2

contents

Introduction
6

A hoard and its history

8

Alexander the Great: a Macedonian king

in a Roman world
10

Alexander festivals at Beroia

12

CATALOGUE 1-11
15

Information on pieces in Berlin,

Baltimore and Thessalonica
38

Bibliography
44

4 5
Medallions from Aboukir Medallions from Aboukir

Introduction

T he Calouste Gulbenkian Museum possesses many treasures, but

the 11 gold medallions from a hoard discovered in 1902 in Egypt
constitute a remarkable example of ancient art and first hand source
of Alexander related iconography. Of the original 20 medallions1,
Calouste S. Gulbenkian managed to collect 11, thus making Lisbon
today the main repository of these pieces. They are the only such
medallions in gold which have survived from the Roman period. In
contrast to other medallions in precious metals, they are not based
on a defined coin standard, and cannot be considered multiples
of regular aurei or solidi. In contrast, the Aboukir medallions are
of diverse weights, possess a varying non–coin like fineness, and
most importantly they are not products of any official Roman mint.
In addition, they bear Greek, not Latin legends, naming the king
Alexander, and offer a fascinating insight into a highly elaborate
iconographic language telling the story and legend of Alexander
the Great (356–323 BC) and the appreciation of him in the Roman
period. Fittingly enough, the only Roman emperor depicted on
these medallions is Caracalla, who himself was (in)famous for his
very personal ‘Alexander-mania’.

1
Medallions are identified by letters A-U according to the monograph of Heinrich Dressel
(1845-1920), director of the Münzkabinett der Staatlichen Museen zu Berlin, who in 1906
published an analysis and catalogue of these pieces (see bibliography).

6 7
Medallions from Aboukir

A hoard and its history

T he hoard of Aboukir (Abu Qir, Egypt) was discovered in

February or March 1902 near this town in the Nile delta and
was quickly dispersed in trade. We do not have any information
medallions. Just prior to this, he was able to purchase three
additional medallions from the collection of James Loeb through
the dealer Jacob Hirsch.
about the exact findspot. This remarkable assem­blage of ancient
gold is believed to have included six hundred or more Roman “You will be pleased to hear that I have received a telegram from Mr. Adams
au­rei dating between the reigns of Severus Alexander and of the Morgan Library, informing me that the Board of Trustees have
Constantius I (ca. 222–306 AD), eighteen to twenty ingots, and decided to accept my offer for the eight medallions. I am sure you will be
twenty Alexander medallions. The chronological distribution of glad that I have acquired them, on the lines you know. With the three Hirsch
the aurei leads us to expect a hoard closure date at the beginning medallions at present in your possession, this new acquisition will certainly
of the fourth century AD at the latest. Unfortunately, there still enhance the importance of our catalogue – which is what I am longing to
remains some doubt whether the Roman aurei, gold bars, and the do… I take it that, although the above medallions are not pure Greek, they
Alexander medallions were really part of the same single hoard. will not disparage the catalogue.”
Stylistic and historical grounds exclude a date earlier than
211-212 AD; the hoard’s burial, on the other hand, must have taken (Letter from Calouste S. Gulbenkian to E.S.G. Robinson,
place around 305 AD. The sole emperor represented among this dated Paris, 11th October 1949)
remarkable group of medallions aiming at the glorification of the
Macedonian king Alexander the Great is Caracalla (died 217 AD,
sole emperor as of 211 AD).
The 20 medallions became the focus of the whole art market
at the time they were offered to various European museums.
The Royal Museums at Berlin were able to purchase five pieces,
while the others either stayed in Egypt with collectors or were
purchased by American businessmen, such as John Pierpont
Morgan. Calouste Gulbenkian, well connected and known
as a serious collector, acquired his 11 pieces much later,
seizing the opportunity when Morgan’s heirs decided to sell
off parts of his famous collection which held eight of the

8 9
Medallions from Aboukir
Alexander the Great: a Macedonian king in a Roman world
W hen looking at the medallions from Aboukir, we become part
of a whole world of Alexander seen through the eyes of a
Greco-Roman of the third century AD. Some of the images chosen
here, though much more elaborate in their details and transferred
into gold, are familiar from contemporary coins issued in the
provincial capital of Macedonia during the reigns of Elagabalus to
Philip the Arab (218–249 AD) (figs. 1-2). These images are designed
to describe the military and legendary virtues of Alexander. One
with a ram’s horn and diadem presents him as the true son of Zeus
Ammon and is taken directly from the famous model of Lysimachos’
coins (cat. 1 obv.). His qualities as a military leader are emphasized
by various versions of portraits of Alexander wearing an Attic
helmet (cat. 6 obv.). On one, the helmet is decorated with a complex
battle scene, on another there appears the divine hero Ganymede
being taken away by Zeus’ eagle (cat. 7 obv.), on a third there is a
common Macedonian motif, Artemis (with the epithet Tauropolos)
Fig. 1 Fig. 2
Obv.: Diademed head Rev.: Alexander taming his horse
of Alexander the Great Boukephalos
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18202674
10
Medallions from Aboukir
riding a bull (cat. 4 obv.). Reverses show Nike, the goddess of
victory, decorating a trophy and holding a round shield with two
lovers on it (cat. 4 rev.). On another, we observe Nike presenting
Alexander with his armour and this particular shield shows Achilles
slaying Penthesilea, the queen of the Amazons (cat. 11 rev.). Other
reverses show Alexander hunting, where he is depicted on foot
spearing a wild boar (a deed considered to prove full manhood in
Macedonian society (cat. 1 rev.). The tree in the background in which
we see a serpent hiding implies countryside as the scene of this
exploit. The most important and unique representation of Alexander
survived on three medallions all struck with the same die, one of
which is in Lisbon: Alexander in full armour with diadem and spear
in his hand seen from the front
(cat. 5 obv.). This time he lacks a helmet, allowing us to see his
flowing hair. He is carrying a round shield with the zodiac on it,
which makes the attribute of this portrait even clearer: Alexander
is Kosmokrator, true king of the world, even ruling over the stars in
heaven.
It is evident that Alexander has been turned into a legendary hero
and a symbol of Macedonian nationalism incorporating military
and other virtues. His human origins as the offspring of Philip II and
Olympias are paralleled by mythological comparison, and he himself
is associated with his idol Achilles.
11
Medallions from Aboukir
Alexander festivals at Beroia
D uring the Roman period the provincial body (in which the
province was organized,) regularly met at Beroia, a city in
which the province was located. The Koinon of the Macedons,
beside its political function, was also responsible for the issue
of widely circulated bronze coinage. It also held religious and
agonistic festivals, adding not only a cult perspective to the
Koinon’s meetings, but also representing an important economic
event for the people of Beroia. From 218 AD onwards (and up
to the termination of this coinage around 250 AD) the portrait
of the ruling emperor on the Koinon’s bronze coins is, with few
exceptions, replaced by various portraits of Alexander the Great,
and the reverses also relate to the famous king and Macedonian
traditions (figs. 3-4). The impetus for the production of these coins
is the festival, which was established under the emperor Elagabalus
(218–222 AD). It combined the traditional cult of the ruling emperor
with games in honour of Alexander the Great. Some of the games
Fig. 3 Fig. 4
Obv.: Diademed head Rev.: Alexander the Great on horse
of Alexander the Great
Koinon of the Macedons
231-235 AD
Münzkabinett , Staatlichen Museen
zu Berlin, 18214406
12
Medallions from Aboukir
were actually called ‘Alexandreia’ (figs. 5-6). From inscriptions
we know that these annual festivals included gymnastic and
musical competitions, gladiator fights, and horse-races. The games
attracted visitors, professional athletes and merchants from
Macedonia and beyond. Hence these games became an event of
great economic importance, and perhaps this was the reason for
the large number of coin designs relating to them. A much smaller
number of similar coins were also issued in the name of the city
of Beroia. Additionally the games were made ‘isolympic’ under
Gordianus III (reigned 238-244 AD), meaning that its procedures
and, most important of all, the prizes for the participating athletes
were comparable to those of the more famous games at the
sanctuary of Zeus in Olympia. While this Alexandreia Olympiad
was accordingly planned to take place every four years starting
in 242-43 AD, the games were actually repeated only once in
246-47 AD as far as our sources tell us.
In view of the general parallels between the Koinons’s bronze coins
and the famous gold medallions from Aboukir depicting the legend
of Alexander the Great, and the various iconographical details
Fig. 5 Fig. 6
Obv.: Diademed head Rev.: Table of honor topped
of Alexander the Great by two crowns and a palm branch
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18214410
13
Medallions from Aboukir Medallions from Aboukir

shared between these two groups (figs. 7-8), it seems reasonable

to suggest that the gold medallions from Aboukir were produced
in connection with the Koinon’s festivals at Beroia, possibly
during the reigns of Elagabalus or Severus Alexander, who were
members of the Severan dynasty (as Caracalla is shown on three
of the medallions). It has been suggested that these medallions
represent the so-called niketeria, e.g. the prize-money presented
C at A log U E
to the victorious competitors at the festivals. In view of the varying
weight and fineness (between c. 88-96% gold), and the fact that
victors often were paid in circulating coins, one may consider that
the gold medallions from Aboukir were produced as exceptional
gifts and tokens by the highpriest or Makedoniarchos, who was
responsible for organizing these games. In his hands, these
numismatic manifestations of Alexander’s legend in gold would not
only highlight his term in office, but act as impressive magisterial
donatives and serving as valuable presents for high ranking guests
at Beroia.

Fig. 7 Fig. 8
Obv.: Diademed head Rev.: Two temples
of Alexander the Great
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18214405

14 15
Medallions from Aboukir Medallions from Aboukir

1
Obv.: Diademed head of Alexander the Great with ram’s horn to left.
Head slightly turned upward, gazing to heaven. This portrait is modeled
upon a Hellenistic prototype, the representation of Alexander in the coinage
of King Lysimachos of Thrace (297–281 BC). It is the most prominent image
of Alexander used in the Hellenistic era (figs. 9-10). It stresses Alexander’s
royal rank by showing him wearing a king’s diadem, and his upward gaze
and tousled hair point to his legendary yearning (pothos) to surpass the
heroes from Greek myth along with his lion-like appearance. In some way
the longing of Alexander assimilates his ideal, the great Achilles,
a topic very often referred to on these medallions. Same die as Dressel A
and G.
Rev.: Alexander in mantle (chlamys) and boots fights a boar with his spear,
a tree and two dogs are on the right. At the base of tree a coiled serpent.
Left BACIΛEVC, top AΛEΞANΔPOC (King Alexander). The motif of a ruler
hunting an animal is a quite familiar one. We know from Arrian, Anabasis
4.13.2, that Alexander chased a boar in real life. According to Macedonian
custom, Athenaios, Deipnosophistae 1.18 tells us that one had to kill a boar
to be admitted among the adults at table. The tree, dogs and serpent
highlight the rural setting of the whole scenery which recalls a model from
a wall-painting or mosaic.
Lisbon, Calouste Gulbenkian Museum, inv. 2428. 54 mm; 96.44 g; 12 h.
Svoronos 1907, pl. 9.2; Bernardi 1970, p. 82, no. 5, pl. 2.5; Savio 1994-1995, p. 79 F
[ex coll. Sinadino, Alexandria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll.
Pierpont Morgan]; Dressel 1906, p. 13 F.

Fig. 9 Fig. 10
Obv.: Diademed head Rev.: Athena with a Corinthian helmet
of Alexander the Great and a shield; Nike lands on her right hand
Tetradrachme of King Lysimachos
of Thrace
c. 297-281 BC
Münzkabinett, Staatlichen Museen
zu Berlin, 18214381

16 17
Medallions from Aboukir Medallions from Aboukir

2
Obv.: Diademed head of Alexander the Great with ram’s horn to left.
Struck from the same die as medallions Dressel A in Berlin, and F in Lisbon.
Among the Aboukir medallions in the Gulbenkian some examples share the
same dies. This means that the same die had been used to strike another
flan. In our case, three medallions (one in Berlin and two in Lisbon) were
struck from the same obverse die, but combined with individual reverse
ones. The sharing of dies clearly shows that there were plans to produce
several (i.e. at least more than one specimen of a single type) and to allow
for variations by combining different obverse and reverse dies.
Rev.: Alexander sits naked to the left on a pile of weapons and armour.
Be­hind him is his famous horse, Boukephalos, with a saddlecloth made of
panther skin. To the left and right stands a (beardless?) warrior in full armor
with Attic helmet, spear, and shield. The one on the left is carrying his
spear over his shoulder, the one on the right places the spear’s base on the
ground. Top BACIΛEΩN, in exergue ΦIΛIΠΠΩN (of the kings, the Philips).
This scene is a rather enigmatic one, which has not yet been explained
convincingly: is this Alexander and his two ancestors, the kings Philip I and
II? Note that the point of the spears of the warriors is of the same shape as
Alexander’s on Dressel C, K, and L.

Lisbon, Calouste Gulbenkian Museum, inv. 2426. 55 mm; 97.49 g; 12 h.

Svoronos 1907, pl. 9.3; Bernardi 1970, p. 82, no. 6, pl. 2.6; Savio 1994-1995, p. 79 G
[ex coll. Singa, Alexandria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll. James
Loeb]; Dressel 1906, p. 13 G.

Fig. 11 Fig. 12
Obv.: Diademed head Rev.: Goddess Hygieia (or Olympias)
of Alexander the Great with ram’s horn sitting on a throne
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18202673

18 19
Medallions from Aboukir
3
Obv.: Cuirassed bust of Alexander with cloak completely draping his
shoulder in three-quarter view to the left. He is wearing an Attic helmet
without cheek pieces and a high crest, decorated with a sphinx at its base.
On the side of the helmet, Artemis on horse to left is possibly Artemis
Tauropolos, a goddess often found on Macedonian coins. Alexander’s head
is slightly inclined forward but not turned upward. Portraits of Alexander
with a helmet are very rare. The only other known numismatic examples
are found in the coinage of the Macedonian Koinon of the early third
century AD (figs. 13-14) and reflect a rather late type of a representation of
Alexander, which is clearly posthumous. This motif appears also on gems
and cameos and is either a Roman invention or based on later Hellenistic
examples from Ptolemaic Egypt. Same die as Dressel B and I.
Fig. 13 Fig. 14
Obv.: Diademed head Rev.: Alexander the Great on horse
of Alexander the Great
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18201931
20
Medallions from Aboukir
Rev.: Alexander diademed in armour on horse to the right. In his right hand
he points a spear at a fallen warrior wearing a Phrygian helmet, carrying a
shield, with right arm raised. Left BACI-ΛEVC, top AΛEΞANΔPOC. The king
stereotypically appears as a victorious horseman with his prostate defeated
opponent, a pose familiar from the classical period. The same motif is
again used on Koinon bronzes. In this case the gold medallion offers
suitable space to highlight various details: Alexander wears a royal diadem,
his horse’s saddle cloth is made of panther skin (compare the famous
Alexander mosaic from Pompeii), and his foe is characterized as a Persian
by his curved headdress and trousers.
Lisbon, Calouste Gulbenkian Museum, inv. 2429. 46 mm; 52.04 g; 12 h.
Svoronos 1907, pl. 10.3; Bernardi 1970, p. 83, no. 9, pl. 3.9; Savio 1994-1995,
pp. 79–80 H, pl. A 5 [obv., ex coll. Sinadina, Alexandria, now Lisbon]; Peixoto Cabral
et al. 2000 [ex coll. Pierpont Morgan]; Dressel 1906, p. 13 H pl. 1 H [obv.].
Fig. 15
Rev: Alexandre as victorious horseman
Koinon dos macedónios
231-235 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18206595
21
Medallions from Aboukir Medallions from Aboukir

4
Obv.: Cuirassed bust of Alexander with Attic helmet to the left. Same die Rev.: Nike wearing a chiton to right, left foot on helmet, pointing with her
as Dressel B and H. right hand at an oval shield held with her left. The shield is supported by a
little winged Eros. On the shield, a male figure in loincloth turned left and
woman turned right are visible. Above both figures are two lines indicating
a curtain (?). This may represent Alexander and one of his wives (Barsine
or Roxane), but also another mythological couple such as e.g. Achilles and
Briseis is possible and would add to the ‘Achillean tone’ of the medallions’
iconography. On extreme right is a trophy (tropaion) with double axe, four
oval shields, armour with sword and cloak, helmet, quiver, and two bows
with one bow case each. On the ground next to it are two sitting captives,
on left a bound man with Phrygian cap and trousers, on right female with
cloak, her left hand supporting her chin. Left BACI-ΛE, top ΩΣ - AΛE, right
ΞANΔPOV (of the King Alexander). The motif of Nike/Victory inscribing a
hero’s or ruler’s victory on a shield is a quite common one, but here it is
combined with a trophy, obviously as a Roman invention from the second
and third century art. Same die as Dressel B.

Lisbon, Calouste Gulbenkian Museum, inv. 2425. 58 mm; 105.97 g; 11 h.

Svoronos 1907, pl. 10.2; Bernardi 1970, p. 83, no. 8; Savio 1994-1995, p. 80 I [ex coll.
Vinga, Alexan­dria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll. James Loeb];
Dressel 1906, p. 14 I.

Fig. 16 Fig. 17
Anv.: Head of Alexander the Great Rev.: Temples and column with statue
with helmet of Alexander
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18214417

22 23
Medallions from Aboukir Medallions from Aboukir

5
Obv.: Facing cuirassed bust of Alexander wearing a diadem with round Rev.: A Nereid, facing to the left, is riding on a sea-centaur, who carries a
shield, partly visible. Spear with characteristically shaped point on his trident over his right shoulder and a fish in his left hand. Below the waves
left shoulder. His head is slightly turned to his left and his eyes are gazing are four dolphins. This motif is quite common and popular in ancient art.
upward. The hair shows Alexander’s familiar anastolé over his forehead A similar depiction is known from a cameo in Florence (LIMC, VIII (1997),
and short whiskers visible on his left cheek. Centered on the shield is a no. 58, s. v. Tritones pl. 52). This representation ultimately derives from
naked female bust, possibly the goddess Gaea (Earth), seen from the front, the Classical period and was carried through in Hellenistic and Roman
holding a mantle above her head, circled by six stars, always two by two. art. As Nereids form a part of the procession of Thetis, the mother of
Next to her are the confronted heads of Helios (Sun) and Selene (Moon) on Achilles, again this scene plays with the iconographic circle of Achilles
crescent in profile. Above along the rim of the shield there are five signs of and assimilates the legendary hero, King Alexander and their respective
the zodiac, from left to right: ram, bull, gemini, cancer, lion (with only the mothers Thetis and Olympias.
back visible), hence marking the period of March 21st to August 23rd. On
Alexander’s armour we see a giant and on the right shoulder clasp Athena Lisbon, Calouste Gulbenkian Museum, inv. 2430. 57 mm; 70.68 g; 12 h.
turned right with a spear on the right chest, with aegis, plumed helmet and Svoronos 1907, pl. 11.2; Bernardi 1970, p. 83, no. 11, pl. 4.11; Savio 1994-1995,
oval shield. This is the most spectacular, richest, and unique representation p. 80 K [ex coll. Eddé, Alexandria, now Lisbon]; Peixoto Cabral et al. 2000
of Alexander. The shield of the zodiac appears on Roman coins from the [ex coll. Pierpont Morgan]; Dres­sel 1906, p. 14 K.
second century AD, and as an attribute formulating rule over the whole
world, it is well attested by ancient writers. Homer in the Iliad 18.478-607,
esp. 483-489 describes the shield of Achilles, the pan-ultimate prototype
in ancient art and literature, and Aeschylos, Seven against Thebes 387-390,
tells of the star spangled shield of Tydeus. A painted vault decorated with
a zodiac once existed in the Palace of the emperor Septimius Severus,
according to Cassius Dio 76.11.1. Another example is provided by the
similarly decorated mantle worn by Demetrios Poliorketes (Athenaios,
Deipnosophistae 12.535-536. Compare Plutarch, Demetrios 41).
The ideological message is evident: Alexander rules
the world. Same die as Dressel C and K.

24 25
Medallions from Aboukir
6
Obv.: Cuirassed bust of Alexander with shield and Attic helmet seen from
the front to the right. His head is turned upward. On the breastplate there is
a representation of Alexander with spear in his right hand and sword sitting
on pile of weapons to right. On left side, Nike is crowning Alexander with
palm branch and on the right is another crowning female figure, possibly
Virtue, with wand or sword, in her left hand. On the helmet, a fierce cavalry
battle is represented. The horseman on the left wears Greek armour, the
one on the right wearing a tunic, trousers, and a tiara is identified as a
Persian, while below another rider falls dead from his mount. This helmet
represents one of many examples of Alexander’s battles that we know of
from the minor arts, e.g. Apulian vase paintings, and especially Etruscan
urns and a first century BC vessel, the skyphos of Popilius in Boston. Again
we see Alexander on horse and a defeated foe (also familiar from the
‘Alexander sarcophagus’ from Sidon, now in Istanbul). In contrast to urns
and vases, the battle scene on our helmet does not show the Persian king
standing in his chariot, but instead Dareios riding his horse. Through its
inscription, the famous Chigi-shield (IG XIV 1296) identifies another battle
scene as Alexander’s decisive victory at Arbela/Gaugamela in 331 BC.
It depicts a similar scene, in turn inherited from another famous prototype,
the shield of the statue of Athena Parthenos. Alexander, the inscription
continues, not only conquered kings and peoples with his spear (dory), but
proudly claims his descent from Zeus through Herakles on his father’s side,
and of Achilles through his mother, Olympias. This medallion represents a
unique case of a highly elaborated iconography shaping the victorious and
legendary image of Alexander.
26
Medallions from Aboukir
Rev.: Athena is standing to the right. She is wearing a chiton with aegis
and holds a spear diagonally pointed down in her left hand. Note that the
point of the spear is similar to Alexander’s on Dressel K. She has an Attic
helmet on her head, without any cheek pieces. In her right hand she holds
another helmet of the Corinthian type, decorated with the figure of a horse
(?) and its rider. On the ground to the right there is a coiled serpent. Behind
Athena is a column, with an owl facing right. Written on the column is an
inscription in three lines: OΛVM/ΠIΑ/ΔOC (of Olympias). On the left side, an
olive tree. This motif is similar to the reverse of some civic coins of Athens
from c. 265–267 AD, which differ only in minor details (and lack the olive
tree). Athena carrying a helmet in her hand is characterized as presenting it
as a gift.
Lisbon, Calouste Gulbenkian Museum. inv. 2431. 52 mm; 77.47 g; 12 h.
Svoronos 1907, pl. 12.1; Bernardi 1970, p. 84, no. 13, pl. 5.13; Savio 1994-1995,
pp. 80–81 M [ex coll. Eddé, ex coll. J. Pierpont Morgan, now Lisbon]; Peixoto Cabral
et al. 2000 [ex coll. Pierpont Morgan]; Dressel 1906, pp. 15–16 M pl. 3.3; LIMC II
(1984), s. v. “Athena,” pp. 1083–1084, no. 131, pl. 793.
27
Medallions from Aboukir
7
Obv.: Armoured bust of Alexander with shield and Attic helmet. Very
similar to Dressel M, but generally slightly smaller in size and with variations
in Alexander’s physiognomy. Just as the previous medallion, Alexander’s
shield is shown from the inside, with an ornamented outer rim decorated
with dots and curved lines. Instead of the battle scene on the helmet, now
there is a representation of Ganymede with the eagle of Zeus at the right.
The future cupbearer of the gods wears a Phrygian cap and a pedum
(throwing stick) which characterizes him as a shepherd. The helmet also is
decorated with a serpent. The breastplate shows the same scene as Dressel
M, but is of poorer conservation and struck less precisely. The models for
this portrait are obviously the same as for the previous obverse. But while
the battle scene on the helmet of Dressel M is also known from simpler
designs on Koinon bronzes of the third century AD, the appearance of
Ganymede is previously unrelated to Alexander. The combination of the
eagle of Zeus and Ganymede goes back to Hellenistic prototypes and was
highly popular in the decorative arts and in paintings.
28
Medallions from Aboukir
Rev.: A Nereid, turned to the right looking back over her shoulder, is
riding on a sea dragon (ketos) to the left. With her left hand she holds a
garment above herself and in her right she carries an unidentified object,
possibly a seashell. This representation is characterized by the highly
vivid composition obvious in the turbulent waves, the intertwined body
of the dragon, and the Nereid’s garment, which is held dramatically above
her head. Again the connection to Thetis, the mother of Achiles, allows
us to understand this reverse as another example of parallels between
Achilles and Alexander. Stylistically, this depiction derives from Hellenistic
prototypes, with a similar scene shown engraved on an amethyst in
St. Petersburg.
Lisbon, Calouste Gulbenkian Museum, inv. 2432. 47 mm; 47.89 g; 12 h.
Svoronos 1907, pl. 12. 2; Bernardi 1970, p. 84, no. 14, pl. 5. 14, Savio 1994-1995, p. 81 N
[ex coll. Eddé, Alexandria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll. Pierpont
Morgan]; Dres­sel 1906, pp. 16–17 N pl. 4. 12 [obv.].
29
Medallions from Aboukir
8
Obv.: Bust of a woman to the right. Traces of her garment, which is
fixed with a brooch, are visible around her shoulder. Her head is covered
with a sakkos, and a veil can be seen falling down her neck. At the right
side there is a wand around which a serpent is coiled. This woman is
characterized both by her attributes (wand and serpent) and the sakkos.
We know of portraits of Olympias, Alexander’s mother on medallions
Dressel D, Q, and R, which show Olympias in representations similar to
Hellenistic queens, especially Ptolemaic, of the third century BC. These are
also reproduced on Late-Roman contorniates (fig. 19). Here the woman is
not identified with any certainty: the serpent could also fit the goddess
Hygieia (whose role Olympias takes on some contorniates and one type
of Koinon bronzes), as well as the Kore Soteira through the use of the
‘portrait’ type and sakkos. It is quite possible that this obverse depicts
the characteristic Roman blending of various iconographic concepts,
used here on a model from the Late Classical period and now for
representing Olympias.
30
Medallions from Aboukir
Rev.: Athena wearing garment (peplos) decorated with the head of
Medusa (aegis) and a Corinthian helmet is sitting on a throne to the left.
With her right hand she holds a bowl (phiale) and is feeding a serpent
coiled in an olive tree. Her left arm is leaning on the back of the throne.
Right B–ΑCIΛEΩC, left ΑΛEΞΑNΔPOV. This reverse motif is known from
coins of the Macedonian Koinon, from the time of Gordianus III (reigned
238–244 AD).
It appears also on the coins from Thracian cities, some issues in Asia Minor
and some Roman Imperial coins during the second and third centuries, but
always with a shield leaning against the back of Athena’s throne.
Lisbon, Calouste Gulbenkian Museum, inv. 2434. 46 mm; 48.89 g; 12 h.
Svoronos 1907, pl. 12.3; Bernardi 1970, pp. 84–85, no. 16, pl. 6.16; Savio 1994-1995,
p. 81 O [ex coll. Eddé, Alexandria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll.
Pierpont Morgan]; Dressel 1906, pp. 17–18 O.
Fig. 18
Rev: Athena feeding serpent
Koinon of the Macedons
238-244 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18239742
31
Medallions from Aboukir Medallions from Aboukir

9
Obv.: Draped bust of a woman, the same as on the previous piece, with
veil, sakkos and serpent decorated wand to right. Same die as Dressel O.
Rev.: Perseus, son of Zeus and Danaë, carrying sword (harpa) leads
Andromeda, wearing a cloak, down from the rocks where she had been
held. In front of the pair lies the dead beast (ketos). On the right stands a
little Eros shooting left with his bow. This reverse presents us with a quite
popular and key episode of one of the ancient love stories. Perseus, having
finished the labours he was expected to fulfill, saves the daughter of the
Ethiopian king from the monster that the god Poseidon had sent because
her mother had boasted that she and her daughter were more beautiful
than the Nereids. This brought the wrath of Poseidon upon the kingdom,
and an oracle told the king that the only way to appease the god was
by chaining Andromeda to a rock and to sacrifice her to Poseidon’s sea
monster. Perseus successfully fought the ketos and freed Andromeda, who
became his wife. Although the story indirectly has ties with Poseidon and
the Nereids, the foremost aspect here is the erotic and amorous relationship
of Perseus and Andromeda. The model for this scene is clearly one from the
Hellenistic period. The contemporary and educated onlooker in antiquity
would also have been aware that Perseus was considered to be one of
Alexander’s ancestors (Arrian, Anabasis 3.3.2.).

Lisbon, Museu Calouste Gulbenkian. inv. 2435. 46 mm; 58.07 g; 11 h.

Svoronos 1907, pl. 12.4; Bernardi 1970, p. 85, no. 17; Savio 1974-1975, p. 81 P
[ex. coll. Eddé, Alexan­dria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll. Pierpont
Fig. 19
Obv.: Olympias Morgan]; Dressel 1906, p. 18 P.
Contorniate
Rome, 355-395/423 AD
Münzkabinett, Staatlichen Museen
zu Berlin, 18203481

32 33
Medallions from Aboukir Medallions from Aboukir

10
Obv.: Cuirassed and laureate bust of the Roman emperor Caracalla facing Rev.: Nereid riding on a sea-centaur. Same die as Dressel K.
left in profile with sword and shield. Over his right shoulder he holds a
spear, its point similar to the one of Dressel C. The armour’s breastplate Lisbon, Calouste Gulbenkian Museum, inv. 2433. 57 mm; 69.42 g; 12 h.
is decorated with a head of Medusa, the shoulder claps are ornamented Svoronos 1907, pl. 14. 2; Bernardi 1970, p. 85, no. 21, pl. 7. 21 [uncertain whether obv.
with waves and dots (similar to Alexander’s shield on Dressel M and N). of Dressel S or R illustrated]; Savio 1994-1995, p. 82 S [ex coll. Eddé, Alexandria];
From his right shoulder hangs a sword belt (balteus), the blade itself with Peixoto Cabral et al. 2000[ex coll. Pierpont Morgan]; Dressel 1906, pp. 19–20 S.
the hilt in form of an eagle, a common attribute for an emperor. Below
we see the cingulum militare (soldier’s belt). The shield bears a telling
motif: in the centre there is the diademed head of Alexander in profile to
the left, and above Alexander is shown in full figure, on horse hunting a
lion. The emperor Caracalla was infamous for his imitation of Alexander
the Great. Here he is shown with a shield that links to the reverses of two
medallions from Tarsos2, as well as bronze coins of the Macedonian Koinon
(with Alexander hunting) and coins from Caesarea in Cappadocia and
Heliopolis-Baalbek in Syria that show Caracalla with a shield decorated
with Alexander’s portraits of the king taming his horse, Boukephalos. This
medallion attests to the use of Alexander-shields in various numismatic
sources. Caracalla’s portrait follows a type that was only introduced during
his sole reign (possibly in 212 AD), and was also used for posthumous
representations during the Severan dynasty, a portrait with moustache.
As the relief is quite worn, the existence of whiskers is not certain, but quite
possible. Very similar to Dressel E, but from a different die.

Fig. 20 Fig. 21
Obv.: Head of Athena with Attic helmet Rev.: Club in a crown of oak tree
Hellenistic Tetradrachm with distinctive branches
hammered rims
2
A famous hoard of three Alexander medallions, 23 Roman gold coins and one multiple, Herakleia under Latmos, c. 170-140 BC
various additional objects, found near Tarsos in Kilikia in 1863 and purchased by the Münzkabinett, Staatlichen Museen
Cabinet des Médailles in Paris in 1868. zu Berlin, 18200183

34 35
Medallions from Aboukir Medallions from Aboukir

11
Obv.: Laureate head of the god Apollo, son of Zeus and Leto, brother
of Artemis, to the left. In the left field a laurel branch, Apollo’s common
attribute. This is the only medallion from Aboukir and Tarsos that shows
a divine figure on the obverse, rather than historical individuals such as
members of Alexander’s family or the emperor Caracalla. The prototype
of Apollo’s head is known from civic coins from Asia Minor in the second
century BC. Together with a characteristic technical feature, the hammering
of the flan’s rim, distinctive on tetradrachms from this period (figs. 20-21),
the design chosen here stresses the preference for an archaizing design
and an overall ‘ancient’ appearance for a third century AD onlooker.
Fig. 22
Rev.: Alexander the Great, sitting
on a pile of weapons, topped by
Achiles killing the Amazonian queen,
Penthesilea
Contorniate
Rome, 355-395/423 AD
Münzkabinett, Staatlichen Museen zu
Berlin, 18203481
Rev.: Alexander, diademed and with a garment around his hips, is sitting to
the right on a bench. In front of him, stands Nike turned to the left, her left
hand sup­ported by a round shield, her right hand holding an Attic helmet.
The shield decorated is a representation of Achilles slaying Penthesilea. On
left side, BACIΛEVC, top AΛEIANΔPOC. This motif is a highly popular one
and well-attested on Roman sarcophagi. It shows the dramatic encounter
of Achilles and Penthesilea, the queen of Amazons, who allegedly fell in
love the moment the lethal blow struck her. It represents another example
of the close relationship between Achilles and Alexander. We also know
of a personal connection of the historical Alexander with a specific shield.
When he visited Troy and the monument marking Achilles’ grave, Alexander
exchanged his own weapons with those from the sanctuary of Athena
(Arrian, Anabasis 1.11.7; 1.12.2.). According to the Alexander Romance 1.42.11
he even saw the shield of Ajax. The sacred shield taken from Athena would
save the king’s life years later (Ibidem 6.10.2). A similar motif is known
from a chryselephantine shield found in the so-called grave of Philip,
Alexander’s father, at Vergina in ancient Macedonia. A type of late Roman
contorniate (fig. 16) does show a reverse with Alexander in a similar pose,
in combination with a portrait of Olympias on the obverse. Same die as
Dressel E.
Lisbon, Calouste Gulbenkian Museum. inv. 2427. 40 mm; 47.61 g; 12 h.
Svoronos 1907, pl. 14.4; Bernardi 1970, p. 86, no. 23, pl. 7.23; Savio 1994-1995,
p. 83 U [ex coll. Vinga, Alexandria, now Lisbon]; Peixoto Cabral et al. 2000 [ex coll.
James Loeb]; Dressel 1906, p. 20 U.

36 37
Medallions from Aboukir

Information on pieces in Berlin,

Baltimore and Thessalonica

Nine more medallions from Aboukir are kept in the Museums of

Berlin (Münzkabinett, Staatliche Museen zu Berlin = Dressel A-E),
Baltimore (Walters Art Museum = Dressel L, R, and T), and Thessalonica
(Archaeological Museum = Dressel Q).
Berlin, Münzkabinett der Staatlichen Museen zu Berlin, Acc. 1905/01
(object no. 18200012). 60 mm, 105,06 g, 11 h.
Svoronos 1907, pl. 10.1; Bernardi 1970, p. 82, no. 7, pl. 3.7; Savio 1994-1995, p. 78 B,
pl. A 3-4; Dressel 1906, pp. 8-9 B.
Obv.: Cuirassed bust of Alexander with helmet to left. Same die as Dressel H
and I.
Rev.: Nike decorating a trophy. Same die as Dressel I.
BACI-ΛE-ΩC AΛE-ΞANΔPOV.

Berlin, Münzkabinett der Staatlichen Museen zu Berlin, Acc. 1903/873

(object no. 18200006). 54 mm; 112.66 g, 12 h.
Svoronos 1907, pl. 9.1; Bernardi 1970, pp. 81-82, no. 4, pl. 2.4; Savio 1994-1995,
p. 78 A, pl. A 1-2; Dressel 1906, p. 7 A.
Obv.: Head of Alexander with diadem and ram’s horn to left, gazing to heaven.
Same die as Dressel F and G.
Berlin, Münzkabinett der Staatlichen Museen zu Berlin, Acc. 1907/230
Rev.: Nike in four horse chariot (quadriga) to right.
(object no. 18200016). 56 mm; 84,30 g; 12 h.
BACIΛ/EWC // AΛEIANΔPOY.
Svoronos 1907, pl. 11.1; Bernardi 1970, p. 83, no. 10, pl. 4.10; Savio 1994-1995,
p. 78 C, pl. B 3-6; Dressel 1906, pp. 9-10 C
Obv.: Facing cuirassed bust of Alexander with shield. Same die as Dressel K
and L.
Rev.: Nike decorating a trophy. Same die as Dressel B and I.

38 39

Berlin, Münzkabinett der Staatlichen Museen zu Berlin, Acc. 1907/229
(object no. 18200020). 58 mm; 81.86 g; 12 h.
Svoronos 1907, pl. 13.1; Bernardi 1970, pp. 84, no. 15, pl. 6.15; Savio 1994-1995,
p. 79 D, pl. B 1-2; Dressel 1906, pp. 10-11 D.
Obv.: Draped, diademed and veiled bust of Olympias to left.
Rev.: Nereid riding a sea-bull to left. Same die as Dressel Q.
Berlin, Münzkabinett der Staatlichen Museen zu Berlin, Acc. 1908/3
(object no. 18200021). 48 mm; 65.12 g; 1 h.
Svoronos 1907, pl. 14.3; Bernardi 1970, pp. 86, no. 22, pl. 7.22; Savio 1994-1995,
p. 79 E, pl. B 4-5; Dressel 1906, pp. 11-12 E.
Obv.: Cuirassed and laureate bust of Caracalla to left. Similar to Dressel S,
but not same die.
Rev.: Alexander sitting on bench, to the right Nike is bearing weapons.
BACIΛEVC – AΛEIANΔPOC. Same die as Dressel U.
40
Baltimore, Walters Art Museum, inv. 59.1. 54 mm; 96,566 g, 12 h.
Svoronos 1907, pl. 11.3; Bernardi 1970, pp. 83, no. 12, pl. 4.12; Savio 1994-1995,
p. 80 L; Dressel 1906, pp. 14 L.
Obv.: Facing cuirassed bust of Alexander with shield. Same die as Dressel C
and K.
Rev.: Alexander riding in a quadriga, behind him Nike. Horses led by Ares (?)
and Virtus. BACI-ΛEΩC – AΛEΞANΔPOV.
Baltimore, Walters Art Museum, inv. 59.2. 54 mm; 63,746 g, 11 h.
Svoronos 1907, pl. 13.3; Bernardi 1970, pp. 85, no. 19, pl. 6.19; Savio1994-1995,
p. 82 R; Dressel 1906, pp. 19 R.
Obv.: Draped and veiled bust of Olympias to right. Same die as Dressel Q.
Rev.: Nereid riding on a sea-centaur to left. Same die as Dressel K.
41
 Medallions from Aboukir

Baltimore, Walters Art Museum, inv. 59.3. 57 mm; 71.671 g, 11 h.

Svoronos 1907, pl. 14.1; Bernardi 1970, pp. 85, no. 20, pl. 7.20; Savio 1994-1995,
p. 83 T; Dressel 1906, pp. 20 T.
Obv.: Cuirassed and laureate bust of Caracalla with shield and spear forward
to left.
Rev.: Alexander hunting a boar. BACIΛEVC – AΛEΞANΔPOC.

Thessalonica, Archaeological Museum, inv. MΘ 4304. 58 mm; 120,06 g.

Svoronos 1907, pl. 13.2; Bernardi 1970, pp. 85, no. 18, pl. 6.18; Savio 1994-1995,
p. 82 Q; Dressel 1906, pp. 19 Q.
Obv.: Draped and veiled bust of Olympias to left. Same die as Dressel R.
Rev.: Nereid riding a sea-bull to right. Same die as Dressel D.

42 43
Medallions from Aboukir
BIBLIOGRAPHY
Bernardi 1970
Bernardi, C., “I Niketeria”. Rivista Italiana di
Numismatica e Scienze Affini, 18, 1970,
pp. 79-90.
Dahmen 2007
Dahmen, K., The Legend of Alexander the
Great on Greek and Roman Coins. London
and New York, 2007.
Dahmen 2008
Dahmen, K., “Alexander in gold and silver:
reassessing third-century AD medallions
from Aboukir and Tarsos”. AJN, 20, 2008,
pp. 493-546.
Dahmen and Weisser 2009
Dahmen, K. with Weisser, B., ‚Goldene
Alexander zum Geschenk‘, S. Drougou et
al. (eds.), Kermatia Philias. Festschrift Y.
Touratsoglou, 2009, pp. 343-359.
Dressel 1906
Dressel, H., Fünf Goldmedaillons aus dem
Funde von Abukir. Berlin: Abhandlungen
der Königlich Preußischen Akademie der
Wissenschaften, 1906.
Gaebler 1935
Gaebler, H., ‚Die antiken Münzen Nord-
Griechenlands. Die antiken Münzen von
Makedonia und Paionia‘. AMNG, III 1 (1906),
2 (1935), Berlin.
Noe 1953
Noe, Sydney P. in: Raymond, Wayte: The
J. Pierpont Morgan Collection. Catalogue
of the Greek and Roman Coins, Abukir
Medallions, Roman Gold Bar (New York)
4-5. 28-31.
Papisca 1999
Papisca, M., “Immagini ‘della imitatio
Alexandri’ in età severiana. I medaglioni di
Tarso”. Ancient Macedonia, VI, 2, 1999,
pp. 859-871.
44
Peixoto Cabral et al. 2000
Peixoto Cabral, J. M., L. C. Alves, and M.
Castro Hipólito, “Análise não-destrutiva
dos medalhões de Abuquir pertencentes
à Colecção Calouste Gul­benkian”.
General co-ordination
Homenagem a Mário Gomes Marques,
João Castel-Branco Pereira, director
ed. M. Castro Hipólito and D. M. Metcalf
Nuno Vassallo e Silva, deputy director
et al. Sintra, 2000, pp. 401-414.
Savio 1994-1995 Author
Karsten Dahmen
Savio, A., “Intorno ai medaglioni talismanici
di Tarso e di Aboukir”. Rivis­ta Italiana di
Curator
Numismatica e scienze affini, 96, Maria Rosa Figueiredo
1994–1995, pp. 73-103.
Editorial co-ordination
Savio 2011
João Carvalho Dias
Veri o falsi? I medaglioni di Aboukir. Milan
assisted by Carla Paulino
(2011) with reviews by O. Hoover, ANS
Magazine 10:4, 2011, pp. 63-65, and F. de Design
Callataÿ, Revue Belge de Numismatique et Luis Chimeno Garrido
de Sigillographie, 157, 2011, pp. 278-280.
Photography
Stewart 1993 Catarina Gomes Ferreira (catalogue)
Stewart, A., Faces of Power. Alexander’s
Image and Hellenistic Politics. Berkeley,
Los Angeles, Oxford, 1993. P. 4 - cat. 1 rev. (detail)
P. 7 - cat. 11 obv. (detail)
Svoronos 1907 P. 15 - cat. 6 rev. (detail)
Svoronos, J. N., “TA NOMIΣMATA P. 43 - cat. 5 rev. (detail)
TOY ABOYKIP”, Journal International
d’Archéologie Numismatique, 10, 1907,
pp. 369-371. Printing
Gráfica Maiadouro, S.A.
Touratsoglu 2008
Touratsoglu, Y., “Tarsos, Aboukir, etc.; © Calouste Gulbenkian Foundation, 2013
before and after”. , AJN 20, 2008, www. museu.gulbenkian.pt
pp. 479-492.
No. 1 Museum Treasures (a Greek vase)
Vermeule 1982 No. 2 Museum Treasures (Medallions from Aboukir)
Vermeule, C. C., “Alexander the Great,
the emperor Severus Alexander, and the
Aboukir medallions”, Swiss Numismatic 500 copies
Review, 61, 1982, pp. 61-72.
ISBN: 978-972-8848-91-0
Legal depot: xxxxxx/13
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