A Cartoon, Ovid, and Tomis

Today's Franklin's World cartoon references Ovid.

edited - copyright

Ovid was banished in 8 AD from Rome to Tomis by Augustus. Ovid wrote that the cause of his exile was carmen et error: "a poem and an error," probably the Ars Amatoria and a personal indiscretion or mistake.

I'll post some coins of Tomis in Ovid's honor! Let's see your coins from Tomis!

Julia Domna AD 193-217.
Roman provincial AE triassarion, 8.75 gm, 24.4 mm, 6 h.
Moesia Inferior, Tomis, AD 193-211.
Obv: ΙΟVΛΙΑ ΔΟΜΝΑ CE, bare-headed and draped bust, r.
Rev: ΜΗΤ ΠΟΝ ΤΟΜΕΩC, Nike advancing l., holding wreath and palm, retrograde Γ (=3) to left.
Refs: Varbanov 4857; AMNG 2811.​

Gordian III, AD 238-244, and Tranquillina.
Roman provincial Æ 4-1/2 assaria, 12.51 g, 26.6 mm, 12 h.
Moesia Inferior, Tomis, AD 241-244.
Obv: ΑVΤ Κ Μ ΑΝΤ ΓΟΡΔΙΑΝΟC ΑVΓ·CЄ // ΤΡΑΝΚVΛ / ΛЄΙΝΑ, laureate, draped and cuirassed bust of Gordian, right, facing diademed and draped bust of Tranquillina, left.
Rev: ΜΕΤΡΟ ΠΟΝΤΟV ΤΟΜΕΩC, Homonoia standing facing, head left, wearing polos and holding patera and cornucopiae; Δ< (ligate) in left field.
Refs: AMNG I 3545; RPC VII.2 unassigned, type 28109; Varbanov 5693; Moushmov 2276; SNG Cop --; BMC --; Lindgren --; Sear --.​

Gordian III, with Tranquillina, A.D. 238-244
Roman provincial AE 4.5 assaria, 12.80 g, 28.2 mm, 7 h.
Moesia Inferior, Tomis, A.D. 241-244.
Obv: AVT K M ANTΩNIOC ΓΟΡΔΙΑΝΟC // CABINIA TPA / NKVΛΛINA, confronted laureate, draped and cuirassed bust of Gordian right and diademed, draped bust of Tranquillina left.
Rev: MHTPOΠON-TOV TOMEΩC, Hygieia standing right, feeding serpent from patera; Δ< (ligate) in lower left field.
Refs: AMNG I (Pick) 3534; RPC VII.2 unassigned 28093.
Note: Easily confused with the more commonly encountered Moushmov 2288, AMNG 3535, which does not bear a mark of value and may have been tariffed at four assaria.​

Gordian III, with Tranquillina, A.D. 238-244.
Roman provincial AE 4.5 assaria, 28.92 mm, 15.89 g, 7:00.
Moesia Inferior, Tomis, A.D. 241-244.
Obv: AVT K M ANTΩNIOC ΓΟΡΔΙΑΝΟC // [C]ABINIA (TP)AN / KVΛΛINA, confronted laureate, draped and cuirassed bust of Gordian right and diademed, draped bust of Tranquillina left.
Rev: MHTPO ΠONTOV TOMEΩC, Nemesis standing facing, head left, holding arshin (rod) and sling, wheel at feet; Δ - < (denomination) in fields.
Refs: AMNG I 3537; RPC VII.2 unassigned 28078; Varbanov 5701; Moushmov 2279; Cf. SNG Cop 305.​

 

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Interessting. I didn't know that about Ovid.

Here is another coin from Tomis:


Philippus I and Otacila Severa
Moesia Inferior, Tomis
AE 26
Obv.: AVT M IOVΛ ΦIΛIΠΠOC AVΓ M / WTAK CEBH/PA CEB, draped and cuirassed bust of Philipp I and draped bust of Otacilia Severa wearing stephane
Rev.: MHTPOΠ ΠON-TOV TOMEΩC, Hercules standing facing with head left, right hand leaning on club, and lions skin hanging from the left arm.
AE, 12.95g, 25.8x26.8mm
Ref.: Varbanov-, AMNG-

 

Here's a Philip II:


Philip II as Caesar (244-247 AD) ; Tomis, Moesia Inferior

Obv: Bare headed, draped, and cuirassed bust of Philip II right, facing draped bust of Serapis left
Rev: Asklepios standing facing, head turned left, leaning on serpent-entwined staff
27mm, 12.7gms
Ref: Varbanov 5786

 

Alas, poor Ovid. Poetry is indeed a dangerous occupation; if the politicians don't get you (Augustus, Stalin), then there's this: "We Poets in our youth begin in gladness; But thereof come in the end despondency and madness." (William Wordsworth)

I have two from Tomis:

Antoninus Pius Æ 20
n.d. (138-161 A.D.)
Moesia Inferior, Tomis
[ΑΥΤ ΚΑΙ Α]ΔΡΙ ΑΝ[ΤωΝΙΝΟϹ] bare head right / [ΤΟΜΙ]ΤωΝ Η ΜΗΤΡΟΠΟΛ[ΙϹ], Asklepios standing facing, head left, holding patera (?) and (leaning on) serpent-entwined staff.
(4.52 grams / 20 mm)
eBay Oct. 2020
Attribution Notes: Bare head obverse. Reverse legend is partially ligate (MH; though NH is also ligate in some examples). Not sure if this one has patera.
Asklepios described as "holding" staff, but he is leaning on it.
RPC IV 4385 (temporary); Varbanov 4693; AMNG 2619; Moushmov 1819 (without patera)


Gordian III & Tranquillina Æ 4-1/2 Assaria (?)
(c. 241-244 A.D.)
Moesia Inferior, Tomis
ΑVΤ Κ Μ ΑΝΤ [ΓΟΡΔΙΑΝΟC ΑVΓ·C]Є ΤΡΑΝΚVΛ ΛЄΙΝΑ, two busts / ΜΕ[ΤΡΟ ΠΟΝΤ]ΟV ΤΟΜ]ΕΩC, Homonoia standing holding patera and cornucopiae; [Δ< (ligate) in left field?].
(12.75 grams / 27 mm)
eBay May 2020
Attribution Notes:
This one seems to be missing value mark in reverse field, though these are known to have been removed sometimes.
From "Roman Collector" post on Coin Talk:
AMNG I 3545; Varbanov 5693; Moushmov 2276; SNG Cop --; BMC --; Lindgren --; Sear --.

 

I just have this somewhat lackluster AE26 example of Severus Alexander.
I believe that's a D in reverse left, indicating 4-assarion.

 

My favorite Tomis is the Philip II 1 and 1/2,

 

Unless we can imagine a < right of the snake making it a 4 and a half???

 

I never knew that < indicated a half! It certainly does look like something to the right of the snake.

 

My only Roman Provincial coin is this one from Tomis with facing busts of Philip II & Sarapis.
The reverse is particularly interesting with Tyche stepping on Pontus Euxinus. I've always liked crab legs.

Denomination: Pentassarion
Era: C. 244-247CE
Metal: AE
Obverse: Μ ΙΟΥΛΙΟⳞ ΦΙΛΙΠΠΟⳞ ΚΑΙⳞΑΡ; [M JULIVS PHILIPVS CAESAR] Confronted busts of Philip II, bare-headed, draped and cuirassed, r., seen from rear, and Sarapis, draped, l.

Reverse: ΜΗΤΡΟΠ ΠΟΝΤΟΥ ΤΟΜΕΩϹ [CITY <of the, by the?> SEA TOMIS]; Tyche standing facing, holding sceptre and cornucopia; at feet, r., Pontus Euxinus swimming r., crab claws on head

Mint: Tomis

Weight: 13.24 g
Reference: RPC VIII, — (unassigned; ID 28158), AMNG 3613
Provenance: Numismatik Naumann, Auction 98, January 4, 2021

 

What an interesting reverse type!

 

Though I've a lot of coins from Moesia, don't have any from Tomis.
As you pointed out, Ovid said he was banished due "a poem and mistake". It's pretty universaly thought the poem was his, "The Art of Love", which Augustus was very vocally against... but he released that in 2 CE, the same year he exiled his only child Julia the elder. Though, Augustus didn't exile Ovid until 8 CE!
The running theories are that Augustus didn't find out about Ovid's dealings with Julia until years later (after all, Julia had been getting away with her scandalous behavior for years until someone was brave enough to tell him). Or that Ovid had actually found out about or witnessed an indiscretion of Augustus. And Augustus was so powerful that it was OVID'S MISTAKE!
All stuff for the front page of the Roman enquirer!
Anyways, here's the little trolup with his wife, the other Julia Augustus:

Posthumous Coinage of Augustus
Julia Daughter of Augustus by his first wife Scribonia. Born 39 BC, she was the wife of Marcellus, Agrippa and Tiberius, respectively. Banished by her father to the island of Pandataria in 2 BC, she remained there 5 years and then was allowed to reside in Rhegium, where she died in 14 AD.
Livia and Julia under Augustus. Bronze 10-2 BC, Pergamum/Mysia. LIBIAN HPAN XAPINOS Draped bust of Livia (as Hera) to r. Rev.( IO)YLIAN (AFP)ODIT(HN) Draped bust of Julia (as Venus) to r 18 mm,. 3,79 g. BMC 248. RPC 2359. Vagi 370. Very rare
Ex: Savoca Blue 89

 

A scarce one and quite artistic:

Maximus, Caesar. 235-238 AD. MOESIA INFERIOR, Tomis. Tetrassarion Æ (27mm, 10.47 gm, 7h). Bare head draped and cuirassed bust right. Rev. Nike/Nemesis standing facing, looking l., holding cubit-rule in left hand and bridle in right hand, wheel at feet to left. Mark of value Δ in left field. A new type not listed in Varbanov.

 

..

methinks i don't either....in fact, i believe this is the 1st time i've ever heard of the city/town...learn sumpin new everyday...

 

Note that her left foot is upon his right shoulder. What does that tell you? None of the sources for this coin mention the significance!

 

Right. There is almost no discussion anywhere that I have seen about this detail. I don't have Varbanov which seems to be the standard reference for coins of this region, so not sure if any interpretation can be found there.

 

Varbanov 5818: "river-god Hebros at her feet to r., visible to waist". No mention that the city goddess steps on him.

Regling, AMNG 1910, p. 629: City goddess places one foot on Pontos who is emerging below, and who wears crab's claws that identify him as an ocean god. Regling thinks there was probably such a sculpture in Tomis, that the coin engravers copied. He doesn't explain why the city goddess was depicted placing her foot on Pontos, though he mentions coins of Amisus on which Tyche places her rudder on the bearded head of Pontos (note 4).

Note 3: Pontos in this type was first correctly identified, and presumably also the fact observed that the city goddess was placing her foot on him, by Svoronos in 1889 and Imhoof-Blumer in 1897. Earlier numismatists had misidentified the figure in various ways, for example Mazzoleni (1740) suggested he was Absyrtos, the brother of Medusa who was cut into pieces!

 

My “guess” is that it is intended to portray the city (goddess) in a dominant and controlling pose over Pontos…..moreso than any other coastal city. That would also include her fleets being dominant over other fleets. In short, in command of the Black Sea and its trade routes.
Again, a guess.

 

Note also Maximus’ jaw! Was he afflicted as was his father, Maximinus…..or was it simply the die cutter having only an image of his father to go on?

 

@curtislclay thanks for your research. I've added your comments for this coin into my collection database.

 

I have one coin from Tomis:

Philip II, AE Tetrassarion, 247-249 AD, Moesia Inferior, Tomis [now Constanţa, Romania]. Obv. Bareheaded, draped, and cuirassed bust right, seen from rear, Μ ΙΟΥΛ ΦΙΛΙΠΠΟC ΚΑΙCΑΡ / Rev. Griffin seated left with right paw on top of wheel [representing Nemesis*], ΜΗ-ΤΡΟ-Π-ΠΟ-ΝΤΟ, continued in exergue in two lines: Υ ΤΟΜΕ/ΩϹ(ME ligate), Δ in right field [signifying the denomination, 4 assaria]. 27 mm., 12.22 g. RPC [Roman Provincial Coinage] VIII Online 28171 [temporary ID number] (see https://rpc.ashmus.ox.ac.uk/type/28171) [this coin is Specimen 7, used as primary illustration for type, see https://rpc.ashmus.ox.ac.uk/coin/156187 ]; Varbanov 5781 [Varbanov, Ivan, Greek Imperial Coins And Their Values, Volume I: Dacia, Moesia Superior & Moesia Inferior (English Edition) (Bourgas, Bulgaria, 2005)]. Purchased from Herakles Numismatics, Jan. 2021; ex. I-Nummis, Paris, Mail Bid Sale 6, Nov. 7, 2008, Lot 399 (see https://www.coinarchives.com/a/openlink.php?l=239902|348|399|a3b582d0b87f863b39d084dd851a7a89). [“Scarce”: 11 specimens in RPC (including this coin), 6 examples in ACSearch (including this coin).]



*See https://www.getty.edu/publications/romanmosaics/catalogue/8/ : “The image of a griffin supporting one of its forepaws on a wheel appears in Roman art by the first century AD. The wheel, a symbol of the cyclical movement of human fortune, and the winged griffin are both distinctive attributes of Nemesis, the goddess of vengeance, who is also often represented with wings. In a first-century AD wall painting from the House of the Fabii at Pompeii, Apollo and two female figures are accompanied by a winged griffin with a wheel. This motif also occurs on coins of Alexandria dating to the reign of the emperor Domitian (AD 81–96). Scenes depicting Nemesis with a griffin are especially common during the second and third centuries AD and occur in many different media, including coins, gems, statues, and funerary and votive reliefs. The particular image of a griffin resting its paw on a wheel, typically seated at the foot of Nemesis, is so pervasive that it eventually became a symbol for the goddess herself. For example, a limestone mold of the second to third centuries AD from Egypt, possibly from Alexandria, shows a griffin and a wheel with the Greek inscription Nemesis.

Representations of the griffin with a wheel unaccompanied by Nemesis, as in the Getty mosaic, are particularly common in North Africa and the eastern periphery of the Roman Empire. The motif appears in the second and third centuries AD in Egyptian statuettes in faience [see image at https://www.getty.edu/publications/...es/pics/pic_30_faience-egyptian-statuette.jpg], relief stelai from the amphitheater at Leptis Magna in present-day Libya; tomb paintings in Jordan; a votive marble statue from Erez, Israel, bearing a dedicatory inscription in Greek (dated AD 210–211); gems from Caesarea Maritima in Israel and Gadara in Jordan; and terracotta tesserae from Palmyra. While the worship of Nemesis was widespread across the Roman Empire, it was particularly prevalent in Egypt, where she had a pre-Roman cult, and in Syria and the surrounding regions, where she was associated with several important local deities, including the classical goddesses Tyche (personification of fortune) and Nike (personification of victory) and the Arabic deities Allath (goddess of war) and Manawat (goddess of fate).” [Footnotes omitted.]