Numism > Reading For the Advanced Ancient Coin Collector
Coins of mythological interest
SC:
Maybe we can all lobby for an English version......
SC
Virgil H:
I agree on English version especially since the two German copies I found for sale would require me to mortgage my home. Seriously, I would be willing to help with layout, etc. I have done this for a couple books in the past. A book like this would be of interest beyond coin collectors. Anyway, just thinking aloud.
Virgil
Jochen:
The Roman Concordia
After the article on Homonoia, now the article on its counterpart, the Roman Concordia.
Concordia is an ancient Roman concept of virtue, like Fides, Spes, Iustitia, Pax or Libertas, which was personified by the Romans. Originally, these deities were not worshipped in images or statues. The Romans first adopted the idea of gods in human form from the Greeks and Etruscans.
Concordia is the personification of concord and thus corresponds to the Greek Homonoia. She promotes and maintains the harmony and unity of the Roman citizens. Unlike the Greek Homonoia, however, the Roman Concordia always has a close connection to the Res publica.
The first temple (Aedes) is said to have been erected in 367 BC by M. Furius Camillus at the clivus Capitolinus and to symbolise the end of the class struggles between patricians and plebeians. The reconciliation was completed in 367 BC with the laws of Gaius Licinius Stolo and Lucius Sextus Lateranus, the so-called Licinian laws (leges Liciniae Sextiae). They established the broad political equality of both estates. Camillus had recognised the need for unification and contributed decisively to these laws.
Camillus, the first historically comprehensible figure in Roman history, was the most important personality in 4th century Rome. Because of his successes against Veji, the Faliscans and the Gauls, he was considered the "second founder of Rome". However, many things were attributed to him that were not historically true. Some of this was already doubted in antiquity (Livius). It is certain that he organised the Roman army in such a way that Rome was able to achieve supremacy in central Italy. But the construction of the 1st Temple of Concordia unfortunately belongs to the unproven narratives. Structural remains from this phase have not been preserved.
A second temple was vowed by Praetor L. Manlius Vulso in 218 BC during a mutiny of the army in the war against the Boians, built in arce (the castle) after the rebellion was settled and consecrated on 5.2.216 (Livius).
After the bloody persecution of the Gracchi, which ended with their murder, a temple of Concordia was built by L. Opimius near the sanctuary donated by Camillus. This temple building is often called a renewal of the temple of Camillus. But according to the sources it can only be a new temple.
It was richly furnished with numerous art treasures and the Senate met here at times. Cicero delivered his 4th speech against Catilina here.
The feast of Concordia was celebrated on 16 January. This was considered the foundation day of the 1st temple. Today, nothing remains of this temple except the podium. Even the podium is partly hidden under a staircase leading up to the Capitol (photo attached).
All these temples stood near the place where Romulus and Titus Tatius joined forces when the Romans and Sabines allied. A Republican denarius of L. Mussidius Longus from 42 BC shows the shrine of Venus Cloacina (from Latin cluere = to purify). The cult of Cloacina played an important role in the reconciliation of the Sabines with the Romans. On the obverse the Concordia is depicted still veiled. Thus the political Concordia appears here as a secondary form of that covenant goddess, who for her part is nothing other than a form of Venus (Roscher). (Pic attached)
Later, the usually veiled Concordia joins the Venus Victrix. A denarius of L. Vinicius (Vinicia 1a), ca. 54 BC, with Venus Victrix on the reverse, shows her already wearing a laurel wreath. (Pic attaxched. The image comes from wildwinds.com)
It is reported that in 164 BC the Censor Q. Marcius had a statue of Concordia erected in public. This was brought to the Curia in 154 by the Censor C. Cassius. But when he wanted to dedicate the Curia to Concordia at the same time, the Pontifices prevented the dedication.
After Iulius Caesar's victory over Pompeius, the Senate 44 vowed a temple to the Concordia Nova. Whether this temple was actually realised is uncertain.
In imperial times, the cult of Concordia was one of the most prestigious of all. Augustus erected an altar in 9 BC, on which sacrifices were made to Ianus, Salus, Concordia and Pax on 30 March. Livia dedicated a shrine to Concordia in the porticus Livia 7 BC on 11 June in honour of her marriage to Augustus (Ovid). Tiberius vowed in the same year to renew the sanctuary founded by Camillus and consecrated it on 16 Jan. 12 AD on the occasion of his triumph over the Pannonians and Dalmatians, but as a temple to Concordia Augusta. The image of the goddess in this temple wore a laurel wreath. Still in later times, the Senate restored the temple
After the discovery of the conspiracy of M. Libo in 16 AD, Concordia also received rich gifts along with other gods.
Concordia is mainly the patron goddess of imperial marriage and the imperial house in the imperial period. The connection of two cornucopias in the arm of the goddess seems to refer to the union of the two members of the imperial house and the blessing of children resulting from the marriage (Roscher). Especially in the arm of Concordia, the double cornucopiae has become a standing symbol. The hope placed in marriage is expressed by a statue of Spes accompanying Concordia, on which she sometimes places her left arm. (Pic of Sabina, RIC III, (Hadrian) 398 attached)
The emperors especially often praise the Concordia exercitum and the Concordia militum on the coins, this extraordinarily often on coins of the later imperial period. This was a time when emperors depended on the goodwill of their soldiers. Their fate depended on their armies. These deposed emperors and raised others to their shields. So this was more a wish than a description of facts. It is not for nothing that these legends are found particularly frequently among the soldier-emperors.
The standard depiction was Concordia Militum with a field sign in each hand. This is an Antoninian of Probus (276-282), RIC V/2, 480 (attached).
The next coin was minted by Aureolus under Emperor Postumus. Aureolus was dux equitum under Valerian, later attacked Postumus and took the imperial dignity himself in 268 AD. The legend Concordia Equitum says nothing other than that he was dependent on his cavalry and hoped for a good relationship with them. Significantly, Fortuna on the reverse was also supposed to be favourably disposed towards him. At the end of this year he was killed by his own praetorian guard. Aureolus under Postumus, RIC V/2, 373 (Pic attched)
According to a conjecture by Hübner, the expression Concordia Augusti expresses the concord of the emperor with the people. In the following solidus of Honorius with the legend Concordia Avggg, however, the promise or the wish for harmony among the emperors resonates. This was not self-evident even among brothers, as we know from the time of Constantine. I have attached the pic of Honorius, RIC X, (Arcadius 24)
Outside Rome, Concordia was mainly used in Spain, Africa and Gallia cisalpina (Pauly).
Because I can't add the pictures to the text I have attached the following pictures:
(1) Remains of the Temple of Concord. The three columns on the left belong to the Temple of Vespasian. Of the Temple of Concordia, only the podium remains on the left behind these columns
(2) The republican denarius Mussidia 6b
(3) The republican denarius Vinicia 1a
(4) Aquilia Severa, RIC IV/2, 226
(5) Sabina, RIC III, (Hadrian) 398
(6) Probus, RIC V/2, 480
(7) Aureolus under Postumus, RIC V/2, 373
(8) Honorius, RIC X, (Arcadius) 24
Sources:
(1) Plutarch
(2) Sallust, Historiae
(3) Livius, Ab urbe condita
(4) Sueton, Kaiserviten
(5) Cassius Dio, Römische Geschichte
(6) Ovid, Fasti
Literature:
(1) Benjamin Hederich, Gründliches mythologisches Lexikon, 1770
(2) Wilhelm Heinrich Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie
(3) Der Kleine Pauly
(4) Wikipedia
Best regards
Jochen
Jochen:
The peacock in antiquity
The peacock was an attribute of Hera in antiquity.
1st coin:
Moesia inferior, Nicopolis ad Istrum, Septimius Severus, AD 193-211.
AE 27, 11.61g, 26.69mm, 210°
struck under governor Aurelius Gallus
Obv.: AV.K.L.CEP. - CEVHROC - P
Laureate head r.
Rev.: VP.AVR.GALLOV.NIKOPOLITWN / .PROC I.
Hera , in long, girded double chiton, veiled, standing frontal, head l., resting with raised left
hand on long sceptre and holding patera in outstretched right hand; peacock standing l. at
her feet.
Ref.: a) not in AMNG
b) not in Varbanov
c) Hristova-Hoeft-Jekov (2021) No. 8.14.3.19 (this coin)
rare, EF, dark green patina
The reverse was also struck for Caracalla. An example of parallel coinage for members of the imperial family,
Most spectacular is when Hera rides in a peacock biga, as here on a coin of Antoninus Pius from Kos: Image from Kunsthistorisches Museum Vienna
Etymology:
In West Germanic the name is attested in Old-High-German as phao (9th century), Middle-High-German as phawe, pha, in Early Germanin as pfaw(e), phow(e), New-High-German Pfae, Pfauw (until the 17th century). In Old-Saxon pao, Middle-Low-German as pawe, pauwe, as in English pawa, pea, English (older) pea (today folk-etymological peacock). These are all borrowed from Latin pavo, pavonis, which comes from an unknown, probably oriental language.
Mythology:
The peacock leads us to the mythology of Argos. Argos (from Greek "argos = the shimmering one") was a huge monster with 100 or more eyes all over his body (or around his head) so that he could see in all directions. That is why he was also called Panoptes (Greek = all-seer). Of the eyes, only one pair slept at a time, while the others were awake.
One myth tells that he was the son of Inachos, the first king of Argos and progenitor of the kings of Argolis, and of unusual strength. Thus he once slew an un-beastly ox that ravaged Arcadia. Afterwards he wore its hide as clothing. He also executed a satyr who plagued Arcadia. He even surprised Echidna, the daughter of Tartaros and Gaia, a terrible serpent and mother of many monsters, such as the hellhound Kerberos, the Hydra, the Chimaira, the Sphinx and the Nemean Lion, in her sleep and killed her. He should therefore know that sleep could be dangerous!
Argos had a son named Iasos, who became king of Argos.
It happened that Zeus fell in love with Io, a priestess of Hera, and seduced her. When his jealous wife Hera discovered this, Zeus turned Io into a white cow. But Hera saw through this and demanded the cow as a gift, which Zeus dared not refuse her. And she commissioned Argos to guard the cow. He tied her to an olive tree in the Mycenaean forests. When he drove her to pasture during the day, he sat on a high mountain to keep an eye on her.
Zeus, however, could not forget Io. He gave Hermes the order to kidnap the cow, even by force. Hermes went to Argos in the guise of a shepherd and played so sweetly for him on the pan flute that he made him sit down beside him. Through the conversation and the flute playing he finally put Argos to sleep. He then cut off his head and threw it down the rock. Since then Hermes has been nicknamed Argiphontes, the Argos slayer. Io, however, was able to escape. Afterwards, Hera sent her a gadfly that drove her around the world. But that is another story.
To honour her faithful servant Argos and to commemorate his treacherous murder, Hera planted his hundred eyes in the plumage of the peacock, her favourite animal.
The peacock is also in the starry sky. But it did not receive this honour in antiquity; for the constellation of the peacock lies so far south that it cannot be seen from the Mediterranean. It is one of the constellations introduced at the end of the 16th century by the Dutch navigators Pieter Dirkszoon Keyser and Frederick de Houtman. Johann Bayer adopted it in his celestial atlas Uranometria, published in 1603.
In Homer's Odyssey, Argos is also the name of Odysseus' hunting dog, who waited 20 years for his master to return. When Odysseus returns home, he is too weak to rise from the dung heap on which he is lying. He just wags his tail and dies. Whether this dog was named after the giant because of his vigilance is not clear.
The peacock in Aesop:
In the fables of Aesop (6th century BC, a rather legendary figure) the peacock is mentioned a few times. In the fable of the peacock and the jackdaw, the peacock boasted about the shine and colour of its feathers. The jackdaw admitted all this, but noticed that all this beauty was not good for the main thing, flying, and flew away. At that time, the peacock was already a symbol of ostentation and vanity.
In the 25th fable, the peacock complains to Juno that he cannot sing as beautifully as the nightingale and is ridiculed because of his voice. Juno replies that all animals have a special gift. His was the beautiful plumage. And he must be content with that, for that is what the gods have given him.
The peacock in religion:
Hera was the patron goddess of marriage. If a wheel-beating peacock is depicted on this coin, then Hera is meant. And just as the emperor with the eagle on the coins wants to show his connection to Zeus, so here the empress's connection to Hera is meant.
The peacock played an important role as a symbol of Hera in the consecratio of the empress. While emperors entered the world of the gods after their death through the eagle of Zeus (or Zeus himself), empresses (or their souls) were elevated to the gods at the apotheosis through the peacock of Hera. The apotheosis was usually approved in a kind of senate resolution.
2nd coin:
Mariniana, wife of Valerian I, died before AD 253
AR - Antoninian, 3.49g, 20mm
Rome 254
Obv.: DIVAE MARINIANAE
Veiled bust r., behind shoulders crescent moon
Rev.: CONSECRATIO
Peacock flying r., carrying seated figure of empress on back, r. hand raised, sceptre in left hand
Ref.: RIC V/1, 6, Pl. I, 12; C. 16
In Christianity, the beauty and splendour of the peacock was a symbol of the coming paradise (first in the Catacomb of Callist) and the joys of the afterlife. Augustine (de. civit. Dei 21, 4) wrote that the flesh of the peacock was incorruptible, thus making it a symbol of immortality. Since the peacock loses its feathers during the moulting season in late summer and regains them in the spring, it stands for resurrection and renewal. This is why we often find the peacock on ancient Christian tombs.
It thus resembles the phoenix, which is always reborn. The peacock symbolism also represented the "all-seeing" church and the holiness associated with it.
However, this idea changed in the Middle Ages, when the peacock became a symbol of arrogance and vanity because of its beauty and courtship behaviour.
History:
The peacock is already mentioned in the Old Testament. In 1 Kings 10:22 it says of King Solomon:
"The king had tarsis ships that sailed the sea together with the ships of Hiram. These came once in three years, bringing gold, silver, ivory, apes and peacocks."
So Solomon had peacocks, among other things, imported from other countries for his pleasure. It is not clear which place was meant by Tarsis, but it is usually identified with the Phoenician trading city of Tartessos in the Guadalquivir estuary in southern Spain. The name "Tarsis" is probably Iberian or "Tartessic". The Hebrew word for peacock "tukkiyyi" is very similar to "tokei", the native name for the peacock in Sri Lanka, which suggests that the peacocks came from their original homeland.
Probably in the 7th/6th century, the peacock reached Samos via Iraq and the Near East, where it was a sacred animal in the Heraion (Pauly). In the 5th century, peacocks were a precious rarity and were shown in Athens in the breeding yard of Pyrilampes and Demos at new moon for an entrance fee (Plutarch). The Romans, however, were not so scrupulous. For them, the peacock, introduced by Q. Hortensius, became the epitome of table luxury, surpassed only by peacock brains (Suetonius) and - next to nightingale tongues - by peacock tongues (HA, Heliogabal), the degenerate pinnacle of luxury. Here, it was not the taste but the difficulty of obtaining it that determined the value of a meal (Demandt).
Art history:
The story of Argos is not rarely depicted in art. I have chosen the following works:
(1) The oil painting "Juno and Argus" by Peter Paul Rubens (1577-1640), which was painted around 1611 and is now in the Wallraf-Richartz-Museum in Cologne. Juno sets the eyes of Argus in the tail feathers of the peacock.
(2) By Antonio Belluci (1654-1726) "Juno orders Argus to guard Io". I have chosen this picture because a dog is lying next to Argus, a clear allusion to Argos, the faithful dog of Odysseus.
I have added the pictures of
(1) Antonius Pius, Kos,
(1) Severus, Nicopolis ad Istrum, Hristova-Hoeft-Jekov 8.14.3.18
(2) Christian sarcophagus (detail)
Sources:
(1) The Old Testament
(2) Suetonius, Biographies of the Emperors
(3) Ovid, Metamorphoses
(4) Aesop, Fables
(5) Homer, Odyssey
(6) Apollodorus
(5) Herodotus, Histories
(8) Plutarch, Parallel Biographies
Literature:
(1) Wilhelm Heinrich Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie (Detailed Dictionary of Greek and Roman Mythology).
(2) Benjamin Hederich, Gründliches mythologisches Lexikon, 1770
(3) Seth William Stevenson, Dictionary of Roman Coins
(4) Alexander Demandt, The Private Lives of the Roman Emperors, 1997
(5) Hristova-Hoeft-Jekov, Nicopolis ad Istrum, Blagoevgrad 2021
(6) Der Kleine Pauly
Online sources:
(1) The Bible Dictionary
(2) The Warburg Institute Iconographic Database
(3) theoi.com
(4) Wikipedia
Best regards
Jochen
Jochen:
Bonus Eventus
From Nikopolis ad Istrum we know of a series of coins on which Apollo is depicted offering with a patera over an altar. In his lowered left hand he has a branch. This is a standard depiction and Pick (in AMNG) usually writes "Apollo (Bonus Evenus)". We have adopted this designation in Hristova-Hoeft-Jekov, The Coinage of Nicopolis ad Istrum, as well. While looking through my coins, paying attention to details, I stumbled upon the following coin:
1st coin:
Moesia inferior, Nicopolis ad Istrum, Elagabal , 218-222
AE 27, 13.16g, 27.27mm, 0°
struck under the governor Novius Rufus
Obv.: AVT M AVR - ANTWNINOC (NO ligate!)
Bust, draped and cuirassed, seen from front, laureate, r.
Rev.: VP NOBIOV ROVFOV.NIKOPOLITWN PROC ICTRON
Apollo (Bonus Eventus), nude, standing l., holding in his lowered left hand
branches of field crops and in right outstretched patera over burning altar
decorated with taenia.
Ref.: a) not in AMNG
b) not in Varbanov
c) Hristova-Hoeft-Jekov (2021) No. 8.26.7.10 corr.
(same dies, but ligate NO not mentioned)
scarce, about VF, dark green patina
On closer inspection Apollo is not holding a laurel branch as usual but a bouquet of field fruits. Among other things, a poppy head and 2 large ears of grain are visible. This is completely untypical for Apollo and speaks clearly for Bonus Eventus. Therefore, the depicted deity should correctly be called Bonus Eventus, at least "Bonus Eventus (Apollo?)". In this time, when syncretistic deities were common (see Aequitas/Nemesis etc.), it could also be an Apollo/Bonus Eventus.
The first image of Bonus Eventus is found on a Republican denarius of L. Scribonius Libo from 62 BC.
2nd coin:
L. Scribonius Libo, gens Scribonia
AR - Denarius, 3.83g, 19.62mm, 120°
Rome, 62 BC
Obv.: Head of Bonus Eventus, with broad taenia r.
in front BON.EVENT, behind LIBO
Rev.: Puteal of Scribonius, decorated with garlands and a lyre on left and right; on the
base a hammer.
above PVTEAL, below SCRIBON
Ref.: Crawford 416/1a; Sydenham 928; Scribonia 8a
The puteal was a well enclosure or the site of a lightning strike. This was sacred to Jupiter if the strike occurred during the day, the nocturnal strike to a deity Summanus. The hammer is probably an allusion to Vulcanus as the smith of lightning.
The Puteal Scribonianum stood on the Forum and had been consecrated in 204 BC (or 149 BC). L. Scribonius Libo had renovated it.
The Romans loved to personify each virtue as a deity, thus holding the basic idea that the virtues were not inventions of man but of higher origin. They were the imprint of a divine being in the human soul.
The name Bonus Eventus comes from Latin "evenire" = to come forth, where "evenire" and "eventus" were expressions for the happy emergence and flourishing of crops (Cato). He was a god of the Roman age of agriculture and originally purely agrarian. Varro lists him as one of the 12 gods who are the leaders of the farmers. Sometimes he was identified with Triptolemos. With the decline of the importance of agriculture, his significance expanded already in Republican times to the general conditions of life and he became the god of all happy success (Apuleius).
In imperial times, there was a temple to Bonus Eventus from an unknown time on the Campus Martius near the Baths of Agrippa (Ammian). There were also temples to him in the Roman provinces, for example at Mogontiacum, today's Mainz.
Pliny describes two famous statues to him on the Capitol, which would have shown a youth with a bowl, ears of grain and poppies in his hand. One is said to have been a marble statue of Praxiteles, which showed him together with Bona Fortuna. Adolf Furtwängler (1853-1907) concludes that it must have been Agathos Daimon. Winckelmann describes him "with a mirror in his right hand and a wreath of ears of corn in his left."
The other was a bronze statue of Euphranor. Both statues were probably Greek statues that had been renamed. The one of Euphranor was perhaps a Triptolemos.
Notes:
(1) Praxiteles (c. 390 BC - c. 320 BC) is considered one of the most important sculptors of Greek antiquity. He worked in the stylistic epoch of the Late Classical period. He overcame the sublime austerity of Phidias and from him came the youthful ideals of the gods that we all know and love.
(2) Euphranor was a Greek artist of the 4th century BC. Many works have been attributed to him, but only the incomplete statue of Apollo Patroos in Athens has survived. He was also a painter and wrote theoretical treatises on symmetry and colour theory.
3rd coin:
Septimius Severus, 193-211
AR - Denarius, 3.55g, 18.20mm
Emesa, 194-195
Obv.: IMP CAE L SEP SE - V PERT AVG COS II
Laureate head r.
Rev.: BONI - EVENTVS
Bonus Eventus in long girded double chiton, standing l., holding 2 ears of grain in his lowered left hand and a bowl of fruit in his outstretched right hand.
Ref.: RIC IV/1, (Emesa) 369; C. 68; BMCR 343 var. (different legend break)
Rare, VF
This coin had caused me problems because Bonus Eventus is depicted here as a female deity. But at that time it was not common for deities to change their gender as they wished, as is common today in the queer community. What is striking is that the deity is depicted as it is customary for Fides. We find this representation on coins of the Flavians and the adopted emperors. With the legend FIDES they are found on Commodus, Caracalla and even on Severus (here without the legend). And that the legend does not always designate the deity depicted can be seen on coins of Gallienus or Claudius Gothicus, on which despite the legend FIDES AVG Hermes is depicted. Thus the reverse on coin #3 also depicts Fides and not Bonus Eventus!
Fides means "trust, faithfulness, belief". She is depicted as a female figure with a bowl or basket of fruit in one hand and ears of grain in the other. Fides is a prerequisite of the Bonus Eventus. Without trust and faithfulness there can be no good fortune. Thus the two deities are closely linked.
Art History:
I found the image of a statuette of Bonus Eventus at Bertolami Fine Arts. At the 32nd auction (lot 58) a bronze statuette from the 1st-2nd century AD was sold. It depicts a naked youth with a chlamys over his left shoulder, standing on a pedestal and holding a patera. On his left hand he had ears of grain and poppy heads, which are no longer present. This statuette certainly came from a private Roman house.
Agathodaimon
Agathodaimon, from Greek ἀγαθός = "good, noble" and δαίμων = "demon, spirit" is often referred to as the Greek counterpart of the Roman Bonus Eventus. But this is not correct. Although he also protected agriculture and viticulture, he was more related to the Roman genii. Pausauias even counted his name only as an epithet of Zeus. He was popular in Greek folk religion. Thus it was customary at a symposion or banquet to drink or spill a few drops of unmixed wine in his honour. In Aristophanes' comedy "Peace" (421 BC), the god of war Polemos had imprisoned Eirene, the goddess of peace, in a cave. When Hermes came to help her, he said: ""Now, O Greeks, is the moment when, freed from strife and fighting, we should rescue sweet Eirene and pull her out of this pit.... This is the moment to empty a cup in honour of Agathos Daimon."
On the road from Megalopolis to Mainalos in Arcadia there was a temple to him (Pausanias).
Agathos Daimon was the companion of Tyche Agatha (Latin Fortuna Bona). "Tyche we know at Lebadeia as the wife of the Agathos Daimon, the Good or Rich Spirit".
In the syncretic period of late antiquity, he was associated with the Egyptian Agathodaimon. The latter was regarded as the patron god for a happy future and was worshipped in the form of a serpent. Thus one sometimes finds the name "Agathodaimon" in error in the description of the Glycon snake on northern Greek coins.
Around 1760, a headless marble statue of an Apollo (130-138 AD) was found in the Tiber River in Rome, which was completed with a head of Antinous found nearby. This statue was acquired by Giovanni Ludovico Bianconi in 1760. It was formerly exhibited in the Neues Palais in Potsdam and is now in the Altes Museum on the Museum Island in Berlin... From the snake coiling around the tree trunk, one can see the proximity to the Egyptian Agathodaimon.
I have added:
(1) A photo of he statue of Bonus Eventus of Bertolami Fine Arts
(2) A picture of the statue of Apollo with snake coiling around a tree stump.
Sources:
(1) Varro, De re rustica
(2) Pliny, Historia Naturae
(3) Cato, De agri cultura
(4) Apuleius, Metamorphoses
(5) Ammian, Res gestae
(6) Pausanias, Perigeisis
(7) Aeschylus, Eirene
Literature:
(1) Johann Joachim Winckelmann, History of the Art of Antiquity, 1764
(2) Benjamin Hederich, Gründliches mythologisches Lexíkon, Leipzig 1770
(3) Wilhelm Heinrich Roscher, Extensive Lexicon of Greek and Roman Mythology
(4) Seth W. Stevenson, Dictionary of Roman Coins
(5) The Kleiner Pauly
(6) Hristova-Hoeft-Jekov, The Coinage of Nicopolis (2021), Blagoevgrad
Best regards
Jochen
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