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Ancient Coins Heads and Tales from Antique Lands Amanda Burritt and Andrew Jamieson

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Ancient Coins Heads and Tales from Antique Lands Amanda Burritt and Andrew Jamieson Ancient coins Heads and tales from antique lands Amanda Burritt and Andrew Jamieson Introduction The University of 43 imperial Roman coins. Today According to the ancient Greek Melbourne’s coin collection there are approximately 450 coins historian Herodotus, the Lydians Most of the coins now held in the of high quality in the University of ‘were the first people we know of Classics and Archaeology Collection Melbourne’s collection. to strike coins of gold and of silver’. in the Ian Potter Museum of Art Coinage seems to have begun around were acquired by the University in Ancient coins: Heads and 610 bce in Lydia (south-west Turkey) two main stages: firstly in the 1920s, tales from antique lands with coins made of electrum, an guided by Jessie Webb, and then in The current exhibition at the Ian alloy of silver and gold. Coinage the 1970s and 1980s through the Potter Museum of Art features then spread to other parts of Asia efforts of Peter Connor. In 1926 selected coins from the Greco-Roman Minor and then to Greece during a bequest honouring John Hugh world and the regions beyond. the 6th century bce. Many cities Sutton, a student who had died Symbols and standards, Greek gods across the Greek world issued their tragically, provided £500 specifically and goddesses, Roman emperors, own distinctive coinage. After the to establish a classics museum at the Parthian kings and Sassanian rulers, conquests of Alexander the Great, University for teaching purposes. heroes and mythological creatures images of gods were replaced by Most of the bequest was spent dominate the iconography of those of Hellenistic kings. As Rome purchasing 37 Greek vases but part ancient drachmas, denarii and darics. absorbed the Hellenistic kingdoms, of it was spent on coins. By 1924, The heads of Athena and Apollo, portraits of emperors appeared on Jessie Webb, lecturer in ancient Alexander and Augustus, Christ imperial coins. During the Byzantine history from 1909 to 1943, had and Constantine, Diocletian and period imperial portraits were secured annual grants from the Domitian, Herakles and Hadrian, replaced by depictions of Christ and University to purchase coins for a Juno and Jupiter, Minerva and the saints. Persia, meanwhile, evolved teaching collection. Between 1924 Mercury, Pegasus and Pan, Venus a unique numismatic style; the thick and 1928 Webb acquired 167 Greek and Vespasian, and Trajan and Zeus silver flan of the Classical world was and 89 Roman coins, assisted by feature on many of the ancient replaced by a thin flat disc that was Charles Seltman, a fellow of Queen’s coins in this exhibition, revealing later to be used throughout the world. College Cambridge, and an expert fascinating tales from antique lands. on classical coins. Some Kushan and Islamic coins are The collection remained largely also displayed. static until Peter Connor became The exhibition is enhanced by curator in 1968. He added to the the inclusion of 15 prints from the collection until his premature death Baillieu Library Print Collection, in 1996. Peter’s main contribution including works by Piranesi, was the acquisition of 49 Greek Marcantonio Raimondi and Stevan vases but he received a special grant van Hollander. These prints provide in 1974 which enabled him to buy aesthetic richness to the exhibition University of Melbourne Collections, Issue 7, December 2010 49 Previous page: Guests at the official opening of the exhibition Ancient coins: Heads and tales from antique lands, Classics and Archaeology Gallery, Ian Potter Museum of Art, University of Melbourne, Tuesday 26 October 2010. Right: Examples of exhibition cabinets and prints in the exhibition Ancient coins: Heads and tales from antique lands, Classics and Archaeology Gallery, Ian Potter Museum of Art, University of Melbourne. design but they also highlight the a sprig of olive and a crescent moon. a descendant of the god Helios ongoing significance of classical Athena, goddess of wisdom, was (the sun). A feature of Corinthian imagery in western art. the patron deity of Athens. Athens coinage is the depiction of Pegasus. was bestowed upon Athena by Zeus In Greek mythology, Pegasus was a Selected highlights of the following a competition to determine winged horse born from the severed exhibition who would be the protector of the head of the gorgon Medusa when The Classical period saw Greek city. Athena and Poseidon competed she was pregnant by Poseidon. coinage reach a high level of technical for the affections of the Greeks, each Pegasus was captured and tamed at and aesthetic quality. Larger cities providing one gift: Poseidon gave a Corinth by Bellerophon. Athena in now produced a range of fine horse and Athena bestowed the olive Corinthian helmet also appears on silver and gold coins, most bearing tree. The Greeks preferred her gift the coinage of Corinth. a portrait of their patron god or and named the city after her. The goddess or a legendary hero on one olive spray represents the economic side, and a symbol of the city on the prosperity of Athens and was other. The use of inscriptions on coins symbolic of victory. Athena’s symbol also began, usually the name of the was the owl, a creature associated issuing city. with wisdom. Bronze denarius with head of Trajan; and figure of Justice with scales, Roman, 98–117 ce. Reg. no. 2009.0291, David and Marion Adams Collection, University of Melbourne Art Collection. Roman coins appeared in about 280 Silver tetradrachm with head of Athena; bce. Roman mints were distributed and owl, Attica (Athens), c.393–339 bce. Silver stater with head of Athena wearing widely across the empire, and coins Reg. no. 1949.0009, purchased 1949, Corinthian helmet; and flying Pegasus, Acarnania, were sometimes used for propaganda Classics and Archaeology Collection, c.250–167 bce. Sylloge Graecorum ΓΣΚΣΒ, University of Melbourne Art Collection. Melbourne. purposes and the propagation of myths. The populace often learned Attica was one of the most important In antiquity Corinthia was an of a new Roman emperor when coins regions in the ancient Greek world. important city-state, located on the appeared with the new emperor’s The Athenian tetradrachm was Isthmus of Corinth, the narrow portrait. Trajan, a powerful military stamped with the head of Athena on stretch of land that joins the emperor of the early 2nd century, was the obverse, and on the reverse, the Peloponnesus to the mainland of depicted on many coins. The example image of an owl, the iconographic Greece. According to mythology, illustrated features the personification symbol of the Athenian polis, with the city was founded by Corinthos, of Justice on the reverse. 50 University of Melbourne Collections, Issue 7, December 2010 Example of coin installation in the exhibition Ancient coins: Heads and tales from antique lands, Classics and Archaeology Gallery, Ian Potter Museum of Art, University of Melbourne. of making the coins, and the ideas Patrons: Hippeis: Michael Bartlett, and imagery represented on them, Peter Lovell, and Mark Nelson. relevant to contemporary tertiary Archontes: Peter and Sarah Acton, students. Curriculum engagement Tom Bostock, Chris Bulford, activities are being developed in Janet and Michael Buxton, areas such as classics, archaeology, John Dowling, Peter Griffin, education, history and art history. It Andrew Guy, Frank Macindoe, Gold histamenon with head of Christ; and head is envisaged that the coin exhibition Richard Morgan AM, Rupert Myer AM, of Constantine IX, Byzantine, 1042–1055 ce. will provide opportunities for rich Justin O’Day, Ian and Diana Renard, Reg. no. 2009.0308, learning in semester 1, 2011. Ross Robson, and Harrison and David and Marion Adams Collection, University of Melbourne Art Collection. Kirsty Young. We also warmly thank Acknowledgements those donors who have continued Byzantine coins are notable for their Many of the University of to support activities in our Classics fine aesthetic quality. The gold coin Melbourne’s coins have never been and Archaeology Gallery, including in the exhibition featuring the head publicly exhibited before. Without Geoffrey and Hilary Mottershead. of Christ also exemplifies technical customised fixtures the diminutive Exhibition lenders: David Adams, developments which enabled the scale of coins can lead to a situation Eric Willis and several Melbourne production of very thin coins with where they become comparatively private coin collectors, including intricate detail. The head of Christ ‘lost’ within large showcases. For the collection of Sylloge Graecorum is identified by the halo, cross and this reason the Ian Potter Museum ΓΣΚΣΒ; Baillieu Library Print Gospel book on the obverse, and on of Art engaged the services of Collection, University of Melbourne. the reverse is a representation of the Thylacine, a leading exhibition The exhibition Ancient coins: emperor Constantine IX. design firm, to create a dynamic Heads and tales from antique lands, exhibition that gives the visitor a curated by Dr Andrew Jamieson, Ancient coins and the direct and intimate experience of opened at the Ian Potter Museum University curriculum the coins on display. The use of of Art, University of Melbourne, A key aim of academic programs at focussed lighting, specialised object on 26 October 2010, and will be on the Ian Potter Museum of Art is to mounts and magnifiers facilitates display until 10 April 2011. increase awareness of the richness of close examination of the coins, the University’s cultural collections. allowing visitors to experience The exhibition Ancient coins: Heads the ancient coinage in a clear and Amanda Burritt is Curator of Academic Programs at the Ian Potter Museum of Art. and tales from antique lands provides accessible manner. rich material for the exploration of The exhibition has been made Dr Andrew Jamieson is the Spencer-Pappas issues around the question of why possible through the generous Lecturer – Classics and Archaeology, and Curator of the Classics and Archaeology the past matters and enables the support of exhibition patrons and Collection at the Ian Potter Museum of Art, development of innovative ways lenders: University of Melbourne.
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