Coin of the month
Writing about web page https://coins.warwick.ac.uk/token-specimens/id/hunterian.RLT24
Lead token, 19mm, 12h, 2.74g. Side a: Laureate head of Vespasian right; IMP AVG VES around. Side b: Laureate heads of Titus (on left) and Domitian (on right) facing each other; IMP above and T DO CAES below.
TURS 40, The Hunterian Museum, RLT 24. Photo by author.
Amongst the Roman lead tokens now in the Hunterian Museum in Glasgow is a piece that presents the Flavian dynasty. On one side of the token we find a portrait of the emperor Vespasian, accompanied by a legend that names him. On the other side we find his sons, Titus and Domitian, facing each other with a globe between them. The token recalls coinage that was struck in Vespasian's name in AD 70 (RIC II.12 Vespasian 15–16, 37). An example of this coinage is shown below.
Silver denarius, 7.5mm, 6h, 3.22g. Obverse: Laureate head of Vespasian right, IMP CAESAR VESPASIANVS AVG around. Reverse: Bare head of Titus on left facing bare head of Domitian on right, CAESAR AVG F COS CAESAR AVG F PR around.
RIC II.12 16, American Numismatic Society 1944.100.39897.
At first glance, the coin and token are very similar: both show Vespasian on one side and his sons on the other, with accompanying legends naming the individuals shown. But upon closer examination there are also important differences. On the token both Titus and Domitian are shown wearing laurel wreaths ("laureate"); one can see the ties of the wreaths flowing down behind their respective necks. On the coin they are bare-headed. On the token a globe is placed between the busts, absent on the coin issue. This globe, and the representation of Vespasian's sons, recalls an earlier token issue showing the twin sons of Drusus the Younger, Tiberius Gemellus and Tiberius Germanicus, shown below.
Orichalcum token, 21mm, 4.67g, 12h. Obverse: Two young busts facing each other, each with a star above (the twin sons of Drusus the Younger), globe in between them. Reverse: VIIII within dotted border within wreath.
Buttrey B19/VIIII, © The Trustees of the British Museum, R. 4456.
The IMP on the token (an abbreviation of the title imperator) sits above the heads of Titus and Domitian. Who the title refers to is ambiguous; it may refer only to Titus, but since both Titus and Domitian are laureate it perhaps references both of them. Both Titus and Domitian also had the title CAESAR, abbreviated to CAES on the token and placed on the right hand side. In sum, although the token was likely inspired by the coin type, the makers did not merely copy the coin. They adapted the 'official' image and altered it; the resulting tokens were presumably given to an audience who were receptive to the alterations.
The precise occasion that motivated the creation of this token series is not known. It might have been created in connection to Vespasian's triumph (an important moment in which the new Flavian dynasty was presented to Rome), or at some later occasion. Another token issue also shows the laureate heads of Titus and Domitian, this time without the globe (TURS 41-42). On the other side of this token issue we find a horse rider carrying a spear accompanied by the legend IMP AV VES. The reference to Vespasian suggests that it is the emperor shown on horseback here. Whatever the occasion for the tokens showing laureate Titus and Domitian, their existence provides us with an insight into a particular vision of the Flavian dynasty not found on coinage or other media. This particular imagery of the imperial family would have contributed to the emotions, experiences and memories of the events in which the tokens were used.
This month's blog was written by Clare Rowan, as part of the Token Communities in the Ancient Mediterranean Project.
When Titus captured Jerusalem and destroyed the Second Temple in 70 AD, the triumph awarded to him and his father Vespasian was swathed in luxury and decadence. This was a victory that celebrated the violent result of years of strained relations between Jerusalem and Roman governance. The taking of Jerusalem involved a long and bloody siege resulting in the deaths of a reported 1.1 million people, most of whom where Jewish (Josephus, Jewish Wars 6.9.3). Those who survived were paraded through the streets of Rome, and the spoils of war contributed to the building of the iconic Flavian amphitheatre we know as the Colosseum.
The Roman victory, as so often was the case, was advertised upon the contemporary coinage. As travelling propaganda, these coins reinforced the idea of Roman supremacy and the might of the empire. The Judaea Capta type was minted in various denominations in the name of Vespasian and both of his sons, and in spite of several variations in design the overall message remained the same.
Sesterius of Vespasian, AD 71, RIC II.12 167, reproduced courtesy of the American Numismatic Society (inv. no.0000.999.18073).
The legend on the reverse states IVDEA CAPTA ,‘Judaea conquered’, and the coin depicts a woman seated beneath a palm tree, with a man, interpreted as the emperor, watching. The woman is Jerusalem, her hand to her cheek in a traditional expression of mourning. She is wearing civilian dress, and reflects the prophecy of Isaiah 3.26: ‘…And her gates shall lament and mourn, and she being desolate shall sit upon the ground’ (Young (1992) 170). By contrast, the male watching is standing, and still wears his armour, his foot placed on a helmet. The palm tree sets the scene of the victory in Judaea.
Personification was often used by Rome to reflect victory, as it expresses an effective message that was simple to comprehend. In this case, the use of opposing characteristics of the figures on the coins is extremely powerful in conveying the intended message. Jerusalem is depicted as female, and therefore as weak and submissive in contrast to the male figure representing Rome. The male figure, often interpreted as Vespasian himself, stands in reference to his elevated position over the woman in his victory. Where the woman is unarmed, the man is still dressed for battle in a reflection of victory
Other versions of this coin replace the armoured man with a winged Victory, or sometimes a bearded man with his hands tied behind his back. The latter is a depiction of a soldier of Jerusalem, bearded to reflect his ‘barbarian’ status in the eyes of the Roman Empire. His weapons and armour are laid down beside him in an image of defeat (RIC II.1² Vespasian 159). The legend also has variations, such as IVDAEA DEVICTA, ‘Judaea defeated’ (RIC II.1² Vespasian 1120), or DE IVDAEIS ‘[the booty] from the Judaeans’ (RIC II.12 1179) in reference to the wealth stolen from the temple of Jerusalem. The palm tree has been interpreted as a representation of Rome victorious over Judaea.
The coin is one of many examples of media expressing the Flavian victory over the province of Judaea, including the arch of Titus which still stands proudly at the entrance to the Roman forum today. In a passing glance it appears as just another Roman victory arch, but if you take a closer look you can spot iconography relating to the siege, including a parade of people carrying aloft a menorah from the temple.
Close-up of the menorah being carried in the victory parade on the Arch of Titus .Image from WikimediaImages from Pixabay.
The Judaea Capta coinage reflects an important moment in the history of Rome, and likewise the history of Jerusalem. The Great Revolt resulted in a mass of deaths, displacement and enslavement. The minting of Judaea Capta coinage therefore becomes part of the Roman narrative of glorified victory and imperialism in the Flavian period.
This month's entry was written by Rebecca Preedy. Rebecca is an Ancient History and Classical Archaeology with Study Abroad student. She is completing her final year at Warwick after a year abroad at La Sapienza. Since studying in Rome, Rebecca has been fascinated by the ancient city and is hoping to continue her studies with a postgraduate degree in Roman Material Culture.
• Josephus, The Jewish War, trans. G. Williamson (London: Penguin)
• The Holy Bible: King James Version (Massachusetts: Hendrickson 2004)
• Carradice, I. (2012) ‘Flavian Coinage’ in The Oxford Handbook of Greek and Roman Coinage ed. W.E. Metcalfe
• Claridge, A. (2010) Rome: An Oxford Archaeological Guide (Oxford: University of Oxford Press)
• Moresino-Zipper, A. (2009) ‘Die Judaea-Capta-Münze und das Motiv der Palme. Römisches Siegessymbol oder Repräsentation Judäas?’ in Jerusalem und die Länder: Ikonographie - Topographie - Theologie eds. A. Moresino-Zipper, G. Theißen, H.U. Steymans, K.M. Schmidt, S. Ostermann
• Stevenson, T.R. (2010) ‘Personifications on the coinage of Vespasian (AD 69-79)’ Acta Classica 53:181-205
• Young, E.J. (1992) The Book of Isaiah (Michigan: William B. Eerdmans Publishing Company)
Based upon the work of J. G. Milne, lead tokens in Roman Egypt are thought to be an unofficial coinage. Milne came to this conclusion because, when he analysed the Roman coins from Oxyrhynchus’ rubbish dumps, he noticed that there were fewer bronze coins present for the period AD 180 – 260 (Milne 1908; Milne 1922). He thought that the lead tokens replaced the lower denomination bronze. The Oxyrhynchite tokens depicting Athena are not, however, standardised as would be expected for even a pseudo-coinage. It is also apparent that lead tokens were in use in Roman Egypt before the period AD 180 – 260, as evidenced by an example bearing the image and name of Messalina, and a series of tokens found at Abydos dating to the first century BC. Despite his awareness of these examples, Milne still took a broad-brush approach to his interpretation that tokens were low denomination coins. It is therefore worth exploring other possibilities for the ways in which tokens could have functioned in the province.
Milne’s theory regarding the use of tokens as a low denominational coinage is not totally unfounded, as there are a small quantity of tokens that indicate a denomination. These include those with the legend ‘OBOΛOI B’ (‘two obols’, see figure 2) from Tebtunis and the Serapeum at Saqqara, as well as a specimen in the Ashmolean collection with the legend ‘ΔIOB’ (‘diob[ol]’, see figure 1. It is also possible that the I is instead a Φ that has become worn. If this is the case, then the inscription cannot refer to a diobol). These are, however, in the minority in comparison to hundreds of other specimens that do not bear a denominational mark, which suggests that this was not an extensive issue of tokens. The thin flans of the examples from Tebtunis also suggest that they were impractical for everyday use, and so may not have been intended for quotidian circulation.
Figure 1: Token possibly naming the denomination diobol. Obverse: Wreath, within which ΔIOB(?); solid line border. Reverse: Egyptian style altar(?); solid line border. Metal: Lead. Diameter: 26mm. Weight: 7.12g. Die axis: 12. Ashmolean Museum, Milne 5441. Image: Ashmolean Museum.
The paucity of tokens bearing a denomination, alongside the impracticality of the Tebtunis issues, suggests that another possibility is worth exploring. It is feasible that these tokens were intended to represent the given amount, without actually holding this worth or circulating as a coin. A lead token series from Rome refers to 1000 sestertii, but it seems unlikely it would have been worth that amount (TURS 1460). A modern parallel is the ‘Hell money’ used today in Asia, which while having the appearance of a banknote, exhibit denominations running into the millions. It is offered to the ancestors and not accepted as legal tender (Scott 2007, 26-28). Although these examples have a much higher denominations than on those found on the tokens from Roman Egypt, they demonstrate that a denomination does not necessarily indicate an all-purpose coin. This point is particularly pertinent as a token of the ‘OBOΛOI B’ type was found at the Serapeum of Saqqara at Memphis. When this token, and others bearing the ethnic ‘MEMΦΙC’ (Memphis), were studied by Longperier in the nineteenth century he posited that they could be religious coins used exclusively at Memphis (Longperier 1861, 411). He states that Pausanias references the use of a ‘local coin’ as a votive offering at Memphis (Pausanias Description of Greece 7.22, 3-4; Longperier 1861, 412). Pausanius implies that the coins were copper, which does obviously not fit the description of the lead tokens. The nome coinage of Roman Egypt displays imagery relevant to each of the nome districts and could perhaps fit this description, however, this was struck at Alexandria and so was ‘local’ to a questionable extent. The fact that ‘local coins’ were important for votive offering at Memphis does, however, leave open the possibility that the lead tokens fulfilled this need. A ‘coin’ created specifically as a votive offering can feasibly be encompassed within the term ‘token’.
Figure 2: : Token from Tebtunis. Obverse: Apis bull facing right, with solar disc between horns, to left Isis(?) standing right wearing solar disc and to right janiform figure(?) standing left and holding uraeus serpent. Crescent and garland above in field; border of dots. Reverse: Nilus sitting left, holding cornucopia in left hand and reeds in right, Alexandria-Euthenia standing before him holding ear of corn aloft in right hand; border of dots; OBOΛOI B. Metal: Lead. Diameter: 30mm. Die axis: 12. Image: Milne 1900, pl XXVI, fig 1.
Others have posited that some of the lead tokens were tax receipts (Rostovtzeff and Prou 1900, 151-152; Mitchiner 1984). Some tokens bear the legend ΕΠ ΑΓΑΘW, which has been translated to mean ‘interest payable upon wealth’ (Mitchiner 1984, 113). However, tax receipts are known from papyrological evidence in Roman Egypt, so it seems unlikely they would take the form of tokens as well. There are also many instances in the ancient world where the phrase means ‘good fortune’, such as this inscription on a marble column drum from Lepcis Magna. The phrase is also found on rings in the Roman period (Le Blant 1896, 90; Ogden 1990, 109). Given that tokens in the ancient world are likely to have been used for euergetic distributions, this phrase would not be out of place on such tokens.
A group of tokens that are unprovenanced within Egypt can also offer an alternative function. They depict Athena on one side (unconnected to the Athena tokens from Oxyrhynchus) and have the legend ΑΓΟ (‘AGO…’, see figure 3) on the other face. It is likely that the legend refers to the agoranomoi, who oversaw markets in the Greek world. Tokens with similar legends – ΑΓ (AG…), ΑΓΟΡ (AGOR…) and ΑΓΟΡΟΝΟΜΩΝ (AGORANOMON) - have also been discovered in the Athenian agora. A possibility for their use that they were issued as proof of payment to sacrificial banquets organised by the agoranomoi (Bubelis 2013, 125). This is also plausible for Roman Egypt, as a papyrus from Karanis dating to the early third century AD also provides a link between religious banquets and their organisation by the agoranomoi (P.Mich. 8511).
Figure 3: Token possibly referring to the agoranomoi. Obverse: Athena standing left, wearing Corinthian helmet, left hand resting on shield at feet to right, outstretched left hand holding Nike with wreath and palm; solid line border. Reverse: AΓO; solid line border. Metal: Lead. Diameter: 24mm. Weight: 9.98g. Die axis: 12. Köln, Institut für Altertumskunde accession no. AL_3560. Image: Köln, Institut für Altertumskunde.
The instances highlighted above are only a minority of the tokens found in Roman Egypt, however, they provide alternative suggestions for utilisation other than a low denomination coinage, and emphasise how tokens could have a variety of functions within the province.
This blog is written by Denise Wilding. The content of this blog is adapted from: Wilding, D. 2020. Tokens and Communities in the Roman Provinces: An Exploration of Egypt, Gaul and Britain. Unpublished PhD thesis, The University of Warwick.
With thanks to the Humanities Research Fund, University of Warwick for their support.
Blant, E. Le. 1986. 750 Inscriptions de pierres gravées inédites ou peu connues. Paris: Imprimerie Nationale.
Bubelis, W. 2013. “The Agorastikon of Hellenistic Athens: Not a Market-Tax.” Zeitschrift für papyrologie und epigraphik 185: 122–26.
Longperier, A. 1861. “Monnaies du Sérapéum de Memphis. Trouvaille de Myt-Rahinch.” Revue Numismatique VI: 1–24.
Milne, J. G. 1908. “The Leaden Token Coinage of Egypt under the Romans.” The Numismatic Chronicle and Journal of the Royal Numismatic Society 8: 287–310.
Milne, J. G. 1922. “The Coins from Oxyrhynchus.” The Journal of Egyptian Archaeology 8: 158–63.
Mitchiner, M. 1984. “Imperial Portrait Tesserae from the City of Rome and Imperial Tax Tokens from the Province of Egypt.” The Numismatic Chronicle 144: 95–114.
Ogden, J. M. 1990. “Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt.” Unpublished PhD thesis, University of Durham. http://etheses.dur.ac.uk/1457/.
Pausanias, Description of Greece, trans. W. H. S. Jones. 1918. London: Heinemann.
Rostovtzeff, M., and M. Prou. 1900. Catalogue Des Plombs de l’antiquité, Du Moyen Age et Des Temps Modernes Conservés Au Département Des Médailles et Antiques de La Bibliothèque Nationale. Paris: Rollin et Feuardent.
Scott, J. L. 2007. For Gods, Ghosts and Ancestors: The Chinese Tradition of Paper Offerings. Hong Kong: Hong Kong University Press.
Frederick Parkes Weber,
Interesting Cases and Pathological
Amongst the papers of the famous dermatologist Frederick Parkes Weber now housed in the department of Coins and Medals in the British Museum is a book rather intriguingly entitled Interesting Cases and Pathological Considerations and a Numismatic Suggestion. While most of the book will not interest the student of coinage, the ‘numismatic suggestion’ appended at the end provides a great insight into Weber’s knowledge of ancient coinage (he was an avid coin collector) and the Royal Numismatic Society’s Parkes Weber Prize, currently awarded to the best essay ‘of not more than 5,000 words on any subject relating to coins, medals, medallions, tokens or paper money’ written by someone under 30.
The numismatic suggestion (photographs of the text available to read here and here) records that originally Parkes Weber proposed to the Royal Numismatic Society (RNS) an annual ‘bowl of coins’ prize. The idea came to him since, as a collector, he had to frequently quickly assess bowls of coins from various dealers across the world. The council found the suggestion impractical, and so instead implemented the prize in its current form. But it appears that Parkes Weber was not happy with the solution, and so published his original letter of 1st October 1953 to the President of the Royal Numismatic Society ‘in the hope that at some future time my suggestion will be carried out by a society of private donor. I believe that a small analogous prize is being offered to postage stamp enthusiasts with considerable success.’
Reading the letter, Parkes Weber originally proposed to the RNS an annual prize of 10 guineas to young collectors for ‘the best written diagnosis (with half an hour) of the contents of a bowl of miscellaneous coins and coin-like objects (twenty pieces in the bowl) under the supervision of a delegate of the Society in question’. He suggests they should all be good or moderately good specimens, as well as one or two imitations. He then goes on to offer detailed advice on what this ‘bowl of coins’ should contain.
Parkes Weber suggested the bowl should contain two or three counters or admission tickets (e.g. the Nürnberg Rechenpfennige, the card counters struck on the accession of Queen Victoria with the Duke of Cumberland on horseback on the reverse). He also suggests the inclusion of Greek and Roman tokens, including the so-called spintriae. These tokens carry sexual imagery on one side and a number on the other: Parkes-Weber includes the now discounted idea they were used as brothel admission tickets. He then notes that a fellow collector gave him two spintriae because the collector ‘did not like having them in his collection, when he was showing it to ladies’. Two bronze Roman tokens from the Parkes Weber collection are now in the British Museum, although only one shows an erotic scene.
'Spintria' in the British Museum once owned by Parkes Weber.
The obverse shows a scene of sexual intercourse and the reverse
carries the number III within a wreath. © The Trustees of
the British Museum, 1906,1103.2927.
Parkes Weber writes that only five of the twenty coins in the bowl should be of very rare or obscure types, and suggests specific coin types for ‘occasional admission to the bowl’. These include a copper coin of the Seljukian Turks with types copied from Byzantine Christian pieces, a coin of Edessa ‘preferably a coin of Count Baldwin II with the slashing horseman reminding one of the Norman knights on the Bayeux tapestry’, a coin weight of Charles I struck by Briot, school tokens of the seventeenth century, the ‘dolphin coins’ of Olbia, medieval and modern badges, and Russian beard tokens and prison tokens. Reading the list, one is struck by the interest and knowledge Parkes Weber had of tokens from all ages.
There is, despite the publication of the letter (admittedly in a venue which may not be frequently read by numismatists) still no ‘bowl of coins’ prize. But it does make one think about what types of coins and money might make up the bowl today!
This blog was written by Clare Rowan as part of the Token Communities in the Ancient Mediterranean project.
Whilst the interest in token moulds has mostly been confined to excavation reports and occasional enquiries to date, recent scholarship is increasingly focusing on the value of these objects to better understand crucial aspects related to the manufacturing techniques, production location and use of tokens in antiquity (cf. Pardini et al. 2016; Rowan 2019). Lately, token moulds are also gaining attention on the market and in auction sales.
Two unpublished token moulds are presented below, which exist as part of two museum collections from Florence, Italy. Both token moulds are discussed in a study currently being undertaken by the author.
The token mould shown on Fig. 1 is held in the Museo Archeologico of Firenze (MAF) (inv. no. 79209). It is one half of a mould made of limestone, rectangular in shape, whose size is 115 x 80 x 27 mm. It would have been used in conjunction with the other half (now lost) in order to create 8 circular tokens of about 16-17mm in diameter.
Figure 1: Roman token mould from Museo Archeologico Nazionale of Firenze (MAF) (inv. no. 79209) (Courtesy of the MAF).
Based on the designs engraved on the surface – but some of them are unfortunately in poor condition – the resulting tokens carried at least three different types of images: on the left side, two of the preserved designs show Mars, helmeted, in military dress, standing right, holding spear in right hand and resting left on shield on ground (the type is also applied to Minerva, who is generally portrayed with a longer robe); on the top, two token cavities depict Mars helmeted, in military dress, standing right, holding spear in right hand and patera in left hand; in the lower right corner, a token design shows Hercules standing right, holding scyphum in left hand and club in right hand. These images are variants of types commonly depicted on Roman lead tokens, as already known through the examples published by M. Rostowzew as well as on individual catalogues of museum collections (for some of the types in question, see e.g. Rostowzew and Prou 1900, 135, fig. 32; Arzone and Marinello 2019, nos. 108-111 and 113). It is noteworthy that the first of the two images of Mars mentioned above appears on the tokens produced at the time of Nero, and was adopted on official coinage just afterwards, occurring on the coins issued during the Civil Wars of AD 68-69 (Fig. 2). However, the designs attested on the MAF mould are closer to the variant of a Mars type largely found on coinage from the time of Trajan (Fig. 3) up to the fourth century, which allows us at least to date the token mould to this broad time frame. To support this, morphological and stylistic features, as well as the material used, are consistent with the token molds from Rome and Ostia, generally assigned to the period between the 1st and 3rd centuries AD.
Figure 2: Silver denarius, RIC 12 Civil Wars 20, AD 68-69. (UBS Gold & Numismatics, Auction 83, lot 183).
Figure 3: Bronze As of Trajan, Rome AD 99-100 (= RIC II, Trajan 410), American Numismatic Society (inv. no. 0000.999.18549)
This token mould is said to have been found in Corneto Tarquinia (Lazio), whose ancient site was one of the most important settlements of the twelve Etruscan cities (the ‘Dodecapolis’), and which was under Roman domination since the third century BC. This place does not appear among the sites documented as find spots of token moulds to date, which have been found in Rome and Ostia, except for two examples from Como and Telesia (Rowan 2019, 98-99). If one accepts as reliable the information on its place of discovery, this mould specimen might suggest that a local production of lead tokens existed in Tarquinia in the imperial period. Moreover, it has recently been assumed that a ‘distributed production’ rather than a centralized single workshop was the common ‘model’ for the manufacture of tokens over the Roman period, which would have been created ‘in multiple places by multiple individuals’ (cf. Rowan 2019, 97).
This piece was sold to the MAF on 10 May 1901 by the collector and member of the Accademia Colombaria Anton Domenico Pierrugues, who donated his collection of Greek and Roman coins to the museum after his death (1915).
Figure 4:Roman token mould from Casa Buonarroti, Florence (Lenzini Moriondo’s inventory (1964), 22/1) (Courtesy of Casa Buonarroti).
Fig. 4 illustrates one half of a token mould housed at Casa Buonarroti, whose collection was formed from the 16th to the 19th century from the bequest of Michelangelo Buonarroti and his descendants. The piece is made of limestone, quadrangular in shape, and is 83 x 76 (min. 73) x 28 mm in size. The other half of the artefact is lost also in this case. The mould would have created seven circular tokens of 14-15 mm in diameter, which were decorated with the image of the Three Graces on one side. This depiction is a popular type on Roman lead tokens. A bronze uniface Roman token (14mm, 2.90g) showing the Three Graces on one side while blank on the other side exists as part of the Casa Buonarroti collection. The iconography and size of this token perfectly match the token cavities of the mould, making it likely that the bronze tessera was cast through the mould in question (Figs. 5-6). Anyway, it is likely that this bronze token was a product of a sample casting from the mould after its discovery. This might be suggested by the absence of remains of casting sprues on the token specimen as well as by its uniface appearance, since it is highly probable that the other half of the mould containing casting branches to the cavities was also decorated (see below). However, no data is available about the place of discovery of the mould, and it is not possible to determine when precisely in modern times the tessera was cast.
Figs. 5-6: AE Roman token (14mm, 2.90g), Casa Buonarroti, Florence.
The mould has a remarkable resemblance to a token mould of palombino marble with the same designs (105 x 75 mm for 7 circular tokens of ca. 17 mm) published by Cesano (1904, 11, fig. 1), which was found in the 19th century in Rome during the Lungotevere works. Such close ties might hint that the Casa Buonarroti mould came from Rome. According to ongoing research by the author, the mould may have been part of the inheritance of the antiquarian and senator Filippo Buonarroti (1661-1733), the great-grandnephew of Michelangelo Buonarroti, who stayed in Rome over the years ca. 1684-1699 serving as secretary, conservator of collections and librarian of the influential family of Cardinal Gasparo di Carpegna. In Rome, Filippo Buonarroti led a number of archaeological explorations which allowed him not only to assemble an impressive collection of Roman and Etruscan antiquities, but also to conduct pioneering studies in ancient iconography, epigraphy, and numismatics.
Figs. 7-8: Top and bottom sides of the mould from Casa Buonarroti, Florence.
Both token moulds show morphological and technical features which are largely documented for this class of objects. The extant half of the MAF mould shows a ‘herringbone’ arrangement, with a central casting channel with branches leading to the individual token moulds. The piece from Casa Buonarroti has instead only a central casting channel and no ‘branches’; one should assume that the now lost other half of the mould contained the channels through which molten lead was poured into the token cavities. In the top right and lower left corners, both molds bear the holes of the nails which were used to fasten both halves of the mould together, but also to ensure that they were correctly aligned (cf. Rowan 2019, 95). Furthermore, all four sides of the token mould from Casa Buonarroti carry small grooves which, as has been argued, would be suggestive of the use of wire which wrapped around the molds during the casting process (cf. Pardini et al. 2016) (Figs. 7-8). Also, as with a token mould from the Harvard Art Museums discussed by Rowan, a deep central hole is found in the center of each token cavity of the Casa Buonarroti mould, being visible in the guise of a protuberance on the body of one of the Graces in the resulting token, as is attested on the extant bronze tessera from Casa Buonarroti. This depression would be a clue of the method employed for engraving the token designs, since it would have been caused by the bit of a tool used for cutting the circular depressions before the designs were engraved. Finally, the back of both mold specimens is unworked, as attested on many moulds of this type.
Further analysis and the potential discovery of new specimens could help develop future discussion on the ancient token moulds, thus providing a more complete picture about the production and use of tokens in the ancient world.
This blog was written by Cristian Mondello as part of The creation of tokens in late antiquity. Religious ‘tolerance’ and ‘intolerance’ in the fourth and fifth centuries AD project, which has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 840737.
A. Arzone and A. Marinello, Museo di Castelvecchio. Lead Tokens. Tessere di piombo (Modena, 2019).
L. Cesano, ‘Matrici e tessere di piombo nel Museo Nazionale Romano’, NSc. (1904), 11-17.
G. Pardini, M. Piacentini, A.C. Felici, M.L. Santarelli, and S. Santucci, ‘Matrici per tessere plumbee dalle pendici nord-orientali del Palatino. Nota Preliminare’, in A.F. Ferrandes and G. Pardini (eds), Le regole del gioco. Tracce, archeologi, racconti. Studi in onore di Clementina Panella (Rome, 2016), 649-667.
U. Procacci, La Casa Buonarroti a Firenze (Firenze, 1965).
M. Rostowzew, Tesserarum urbis Romae et suburbi (St. Peterburg, 1903).
M. Rostowzew and M. Prou, Catalogue des plombs de l’antiquité (Paris, 1900).
C. Rowan, ‘A Roman token mould in Harvard’, Coins at Warwick Blog.
C. Rowan, ‘Lead token moulds from Rome and Ostia’, in N. Crisà, M. Gkikaki, and C. Rowan (eds), Tokens. Culture, Connections, Communities (London, 2019), 95-110.