W. C a r e w H a z l i t t Coinage of the European Continent
W. C a r e w H a z l i t t Coinage of the European Continent W. C a r e w H a z l i t t Coinage of the European Continent
58 The Coins of Europe rivalled the finest Greek work ; but the men who were patronised by the great mediaeval families of the Peninsula were in the presence of conditions and restraints unknown to their predecessors. The Greek feeling and taste revealed itself in the Roman consular or family series, but was gradually lost in the imperial one, more especially in the decadence of the reverses. Even in the consular coinage, however, the delineation of the human figure already exhibited a marked declension from the high standard of fine Greek art, although bust-portraits and inanimate objects are rendered with equal success and felicity. Again, the Byzantine corruption of the debased Roman type, spreading itself after the fall of the western division of the empire over the greater part of Europe, and affected in its progress by climatic, local, and religious influences, penetrated on the one hand to Bulgaria, Servia, and Muscovy, where we discern it in the coins of the grand duchy of Kief, while on the other it found its way westward to Venice and other parts of Italy, to the Two Sicilies, France, Spain, England, and the Low Countries, where it formed the basis of the so-called Merovingian family of gold and silver pieces, but more particularly of coins in the more precious metal equivalent in weight and value to the third part of a Byzantine solidus. The variations and disparity observable in the abundant remains of the Merovingian money are to be attributed, perhaps, to the character of the colonial or provincial coinage of Greece and Rome, with which the mediaeval copyists were brought into contact, to the degree of success in reproducing originals, and to gradual improvement in conducting the processes of fabrication during the course of centuries. At the same time, the types of many of the ancient specimens of continental currency were advisedly or insensibly adapted to local characteristics and peculiarities, and were broadly governed by the predominance of military and feudal sentiment. Even before any idea of introducing a
Introduction 59 date or the value was carried out, the importance seems to have been appreciated of identifying coins with the name of a ruler and a religious or heraldic symbol ; and the early employment of shields of arms, prior to the use of portraits, was dictated by the sense of a link between the bearings on the money and those on the escutcheons of sovereigns. The mediaeval denier soon lost all real relationship to the Roman denarius, and more and more, in its multiples up to a crown or ecu, complied with the spirit of more modern life and the militarism of the Middle Ages. The English word arms is translated into most of the Gothic or Teutonic languages by one signifying weapons. It was a notion in analogy with the formation of tribal government under the Lombard dux the duke of later times. In the reduction of mediaeval European currency to chronological stages of development, we must first deal with typical objects without a key or inscription ; (2) typical objects accompanied by a few characters more or less unintelligible; and the name of the (3) the same with a distinct legend, moneyer and mint ; (4) with a shield or cognisance and a cross on the reverse infinitely varied in its form and cantonments ; (5) with a rudimentary portrait on the obverse ; (6) with an ideal one; (7) with a positive or approximate likeness, a fully descriptive legend, and an elaborate blazon ; (8) with the date and the value. The extension of Christianity and the influence of the Crusades gradually effaced and superseded the Byzantine, as well as the Roman, feeling and style and with ; very few exceptions the prevailing tone of Western money became toward the ninth century Teutonic and unclassical. In the European coins of most remote date co-ordinate prominence is given to the ruler of the country or province and to the place of origin and the engraver. Where there was an infinite subdivision of territory and jurisdiction, and an equal multiplicity of mints, this course was a safeguard against confusion and fraud. The leading symbols on coins are : i , a cross ; 2, a crown ; 3, a sceptre and orb ; 4, a sword an animal as ; 5, an heraldic cognisance or a figurative emblem ; 6, a shield
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58 The Coins <strong>of</strong> Europe<br />
rivalled <strong>the</strong> finest Greek work ;<br />
but <strong>the</strong> men who were<br />
patronised by <strong>the</strong> great mediaeval families <strong>of</strong> <strong>the</strong> Peninsula<br />
were in <strong>the</strong> presence <strong>of</strong> conditions and restraints unknown<br />
to <strong>the</strong>ir predecessors.<br />
The Greek feeling and taste revealed itself in <strong>the</strong><br />
Roman consular or family series, but was gradually lost in<br />
<strong>the</strong> imperial one, more especially in <strong>the</strong> decadence <strong>of</strong> <strong>the</strong><br />
reverses. Even in <strong>the</strong> consular coinage, however, <strong>the</strong><br />
delineation <strong>of</strong> <strong>the</strong> human figure already exhibited a marked<br />
declension from <strong>the</strong> high standard <strong>of</strong> fine Greek art,<br />
although bust-portraits and inanimate objects are rendered<br />
with equal success and felicity.<br />
Again, <strong>the</strong> Byzantine corruption <strong>of</strong> <strong>the</strong> debased Roman<br />
type, spreading itself after <strong>the</strong> fall <strong>of</strong> <strong>the</strong> western division<br />
<strong>of</strong> <strong>the</strong> empire over <strong>the</strong> greater part <strong>of</strong> Europe, and affected<br />
in its<br />
progress by climatic, local, and religious influences,<br />
penetrated on <strong>the</strong> one hand to Bulgaria, Servia, and Muscovy,<br />
where we discern it in <strong>the</strong> coins <strong>of</strong> <strong>the</strong> grand duchy <strong>of</strong><br />
Kief, while on <strong>the</strong> o<strong>the</strong>r it found its way westward to<br />
Venice and o<strong>the</strong>r parts <strong>of</strong> Italy, to <strong>the</strong> Two Sicilies, France,<br />
Spain, England, and <strong>the</strong> Low Countries, where it formed<br />
<strong>the</strong> basis <strong>of</strong> <strong>the</strong> so-called Merovingian family <strong>of</strong> gold and<br />
silver pieces, but more particularly <strong>of</strong> coins in <strong>the</strong> more<br />
precious metal equivalent in weight and value to <strong>the</strong> third<br />
part <strong>of</strong> a Byzantine solidus.<br />
The variations and disparity observable in <strong>the</strong> abundant<br />
remains <strong>of</strong> <strong>the</strong> Merovingian money are to be attributed,<br />
perhaps, to <strong>the</strong> character <strong>of</strong> <strong>the</strong> colonial or provincial coinage<br />
<strong>of</strong> Greece and Rome, with which <strong>the</strong> mediaeval copyists<br />
were brought into contact, to <strong>the</strong> degree <strong>of</strong> success in<br />
reproducing originals, and to gradual improvement<br />
in conducting<br />
<strong>the</strong> processes <strong>of</strong> fabrication during <strong>the</strong> course <strong>of</strong><br />
centuries.<br />
At <strong>the</strong> same time, <strong>the</strong> types <strong>of</strong> many <strong>of</strong> <strong>the</strong> ancient<br />
specimens <strong>of</strong> continental currency were advisedly or insensibly<br />
adapted to local characteristics and peculiarities, and<br />
were broadly governed by <strong>the</strong> predominance <strong>of</strong> military and<br />
feudal sentiment. Even before any idea <strong>of</strong> introducing a