Notae Numismaticae - Zapiski Numizmatyczne (6.2011)

PROPAGANDA ON THE COINAGE RELATED TO POMPEY THE GREAT

The reverse of the coin is a reflection of the signet reportedly wom by Pompey40.
It represents three trophies, placed in a row, in commemoration of the generał ’s
three triumphs over three continents. In tum, the jug and the litiius probably signify
the conviction that his victories were in conformity with the will of the gods41. How-
ever, we cannot mle out Stewarfs proposition42 that they are related to the political
situation at that time, showing that Pompey’s consulship agreed with the divine will.
Perhaps, this particular ambiguity of symbols was intentional.

Let us recall again that a victory was dependant on the generaTs military talents
as well as on the gods’ decisions. They supported individuals with certain specific
personal characteristics43. As for this coin, there can be no doubt that the generał had
recognized Yenus Victrix as the deity granting him a yictory.

On the obverse of Faustus Sulla’s second coin, another one that can be related
to Pompey, there is an image of Hercules’ head wearing a lion’s scalp44. This deity,
in a way similar to Venus, was strongly connected with warfare. He was given vari-
ous appellations, such as Victor or Invictus (“Invincible”). Pompey was associated
with the latter one, in particular, as attested by his renovation, or reconstmction, of
the tempie of this deity, near the Circus Mcocimus45.

The reverse is adomed with four wreaths around the globe, an aplustrum, and
a com-ear. Three lesser wreaths signify three triumphs. The large one commemo-
rates the honours conferred on Pompey by Titus Ampius and Titus Labienus on the
strength of the tribunal law. They had proposed that the generał could be wearing
a golden wreath (corona aurea) and a triumphal robę (togapraetexta) during games
and theatre performances46 47. The globe in the middle symbolizes, most likely, the
mle over the entire oikumeneĄ1. It may even recall one of the trophies carried dur-
ing the triumph of 6148. The aplustrum is probably depicted in commemoration
of Pompey’s yictory over the pirates who were active on the Mediterranean Sea,
whereas an ear of com refers to his sernice as curator annonae49. Ali of these ele-

40 Dio Cass. 42.18.3.

41 FEARS, “The Theology...”, p. 801; HARLAN, Roman Republican Moneyers, p. 107; BEARD, The Roman
Triumph, 2007, p. 20.

42 STEWART, “The 'Jug' and 'Lituus'...”, p. 181.

43 See esp. FEARS, “The Theology...”, pp. 740-749; cf. Cic.Leg.Man.

44 RRC, pp. 448^149; HARLAN, Roman Republican Moneyers, p. 107.

45 Plin. NH. 34.57; Vit. 3.3.5; S. WEINSTOCK, “Victor and Invictus”, The Harvard Theological Review
50, 1957, p. 228 [211-257]; A. ZIÓŁKOWSKI, “Mummius’ Tempie of Hercules Victor and the Round Tempie
on the Tiber”, Phoenix 42, 1988, pp. 313-314 [309-333]; RICHARDSON, A New Topographical Dictionary...,
pp. 187-188; STEINBY, Lexicon...,pp. 20-21.

46 Vell. Pat. 2.40.4.

47 Cic. Balb. 6.16.

48 Dio Cass. 37.21.2.;

49 FEARS, “The Theology...”, p. 802; HARLAN, Roman Republican Moneyers, p. 107; BEARD, The Roman
Triumph, pp. 20-21.