VOL. 1Z No. 4APRIL 2OO3

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. THE ART OF ROMAN SACRIFICE. BYZANTINE 1.01 _ PART 1

. PIPE DREAMS: THE HYDRAULIS. CROWNS AND HEADDRESSES ON TI{E

SMALL BRONZES OF ROMAN EGYPT

,%ro 7"*oZzr/

AamirySann!

Online Electronic Auctions by Tom Cederlind. (Our flrstauction, including quality ancient coins in all price ranges,will be held very soon.) Be sure to register to participate at

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6

FEATURES

The Art of Roman Sacrifice by John Bilner

24 Byzantine 101 - Part 1 by Prue Fitts

34 Pipe Dreams: The Hydraulis by S.C. Sliles

40 Crowns and Headdresses on the Small Bronzes of Roman Egypt by Francis Jarman

DEPARTMENTS

2 Editor's Note - Coming Next Month

4 Leiters to the Editor

32 People in the News - Profiles in Numismatics

33 Art and the Market

36 Coming Events

42 The Internet Connection by Thorn Bray & Kevin Barry

43 ANT IQ1JITIES by David Liebert

44 QLoins of tI) t jhl ibl r by David Hendin

46 The Other Side by Phillip Davis

47 'lhrough the Cooking glass by Wayne G, Sayles

48 Ask the Experts by James A. Hauck

50 Cartoon

51 Professional Directory

58 Club Directory

59 Classifieds - Index of Advertisers

Vol. 17, NO.4 April 2003

Consecutive Issue No. 190

Page 34

About the cover: The reverse of an IE Ses­tertius 01 Gaius Caligula (RIC 44) depicting a sacrifi­cial scene. See this month's featured article by John Bit­ne r. (Photo by Richard Wing).

The Celator office will be closed on Friday, April 11 111. Office hours are generally 11 AM to 6PM EST, except for Tuesdays (9 AM-Noon).

EDITOR'S NOTE

There has been some recent con­troversy over the

usage of a magnifying lense to grade coins, in thi s case U.S. coins. Various !ellers, pro and con, have been written to the general coin publications on the subject. Because of this debate, I was asked by a collector and reader of this magazine whether one should usc a magnifying iense, or even a microscope, as an aid in grading ancient coins. The answer is simple - yes. And no.

First, let me explain my approach to grading a coin, any coin, whether it is an ancient coin, U.S. coin, German tal­er, or some other numismatic treasure. I usually form an opinion of a coin's grade by closely examin ing it without the aid of magnification. Visible wear should be juSt that, visible, and to the " naked" eye. After I have formed an opinion, then 1

As a dealer I always felt that it was betler to err on the conservative side when describing a coin 's grade and con­dition. But it is a fine line in choosing just how much to describe. Too few comments can lead to a coin 's return by an unhappy buyer, and too many com­ments can keep the coin from sel ling at all . Which brings me to the practice of net grading - also common in U.S . coin grading.

I dislike this practice, especially when it is done using the Sheldon nu­merical system (i.e., MS 1-70). If a col­lector or dealer judges a coin to be Ex­tremely Fine, but then deducts points or

"My approach is TO grade the coin's wear, assign it a grade, and then describe any problems that / may see (e .g. , VF, with some light scratches in the obverse field before the bust, and light porosity on the reverse}."

almost always do examine the coin with a 5x magnifying lense. This time I'm looki ng for things not always visihle to the naked eye, such as tooling marks, evidence of repairs, or hidden defects. Hopeful ly a magnifying lense only confirms my initial opinion, but if J do find someth ing unappealing on c loser examination, then the 5x lense has done its job.

There is a tendency by some collec­tors (and dealers) 10 look at a coin with a lense fi rst. Depending on how trained your eye is there may not be anything wrong with this method . But if you let small defects and scratches inlluence you too much as they loom large before your eye under magnification, then you may lean toward under-grading the coin . Herein lies the problem that has led to the controversy in our sister field .

grade levels for defects, and describes the coin o nl y with the newer, lower grade, it can lead to confusion and a cer­tain amount of guesswork by others. Why did he assign this grade? What am [not seeing?

My approach is to grade the coin' s wem, assign it a grade, and then describe any prohlems that I may see (e.g., VF, with some light scratches in the obverse field before the hust, and light porosity on the reverse). Anyone else reading my grade does not have to guess what it is, as it is right there in black-and-white.

And finally - does one need to use a microscope to assign a grade to a coin? Ahsolutely not. This will definitely lead to under-grading. A microscope should only be used if you have suspicions about a coin's authenticity. Not to es­tablish your initial opinion of its grade.

A Re-assessment of the Dating and Identification

of Etruscan Coinage by Italo Vecchi

Images of the Cult Practices on the Coinage of Elagabalus

by Liladhar R Pendse

Cuitic Irnnges or Ship's Prow? A New Look at Pilate's Coinage by Jean-Philippe Fontanille &

Ken Baumheckel

AND COMING SOON

A Classical Romance by George M. Burden, M.D.

Was Claudius Really Gothicus? by Marco Arrigoni

Watching the Hammer Fall (An Epic Poem)

by O1arles D. Everett

Nero, Master of Propaganda by Robert Rutherford

A Brief History ofwrissa by CharJes K. Ammons

Single Digit Dated Coins -An Anomaly From

The wte Middle Ages By Robert A. Levinson

Byzantine 101- Part 2 by Prue Fitts

An Unpublished Alemndrian Coin of Augustus by Keith Emmett

Obsolete Roman Imperial Bronzes Used Again

in the 6th Cenhay by Prof. Dr.J.w. vander Dussen

'lite CeLatdl is named tdl and dedicil.ted to the coi", die-e",;;ttlt!e'lS 0-5 antiquit'(

",hose tat temai",s as po",ettu/ a",d appell/i"';; toda,( as i'" theit 0"'''' time,

2 The Gelator

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April2003 3

2ette/".1

, , Don't Forget About

the IBSCC

We can perhaps be best described as "astonished" in our reaction to an ar­ticle "Authenticators Offer Range of Ser­vices" by Michael E. Marotta in the De­cember, 2002 issue of The Gelatof. In his description of various authentication services, there is no mention whatsoever made of the IBSCC, a part of our Asso­ciation which should also be known to your readers.

The IBSCC (International Bureau for the Suppression of Counterfeit Coins) was established by the IAPN in 1976 as a non-profit making agency with a num­ber of objectives, including:

• Collecting , editing, publishing and circulating information on forger ies , not on ly to IAPN members, but to other in­terested parties.

• Building up a data bank of informa­tion on forgeries wh ich be available both to our members and to law enforcement, institutions and others.

• Arranging for the authentication of doubtful coins by panels of experts, and when necessary, for scientif ic testing .

• Collaborating with other bodies in the furtherance of its objectives .

The three fine services Mr. Marotta cites play an important and valuable role, and with the number of forgeries always surfacing , there is more than enough work to go around . We just want to point out that lor many coins, especially dilfi-

cult ones wh ich call for an international knowledge base and a level of exper­tise which our 115 members in twenty­six countries and our other contacts pro­vide, that the IBSCC is another option.

The Secretary of the IBSCC, Dr. Ursula Kampman n, P.O. Box 1414, 79504 L6rrach, Germany is pleased to provide more information. She may be contacted by phone (49-7621-47734), fax (49-762 1-47737) or email (ukampmann@stepnet.de).

Arthur L. Friedberg President, International Association

of Professional Numismatists (IAPN) Clifton, NJ

Michael Marotta's article referred to by Mr. Friedberg was intended to cover authentication services that advertise their services directly to col/ectors. We 're sorry that Mr. Friedberg was ~as ­

tonished" that no mention was made of the IBSCC, but to the best of our knowledge they do not actively adver­tise their authentication services, at least in the US.

But, under President Friedberg and Dr. Kampmann's guidance, we have noticed an increase in the visibilty of the IBSCC in the US recently. Dr. Kampmann made a presentation on the IBSCC at the recently concluded New York International Numismatic Conven­tion (NYINC) to a standing-room only crowd. KKW

Reader Lauds "The Other Side" & Phil Davis

I just read Phil Davis' most recent column. I felt the need to tell you that he is, in my op inion, the best writer you have working lor you. The way he de­velops his ideas shows a strong sense 01 audience and purpose. He nearly

always starts hi s essays in one place, but by the end, takes you somewhere else, and opens up the rather closed world of ancient numismatics to the larger, more open world of the "human experience" of life and death.

In the column I am referring to, he describes an experience many of us have had when going through the per­sonal effects of someone no longer in this world. What must this person's life have been like? How strange to be handl ing his most prized posseSSions, without his knowledge , or permission . What would he have to say about these coins. if he were there?

By the end of the artic le we start to understand that someday, someone we may have never met wi ll quite possibly be doing the same thing with our col­lection. Each co in will be scrutinized, some harshly criticized (Why would he have kept that ug ly lump of metal?), discarded as common and uninterest­ing. or prized as unique. But the life that no longer exists ... the mind and will that assembled these coins .. what of that?

Nothing much. Gone. He did a few good, a few bad things, but the sum­mation will be , uHe was a man; he lived and he died. "

I wonder who he was? Why did he assemble such an enormous co llec­tion? We may never know anyth ing much beyond his name and a few odd facts about him. Obvious ly he was an "accumulator" of ancient treasu re, which is probably not an oddity in this hobby, but he went quite a bit farther than most of us will in his accumu la­tion. 3,500 pieces is a bit excessive. What drove him to do this? What drives ali of us?

Rob Rutherford Florida

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Almost all illustrated. All on our website. And all guaranteed genuinc or double your moncy back. Credit cards wclcome. Ao;k mc for a free copy. Elizabeth Cottam at

With af"logie< '" The o,. ing Gaul. Chris Rudd, PO Box 222, Aylsham, Norfolk NRll 61"1'; England. Tel: (4+) 1263 735 007. CapiroUn c MUSfu m. Rame.

,_-:--=-_-,--_-:-___ -;[w;:; 1263731777. Email: Iiz@ celticcoins.com \\~b5ile; www.celticcoins.com .... me.".

MY PRICES AI<E U:5S /a, ~AN ' , , .

4 The Gelator

(Pegasi NUMISMATICS Ann Arbor, MI Holicong, PA

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Fax: (734) 995-3410

ancient and medieval coins, antiquities and books for sale; historical information; historical and numismatic artie/es; maps; photo archive; and a user forum:

Full Service Web Site Now Open.

April2003 5

The Art of Roman Sacrifice by John Bitner

Humans, being egocentric, tend to de­fine the world in terms of themselves. Therefore, gods are frequently defined in anthropomorphic tenus. This was espe­cially true in the ancient religions. Their gods were usually depicted in human fonn and exemplified many of the same char­acteristics that are found in mortals. A god cou ld become angry and punish the hu­man population or the goo could love a person or group of people and shower them with blessings. Since the gods were considered to have human traits such as anger.jealousy,joy, sadness, lust, pleasure and suffering, people related to them as they would with another person. The gods differed from humans by being much more powerful and also immortal. Therefore, it was in a person's or society's best interest to clUT)' their favor. People sought to in­gratiate themselves with their gods the same way they gained favor with each oth­er; they praised the god and otTered gifts, which they cxpected, would please the gods. Sacrifice was the ritual in which humans communicated with their god through prayers, demonstrated theirdevo­tion by otTering gifts and watched for signs ofthcir god's reply.

Ovid, writing around the year 8 AD, quotes the goddess flora a<;saying, "We, too, are touched by honor; we delight in festivals and altars; we heavenly beings arc a greedy group. Often by sinning man has disposed the gods against him. and a sacrificial victim has been a conciliatory gift for crimes. Often have I seen Jupiter, when he wa~just about to launch his thunderbolts, hold his hand on the receipt of incense. But if we are neglect­ed, we avenge the wrong by heavy penaltics, and our wrath exceeds just bounds." I

Although the religious rituals in the Roman Empire varied widely between cit­ies, gods, and the various mystery cults, the sacrificial act remained the central fo­cus. Depiction of a sacrifice implied picty as we!! as an association with and approv­al from the gods. The government con­veyed this message to the people hy de­picting on coins sacrifices as well as ritual items and symbols associated with the sac­rifice. Occasionally a god was shown as actually being present at the sacrifice. On a dupondiu s of Domitian (Exhibit I) the river god Tiber is shown reclin ing to the left of the altar. The message was that the emperor pleases the gods there­fore, the emperor and Rome are favor­ably regarded by the gods.

The depictions of sacrifice on ancient coins are of two general types, historic and allegorical. Historic occasions such as the anniven;ary of an emperor's reign, dedication of a temple, secular games. or achieving a military victory were cel­ebrated with state sacrifices at which the emperor usually presided. To commem­orate these events, coins were often minted depicting the sacrifice associat­ed with the occasion .

The historic sacrificial type that occurs most frequently on Roman Imperial coins is the VOTA, which translated means vows. A sacrifice was offered when vows were made and again when they were ful­filled. The subject of the vows could be anything that the sacrificant believed was within the gods' power to grant. Vows were made requesting the gods to grant victory over an enemy, a safe journey, to be healed of a physical ailment, or to re­quest that the emperor be granted a long reign. Beginning with Hadrian, a histori­cal type that occurs frequently is the sac­rifice celebrating the completion of ten

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6 The Gelator

years (decennalia) of an emperor's reign. However, the vota are not specifically identified as decennalia until the coins of Antoninus Pius.2 The tradition originated during the reign of Augustus. Tn 27 BC he accepted the government for ten years, in 18 BC for two periods of five years, in 8 BC for another ten years, and in 4 AD yet anothcrten years.) Exhibit 2 illustrates a denarius of Caracalla celehrating the completion of the tenth ycar of his reign. The reverse legend, VaJ'A SOLUT, re­fers to the emperor fulfilling his vows made ten years earlier, to sacrifice to the gods if granted ten years to reign. The scene dcpicts the cmperor pouring a liba­tion on the altar while a bull is about to be sacrificed. The second ritual was the of­fering of a libation accompanied by vows to sacrifice again in ten years if the gods would grant the emperor an additional ten years to reign. The denarius of Septimius Severus illustrated in Exhibit 4 bears the reverse legend, VaJ'A SUSCEITA, the vows are made and shows the emperor pouring a libation as he makes his vows.

The allegorical depictions of sacrifice on Roman coins do not refer directly to a specific event. Their intent is to remind the viewer of the emperor's or govern­ment 's piety and exemplary qualities by depicting a personification a<;sociated with a particular attribute offering a sacrifice. The denarius of Hadrian in Exhibit 5 at­tests to the emperor's sense of mercy when administering his absolute power: The coin depicts Clementia, the embodiment of clemency sacrificing over a flaming altar. Other al legorical sacrificial scenes occurring on Roman Imperial coi ns in­elude: Concordia (harmony, concord), Exhibit 6; Felicitas (happiness, prosperi­ty), Exhibit 7; and Pietas (piety, dutiful­ness), Exhibit 8. As can be seen from these cxamples, many of the depictions of alle­gorical sacrificial scenes were based on a standard formu la. As a result they look very simi lar. Many times the individual personifications can be identified only by a symbolic item associated specifically with them, which they are holding, or the fact that their name appears on the coin.

Most major imperial sacrifices oc­curred in a courtyard in front of the tem­ple of the god to whom the sacrifice was offered. The courtyard was spacious enough to accommodate a large group of worshipers and was sometimes enclosed by a fence or low wall. A large stone al­tar, at which animal sacrifices were con-

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dUeled. was located directl y in front of the temple. (Exhibit 9) When temples were situated in congested urban areas where space was limited. the ahars were built on the stai rs leading into the temple. Because of the position of the altar relative to the temple, detailed depictions of imponant state sacri fices often show the temple of the god bei ng honored in the background of the scene. On the reverse of a scstcr­tius of Caligula (Exhibit I 0). the emperor is perfonning the first pmt of what will be the s..1crifice ofa bull to thedivineAugus­tus Caes..v. In case the viewer failed to recognize the facade of the Temple of AuguslUs in the background, the celators included the abbreviation DlVO AVG (to the divine Augustus) as pan of the scene.

The temple building's primary func­tion was to house a large image of a god or goddess. It literally was the house of the god. Individuals and small groups of worshipers could come into the temple to pmy, ofTer incense sacrifi ces. or donate votive offerings. Because temples con­tained valuable sacred and ritual objccts as well as costly votive offerings. they were fined with heavy bronze doors. which were closed and locked whcn thcre was no temple allelldant on duty. There­fore. the temples were nOl always open for worship. The closed bronze doors of

the Temple of JupiterCapitolinus are clear­ly visible on the reverse of a den(lr ius struck in 78 BC by M . Volteius. (Exhibit II) The large doors. when open, were also the temple 's primary source of il lu­mination. Oil lamps and candles provid­ed a secondary source of light. By 10-

day's standards, the temples would be considered as dimly lighted.

The Roman temples were basically a very large rectangular room made of mar­ble or bricks with 11 high beamed ceiling supporting a roof of bronze or clay ti les. As a result of ils design and construc­tion, any sound created in the temple would echo and reverberate. Thus. the di m lighting. the cool air filled with the scent of incense and fresh Oowers and the echoing sounds combined to creme a sense of spiritual mystery and awe as the worshiper stood before the giant image of the god o r goddess.

A coin issued by the city of Aphrodi­sias during the reign of Gordian III pro­vides a rare view inside an ancient tem­ple. (Exhibit 12) The central focus of lhe temple's interior wa.~ a large cuh statue of the goddess Aphrodite. Using the seated priestess as a unil of measure. the statue appears 10 be approximalely twelve feel high. Directly in front of the goddess is a domed altar in which incense was proba-

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8 The Celstor

bly burned. Virgil provides us with some idca of the aroma of an ancient temple when in the Aeneid he describes a shrine of Venus as, "a hundred altars where Sa­baean incense fumed and garlands fresh­ened the air.'" The scated pricstess. altar and cult statue are on an elevated dais. At each comer of the dais is a smal l column resting directly on the temple's noor sur­mounted by Eros poised on one leg and holding a torch toward the statue of Aph­rodite. There was probably a column supporting an Eros located at each of the four comers of the dais. However. as often happens in numismatic art. the columns located at the two back comers are not depicted in order to avoid clut­tering the design.

Preparations for major sacrificial ritu­als started many days before the actual ceremony. Except for Ihe arrangements to sacrifice animals, preparing for a sacri­fice was very much like preparing for a modem day wedding. TIle services of the priest. attendants and musicians needed to be secured and the temple counyani (lnd altar reserved. Invitations to family mem­bers and fri ends were issued in advance :md. in the case of Slate sacrifiec.~, pub­lic announcemems were made Slat ing the time and place of the sacrifice. If there was to be a shared meal after the sacrifi ce. arrangements for procuring. cooking and serving the food and bev­erages were necessary.

Garlands needed to be made to deco­nile the temple and altar. The garlands draped around the Temple orAugu~1lIs and the altar can be seen in Exhibit 10. The second temple of Jupiter Capitolinus de­picted on a denarius issued by Petill ius Capitol inus in 4 1 Be reveals that the gar­lands could also be suspended velticaliy between the colunms. (Exhibit 13) Each god and goddess had their sacred plant with which they were identilied. The oak tree was sacred to Jupiter. laurel to Apol­lo. myrtle to Aphrodite and ivy to Di­onysus. Therefore, the garlands were made from the leaves of the plant sa­cred to the panicular de ity whose tem­ple was being decorated. Sometimes various types of fruit were woven into the garland as a fonn of offering and a symbol of abundance.

Great eare was taken when selecting :m animal to be offered as a sacrifice. Each god or goddess had very special require­ments as to what type of animal would be considered an acceptable sacrificial offer­ing. The gods. being male, demanded male animals. The goddesses required female victims. Deities of the earth and the underworld insi sted on black animals.

Want Your Ancient Coins Graded, Authenticated and Encapsulated?

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In contrast, Jupiter required a pure white bull. Some gods or goddesses had even more stringent requirements. The earth goddess, Telius, required that a pregnant black sow be sacriliced at a night ceremo­ny.6 No matter which type of animal was required for a particular sacrificc, it was essential that it not be sick, crippled or blemished in any way.

Careful planning for the sacrificial rit­ual was essential because the ceremony had to be perfectly perfomlcd. If the vic­tim was uncooperative, one word was omitted, added or mispronounced, an at­tendant fu mbled or a distracting sowld was heard, the entire ritual was repeated. The Roman writer Plautus, in his comic play, "Little Carthaginian" describes a fellow named Lycus who is frustrated and angry about the expense of repeating his sacri­fice. He is quotcd as saying, "six times today I have sacrificed a lamb, but I have not been able to do one sacrifice that pleases Venus."? To prevent the gods from becoming offended if a mistake occurred during the sacrificial ritual, a preliminary sacrifice called a hosta praecidanea was conducted the day be­fore the primary sacrifice. At this sacri ­fice, thc gods were asked 10 forgive any blunder which may occur during the next day 's ceremony.~

Allhough the sacrificial ritual assumed numerous fonns in ancient times, there was an order of events that could be found in most sacrifices. For many public sacri­fices the ceremony began with a proces­sion by which the priests, altendants, mu­sicians, participants and animal victims entered the temple grounds and ap­proached the altar. The pompa or proces­sion was headed by the liClOTS walking in single lile ordering the crowds in the street to make way for the procession. As a sym­bol of their office, they carried either a fasces which was a bundle of rods with an ax in the midd le symbolizing the pow­er of Rome or a single rod called a virga. If someone failed to stand aside for the procession or show proper respect, the lic­tors would strike them with the virga. Af­ter the lictors came the priests who would preside over the sacrificial ritual. They were attired in white togas unless they were sacrificing to the Moirae or to Terra Matcrin which case they wore a long robe­like garment called a tunica jimbriata.9

A dupondius of Domitian issued to com­memorate the Ludi Saeculares held in 88 AD (Exhibit 14) dcpict~theemrerordressed in a tlInicafimbriata conducting a nighttime sacrifice ofa black goat and a black sheep to the three fates whodetennine human Hfeand destiny known as the Moirae.

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Following the priests in Ihe procession were the various assistants and attendants who would help to perfonn the sacrificial ritual. Freeborn children below the age of puocrty with both parents living assisted the priests by carrying objects to be used in the ritual. The IxlYS were referred to as Camilli and the girls as Carnitlae. The objects which they are frequently depict­ed as holding are a small box containing incense called an acceru, an urceolus which was a small water pitcher, a vase containing wine referred to as apraeferic­ulum or a fringed hand towel known as a mante/e, to be used by the priests for wip­ing their hands . Other assistants inc luded slaves who were responsible for leading the sacrificial animals to the altar and then killing them. The slaves wore only a loin­cloth and a belt from which the case hold­ing the sacrificial knife known as asecespi­ta was suspended. The slave responsible for killing the animal was the popae. In the procession he carried an ax over his shoulder. lbe victimarii weTC the slaves who were charged with keeping the ani­mals under control. This was an impor­tant job because an unruly animal was a bad omen. In the procession the victima­rii led the animals using a short leash. The animals were decorated for the occasion. Pigs were adorned with a broad sash wrapped around their middle. Horned animals had their horns covered in gold, and sacred woolen fillets were entwined around their horns with the ends hanging down each side of their head.

Other participants in the procession included flutists (tihicines) and Ihe lyre players (citharoedi) who provided the background music during the sacrifice. Occasionally, a choir of women or young boys or girls singing hymns to the god or goddess would be induded in the proces­sion . The reverse of a sestertius ofDomi­tian (Exhibit 15) depicts the emperor watching a choir of young boys singing a hymn as they proceed between the Tem­ple of Palatine Apollo and the Capitol. Horace composed the hynm, known as the "Carmen Saeculare," in honor of Apo l­lo and Diana which the boys sang on this occasion.' (l The final and largest group in the procession was the congregation of worshipers. They usually wore white robes as a symbol of their purity and car­ried sprigs of laurel or other symbolic religious tokens.

Because of the sheer numbers of peo­ple involved in sacrificial processions, iconographic depictions of the processions are usually found only on large surfaces such as monuments and the walls of build­ings. Thcy arc rarely found on coins due

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to the space restrictions. Although not a grand procession such as accompanied major public sacrifices. there is a small procession illustrated on a denarius of M. Junius BrulUs struck in Rome around 54 Be. L. Junius BlUlUs killed the last king of Rome in 509 BC and was elected the first Consul of the new republic. Upon assuming office. consuls marched in pro­cession to the Temple of Jupi ter Optimus Maximus on the Capitoline Hill, where a young heifer was sacri ficed. An eyewit­ness account of the ceremony survives in the writings of Ovid. He describes the scene as follows, "In spotless gannents the procession wends to the Tarpenm tow­ers; the people wear the color of the festal day; and now new rods of office lead the way. new purple gleams. and a new weight is felt by the far-seen ivory chair. Heifers , unbroken to the yoke. offer their necks to the axe, heifers that cropped the sward on the true Faliscan plains." liThe denarius in Exhibit 16 shows the new Consul walking between IWO lictors each carrying a fasces. A herald leads the group as thcy proceed to the Temple.

Upon entering the temple grounds, the priest took his position behind the altar, which stood in front of the temple. The various assistants assumed their positions on either side of the altar. Coins rendered with a great amount of detail often show

the facade of the temple in front of which the sacrifice is being petfonned. (Exhibits 10,1 4.17) Ifthetemple in the background can be recognized, the identity of the deity to whom the sacrifice is being offered can often be established. The congregation of worshipers stood in a semi-circle in front of the altar. A herald callcd for silence then requested any person not properly purified (usual! y by washing their hands before en tering the templc grounds) or considered profane in any way, to im­mediately leave the temple grounds. After a brief pause to allow the profane to leave, the musicians, who would per­form throughout the sacrifice, began to play. The music was intended to please the gods as well as mask any distracting sound that would spoil the sacrifice.

If the sacrifice was to be conducted in the Roman style, the priest would usc the fold of his toga to cover his head. Virgil. writing in the first century Be, describes how Aeneas fled the destruction of Troy and was infornled by the priest of Phoe­bus how to get to Italy and where to estab­lish the city that would lead 10 the found­ing of Rome. Upon arriving at the desig­nated place in italy, Aeneas was instrucled to offer a sacrifice to the gods. TIle priest said, "there 10 put up your altars for offer­ings, veil your head in a red robe against intrusions on your holy lires, omen-unsel-

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t.ling sights amid your prayers. You and your company retain this ritual veiling in the future, let your progeny hold to reli­gious purity thereby."12 For this reason, Romans sacrificed capite vc/alO. that is to say with their heads veiled. The coin il­lustrated in Exhibit 10 depicts Caligula sacrificing to the deified Augustus capite velmo. the fold of his toga draped over his head. Domitian is depicted sacrificing graeco ritu or Greek style on a coin is­sued to celehrate the Ludi Saeculares (saccular games) of 88 AD which is illus­tnlled in Exhibit 17. His head is uncov­ered because the sacrifices connected with the Ludi Saeculares were prescribed by the Greek Sibylline Books. Thus the sac­rifices arc perfonncd as graeco ritu.I.l

The ritual opened with a prayer offered by the priest to the deity for whom the sac­rifice was intended. When praying, the Romans raised their anns with their palms facing in the direction of the statue of the god or goddess. Pmyers were usually of­fered while standing. The image of Pi etas standing in prayer before an altar (Exhibit 18) as preserved on the reverse of a de­narius of Julia Domna. demonstrates the correct posture for prayer. Although prayers were usually said while standing, there is numismatic evidence that prayers were occasionally offered while kneeling or even seated. On the reverse of a sester­tius issued by Domitian to commemorate the Ludi Saeculares in 88 AD the Emper­or can be scen dictating a prayer to a few of the 110 malrons knceling in praycr to Juno as part of the ceremony in which a cow was sacrificed. 14 (Exhibit 19) The priestess in the Temple of Aphrodite is shown as making her pmyer from a seat­ed position. (Exhibit! 2)

Many of thc prayers that were recit­ed as part of the sacrificial rituals havc been discovered in ancient documents. An in scribed stone was found that records the prayer to Juno as reci ted by the 110 matrons at the Ludi Saecularic of Augustus and Domitian. The ma­trons' prayer was as follows:

"Juno Regina. If there is any better fortune that may attend the Roman peo­ple, we one hundred and ten mistresses of households of the Roman people, mamed women on bended knee, pray that you bring it about, we beg and beseech that you increase the iX)wer and majesty of the Roman people in war and in peace; and that the Latins may always be obedient; and that you may grant eternal safety, vic­tory and heaJth to the Roman people; and that you may protect the Roman people, and the legions of the Roman people; and that you may keep safe and make greater

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the siale of the Roman people; and that you may be favorable and propitious to the Roman people, to us, to our houses, to Ollr hOllseholds. These are the th ings that we one hundred and ten mistresses of the households of the Roman people, married women on bended k. nee, pray, beg, and beseech.""

Thus the sC$tcnius of Domitian in Ex­hibit 18 speaks to us across the millennia.

At the conclus ion of the opening prayen;, some of which were whispered or mouthed silently because they were considered too powerful for anyone but the priest 10 hear, the sacrificial fire was lighted using a glowing coal from a tcm­pIe hearth or other nearby source. Earlier in the day, the temple attendant carefully :UTanged the wood on the altar. Wood was selected which was either fragrant or sa­cred to the deity for whom the sacrifice was intended. For example, juniper was a fragrant wood and oak. was sacred to Jupiter. The logs were of small to medi­um diameter. Each log was planed nilt on two sides, much like a rough cut board, so Ihat il would not shift and roll off the altar during the ccremony. If the fire were to tumble off the altar, it could be interpret­ed as a very bad omen. Each log WilS spaced so as to allow room for smilll dry kindling. The logs were stacked with each

layer at right angles to the previous layer. The end result was a frrc that could be easily ignited and would bum quickly. The presidingflamen priest, whose name is derived from a word meaning to blow the fire, was probably responsible for lighting the sacrificial fire. ll>

As the fire burned, a camillils holdi ng an accera fil led with incense approached the altar. The priest reached into the box, gathered some incense in his hand and dropped it into the fire as he recited a ded­ication to the deity. The denarius in Ex­hibit 8 shows Pietas holding the accera box in her left hand while she drops in­cense into thc alter fire wilh her right hand. After the incense offering was completed, the camillus holding the IIf­cevlus pou red some water int o the priest's hands so that he could wash them. The priest dried his hands on the mantele, which the cami l/liS ca rried neatly folded over his ann.

Next, the camillus carrying th e praefericllfllm containing undiluted wine approached the altar. A small amount of wine was poured into a flat round bowl called a patera. The priest then proceed­ed to pour the wine from the patera onto the fire. As he did so he recited a dedica­tion to the deity such as, "Jupiter Drt!Xtlis, be honored with the offeri ng of this sacri-

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fice , be honored with this sacrifici al wine." " It is this pan of the sacrificial ceremony which appears most frequent­lyon Roman coins. At the conclusion of the wine offering, the priest once again washed his hands.

If the sacrifice was 10 be bloodless, small sacrificial cakes made of cheese, meal and salt would be offered on the altar as the priest recited the ded ication. This was fo llowed by a closing prayer after whi ch the priest declared that the sacrifice had ended. However, if the sac­rifice was to be a blood sacrifice, the ceremony continued after the wine liba­lion with an intricate ritual involving the ki lling of the victim .

The slave assistants performed the messy job of kill ing and butchering the animal. The victimarius led the sacri ficial animal to the altar. The victim was puri­fi ed by using an implement called an a.5-pergillum or a small branch of a plant to sprinkle water on the animal. The re­verse of a dcnarius struck by the mon­eyer A. Postumius Albinus provides an illustration of a priest purifying an ox fo r sacri fi ce at the temple of Diana on the Aventine before the battle of Lake Regil­Ius.' I (Exhi bit 20)

Purification having been completed, me animal was made sacred by anointing its head with wine and mola salsa, which was a salted nour, made by the Vestal Virgins from the first grain of the harvest.' 9 This stage of the sacrifice is referred to as the inunolation. The prayer recited during the immolation marked the poin t a t which the animal was given to the gods. It was believed that during the immola­tion, the gods could alter the entrails of the victim in order to send a warn ing of an ill Omen to the worshipers.20

Sheep, goats and other small an imals were killed by cutt ing the ir throats. However, a large victim, such as a bull or a cow, was dispatched by the Popae wi th one swift blow of his axe. (Exhibit 2) With the cervical ver1ebrne severed, the partiall y paralyzed animal collapscd beside Ihe a ltar. Its throat was slit and some blood collected in either a patera or a small vase called a culuflus. The blood was then poured on the altar as a sacrifi ce.2 ( Thc reverse of a denarius struck by Caracalla to celebf11te the com­pletion of the tenth year of his reig n, depicts the emperor pouring a sacrifice of blood onto the altar. Behind the a ttar can be seen Ihe body of a dead bull ly­ing on the ground . (Exhibit 3) The de­narii in Exhibits 2 and 3 are interesting because they provide two views at dif­ferent times of the same sacri fic ial cer-

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END OF SALE

April 2003 15

emony. In Exhibit 2, the bull is about to be killed. In Exhibit 3 the bull is dead and Caracalla is pouring the blood sacrifice.

When the animal was dead, the vicli­marius cut open the victim so that its or­gans could be examined by a har!/.Ipices. This was an individual who was trained to predict the future and interprelthe will of the gods by inspecting the color and condition of the entrails of sacrificial vic­tims. Cicero provides some insight into this process when he writes, "They regard the cleft in the lungs as a matter of vital importance to our property and our very life; they investigate the top of the liver on all sides with the most scrupulous ex­actness, and ifby any chance thcy cannot discover it, they affinn that nothing more disastrous could have happened.""

If the haruspices could find no flaw in the victim's entrai ls, he declared the sac­rifice to be litatio, or accepted. The victi­mari were also skilled butchers. Much like modem butchers, they skinned the animal and sliced it into various cuts of meat for cooking. Surprisingly, the por­tions of the animal burned on the altar as an offering to the gods were the inedible parts, namely some of the entrails and bones wrapped in fal. The choice cuts were cooked and consumed at a feasl in which the worshipers participated. The shared feast concluded the ceremony af-

Edward J. Waddell, Ltd. Ancienl Coin

ter which the worshipers returned to their homes. Any left over meat was either giv­en to the participants to takc home or sold in the local meat markets. The bucranium or skull of the animal with its gilded homs was carefully cleaned and presented to the individual who sponsored the sacrifice. Bucrania were proudly displayed on the outside wall s of Roman homes as a sym­bol of the family's piety. They were also used as symbolic decorations in temples. The tetrastyle temple with balustrades on the reverse of a follis of Maxentius has two bucrania suspended from the rafters, one on either side of the temple door. (Exh ibit 21)

The Greeks produced many scenes, primarily on their pottery, of the cooking orthe sacrilicial meat and the banquet that fol!owed. However, there are very few examples of this part of the sacrificial cer' emony in Roman mt. The Roman art of sacrifice focuses primarily on the emper­or as pontifex maximus in tbe act of pouring a libation. This motif was ex ­tended to include gods, goddesses, and personifications also depicted as offer­ing a li bation. Thus, the libation scene is the most common representation of the sacrificial ritual on Roman coins.

Not all sacrifices occurred in the vicin­ity of a temple orrcquired an altar. A cel­ebration known as the Parentalia was held

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16 The Gelator

each year to honor dead ancestors. Every family was required to visit their ances­tors' graves to offer small gifts of food and flowe rs and to pour libations while greet­ing and blessing the dead. Ancient writ­ers attribute the origins of this tradition to Aeneas honoring his father's spri t. In the Aenead, Virgil describes the scene: "Ae­neas made his way to the funeral mound. Once there, he poured the rituallihations: two of wine, two of fresh milk and two of victims' blood, then cast down purple mouming flowers and said: I greet and bless you, sacred father, bless you, ashes and shade and soul."?)

The reverse of a dupondius issued by Claudius, shows the emperor standing, head veiled, about to pour a libation onto the ground from a simpulum which he holds in his right hand. (Exhibit 22-A) The lovely portrait bust of his mother, Anto­nia, on the obverse sidc of the coin makes it clear to whom he is offering the sacrifi­ciallibation. (Exhibit 22-B)

The Parentaiia celebration began on February l31h when a Vestal Virgin per­formed the ritual at the tomb of the Vestal Tarpeia21 and concluded on the 21 ~ with a fami ly feast. When the goddess Vesta appears on Roman coins. she is frequent­ly depicted as holding a simpulum and no altar is present. (Exhibit 23) Although in most sacrificial scenes libations arc poured from a patera, the numismatic evidence suggests that the simpu/um was the appro, priate implement to usc when offering a libation to the dead.

In addition to the depictions of sac­rifices, ancient coins also illustrated the objects used in the sacrificial ritual. To the ancient observer, these objects clear­ly impf ied the message of piety through sacrifice.

The reverse of a denarius issued by Juli us Caesar (Exhibit 24) presents an image of the axe (securis) used to kill the sacrificial victim, the sprinkler (aspergil­lum) and a dipper, known as a simpulum, which was used to pour libations and was the symbol of the college of preists known as the pontifices. The coin also provides an excellent illustration of the unusual headgear called an apex, which was worn only by a flamen priest. The in­clusion of the apex on the coin along with the other sacrificial implements served to remind the people of Caesar's membership in the various priestly col­leges and his role as Pontifex Maximus as well as attest to his piety.

The denarius struck in 17 BC by Au­gustus in the name of his grandson Gaius on the occasion of the Secular Games (Ex­hibit 25) contains additional symbols re-

DR.B usso PEUS NACHFOLGER

NUM I SMA TI STS AND AU CTONE ERS

S I NCE 187 0 wou lJ lik e 10 a llll Ounet:

PUBLIC AUCTION 374 Apri l 2:l, 2003

CHEEK, R{) iUAN AND HYZANTl i\'E CO INS

fel.turing a lal'ge an d import ant sel ect ion of

Roman He publi call coi ns fro III two well known Ger man co ll ec li ou ~ alld 1\ Illq;:e (;o ll ectioll of coin s

of th e Roman Empire with specia l empha sis 011 portl'ajl ~ of impe ria l ladies .

and

PUBLIC

AUCTION 375 April 24 -25 , 2003

MEDIEVAL AN D MODERN COI NS felltur in g a large sel ec tion of German hra c lt!al cS

alli l ;1 ve r y iml)o r-ta nl collec ti o n of ElI l'o pean baroqll e- lIlt: ~-tal s .

•

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DR Bus S 0 P EUS NACHF BO RNWIES ENWEG 34, 60322 FRANKFURT AM MAIN

TEl. 069 · 95966 20 FAX 069 · 55 5995 WWW.I.E US- .\I UENZEN.D E

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April2003 17

lating to a sacrifice. Around the pcrimcterof the reverse is a wreath of foliage which in~ corporates three paterae (shallow offering Ixlwls with mised centers) and two bucrania located in the upper left and right sides. The central feature of the reverse is a large in­censebumerfrequently referred to in numis­matic literature a~ a "candelabra". On a de­narius ofDomitian, a similar incense bumer appears octween a cippus and a herald which announced the secular grunes of 88 AD. (Ex­hibit 26) "The incense burners were part of a temple's interior fumishings. They were as­so:::iated with the sacrificial ritual because they were used to make personal offerings of in­cense to the gods. The Romans did have can­delabras, which resembled the incense bum­ers except that instead of a large cup at the top, they had a series of sharp triangular hor­izontal protrusions upon which the base of candles could be impaled.

A denarius of Max..imus, son of the Em­peror Maximinus, snuek during 235 or 236 AD proclaims "PIETAS AVG" (the piety of the emperor). "The reverse, illuslrated in Ex­hibit 27, provides cXlmlples of three addition­al sacrificial implemcnl<;. Inthecenterofthe grouping stands a culullus or pitcher from which the sacrificial wine was JX)ured. Lean­ing against the left side of the culullus is the sacrificial knife known as asecespita. To the extreme left is a lituus. A college of priests

known as the Augures was responsible for reading and interpreting the signs sent by the gods. The li tuus was a curved staff that an Augur used to divide the sky into quadmnts when observing a night of birds or a light­ning storm. Dcpcncting in which part of the sky and from which direction the birds flew or the lightning flashed, the Augur would declare it to oc a good or bad omen. The liulUs was the special emblem of theAugures and wa~ carried by them as a symbol of their office. A denarius struck by the moneyer L. Pomponius Molo, depicts Numa Pompilius, the second king of Rome and founder of the pliestly colleges, holding a lituus a<; he pre­pares to sacrifice a goat.2 ~ (Exhibit 28)

In addition to the liruus, apex and simpu­lum, the reverse of an G.'U'ly denarius of Car­acalia prominently displays a bucranium with fillets banging down both sides oftlle skull. The priestly emblems referto the pliesthood conferred u]X>n Caracalla as Caesar by his father, the Emperor Severns. (Exhibit 29)

Hundreds of thousands of sacrifices were conducted every day in the arx:ient Rom,m Empire. Most were bloodless sacrificcscon­ducted by local priests or he.tds of house­holds. Pious Roman frunilies presented dai­ly offerings of wine, food. or incense at a small altar. which was a standard feature of most Roman houses. However, it was the elabomte state sacrifices at which the em-

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18 The Celatar

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peror presided as Pontex Maximus that were captured for posterity by the ancient celators. These coins conveyed the mes­sage, "PIETAS AUGUSTl."

Endnotes I Ovid- Fasti - Book V lines 297-304,

Loeb Classical Library #253, pg. 283. 2 Ryberg, I. Scott - Rites of the State

Religion in Roman Art. pg. 179 - Mem­oirs of the American Academy in Rome, Vol. XXII, 1955.

J Stevenson, Smith, and Madden - Die­tionaryo/Roman Coins, pg. 902, VOTA­Scaby Ltd. (reprint) 1982.

• Ferguson, John - The Religiolls of the Roman Empire - Cornell University Press 1970 pg. 73.

S Virgil _ The Aeneid - Book I, lines 570-571.

6 Ibid. pg. 176. 7 Plautus, "Little Carthaginian", lines

449-466. ~ Turcan, R. - The Gods of Ancient

Rome, pg. 9. 9 Ryberg, pg. 175. 10 Ibid. pp. 176-177. 11 Ovid- Fasti, Book I. Lines 79-84 12 Vir<Jil - The Aeneid - Book III, lines

546-552. 1.1 Ryberg, pg. 176 14 Ibid. pg. 176. IS Beard & North - Religions of Rome,

Vol. II , pg. 142. 16 Guhl & Koner - The Romans, Their

Life and Custom~, pg. 535. 17 Lewis & Meyer - Roman Civiliza­

tion, Vol. L, pg. 144. (Cato- On Agricul­ture, pp. 33-82.)

18 Seaby _ Roman Silver Coins, Vol. 1 pg.82.

19 Beard & North - Religions o/Rome, Vol. I , pp. 53-54.

10 Cicero - On Divination, Book II, 15-16.

11 Guhl & Koner _ The RomallS Their Life alld Customs, pg. 545.

II Cicero _ On Divinatioll, Book n, 13. 1:< Virgil _ The Aeneid - Book V, lines

98-106. 2~ Fowler, W. - Roman Festivals of the

Period afthe Repuhlic, pg. 306. 2S Cain-Stefanelli _ Life In Republican

Rome on its Coinage, pg. 33.

About the author- 101m Bitner is a Senior Vice President and the Chief lnvestment Ot~ ticer of Eastern Barlk, Boston. He has long been interested in archacology and ancient history. Ancient coin collecting serves as a focus for his exploration of the origins of rnooem ocliefs, traditions and symbols. John is a member of the Society Historia Nu­morum, an active group of ancient coin collectors in the Boston area.

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Exhibit l - Domitian dupondius, RIC 383

Exhibit 5-Hadrian denarius, RIC 117

Exhibit 9- Elagaba/us, Tyre, IE 27, Cf. SNG Cop. 366

Illustrations (All photos by Ri chard Wing)

Exhibit 2-Caracal/a denarius , RIC 205

Exhibit 6-Aquilia Se vera denarius, RIC 225

Exhibit 10- Gaius Caligu/a sesler/ius, RIC 44

Exhibit 3- Caracal/a denarius, RIC 204

Exhibit 7-Julia Maesa denarius, RIC 271

Exhibit 1' - M. Va/teius denarius, Syd, 774

Exhibit 4-Septimius Severus denarius, RIC 309

Exhibit 8- Faustina Senior denarius, RIC 3948

Exhibit 12- Gordian /If, Aphrodisias, IE, BMC Caria

pg. 46, 126

Exhibit 13-Petillia denarius, Syd. 1151

Exhibit 14- Domitian dupondius, RIC 381

Exhibit 15-Domitian sestertius, RIC 379

20 The Gelator

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Exhibit 16-M. Junius Brutus Exhibit 17- Domitian as, denarius, Syd. 906 RIC 385a

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22 The Celator

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Byzantine 101 - Part 1 by Prue Fitts

The fall of the Roman Empire in 476 is spoken of as a singular event, as if Rome suddenly collapsed like a sou ffle and Constantinople and the Byzantine Empire rose immediately from its ash­es like the mythical phoenix . Rather, it was power and focus flowing from the West to the East over a long peri­od oftimc. What we call " Byzantine" is a relatively recent modern term dal~ iog from the! 7Lh century and derived fro m the city of Byzantium (later Con­stantinople).

sus, a province now known as Yu­goslavia. His father, nicknamed "Chlorus the Pale", was the Cae­sar' in charge of ma intaining Rome' s authority in Br itain . Trained in the court of Dioclctian:

The stage for Byzantine history and its coinage was set at the beginning of the 4th century. Heavy Roman taxation stressed the Mediterranean economy and the Empire had been d ivided into West and East Sectors with an Emperor in cacho The capitol of the West had been moved to Milan in order to defend against pressure from the North.!

Constantine was proclaimed Au­gustus after the death of hi s father in 306. A popular leader, he wait­ed a decade to consolidate his pow­er by battling his brother-in-law, Maxentiu s, another Augustus. An unsubstantiated legend states that he saw a sign in the sky with the inscription, "By this sign, you will conquer." The sign was the Chi (X) Rho (R) for the fi rst two letters in Christ's name [sec Fig. 2]. Con­stantine put this insignia on the shields of his soldiers and did in-

Figure I-The reverse of a gold medallion of Constantine the Great.

Into th e Rom an world was born Constantine/ [see Fig. 11 born in Nais-

deed conquer at the Milvian Bridge as Maxentius' troops fe ll literally into the river when the bridge collapsed; thus , he became mastcr of Europc from the Atlantic to thc Adriatic. The Christian symbol assumcd a signi ficant place on Byzantine coinage as well as in their ceremonies as it became the "Iabarum".

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24 The Gelator

Certainly some of the credit for his attraction to monotheism belongs to his mother, HcJcna,$ who found a piece of the True Cross while on a pilgrimage to Jerusalem at the age of 80. In a time and place where paganism had a god for ev­ery hour and sneeze, hi s conversion is nothing short of earth shaking. He is­sued coins in 310 showing one god and permitted Christians to practice their religion openly without fear of pcrse­cution and wi th recogn ition of their legal rights. Sunday was legitimi zed as the Sabbath.

Equally momentous was Constan­tinc 's decision to move his capital away from Rome whose borders were increas­ingly threatened. The ci ty was besel with economic and sanitation problems - its popu lation left in droves to escapc rampant malaria. An opportunity to build a Christian Capital with an East­ern orientation in a time when his elit ­ist society would be in cl oser touch with the great academic tradit ions in Alexandria and Antioch eou ld not be postponed.

Byzanti um was prime real cstatc. A naturally defensi ble site, it would serve thc Empire well unti l late in its history. The onl y vulnerable (no rthern) s ide would eventually be fortified by thirtccn miles of walls with 50 guarded gates . Commanding the entrance to both the Black Sea and the Mediterranean lsee fig. 31, it controlled the major caravan roulcs from India, Persia and China.

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April2003 25

new city was fin ished. as commanded, fo r Constantine's silver jubilee in 330. Dedicated on May 11'\ a Monday. the population, estimated as high as 200.000 reveled for 40 days in the renamed ci ty ofConstantinopolis.6 Large sil ver coins were struck for the occasion. Hi s capi­tol was a twin of Rome ; it has the same

Figure 2- A Chi-Rho Symbol as part 01 an ankh.

tertainmem. An oval marble Forum dis­played a 20-foot tall plinth in the center containing a polyglot collection of rel­ics includi ng baskets with the leftovers from Jesus' feeding of the multitudes. A Law Court with a stele proclaimed this to be the New Rome and. of course. a mammoth Palace. The Ch urch of 51. Eirene was the first great Chri s tian church to be built.

one- th ird) , it rema ined as co inagc throughout the ex istence of the Empire. The silver mi/iareme was fi rs t struck during his reign but was not a common denomination until a later Constantine (V) introduced the type with a cross on three steps. Coppers were not in com­mon usage at this time.

Drawing by the author.

This. then, was the stage on which the Byzant ine Em­pire played out its fascinating. color­ful and frequently violent history. Cit­ize ns spoke Lat in and cons id ered themse lve s \0 he Roman s. Th ere were already flour­ishing mints in An­tioch and in Thessa· lonika. The coin - Figure 3-Map 01 Constantinople age of the time was

munici pal system of 14 districts. There was a Senate house;1 a Hippodrome with labyrinths of offices, apartment s and baths. and the arenas for chariot rac­es and wild animal fights for pub l ic en-

late Roman. Constantine introduced the solidus whose full weight of gold was 24 carats and struck 72 to the pound. In fract ional form (the sEmisses was one half the solidus and the tremissis was

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26 The Gelator

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The reign of Anastasius (491-518) Isee fig . 4J is generally considered to be the start of Byzantine coinage. An older man and unlike ly candidate for Emperor a~ he was not of royal blood, hi s appointment was ensured when he married the widow of the pre vious Emperor. Zeno. His most important contributions were a stunning increase 10 the treasury of 300,000 pounds of gol d, and the introduction of a series of low denom ination bron ze coins in 498. The series consisted of th e 40 nummi (M=fo lli s); the 20 nummi (K= half fo llis): the \0 nummi (l = de­canumm iu m) and the 5 nummi (E = pentanumm iu m). The o bve rse re­mained the same with the profile por­trai tu re and the inscription but the re­verse used a Greek leiter to indicatc the val ue in nummi {see fig. 5],

At this ti me. man y Roman mints had ceased operating except at Con­sta nti nople and Thes salon ica. Wit h new coins. Nicomed ia was revitali zed and within four years Antioch minted the new bronzes struc k on the "small modu le" standard. The foll is was about 23-27 millimeters. However, for the last six years of An astasius' reign, the sizes were increased by 10 mm.

Hi s successor, Jus tin I (5 18-27) was an ill itera te peas ant, a career mil­itary mans who was cl ever enough to insinuate enough support in the Sen­ate for his elect ion. Generally over­shadowed by the sole and dyn amic

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April2003 27

reign of his nephew, Justinian, he made a major change in the design of the reverse of the solidus from the tra­ditional fema le Victory to a male An­gel in 5 19. The figure kept the same accoutrements, i.e. , holding the long

Figure 4-An obverse of a follis of Anastasius (from the author's col­lection).

staff with Ihe Chi-Rho or a wreath or globus crucifer. The globe, the tradi­tional representation of authority, now carried a cross above il to show the second role of the Emperor as head of Church as well.

Justinian (527-565) dominated the 6'" century. His wife, Theooom had beauty,

grace, wit and an iron wi!! r see lig. 6J. Never mind that she also had a past. It was she who convinced the Emperor to stand finn as he contem­plated fleeing his burning city in 532 when factions norma lly warring against each other, joined to ca!! for bis ouster. "Evelyman who is born must die ... if you wish to save your skin, you will have no difficulty in doing so ... but as for me, I stand by the ancient saying, the purple is the noblest winding sheet." 9 He stayed.

Justinian rebuilt his burnt city and crowned it with the largest Christian church in the world, the SI. Sophia. Designed by the famous Greek en­gineer,Antemius, and his colleague, Isador, it remains to this day one of the greatest structures in the world, with a dome of 107-feet in diame­ter. with 40 windows, smu'ing 160 feet ahove ground level [see fig . 7, which shows the modern additions of Muslim towers].

As Emperors before and after, Justinian considered his primary duty to restore the Roman Empire

Figure 5-Clockwise from top: Reverse of a tollis (M=40 nummi); a decanummium (1=10 nummi); half~follis (K=20 nummi); 4 nummi (J=4); and in the center a 1 nummi piece. (All coins from the author's collection). to its original 2"" century boundaries.

Using the vasltrcasUlY left by Anas­tasius, he increased the Empire's bound­aries to Spain on the West, reclaiming

much of italy, and North Africa to the South. The Empire would never again be so extensive.

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(Ar): the 6 nummi (S) and the 3 num­mi (n were struck at the mint at Al­exandria . The 12 nummi (dodecanum­mium, IB ) became the standard coin of the Egyptian mint and was struck only Ihere . The pay for a soldier dur­ing this time was 3 solidii (paid every three years). Using $ 11,000 as a base point, Chris Connell has estimated that each so lidus was worth the equivalent of $3,600. One solidus = 180 folli = 7,200 nummi. Therefore, I nummi was worth about 50 cents. Justinian add­ed the regnal year of the emperor as part of the design , usually on either side of the mark of value [see fig. 8J. This remained the pattern on copper for the next three centu ri es. In 538/9, he introduced the 3/4 facing bust on the obverse, which became synony­mous with " Byzantine" posture, though the Roman profile bust contin­ued into the 7'" century.

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28 The Gelator

His successor, Justin II (565-578) and Empress, Sophia, were shown en­throned side by side [see fig. 9J. Dou­ble figure and even triple figure obverse types became common in the 7m centu­ry. Silver was being produced althe new mint at Ravenna in great quantities and with several reverse Iypes, though it re­mained rare in Constantinople.

Forced inlO a losing war againsl lhe Avars in Dalmatia and stressed by the treasury emptied by his ambitious un­cle, Just inian, Justin II 's mind coll apsed. On his good day s, he rode in a cart around the palace; on bad days, he bi t those who had the bad luck to be guarding him. Sophia, un­able to cope alone, enlisted the aid of Tiberius, a General to Caesar. In 578 for a scant nine days, the two ruled jointly be­fore Justin died and there are actuall y two issues fro m this time, bOlh very mre: a .\"alidus and a light weigh, solidu.s, each showing the two faces with a cross between their heads and an angel on the reverse.

his coins from the time of his appoinUllcnt as Caesar, rather than as Augustus, there­by adding four years to his reign.

Maurice Tibe rius ' (582-602) suc­cession was ens ured when he married Tiberius' dau ghter. His coinage re-

lie games. Silver ceremonial pieces were issued at the same time as the regular sil­ver currency up to the early 8'" century.

Theod os iu s was t he fir st so n born to a reign in g empe ror in twO centuri e s and there was much rejoic­

ing in the kin gdom. H e jo int ly reigned with his fa­ther fro m 590 to 602 and a ppea rs on the foll is and the hal f-fo ll is with his fa­ther and mOl her, Cons ta n­tia, Oil the obverse. Thcre are rarc go ld 'O and silve r coins from thi s period , too {see fi g. 11 1. On e s ilver coin show s h im o n the ob­ve r se w ith the le ge nd, AMEN ITAS DEI, tran sla t­ed as " the de li ght of God . s urely a referenc e to his yout hful appearance.

Tiberius, now II, added Con.,ta ntine to his name. He was a popular ruler who sU'Cngthened theAnny. Hc pro­duced a huge one-pound medal­lion. made of gold, nonc of

Figure 6-A mosaic depicting the Empress Theodora . Into this seemingly, hap­

py family picture. ente r Pho­cas. one of the emperors who

gave the noun, Byzantine, new mean­ing in cruelty and violence.

which are known to survive. He introduced a cross-potent on four steps on the reverse of the solidus [see fi g. IOJ. which some­times was composed of dOls. The semis­sis and the fremiuis also show a cross potent with or without a circle beneath, depending on Ihe issuing mint. He dated

verts to the ange l image on his solidi and a new Vic tory advancing on lhe reverse on the Iremisses. His coins arc di slinguished by their very Roman sym­bols of authority: the robe and scepter and the mappa, a napkin- like piece of cloth used to signal the start of Ihe pub-

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April 2003 29

My profoulld thanh' /0 Chris Con­nellfor his reading of tIle originalll/(lfw­script and advice anti corrections. Any errors extant are my OWII.

Endnotes

zero. based their ari thmetic calculations o n the number 20.

2ConsidercJ by many to be one of the four greatest men in history; the others being Jesus, Buddha and Mohammed.

3 Th e ti tle"Caesar" was conferred o n those who wc re seco nd in com ma nd to "A u g us t u s", whic h was equ iva lent to " Em­peror" .

• Dioclet ian who ru led f rom 28 4-305, o rdered all books which we re writt e n abou t the fashionin g o f gold. s il ve r a nd copper bu rned , in an effort to p revent cou nter­fei tin g.

Figure 7- An artist's dra wing of SI. Sophia

S An Innkeeper 's daugh te r, and pe rh aps so methin g more comfo rtin g to Travel ers, s he was badly treated by Co nstan­tine 's father. she is cred ited

I Timel ill e: Elsew here in the world , Nco Taoi sm was developing an d the earlie st Ch ri stian mona sti c o rd ers were be in g es tablished in Egypt; Runes in Ge rmanic script we re touted as mind puzzles and magica l charms: much of Nort hern Ind ia had been united under Cha ndra Y..!ull..a: the Mayans, the fi rs t to use a sy mbol fo r

wit h begi nn ing the trad itio n of a ·'pil g rimage" . The True Cross she di scovered was proud ly di splayed in his new ci ty.

6 Po lis meaning c ity: therefore. c ity of Constanti ne.

7 FUllctioning in concert with the o nc in Rome.

I A not un common com bina tion in successio n.

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30 The Gelator

Kingdom of Parthia Bagasis, 127-126 Be.

Tctradrachm

AR, 15.86 gm, Se1cucia mint Obv. Long bearded bust to right in diadem, fi lleted border. Rev. Demeter enthroned 10 left, holding Nikc in right hand, comucopiac in left. neirod supporting throne, to right. BA1:lAffiL 10 left [A jPI:AKOY. S.-. Sellwood IS.I,Le RidcrSusc. Pl.Lxxi.l-2. BMC-, Shore -. Some minor porosity at edge. otherwise good very fi ne and ex­Ifemc ly rare. Sec CcialOr Jan llary 2001 ........ ..... ........ ........ .. .. . US$ ]800.00

~ Hislory oflhe War, J, xxiI'. 33- 7 by Proco pius. Thi s hi storia n-d iarist from who m we get much of o ur Byz­ant ine h istory, loat hed Theodora but dutifu lly repo rted her ra llyin g specch.

Figure 8-The reverse of a (ollis show­ing the value o( the coin (M) and reg­nal year (XII). (From the author 's collec t ion).

10 Reflects the m ilitary a ttire of his fathe r.

This series of articles first ap­peared ill tlte Womell III N llmismat· ics ( WIN) J ourllal.

About Ih e author- Prue Fitts is an acti ve collec tor of Byzan tine coin­age re s idi ng in Massac hu se lls. She is a fo unding member of the Asso­c iat io n o f Ded ic ated Byzan tine Co l­lectors (A D Be), and she is an ac ­tive vo lunteer at co in shows, bot h nati ona ll y and loca l. Co ll ectors in ­tere sted in finding ou t more about ADBC ean contac t P rue a t P.O. Box 644 , Fra mingham. MA 01704 o r by e-ma il at Tha lassa@ao l.co m.

Figure 9- An obverse of a {ollis depict­ing Justin and Sophia . (From the author's collection).

Figure 10- The reverse of a gold soli· dus of Tiberius II Constantine depict· ing a cross potent on three steps. (From the author's collection).

Figure' I-A gold solidus of Theodosius. (From the author's collection).

New York International Numismatic Convention Announces Website

MILWAUKEE, WI-Kevin Foley, Bourse Chairman of the January ' , tI., Btl, 2004 32'"'" Annual New York International Numis· matic Convention, to be held al the Waldorf Astoria Hotel, has announced that infor· mation about the world and ancient col­lecting event is now available at the show's website, nyinc. info. Foley said, 'With 95% of our booth holders having already re­newed immediately after our January 2003 show, we've posted all the details about our event ()(l the nyinc.info website. Visi­tors to the si te will be able to find a list­ing of the booth holders who've signed up to date, the complete Schedule of Events for the New York International, our auction viewing and auction session schedules as well as information about how to contact our official auction com­panies to include their holdings in one of our sales. An exceptional feature of the NYINC is that we'll have auctions covering various aspects of world and ancient numismatics going from Mon­day, January 12 through Saturday, Janu­ary 17. In addition, site visitors will be able to access information about our

special discounted room rates at the Waldorf Astoria as well as information about how to obtain preferential fares from Northwest Airl ines to travel to the NYINC.~

Foley continued, "Our nyinc.info site also includes other information of interest to our attendees, such the locations of nearby United States Post Office facilities, FEDEX offices and Kinko's outlets in ad­dition to nearby office supply stores. We've tried to make the site as useful as pos­sible to our anendees."

Dealers specializing in world or ancient numismatics who would like to have booth space at the NYINC can have their names added to the waiting list by calling Foley at (414) 421 -3484 or bye-mai l at kfoley2@wi.rr.com.

Say you saw it ill

The Celator

AUKTIONSHAUS H.D.RAUCH VIENNA Auction 71 - April 28th_30th

The auction catalogue is in three parts and covers: 1- Ancient coins (about 1200 lots covering Celtic coins, Persian,

Roman Provincial coins, especially from the mint of Alexandria; a selection from an old Roman collection also)

U - World coins from the Middle Ages until today, including a small collection of the coins of Tuscany, 18-1 9" century, in excellent condi tion, and a Russian collection as well as historical medals

III - Decorations and medals, about 700 lots.

You will find the catalogues onhne under www.hdrauch.com. Please order the appropriate printed catalogue now (subscription fee $200.-)

H.D. RAUCH GMBH, Graben IS, A-I 01 0 Vienna, Austria

e-mail : offi ce@hdrauch. com; Tel: 01143 I 53333 12

April2oo3 31

[~:~~~~~~!~~l!I~!T!~~~~~~=~~~] Elwood Ra:fn Receives Outstanding Club Member

From 1\vin Cities Ancient Coin Club 5T. PAUL, MN-Elwood Rain,

a long-time member of the Twin Cities Ancient Coin Club, was pre­sented with the club's Outstand­ing Club Member award al the organization's meeting on Febru­ary 27'h. The surprised and de­lighted Rain graciously accepted the award from club president Steve Antonello, and remarked "I've always felt thai I've gotten more oul of the club than I've put into it."

Mr. Rain has been an active member of the club for many years, serving as President and Vice President on numerous oc­casions. The award was given as a smaliloken of appreciation, not only for Elwood's service to the

Elwood Rafn (left) receives the award from club president Steve AntoneI/o

club, but also to thank him for acting as a mentor to many of the members as their interest in ancient numismatics grew.

The Twin Cities Ancient Coin Club has been active since the early 1960's. The

(Photo courtesy of the E. Tomlinson Fort "Memorial" Library)

f)rofile5 in jFl umi5matic5

Edward Gibbon 1737-1794

Edward Gibbon is a name familiar to every student of Roman history. His monumental work, The Hi.\­lOry of the Decline and Fall of Ihe Koman Empire, despite its many critics, is still regarded as "the source" for modern readers. t\lthough disenchanted as a student at Oxford, Gibbon spt:nt five years at Lausanne, where he ahsorhed a tremendous volume

of Latin classical li te rature. Unlike many great writers and anists. he was regarded in his own time as one of the world's great historians, and received many honors includ­ing the title "Professor of Ancient History at the Royal Academy". Gibbon was one of the first historians to use the inscriptions on ancient coins as historical evidence. He had read books by Addison and Spanheim, and spent many hours studying ancient coins in the museums where he travelled. In hi s journal, Gibbon commented that through the inscriptions on coins "we can often explain. confirm, and correct even the hislQrians. " (In fact , he wrOle "A Disscrtation on the Allegorical Beings Found on the Reverses of Medals", in response to Addison. Gibbon did not publish th is disser­tat ion during his lifetime, but those interested can read it in the current issue of The Asylum, Winter 2003, Vol. XXI, No. I , pp. 2-7. The Asylum is the official journal for the Numismatic Bibliomania Society, David Sklow, Secretaryrrreasurer, P.O. Box 76192, Ocala, FL 34481 .)

This feature is provided courtesy of George Frederick Kolbe Fine Numismatic Books, Crestline, CA 92325

32 The Gelator

club meets monthly at Immanuel Lutheran Church, 104 Snelling Avenue, in SI. Paul, Minnesota. For more information , contact club secretary Art Noot at anoot@pctcnet.net.

Dr. Charles Weber Collection To Be Sold By CNG, Inc.

LANCASTER, PA-The extensive collection of Charles E. Weber, Ameri­can Numismatic Association (ANA) Life Member 285, is to be sold by Classical Numismatic Group, Inc. of Lancaste r, Pennsylvania and London, England .

Dr. Charles . E. Weber died in De­cember of 2002. He was a Professo r of German ic Languages and had held professorships at the University of Mis­souri, Lou isiana State Un iversity and the University of Tulsa from where he retired in 1982.

Dr. Weber was an enthusiastic t rav­eler, a careful historian , a devotee of the arts, and a passionate collector of coins. He became seriously interested in numismatics in 1939, when he pur­chased a few Roman coins from the famous Cincinnati dealer Sol Kaplan . In 1945, whi le working for U.S. Military Inte ll igence in the U.S. Army, he met Frankfurt dealer Dr. Busso Peus who became his numismatic mentor and introduced him to German coins.

Dr. Weber became a life member of the ANA in 1956. Over the years he contributed frequent articles and book reviews for the Numismatist, the ANA's monthly publication. His literary efforts were recogn ized by Heath L iterary Awards in 1963, 1965, 1971 and 1979.

Dr. Weber frequently exhibited his coins, and his exhibit on Ind ian gold coins won first prize at the ANA con­vention in SI. Louis in 1970. In addi­tion to Indian and German coins, his collecting interests covered the span of numismatics - from ancient to mod­ern times.

Continued on page 36 .

~~=::::~ii!~~lE!:~~~!i::::::] Leu Numismatics To Auction An Athenian

Gold Stater In Their May Sale -----------------

by Ursula Kampmann

ZURICH-Up for sale al the next auction of Leu Numismatics Ltd. in May 2003 is a small Athenian gold coin thaI was minted when Athens was near fi­nal defeat in the long Peloponnesian War against Sparta. Since the flower of the Athenian youth had died of hunger and thirst in the quarries of Syracuse, the fortunes of war had left Athens , and by 411 it seemed that it on ly needed a final effort for Sparta to prevail.

To reach that aim Sparta had formed an alliance with the Persians, and soon the soldiers and oarsmen of Sparta were be ing paid with Persian gold daries and silver sigloi bearing the runn ing royal archer. A sad sight for the Athenians who had hoped that the Per­sian king would enter the war on the Athenian side. Alkibiades, then still in exile since the indictment for the des­ecration of the herms, had tried very hard to reali ze a treaty between Per­s ia and Athens. One of the Persian re­qu irements had been the abolition of democracy in Athens , and the replace­ment of the famous Athenian govern­ment of the peop le by an oligarchy, a government of a small coterie of the wealthy. Incredibly enough, Athens saw no problem in that requirement. The Athenians were tired of their democ­racy - at least for the moment. In May 411 the full political rights hitherto owned by all adult male citizens of Ath­ens were transferred to 5,000 rich men. All official sa laries were abolished to relieve the shrinking treasury. But the new oligarchy, which had been hoped to bring more continuity in the warfare, was no success: the rich is land of T hasos was lost, as was nearby Euboea, very important for the food supply of Athens.

The situation was desperate. And then the oarsmen of the Athen ian flee t anchored in the harbor of Samos elected the banned Alkibiades as their new general. He was full of ideas and his genius changed the fortunes of war: After a small Athenian v ictory near Abydos, and a somewhat bigger one

c lose to Kyzikos, Sparta began to thi nk about a peace-treaty before Athens could win back her fu l l power. The Peloponnesian a lliance would offer peace, if Athens would renounce forc­ing back into her power those cities that had left the Delian League, her sea­borne alliance.

Athens. GOld-stater, 407/406 BC. Head of Athena r., wearing Attic helmet. Rv. A8E, Owl standing r. , head facing; behind, olive twig with fruit and two leaves. BMC pl.

I, ".

It was too late for peace. Athens had got the upper hand by the two unim­portant victories of Alkibiades : Democ­racy -together with the salaries for of­ficials of cou rse - was restored Since July 410 the council of 500 held its ses­sions and absolute ly refused to yield to the Spartans. A manufacturer of lyres was now the main spokesman for the people . He organized a resolution of the people inviting Alkibiades to return to Athens, and it was a great day for Athens when the former exil e entered the city. No thoughts about him l ight­ing together with Sparta against Ath­ens, no thoughts about "his" Sicil ian expedit ion and the outrage on the herms. The marble steles on which his verdict had been engraved were bro­ken . The people of Athens appointed Alkibiades general of ali the ir armed

Continued on page 60 .. .

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April2003 33

Pipe Dreams: The Hydraulis by S.c. Stites

The car at the corner shudders with the rhythm oflhe booming bass. Power mowers roar in stereo as several neigh­bors trim their lawns. Saturday morn­ing cartoons blare through an open win­dow. Phones fiog on or about one's per­son . The modern-day world is anything but quiet and relax ing, even when you are stretched out on a hammock slung between two trees in your backyard.

Take away the slereo systems, the phones. the televisions, and the pow­er mowers. What are you left with? Sweet birdsong and the whirr of cica­das, the whine of a mosquito. the soft buzz of a honeybee, and the sound of a child singing a nursery rhyme. This perhaps approximates what an anc ient would have heard. Their din would have been relegated to the strength and capacity of the human lung.

Certainly, Rome could be noisy (al­though on a much smaller scale than today), with peop le hawking their wares, haranguing crowds in the fo­rum, cursing at braying donkeys, and such. And the din of the day contin­ued throughout the night, as wheeled traffic was proh ihited in Rome during daylight hours. In fact, Juvenal blamed his insomnia on the racket made by such nightly traffic. But, except for the screeching of wheels against ungreased meta l axles and the occasional roar of wi ld heasts in the arena, the loudes t noises wou ld have been limited to the range and power of the human voice and lun g: shouting, singing, declaiming, or play­ing horns and trumpets.

Seneca tells us lhat horns and trum ­pets were, indeed, considered the loud­est inSlrumellls. And so they wou ld have been ... until the third century Be. That's when Ktesibios invented some­thing new, something revolutionary. He combined two of his other inven­tions-the piston/cy l inder and the force pump-with a set of panpipes, and lo! the hydrauli s (or water organ) was born. Ktesibios ' s invention be­came very popu lar very quickly. No doubt his neighbors heard the melodi­ous sounds of his wife's playing and clamored to be the first on their block to own this new musical instrument.

There are several depictions of water organs in ancient art, and one or two models have been uneanhed. The workings are described by Hero of Alexandria (2 n

,\ century AD) in his Pneumalika. with further mention made by Vitruvius, a Roman architect and engineer, of a more advanced ver­sion. l3asically, the hydraulis consists of a vat of water with a bell-shaped cup over top of it. l3ellows pump air illlo this cup, keeping the watcr pres­sure more or less constant. The bronze pipes were graduated in size, with slid­ers operated by keys, to let air through them. The hydraul is was, in fact, the forerunner of the organ and the piano, in short, the first keyboard instrument (see Figure I ).

The hydraulis gained prestige ear­lyon by being a favorite at religious ceremonies, and thus stood as a pre­cursor to the modern church organ. Antipatros of Crete, for example, per­formed on the hydraulis at Delphi in 90 BC. He excelled to such a degree that he was loaded down with prizes and gained civic honors for himself

The Professional Numismatists Guild. Inc. has stood for KNOWLEDGE, INTEGRITY & RESPONSIBILITY since 1955. The PNG membership list includes dealers from all around the world. A directory of PNG members is availahlefree hy contacting:

Robcrt Brueggeman, PNG Executive Dircctor, 3950 Concordia Lane, Fallbrook, CA 92028 Tel. (760) 728-1300 Fax (760) 728-8507 email: info@pngdealers.com

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34 The Celator

Figure 1-A drawing of an ancient hydraulis. (From WM'I.churchorgansystems.coml evolution.html.).

and his fam ily in perpetuity. A centu­ry of so later, we again hear of the hy­draulis in a religious con text- this time at Rhodes, where the instrument was used to rouse Dionysus after his periodic desccnt into the underworld.

During Roman times, the instrument became so popular that Nero, already "acclaimed" for his skill with the wind instru ment known as the a.\·kaulos, strove to become proficient on the wa­ter organ. He even called a midnight council meeting, according to Scneca, to announce that he had figured out a way to make the hydraulis louder and more melodious (see Fi gure 2).

One of the reasons for the popular­ity of the hydrau lis was its appearance at glad iator ial evenls. It providcd background music for combats, much the way silen t mov ies used piano ac­companiment. It, along with other in­struments, also played betwecn sets at these shows. Loud instrumenls were selected so that they could be heard throughout the entire arena. Mosaics depict its use in the arena, and Petron ­ius likens a dinner party-where the courses were "piped" in and the meat carved by a dancing server- to a glad­iator fighting to organ accompaniment.

In thc summe r of 200 I , I was priv­il eged to hear a real hydraulis perform. This instrument was built to the exact specifications of a full-sized hydrau­lis that had been unearthed at Dion (Macedonia) in 1992 . Casts were

made of these pipes; the cabinet was reconstmcted according to the few de­pictions of the hydraulis that remain. And on one special night in London, the voice of the hydrau lis sang again.

Consisting of 24 brass pipes, the hydraul is produces sound when air flows through them, just as the syrinx or panpipes wou ld. The air is supplied by a pump, and passes through a pipe that leads to a cup-shaped chamber placed at the bottom of a tank of wa­ter. Air is brought in through a one­way valve, and exits through a second, simi lar valve. Air is pumpcd into the chamber and directed upward by an­other pipe to the wind chest. Sliders, controlled by keys, could then open the passage to each pipe . Water pres­sure kept the air supply fairly constant, so notes could continue to play even as other pipes were opened. An au ­thentic and anatomically correct wa­ler organ had been produced, a collab­oration between archeologist and in­strument maker (sec Fi gure 3) .

Was it j ust as Seneca described? Were we blasted ou t of our seats as if at a rock concert? Alas .... no. The voice of the water organ was breathy and quiet. The clacking of the keys was clearly audible, and the wheeze of the bell ows noticeable . How it cou ld have ranked with Irumpets and horns is beyond me . It sounded more like a circus calliope, with the hollow quality of a ha lf-filled jug in a blue-

B

Figur 2-A drawing of a medallion depcting a hydraulis. (From http:// users.ipa.netl-tanker/organs.htm.)

grass band. Nero may have liked this instrument fo r its powerful sound, but this only underscores the relative qui­et of the ancient world.

As time went on, improvements were made on the hydraulis. Though the counterweights and springs con­tinued to be used, the water tank was replaced by an airbag, inflated via bel­lows. This new, improved, more pow­erfu l organ hecame the portable mod­el of the Midd le Ages . The "count­less voices and deafening sound," as Claudian says, of the water organ were heard no more.

Bihliogra ph,' Claudian. Carmina 17 .316- 19.

A

Hero of Alexandria. Pneumatika 1.42.

Petronius. Satyr icon.

Seneca. Quaestiones Naturales 2.6.5.

Vitruvius. De Archilec­tura X.S.

Landcls, J.G . Music in Ancient Greece and Rome. Rout -le dge. New York, 1999.

We s t , M.L. Ancient Greek Music.

Figure 3- Diagram of the hydraulis. A: pump handle and rocker arm; B: piston; C: one-way valves; D: inverted cup; E: vat with water; F: wind chest; G: keybJock with sliders; H: pipes. (From a similar drawing in Lande/s, Music from An· cient Greece and Rome, 1999.)

C larendon, Oxford 1992.

SPRING LITERATURE B UY OR BID SALE

Closes June 15'\ 2003

Baldwin. A .. Symbolism on Grel'k Coi'" ......... . S$25 __ . FiKing fle<Uls on Greek Coins S $ 10

I:I~ Tlk.s. FA. Coins of Ribl" Oil}".' S S 20 Bell inger. AR,. E."sap' "n ,h~ C"inage "f AI<'XaT,der ,fIR Gtl'm ... ..... ... ...... ... ... ..... ... ... .... ........ ... ... ...... H $30 Bell inger. A.II... Syri~n Jl'lmdmchms. . ..... II 530 Bdhngcr. AR. , Troy the Coin> H 535 Bell ingerfBerlinooun. Vi"'''') Ma Coin Type .. S S20 Carson/HilllKenl. Late Rom"" Bronze Coin"ge S S25 Cunis. J .• Temuimchm, of Roman E"gypl (Upd ated)

... H S65 Da'·""I)()rl. J,. (jallic Hegi""ul C"inuge (1250· /750)

S$20 DuN. S.J. (ed.). R"""m C"rnmemormh'e Coinage (An­lhology) S $45 Floreoce. Geogml'hicall£xic()n "fGrel'k C"in Inscrip· ri"n' ......................... ... ..... .. .. .. .......... .... ... ... ..... . S $20 Gardner. P .. CatalognfCoins in BMC - Syria .. H S30 Garoocr. 1' .• Coinage of I'rmhi(l S 520 Gbbl. R., Sa.,unian N,a"i,.""lIin .. .. .......... . .. S S30 Grant. M .. ,\ndenl Hisroryllrlas ......... .. ... .......... S$ 13 Head. B.Y.. HiS/on'a Nunwmm. H Si lO Head. B, V .• Cain, ofLyd;a and Persia S $20 Hill. G.F . llncienl Method, ujCoining S SIO I lill. G.F. Beckr Ihe Counle/feirer .. ... ............. S $20 Hil L G.F. Coil/ngc vfScplimiu, S~ven<s & /liS Fam;ly

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Kraay. C . lh"Chai<' and C/""ical Gre~k Coins H $95 Laurene, . R.IL M,dIll,' "f C~";no "l'ad"an . - (Ane. Copies) .. ... ......... ... .... ... ... ..... . ......... .. ............ ..... S $6 U)(}lka. J. M~di""aIIJm(ltm""' S $ 12 Lholka. J" Med;",,1 Fe"dal French C",,,s (Re\". 2'" Ed. ) . .. ... .... .. ........ ... .... ... .... ... ... ........ ... S S20 UJOlka. J. Medi"'al Bohemian C"i"age .... ...... S $20 LhOlko. J .. Inrrorl<.C/;on '" wle H"",a" (Bywntine ) Coil/oge S $20 l.holkaJAooe,'\O\l. Med;ewd Iberian Coinllg<' ... S $20 Madden. FW.. /lillory,,! ;",,·is/. Coinage S S40 Ma{{ingly. H .. Runum C"ins . ................... ... II $35 Milne. J.G .. Calalogue "iAlexandrian C""" .. H $55 Newell. E.1" .. Srandmd Prolemaic Sil\'er(updated)

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April2003 35

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Coming Events .... The Santa Clara Coin, Stamp & Collectibles Expo, CA

Stack's/Coin Galleries Sale, New York City

Dr: Bussa Peus Nacht Auctions 374-375, Frankfurt am Main

Ponterio & Associates CICF Auction, Rosemont, IL

Chicago International Coin Fair, Rosemont, IL

H.D, Rauch GmbH Auction 71, Vienna, Austria

Central States Numismatic Society Conv., Sf. Louis, MO

Leu Numismatics Ltd., Auction 86, Zurich

Leu Numismatics Ltd., Auction 87, Zurich

Roman Gold Coins from the Collection of a Perlectionist

Baldwin's Auctions 33 & Islamic Auction 6, London

PAN Spring Coin Show, Monroeville, PA

Malter Galleries Auction, Los Angeles, CA

Morton & Eden, London

May 26-27 Ira & Larry Goldberg Auction,Beverly Hills, CA

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Ju/y3

Jean Elsen S.A., Auction 74, Brussels, Belgium

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36 The Gelator

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P.O. Box 839, Lancaster, PA 17608 _ ['.01 PhonelFax (717) 656-8557 .a.

Weber Cont. from page 32

Classical Numismatic Group, Inc is handling his ancient and world collec­tion. According to Victor England, Di­rector of American operations for CNG, th is extensive collection of 3,000 plus coins will be sold in CNG's next three sales (May and September, 2003 and January, 2004) and thro ugh CNG's electronic auction systems. Collectors interested in receiving the May sale (CNG Auction 63) can purchase a copy for $25 .00 by sending a check to CNG, Inc., Post Office Box 479, Lancaster, PA 17608-0479. The catalogue will be available on CNG's web site in the middle of April 2003. The web address is : www.cngcOins.com.

Dr. Charles E. Weber

Hydraulis Cont. from page 35

"Be llum Catal inae" http:// II seTS . i pa, net/- tan kerf organs. htm. 9/3/ 02

"Church Organ Systems" b.11J2;.il www.churchorgansystems.com/ evolution.html 9/3/02

About the author- So C. Stites holds a B.A. in Classics and an M.A. in Art History fTom the University of Cincin ­nati . When she is not writ ing, editing, or chasing after kids and animals, she's likel y 10 be found with heT nose stuck in a book. She is a frequent contibutor to The Ce/alOr.

Send your society news or personal allnounce-

~ mentsto

~ The Celator P.o. Box 839

Lancaster, PA 17608 Fax: (717) 656-8557

Email: Kerry@celator.com

Ruthann Brettell, ANA CFO, Announces Her Retirement

COLORADO SPRINGS, CO-After a long and distinguished career, Ruthann Bretlell , the American Numis­matic Association's (ANA) chief finan­cial officer, has announced her ret ire­ment. "I have spent nearly 37 wonder­ful years al the ANA and have become friends with so many, many people, who I might not otherwise have come to know and love ," says Brettell , who has worked fo r the Association longer than any employee, "I will miss my in­volvement with them as a member of the staff, and I want to thank everyone for their support and friendship that has grown over these many years . I will remain invo lved with the hobby and in contact with the people who make the ANA the great organization it is. Having said that, this is the time for me to step aside from my daily ac­tivit ies as chief financial officer and retire . This is not goodbye but anothe r door opening and a new chapter for me.n

"Rutha nn has , withou t a doubt, had a tremendous impact on the ANA,n Executive Director Christopher Cipolelti says. "Her many positions on the staff, from club secretary to executive direc­tor, have made her work, advice and influence a significant pa rt of this organ ization. We wish her the best in her retirement and her continued involvement with the hobby."

"On behalf of the Board of Governors , I want to extend our grati­tude to Ruthann for the many, many years of devoted service to the ANA," President John W. Wilson says . "As a member of the Board for nearly eight years, I cannot say we always made her job easy, but she always was there to help guide and advise us. For all your long service and great friendship, I want to say thank you Ruthann , you are the greatest."

When she received the ANA's high­est award in 1997, the Farran Zerbe Memorial Award for Distinguished Ser­vice, Brette ll was noted as a deal­maker, d irector, staffer, bookkeeper, auditor, banquet-planner, doer, joke r, philosopher, counselor, ambassador, negotiator, comprom iser, daughter, mother and friend. In August 1966, Brettell came to work at the temporary headquarters of the ANA in Colorado

Springs, where the home and head­quarters building was being con­structed . She did anything and eve ry­thing, including answerin g phones, op­erating the printing press and handling the mail, as well as doing accounting and serving as office manager. By 1977 she was made convention di rector and controller, and from 1985 to 1988, she se rved as ANA executive directo r. In the spr ing of that year, Brelle ll re­turned to serve as ANA's convention di rector, holding that pos ition fo r 10 years, before she was made chief f i­nancial officer.

Ruthann Brettell

Of her many accomplishments and honors, inclu ding the ANA Medal of Merit and Exemplary Service Award, and the Profess iona l Num ismati sts Guild "Pretty Nifty Ga l" Award, Brellell is most proud of having proposed and started the Young Numismatist (YN) Scholarship program for the ANA's An­nual Summer Conference. In 1999 she was named a Numismatic Ambassador by Numismatic News. Cipoletti says he will beg in the search for a new ch ief fi­nancial officer and hopes to have the position filled in the near future.

Referrals Work! Tell your friends about

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Numismatic Literature Greek, Roman, Byzantine

Am"ndrylHurl"" & RiJn Essap. Grak $75.00 Ashton; Ancient Coinage Fr()m T"'*9". .. 80.00 Baleson·Call\bell: /funter VI. By::muine .... .... ... gU.OO IJMC Ronum Empi,.. I (used). . ... .... .. ... ... 165.00 IJ.I1C Ronum Empi,.. 2 (used) ....... ...... ... 165.00 IJMCRonu.nEmpi,..3(used) .. ...... .... ... ... ... .... 125.00 BMC Rommj Eml,i,.. 4 (used) 125.00 IlMC R""u.n Emf'i", 5 (used) , 575 .00 FMC Roman Eml,ir,· 6 (used) , .. ,." ." ." . 135,00 Bumcu; CoinsofMacfdnnia, Rom~ 100.00 Callatay; du ChaStei Greek & Ranum , .. " ., .. " ., 100.00 Crawrord : Ranum RepI<b/ican. 2 \lob ,., .. , .. , .. ,. 3.50.00 V""'/;"'''OI1 Ot,ls l.«u R"""",., .,." ., .. " ., .. " .,., 90.00 f)"mm.rlon auks I (491-602 ) ., .. ,.". " ."." ." .... , 130.00 j)"m"'<rI"n Oaks 2 (60} .7171. 2 vol<. "".".,. 160.00 Dw"ixmon Oaks J (7J7. J(JIi!I 1. 2 ,·,,1., 210.00 D"",wrlon Ot,", 4 (1(181 · 12611. 2,'''1s 240JlO J)wnixmm, Oak; 5 (1258-1453), 2 Yol, ,." .... ,. 210.00 Gulb.nki"n G,..ek, /'arll, 2 Yols 135.00 Gulb.nki"n C,..ek, Pari II. 2 vols 225.1Xl Gulb. nkiJn Gold Coins ,. . 6O.1Xl Gulb.nki"n Gem, 55.1Xl Haria,,: Roman Republil"II" MOI'~'ws ., .. ,." .,., "'"40 ,00 I!owgcgo; And~nt Coin,/rom Hi~"'1) "'3O.1Xl Ireland: Greek. Ronu.~. B),,,mline-AnulScia 5-1.1.00 Jenkins: Ancient Greek Coin.' . ..,. 65 ,00 MacDonald: Coinilg~ of Aphrodisias " ." ., .. , .. ,.,. 75,00 Mitchiner: hula ·Gruk. Indo-Scythian. Q '·01> 3.50.00 Mitchiner: Oriemal}, Anciem &: craS,"it:al "':J.OO.OO N"",i.n~"i(" Chronicle: 1967- 1989. per Yol, ,., .. [g ,OO N"mi.<malic Chronicle: 1990- J996. per vol, 30.00 Penn: M~dicine on Greel: & Rom,m Coin." "40.00 Prieur: Sy",·Ph,,<"nician Telradrachms .,." ." ... 100,00 Rohertson: Hanler IV, ROlfl(m Im perial 225.00 Robertson; Hunter V, RonUlI! Imper;,,1 m.1Xl Rom"n Iml'm'ol COi"ag<" I , A"gl'" Vhelli"" ,.,. [20.00 Roman Impuinl Coi,wge], Vesp,, ·Ha(irion 80.00 Rom"" Impen',,1 Coi"a8~ 4. /'~"n.<·Un:m 140.00 I/olfl(m Imlwrial COinag" 5. Valm-Am""dus " 225.00 R"man Iml#rial Coinage 6, Diocln-Maxnm, , .. 'dO.00 ROm<1n Imperia/ Coina8~ 7, Con.tnc· Licinu, 80.00 Ronwlj Imperi," Coinage 9. Vd", ·TheM.\· 70.llO R"man Imperial C"inage 10 Di,"ided Empi" 175.00 Rom<III Imp~,-;"I Coinage l _lOcom l,!etc 10SO.1Xl Roman P,,,,,indu/ Coin"ge I. 2 vol> , . ·T'()()J .OO ROI7UII! /'r()l'inci(11 CoifU,~e II "" 50.1Xl Rutter: Ctm'l",nian Coinilge.< .. " ." ., .. ,." ." .,", ." . 50.00 Rutt'" Hislorfa Nwnorum, POI'! I (New) 125.00 Rutter, Greek Coi'~ o/Sowl< ""'y om! Sicily 40.00 Seat: lJy",mi"~ Coins and 10/"" 80.00 Seat; Greek CoinJ & \tJlue5 I CW'()I"'" .. 55,00 Scar: G"r~1: Coins & V"lue,' 2. Asi" &. A/ric" .,. 55 ,00 Seat: Gre<"lln~,eri,,1 Coins and Val"es .. , ......... 80,00 Seat; Romnn (oins &: V~/"e.,. 101. I 75,00 SCat: ROrM" Coins & Values. Vol. Z . . . 95.00 S"~by; I/mrY", Sil\'~r 3. 4, 5. each 40,00 Seare Ronu." Iml",rQlO" 49-27BC ., .... " ." ., .... ,' 80.00 SNG: Burton Berry. 2 parts. ">cd, . :J.OO.OO SNG: Britain VI. Lew;! ll. Creek Imp"riol 95 .00 SNG: Britain VI I. Rab)'/Gmcrbo<'l 4500 SNO; Britain VIIl .lhmIBim,khum. 75.00 Sr-:C: Britain IX. Rrili.<" MI<sewn 2 S""in .,", . 140,00 SKG: Fran." 5. My,ie 150.00 Sr-:G: Ilcl'inh Kedmon I. K",i" ,." ." ." .,., .. " ., 75 ,00 SKG: HeI'inki. Kalman II. Asia Minor.. 75.00 SNG: Israel: 1l0l'l!"Wn SpaerSelel<cid , .. ,." ." [35.00 SNG: Sweden I. Part 2. von /'051 60.00 SNG Copenhagen. 8 volumes complete 950.00 Turner: ROlfl(m Coins From 1",li" 5-IWO Whitiog; BY.'flntirn; COin, 75.00 Williams: Silva Coinage ofVdi" ., .. , .. ,." ., .. ,." ., 85 .00

Unless noted. oil books an; new. an; 'he latesl ed ition' . and ore in stock. Unless notoo (,b). on OTe hardbound, Oct ·of.print lit les are notoo (op). Please add $4.50 fOT domestic 'hi[>p;ng for the first title and $ 1.00 for ca<.:h additionol, Forforeign orders. payment must be in U.S dollars drown OIl a U.S, ban.\; with shipping avail able at cost.

Charles Davis p.o. Box 547

Wenham, Mass'" 0 1984 Tel: (978) 4~8 2933 Fax: (978) 468 7893

Numi,ht @a ul,com I" , pil ... ",,~, .• t>eboo' '.,om/l,,-." ,I" "mi.' <II"

c.,~ of ,i>: 51 Milljoo a..,.,. Nu","",,",;,; tihoaoy Memocr , iD(.'" 1%8; EAC t42 ANA (>Il(fl7

April 2003 37

Leu Auction 86 Has "Something For Evexyone"; Auction 87 OtIers "Collection of the perfectionist"

by Ursula Kampmann

Leu Auction 86 will offer 1156 ancient coins with a total estimate of 4.2 million Swiss Francs. The sale will be held on May 5" and 6" at the Hotel Savoy Saur en Vi lle in Zurich. A number of important collections will be dispersed in this sale.

The auction begins with a splendid selection of Cellic coins, the second half of a major collection of which the first part, Central Europe and the Balkans, was sold lasl year in Leu Auction 83 .This part includes coins from England, Gau l, Spain and northern Italy, altogether 170 lot$, including many multiple lois. These come from a collection in the best sense; the collector not only enjoyed the rare gold pieces, some 01 whose style is rem­iniscent of the best Picassos (!), but he a lso was especially interested in silver, bronze and potin coins in splendid con­dition, a quality not easy to find .

The second major section cons ists of 272 lots of Greek coins, as usual in top condition and of the finest style. But,

then , what else would you expect from leu? The kind of coins col lectors dream about are on offer here : how about one of the finest known archaic staters of Metapontum, or the tetradrachm of Ka­tana , signed by Herakleidas and bear­ing his wonder1ul facing head of Apollo? Or would you prefer the famous late ar­chaic letradrachm of Naxos with Diony­sos and the Silen? Perhaps you might decide on a Syracusan letradrachm by the Demareteion Master, once in the great 'Kunstfre und' sale? There are even three splendid gold staters from Pantikapaion, with the proud griffin on their reverses.

The highlight of the auction is natu­rally the historically important gold stater of Athens, struck in one 01 that great City's darkest hours. The treasury of the Parthenon on the Acropolis gave up some of its greatest treasures, so that they could be made into gold coins to finance a new fleet to fig ht the Spartans al the end of the Peloponnesian War. Appearing as 101383, this is one of only four known examples, and is the only one not in a museum (please see ad-

C.G.B.tel 46, rue Vivienne F -75002 PARIS

: 33(0)1 42.33.25.99 E-mail : cgb@cgb.fr

http://www.cgb.fr 100.000+ imag es - 100.000+ pa g es

MAIL BID SALES:

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38 The Celator

ditional story on this coin on page 33 of this issue).

Also worthy of note is an extremely rare tetradrachm of the obscure rulers of Elymais, Kamnaskires III and Anzaze (ca. 82-74 BC), and a splendid group of Ptolemaic gold pieces_

Wh ile the Greek coins provided something for art lovers, the next sec­tion will appeal to those who adore his­tory. Within the 178 lots of ancient Jew­ish coins that follow, is the important collection that belongs to the ex mayor of Jeru sa lem, Teddy Kollek. Th e most important piece 01 all is the Prutah of Mattathias Ant igonos, the last of the Hasmoneans, which bears the only an­cient numismatic representation of the Menorah from the Tempte, and was struck in Jerusalem in 37 during his doomed batt le with Herod . Not only that, Ihere are other great rarities as well: the year 4 shekel from the Jew­ish War, and the year 1 tetradrachm and denarius of Bar Kokhba. Collec­tors of Roman Provincial coins will be most excited by the last lot of this sec­tion - a comprehensive collection 01 no less than 63 bronzes from Hadrian's new city 01 Aelia Capitol ina (estimated at SFr 7,500.·) .

fn this auction colleclors o f Roman Republican coins are also not neglect­ed : there are 81 lots 01 denarii and au­rei of the Republic, most extremely fine or better. Among the rarities is the de­narius 01 Brutus with the EID MAR re· verse, and wonder1u l au reus of Sex· tus Pompeius with port raits of his la­ther and brother.

It is d iff icult to choose what 10 men­tion out of the 303 tots of rare and su­perb Roman tmperial coins in this sale. The two superb aurei of Galba? The extremely rare gold quinarius of Vespa­sian? The two extremely fine aurei of Ael ius? The many rare silver quinarii? The two superb aurei of Macrinus and one 01 Diadumenian? The gold medal­lion of Constantine I in the weight 011 1/ 2 solidi? One could go on and on.

The auction ends with 101 Late Ro­man, Byzantine and early Medieval coins, all arranged chronologically so thai strange names like Gaiseric, Clov­is, Theoderic, Athalaric, Witigis and To­tila appear next 10 Maurice Tiberius and Phocas. Two deniers of Charlemagne come just before a rare solidus of the contemporary empress Irene!

Finally, there are 15 multiple lots of Roman and Byzantine coins, In this vast auction of ancient coins, there is some­thing for everyone,

There are 125 Roman gold coins in the "Collection of the Perfectionist" that Leu Numismatics will be selling on May 6th 2003 in their Auction 87, 125 coins with a total estimate of 3,2 million Swiss Francs, each capable of being a major high light of any other auction!

This collector only acqu ired coins below good extremely fine in condition if they were of the highest rarity, As for example, the only extremely fine aureus of Hadrian, wh ich bears a date in the era of the city's foundation, Otherwise one usually reads 'Virtually as struck', even for such great rarit ies as aurei of Didius Juhanus and Pescennius Niger.

What can one say about such a sale?

are found in this auction: Augustus, Tibe­rius, Nero Claudius Drusus, Antonia, Caligula, Nero, Galba, Vitellius, Vespa­sian, Titus, Domitian, Domilia, Nerva, Trajan, Hadrian, Aelius, Antoninus Pius, Marcus Aurelius , Faust ina II, Lucius Verus, Luci lla, Commodus, Crispina, Pertinax, Didius Julianus, Pescennius Niger, Septimius Severus, Ju lia Damna, Caracalla, Macrinus, Diadumen ian, EI­agabalus, Julia Maesa, Severus Alex­ander, Gordian III, Trebonianus Gallus, Valerian, Gallienus, Postumus, Claudius II Gothicus, Marius, Victorinus, Aurelian , Tacitus, Florian, Probus, Car us, Carinus, Numerian, Julian of Pannonia, Diocletian, Maximinian Herculius, Galerius, Conslan­tius, Severus II, Maximinus II Daia, Max­entius, Licinius I, Licinius II , Constantinus I, Fausta, Crispus, Constantinus II, Con­stantius II, Vetranio, Constantius Gallus and Julian the Philosopher. The interested viewer will find that prac­

tically every major emperor, and many of their wives and daughters, are repre­sented, and he will never have seen so many gold coins in such superlative con­dition, Collectors will also appreciated the rather conservative estimates and the exceptional catalogue, with its many numismatic and historical notes,

Both catalogue s are available for $25,- 1 CHF 30,- lEUR 25,- each from Leu Numismatics Ltd., PO, Box 2131 , CH-8022 Zu rich , Switzerland. Tel: + 0041 /1f2 11 4772 , Fax : +0041/1/211 4686, email: info@Leu­Numismatik.com. In addition, the cata­logue can be viewed on the Internet at http://www.Leu-Numismatik.com.

www.athlna.ch

To make things simple here is a list of all the personalities whose gold coins

BALDWIN'S AUCTIONS Linll ted

11 Adelphi Terrace London WC2N 6BJ

TEL: 020 7930 9808 FAX: 020 7930 9450

email: auctions@baldwin.sh

BALDWIN'S AUCTION 33 6th & 7th May 2003

Ancient, British and Foreign Coins fea turing a specialis t collection which includes

Aurei and Late Roman Solidi selected for the C'xceptional quality of their portraiture and

a collection of Maltese silver and bronze coms of the Order of 5t John including several great rarities

Commemorative Medals including a collection of architectural medals by J Wiener

ISLAMIC COIN AUCTION 6 7th May 2003

Please contact Charles Riley or Seth Freeman for a copy of either ca talogue or

for advice on sell ing in our auction5

April2003 39

Crowns and Headdresses on the Small Bronzes of Roman Egypt

-----------------

by Francis Jarman

The smallest bronzes of Roman Egypt - tiny coins 10-15 mm. in diameter, gen­era ll y described as dichalkons and chalkons - don 't offer much space fo r elaborate designs. TIle obverses lend to have only an imperial portrait, without the emperor's name, which often makes it dif­ficul t to ascribe them to one pruticular em­peror (Domitian and Trajan can look very similar, especially on worn coins, and the same is sometimes true for Hadrian and Antoninus Pius). The reverses carry the date by regnal year and a figure, an imal or familiar object. The designs that work best arc the simple ones, and these in­clude a number of d ifferent items re­ferred to in the literature as "crowns" or "headdresses".

Not all of the numerous varieties of ancient Egyptian headgear appear on the coins, but those that do have not always been identified correctly or described con­sistently by numismatists. To try to cut

tbrougb the confusion a little, here are some notes on the main types, drawing especially on the classic study by Abubakr, a doctoral thesis in Gennan published in 1937, with comments (based on the tables in Keith Emmett's excellent survey, Alex­andriwi Coins, and observations of the market in recent years) on the frequency of each type as an individual motif on the Alexandrian coinage.

Among the different types of Egyptian headgear arc the following:

I . Theconical White Crown (Hedjet), the royal symbol ofUppcr Egypt: An elon­gated, tapering cylindcr, possibly origi­nally made of rushes knotted together at the top, though later versions were of smooth material, perhaps leather or linen.

Frequency: Not a coin-type. 2. The Red Crown (Decheret), the

royal symbol of Lower Egypt: A squat he lmet with a high, extended back and an upward protruding tongue coiled in­wards at the end.

Frequency: Not a coin-type. 3. The Crown of Feathers of Lower

Ancient Greek Roman Republic

Roman Empire Byzantine

Ceiti,

caw/ogue on request

KIRK DAVIS Classical Numismatics

Post Office Box 324, Claremont, CA 9171 I

Tel: (909) 625-5426 kirk @ancientgreek.net

MORTON & EDEN LTD in association with Sothebys 45 Maddo;>; Street London \'';:1 S 2PE

Auctions, Valuations and Sales of Ancient, Islamic and \';lodd Coms, i\leJals, Decorations and Banknotes

Please contact .lames i\ jorton, Tom Eden or

Stew J .lo)-d for ad\' ICe on buymg or selling

or to bc mcluded on our mailing list.

Ickphont +44 (O)2!) 7493 .')344 fax + 44 (0)20 7495 6325 e - l1l~il i l1fo(~m()non~ndtJtn.c()m

40 The Ce/ator

Egypt, consisting of two feathers, usually resting on ram's andlor cow's horns. In the numismatic literature, this type is al­most always referred to as the "Crown of Isis" or "Isis Headdress", but originally there were two main sorts of crown, the difference being in the shape of the feath­ers: The AneQtj Crown had tapering os­trich feathers with rounded, curled out ends, whereas the Horus Crown of Feathers had straight hawk's feathers. Both these types appear on the Alexan­drian bronzes, but the Ane.dtj Crown is sl ight ly commoner. Apart from the feathers and the horns, there arc other variations that occur, e.g. there may be a sun disc al the base of the feathers, ears of corn to either side of the feath­ers, or uraeus cobras on the horns.

Frequency: This is the commonest of all the crowns, with undated issues for Augustus (Emmett 20, "Horus" type), yea~ 10-12 of Domitian (Emmett 340, Figure 1, with sun disc and uraei), years 7, I I , 13, 16 and 17 of Trajan (Emmett 7 10, Fi~T1Jre la, "Horus type"), years 2, 9-12,14and 160fl-ladrian(Emmett 1189, Figure 2, with ears of corn), years I, 2, 8 and 24 of Antoninus Pius (Emmett 1800, Figure 3 of a rare contemporary forgery), and one issue (year uncertain) for Marcus Aurelius (Emmett 2268). Some years are common, some (including all the Domi tian and Antoninus Pius issues) quite rare, and the Marcus Aurelius coin is very rare, if not unique.

4. The Double Crown (Skhent), which combines the two royal crowns, the White Crown of Upper Egypt and the Red Crown of Lower Egypt. The earlier fOim places the White Crown in front of the Red Crown; a later form places the White Crown within the Red Crown. The Double Crown was a royal headdress, but also worn by some of the gods.

Frequency : Vel)' rare type, known only for year 16 of Trajan (Emmett 721, Fig­ure 4) and year 2 of Antoninus Pius (Emmett 1793 = Dattari 3022).

5. The Double Crown of Lower Egypt, which combines the two feather crowns, the AneQtj Crown and the Horns Crown of Feathers.

Frequency: Not a coin-type. 6_ Complex Royal Crowns which

combine the White and Red Crowns with the Anedtj Crown, or even with both the Ancgtj Crown and the Horus Crown of Feathers.

Frequcncy: Not coin-types.

7. The Alef Crown, which combines the Whitc Crown of Upper Egypt with the horns and ostrich feathers of the Lower Egyptian Crown of Feathers (usually theAnegtj Crown); some~

times there are sun discs in the middle of the horns and allhe tip of the crown. The Alef Crown is very old, and probably indicated the union of Upper and wwer Egyptian entities in some way. It is sometimes described as an "Osiris Crown", but it was worn not only by Osiris but by many other gods as well , and by Egyptian rulers down to the time of the Ptolcmics. The meaning of "Atel" is uncertain.

Frequency: Rare. To the best of my knowledge, no one has yet drawn attention to this as a d istinct Alexandrian type. There is an issue for Hadrian, yeaf 14, illustrated in SNG Copenhagen (No. 359) but wrong ly described as a "Head­dress of Isis" .lllustrated here arc coins of Trajan, years I I (Figure 5) and 16 (Figure 6).

8. The fai rly late Hemhem Crown, which consists of three Atef Crowns - not lotus buds, as Dattari suggested - tipped by sun di scs (Of even by Horus hawks) and arranged on ram's horns. The name Hemhem is connected with the idea of "roar­ing" and with causing fright: as Abubakr puts it, this is the crown "which in war strikes terror and fear in the hearts of the enemy" (p.65). However, the Hemhem crown is often worn by child-gods like Harpocrates ("Horus-the-Child").

Frequency: A reasonably common type, issued for Trajan in nine different years, some rarer than others (Emmett 707, Figure 7): quite rare for Hadri an , years 10 and 20 (Emmet! 1191); and there is also a rare Hemhem coin (BMC Supple­ment 3040A), not listed by Emmett, which might be year 6 of Antoninus Pius.

9. TIle headdress of Cow's Horns and Sun Disc, favored by goddesses like Hathor and Isis.

Frequency: Not a coin-type. Besides these, there are also two non-Egyptian types: 10. What looks like a Helmet on a coin of Hadrian, year

uncertain (Emmett 1190), in the Dattari collection (not listed in the Dattari catalogue itself, but illustrated as number 7843 in the recent supplementary volume of "rubbings" edited by Adriano Savio).

Frequency: Unique? 11. The 1~lei of the Dioscuri, the caps of the Gemini twins

Castor and Pollux . This is not an Egyptian motif, but the Dioscuri were patrons and protectors of sailors - there is a wondcrful song by Schubert based on a German poem by Mayrhofer, Song of a Seaman to the Dioscuri - and so the Heavenly Twins were very important to the citizens of a great maritime trading city likeAlcxandria. St. Paul sailed from Malta to Sicily on an Alexandrian ship called the Castor and Pollux (Acts 28: II ). (Another friend of sailors, Isis Pharia, is repre­sented on the small bronzes by her rattie, the sistrum, and on larger bronzes by the goddess herself holding a sail inflated by the wind and, on some coins, with the Pharos, the famous light­house of A.lexandria, in the background.)

Frequency: A scarce type, rare for Trajan , year II (Emmett 716), commoner for Hadrian . years 9-11 (Emmett 1198, Figure 8).

I'd be happy to hear from readers who have interesting ex­amples of these or other crown or headdress types. Please send the information to me at jannan@u,uni-hildesheim.de (with scans ifpossiblc).

Bibliography Abubakr, Abd el Monem Joussef, Untersuchungen ilber die

iigyptischen Kronen. Gliickstadt, Hamburg & New York, 1937

continued on page 45 ...

Roman Coin Price Yearbook

200212003 The 2003 edition includes 30,000+ auction results extracted from more than 300 international public auctions held worldwide during the two full calendar years of 2001 & 2002. An impressive 75+ major auction houses are covered. All results converted to USD. For exact listing of auction cats. presently included in the Databank, please study this link: http:// ho me . worl do n lin e. d klmemli nfo l roman2003UScatlistmanco.htm

Only to be produced by special & advance orders from dealers, auction houses, and serious market players, Following a number of enquiries from professional market players, the owners of the publishing rights have agreed by special order to produce an utmost and extremely limited number of 2002/2003 yearbooks, which alone can only be bought by those who previously are known to the publishers on a serious and professional level.

Printing run will be limited to 150 copies only (one hundred and fifty) to cover the complete world market. The three books thus will go out-of-print from day one. The order of reservations will be according to the dates we receive your advance order (a.k.a., first come - first serve). The three publications will be spiral softbound on red paper [contrary to the hitherto nine earlier published hard covered yearbooks] and individually numbered and named . The publications are not to be made available in the ordinary free book trade. Full page advertisements available (white paper section). Planned release date around May 2003.

[NEW] Roman Coin Price Yearbook 200212003, Republican, Vol. 0, [280 BC-BC 31]-1 pes. USD 240 INEW] Roman Coin Price Yearbook 200212003, Imperial, Vol. I, [31 BC-AD 138]-1 pes. USD 285 (NEW] Roman Coin Price Yearbook 200212003, Imperial, Vol. I, [138 AD-AD 254]- 1 pes. USD 285

For professionals the buying prices are net (excl. VAT.): Freight to be added: USD 18. Foreig n orders: Kindly add USD 12 for bank charges. No rebates ava ilable. Payment in advance w ith binding pre-order. Non­prepaid orders are not take n. Check/cash and advance order within 5 weeks to be mai led to:

Morten Eske Mortensen, Drej0gade 26 F 501, DK-2100 Copenhagen 0, Denmark (phone: +45 39 29 07 23; email: mem@image.dk .t1!tQ;il home.worldonline.dkl-meml). Details + order form etc.:

http://home.woddonline.dklmemlinfo/roman2003US.htm Review of 1" edition 1996/97 : The Celator, June 1998, pg. 35 + April 2000, pp. 35-36,

April2003 41

"Helping Children, Spreading Joy"

As this article goes to press, the world is mourning the loss of a great friend 10 children. Fred Rogers, known to the world from his television pro­gram "Mr. Rogers' Neighbo rhood," recent ly died of cancer.

To those of us who had the joy of ha ving Fred in our lives, the loss is es­pecially painfu l. But even those who only knew Fred from TV arc mourn­ing him. Why? Because he helped children.

What has this to do with ancient coil1s, you may ask. To your author, dear readers, the answer is simple: anc ien t coin collecting can raise the level arjay in a child 's life!

Many of you don't have to be told this; you know it first hand. You've seen the excitement in a ch ild's eyes when you give them an ancient coin! What a good feeling!

There is a non-profit organization that is dedicllted to pUlling ancient coins in chi ldren's hands. Profiled in this column in May of 2002, the ACE (or Ancient Coins fo r Educ atio n) project, donates cleaned and uncleaned coins to classrooms, spon­sors writing contests, with prizes (an­cient coins, naturally) donated by the coin collecting community. According

to Mike Dalka, chairman of AC E, "We are bringing ancient history to life, awakening children 's minds, and en­eouTllging students to pursue Classi ­cal studies. Aside from the social ben­efits, this program will be a great he lp to the numismatic community by en ­su ri ng that students are introduced to our hobby or profession."

We checked in with Mark Lehman. President of ACE for a fast update on ACE and its programs:

Q: Mark. on the ACE .. vehsite, it says that in 2002 ACE distributed coins 10 over 40 schools. Do you an­ticipate growing even heyond Ihalthis year?

A: We can now say we have 65 or so schools participating all across the US, in Canada and in a "sister pro­gram" in Austra lia admin istered by Michael Mori arit y. Although we have closed enrollment for the 2002-2003 academic season. inquiries continue to come in and we're already assembli ng a list of potential new schools for the 2003-2004 academic season. Due to the incred ible generosity of dealers and collectors who have heard the call, seen the light, and responded magn ifi­cently, we are already wel l on the way to having suppli es of prizes , cleaned "example coi ns" and uncleaned coins sufficient to get us off to a !lying start in the new academic year!

Q: Are there any new directions you hope to take ACE in the near future! AllY exciting new plans?

A: We arc continually involved in ou treach and networking through the various people invo lved in ACE. One di rection we might hope to explore is the possibility of a college -level ACE program. We have a pi lot program thi s year at Transylva nia College in Ken­tucky. We eagerly await the results!

Q: What are ACE's biggest chal­lenges and needs right now? How can Cefalor readers hefp!

Learn All About Collecting Ancient Coins

www.ancientcoinmarket.com New Articles Monthly

42 The Gelator

A: The single greatest challenge we ha ve found is main taini ng a depend­ab le supply of reasonable quality uncleaned coins to send to the partici ­pat ing schools . We were fort unate enough recently to ha ve the opportu­ni ty to acquire a relatively large lot of good-qua lity uncleaned coins that will give us an excellent toe-in-the-door on the next season, but we cannot grow the organization without the cont inued help of dealers and collectors. I know it sounds crass to ask for money, and we do not wish to become the NPR fund-drive of the numismatic commu­nity, but contributions of cash and/or good-quality uncleaned coins would probably help us more than anything else readers could do at this point in time.

What good neighbors! Mr. Rogers would be proud!

To contact ACE: http://www.bitsofhistory.com/ace/ Send Donations To: ACE P.O . Box 3115 Burbank, CA 91508

Morton & Eden Ltd. Will Hold May 20-21 Auction

Sale in London LO NDON-The Morton and Eden

sale to take place on May 20-21, 2003 includes a number of exce llent Greek coins with old provenances. Five come from the famous "Kunstfreund" auction of 1974 and include an archaic didrachm of Dika ia in Thrace (est. £2-2 ,500), a very rare didrachm from the island of Zakynlhos (est. £1-1 ,500), and a su· perbly preserved litra of Katana in Sicily (est. £2-2,500). A great rarity (possibly the second known) is a stater of lu lis, capita l of the Cycladic island of Keos, depict ing a bunch of grapes and dolphin - the grapes reflecting the vit iculture of the island (est. £20-25,000). Another is­land coin is one of the fin est known tetradrachms of Samos formerly in the collection of J. Desneux (esl. £3-4000).

Also of interest 10 collectors of an­cient coins are many group lots of Greek coins, as well as Roman and Byzantine coins of various types.

The sale a lso includes important com­memorative and portrait medals, English, foreign and Islamic coins, banknotes and war medals and decorations.

For more details, please contact Tom Ede n at Morton & Eden, 45 Maddox Street, London W1S 2PE (Tel: 020 7493 5344; Fax: 020 7495 6325; Email: tom@mortonandeden.com).

The Egyptian Bead Shroud - A Case Study

in Authentication

Some of the more interesting objects that I have had to authenticate over the years are bead shrouds and masks. These are beaded garments placed in antiquity over the mummy. They usually had a net­li ke pattern and often had an integral 'mask" to go over the facial area. Design clcmenL~ such a~ winged scambs and the four sons of Horus were also often present. These look the pJaccor were in addition to the more common faience amulets placed over the mummy when it was put in the usual crutonnagc coffin of the period.

The problem with head shrouds, in general, and the beaded mummy masks one sees on the market from time to time, is that there has been to the best of my knowledge vet)' little publ ished regarding them. As far as I know they were only in usc during the Latc Peritxi, ca. 600-300 BC, and even then were not in universal use. Because they were composed of beads and string they are usually found in poor condition and must be restored to some semblance of their original appearance. Because of this and because so many loose ancient beads are found, they are a prime target for the forger of antiquities. Some appear on the market from old collections such as a couple sold in 200 I by a well­known and highly reputable N. Y. Gallery thaI were described as having a "old col­lection number on the back". Since they were in "custom frames" I was llnable to examine the back of the masks at the time, although from the front they appeared fine, Onc would presume that such objects are authentic being from older collections. but it should be borne in mind that even in the 19th and early 20'" century many fake Egyptian antiquities were made, and it wou ld have been even easier to obtain genuine beads at that time as they were considered to be of little or no value.

So even a genuinely old collection tag is not an infallible guide to authenticity. Most. however, are sold today with little

or no provenance so the point is often moot. As for excavatcd examples of bead shrouds, the only one I can recall offhand is a magnificent shroud with Gold mask and Ornamentation in the Cairo Museum (#CG53668). Although I have not seen il in person, never having visited Cairo, there is a wonderful illustration of it in The Of­ficial Catalog of the Egyptian Museum, Cairo by Philip Von Zabern, Mainz 1987, no. 249. It was excavated by A, Barsanti in 1903 at Sakkara and dates to the Late Period, m. 26th Dynasty reign of Amasis, ca. 570-525 Be.

Of course, this shroud had a gold mask and not a bead work mask but less impor­tant personages would have had the entire shroud made of bead work, It is these less pretentious masks and shrouds or shroud fragments, which appear from time to time on the antiquities market. As far as I can tell, most if not alL are discovered in frag­mentary condition and must be restored, even the magnificent example in the Cairo museum described above. The genuine examples I have examined usually have large portions cemented together at the back from contact wi th the linen mummy wrappings, which were impregnated with resi ns that hardened over the ages, AJ~

though I have never seen one restored, I imagine that you would compare several

known fragments to get an idea what the whole ones looked like in antiquity and work from that.

In any event, all of the masks, both good and bad, that I have seen over thc years are quite similar, dilTering mostly in size and the color of the beads used. Ob­viously, then, the first step in examining an item such as this is to ascertain if the beads are indeed authentic, Once the au­thenticity of the beads is established, the question becomes one of style. Since in the vast majority of cases the string used in antiquity to hold the beads together has to some degree rotted away, the real ques­tion regarding style is to what dcgrec the object, as restored, approx imates its origi­nal appearance. A careful examination under a 10 or 20 power glass should re­veal which parts have been restored in modern times and which retain tnlces of the originaHinen, resin, etc. If all of the stringing is modem, then indeed it is im­possible to know if the beads in question were ever a mask or shroud in the first place, and it must be a~sumed to be a mod­em forgery. If the whole item appears in­tact, then it is obviously genuine. How­ever, if only substantial portions appear to be original then the restorations should not

continued all page 50 ..

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April2003 43

Barbarous Coins of Ancient Israel

Col lectors frequently ask about coins that are referred to as "barbarous" or crude, and some of them have "retro­grade" inscriptions.

In the series of ancient Jew ish coins we observe barbarous bronze coins struck by the Maccabees, Herod the Great and hi s successors, the various prefects and procurators of Judea under Rome, Herod Agrippa I, Agrippa U, the Jewish War, and the Bar Kochba War.

All of the barbarous coins struck in the Second Temple Period are quile rare. Although no statistics exist, r would guess that less than one-percent of all or the coins from these groups arc of the barbarous type.

In general, the barbarous coins arc struck from dies that are engraved crude­ly, often with " retrograde" or mirror-im­age writ ing, and struck on irregu lar planchcts .

There has been considemble discussion concerning these barbarous coins. After studying them for morc than 30 years, I have made a couple of observations:

I. To my knowledge the barbarous coins always carry barbarous obverses and reverses. Sometimes they vary in the de­grec of irregularity, but I have never seen a perfectly normal obverse or reverse com­bined with a barbarous obverse or reverse.

2. The barbarous coins of ancient Is­rael are discovered side by side with the ordinary issues.

3. The alloy of the barbarous coins appears to be the same or similar to the ordinary issues.

4. With many issues, especially the bronze prutah coins, there are degrees of crudeness. In other words, some coins are almost caricatures and others arc very close to the ordinary issues.

What are these crude "barbarous" coins and who issued them? Most of the crude and barb,rrous issues of Greece and Romc are thought to be contemporary fOf<Jeries.

However, I believe with great convic­tion that this was definitely NOT the case with the barbarous coins of ancient Israel. Instead, it seems that these coins were made in a second mint workshop. In the case of the Jewish War and the Bar Koch­ba War there were almost celt ain!y sec­ond mints, possibly mov ing wi th the troops, or by soldiers hiding out in the Judaean hills. A particularly barbarous is­sue of the famous shekel of the Jewish War is known to have been struck at Gamala (Hendin-673). Die studies by Leo Milden­berg clearly prove that barbarous Bar Kochba coins were not struck in the same mint as the standard issues.

Ya'akov Meshorer wri tes that, "Be­cause of the unstable position of the Jew­ish administration, and the lack of a cen­tral mint. the mint masters were often changed. Occasionally unskilled people prepared the dies, and not only do the coins with the barbarous designs reveal bad style and obvious lack of skill, but also, they indicate work done under the pressures of the lime limitations."

It is certainly possiblc that thc bar­barous J udean coins were struck at the central mint by e ither poor craftsmen or apprentices who made errors. Howev­er, speaking strongly against this possi­bili ty is the absolute paucity of die li nks between the barbarous coins and the standard issues.

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44 The Celator

652 652a

A regular and barbarous issue of a prutah of Antoninus Felix , procurator of J udea under Claudius, dated to 54 AD (Hendin-652 and 652a).

Retrograde inscriptions cannot be used to support any particular theory. The ret­rograde inscriptions probably occurred because the individual cutting the die was inexperienced and also probably ill iterate. He did not understand the principle of dic making that necessitates cutting thc die in reverse. When the negative die strikes the metal, a tlUe image is formed.

As beginners, die engravcrs (known as eelators) worked by copying. Thus, they probably cut their first dies by copying prototype coins, and not other dies. When coins were stamped from those dies, the inscriptions appeared in retrograde.

Leo Mildcnberg refe rred to the barba­rous issues as "irregular" issues, and hc wrote that "the artisans who produced the irregu lar bronze dies were not only mere copyists imitating regular dies and even irregular works, but also unskilled copy­ists. For, their craft is inexpert, their hand insecure and their understanding of the legends, and even single leiters, poor or entirely absent. TIle overall picture of their production is entirely dilTerent from the

continued on page 50 ..

739 73iJa

A regular and barbarous bronze coin of Bar Kochba (Hendin-739 and 739a).

Crowns and Headdresses Illustrations

Figuire 1-Emmett 340

Figuire 4-Emmett 721

Figuire 8-Emmel! 1198

Crowns Cont. from page 41

(adapted for the Internet, though stilJ in Gennan, at http: //www.manetho.dcl).

Christiansen, Erik, Coins ojAlexandria and the Nomes: A Supplement 10 the Brit­ish Museum Catalogue. London, 199 1.

Christiansen, Erik & Kromann, Anne, Sylloge Nummorum Graecorum : The Royal Collection oj Coins and Medals, Danish National Museum. Part 41: Ala­andria-Cyrenaica. Copenhagen . 1974.

Dattari, Giovanni, Monete lmperiali Creche. Numi Augg. Alexandrini. emulogo della Collezione G. Dattari. Cairo, 1901.

Dattari, Giovanni & Savio, Adriano, Calalogo Comp/eta della Collezione Dattari. NumiAugg. Alexandrini. Trieste, 1999.

Emmett, Keith, Alexandrian Coins. Lodi , 200 1.

Figuire 1a­Emmett 710

Figuire 5-Emmett -

Figuire 2-Emmett 1189

Figuire 6-Emmett -

Figuire 3-Emmett 1800

Figuire 7-Emmett 707

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April2003 45

In a previous incamation, I managed a custom photo lab and digital retouching studio. This was a few long years ago. in the days of Shima Seiki work stations, when retouching was sti ll an expensive art rlild magic, and before any Joc off the street with Adobe Photoshop and a smidgen of talent could enable his dearly departed grandmother to knit demurely in fron t of the Eiffel Tower. I used to fantasize about asking one of our anists to create a trans­parency of an Olho scstertius for me as a joke.l would have sent 8 X 10 glossies of this to various dealers and publications and created a sensation. as no one in the coin world yet knew a pixel from Pixodaros. ThaI was then. and we were far too busy stripping mentho l cowboys into blue­green meadows to indulge my pipe-drcam. Now all the Jocs are in fact off the streets and at their computers, madly remaking the world. Images of ancient coins are just so much putty in their busy little hands.

lllere is, unfonunately. a point to these musings. I recently took a carefu l look :11

a new Spanish catalogue of Roma n Re­pUbl ican denani, Calalogo MOlZograflco de los Dcnarios de fa Republica Roman{/, by Jose Fernand ez Molina, Manue l Pernandez Carrera, and Xavier Calico Estivill. The authors abbreviate this FFC, and I' ll do the same. FFC is billed as a re:ldily avail:lble alternative to the out of print Roman Silver Coins I, and purports to provide photos of all varieties of Re­pUb li can dcnarii , not merely the main types. Some of thcse illustrations arc re­produced from Crawford, or from an ear­lier catalogue by Calico and his brother. and m:lny others arc picked up from NAC sales. Quite a few. however, are of other­wisc unpublished pieces in the authors' collections, so FFC seemed to be a useful addition to a Republican library.

The book is organized according to Babelon's "unscientific" but time-honored :lnd easy to use fa mily arrangement, with the addition of consccUlive numberi ng. I' ve no objection to this system, which sometimes reveals significant pattern s within the Republican coinage that arc obsc ured by modern chronological ar­rangements. TIle recurring elephants of the 46 The Gelator

Caeciliagells :.re a dramatic example. Nor do I mind the decision. presumably dic­tated by space and interest, to exclude bronze, victoriati, and the entire pre-de­narius coinage, although a listing of the denarius fractions would have been wel­come. The photos themselves are a bit flat for my taste. but reasonably sh:l rp :lnd clear. Prices are given in Euros, for VF :lnd EF specimens. 'These arc intriguing. if somctimes open 10 debate.

I was dismayed however to di scover that many of the photos in FFC have been doctored, in Photos hop or something like it, to illustr:lte varieties of which lhe au­thors could not locate actual coins. Sonle­times the fCtouching is obvious, and adja­cent entries clearly deri ve from the same original. a control mark or legend having been moved or changed on one photo without other alteration of the eoin. In other instances. a more serious elTort has been m:lde to make the original and the created coin appear different, The size of the nan is varied. scratches are added or removed. the contrast or density of the photos modified. To my knowledge. thi s proccdurc is without precedent or par­allel in other numismatic works. whether inte nded fo r collectors o r sc ho lars. Originally I .hought these changes were made without comme nt, but a reread ing of the prologue shows that the authors do brieny mention this methodology, saying (a paraphrase of my poor tnlOS­lation) "we have permilled ourselves to modify coins in the few cases where we regrellably ean ' t find origi nals:'

Excluding the two inunense and com­plex Calpumia issues. Crawford 34011 and 408/1, which the authors understandably do not attempt to exhaustively il!ustrrue, FFC contains 929 listings of Republican denmii . A quick survey of onl y the Re­publican section of the book (which also incl udes Imperatori a l and Augusta n denarii) finds 44 certain examples of modi­fied images, ovcr 4.5% of the toul. I'm sure there are others [ mi ssed, and thaI the real percentage is higher. Each retouched image implies an unrclouched original, but the authors nowhere indicate which is which, so the unaltered image cannot be distinguished from the altered one. and both arc in doubt. Thus. almost 10% (or more) of the illustrations arc of "coi ns' which mayor Illay not have any existence in the real world. One might quest ion whether this really constitutes on ly "a few," but more imponant is the propriety of the procedure itself.

Putting the best face on it. this is a very slippery slope. It 's one thing to create an Otho sestenius as a prank. hut FPC would like to oc aecepted as a serious handbook for col!cctors and a valuable mine of lm-

ages for scholars. llK: possibiliticsof fmud are obvious. even if no fmud was intended hefC. That aside, the work is inherently dangerous, llS it presents a fal se picture of the Republican coinage, which fUlurccol­lectors arc likely to assume is accurate. The authors ' tcchnique results in some serious blunders. For example. an apparent mi s--­reading of Crawford has led the authors 10 digita lly create a nonexistent variety of Cmwford 36311, L. Censorinus, with the lege nd L. CEN SOR to th e right of Marsyas. TIley then proceed to number (FFC 889) and describe this fantasy. FFC 976 seems \0 be a new variety ofCr.lwford 40513. M. Plaetorius M. f. Cestianus, wilh the vari ant reverse legend begin ni ng CESTIAN . S.c. rather than CEST. EX. S.c. Thi s i.~ of some interest, if it exists. There's no way to be sure, as FFC 977 repeats the same coin, with control mark removed and ba.nker's mark added, and the same variant legend, incorrectly cited as Crawford 405/301, In :lnother night of fancy, FFC 720. they concoct an example of the very rare Cr-353Ilb, Mn. Fonleius C. f. , with both CFand ROMA monogmm to the ri ght of the head of Apollo. This variety is cited by Crawford from the Cos:! Hoard. and illustrated in the hoard report by T. V. Buttrey. The :luthors. however. appear never to have seen this illustration. and simply to have guessed al the loca­tion of the monogram. They place il. gro­tesquely. at the tip of Apollo 's nose. not under his chin as is found on the actual coin. In general . the authors seem surpris­ingly unaware of pieces now residing else­where than in their own collections. even if sold in the NAC auctions whose cata­logues they utilized, other than a few very rare items picked up from standard works.

The authors' stated goal o f prov iding illustrations of all varieties is laudable. but to me. their method of achieving it is dis­tasteful, lazy. and intellectually dishonest. The point of such illustration should be to allow Ihe discerning rcader to confirm patterns of style and fabric di stincti ve to certain varieties. That is hardly possible here, where a single coin is repe.tted as many as five times (FFC 878. 880-83.) with control marks rearranged orehanged a~ needed. h 's clear that the book is worth­less for reSC<:lreh (a view confirmed pri­vately by others for whose opinions [ have the utmost respect.) I believe it 's of only minimal value to collectors either, except perhaps as a curiosity. This is u real shame, as the need for a single-volume replace­ment for the in valuable but hard to find RSC I is .Icute . One can only hope that FFC is an irresponsible alx:rmtion, not the emergence of a new paradigm for numis­matic literature.

The Globe Revisited A debate over whether the ancients

knew the world is round has been going on for centuries, and still pops up now and then . In the February 1998 issue of The Celator. Michael Marotta presented a well thought out argument for the allinnativc ("Ancient coins show that they knew it was round"). Examining the literature and numismatic evidence, he concluded that the ancients did indeed know the world is round, and that the globes depicted on ancient coins (both Greek and Roman) are sometimes a representation of the emt h.

Evidence in these sorts of debates usually continues to surface long after the discussion has run its coursc. Such was the case recently when in the search for something else this writer became aware fo r the fi rs t time of a philosopher and literary critic by the name of Crates. Actually, it should be somewhat of an embarrassment to acknowledge ignorance of this important figure . Crates of Mallus was extremely famous in antiquity, as a polymath grammaria n and Stoic philosopher, and is no stranger to scholars of today. Nonetheless, since his work has not been mentioned, to our knowledge, in th is long-standing debate- at least not recently- we might assume that he is not universa ll y remembe red for an astounding hypothes is about the nature of our planet.

The Greeks, always seeking a sense of symmetry, were ill at ease with the calculations of Eratosthenes (275-194 BC) who postulated the size of the terrestrial globe. His theoretical size was much too big for the known size of the inhabited world that they knew. In fact, the oecumene occupied only one-fourth of the theoretical size of thc earth. Crates so lv ed the prob lem by anticipating the existence of three other continents, separated by waler, which formed a ba lance and an acceptable hannony. It was recognized by Crates that this could be represented accurately only in the form of a globe. His theory was so bighly respected that the Attalid King Eumenes II comm issioned him to

construct a 10 foot diameter globe at the library of Pergamum in 180 Be.

Actually, Crates credited this spherical earth theory to Homer. He believed that Homer's writing was based on actual events and scientific facts rather than being fancifu l poetry. Crates went on to Rome, where he taught philosophy and literill)' criticism to the noble and wealthy. Suetonius speaks bighly of him.

The famous Roman geographer Strabo (63 BC-AD 21) wrote: "Whoever would represent the real earth as ncar as possible by artific ial means, should make a sphere like that of Crates. and upon this draw the quadrilateral within which his chart of geography is to be placed ." He went on to descri be how the l in es should inte rsect at 90 degrees and how such a globe should be constructed.

uneducated and ignorant masses of thai time, steeped in the lore and fear of a lchemy and magic, may have believed so, but mariners who trusted their lives to the sea understood well the principles of a spheri cal earth . So too did the cartographers who recorded the journeys of these intrepid marin ers and encouraged the Age of Exploration that led to several hundred years of di scove ry , mapping and colonization .

It is probable that Columbus knew precisely where he was headed in 1492, the only questions were how far was it. how long would it take to get there, and what would he find when he arrived?

Modern reconstruction of the Globe of Crates

Th is in tersection of lines , or quadrants may well account for the intersecting lines secn on some globes on coi ns f rom the Flavian and Antonine periods . Thcse lines have been traditiona lly thought of as an equ inocta l c ross (sec: M. Moln a r, "Symbolism of the Sphere", The CeialOr, June 1998) and probably are in most cases. How ever, g ivcn the widespread acceptance of Crates' theory, it is not at all unlikely that representations of tbe earth could or should appear on coins along with in t ersecti ng lin es o f ,:'------------------------, quadri lateral division.

T he theory of land masses on opposite sides of the globe was not lost over time. Some of us today may re member that our grammar sc hoo l les so ns included study of the "Dark Ages·' when peop le supposedly th ought the wor ld was flat. Tbis, u nfortunately was a distortion of the facts. The

Antoninus Pius, IE sestertius, AD 138-161 !talis seated on globe, holding cornucopia and scepter

(eNG photo)

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po. Box 9 11, Gainesville, 1\10 65655 (4 17) 679·21 42 . 679·2457 .

wayne@ancie ntcoins.<'IC

April2003 47

This month we wi ll deal with one reader-supplied topic - coin diame ­ter measurement, and discuss the completed co ntest. I hope you enjoy the column, this marks its one-year anniversary!

I recently received a question for the co lumn that I thou ght was pre t­ty sclf-exp lanatory. Then I noticed a lengthy discus sion on the Mone­ta-L list on the sa me topic. T hanks James for the question.

"How docs one measure the di­ameter of ancient coins? Since the flans are most often irregular, do I use my caliper to measure the maximum diameter of the flan, or average the maximum and mini· mum, or do I measure the maxi· mum extent of the coin design 011

the flan". James D. Trenchard, Bridgewater, NJ

I know how I measure the diam­eter of my co in s , and I thought there was only o ne way (see Figure #1 for one method - the 3 o'c lock to 9 o ' clock method) , but now I am not so SUfe. This simple issue seems to have sparked a bit of a debate; may­be our next issue wi ll be about the 'correct' way to 'weigh' an anc ient com.

Let's see what the Ex perts have to say:

Benjamin Bell, CIVITAS Galler­ies, " When meas uring an anci ent coin, I rotate it to the maximum d i­ameter and take the measurement with a transparent plastic ruicr, care ­fully view ing the al ignment so as to avoid para llax . This seems to be a ll that is needed when providing mea ­surements for a sale . With th is sys­te m, showin g a decima l wi ll be a contravention of the rule of ' signif­icant digits ' often appl ied in phys ­ics or chemistry. The measurements are shown pr imarily to earmark an aberrant coin, or to demonstrate <lC ­tual size to a novice,

measurement is its diam eter. Hi s­torically, the En glish have measured diameter in inches, the French and other Europeans in mill imeters, and numismat ists have over the years developed some unique system of their own. Among these is the fa­mous Mionne t Scale.

Between 1807 and 1837, the ac ­claimed numismatist T. E. Mionnet produced a monumental 16 volume catalogue attempting to l ist all known Gree k and Roman coins. In­stead of mea suring each coin pre­cisely, Mionne t deve lo ped a scale wilh pre-establ ished sizes numbered I through 19. This scale was used

when images do not corre spond to any real scalar sta ndard. For th e purpose of a museum catalog , cal ­ipers would be adv is­ab le. So long as th e mea surements a re made consisten t ly and using the same criteria (stated in the in t roduction), those measurements cou ld be maximum breadth or at a specific coor­dinate. It is impor­tant to note both di ­mensions of a rectan-gul ar or ob long coin,

Figure #1-Measuring the diameter of a coin using the 3 o'clock to 9 o'clock obverse method. (Photo by the author).

although comme rcially it is possible to list on ly the max imum dimension for the sa ke of brevity."

Wayne Sayles. " It just happens that this question was addressed in the second edition of Ancient Coin Co llect ing . which is at the pub lish ­er now . Here is an excerpt from th at sec tio n: ' A coin can be measured in more ways than one migh t think. The most commonly encountered

www.oldromancoins.com

frequently by 19th and earl y 20,h cen­tury numismatists , especially in de­scri bin g Greek and Roman provin­cia l coins . Rom<ln Imp erial co ins were normally described by denom­ination only, sin ce the s izes of com­mon denominat ions were fairly stan­dard and well known. Another af­bitrary system came into usc by nu­misma t ists to describe var ious bronze co in s of the Late Roman Emp ire for which the denomination is uncertain. These coins arc classi­fi ed as First, Second, Third or Fou rth Brass or IE 1,2, 3,4 respectively. The IE I refers 10 coins over 25 mm in di­ameter, IE 2 10 coins between 25 and 2 1 mm , IE 3 to coins between 21 and 17 mm, and IE 4 to coins less that 17 mm in diameter. Today, diameter is almost universally measured in milli­meters and lacking a proper denomi­nation, coins are referred to by the metal CAY = gold, AR = silver, IE = bro nze) and the diameter in millime­ters, e.g. A: 22 for a bronze coin of 22 mi llimeters diameter. Classical Cash

48 The Celator

S ince the diameter of ancient coins of the same type and denomi -

nation can - and usually does - vary significa ntly, the utility of a precise readi ng is questionable. Accuracy to the nearest mill im ete r is ce rtain ­ly adequate for most collector pur­poses''' .

David Hendin, Amphora Coins. " Th e re are several me tho ds for measuring the diameter of coins. Some do measure the maximum and minimum diameters, although T pre­fer the convent ion of holding a coin at 12 o'clock (that is look ing at the obvcrse of the coin wi th the top of the head of the ruler lor compara ­ble ] in thc upright position) then measure the diameter from 9 o ' clock to 3 o'cloc k"

Barry Murphy , "W hi le there is no established method for measur­ing diameter, the general practice is to measure the flan from 9:00 to 3:00 horizontally acro ss th e center of th e flan. I have seen some people measure the la rgest d iameter, bu t thi s method could become cumber­some requiri ng several measure­ments to fin d the widest point. No one method is better th an any other. bu t to me, when I think of diame ter. I think of a horizontal line across a circle, not a line tilted at some an· gle. T he only reason I can think of to measure the widest po int would be the notion that bigger is some· how better. You could take a string, wrap it around the edge of the co in. measure the string and div ide by pi to get the average diameter (agai n time consum ing).

Due to variance in strike pressu re and metal softness, you can gct coins of the same issue with widely different diameters. You may have a co in 23 mm, and another of 27 mm, both from the same issue, even sometime s from the same dies. Di­ameter of the flan is subjec t to too many variables such as temperature of the flan when it was struck, th ic k­ness of the flan, die pressure , an d the ang le of the strike. [t wou ld probably be more useful to measure die size instead of flan size but you will rarely see thi s done. In the few instances I ha ve seen where the size of the die has becn measured, it ha s becn clearly stated" .

Curtis Clay, Harlan Berk, Ltd. "I've had litt le to do with these, s in ce they are rare ly give n for Ro­man imperial coins .

However, I wonder if my friend Barry Murphy is right that measur­ing three to nine o'clock is the stan­dard method.

In Die anliken Muenzcn Nord · griechenlands 1.2. Berlin 1910, pg. 587, Kurt Regling states : "In my specificat ion o f the size of th e coins I have always given the grcatest di­ame ter and have only given two mcasurements when the coin's form is dist inc t ly oval. " '"Bei der Angabe der Groesse habe ic h stets den groess ten Durchmesser angegeben und nur bei geradezu oval en Stueck· en zwei Maasse angegegen ."

In his ca ta logue of the Ro man imper ial medallions in Berl in , Hei ­nrich Dresse l (died 1920) seems reg ­ularly to give both the largest and smallest diameters, e.g . '"26 1/2 -27 mm'", 35 112-36 1/2 mm", "38-40 mm Occasionall y hc gives only one measuremen t , apparently be ­cause the coin is pretty much per­fec tly rou nd" Curtis '5 response is to Barry's Moneta-L post· JAH

Coin Contest

There was no winner of th e con­tes t, i.e. a person who guessed ninc of the nine coins correct ly. The pe r­son wi th the most correct guesses was Frank Robinson, who go t six coins correct. Fran k was stu mped

wi th coins #3 and #6, wh ich he thought were authentic , and #9. which he thought was a Limes de ­narius . I gue ss it is pretty hard to te ll a fourree from a Limes, based on a photo, so we should probably give him that one too . Thanks for all who took the time \0 enter.

One Year Anniversary

Well we made it! It has bcen one year since the first column of 'Ask the Experts' was published in The Celator. My goal is to keep the col­umn both factual AND en tcrtain in g, and based on thc readers' response, it appears we are successfu l.

Thanks to the experts who have helped me answer your questions, and remember your questions make this co lumn - SEND THEM IN!

See you next month. CARPE DIEM !! Have fun collecting - Share your Hohb y -enj oy!!!- SEND TN SOME QUESTIONS/COMMENTS.

Copyright © James A. Hauck 2003

jimhauck@s haw,ca

STILL IN PRINT

Martin J. Price

The Coinage in the name of Alexander the Great and Philip Arrhidaeus

A British Museu m Catalogue. Zurich/London 1991 2 cloth bound volumes, 637 pages, 159 pla tes

T he Swiss Numismatic Society is pleased to announce that the late Martin Price's masterwork on the coinage of Alexander

is still avail able from the Society's distributor.

Special Price for Celator readers: $275.00 including postage.

To order, send your cheque to:

Mr. Alexander Wild, Rathausgasse 30, CH 3011 Berne, Switzerland phone, 0041 0313114480,1a,,0041 0313114470

and don 't forget to note that you are a Celator reader!

April2003 49

Baldwin's Auction 33 Scheduled For May 6th & 7th In London

Hendin Cont. from page 44

surprising achievement of Ihe men who cut the regular bronze dies ."

LONDON-The Ancient Coins sec­tion of Baldwin's Auction of 6-7 May 2003, includes a group of Greek si lver coins of various cit ies, among them a handsome didrachm of Rhodes with facing head of He lios and an opening rosebud on the reve rse. The olive spray on a lilra of Rhegium conveys a suit­ab ly top ical symbolism. Among the Roman Republican , Imperial, and Byz ­antine coins, is a specialist collection in which gold aure i and particu larly Late Roman gold solidi were selected for the exceptional quality of their portraiture.

The aureus of Maximianus (285-305) and the solidus of Valentinian II (375-392) are particularly striking. A number of rare varieties, where Chris­tian emblems are used as devices in the design of the coin, were selected over the years from European sources. Examp les of this are the Solidus of Honorius (393-423) with a Christogram on his shie ld, and the Solidus of Leo I (457-474) whose scepte r is in the form of a cross. A so lidus ofTheophilus (829-842) displays a patriarcha l cross of crisply confident style appropriate to the Emperor's name.

There is also a collection of silver coins of Galba, Vitelli us and the Civi l Wars , and an interesting group of Le­gionary coins, of Septimius Severus and of Gallienus , in the latte r case , dif­fe rent an imals and symbols being used to signify the different Legions , a Pe­gasus be ing chosen by LEG II ADIVTR IX and a suitably Parthian cen­taur for LEG Iii PART.

The mediaeval and later coin sec­tion includes a coliection of Maltese sil­ver and bronze coins of the Order of St John, which spent the whole of the 20 th century in a bank box. Every Grand Master from Juan de Omedes (1536-1553) is represented , includ ing seve ral great rarities, such as the 2-Tari of Claude de Sengle (1553-1557) [i ll ], a 2-Tari of Pietro de l Monte (1568-1572), the 3-Tari of Luis Mendes de Vasconcellos (1622-1623) and the 3-Tari of Nicolas Cotoner (1663-1680) .

Amongst much othe r material of­fered is a large group of Russian of coins and medals inc luding the re ­mainder of the col lection sold in The New York Sale VI (Janua ry 2003) There will a lso be the usua l offering of about 500 Islamic coins in a sepa ­rate cata logue

The catalogues will be available in early Apri l. For further detai ls, please contact. Edward Ba ldwin , Charles Riley or Seth Freeman; Ba ldwin's Auc­tions Ltd, 11 Adelphi Terrace , London WC2N 6BJ; Te l: 020 7930 9808; Fax: 020 7930 9450 or bye -mai l at auctions@baldwin .sh.

Antiquities from page 43

detract from the value. Since many masks and/or shroud fragments will fall some­where in between the extremes of pos­sible restoration, it often becomes a value judgment on the pmt of the collector or dealer as 10 whether the object is "real" or not.

I suggest that the barbarous issues might well have come from a trade school, a k ind of apprentice minI. Be­cause this was a poor society, in great need of Ihe small change, the products of this mint were used. It was a maHer of pride for Ihe master engravers to keep the work of their students far away from the mint proper, and this is the reason we never find die links. Th is scenario would also explain Ihe rari ty of the barbarous issues, si nce they we re manufactured as a "projec t" and nOI as an ongoing production l ine.

The situation was possibly differ­ent during the Jewish War and the Bar Kochba War, since these were times of particu lar stress, and the government would have wanted to continue pro­duction of money through a redundan­cy of mints. Still, the basics facts rc­garding the barbarous coins still ap­ply to these two periods of history. Thus the second mints, or, in the case of Gamala, even the third mints, wcrc obvious l y staffed by students or outright inexperienced minters and celators.

Copyright © 2003 by David Hendin

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April2003 51

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52 The Gelator

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April2003 53

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54 The Gelator

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April2003 57

Club & Society Directory

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April2003 59

Leu Cont. from page 33

forces. Now. everybody was sure, it would be a trifle to win the war against Sparta.

But Alkibiades had his equal at Sparta, a general who was as bri ll iant as he -Lysander. He managed to bring Athens close to destruction in cooperation with the younger Kyros, second son of the Persian king. When , in spring 407, Alkibiades suf­fered a crushing defeat, the Athenians, of course, removed him from command. He retired to his estates in northern Greece and left the Athenians alone with the huge problem of rebuilding a new fleet after the complete loss of almost ali of their ships.

The treasury was empty, and ali the silver that had been collected by Perikles

View of the Athenian Akropolis

in order to finance a war against Sparta was spent. The Athenians had no choice but to fail back upon the gold reserves that had been deposited as dedications within the temple of Athena.

To us it looks a little bit peculiar to re­claim consecrated dedications in troubled times. For a Greek this was very normal. A lot of temples acted as banks where you couid deposit something while life was good, and where you could borrow some­th ing when you needed it. When the troubled times were over the temple ex­pected the return of the amount lent, as well as a suitable sum of interest. In the winter of 407 the Parthenon in Athens still had eight Nikai (Victories) within the trea­sury, each adorned with 2 talents of easily removable gold decoration. And there sti ll was the golden sh ield of the statue of

60 The Gelator

Athena made by Phidias, which is sa id to have weighed 40 talents. The Athenians took a part of the gold (seven of the eight Nikai pl us other dedica­tions) in order to melt it down and mint it into coins for financing the construc­tion of the new fleet. The gold stater shown here, which comes from the up­coming Leu Numismatics Auction 86, is a rare wit­ness to Ihatlast desperate effort of Athens.

The Athenians were not very happy to be paid with

new types of coins, espe­cially unusua l gold staters. Aristophanes re­ferred to the displeasure

Statue of Athena by Phidias. The shield was made from pure gold of 40 talents of weight.

of the Athenians towards their currency in his "Frogs", fi rst performed in 406/5:

II seems to me, that in our city the best honorable citizens are treated the same way as our old coins and the new gold;The new gold, which is neither fake, nor of too low weight, which is the best I know of all coins , which is struck nicely and is very accepted in Greece and abroad; this new gold you do nol like, but you like the plated money with the bad sound that has been minted yester­day and the day before yesterday!

This last effort of Athens was a suc­cess. The newly built fleet was victori­ous in August 406 at the Arginusae, the strait between Lesbos and Asia Minor. But this victory demonstrated that the Athenians were no longer a commu­nity: the six generals that had com­manded the victorious fleet were de­nounced for being unable to rescue a number of shipwrecked Athenian sail­ors in a riSing storm. All six were con-

demned to die, and all were executed, including the only son of the great states-

man Peri kles. A single judge refused to agree to this unjust judgment. He was will ing to bear arrest and lynch law in order to protest against the biased court. It was Sokrales who later said that his daemon, his inner voice , compelled him from acti ng according the wishes of the majority.

Unfortunately he was the only Athe­nian who possessed a daemon. Athens had killed her best generals, after hav­ing driven Alkibiades into his voluntary exi le. Now the fleet was an easy victim of Lysander. He defeated and crushed the Athenian ships at Aigospotamoi. That was the beginn ing of the end. Lysander besieged Athens - once so proud , now unable to resist very long . In April 404 Athens accepted the peace. They them­selves had to destroy the long walls and the fortifications of Piraeus , and surren­der all but twelve ships. This was the end of the power of Athens. Al l the gold of the Akropolis cou ld not make Athens from being more than just one among many other cities in the Greek world.

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