DOI issue:
Artykuły/Articles
DOI article:Okoński, Mateusz: Images of Central European "externae gentes" in Trajan's Monetary Iconography and Their Role in the Propaganda of the Imperial Era
DOI Page / Citation link:https://doi.org/10.11588/diglit.57341#0106
MATEUSZ OKOŃSKI
104
the example of a denarius signed by Faustus Cornelius Sulla from around 62 BC, on
the reverse of which Sulla appears in the company of Bocchus and Jugurtha- kings of
African countries.55 These coins, however, differ from Trajan’s issue in the details of
the representation - the Roman commander sits on the throne on Republican denarii,
while on the sestertii, Trajan stands on the elevation. The images of the eagles and
the goddess Victoria are also missing on earlier coins. This motif appeared in a slightly
modified version also during the times of Probus56 or tetrarchs (e.g. Licinius or
Maximinus Daia).57 Perhaps the discussed sestertii, as well as the already mentioned
issues with the image of Trajan on horseback next to a reclining Dacian, as well
as the emperor supporting his leg on the body or head of the opponent, refer to
the preserved monuments of the victory of the Best Emperor.58
Shortly after the end of the Dacian wars, a series of coins were also issued, with
the depiction of a pile of weapons, on the top of which a prisoner of war kneels,
with his hands tied behind his back.59 Undoubtedly, this is a Dacian warrior since,
despite the schematic image, we can find typical Dacian armaments and the whole
scene is embellished with the legend of DAC (ia) CAP (ta). Another interesting
image referring to the campaign in the areas north of the Danube are sestertii with
the depiction of a muscular, half-naked man attacking a reclining woman.60 Older
literature interpreted this scene as a clash of two impersonations: Dacia (the woman)
and Tiber (the man). However, this interpretation has not stood the test of time. It is
now recognized that the woman depicted on the reverse of these coins is indeed Dacia,
but the man is an impersonation not of the Tiber, but of the Danube.61 The placement
of such a scene on coins can be explained by the emperor’s attempt to emphasize
the role of river crossings that he used during the campaign. The tremendous
engineering works which culminated in the construction of the Danube bridge by
Apollodorus of Damascus, was also an achievement of the emperor and one which was
worthy of being included in the work of imperial propaganda of success. Extensive
engineering work on erecting this crossing was not only a show of the advancement
55 CALÓ LEVI 1952: 16, note 12.
56 Cf. RIC V 136.
57 RIC VI Treveri 817.
58 We know that his equestrian statue was supposed to have stood in Trajan’s Forum, and perhaps it was
this which was depicted on the coins mentioned above. From the time of Hadrian comes a statue that depicted
the emperor in ceremonial dress, resting his left foot on a defeated barbarian. Perhaps it was an imitation of a similar
statue of Trajan, which was depicted on the coins in question.
59 WOYTEK 2010: 311 (dupondius).
60 Ibidem-. 199 (sestertius).
61 As the personification of the Tiber he was described by: MATTINGLY and SYDENHAM 1926: 283.
For a change in identification see OSTROWSKI 1985: 77; WOYTEK 2010: 287. The role and importance of
the personification of rivers in Roman art has been described by, among others OSTROWSKI 1990.
104
the example of a denarius signed by Faustus Cornelius Sulla from around 62 BC, on
the reverse of which Sulla appears in the company of Bocchus and Jugurtha- kings of
African countries.55 These coins, however, differ from Trajan’s issue in the details of
the representation - the Roman commander sits on the throne on Republican denarii,
while on the sestertii, Trajan stands on the elevation. The images of the eagles and
the goddess Victoria are also missing on earlier coins. This motif appeared in a slightly
modified version also during the times of Probus56 or tetrarchs (e.g. Licinius or
Maximinus Daia).57 Perhaps the discussed sestertii, as well as the already mentioned
issues with the image of Trajan on horseback next to a reclining Dacian, as well
as the emperor supporting his leg on the body or head of the opponent, refer to
the preserved monuments of the victory of the Best Emperor.58
Shortly after the end of the Dacian wars, a series of coins were also issued, with
the depiction of a pile of weapons, on the top of which a prisoner of war kneels,
with his hands tied behind his back.59 Undoubtedly, this is a Dacian warrior since,
despite the schematic image, we can find typical Dacian armaments and the whole
scene is embellished with the legend of DAC (ia) CAP (ta). Another interesting
image referring to the campaign in the areas north of the Danube are sestertii with
the depiction of a muscular, half-naked man attacking a reclining woman.60 Older
literature interpreted this scene as a clash of two impersonations: Dacia (the woman)
and Tiber (the man). However, this interpretation has not stood the test of time. It is
now recognized that the woman depicted on the reverse of these coins is indeed Dacia,
but the man is an impersonation not of the Tiber, but of the Danube.61 The placement
of such a scene on coins can be explained by the emperor’s attempt to emphasize
the role of river crossings that he used during the campaign. The tremendous
engineering works which culminated in the construction of the Danube bridge by
Apollodorus of Damascus, was also an achievement of the emperor and one which was
worthy of being included in the work of imperial propaganda of success. Extensive
engineering work on erecting this crossing was not only a show of the advancement
55 CALÓ LEVI 1952: 16, note 12.
56 Cf. RIC V 136.
57 RIC VI Treveri 817.
58 We know that his equestrian statue was supposed to have stood in Trajan’s Forum, and perhaps it was
this which was depicted on the coins mentioned above. From the time of Hadrian comes a statue that depicted
the emperor in ceremonial dress, resting his left foot on a defeated barbarian. Perhaps it was an imitation of a similar
statue of Trajan, which was depicted on the coins in question.
59 WOYTEK 2010: 311 (dupondius).
60 Ibidem-. 199 (sestertius).
61 As the personification of the Tiber he was described by: MATTINGLY and SYDENHAM 1926: 283.
For a change in identification see OSTROWSKI 1985: 77; WOYTEK 2010: 287. The role and importance of
the personification of rivers in Roman art has been described by, among others OSTROWSKI 1990.