The Syrian Coins
are embraced in the division called “Greek monarchies,” and in them are found many coins not only important in history, but of the very finest Greek art, from the third to the first century B.C. In this period the Syriac and Hebrew coins become intermingled, a fact abundantly sustained by the Jewish shekel of Simon Maccabees. The legend of this interesting relic is in the language of Samaria; on one side the budding rod of Aaron, legend, “Jerusalem the Holy;” on the other, a cup of incense or pot of manna, and the inscription, “Shekel of Israel.” This shekel is well preserved, and is one of the most prized coins known. (See Plate and Case XV., marked “Selections.”) In this collection are some coins from Bactria, considered priceless by savans. These are trophies of recent British explorations, and are judged to be of sufficient importance to call forth from an English professor an extended treatise on the “Antiquities and Coins of Afghanistan.” They are exceedingly rude in workmanship, and nearly all of baser metal, the most important being a small, square, brass coin, in the case marked “Selections.”
Roman Coins.
The collection of Roman coins in this Cabinet numbers nearly one thousand, and an acquaintance with it is invaluable for object teaching, as in it is the condensed history, not only of the glory of Rome, “Mistress of the World,” but of her customs, faith, conquests, wealth, culture, divisions, and downfall. Through this entire section of time—one-third of the known history of the world—Roman art, though high, never reached the exalted purity of Greek lines. In their finest coins we see no Phidias, no Myron, no Praxiteles, but they deteriorate and fluctuate visibly when in or out of contact with the influence of the Grecian mind.
Greek Republic
will be first in interest, both historic and artistic. It is conceded that to the Greeks the world owes the introduction of the art of coinage, and though centuries numbered by tens have passed, some of the old Greek coins equal many modern productions in purity of lines, and surpass nearly all in poetic sentiment. On the first coins no earthly potentate was allowed to be pictured, no deed of heroism portrayed. The glory of the gods was considered the only appropriate theme for impressions on the surface of bronze, silver, and gold. The coins of the republic embrace a large variety, as nearly a thousand towns were allowed the privilege of coinage. Upon this varied issue are preserved nearly all the legends of Greek mythology. Upon the coins are the heads of Jupiter, Juno, Minerva, Bacchus, Apollo, and Diana, with many sacred animals, and the work is to-day the standard of artistic perfection. Of course, the collection of this ancient period cannot be extensive. In this case there are, however, more than one hundred and fifty specimens, and these present a study so attractive and so intense that it is almost impossible to imagine what classic poetry would be without it.
Nos. 4, 5, and 6, are silver coins of Ægina, which have on the obverse, for a device, the tortoise, emblematic of the security of the island amid the waves, and the protection of the gods of the sea. On the reverse are the marks of the punches only, probably denoting the value of the coins. These are claimed to belong to an era seven hundred years before Christ. No. 28 is a silver coin of Athens, with a head of Minerva splendidly drawn upon the obverse, while the reverse presents a large owl, the bird sacred to the goddess of Wisdom. The devices upon this coin indicate its age to be from twenty-one to twenty-three centuries. The Greek proverb of “taking owls to Athens” referred to this coin, which was necessarily of great importance to the tradespeople of that city.
Family Coins.
These comprise about one hundred and seventy-five, of which one hundred and twenty-six are in the collection. They were struck to record the heroic deeds which first introduced any notable ancestor to fame, and hence are to-day family charts of respectability for many of the patricians of Rome, albeit some of them have plebeian roots. Be that as it may, they are as much the trusted patents of aristocracy as is the “Book of the Peerage” of England. Here are found the same distinctions between patrician and plebeian which mark all countries, the patricians being always designated by a symbol of warfare, while the plebeians were indicated by the tools and instruments of common trade. The more noticeable of the coins are as follows: No. 16, Acilia; the reverse a female leaning against a pillar, with a serpent clutched in her right hand, indicating the wisdom or courage of some ancestor. No. 20, Æmilia; on the obverse of this curious coin is a figure kneeling by the side of a camel, presenting an olive branch, from which depends a fillet or ancient diadem; on the reverse, a figure guiding a triumphal chariot, a scorpion in the field. Josephus tells us of an invasion of Arabia, and that Aretus, the king of the country, purchased peace of the Romans for five hundred talents. The diadem hanging from the olive branch chronicles the entire humiliation of Aretus, and the scorpion doubtless indicates the month of the Roman triumph. No. 30, Aquillia, a small silver coin; the reverse shows a woman kneeling before a soldier. The motto below the figures (or in the exergue of the coin, as is the art term) is “Sicil.” This commemorates the suppression of a revolt of slaves in Sicily, which was achieved by Manlius Aquillia. No. 41, Calpurnia, the family of Cæsar’s noble wife; reverse, a horseman riding at full speed, a head of wheat above him; legend, L. Piso-Trugi. The coin recalls the fact that in the year 507 B.C. there was a famine in Rome, and Calpurnius Piso was dispatched to Africa to buy corn. This seemingly small service is magnified upon a large number of coins. Nos. 95 and 96, Hostilia, a coin with a sacrifice to Pallor and Pavor (fear and trembling), offered by Tullus Hostilius in some great emergency. No. 97, Julia; obverse, a helmeted head; legend, Cæsar; reverse, a warrior in a chariot drawn by two horses.
No. 98, Junia; obverse, head of Liberty; reverse, Junius Brutus guarded by lictors, and preceded by a herald, showing that an ancestor of Junius Brutus was the first consul of Rome. Nos. 181, 182, Tituria. The reverse shows two soldiers throwing their shields upon a prostrate female, illustrating the famous story of the “Tarpeian Rock.” Reverse represents the Romans carrying off Sabine women—a witness in coin of the fact that the family of Tituria trace their ancestry from the Sabines. To do justice to this case is impossible, for here are coins relating to the ancestors of Antonia, Aurelia, Cornelia, Fulvia, Horatio, Lucretia, Lucilla, Sempronia, Titia Valeria, and many others familiar to the readers of history.