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Electrum Stater, Cyzicus, 500-450 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Cyzicus was a Greek city on the Sea of Marmara, in northwestern Türkiye. Cyzicus minted coins made of electrum (a gold-silver alloy) through the 4th century BCE, long after other places had switched to solid gold or silver in the 6th century. The obverse of this coin shows a Gorgon with snakes in her hair, as an emblem to ward off evil, and a tuna fish under her neck. The tuna fish was the symbol of the city Cyzicus, in part because there were large numbers of tuna in the nearby seas, and all of its coins feature a tuna. The reverse of Cyzicus’ coins was often stamped with a four-part incuse punch like this one.

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Silver Tetradrachm, Naxos, 461 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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The town of Naxos on Sicily chose to portray the god Dionysus on the obverse of its coins. This was a reference to the Greek island of Naxos, that shared a name with this city. On the island Naxos, the god Dionysus was said to have fallen in love with the Cretan princess Ariadne when Theseus brought her to the island after defeating the Minotaur. The artist who made this coin for the city of Naxos in Sicily emphasized the different qualities of the god’s hair and the sculpted modeling of his face. The reverse of the coin shows a naked seated satyr. He faces toward us but turns his head to look at his raised wine cup, a pose that shows off his muscled body and the skill of the artist. This coin is thought by modern experts to be one of the most spectacular examples of ancient Greek coin artistry.

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Silver Tetradrachm, Leontini, 460 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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The Sicilian city of Leontini was located in particularly fertile grain-growing territory. It portrayed its patron god Apollo on the obverse of its coin, here shown with a laurel wreath in his elaborate hair. The reverse is a visual reference to the city’s name: “Leon” is Greek for lion. The lion’s head here with its spectacular wrinkled muzzle thus refers to the city just like the inscription, “of Leontini.” The grains refer to the city’s agricultural wealth, and some experts suggest the leaf behind the lion’s head on this coin may be a reference to the artist’s name.

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(CUAM 2014.06.130)

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The island of Aegina was the first Greek city to mint silver coins in the mid-6th century BCE. At first they depicted sea turtles, perhaps as emblems of the city’s maritime success, the god Poseidon, or the goddess Aphrodite. In the mid-5th century BCE, the sea turtle was replaced by a tortoise, like this one, clearly showing the scutes of its shell. These coins were so recognizable that Aegina did not need to include an inscription naming their city on the coin. A carefully carved incuse square punch is on the reverse of this coin.

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(CUAM 2014.06.93)

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Athens was a powerful and influential cultural and military center in ancient Greece. The mines at nearby Laureion produced large quantities of exceptionally pure silver for the city. As a result, Athenian coinage was valued and circulated very widely around the ancient Mediterranean and as far away as Morocco, Serbia, southern Egypt, and Afghanistan. The imagery remained stable for centuries and guaranteed the coins’ silver content and weight. The obverse here portrays the head of the city’s patron goddess Athena. This coin has olive leaves on her helmet; the leaves are a reference to Athens’ victory over the Persians in 479 BCE. The reverse shows the goddess’ bird, an owl, and her gift to Athens, an olive sprig. The inscription (“Athe”) is an abbreviation for “of the Athenians,” naming the people of Athens as the issuing authority for the coins.

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Silver Tetradrachm, Athens, 449-404 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Athens was a powerful and influential cultural and military center in ancient Greece. The obverse of their coins portrays the head of the city’s patron goddess Athena. This coin has olive leaves on her helmet; the leaves are a reference to Athens’ victory over the Persians in 479 BCE. The reverse shows the goddess’ bird, an owl, and her gift to Athens, an olive sprig. The owl and olive branch on the reverse of this coin formed the inspiration for the reverse of the Panama-Pacific commemorative $50 coin that is included in this exhibit. On the 20^th-century coin, however, the owl is a Great Horned owl, and the branches are western North American pine trees.

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Silver Half Shekel, Sidon, 410-400 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Sidon was a powerful and important city on the east coast of the Mediterranean. This coin was made when it was part of the Persian Empire. The obverse portrays the fortification wall of the city, indicated by four towers, with a battleship in front of it and two lions below. The reverse shows the Persian king, wearing a crown and court robe. The king holds a lion by its mane and is about to stab it with the short Persian sword, the akinakes, held in his right hand. The lion stands on its hind legs and splays its forepaws. These motifs are very common on Persian sculptures and sealstones and represent royal power. The coin connects the power of Sidon with the power of the Persian king.

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Silver Tetradrachm, Catane, 405-403/2 BCE�� (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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This magnificent coin of Catane, in Sicily, shows the head of the god Apollo in three-quarter view, with his hair flowing all around his head and the irises and pupils of his eyes clearly portrayed. Although the inscription at the right is hard to see on this coin, other examples show it was signed by the artist Herakleidas. The reverse shows a charioteer shaking the reins of his horses to urge them to move faster. The goddess of victory, Nike, crowns the charioteer. Chariot victories were a particularly common image on Sicilian coins after Dionysius the Elder, tyrant of Syracuse, defeated the Carthaginians in 405 BCE. The city of Catane was conquered in 403/2 by Dionysius, who enslaved its entire population, so this coin was made before then.

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Silver Tetradrachm, Syracuse, 405-400 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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The coins of Syracuse are highly valued in modern times for their beauty. Many of them show a chariot race on the obverse, with the victorious charioteer being crowned by the goddess Nike. The reverse shows the head of the city’s patron goddess, a water nymph named Arethusa. Coins showing chariot victories were a particularly common image on Sicilian coins of 405 BCE, after Dionysius the Elder, tyrant of Syracuse, defeated the Carthaginians. This coin includes a rare portrayal of a chariot wreck, indicated by the broken rein under the leading horses’ hooves and the chariot wheel under the hind legs of the others. The nymph Arethusa on this coin wears an elaborately embroidered hair net. The dolphins swimming around her refer to a peculiarity of her myth: she was said to have journeyed under the sea from Greece to Syracuse, where she re-emerged as fresh water. The tiny backwards “K” behind her head may be the signature of a famous artist named Kimon.

Silver Tetradrachm, Ephesus, 387-295 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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The city of Ephesus was a major and powerful cult center for the goddess Artemis, and it was home to one of the largest temples in the entire Greek world. At Ephesus, the priestesses of the goddess were known as “melissae,” meaning “honeybees” in Greek. The bee on the obverse of this coin is a reference to the cult of Artemis; the inscription “Eph” is an abbreviation of the city’s name. The reverse of the coin portrays the forepart of a stag, an animal sacred to Artemis. The name, “Artemon,” is written to the right of the stag and is that of a magistrate who issued the coin, rather than the goddess herself. This coin was made when Ephesus was part of the enormous Persian Empire, which is indicated by the date palm behind the stag – a symbol referring to the Persian Great King. The coin thus offers imagery and text referring to no fewer than five different authorities: a priestess, a city, a goddess, a magistrate, and a king.

Silver Shekel, Byblos, 365-360 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Byblos was an important city on the eastern coast of the Mediterranean. This coin was made when it was part of the Persian Empire and proclaims many powerful identities at once. The obverse shows a Greek-style ship with warriors in Greek armor in the upper part of the image. In the lower part, there is a winged hippocamp, or horse-fish, swimming above a murex shell. Murex shells were used to make purple dye and were a source of local wealth. The�� of the hippocamp and the follow Persian portrayals, rather than Greek. The reverse shows a lion and bull, referring to the Persian king and the�� (in southwestern Iran). The Aramaic inscription names a local ruler, Ozbal, while “Gebel” refers to the local territory.��

(CUAM 2014.06.206, Donated by Dean Fred B. R. Hellems in 1930)

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The Persian governor of Tarsus (near the southeastern coast of Türkiye), Mazdaios, minted this coin during the last decades of the Persian Empire. The obverse portrays the powerful and important god, Baal (or Zeus) of Tarsus, seated with a scepter and an eagle. The inscription names the god in Aramaic. The reverse shows a lion attacking a bull. This was a scene associated with the Persian king and his royal capital at Persepolis (in southwestern Iran). The inscription names Mazdaios in Aramaic. Mazdaios used this coin to connect local divine power with royal power as well as his own authority.

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(CUAM 2014.06.43)

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Larissa was a city in northern Greece that was famous for its horses. The horse on the reverse of this coin demonstrates the humor that could be shown in the portrayal of Larissa’s horses. At first the animal looks like it is grazing, but a closer look at its legs show it is getting ready to roll. The patron goddess of the city, a water nymph named Larissa, is shown on the obverse. The city Larissa stopped minting coins after it was conquered in 342 BCE by Philip II, king of Macedon and father of Alexander the Great.

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Silver Didrachm, Larissa, 350-340 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Larissa was a city in northern Greece that was famous for its horses. The prancing horse on the reverse of this coin shows how spirited and fine these steeds could be. The patron goddess of the city, a water nymph named Larissa, is shown on the obverse; her elaborate waving hair looks like it could be flowing underwater and was copied from Sicilian coins made by the artist Kimon. The expression of her eyes here may be intended to represent sorrow. Larissa stopped minting coins after it was conquered in 342 BCE by Philip II, king of Macedon and father of Alexander the Great.

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Silver stater, Corinth, 350-338 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Corinth started issuing silver coinage in the mid-6th century BCE, among the earliest of Greek cities to mint coins. It became an “international” currency, like the coinage of Athens and Aegina, and circulated very widely – Corinthian coins have been found as far away as Spain, Egypt, the Danube River in Bulgaria, and Kuwait. The image of the flying horse Pegasus on the obverse was one of its long-lasting recognizable features. Although Aphrodite was the patron goddess of Corinth, the imagery on the reverse of its coinage at the time this coin was made shows Athena, who had a magic bridle that tamed Pegasus. The shape of the helmet the goddess wears here is specific to Corinth.��Such heads of Athena wearing the Corinthian helmet inspired the head of Athena on the obverse of the Panama-Pacific commemorative $50 coin that is included in this exhibit.

Gold Stater, Pantikapaion, 340-325 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Pantikapaion was a Greek city on the shore of the Crimean Peninsula in the Black Sea. In antiquity, Pantikapaion was famous for its gold and its rich agricultural land. The ruler of Pantikapaion at the time this gold coin was made was a man named Satyrus. The satyr on the obverse may be a visual reference to his name. The reverse of the coin shows a winged lion-griffin. In Greek mythology, griffins protected the gold of this area, and the image on this coin probably refers to that story. The griffin stands on a wheat stalk that may symbolize the agricultural “gold” of the area. This griffin looks much more like a Greek panther than the usual lion-griffin of the time (like��, illustrated on a seal found in an ancient cemetery near Pantikapaion). The panther-like appearance here may be intended as a visual reference to the city’s name. The letters “pan” shown around the griffin are the first three letters of the city’s name and of the Greek word “pantheros.”��

Gold Stater, Pergamon, mid- to late-330s BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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This gold coin was minted at Pergamon in northwestern Asia Minor, which surrendered to Alexander in 334 BCE. It may be one of the first coins minted under the authority of Alexander himself. The obverse shows the head of Heracles wearing the skin of the Nemean Lion, with facial features that link him to portraits of Alexander. The reverse shows a statue of Pallas Athena holding spear and shield. Experts think this portrays a statue, in part because of the tall hat she wears on her head. The helmet to her side reinforces her warrior status. Pergamon was an important center of Athena’s worship, and this coin links Alexander to the city and the goddess, as well as to Heracles.

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(CUAM 2014.06.22)

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This coin was made in Babylon shortly after Alexander conquered it in 331 BCE. Alexander had been impressed by the Persian governor-general, Mazdaios, and made him governor of Babylon. Mazdaios was probably responsible for issuing this coin. The obverse shows the young Greek demigod Heracles, identifiable by the lion skin he wears on his head. His facial features are similar to portraits of Alexander, which links Alexander to Heracles. The reverse shows a seated god with scepter and eagle, like Baal/Zeus of Tarsus, but the inscription names “King Alexander” in Greek. These elements demonstrate how the coin creates a visual link between the Persian empire and its gods, with the new empire and gods of Alexander.

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Silver Tetradrachm, Babylon, 325-323 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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This coin was minted at Babylon toward the end of Alexander’s life and names Alexander as its issuing authority. The obverse shows the head of Heracles, wearing the skin of the Nemean Lion. His facial features are similar to portraits of Alexander, thus linking Alexander to Heracles. The reverse shows a seated god with scepter and eagle, like Baal/Zeus of Tarsus, but the inscription names Alexander in Greek. In this way the coin creates a visual link between the Persian empire and its gods, with the new empire and gods of Alexander.

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Silver Tetradrachm, Alexandria, 305-282 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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After Alexander’s death in 323 BCE, his half-brother Ptolemy claimed Egypt as his own. He took Alexander’s body with him from Babylon to Alexandria to strengthen his hold over the territory. The obverse is remarkable because it does not show an idealized image. Instead, it seems to show a realistic portrait of Ptolemy: his jutting chin, pointed nose, bulging brow, and receding hairline are features that characterize all his portraits on coins. The reverse depicts an eagle clutching a thunderbolt as an emblem of Zeus and of imperial power. The Greek inscription, “of king Ptolemy,” indicates that Ptolemy claimed the title of king for himself, thus emphasizing his territorial claim and rule over Egypt.��

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(CUAM 2014.06.202)

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The three major cities of the island Rhodes – Cameirus, Lindus, and Ialysus – joined together in 408 BCE to create a new city named Rhodes, after the island. The reverse of the coins minted by the islanders features a rose (“Rhodos” in Greek). The obverse shows the head of Helios, the sun god. It may resemble the enormous statue of Helios, the Colossus of Rhodes, that was created between 292 and 280 BCE. The Colossus of Rhodes stood over the entrance to the harbor and was considered one of the Seven Wonders of the Ancient World.

(CUAM 2014.06.37)

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After Alexander died in 323 BCE, a man named Lysimachus took over the rule of Macedon and parts of the northern Aegean. The city of Sestus, on the Dardanelles Strait, minted this coin under the authority of Lysimachus. The obverse shows the head of Alexander with a ram’s horn curling around his ear. This is a visual reference to the god Zeus Ammon. Ammon/Amun was an Egyptian sun god who was considered the same as Zeus, and who was portrayed in Egyptian art with a ram’s head. Some thought Alexander was the son of Zeus Ammon, and the horn shown here links him to Zeus Ammon and shows he has been deified. The reverse shows the seated goddess of war, Athena, holding the goddess of victory, Nike. The Greek inscription names Lysimachus as King.

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Gold Octadrachm, Alexandria, after 265 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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This gold coin of Ptolemy II makes dynastic claims. The obverse shows the heads of Ptolemy II and Arsinoe II, his sister and wife. The Greek inscription means “of siblings.” It was common in Egyptian history and mythology for kings to marry their sisters, including the divine siblings, Isis and Osiris. Therefore, Ptolemy’s marriage to Arsinoe legitimized him as an Egyptian ruler. The reverse of the coin portrays the heads of their parents, Ptolemy I and Berenice I, with the inscription “of gods.” Ptolemy II used the coin to claim the divinity of his parents, thus emphasizing the legitimacy of his own and his sister’s rule.

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Gold Octadrachm, Alexandria, 253/2-246 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Arsinoe II was a particularly powerful ruler of Egypt. She had connections to other important cult centers like the Sanctuary of the Great Gods on the northern Greek island of Samothrace. Arsinoe II was deified after her death, which is symbolized on the obverse of this coin by the tiny horn of Zeus Ammon curling around her ear. The reverse shows a double cornucopia filled with fruits. This portrayal was associated with other representations of Arsinoe II and emphasized the rich blessings her cult would bring to worshipers. The inscription, “of Arsinoe Philadelphos,” refers to the brotherly love of the family.

(CUAM 2010.04.79, Gift of Wilton Jaffee)

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Obverse: Head of captured Gaul, possibly Vercingetorix, with Gallic shield.

Reverse: Racing chariot. Inscription L(ucius) HOSTILIVS SASE(rna).

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(CUAM 2010.04.166. Gift of Wilton Jaffee)

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Obverse: Head of captured Gaul, possibly Vercingetorix, with Gallic shield.

Reverse: Racing chariot. Inscription L(ucius) HOSTILIVS SASE(rna).

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(CUAM 2010.04.82. Gift of Wilton Jaffee)

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Obverse: Head of Julius Caesar. Inscription DICT(ator) PERPETVO CAESAR (= “Caesar, Dictator in perpetuity”).

Reverse: Minerva with victory. Inscription MACER P(ublius) SEPVLLIVS (“Publius Sepullius Macer”).

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Silver Denarius, M. Junius Brutus, 43-42 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Obverse: Head of Brutus. Inscription BRVT IMP L PLAET CEST (= “Brutus imperator Lucius Plaetorius Cestianus”).

Reverse: Pileus between two daggers. Inscription EID(ibus) MAR(tiis) (= “The Ides of March”).��

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Silver Tetradrachm, Alexandria, 36 BCE (On loan to �鶹��Ѱ�����Art Museum, courtesy of John Nebel)

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Cleopatra VII was the last Ptolemaic ruler of Egypt before it was conquered by Rome in 30 BCE. She was renowned for her intelligence, power, and beauty, and the Roman general Julius Caesar fell in love with her, followed by Mark Antony. On this coin, the obverse shows Cleopatra as the divine Queen of Egypt, while the reverse shows the Roman general Mark Antony as a successful politician and general. For a brief period, Cleopatra and Mark Antony sought to rule together. They fought a sea battle against the Roman general Octavius (known later as the emperor Augustus) at Actium in 31 BCE. After that loss, Cleopatra returned to Egypt. Legend says she died by suicide, by clutching a poisonous asp to her breast. The love shared between Cleopatra and Antony provided inspiration for Shakespeare’s famous play, Antony and Cleopatra.��

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(CUAM 2010.04.137. Gift of Wilton Jaffee)

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Obverse: Head of Octavian (Augustus).

Reverse: Triumphal arch with four-horse chariot. Inscription IMP(erator) CAESAR (= “Imperator Caesar”).

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��(CUAM 2010.04.17. Gift of Wilton Jaffee)

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Obverse: Head of Augustus. Inscription AVGVSTVS DIVI F(ilius) (= “Augustus, son of a god”).

Reverse: Apollo Citharoedus. Inscription IMP(erator) X ACT(ium) (= “Commander for the tenth time; Actium”).

��(CUAM 2010.04.61. Gift of Wilton Jaffee).

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Obverse: Facing heads of Nero and Agrippina the Younger. Inscription: AGRIPP(ina) AVG(vsta) DIVI CLAUD(ii) NERONIS CAES(aris) MATER (= “Agrippina Augusta, (wife) of Divine Claudius, mother of Nero Caesar”).

Reverse: Oak wreath. Inscription NERONI CLAUD(ii) DIVI F(ilio) CAES(ari) AVG(usto) GERM(anico) IMP(eratori) TR(ibunicia) P(otestate) (= “For Nero Caesar Augustus, son of Divine Claudius, conqueror of the Germans, Emperor with Tribunician Power”).

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��(CUAM 2010.04.149. Gift of Wilton Jaffee)

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Obverse: Head of Vespasian. Inscription IMP(erator) CAESAR VESPASIANVS AVG(ustus) (= “Imperator Caesar Vespasian Augustus”).��

Reverse: Seated Pax. Inscription PON(tifex) MAX(imus) TR(ibunicia) P(otestate) CO(n)S(ul) VI (= “Pontifex Maximus, Tribune of the People, Consul for the sixth time”).

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��(CUAM 2010.04.120. Gift of Wilton Jaffee)

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Obverse: Bust of Trajan. Inscription IMP(eratori) CAES(ari) NER(vae) TRAIANO OPTIMO AVG(usto) GER(manico) DAC(ico) (= “For Emperor Caesar Nerva Trajan the Greatest Augustus, Conqueror of the Germans and Dacians”).

Reverse: Jupiter and Trajan. Inscription P(ontifex) M(aximus) TR(ibunicia) P(otestate) CO(n)S(ul) VI P(ater) P(atriae) S(enatus) P(opulus) Q(ue) R(omanus) (= “Pontifex Maximus, Tribune of the People, Consul for the sixth time, Father of the Fatherland Senate and People of Rome”).

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��(CUAM 2010.04.211. Gift of Wilton Jaffee)

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Obverse: Bust of Hadrian. Inscription HADRIANVS AVG(ustus) CO(n)S(ul) III P(ater) P(atriae) (= “Hadrian Augustus, Consul for the third time, Father of the Fatherland”).

Reverse: Egypt reclining, with sistrum, cornucopia, basket, and ibis. Inscription AEGYPTOS (= “Egypt”).

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��(CUAM 2010.04.62. Gift of Wilton Jaffee)

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Obverse: Bust of Sabina. Inscription SABINA AVGVSTA (= “Sabina Augusta”).

Reverse: Seated Vesta. Inscription VESTA (= “Vesta”).

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��(CUAM 2010.04.125. Gift of Wilton Jaffee)

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Obverse: Bust of Marcus Aurelius. Inscription ANTONINVS AVG(ustus) ARMENIACUS (= “Antoninus Augustus, Conqueror of the Armenians”).

Reverse: Winged Victory placing a shield inscribed VIC(toria) AVG(usti) (“Victory of Augustus”) on a palm tree. Inscription P(ontifex) M(aximus) TR(ibunicia) P(otestate) XVIII—IMP(erator) II CO(n)S(ul) III (= “Pontifex Maximus, in the eighteenth year as Tribune of the People, Imperator for the second time, Consul for the third time”).

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��(CUAM 2010.04.112. Gift of Wilton Jaffee)

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Obverse: Head of Maximianus the Tetrarch. Inscription MAXIMIANVS P(ius) F(elix) AVG(ustus) (= “Maximianus, Pious and Fortunate Augustus”).��

Reverse: Hercules with club and lion skin. Inscription HERCVLI VICTORI (= “Victorious Hercules”).��

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Gold Panama-Pacific Commemorative $50 Coin, San Francisco CA, 1915

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Obverse: Head of Minerva wearing Corinthian-style helmet. Inscription UNITED STATES OF AMERICA, IN GOD WE TRUST, MCMXV, FIFTY DOLLARS.��

Reverse: Horned owl on pine branches. Inscription PANAMA-PACIFIC EXPOSITION SAN FRANCISCO.