A Glimpse into the R. Atherton Collection of Ancient Biblical Coinage
Coin Photography Studio is delighted to have documented the R. Atherton Collection, a comprehensive collection of over 600 ancient and modern biblical coins. The R. Atherton Gallery presented here contains twenty-four coins selected by the collection’s owner. All accompanying text has likewise been guided by the owner, offering historical and interpretive context for each piece.
Although this gallery shows only a fraction of the collection, it underscores the historical and religious significance of ancient coinage. Each piece was produced within a particular political and cultural framework, and together they contribute to a broader numismatic record that enriches our understanding of the ancient world.
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Persian Empire, Silver Siglos
Circa 485–470 BCE, reign of Xerxes I
This Persian Empire silver siglos comes from the formative period of coinage—before the familiar concept of “heads and tails” had emerged. Struck with only a single die, its obverse bears a finely engraved design, while the reverse is left with a plain punch mark—hence, “heads but no tails.”
The obverse presents a crowned, bearded figure with flowing hair, striding to the right. Widely regarded as a portrait of Xerxes I, the king is depicted carrying a long sceptre. This image resonates with the biblical narrative in Esther 5:2, where Ahasuerus extends his sceptre to Queen Esther. The artistry here blends royal authority with symbolic detail, linking the coin not only to political power but also to prevalent cultural and religious traditions.
By contrast, the reverse is entirely devoid of engraved imagery. This blank surface reflects the minting practice of the period, when only one die was employed in striking coins. This feature highlights the simplicity of early coin production and enhances the historical interest of the siglos series.
Persian Empire, Silver One-Half Gerah
Circa 350–333 BCE
Three of these coins could fit on the surface of a modern dime. Tiny in size yet immense in significance, this silver one-half gerah was minted in the province of Yehud (in the vicinity of Jerusalem) during the final years of Persian rule. Its production predates Alexander the Great’s conquest of the Holy Land and the sweeping cultural transformations brought by Hellenization.
The obverse bears the image of a single, elegant lily bloom. This symbol carried layered meaning: the lily was incorporated into the Temple’s architectural decoration, recognized as an emblem of Jerusalem itself, and recalled the prophecy in Hosea 14:5 of Israel’s future blossoming. Such iconography reveals that, despite Persian authority, local Jewish communities enjoyed a measure of autonomy in shaping their coin designs.
The reverse presents a falcon with outstretched wings, its beak angled toward a three-letter Paleo-Hebrew inscription: YHD, an abbreviation for Yehud Medinata, the province’s Persian name. These YHD issues are widely considered the earliest coinage of Judea, marking a vital step in the region’s numismatic and cultural history.
Ptolemaic Kingdom, Silver Tetradrachm
Alexandria, circa 294–282 BCE
A coin with the artist’s signature. This silver tetradrachm bears the hallmarks of artistry and history: engraved by the renowned “Delta Master,” whose discreet signature—the tiny Greek letter delta (Δ) behind the king’s ear—allows modern scholars to identify his hand. Collectors prize such signed dies, as they link directly to the individuality and skill of the ancient engravers. Struck during the formative years of the Ptolemaic dynasty, when its dominion stretched from Egypt northward into Judea, this specimen also carries banker’s marks and engraved graffiti—evidence of the coin’s active use in commerce.
The obverse presents the portrait of Ptolemy I Soter, once a general under Alexander the Great and later the founder of the Ptolemaic Empire. His commanding image reflects both continuity with Alexander’s legacy and the assertion of a new dynastic power. The engraving quality is outstanding, highlighting the artistry that sets early Ptolemaic coinage apart. Its patina displays variegated iridescent toning, lending the piece a striking visual character.
On the reverse, an eagle stands atop a thunderbolt, a motif that endured on Ptolemaic coinage for nearly three centuries. The eagle had long been a symbol of authority and freedom, closely associated with Alexander the Great. Its inclusion here can be read as Ptolemy’s homage to his former commander and an effort to legitimize his reign by linking it to Alexander’s legacy. Around the design runs the legend, “of King Ptolemy.”
Seleucid Kingdom, Bronze Coin of Antiochus IV Epiphanes
Ake-Ptolemais (modern Akko, Israel), circa 168–164 BCE
A masterful portrait of a notorious king. This bronze issue was struck in the coastal city of Ake-Ptolemais during one of the most turbulent decades in the Holy Land. The reign of Antiochus IV Epiphanes is infamous for the desecration of the Jerusalem Temple—an act that helped set the stage for the Jewish festival of Hanukkah. His oppressive policies also fueled the Maccabean revolt, which ultimately paved the way for renewed Jewish autonomy in their homeland.
The obverse depicts a commanding portrait of Antiochus IV, his arrogant and resolute expression beneath a spiked diadem. The engraver captures not only the pomp and pride of the Seleucid ruler but also the menace for which he became notorious. For collectors and historians alike, the portrait embodies the dramatic tension of a ruler remembered for tyranny and persecution.
The reverse features Nike, the winged goddess of victory, urging forward a galloping two-horse chariot. The inscription above and below boldly proclaims, “of King Antiochus.” The dynamic design contrasts sharply with the somber weight of the obverse, underscoring the duality of power and violence in Antiochus’ reign. This specimen is notable for its strong detail, expressive portrait, traces of original earthen deposits, and an attractive desert patina.
Seleucid Kingdom, Bronze Serrated Coin
Ake-Ptolemais, circa 175–172 BCE
This distinctive Seleucid bronze coin is notable for its serrated edge, a decorative feature that has led to its occasional nickname of “bottle cap” coinage. It was struck in Ake-Ptolemais during the early reign of King Antiochus IV Epiphanes, whose rule extended over the eastern Mediterranean, including Israel and Syria. The serrated edge remains one of the most recognizable stylistic elements in Seleucid bronze issues.
The obverse presents a portrait of Queen Laodike IV, consort of Antiochus IV and one of the very few Seleucid queens depicted on coinage. Remarkably, she was related by blood to five different Seleucid rulers, underscoring her central place within the dynasty. Her image here emphasizes both royal legitimacy and dynastic continuity.
The reverse depicts the head of an elephant, tusks extended and trunk raised, a symbol of Seleucid military might. Elephants were a vital component of the Seleucid army, used in both offensive and defensive roles. Beneath the elephant’s ears appears the prow of a naval warship, amplifying the imagery of power by uniting land and sea strength. This specimen is especially well preserved, with precise centering, strong detail, and an attractive patina that enhances its visual appeal.
Judea, Bronze Prutah of John Hyrcanus I and Antiochus VII
Jerusalem, circa 132–130 BCE
This bronze issue marks an important moment of cooperation between the Seleucid Empire and the Jewish Hasmoneans. Struck in Jerusalem during the high priesthood of John Hyrcanus I and the reign of Seleucid King Antiochus VII, the coin’s dual imagery reflects the terms of a treaty that eased long-standing hostilities. While the Seleucids retained sovereignty over Judea, the Jews gained significant autonomy—including the right to produce their own Hasmonean coinage. This agreement, however, came at a steep price: Hyrcanus was required to pay a massive tribute in silver, reportedly taken from the tomb of King David.
The obverse displays a lily bloom, a symbol long associated with Jerusalem. Its use here affirms Jewish identity within the Seleucid political framework, signaling the community’s enduring cultural presence even under foreign dominance.
The reverse features an inverted anchor, the emblem of the Seleucid dynasty, flanked by the name and title of King Antiochus VII. Together, the lily and anchor embody the political compromise of the treaty, pairing Jewish autonomy with Seleucid oversight. This coin type is especially significant as it represents the earliest prutah. This low-denomination coinage would continue in Judea until the outbreak of the First Jewish Revolt against Rome. The well-centered strike of this specimen allows both symbols to be displayed with unusual clarity.
Judea, Bronze Four-Prutah of Herod the Great
Samaria, 37 BCE
This impressive bronze coin, struck in Samaria, represents the largest and most important issue of Herod the Great. Of the nineteen known coin types produced under his reign, this was the heaviest and highest denomination, valued at four prutah. It can be precisely dated to 37 BC, the third year after the Roman Senate officially declared Herod King of Judea. Notably, this type would still have been circulating at the time of Jesus’ birth and the biblical account of Herod’s encounter with the Magi.
The obverse depicts a military helmet adorned with two cheek-piece protectors and crowned with a star. Flanking the helmet are two palm branches, symbols of victory. Together, the imagery projects a clear message of propaganda: Herod’s kingship and military authority rested on the support of the Roman Empire.
The reverse features a circular inscription reading “of King Herod” in bold lettering. At the center stands a tripod supporting a ceremonial bowl. This ambiguous symbol could be interpreted as alluding to either pagan cultic worship or Jewish Temple ritual, a deliberate duality that allowed the coin to resonate across Jewish, Roman, and Hellenistic audiences without overtly offending any of them. This specimen is exceptionally well-preserved, with sharp detail and a pleasing desert patina.
Roman Empire, Bronze Assarion of Augustus
Antioch, Syria, circa late 1st century BCE
This bronze assarion was struck at the Roman mint of Antioch during the early reign of Caesar Augustus, the first Roman emperor. The type holds particular significance for biblical history: Augustus is the ruler named in Luke 2:1, whose decree of a census led Mary and Joseph to Bethlehem at the time of Jesus’ birth. Issued in the province neighbouring Judea, this coin almost certainly circulated in the Holy Land during that period. The assarion denomination is mentioned explicitly in the Gospels (Matthew 10:29; Luke 12:6), further underscoring its cultural resonance.
The obverse is devoted entirely to Augustus himself, bearing a portrait of the emperor accompanied by the inscription CAESAR. The imagery emphasizes his singular authority, both as heir of Julius Caesar and as the central figure of a new imperial era.
The reverse design continues the focus on Augustus, featuring a laurel wreath encircling the inscription AUGUSTUS—the honorific title conferred upon him by the Roman Senate in 27 BC. This direct pairing of image and name leaves no ambiguity about the identity and power of Rome’s first emperor. The present specimen is notable for its sharp strike, well-preserved detail, attractive desert patina, and traces of earthen deposits.
Judea, Bronze Prutah of Herod Archelaus
Jerusalem, 4 BCE – 6 AD
Following the death of Herod the Great, Rome appointed his eldest surviving son, Herod Archelaus, as ethnarch over Judea. His reign, however, was marked by violence and fear. Ancient sources record his massacre of 3,000 Jews during Passover, along with other acts of cruelty, which led to his eventual deposition by Rome after only ten years in power. The Gospel of Matthew (2:22) reflects this reputation, noting Joseph’s fear of returning to Judea upon learning that Archelaus had succeeded his father.
The obverse depicts a crested military helmet above the title Ethnarch, conferred upon Archelaus by Rome. The inscription is arranged from right to left, in the manner of Hebrew script. It concludes with a stylized caduceus in place of the final letter “Y.” This substitution may have been intentional, blending Greek pagan symbolism with local inscriptional practices.
The reverse bears the Herodian family name above a single cluster of grapes suspended from a vine stem. Both the inscription and the design carry strong Judean associations, underscoring both dynastic identity and Jewish heritage. This example is well-preserved, displaying clear detail and an attractive, dark green patina.
Judea, Bronze Prutah of Pontius Pilate
Jerusalem, 29/30 AD
Although the inscriptions on this coin name both Emperor Tiberius and his mother Livia (Julia Augusta), the type is most closely associated with Pontius Pilate, the Roman prefect of Judea under whom it was struck. Pilate, remembered for his role in the trial of Jesus as narrated in the Gospels, also oversaw the issue of local coinage. This bronze prutah was minted in Jerusalem in the 16th year of Tiberius’ reign (29/30 AD), a period overlapping the ministry of Jesus.
The obverse features a simpulum, a ritual implement used in pagan libations associated with the Imperial cult. Its selection for Judean coinage would have been highly offensive to local Jewish sensitivities, reflecting Pilate’s often provocative approach to governance. The surrounding legend names Tiberius Caesar and records the year of issue.
The reverse inscription honours Livia, mother of Tiberius, under the title Julia Augusta. Beneath the legend appears a bundle of three grain ears tied together, with the central stalk prominently raised—a design perhaps intended to symbolize prosperity under Rome’s rule. This specimen is splendid, with bold detail, complete devices, and an attractive strike. A small protrusion at the top, known as a sprue, is evidence of the minting technique, in which strips of metal flans were cast, struck, and then cut apart.
Phoenicia, Silver Shekel of Tyre
Dated 15/16 AD, from the Isfiya Hoard
“Everything has beauty, but not everyone sees it.” These words resonate strongly when considering this silver shekel, struck during the youth of Jesus and later circulated extensively over the course of two millennia. Its surface bears the marks of heavy wear, scratches, deposits, and environmental damage—traces that together form a rugged character and weathered charm. This coin type is historically significant as the shekel is associated with Temple payments in Jerusalem and with the thirty pieces of silver given to Judas for his betrayal of Jesus. According to Matthew 27:7–10, those coins re-entered circulation, making a well-worn specimen like this especially evocative. This example carries additional importance, having been part of the Isfiya Hoard, discovered on Mount Carmel in 1960.
The obverse depicts the head of Melqart, the patron god of Tyre, shown in classical Hellenistic style. His image dominated Tyrian silver coinage for generations, projecting both divine patronage and civic identity.
The reverse features an eagle standing left upon the stern of a galley, positioned behind an upright club symbolizing the city of Tyre. Three small Greek letters above the club record the date as 15/16 AD. The surrounding inscription proclaims Tyre as “holy and inviolable.” The piece, although worn, retains strong detail and historical resonance, evoking extensive circulation and many centuries of existence.
Nabataean Kingdom, Silver Sela of Aretas IV and Queen Huldu
Petra, 2/3 AD
This rare silver sela (drachm) was struck in Petra during the reign of King Aretas IV (9 BC–40 AD) and his first wife Queen Huldu. Their daughter Phasaelis was married to Herod Antipas, the tetrarch of Galilee and son of Herod the Great, in a political alliance aimed at stabilizing relations between Judea and Nabatea. The marriage ended abruptly when Antipas divorced Phasaelis to wed Herodias, his brother’s former wife. The insult provoked Aretas IV to launch a successful war against Antipas, and the episode is also directly linked to the biblical account of John the Baptist’s execution (Mark 6:17–28). Remarkably, Aretas IV, Herodias, and Herod Antipas are all named in the New Testament.
The obverse presents the jugate portraits of King Aretas IV and Queen Huldu. While struck slightly off-center on this specimen, Aretas’ portrait remains complete and clear. The legend in Nabataean Aramaic identifies Aretas as “the king who loves his people.”
The reverse shows a finely centered depiction with a complete legend and a precise date corresponding to the 11th regnal year of Aretas IV (2/3 AD). The inscription also names Huldu as queen. The coin’s even strike, legible inscriptions, and attractive toning make this a particularly desirable example. Issued during the lifetime of Jesus, this type is rare and historically resonant, as it links the political intrigues of Nabatea with the narratives of the Gospels.
Roman Empire, Bronze Coin of Tiberius with Countermark of Caligula
Antioch, 31/32 AD, countermarked 38/39 AD
This bronze coin illustrates the ancient practice of countermarking, in which existing coins were stamped with new authority. Initially struck at Antioch in 31/32 AD during the reign of Tiberius, it was later revalidated under his successor, Gaius Caligula. Seven years after its issue, an official punch was applied to the obverse, ensuring its continued legitimacy under the new emperor. Such re-marked pieces provide insight into both the practicalities of currency circulation and the political messages embedded within coinage.
The obverse bears the portrait and name of Tiberius. Just beneath his chin appears the countermark: the two Greek letters ΓΑ (an abbreviation of Gaius) accompanied by the letter B, signifying Caligula’s second regnal year (38/39 AD). The placement of this countermark across Tiberius’ portrait was not only functional but also symbolic, underscoring that Caligula had supplanted his predecessor.
The reverse retains its original Tiberian design, unchanged by the countermarking process. Yet the context gives it new significance: Caligula’s rule was colored by personal vendettas against Tiberius, whose cruelty had led to the exile and deaths of Caligula’s family members. Marking Tiberius’ coinage thus carried undertones of both legitimacy and revenge. Caligula’s subsequent descent into delusions of divinity strained relations with Jews and Christians alike, most notoriously in his order to erect his statue within the Jerusalem Temple—an act averted only by his assassination in 39 AD. This coin probably remained in circulation when Paul later arrived in Antioch.
Roman Empire, Bronze Coin of Claudius and Augustus
Thessalonica, circa 41–54 AD
This bronze issue from the prosperous biblical city of Thessalonica is far from an ordinary dual-portrait coin. Struck under Emperor Claudius, it was designed to underscore his legitimacy by linking him directly with Caesar Augustus, the deified founder of the Julio-Claudian dynasty. Claudius’ unexpected rise to power made such visual reinforcement essential. By pairing portraits of himself and Augustus, and through inscriptions that highlighted shared family ties and Augustus’ Senate-decreed divine status, Claudius reinforced both continuity and divine approval for his reign. Coins of this type were in circulation during Paul’s time in Thessalonica and when he wrote 1 Thessalonians. Both Claudius and Augustus are named in the New Testament.
The obverse displays a portrait of Claudius accompanied by his imperial titles and family name. This specimen is especially noteworthy for its clear and unusually complete inscription, achieved with careful centring of the strike. The visible linear scratches are not signs of damage but deliberate adjustment marks, cut by mint workers to prepare the flan before striking.
The reverse features the portrait of Augustus, honored as a god by decree of the Roman Senate. By placing Augustus opposite Claudius, the coin visually and textually proclaims dynastic continuity and Claudius’ rightful inheritance of power. This example is further distinguished by being approximately 35% heavier than average, enhancing its presence and collectability.
Roman Empire, Silver Tetradrachm of Claudius
Ephesus, 41–42 AD
This large silver tetradrachm was struck in Ephesus early in the reign of Emperor Claudius. The city was famed for its magnificent temple dedicated to Artemis (Diana to the Romans), one of the Seven Wonders of the Ancient World. The temple’s presence not only defined Ephesian identity but also fueled a flourishing economy, drawing countless pilgrims and worshippers. Coins of this type continued in circulation during the Apostle Paul’s ministry, when his challenge to entrenched goddess worship sparked a dramatic riot in Ephesus as recorded in Acts 19:23–35.
The obverse bears a portrait of Claudius, identified by the abbreviated inscription of his full imperial titles: Tiberius Claudius Caesar Augustus. Despite some wear, this specimen preserves the emperor’s distinct features with expressive clarity.
The reverse depicts the Temple of Artemis, shown in architectural detail with the cult statue of the goddess prominently displayed within its colonnade. Abbreviated inscriptions for Diana and Ephesus flank the structure, affirming both the deity and the city. Even in its worn state, traces of artistic embellishment remain visible in the temple’s pediment. This issue reflects not only the grandeur of the Ephesian sanctuary but also the powerful cultural and religious currents against which early Christianity was proclaimed.
Roman Imperial Counterfeit, Fourrée Denarius
Circa late 2nd – early 3rd century AD
Although this coin appears to be a low-grade example of a genuine Roman silver denarius in many ways, closer inspection reveals its true identity as an ancient counterfeit, known as a fourrée. Such pieces were produced in antiquity by wrapping a base-metal core with a thin silver coating, enabling them to pass in trade as official currency. Over time, the fragile silver layer of this specimen has partially peeled away, exposing the underlying core. Although deceitful in origin, fourrée coins are valued today as authentic artifacts of ancient monetary practice and fraud.
The obverse imitates a denarius of Emperor Septimius Severus (193–211 AD), recognizable by his distinctive coiled beard. Severus was a religious syncretist who sought to unify Rome’s diverse beliefs while forbidding conversion to Judaism or Christianity. The portrait and inscription were carefully copied to make the counterfeit convincing to everyday users.
The reverse borrows from an issue of Emperor Caracalla, depicting the goddess Securitas seated in repose, symbolizing security and confidence. Her serene presence on a coin intended to deceive is an ironic juxtaposition, highlighting the tension between appearance and reality. Fourrées such as this not only illuminate ancient counterfeiting techniques but also offer a broader metaphor: authenticity lies in harmony between outward expression and inward truth.
Roman Empire, Antoninianus of Diocletian
Cyzicus, 284–294 AD
This antoninianus was struck at Cyzicus during the reign of Emperor Diocletian (284–305 AD). The denomination, composed of a bronze core with a thin silver wash, was a product of Rome’s strained economy in the late third century. While most examples lost their silvering quickly in circulation, this specimen is exceptional: the surface silver remains intact, richly toned, and highlights the coin’s sharp detail. Diocletian’s reign was transformative, marked both by sweeping reforms to the empire’s administration and economy and by the most systematic and deadly persecution of Christians in Roman history.
The obverse depicts Diocletian wearing a radiate crown, his image surrounded by his full name and imperial titles. The strong, authoritative portrait reflects the emperor’s ambition to restore stability to an empire weakened by decades of crisis.
The reverse depicts Jupiter, chief deity of Roman mythology, presenting the goddess Victory to Diocletian. The surrounding legend proclaims harmony with the military, symbolically declaring the emperor’s divine mandate and assured success in war. The combination of Jupiter’s sanction and the army’s loyalty encapsulated the ideological foundation of Diocletian’s rule. Yet behind this imagery of power, Diocletian sought to extinguish Christianity through forced pagan sacrifice and brutal persecution. His policies ultimately failed—Christianity endured and would, within a generation, rise to dominance in the empire.
Roman Empire, Bronze Follis of Constantine the Great
Ticinum (Northern Italy), 318/319 AD
At first glance, this bronze follis appears unremarkable. Still, its historical and religious significance lies in a subtle detail: one of the earliest appearances of the Cross on a Roman coin. Issued at Ticinum during the first half of Constantine the Great’s reign, this piece dates to 318/319 AD, a time when Christianity was beginning to gain favour within the imperial sphere. This coin is notable in that not only was Christian imagery infrequent on Constantine’s lifetime coinage, but the appearance of a cross on Roman coinage remained rare for decades after Constantine.
The obverse portrays Constantine helmeted, with a surrounding legend that acclaims him as the most excellent Augustus. The portrait conveys both military authority and imperial dignity, reinforcing his central role in stabilizing the empire after years of crisis.
The reverse legend, translated as “Joyous Victory to the Eternal Prince,” likely refers to Constantine’s imperial triumph rather than to Christ himself. Yet the central image includes a small equilateral Cross, a form more common in the 4th century than the later vertical Latin style. Its quiet presence on a lifetime issue of Constantine—the first Roman emperor to support Christianity—renders this coin highly significant as a numismatic witness to the earliest stages of Christian symbolism in Roman art.
Roman Empire, Centenionalis of Vetranio
Siscia (modern-day Croatia), 350 AD
This centenionalis was issued in 350 AD under Emperor Vetranio, whose reign was brief and transitional, occurring just thirteen years after the death of Constantine the Great. Despite its short-lived authority, the type is of immense historical importance, as it bears the earliest explicitly Christian phrase on a coin.
The obverse presents the portrait of Vetranio encircled by his name and abbreviated imperial titles. The image emphasizes the continuity of Roman power during a turbulent moment in the empire’s leadership.
The reverse holds profound significance: Vetranio stands holding a military standard topped with the Chi-Rho, the earliest monogram for Christ, formed by the intertwined Greek letters Χ and Ρ. Behind him, Victory raises a wreath toward his head. The design directly recalls Constantine’s vision before the Battle of the Milvian Bridge in 312 AD, when he was instructed to mark the Chi-Rho on his army’s standards with the promise that “by this sign you will conquer.” The legend here, HOC SIGNO VICTOR ERIS (“By this sign victory will be yours”), affirms the connection and makes this the first coin to carry a directly Christian phrase. This specimen is wonderful, with complete legends and a sharply defined Chi-Rho.
Roman Empire, Bronze Coin of Valentinian II
Antioch, circa 375–392 AD
This small bronze coin was issued under Emperor Valentinian II, who ruled during a pivotal period of transition from Rome’s pagan past to its Christian future. Valentinian actively opposed lingering pagan practices and supported the Edict of Thessalonica in 380 AD, which formally established Nicene Christianity as the empire’s official faith over Arianism. Although modest in size, these coins carried powerful ideological messages, combining imperial propaganda with emerging Christian symbolism.
The obverse features a finely rendered portrait of Valentinian II, his name and titles encircling his thoughtful, almost contemplative likeness. The artistry of this specimen is enhanced by its sharp strike and well-preserved detail, qualities rare for a coin of such small fabric.
The reverse legend proclaims the “Salvation of the Republic”, a declaration of security from Rome’s enemies and confidence in the empire’s renewed stability. The imagery shows Victory dragging a captive, a visual metaphor of triumph. At Victory’s side is a Tau-Rho—a Christian symbol formed by combining the Greek letters Tau (Τ) and Rho (Ρ). Closely resembling the Staurogram, this monogram functioned as an early depiction of Christ on the Cross. The blending of martial victory with Christian salvation underscores the ideological shift of the late empire. This specimen is particularly striking for its crisp detail and richly coloured desert patina, which together highlight its choice preservation.
Byzantine Empire, Gold Solidus of Constans II and Constantine IV
Constantinople, 654–659 AD
This early Byzantine solidus, the empire’s standard high-value gold denomination, was struck in Constantinople between 654 and 659 AD. It features the joint portraits of Constans II and his son Constantine IV, rulers of the Heraclian dynasty. Constans II was preoccupied with theological controversies that divided the Christian church, resorting to imprisoning Pope Martin I in his effort to enforce unity. His son Constantine IV, who succeeded him, faced a different crisis: relentless Arab assaults that threatened Constantinople itself. To defend the capital, Constantine relied heavily on naval warfare, including the deployment of the empire’s secret incendiary weapon, later known as Greek fire, which ignited enemy fleets and became legendary in Byzantine history.
The obverse features the facing busts of Constans II, identifiable by his long, flowing beard, and his heir, Constantine IV. Their paired images underscored dynastic continuity and the legitimacy of succession. This specimen is notable for the especially fine rendering of Constans II’s portrait, struck with impressive clarity and detail.
The reverse depicts a cross on a raised platform, flanked by a legend that proclaims “Victory of the Emperors.” Below the cross appear the mint marks identifying Constantinople as the place of issue. The surface of this specimen also preserves faint graffiti marks—intentional scratches added during its time in circulation—which remain visible in the left field. Despite such alterations, the coin retains excellent eye appeal and stands as a tangible witness to one of Byzantium’s most turbulent and innovative eras.
Byzantine Empire, Gold Histamenon of Constantine IX Monomachus
Constantinople, 1042–1055 AD
This gold histamenon, struck at Constantinople during the reign of Constantine IX Monomachus, is an artifact closely tied to one of the most pivotal events in Christian history: the Great Schism of 1054. Although Constantine sought to mitigate tensions between Rome and Constantinople, the split of the Church into the Catholic West and the Orthodox East formally occurred just months before his death. The coin itself belongs to a denomination equivalent in weight to the solidus, but struck on a thinner, broader, and slightly concave flan. This specimen, of 21-karat gold, is remarkable for its large flan, sharp details, and clear inscriptions.
The obverse portrays Christ Pantokrator, nimbate and holding the book of Gospels. The surrounding legend translates to “Jesus Christ, King of Kings.” This enduring image reflects the central role of Christ in Byzantine religious and imperial ideology, with coinage serving as both a means of currency and a theological statement.
The reverse features Constantine IX Monomachus in full imperial regalia, grasping a sceptre topped with a cross and a globus cruciger (orb) surmounted by a cross. The accompanying legend records his name and imperial titles, reinforcing the connection between divine authority and imperial rule. The artistry of this example, with crisp lettering and balanced strike, enhances its significance as both a political statement and a witness to the turbulent era that defined the permanent division of Christendom.
Kingdom of Sicily, Gold Tari of Roger II
1130–1154 AD
This small gold tari, struck in 16-karat gold, was issued under Roger II, the first king of the Kingdom of Sicily. His realm encompassed southern Italy and parts of North Africa and was remarkable for its multi-faith population of Muslims, Jews, Catholics, and Orthodox Christians. Roger cultivated a policy of religious tolerance, unusual for the period, and his coinage reflects this cultural and linguistic diversity. The tari is especially notable for its bilingual inscriptions, blending Arabic and Greek on a single coin.
The obverse features an encircled central pellet surrounded by Kufic Arabic script, which reads: “King Roger, powerful through God.” This proclamation affirms the doctrine of the divine right of kings, positioning Roger’s authority as deriving directly from God—implicitly in opposition to papal claims of supremacy over monarchs.
The reverse presents a stylized cross, flanked by the Greek inscription IC XC NIKA, an abbreviation for “Jesus Christ Victorious.” The fusion of Christian and Islamic inscriptions illustrates the cosmopolitan nature of Roger’s kingdom at the height of its cultural exchange. Although Roger reigned during the era of the Crusades, he notably refrained from participating in them directly. This specimen is especially well preserved, retaining clear central legends, though—as typical for the type—the outer ring inscriptions were trimmed in circulation to harvest small amounts of gold.
Republic of Venice, Silver Mezzanino Nuovo of Andrea Dandolo
1349–1350 AD
This silver mezzanino nuovo, struck under Doge Andrea Dandolo (1343–1354 AD), is among the most remarkable issues of medieval numismatics. Its reverse uniquely portrays the Resurrection of Christ, an image virtually unparalleled in both ancient and medieval coinage. The timing of its production adds further weight: the years 1349–1350 coincided with the height of the Black Death, when the bubonic plague claimed nearly one-third of Europe’s population. The coin thus embodies themes of faith, mortality, and hope at one of history’s darkest moments.
The obverse depicts Saint Mark, the patron saint of Venice and author of the Gospel that bears his name, standing to the left. He presents a liturgical candle to the Doge of Venice, who receives it as a symbol of divine sanction. The surrounding legend, in abbreviated Latin, reads: “Andrea Dandolo, Doge of Saint Mark of Venice.” This pairing of civic and spiritual authority reflects Venice’s enduring identity as both a republic and a deeply Christian state.
The reverse shows the Resurrection of Christ: Jesus, fully robed and bearing a small cross, rises from a rectangular sepulchre, his movement captured as he steps forth. The legend abbreviates “Christus Resurrexit” (“Christ is resurrected”), proclaiming the central truth of Christian faith. This specimen preserves rich detail and tonal contrast, allowing the viewer to appreciate the artistry and theological significance of this rare and extraordinary design.
The Collection in Context
The R. Atherton Collection, in its entirety, represents a focused effort to trace the intersection of faith, history, and authority through the medium of coinage. From small bronze issues circulated in the marketplaces of Judaea to imperial silver and gold struck under Rome, these coins preserve the images, titles, and messages of their time. Taken together, they form a material record of the shifting powers and beliefs that shaped the biblical world. Even in this limited selection, the R. Atherton Gallery demonstrates how coins, despite their modest size, can illuminate centuries of cultural, political, and religious transformation.
This project has been made possible through the vision and scholarship of R. Atherton, the collection’s owner, as well as the comprehensive photographic documentation undertaken by Coin Photography Studio (Denis Richard, photographer).
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