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Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The reverses of several provincial issues minted by quaestors during the Late Republic bear a series of symbols that have traditionally been associated with the work performed by these magistrates overseas. They include objects such as the hasta, which presided over auctions as a sign of Roman authority over the goods sold, the capsa, which held administrative documents, and the sacculus, a symbol of the allowance that quaestors were expected to distribute among the troops. However, the most characteristic and striking object on these coins is without doubt a four-legged piece of furniture, the functionality of which has been the subject of much debate. In light of the numismatic evidence and the role played by quaestors in the Republican provincial administration, the aim of this work is to analyse the symbols present on these issues, as well as to determine, in particular, the function and classification of that piece of furniture, which should perhaps be identified as the sella or stool on which quaestors sat in the exercise of their duties at Rome and in the provinces, alike. [ABSTRACT FROM AUTHOR]

The article reflects on the political and theological implications of Jesus' Christ's response to the question of paying taxes in Bible Gospel Mark 12:14–17, interpreting it as a subversive critique of governmental authority. Topics include the tension between religious and political responsibilities, the trap set by Jesus's adversaries to discredit him, and the symbolic power of the Roman coin stamped with Roman General Julius Caesar's image, representing oppression and hegemony.

• μXCT accelerates the numismatic identification process, outperforming current protocols. • It is performed on coins prior physical cleaning, without sample preparation. • Enables virtual reconstruction, preventing risks linked to manual handling. • Digitisation allows for information preservation and guides further cleaning. This study utilises X-ray Computed Micro-Tomography (μXCT) as a non-destructive and non-invasive method to recover the original surface features and reveal the characteristics of encrusted, illegible Roman copper-based coins before any physical cleaning process is performed. The coins were retrieved from the topsoil during an archaeological survey in the countryside of the ancient city of Aquileia, Italy, and were severely degraded, covered with accumulated matter and pronounced encrustations developed over centuries of aging buried in soil. Despite their condition, most of the coins were identified from a numismatic standpoint using tomographic data alone, with the aid of reference images. They were subsequently cleaned using traditional manual methods and the results compared with μXCT. X-ray Fluorescence (XRF) analysis of the coins after the physical cleaning confirmed their numismatic attribution and revealed information regarding the influence of different alloy compositions on the applicability of the μXCT method, as well as on the corrosion process of the coins. This study showcases how the application of μXCT on fragile corroded metal artifacts prior to any intrusive manual procedures can expedite the identification process, mitigating the risk of information loss caused by physical handling and cleaning. This approach proves particularly valuable when dealing with large numbers of coins that would typically require restoration for identification purposes. It also emphasises the numerous advantages of using μXCT for coin identification, provenance determination, dating, virtual restoration, digitisation, and long-term preservation. [Display omitted] [ABSTRACT FROM AUTHOR]

The article focuses on the discovery of a unique ancient Roman gold coin, which has led to a reevaluation of a pivotal event in Roman history: the transition from the republic to the principate of Augustus. This coin, unearthed over thirty years ago and now displayed in the British Museum, provided crucial evidence that challenged previous interpretations of Caesar's dealings with the Senate, shedding new light on historical timelines and potentially dispelling doubts about its authenticity.

We report here the results of a multi-analytical approach to characterize twelve Roman coins dating from the third century B.C. to fifth century A.D. that were found in the surroundings of Rome and for which the year of minting is determined by numismatic analysis. The coins were studied using SEM-EDS, EMPA, XRD, and FTIR techniques, enabling semi-quantitative and quantitative determinations of the chemical and mineralogical composition of the alloys and corrosion products. SEM-EDS analyses highlighted the occurrence of corrosion products on the surfaces and wide chemical variations due to selective enrichment or depletions of the alloying metals. The EMP analyses showed that three of the twelve coins are made of copper (1), one is a copper–tin alloy (2), five are copper–tin–lead alloys with elements in different proportions (3), two are copper–lead alloys (4), and another one is a subaerata coin (5). In addition, the physical parameters of the coins, i.e., density, weight, and diameters, were measured to have an overall characterization.

الملخص: تستهدف هذه الورقة البحثية إلقاء الضوء على تصوير الفيلسوف فيثاغورس على عملات مسقط رأسه ساموس، الذى شاع إبان القرنين الثانى والثالث الميلاديين، فمن خلال المصادر الأدبية يتضح أن فيثاغورس كان موضع إعجاب واهتمام الكتاب الرومان طيلة العصر الرومانى، وكان فى نظر المجتمع الرومانى من أحكم البشر، ليس هذا فقط، بل اعتبروه إلهًا وصانع معجزات، كما أوضحت الدراسة كيف كان فيثاغورس وفلسفته من اهتمامات الطبقة الحاكمة خلال تلك الفترة، وكيف تركت فلسفته بصمة واضحة على الفن والعمارة الرومانية آنذاك، وخاصة خلال عصرى هادريان والأسرة السيفيرية وقد صُوِّر فيثاغورس على العملة بنمطين، النمط الأول وهو النمط الأكثر شيوعًا؛ حيث وجد على ظهر عملات أغلب أباطرة القرنين الثانى والثالث الميلاديين، بدءا من تراجان حتى تراجان ديكيوس أما النمط الثانى فقد ظهر فقط على عملات كومودوس. وقد صور فيثاغورس فى كلا النمطين كعالم فلكى مع رمز الكرة السماوية، وتبين من الدراسة أن تصويره جاء متأثرًا بروح العصر؛ حيث إنه صور مع رمز علم الفلك والتنجيم، العلم الذى احتل مكانة الصدارة بين العلوم آنذاك، وكان محل اهتمام الأباطرة، فضلًا عن المكانة البارزة التى احتلها فيثاغورس فى عالم الفلك باعتباره واحدًا من الينابيع الأولى لهذا العلم، كما أثبتت الدراسة المقارنة أن تصوير فيثاغورس يختلف عن كافة الفلاسفة والفلكيين؛ حيث إنه صور متشبهًا بالإله زيوس يحمل الصولجان، رمز الألوهية، وهذا من شأنه أن يؤكد أن فيثاغورس ظل لعدة قرون بعد وفاته موضع تبجيل وقداسة ونال شرف العبادة وخاصة فى مسقط رأسه ساموس. Abstract: This paper aims to shed light on Pythagoras’s representation on Samos coins spread during the Second and Third centuries A.D. The literary sources assert that Pythagoras was a topic of admiration and interest to the Roman writers. The Roman world saw him as the wisest man and also considered him a god and a miracle worker. This study shows how the ruling class was interested in Pythagoras and his philosophy, which clearly reflects Roman art and architecture, especially during the Hadrian and Severian dynasties. Pythagoras was depicted in two types: The first type is the most common, so it is found on the coins of most of the emperors of this period. The second type appeared only on Commodus’s coins. In both types, he appeared as an astronomer with the celestial globe symbol, and the study proves that his portrayal was influenced by the age spirit. As he was depicted with the symbol of astronomy and astrology, which occupied the forefront among the sciences and was of interest to the emperors, in addition to that, Pythagoras enjoyed a prominent position as one of the first sources of astronomy. As well, the comparative study proves that Pythagoras’s representation differs from that of the other philosophers and astronomers; he was depicted as god Zeus holding a scepter, a symbol of divinity, and this would confirm that Pythagoras was elevated to divinity and honored cult worship for centuries after his death, especially in his hometown of Samos.

This article discusses a collection of thirty-two papers on the topic of numismatics in the long nineteenth century. The papers cover various aspects of numismatics, including individual collectors, collector-scholars, and regional or subject collecting. The articles make use of new archival research and previously unpublished material, providing a comprehensive understanding of the world of numismatics during this time period. The article also highlights some personal highlights from the collection, such as the restoration of Avellino provenances to south Italian coins and the formation of Gulbenkian's coin collection. The article concludes by stating that the nineteenth century was a significant era for numismatics, with the professionalization of the market and the emergence of numismatics as a subsidiary science. [Extracted from the article]

This essay explores circular compositions in medieval and early modern art. Delving into the intersection of religious, philosophical, and scientific ideas, the text examines the prevalence of circular depictions in medieval and early modern aesthetics. Utilizing an interdisciplinary approach, the author draws from primary Hermetic and Neoplatonic sources, providing four reasons for this preference. Firstly, this essay explores the scientific understanding of the shape of the universe, planets, and stars. The second reason delves into the psychological, symbolic, and geometric aspects associated with circular compositions, connecting them to Christian cosmological diagrams and symbolism in the visual arts. Furthermore, the essay investigates the conceptualisation of the universe as a mirror reflecting the divine, emphasising the role of beauty in religious art. The essay concludes by examining the visual culture of medieval and early modern periods, tracing the evolution of circular representations from Roman coins and shields to illuminated manuscripts and paintings. The article sheds light on a hitherto underexplored aspect of medieval and early modern cultures, despite its significance in shaping symbolism and organizing iconographic programs within these periods. [ABSTRACT FROM AUTHOR]

We report here the results of a multi-analytical approach to characterize twelve Roman coins dating from the third century B.C. to fifth century A.D. that were found in the surroundings of Rome and for which the year of minting is determined by numismatic analysis. The coins were studied using SEM-EDS, EMPA, XRD, and FTIR techniques, enabling semi-quantitative and quantitative determinations of the chemical and mineralogical composition of the alloys and corrosion products. SEM-EDS analyses highlighted the occurrence of corrosion products on the surfaces and wide chemical variations due to selective enrichment or depletions of the alloying metals. The EMP analyses showed that three of the twelve coins are made of copper (1), one is a copper–tin alloy (2), five are copper–tin–lead alloys with elements in different proportions (3), two are copper–lead alloys (4), and another one is a subaerata coin (5). In addition, the physical parameters of the coins, i.e., density, weight, and diameters, were measured to have an overall characterization. [ABSTRACT FROM AUTHOR]

The paper studies a copper coin type issued during the reign of the Kuṣāṇ king Kujūla Kadphises (ca. 40/50–90 AD) called "Roman Emperor Type". These coins, dated towards the end of the first century AD, present on the obverse the image of a ruler recalling the imperial iconography of the Julio-Claudian period, and on the reverse Kujūla himself seated. The coin is a real innovation in the history of ancient Indian numismatics and can be the starting point to understand the political choices of Kujūla in a context still embryonic for the Kuṣāṇs. This paper, through the literary, epigraphic, and archaeological sources at our disposal, aims to demonstrate that the issuing was influenced not only by the halo of authority that the Romans had in India, but mainly by the economic and religious context of the city, which the sovereign used as a place of experimentation for this particular hybrid type of coin. [ABSTRACT FROM AUTHOR]

Copyright of Antike und Abendland is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magazine General Union of Arab Archaeologists is the property of General Union of Arab Archaeologists and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, 'contextual numismatics' is presented as the most recent and innovative research direction in the field of numismatics. In addition, its further potential for research and the limit of gaining knowledge are outlined. A historical overview of the gradual development of an archaeological-oriented approach to numismatic material serves as an introduction to the discussion. This is followed by a presentation of the distinguishing features compared to other research methods to study Roman coin finds, as well as a discussion of possible paths and goals in the further development of this approach to study these culturally significant objects. [ABSTRACT FROM AUTHOR]

This study aimed at investigating the chemical and mineralogical compositions of five Roman coins (four copper-based and one silver-based alloys) corrosion products, and explore the topographic and morphological microscopic features of the patinas formed on the surface of the copper-based coins. For this purpose, an interdisciplinary approach to micro-destructive methods--microscopic (OM and SEM), mineralogical (XRD), elemental (XRF and SEM-EDX), and molecular (ATR-FTIR)--was conducted. The results showed that cuprite is the principle patina initially formed on the surface of the copper-based alloys by the redundant interaction with the surrounding environmental burial conditions, which is most likely an oxygenated and moisturized soil. This interaction was also observed in the formation of a secondary patina composed of malachite and azurite, which lately was invaded by the corrosive cycle process (bronze disease) represented by the formation of nantokite, atacamite and paratacamite that affected the cuprite primary patina of the copper-based coins during burial. The silver-based coin also suffered an aggressive attack by oxygen, sulfur and chloride ions during burial and formed oxide, sulfide, and chloride of silver, in addition to the corrosion products of cuprite, atacamite, and carbonate of copper, which is one of the alloying elements of this coin. The findings of this study also show that the copper-based coins were made of quaternary Cu-Sn-Zn-Pb alloy, and the silverbased coin was made of ternary Ag-Cu-Sn alloy. Therefore, the study points out that these coins were suffering from the corrosion phenomenon by the reaction with oxide, sulfide, carbonate, hydroxyl, and chloride ions, which are most likely found in the burial soil and incorporated within the alloy corrosion products. Contamination with Si, Fe, Al, and Ca elements present in the soil was also seen. We recommend protecting these alloys to prevent further degradation that may occur during storage and exposure to the atmosphere after excavation. [ABSTRACT FROM AUTHOR]

The essay "A Gold Coin from Jastrzębniki, Kalisz District (PL). On Late Celtic Coinage in Central Europe" examines the continuation of gold coinage in Central Europe after the collapse of the Bohemian-Moravian oppida. The study focuses on three minting centers that imitated late Boii gold coins. These mints recycled popular shell staters with sun and moon motifs and also issued various small coins made of electrum alloys. The coins were circulated in the Oder and Vistula basins and likely had a regional prestige value. One reason for the disappearance of local coin traditions among the northern barbarian elites may have been the massive influx of Roman coins in the second century AD. [Extracted from the article]

В данной работе пойдет речь о золотых полихромных украшениях, происходящих из комплексов на территории Западной Грузии (Гонио, Махо, Капандиби, Клдеети) и прилегающих областей (Лоо), а также относящейся к этой же группе подвески с изображением Минервы, которая в начале XX в. находилась в собрании ростовского коллекционера Ф.С. Романовича (она специально рассматривается в приложении к статье). По мнению О.В. Шарова, высказанному впервые в 2006 г., указанные украшения входят в группу полихромных ювелирных изделий позднеримского времени, названную им группой «Горгиппия—Лоо» и датированную в первой работе — III в. н.э., в дальнейшем — второй половиной II — первой половиной III в. н.э. Отчасти это характеристика действительно соответствует находкам из склепа II/1975 в Горгиппии (но лишь отчасти — композиции из зерни, также как и касты с зубчатым краем в их декоре не использованы), но при этом находки из Горгиппии не имеют ничего общего с указанными украшениями из Гонио, Клдеети, Капандиби и Лоо, для которых использование филиграни, как в изделиях из Горгиппии, не характерно. Соответственно, очевидно, что следует отказаться от такого необоснованного термина, который обозначает изделия, не связанные между собой. Анализ особенностей формы и декора украшений из Колхиды и прилегающих областей, а также стилистический и хронологических анализ комплексов, из которых они происходят, позволяет прийти к следующим выводам. Прямых оснований датировать III в. н.э. ни один из рассматриваемых комплексов из Колхиды и Лоо — нет. Более того, ювелирные изделия, входящие в состав кладов и погребений из Махо, Гонио, Капандиби и Лоо, вряд ли выходят за рамки I в. н.э., а часть из них с очевидностью может быть датирована еще I в. до н.э. Вместе с тем, подробный анализ бляхи из собрания Ф.С. Романовича дает основание предполагать, что образцом для подражания ювелира могла послужить монетная эмблема, которая появляется на монетах Каракаллы и Геты и, соответственно, датировать подвеску не ранее рубежа II—III вв. н.э. Таким образом, не исключено, что мастерские, появившиеся в Колхиде еще на рубеже н.э. и изготавливавшие в I в. н.э. золотые украшения в характерном стиле, с широким использованием зерни и цветных вставок, преимущественно в пластинчатых кастах с зубчатым краем, продолжали работать в указанном стиле, по крайнем мере, до начала III в. н.э., что теоретически не исключает и более позднюю датировку колхидских комплексов в рамках второй половиной II — первой половиной III в. н.э. Укажем в этой связи, что сочетание в комплексах значительно более ранних импортных драгоценных вещей (в частности, римской бронзовой, серебряной посуды, гемм) и римских и парфянских монет I—II вв., в том числе золотых, которые рассматривают в качестве дипломатических даров, в целом характерно для богатых погребений некрополей Картли, особенно Мцхеты, середины / второй половины II — начала / первой половины III в. н.э. О.В. Шаров высказал предположение, что изготовление и стиль орнаментации украшений рассматриваемой группы «изначально связаны с традициями еще Аршакидского Ирана, а часть предметов могла изготавливаться мастерами Иберии, находящейся в III в. н.э. под сильным иранским влиянием». И этот тезис вызывает серьезные сомнения, учитывая отсутствие в Иране не только близких параллелей по форме украшений, но и сочетаний композиций из зерни со вставками в кастах с зубчатым краем. Скорее рассматриваемые изделия следует рассматривать как изделия местных мастерских и не Иберии, а Колхиды (т.е. Западной Грузии) в том числе с учетом очевидных элементов и мотивов, восходящих к произведениям ювелирного искусства Колхиды более раннего времени. Обращает на себя внимание и практически полное отсутствие украшений, которые можно определить как римские. Разве что можно было бы говорить о происхождение перстня и вставки в одну из блях из Лоо. Стеклянный кубок из Лоо был вероятно изготовлен в Сирии, тогда как серебряный канфар из Капандиби находит ближайшие параллели оформлению ручек на сосудах августовского времени из Центральной Европы. Парфянские же коннотации прослеживаются лишь в случае навершия с характерными подвесками из клада в Гонио и возможно, с фаларом из этого же клада, но и они не имеют никакого отношения ни к III в. н.э., ни к мастерским Иберии.