (Princeton, 1967).

M. Gkikaki, 'Tokens in the Athenian Agora in the Third Century AD: Adverstising Prestige and Civic Identity in Roman Athens', in A. Crisà, M. Gkikaki, and C. Rowan, Tokens: Cultures, Connections, Communities (London: Royal Numismatic Society, forthcoming)

S. Killen, Parasema. Offizielle Symbole griechischer Poleis und Bundesstaaten (Wiesbaden, 2017).

J.H. Kroll, Athenian Bronze Allotment Plates (Cambridge, 1972).

J.H. Kroll, ‘The Athenian imperials: results of recent study’, in J. Nollé, B. Overbeck and P. Weiss (eds), Internationales Kolloquium zur Kaiserzeitlichen Münzprägung Kleinasiens. 27-30 April 1994 in der Staatlichen Münzsammlung (München, 1997). 61-9.

M. Lang, ‘Allotment by tokens’, Historia: Zeitschrift für Alte Geschichte 8, 1959, 80-9.

B. Maurer, ‘The Politics of Token Economics’, in. A. Crisà, M. Gkikaki, and C. Rowan, Tokens: Cultures, Connections, Communities (London: Royal Numismatic Society, forthcoming).

K.D. Mylonas, ‘Αττικά Μολύβδινα Σύμβολα’, ArchEph 40, 1901, 119-22.

J.H. Oliver, The Sacred Gerusia. The American Excavations in the Athenian Agora. Hesperia Suppl. 6 (Princeton, 1941).

P.J. Rhodes, A Commentary on the Aristotelian Athenaion Politeia (Oxford, 1981).

G.C. Rothery, Concise Encyclopedia of Heraldry (London ,1994, reprint of the book first published in 1914).

H.A. Thompson and R.E. Wycherley, The Agora of Athens: The History, Shape and Uses of an Ancient City Centre, The Agora of Athens, volume 14 (Princeton, 1972).

P. Tselekas, ‘Countermarks on the Hellenistic Coinages of Lesbos’, in P. Tselekas (ed), Coins in the Aegean Islands. Proceedings of the Fifth Scientific Meeting 16-19 September 2010, (Athens, 2010), 127-153

O. Van Nijf and R. Alston (eds), Political Culture in the Greek City after the Classical Age (Leuven, 2011)


May 01, 2019

Greek by name, Indian by nature: Indo–Greek Coinage

agothockles square coin
Bactria: Agathocles. 180-165 BCE. Copper alloy. BMC 1844,0909.61
Obverse: Brahmi legend. Female deity.
Reverse: Greek legend. Maneless lion.



















If I told you this was a Greek coin would you believe it? The writing on the obverse is decisively not Greek; the square shape is certainly not what we are used to in Greek coinage, and the female deity on the obverse doesn’t look like anybody in the Greek Pantheon. The only clue we get to this coin’s ‘Greek’ origin is the Greek legend on the reverse, which reads ‘BAΣIΛEΩΣ AΓAΘOKΛEOYΣ’, translated as ‘King Agathocles’. It is an Indo-Greek coin, minted in this way for a very specific political purpose: to try and assimilate the Greek king with his Indian subjects.

To understand how a coin like this can be produced, we must start by understanding its geo-political context. It was minted in Bactria (the area that comprises modern day Afghanistan, Tajikistan, Northern Pakistan and Uzbekistan) in the 2nd century BCE by the Indo-Greek king Agathocles. Bactria, by the 2nd century, had already established itself as a real mixing pot of Greek, Afghan, and Indian culture. The region was first exposed to Greek culture after Alexander the Great conquered the territory in the 320’s BCE. Then Seleucus I (a Greek successor to Alexander, one of the Diadochi) established himself as ruler in Asia and his dynasty retained power for another century, further reinforcing the Greek influence in the area. Bactria gained independence between 250-240 BCE, and the Greek Diodotus I became the first Greco-Bactrian king. In the 180’s Greco-Bactrian kings, notably Demetrius I and Menander, started to conquer parts of northern India. Consequently, scholars refer to the kings who ruled this new territory, comprising parts of India, as the Indo-Greek kings. It was in this context that Agathocles, the king who minted the coin in discussion, was operating.

Almost every aspect of this “unusual” coin serves Agathocles’ political purpose. “Unusual” is in inverted commas, as, in fact, Agathocles was following an extremely common trend. It just wasn’t a Greek trend. The kings of the Indian Mauryan dynasty who ruled from the 4th to the 2nd centuries BCE minted almost exclusively square coins. The script on the coin is called Brahmi, the script in which the local Indian language, Pakrit, was written. The legend reads ‘King Agathocles’ in Brahmi script (Rajane Agathuklayasa). Not only was Pakrit the language of the locals, it was also the language of Buddhism, and Agathocles put this script on his coinage to show a genuine attempt at assimilation of Greek and Indian culture.

The images on both sides of the coin also evoke Indian culture. The female deity on the obverse is believed to be Subhadra, the sister of Krishna. The animal on the reverse is agreed to be a ‘maneless lion’, and refers to the literal meaning of Agathocles’ brother’s name: Pantaleon. It was Mauryan custom to use symbols or images to refer to oneself, rather than simply put a portrait on the coins as the Greeks usually did, again, part of Agathocles’ agenda to blur the lines between Greek and Indian culture.

Coins such as these cause us to pause and think: what does ‘Greek’ mean? Does it mean the presence of the Greek language? Minted by a Greek? Because this coin certainly has those aspects. However, this coin would stick out like a sore thumb in a collection of ‘traditionally Greek’ coins. It reveals that in this part of the world, the definitions between Greek and Indian are not so clearly cut. Would an Indian local see this as a Greek imitation of something they had been used to, or would they see it and think there is nothing out of the ordinary, apart from a few (Greek) letters they didn’t understand? These are questions that I am unable to answer here, but that are important to consider when drawing the boundaries between ‘Greek’ and ‘non-Greek’.

tunrayo


This month’s entry was written by Tunrayo Olaoshun, a 4th year undergraduate of Ancient History. She developed a further interest in numismatics during her year abroad in Bologna. Her main interests lie in the later Roman Empire.


Select bibliography:

Avari, B. (2016). India: the ancient past: a history of the Indian subcontinent from c. 7000 BCE to CE 1200. (London, New York: Routledge)

Narain, A. (1989). The Greeks of Bactria and India. In A. Astin, F. Walbank, M. Frederiksen, & R. Ogilvie (Eds.), The Cambridge Ancient History. (Cambridge: Cambridge University Press).

Tarn, W. W. (2010) The Greeks in Bactria and India. Cambridge: Cambridge University Press (Cambridge Library Collection - Classics).


April 01, 2019

The snake–god and the satirist

glykon obverse glykon reverse













RPC IV 5364 (temporary)

This bronze coin from Abonuteichos, on the southern coast of the Black Sea, depicts the snake-god Glycon on the reverse. The serpent is depicted curled up, but with its head raised, and with long hair. It is labelled as ‘ΓΛΥΚΩΝ ΙΩΝΟΠΟΛΕΙΤΩΝ’ (Glycon of the Ionopolitans).

It was minted during the dual reign of Marcus Aurelius and Lucius Verus (AD 161-69). The latter is depicted on the obverse wearing a laurel, along with the legend ‘AVT KAC (sic) Λ ΑΥΡΗ οΥΗΡοC’ (Imperator Caesar L. Aurelius Verus).

This coin is especially interesting as a result of a treatise penned by the second century AD satirist Lucian. Alexander the False Prophet details how the titular Alexander (born c. AD 105-115) managed to con locals and outsiders alike into handing over their money in return for prophecies from Glycon, whose cult he founded. The survival of Lucian’s treatise gives us a fantastic opportunity to tie together material and literary evidence on the cult.

The first thing to notice on this coin is the long, thick hair of the snake, which is somewhat anthropomorphic. Lucian explains that even though the snake was living, a new head was crafted out of linen by Alexander and a colleague before the cult began:

they had long ago prepared and fitted up a serpent’s head of linen, which had something of a human look, was all painted up, and appeared very lifelike. It would open and close its mouth by means of horsehairs, and a forked black tongue like a snake’s, also controlled by horsehairs, would dart out.

Lucian, Alexander 12

Lucian explains how once this stage was complete, Alexander buried tablets prophesying that Asclepius would take up residence in Abonuteichos, which provoked people to build a temple (Lucian, Alexander 10). He then ran around in a frenzy, before ‘discovering’ a goose-egg, from which a baby snake emerged (Lucian, Alexander 13-14).

When the cult opened soon after, people apparently assumed that Glycon, the full-size snake-god shown on this coin, had grown out of this tiny snake within a few days (Lucian, Alexander 16). Lucian claims that when Glycon was being displayed at this grand opening, Alexander concealed its real head under his arm, showing only the linen head to the people (Lucian, Alexander 15). This is in contrast to the depiction on the coin, in which the anthropomorphic head is shown as a part of the snake’s body.

The cult then began offering predictions and oracles for anyone able to pay, and there were plenty of visitors, whom Lucian characterises as ‘thick-witted’ (Lucian, Alexander 17). Alexander would ask them to hand in their requests on scrolls, which he would unroll and secretly reseal, and pretend that the answer he gave them came from Glycon (Lucian, Alexander 19-20). He even purported to make Glycon’s (linen) head speak, thanks to an attendant using a horsehair mechanism and a tube (Lucian, Alexander 26).

Lucian’s account also broadly ties up with other evidence suggested by this coin. For example, the satirist writes that once Alexander gained fame, even in Rome, due to the rapid spread of the cult, he requested that a coin be produced with an image of himself on one side, and Glycon on the other (Lucian, Alexander 58). While we have never found any coins which depict Alexander himself (Jones (1986) 146), this coin shows that half of his desire was granted, at any rate.

According to Lucian, Alexander also requested that the Emperor change the name of his city from Abonuteichos to Ionopolis (Lucian, Alexander 58). Petsalis-Diomidis argues that this was a more prestigious name, relating to the mythical ancestor of the Ionians, Ion. This emphasis on Greek identity was perhaps enhanced by the success of the cult (Petsalis-Diomidis (2010) 31). Our coin does indeed display the name of Ionopolis. However, we need not assume that the rise of the cult and the name change came in parallel. This is because an earlier Glycon coin, minted under Antoninus Pius, uses the name Abonuteichos instead of Ionopolis, so the change must have been a gradual one (RPC IV 5359).

Some Epicureans, and even Lucian himself, attempted to expose the cult’s fraudulence. Alexander attempted to whip up the crowd to stone one such detractor (Lucian, Alexander 44-45), and Lucian himself claims to have been almost killed (Lucian, Alexander 56). Despite these efforts, however, the cult seemed to stay strong long after Lucian, because Glycon remained a popular image on Abonuteichos’s coinage from as late as the reign of Trebonianus Gallus in the mid-third century (RPC IX 1218).

Jones rightly suggests that we should take Lucian’s account with a pinch of salt. He argues that it is heavily biased, and contains many common tropes of invective literature, and that the question of fraudulence seems unanswerable or perhaps beside the point (Jones (1986) 134, 136, 146, 148). Nonetheless, literary and material evidence do provide a broadly unified picture for the fame, the influence and the imagery of the cult of Glycon.


matthew smith

This month's entry was writte by Matthew Smith. Matthew is an MA by Research student at the University of Warwick. He is especially interested in Greek authors of the second century AD. His research focuses on the role which divine dreams from Asclepius played in medicine during this period, looking in particular at Galen and Aelius Aristides


Sources:

Petsalis-Diomidis, A. (2010) Truly Beyond Wonders: Aelius Aristides and the cult of Asklepios (Oxford University Press: Oxford)

Jones, C.P. (1986) Culture and Society in Lucian (Harvard University Press: Cambridge, M.A.)

Lucian, ‘Alexander the False Prophet’, in Lucian Volume IV, trans. A.M. Harmon (Harvard University Press: Cambridge, M.A. 1925)


March 26, 2019

What's in a Hoard?

2nd_sw_in_pot_1.jpg
The second Southwarwickshire hoard in a pot

What indeed? Those living in Leamington may well have seen in the local press a report of the Warwickshire Museum’s intention to fundraise an initial sum of £3,000 towards the acquisition of a hoard of Roman denarii found in 2015 at a site atop the Edge Hill escarpment in south Warwickshire. This is in addition to submissions for more substantial funding from national bodies.

This is not the first hoard, though, that has turned up in the area, nor indeed the largest. One summer evening in 2008 a metal detectorist was on the point of giving up his unproductive search for material in an area a mere couple of hundred yards from the latest hoard, when his equipment began to register a significant find. Helped to unearth this by members of a local archaeological group who happened to be in the vicinity, it was eventually surrendered to the Warwickshire Museum and began its passage through the obligatory processes of the Treasure Act , where its status was established, and thence to the British Museum for valuation. At this point delay set in, principally because of the discovery of the Staffordshire Hoard of gold artefacts, but in time the hoard, valued at £52,000 (divided between the finder and landowner), became available for the Warwickshire Museum to acquire, something achieved thanks to grants by a number of national bodies. By this stage I had already had sight of the material and was able to begin cataloguing what turned out to be 1153 coins covering a range of dates from 194 BC to AD 63/4 in the reign of the emperor Nero. That denarii should remain in circulation for so long should come as no surprise since these coins were of high value (a basic soldier at the time earned 225 denarii a year), so were hardly small change. The catalogue was published as a British Archaeological Report (British Series) 585 in 2013 and is in the Warwick University Library (CJ 1101.I7). The hoard itself, and the pot in which it was found (originally sunk into the wall of a round structure) are well displayed in all their splendour within the Warwickshire Museum in the centre of Warwick.

Turning to the latest hoard there are important differences, which become only too clear when comparing the valuation placed upon them. To begin with, only 440 coins are involved, many of them heavily encrusted with soil or adhering together, having been buried beneath what might have been a threshold in an area where massive wall structures attest to a substantial Roman presence. As a result detailed identification of many awaits cleaning. As in the case of the first South Warwickshire hoard, though, there is a similarly significant proportion of coins dating from the Republican period beginning in the 140s BC, but importantly this second hoard extends its end-date into the reign of the emperor Vespasian, which began in AD 69. Significance? Well, it was preceded by a period of civil war following the suicide of Nero on June 9th AD 68 which saw a rapid turn-over of rulers – rapid measured in months: first Galba, then Otho and Vitellius before Vespasian won through. In addition to the coinages specifically issued in the name of these emperors, there are others anonymous in origin, together constituting a high proportion of the whole hoard, in fact. The resulting rarity of these coins with their short period of production, combined with the only slight wear they have suffered, means that the valuation given by the British Museum (even when the Warwickshire Museum has to find only half the total sum) outstrips that needed to purchase the whole of the earlier, much larger, hoard.

Help Warwickshire Museum 'Bring the Hoard Home!' Join Stan at the Warwickshire Museum for a fundraising gala evening on Friday 5th April! Other donations are also welcome!

Stanley Ireland

Emeritus Reader

Classics & Ancient History


March 01, 2019

MORA! A Roman token showing a game

token showing a game










Bronze token from the Julio-Claudian period. On one side two boys are shown seated facing each other, a tablet on their knees, playing a game. The boy on the right has a raised right hand. At the left is a cupboard or doorway (?); MORA above. On the other side is the legend AVG within a wreath. (From Inasta Auction 34, 24 April 2010, lot 381, Cohen VIII p. 266 no. 6, variant).

This token is part of a larger series of monetiform objects which are characterised by Latin numbers on the reverse. Some examples, like that shown here, have the legend AVG (referring to the emperor, Augustus) instead of a number. This same imagery, of two boys playing a game, is also found on a token with the number 6 (VI) on the other side; another example has the number 13 (XIII) on the reverse (Paris, Bibliothèque national no. 17088). This token series carry portraits of Julio-Claudian emperors or deities, or playful scenes, including imagery of different sexual positions (a sub category of tokens called ‘spintriae’ today).

Token with Augustus and AVG. (Photo courtesy of the Heberden Coin Room, Ashmolean Museum)
0010544o.jpg 0010544r.jpg

We know this token is connected to the broader series from the Julio-Claudian period because of another specimen, now in the Ashmolean museum (Ashmolean Museum, Heberden Coin Room, photo no. 10544; shown left). This token carries the same design (AVG within a wreath) as the token above, and in fact the same die was used for both tokens (called a die link).

But what of the scene on the other side? Two men or youths sit opposite each other with a gaming board between them; the figure on the right raises his hand and there is a doorway behind the figure on the left. The word MORA sits above the scene: in Latin mora meant a pause or delay; it might also be used in a more imperative sense: wait! The word moraris is found on rectangular bone pieces whose function is also unknown but are thought to be gaming pieces (tesserae lusoriae). We thus have a scene of game play involving two individuals at a moment in time when one player is being asked to pause.

The scene is reminiscent of a painting from the bar of Salvius in Pompeii in which two men are depicted playing dice with their speech written above them - one declares 'I won' (exsi), while the other protests 'It's not three; it's two' (non tria duas est). Other paintings show the quarrel escalating, with the landlord eventually throwing the two individuals out of the bar.

Scene from the Bar of Salvius in Pompeii (image from Pompeii in Pictures)
image029.jpg

The gaming scene on this token, as well as the numbers present on most of the tokens of this broader series, has led to the suggestion that these pieces functioned as gaming counters. However, unlike the bone gaming counters that carry numbers, these pieces have never been found together as a ‘set’, and don’t carry scratches that suggest they might have been used on a board (though this does not exclude their use in lotteries or similar). Instead it is possible that the scene was chosen because it communicates a feeling of fun. Lead tokens also carry numbers and similar scenes (including a scene of game play on a lead token said to be found in Ostia); these objects may have been used in festivals or other contexts associated with game play.

This blog entry was written by Clare Rowan as part of the Token Communities in the Ancient Mediterranean Project. It is based on a catalogue entry for a token that will feature in a forthcoming exhibition on ancient games and gaming in Lyon in June 2019, which is part of the Locus Ludi project.


Related Bibliography

Mowat, R. (1913). Inscriptions exclamatives sur les tessères et monnaies romaine. Revue Numismatique 67: 46-60.

Rodríguez Martín, F. G. (2016). Tesserae Lusoriae en Hispania. Zephryus 77: 207-20.

Rostovtsew, M. (1905). Interprétation des tessères en os avec figures, chiffres et légendes. Revue Archéologique 5: 110-24.


February 01, 2019

Honours, Health and Hairstyles

coin showing livia











Dupondius of Tiberius, Rome, AD 22-23. RIC I2 Tiberius 47, British Museum No. R.6361. Image reproduced courtesy of the Trustees of the British Museum.

This Roman copper alloy coin was produced in 22-23 AD, in the middle of Tiberius’ reign, and is held by the British Museum, but is not currently on display.

It is part of a series depicting a draped female bust, with the legend “SALVS AVGVSTA” on the obverse, while the reverse carries the abbreviation “S C”, signifying the coin was struck by a decree of the Senate, and the legend “TI.CAESAR.DIVI.AVG.F.AVG.P.M.TR.POT. XXIII”.

The obverse is understood to be a portrait of Livia Drusilla, wife of Augustus and Tiberius’ mother, who died in 29 AD, aged 86. While Livia was honoured with statues and portrait busts in her lifetime, there are no explicitly identifiable representations of her on contemporary imperial coins. Instead, depictions which may represent her on Roman imperial coins are ambiguous, carrying attributes which are identifiable with Ceres, or Pax – both of which are associated with Livia in various inscriptions, statues and possibly on the Ara Pacis. However, coins from provincial mints, particularly Greek and Egyptian, carry portraits with legends which do name her. This may partially be due to Augustus being cautious of imagery in Rome which could be construed as reflecting suggestions of monarchical ambitions. Although the idea of monarchy was abhorrent in Roman culture, it was much more acceptable and less contentious in societies in the eastern Mediterranean, which may explain why Livia was clearly portrayed there. Additionally, Marcus Antonius had featured women (Fulvia, Octavia and Cleopatra) on his coinage, and Augustus may have wished to both distance and differentiate himself from this for a variety of reasons (see August 2018 blog entry which discusses Fulvia).

Despite this, Augustus (then Octavian) had, in 35 BC, granted both Livia and his sister Octavia unprecedented honours: public protection comparable to that provided for tribunes; the right to manage their own estates without a guardian; and the right to honorific statues (see Cassius Dio, Roman History, 49.38.1). Honouring both Livia and Octavia thus had an underlying political motivation – by elevating them as paradigms of Roman matronly behaviour, Augustus obliquely, but publicly, reproached Marcus Antonius, who was living openly with Cleopatra in Egypt and mistreating Octavia, who he had married in 40 BC in an attempt to cement relations between himself and Octavian.

With the death and deification of Augustus in 14 AD, Livia had been adopted into the Julian family and was known as Julia Augusta, however the “Augusta” on the dupondius’ legend is not her name, but an adjective relating to “salus”. Tiberius gave his mother further honours, but vetoed attempts by the Senate to grant more titles to Livia – in this he followed Augustus’ lead, as he had granted Livia no official titles in his lifetime, again perhaps to avoid suggestions of monarchical ambitions. However, despite this, Livia was popularly, but unofficially, designated mater patriae (mother of her country).

In 22 AD, Livia had been seriously ill, and in view of her advancing years, her recovery was considered remarkable, and resulted in the Equestrian order dedicating a statue to Equestrian Fortune at Antium (see Tacitus Annals 3.71). The coin’s obverse legend “Salus Augusta”, is not a direct reference to this illness or recovery, although it may be understood to allude to it. Comparatively, Augustan coins from 16 BC commemorate vows for Augustus’ salus (health/safety), but on these the legend is clear “Salus Augusti”, with the genitive case clearly evidencing the salus belonged to Augustus. Instead, in this case, it is understood as being a reference to the good health of the state, and there may also be a politically-charged reference to this being dependent on Livia’s well-being.

Looking more closely at the portrait on the coin, Livia’s coiffure is arguably the most striking element. Parallel waves on the crown of her head from a central parting, connect to fuller waves across her forehead, becoming rolled braids which run from her temples to wrap the chignon, which sits at the back of her neck. Absent from this coiffure is the nodus - a wide knot of hair rolled forward to sit above the forehead.This was a defining characteristic in Livia’s portraiture in statuary prior to 14 AD.

This later hairstyle was softer and although the portrait may hint at Livia’s maturity via the fuller cheeks and perhaps the suggestion of a double chin, the overall impression is of idealised youthful Roman beauty – large eyes, an aquiline nose and strong mouth. At least four sculptural marble heads, which all date to the reign of Tiberius, match closely the coiffure shown on the Salus Augusta dupondii series, suggesting that this particular representation of Livia, not dissimilar to her coiffure on the Ara Pacis, had become more widely disseminated, although it is worth noting that the nodus portrait type of Livia was not replaced by this and continued to be used.

JACQUI BUTLER

This month's coin was written by Jacqui Butler. Jacqui has just completed the first year of the MA in Ancient Visual and Material Culture (part time), having gained a BA in Classical Studies with the Open University last year. Her main interests lie in the visual depictions of both mythical and real women in Roman material culture, specifically in art, but also their representation in epigraphy on funerary monuments.


Bibliography

Barratt, A.A. (2002) Livia: First Lady of Imperial Rome, Yale University Press.

Bartman, E. (1999) Portraits of Livia, Cambridge University Press.

Wood, S.E. (2001) Imperial Women, A Study in Public Images, 40 BC – AD68 (Mnemosyne, bibliotheca classica Batava, Supplementum 195).


December 01, 2018

An Unusual Victory Coin

trajan_557.jpg











RIC II Trajan 557. Image reproduced courtesy of the Trustees of the British Museum.

The practice of issuing a victory coin after the conquest of a new territory was frequent in ancient Rome and it was a practice with a long tradition. In most instances what is depicted on the coins is either a scene in which a representation of the defeated country is mourning (cf. Iudeea capta, RIC II, Part 1 (second edition) Vespasian 161), or a symbol of the defeated country (cf. Aegypto capta, RIC I (second edition) Augustus 275A). However, one of the coins issued by Trajan after the conquest of Dacia is very different.

This coin is a sestertius dated between AD 103 and AD 111, issued in Rome, and now kept in the British Museum. On the obverse of the coin we find the bust of Trajan, laureate, facing right, with the text ‘IMP CAES NERVAE TRAIANO AVG GER DAC P M TR P COS V P P’- Trajan’s name and titles in the dative. On the reverse is a combat scene in which the river Tiber pushes Dacia to the ground with his right knee. The violence and the dynamism of this image is unusual for a Roman coin and I will present my hypothesis for this matter in this article.

This coin was issued to celebrate the Trajan’s victories over the Dacians. In AD 101, Trajan crossed the Danube and attacked Dacia despide the treaty that his predecesor Domitian had made with the Dacians. Another war followed in AD 106 after which most of Dacia became a Roman province.

The exact causes are controversial because of the lack of contemporary sources, but Dio’s text suggests that it was a punitive war. Regardless if this is true or not, it is clear that Trajan wanted to display this image and maybe show through this image that the nations willing to attack Rome would be defeated in battle.

The fact that it is the personification of the Tiber, a river, that is shown defeating Dacia is very interesting. On Trajan’s column, which depicts his wars against the Dacians, there is another personification of a river: the Danube. As the coin circulated over time, a viewer who had seen the column once it was completed in AD 113 might recall its scenery and the battle scenes depicted upon the monument. On the column the Danube is represented helping the Roman army.

This was the first Roman conquest in fifty years and it is possible that Trajan wanted to show it in a memorable way. To do this he chose to use this vivid violent scene to impress the people who would see it and to suggest that more territories would be conquered: in 114 and 115 he would also annex Armenia.

So, I think that the fact that Trajan wanted to show the people what happened if a people were to challenge Rome may have contributed to the creation of this unusual victory coin.

luiza Diaconescu


This month's entry was written by Luiza Diaconescu, a third year undergraduate student in Classical Civilisation. Luiza is very interested in Roman history and literature.


Select Bibliography:

Bellinger, A & Berlincourt, M (1962) ‘Victory as a coin type’, Numismatic Notes and Monographs 149:1-68

Bennett, J. (2001) Trajan: Optimus Princeps (Bloomington: Indiana University Press)


November 01, 2018

Fantasy Coins

fantasy coins 1 nero

This coin looks like a Roman coin. It is circular, it bears the head of the emperor, in this case Nero, and the legend (the writing on the coin) appears around the head. It is made of copper rather than the mixed-alloy bronze that was common in the Roman imperial period. However, the intent of the maker is to make a low value denomination. The lettering S C on the reverse (tails side) is a common feature for Roman issues in bronze, and the appearance of monuments, like the Ara Pacis in this case, is well attested. However, this is not a Roman coin, nor is it a modern imitation. This is a Fantasy coin; a coin reflecting the currency of a fantasy or an alternative history world.

Fantasy coins are produced by a number of different modern companies in response to the explosion of interest in fantasy games, such as Dungeon and Dragons. The coins can reflect specific worlds, such as Westoros (the world of Games of Thrones) or ancient Rome. Other ranges relate to generic fantasy worlds, particularly a specific racial or cultural group in that world. Elvish, dwarvern, barbarian, dragon and orcish communities are among the many catered for. Futuristic coins, representing the coins of imagined galactic empires, are also produced. In order to relate the coin to the subject matter, the images on the coin and more occasionally its shape are utilised. Such images are based on popular tropes related to the fantasy race. Dwarvern coinage for instance tend to show anvils, hammers and bear Nordic runes, ultimately derived from a Norse description of dwarfish smiths in the Prose Edda, a medieval text detailing Scandinavian myths. Orc coins often bear weapons or warriors, reflecting the original inspiration of orcs from Tolkien as creatures obsessed with war.

In many cases, a specific range of Fantasy coins is not tied to a particular game. The generic imagery is used so that the pieces can be accommodated in a number of different settings, allowing for a wider array of customers. The general audience of these coins are gamers and curiosity collectors, though these are often not separate groups. Players of “roleplaying” games, in which the players control characters in an imagined setting, with one player known by various names (Game Master, Dungeon Master or Keeper among many others) guiding the story. In these contexts, props are often utilised. These primarily consist of miniature figures representing the characters and their opponents, but increasingly other props are utilised to increase the immersion in the game. This is particularly evident in the real-world equivalent of role-playing, larping (otherwise known as live-action roleplaying) in which the participants physically portray their characters through costume and acting. Props are particularly valued in such settings, and the organisers of these events often produce their own coins. There are even events where complex denomination systems accompany the coins. For these groups, the coins are often bought in bulk. However, individual coins are also available for purchase. These would not be suited to games that require many coins, so these coins have a premium on their artistic value. As a result, Fantasy coins tend to be larger than most modern coins, and they often bear high quality designs. The Ancient Greeks also produced large coins with high quality images, so the use of coins as aesthetic pieces marks a continuation of an ancient tradition.

One would think that the coins would be highly unusual, as they are products of imagination. However, most fantasy coins are almost identical to the coins produced in the ancient period. The majority of fantasy coins are depicted as round objects, with an image on each side. Most ranges of fantasy coins have three separate denominations, with a gold, silver and copper issue. The only differences are the subject matter of images upon the coins and that they are not usually made of precious metal (like gold or silver), unlike the ancient coins which were intrinsically valuable in their own right. Since coinage began in 7th century BC Turkey, coins in the western world have retained the same features. Even Bitcoin is represented as a circular object, despite its digital form itself having no physical shape. Fantasy coins, for all the imagination behind them, are slaves to the trope. There are a few attempts to get away from round coinage for particularly exotic cultures, with some coins represented as moons, axe heads or as hexagons. In most cases, however, the producers of these coins are bound to their customers’ understanding of what a coin should look like.

Returning to our Fantasy Coin example, the coin copies a Roman issue in terms of its iconography (e,g, RIC 1 527). It is not, however, an imitation. The size of the original Roman denomination, an as, is not copied. As with other fantasy coins, the Nero coin is part of a series of gold, silver and copper coins, classed under the title “Roman”. As the smallest denomination, the coin is the smallest size in the series, whereas the gold coin is the largest coin of the set. In the ancient world, the size difference in coins was usually unnecessary; gold coins were intrinsically more valuable due to their metal content, so even the smallest gold coin was more valuable than the largest bronze coin and bronze coins were generally larger in antiquity. However, for modern Fantasy coins it would seem that bigger is better, so the highest denomination is afforded the largest size, and thus the greatest prestige. Within the series is a silver coin depicting a Constantine issue, and a gold coin bearing the Republican head of Roma, the titular goddess of Rome, with Jupiter riding a chariot alongside Victory on the reverse. The latter image was prominently featured on silver coins struck during the Roman Republic; the placement of the image on a gold coin here indicates that the modern manufacturer saw this image as worthy of a higher value.

fanatsy coins 2 roma

fantasy coins 3 constantine








Historical accuracy is not the intention behind these coins. What matters is the modern audience’s perception of what a coin is and what Roman culture was. Hence the more valuable coins are larger and the images chosen are ones that reflect “Roman-ness”. Hence emperors, monuments and famous gods are preferred over other images, like the many personifications of lesser deities that decorate the majority of ancient Roman coins. However, the manufacturers have chosen to imitate Roman coins rather than create their own images, so there is a modern desire for “authenticity” in some sense that the producers of these pieces are accommodating. This is not always the case; Fantasy Spartan coins exist, yet in reality the Spartans had no coins. As a result, standard pieces of Greek military equipment, like the Corinthian style helmet, are utilised for the iconography of these pieces.

fantasy coins 4 sparta

The expansion in the Fantasy coin trade represents a continuation of coins as an art form. From their beginnings, coins in Europe bore high quality designs. The Rennes Patera show that certain individuals collected coins and valued them for the iconography upon them. There is little difference here.

Fantasy coins have yet to receive any major academic study. Yet studying these coins in an academic fashion is of great use in understanding modern conceptions. This is particularly true of the “historical” ranges of Greek and Roman coins. As a form of reception studies, one can see what particular images a modern audience considers as being “most Roman” or “most Greek”. The more fantastical ranges are also of interest, as it would be curious what real-world influences are attributed to these fictional races. Overall, the production of Fantasy coins shows that in the modern world where most transactions are carried out online or through credit, coins continue to attract interest.


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 patterns across the Channel in Iron Age Europe. He specialises in Iron Age (otherwise known as Celtic) coinage.


October 16, 2018

Converting Roman coins into tesserae: development and value

The conversion of Roman coins into coin-like objects is a practice documented during the imperial period. Although it is not always easy to date and determine the value of countermarks, incisions and other types of intervention on coins after their production, full academic awareness has not yet been acquired on the complexity of the reuse of coins in antiquity, which lost their previous economic function in order to acquire new meanings and purposes. In addition to pierced specimens – which were hung on the neck by a cord (funiculum) to be reused as amulets or jewels – official Roman coins were also transformed into tesserae by erasing their reverses and engraving Roman numerals on the surface instead.

fig_1a_.jpg fig_1b.jpg fig 2a fig 2b






Figures 1-2: Late Antique coins with numerals scratched on the reverse. Both are bronze coins, BnF Paris.

The specimens shown above (Figs. 1-2), both held in the Bibliothèque nationale de France (BnF), bear on their obverses respectively the draped, cuirassed, and diademed bust of Julian the Apostate (on the left) and Theodosius I (DN THEODO-SIVS PF AVG) right (on the right). The reverses of both specimens were erased and smoothed, with the Roman numerals IIII and XII incised respectively. This phenomenon also appears to be attested on some earlier fourth-century bronze coins, e.g. those carrying the portrait of Maxentius and Constantius II (Alföldi 1975, Taf. 7, nos. 9-10) on the obverses. However, their conversion into tesserae may have occurred before, at the same time or even after that of the two pieces mentioned above.

fig 3a

fig 3b







Figure 3: Bronze coin (Münzkabinett, Staatlichen Museen Berlin).

A specimen kept at the Münzkabinett in Berlin (Fig. 3) bears the bust of Julian the Apostate left on the obverse, while the image originally depicted on the reverse was erased and replaced with two engraved symbols, namely a palm branch and the monogram PE (“palma emerita”, “praemia emerita”?) whose meaning is controversial. Both motifs frequently occur on contorniates as well as on late Roman material culture, and they could allude to games and competitions or may have been used just as propitious and favourable symbols. Nevertheless, it is unclear how these motifs on contorniates were interpreted by their recipients, and even less clear how they connected with the function of the contorniates.

fig 4








Figure 4: Vota Publica brass token (“Festival of Isis coinage”) (Collection H. Hoffmann, Médailles grecques et romaines, françaises et etrangers. Auktionskatalog Delestre-Rollin-Feuardent, 2-11 Mai 1898, Lot 2168).

fig 5







Fig. 5 Fig. 5: Vota Publica brass token (“Festival of Isis coinage”): Numismatica Ars Classica NAC AG, 23.05.2016, Auction 92, Lot 781. 2.75 g

Roman numerals could be engraved not only coins but even on tokens themselves, again converting them from one purpose to another. The two pieces shown above (Figs. 4-5) belong to the so-called “Vota Publica issues” (or “Festival of Isis coinage”) and, in particular, they have to be ascribed to the so-called “Anonymous series”, generically dated to the fourth century. A specimen carrys the radiate and draped bust of Serapis right, while the number V is incised on the reverse. Another piece, repeatedly published in auction catalogues since 1950, bears the crowned and draped busts of Isis and Serapis right, while the number XVI is engraved on the smoothed surface of the reverse. The obverse types of these two brass tokens show the same iconographies depicted on some Vota Publica specimens published by Alföldi (see Alföldi 1937, Taf. 7,31; Taf. 14).

Undoubtedly, the Roman numerals incised on the reverse of these coins and tokens evoke the Roman tesserae with numerals belonging to the Julio-Claudian period (27 BC – AD 68), which show the busts of members of the imperial dynasty or other depictions on the obverses, and Roman numbers generally within a laurel wreath – sometimes with the additional letters A or AVG – on the reverses. Also the so-called spintriae, characterized by erotic images (symplegma) on the obverses, carry Roman numerals on the reverses, at times connected by scholars to a ludic function (game counters) or an erotic context (“brothel tokens”). In addition to these two categories of tesserae, bone and ivory tokens also bear numbers written in both Latin and Greek on one side, and they were regarded as gaming counters on the basis of their findspots.

How should we interpret the coins as well as the Vota Publica specimens that were converted into tokens by engraving Roman numerals on their reverses? This kind of transformation of late Roman coins into tesserae suggests that they probably imitated earlier tokens carrying Roman numerals, and this presupposes a demand for this type of object also in the following centuries. The interpretation of these special “tesserae” is therefore closely related to the unknown function of earlier Roman tokens with Roman numerals, suggesting a continuity between the tokens of the earlier and later Roman period in terms of imagery and reception. New evidence could help to clarify the meaning of Roman numerals as well as the purpose and effects of these objects within Roman society across a longer term perspective.


This blog was written by Cristian Mondello, a British Academy Visiting Fellow at Warwick. This research is supported by the British Academy’s Visiting Fellowships Programme under the UK Government's Rutherford Fund.

Select Bibliography

Alföldi A., A Festival of Isis in Rome under the Christian Emperors of the IVth Century (Budapest 1937).

Alföldi A., ‘Heiden und Christen am Spieltisch’, JAC 18, 1975, pp. 19-21.

Bianchi C., ‘«Pedine alessandrine»: testimoni illustri di un gioco ignoto’, in Lambrugo C. & Slavazzi F. (eds.), I materiali della Collezione Archeologica “Giulio Sambon” di Milano (Milano, 2015), pp. 53-65.

Buttrey Th., ‘Spintriae as a Historical Source’, NC 13, 1973, pp. 52-62.

Campana A., ‘Le Spintriae: tessere romane con raffigurazioni erotiche’, in Morello A. (ed.), La donna romana. Immagini e vita quotidiana. Atti del convegno, Atina, 7 marzo 2009 (Cassino, 2009), pp. 43-96.

Küter A., ‘Roman tesserae with numerals – Some thoughts on iconography and purpose, in Rowan C., Crisà N. & Gkikaki M. (eds), Tokens: Culture, Connections, Communities, ed. by (London: Royal Numismatic Society, forthcoming).

Mittag P.F., Alte Köpfe in neuen Händen: Urheber und Funktion der Kontorniaten (Bonn 1999).

Perassi C., ‘Monete amuleto e monete talismano. Fonti scritte, indizi, realia per l’età romana’, Numismatica e Antichità Classiche. Quaderni Ticinesi 40 (2011), pp. 223-74.


Search this blog

Most recent comments

  • This is really confirms some of the discussion I was having last month. Great piece of work here! by Tumi on this entry
  • Hi Anna These particular coins are made of silver (hard to tell from the specimen we included in the… by Clare Rowan on this entry
  • Hello! Is there any information what material is the coin of Titus Carisius made from? Thank you in … by Anna on this entry
  • Hi Frank! Unfortunately we are not in a position to value or assess people's private collections, bu… by Clare Rowan on this entry
  • Good morning, I believe I have one of those Roman denarius coins but I am unable to tell if it is a … by Frank Greig on this entry

Blog archive

Loading…
RSS2.0 Atom
Not signed in
Sign in

Powered by BlogBuilder
© MMXIX