"Ancient and Modern in the Medallic Series of Louis XIV," The Medal, 67 (Autumn, 2015), 4-11. (original) (raw)
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XV - INC CONGRESS 2015 - Renaissance Portrait Coins - F. Rossini (Feb. 2018).pdf
XV International Numismatic Congress Taormina 2015, 2018
Renaissance portrait coins: the innovation, its forerunners and the diffusion in Italy and Europe Physiognomic portraits started to appear on coins and medals between the late XIV and the early XV century, with Italian states being at the forefront of this important innovation. Such practice encountered an immediate success and was soon imitated by almost all lords, princes, kings and emperors throughout Europe. The reasons why this novelty spread out so quickly and the conditions that actually fostered its fast development are investigated in the article providing a framework of reference analyzing the economic and political factors that contributed to its evolution and diffusion.
An almost complete die study of the bronze coins of Herod the Great (reigned in Judea, 40[37] -4 BCE), opens a window on the operation of his mint. Herod was one of Rome's most important and loyal client-kings. Precisely because of the interest in him as a historical fi gure, and a builder, a great deal has been written on his coinage.* Most of Herod's coinage, however, is particularly unimpressive. Herod's bronze coins continue the earlier Hasmonean tradition of refraining from the otherwise common use of living or mythical depictions. Herod minted 17 different coin-types, four belonging to a denominational series dated to his third year (LΓ) most probably 37 BCE. The remainder of the types are undated. Symbols include the helmet; tripod; shield; winged caduceus; pomegranate or poppy; aphlaston; three-legged table; cross or saltire within diadem; fi lleted, single, or crossed palm-branches; inscription within wreath; anchor; single or double cornucopias; eagle; vine-branch; and galley. The legends on these coins are monotonic. Only Herod's name and title appear: ΒΑΣΙΛΕΩΣ ΗΡΩΔΟΥ. 1 The fact that most of Herod's coins are undated is an impediment to the establishment of a chronology of his coins. Even a relative ordering of the types would be helpful. Our die study has provided much new information about the series, with die connections determining which coin groups should be identifi ed as types and which as merely variations within types. We were also able to identify the technological obverse and reverse dies by determining which side of each type had fewer dies and which had more.
Stopping and starting coinage: case studies in the Cyclades and the Chalkidike during the Athenian Empire and its immediate aermath Marta Barbato, Interruption in the production of bronze coinage during the Late Roman Republic: pattern of circulation of official and 'unofficial' bronze in the finds from Rome Martia Christina Molinari, e unexplained interruption in the production of base metal coinage at the Mint of Rome between ad 43 and 63: a clear example not of a decline in monetary needs and not of a shi in transaction means George C. Watson, e intermittent imperials revisited: discontinuous production, die sharing, and the ﬔnction of the Roman provincial coinage Fran Stroobants, Intermittent coin production at Roman Sagalassos and the existence of regional monetary networks Gilles Bransbourg, Gold or silver standard: choice or necessity? e middle class and the fih-century collapse of Roman silver coinage François de Callataÿ, No need to coin? Some general remarks in guise of conclusion inhoudstafel-table des matières Raf Van Laere, Geld en munt in het oeuvre van de Brugse rederijker Cornelis Everaert (+1556) Raf Van Laere, Deciphering iconographic details on medieval and early modern lead seals related to cloth production Jaume Boada Salom, An Antwerp-by-birth applying for a position at the