All 22 entries tagged Augustus
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December 01, 2019
Gold Aureus from 27BC (RIC 12, P.86, no. 544) The obverse depicts head of Augustus with ‘CAESAR.DIVI.F.COS.VII’ inscribed. On the reverse is a crocodile facing right, representing Egypt. The reverse legend reads ‘AEGVPT CAPTA.’ Image produced courtesy of the Trustees of the British Museum.
After a tense period of civil war, Octavian’s decisive victory at the Battle of Actium in 31BC left Marc Antony with insufficient military support to win the war, and a year later Egypt was conquered and absorbed into the Roman Empire. Marc Antony and Cleopatra committed suicide, leaving Octavian as the unrivalled, sole ruler of the Roman world, a victory he was keen to advertise. The above pictured coin is a gold aureus celebrating the acquisition of Egypt. It is typical of victory coinage, with the obverse depicting a portrait bust of the ruler (who was the victor), in this case Octavian, and the reverse depicting an image symbolic of the conquered nation, in this case a crocodile. The gold aureus is similar to a near identical issue of silver denarii struck in the previous year. Both coins hailed Octavian as son of the divine Julius Caesar, establishing his legitimacy on a political and religious level.
That Octavian chose the image of a crocodile to place on the reverse of his coins is of particular interest. First and foremost, it presents Octavian as the victor over a foreign enemy. Crocodiles were popular in Roman art as images representing foreign and exotic ideals, and their use here was no doubt intended to draw attention to the war in its international context, and thus overshadow the morally dubious truth of it being, in truth, a civil war. Octavian was now the sole ruler of Rome, having violently deposed of his co-consul. It was therefore crucial for him to deter any criticism and suggestions of tyranny. The crocodile was a particularly suitable image because of its associations with danger, and thus it had the added benefit of presenting Marc Antony as a threat to Rome. This helped to authorise Octavian’s war against his fellow Roman, and once-ally, and aligns with much of Octavian’s earlier propagandist campaign against him. The crocodile therefore helps to reinforce the idea that Octavian should be hailed, not as the violent murderer of his co-consul, but as the saviour of the Roman Empire.
Coin of Crassus showing a crocodile. Image produced courtesy of the Classical Numismatic Group.
This is not the first time a crocodile had been used in Roman coinage. Already in 37BC, the crocodile had appeared on the coinage of a figure largely identified as M. Licinius Crassus, son of the triumvir Crassus. It is believed that this coin celebrated Roman territory ceded to Cleopatra VII of Egypt by Marc Antony. It is interesting therefore, that this same symbol of Egypt should be used by Augustus only ten years later to celebrate the exact opposite: the conquering of Egyptian territory by Rome. On the coin of Crassus, it is likely that the crocodile was chosen because of its associations with the Nile, which itself was associated with the agricultural wealth of Egypt. We can therefore infer that this earlier use of the image of the crocodile was intended to celebrate Egypt in a gesture of diplomacy. Octavian, aware of this, may well have deliberately used this same image, already known for its associations with agricultural wealth, in order to boast of his achievement at having acquired such an important nation into the Roman Empire. Rome relied heavily on Egypt for its imports of grain, and hence Octavian’s victory was of crucial importance. It is likely the coin instilled pride in its Roman viewers, for belonging to such a large, powerful empire.
As we have seen therefore, the coin presents Octavian as a successful military leader, who not only saved, but also contributed to the Roman Empire. It also served to justify his recent war against Marc Antony by presenting it as a foreign conquest. We can see that the imagery was carefully chosen in order to secure and validate Octavian’s position as sole ruler of Rome.
This month's entry was written by Richa Snell. Richa is a final year classical civilization student with an interest in material culture and iconography, which she is hoping to pursue further by studying for a master’s degree next year. She is currently writing her undergraduate dissertation on imperial uses of Egyptian imagery.
R.A. Gurval (1995) Actium and Augustus: The Politics and Emotions of Civil War (Ann Arbor: University of Michigan Press).
C.E. Barrett (2017) ‘Egypt in Roman Visual and Material Culture’ in Oxford Handbooks Online in Classics Studies, ed. G. Williams (Oxford; New York: Oxford University Press).
M.Swetnam-Burland (2015) Egypt in Italy: Visions of Egypt in Roman Imperial Culture (Cambridge: Cambridge University Press).
D. Vagi, Crocodiles on Roman coins familiar as the emblem of Egypt – https://www.coinworld.com/news/precious-metals/crocodiles-on-roman-coins-familiar-as-the-emblem-of-egyptian-province.html (15 Feb 2015). Accessed 31 Oct 2019.
August 01, 2019
Augustus, Caesaraugusta (possibly), Spain, denarius, 19-18 BC.
RIC 1 37b, pg.44 (British Museum, R.6067).
Obverse: CAESAR AVGVSTVS; head of Augustus, wearing oak-wreath, left.
Reverse: DIVVS IVLIVS; comet with eight rays and tail upwards.
During Julius Caesar’s memorial games in 44 BC, a great comet allegedly appeared. Pliny the Elder writing in the 1st century AD quoted Augustus describing the comet:
On the very days of my games a comet was visible for seven days in the northern part of the sky. It was rising about an hour before sunset, and was a bright star, visible from all lands.
Pliny the Elder, Natural History 2.94
Today this comet, mainly known as the Julian Star or Caesar’s Comet, is one of the most famous comets in classical antiquity, despite there being little contemporary evidence to support its existence (see Ramsey and Licht, 1997). The image of this comet and other solar imagery featured throughout Augustus’ rule during 27 BC- 14 AD. Indeed, by the time of the Flavians in the late 1st century AD, solar symbolism in general “had become part of the imperial cult”, such was its importance (Weinstock, 1971, 384). The comet was also so influential that the fascist Italian dictator (who ruled from 1919-1943) Benito Mussolini included this image on a stamp to commemorate Augustus. Why did this symbol become so important, and what made it so resonant that someone more than 2,000 years later would choose to use it?
Firstly, we should take into consideration the symbolism of the star in the years before Augustus. Julius Caesar, Augustus’ adoptive father, initially put stars on his coinage in the years before his death in 44 BC (e.g. RRC 480/5a). The symbol of a star or comet had both positive and negative connotations around this time, being able to symbolize amongst other things “the divine or deified ruler”, yet also portend evil (Weinstock 1971, 378, 371). Whilst still alive Caesar may have only wanted to signify his descent from Venus with the star on coinage, but after his death it took on a new meaning. The common people interpreted the comet of 44 BC as a sign that Caesar had been received in heaven, which then helped push the star symbol as confirmation of Caesar’s divinity (Pliny, Natural History 2.94). Augustus further built upon this symbolism when he added a star on top of a bust of Caesar in the forum to mark the comet, and dedicated a temple to the deified Caesar (Suetonius, the deified Julius 88).
By using this symbol in his own coinage, Augustus could also make subtle connections between his own reign, the comet, star imagery and the divinity of Caesar (Williams 2003, 7). The symbol is a prime example of Augustus’ technique of “carefully nuanced suggestiveness” which he so often used in his reign (Galinsky 1996, 312). By associating himself with a symbol that was tied to Caesar’s image, Augustus was asserting his familial connection, while allowing further associations with divinity to also exist.
Augustus, M. Sanquinius, Rome, denarius, 17 BC,
RIC 1 340, p.66, (British Museum, 2002,0102.4960).
Obverse: AVGVST DIVI F LVDOS SAE, herald, in long robe
and feathered helmet, standing left, holding winged caduceus in
right hand and round shield with six-pointed star, in left hand.
Reverse: M SA[NQVI]NIVS III VIR, head of deified Julius Caesar,
laureate, right; above, comet with four rays and a tail.
Further symbolism was associated with the comet during the Saecular Games of 17 BC, which celebrated the start of a new age. To commemorate the games, the moneyer M. Sanquinius issued a coin series again featuring a comet, but within the context of these games, with the name of them inscribed on the coin obverse (LVDOS SAE). This coin may have been intended to highlight the prophecy made by the Haruspex Vulcanius, who proclaimed the 44 BC comet to herald a new age (Weinstock, 1971 195). Thus perhaps as well as power and ancestry, the comet came to resonate as a symbol of Augustus’ “Golden Age” as a whole.
30 cent stamp with the
quote from Augustus’
By the 20th century, Augustus and his regime seem to have become a figure of world-renown; a 1937 exhibition at the Metropolitan Museum of Art called Augustus “one of the few statesmen who belong not to one country or to one continent but to the whole world” (Richter, 1938 272-273). Mussolini seemed to realise Augustus’ potential as a figurehead for fascism, as during the 1930s Augustus featured frequently in Italian propaganda. The bimillenium of Augustus’ birth was celebrated during 1937-8 and a stamp series commissioned in 1937, one of which featured the comet. Unlike Augustus’ coinage, which circulated within the bounds of an empire, these stamps were a possible means by which Italy as a newly fascist nation could broadcast its symbolism, both nationally and internationally (Reid, 1984 226). On this stamp this comet had come to represent Augustus as a whole with its position beside both a statue of Augustus and excerpt from his Res Gestae. The comet had transformed from a single phenomenon to a symbol synonymous with imperial power.
Pliny the Elder, Natural History volume I book II trans. H. Rackham (Harvard University Press: Cambridge, M.A. 1938)
Suetonius, Lives of the Caesars volume I: The deified Julius 88 trans. J. C. Rolfe (Harvard University Press: Cambridge, M.A. 1914).
Richter (1938) “The Exhibition of Augustan Art”, The Metropolitan Museum of Art Bulletin Vol. 33, No. 12, pg. 257,272-279.
This month's coin of the month was written by Daisy Ashton. Daisy recently completed her BA in Ancient History and Classical Archaeology at the University of Warwick. She is interested in the ancient world's impact on modern heritage, and is going on to do an MPhil in Heritage Studies at the University of Cambridge.
February 01, 2019
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.
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.
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).
July 01, 2018
Figure 1: Figure 1: Gold Aureus from the reign of Augustus, 19-18 BC (RIC I (second edition) Augustus 514). The obverse depicts the head of Augustus, with ‘AVGUSTVS’ inscribed (not visible on this specimen). On the reverse is the deity Victory cutting the throat of a bull, representing Armenia. The reverse legend reads ‘ARMENIA CAPTA’. Image produced courtesy of the Trustees of the British Museum.
This coin is indicative of Augustan propaganda, where Augustus exaggerates the role of the military in dealings with Armenia. The Roman Empire and the Parthian Empire were in constant dispute over Armenia, which acted as a buffer zone between the two empires in the East in the first century BC. Armenia fell under Roman influence as a result of treaties and the installation of a pro-Roman ruler, not military annexation. Thus the portrayal of the deity Victory slaughtering a bull (presumably representing Armenia) paints a false militarised narrative of events. The question is why Augustus, on this aureus dating from 19-18 BC, would want to exaggerate his dealings with the Armenians.
It is my belief that this false depiction is an attempt by Augustus to link himself with the military and military success, both key factors in obtaining popularity and support in Ancient Rome. Augustus tries to ‘piggyback’ off the popularity of the army in order to consolidate power; he wishes to be seen as a military man in an attempt to secure his longevity. The military’s popularity stems from the role they played in achieving and maintaining the Empire alongside their connection to the beginnings of Rome, explored by Virgil’s Aeneid. Augustus’ own position was extremely fragile due to the unprecedented nature of his Principate and the real threat of civil war occurring again; he thus sought avenues of popular support. The term ‘capta’ indicates military success, suggesting that the entire state was captured and subjugated, yet this is wholly false. Augustus later on in his own autobiography, Res Gestae (27), even admits this, stating ‘though I might have made it a province’ and details installing a Pro-Roman ruler, further highlighting the degree of exaggeration on the aureus.
The history between Rome and Armenia is particularly key in deciphering why Augustus would exaggerate Rome’s dealings with the Eastern state. Due to Armenia constantly being fought over by Rome and Parthia, it was as a prize for Augustus, that he could claim displayed not only the strength of the Roman military, but his own. Augustus, by portraying himself on the obverse is clearly taking credit for dealings in Armenia, emphasising his role in proceedings, echoed by the inclusion of the Armenia episode in his Res Gestae. One reason why Augustus would particularly emphasise any dealings with Armenia would be to show victory against Roman enemies, the Parthians. The Parthians humiliated Rome with the annihilation of Crassus’ army and loss of the famous legionary standards in 53 BC. This would still be fresh in Roman minds. Augustus’s return of Armenia and later the standards would boost his popularity. Augustus portrayed himself as correcting the wrongs that the Republic never could, cementing his position of singular rule.
This aureus indicates the usage of coinage to foster support and is a prime example of Augustan propaganda through exaggeration of militarism. Both the military popularity and Parthian context are key motivators for Augustus’ actions. The use of this coin to promote popularity indicates that coins were not simply economical tools but key in spreading the Imperial view. This work is based on the view of an imperially directed die-engraver, rather than a die engraver creating something to his own taste.
This month's coin was written by Dillon Kylan Patel. Dillon is an undergraduate first year Ancient History and Classical Archaeology student and current Secretary of Classics Society with a keen interest in Numismatics, especially in the Imperial period. This summer I’ve been luckily enough to gain a placement at the British Museum where I will further explore numismatics.
Bellinger, A & Berlincourt, M (1962) ‘Victory as a coin type’, Numismatic Notes and Monographs 149:1-68.
Edwell, P. (2008) Between Rome and Persia (London: Routledge).
Gow, J. (1895) ‘Horatiana’. The Classical Review 9:6:301-304.
Res Gestae Divi Augusti, trans Shipley, F.W (New York/ London: Harvard University Press 1924).
August 01, 2017
This Coin of the Month is one of the many silver coins of the British King Tasciovanus. He is believed to have ruled an area that approximately corresponds to modern day Hertfordshire towards the end of the 1st century BC. Little is known of his history or circumstances, but he is best known for being the grandfather of Caractacus and Togodumnus, the British kings who fought the Romans during their final invasion of Britain in AD 43.
Tasciovanus was one of the earliest of the British kings to present classical Roman imagery on his coins, with Pegasus, griffons and hippocamps making appearances. The imagery of this coin is part of this trend towards classical imagery, but with one exception: the Capricorn, a beast of the sea, is given the wings of a beast of the air.
Tasciovanus ruled during the reign of Augustus, the first Roman emperor. Augustus used the Capricorn, his star sign, as one of his many symbols. Even without the wings, the Capricorn was already a strange creature, with its front comprised of half of a goat and its rear the back of a fish. Despite this imagery appearing across Rome during the time of Augustus, little is known about the creature’s origins, or its role in ancient myth.
Perhaps it was this mystery that attracted Tasciovanus’ die engravers to the image. Capricorn is never portrayed with wings in the Roman world, so these were a British addition. The inclusion of another element to an already elaborate hybrid was inspired by what is known as Celtic religion. The peoples who inhabited Gaul, modern-day France, and Britain at this time saw their deities not as men and woman, like the Greeks and Romans, but as something beyond the human and natural world, or rather something that stood between them. As a result, the horned god is a popular feature of their mythology, and may explain the prominent horns of the Capricorn on Tasciovanus’ coins. The Tarasque monster, a statue found in France of a terrifying dog like creature, and the elephants with spotted fur depicted on the Gundestrup cauldron from Denmark are another part of this belief. The gods do not walk as men or animal, but as a mixture of the two, or of many beasts, and are nothing like what can be seen with human eyes.
Hybridised creatures of classical mythology, such as the Pegasus or griffon, were attractive images to a culture with such beliefs. The Capricorn was no exception, but perhaps it was not deemed alien enough. The use of wings on the Pegasi and griffons had apparently been pleasing to British audiences, so this might have inspired the addition to the Capricorn here. Adding wings to a sea creature that does not apparently need them makes the monster less natural, and thus more appropriate to the divine forms familiar to the British inhabitants.
The fascination with winged creatures can be witnessed on the many British coin types displaying Pegasus. Rarely used in Roman imagery, the original image may have been taken from the Pegasi shown on coins of Emporion, a Greek colony in Iberia, modern-day Spain. The horse was a powerful image in Celtic art, appearing on coinage and many other forms of material culture, a popularity due to its effectiveness in Celtic warfare, the prestige value of its ownership and possibly the religious rituals associated with the animal. Witnessing a Greek depicting of their venerated animal with the addition of wings would have inspired the Celtic imagination. From then on, the presence of wings on a creature was a popular theme, accounting for the many Celtic coin images of classical monstrosities as well as deities, like the Roman winged goddess Victory.
This month's coin was written by David Swan. David is a postgraduate researcher at the University of Warwick. His thesis examines coinage and hoarding trends along the trade routes of the eastern Atlantic, from the 5th century BC – 1st century AD. He specialises in Celtic coinage.
J. Creighton, Coins and power in late Iron Age Britain, Cambridge University Press, Cambridge 2000
M. Green, The Gods of the Celts, Alan Sutton, Gloucester 1986
M. Green, An Archaeology of Images: Iconology and cosmology in the Iron Age and Roman Empire, Routledge, London 2004
A. Ross, Pagan Celtic Britain: studies in iconography and tradition, Routledge, London 1967
M. Russell, Bloodline: The Celtic Kings of Roman Britain, Amberley, Stroud 2010
P. Zanker, The power of images in the age of Augustus, University of Michigan Press, Ann Arbor 1988
June 01, 2017
Bone gaming piece showing and naming Augustus.
(From Rostovtzeff's 1904 publication of the find).
A variety of objects are given the Latin label “tesserae” by modern scholars: mosaic pieces, lead monetiform objects, spintriae, and small circular objects made out of bone or ivory, like the piece pictured above. On one side is a carved portrait of Augustus, while the other side gives his name in Greek (Σεβαστός) and the number one in both Latin and Greek numerals (I in Latin, A in Greek; the Greeks represented numerals through letters). Scholars originally thought that these bone objects, found all over the Roman world, served as tickets to the theatre, amphitheater or circus. But then this “tessera” and fourteen others were found in a child’s tomb in Kerch (Russia) in 1903, and our understanding of these objects changed completely.
Fifteen bone “tesserae” were found in the tomb placed in a wooden and bronze box, neatly stacked in twos. Each piece had an image engraved on one side and on the other a word accompanied by a number in both Latin and Greek. The numbers range from 1 to 15. The designs of the pieces are as follows, according to the publication of Rostovtzeff 1905 (the counters are now in the Hermitage):
- Head of Augustus / CΕΒΑCΤΟC (Augustus), I and A.
- Head of Zeus / ΖΕΥC (Zeus), II and B.
- An "athletic head" (probably Hermes) / [ΕΡΜ]ΗC (Hermes? The legend is partly obliterated), III and Γ.
- Entrance to an Egyptian building / ΕΛΕΥΣΕΙΝ(ΙΟΝ) (Eleuseinion), IIII and Δ
- Head of Herakles / ΗΡΑΚΛΗΣ (Herakles), V and E
- The word ΗΡΑΙ(Α) (Heraia) in a wreath / YII and the letter vau
- Bust of a praetextatus (a young man wearing a toga) / ΛΟΥΚΙΟΥ (a referenece to a Lucius), VII and Z.
- Head of Kronos / ΧΡΟΝΟC (Kronos), VIII and H.
- The Greek letter Θ / ΠΑΦΟΥ in a wreath (shown below).
- Young female head with a hairstyle of the Augustan age / ΑΦΡΟΔΙΤ(Η) (Aphrodite), Χ and I
- Head of Pollux wearing an athletic headband / ΔΙΟCΚΟΡΟC (Dioscurus), XI and IA.
- Head of Castor wearing an athletic band / ΚΑCΤΩΡ (Castor), XII and IB.
- Head of Aphrodite / ΑΦΡΟΔΙΤ(Η) (Aphrodite), XIII and ΙΓ.
- Bust of Isis / ΙCIC (Isis). The inscription is damaged, but III and ΙΔ are visible.
- Head of Hera / [ΗΡ]Α (Hera, although the inscription is damaged), [X]V and IE.
Gaming piece no. 9, reproduced from
Numerous other pieces similar to this have been found throughout the Roman world (e.g. Pompeii, Asia Minor, Athens, Syria, Crete, Vindonissa north of the Alps), but a complete set like this is rare, if not unique. Comparison with other pieces reveal that the numbers do not correlate with any particular image; so while Zeus is paired with number two here, on another set he may be number ten or fifteen, for example. Other pieces have the portraits and names of other emperors and empresses, though none later than Nero; some specimens represent Julius Caesar and one piece carries a portrait of a Ptolemy. This, in addition to the find spots (particularly in Pompeii, and in the abovementioned tomb) suggests a production date ranging from the second half of the first century BC to first century AD, although they may, of course, have been used later than this.
"Token", Early 1st century, Ivory. 2.9 cm
(1 1/8 in.) Gift of Marshall and Ruth
Goldberg. J. Paul Getty Museum, CC-BY.
This complete set has led scholars to conclude that these are gaming pieces. Many of the surviving specimens carry Egyptian, or more specifically, Alexandrian designs. Our number four, for example, likely represents a sanctuary in Eleusis, which was a suburb in Alexandria. Other suburbs in the city, for example Nikopolis, are also shown and named. On the right is an image of one of these pieces: an obelisk stands next to an Egyptian-style building; the other side names Nikopolis and provides the Latin and Greek number four: IIII and Δ. Egyptian deities feature alongside the busts of gods, rulers and other well-known personalities (e.g. athletes, poets, philosophers, characters from comedies). The current theory, then, is that this was an Alexandrian game that then became popular across the Empire in the first century AD. We have no idea how the game was actually played, although it might have been a mixture of a local Egyptian game and the Greek game of petteia (πεττεία).
We might pause to think what it meant that one could play a game in Pompeii, for example, or in modern day Russia, that represented and played with the Alexandrian landscape, its suburbs, buildings and gods. Could the experience be similar to a modern monopoly board, where British streets and locations are experienced and named by people all over the world? I think we should also consider that people thus might also ‘play’ with the emperor’s portrait; how then did this affect people’s experience of the emperor and his family? But finally, since these bone and ivory objects are gaming counters, we should probably stop calling them “tesserae”!
This Coin of the Month entry was written by Clare Rowan as part of the Token Communities in the Ancient Mediterranean Project.
Alföldi-Rosenbaum, E. (1976). Alexandriaca. Studies on Roman Game Counters III. Chiron 6: 205-239.
Alföldi-Rosenbaum, E. (1980). Ruler portraits on Roman game counters from Alexandria (Studies on Roman game counters III). Eikones. Studien zum griechischen und römischen Bildnis. ed. R. A. Stucky and I. Jucker. Bern, Francke Verlag Bern: 29-39.
Rostovtsew, M. (1905). Interprétation des tessères en os avec figures, chiffres et légendes. Revue Archéologique 5: 110-124.
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)
March 01, 2017
When we imagine an ancient battlefield we envisage a landscape strewn with discarded weaponry and bones. However, battle sites also yield a wealth of numismatic evidence, which allow historians to speculate about the size, administration and movement of imperial forces.
Approximately 1500 Roman coins have been excavated from the soil of Kalkriese, where the German tribesman Arminius defeated three Roman legions led by the general Publius Quinctilius Varus in the Battle of Teutoberg Forest in AD 9 (Rost and Wilbers-Rost (2011) 119). This numismatic evidence has potential to shed light upon events at the Battle of the Teutoberg Forest, which is plagued by uncertainties ranging from the location that the battle itself to exactly how many men Varus had on the march and the administration of the imperial army in the early imperial period.
A wide range of imperial currency has been found. These coins include a small number of gold aurei and quinarii excavators believe fell from a single purse, and more than seven hundred silver coins, which played an important role as the ‘vehicle’ of military pay (Howgego (1985) 20). Alongside these precious metal coinages, large quantities of low-denomination bronze and copper coins have been uncovered. Legions used great quantities of bronze and copper coinage to make day-to-day transactions, and the important role of low-denomination coins to the military economy is demonstrated by the volume and unique character of copper issues found in Kalkriese. Most are imperial issues of the second 'Altar' series, which were produced by the mint at Lugdunum between AD 2-4. The proliferation of a particular series is striking, and invites speculation about the provision of currency to the legions in the early imperial period. Though the mechanisms through which imperial coins reached the army are uncertain, evidence of consignments of coinage being sent to legions can be found throughout the literary and material record and the prevalence of a single series suggests that similar processes have occurred here (Caesar BC 3, 103, 1; Robertson (1968) 61-6; Howgego (1985) 21).
This assemblage of copper coins is also distinguished by the high proportion countermarks, which appear upon 96% of issues (Berger 1996). During the imperial period, countermarks were not only applied to worn imperial coins or civic issues to make them acceptable to soldiers as pay or change, but were applied in order to systematically validate coins prior to their dissemination to the troops (Crawford (1985) 47). In the early years of Augustus' reign, the imperial titles IMP and AVG were used to identify legionary currency and to imbue them with clear allusions to imperial authority, as precursors to the legionary symbols or monograms that would come to be the customary countermarks applied to legionary currency. Three distinct countermarks appear upon the Lugdunum aes issues. Two, IMP (imperator) with the lituus symbol and AVC (Augustus) (shown below), are common imperial countermarks, which allude to Augustus and are quite ordinary symbols of imperial authority.
|AVC countermark on an aes of Augustus from Lugdunum.|
Varus' countermark as legate on the Rhine on an aes of
Augustus from Lugdunum.
The third countermark, however, appears to present an exception to this rule. It is the personal monogram of the general Publius Quinctilius Varus, who led forces on the Rhine as an imperial legate between AD 7-9. The countermark (shown above) contains the first three letters of the general’s name, VAR, in ligature, within a rectangular stamp, and was certainly applied to imperial bronzes at some point during Varus’ short tenure in Germany. This was not the first time Varus’ name had appeared on coinage. Varus had issued civic bronzes with his portrait while a proconsul of Africa and consular governor in Syria, an activity mirrored by consuls Volusius Saturninus and Fabius Africanus in Africa and Fabius Maximus, Cornelius Scipio and Asinius Gallus in Asia Minor (RPC 1 4535; Howgego (1982) 10) (shown below). He also led a coin reform in Antioch, issuing civic bronze in 7/6 BC and silver tetradrachms in 6/5 BC, during which his countermark- VAR in ligature- was applied to issues from Laodiceia (Syria), Gabala and Chalcis sub Libano circulating alongside new issues (Howgego Cmk 658-9; Howgego (1985) 3 and 7). The similarity between the countermark placed upon Syrian issues and the countermark that appeared upon the western bronze issued to legions stationed in the Rhine is striking (Howgego (1985) 3). However, while the economic function of the countermark placed on Syrian coins is evident, whether the monogram applied to legionary currency in the Rhine fulfilled the same function is worthy of debate.
|Varus' proconsular issue (RPC 4535).|
Can we attribute an ulterior motive to Varus’ use of his own name for the countermark? Although countermarks bearing the name and titulature of those in power were applied to bronze coins in legionary camps on the Rhine with regularity during the Julio-Claudian period, the events of the late Republic were evidence that the strong bonds of loyalty felt by soldiers for their commanding generals were encouraged and cemented through the distribution of pay and cash bonuses. Varus' monogram upon a piece of imperial coinage was a public statement of his role in the dissemination of payment and reward, and it is possible that it was used in place of IMP or AUG countermarks to encourage the personal loyalty of his legions.
Furthermore, the discovery of aes issues whose portraits of Augustus have been mysteriously disfigured by gouges and scratch-marks among the aes found at Kalkriese add a layer of uncertainty to the activities of Varus and the loyalty of his legions. Whether Roman legionaries or victorious Germans were the agents of this defacement is unknown. Though the first publication of these coins suggested that these slashes were administered by Roman troops dissatisfied with imperial authority (Berger (1996) 55), we should question whether soldiers would consider a silent act of disapproval worth the demonetisation of their coinage, and ask why they would carry defaced currency onto the battlefield, where a large portion has been found. Kemmers and Myberg suggest an alternative thesis- that the defacements were carried out by victorious Germans, who wished to destroy the image of the emperor on the obverse side and the image of the Altar at Lyon, where representatives from Gaul were required to pay annual obeisance to the cult of Roma and Augustus on the reverse (Kemmers and Myberg 98-99).
Though it is tempting to use the proliferation of Varus’ monogram and the defacement of the emperor’s image as evidence of shifting loyalties among Varus’ legions prior to the Battle of Teutoberg Forest, we must not be too quick to condemn Varus through such circumstantial evidence. There is no proof that these disfigurements were carried out by Roman legionaries, nor any suggestion that Varus was cultivating the loyalty of his men (despite accusations of embezzlement levelled by Velleius (II 117). Indeed, consular governors were permitted to authorise the production of coinage and to issue coinage that contained their name and image during Augustus’ reign. Varus, who already had proconsular coins and countermarked civic issues to his name when he assumed control of the legions on the Rhine, and had taken a strong interest in coinage and finance throughout his career, may have considered the act of countermarking his legionary coinage with a personal monogram a continuation of his early monetary activities. Without evidence to the contrary, we should consider his activities exemplary of the administrative freedom permitted to consuls and legates in the early years of the empire, rather than an attempt to court the loyalty of his legions. Though its seditious nature can be discarded, the precise character of Varus’ countermark remains one of the many mysteries of the Battle of Teutoberg Forest.
This month's coin entry was written by Charlotte Mann, a Masters student at the University of Warwick with a strong interest in numismatics. She is currently investigating the impact of imperial presences upon the provincial coinages.
Amandry, M, Burnett, A and Ripolles, P (2005) Roman Provincial Coinage Volume 1 (London: British Museum Press).
Berger, F. (1996). Kalkriese 1: Die römische Fundmünzen. Mainz, Verlag Philipp von Zabern.
Berger, F. (2000). Die Münzen von Kalkriese. Neufunde und Ausblick. In Die Fundmünzen von Kalkriese und die frühkaiserzeitliche Münzprägung. Akten des wissenschaftlichen Symposions in Kalkriese, 15.-16. April 1999. ed. R. Wiegels. Möhnesee, Bibliopolis: 11-45.
Crawford, M. (1985). Coinage and Money under the Roman Republic. Berkley: University of California Press.
Howgego, C (1982) ‘Coinage and Military Finance: the Imperial Bronze Coinage of the Augustan East’ in The Numismatic Chronicle v142 (1963) 1-20.
Howgego, C (1985) Greek Imperial Countermarks: Studies in the Provincial Coinage of the Roman Empire (London: Royal Numismatic Society).
Kemmers, F. and N. Myrberg (2011). Rethinking numismatics. The Archaeology of Coins. Archaeological Dialogues 18: 87-108.
AVG countermark: © The Trustees of the British Museum (1925,1007.8)
VAR Countermark: Reproduced courtesy of Classical Numismatic Group Inc., (Electronic Auction 116, lot 194) (www.cngcoins.com)
Varus' proconsular issue: Reproduced courtesy of Classical Numismatic Group Inc., (Auction 93, lot 990) (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.