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Greek city of Pantikapaion in Cimmerian Bosporus
Billon Silver Didrachm 20mm (7.94 grams)
Struck under Mithradates VI the Great circa 90-79 B.C. or circa 85-70 B.C.
Reference: HGC 7, 98 (Rare R2); MacDonald 172; Anokhin 1116; SNG BM 932
Certification: NGC Ancients Ch VF Strike: 4/5 Surface: 5/5 4934009-007
Wreathed head of Dionysos right.
ΠΑΝΤΙΚΑΠΑΙΤΩΝ and grape bunch within ivy wreath; monogram above.
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Billon is an alloy of a precious metal (most commonly silver) with a majority base metal content (such as copper). It is used chiefly for making coins, medals, and token coins. The word comes from the French bille. The use of billon coins dates from ancient Greece through the Middle Ages. During the 6th and 5th centuries BC, some cities on Lesbos Island used coins made of 60% copper and 40% silver. Billon coins are perhaps best known from the Roman Empire, where progressive debasements of the Roman denarius and the Roman provincial tetradrachm.
Mithridates VI or Mithradates VI (Greek: Μιθραδάτης), from Old Persian Mithradatha, “gift of Mithra”; 134-63 BC, also known as Mithradates the Great (Megas) and Eupator Dionysius, was king of Pontus and Armenia Minor in northern Anatolia (now Turkey) from about 120-63 BC. Mithridates is remembered as one of the Roman Republic’s most formidable and successful enemies, who engaged three of the prominent generals from the late Roman Republic in the Mithridatic Wars: Lucius Cornelius Sulla, Lucullus and Pompey. He was also the greatest ruler of the Kingdom of Pontus.
 Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in Greek mythology. Alcohol, especially wine, played an important role in Greek culture with Dionysus being an important reason for this life style. His name, thought to be a theonym in Linear B tablets as di-wo-nu-so (KH Gq 5 inscription), shows that he may have been worshipped as early as c. 1500-1100 BC by Mycenean Greeks; other traces of the Dionysian-type cult have been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a god of epiphany, “the god that comes”, and his “foreignness” as an arriving outsider-god may be inherent and essential to his cults. He is a major, popular figure of Greek mythology and religion, and is included in some lists of the twelve Olympians. Dionysus was the last god to be accepted into Mt. Olympus. He was the youngest and the only one to have a mortal mother. His festivals were the driving force behind the development of Greek theatre. Modern scholarship categorises him as a dying-and-rising god.
The earliest cult images of Dionysus show a mature male, bearded and robed. He holds a fennel staff, tipped with a pine-cone and known as a thyrsus. Later images show him as a beardless, sensuous, naked or half-naked androgynous youth: the literature describes him as womanly or “man-womanish”. In its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession (thiasus) is made up of wild female followers (maenads) and bearded satyrs with erect penises. Some are armed with the thyrsus, some dance or play music. The god himself is drawn in a chariot, usually by exotic beasts such as lions or tigers, and is sometimes attended by a bearded, drunken Silenus. This procession is presumed to be the cult model for the human followers of his Dionysian Mysteries. In his Thracian mysteries, he wears the bassaris or fox-skin, symbolizing a new life. Dionysus is represented by city religions as the protector of those who do not belong to conventional society and thus symbolizes everything which is chaotic, dangerous and unexpected, everything which escapes human reason and which can only be attributed to the unforeseeable action of the gods.
Also known as Bacchus, the name adopted by the Romans and the frenzy he induces, bakkheia. His thyrsus is sometimes wound with ivy and dripping with honey. It is a beneficent wand but also a weapon, and can be used to destroy those who oppose his cult and the freedoms he represents. He is also called Eleutherios (“the liberator”), whose wine, music and ecstatic dance frees his followers from self-conscious fear and care, and subverts the oppressive restraints of the powerful. Those who partake of his mysteries are possessed and empowered by the god himself. His cult is also a “cult of the souls”; his maenads feed the dead through blood-offerings, and he acts as a divine communicant between the living and the dead.
In Greek mythology, he is presented as a son of Zeus and the mortal Semele, thus semi-divine or heroic: and as son of Zeus and Persephone or Demeter, thus both fully divine, part-chthonic and possibly identical with Iacchus of the Eleusinian Mysteries. Some scholars believe that Dionysus is a syncretism of a local Greek nature deity and a more powerful god from Thrace or Phrygia such as Sabazios or Zalmoxis.
 Panticapaeum was an ancient Greek city on the eastern shore of Crimea, which the Greeks called Taurica. The city was built on Mount Mithridat, a hill on the western side of the Cimmerian Bosporus. It was founded by Milesians in the late 7th or early 6th century BC. The ruins of the site are now located in the modern city Kerch.
During the first centuries of the city’s existence, imported Greek articles predominated: pottery (see Kerch Style), terracottas, and metal objects, probably from workshops in Rhodes, Corinth, Samos, and Athens. Local production, imitated from the models, was carried on at the same time. Athens manufactured a special type of bowl for the city, known as Kerch ware. Local potters imitated the Hellenistic bowls known as the Gnathia style as well as relief wares-Megarian bowls. The city minted silver coins from the 5th century BC and gold and bronze coins from the 4th century BC. At its greatest extent it occupied 100 hectares (250 acres). The Hermitage and Kerch Museums contain material from the site, which is still being excavated.
In the 5th-4th centuries BC, the city became the residence first of the Archaeanactids and then of the Spartocids, dynasties of Thracian kings of Bosporus, and was hence itself sometimes called Bosporus. Its economic decline in the 4th-3rd centuries BC was the result of the Sarmatian conquest of the steppes and the growing competition of Egyptian grain.
The last of the Spartocids, Paerisades V, apparently left his realm to Mithridates VI Eupator, king of Pontus. This transition was arranged by one of Mithridates’s generals, Diophantus, who earlier had been sent to Taurica to help local Greek cities against Palacus of Lesser Scythia. The mission did not go smoothly: Paerisades was murdered by Scythians led by Saumacus, and Diophantus escaped to return later with reinforcements to suppress the revolt (c. 110 BC).
Half of a century later, Mithridates took his life in Panticapaeum, when, after his defeat in a war against Rome, his son and heir Pharnaces and citizens of Panticapaeum turned against him.
In about 70 BC an earthquake caused heavy damage to the city. The city was destroyed by the Huns in approximately 370 AD. Later the area came under the control of the Byzantine Empire which built a new town at the site, which became known as Bosphorus in the Middle Ages. This settlement ultimately developed into the modern city of Kerch.
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