Coin of the Month: Augustus, and How to Make Road Repairs Exciting

Denarius of Augustus, © The Trustees of the British Museum

This month's coin of the month is a silver denarius struck in Rome in 16 BC commemorating Augustus' improvement of the roads in Italy. These road repairs were evidently an important part of Augustus' building programme. In fact, he takes pains to mention them in his Res Gestae (20.5): "In my seventh consulship I constructed the Flaminian Way from Rome to Arminum and all the bridges on it except for two that were not in need of repair" (trans. Cooley). The completion of these works were marked by this coin and by others struck in mints in Spain.

The iconography of this coin is highly unusual, reflective of the experimental atmosphere that prevailed under Augustus as an imperial language of numismatic imagery was formulated. The odd nature of the imagery on this piece, however, may also have been due to the difficulties in visualising this particular act of imperial munificence. After all, how do you design a coin which communicates road repairs?? And in an eye catching and exciting way?? The designers of this coin chose to focus on objects which alluded to Augustus' activities without actually having to show a road. The obverse of the coin (left) shows a statue of Augustus on a horse before the walls of the city, likely an allusion to the beginning of the Flaminian Way. The reverse shows a column erected by the Senate for Augustus in Rome to thank him for his repairs. The column reads:S P Q R IMP CAE QVOD V(iae) M(unitae) S(unt) EX EA P(ecunia) Q(u)IS AD A(erarium) DE(dit) (The senate and people of Rome to Imperator Caesar because the roads have been paved out of the money which he gave to the treasury).

The mints in Spain that struck similar types (see examples here, and here) echo the same phrase (QVOD VIAE MUNITAE SVNT, because the roads have been paved), suggesting that these coins are co-ordinated in some way, or responding to the same edict. The Spanish coins also highlight statues of Augustus that graced the roads and bridges, rather than representing the roads themselves. Statues of Augustus in connection with the roads are mentioned by Dio (53.22.1), but what is most interesting about these issues is that the statues are shown all out of proportion to the bridges and the city wall (they are shown as larger than life). As Zanker points out, this is because coins reflect how the Romans viewed monuments, rather than provide us with a 'photo' or realistic representation. In the early imperial period, statues are often shown as larger than the buildings or monuments themselves on coins, a reflection of the fact that Romans were most interested in the political message of a particular building programme. Later on in the Empire, the statues become smaller and the buildings themselves dominate coin types, reflecting a change in the practice of Roman viewing.

This month's coin was chosen by Clare Rowan, a Research Fellow in Numismatics. Amongst other projects she is currently working on a Cambridge University Press/American Numismatic Society Handbook to Coinage of the Ancient World, covering the period from 49 BC until AD 14.

Clare Rowan : 01 Jun 2014 01:00 |  Tags: Augustus Augustus Bimillenium Coin Of The Month |  Comments (0) |  Close comments |  Report a problem

The Romans on Tour: The Roman Empire Exhibition at the Herbert Museum, Coventry

A bit of a switch from our normal numismatic themes, but readers of the blog may be interested in reading my guest blog on the Theoretical Roman Archaeology Conference website on the Roman Empire: Power and People exhibition currently on display at the Herbert Museum in Coventry.

Clare Rowan : 20 May 2014 16:41 |  Tags: British Museum Herbert Museum Roman Empire Power And People |  Comments (0) |  Close comments |  Report a problem

Coin of the Month: A Denarius of Augustus, Presenting a Dynasty

Denarius of Augustus

This denarius of Augustus dates from 2-4 BC. The obverse features a laureate head of Augustus with the legend ‘CAESAR AVGVSTVS DIVI F PATER PATER PATRIAE’. The reverse depicts his two grandsons Gaius and Lucius stood facing each other, hands resting on a shield and spear, with a simpulum and lituus above. The legend around the edge reads ‘AVGVSTI F COS DESIG PRINC IVVENT’ and ‘C L CAESARES’ is written horizontally underneath the figures.

The coin is a useful example of the control that Augustus exercised over his personal image. The bust appears as that of a young man, however the emperor would have been in his 60s at this point. It is also illustrative of the problem of succession that faced an ageing Augustus. Having no sons of his own, the emperor had adopted his two grandsons and this coin is a clear message that they are the heirs to his title and powers. The beginning of their public careers is alluded to by the presentation of the title of “Leaders of the Youth”, as well as the appearance of both military and priestly images around them. Gaius’ and Lucius’ positions within the family are also emphasised by the fact that the two are explicitly called the sons of Augustus. Also, the prominent way in which ‘Caesares’ is placed upon the coin has clearly dynastic overtones, especially given that it was the name that Augustus himself took following his own “adoption” by Julius Caesar, which launched his political career. This theme is further continued on the obverse, where Augustus presents the title ‘Divi Filius’ (“Son of a God”) alongside that of ‘Pater Patriae’ (“Father of the Country”). By presenting himself as both son and father, Augustus is drawing the parallel to his own adoption as well as that of his grandsons and it is made clear that an imperial dynasty, with the successive handing down of powers, has been founded.

This particular denarius is contained within the South-Warwickshire Hoard of Roman denarii, which was discovered in 2008 by a local metal-detectorist. The hoard is comprised of 1153 silver denarii, with dates ranging from 190 BC to AD 64. It is one of the largest coin hoards from the Roman world and is made even more special by the fact that the pot in which the coins were buried has also survived. The South-Warwickshire Hoard was acquired by Warwickshire Museum, catalogued by Stanley Ireland and it is currently on display at the Market Hall Museum in Warwick.

The South Warwickshire Hoard in the Warwickshire Museum

This month's coin was chosen by Abigael Flack, a museum assistant at the Warwickshire museum. Abigael is interested in the presentation and reception of the Roman imperial regime, particularly in literature. Her MA thesis examined this theme in the biographies of Suetonius.

(Images courtesy of Sara Wear and Heritage & Culture Warwickshire.)

Clare Rowan : 01 May 2014 01:00 |  Tags: Augustus Augustus Bimillenium Coin Of The Month Gaius Caesar Lucius Caesar South Warwickshire Hoard Warwickshire Museum |  Comments (0) |  Close comments |  Report a problem

The "King of the Britons" Coin

Coin of Cunobelinus

Before the invasion of Britain in AD 43 by the Roman Emperor Claudius, we have very little information on the earlier rulers of Britain. Classical accounts speak of only a few British chieftains, so our main source of evidence as to who these rulers were comes from the coins minted by the British kings themselves. Therefore this month’s coin belongs to Cunobelinus, a tribal leader active in South-western England from around AD 30.

This British coin is quite similar to its Roman counterparts. It uses a depiction of a head on the obverse similar to that of the Roman Emperors on their coins, and on the reverse a centaur is depicted. The centaur is a Greek mythological creature, and not part, as far as we are aware, of the pre-Roman British mythology. The use of Greek and Roman imagery was fairly common in this period, but it represents a new design of British coins. Horses had been very prevalent on coins, inspired by Macedonian coinage, but designed in such a local, British way, that they look very different from the depictions of horses in the Greek and Roman worlds. The designs on this coin indicate increased awareness of Roman styles, representing a stronger connection to the Roman world. As a bronze coin, this coin is unlikely to have been used for trade with the Romans, who traded in silver for the most part, although it is possible the ideas expressed on the coins were communicated to the Romans through a different medium. Thus the imagery is more likely to have targeted Cunobelinus’ British subjects. Wine amphorae from Rome have been found in elite burials in this period, indicating there was increased contact and trade with the Romans, and that the British elite were starting to adopt Roman customs. A ruler who was also interested in Roman designs would thus be more favoured as a leader. Thus even before the Roman invasion, the British were already adopting Roman customs and art styles. It was not “forced upon them” by the invading Romans.

Nonetheless, despite the increased interest in Roman culture, the centaur is a strange image to use, seen rarely on other coins even in the Greek and Roman world. The legend on the reverse reads “TAS…ONI…” (TAS[CI]OVA[NIF]), a reference to Tasciovanus, Cunobelinus’ father. Thus perhaps the centaur is being directly associated with Cunobelinus’ father. In Greek and Roman mythology, the centaur is often representative of drunkenness and barbarianism, not an ideal fatherly representation, so perhaps the British saw the centaur in a different way. The British had great veneration for horses, often depicting horses on their coins, so they were clearly a symbol of significance. They were probably representative of power, as horses are strong animals, and they also communicated wealth, as to own a horse costs a lot of money. Therefore a centaur, as a hybrid of horse and man, in British eyes may have represented a man being combined with this powerful creature. In this way, perhaps Tasciovanus is being displayed as the centaur, as a man with the great power and wealth associated with a horse. In this way, Cunobelinus depicts his ancestry as great, which would have made him popular with his people.

Some scholars have seen the Roman head on the obverse as representing the Roman Emperor, and thus the coin is designed to praise the Roman leadership. However, with the legend of “Cunobelin…” nearby, it seems the head is actually representative of Cunobelinus himself. Why he chose to do this can be seen in the Roman biographer Suetonius’ account. He states that the Emperor Caligula received the surrender of Adminius, who Suetonius describes as “Cynobellini Britannorum regis filio”: “the son of the king of the Britons, Cunobelinus” (Suetonius Caligula 44.2). Suetonius’ description seems to indicate that Cunobelinus ruled all the people in Britain, when in reality it was made up of many different tribes, each controlled by their own king. Either Suetonius has got his facts wrong, or perhaps he is buying in to Cunobelinus’ propaganda. There is no British equivalent of an Emperor, a man in charge of a huge amount of lands and tribes, so perhaps Cunobelinus is taking the imagery of a Roman Emperor in order to give the impression that he is even more powerful than just an average tribal chieftain, making him appear the most powerful man in Britain. In fairness, this may not be too far from the truth, as some scholars believe that during his reign, Cunobelinus was acquiring new territory in the South of Britain, so he may have needed to prove he was worthy of this large portion of land. While Cunobelinus probably was nowhere near the sole ruler of Britain, his representation of himself as an Emperor could well have convinced some Romans, as seen in Suetonius’ account, that he was, or at least a major player in British politics. This would help immensely to encourage trade, as Roman traders may have been deceived into seeing Cunobelinus as the most powerful, and thus the richest man in Britain, and thus the best person to go to with their desirable wares.

This month's coin is chosen by David Swan. David is currently an undergraduate student of Classical Archaeology and Ancient History at the University of Warwick. His interests include numismatics, and prehistoric Britain.

(Coin image above reproduced courtesy of Classical Numismatic Group Inc., (Mail bid Sale 66, lot 46) (www.cngcoins.com))

Clare Rowan : 01 Apr 2014 12:04 |  Tags: Britain Coin Of The Month Cunobelinus Undergraduate Research |  Comments (1) |  Close comments |  Report a problem

The Many Faces of Augustus

Spanish coin showing Augustus and shield

During the period in which Augustus came to hold sole power in the Roman Empire, the minting of Roman coinage was decentralised. Instead of coinage only being struck at Rome, different generals and Roman officers struck Roman denarii at a series of different mints throughout the Empire. Indeed, coinage was probably only struck in Rome again from c. 19 BC. This means that in the period after Actium, the coinage of Augustus was struck in a variety of different mints, which meant that the image and associations of Augustus and his rule had regional differences, at least initially.

The decentralised nature of minting in this period also meant that there was the possibility for official images of Augustus to become 'entangled' with local iconographies - that is, for Roman officials and mints to take inspiration from local currency designs, either as a way of communicating Augustus' power to local populations, or as a strategy to make the currency more acceptable. Several interesting coin designs have resulted from this process, one of which is a series of coins struck in an uncertain mint in Spain (RPC 1 1-4). This coinage lacks the name of a city, and so is probably an imperial series of Augustus, although it is not listed as such in the catalogue of Roman Imperial Coinage. On this series Augustus is presented as the son of the divine Julius Caesar (IMP AVG DIVI F), and his portrait is accompanied by a palm branch and winged caduceus. These two attributes were commonly seen on the local coins struck in Spain (Iberia); the palm branch is often shown being held by a horse rider (see one example here), and the winged caduceus appears on the coinage of several cities (e.g. as a reverse type, or being held by the Tyche of a Spanish city on a coin series struck by Sextus Pompey).

Similar coin, but with dagger and Iberian sword

The image of Augustus presented here is thus one with a particular 'Iberian' flair. This is further suggested by the reverses of this coin series, which show an Iberian shield, sometimes accompanied by a dagger and Iberian sword. These coins are mostly found in NW Spain, meaning that the image and associations of Augustus in this region would likely have been different to that found in the East of the Empire, for example, or even in Gaul. Augustus presented many faces to different audiences, as he and his subordinates sought to communicate the new power structure to the broader Roman Empire.

(Coin images reproduced courtesy of Classical Numismatic Group Inc., www.cngcoins.com)

Clare Rowan : 18 Mar 2014 14:29 |  Tags: Augustus Augustus Bimillenium Coins In Focus Iberia |  Comments (0) |  Close comments |  Report a problem

A gold octadrachm of the Ptolemaic Dynasty

Octadrachm of the Ptolemaic Dynasty

This gold octodrachm was struck at the mint in Alexandria in Egypt, probably under Ptolemy II (this series was likely introduced under Ptolemy II, and was struck until Ptolemy V). The obverse jugate portrait busts are that of Ptolemy II and his sister-wife Arsinoë II (philadelphoi). Both heads are diademed, with that of Arsinoë probably veiled (it is a little difficult to tell). Both busts have a chlamys. The legend within an off-centre dotted border reads ΑΔΕΛΦΩΝ (adelphon), a genitive plural meaning ‘of the siblings’. The reverse depicts the jugate busts of Ptolemy I and Arsinoë I (Soteroi), the parents and predecessors of the obverse subjects. Again, both are diademed and are wearing a chlamys. The legend within the dotted border reads ΘΕΩΝ (theon) meaning ‘of the gods’. This coin presents us with two generations of the Ptolemaic dynasty of Egypt represented on one coin. In light of Ptolemaic iconography up to this issue, this octodrachm is unique, contributing to the on-going iconographic development of Ptolemaic image and ideology.

It was not the everyday bronzes which carried the vanguard iconography of royal ideology, as Ptolemaic bronzes are markedly more conservative and conventional in their iconography, limited to a head of Zeus on the obverse and an eagle on the reverse. Nor are silver types particularly innovative, as they tended also to be similarly iconographically consistent. The more radical and innovative ideological presentations seem reserved, at least early in the Ptolemaic dynasty, for gold issues. From this octodrachm we recognise the preoccupation with retroactive referencing to previous sovereigns and predecessors. But there is also a horizontal reference, in the inclusion of wife and sister, placed behind as they are, but tellingly also parallel to the king. Their co-ruling is suggested, as is the influence of the Ptolemaic queen within the royal court. Familial undertones also come through, with insinuations of loyalty, and secure dynastic succession derived from strong familial bonds. In relation to the ruling king, this reinforces the image of legitimacy in his kingship. The near-identical jugate portraits possess a regal bearing; the duplication betrays aspirations of wanting to be seen as an established royal house. As subjective in interpretation this type may be, they are the result of generations of (generally) dynastic development and (particularly) developments in coin iconography. This process was continued little by little, in experimenting with new ideas of imagery, and ways of presenting and announcing those images, one attribute at a time.

This month's coin was chosen by Sean Gallagher. Sean Gallagher is currently an undergraduate student of Classical Archaeology and Ancient History at the University of Warwick. His interests include religious and cult continuity, numismatics and New Testament Greek.

(Coin image above reprpduced courtesy of Classical Numismatic Group Inc., www.cngcoins.com)

Clare Rowan : 01 Mar 2014 01:00 |  Tags: Arsinoe Coin Of The Month Ptolemy Undergraduate Research |  Comments (0) |  Close comments |  Report a problem

Succession and the Aurei of Mark Antony

Aureus showing Antony and his son Antyllus

The problem of succession, and Augustus' means of communicating succession, form a key theme in the study of the Augustan principate. But the mechanisms for communicating succession and dynasty in the principate arose directly out of the Republic, in particular the strategies employed during the civil wars. We can see this in a gold aureus series struck for Mark Antony in 34 BC while he was triumvir in the East (RRC 541/1-2). The design of this series foreshadows how imperial dynasty and succession would later be communicated during the Roman Empire.

The coin issue consisted of two different types, but both of them carried the portrait of Mark Antony on the obverse and the portrait of his eldest son Marcus Antonius Antyllus on the reverse. Antyllus was the child of Antony and Fulvia, and was at one point engaged to Octavian's daughter Julia. His appearance on coinage here suggests that Antony may have been attempting to establish and advertise a successor, well before Augustus would later turn to the problem.

This is also suggested by the legends of these pieces. On the first type, the titles of Antony occupy both the obverse and reverse of the coin (M ANTONI M F M N AVG IMP TERT, COS ITER DESIG TERT III VIR R P C, Marcus Antonius, son of Marcus, grandson of Marcus, Augur, Imperator for the third time, consul for the second time, consul designate for the third time, triumvir for the establishment of the Republic). That Antony included the names of his father and grandfather must have been intentional: in contrast to Octavian's claims to be the son of the divine Caesar, Antony represents his descent in a traditional Roman manner, something which may have appealed to the Senate rather more than Octavian's claims. One the second type of this issue (shown above), Antony's titles are abbreviated and confined to the obverse of the coin, while the reverse carries the name of Marcus Antonius Antyllus, who is presented as the son of Antony (M ANTONIVS M F F). Thus over both types, Antony and his positions are communicated, as is Antony's ancestry and his successor, a presentation that is remarkably similar to what would occur later in the imperial period.

Coin image reproduced courtesy of Numismatica Ars Classica NAC AG (Auction 54, Lot 285)

Clare Rowan : 13 Feb 2014 15:31 |  Tags: Augustus Bimillenium Coins In Focus Mark Antony Succession |  Comments (0) |  Close comments |  Report a problem

A coin of the dog star from Karthaea, Keos

Coin of Karthaea, Keos, showing the Dog Star

This coin of the month comes from Karthaea on the island of Keos in the Cyclades and dates to the 3^rd century BC. On the obverse the head of Apollo is shown crowned with a laurel wreath. On the reverse a dog is depicted with rays emanating from its head, representing the Dog Star. The legend reads ΚΑΡΘΑΣΑ. The images depicted are associated with an ancient local cult that sacrificed to Zeus and to the Dog Star so that the Etesian winds might blow, bring cooler weather, and ward off disease.

The Dog Star is the brightest star in the night sky when it rises in late summer and it is traditionally associated with the Dog Days, when there is hot weather. Because of its brightness and its bluish hue, the star was believed to produce “emanations” which could bring on deadly epidemic diseases. Indeed, in ancient Greek thought as far back as Hesiod and Homer, the Dog Star was believed to have brought on diseases associated with the over-heating and drying of the body, such as fevers.

The cult on Keos is fascinating as it shows the inhabitants trying to guard against the effects of the Dog Star. Both Apollonius Rhodius and Callimachus describe the practices and rituals involved, as well as the mythology behind this cult. The story goes that the Dog Star was burning the Cyclades with its heat and producing much pestilence on the islands. The people of Keos prayed to the rural god Aristaios, the son of Apollo and Cyrene, who was taught both medicine and divination by the Centaur Chiron. Aristaios came to Keos and built a large altar to Zeus Ikmaios. He then offered sacrifices to Zeus and to the Dog Star from the mountaintops and Zeus, in response, sent the Etesian winds to cool the land for forty days.

Aristaios ordered the islanders to perform this rite every year so as to appease the violent rising of the Dog Star and to pray to Zeus for the Etesian winds. The scholia of the text describes how the islanders watched for the rising of the Dog Star every year from the mountaintops clad in their armour and with weapons in hand. Also, by observing the appearance of the star the inhabitants would try to determine whether the island would suffer from epidemics or not. The scholia states that if the star appeared clear and bright, the islanders would experience a healthy year, but if it appeared misty and dull, disease would spread across the island. This practice, in which stars were read in order to predict the weather and disease continued into later medical thought and can be found in medical texts such as The Hippocratic Corpus.

This coin was chosen by Rebecca Taylor. Becky is a 3rd year PhD student studying the effects of the natural environment on the human body in the thought of the 5th and 4th Centuries BC.

(Coin image above reproduced courtesy of Classical Numismatic Group Inc., Mail bid Sale 60, lot 589 (www.cngcoins.com)

Clare Rowan : 01 Feb 2014 01:00 |  Tags: Ancient Medicine Coin Of The Month Dog Star Karthea Keos |  Comments (2) |  Close comments |  Report a problem

Sosius, Zacynthus, and the Temple of Apollo Sosianus in Rome

Coins of Sosius from Zacynthus

Gaius Sosius, one of Mark Antony's generals, provides an excellent example of the role played by individuals other than the triumvirs in the civil wars at the end of the Republic. Sosius, who was governor of Syria and Cilicia in 38 BC and assisted in placing King Herod on the throne, was a staunch supporter of Antony, and was in a position of some power at Antony's naval base at Zacynthus. We know this because between 39 BC (when the base was founded) and 32 BC, a series of coins were struck under Sosius' authority (RPC 1 1290-3).

The obverse of the first two coins carries the portrait of Antony. The reverse of issue 1 bears a Ptolemaic eagle, a reference to Antony's alliance with Cleopatra. The second issue, struck in 36 BC, names Sosius as imperator and carries a military trophy on the reverse, a reference to Sosius' victory in Judea. It is unusual that Sosius uses his coinage to advertise his own personal achievements rather than that of the triumvirs, though the portrait of Antony on the obverse underlines the fact that Sosius was acting under Antony's support and patronage.

Temple of Apollo Sosianus

The third issue carries the head of Apollo on the obverse, and a tripod on the reverse. Sosius is named as consul designate. The imagery is identical to the pre-Roman local coinage of the island, which had a famous cult to Apollo. But after his triumph in Rome in 34 BC (for his victories in Judea), Sosius vowed to rebuild the temple of Apollo in the Campus Martius, today known as the temple of Apollo Sosianus. The declaration that a supporter of Antony was rebuilding a temple to Apollo in Rome, soon after Octavian had vowed his famous Apolline temple on the Palatine, was a powerful statement. It may be that this third issue of Sosius references his building activities in Rome, and the Roman general adopted local iconography to communicate his message. The users of the coin may have seen either a reference to the local cult of Apollo and local coinage, or a broader reference to Sosius' activities, or both.

The fourth coin, which carries a head of Neptune on the obverse and a dolphin and trident on the reverse, was struck after Sosius had fled Rome early in his consulship in 32 BC, and references his position as a commander of Antony's fleet just before Actium. Although Sosius fled the capital only a few days or weeks into his consulship, the coin still names him as consul, indicating that both he and Antony believed he still held the position.

(Coin images reproduced from Bahrfehldt, JIAN 11 (1908), pl. XIII)

Clare Rowan : 24 Jan 2014 09:39 |  Tags: Apollo Apollo Sosianus Cleopatra Coins In Focus Mark Antony Sosius Zacynthus |  Comments (0) |  Close comments |  Report a problem

Medal of Cosimo de' Medici, Pater Patriae

Medallion of Cosimo I de'Medici as Pater Patriae

This bronze medal is the earliest example of a product created by the Florentine school. It celebrates Cosimo I de’Medici (1389-1464). He was the head of the de’Medici family, a family of bankers who were the de facto rulers of Florence during most of the Italian Renaissance. Cosimo I was granted the title Pater Patriae by the Florentine Signoria after his death on 1 August 1464. According to some scholars, the title was actually conferred on him through a decree dated to 20^th August 1464, while others argue that he was granted this title through a decree dated to March 16^th 1465. However, the medal was certainly not produced after 1469, the year of Piero il Gottoso’s death; the latter was the dedicatee of an Aristotelian manuscript —Florence, Biblioteca Medicea Laurenziana, Ms Plut. 84, I, c. 3— which was produced by Francesco di Antonio del Chierico on behalf of Piero di Lorenzo de’Medici. Indeed, the effigy of the medal was copied in an illumination of the manuscript by Francesco del Chierico.

The obverse of the medal presents the bust of Cosimo I in profile, facing left. He is wearing a flat beret, which was proper for persons of high rank, and a buttoned cloak. The circular legend, in Roman capital letters, reads as follows: MAGNVS COSMVS MEDICES P(RIMVS) P(ATER) P(ATRIAE).

The reverse shows a female figure, seated on a throne, which is the allegory of Florence: indeed the exergue reads FLORENTIA. The figure is inspired by Graeco-Roman coins depicting Concordia. She is wearing a peplos and is veiled, likely as a sign of mourning for Cosimo. In her left hand she holds an olive branch ending in three shoots. In the other hand, stretching forward, she grasps a globe, which might recall the Medici family emblem: a set of red balls on a gold shield. The folding seat of Florentia is placed upon a yoke on the ground. The circular legend of the reverse reads PAX LIBERTASQVE PVBLICA.

A golden exemplar of the medal is shown in a relief in gilded stucco inset into the Portrait of a Young Man with a Medal of Cosimo il Vecchio by Botticelli, now preserved in the Uffizi. The likeness of Cosimo de’ Medici depicted in the medal also inspired numerous posthumous portraits of him, including that by Jacopo Pontormo in the Uffizi.

Many different artists have been proposed for the medal’s creator: Niccolò di Forzore Spinelli, Donatello, Michelozzo, Cristoforo di Geremia, and Bertoldo di Giovanni. Nevertheless, the controversial question concerning the author’s identification basically remains a mystery. According to a fascinating interpretation, the young man depicted in the portrait by Botticelli might be the designer of the medal, Antonio Botticelli, the painter’s brother. Antonio Botticelli had indeed recast and gilded medals, working in the court of the Medici family.

The whole idea of a ʽportraitʼ on coins, as shown here, as well as the title pater patriae, was inspired by the rediscovery of Roman coins in the Renaissance, as medieval coinage did not have portraits. Ancient coins, especially the Roman imperial sestertii, were the subject of interest and intense study among Renaissance scholars from the early fifteenth century onwards. These coins were admired by humanists for their large size, their high relief, and the use of bronze, which was rarely used for medieval coinage. As a result of a process that started in the thirteenth century, various minting authorities introduced significant innovations in the appearance of the circulating coinage. Additionally, the influence of some aspects of ancient coinage resulted in the creation of a new artistic medium in the medal.

A substantial difference between Roman imperial coins and their medieval counterparts was, first of all, the profile portrait bust of a ruler on the obverse, and secondly the representation of classical deities, contemporary scenes or monuments on the reverse. Coins of the later Middle Ages did not have the reverse exergue line, often with letters beneath it, and the legends were less detailed and written in the Gothic letters derived from medieval book hands rather than the Roman capital letters used on imperial coins.

This month’s coin was chosen by Rocco Di Dio, a third-year PhD student. His research project focusses on three Greek manuscripts produced by the Renaissance scholar Marsilio Ficino (1433-1499), who was largely responsible for the revival of Platonism in western Europe. Rocco’s main interests lie in Palaeography, Codicology, Byzantine Studies, Platonic philosophy and the Renaissance reception of Platonism.

(Image above reproduced courtesy of Dr. Busso Peus Nachfolger, Auction 400, lot 1332)

Clare Rowan : 01 Jan 2014 00:00 |  Tags: Coin Of The Month Medici Reception Renaissance |  Comments (0) |  Close comments |  Report a problem