Zeitschrift für Numismatik, vol. 8 — 1881

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Cd

s

MAGAZINE

FOR

NUMISMATICS.

REDIT

• . •

¥0K

Prof. Dr. ALFRED OF SALLET,

OBOBVTLICHKM MITQLIKD DBB XAI8KBLICH DSDT8GHBII ABCHABOLOOIBCBBM »tTITDTB, BBBBVMITOLIBD DBB NCMlBlfATISCHBN OBBBLLSCHAFTBir IV BBBLIM DMD LOMDOM.

EIGHTH VOLUME.

BERLIN

WEIDMANNSCHE BUCHHANDEUNa.

1881. ftMiANV

Contents of the eighth volume.

Altertlinm«

Page

Friedlaender, J. The acquisitions of the KOnigl. Mttozkabinets (Plate II} 1

(Including the Middle Ages and the Orient.)

Mommsen, Th., The names of Emperor Balbinns 17

Nane, J., The portraits of Alezander the Elder. Big...29 Klttgmann, Ad., The names of the monetaryists anf d. Denarii

d. Republic 54

Biggauer, H., Eros on coins (Plate I] 71

Weil, B., Asclepius and Hygieia on masks from Bizya .... 100

Ballet, A. v., Nymphodoros, Regent of Abdera 105

Ballet, A. v., A letter from Eckhel 121

Vleuten, F. van, silver medallion Gordian's m 144

Ballet, A. v., Kamnaskires and his dynasty 205

Ballet, A. t.. The coins of the kings of Characene 212

Friedlaender, J., Letters from Eckhel 220

Ballet, A. v., Alexander d. Gr. as the founder of the Bactrian-Indian

Rich 279

Oldenberg, H., On the dating of ancient Indian coins and coins

Rows of inscriptions 289

Weil, R., King Saumakos 329

Weil, R., On the Parthenos statue of Phidias 334

The Middle Ages invited soulful 20th century«

Graba, V., 'St. Mauritius or Dionysians? . 17

Bardt, F., The Mfinzfiind of Frankfurt a. 126

Bardt, F., On the coin find from Frankfurt a. 288

Vleuten, F. van, The coin find from Bonn 133

Dannenberg, H., On Brandenburg coinage I. (Plates III—VI) 161

Dannenberg, H., The coin find from Seydel 191

Dannenberg, H., The Brak teatenf and von Bünstorf. Addendum. . 197

Sallet, A. V., Tobias Wolff, the Breslau goldsmith .... 199

Sallet, A. V., On the oldest Mttnzkuude and history of Brandenburg 249

Friedlaender, J., A denarius of Albrecht the Bear 275

*^o?^6 f

IV Contents of the eighth volume.

Page Sallet, A. y., To your denarius of Albrecht the Bear from the Michen

village finds 277

Bergsöe, S., Danish medieval coins of the eleventh century. 281 Sallet, A. V., The denarii of Margrave Albrecht the Bear as protective

bailiff of Halberstadt 339

NECROLOGIST.

H. Cohen 146

A.D. Mordtmann 146

W. ßentzmann 148

MISGELEN.

Coin found in Posen (11th century) J. Friedlaender 149

Coin find (Brandenburg. Denarii) H. D 229

To the denarius of Petrissa. J. Friedlaender 229

LITERATURE .

Codera, F 151

Dirks, J 154

Gardner, P, . 157. 248

Visconti, C.L 159

Bahrfeldt, M 230

Erbstein 231

Magazine of the Harz Association 232

Friedlaender, J 234

Head, B.V 236

Keary, C F 237

Poole, S.L 239

Schlumberger, G. 243. 247

Schratz, W. . 247

Feuardent 345

At the end of the volume: Negotiations of the Numismatic Society in Berlin 1879/1880.

* *

•v .' . 3

The acquisitions of the Royal MOnzIcabinet from April 1st to the end of 1879.

(b. panel n.)

During the period mentioned, two important collections were lungs bought, the Grote'sche of medieval coins, and the Sandes' see from Roman.

The former was most recently owned by Mr. H. Jungk in Bremen; It consists of 9560 pieces, 305 gold, 8940 silver and 315 copper, from the migration to the Reformation. Mr. Dr. H. Grote in Hanover has during one Half a century or more, this collection brings together one true treasure for German and Dutch numismatics, but also among the coins of most other European countries Countries are valuable. The win for the Eabinet is all the greater as there used to be little access to these rows value, and only in more recent times through acquisition the Gansauge and Dannenberg collections and of many individually purchased pieces. But despite that The valuable purchases mentioned were made for some departments The Grote coins laid the foundation for numerous The earliest, most important and rarest were added to the rich. Now that we have already classified this abundance, are also these patriotic and historically important ranks become equal to the other parts of the Eabinet. single Listing things would go too far, and the important ones are also most known pieces from Grote's coin stages; So I want to just pay attention to a few.

ZeiUchrift fttr KomiaiDAtik. VIII. 1

(

J. FHfdlauiideT,

The depicted denarius of Karl dee Grossen is probably there shaped by his presence in Kom, and thus forms the counter- Sttlck zn the contemporaneous of Pope Hadrian I, which was listed in the last annual report.

Another Earolingian tradition points to the contrary- set end of the empire; a denarius of Lndwig III. (S76-882] probably minted in Hamburg by the AAAsian count Bruno, who as military commander occupied the Nordmark in 876 - SSO reigned.

The coins that the son of Friedrich n., King Henry and his wife Mayarethe of Austria, in Oppenheim and in Frankfurt am Mfün.

Furthermore, Cologne denarii of King Philip of Swabia, and a bracteate from him.

Of admirable beauty and delicacy is one Esslingen denarius with the head of H. Vitalis. A coin from Minden has MINDAO(NA?} and on the other side the stamp by Edln. Denarii of Abbot Johann von Helmershansen, des Count Johann von Isenburg with a crowned head, the arch- Bishop of Cologne Konrad von Hochstaden in BERNEBV (Ber- leburg), from Pyrmont with the name nnd head of King Alexander of Scotland and on the other side Pyrmont Cross; from Counts Volkwin and Widekind von Schwalenberg; from the County of Schwerin with the bull's head and the striding horse on the other side, all rarities first rank.

No less: Denarius of Abbess Eilike von Hervord nnd Bracteat of the Meregard of Quedlinburg. Tonmoses of the Counts

The acquisitions d. Royal Coin cabinets from April 1st to the end of 1879. 3

Eberkard von Eönigstein, minted at Eppstein, Salentin von Sayn, Olllfcettan of Oldenburg (RERSTIKRIS QOSBIS) . Wittenpfen ni^ ddtr I9|^t Hanover.

EndHijÜl^a groschen from Gumpert von Alpen with Maria llQf on one side and the three kings on the other, and a shilling from Eberhard von Wtirtemberg, 1494. Also several Several East Frisian groschen are worth mentioning, which were made by Fal- dem and the Unicum by Weener.

Several medieval stales (piedforts) in Jülich, Münster, Braunschweig and others are also among the largest sel- tenities.

Among the not large number of rare Thalem like the most important: that of the three original cantons with the h. Martin, one of Mary of Burgundy and the Archduke Maximilian; a Halbthaler Ulrich von Würtemberg with his portrait and the h. Ulrich; a Cologne Thaler with the Adoration of the Three Kings, the gold strike of a Cologne Halbthaler with the h. Ursula.

And to conclude with some of the considerable number of number of rare gold coins worth mentioning: the Abbess Sophia of Essen and the Emperor Friedrich lü. from Wiener Neustadt.

In this short and insufficient overview the Connoisseurs of German coins of the Middle Ages can already judge that what treasures the coin cabinet has won here.

When acquiring the Grote collection, in particular from Determination of some coins and when estimating their value Mr. District Judge Dannenberg is responsible for its quality and value with his broad and deep knowledge and experience provided the most essential help, and I am happy to use it opportunity to express my deepest gratitude to him publicly. speak.

The acquisition of Sandes' collection also has something to do with it The weaker part of the cabinet was enriched with Roman coins.

4 years Friedlaender,

The English Captain Sandes had with great zeal and determination won the most excellent pieces at the major auctions ments from the last decades bought together; these 577 coins zen, 37 so-called. Medallions (4 gold ^ 1 silver, 26 Roman and 6 Greek] and 540 Roman so-called large bronzes, would adorn even the richest Eabinet, so much more like ours, which was created in 1806 has not yet replaced the losses suffered in Roman coins. These Sandes coins are not only rarities, but also other works of art of the highest beauty and perfect creation attitude. Each such piece individually is priceless, a treasure I have never seen an agreement like this. The heads the emperor and their wives and children are so full of life, that one can understand the characteristics and fates of these world rulers is trying to recognize in it, and many of the downsides In addition to their artistic value, they also have historical, e.g. B. the on Hadrian's travels and his surveys in the provinces standing armies, of which there is an impressive number here finds oneself; a perfect example of the Coin of Nerva with Vehiculatione Italiae remissa; among the beautiful ones One of the coins of Vitellius stands out, a masterpiece Roman portrait art of the most perfect through beautiful colored patina favors preservation; a Marciana, which in Paris was considered the best of all known. Among the One of Traian's medallions stands out, depicting the three captains. tolin deities in wonderful beauty, one of the Gordianus Pius, a Florianus; among the Greeks three of the Antinous.

The four gold medallions are from Gonstantin the Great. But the main piece of the collection is the silver medallion Julia Domna, a famous unicum of the Lord's collection North wick, which was at auction twenty years ago was paid with almost 6000 marks. Hopefully it will

The acquisitions d. Royal MQnzkabinett from April 1st to December 1879. 5

upcoming reorganization of the coin cabinet rooms and the B6B|;b|iffanction of some new sofa tables will soon make it possible dieti' and other valuable acquisitions for numismatists and to show the artists.

There was no lack of individual acquisitions. There were

Gold

Silver

Bronze

piece

Greek coins. . .

14

14

99

127

Roman and Byzantine.

2

3

170

175

Medieval and modern.

19

82

8

109

Oriental

2

14

79

95

so together

37

118

356

506 pieces

acquired, and one counts the 6rote*schen and Sandesian ones added, the cabinet has increased by more than 10,600 pieces. more.

We have a few gifts to boast about: Mr. Privy Councilor Virchow allowed him to use the money he had bought in the Troas To choose coins, two of the same are rare; Mr. Keibel in Treptow an der Tollense, to which the museum has already been located several times Thanks to valuable gifts, some of those found there turned to us Oriental coins of value too. A set of 59 money porcelain signs that used to be used in Siam Mr. Advocate Dr. Winckel in Samarang; two nice medals of his work Mr. Wyon, Court Medalist to the Queen of England; Finally, Professor Michaelis in Strasbourg Alsace three modern medals to famous philologists.

Among the coins purchased, the most important are:

L Greek. Two Macedonian ones of the greatest rarity, namely the decadrachmon of Alexander the Great, (Plate No. 2) a nice example from the Baghdad find, slightly larger than the copies in London and Paris. The large number of Alexander coins that the cabinet owns were allowed to do so themselves The tenth piece in the series is no longer missing. Even more interesting is the octadrachmon of Alexander I of Macedonia with the

5 years Friedlander,

Reiter, (Plate No. 1) is known to be the oldest coin with the name of a king, also the oldest coin whose date is inscribed (498-454); it forms the pivotal point for the chronological one Determination of the style of the 5th century.

Eleven gold staters of Ptolemy Soter^ which can be seen from I already mentioned this in the last annual report published. I would like to add that they are there as nncertainly with- News shared that the find was supposedly in the province of Cala^ Brien made, it was recently confirmed that the coins should were found on the banks of the Aisaros. The find should also contained even more pieces than what was shared with me at the time had been. It is known that the coin dealers gerp over such finds cover their veil. But that these staters a later Ptolemaic, not belonging to the Soter, makes that Fineness of the cut is unlikely, which is only found in coins Zen of the Soter shows this, while even the great gold medals lons of his closest followers are far cruder. The one in the e- The phanten Quadriga driver is certainly not Zeus, as he is on one One of our beautiful specimens is clearly beardless, and he doesn't have one either the Aegis but a lion's skin with the recognizable claws, it So it's Alexander the Great after all; the living king probably couldn't present himself with Zeus' lightning bolt in his hand- put. Soter also glorified Alexander in other ways.

Since these eleven coins are only distinguished by their monograms, divorced, were important for several of them in exchange antique and medieval items that were still missing were acquired. Under others the beautiful and rare one of Pheneos with Hermes who carries the boy, next to the APKAZ with small books sticks stands ; then the Tetradrachmon of Amphipolis, on whose

A M

Downside | A in the corners formed by the hand torch

stands; surrounded by a wreath. Also the didrachm Sikeliotes which dates back to the time of the last kings of Syracuse heard, as his Ptolemaic weight proves. Finally one

N

The acquisitions d. Royal Mfinzkabineto from April 1st to the end of 1879. 7

especially enir1biiiJM|fL[^ereioherang, a rare noun mtnze, (]|wü^ Cabasites/ minted under Hadrian. The number of nouns mSizen has increased from 2 to 140 since 1840, and Yon the 47th There are 45 represented nouns that have coined.

One of the newly acquired Hectae from Asia Minor has the common type of ram's head right, including a feeding one Bird (or is it a arena?) and next to him E, not AE; On the reverse side there is a bearded head of Heracles recessed with the Covered in lion skin, but satyr-like and without a neck, so one Mask. It has a counterpart to it, another comedy mask a hecta, (plate no. 3) on the front of which is a beautiful hera- head is ; She wears a tiara decorated with palmettes, which only the front of the head, forehead and temple, surrounded and everywhere by the same certain height. On the other side there is another Hera head the same diadem but as a mask, without a neck and the face grimacing with an evil, argumentative expression, the jealous one Hera of a comedy. Mionnet has one in the Tafelbande (LV 3). poorly preserved specimen shown and this head (p. 31 of the table volume no. 3) declared to be a satyr.

I'm not familiar with any other comic portrayals as types. knows. Sometimes a serious figure turns into a comic one associated as an accompaniment, for example on coins it says from Himera next to the beautiful one in rhythmic movement at the altar sacrificing city goddess, a satyr who speaks of the hot spring rinses away, or on one of Abdera next to the Grabbing Apollo a dancing satyr with indecent behavior bearde. But these are not mocking images and are caricatures as on these two hectae constitute the sole type, I think it's new; the kneeling satyr on coins from Thasus and even the obscene depictions on Macedonian coins of Lete and other cities are meant seriously.

So one can probably use the type of these two hectae conclude that in this genre the extremely colorful representations

g J. Friedlaender,

long after no government regulation, least of all religious views, but at the discretion of the minting officials were chosen, roughly equal to those of the Roman denarii Public

What is certain is that the Hectae types do not have city coats of arms are; the attempts to give these coins to certain cities, can, with minor exceptions, be viewed as failures the. Depictions wi^ Odysseus at the entrance to Hades slaughtering the ram - he can be identified by his hat - can be done not related to a city. Others are unmistakably copies of coins minted far from Asia Minor Bull of Thurii, the front part of the charging bull with human face of Gelas. It's like having a collection had a lot of information and copied nice illustrations from it.

I only know one or two allocations that seem certain I; a stater with the sphinx sitting in front of an amphora, which raises a bunch of grapes and is surrounded by a vine is, reminiscent of the types from Ghios; and a small electrum coin, which I published in the annual report of 1877 with a swan and a little lizard above it, is certainly one of the well-known Macedonian silver coins, which are usually assigned to Elon. — The two of them often recurring epithets: tuna and bobbe well known Gyzicus and Phocaea.

The arbitrariness in the choice of types and those chosen sometimes profane, seem to point to a late period, and The recessed square on the reverse side is probably just retained The coins have been given an ancient look and thus to give better effect. That the recessed square to such was used for certain purposes and not always a sign of antiquity is proven, for example, by the fact that Bronze coins from Syracuse have it. Some of the types are certainly a copy, the recessed square too, and an unreadable one

The acquisitions d. Royal Coin Cabinet Tom 1 . April to the end of 1879.

Inscription from JjßlM^^ but I think there are no letters auUi'fttr a m^Snmic imitation. All of this doesn't mean anything for early times, as well as the consistent soft style. There- According to their locations, they are Thracian or Macedonian. Donic gold coinage is older, unfortunately there are also here the types provide no information about the minting locations. —

On a coin from Alabanda with the head of Briton niens (panel no. 4) there is a young man with a quiver at his back and the bow in the left, i.e. Apollo; he stops on the right a bird and next to him is a ram ^) . This unusual The depiction is repeated on a purchased coin same city with the inscription KICCIOC (Plate No. 5). On the front there is a head of Dionysus wreathed in ivy. — KICCIOC is certainly not the official name but the nickname of God 2).

Sestini published this coin, but his copy must may have been of imperfect preservation, he read KICC60C, didn't recognize the attributes and took the figure for a dio- nysus; he recalled that Pausanias (I, 31) says, Dio- Nysos was called Kissios in Achamae because of the ivy there grew first^).

Apollo is native to Alabanda, lyre and laurel branch are common types there. The attributes of Kissios are out of the question the weapons of the bird, in which one can probably recognize the raven must, and the ram; since Friederich's in the small bronze figure of a young man carrying a lamb on his shoulders, demonstrated Apollo (Berlins Antike Bildwerke II No. 1823), then one can probably also use the ram here as an attribute of View the flock of God.

1) Sestini, Leu. cont. VI p. 32 considers this Monze to be wrong, he likes one There may have been a cast, but the original is undoubtedly eight.

1) The name occurs as that of a mythical king of Macedonia. Diodorus. Sic. 7, 13.

3) Sestini op. cit. p. 30, illustrated on p. 111, then in Mionnet p. VI, 436, 11. Sestini also reminds us of Kiüaa the magpie.

10 J* Friedlaender,

A coin from Tarsus minted under Macrinus, (Plate No. 6) I don't think any of them are known yet, has on the Reverse side a standing naked Apollo, seen from, and on his sides two upright wolves, whose yorderftsse he holds in his hands. The wolves are clear, there are none here Deer and lions like those on some of the caps of other emperors be drawn. Also the description of this type on one of Yalerianus in the Greppo catalog no. 1 1 06 as Hecate (the identical The technical example I have before me] is refuted by this. But On other masks from Tarsus Apollo actually stops a deer the front feet and the bow in the other hand.

A strange type can be found on a bronze coin from Garystus, (Plate No. 7) namely the heads of the two people there honored deities of Poseidon and the one with the lion's skin covered arched Heracles, both in profile like a Ianus- but in such a way that one profile goes up and the other goes down is swept down, so related to the two heads on the Silver coins from Istrus, which are considered to be the Dioscuri.

The Baron de Witte has archeology in the Annali delF Institute logico 1858 p. 79 the double heads put together, ours is missing, it was not yet published at the time.

It has long been known that on individual rare specimens Coins of Asia Minor with the heads of Caracalla and Geta Geta's head is erased; in Numismatic Ghronicle I p. 194 several have been put together. The cabinet also has some from Stratonicea and one from Smyma, on which Severus sits between his sons and Geta's figure has been erased. But Domitian's head has also been erased, the coin Cabinet has a mttnze from Cibyra with the people looking at it Heads of Domitian and Domitia, the name and the head of the former are apparently intentionally scratched and unrecognizable made, while the Empress's and the downside were well done are holding.

DiB Eiireibuiigen d. Royal MQnikkbtnsU Tom April 1st bia code 18T9.

This rare Bpanish coin must be mentioned whether- The prefect city of Bratobriga is probably not on this copy reading is; but after a letter from the Lord Zobel in Madrid has a copy there that shows the city name has complete, and in the second work by Delgado, Part I, p. 45 has been published. Nnr Stepbanns Byzantine names this city, he says it lies between the Baetis and the Tnrditanem ■), otherwise nothing is known about their situation. Ans You are allowed to use the ship or boat depicted on your coin probably concluded that it was on the Baetis or by the sea, and that Fish here that isn't quite identical, maybe a tuna the one so beautifully depicted on the coins of Gades, dentet either by the river or by the sea.

Florez had a copy without the crucial initial published next to the city name^), and Eckhel had it discussed^); He said this was the only coin that... Trihns the official calls; Since that time there has been one in the TRO nnd GAL anf De'naren the Marier and Memmier the Tribus Tronientina and Galeria recognized. But as often as these terms nnng in inscriptions, it remains so rare on coins: the narrowness des Ranmes probably doesn't explain this. It's on our coin Tribus is even spelled out, which is rare even in inscriptions.

1) /inafv Baiit«t notafioä ksj Tov^tfiti ■i) Th. III, p. 141. T4rel 67, 5. 3} Doctrine V, 8. 244.

12 J-PriadluDder,

Heies did not find this treasure in his disgusting work. thinks, which probably proves that it is rare.

II. BSmish coins. Among the imperial coins is, ab- seen from the Sandes'schben Sanimlang discussed above beautiful silver medallion of Severn Alexander, with AEQVITAS AVCVSTI and the three Monetae.

Also a silver denarius of Tetricus I with the laurel wreathed head, while, as is well known, the denarii aerei always Having the ray-crowned one is one of the rarities. The Description is IMP TETRICVS PIVS AVG. And on the sweep- page COMES AVG on the standing Victoria, from from, the Turning head to the left, the wreath in the row, the 1st arm Falm branch. The cabinet already has another Bilhemeo Denarius, also with the laurel-crowned head and SPCS PVBLICA, which I published in the Berlin papers for Mänzknnde III, 165, Mr. Baron de Witte has it in his Work About the Gallic Emperors repeated afterwards. Both Denarii are certainly eight, the doubts raised against it are null and void.

III. Among the Middle Ages there are anch some valuables. First of all, these Merovingian gold coins Kings Childerich U. 668 - 673 and Childebert II. 694 - 711, both minted in Marseille. The first has (C^HLDE' ICVS TE

The inheritance d. Royal Müntkibinett from April 1st bts end of 1879. 13

nin the bronze image on the right, the diadem at the top with a large one Cross is veraiert, in front of the head |_ Ä/ +CIV1TATI MASS{1) In the field a crutch wreath on a ball, on the side of the cross M A and some dots underneath. Weighted 3.98 grm. In the Revue nnmismatique 1845 p. 345 is a different copy pictured, p. 347 reminds us that the EL. on related to St. Eligius.

HAvilAlA has the second coin around the Brnstbiid a holiday tiara; r. before sieving B. Rf. X HIL>C- BERTVS RXI, in the field the crutch cross on the ball, zn Sides of the cross M A , under each of these letters Period. 3.95 grm.

The Anglo-Hungarian coin shown here has, like mine seems to have a clear inscription that you can see the numerous ruminations around this newly forged word to need, was allowed to throw. It clearly says +EANLF + CVNMLH, the dash on the last L is so short that you can also read CVNMIH. As is well known, the H appears frequently ftlr G, e.g. in the KSnigsnamen MAHNVS and always in SIHTRIC ; Sigtric was called the Irish King, not Sihtric as he was often spelled. will be used, originally this name is Sigtryggr. Accordingly can we read cunmig, and this is close to the cunuig, which ches Mr. District Judge Dannenberg on an Irish coin of the Sigtric has pnhlicated <] . There is no doubt that on Both coins mean the Germanic title cunung and nor disfigured by the die cutter iat. Now here's the Germaniache

1) ZelUchrin for Numlammtlk t, p. 368, no1itrbi

14 years old Frledlaender,

The title on the Irish coin is certainly a good one Reason too for thinking ours is Irish. Because in England The Germanic title comes from the time that this coin belongs, not before, because it belongs to the time of Enut, who 1016 - 1035 ruled, because she has his l'ypes. And now find it At this very time in Ireland we met the Köaig Anlaf Y., which 1029-1034 reigned.

In England comes the Germanic royal title and the The name Anlaf only occurs much earlier, in Northumberland. This one On the occasion of giving our coin, their types forbid.

Our coin has the name Eanlf written on it, perhaps hicss the Irish king, who is usually called Anlaf, too Eanlaf; ANRED also changes with EANRED, ALHSTAN with EALHSTANi).

So we have other than those minted in Dublin. Coins Ethelreds U. numerous from Sigtric HI. 989-1029, one of which has the Germanic title, which is followed by Anlaf's V. 1029 - 1034, also with the Germanic title, then followed the Sigtric's IV. 1034 - 1041, which Simon 2) and Mr. Dan- nenberg^j have published.

The flip side of our coin has EALDERERD ON CXC. The coin master appears as Ealdred ^) ; CXC stands for ftlr EXE, C and E have very similar forms and are also probably sometimes confused on English coins. The name The English city does not interfere with the allocation to Ireland, because Sigtric's coins also have the name Dublin written on them the front, also LVNDR and KINI, London and

1) Ruding Th. I, p. 122 and p. 126. I owe these examples to Mr District Court tsrath Dannenberg.

2) Essay on Irish coins, plate 11, no. 27.

3) a. a. 0. The years have been corrected by Llndsay coinage of Ireland, 1839.

4) S. Hildebrand's work on the Anglo-Saxon coins in Stockholm Cabinet pp. 126 and 212.

The acquisitions d. Royal HQntlMblneM tota April 1st to the end of 1879. 15

Winchester on the downside 'j . So you have a coin at the start also with the English types the English city names copied. The delicateness of the cut is no reason whatsoever To deny Ireland, because many ounces of Sigtric's are the same petite.

I submit these remarks to those familiar with the Irish language. zen for the test But to reject the ounce without it Looking at nKfaer doesn't seem necessary to me

The silver one shown is of patriotic interest slightly gilded cast medal of Margrave Ernst, the five- teo son nnares, Lord Prince Joachim Friedrich. The inscriptions mean: ERNST-MARGgraf-Zu BRANDenburg-IN-PRCVS- sen'Zu STETtin-POMmem'CASsnben (and on the flip side) Vod- TURN • IN • SCALE • TO CROSSeti- Vud- lEGera- dorf'HERTZog'BVRGgraf-Zn NVRNberg Vnd FVRst Zu RVGen. In a narrow circle at the front stands the KNIGHT licfaen Sanct lOANniter ORdens in Den MARGken SAXONY POMmem Vnd WENDLändem Master.

The abbreviation SCH-* S • for Silesia is incorrect, however sure, because “in Silesia at Crossen and Jägemdorf” only forms a title.

1) Kililog Reicbel V, p. 205 and p. 3U Figlldang, also in the hemofrea the PeMlibuTger Archiologgltchen Oewllscbirt tV, p. 219.

16 J. Friedlaender, The acquisitions of d. Royal M&nzk. v. April b. End of 1879.

The prince was born in 1583 and became army master in 1611 to Sonnenbarg, and the medal was probably modeled then nnd cast. He wears the cross of the order and it is also as Heart shield of the Brandenbürg coat of arms on the reverse side repeated. He died in 1613.

So far I haven't been able to find an illustration or description. writing of this medal can be found. Maybe she is un- knows and a Unicum. Nor is it without artistic value, the treatment of the head is light and witty, the clothing and the coat of arms presented with taste. The artist has the work is made more difficult by not presenting the pure profile you can see a little bit of the left side of the face.

A few other German medals were also added.

Mr. Directorial- Assistant Dr. Erman:

»Among the few tomorrows acquired in 1879 There is no piece of foreign coins that is outstanding would offer great interest. The following should be mentioned as rare: this Umayjad copper piece from el Arden, a dirhem of Ham- daniden Seifseddaula in the year d. Fl. 331 to Wasit beat, as well as a copper coin from the Seljuk Melik Shah of Isfahan.”

The East Asian coins received a pleasing increase grow through a gift from Dr. Win disgust in Sama- rang, a collection of Siamese stamps, the same in the Dresden magazine for museology etc. discussed.

J. Friedlaender.

St. Mauritius or Dionysius?

In the 1S74 near Gerbstedt in the ManBfelder Seekreise snfge- Audeneu, and von Stenzel, Nnmismatisohe Stadia, pages 2S - 3S I found a number of structures described in the Bracteate Bchatz. examine those who present a figure with a halo, aasaerdein but a second one, "behitten raised on the stamp ■], "The head appears to be recessed" on the counters, and This is likely to be of particular interest. wake up. Ea were the following three representations, in 10 stems- pelle, whose e.g. Th. we do not expect any deviations without cause will still be discussed.

1) An armored saint between two towers; same holds one in front of you that appears recessed on the coin curly head. Size: 24mm. Weight: 0.84-0.77 Gnn. —

1) You read the FUl, and you don't include your head in the KQckBelte a unique stamp of ingMchligeiw iit (which, you might notice, is Kueh rOr the Vordeiaelte result in a conveies picture »ürdej, itch«Tident lui der the same Hittel-Sleilang dteseB Kopfea inf limmülcben vorgedea Exeat- puree. Apart from the difficulty, the style is exactly the same the Pignr lu, it would also be possible to have a veto here. laying or penetration of the sheet metal in iit>he>ll report to lu, from the luF no- There was no trace of any of the Utliii presented in a row.

btin for

III.

IS V. Grave",

Schönemann, to the fatherland. Coin studies, plate II; No. 44.

Stenzel a. a. 0. No. 44. Erbstein, on the history of coinage d.

Gr. from Mansfeld etc. No. 17. Journal of Numism.

VII, page 175, no. 15. This stamp was already there before the tanner was found. Stedt treasure in the collection of the Mr. Secret Archives councilor of Mülverstedt, and, like the following two numbers, was according to StenzeF's statement, in an 1869 or 1870 Frohse, not far from Magdeburg, also represented the discovered treasure. No. 1 recently appeared again in the second Jessen find Appearance *) .

2) The bust above an arch between turrets of a saint, with cross staff and flag. Under that Bow the recessed head. Transcription: OACI-VS DV> Size: 23 mm. Weight: 0.54 and 0.60 grm. — Stenzel a.a.O. No. 41.

3) Above an arch, under which the recessed head like before, between turrets bust portrait of a saint, with cross bars. Size: 24mm. Weight: 0.57 and 0.68 grm. — Stenzel a. a. 0. No. 42.

Stenzel considers the figure on these coins to be a saint Moritz, and assigns them to the Archdiocese of Magdeburg. The The Erbstein brothers, on the other hand, through the striking depiction The direction of the second head can be seen in the figure Saint Dionysius (Areopagite?), who is said to have been stood up again after his beheading on the place of execution and his head was carried around in his hands for a while have. They therefore refer to all of these coins Quedlinburg, where that martyr next to St. Servatius was revered as the patron of the monastery. This latter view concludes Dannenberg, Zeitschr. f. Numism. VII, p. 175.

1) Dannenberg in the Journal for Numism. VII, p. 172.

St. Mauritius or Dionysians? 19

Only with great concern can one become one of the gentlemen Inheritance made and accepted by Dannenberg raise doubts; However, in this case that seems to me to be the case There are important reasons for the appointment of StenzeF, that it probably won't be too daring, the question yet to discuss and try to get these coins for Magde- to win back the castle.

The HH. In their deductions, Erbstein could only the one above under no. 1 coin described goes out because only This shows the saint carrying his second head, and Therefore the legend of the execution of the hot man only refers to this one. ligen Dionysius fits, while the bare head itself, without connection with the figure of the saint, probably not as an emphasis emblem of the beheaded martyr can apply. Very true though close the HH. Erbstein the remaining coins with the con- caven head of this former.

It would perhaps have been more natural for the person in the

Erbstein's writing that went unmentioned on No. 2

which can hardly be given any other interpretation

can, as

CRAuriCI — VS DV»;

In addition, the ereuz staff and flag indicate which latter in could not be explained in the hands of St. Dionysius, the saint depicted as the patron saint of the archbishopric M*agdeburg.

But the coin described first also seems more to me to point to this, as to Saint Dionysius. The Medieval depiction of a martyr Bishop would certainly have some emblem of his spiritual be given dignity *). The character of this Brac

i) Ks leads, among other things, that of the IIH. Erbstein a. a. 0. Page 32 dressed Seal of the Quedlinburg Canonici in aede S. Servatii the saint in formal form Costume and both his own and the severed head with the miter covered, in front.

2*

20^- Graba,

Teaten, however, clearly shows the depiction of a war man with arm and leg armor. But how would the saint come? Dionysius in the tank? He was a clergyman, not a warrior, as which we “in martial decoration, often through the word "sdux"" as leader of the pious, faithful Thebai see Legion referred to”, Saint Mauricius on numerous Magdeburg coins, namely bracteates, can be found depicted ^) .

Quedlinburg coins of this period show, probably exceptionally go, the image of the abbess, sometimes accompanied by the saint Servatius; but the possible assumption that one intentionally does so Saint Dionysius portrayed in this way in order to have one Confusion with the Magdeburger Mün, which was very popular at the time zen with the image of St. Maurice, and so on Expanding the coin's circulation area contradicts this second head, the eye-catching appearance a confusion with Moritzpfennigen without this exactly closes.

No. 3 (at Stenzel No. 42) itself brings about the decision nothing material to the question at hand. But the coin is apparently from the same work as No. 50 of the StenzeFschen Writing that under the arch is the infull head of a prelate shows: a not rare depiction on Magdeburg coins.

If we now look at the figure at hand Accepting pennies for St. Moritz's is a must the question: what does this second head mean? whose idea “is so far from a certain subtlety Invention testifies when the die cutter uses one a different way of treatment, so to speak, only hinted at?"^]

1) Conf. Dannenberg in the magazine f. Numism. New episode. p. 331.

2) Heritage stone a. a. 0. Page 32. By the way, this invention was not new. Apart from that already from the HH. Erbstein mentioned large bracteates of the Aeb- tissin Agnes II of Quedlinburg, is from the Daelie find one from the last The Raote people from the 12th quarter of the 12th century are known to have

St. Mauritius or Dionysius? 21

I think I can find the explanation for this in an event which the Magdeburger Schoppen chronicle *) reports:

ttio He bregenpantie nan fnnte Ütanrtctud l)otieiir l)tr to Jtagücbord) came*

3n üem 1220 \ax tor^ btfd)op 7llbrcd)t to hnfcr Jrcürrtkc nnü bcl)clt nan ftner bcüc Hat üc t)crtod) nan iltrran om gaf ücm l)rrnfd)ciicl, Has i0 üe bregcnpanne, nati fente Ütaurtctna^lioticiir, nnH üat (itUtgüom brad)tc t)c l|tr in fnntc Ültdiacle aucnUr. üo tDart to Ütagücbord) fo grot fcfl nnü I)0(^ti5, as in Saefenlnnüe nnc getoefl tone, üar qnemen Dtle oorflen, gctflltk nnb uicrtlik: üc btfd)op oan jQalbcrflab, i^reüenk called, with all ftner papt)ett nnH worship btfd)0)^en, alfo bat men mol fe6t)nnbert j^aptn telbe nnb mer, be at the JiiUigbome enjegen went with great enthusiasm nnb oils oolkes bar to. bat fefl nnb l|0(^tib flnnt bre bage with looefange about lying.

What significance was attached to the acquisition of this relic was made clear from the report in the Schöppenchronik- before. There can hardly be any doubt that one will have sought to give them to the population of the archbishopric and the to help neighboring areas in every way, and There was hardly anything better for this purpose at the time. nen, as through a coin that came into everyone's hand, and through their striking representation, in a medieval perspective quite appropriately announced that St. Maurice — d.i. the high collegiate church comes into possession of the most precious ligthums, the head of their patron saint I

A portrait of a half-length portrait with a pot of curls wrapped around it, one recessed in each hand holding embossed head.« Grotc, mint coin. 111, plate X, 71 (in the Kunigl. coin cabinet). The work of the stamp and the thickness of the silver plate - the coin weighs 0.97 (Jr.) with a diameter of only 19 mm - make me the Magdeburger Probably the origin, although I don't have an explanation for the two heads zn give white.

1) Di(? Magdeburger Schöppenchronik, edited by Dr. K. Janioke, Page 143.

22^- Graba,

That for the musicians of that time sometimes depictions were chosen that relate to a specific process- ten, is well known: I only remember the one that Loyalty to Brac, who represents Duke Bernhard of Saxony Teaten ^j and so many people from Halberstadt, Hildesheim and Goslar Coins with the idea of a fiefdom or enthronement is interpreted. There would certainly be many more stamps among them Number of such occasional coins must be classified if corridors would be known, some of which are striking and enigmatic representation would be suitable, as with the present ones Bracteates, which I struck for occasional coins, at acquisition of the head of St. Moritz.

Whether it's the stamp cutter that comes every year - or still more often — to look for a different representation for the new coins had, in this case the motif was taken from a process that happened before his eyes, or whether the depiction was to him from a higher place, with the conscious purpose indicated above was abandoned, I leave it open, but in the end I think teres for not at all unlikely.

For so irrelevant, the main picture of the Signs attached to bracteates - towers, crosses, points and the like - are kept, since they are in fact quite common It's just enough for the whim of the stamp cutter to create them owed, it appears on one of the above-mentioned The pfennigs belonging to spoken coins are an epithet that because of his preferred and eye-catching position is certainly not entirely meaningless, namely the key on No. 47 of StenzeF's writing, which is the place of the one, on the similar coins to the left of the saint Thürmchen occupies'-^).

1) Dannenberg in d. Magazine, new series, plate X, 29. — Elze, the coins r.ernhards, p. 30. — N. Ztg. 1859, p. 169, no. 1.

2) In my Sarninliin^.

a or Uiuiiygiua?

Stcnscl reminds that a key is above a Praying mancr, at the main and screed crucible of the city Nenhalden's life, as well as that of its lay judges, already at the beginning customers of the XIVth century linde, and considers it not to be true- Because in this city I have an archaic MSNZ certificate. place, even if he doesn't believe anything else Key on the Yor lying coin, on the mint of which in Neuhaldenslehcn were allowed to return.

As is well known, the key is the ancient mint mark of the City of Salzwedel in the Ältmark, and in Röcksicht on a two- th event of the year 1220 that was extremely important for the archbishopric I think it is not unlikely that the person in question Moritzpfennig with a bowl, beaten into salt wedel had been.

Margrave Älbreclit II of Brandenburg left behind after his death in 122(1 two minor sons, Johann I and Otto III As a result, the case arose in which the Archbishop of Magdeburg was entitled to guardianship about the feudal owners of those Gtltcr which through the contract of II Ott from Margrave Otto II and his Brother, the Count - later Margrave - Albreeht, dem Archbishopric cigcnthUmlicIi handed over and received back as a loan were']. Furthermore, the emperor also transfers what is due to him

1) ItieJul, Cud(.':i, III. Hgillhl. ItJ.t, Seile?, l'cudi.li uero Marchio et fratcr cJuB taiii ilU bnlii, quam es i|iia prlui do MieJvbiirgetiitJ Krclesia Icniicruiil, st prolcni habiiLTJnl, in utriiiaquo »eiiia personal tarn HUos ijiiaiii c( Bllas saue quot- quot fiiL'clnt triiiainilti-iit, qul etil etalia niliiorla riieriiit, bona tarnen amiila cum niniii jure et cn, ijiiiiil AiieupUp nofatiit, hibebiidl! in "uerrttmihuii uer" Jirtme prnlia teonniliini i/iittimlinH-in pktodali* juxUcir prncrdelur.

24 ^' Oraba,

Lchn's guardianship over the minor princes, as well as "that Seizures,” i.e. h. the confiscation of state revenue ^) , the Archbishop Albrecht of Magdeburg 2).

On September 20th of the following year the mother gave birth of the minor princes, the Margravine Mechtilde, thereby those Just ones in themselves, that they until June of the following year- 1900 marks of Magdeburg silver to be paid to the archbishopric promised ^) .

At the time of the death of Margrave Albrecht IL, 1220, until September 20th of the following year led to after Archbishop Albrecht the guardianship government about the Brandenburg states, and certainly he won't The rights arising from it have hesitated - under to exercise the right of employment and to collect the income and he could do so to an even greater extent have done, when it was considered necessary, with the widowed margravine contract to be concluded, whose negotiation actions are certainly very will soon have begun to become one possible for the archbishopric could be done cheaply.

Can it be assumed with certainty that the ore Bishop Albrecht made coins for the margrave during that period countries, it is also likely that It is clear that he gave them the image of St. Maurice because at that time there were coins with the image of the archbishops Rarely seem to be beaten, these loved it at all in their governmental actions and contracts the canary saint in the foreground - as in the above thought treaties from 1 1 96, the Brandenburg inheritance “dem glorious martyr St. Moritz and the Magdeburg Church« were superior.

1) Voigt, Märkische Research IX, page 114.

2) Riedel, Codex, II. Hptthl., Vol. I, page 9.

3) Riedel, Codex,^II. liptihl., Vol. I, page 8.

St. Mauritius or Dionysius? 25

The present pfennig is therefore likely to be in every respect hung the requirements for one of those set out above coin struck according to the conditions: it shows the Mint of the archbishopric, which in its special representation the year 1220 or 1221 refers and thus the accuracy of the from the HH. Heritage stone for the bracteates belonging here age determination^] fully confirmed; also one Additional mark identifying it as coming from a Brandenburg mint emerged.

Finally, I would like to point out that that — the correctness of my assumption stated above assuming — these coins of the same type and age give a hint about the procedure at that time, when minting the new pfennigs of the archbishopric: it seems that Type of the same found in Magdeburg, perhaps there too the dies are cut and sent to the other mints. to be sent by passing each of the latter through a special whose symbol was marked on the coin. As such we find, apart from those discussed, among the bracteates of Gerbstedter Finds et al. on Stenzel No. 43 one of the towers decorated with a flag, on No. 46 in the same way one Lily, which the latter refers to No. 53 repeated. Similar designs Other coins of this time show deviations, including those Points on part of the Mttnz finds in the Saalsdorf lichen Moritzpfennige, the Schönemann ^) for distinguishing Signs of different vintages explained are perhaps among the Mint marks from different workshops can be expected.

V. Graba.

1) Z. medieval. Mzgesch. d. Counts of Mansfdd u.s. w., 8. 33.

2) Schönemann, on patriotic coinage, 8. 30, 31.

The names of the Emperor Balbinus.

Sallet mentioned in the Alexandrian coins p. 59 after According to a communication from Friedlaender, a coin from the Berlin Museum from Amisos in Pontus with the inscription A€KM'KAI i)*KAA* BAABINOC, while otherwise this emperor was only known as D. Gaelius Balbinus occurs. Having the solution of that further name some that appeared in Africa a few years ago Milestones arise; the best-preserved copy can be found printed in the Becueil des notices et mömoires de la sociätä archaeologique de Gonstantine 1873/4 p. 366, two others withered bene in the Kevue Africaine 1864 p. 51 and the Revue arch^o- logique 34 (1877) p. 390. These stones are set for the two Emperor Maximus and Balbinus and Caesar Gordian (with the title nobiltssimus Caesar pius, which probably appears first here Augmius, cf. my Constitutional Law 2, 1106); the second is called tmp. Caes. D. Caelius Calvinus Balbinus pius felix Auffustus.

The Alexandrian coin of the same emperor in Vienna Cabinet with A K A€K KAN BAABiNOC C€B remains like this enigmatic as she was; KAN is probably considered a stamping error. must be sought.

It may also be pointed out that the strange thing is that that the College of Calvinus on his known inscriptions — these are the three milestones mentioned and the city Roman C. I. L. VI n. 1087 — Pupienius is called, while

1) Not KAIA

Th. Mommsen, The names of the Emperor Balbinus. 27

The coins almost without exception say Pupienus. Because the coins of Tarsus, like v. Sallet proves to me the emperor^ next to novictrjvogy ÜOTtirivog (Mionnet p. 7, 279, 495), IToihii^yog (Mionn. p. 7, 278, 490), also novTti^viog (Mionn. p. 3, 642, 542), noTtrjviog (Mionn. p. 7, 279, 495), nojcarjvujg (Mionn. pp. 3, 643, 527, pp. 7, 278, 492; also in Berlin), nojtavviog (Mionn. p. 3, 624, 526) hardly comes into consideration. Aehn- Other discrepancies also occur; Alfenius Senecio des The well-known Decree of Misenum (Orell. 4405) is likely identical to the L. Alfenus Senecio of an inscription from Auzia in Mauritania (Revue Africaine 12 p. 34).

But that the public of the wide Roman Empire with couldn't find his way around the name of this new ruler no wonder. What the Eiser biographies say about him ^ that he ignobüis genere, sed mrtutibua clarus was (vits^ Maxi- mini c. 20; similar to Herodian 7, 10^ 4), is at least in his first half is undoubtedly correct: I think what a Roman Otherwise, it would not be easy for the senator to come along Pupieni or Pupienii not a single other inscription Evidence is known, and this explains the curiosity to some extent, that that biography writer the identity of the emperor Haximus and Pupienus presents it as a daring conjecture of his own making (Maximin. iun. c. 7). It's part of the humor of world history^ that the last active representative of the Senate regiment against Above the military rule one of the lowest born members of this Eupatride circle.

I would like to take this opportunity to tell another African woman commemorate writings that may be of value to numismatists would if the ignorant person who alone copied it didn't would have been mistreated in such a horrific way. She is recent by Mr. H6ron de Villefosse from the papers of Mrs. Lenormant published in the Gazette arch^ologique 1879 p. 261:

28 'I'I'* Mommseii, The Nameii of the Emperor Balbitius.

CAAAOVC. . .

CA^PIKAN . . .

nATPP HA . . .

lONNNHMHAII .

HONjCEVAOPIA That it is an empress's inscription is shown by TtaTql Ttar^ldog the third line; the name Africanus femer, which alone remains uncorrupted remained^), only belongs to the two older Gordians. Theirs Names are now fixed (see y. Sallet in this magazine 7, 139) placed on M, M, Antanii Gordiani Sem Romani Africani ;

We still have to rely on guesswork for that third to last, which can be found on Semnos without any probability added, while v. Sallet for this is not without probability Sempranius suggested. That the stone also at the beginning was broken because of the C at the beginning of the second line probably ; Presumably this is a remnant of the copyist's unknown 0) from PcoMANü). The first line could be have read [FOPA] I AN(0 C[EM] .... This continues freely- Neither do you.

Th. Mommsen.

1) I have because of the first line to the Sallustia Barbia Orbia, the GatUu Alexander's thought; but I don't think it's possible to have the inscription below to supplement this assumption appropriately.

The portrait of Alexander the Great on Greek monks of King Lysimachus of

Thrace.

It is probably one of the most captivating intellectual games nuts, those ancient Greek portrait heads that came to us poets, statesmen, heroes and kings, be it in marble or ore images, or on a smaller scale on coins zen and gems, to look at and study.

Even until the late period of the Pergamene kings This series of really excellent representations is enough. Is the latter has the image of seated Athena on the back addictive, superficial, if not downright rude Copy of those of the Lysimachus coins, we find with a few exceptions, the portrait of the king, be it Attalus I. or U., or Eumenes I. or U., always of good, even of excellent work. It is extraordinarily alive conceived, broad and fleshy in shape and of fine character. teristics. So compare the nose, the mouth and that Eye on almost similar heads of these rulers, whose ranks The consequences have not yet been finally determined.

The art of this time mostly excelled in representation of portraits; “the noble simplicity and the quiet greatness” stood no longer by her side.

Even those Pergamene works of art; which was once considered Christmas gift from Attalus on the Acropolis in Athens, give an eloquent statement that in times of decline art

£

\

30 J-Naue,

still stands out through the portrait-like, eminently characteristic stic representation, even of the entire human figure raises the level of naked reality.

The study of heads is of great importance for ancient sculpture Meaning that through the same thing we get very specific results be guided.

Of the Greek portrait paintings that have come down to us Kings are probably no longer able to capture our interest. rain than that of the great Macedonian hero king. Not only that his portrait was the first to have his royal caps Successor decorated ^j, and thereby be the age-old prohibition The right to have one's own image affixed to coins was abolished, but that one of the greatest sculptors was also called to determine the type of the same.

Plutarch, Alexander 4, describes the statue of Lysippus as follows: »The head was slightly to the left side tilted and looked upwards. The special merit of Lysippus but was that only he had this turn of the neck, to correctly hit the flowing and moist end of the eye stood, but also the manly, lion-like appearance “I kept my eyesight.”

1) It should not go unmentioned here that L. Müller, Nnmism.: Ale- xandre le grand p. 15 says that Alexander's image is of the type of youth Heracles could probably have his name on the coins, but that this was not at his behest, but only through cities and artists happened to those who were enthusiastic about him or intended to flatter him. caused; Also, it can only be done after his deification, that is, after his conquests may have happened in Asia and Egypt. The Ton Visconti, Iconogr. grec- que PI. 39 depicted Tetradrachmon from Rhodes, whose head really is one His resemblance to Alexander seems to confirm this assumption. Man also compare 0. Müller, Handbook d. Archeology d. Art p. 164, 2, and Cadalvdne, Recueil etc. p. 108 and 109. Also included here- Here comes the reference to the bronze coins of Alexander I of Syria, his Show your head covered with the lion skin, thus providing proof that you are there once the head of Heracles on the coins of Alexander the Great for his picture held.

Portrait of Alexander the Elder Or. on Greek coins etc. 31

Lysippas, who distinguished himself by a careful observation of the Nature also stood out here in the representation of the great King's strict on her and her almost pathological peculiarities ities; because the whole left side of the head and neck had a very strange education, and that's exactly what he gave again, certainly with great subordination to his artistic one Task and opinion. But not only these errors in the external appearance of man, which for Alexander's head- attitude were essential, the artist showed that but much more - and that is what characterizes it Lysipps representation - the spiritual essence of the hero Expression of the manly, the storming, the lion-like lichen, which was further increased by the uplifted, increased relapsing mighty hair ( avaaTokij rijg xo/urjg ); and these These are the characteristics that the portraits of Lysippus give the king made his hand so valuable: he saw himself as the powerful one, lion-like ruler, depicted as the son of Zeus I

So through these pictures a type of the great, It was probably not easy for him to be created by a young king could be put aside by others!

They had this until the late Roman Empire Images held up and their type renewed, even a formal Cultus is driven by it ^j .

The replicas of Alexander that have come down to us Marble and bronze are approximately the following:

1) Alexander Severus had the statue of Macedonia in his Haoscapelle set up. The portrait of Alexander, set in gold, was worn as an amulet itself until the IV century AD. Oeb. We can find out more about this at Chry- lostomus, also in Trebellius Pollio.

Also the treasure of Tarsos, found in 1863, consisting of three large golden medallions, named after A. de Longpcrier, Rüvue Numism. 1868. p. 309 - 336 at the time of Caracalla, points to the high marriage ation of the great Ale]|ander and his pictures.

32 J-Naue,

The Gabinian statue (Visconti, Mon. Gab. 23).

The similar head of the statue in the Louvre (Glarac, pl. 263).

The Capitoline Alexander head (probably from the * Equestrian statue. 0. Müller, a. a. 0. 133).

The Rondanini statue in Munich.

The bust of the bitter Aezara in the Louvre (Visconti pl. 39. I).

The Erbacher Alexanderkopf.

The head of the British Museum.

The bronze Beiter statue in Naples.

The head of the dying Alexander in Florence.

Now if we try these minds according to the meaning to order the artistic work^ this is how the sequence begins, in my opinion, with that of Bondanini statue, because the head of the same has the least Lysippi- see art character. This is followed by the Gabin statue, and the similar head of the Louvre statue, then the Capi- Tolinische, and then that of Count Erbach.

The other part of the characteristic heads begins with the head of the knight Azara in the Louvre, he follows him Head of the bronze in Naples, then that of the British Museum, and it ends with the head of the dying man Alexander in Florence.

The character of the Macedonian is given by the head of the knight Azara is the best and most loyal again, but he's missing everyone Momentum and every enthusiasm, but we have one through him Evidence for the determination of others. With great natural Truth is the king here in his purely human appearance. understood and presented. He looks serious and thoughtful straight out ; there is no trace of that towering being to be found the one that characterized him in his youth. The hair hangs limply down, it nods upwards like a lion.

Portrait of Alexander the Elder Gr. in Greek. Coins etc. 33

The head of the dying man stands diametrically opposed to him Alexander in Florence. Here is through the expression of pain, the actual character of the king fades into the background reason pushed, but the conception is extremely noble and deep felt. For our considerations to determine the So he doesn't have the significance of Alexander's actual portraits. like that of the kitter Azara.

The head of Count Erbach's collection is from surrounded by high magic, the youthful appearance of the hero is represented, although that is also characteristic of him Feature is missing, which Droysen^j tells us in the following words describes: »His violent walk, the sparkling look, that hair flying back, the power of his voice manifesting deten the hero.a Mildness prevails. The eye has something rigid, but still firm, grace lies around the mouth. We don't see the hero, not the ruler in front of us, it is the image of the young man Alexander on the development stage. However, the longer you look at this beautiful head, the more The energy is more evident in his features. We have It is here with a highly significant ideal portrait, perhaps the school of Leochares, as Professor Stark ^) did so admirably- Lically designated to do.

I now add the beautiful head of the bronze statue of the fighting Alexander entered Naples. Everything is with him Life, due to the depiction of the king, is high Ross. The hair flows back powerfully, the nostrils are flared swell and seem to tremble with excitement, the mouth - little opened - is full of defiance, and the eye under the broad Eyelids looking down angrily. This is the picture of the bold, mighty king, no longer of the youth.

1) History of Alexander the Great, p. 48.

2) »Festival to the Emperor!. German Arch&ol. Institute in Rome Oberreich from the University Heidelberg« p. 21.

Time transfer for Nnmitmatilc. VIII. 3

34 J* Naue,

The noblest and most important of these portraits is The appearance of the youthful king now appears to us and the hero in the head of the British Museum against.

Everything that characterized the previous heads is combined here. draws: the important appearance of the Erbacher head, which lively representation of the Naples bronze and the character of the head of Azara. In the middle of these three representations and views stands that truly heroic portrait head.

Youth is still playing around his cheeks, but not in them The gaze is directed far away, but upwards; it It's almost as if they wanted to be powerful under the overflowing eyelids protruding eyes greet the eternal gods Send to your peers. The nostrils are raised, but not just like the head of the statue of the companion, the mouth with the full one characteristic lower lip, which is surrounded by a quiet sensuality, seems to thank the bars with a smile. The hair is freer, treated more easily than on the heads we just arrived at, lion- It happens similarly in large, artistically beautifully ordered masses from the forehead and frames the face in a wonderful way way. None of the other heads have this beautiful surrounding Framing the forehead and cheeks with hair is so classic highlighted. This is precisely what gives the face its full, high and ideal significance. This is a representation of the king and at the same time the hero, in his highest strength and in the flower of his power.

Stark ^) is not up to this head “fresh life to be attributed to Lysipian art," and we agree with him to the fullest extent.

Now let's go to the portraits of the coins about,* which in comparison with the busts discussed above and

1) a. a. 0. p. 21.

\

Portrait Dantelluiig Alexander the Elder 6r. on Greek Müuzen and 8. w. 35

I look at the heads and examine the task because it is possible through the same basic type of the Alexander portrait.

I will therefore get some coins from King Lysimachus highlight because it is precisely this one, with the representation of the head with the Ammonshömem, best with the aforementioned Por- traits are to be compared.

I ignore the previous opinions about these coins^), and I refer only to the excellent treatise by L. Mül- ler's, "The Coins of the Thracian King Lysimachus." Pre- But it is clever that if many of this king's coins are with you have little resemblance to Alexander's head, this, as L. Müller rightly emphasizes, depends on the low the decorum of the die cutters. Is the stamp barbaric, it can of course be said that a portrait-like There is no question of this.

Both the staters and the tetradrachms and some Drachmas that Lysimachus makes with his own types Hess, are, as far as their factory is concerned, partly from very prompt work; they are characterized by a high relief, and are significantly thicker than those that are of average, bad or even crude factory. We just have it to do with the former, the latter come to ours Investigation, as insignificant, not taken into account. Among the The first-mentioned pieces are specimens that differ in every type the most exquisite works of Greek die-cutting art be able to measure; the conception of the portrait head is often outside

1) The writers and mismatists who favor portraiture of Lysimachus are the following: Augustini, Dialogl. Thesaur. Palat. Beger, Thes. Brandenburg. Spanheim, de nsu num. Haym, Thes. British love, (iotba num. Muselli, Num. ant. Rasche, Lex. Cab. d^Ennery. Eckhel, N. V. anecd. Doctor N.V. Visconti, Icon. gr. Rathgeber, in LeÜzmann's N. Zeit. The for Alexander: Hanthaler, Dialogue. Guardian, archaeol. num. Gonsin^ry, voyage in the Mactfd. Goldfinch. 0. MOller. Lenormant. Dachalais. Payne Knight. Leake.

3*

36 years Naue,

neat, admirable, and the cha* is no less rakter Alexander's aptly reproduced.

Those thick tetradrachms and the well-crafted staters date from the early period of the reign of Lysimach. Born until 306 BC, Olympus. 118, 3, was coined by him with Alexander's types, but from then on with his own and with the title of king; because the acceptance falls in the year 306 the same through Antigonus, Demetrius, Ptolemy, Seleucus, Lysimachus and Cassander. So we thereby achieve the desired precise timing for those coins. Also is the weight of the pieces issued later is different than that of the ones below Lysimachus' own desire beaten stater and tetra- drachmas. In Asia Minor, according to L. Müller^), only after 301 y. The minting began in 200 BC.

As for the mints in which these beautifully minted worked pieces (staters and tetradrachms] were minted like this we are dealing with the following: In Thraden: Lysimachia, Sestus, Coela, Maronea, Abdera, Samothrace, Perinthus, and probably also Byzantium. In Macedonia: Pella, Trälium, Philippi, Urano-

polis, Aphytis, Dium, Heracleum.

In Asia Minor: Heraclea a. Pontus (the pieces with the

raised club in front of the figure are semi-barbaric

Factory], Cyzicus (the one with the lying torch below

the figure mediocre], Lampsacus, Abydus,

Sigeum(?], Mytilene, Atarnus, Pergamum,

Smyrna, Erythrae; Ephesus, Heraclea a. Lath

mus, Magnesia, Chrysaoris.^) i

So we can convert these coins into a Greek and

Asia Minor, but this does not exclude

1) a. a. 0. p. 46.

2) These southern names according to L. Müller, a. a. 0.

Portrait of Alexander the Elder Gr. on Greek coins 11. s.w. 37

that8 Lysimachn, following the example of Alexander, also aas called artists who complied with other Greek statutes and kept her busy.

Of the types I choose the following - they are just those of beautiful and excellent work:

I. Stater. Macedonia: Heracleum.

n. tetradrachms. Thraeia: Sestus. indeterminate ter pregort. Asia Minor: Kallatia or Chalcedony (from Lysimach's reign]. Eyzikos or Eolonae in Troas (probably from Lysimach's time). Sigeum(?). Chrysaoris (from Lysimach^'s time) or Hecatesia. Stratonicea in Ver- bond with Ephesus.

Arranged according to the execution of the work, and in view on the previously discussed heads and busts they result in the following: next row:

1. The head of the tetradrachm minted in Sestns.

2. The head of Stratonicea in connection with Ephesus sus embossed tetradrachmon.

3. The Stater of Heracleum (Macedonia).

4. The head of the minted in Kallatia or Chalcedony Tetradrachmons.

5. The head of the tetradrachnoid minted in Sigeum(?) mons.

6. The head of the undetermined mint in Thra- eggs.

7. The head of the one minted in Cyzicus or Kolonae Tetradrachmons.

8. The head of the minted in Chrysaoris (Hekatesia). Tetradrachmons.

At No. 1, 2, 4 the ratio of the individual facial divide one from the other no. different, too It's not true with the measurements of the portrait heads in marble etc. agree. The nose is in relation to the others

38 J-Naue,

Parts of the face are much too long, most of all in numbers 2 and 4 the case, she is. much longer than the part below her until the end of the chin. Through these unfavorable proportions we get a completely different, more elongated profile than the busts give us and show the following heads. The nose is on number 5. were too short, but this head forms the transition the three others who, with number 3, have the actually correct ratios nits of the portrait show: the forehead is not as long as the nose, However, these are in the same proportion to the lower part of the facial; then the part from the bow of the nose to the beginning of the temporal bone in exact proportion to the length of the nose, measured from the root of the nose. The mighty chin jumps almost just under the full lower lip; it's not pointy and small like on Nos. 2 and 4.

These portraits all show the king in a not-so-youthful manner than is the case with the Erbacher head, and that shows through their emergence under Lysimach^'s reign is easily explained. Their presentation, although, as mentioned, differs from one another deviating in circumstances, in work and in attitude version, but shows this to everyone through individual life inherent in minds; that we are dealing here with the portrait of one King, and indeed a powerful, deified one. Lysimachus would not always have in his long reign have one and the same ideal portrait of yourself created the living person would always have been an obstacle. We see it in some of his contemporaries and later ones Syrian kings putting their portraits on their coins the different ages of the people were represented.

So it's not Lysimach's portrait|); and there that

1) The note that in Prokesch's collection is probably appropriate here was an overgrown tetradrachm with the head clay Lysi on the main side. make u 8^ coins, on the back Zeus etc. type and barbaric inscription Alexander the Great wears. I owe this note to the goodness of the Lord Dr. A. from Sallet.

Portrait of Alexander the Elder Gr. in Greek MQnzen and 8. w. 39

depicted head, albeit with divine attributes, but at the same time decorated with the armband of a king, not an image of a god there is no doubt in my mind that we are here, guided by the love, veneration and gratitude of the Lysi- Don't do it for Alexander, have the ideal portrait of him in front of us. Lysimachus is, and this is no small thing, the one was Alexander's successor, who, when he came to power, had achieved the title of king and had accepted the title of king faithful memory of the great king and hero Put a portrait on his own coins instead of his Hess. We don't know how much he was given credit for this, but It is easy to explain that it will be greeted with joy. lich. The memory of the deified king was still alive mighty away! This may also be the case, among many other things Interest in the further minting of the Lysimach coins explain his death. But not just with the portrait He was able to shape the great king, and he also took the two types from Alexander's staters, but united them in one: in that of Athena Nikephoros *), and thus added, apparently for Since the Nike crowns his name, it is another attribute the portrait on the front.

All this testifies to an honorable subordination of his own Person, with the exception of his name and royal title, the he had the coins added with full rights, under those of the heroic world conqueror.

Now what is the view of the 8 portraits before us? As far as this is concerned, we do not find the soberness of this in any of them Azara's head, but through him, at one end of portrait representations, but that of British Museum is on the other - the dying Ale- xanderkopf has nothing to do with our representations, there

1) Perhaps this Athena Nikephoros is a copy of a statue of the goddess, which stood in Lysimachia, as L. Möller assumes.

40 J* Nane,

Its beginnings were painful and passionate is - an excellent stopping point. Only sounds distant The head on the tetradrachm of Eyzikos (No. 7) shows him.

The most youthful approach is No. 1, starting from him then the order in the years changes, of course not like that, that we could draw a precise line, but we see but as the portrait becomes more and more masculine, larger, nobler and more sublime, ultimately developed to the point of being god-like.

Two role models seem to be the stamp cutters of this one series: some give the head with certain closed, the others with their mouths slightly open. Some even have the same template or model to be proven, for example in No. 1 Sestus, in No. 3 Heracleum, at No. 5 Sigeum(?j, and at No. 6 indefinite thra- Chinese mint. These four have the arrangement of the hair in mass distribution and in the lines There is a lot of agreement, however, in the Asia Minor Specimens Nos. 2, 4, 7 and 8 have a completely different arrangement becomes visible, everyone's hair, from the vertebra onwards, is otherwise ordered.

The juvenile head of the Sestustetradrachmon (No. 1) Even if it has already worked flatly, it still has a lot of good things. The character is happily portrayed: an energetic, high-striving youth, to whom the royal diadem probably belongs comes. The hair rises like a lion from the forehead then in, of course, only in very isolated areas on the forehead and cheek to fall down. Unfortunately the eye is too open, almost torn open, the upper lip not well drawn, and the Forehead protruding too bulging above the base of the nose. But after all, it is a lively depiction.

The treatment of the hair shows no width, the individual Parts are too pointed and poorly placed next to each other, but the

Portrait of Alexander the Elder Qr. in Greek MQnzen n. s. w. 41

The overall head shape is good in contrast to numbers 4 and 6 reproduced.

The portrait head of Stratonicea (No. 2) has a lot of soft, and it leads to a cheerful, mild and still hunting- face. If it is also fuller in the forms, then it has but not the width of the former. The nose starts to become long and pointed, the chin is not full and powerful, but small. The work can at least be called good, if The hair as such has not yet been sufficiently characterized is. Without a tiara we would have the image of someone full of life youth.

The head of the Stater of Heracleum, on the other hand, is more serious (No. 3) . It is a very beautiful work, and certainly by one excellent artist. Everything is in harmony here, so that beautiful head in its lively conception to its full advantage comes. The seriousness of the researcher, who looks straight ahead Eye pain is alleviated by the quietly opened mouth. This one Head comes closest to Erbacher's expression, but yet another spirit speaks to these features.

Also of beautiful work is the portrait of the Tetra drachmons of Kallatia (No. 4] or Ghalcedon; but it seems as if the performing artist is too attached to himself the development of the individual parts is devoted, and thereby the size of the view is lost, because each part, for itself viewed, testifies to loving devotion, but also to something else incomplete mastery in the representation of the total form. The forehead is too round in the main outline, not pithy and power- full; full; the eye is too open, the eyeball is too big, the Nose too thin, nostril too small and weak, and also the chin. The best is also quietly meaningful- Lically open mouth, but not in proportion to the upper one gutter, between it and nose, and to the chin stands. The hair does not grow above the forehead, but behind and next to it

42 J. Naue,

out, so that the big rising curl doesn't happen is motivated. But the representation is noble, even if that Character appears somewhat weakened. It's just the por- trait-like representation of the king without a large, sublime benen swing, and yet again not as faithful as that of the Head of Azara.

We have a very good job ahead of us in No. 5; at everyone Despite the defects that are inherent in her, she still leaves the artist as recognize a capable master, because above all is the tree Used correctly, and the hair, with all its virtuoso technology nik, but so arranged and subordinated that only the main thing, the face, comes into its own. It's a very brilliant lante Grave Grave Performance I Here too we have the portrait of the king in front of us, but how differently is he understood and depicted I The forehead has the powerful character of the hero, the eye looks seriously beneath the overflowing flesh above. Even if the nose is too short, it is not poor, the mouth, which is surrounded by a fine smile, from outside Neatly beautiful drawing, the chin full, the cheek not skinny and not youthfully soft. The hair rises tremendously the forehead, and you can clearly see the separation between them big curl to the right and left. Degrees in presentation The artist has found what he likes about the hair, and with it Treats curls and ringlets with great virtuosity. It is a big, serious, powerful and masculine personality, a hero and a king who is no longer in his youthful dreams

revels.

The following portrait head (No. 6) has on the outside Sections of the head much similar to those of Nos. 4 and 5, but he is wittier than No. 4, and more defiant, more stormy than No. 5. Completely excellent in expression, it is only to be regretted that the artist was not able to protect the hair from the defiant, to arrange storming creatures more appropriately. We would have then

Portrait illustration of Alezander d. Or. in Greek. Münien etc. 43

a lively transitional image of the king from Jfingling to the man. But it is a portrait that looks smooth on the horizon- present King before our eyes, so that we are able to do so to form your whole personality.

The head looks serious and dignified again at No. 7 (Ky- zikns). The work is excellent; she is the one which harmonizes the hair and the face and both lively, natural and picturesque. The character Art from Asia Minor is particularly recognizable in this head. cash. The forms are free and flowing, the whole portrait and finally picturesque, the expression predominates. The hair is, just like the following head, in one of the earlier ones Specimens treated in very different ways; it's not like that omamental and ringed as e.g. B. on No. 5, not so stylish either Sirt like in numbers 1 and 6, it shows rather that faithful observation tion of nature, as it was peculiar to Lysippus and his school. So in this portrait we can probably first Recognize the influence of Lysipian art, as the other whose previously mentioned artists represent more or bring less individuality and schooling into it.

The massive lock of hair rising above the forehead is from very excellent effect, also just as excellent the framing protection of the forehead, cheek and neck through the downward falling and beautifully arranged masses of hair that create the calm line of the beautiful profile.

In its painterly flowing form, the forms in every respect hung and understanding and expressive in every direction Representative way, this portrait takes a traditional outstanding rank among Alexander's portraits a. Except for the top of the head being too low, it is high artistic perfection and from a good background; it likes So probably based on a very excellent model - I think I know in him that of a bust, and that strengthens me

^

44 J« Nane,

the total outline of the whole picture, which at the beginning is the most beautiful thing- summarized and presented - to be worked, namely by an artist who works with deep and great understanding combined a broad and masterful technique.

We now come to the representation of the last tetradrachnoid mons (No. 8j ^) . It is the most excellent work of all mentioned and described here, and not only towers over them through the perfect mastery in dealing with the brittle the material, the breadth and lively freshness of the presentation position, in the artistic subordination of secondary matters, but also in the almost unique, powerful one View of Alexander as a demigod.

As with the previous coin and with No. 5 of the room was used excellently by the artist, it is the same here, but to an even greater extent the case; yes the artist has it Outline drawn so wide and large that the field of the coin Unfortunately the picture doesn't quite capture it. And what the presentation is about What sets it apart from all others is that it is next to the printout reflects the whole character of Alexander, and £was in one so noble way that only the most important thing, that for emphasizes the most important things to those depicted. But then again it isn't It is a lesser advantage that we are dealing with a portrait picture here have to do that for this space, for the coin, so as Relief is thought and executed without nevertheless, or rather, nevertheless, the main outline, which is so effective, by the permitted freedom.

No other specimen has weighed this correctly and perfect surface distribution, despite the high relief

1) Whether it is assigned to Ghrysaoris or another city on the meander, I dare not decide; I refer to the excellent and um- clear judgment of L. Müller's^ a. a. 0., and his note about Ghrysaori's Im Numism. Chronicle Vol. 8. In any case, the coin is small- Asian character.

Portrait of Alexander the Elder Gr. on Greek coins ii. s.w. 45

is nevertheless extremely moderate. So no form falls for yourself, as for example in No. 5 (Sigenm), where the artist ler rendered the temporal part too round and raised, so that it looks more like a bump.

There can be no blame for this picture. Je longer you look at it and lose yourself in looking at it deepens, the more it gains life and expression: one thinks no longer to the one who created it, you forget the material, and thinks she can stroke the hair and feel the cheek nen, it is also as if the open mouth has to speak.

The forehead, which protrudes powerfully in its lower part the eye bulges is in beautiful, correct proportions to the other parts of the face. It looks sharp, almost flashing Eye up. The look is not as enthusiastic as with Britt's head. museum. The nose is strong with broad stooping and strongly swollen nostrils, the mouth open, with a strong lower lip, and surrounded by quiet sensuality plays; the artist understood it through the right approach deepening to give the impression of seeing the tongue between the lips. The chin is full and goes into the chin felt, powerful line to the neck. From very own The cheek has a delicate charm, it flows broadly and fleshily from the temple to the cheekbone to the chin and neck down, quietly hinting at the strong jaw. It's as if real life was breathed into this area. How wonderful it is then the hair worked and arranged! The one from the forehead uplifting parts that fall to their sides particularly beautiful and true. You believe nature is in front of you see, and yet what a difference between her and this picture!

There is no royal in any of the aforementioned portraits Tie as well and correctly attached as on this one: only from above the ammonshom it is wide and without a hairline

46 J-Naue,

Locke dart lies on top, while 8ie moves backwards, just like in which is the case, is covered up by locks of hair. That is a simple but entirely correct observation, just because Due to its simplicity, it is not done by everyone. Just A shy lock of hair ventures into the other portraits or at most two more.

Despite all the elegance of the work, it is still subordinate net nature and does not appear as virtuoso as in the treatment lunging the hair of No. 5. It is of all the portraits, as already mentioned, the most picturesquely treated, and that the personality portrayed is at its highest comprehensive.

If you compare this head with that of the British Mu- If you compare things, the resemblance is immediately apparent both in the eyes, then also the whole manner of the Treatment, and here again that of the hair; but the forehead is more powerful, the hair even more lion-like and true to nature, that Eye not so enthusiastic; In short, the work is still there better than that of the marble head, however, the view a far higher and larger one, which is due to the limited representation really comes into its own. It is as if you were looking at something larger than life Portrait relief in front of him.

The marble head still lives, albeit smaller feature of the everyday, whereas in the relief image this is immediately apparent powerful personality in the highest god-like state nobleness speaks to us. Since the similarity of these two the representations of one and the same person so striking and is mandatory, it seems reasonable to assume that both are one for ftLr and the same example may have served; however, because the relief, as we have shown and how to do it yourself in more detail The equation will find the marble in every respect But most of them excel in the spiritual and ideal, including those

Pottnltd>rat«1luilg AleiandetB d. Or. «atgrlecb. Hflnia et al. w. 47

If its lordship is extraordinary, it will be be that goal setting. This old kOnote nns a finger-

^

48 years Naue,

show regarding the performing Ettnsfler give. It can be no be one who has the greatest mastery had to command in every aspect of his art, and who is intimately familiar with the nature of the person depicted. had to be daring ^j

The influence of Lysippus is unmistakable; if not white teres, it proves the treatment of the hair, which is entirely the same corresponds to what Pliny 34, 65 says about it.

Now should Lysimachus, who is probably in many pieces based on his great role model, not also one of the important Most artists commissioned the picture of Alexander, which he created wanted to have his coins set, large in relief as so-called Make a template for the die cutter? And he could Didn't you choose the greatest of all Alexander actors? Of course there are no mathematical proofs for this, but the facts often speak just as surely.

In addition, vnr the activities of the Greek artists do not measure with our yardstick; we mean a stamp Schneider couldn't easily be a great sculptor, or one great sculptor cannot and will not create a relief for a coin make stamps. The coins of Greece only prove this

1) We add here Brnnn's masterful schlldening, history of the. Greek artist. Vol. I, p. 404 on ancient portraiture, as they is not without significance for this relief: “But since art is not in flesh and blood but in an inanimate substance, the artist can live only by representing the image of the person to be represented, with life and spirit gifted person absorbs it into his own mind and reproduces it from the same creates in a given substance and according to the laws of the substance, in which he forms. However, the portrait can and must be at its highest perception becomes in a certain sense an ideal, the ideal of one person, in that the artist only incorporates the simplest basic principles into his work. forms imitated from nature, and only those in which the deeper organism, the original spiritual disposition, the inner spiritual being in full with the greatest sharpness, but all secondary things, unconcerned with a petty one Imitation of reality, only for the purpose of a harmonious development of those basic forms freely.” And these basic conditions arise now fills the relief portrait we are talking about.

%.

v

Portrait representation of Alexander*8 d. Qr. on Greek coins and 8. w. 49

It's good that his artists don't just cut stamps, but but even more so that they model different figures could. Anyone who has ever spent years with an artistic eye but has studied such small figurative representations, nnd must find this; for the knowledge of the whole is everywhere Organism visible, and you always feel that the figure is in is intended to be full of curves. The school that the artist went through at that time is a completely different, fundamentally different one. the ones from today. We can hardly imagine that!

But now there are a few more important facts: Lysippus is said to be originally, according to Duris^). must have been a metal worker [aerarius], and he also finally formed in bronze^), and furthermore are considered as one Another peculiarity of his works is the r>argutiae^^) provides. If we also go to the former message, since it is not quite It is certain that they do not want to place any particular emphasis on it, although they do was important for his later artistic career The mrgutiae operum gives us all the better evidence. Who would be more able with the help of this refinement*) were an excellent model for the relief portrait of the new ones To produce coins of Lysimachus, just as Lysippus ^ the Yes, Alexander modeled many times after life, and so too Like no other, it was so true to life, so ideal and produce it with such consummate mastery that this little one Replica surpasses the large marble head? That Lysippus

1) Pliny 34, 61.

2) Brunn, a. a. 0. B.I, p. 371.

3) »Argutiae openim custoditae in minimis qnoque rebus.a Pliny 34, 65.

4) Because this refinement is absolutely necessary for the relief, and for the The stamp to be carried out afterwards, which must be treated completely differently than a marble bust. Here you can do a lot with a little, it has to be kept secret what is possible on a large scale can be expressed, and yet the presentation must Despite all the elegance of the work - the jucundum genus of Lysippus - it does seem big.

ZeiUchHft for Xiimiiiinatik. VIII. 4

50 J-Naue,

certainly gladly fulfilled Lysimach's wish and request, does not need to be discussed in more detail; says Athenaeus XI, p. 784. c. that Lysippus was more pleasing to Gassander than he was Gassandreia founded , a special type of thong vessels for the Mendaean wine exported in bulk from this city invented^j.

We only have to investigate to what extent a possibility The execution is up to Lysippus himself of the relief model. Know through Pliny 34:51 we, of course only in general, that Lysippus in the 113th century. Olympics, then that he lived the statue of Trollos who won Ol. 102 at Olympia^), and also, by Pausanias ^) , from a statue of Gheilon from Patrae by his hand, and further from the statue of Polydamas^) from Skotusa, who already won the Ol. 93 Olympics. So we have Here are the various annual deviations in front of us, which are for The latter statue probably proves that Lysippus made it longer time after the victory of Polydamas ^) ; the same will be the case with that of Troy, since Pau- sanias explores the life of the artist beyond Ol. 114, 2 seems to take. This has its reason in the inscription Pausanias read under the statue of Gheilon that said: “this one fell in war, and by the Achaems through burial honored," from this he assumes, "that he was either with the Achaean see the federal army drawn to the battle of Ghäroneia, or that he alone of all Achaems out of personal belligerence in the Battle of Lamia in Thessaly against the Macedonians Antipater fought, a —

1) Brunn, a. a. 0. I, p. 359 does not completely reject this counting, “there there was no sufficient reason for this."

2) Pausanias VI, 1, 2.

3) Pausanias VI, 4, 4.

4) Pausanias VI, 5, 1.

5) Brunn, a. a. 0. Vol. I, p. 359.

Portrait of Alexander the Elder Or. on Greek coins etc. 5t

If we specify the PI in 34, 49 because of Phidias' Activity, Ol. 83, in comparison with that of Platarcb, Pericles 31 bring - that Phidias on the shield of Parthenos himself as a bald old man [TtQeaßvvov q>aXa- xQov] have represented - so we obtain because of this latter the only sure way to determine the age of Phidias offers, for the same Ol. 83, an age of around 50 years, and for his representation on the shield of the Parthenos, on the he Ol. 85, 2 >) worked, someone aged 59 to 60. We So you can also assume that Plinin's statement 34, 51 Concerning the life and activity of Lysippus - the 113th Olympiad - is similarly worded, so we are excused can be an age for Lysippus in Olympiad 113 Yon 45 - 50 years; this would then be for Ol. 116, 1, in which he made those clay vessels for Cassander Age of 57 - 61 years, and when the Ly- simachus - 0. 118, 3 - one of 67 - 71 results^).

This age would be consistent with the epigram'], that describes him as yifoßv, and it does not presuppose that that he is of no importance between the ages of 60 and 70 tendes should have created. We know that Phidias as a high sixty, full of Olympian Zeus*

i) Bnmn, s.a. 0. p. 158, 104 and 167.

2) Further evidence for Lysippus' age assumption is the following: The DaTppoSy Lysippus's first son's career is from Plinin's 34, &1 Set in Ol. 121. Let's give him an equal age of 45 years for this, like his father, it follows that he was born Ol. 110, 1, in the Lyiipp was 33 years old. — Brunn, a. a. 0. Vol. I, p. 410, takes the Kfiustler Career of Tlisicrates, a student of Euthycrates, Ton Ol. 115-124 on - so 9 Olympiads or 36 years - we can now use the same for that extend the high age of the L y s i p p to 10 Olympiads or 40 years, so that We thus recognize the period of Ol. 109 for his artistic activity - 119, so he would be Ol. 109 at the beginning of his actual career, 29 years old, which is consistent with that news: that he was Torber soerartiu« is to be brought.

3) Aunal. UI, p 45. No. 35.

4»

52 J. Naue,

ended - Ol. 87, 1, where he was back in Athens - that Aesehylos, Sophocles and Pindar in their last high lives years created the most powerful poetry; how much more can Lysippus be of a similar age to that intellectual large for King Lysimachus a relief portrait of von Alexander, the highly revered Alexander, certainly worked for him, and this then served as a model for the stamp from which vnr spoke. Precisely because it is certain, as Brunn notes^], that the pictures of Alexander by Lysippus's hand those of the other artists lers surpassed in liveliness and understanding, and here something similar takes place, the conclusion can be drawn that this Belief|portrait only by the hand of a great master can be created, to which not only liveliness and opinion were supported in the richest measure, but who was also able to make a difference on a small scale to give the image of the Most High, and in the portrait of Alexander at the same time to form the divine son of Zen liked.

Now like Lysippn's name - we can't do it Documents prove only the high artistic excellence The end of the work can speak for him - with this Relief may or may not be linked, but that remains fixed: It is an artistic achievement of the first order, worthy the best works of Greek sculpture to be asked; In addition, it documents the whole thing Characteristics of Lysippus' art ^j .

And further: Is this portrait that of the great one?

i) a. a 0. Vol. I, p. 363.

2) This view of mine is supported by the statement of one of our eminent most popular sculptor, Professor Dr. Julius Ernst Hähnel in Dresden confirmed. He checked the aforementioned order with me, the same confirmed as correct in their succession, and the last tetradrachm of Chrysaoris decidedly declared to be the most important work. »Just an artificial A person of the first rank can make such a portrait relief!”

Portrait of Alexander the Elder Gr. must grlech. Coins, etc. 53

Alexander - and according to the comparisons, he is still working on it doubt? - so it has also been proven that all the heads that 'on the coins of Lysimaehn with his name and If they are given the title of king, give his image, they may like it more odec less good, or over time and through the unfinished Hands of the less gifted have become barbaric and crude.

Munich.

Julius Naue.

ä

r

The name inscriptions of the IMonetars on the denarii

the Republic(.

The earliest denarii are similar in all essentials points equal. You have the well-known fixed types, plus the value mark on the front and on the back page as the only inscription the yqH spelled out name of the city. The individual issues of silver money are initial just as little as those of the copper money on the relevant The pieces themselves have been distinguished. But then highlighted the need for a distinction two different names in common use, the name of the coinage place where the denarius was created and that of official who managed the coin. However, the former has It didn't last long, it soon became superfluous; than the outside Mints located half of Rome lost their right to mint. All- However, there is still much that remains regarding these different coinages. Certainly, but it seems certain that one can used to designate different letters. In In contrast to this, the mint official is original not known by an inscription but by an epithet- lich, which we call Monetar's house coat of arms have to understand. To these so-called coats of arms, their stately row at d'Ailly Monn. rom. 11, 2 pl. 68 – 87 and in Bahrfeldt in this magazine Y, p. 45ff. can compare, Then others are added with the name of the coin is usually expressed by a monogram, which, in other words,

Ad. KIQgmmnn, The name inscriptions d. Monetary on d. The. d. Rep. 55

far ee through several artificially placed letters is formed, a certain analogy with the coat of arms has. Not all Bach letters are suitable for such combinations. settings; only those that are straight on both sides closes such as A, H, M, N, V form quite suitable bases for monograms. It is therefore generally agreed that Keep in mind that heraldic denarii are older than denarii with mono- gram, then monetaries in whose name a book- stade tone of round shape like C, G, O, Q, S at first or second place, certainly longer in the use of weapons pen than the other colleagues. In this one relationship, it deserves attention that the two heraldic denarii, their assignment to certain genders and houses The safest thing is that it is based on the aid of Trajan's constitutional supports mtnzen, come from monetary, whose name stands for mono- programs that were not very suitable, namely Codes and Decius Mus. Otherwise, we can't go on about the coats of arms here, but rather only the monikers' names will be discussed.

The monograms couldn't suffice for long. The name was gradually written in more and more detail, the all- common norm of the Roman naming style more and more also accepted on the denarii, even various expansions ments, especially titles, are added. But there are also later sometimes very short names again, like the Mo- Netaires in this respect do not adhere to any particular prerequisites fonts are bound. Only the main rule is effective: that the name inscriptions, like the types, serve the purpose to distinguish the relevant emission from all others.

The most individual name is the first name; but not one the generally used, but only a very singular, unusual first name could be enough on its own to be called monetary. The only such denarii are the from Sulla's son with the one that had been missing for a long time -

56 ^^' KlOgniaiiD,

Faastn's resurrected first name cf. the denarii n. 269 and 275 of the Mommsen-BiacaB account. The name is written on both denarii without an abbreviation, but on the later contracted into a monogram. The Ordinary first names appear in the usual abbreviations ^) .

The gender name is no more important than the first name a sufficient designation in itself, it is used by the numismatics! hence only some of the earliest mono- gram for initial syllables of gender names explained cf. n. 20. 21. 31. 34. The situation is different with the nickname, A cognomen has in the monogram in both older and later times As in other writings, it is often enough to identify the monetary value make cf. n. 22. 24. 26. 28. 40. 48. 60 etc. Far larger is of course the number of denarii with a more complete name. If the latter is composed of two components, then one is the same the first name. Only one denarius deviates from this rule by showing gender and house names next to each other, cf. n. 103, but it should be noted that for the gender name of one of those monograms is repeated, which is on the older denarius n. 20 stood on its own. This is how it appears The noun is called like an already known sign that goes through the cognomen is determined more closely.

The use of three names is on the older denarii rarer, but there are already several among the monograms, which are combinations of the first letters of pre- nouns, nouns and cognomens can be interpreted, cf. n. 26. 29. 30, as well as the denarius n. 41 with the three letters Q * L • C that are unsuitable for combining. with- Members of very famous houses have also become part of two cogno- Mina serves, usually excluding her noun entirely.

1) Like the sections on the names and titles of the monetaires in Mommsens business of the Roman musical system, so is his essay on the Roman ones Proper names in Rome. Research I, p. 46 is gratefully used below.

The name inscriptions of the Monetve on the denarii of the Republic. 57

liessea, cf. L. Scipio Asiagenus on n. 187, the Pisones Frugi n. 212. 270*. 307. Ebt's cognomen is, on the whole, more often complete constantly written to" as the noun. Even on the later ones In denarii, the noun is only spelled out if it corresponds to neither is completely without cognomen, cf. n. 130, 226, 265, 276. 284, or the cognomen has not suffered any abbreviation cf. n. 182. 188. 216. 240. 242. 261. 267 a.b. 283. 287. 290,291. 303. 310. Of the cognomina are particularly those which the less common declinations, the first or third, belong to , almost always written unabridged ^) . At the departures Shortening the cognomina is also generally the rule note that they end with a consonant. Exceptions are very rare. The cognomina TRIGE on n. 91 and TORQVA on n. 109 are on the denarii of the homonymous successor n. 101 and 294 the cone written accordingly cf. also the Me- teller denarius n. 133 and 166. The abbreviation of Frugi FRV can only be found on some stamps from n. 212 and 270.

The monetar's own name is then also added Add father's name. Among the earliest denarii, which Show addition n. 51. 99. 101. 102, I especially raise the denarius of M. Baebius Q. F. Tampilus n. 102, as this monetary is generally believed to be the son of the one who on the denarius n. 23 with the initial syllable of the cognomen had drawn. Accordingly, I also suspect that the monetary from n. 99 C. Valerius C. f. Flaccus a son of the previous

1) Abbreviations of such names can only be found on the oldest denarii with monograms or initial syllables Ygl. n. 26. 40. 61. 64, there is also next the coins with the full names Natta, Carbo, ßlaseo, Cotta, Capito, Frugi also include those with the same names in an abbreviated script cf. n. 70. 80. oil. 104. 204. 212. 249. 270, of which it is not always certain whether they are the belong to the same or a different issue; They are also abbreviated Cognomens that are known to be treated as nouns are Scipio on n. 187, Hispmniensis in the long Boischrift on n. 238a, Oalbm n. 206, Messalla n. 277, Strabo n.305. — The cognomen ANT on n. 127 becomes not Antias but Antiaticus be complementary. For some other abbreviated cognomina one still has no reliable addition found cf. n. 28, 96, 97, 149, 299.

58'A.d. KlOgmaiifi,

was, from which we Eapferstttcke with the first syllable of the noun Valerias cf. n. 84. The one mentioned on n. 51 Father of Monetarg C. Juni is not considered a Mttnz- master handed down, but the denarius n. 101 with the name C* CVR*F*TRIG* is again with a very specific view minted the denarius of the father named here n. 91, he again even brings the types of the same and differs mainly- mainly only by specifying the branches. According to the rule the patronymic joins the nomeu, not the gognomen in individual cases this has led to a considerable lengthening of the geration of the name led; that's what the Monetary of n. 137 calls himself TI-MINVCI C-F-AVGVRINI, while his father is briefly C*AVG had mentioned cf. n. 109. Members of very famous Houses represent the father's name if their noun is omitted behind the gognomen etc. the Meteller on n. 144, the Rsonen on n. 212, 270, 307 etc. ; on the other hand is the gender name the Gornelier on the only coin on which he appears, probably caused by the addition of the father's name, cf. the denarius of the Gn. Gomelius L. f. Sisenna n. 148. Here and in general later the father's name is no longer used for more precise information. separation of the coins of the Son, but for the more complete Naming of the monetar. But from the name of the Oross father The former seems to apply again. Of the five monetary, who add to their name that of the father and the Oross father apparently have three with the same names on them older denarii referred to, as one can easily see if you can see the inscription on n. 231 TI«CLAVD-TI-F- AP*N- with the one on n. 194 AP-CL", also on n. 250 A«POST-A« F-S-N*ALBIN with n. 191 A*ALBINVS S-F and on n. 282 W-AQVIL-W-F-W-N compares with n. 171 ^-AQVIL *) .

1) rather the cause of that addition on the other two denarii n 260 and 261 cf. the author's Festschrift L'efflgie di Roma p. 33, 41. About the denarius n. 238 see Mommsen Gescb. d. Roman coin p. 600 n. 393.

v

The name inscriptions of the monetaryists on the denarii of the Republic. 59

As is well known, the intended name designation also included the indication of the tribe to which the person concerned belonged. Under There are only two denarii of the Republican period the addition of the tribe's name, both deriving from the same mo- Netary L. Memmias, which was on the earlier denarius n. 205 his name alone, but together on the later n. 226 recorded with his brother's name. The two of them However, the denarii described is preceded by another, whose Mint master also L. Memmius is called ygl. n. 175. I want cannot decide here whether this last-mentioned denarius is also from the same monetary as the other two, at least but it seems to me that the tribes are stated on the later denarii to be caused by the fact that the name inscription is yariirt should be. The situation is analogous, I suspect the denarius of C*MARI C*F*TRO struck under Augustus, which is the only other example of a tribe name in a Coin inscription offers. The rare addition is in view the older denarius n. 250 of the C-MARI C«F*CAPIT- was chosen.

An even more peculiar means of differentiation appears to offer multiple cases in which the name of the mone- tare is set. While the name in older times, so far The abbreviations show this, definitely in the nominative stands, can be found on individual later denarii instead Applied genitively cf. n. 137. 170a. 174. 182. 211. 258. 287. 291. 297. 300. The inscription of the earliest of these denarii We already have Ti Minuci G. f. Augurini above with the one compared to n. 109 G. Aug. The inscription M. Aureli Scauri from n. 170a probably points back to the monograms from n. 20 and 34, that of n. 174 L. Yaleri Flacci on the name G. Val. G. F. Flac. n. 99, that of n. 182 M. Fouri L. f. Phili on the monogram of n. 29 1) . On the later denarii

1) On the genitive Cordi on n. 258 see L'effigie di Roma p. 38 and About the genitive in the explanatory notes die9e Zeitsebrift 1879 p. 67.

gQ Ad. Klügmauu,

is the specific reason for the application of the second case You can no longer see it everywhere, but you can see it in the earlier places impossible to have been meaningless; This is particularly evident in the Denarii n. 137 and 182: you can read on many stamps Augumi instead of Augurini and Phli instead of Phili, so that in Otherwise quite unusual, here it's more of a letter in the Middle of the word as the one constituting the ending of the genitive Vowel is omitted.

The titles come with the names. It. find theirs two things on the denarii, one which is the actual one The official title of the Mttnzmeister also includes those who which has no direct connection with the coin administration hung, but denote offices and dignities, while whose administration has been shaped by the monetary system. Start with the former I. Since the office of mayor is usually held by a coUegium was managed by three members, the title of the Mo- netars IIIVIR. However, only some of the latest Mttnz- masters of the period we are concerned with give this title to their name attached cf. n. 279, 282, 285 f. 290, 291, 292, 294, namely, it seems, less because of the title, than because of this addition offered a means of varying the names. Because from- seen from n. 292, in addition to all the others, there are just mentioned denarii counted analogue older ones, i.e. those which were made by mone- bears that later bear that title. had the same name, compare especially n. 279 M' Acilius III vir and n. 138 M' Acili, n. 282 M* Aquil M* f. M'n. Ulvir and n. 171 M' Aquil., n. 286 Caldus Illvir and n. 1956 Cald., n. 294 L. Torquat. Illvir and n. 169 L. Torqua. Q. One another name for a Mttnzmeister, in which the business The coin is even mentioned directly, can be found on n. 259 b in connection with the cognomen LENT*CVR* ^ FL* d.i. Lentulus curator denariis flandis. The one mentioned here Lentulus managed the coin three times and the stated

The name inscriptions of the monetaryists on the denarii of the Republic. 6 yrs

Designation used in his late administration to distinguish minted denarii from the earlier ones. Because he was no longer a regular triumvir monetalis at that time, so He chose the general term Curator, which he then used another addition was specified in more detail.

The other category of titles can already be found on something earlier denarii and is also more common. Because even if it is After all, it was unusual that the coin was owned by higher-value holders Offices were administered, but this is relatively common happen. The titles under consideration here are Quaestor, Aedile, Praetor and also the honorary title Imperator. The most common title is that of the lowest civil servant Office, the Quaestur next to the name of a Monetary, on* himself tenth that of the highest in this series, the Praetor. There was However, two different spheres of activity within the Quaestur, A distinction was made between urban and Feldhermquaestors cf. Momm- sen, state governor. II, 1, p. 511 ff. 548. On what is to be discussed here Of course, this difference is not evident in the title of coins made, the simple initial Q denotes the urban like the general quaestor 1) . Nevertheless, precautions have been taken that the important difference which the office of Quaestors especially in relation to the minting, on the coins comes forward. Only the urban quaestor, not the military one minted municipal money, but military money. The Municipal Quaestor shaped as a result of a Senate resolution general under the authorization of his commander-in-chief. Accordingly, the coins issued by urban quae- Disturbances come from, in addition to the Q of the title, the formula of

1) Only on the denarius minted after 705 with the inscription NERI Q*VRB (Cohen pl. XXIX Neria) the title of Quaestor urbanus is fully indicated. give, the letters Q*VR* of the denarius n. 194 do not contain this title, sondeni the name of the monetar cf. Borghesi Oenvr. num. 11, p. 218 and this time very. 1878 8. 29 f.

* i

62 Ad. Klügmann,

Senate resolution, the known S*C or EIX S*C, during the coins of the Feldhermqaaestors do not have this formula.

The earliest general who gave his name Title attached is Q. Lutatius Cerco n. 162. Since it now There is an old Castorendenar n. 41 with the initials Q*L*C* nnd. in these initials of some numismatists one that Quaestor homonymous older Q. Lutatius Cerco has been recognized is, I think it is likely that the later monetary added his quaestor title to his name even more distinct from that of its homonymous predecessor to distinguish ^). Three other Feldhermquaestors T. Cloulius n. 183, P. Sabinus n. 185, C. Egnatuleius n. 184 have only Yictoriate or Victoriat-Quinare ^j minted, a fourth C. Fun- danius n. 196 also Yictoriate, but also denarii. By SuUa's Quaestors L. Manlius and A. Manlius A. f. we have Aurei and Denarii n. 232 ad, plus Aurei and denarii with the Q as the only inscription n. 246, and finally denarii of the two Quaestors of the Proconsul C. Annius, L. Fabius L. f. Hispaniensis and C. Tarquitius P. f. n. 238ab3j. You can't overlook it now

1) The BeiBohrift is arranged so that Q. Lutoti Q on the back, Ceroo on the Yordeneite, so that the title precedes the cognomen, is the same the case goes to n. 267, where M. Plaetorins Aed. cur. on the back, Cestianus is written on the front, cf. also n. 101 G. Cur. f. on the back, Trig. on front. But I don't want to end this with Mommsen, Gesch. d. Roman coin vr. P. 460 conclude that the inscriptions on the back are consistent and front are set independently. A direct reading together is are necessary several times in the explanatory notes, cf. n. 203 and 301. The titles are part of the name and as such have their regular form Space on the back, they only precede the cognomen if this There is no more room on the back. But that's why such cases are rare, because whoever gave a title usually not three but only two names used or the three were particularly crowded together cf. n. 168, 236, 237. 238a. The fact that the title is separated from the name is an exception, see n. 232c. 236. 242. 260.

2) prefer the Victoriate etc. daily. Viennese numism. Magazine 1879 S. öif.

3) On these denarii there is also the formula EX S • C • , but not In connection with the name and title of the quaestor, but in connection with names

The name inscriptions of the monetaryists on the denarii of the Republic. 63

only the inscriptions but also the types of denarii of these row, so Gerco has the head of Mars and one of one Galley surrounded by an oak wreath was chosen, Fundanios but Marius depicted as triumphant, the two quaestors of the Procon suis Annius called their commander-in-chief and from the Biga or have Quadriga accompany Victoria's, the two Manlii theirs Feldherm Sulla is both depicted and named, the Quaestor of n. 246 finally the foreign ones, especially Egyptian ones Coins known type of double Fttllhome was chosen, so but instead of any inscription, only his title is noted. Like It seems to me that the peculiar character of the military quaestors clearly stand out on all these denarii.

The city quaestors have neither Aurei nor Victo- riate, but only city money. The earliest we have through their titles on the denarii are M. Sergius Silus and L. Torquatus^) n. 168. 169. Two others have the Denarius n. 192 minted together, you can read Piso Caepio here Q. ad fru(mentumj emu(ndum] ex s. c. The formula of However, the Senate resolution here initially refers to the Buying grain also refers to the quaestors as well as their denarii unambiguously as urban. Two more urban quaestors Cn. Lentulus and P. Lentulus P. f. L. n. teach us the denarii n. 259 and 260. Finally heard At the time to be discussed here, L. Plaetorius L. f., who cher the formula $*C* even on each of the two sides of his Denarius n. 268 repeated. The two earliest of these Quaestors still have their types following the old one

and title of Proconsul, Annius was defeated by SuUa against the Marian in 673 Governor was sent to Spain and that is probably why he left his office as one Special emphasis should be given to what was passed on to the Senate.

1) It is highly likely that this L. torquatus is the same as cher soon afterwards coined Quaestor SuUas; that he was L. Manlins called Proquaestor, so he changed names and titles as much as possible, encourages the industry to differentiate between different emissions.

64' A.D. KlQgmanii)

Denaritypas of the riding castors chosen and with the same probably just want to celebrate gender honors; but the denarius of Piso and Caepio offer completely different images, not only are they on the back the two Qnaestors themselves in their official positions depicted sitting on chairs and surrounded by ears of grain, but it The front is also dedicated to the god Satnm, in whose Temple was the national treasury overseen by the Qnaestors. The two lenses then have on the back or front Page celebrated the genius populi romani, who in his The sanctuary at the forum was probably a neighbor of Saturn and if its entire meaning is relevant to the representation well suited to city money minted by an official. Finally, the denarius of L. Plaetorins shows the head of the goddess the coin itself, the head of Moneta. The later urban Therefore, Qnaestors have a choice in their choice of types to their quaestury, be it to the mint office entrusted to them taken into consideration.

A similar difference as in the competence of the Qnae There was also some disruption from the praetors, there were urban ones and provincial praetors. Among the monetary ones from the years Gate 705 only one person called himself a praetor, Q. Antonius Baibus n. 236. Since he now gives his denarius the formula S * C, So, it seems to me, he wants the money as municipal money denote^). By the way, his influence was quite extraordinary. ordinary, according to Cavedoni's remark, refers to them the note at Val. Max. VII, 6, 4 senatus consulto aurea atque argentea templorum ornamenta, ne militibus stipendia deessent, conflata sunt. Is shown on the front of the head Jupitera, on the back Victoria in

1) The BeseicbiHing of the Praetor nrbantiB can be found even on the later ones Denarii not; but both on the denarii of Praetor G. Coponius and on that Aureus of the praetors G. Norbanns and L. Gesthis, who belong to the Senata party If you get the formula 5*C*

\

The name inscriptions of the monetaryists on the denarii of the Republic. 55

the Quadriga with wreath and branch in his hands; the ones in like this Extraordinarily struck denarii are among the Protection of the supreme Oott and his victorious companion provided.

Aedility also offered differences ^ but completely different ones Kind of like the Quaesture and Praeture. Because both the plebeian Like the Curulian aediles, they had their sphere of influence only in Rome and could only beat city money. The Formula S*C is therefore not necessary for the aediles either. agile and actually does not appear consistently here, while the more precise definition of aedility as a plebeian see or curulian not missing. The earliest aedilenary two plebeian aediles coined it together, whereby they apparently influenced by the two city quaestors. used as their model cf. n. 235: on the front On the side you can see the head of Ceres with the inscription of the title AED*PL% on the back are the two aediles themselves depicted sitting on their official chairs, with their names next to them M*FAN(nius) L«CRIT(onius) and the formula P«A = published cum argentum. The name of the first colleague can be found already on an older denarius n. 108 M»FAN«C'F*, so that here again as with the earliest denarius with the Quae- disturbing title that Oedanke suggests, the title is one of the Means of distinguishing between different emissions. Other ple- Beic aediles are not recorded as curulian ones. against have identified themselves P. Fourius Crassupes n. 242, P. Galba n. 266, M. Plaetorius M. f. Cestianus n. 267 ab, P.Hup- saeus and M. Scanrus n. 273, cn. Plancins and A. Plautius n. 276 from. The S*C formula is missing from the two earliest ones n. 23r> and 242, but the former shows the denarius of the plebeian Aediles use a different formula, which describes it as public money without the Senate as the authorizing authority call. However, since the later Curulian aediles used the form

Magazine for NumismaUk. Viii. O

06 Ad. Kingman,

have added mel S*C, it can be assumed that the after all, a rare and extraordinary case of coinage On the part of the aediles this was caused, according to the process of city quaestors spend the money they spend to be clearly marked as regular, urban. Although Not all, but several Aedilendenars have types are related to the office that their monikers hold deten, especially the older ones. The plebeian aediles had their office in the sanctuary of Ceres and sat in the Act, as they represented themselves on the denarii, in the Proximity to the goddess they celebrated cf. n. 235. The curuli See aediles for their part, as they did in honor of the Magna Mater presided over the games several times the head of this goddess on the back of her de- nare the insignia of this presidency and of her office in general sella curulis attached cf. n. 242. 267 a. 276b.

Finally we have to discuss the denarii and their monetary instruments added the title of emperor to their name. Although As these are famous field commanders, the relevant ones include coins are among the most difficult to determine. Here, where I present some new moments for your understanding I would like to first emphasize that, apart from the Roman ones Emperors also consider an emperor of the allies comes, C. Papius Mutilus, which is on two of his denarii embratur mentions cf. Friedlaender, Osk. Coin. IX. 6, 9. It Several of the Romans now also have the title of emperor provided with monetary funds in the Allied War led armies and triumphed, and even if it appears in the poor literary It is not known that they were judged at that time about this war received the honorary title, it is easy to believe that ben that a victorious Roman army did not hesitate is to give his general the same title as one enemy general already owned cf. Orosius V, 18th sub

The name inscriptions of the monetaryists on the denarii of the Republic. 67

These winners should first be mentioned as Snlla. His first victory he achieved according to Appian b. c. I, 46 in the year 664 about the Marsians, where Appian. adds: xa/ cpaai^ xot ainov (sc. rov %&vovg tCüv MaQauv) d-Qla^ßov hrl rt^de r^ TtTala^ari yeviaS'ai fi6v(p ' XBy6f.iBvov TtQOTBQOv ovTB naTcc MaQOOßVj ovre avev MaQOiov ye- vio&ai &Qia^ßov, The next year Sulla fought in Campania and Samnium ef. ibid. I, 50 f. Since there is now copper pieces with the traditional stamp and the inscription L*SVLA IMPE* giebf, which is only available through the Riccio Collection in Naples have become known (an ace has been proven to have been found in Campania) found cf. Riccio, Catal. p. 76), the inyperator title is this Coins perhaps through the acclamation after that victory the Marsians caused, cf. Mommsen on n. 232b. Emperor Sulla is also called on other coins, but they are not like this belong to the same issue, as do different captions have. Once his Proquaestor L. Manlius already has it up mentioned Aurei and denarii minted, on which the inscription However, L*SVLLA IMP« Sulla is not referred to as a monetary, but rather because it serves to explain the type that represents his triumph provides*). The other Aurei and are more important to us here Denarii marked L*SVLLA IMPERHTERVM n.232d, on which Sulla's name next to the head of the one he presented The commonly worshiped goddess Venus stands while his title is on the back is accompanied by a jug, litus and two trophies. The jug and litus were previously only believed to be insignia of the augur to be able to understand it, although the difficulty still remained that Sulla was not an augur but a pontiff cf. Appian. b. c.

1) In the supplements which serve to explain the types, there will be more several other emperors are mentioned, which I can pass over because of them in this time. VII. 8. 74 is traded. The significance of this remains doubtful Inscription on n. 290b, in which T. Didius is called Emperor. Same died in the fight against his fellow members, but was already in power long before that. rator. Unfortunately, despite its many inscriptions, this denarius still remains unidentified. understandable.

5»

^

68 Ad. Klügmann,

ly 79. It seems to me that one gains a connection between the Angara insignia and the Tropea and with it Understanding the whole type only when you know Kmg and Lituns explained as an indication of the auspicia that the general possesses. In this way the type becomes completely military. A second victor in the Allied War, who served as Mo- Netär called himself Emperor is Q. Caecilius Metellus Pins. However, after he was appointed praetor in 666 Pulier had defeated cf. Appian I, 53, also in other wars Victories were achieved, especially in Spain, where he won against Sertorius received the title of emperor, which then led to his triumph in 683 led; but I would like to believe that his denarii are older are than the Spanish victory. The same have on the front page throughout the head of the Pietas, which are eponyms of from the monetary first-founded cognomen Pius can apply, but on the back they either have the heraldic animal of the Meal plate, an elephant or jug and litus in a lorry berry wreaths; The inscription also changes, under the elephant the initials are Q * C * M • P • I d.i. Q. Caecilius Metellus Pius Imperator, but under those insignias the word Imper. Since Metellus was pontiff, this is the attempted interpretation of Pitcher and lituus as the insignia of an ordinary augur here just as impossible as with Sulla, while Krug and Lituus as Instruments of the general's auspices are again very popular here happy with the laurel wreath surrounding her to a type of a military character. Both denarii of the Me- tellus Pius complement each other in a clever way, in that the one the house coat of arms, the other the illustration of the emperor title connects with the eponym of the new cognomen. Ver- But if you continue to compare the analogous denarii of Metellus and Sulla, that is Metellus's, it seems to me, the one simpler and at the same time better composed, jug and litus are surrounded by an object that really creates a unity

_<

The name inscriptions of the monetaryists on the denarii of the Republic. 69

represents, Sull^, on the other hand, has both in the caption and in the number The iteration is particularly highlighted in the tropes. I would therefore like Mommsen's view that SuUa's denarius is the older and that Metellas only coined it after Sulla's death, not at occur cf. Cavedoni Sagg. p. 38^).

Finally, the Imperial Emperor n. 237 is of a different kind with the inscription C-VAL-FLAC-IMPERAT-EX S-C- Neben From the Iniperator title, the formula EX S*C is very striking. Metellus' and Sulla's coins are without this formula and can probably simply be viewed as a general's field; in advance The obvious trap seems to be that the formula does not allow this. The types also need to be taken into account in this regard. They are However, military, the front shows the bust of Victoria, the back one between the two standards of the Hastati and Principes legion eagle; but Victoria stood it Valerians at all close cf. the Denarius n. 174 and Preller, Rome. Mythol. p. 609, and the back does not introduce us to any foreign the tropes or general auspices, but rather an addition A collection of Roman military symbols. The one to say Urban-military character of this type also arises from the fact that he later appeared on the denarius of a period after 704 belonging to Quaestor nrbanus cf. Cohen Neria almost identical has been repeated. It seems to me that formulas like Type indicates that the Emperor Flaccus under authorization of the Senate took city money. Whatever the case be^), it should also be noted that the same claccus or a

1) The jug and litus can also be found on that of Sulla's son /.u Denarius n. 275 a struck in honor of Pompey (here even with three trophies) paeen j, as well as on the Aureus n. 245, minted by Pompey himself. If Even though Pouipcjus himself was an augur, they are probably also in this one cases must be related to the general's auspices.

2) Regarding the meaning of the formula S • C that is so often mentioned here For the denarii I have to rely on the one drawn up by Eckhel and rewritten by Mommseii View differs on some points, a more detailed explanation of the same

70 ^^- Klugmanii, The names of d. Monetary on d. The. d. Rep.

His homonymous monetary form was previously the denarius mentioned above n. 99 with the name C-VAL-FLAC*. It can therefore be emphasized again that the title to this helps to differentiate the inscription of the younger denarius. — The above contains examples that: the monetaryists in the writing of their name inscriptions looks at their predecessors have taken to the different to keep emissions apart. This circumstance is so far all too little attention has been paid to it, but it deserves even more interest when he offers an aid, the order in which cher the denarii are minted to clarify.

Rome.

Ad. Klugman.

could not possibly be published at this point. According to the topic It would have been nicer to also deal with the denarii, which have more than one carry monetary names; but a combination of them is already in this one Journal 1878 8. 27 ff. given, and a renewed treatment only in conjunction menhange possible with the denarii, which come from mint masters who Coin managed more than once, i.e. different issues were organized cf. Effigie di Roma p. 37.

• •

Eros on coins.

From

Dr. Uans Riggauer.

Adolph Furtwaeugler has received his excellent under- research on “Eros in visage painting” uses the same as an example trag refers to future more comprehensive work on the circle of conceptual beings. His writing prompted me To investigate representations of Eros on the Greek coins and to provide contributions from this site; because only when the results nisses exist in all individual areas of art It will be possible to have an overall picture of development that reflects the ideas The Greeks' living habits were taken from these beings. As in all disciplines, in art history there are common inductions are only given when individual research done their job.

Only about a being of the designated category are until Such special investigations have now been carried out, namely about the Nike. On P. Knapp’s “Nike in Vase Painting” (Tübingen 1876) and Kieseritzky's works, which were unfortunately only half published, from the numismatic side Dr. Friedr. Imhoof-Blumer an extremely successful addition with his writing “the wing shapes of the Athena and Nike on Münzena [Vienna numismatic magazine 1871, Iff.j. Imhoof also has the basics like no other This research is supported by a rich collection of types, and current work is only possible through the friendship the greatest possible support with material from his side. come, for which I owe him the greatest gratitude.

. •

Furtwaengler asked about the development of Eros in poetry presented in the mentioned treatise, so that leb I can't be content with this reference. From a cult We find out in Tfaespiae, where he lives under the sign of a stone was worshiped, and to Parion on the Hellespont (Paus. IX, 27). In Thespiae were celebrated in his honor with erotidia with gymnastics and musical competitions. Praxiteles has for both places Statues of Eros were delivered, which probably replaced the old symbols. Eros enjoyed particular reverence in high schools, for example in Samos where a high school was dedicated to him. He had one in Athens Altar at the entrance to the academy; He is obviously the popular one here lar Eros, which determines the love between youths and men. indicates. We will only mention the well-known cult sites Athens and Parion encounter depictions of Eros on coins; not at Thespiae, which was shaped only a little and for a short time. Sure The cult of Eros was also widespread wherever Aphrodite was enjoyed special reverence.

The oldest depiction of Eros on coins can be found in Eryx, where a Phoenician settlement has been cult since ancient times who introduced Aphrodite. As No. 1 on our board we depict a tetradrachm from the Imhoof collection: Aphrodite turned left in a double robe on one Sitting on a chair, holding a pigeon in his right hand; is in front of her on the left Eros naked, winged, holding his right hand up to her and in the Lowered left arm is probably holding a branch. Except Imhoof still has one of this extremely rare tetradrachmon small coin from Eryx (Figure 2) facing left seated Aphrodite, carrying an unwinged youth pulls. What is striking* is the youth's lack of winging. Should Here we might see Eryx, the other son the Aphrodite, the hero eponymos of the mountain, or we have here the echoes of an earlier mythological development phase of Eros, which Jules Soury unfortunately does not understand in his

v

' Eios on coins. *73

common etudes historiqnes aar les religione, les arts, la civl- lization of TAsie antörieure et de la Gröce (1S77, reviewed Revue arch^olog. 1877, 4 Bibliogr.) assumes in which Eros more More beloved than the son of Aphrodite? The catalog of the British Museum Sicily p. 63 n. 13 contains another one 8ilbermün2e from Eryx (Figure 3 after a Gopie at Imhoof); she places Aphrodite in an elegant posture to the left sitting, towards which a naked Eros floats to crown her. zen. The artistic character and the letter shapes show these coins date back to the end of the 4th 5th century; the style completely agrees with Ibn Coins of Segesta, that Was destroyed at the end of the 5th century. Maybe that's the one Matching the coins of Eryx the conclusion is one The iconic image of the Erycinian Aphrodite is the goddess depicted sitting. The dove on the tetradrachmon reminds to the care of the doves in Eryx to serve the goddess, which Aelian tells us (N.A. 4, 2).

Belonging to approximately the first half of the fourth century Depictions of Eros from Nagidus in Cilicia. A silver Coin (JR. 6) from the British Museum shows Aphrodite to the left sitting, holding a bowl in his right hand; is under the chair a mouse or a rabbit; Eros floats in front of her from the left come to garland them. Figure 4 shows a good one in Vienna existing copy of this stamp. In the Imhoofschen Collection is a silver coin of the same size (Figure 5) depicting Aphrodite as in the previous one; is in front of her an altar, behind her Eros, stretching around her wreath to put on the head. The following coins are also mentioned: Mionn. HI n. 266-269 and Suppl. VH n. 315-317 (n. 317 is a cast based on an unknown original), in the contributions to age coin knowledge from finder and in the directory of Coins laid out on the Berlin display tables: the royal Coin cabinet by J. Friedlaender and A. v. Sallet n. 243 — 246.

74 ^'* Hans Riggaoer,

Still Yoralexandrian, around the middle of the 4th century derts) are some Pegasus staters from Ärobracia in £piru8 with depictions of Eros as an accompaniment to the head of Pallas. Figure 6 shows on one located in the British museum lichen stater Eros riding a dolphin to the right and grabbing the raised left knee with his hands. motive and The execution was very successful. Of equally beautiful style is one so far unedited Casseler Stater: the floating Eros attached a wreath on the helmet of Pallas. On a Pegasus stater Corinth's is a symbol of Pallas's head that leans to the right. fender boy or youth is depicted, holding one in his right hand Holding a torch, one slung over his shoulder in his left hand branch. The depiction is not related to Eros, why? I originally by a bad copy that the branch made appear to me as wings, was seduced, but on the Lampadephoria', celebrated in Gorinth in honor of Athena became. Copper coins of Corinth have the same relationship, which on one side shows a boy running with a branch ben, on the other show the torch.

In Syracub, Eros appears on a tetradrachm Driving a four-horse team, with a Nike crowning him above it. In Section EYO and a Scylla with a trident over her shoulder reaching for a fish (British Museum catalog n. 152, 153, 156, 157 Catal. Gr^au n. 876). Since Eros is completely lost here stands alone, then we can probably see an extraordinary event. accept permission. The coin's time is certainly right the note Heads history of the coinage of Syracuse p. 19 be- is true, according to which the coins with EYO appeared before 406 BC. BC fall. This is probably a tetradrachm to celebrate the wedding Dionysus I was defeated.

A coin dates back to the end of the fourth century Brood animal, namely a gold half-stater (L. Sambon, Recherches p.314; Carelli p. 94: Catalog of the British Museum, Italy p. 319):

Eros on coin. 75

a clothed female figure decorated with a veil sitting on a seahorse swimming to the right On the right is Eros shooting to the left. Sambou beholds here/^ Thetis; Carelli leaves the question between Amphitrite and Aphrodite and Thetis open; the British catalog relies on Amphitrite a question mark. J. Overbeck, Greek art mythology, Po- seidon p. 271 mentions this coin and publishes p. 404 an interesting letter from Imhoof, which is no longer in doubt the interpretation of amphitrite arises. tiara and Veil, then the Poseidon head of the main page discuss votes for the high bride of the sea ruler. In particular What is important is Imhoof's comparison with the didrachm of Pyrrhus (Luynes, choix de mM. p. XITT, 6), which is in style and technique completely agrees with our coin; the motive of the Back is exactly the same. An equal belonging We find this on coins with a similar motif on the back by Larisa Cremaste (cf. J. Friedlaender, Monthly Report of the Ber- Liner Academy of Sciences, June 1878 p. 450); that very much realistic Achilles head on the main page corresponds to the back side the one carried by a seahorse, the shield with the Thetis brings the monogram (j^) in question.

If we look at the types described so far, it is clear above all, the lack of independence of Eros; he kicks not alone, but either as a companion of Aphrodite or as a kind of symbol. The reason for the lack of one The independent Eros on coins from early times probably lies in the fact that that the coins of god types only show those who are on based on an excellent local gultus, but only Eros had very few places of worship as the main local god. Also in connection with the aphro- In fact, it occurs extremely rarely, and in a striking way in Greece proper. Quite early on, the purely psycho- logical presence on the presumed marriage coin

76 I>i* Hans Riggauei, ^

Dionysus the First. The epithets usually reveal speaking of their more private character compared to the ofii- Ciellen of the main type applies the direction to the genre. As We also see symbols of Eros on masks from Athens E. Beu]6, Les monnaies d' Äthanes (p. 222), mentions a tetradrachm with Aropos^ Mnasagoras; Eros puts the wreath on himself and holds the victory palm in his left hand. Furtwaengler (Eros p. 19) points to the Palestinian one for comparison Hermes with the same motif at Campana (Museo Campana pl.94) and calls him the pederastic Eros, the one in high school was worshiped and awarded victory in the palace. In the Mttn level cabinet is a drachma with the same representation, Beulä (p. 364) publishes two tetradrachms, which serve as Signs show a naked female figure, which is in the line ken a bow in which Bechten carries three small figurines; at her feet are two erotes. Sestini, Mionnet, Baoul Rochette, Cavedoni consider the figure to be male the Delian Apollo; de Witte, whom Beulö follows, certainly has that He was right when he chose the decidedly feminine figure Aphrodite holds Kolias, who carries the Genetyllides, as Apollo does Graces. The Scholiast's Remark on Aristophanes' Wolves ken 53, that in Attica Aphrodite was also called Genetyllis, speaks for the correctness of de Witte's assumption.

Eros with Aphrodite.

An order that satisfies all requirements as much as possible Now giving the following material encountered many difficulties: rigors; it seemed to be the most recommended so far to give the coins listed chronologically, the further material rial, on the other hand, where dating is less important Arrange types in an orderly manner. Eros appears most often Coins with his mother, and so it can't be noticed

Brofl aof Mfinzen. 77

the Carian city named after her and famous for its cnit Aphrodisias offers numerous representations of Eros. This The most beautiful motif is described in Mionnet III, n. 109, but the The activity of Eros is wrongly understood as a domanship. J. Fried laender (archaeological newspaper 1869 p. 97) is undoubtedly correct seen here putting on (or taking off) the sandals, whereby Eros helps Aphrodite. Especially in bronze returns this representation again; usually the left arm is out stretches to maintain the oil weight. This one is the most beautiful Motif given in the small bronze statuette of the Munich Antiquarian. This also includes Mionnet, Suppl. VI, 119, where Eros erroneously described drying Aphrodite's feet is. The coins belong to the imperial period. The wide representation Positions of Aphrodite and Eros at Aphrodisias are:

Mionn. lU, 122 (^.6) and Suppl. VI, 121 (^.6): Aphro- dite, standing, carries a small Eros in her right hand and takes hold the left the lance. Except these autonomous coins returns This depiction again on a coin from Lulia Domna (Mionn. 8. VI, 137 ^. 9). On loan from Imhoof's collection In the same coin, however, the child is wingless and well known as Zeus or Dionysus, so that the description follows of the first two coins needs to be corrected.

Mionn. HI, 138 (^. 9) Hadrian: Aphrodite with long Robes and veils with the Modius on his head, in front of her Bros get the ball rolling; r. and 1. Star and Crescent. This Munich Cabinet has a poor example of this stamp.

Mionn. ni, 163 [JE. 7) Salonina: Aphrodite standing with high hairstyle and raised hands, half moon at the top and star ; At your feet there is Eros on one side and one on the other Oeftss filled with flowers. The motif agrees with that Mionn. in, 123 and Suppl. VI, 116 described with the Demos on the main page and returns several times, says Mionn. 8. VI, 139 {jE, ​​5 Vi) luIia Domna, Mionn. 8. VI, 159 [JB. 6)

7S ^^' Hans Riggaiier,

Salonina and Revue Beige XVIII, 1865 p. 413 (varies) on one Gordian's medallion. A similar coin is called Nnm. Chronicle 1873 p. 29 (Inlia Domna): Aphrodite standing to the right with the Modius on the head, at the feet Eros and a vessel with flowers. Well-preserved copies of the Imhoofschen nnd The Munich collection makes the boy appear completely ruddy and make a relationship to Eros doubtful; maybe have we are dealing here with one of the Greek foreign mythical depictions version to do. This motif is even more richly equipped a coin Gordian lU. in the Uffizi; flying above from both two more erotes on the pages. The same representation can be found on a medallion of Orbiana in the Munich Ca- binet. Mionn. S. VI, 146 Gordianus Pius (JE, M. M.) shows aphro- dite with modius and veil on a base to r. standing; in the back a genius sits on a chair, in front of her a vase with flowers; on either side a pillar with a torch carrying Eros.

Mionn. P. VI, 151 (JE. 6) Gallienus: Aphrodite in one standing in a four-pillared temple, carrying Eros in his hands or perhaps a child, analogous to the lulia Domna coins above.

Num. Chron. IV, 141, 3 (JE. 11) Maximin: Aphrodite on Sitting in a chariot, she lets Eros out of her raised left hand to float away; at his feet two winged boys.

The widely famous cult of Aphrodite as the city goddess explains the diversity and diversity of types Eros and Aphrodite, while in other places such representations positions we only encounter individually. We present below If possible, combine similar motifs together.

Bithynium Bithyniae [jE. 7) lulia Domna: Aphrodite naked standing, Eros at her feet, handing her an apple. [Mionn. II, 48).

Heraclea Bithyniae (jE, 6) lulia Domna: Aphrodite standing hands an apple to Eros, who is standing at her feet. [Mionn.

Rtos on coins. 79

S. V, 307.) Mionnet describes the Mnseam specimen Teupoli, so probably the same one that Vienna has. This The Viennese example shows Aphrodite, dressed in her own traditional hairstyle ending in a bun, one Trust Eros is enough.

Tium Bithyniae (^. 672) Gordianus Pins: the standing one Aphrodite grabs her robe with her left hand and her right hand She offers her hands to Eros, who is standing at her feet holds out an apple towards her. (Mionn. S. V, 1500.)

Perperene Mysiae (^.9) Gommodus: the naked, standing one Aphrodite holds a bunch of grapes above her head; the left arm rests on Eros standing at her feet (Mionn. SV, 1212).

Trapezium opolis Cariae (-^.4) autonomous: Aphrodite standing lets her right hand rest on her head, with her left hand around her Eros grasps it (Mionn. ÜI, 490). This stamp is in Munich and is also available in the Whittall auction catalog (1876 n. 533). imagines.

Antiochia Cariae (^.7) Gordian III: Aphrodite standing with his head turned to the right, he holds it in his right hand Mirror, in the left the veil: on both sides is a Eros. This coin is in the collection of Mr. W. H. Wad- Dington, who kindly gave me the publication of his Erostypes allowed collection.

Bagae Lydiae (^. 7) Geta: the naked standing aphro- dite, looking to the right, holds one in his outstretched left hand apple and grabs the veil with his right hand; bottom right Eros with bow: on the left two unwinged boys. Brit. Museum.

Laodicea Phrygiae (^. 13) autonomous: a female organism stalt sitting on a throne to the left holds in his right hand a bowl towards a winged genius in his left hand she carries a scepter. (Numism. Chron. 1866 p. 93 Babington from Iwanoflf's collection.) I carry this coin, from which I

GO Dr. Hans Rlgganer,

Didn't see any mockery, here because of the winged genius: I venture to interpret the motif more after the description to try.

Metropolis Thessaliae (^. 4): Aphrodite half-dressed standing to the left, holding a bird in his right hand On the left she takes hold of the robe; In front of her on the left is an Eros holds both hands up towards the bird. (Leake, Numism. Hellen, p. 75.) Strabo IX, p. 437 f. speaks of an aphro> ditecult in Metropolis.

Sicyon Achaiae (JS. 6^2) ^pt- Severus: Aphrodite naked standing; In front of her on the left stands Eros on a small base holding up a taenie to her with her left hand, with her right hand lowering the torch (Figure 8.). Bologna. The depiction> The image of Aphrodite is archaic, so one is inclined to think of it here to find an old cult image given; That would also speak for it Position of Eros on a base.

Corinth (^. 6) Lueilla: Aphrodite standing with shield: at her feet Eros. (Mionn. II, 283.) This type returns different variations again. On a coin of Hadrian (JS, 5j of the Turin library, probably stamped with Mionn. II, 232, Eros seems to be enough for Aphrodite. In Im- hpof's possession is a coin M. Aureis (JE. 7), on which Eros appears to be holding up an apple to Aphrodite. Further is with This depiction is a coin of Commodus in the Imhoofschen Collection identical. In Mionnet S. IV, 502 there is a Domitian (^. 5) mentioned with Aphrodite holding a mirror; Eros is in a similar position. Here we can probably also see Aphrodite accept with a shield.

Mr. i one Argolidis (JS. 5) Garacalla: Aphrodite standing with Eros (Mionn. S. IV, 162). Sestini; Description del Museo Fountain tana p. 68, from which Mionn. has taken his description, assumes the representation of Aphrodite Pontia, who, according to Paus, n, 34 had a temple in Hermione. There are more detailed reports

Eros anf MQnzen. 81

are missing and the representation is not characteristic enough, i^t one Special designation should only be given with caution.

We encounter a completely new motif with Nicaea Bithyniae. Mionn. S. V, 769 describes a coin of the Sev. Alexander '\^. 5): naked Aphrodite sat down on her right leg, grabbing your hair with your tail, you look backwards into one Mirror, which a torch-bearing Eros holds out to her, on the right second Eros with torch (Figure 7 based on an example of the Vienna Cabinet). Strong, contributions to ancient monuments customer II, p. 45, examines the question of who created this motive comes from, and is very likely to come from one Artist Daedalus among the Bithynes, not to be confused with the Sicyonian (Brunn, Artist History p. 279). He concludes This is because the motif was predominantly Bithynian town dances the crouching Aphrodite (cf. Stark, about unedited Venus statues and the ideal of Venus since Praxiteles, in the reports of Saxon Society of Scientists. philol. are. Class 1860 p. 77 ff. and BemouUi, Aphrodite p. 313 fF.). A related one Motif has Oermanicopolis Paphlagoniae on a coin of the lulia Domna [JE,%) Mionn. P. IV, 96. Aphrodite crouching naked, behind her Eros, in front of her a goat.

Eros and Aphrodite often appear in the group a sea animal to indicate the maritime origin of the Goddess. Usually it is a dolphin, like on a coin of Laodicea (-A^ 97.2) ^ic» Marcus Aurelius in the Uffizi: A|)lirodite getting into the bath dries the hair with both hands; to her left, Eros is holding out a bow or arrow unrecognizable object; on the right is a dolphin. One Coin of the Otacilia [JE, 6V2) from Mastaura Lydiae near Mionnet IV, 177 (also present in the Munich Cabinet and Imhoof) shows Aphrodite standing to the left with an apple in her right ten; In front of her on the left is the arch of exciting Eros, behind her is a Dolphin. The depiction on a coin from An-

ZeiUchHft for Kumiiiin»tics. VIII. 6

82^r. Hang Riggaaer,

chialus Thraciae (^. 7) of Maximin near Mionn. P. II, 120: the naked Aphrodite standing, with Eros on one to her left Dolphin. A beautiful example of this stamp ice is in Vienna. Again we find the dolphin at Apamea Bithyniae on one coin {^. 7) the lulia Domna: Aphrodite on a dolphin Sitting to the left, Eros carries on his right hand, with his left she holds the acrostolium (Mionn. S. V, 48] .

Instead of the dolphin, a seahorse appears in Prusa ad Olympum Bithyniae on one in the Vienna Cabinet Coin (iE. 9^/2) of Geta: the naked standing Aphrodite holds both hands raised to dry his hair; Eros on the left, right a seahorse. The specimen is perhaps the same as Mionn. S. V, 1358 from Museum Tiepolo describes and on which he Aphrodite wants to see Pelagia. On a Munich coin Julia Paula from Claudiopolis Bith|rniae we see Aphrodite riding to the left on a seahorse; hold two erotes arched a veil over them.