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Zeus on Decapolis City Coins: Merely a Local Issue?

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ARAM, 23 (2011) 347-365. doi: 10.2143/ARAM.23.0.2959664 ZEUS ON DECAPOLIS CITY COINS: MERELY A LOCAL ISSUE? Dr. NADINE RIEDL (Berlin) INTRODUCTION Bronze coins minted by the cities of the Decapolis are often used as evidence for local deities and sanctuaries. For instance, a paper presented by John D. Wine- land at the ARAM Decapolis conference in 1992 regarding the political structure and Greco-Roman religions of the Decapolis is based to a great extent upon numismatic evidence. In the publication of his paper, Wineland states: “The cities could display on these coins their prominent temples, citizens, and deities.”1 Likewise, the depicitions on local bronze coins served as a major source of information for my doctoral thesis on cults and deities in the Decapolis.2 While some coin motifs occur only in one Decapolis city, there are also representa- tions that were used by several cities during the Roman Imperial period. One of the representations that occurs frequently during the second and third cen- turies A.D. is the picture of Zeus enthroned within temple architecture. In a comparative study of this coin motif I have attempted to determine whether it does in fact indicate local cults, and furthermore whether it conveys a message that extends beyond its possible local significance. For this purpose, I shall first present examples of the Zeus motif on Decapolis city coins and then pro- ceed to other, comparable coin issues and their historical background, before again returning to the Decapolis cities and to the significance of their Zeus coins and issues with closely related motifs. THE IMAGE OF ZEUS ON DECAPOLIS CITY COINS Gadara In the city of Gadara, Zeus is the most frequent motif on coins produced during the second and third centuries A.D., the first example being issued in 159/160 A.D. with the portrait of Antoninus Pius, and the latest issued during the reign of Gordianus in 239/240 A.D. Apart from that, the city’s highest 1 Wineland 1992, 332. 2 Riedl 2005. 94097_ARAM_23_17_Riedl.indd 347 11/02/13 08:26 348 ZEUS ON DECAPOLIS CITY COINS denomination was reserved for Zeus until the reign of Commodus, when another motif was chosen for the highest denomination.3 The Gadarene coins depict Zeus enthroned in a tetrastyle temple façade, holding a Nike figure (Zeus Nikephoros) or another object such as a globe, thunderbolt, or a bust (Fig. 1).4 Sometimes, an eagle is sitting in front of Zeus. The seated position of Zeus is very similar to that of a marble statuette found on the temple terrace of Gadara.5 Smaller denominations with the obverse portraits of Faustina Maior and Crispina show the bust of Zeus on the reverse; here, the face of the god shows facial features of Marcus Aurelius (Fig. 2).6 Scythopolis The city of Scythopolis issued similar coins from the reign of Antoninus Pius until that of Gordianus, showing Zeus holding a figure of Nike, sometimes sit- ting in a temple.7 Variations of this motif can be found in the Decapolis cities of Capitolias, Dion, and Hippos. Capitolias Coins minted at Capitolias from 165/166 A.D. onwards until the reign of Elagabalus feature a monumental gateway with two outer towers and six col- umns flanking the statue of a seated Zeus holding a long sceptre. Above or behind the gateway is a large conical altar on a square base (Fig. 3).8 Dion At Dion, depictions on coins issued during the reign of Geta and Elagabalus blend “Oriental” and “Classical” iconographical features, the latter of which are known from representations of Zeus. The standing god is wearing a horned kalathos on his head and a long narrow garment known from famous cult stat- ues, such as the Artemis of Ephesos and Jupiter Heliopolitanus (Fig. 4).9 He is flanked by two bull protomes. The bulls and the garment characterise the god 3 See, for instance, Spijkerman 1978, 144–145 no 66. 4 Spijkerman 1978, 136–153 no 31, 35, 36, 46–48, 51, 52, 60, 61, 72, 73, 76 –79, 90, Suppl. I no 72a; Riedl 2005, 402–403 (GA.57 type 1–5). 5 Weber 2002, 395–396 (PL 1) pl. 34; Riedl 2005, 108 (GA.58). 6 Spijkerman 1978, 140–141 no 49; 144–145 no 67; Riedl 2005, 402–403 (GA.57 type 6). 7 Spijkerman 1978, 192–193 no 13. 15; 196 –197 no 30. 31; 200 –201 no 39. 204 –205 no 56; Barkay 2003, 141–143 pl. 9.68 and 219. 8 Spijkerman 1978, 98–99 no 1. 2; 100–102 no 11; 102–103 no 16. 17; 104–107 no 21. 24; Price/Trell 1977, 13 fig. 385. 9 Spijkerman 1978, 118–119 no 6–7; 120–121 no 8, 11–12; Riedl 2005, 377 (DI.3). For the iconography of Jupiter Heliopolitanus: Hajjar 1977–1985. 94097_ARAM_23_17_Riedl.indd 348 11/02/13 08:26 N. RIEDL 349 as the popular storm-god Hadad, who was venerated in Syria for millennia.10 In his left hand the god carries the small figure of a Nike, who is crowning him with a victory wreath. This particular feature is attested for various deities, yet primarily for Zeus or Jupiter. Another coin represents the sanctuary of this god with a flaming altar inside and an eagle in the pediment.11 Hippos The city coins of Hippos likewise display “classical” and “Near Eastern” iconographical types. One type depicts Zeus and a female consort as Classical- style busts facing each other (Fig. 5).12 In contrast, other coins show a more local variation of the city’s main god, who is wearing a short garment and is standing in a temple.13 On some examples of this coin type, the name of the god is legible: Zeus Arotesios, a name that indicates his role as the god respon- sible for the fertility of the crops and one of the group of gods related to the great Aramaean storm-god Hadad. THE ZEUS COIN MOTIF OUTSIDE THE DECAPOLIS Imperial coinage In the search for the depiction of Zeus on coins outside the Decapolis, we also encounter it in Roman Imperial coinage. From the reign of Domitian, coin reverses depict Zeus/Jupiter with a Nike in his extended right hand (Fig. 6, coin of Hadrian).14 From the very beginning (i.e., the reign of Domitian), the motif seems to have been used the context of wars, victories and peace treaties of the Roman Empire. It is often accompanied by the inscription VICTOR IOVI or IOVI VICTORI. Here, the focus is clearly on the god’s role as the power who brings victory to the Roman army and the emperor. This is also demon- strated by the fact that the Imperial coins never show Zeus in an architectural 10 Green 2003, passim; Schwemer 2007, 120-168; Lipinski 2000, 626–636. 11 Spijkerman 1978, 118–119 no 1–3; Riedl 2005, 377 (DI.4). 12 Spijkerman 1978, 170–171 no 6; 174–175 no 22–23; 178–179 no 40; Riedl 2005, 473 (HI.5, type 2). 13 Spijkerman 1978, 172–173 no 14; 176–177 no 29–31; Riedl 2005, 473 (HI.5 type 1). 14 Cf., for instance, Mattingly II 1966, 362 no 294 pl. 70, 8; 369 no 327; 376 no 362; 380 no 373 pl. 75. 2; 380 no 395; 388 no 406–407 pl. 77. 3 (coins of Domitian, legend: IOVI VICTORI); Mattingly III 1966, 54 no 156; 69 no 264 pl. 14. 2 (Trajan); 281 no 326 pl. 52.16; 324 no 658–659 pl. 59.19; 406 no 1146 pl. 77.6 (Hadrian); Mattingly IV 1968 262 no 1631 (IOVI VIC); 334 no 1991 (Antoninus Pius); 491 no 728 pl. 68.6; 495 no 744 pl. 68.14 (Marcus Aurelius, Lucius Verus); 627 no 1437; 630–631 no 1458–1459; 633–634 no 1470–1473 (Marcus Aurelius). 94097_ARAM_23_17_Riedl.indd 349 11/02/13 08:26 350 ZEUS ON DECAPOLIS CITY COINS context. The focal point is the god’s power as an abstract idea and as a symbol of victory, not a specific sanctuary.15 Other provincial coinage Going back to the Greek realm of the Roman Empire, the same motif appears frequently on local bronze coins minted by various cities, particularly in Asia Minor. Here, Zeus is one of the gods most frequently represented, usually in the well-known position: seated, with a sceptre in one hand and the figure of Nike in the other.16 Although there are many similarities between the Decapolis coins and the Imperial and western Asia Minor issues, there is no connection between them in terms of a direct influence or interdependence. However, a direct rela- tion seems to exist to coins minted by some cities much closer to the Decapolis, namely in Judaea/Syria Palaestina. ZEUS ON CITY COINS FROM JUDAEA The earliest example of these coins was minted in 119/120 A.D. in Tiberias, during the reign of Hadrian. On some issues, Zeus is holding an object – perhaps a globe or a phiale – in his outstretched right hand. The same coin motif was struck under Antoninus Pius and Commodus.17 Another city that issued coins with the picture of Zeus was Aelia Capitolina, the former Jerusalem. Coins with the portrait of Hadrian show Zeus or Iuppiter Capitolinus sitting in a temple and flanked by Iuno/Hera and Minerva/Athena, that is, the Capitoline Triad (Fig. 7).18 The inscription indicates the city’s new status as colonia, granted by Hadrian. Other coins issued during the reign of Hadrian’s successor, Antoninus Pius, depict Zeus alone in his temple, such as the coins from Tiberias, Gadara and Scythopolis.19 The city of Sepphoris, which was re-named Diocaesarea during the reign of Hadrian, issued a series of coins which show either the Capitoline Triad or Zeus, Hera and Minerva/Athena as independent motifs during the reign of Antoninus Pius.20 15 For the victory as a sign of divine charisma, which is bestowed on the emperor by Jupiter, see: Alföldi 1999, 83–116.
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  • Masculine Cross

    Masculine Cross

    SEX MYTHOLOGY INCLUDING AN AOCOTJITT OP THE Masculine Cross LONDON: PRIVATELY PRINTED. 1 8 98, Edition of %00 Copies only. PREFACE. It is hoped the line of discussion here adopted will ex­ plain some portions of Bible literature which have always stood in the attitude of offensive enigma to cultured thought. Improved taste of modern time must question the crudities of former days, and ask the reason why. Natural forces give direction to usage, and type to habits. The same agencies modify and polish them. The hallowed powers of one era become detritus of a later one; and in still later eons of time those decayed objects reappear as relics, and show, to our surprise, how much that is held to be original in our age is really the unconscious inheritance of a bygone ancestry. They also show early religious ideas were cast in a mold de­ noting a childlike apprehension, in conformity with things palpable, and roundly pronounced, with the child’s direct bluntness of expression. Ancient religious literature is conspicuous for the number of Gods held in veneration. We find in Chris­ tendom but three, or, at most, four. Explanation of the “ Trinity ” and the natural origin of those four great creative, all-absorbing Gods are here elucidated upon historic and well-nigh scientific bases. The Phallic and Yonijic remains found in California are in these pages, for the first time, so far as known to IV PREFACE. the author, introduced to public attention as ancient religious relics belonging to the pre-historic stone age. Those who have perused Inman’s ** Ancient Faiths,” Higgins’ “ Anacalypsis ” and his “ Celtic Druids,” Payne Knight’s “ Worship of Priapus,” Layard’s “ Nineveh,” papers of Dr.