Figure 1. View of the front.
Constantinople, 641-646
Gold
Diameter: 13/16 in. (2.1 cm)
0.16 oz (4.5 g)
Blick-Harris Study Collection, 2020.454.3
The front of this coin features a portrait of the Byzantine Emperor Constans II (Figure 1). He wears the imperial regalia (the distinct clothing of the monarch) and diadem (a jeweled crown), indicating his importance, and holds a globus cruciger (a cross mounted on a sphere and a symbol of Christian authority) in his right hand. The reverse features a cross potent with finials (a decorative ornament or flourish at the end of an item) (Figure 2). The presence of such religious imagery signals the emperor’s connection with Christ, from which it was believed he derived his right to rule. The Latin inscriptions on the front, some of which are abbreviations, identify the emperor. The inscription on the reverse is an acclamation of eternal victory, and reference the coin’s place of minting. Notably, the coin lacks a depiction of Constans II’s heir, as we can see in his later coinage (Figure 3), implying it was minted early in his rule, prior to the birth of his son.
Figure 2. View of the reverse.
Figure 3. Coin with Portraits of Constans II and Constantine IV, Constantinople, 654-659. Gold, Diameter: 19 mm. Dumbarton Oaks Museum, BZC.1969.50.
Because of its weight, size, and material, it can reasonably be assumed that the coin is a solidus nomisma (see also no. 18). Coins in the mid-seventh century were divided into three categories, gold, silver, and copper. Gold and copper each had their own additional subcategories. Solidus nomisma were at the top of this structure, having the highest value of the three types of gold coins. As a result, it is unlikely that this coin saw use outside of the uppermost echelons of society, and might have been limited in circulation to wealthy cities or important trade routes. Currency was uniquely important in the dissemination of information in the time before mass media, and this coin is no exception. The portrait of Constans II displays how he desired to be portrayed, and thus offers a window into the political and religious values of the era.
Philip Grierson, Byzantine Coinage (Washington, DC: Dumbarton Oaks, 1999).
Asen Kirin, ed., Sacred Art, Secular Context: Objects of Art from the Byzantine Collection of Dumbarton Oaks, Washington, DC (Athens, GA: Georgia Museum of Art, 2005).
© Mathew Kovan ('24)