Courses by Florian Haymann
Coins are tremendously fascinating objects. They come from the past straight into our hands. I'm ... more Coins are tremendously fascinating objects. They come from the past straight into our hands. I'm going to tell you how to distinguish between Greek, Roman, Celtic and Byzantine ones. You'll also learn how to describe a coin correctly and how to use numismatic literature. The final part of my course is dedicated to the historical value ancient coins provide. 6 video lessons619 views
Videos by Florian Haymann
Vortrag vor der Numismatischen Gesellschaft zu Frankfurt, am 20. Oktober 2021 im Historischen Mus... more Vortrag vor der Numismatischen Gesellschaft zu Frankfurt, am 20. Oktober 2021 im Historischen Museum, Frankfurt a. M.
Power-Point-Präsentation steht zur Verfügung unter dem Rubrum "Vorträge"
Slides available under "Vorträge" 30 views
Gehalten am 14.10.2022 bei der Numismatischen Gesellschaft Mainz-Wiesbaden.
7 views
Books by Florian Haymann
A collection of Facing Heads on ancient coins (500 specimens). Including an introduction into the... more A collection of Facing Heads on ancient coins (500 specimens). Including an introduction into the current state of research and a series of articles on the topic. Mostly German including English translation of the introduction and comments on the coins (p. 145-170). The collection is up for auction at Dr. Busso Peus, Frankfurt, on November 5.
Runde Geschichte. Europa in 99 Münz-Episoden, 2020
Münzen zum Sprechen gebracht
Auch heute noch vermitteln Münzen Botschaften, die weit über den re... more Münzen zum Sprechen gebracht
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/
http://www.habelt.de/?id=22&tx_shpsystem_pi1%5Bsource%5D=R&tx_shpsystem_pi1%5Bsernr%5D=8360
Introduction into Greek and Roman Numismatics. For collectors.
Contains a fully illustrated catalogue of the Roman Civic Coins of Aegeae in Cilicia.
Papers by Florian Haymann
FALSCHGELD UND MÜNZFÄLSCHUNGEN, 2024
Stempelstudie der beidseitig frontalen Aurei von Licinius I. und II.
Schweizerische Numismatische Rundschau (SNR), 2023
(pdf on request)
The aurei with the frontal portraits of Licinius I and II (types RIC VII Nicome... more (pdf on request)
The aurei with the frontal portraits of Licinius I and II (types RIC VII Nicomedia 41, 42 and Antioch 31-33) were subjected to a die study. A total of 96 specimens were recorded, made from 64 different obverse dies. The application of Esty's geometric formula yields an aproximate estimate of originally about 200 dies, but a statistical evaluation is not reliable due to the small number of surviving specimens.
The coins of the Nicomedia mint can be assigned to one of three main types for each officina, which in turn diverge stylistically. On the basis of the shoulder decoration, "ceremonial busts" with a tablion, which was identified for the first time on coins here, and "cuirassed busts" with a breastplate can be clearly distinguished. Although the obverse legend of Licinius I refers to an event in the period March 321-March 322, the minting of the coins examined here may also have taken place in the later course of 322 as well as 323 and possibly still 324. This is supported by the typological diversity and the literary evidence that Licinius minted gold after Constantine's victory over the Sarmatians (autumn 322).
Gephyra, 2007
Article on a Cilician silver tridrachm showing the Caesar type portrait of Hadrian.
Doubleton o... more Article on a Cilician silver tridrachm showing the Caesar type portrait of Hadrian.
Doubleton of the pdf, now including the missing photos.
Schweizer Münzblätter Heft 292, 2023
Hauptsächlich geht es im Folgenden um eine Serie von Solidi, die vermutlich in Anwesenheit Consta... more Hauptsächlich geht es im Folgenden um eine Serie von Solidi, die vermutlich in Anwesenheit Constantins 313 in Arelate (Arles) geprägt wurde, zwischen April und Ende Mai.
Gephyra, 2023
This article provides an overview of the most important coin types depicting frontal lions from t... more This article provides an overview of the most important coin types depicting frontal lions from the Greek Archaic period to the first century BC. The spear-biting lions are not included in this paper as they form the subject of a separate study. Starting from the ancient written tradition, explanations are offered based on the effect of the lion’s gaze, which is repeatedly mentioned in ancient texts. With the addition of the respective reverses and modes of representation, it is possible to identify references to religious cults: Apollo, Artemis, Athena, Hera and Heracles. But rulers also used frontal lion images for specific purposes. To express the solar aspect of Apollo, frontality seemed the most appropriate. A particularly close connection between the lion and Loxías has been demonstrated for Rhegion. The example of Samos shows that an autocrat could choose the emblem of a “frontal lion’s head” – probably also to suggest solar qualities. Under Achaemenid influence however, the lion regularly became the victim of the ruler – albeit a particularly dangerous and fearsome one, which was emphasised through its frontality. The same goes for Lysimachus, whose choice of image is astonishingly close to Pliny’s reflex, which focuses entirely on the lion’s sight. It is also shown that lion masks are often associated with the deeds of Heracles, which also gave rise to other coin images in which the use of frontality brought special nuances of meaning, for example the illustration of special effort or a narrative connection between two coin images. In one case, a frontal lion leaping out of a rectangle was associated with the cult of Athena. Another group of frontal lions may have had an apotropaic-demonic character, mainly conveyed by the eyes fixed on the observer. Here we can see a connection with the Gorgoneion. As for the frequent image of devouring lions, a biblical source suggests that the animals were particularly irritable and dangerous during this process. Finally, it was recommended that lions and leopards should be carefully separated, with leopards being particularly suitable for depicting the ‘man-destroying’ god Dionysus in frontal perspective.
Online Zeitschrift zur Antiken Numismatik (OZeAN), 2022
Vorstellung eines neuen Münztyps aus Aigeai in Kilikien aus dem Jahr 217/218 n. Chr. Die Rückseit... more Vorstellung eines neuen Münztyps aus Aigeai in Kilikien aus dem Jahr 217/218 n. Chr. Die Rückseite zeigt den Kentauren Chiron, der den neugeborenen Asklepios hält. Das Motiv unterstützt den Anspruch der Stadt, Geburtsort des Heilgottes zu sein.
Numismatisches Nachrichtenblatt, 2022
Editio princeps of a Caracalla large bronze of Aegeae (Cilicia): www.biddr.com/auctions/demos/bro... more Editio princeps of a Caracalla large bronze of Aegeae (Cilicia): www.biddr.com/auctions/demos/browse?a=2250&l=2482185
Argues for calling the figure a nurse in the guise of the civic Tyche instead of Amalthaea.
Jahrbuch für Numismatik u. Geldgeschichte (JNG), 2021
After a brief summary of previous research on frontal portraits on Roman coins, the author argues... more After a brief summary of previous research on frontal portraits on Roman coins, the author argues in favor of using the effect of the gaze, which is well documented in literary sources, as the starting point for the interpretation of such portraits. With the corresponding classification of the coins with frontal representations struck by the Licinii, it is noticeable that their main god, Jupiter, is the first one to be shown facing. Proceeding from this, it is argued on the basis of literary evidence that the ability of Zeus/Jupiter to be omnipotent and all-seeing is passed on to the emperor and his son, which is expressed in the (enormous number) of frontal aurei of the Licinii.
Nach einer Kurzdarstellung bisheriger Forschung zu römischen Frontalbildnissen auf Münzen argumentiert der Autor dafür, die in literarischen Quellen gut belegte Wirkung des Blicks als Ausgangspunkt für die Interpretation derartiger Bildnisse zu nehmen. Bei der entsprechenden Einordnung der Münzen der Licinii mit Frontaldarstellungen fällt auf, dass zunächst deren Hauptgott, Jupiter, en face gezeigt wird. Davon ausgehend, wird anhand von literarischen Zeugnissen dafür argumentiert, dass die Fähigkeit der Allsichtigkeit von Zeus/Jupiter auf den Kaiser und seinen Sohn übergeht, was in den (in enormer Menge geprägten) Frontalaurei der Licinii zum Ausdruck kommt.
Online Zeitschrift Zur Antiken Numismatik, Feb 2, 2022
The diachronic examination of the gorgoneion motif as well as closely related objects yielded a n... more The diachronic examination of the gorgoneion motif as well as closely related objects yielded a number of findings. In order to stage the dangerousness of the gaze, the celators used a wide variety of means. In addition to the special emphasis on the area surrounding the eyes, these are: doubling of the gorgoneion, highlighting a forehead crease to illustrate the effort, ›oblique‹ gaze, the adornment with snakes and the demonstrative turning away of Perseus from the gorgoneion. The image idea of the gorgoneion on coins seems to be the visualization of a fear of gaze. As far as the visual message is concerned, there is no indication that an ›apotropaic‹ effect, however exactly this should be understood, could have played any role for coins with a gorgoneion. This function seems to have been mainly limited to the architectural context and certain objects. Also for a solar-astral aspect of the gorgoneion, as it was occasionally discussed by scholars, there is no evidence for the medium of the coin.
On the other hand, a surprisingly strong political aspect of the gorgoneion emerges from the diachronically comparative perspective. In addition to highlighting civic traditions that shape the identity of the polis, the gorgoneion has occasionally been a commitment to the rule of the Achaemenids since the beginning of the 5th century. Since the second half of the 5th century, cities and rulers competing with Athens occasionally use the gorgoneion in order to claim to be particularly favored by Athena. In contrast, a connection between the aegis decorated with a gorgoneion and Alexander the Great emerged in the Hellenistic period. This aspect, taken up again by Nero, may also have played a role in the use of the aegis by Roman emperors. The gorgoneion itself hardly played a role in imperial coinage in Roman times. Its use was narrowed to a component of the imperial breastplate on which it was most likely to develop the ›apotropaic‹ effect that was and is otherwise always ascribed to it.
Numismatisches Nachrichtenblatt, 2021
Editio princeps of a coin struck in November or December 137 in Aegeae. Weight 20.46 g, 34 mm, di... more Editio princeps of a coin struck in November or December 137 in Aegeae. Weight 20.46 g, 34 mm, die axis 12h.
Obverse: probably Aelius Caesar. Reverse: probably Hadrian sacrifying.
Münzen Revue, 2021
A brief paper on an observation on frontal faces on ancient coins looking sideways. An explanatio... more A brief paper on an observation on frontal faces on ancient coins looking sideways. An explanation for this (rare) phenomenon can be found in ancient texts speaking of lóxon ómma / obliquus oculus.
Münzen Revue, 2021
Interpretiert das frontale Apollonbildnis mit Chlamys, das sich vorwiegend auf den Münzen der Hek... more Interpretiert das frontale Apollonbildnis mit Chlamys, das sich vorwiegend auf den Münzen der Hekatomniden findet, als Apollon Hekebolos ("Ferntreffer"). Dahinter könnte sich die "Schutzmacht" dieser Satrapendynastie verbergen, die persischen Großkönige mit ihren gefürchteten Bogenschützen.
Interprets the facing portrait of Apollo with chlamys, which is mainly found on the coins of the Hekatomnids, as Apollon Hekebolos. This could be a hint to the Persian great king with his feared archers being the protectors of this satrapal dynasty.
The Numismatic Chronicle 180, 2020
My study of the city of Aegeae was published in 2014. It focuses on the history of this Cilician ... more My study of the city of Aegeae was published in 2014. It focuses on the history of this Cilician city under the Romans and includes a corpus of its coins from 20/19 BC onwards. With new coins flooding the market every year, it was foreseeable that some new types would turn up. However, only very few add substantial new historical information, as I aim to outline in what follows. The remainder of this article is intended to supplement the catalogues of material already known in order to facilitate further study, particularly with the RPC project in mind. Thanks to the diligence of its editors, I have also been able to correct several of my catalogue entries. The final part of this article comments on some entries, mainly in RPC III, which in my view deserve a closer look.
Geschichte Lernen, 2021
Anhand eines augusteischen As wird dargelegt, wie eine Unterrichtsstunde zur Selbstdarstellung de... more Anhand eines augusteischen As wird dargelegt, wie eine Unterrichtsstunde zur Selbstdarstellung des römischen Kaisers anhand einer Münze gestaltet werden kann. Dabei wird der Quellenwert der Münze mithilfe literarischer Quellen voll ausgeschöpft und NuMiD als Ressource eingesetzt.
Antike Welt, 2020
Kürzlich wurde eine Goldmünze (Solidus) Constantins des Großen (306-337 n. Chr.) aus dem Jahr 315... more Kürzlich wurde eine Goldmünze (Solidus) Constantins des Großen (306-337 n. Chr.) aus dem Jahr 315 n. Chr. bekannt, die ein Kreuz aufweist. Es handelt sich dabei um das früheste Vorkommen christlicher Symbolik auf offiziellen staatlichen Zeugnissen des Römischen Reichs. Möglicherweise zeigt das Goldstück eine Statue, die bereits 312 n. Chr. in Rom aufgestellt wurde.
Im Schlussteil werden Argumente dafür hervorgebracht, weshalb die berühmte Kolossalstatue Konstantins mit diesen Ereignissen nichts zu tun haben dürfte, sondern eher um 325 errichtet worden sein dürfte.
Uploads
Courses by Florian Haymann
Videos by Florian Haymann
Power-Point-Präsentation steht zur Verfügung unter dem Rubrum "Vorträge"
Slides available under "Vorträge"
Books by Florian Haymann
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/
Papers by Florian Haymann
The aurei with the frontal portraits of Licinius I and II (types RIC VII Nicomedia 41, 42 and Antioch 31-33) were subjected to a die study. A total of 96 specimens were recorded, made from 64 different obverse dies. The application of Esty's geometric formula yields an aproximate estimate of originally about 200 dies, but a statistical evaluation is not reliable due to the small number of surviving specimens.
The coins of the Nicomedia mint can be assigned to one of three main types for each officina, which in turn diverge stylistically. On the basis of the shoulder decoration, "ceremonial busts" with a tablion, which was identified for the first time on coins here, and "cuirassed busts" with a breastplate can be clearly distinguished. Although the obverse legend of Licinius I refers to an event in the period March 321-March 322, the minting of the coins examined here may also have taken place in the later course of 322 as well as 323 and possibly still 324. This is supported by the typological diversity and the literary evidence that Licinius minted gold after Constantine's victory over the Sarmatians (autumn 322).
Doubleton of the pdf, now including the missing photos.
Argues for calling the figure a nurse in the guise of the civic Tyche instead of Amalthaea.
Nach einer Kurzdarstellung bisheriger Forschung zu römischen Frontalbildnissen auf Münzen argumentiert der Autor dafür, die in literarischen Quellen gut belegte Wirkung des Blicks als Ausgangspunkt für die Interpretation derartiger Bildnisse zu nehmen. Bei der entsprechenden Einordnung der Münzen der Licinii mit Frontaldarstellungen fällt auf, dass zunächst deren Hauptgott, Jupiter, en face gezeigt wird. Davon ausgehend, wird anhand von literarischen Zeugnissen dafür argumentiert, dass die Fähigkeit der Allsichtigkeit von Zeus/Jupiter auf den Kaiser und seinen Sohn übergeht, was in den (in enormer Menge geprägten) Frontalaurei der Licinii zum Ausdruck kommt.
On the other hand, a surprisingly strong political aspect of the gorgoneion emerges from the diachronically comparative perspective. In addition to highlighting civic traditions that shape the identity of the polis, the gorgoneion has occasionally been a commitment to the rule of the Achaemenids since the beginning of the 5th century. Since the second half of the 5th century, cities and rulers competing with Athens occasionally use the gorgoneion in order to claim to be particularly favored by Athena. In contrast, a connection between the aegis decorated with a gorgoneion and Alexander the Great emerged in the Hellenistic period. This aspect, taken up again by Nero, may also have played a role in the use of the aegis by Roman emperors. The gorgoneion itself hardly played a role in imperial coinage in Roman times. Its use was narrowed to a component of the imperial breastplate on which it was most likely to develop the ›apotropaic‹ effect that was and is otherwise always ascribed to it.
Obverse: probably Aelius Caesar. Reverse: probably Hadrian sacrifying.
Interprets the facing portrait of Apollo with chlamys, which is mainly found on the coins of the Hekatomnids, as Apollon Hekebolos. This could be a hint to the Persian great king with his feared archers being the protectors of this satrapal dynasty.
Im Schlussteil werden Argumente dafür hervorgebracht, weshalb die berühmte Kolossalstatue Konstantins mit diesen Ereignissen nichts zu tun haben dürfte, sondern eher um 325 errichtet worden sein dürfte.