The Biga Gold of Cunobelinus
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Some Rare and Unpublished Ancient British Coins
AN ACCOUNT OF SOME RARE AND UNPUBLISHED ANCIENT BRITISH COINS, COMMUNICATED TO THE NUMISMATIC SOCIETY OF LONDON BY JOHN EVANS, F.S.A., F.G.S., HON. SEC. NUM.SOC. LONDON: 1860. 1·~~~ ANCIENT BRITISH COi NS. AN ACCOUNT or SOME RARE AND UNPUBLISHED ANCIENT BRITISH COINS, COMMUNICATED TO THE NUMISMATIC SOCIETY OF LONDON BY JOHN EVANS, F.S. .A., F.G.S., BON. SBC. NUM. SOC. LONDON: 1860. Stack Annex !:>01.5346 SOME RARE AND UNPUBLISHED ANCIENT BRITISH COINS. Read before the Numismatic Society, Jan. 26th, 1860.] r HAVE again the satisfaction of presenting to the Society a plate of ancient British coins, most ofof them hithetto un- published, and all of the highest degree of rarity. Unlike the last miscellaneous plate of these coins that I , drew, which consisted entirely of uninscrihed coins, these areall i11scribed, and comprise Specimens of the coinage of Cuno beline, Taseiovanus, Dubnovellaunus, and the Iceni, beside others of rather more doubtful attribution. l need not, however, make any prefatory remarks conceming them, hut will at once proceed to the description of the various coins, and the considerations which arc suggested by thei1· several types and inscriptions. T'he first three are of Cunobeline. No. 1. Obv. - CA-MVon either side of an ear of bearded corn, as usual on the gold coins of Cunobeline, hut rather more widely spread. The stalk terminating in an ornament shaped like Gothic trefoil. Rev.-CVNO beneath a horse, galloping, to the left; ahove, an ornament, in shape like the Prince of Wales' plume, resting on a reversed crescent. -
Shakespeare on Travel in As You Like It and Othello
Selected Papers of the Ohio Valley Shakespeare Conference Volume 11 Article 4 2020 Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers Capital University, [email protected] Follow this and additional works at: https://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Recommended Citation Summers, David (2020) "Knowing the World: Shakespeare on Travel in As You Like It and Othello," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 11 , Article 4. Available at: https://ideaexchange.uakron.edu/spovsc/vol11/iss1/4 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The University of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers, Capital University etting to know the world through personal travel, particularly by means of the “semester abroad,” seems to G me to be one of the least controversial planks in the Humanities professors’ manifesto. However, reading Shakespeare with an eye toward determining his attitude toward travel creates a disjuncture between our conviction that travel generally, and studying abroad in particular, is an enriching experience, and Shakespeare’s tendency to hold the benefits of travel suspect. -
A View of the Horse from the Classical Perspective the Penn Museum Collection by Donald White
A View of the Horse from the Classical Perspective The Penn Museum Collection by donald white quus caballus is handsomely stabled in tive how-to manual On Horsemanship (“The tail and mane the University of Pennsylvania Museum of should be washed, to keep the hairs growing, as the tail is used Archaeology and Anthropology. From the to swat insects and the mane may be grabbed by the rider Chinese Rotunda’s masterpiece reliefs portray- more easily if long.”) all the way down to the 9th century AD ing two horses of the Chinese emperor Taizong Corpus of Greek Horse Veterinarians, which itemizes drugs for Eto Edward S. Curtis’s iconic American Indian photographs curing equine ailments as well as listing vets by name, Greek housed in the Museum’s Archives, horses stand with man and Roman literature is filled with equine references. One in nearly every culture and time-frame represented in the recalls the cynical utterance of the 5th century BC lyric poet Museum’s Collection (pre-Columbian America and the Xenophanes from the Asia Minor city of Colophon: “But if northern polar region being perhaps the two most obvious cattle and horses and lions had hands, or were able to do the exceptions). Examples drawn from the more than 30,000 work that men can, horses would draw the forms of the gods like Greek, Roman, and Etruscan vases, sculptures, and other horses” (emphasis added by author). objects in the Museum’s Mediterranean Section serve here as The partnership between horse and master in antiquity rested a lens through which to view some of the notable roles the on many factors; perhaps the most important was that the horse horse played in the classical Mediterranean world. -
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten. -
CN May 37-44.Indd
In focus CHRIS RUDD Same king in two places? Or two kings with the same name? ID the same Celtic king rule in East Anglia and the West Midlands? If so, when did he go west and why? Or were there two kings with the same name, ruling at roughly the same time? If so, why did they inscribe their names in the same way? Who copied whom? And who was Arviragus? Was he the same person as Antedrigus? Was he the second Dson of Cunobelinus? Or was the chronicler Geoff rey of Monmouth fi bbing? I can’t answer all these questions. But I can tell you a bit about the controversial coin which is causing them to be asked again. In 1994/95 Terry Howard, a professional musician, went On the obverse there is a branched symbol sprouting from metal detecting and found an exceedingly rare gold coin near a ringed pellet, which I interpret as a druidic “Tree of Life” South Cerney, Gloucestershire, not far from where he also symbol growing out of the sun. Turn it upside down and it found an enamelled “horse brass” of regal quality. He reported looks like a stylised skull and rib cage—a symbol of mortality. his fi nds to the Corinium Museum in Cirencester. Terry’s coin, On the reverse we see a stylised and somewhat disjointed which is coming up for auction in May this year, is a gold stater horse with three tails, not unlike the Uffi ngton White Horse that was struck in the late Iron Age by Anted, a king of the carved out of a chalk hillside over 2,500 years ago (only around Dobunni tribe in the West Midlands, some time around AD 18 miles from where this coin was found). -
Roman Coins – Mass Media for Image Cultivation
Roman Coins – Mass Media for Image Cultivation Unlike modern coins, Roman money was characterized by an enormous diversity of coin images. This reflected not so much the desire for change, however, but rather an often very purposeful policy of concrete self-interests. At the time of the Roman Republic, coins were issued on behalf of the senate by a committee of moneyers. These men decided independently what motifs their coins were to bear, and, from the late 2nd century BC, used this liberty often for family propaganda. Later, during the time of the Firs and second triumvirate (60 to 32 BC), coins were issued by several powerful Romans or their adherents. These pieces were not republican any more, but imperatorial, and used mainly for the representation of political dispositions and ambitions. In imperial times finally (from 27 BC), the rulers of Rome were in charge of the issuance of money. Naturally, they used the large Roman coins for the artful conversion of political propaganda and self-manifestation as well. 1 von 20 www.sunflower.ch Roman Republic, L. Caecilius Metellus Diadematur (or Delmaticus), Denarius, 128 BC Denomination: Denarius Mint Authority: Moneyer Lucius Caecilius Metellus Diadematus (?) Mint: Rome Year of Issue: -128 Weight (g): 3.94 Diameter (mm): 18.0 Material: Silver Owner: Sunflower Foundation This denarius bears on the obverse a traditional motif, the head of Roma, the goddess and personification of Rome, wearing a winged attic helmet; behind her is the mark XVI for the value of 16 asses. The reverse depicts a goddess driving a biga, a two-horse racing chariot. -
Chariots of Early Greece
CHARIOTS OF EARLY GREECE (PLATES 90-92) T O understand the harnessing of chariots in early Greece is no slight problem. Actual fragments are few and inconsistent, graphic representations difficult to interpret. In the course of prolonged and sometimes discouraging efforts to identify a curious bronze attachment (P1. 91, c, d) I have had occasion to review the field, including the magnificent Exekias krater from the North Slope of the Athenian Acropolis (P1. 92, c). Though my conclusions are tentative, they are offered here among the contributions in honor of the distinguished excavator of the krater, Oscar Broneer, on his eightieth birthday. Given only a few actual harness fixtures, one finds the plethora of vase illus- trations of Geometric through black-figured styles quite bewildering. The fact that the most important parts of the apparatus must be placed where the yoke joins the shaft decrees that they be partially concealedby the bodies of horses. The art grammar of archaic times with its requirementthat important objects or parts of objects appear complete in their most striking vi'ew (as, in the case of a man, with legs spread irn profile and chest in full front) makes for further difficulty, as when a round rein guide is viewed from the side. The best comprehensive studies of artists' renditions of chariots were offered by Helbig and Leaf in the 80's of the past century.1 Though ingenious and in many respects correct, their interpretations suffered from the effort to equate the Homeric description of a mule cart in Iliad, XXIV, 11.266 ff., with paintings of racing chariots and battle chariots on vases from Geometric through black figured and with My- cenaean and Assyrian art as well. -
Stellar Symbols on Ancient Coins of the Roman Empire – Part Iii: 193–235 Ad
STELLAR SYMBOLS ON ANCIENT COINS OF THE ROMAN EMPIRE – PART III: 193–235 AD ELENI ROVITHIS-LIVANIOU1, FLORA ROVITHIS2 1Dept of Astrophysics, Astronomy & Mechanics, Faculty of Physics, Athens University, Panepistimiopolis, Zographos 15784, Athens, Greece Email: [email protected] 2Email: fl[email protected] Abstract. We continue to present and describe some ancient Roman coins with astro- nomical symbols like the Moon, the Zodiac signs, the stars, etc. The coins presented in this Paper correspond to the Roman Empire covering the interval (193 - 235) AD, which corresponds mainly to the Severan dynasty. Key words: Astronomy in culture – Ancient Roman coins – Roman emperors – Stellar symbols. 1. PROLOGUE In a series of papers ancient Greek and Roman coins with astronomical sym- bols were shown, (Rovithis-Livaniou and Rovithis, 2011–2012 and 2014–2015,a&b). Especially the last two of them, hereafter referred as Paper I & II corresponded to the Roman Empire and covered the intervals 27 BD to 95 AD and 96 to 192 AD, re- spectively. Thus, the Roman numismatic system, and its coins has been examined in detail. For this reason, we do not repeat it here, where we continue with coins of the same subject covering the period (193–235) AD that corresponds mainly to the Severan dynasty. What it is worthwhile to be mentioned is that during this time interval, and when there was some numismatic crisis, the silver contain of the denary was reduced. For example during Caracalla’s[1] epoch a specific silver plated coin with less silver than denary was issued the so-called antonianus or the radiative. -
Celtic Coins and Their Archetypes
Celtic Coins and their Archetypes The Celts dominated vast parts of Europe from the beginning of the 5th century BC. On their campaigns they clashed with the Etruscans, the Romans and the Greeks, they fought as mercenaries under Philip II and Alexander the Great. On their campaigns the Celts encountered many exotic things – coins, for instance. From the beginning of the 3rd century, the Celts started to strike their own coins Initially, their issued were copies of Greek, Roman and other money. Soon, however, the Celts started to modify the Greek and Roman designs according to their own taste and fashion. By sheer abstraction they managed to transform foreign models into typically Celtic artworks, which are often almost modern looking. 1 von 27 www.sunflower.ch Kingdom of Macedon, Alexander III the Great (336-323 BC) in the Name of Philip II, Stater, c. 324 BC, Colophon Denomination: Stater Mint Authority: King Alexander III of Macedon Mint: Colophon Year of Issue: -324 Weight (g): 8.6 Diameter (mm): 19.0 Material: Gold Owner: Sunflower Foundation Through decades of warfare, King Philip II had turned Macedon into the leading power of the Greek world. In the summer of 336 BC he was assassinated, however, and succeeded by his son Alexander, who would later be known as "the Great." This coin was minted one year before Alexander's death. It bears a beautiful image of Apollo. The coin is a so-called Philip's stater, as Alexander's father Philip had already issued them for diplomatic purposes (bribery thus) and for the pay of his mercenaries. -
Ancient Lamps in the J. Paul Getty Museum
ANCIENT LAMPS THE J. PAUL GETTY MUSEUM Ancient Lamps in the J. Paul Getty Museum presents over six hundred lamps made in production centers that were active across the ancient Mediterranean world between 800 B.C. and A.D. 800. Notable for their marvelous variety—from simple clay saucers GETTYIN THE PAUL J. MUSEUM that held just oil and a wick to elaborate figural lighting fixtures in bronze and precious metals— the Getty lamps display a number of unprecedented shapes and decors. Most were made in Roman workshops, which met the ubiquitous need for portable illumination in residences, public spaces, religious sanctuaries, and graves. The omnipresent oil lamp is a font of popular imagery, illustrating myths, nature, and the activities and entertainments of daily life in antiquity. Presenting a largely unpublished collection, this extensive catalogue is ` an invaluable resource for specialists in lychnology, art history, and archaeology. Front cover: Detail of cat. 86 BUSSIÈRE AND LINDROS WOHL Back cover: Cat. 155 Jean Bussière was an associate researcher with UPR 217 CNRS, Antiquités africaines and was also from getty publications associated with UMR 140-390 CNRS Lattes, Ancient Terracottas from South Italy and Sicily University of Montpellier. His publications include in the J. Paul Getty Museum Lampes antiques d'Algérie and Lampes antiques de Maria Lucia Ferruzza Roman Mosaics in the J. Paul Getty Museum Méditerranée: La collection Rivel, in collaboration Alexis Belis with Jean-Claude Rivel. Birgitta Lindros Wohl is professor emeritus of Art History and Classics at California State University, Northridge. Her excavations include sites in her native Sweden as well as Italy and Greece, the latter at Isthmia, where she is still active. -
2016-03-13 CHARIOTS on COINS Article.Htm
Ancient Greek and Roman Chariots on Coins See the different types of chariots depicted on coins of ancient Greece and Rome The ancient Greeks and Romans used the chariot for war, racing, processions and travel. On ancient coins, the chariot was featured being driven by emperors, important personages and even gods and goddesses. They were usually pulled by horses, but on ancient coins sometimes even by flying serpents and goats. There is a certain excitement associated with the chariot that is almost archetypal. The Latin word "carrus" is the root of the English word "chariot". Imagine the excitement the ancient spectators would feel as they saw chariots racing around the Circus Maximus in Rome or even other parts of the empire. Chariots are a fascinating topic of study and collecting. See the sights and feel the feeling with these authentic ancient coins depicting the chariot here. Click here to see all coins with a chariot. Biga, Triga and Quadriga chariots on ancient ancient Roman coins. Biga means a two horse, triga means a three horse and a quadriga means four horse chariot. A chariot pulled by goats! By winged serpents, with this depiction of Triptolemus. By even elephants! There is even a story about Pompey the Great who tried to use a chariot pulled by elephants for his triumphal march through Rome. It couldn't fit through the gates though, so he had to get on a regular chariot pulled by horses. There was a Greek general who had a battle on the streets of one of the Greek cities he tried to conquer. -
Encyclopedia of CELTIC MYTHOLOGY and FOLKLORE
the encyclopedia of CELTIC MYTHOLOGY AND FOLKLORE Patricia Monaghan The Encyclopedia of Celtic Mythology and Folklore Copyright © 2004 by Patricia Monaghan All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Monaghan, Patricia. The encyclopedia of Celtic mythology and folklore / Patricia Monaghan. p. cm. Includes bibliographical references and index. ISBN 0-8160-4524-0 (alk. paper) 1. Mythology, Celtic—Encyclopedias. 2. Celts—Folklore—Encyclopedias. 3. Legends—Europe—Encyclopedias. I. Title. BL900.M66 2003 299'.16—dc21 2003044944 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K. Arroyo Cover design by Cathy Rincon Printed in the United States of America VB Hermitage 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. CONTENTS 6 INTRODUCTION iv A TO Z ENTRIES 1 BIBLIOGRAPHY 479 INDEX 486 INTRODUCTION 6 Who Were the Celts? tribal names, used by other Europeans as a The terms Celt and Celtic seem familiar today— generic term for the whole people.