Greek; minted in Ephesus, Asia Minor (modern Turkey)
About this artwork
Following the premature death of Alexander the Great in 323 BCE, his generals, friends, and heirs engaged in forty years of wars over his empire. Lysimachus (reigned 323–281 BCE), one of Alexander’s companions and bodyguards, used the king’s image on his own coins in order to cast himself in the role of successor and legitimize his claim to the kingdom of Thrace. Alexander, responsible for establishing the conventions of royal portraiture, is depicted in his preferred manner: youthful and clean-shaven, with long locks of hair rising above his forehead and eyes cast upward. Additionally, he is shown with horns curling around his ears. These “horns of Ammon” symbolize Alexander’s claim that he was the son of the Egyptian god Ammon—a claim reportedly confirmed by the oracle at the sanctuary of Zeus-Ammon at Siwa, Egypt.
On the reverse of the coin, Lysimachus exerts his own royal autonomy by naming himself “king.” The goddesses Athena and Nike (Greek for “victory”) crown his name with laurels, which symbolized victory or honor. The lion on the shield at Athena’s side references Lysimachus’s famous exploit of killing a lion with his bare hands and reinforces his association with Alexander, who used the skin of the Nemean lion as a symbol of power and courage.
Date
Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Reverse: ΒΑΣΙΛΕΩ[Σ] ΛΥΣΙΜΑΧΟΥ
"[minted by] King Lysimachus"
Dimensions
Diam.: 3.1 cm (1 1/4 in.)
Credit Line
Gift of Martin A. Ryerson
Reference Number
1922.4924
IIIF Manifest
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Theresa Gross-Diaz in John Griffiths Pedley, Greek Art (Museum Studies: Ancient Art at The Art Institute of Chicago 20, no. 1, 1994), p. 50 (ill.), no. 33.
Art Institute of Chicago, “CLEOPATRA; THE ANCIENT WORLD,” Computer Program (Art Institute of Chicago, 1997). Art Institute of Chicago.
Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New Haven: Yale University Press, 2012), p. 46.
Karen B. Alexander, “From Plaster to Stone: Ancient Art at the Art Institute of Chicago,” in Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New Haven: Yale University Press, 2012), p. 29, fig. 13.
The Art Institute of Chicago, The Essential Guide (Chicago: Art Institute of Chicago, 2013), p. 70.
Roberta Casagrande-Kim, ed., When the Greeks Ruled Egypt: From Alexander the Great to Cleopatra. Exh. cat. (New York: Institute for the Study of the Ancient World; Princeton: Princeton University Press, 2014), pp. 24,93, fig. 1-8, cat. 37.
Art Institute of Chicago, Ancient Art Galleries, Gallery 155, April 20, 1994 - February 22, 2004 and May 16, 2004 - February 6, 2012.
Museum of Fine Arts Houston, The Centaur’s Smile: The Human Animal in Early Greek Art, February 22 – May 16, 2004.
Art Institute of Chicago, When the Greeks Ruled: Egypt After Alexander the Great, October 31, 2013 - July 27, 2014; traveled to New York City, NY, the Institute for the Study of the Ancient World, October 8, 2014 - January 4, 2015.
Martin A. Ryerson (1856-1932), Chicago; given to the Art Institute of Chicago, 1922.
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