Papers by Hans-Christoph von Mosch
NUB NEFER – GUTES GOLD. Herausgegeben von Robert Lehmann, Bernd Hamborg, Anne Viola Siebert, Simone Vogt und Christian E. Loeben. Gedenkschrift für Manfred Gutgesell, 2014
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Jahrbuch für Numismatik und Geldgeschichte 72, 2022
Summary
The literary fame of Themistocles has always stimulated the search for images of him
in t... more Summary
The literary fame of Themistocles has always stimulated the search for images of him
in today’s fundus of ancient monuments. Starting with his newly found portrait on a
coin (Cat. 40), the renewed inspection of the numismatic and archaeological material
has revealed a large number of portraits of Themistocles and his son Archepolis,
which corresponds to our expectations. This expresses the extensive independence of
the Lycomid clan ruling in Magnesia, which is also confirmed by the other motifs on
his coinage. Contrary to previous assumptions, these do not primarily address urban
cults, but rather Attic family traditions, which could become urban cults in Magnesia. A
posthumous portrait of Themistocles (Fig. 5) was also recovered with the help of the
coin images. The date of origin of the original allows us to date the rehabilitation of
Themistocles in Athens from 430 BC. A secondary archaeological aspect of this portrait
identification is the finding that the head in the Museo Barracco (Fig. 4) does not
represent Ares or a hero, instead it must have been the portrait of an unknown Attic
strategos from around 450/40 BC. In imperial Magnesia, Themistocles was presented on
the coins not only as the city’s exorbitant celebrity, but also specifically as the founder
of the cult of Apollo (Fig. 7). In the attached catalogue you will find the new naming
suggestions for the coin images, which are explained in detail in the presented text.
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Archäologischer Anzeiger, 1993
Publication of a male marble portrait, found 1990 in the river bed of Penkalas.
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Jahrbuch für Numismatik und Geldgeschichte 71, 2021
Archaeological results:
Pictures and written sources attest to the presence of Myron’s heifer in ... more Archaeological results:
Pictures and written sources attest to the presence of Myron’s heifer in Rome since the early 20ies of the first century BC (Figs. 7–10). In addition, Phidias’s cow could be proven for the first time (Figs. 11–16), whose history was closely interwoven with Myron’s heifer. Both masterpieces underwent a change in meaning in Rome. Although they continued to be consecrated gifts as before in Athens, they were now also associated with the Aition of the Aventine and given a political message. Since arriving in Rome in 29 BC until their last mention in the middle of the 6th century AD, the two cows were considered as a symbol of imperium with numerous facets. After their transfer from Athens, the two looted art works were first exhibited in the temple district of Diana on the Aventine, where they reflected the deep connection of Augustus to this goddess. There they formed the female counterpart to the four bulls (quattuor boves Myronis) in the Apollo sanctuary on the Palatine Hill. After the Flavians had moved the sculptures to their forum Pacis (Fig. 33) the two cows could be admired up to their demise sometime after the middle of the 6th century AD. There are no indications of a subsequent shipment to Constantinople.
Numismatic results:
The mint in Rome must have been reopened as early as 28 BC to coin the monetary gifts with which the reorganization of the state in January 27 BC should be secured. By resolution of the Senate (S C) gold coins were issued in the simple style of earlier imperial coins and at the same time Augustus had the cow aurei minted in the best Greek style (Figs. 3–6), presumably from his private coffers. The quotations of two Greek masterpieces embodied the augurium Augustum of the Aventine. 16 BC the moneyer C. Antistius Vetus brought this topic back to life again, but this time formulated in conservative republican imagery (Fig. 26). In retrospective Flavian coinage the images of the cows are also topical again (Figs. 13–14, 27–35). The examples from Vespasian’s fifth Consulate are still rare (Fig. 27a–b), but not, as claimed, hybrid, and historically easy to explain. Both types of cow were also cited in the silver coinage (Figs. 13–14, 31), which should be taken into account in future catalogs. A small Aes emission from the years 77/78 AD, which has not yet been correctly assigned, belongs to the mint of Rome (Fig. 32) and its content can be interpreted with a quote from Tatianos that was previously
viewed too skeptically.
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A. Pangerl (Hrsg.), Portraits. 400 Years of Hellenistic Portraits., 2020
Discussion of two unpublished portrait heads in private collections.
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M. Nollé - P.M. Rothenhöfer - G. Schmied-Kowarzik - H. Schwarz - H.C. von Mosch (Hrsg), Panegyrikoi Logoi, 2019
1. Perseus und Andromeda in Florenz (S. 490-493) - 2. Perseus und Andromeda in Konstantinopel (S.... more 1. Perseus und Andromeda in Florenz (S. 490-493) - 2. Perseus und Andromeda in Konstantinopel (S. 493-494) - 3. Perseus, der Gründer von Ikonion. Und Andromeda? (S. 494-498) - 4. Andromeda in Rom (S. 498-499) - 5. Wasser und Flut in Ikonion (S. 499-506) - 6. Perseus, der dreifache Stammvater (S. 506-508) - 7. Perseus und Andromeda in Deultum (S. 508-512) - 8. Perseus in Athen (S. 512-519) - 9. Bildwerke in Ikonion (S. 519-524) - 10. Herakles (S. 525-527) - 11. Ares (S. 527-529) - 12. Die schöne Nackte und der Durchzug Gordians III. 239/40 n. Chr. (S. 530-539) - 13. Gadara, ein Stützpunkt Gordians ? (S. 539-541) - 14. Ikonion als "S R" (S. 542) - 15. Konstantinopel, eine argivische Gründung (S. 542-545) - Addendum: Zur Frage der Ära in Ikonion (S. 545-547) - Literatur (S. 548-552) - Abbildungen (S. 553-568).
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SNR, 2000
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Archäologischer Anzeiger, 1995
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Jahrbuch für Numismatik und Geldgeschichte 67, 2017
S. 146: 1. Von Lavinium nach Konstantinopel: Ein Weihgeschenk für Aphrodite Selene – S. 151: 2. ... more S. 146: 1. Von Lavinium nach Konstantinopel: Ein Weihgeschenk für Aphrodite Selene – S. 151: 2. Venuskult und zwei Tiermonumente in Lavinium – S. 159: 3. Die Denare des L. Papius Celsus aus dem Jahr 45 v. Chr. – S. 164: 4. Caesar und die Prägungen des Jahres 44 v. Chr. – S. 168: 5. Aphrodite Selene und das Kaiserhaus (von Livia bis Marc Aurel) – S. 171: 6. Iulia Domna als Aphrodite Selene – S. 173: 7. Konstantinopel, die neue Heimat der alten prophetischen Bilder Roms – S. 174: 8. Die Lavinische Bache auf dem Forum Constantini – S. 176: 9. Die Wolf-Adler-Fuchs-Gruppe auf dem Kapitol – S. 182: 10. Helena und Aphrodite Selene auf dem Augustaion – S. 185: 11. Der Daphnepalast - S. 190: 12. Genealogische Mythen: Helena, Aphrodite und die gens Iulia – S. 193: 13. Drepanon – Helenopolis: Aphrodites’ Geburtsort und christliche Märtyrerstadt – S. 201: 14. Helena bekämpft syrische Aphroditekulte – S. 207: 15. Hagia Sophia – S. 211: 16. Das weitere Schicksal der Wolf-Adler-Fuchs-Gruppe – S. 215: 17. Anhang der archäologischen Denkmäler: Ein Marmorkopf der Aphrodite Selene (Abb. 23 a–c) – S. 216: Helena als Aphrodite – S. 217: Eine Replik der Lavinischen Tiergruppe? – S. 218: Zusammenfassung – S. 218: Summary – S. 219: Literatur – S. 225: Abbildungen
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AHOROS, Gedenkschrift für Hugo Meyer von Weggefährten, Kollegen und Freunden , 2018
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Numismatica e Antichità Classiche Quaderni Ticinesi , 2005
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ΚΑΙΡΟΣ Contributions to Numismatics in Honor of Basil Demetriadi, 2015
Studie zur Entdeckung eines bisher unpublizierten Medaillons des Antinoos aus der Gießener Univer... more Studie zur Entdeckung eines bisher unpublizierten Medaillons des Antinoos aus der Gießener Universitätssammlung. Als Teil einer Serie, die von dem Antinoospriester Hostilios Markellos für die Korinthier und Achaier gestiftet wurde, zeigt es das ungewöhnliche Bild des Bellerophon, der Pegasos bändigt und dabei ein Kerykeion in der Hand hält. Das Gießener Stück ist das erste unveränderte Exemplar des Typus „Pegasos und Bellerophon mit Kerykeion“. Es soll hier im Rahmen der gesamten Emission des Hostilios Markellos vorgestellt und interpretiert werden. Auch für uns überraschend ergaben sich dabei aus dem weiteren Zusammenhang Hinweise auf die
Reiseroute Hadrians in den Jahren 131 und 132 sowie Hinweise auf einen Kaiserbesuch in Korinth und Isthmia im November 131.
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Jahrbuch f. Numismatik u. Geldgeschichte 2010- and 2013, 2010
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Jahrbuch für Numismatik und Geldgeschichte 63, 2013. S. 93-149, Jan 1, 2014
It has been tried to describe the history of origins and impacts of the “Sandalenlöser” (“solver ... more It has been tried to describe the history of origins and impacts of the “Sandalenlöser” (“solver of the sandals”). Though some theses remain hypothetical by nature, the numismatic tradition implicates new aspects which at least reveal the mythological background of the motive. The bronze statue of Hermes solving his sandals has presumably been endowed to the sanctuary of the muses at the Helicon after 338 B.C. as a work of Lysippos. There it was arrayed as part of a bigger group together with Apollon and the (already earlier erected) muses. At the same time Lysippos has been assigned to create a statue of Eros at Thespiai.
The historical background was the destruction of Thebes in 338 B.C. which led to the fact that Thespiai regained the leadership of the Panhellenic Games in the Museion at the Helicon. The Erotideia had been devoted to the civic tutelary deity Eros and the Museia
to Apollon Musagetes, the genesis of which depicted by the bronze group “Apollon and Hermes arguing about the lyre”. Therein the statue represented the deity of the Arcadian hymn to Hermes, which mentions twice the taking off of the sandals. During the Roman Imperial Period the sculpture was part of the repertoire of the copyists at Athens. During his winter abode in 131/32 Hadrian sent a replica from there to Trapezous as a Memory of the Arcadian colonisation of this Pontic city. In Amastris a replica of the type made the same statement. Hadrian had at least two replicas be acquired for his villa at Tivoli. When Constantine the Great had the sanctuary of the muses be looted, some of the statues made their way to Constantinople. The “Sandalenlöser” found his new array in the Gymnasion of Zeuxippos until he vanished during the riots of Nika in 532. The positive reception of
this type within the collection of Ludwig I stopped after the Second World War, when the restorations of the 18th century had been removed as an expression of extreme purism. The now terribly ruined torso was then stashed in the cellar rooms, where it remains until today as a hidden masterpiece waiting for its rediscovery.
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Jahrbuch für Numismatik und Geldgeschichte [JNG], 2007
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Jahrbuch für Numismatik und Geldgeschichte, 2010
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Books by Hans-Christoph von Mosch
Portraits - 400 Years of Hellenistic Portraits, 2020
>500 highest quality portrait coin images in highest resolution and large size from across the He... more >500 highest quality portrait coin images in highest resolution and large size from across the Hellenistic world incl 3 previously unknown hellenistic kings;
14 research articles on Hellenistic Portraiture on coins and other media.
410 pages threadbound hardcover.
The 2.5kg book can be ordered via raeticus@yahoo.de
ISBN 978-3-922840-41-1
Ausgehend von den Münzportraits der hellenistischen Herrscher und Herrscherinnen (über 500 Münzen werden allein im Katalogteil in mehrfacher Vergrößerung abgebildet, dazu die Rückseiten in einheitlicher Vergrößerung) werden auch die Herrscherportraits in den anderen Medien (Rundplastik, Relief, Malerei, Glyptik) analysiert. Dargestellt wird die Entwicklung von den Vorläufern in der griechischen und graeco-persischen Welt bis zum Übergang in das römische Kaiserporträt. Schwerpunkte der Einzeluntersuchungen bilden das Portrait Alexanders des Großen, die Bildnisse der Seleukiden und Seleukidinnen sowie der Ptolemäer, aber auch Darstellungen von Herrschern mit bestimmten Attributen oder Überlegungen zum Übergang zwischen hellenistischen und römischen Porträts.
Bookmarks Related papers MentionsView impact
Uploads
Papers by Hans-Christoph von Mosch
The literary fame of Themistocles has always stimulated the search for images of him
in today’s fundus of ancient monuments. Starting with his newly found portrait on a
coin (Cat. 40), the renewed inspection of the numismatic and archaeological material
has revealed a large number of portraits of Themistocles and his son Archepolis,
which corresponds to our expectations. This expresses the extensive independence of
the Lycomid clan ruling in Magnesia, which is also confirmed by the other motifs on
his coinage. Contrary to previous assumptions, these do not primarily address urban
cults, but rather Attic family traditions, which could become urban cults in Magnesia. A
posthumous portrait of Themistocles (Fig. 5) was also recovered with the help of the
coin images. The date of origin of the original allows us to date the rehabilitation of
Themistocles in Athens from 430 BC. A secondary archaeological aspect of this portrait
identification is the finding that the head in the Museo Barracco (Fig. 4) does not
represent Ares or a hero, instead it must have been the portrait of an unknown Attic
strategos from around 450/40 BC. In imperial Magnesia, Themistocles was presented on
the coins not only as the city’s exorbitant celebrity, but also specifically as the founder
of the cult of Apollo (Fig. 7). In the attached catalogue you will find the new naming
suggestions for the coin images, which are explained in detail in the presented text.
Pictures and written sources attest to the presence of Myron’s heifer in Rome since the early 20ies of the first century BC (Figs. 7–10). In addition, Phidias’s cow could be proven for the first time (Figs. 11–16), whose history was closely interwoven with Myron’s heifer. Both masterpieces underwent a change in meaning in Rome. Although they continued to be consecrated gifts as before in Athens, they were now also associated with the Aition of the Aventine and given a political message. Since arriving in Rome in 29 BC until their last mention in the middle of the 6th century AD, the two cows were considered as a symbol of imperium with numerous facets. After their transfer from Athens, the two looted art works were first exhibited in the temple district of Diana on the Aventine, where they reflected the deep connection of Augustus to this goddess. There they formed the female counterpart to the four bulls (quattuor boves Myronis) in the Apollo sanctuary on the Palatine Hill. After the Flavians had moved the sculptures to their forum Pacis (Fig. 33) the two cows could be admired up to their demise sometime after the middle of the 6th century AD. There are no indications of a subsequent shipment to Constantinople.
Numismatic results:
The mint in Rome must have been reopened as early as 28 BC to coin the monetary gifts with which the reorganization of the state in January 27 BC should be secured. By resolution of the Senate (S C) gold coins were issued in the simple style of earlier imperial coins and at the same time Augustus had the cow aurei minted in the best Greek style (Figs. 3–6), presumably from his private coffers. The quotations of two Greek masterpieces embodied the augurium Augustum of the Aventine. 16 BC the moneyer C. Antistius Vetus brought this topic back to life again, but this time formulated in conservative republican imagery (Fig. 26). In retrospective Flavian coinage the images of the cows are also topical again (Figs. 13–14, 27–35). The examples from Vespasian’s fifth Consulate are still rare (Fig. 27a–b), but not, as claimed, hybrid, and historically easy to explain. Both types of cow were also cited in the silver coinage (Figs. 13–14, 31), which should be taken into account in future catalogs. A small Aes emission from the years 77/78 AD, which has not yet been correctly assigned, belongs to the mint of Rome (Fig. 32) and its content can be interpreted with a quote from Tatianos that was previously
viewed too skeptically.
Reiseroute Hadrians in den Jahren 131 und 132 sowie Hinweise auf einen Kaiserbesuch in Korinth und Isthmia im November 131.
and
https://www.academia.edu/582388/_Man_kann_sagen_der_Silen_sei_gelehrt..._-_Zum_trunkenen_Satyr_aus_der_Villa_dei_Papiri_im_Kontext_der_Gr%C3%BCndungsmythen_von_Nikaia
The historical background was the destruction of Thebes in 338 B.C. which led to the fact that Thespiai regained the leadership of the Panhellenic Games in the Museion at the Helicon. The Erotideia had been devoted to the civic tutelary deity Eros and the Museia
to Apollon Musagetes, the genesis of which depicted by the bronze group “Apollon and Hermes arguing about the lyre”. Therein the statue represented the deity of the Arcadian hymn to Hermes, which mentions twice the taking off of the sandals. During the Roman Imperial Period the sculpture was part of the repertoire of the copyists at Athens. During his winter abode in 131/32 Hadrian sent a replica from there to Trapezous as a Memory of the Arcadian colonisation of this Pontic city. In Amastris a replica of the type made the same statement. Hadrian had at least two replicas be acquired for his villa at Tivoli. When Constantine the Great had the sanctuary of the muses be looted, some of the statues made their way to Constantinople. The “Sandalenlöser” found his new array in the Gymnasion of Zeuxippos until he vanished during the riots of Nika in 532. The positive reception of
this type within the collection of Ludwig I stopped after the Second World War, when the restorations of the 18th century had been removed as an expression of extreme purism. The now terribly ruined torso was then stashed in the cellar rooms, where it remains until today as a hidden masterpiece waiting for its rediscovery.
Books by Hans-Christoph von Mosch
14 research articles on Hellenistic Portraiture on coins and other media.
410 pages threadbound hardcover.
The 2.5kg book can be ordered via raeticus@yahoo.de
ISBN 978-3-922840-41-1
Ausgehend von den Münzportraits der hellenistischen Herrscher und Herrscherinnen (über 500 Münzen werden allein im Katalogteil in mehrfacher Vergrößerung abgebildet, dazu die Rückseiten in einheitlicher Vergrößerung) werden auch die Herrscherportraits in den anderen Medien (Rundplastik, Relief, Malerei, Glyptik) analysiert. Dargestellt wird die Entwicklung von den Vorläufern in der griechischen und graeco-persischen Welt bis zum Übergang in das römische Kaiserporträt. Schwerpunkte der Einzeluntersuchungen bilden das Portrait Alexanders des Großen, die Bildnisse der Seleukiden und Seleukidinnen sowie der Ptolemäer, aber auch Darstellungen von Herrschern mit bestimmten Attributen oder Überlegungen zum Übergang zwischen hellenistischen und römischen Porträts.
The literary fame of Themistocles has always stimulated the search for images of him
in today’s fundus of ancient monuments. Starting with his newly found portrait on a
coin (Cat. 40), the renewed inspection of the numismatic and archaeological material
has revealed a large number of portraits of Themistocles and his son Archepolis,
which corresponds to our expectations. This expresses the extensive independence of
the Lycomid clan ruling in Magnesia, which is also confirmed by the other motifs on
his coinage. Contrary to previous assumptions, these do not primarily address urban
cults, but rather Attic family traditions, which could become urban cults in Magnesia. A
posthumous portrait of Themistocles (Fig. 5) was also recovered with the help of the
coin images. The date of origin of the original allows us to date the rehabilitation of
Themistocles in Athens from 430 BC. A secondary archaeological aspect of this portrait
identification is the finding that the head in the Museo Barracco (Fig. 4) does not
represent Ares or a hero, instead it must have been the portrait of an unknown Attic
strategos from around 450/40 BC. In imperial Magnesia, Themistocles was presented on
the coins not only as the city’s exorbitant celebrity, but also specifically as the founder
of the cult of Apollo (Fig. 7). In the attached catalogue you will find the new naming
suggestions for the coin images, which are explained in detail in the presented text.
Pictures and written sources attest to the presence of Myron’s heifer in Rome since the early 20ies of the first century BC (Figs. 7–10). In addition, Phidias’s cow could be proven for the first time (Figs. 11–16), whose history was closely interwoven with Myron’s heifer. Both masterpieces underwent a change in meaning in Rome. Although they continued to be consecrated gifts as before in Athens, they were now also associated with the Aition of the Aventine and given a political message. Since arriving in Rome in 29 BC until their last mention in the middle of the 6th century AD, the two cows were considered as a symbol of imperium with numerous facets. After their transfer from Athens, the two looted art works were first exhibited in the temple district of Diana on the Aventine, where they reflected the deep connection of Augustus to this goddess. There they formed the female counterpart to the four bulls (quattuor boves Myronis) in the Apollo sanctuary on the Palatine Hill. After the Flavians had moved the sculptures to their forum Pacis (Fig. 33) the two cows could be admired up to their demise sometime after the middle of the 6th century AD. There are no indications of a subsequent shipment to Constantinople.
Numismatic results:
The mint in Rome must have been reopened as early as 28 BC to coin the monetary gifts with which the reorganization of the state in January 27 BC should be secured. By resolution of the Senate (S C) gold coins were issued in the simple style of earlier imperial coins and at the same time Augustus had the cow aurei minted in the best Greek style (Figs. 3–6), presumably from his private coffers. The quotations of two Greek masterpieces embodied the augurium Augustum of the Aventine. 16 BC the moneyer C. Antistius Vetus brought this topic back to life again, but this time formulated in conservative republican imagery (Fig. 26). In retrospective Flavian coinage the images of the cows are also topical again (Figs. 13–14, 27–35). The examples from Vespasian’s fifth Consulate are still rare (Fig. 27a–b), but not, as claimed, hybrid, and historically easy to explain. Both types of cow were also cited in the silver coinage (Figs. 13–14, 31), which should be taken into account in future catalogs. A small Aes emission from the years 77/78 AD, which has not yet been correctly assigned, belongs to the mint of Rome (Fig. 32) and its content can be interpreted with a quote from Tatianos that was previously
viewed too skeptically.
Reiseroute Hadrians in den Jahren 131 und 132 sowie Hinweise auf einen Kaiserbesuch in Korinth und Isthmia im November 131.
and
https://www.academia.edu/582388/_Man_kann_sagen_der_Silen_sei_gelehrt..._-_Zum_trunkenen_Satyr_aus_der_Villa_dei_Papiri_im_Kontext_der_Gr%C3%BCndungsmythen_von_Nikaia
The historical background was the destruction of Thebes in 338 B.C. which led to the fact that Thespiai regained the leadership of the Panhellenic Games in the Museion at the Helicon. The Erotideia had been devoted to the civic tutelary deity Eros and the Museia
to Apollon Musagetes, the genesis of which depicted by the bronze group “Apollon and Hermes arguing about the lyre”. Therein the statue represented the deity of the Arcadian hymn to Hermes, which mentions twice the taking off of the sandals. During the Roman Imperial Period the sculpture was part of the repertoire of the copyists at Athens. During his winter abode in 131/32 Hadrian sent a replica from there to Trapezous as a Memory of the Arcadian colonisation of this Pontic city. In Amastris a replica of the type made the same statement. Hadrian had at least two replicas be acquired for his villa at Tivoli. When Constantine the Great had the sanctuary of the muses be looted, some of the statues made their way to Constantinople. The “Sandalenlöser” found his new array in the Gymnasion of Zeuxippos until he vanished during the riots of Nika in 532. The positive reception of
this type within the collection of Ludwig I stopped after the Second World War, when the restorations of the 18th century had been removed as an expression of extreme purism. The now terribly ruined torso was then stashed in the cellar rooms, where it remains until today as a hidden masterpiece waiting for its rediscovery.
14 research articles on Hellenistic Portraiture on coins and other media.
410 pages threadbound hardcover.
The 2.5kg book can be ordered via raeticus@yahoo.de
ISBN 978-3-922840-41-1
Ausgehend von den Münzportraits der hellenistischen Herrscher und Herrscherinnen (über 500 Münzen werden allein im Katalogteil in mehrfacher Vergrößerung abgebildet, dazu die Rückseiten in einheitlicher Vergrößerung) werden auch die Herrscherportraits in den anderen Medien (Rundplastik, Relief, Malerei, Glyptik) analysiert. Dargestellt wird die Entwicklung von den Vorläufern in der griechischen und graeco-persischen Welt bis zum Übergang in das römische Kaiserporträt. Schwerpunkte der Einzeluntersuchungen bilden das Portrait Alexanders des Großen, die Bildnisse der Seleukiden und Seleukidinnen sowie der Ptolemäer, aber auch Darstellungen von Herrschern mit bestimmten Attributen oder Überlegungen zum Übergang zwischen hellenistischen und römischen Porträts.
Auch heute noch vermitteln Münzen Botschaften, die weit über den reinen Zahlwert hinausgehen. Wer genau hinsieht, kann diese Informationen ohne Weiteres entschlüsseln, denn die Bilder und Symbole sind uns Europäern seit Jahrhunderten vertraut.
Bereits zu Beginn der Münzprägung, vor über 2600 Jahren, wurden jedem Geldstück bewusst Botschaften mit auf den Weg gegeben. Doch darüber hinaus transportieren Münzen auch Informationen, die vielleicht von ihren Herausgebern gar nicht beabsichtigt waren.
In diesem Buch werden diese Botschaften behutsam freigelegt: Die Münzen werden zum Sprechen gebracht. Die sorgsame Auswahl historisch bedeutsamer Geldstücke erlaubt es, Schlüsselereignisse, Wendepunkte und Entwicklungsbahnen in der europäischen Geschichte durch das Brennglas der Münze zu betrachten. Die 99 Themen werden kurzweilig von einem von Expertinnen und Experten der jeweiligen Epochen dargestellt.
Das gemeinsame Ziel der 35 Autorinnen und Autoren aus Deutschland, Österreich, der Schweiz, Frankreich, Großbritannien, China und den USA: eine neuartige Erzählung der Geschichte Europas.
Rezensionen (nur online; zuletzt erschienene zuerst):
https://journals.ub.uni-heidelberg.de/index.php/fc/article/view/84851/79202
http://www.sehepunkte.de/2020/11/34803.html
https://muenzenwoche.de/runde-geschichte-europa-in-99-muenzepisoden/
A new book on 500 years of Roman portrait types, with an extensive portrait type catalogue of some 800 very large size coin images of any Roman individual known to us on Roman coins from the late Republic to the End of the Western Empire. It includes 14 research articles studying different aspects and emperors from Augustus to Theodosius I. Authors are Werner Eck, Christian Gliwitzky, Christoph v Mosch, Andreas Pangerl, Olivier Hekster, Wilhelm Müseler, Marion Meyer, Jörn Lang, Melanie Lang, Kay Ehling, Markus Löx.
The book has won the BEST NUMISMATIC PUBLICATION 2017 AWARD IAPN
http://www.iapn-coins.org/iapn/publications.html
It can be ordered via romancoins@yahoo.com
Publisher Staatliche Münzsammlung München, http://www.staatliche-muenzsammlung.de/ ISBN 978-3-922840-36-7