Greek city in LYDIA 100BC Roman Senate Telesphorus Asclepius Son RareCoin i44189

Item: i44189

 Authentic Ancient

Coin of:

Greek city in
Lydia

Pseudo-Autonomous Issue

Bronze 25mm (5.38 grams) Struck circa 100-200 A.D

ΙЄPA CVNKΛHTOC, Draped bust of Roman
Senate
left.
Telesphorus
, son of
Asclepius

facing.

You are bidding on the exact

Guarantee of Authenticity.

In
Greek mythology
, Telesphorus (or
Telesphoros; Τελεσφόρος) was a son of
Asclepius
. He frequently accompanied his
sister, Hygieia
. He was a
dwarf
whose head was always covered with a

hood or
cap
. He symbolized recovery from illness, as
his name means “the accomplisher” or “bringer of completion” in Greek.
Representations of him are found mainly in
Anatolia
and along the
Danube
.

Telesphorus is assumed to have been a
Celtic god
in origin, who was taken to Anatolia
by the Galatians
in the 3rd century BC, where he would
have become associated with the Greek god of medicine, Asclepius, perhaps in
Pergamon
, an Asclepian cult center. and spread
again to the West due to the rise of the

Roman Empire, in particular during the 2nd century AD, from the reign
of Hadrian
, after
Epidaurus
, the main center of the cult of
Asclepius, had adopted him.

Roman Senate



One of the most personifications represented emissions autonomous provincial
Roman is that of the Roman Senate , widely present emissions of Lydia and
Phrygia , in general, much of Asia Minor (Table 9a- c ) .


The reason may be found in the fact that the province of Asia was under the
control of the Senate, but this conclusion clashes with the evidence that the
Senate has never shown instead in the emissions of other provinces Senators,
such as Bithynia .

Emissions autonomous province with the Senate of Rome covering virtually the
whole of the period from Tiberius to Philip I, with a maximum in the period of
the Antonines and the Severi .

Coinage in the iconography of imperial Rome , the Senate appears robed , with a
beard as a sign of maturity , the scepter as a sign of power and sometimes with
an olive branch .

It is often portrayed in the presence of the imperial figure , ie the emperor
shaking hands as a sign of harmony or only hope for such a harmony between the
parties, as it appears on a sestertius of Commodus RIC III 549 , a similar scene
is found on a

sestertius of Hadrian RIC II 968, but here also appears the figure of Rome
holding her hands on those imperial and Senate that huddle .

On a golden age of Trajan takes on a quasi-religious while sacrificing on an
altar in front of the Genius of the Roman People (RIC 374).

E ‘ instead of a lone Caracalla Antoninianus RIC 246 and a golden Commodus RIC
157a .

The inscription Genivs SENATVS confirms that the embodiment in question is
precisely that of the Roman Senate .


In contrast to what was seen for the imperial emissions , the Senate of Rome
autonomous provincial emissions is depicted with a portrait male youth with
medium length hair type Genio Populi Romani or Bonus Eventus , sometimes the
picture is instead purely feminine and l ‘

hairstyle becomes similar to that of Plotina , wife of Trajan, or that of
Longina Domitia , wife of Domitian as it appears on the issues of mint Apollonis
in Lydia (fig. 14).

The
legends that accompany
the portrait in emissions
are almost independent
of the provincial
type CYNKΛHTOC,
ΣYNKΛHTOC, IERA
CYNKΛHTOC, ΘEON
CYNKΛHTON, ΣYNKΛHTON
or ΘEON
CYNKΛHTOY and leave no doubt
on the identification. The appeal
is therefore the
authority of Rome through
his organ very
representative, who
takes on a sacred
(IEPA) or divine
(ΘEON). As mentioned above,
the period Flavio
brand the passage
from the use of ΘEOΣ
to IEPA.

A large bronze
issued to
Mallus in Cilicia (BMC
30, Levante 1286)
portrays the personification
with head
veiled in conjunction
enrollment SACRED SINATVS
(fig. 15).
In this case, even though the
Senate is in
the masculine gender, the
personification is typically
feminine boulh in
greek is in fact
female and perhaps
the engraver of this type
did not know Latin well
(considering also
the obvious corruption of
SENATVS in
SINATVS) and has remade
the genre greek.
A similar issue
shows instead
the legend
SACER SENATVS (Ovens
n. 537).

How
to interpret the presence of
this representation emission
greek imperial is not easy.
It is probably limited to
believe that confirmation of the
subjection of the Greek cities
in Rome were
confirmed by the presence of a
call to the Senate, since over
time the importance of the
same was gradually decreasing,
while his cult in the provinces
remained almost unchanged.
It should not be forgotten that
the Roman Senate assumes
emissions pseudo
autonomous on a religious
or divine, or
IEPA ΘEON
(the Senate is the only cult
that was called both divine
and sacred), and this probably
has nothing to do with the
control politician
of the provinces. “The
deification and the consecration of
the Roman Senate are a product
of the school of thought of
the Eastern world, who wants to be
surrounded by a halo and
be the object of worship
every manifestation of human power,
as this is considered
emanation of divine power”
(Forni, 1954).