Roma Numismatics Ltd
Auction XXV 22-23 Sep 2022
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Alexander III 'the Great' of Macedon Æ Contorniate. Rome, late 4th - early 5th century. ALEXANDER MAGNVS MACEDON, bust to right, wearing lion skin headdress / Olympias reclining to left on couch, feeding coiled serpent; dolphin to right, OLYMPIAS above, REGINA in exergue. Mittag Alexander II; Alföldi 3.1; Stutzinger 188; BM R.4803. 27.03g, 37mm, 6h.
Good Very Fine; contact mark at 11h. Very Rare.
The term 'contorniate' refers to late antique coin-like objects which can be distinguished from other coins and medallions by their raised edge and deepened groove on the inside of the rim. The ancient term for these objects is unknown to us and several different interpretations have been proposed as to their origin and intended purpose. Alföldi argued that contorniates such as this were produced in the state mint of Rome and concluded that, due to the frequent use of pagan imagery, they were intended for pagan city prefects. They were therefore a means of propaganda for a senatorial anti-Christian agenda and represented a less than cohesive relationship between pagans and Christians in the late antique (Mitagg, pp. 1-2).
Others have argued however that there is a strong connection between the representations found on contorniates with the circus and amphitheatre (Mitagg, ibid). There are many reverse types which depict chariot races and contests in the amphitheatre, but also the Emperors who are most frequently depicted are known to have given enthusiastic patronage to contests in the circus (Nero, Trajan and Caracalla). Contorniates therefore may have played a functional role at sporting contests and given as gifts to spectators.
There are various notable figures of Greek and Roman history and literature depicted on contorniates, such as Alexander the Great and his mother Olympias represented on this example. Mitagg has argued that there is case to be made for both the obverse and reverse of this contorniate serving as an amulet (p. 165). The legacy of Alexander is difficult to exaggerate and there may have been a magical appreciation of his image in the late Roman period. Ausonius, the Roman poet and rhetor, reports that old Macedonian gold coins were given away at the imperial court on New Year's day (epigram 18,5-6). Whilst Macedonian coins may have been appreciated as being particularly valuable, an episode recorded in the Historia Augusta specifically makes mention of the magical power of Alexander's image was believed to bestow. In the 'thirty tyrants' it is reported that the Macriani family decorated jewellery, clothes and objects with the head of Alexander because it was believed this aided them in everything they attempted (Tyranni XXX, 14).
The reverse depiction of Olympias with a serpent possibly alludes to a myth of Alexander's conception as told in the so-called Alexander Romance. The original Greek text is believed to date from the third century BC and was translated into Latin in the fourth century by Julius Valerius Alexander Polemius. This apocryphal story describes how Alexander was fathered by a refugee Egyptian Pharaoh, Nektanebo II, who was also a great magician. Whilst King Philip was absent on a campaign, the exiled Nektanebo succeeded in deceiving Olympias into receiving his advances by taking the form of a serpent.
Anticipating Philip's anger at finding his wife pregnant upon his return, Nektanebo sent him a magical dream which convinced him that the father of his child was a god and Olympias was therefore blameless. Philip however was not totally convinced and was overheard by Nektanebos accusing Olympias of adultery with a human creature. Later Nektanebo appeared at a banquet in the form of a serpent and brought fear and confusion to the diners. Olympias however recognised the serpent and sat upright on her couch to greet it with her outstretched right hand. Nektanebos placed his jaw in the palm of her hand and projecting his forked tongue kissed her, and then transformed into an eagle and flew to the sky.
Upon seeing this Philip was reconciled with Olympias and congratulated himself because he would be called the father of a child divinely begotten (see W. Kroll, Historia Alexandri Magni I, Berlin, 1958, pp. 10-11). The scene depicted therefore could be interpreted as the moment just before Olympias receives redemption from Philip. For Mittag, this can be interpreted as an example of the connection between gods and human beings with the help of magical practices. Furthermore, the redemption Olympias receives via the magic of Nektanebo symbolises the personal benefits amulets secure for the wearer through their supernatural powers (pp. 165-6).
Good Very Fine; contact mark at 11h. Very Rare.
The term 'contorniate' refers to late antique coin-like objects which can be distinguished from other coins and medallions by their raised edge and deepened groove on the inside of the rim. The ancient term for these objects is unknown to us and several different interpretations have been proposed as to their origin and intended purpose. Alföldi argued that contorniates such as this were produced in the state mint of Rome and concluded that, due to the frequent use of pagan imagery, they were intended for pagan city prefects. They were therefore a means of propaganda for a senatorial anti-Christian agenda and represented a less than cohesive relationship between pagans and Christians in the late antique (Mitagg, pp. 1-2).
Others have argued however that there is a strong connection between the representations found on contorniates with the circus and amphitheatre (Mitagg, ibid). There are many reverse types which depict chariot races and contests in the amphitheatre, but also the Emperors who are most frequently depicted are known to have given enthusiastic patronage to contests in the circus (Nero, Trajan and Caracalla). Contorniates therefore may have played a functional role at sporting contests and given as gifts to spectators.
There are various notable figures of Greek and Roman history and literature depicted on contorniates, such as Alexander the Great and his mother Olympias represented on this example. Mitagg has argued that there is case to be made for both the obverse and reverse of this contorniate serving as an amulet (p. 165). The legacy of Alexander is difficult to exaggerate and there may have been a magical appreciation of his image in the late Roman period. Ausonius, the Roman poet and rhetor, reports that old Macedonian gold coins were given away at the imperial court on New Year's day (epigram 18,5-6). Whilst Macedonian coins may have been appreciated as being particularly valuable, an episode recorded in the Historia Augusta specifically makes mention of the magical power of Alexander's image was believed to bestow. In the 'thirty tyrants' it is reported that the Macriani family decorated jewellery, clothes and objects with the head of Alexander because it was believed this aided them in everything they attempted (Tyranni XXX, 14).
The reverse depiction of Olympias with a serpent possibly alludes to a myth of Alexander's conception as told in the so-called Alexander Romance. The original Greek text is believed to date from the third century BC and was translated into Latin in the fourth century by Julius Valerius Alexander Polemius. This apocryphal story describes how Alexander was fathered by a refugee Egyptian Pharaoh, Nektanebo II, who was also a great magician. Whilst King Philip was absent on a campaign, the exiled Nektanebo succeeded in deceiving Olympias into receiving his advances by taking the form of a serpent.
Anticipating Philip's anger at finding his wife pregnant upon his return, Nektanebo sent him a magical dream which convinced him that the father of his child was a god and Olympias was therefore blameless. Philip however was not totally convinced and was overheard by Nektanebos accusing Olympias of adultery with a human creature. Later Nektanebo appeared at a banquet in the form of a serpent and brought fear and confusion to the diners. Olympias however recognised the serpent and sat upright on her couch to greet it with her outstretched right hand. Nektanebos placed his jaw in the palm of her hand and projecting his forked tongue kissed her, and then transformed into an eagle and flew to the sky.
Upon seeing this Philip was reconciled with Olympias and congratulated himself because he would be called the father of a child divinely begotten (see W. Kroll, Historia Alexandri Magni I, Berlin, 1958, pp. 10-11). The scene depicted therefore could be interpreted as the moment just before Olympias receives redemption from Philip. For Mittag, this can be interpreted as an example of the connection between gods and human beings with the help of magical practices. Furthermore, the redemption Olympias receives via the magic of Nektanebo symbolises the personal benefits amulets secure for the wearer through their supernatural powers (pp. 165-6).