Septimius Severus and his DI PATRII Coinage: A Tale of Two Identities

Denarius of Septimius Severus (CNG Mail Bid Sale 73, lot 943)

For the most part, research of the Roman concept of patria (definable as a complex embodiment of Roman collective identity) is dominated by the analysis of literary and epigraphic data. Offering a fresh perspective on this important concept is a single coin type, the only one from the Roman world in fact to bear the word patria in its legend outwith the imperial title pater patriae. Minted between AD 200 and 204 by the emperor Lucius Septimius Severus (emperor from AD 193-211) and his sons Geta and Caracalla in a variety of denominations, the obverse depicts (in this case) the bust of the emperor and bears the legend SEVERVS PIVS AVG. P.M. TR.P. XII (Severus Pious Augustus, Pontifex Maximus, holder of the Tribunician Power for the twelfth time). On the reverse are depicted two gods. Facing to the right is Liber Pater. In his hands he holds a cup and thyrsus (a wand or staff), and at his feet sits a panther. Facing to the left is Hercules, clearly identifiable by the club and lion skin. They are accompanied by the legend DI PATRII (gods of the patria).

In order to explain the significance of this coin type, three interpretations have so far been proposed, all of which rightly identify the coin type’s function as a visual representation of the emperor’s identity. Firstly, the German scholar Hasebroek has suggested that the coin could have been struck to commemorate Severus’ visit to Africa in AD 204, which would have included a stop off at the city of Lepcis Magna. Lepcis Magna was the patria of Severus, and its tutelary gods were Shadaphra and Melqart, the Lepcitanian equivalents respectively of Liber Pater and Hercules. However, this interpretation has recently been discarded due to the fact that evidence suggests Severus’ African tour took place in AD 207, three years after the latest issuing of the DI PATRII coin type. A second suggestion has been put forward by Barnes, who has argued that the coin was struck to commemorate the commencement and dedication of a temple to the gods Liber Pater and Hercules at Rome. However, very little physical evidence exists for us to be entirely sure that such a temple was constructed. Most recently, Rowan has expanded on Barnes’ argument, and has proposed that the coin marks the moment in which Liber Pater and Hercules became the di patrii of Rome.

So does the coin indicate the emperor’s Roman identity or his African origins? I would argue that the coin simultaneously represents both. Iconographically, the coin would appear to symbolise Severus’ African birthplace, and hence identity. As stated above, Liber Pater (Shadaphra) and Hercules (Melqart) were the tutelary deities of Lepcis Magna. This is indicated by several inscriptions from the city, their prominence in Lepcitanian sculpture and the fact that their temples occupied central locations within the old forum. It is also clear that the gods were important to Severus on a personal level, being also the tutelary deities of his regime, appearing in several other coin issues during his reign. Furthermore, whilst the joint appearance of Liber Pater and Hercules is identifiable in the coinage of Lepcis Magna from the first century BC to the first century AD, this is the first time that these gods appear together in any form on Roman coinage.

Iconographically, therefore, the coin seems to proudly display Severus’ Lepcitanian identity. Surely, therefore, the legend DI PATRII must correspond to them also, stressing their role as the tutelary gods of his African patria? A consideration of epigraphic and literary evidence would seem to question this argument. Epigraphically, the legend DI PATRII is one that is very rarely found outside of Rome or Italy. With regard to the inscriptions in Lepcis Magna that refer to Liber Pater and Hercules, only one describes them in this way. Their most common epigraphic description is instead either GENII COLONIAE (guardian deities of the colonia) or DIBVS LEPCIS MAGNAE (gods of Lecpis Magna). In literature also, the phrase di patrii appears to have been used almost exclusively in relation to the gods of Rome, particularly with regards to the penates that were according to legend brought to Italy from Troy by Aeneas. Consequently, the phrase is frequently identified in Virgil’s great ‘national’ epic The Aeneid. It is also prominent, to give only one further example, within the speeches of Cicero, an individual who places particular emphasis upon the fundamental relationship between res publica and patria in his writings.

This coin, therefore, can be seen to symbolise Severus’ local Lepcitanian identity alongside his that of his role as the cultural and religious leader of the Roman world. However, how do we contextually account for this apparent dual-identity? As stated above, this coin type was issued between AD 200 and 204. In AD 204, the Saecular Games were held. This event occurred every 110 years (although there was much flexibility in this) and marked the beginning of a new saeculum (era). The games were a moment in which to celebrate the continuation of Roman power and religious identity but they often contained elements of novelty reflecting the theme of a new beginning. Yet, exactly how does the coin fit into this context of tradition accompanied by novelty? The coin’s legend DI PATRII is clearly a nod to Roman tradition, since, as we have seen from the literary passages, it was a phrase that had important connotations to Roman collective identity. The iconography, however, indicates novelty. It is the first time that these two gods appear together on a single Roman coin, and they clearly stress the emperor’s pride in his native, and hence non-Roman, origins. It is true that other emperors also displayed personal deities on coinage during such events, but they did so with Roman religious iconography firmly in mind, and there is no indication that in doing so they are making a direct reference to their native origins, their local patriae. Thus, issued at a time which celebrated Romanitas, I would advocate the interpretation that Severus’ DI PATRII coinage is a wonderful statement of the equal importance that was placed upon local and imperial identities, proudly displaying the emperor’s attachment to his local patria, whilst also honouring the religious elements that were at the heart of Rome’s conceptualisation of patria.

This month's coin is contributed by Alexander Peck. Alex is currently a third year PhD student in the Department of Classics and Ancient History at the University of Warwick. His thesis examines the Roman concept of the patria. It considers the ways in which it was conceptualised by the Romans; how this conceptualisation changes over time; how the concept was institutionalised; and the concept’s role within Roman politics. He obtained his first degree, a first class MA (Hons) in Classics and Italian, from the University of Glasgow in 2012. He has a great interest in interdisciplinary collaboration on the subject of collective identity, especially on the question of the origins and evolution of nationalism. He is currently the editor for a forthcoming volume for Pickering and Chatto’s Warwick Series in the Humanities entitled Nationhood: From Antiquity to Modernity.

Coin image reproduced courtesy of Classical Numismatic Group Inc., (Mail Bid Sale 73, lot 943) (www.cngcoins.com)

Clare Rowan : 01 Mar 2015 01:00 |  Tags: Coin Of The Month Hercules Liber Pater Ludi Saeculares Patria Postgraduate Research Septimius Severus |  Comments (2) |  Close comments |  Report a problem

The Social Life of Images in the Social War

In the period 90-88 BC several Italian allies revolted from Roman control, objecting that they contributed resources and troops to the Roman cause while receiving little in return. The assassination of Marcus Livius Drusus, who proposed granting Italian allies Roman citizenship, in 91 BC sparked revolt. The Italians created their own confederation named Italia, with a new capital at Corfinium, which was renamed Italica (see Diodorus Siculus 37.4).

Roman Republican Denarius showing Apollo and Roma (RRC 335/1). © The Trustees of the British Museum

The Italians also began to strike their own coinage, which carried a mixture of Roman and non-Roman elements. The coins were denarii, and circulated alongside Roman issues (at least, we find them buried alongside Roman denarii in hoards). Alongside Latin, Oscan was used. Some types derived from Roman coinage; one in particular demonstrates how imagery can shift and change meaning according to context, an idea explored in several other posts on this blog. In c. 96 BC the moneyers at Rome released a type showing the wreathed head of Apollo on the obverse and Roma seated on a pile of shields on the reverse, holding a sword and shield and being crowned by Victory (RRC 335/1-2).

This imagery was then adopted by the Italians during the Social War, but the head of Apollo and the figure of Roma were given a very different meaning. On one type (HN Italy 412a) the laureate head is given a necklace and accompanied by the legend ITALIA: the head has now become the personification of Italia herself. On the other issue (HN Italy 412b), the legend ITALIA is found on the reverse, suggesting that the image of Roma being crowned by Victory has transformed into a triumphant image of Italia.

Denarius of the Italians from the Social War (HN Italy 412a). © The Trustees of the British Museum.	Denarius of the Italians from the Social War (HN Italy 412b). © The Trustees of the British Museum.

Thus during their rebellion from Roman control the Italians took existing imagery and converted it to support their cause, communciating these new meanings through the clever use and placement of legends. That the Italians felt the need to strike their own coinage demonstrates the role of money in the formulation and expression of identity. These coins and others struck by the Italians represent one of the few pieces of evidence that suggest dissatisfaction with Roman Republican control. The Romans did not take too kindly to this material manifestation of opposition: at the end of the war, it is clear that the coinage of the Italian allies was melted down and converted into Roman denarii. What is left to us today are those coins which were lost before the conclusion of the war, or those which somehow were overlooked during this process.

Clare Rowan : 13 Feb 2015 14:40 |  Tags: Apollo Coins In Focus Italia Roman Republic Social War |  Comments (0) |  Close comments |  Report a problem

A coin of Gaius (Caligula)

Oderint, dum metuant: ‘let them hate as long as they fear’, a quote commonly accredited to the reign of the Emperor Gaius or Caligula (AD 37-41). Gaius is frequently seen as a manic Emperor. Some speculate his madness derived from epilepsy in a time that had no treatment for this illness, leaving Gaius in a constant state of panic and paranoia. He is accused of sleeping with other men's wives and bragging about killing for mere amusement, deliberately wasting money on his bridge, causing starvation, and wanting a statue of himself erected in the Temple of Jerusalem for his worship, despite the governor Petronius warning him there would be 'rivers of blood'. Once, at some games at which he was presiding, he ordered his guards to throw an entire section of the crowd into the arena during intermission to be eaten by animals because there were no criminals to be prosecuted and he was bored. The later sources of Suetonius and Cassius Dio provide additional tales of insanity. They accuse Caligula of incest with his sisters, Agrippina the Younger, Drusilla, and Livilla, and say he prostituted them to other men. They state he sent troops on illogical military exercises, turned the palace into a brothel, and, most famously, planned or promised to make his horse, Incitatus, a consul and actually appointed him a priest.

Sestertius of the emperor Caligula (RIC 1 36). © Trustees of the British Museum

It seems hard to believe that one of the finest Julio-Claudian coins, with its exquisite detail, is from the reign of Caligula. The coin, shown above, suggests clever propagandizing. The reverse of this bronze sestertius, which was minted in Rome, depicts Caligula standing togate, whilst the attendants provide an insight into the attire of the early empire with one carrying an axe in his belt. The figure in the centre of the pediment of the temple wielding a spear and patera is likely Divus Augustus. On the left edge of pediment is either Mars or Romulus. On the right corner of the pediment is Aeneas, Ascanius and Anchises, a commonly reoccurring scene in art and architecture. This group communicated legitimacy through descent from Aeneas, fitting since Gaius’ rule was incredibly tenuous. The DIVO AVG clearly refers to the temple of Augustus. Interestingly the plan to build the temple of the deified Augustus was initiated by Tiberius in AD 20, but it was Caligula who opened and finally dedicated the building. The obverse displays pietas, veiled and draped, seated left, holding a patera in her right hand and resting her left arm on a small draped figure, which stands on a base.

This month's coin was selected by Alfred Wrigley. Alfred is a 1st year Ancient History and Classical Archaeology student who has a great interest in Julio-Claudian numismatics, with particular emphasis on Gaius.

Clare Rowan : 01 Feb 2015 11:58 |  Tags: Caligula Coin Of The Month Undergraduate Research |  Comments (1) |  Close comments |  Report a problem

A countermarked denarius of Vespasian from Spain

Denarius of Vespasian from Spain (RIC II2 no. 1340). Countermark: GIC no. 839.

During the civil wars of AD 68-69 a number of mints operated in the western Roman empire in Spain and Gaul. They issued a series of anonymous silver and gold coins without names or portraits of the various contenders for power, and silver, gold and base metal coins in the names of the rival emperors Galba (AD 68-9), Vitellius (AD 69), and Vespasian (AD 69-79).

This coin is a silver denarius of Vespasian from one of those western mints, dated to the beginning of Vespasian’s reign, AD 69-70. The obverse has a left facing bust of Vespasian, together with his name and titles (IMP. CAESAR VESPASIANVS AVG.); the reverse has a figure of Victory on a globe, holding a wreath and palm branch, surrounded by the inscription VICTORIA IMP. VESPASIANI. In the recent second edition of the standard catalogue, RIC II, this coin type is assigned to an uncertain mint in Spain. Analyses confirm that the coins are made from Spanish silver, so an origin in the Iberian peninsula seems a reasonable assumption.

The real importance of this specimen lies not so much in its design or metallic composition, but in the fact that it was countermarked with a secondary stamp just in front of the emperor’s bust. The countermark consists of a rectangular incuse containing ligatured lettering that can be expanded to read IMP·VES. In other words, this is a countermark of Vespasian applied to a coin of Vespasian.

Close up of countermark

The IMP·VES countermark is found on other denarii ranging from Republican to imperial times. Most are found on Republican denarii. IMP·VES countermarks on coins of Vespasian himself are rare. Sometimes they have been found applied to denarii of Vespasian issued at Ephesus in western Asia Minor (modern Turkey) in AD 71-73 (for the examples, see Roman Coins and CNG coins). This gives us a terminus post quem of AD 73 for the episode of countermarking, which cannot have continued beyond the death of Vespasian in AD 79. A related countermark, with ligatured letters reading IMP. VES. AVG., is found on large silver coins called cistophori that seem to have circulated only in western Asia Minor (modern Turkey). It seems likely (but it has not yet been proved) that both the IMP·VES. and IMP. VES. AVG. countermarks were applied to coins in western Asia Minor, and perhaps at Ephesus itself, early in the reign of Vespasian. If so, it means that our specimen must have travelled from one end of the empire to the other not long after it was issued.

This is not the only western denarius with an IMP·VES. countermark. The web site http://www.romancoins.info/CMK-vespasian.html has a western denarius of Galba (AD 68-69) that bears the same mark. There is some evidence for quite rapid movement of denarii around the empire in this period. Western coins of the civil war of 68-69 from mints in Gaul turn up in an Italian hoard found at the port of Ostia, deposited in about AD 70, as does a denarius of the African usurper Clodius Macer (AD 68). The present coin conforms to that pattern of rapid interchange or movement of silver coins in the civil war and early Flavian period.

This month's coin was selected by Professor Kevin Butcher.He is currently completing work on a three-year AHRC-funded project in collaboration with Dr. Matthew Ponting of the University of Liverpool, investigating the metallurgy of Roman imperial and provincial silver coinages from Nero to Commodus, and will shortly begin work on the Cambridge Handbook to Roman Coinage. He is also interested in the application of social theories in archaeology, particularly with regard to material culture and the ancient economy. He has worked on several excavation projects in the Mediterranean and published the coin finds from several major ancient sites, including Nicopolis ad Istrum in Bulgaria and Beirut in Lebanon.

Clare Rowan : 01 Jan 2015 12:37 |  Tags: Coin Of The Month Countermark Spain Vespasian |  Comments (0) |  Close comments |  Report a problem

The eagle and the thunderbolt

Writing about web page http://www2.warwick.ac.uk/fac/cross_fac/iatl/funding/fundedprojects/fellowships/rowan/

Something a little different - in the last few weeks, as part of the Hellenistic World module, my students and I have been considering how to represent the ancient world and academic research in new (digital) ways. Here is my first attempt at a Digital story examining the ancient world, incorporating an idea that comes from my research. Enjoy!

https://www.youtube.com/watch?v=CKX0U7arQFw&feature=youtu.be

Clare Rowan : 10 Dec 2014 22:37 |  Tags: Coins In Focus Digital Storytelling Iatl Ptolemaic Egypt Roman Republic |  Comments (0) |  Close comments |  Report a problem

The festival of Saint Nicholas

December 6th, right after term ends, when students and teachers start relaxing, is Saint Nicholas’ day. This saint and bishop of Myra in Asia Minor (c. AD 270-343), famous as the patron of children and young people, is a worthy star for December’s coin of the month. Indeed, who does not know at least one of the legends related to his deeds?

Wooden bread stamp from Mount Athos, a gift to the author by G. Poupon from Saint-Maurice, who visited Mount Athos in 1982. Obverse: Ο ΑΓΙΟΣ ΝΙΚΟΛΑΟΣ with bust of Saint Nicholas — Reverse: square handle with Christogramm IΣ − XΣ / NI − KA.

One legend records Saint Nicholas resurrecting three boys cruelly murdered by a butcher who put them into barrels to sell them as ham. In another he saves three girls from prostitution. Their father was too poor to afford a dowry, and remaining unmarried, the daughters (without proper employment) may have had no other method to secure their incomes. Saint Nicholas provided the money by secretly placing three purses filled with coins in their house overnight; according to one version of the legend he dropped the money though the chimney and it fell into stockings. Therefore he is often depicted with three purses, and he became the patron of bankers as well. Other legends refer to the saint as offering assistance during distress at sea: therefore he is also the protector of sailors and of fishermen.

A Coptic icon with Saint Nicholas holding three purses.

Many generations have been told and will still tell the stories about Saint Nicholas. His generosity and care for children transformed him into Father Christmas, Santa Claus or simply ‘Santa’, who brings good things to children. He is probably one of the most popular saints. Although today’s western society has made him an icon of a commercial-style Christmas (starting earlier and earlier every year), other traditions keep Saint Nicholas’ stories alive. Thus sweets are put into stocks or into boots in remembrance of the legend about the three daughters. Artists commemorated the saint with amazing paintings, and composers with outstanding music. One piece of music I especially recommend is Benjamin Brittens’ Saint Nicholas cantata, here recorded with many lovely pictures taken of the saint and his legends.

Here we look at two contemporary depictions of Saint Nicholas on coin-like items. The first one is a wooden bread stamp from Mount Athos with a bearded bust of Saint Nicholas. He is dressed as a bishop of the Eastern Orthodox church with the omophorion (a garment similar to a stola) embroidered with four big crosses, holding a book and in the act of blessing. The saint is bareheaded, as he was shown in the Eastern, Byzantine world. The Greek legend Ο ΑΓΙΟΣ ΝΙΚΟΛΑΟΣ (‘The Saint Nicholas’) helps the viewer further to identify the saint. It is retrograde because the mould is a negative image. The mould has a reverse just like a coin: on the reverse is a handle inscribed IΣ − XΣ / NI − KA: ‘Jesus Christ is victorious’. This is a formula used in the holy communion of the Orthodox Church. Stamps with this formula are used to stamp bread for the Eucharist. This mould combines the christogram with Saint Nicholas’ bust. Both were used to stamp bread baked upon the occasion of his feast.

Music award of the Royal School of Church Music and emblem with Saint Nicholas blessing a child chorister.

In the Latin world, Saint Nicholas is represented as a western bishop with the mitre and pallium as shown on the second item, an almond-shaped medal. He is blessing a small figure kneeling in front of him and the inscription makes clear who the saint is (‘SAINT NICOLAS’). The legend also records that the medal is from the Royal School of Church Music. I initially wondered why this institution does not have Saint Caecilia on their medals. But the medals are awards originally designed for children choristers—therefore Saint Nicholas is a perfect design for the medal.

For Classicists it is noteworthy that Saint Nicholas is said to have destroyed Myra's renowned temple of Artemis and that his feast reaplced that of Artemis. A church was built over his tomb in Myra, and his relics are in many churches all over the world, creating new cults and new identities. In recent years Turkey has tried to claim them back for Myra.

This month’s coin was chosen by Suzanne Frey-Kupper, Associate Professor of Numismatics and Classical Archaeology at the Department of Classics and Ancient History at the University of Warwick. She works on Greek, Punic and Roman coinage from the Western Mediterranean and the North-Western provinces. She has published the coin finds from many major archaeological sites, including medieval and modern coins and medals. Living in Coventry since 2011, she is a member of the choir of Saint Barbara, Earlsdon.

Further reading:

Cioffari , G. (1987) San Nicola nella Critica Storia (Bari : Centro Studi Nicolaiani)

Galavaris, G. (1970) Bread and the Liturgy. The Symbolism of Early Christian and Byzantine Bread Stamps (Madison & London: The University of Wisconsin Press)

Travaini, L. (2013) ‘Coins as bread. Bread as coins’, Numismatic Chronicle 173, 2013: 187-200

Clare Rowan : 06 Dec 2014 23:14 |  Tags: Bread Stamp Coin Of The Month Earsldon Mount Athos Myra Saint Nicholas Santa Claus |  Comments (0) |  Close comments |  Report a problem

Coining in Roman Britain Part 6: One Last Hurrah

Over half a century after the closure of the London mint, there is evidence to suggest it may have been opened one last time. Another usurper, Magnus Maximus, rebelled against the legitimate emperor Gratian in AD 383. He took legions from Britain, and ultimately fought and killed Gratian a few months later. One might suspect that he struck coins in Britain to pay his troops. Amazingly, a handful of extremely rare gold solidi and silver siliquae featuring the mint-mark AVGOB and AVGPS have been discovered. It is now believed that these marks refer to London’s new fourth century name – Londinivm Avgvsta, with the OB and PS referring to the pure gold and pure silver of the issues. These coins are so rare that none have yet been recorded on the PAS database. These are the last coins known to have been struck at the London mint. Money would not again be struck in London until the medieval period.

Extremely rare gold solidus of Magnus Maximus, struck at London. The reverse depicts Magnus and his son, Flavius Victor, with the inscription VICTORIA AVGG (the two Gs representing the two emperors). © The Trustees of the British Museum.

Through over 400 years of Roman control, it is clear that large numbers of coins were minted in Britain. Many of these were, however, contemporary copies, struck either for necessity purposes, or less honest uses. It is only by the late third century that coins are struck en-masse in Britain. Around 100 years later the last coins were stuck, by another usurper, and following this short and rare issue of coins, Rome’s London mint would fade into history, its existence forever immortalised through its products.

Table presenting the mint marks of the London mint over time. © author.

This month's coin series on Roman Britain is written by Dom Chorney, a young numismatist from Glastonbury, Somerset. He studied for his undergraduate degree at Cardiff (in archaeology), and achieved a 2:1. Dom is currently studying for an MA in Ancient Visual and Material Culture at the University of Warwick, and intends to undertake a doctorate in 2015. His main areas of interest are coin use in later Roman Britain, counterfeiting in antiquity, coins as site-finds, and the coinage of the Gallic Empire.

Clare Rowan : 30 Nov 2014 01:00 |  Tags: Coining In Roman Britain London Magnus Maximus Mint Of London |  Comments (0) |  Close comments |  Report a problem

Coining in Roman Britain Part 5: Constantine and the London Mint

Diocletian and the ‘Tetrarchy’ continued to strike coins in London after the fall of Allectus. These coins came in the form of bronze nummi, which formed part of Diocletian’s reformed currency system. They were struck pretty much uniformly across the empire, featured stylized portraits, indistinguishable from one another, and likely bore virtually no resemblance to the rulers themselves.

Copper-alloy nummus of Constantine I from the London mint (note the mint-mark PLN).

The reverse depicts Sol standing left holding a globe, surrounded by the inscription SOLI INVICTO COMITI.

Image: Portable Antiquities Scheme, Unique ID: WILT-78C118

After Constantine was declared emperor by the army in Eboracum (modern day York) in AD 306, the London mint began producing coins showing his portrait. Though Constantine would famously convert to Christianity, these early depictions tended to feature his portrait juxtaposed with depictions of the sun god. Sol, a pagan deity, was associated with invincibility and victory, ideal traits for an emperor to associate himself with. In the early years of his reign Constantine also struck in the Gallic and German cities of Lyons and Trier. After Constantine had taken Rome from the emperor Maxentius, all mints across the empire struck coins for him and his family. The House of Constantine coinages are some of the most common found in Britain today, and feature the emperor himself, as well as his sons and extended family.

Copper-alloy nummi of the London mint. A coin of Crispus (left) displays a globe on an altar and an issue of Constantius II (right) depicts a camp gate with two turrets. Coins such as these are common finds in Britain. Image: Portable Antiquities Scheme, Unique ID: DUR-E3ADF4, HESH-B1C990

The coinage of Constantine’s family comprise small bronze coins with simple designs. Coin types depicting inscribed altars, camp-gates and votive wreaths were struck at London until around the year AD 326. The reason for the London mint’s closure is unknown. It was certainly one of the smallest mints in the empire at this time, operating with only one officina or mint workshop (the ‘P’ in the mint mark), compared to the three at Trier and two at Lyons. Following the closure of the mint at London, later coin types are imitated in large numbers for decades. This may indicate a lack of fresh coin reaching Britain due to the lack of a mint on the island.

This month's coin series on Roman Britain is written by Dom Chorney, a young numismatist from Glastonbury, Somerset. He studied for his undergraduate degree at Cardiff (in archaeology), and achieved a 2:1. Dom is currently studying for an MA in Ancient Visual and Material Culture at the University of Warwick, and intends to undertake a doctorate in 2015. His main areas of interest are coin use in later Roman Britain, counterfeiting in antiquity, coins as site-finds, and the coinage of the Gallic Empire.

Clare Rowan : 25 Nov 2014 01:00 |  Tags: Coining In Roman Britain Constantine London Mint Of London Sol |  Comments (0) |  Close comments |  Report a problem

Coining in Roman Britain Part 4: Carausius and his mints

Carausius is one of the most interesting of the Roman pretenders, mainly because we know so little about him. We do know he usurped power from the emperors Diocletian and Maximian in Gaul in AD 286, and that he fled to Britain where he was subsequently proclaimed emperor. The rest of the evidence stems from his extensive coinage, most of which were struck in his newly established mint at London and mostly communicate messages of peace (with reverse legends such as PAX AVG). Carausius also made the bold move of striking a rare series of coins in almost pure silver. These so-called denarii would have been an unprecedented sight in the third century, a time when a horrendous debasement of the coinage had resulted in the vast majority of circulating coins being reduced from silver to bronze, with virtually no face value. These denarii featured the inscription RSR, interpreted by Guy de la Bedoyere as an abbreviation of Redeunt Saturnia Regna, essentially hailing a new golden age.

Silver denarius of Carausius, struck at London.

The reverse type depicts the she-wolf and twins, Romulus and Remus. This coin fits with Carausius’ propaganda campaign of promoting a new golden age. Note the RSR in exergue. Image: Portable Antiquities Scheme, Unique ID: DUR-EA5A65

Coins of Carausius bear the mint-mark ML, for London, but some bear the initial ‘C’. Coins such as these have commonly been attributed to a mint at Colchester, though distributions of single finds, and the historical record do not support this. The ‘C’ mint remains an enigma. Carausius’ reign didn’t last long. He was murdered by his finance minister Allectus in AD 293. Allectus continued to mint coins in London and the enigmatic ‘C’ mint until AD 296, when he was killed in the invasion led by Constantius Chlorus, which saw the end of Carausius’ ‘Britannic Empire’. The idea of the first mint in Roman Britain being opened by usurper isn’t particularly surprising. What’s remarkable is that the mint was not abolished, but continued running for another thirty years after the usurper’s overthrow.

This month's coin series on Roman Britain is written by Dom Chorney, a young numismatist from Glastonbury, Somerset. He studied for his undergraduate degree at Cardiff (in archaeology), and achieved a 2:1. Dom is currently studying for an MA in Ancient Visual and Material Culture at the University of Warwick, and intends to undertake a doctorate in 2015. His main areas of interest are coin use in later Roman Britain, counterfeiting in antiquity, coins as site-finds, and the coinage of the Gallic Empire.

Clare Rowan : 20 Nov 2014 01:00 |  Tags: Carausius Coining In Roman Britain London Mint Of London |  Comments (1) |  Close comments |  Report a problem

Coining in Roman Britain Part 3: Counterfeiting

During the late second and early third centuries AD more evidence has been discovered for the production of Roman coins in Britain. Found almost exclusively on archaeological sites, clay moulds for casting copies of Roman silver denarii have been excavated in their thousands across the country. These double sided disc shaped moulds, made by pressing a coin into clay, would have been arranged in rows, with molten metal poured from above. The moulds would then have been broken apart to gain access to the freshly copied coins. Moulds such as these have been discovered in large quantities in Somerset, London and the Midlands, with sporadic discoveries in Scotland. One might assume these moulds were used for making counterfeit coins, that is, coins intended to deceive the user. However, sites from continental Europe indicate these practises might not have been covert (moulds such as those found in Britain have been discovered surprisingly near to places of Roman establishment), suggesting a much more organised and possibly legitimate use of these tools. In contrast, the flat and open landscape of the Somerset Levels would be a seemingly ideal place for forgers to produce fake coins, and hide the evidence quickly should any figures of Roman authority appear. An in depth study into the context of Romano-British coin moulds may reveal the answer to the enigma.

Coin mould (lead) for casting imitation coins of Tetricus (AD 271-274). This mould was discovered in Nottinghamshire. Note the hole at the top of the mould, through which molten metal would have been poured. Image: Portable Antiquities Scheme, Unique ID: LVPL-0A5332.

This month's coin series on Roman Britain is written by Dom Chorney, a young numismatist from Glastonbury, Somerset. He studied for his undergraduate degree at Cardiff (in archaeology), and achieved a 2:1. Dom is currently studying for an MA in Ancient Visual and Material Culture at the University of Warwick, and intends to undertake a doctorate in 2015. His main areas of interest are coin use in later Roman Britain, counterfeiting in antiquity, coins as site-finds, and the coinage of the Gallic Empire.

Clare Rowan : 14 Nov 2014 01:00 |  Tags: Coining In Roman Britain Counterfeits Moulds Tetricus |  Comments (0) |  Close comments |  Report a problem