Coin Types

-Jenny Elek

The type of a coin is the mark or design that separates bullion from being coinage. Such designs could be as simple as a rudimentary representation of an animal, as seen in initial forms of coinage, or as intricate as artistic depictions of a bust or significant event. This stamp of authenticity guarantees the precise value of the coin, without the complications of continually being forced to weigh lumps of metal with each transaction. Originally, on early Greek coins, only one side was marked with such a design. Aegina was the first mainland Greek city to strike coins, implementing a simple turtle design on the obverse, with punch depressions on the reverse, in the sixth century BC (Kraay, 41-42). By the time Romans had adopted coinage (c. 320 BC), coins had already evolved into the dual-sided designs that are now common. Obverse types typically portrayed the head of a deity, while reverse designs varied, depicting material ranging from prominent buildings and events to animals. Portraiture was slow to emerge, partially because of the implications involved in associating oneself with the gods, who often graced coinage. The first known portraits were the posthumous illustration of Alexander the Great and that of the living King Ptolemy I of Egypt (Reinfeld, 17). Varying denominations sometimes employed differing designs, while some others maintained one type, choosing to differentiate between the coins by explicitly marking them with their values.

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Early Greek coinage is extremely conservative, rarely altering the type. The owl is frequently rendered opposite the goddess Athena on the dual-sided Athenian obol, the predominant basic archaic coin type (Kraay, 60). Such consistent types allowed for the coins to become more easily established and accepted. The standard designs permitted such coins to be referred to as "owls" or "turtles."

The early Roman coin types were also fairly static. According to tradition, bronze was first struck by King Servius with the impression of a cow, or "pecus;" thus, the reference to coinage as "pecunia" evolved (Burnett, 10). The early Roman Republican denarius illustrated the goddess Roma complimented with the Dioscuri as a constant type that lasted for many years. Another consistent coin type, typically depicted on asses throughout the initial half of the second century BC, included the head of Janus on the obverse with a ship prow on the reverse. By the end of the second century, styles moved away from standard civic emblems, frequently changing types to depict a variety of obscure events and people. Namely, this occurred as puns on the moneyers' names themselves, as they were responsible for selecting designs (Burnett 21-22, 36). Later, coin designs changed to reflect the values emphasized by the current emperor. In contrast to Greek coins, where different styles were attributed to and accepted by different states, Roman coins were universally accepted throughout the empire, as established by Augustan reform in 29 BC (Burnett, 53).

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Such designs on coinage have provided much chronological information and insight concerning art history, culture and politics. Little is known about Greek influences beyond what can be gathered from coins, although, like much of Roman art and politics, Roman coin designs were heavily influenced by Greek styles. Quality in artistic representation tended to suffer when high levels of production were required, such as Athenian coinage for military finance during the Peloponnesian War. Certain Roman emperors emphasized artistic quality and detail, such as Nero; thus, coins produced during his reign tend to reflect such, and they display more creativity and realism than coinage of other time periods (Burnett, 75).

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Clearly, changes between coin types are often associated with politics. Julius Caesar, the first living Roman to have his bust represented on coinage, was granted permission to do so by the senate. This unprecedented step served as another warning signal to those in the Roman Republic concerned with Caesar's inclination towards monarchy, which elicited his assassination shortly thereafter (Reinfeld, 39). After portraiture became more accepted, Augustus and Tiberius were depicted as youthful on coinage throughout their reigns, likely reflecting the public need for centralized stability during a time of great change. Nero issued various coins of high artistic quality, chronicling his age through realistic representations and emphasizing his favored mode of artistic style.

Portraiture evolved into an accepted and standard general coin type. Leading political figures often came to depict themselves on coinage, originally in association with deities. These attempts to legitimize authority integrated many symbols of power into the imagery. Initially, moneyers advertised themselves and their ancestors for popularity without means of portraiture, but by depicting important events in association with their family history or punning their names. This moneyership thus became an important stepping stone for political careers (Burnett, 22). Eventually, clashes between figures vying for power resulted in coin production as vital aspects of propaganda concerned with image. Octavian, associating himself with Jupiter, Neptune and Apollo, and Mark Antony, associating himself with Dionysus, represented themselves with overtones reminiscent of their respective gods. Antony was depicted with Dionysus' ivy wreath, while Octavian's features were superimposed on the body of a god (Howgego, 78). Additional imagery such as the jug and lituus may "allude to ritual in order to legitimize military power" on Roman Republican coins (Stewart, 1997).

An emperor often attempted to legitimize his authority by reminding the people of his association with a previously successful ruler, and made this evident in coin types at the beginning of his reign. This was often done with a legend of some sort, although imagery was also used to establish power. Portraiture was one of the most popular methods of symbolizing one's authority (Wallace-Hadrill, 72). Nero's aegis and the radiant crown, sun and moon references by various emperors with their empresses, and Domitian's thunderbolt and Victory crowning all refer to the divine. The establishment of succession could be aided by the presentation of the heir on coinage, as well (Howgego 79-81).

*insert graphic of Caesarian coin, dual-faced coin of Caligula*

Burnett, A (1987) Coinage in the Roman World. London: Seaby.

Howgego, C. (1997) Ancient History From Coins. New York: Routledge.

Kraay, C. (1976) Archaic and Classical Greek Coins. Berkeley: University of California Press.

Reinfeld, F. (1963) Picture Book of Ancient Coins. New York: Sterling Publishing.Company.

Stewart, R. (1997) "The jug and lituus on Roman Republican coin types: ritual symbols and political power." Phoenix 51.2: 170-189.

Wallace-Hadrill, A. (1986) "Image and Authority on the coinage of Augustus." JRS 76: 66-87.