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Image search results - "Epidaurus"
Intaglio.jpg
Asclepius IntaglioMale figure Asclepius? holding two snakes.

Asclepius was the god of healing though he, like Heracles, was born as a mortal. Athena gave Asclepius two types of blood to help with his healing work, both from the gorgon, Medusa. One took life quickly but the other restored life. When Asclepius used this life restoring blood he encroached on the preserve of the gods and Zeus struck him down with a thunderbolt. One of the most famous centres for Asclepius worship was at Epidaurus on the Peloponnese. Snakes were sacred to the god and when the Romans embraced him as one of theirs his cult was supposedly taken to Rome in the body of a snake. He was preserved in the heavens as the constellation Ophiuchus, the serpent holder. The Romanised version of his name is Aesculapius.

0.34g

Greek or more likely Roman Provincial

Ex-Time Machine

Sold Forum Auctions December 2017
2 commentsJay GT4
14094787.jpg
Greece, Epidaurus - theatre1 commentsJ. B.
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Greece, Mycenian bridgebetween Nafplio and EpidaurusJ. B.
Argolis_Epidauros_Hemidrachm~0.jpg
GREEK, Argolis, Epidauros ca. 290/80-260 BC, AR Hemidrachm - HGC 5, 722Laureate head of Asklepios left. / EΠ monogram within wreath.
Requier Monnayage, Series 2 [1], 137 (D4/R5; this coin); BCD Peloponnesos 1234 (same dies); SNG Copenhagen 116 (same dies); HGC 5, 722 (R1).
(14 mm, 2.50 g, 9h)
CNG; ex-BCD Collection; ex-1979/80 Epidaurus Hoard (CH VII, 69)
3 comments
coins126.JPG
Severus Alexander Salus

Hygieia (Roman equivalent: Salus) was a daughter of Asclepius. She was the goddess of health, cleanliness and sanitation (and later: the moon), and played an important part in her father's cult (see also: asklepieion). While her father was more directly associated with healing, she was associated with the prevention of sickness and the continuation of good health.

Though Hygieia had been the subject of a local cult since at least the 7th century BC, she did not begin to spread out until the Oracle at Delphi recognized her, and after the devastating Athens plague in 429 and 427 BC and in Rome in 293 BC. Her primary temples were in Epidaurus, Corinth, Cos and Pergamon.

Pausanias remarked that, at the asclepieion of Titane in Sicyon (founded by Alexanor, Asclepius' grandson), statues of Hygieia were covered by women's hair and pieces of Babylonian clothes. According to inscriptions, the same sacrifices were offered at Paros.

Ariphron, a Sicyonian artist from the 4th century BC wrote a well-known hymn celebrating her. Statues of Hygieia were created by Scopas, Bryaxis and Timotheus, among others.

She was often depicted as a young woman feeding a large snake that was wrapped around her body. Sometimes the snake would be drinking from a jar that she carried. These attributes were later adopted by the Gallo-Roman healing goddess, Sirona.

Severus Alexander Denarius, RIC 14, RSC 218, BMC 33
222 AD. IMP C M AVR SEV ALEXAND AVG, laureate, draped & cuirassed bust right /P M TR P COS P P, Salus seated left, feeding snake arising from altar.

Base metal.
ecoli
Spain- Taragona- Amphitheatre.jpg
Spain- Taragona- AmphitheatreThis conventional seating may be observed at the amphitheatre at Tarragona in northern Spain. Tarraco, its Latin name, was the capital of the province of Hispania Tarraconensis. The seating is essentially the same as that found in Rome’s Colosseum. The amphitheatre’s construction is dated to the second century AD, a time of extensive building of centres of public entertainment throughout the Mediterranean. On the right side, the seating was hewn from the bedrock, while on the left, or seaward side, the seating was built up from blocks, a phenomenon also found at Syracuse in Sicily.

However, in a recent visit to Pompeii some interesting divergence from the norm is easily to be observed, for which no reason appears to have been voiced. The town of Pompeii, destroyed in the eruption of Mt. Vesuvius in AD 79, had a population in excess of 10,000, and was clearly a place of sufficient wealth to

sport not only an amphitheatre seating 20,000, but also a traditional Greek theatre and a smaller building called the Odeon. The "large" theatre, as it is now called, can seat an audience of 5,000, the "small" theatre, which was roofed, had accommodation for 500. Seating was according to rank, it is supposed, two side boxes (rather like the royal boxes of later theatres) for honoured guests, an inner cavea for the decurions or magistrates of the town, the middle rows for the more wealthy members of the community, the upper tiers for the ordinary citizens. If one looks closely it is clearly noticeable that this inner cavea consists of the first four or five rows of benches.

It is clear that, unlike the earlier form of the Greek theatres, the front rows are considerably wider than those higher up in the auditorium. The size of the seating is far beyond the dimensions of even a large and well-endowed personage, extending inwards for a good metre or more. The reasons for the additional size are unclear, because the larger width does not make these benches any more comfortable for the sitter, if anything they provide less support than the more narrow benches above. Presumably, the spectators brought cushions with them for lengthy performances in much the same way as fans for rugby or cricket matches do today. One solution may be that the wider seating allowed the dignatory to relax by reclining as if at dinner though this can hardly have been a posture acceptable for a quasi-religious festival nor one which would have endeared these wealthy members of the community to their less well-endowed fellows higher up, even if conspicuous consumption was the order of the day, particularly during the Roman empire.

In the "large" theatre the first four rows, in the "small" theatre and in the amphitheatre the first five rows stand out from the rest and, in fact, have their special place denoted by a partition. In some of the theatres in Greece, the officials judging the competitions, which were part and parcel of the festivals, and high ranking citizens might occupy a special bench, or the first row of the auditorium, but the broad nature of the bench at Pompeii appears unique. Pompeii began as a Oscan settlement in the 8th century BC and was heavily Hellenised by the 6th century. Thereafter, Pompeii had a fairly chequered history, being conquered and lost by the Etruscans and Samnites, before becoming a Roman colony in 80 BC. The Samnites of the central hills and the more local Oscan speakers, an Italic dialect which survived down to the period of the empire, remained culturally and linguistically influential, and it is possible that the Greek practice of uniformity in seating was altered by these Italic tribes who, at times, controlled Pompeii. On the other hand, there could be direct Roman or even Etruscan influence, though this formalised partitioning of seating is not seen in any of the archeaological sites in Rome or in nearby Campania, for example at Puteoli or at Capua. Finally, as for what purpose the large widths were intended, without clear evidence, and certainly with no ancient mention, means that speculation takes over. It could be that wooden seats rather like thrones were brought in, even sedan chairs for the high and mighty of the town, though it is worth bearing in mind that high-backed chairs easily obscured the views of those scarcely less wealthy immediately behind. The Roman males, it will be remembered, tended to lounge on low couches when they ate, rather than sitting in upright seats, which became popular only in the later Byzantine period. It also seems likely that, given the amount of space, it was not just the men who were seated here but entire families - perhaps picnic baskets as well. Refreshments were provided during performances, but the wealthy possibly brought their own equivalents of the modern cool bags and six-packs. The illustrations of the three places of entertainment at Pompeii do not appear to suggest that these special seating are the product of modern reconstructions, some of which have proved disastrous to ancient sites; and, therefore, there seems to be no alternative to accepting at least the idea that preferential seating was the order of the day in this rather provincial town on the Bay of Naples. Etruscan tombs often show their owners in a reclining position as if at a meal, and other forms of entertainment also feature which, overall, might suggest an influence here from north of the River Tiber.

Having dwelt at length, as it were, with the bottoms and the bottom-most seats of the ancient theatres and amphitheatres I now want to move on to the general ambience of the structure. The Roman amphitheatre or hippodrome were dirty smelly places where, by the end of the day’s proceedings, the stench from the dead and dying must have made an abatoir a sweet-smelling location. It is recorded that sprinkler systems were used in the Colosseum to spray the audience and the arena floor with scented water to alleviate the foulness of the atmosphere. By way of contrast, the Greek theatre must have been a place of peace and serenity, except for sore buttocks and aching backs.

Many commentators of the ancient theatre have sadly noted that the early pristine form, as found today at Epidaurus and Segesta, generally underwent alterations during the Roman period. It is noted that the slightly more than a semi-circular design was largely filled in during later antiquity by the Roman scena; and today many examples of the traditional Greek theatres sport Roman brickwork at the front which reached the same height, in some cases, as the uppermost tier of the cavea or auditorium. This height also allowed for a velabrum or canvass cover to be used to provide shade or shelter from the elements. At Taormina, ancient Tauromenium, for example:

"The brick scenic wall was preceded by a row of nine granite columns crowned by Corinthian capitals, which had both a decorative and bearing function, in that they supported the higher parts of the stage. The niches in the wall contained marble statues. On the sides, there are remains of the ‘parascenia’, square rooms used by actors and for scenic fittings. The actors entered the stage through side openings. A further row of sixteen columns closer to the orchestra framed the decorative front of the stage."

This is quite a departure from the earlier simplicity of the Greek theatre. However, it is certainly arguable that Baroque is not necessarily less pleasing than Romanesque even if blocking out the natural view also took the theatre out of its topographical or geographical context. For the purists among us, more sacrilege occurred, for instance, again at Taormina, where the first nine rows of the seating were removed making the orchestra large enough for gladiatorial combats and beast hunts, while at the same time allowing the audience safety high above the blood sports taking place below them. Of course, the construction of a front wall can easily be accounted for by the changing tastes in the entertainment itself, while the local audience presumably knew the view pretty well, and did not come to the theatre to gaze at Mount Etna. Furthermore, Taormina, high up on a hill overlooking the sea, had no extra space on which to build a new amphitheatre, more regularly the venue for gladiatorial combats. And it is also quite possible that there were simply insufficient funds. Taormina was neither a large nor a wealthy city.

Meanwhile, at Delphi the scena was "low so that the audience could enjoy the wonderful view", says one expert. Nonetheless, while the modern tourist may find the view as gratifying if not more so than the ruined theatre, the ancient audience came too see and hear the performances in honour of the Pythian Apollo. The ancient Greeks did not come for the view, they came for theatrical, religious even mystic experience. It is the modern philistine in us who enjoys the view. That being the case, the construction of the ancient theatre had little to do with searching for a site with a nice aspect, though these obviously exist, even in abundance, but for acoustic perfection and adequate accommodation. Finally, the best seats were closest to the stage and its proceedings, while the worst seats, for looking at the productions, had the best views. Does this mean that the most wealthy, with the largest bottoms, were obliged to watch the entertainment with no chance of letting the mind wander to the natural surroundings? Or does it mean that the women, slaves and poorest citizens, who sat high above the productions, probably could not hear or see what was going on hence took in the nice view instead. Therein lies the morality tale embedded in the title of this paper. If you had the means you were forced to take in the culture. If you were female or poor you could let your mind wander to other matters, including wonderful views of nature.
Peter Wissing
AsclepiosAE16SNGBNParis1828.jpg
[2470] Asclepios AE16, Pergamon (Mysia), 133 BC - Imperial Times. Mysia, Pergamon. 133 BC - Imperial Times. SNG BN Paris 1828. AE 16mm (3.76 gm). Very fine. Obverse: head Asclepios right. Reverse: [A]ΣKΛHΠIO[Y] - [ΣΩ]THP[OΣ], Serpent curled around scepter of Asclepios. Ex Tom Vossen.

Asclepius
by Ron Leadbetter

Asclepius was a Greek hero who later become the Greek god of medicine and healing. The son of Apollo and Coronis, Asclepius had five daughters, Aceso, Iaso, Panacea, Aglaea and Hygieia. He was worshipped throughout the Greek world but his most famous sanctuary was located in Epidaurus which is situated in the northeastern Peloponnese. The main attribute of Asclepius is a physician's staff with an Asclepian snake wrapped around it; this is how he was distinguished in the art of healing, and his attribute still survives to this day as the symbol of the modern medical profession. The cock was also sacred to Asclepius and was the bird they sacrificed as his altar.

The mother of Asclepius, Coronis, was a mortal, the daughter of Phlegyas, a king of Thessaly. Coronis was unfaithful to Apollo, and Artemis, Apollo's twin sister, killed her for her unfaithfulness. Coronis was placed upon a funeral pyre. (One version says that Apollo cast her into the fires of his own anger.) As her body started to burn, Apollo felt sorrow for his unborn son and snatched the child Asclepius from his mother's corpse, saving him from death. Apollo then handed Asclepius to the Centaur Chiron who became his tutor and mentor.

Chiron taught Asclepius the art of healing. According to Pindar (Pythian Odes), Asclepius also acquired the knowledge of surgery, the use of drugs, love potions and incantations, and according to Apollodorus (the Library), Athena gave Asclepius a magic potion made from the blood of the Gorgon. Legend tells that the blood of the Gorgon has a different effect depending from which side the blood was taken. If taken from the right side of the Gorgon, it has a miraculous effect and is said to be able to bring the dead back to life, but taken from the left side it is a deadly poison.

With these gifts Asclepius exceeded the fringes of human knowledge. However, he offended the great god Zeus by accepting money in exchange for raising the dead. (In one version it was the goddess Artemis who implored Asclepius to resurrect Hippolytus, a favourite of hers.) In the eyes of Zeus, Asclepius' action upset the natural order of the universe - a mere mortal helping man evade death. With one swift action, the great Zeus sent down a thunderbolt killing both men. (In some versions Zeus only killed Asclepius.)
Realising the good Asclepius had brought to man, the great Zeus made him into a god, placing him among the stars, transforming Asclepius into the constellation Ophiuchus (the serpent-bearer). The snake was used in the healing ritual; non-poisonous snakes were left in the dormitory where the sick slept overnight on the bare ground.

The cult of Asclepius became very popular during the 300s BCE and the cult centres (known as an Asclepieion) were used by priests to cure the sick. Invalids also came to the shrines of Asclepius to find cures for their ailments (in the same fashion pilgrims visit Lourdes today.) The process of healing was known as incubation. The patient would spend the night in a dormitory. During the night they would supposedly be visited by the god in a dream. Priests would interpret the dreams and then recommend a remedy or give advice on how they could be cured with perhaps a recommended visit to the baths and gymnasiums. There were many centres and schools of medicine, from Trikkis in Thessaly to the island of Cos. It is believed that Hippocrates, a great doctor of antiquity, plied his trade on the island of Cos. It is also said that Hippocrates was a descendant of Asclepius.

The Romans adopted the cult of Asclepius, but changed his name to Latin; they called him Aesculapius.

"Asclepius." Encyclopedia Mythica. 2008. Encyclopedia Mythica Online.
10 Apr. 2008 .

The Asklepion of Pergamon dates from the 4th century BC. This therapeutic center was of the same type as the one in Kos- a large health center. Most of the remains today of this center belong to the changes that were carried out by Emperor Hadrian.

Edited by J. P. Fitzgerald, Jr.




Cleisthenes
   
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