Follis of Romanos I Lekapenos

The follis of Romanos I Lekapenos (r. 920–944 AD) is slightly bigger than a standard quarter (Grierson 1973, p. 538). The coin was minted in Constantinople and its relative value is represented by the conversion 288 copper folles = 1 gold solidus (Grierson 1999, p. 44). Copper coinage was of low comparative value, used for small transactions by everyday citizens. The obverse features the sole, frontal bust of Romanos, signifying his sovereign rule. Romanos is bearded and wears a chlamys, a cloak fastened at the shoulder, with a tablion, an embroidered rectangular panel. Both Romanos’ beard and dress are customary symbols of his Byzantine emperorship. In his right hand, Romanos holds a ruler’s scepter and in his left hand an orb and cross emphasizing the emperor as the “vicar of Christ” (Galavaris 1958, p. 105). The broken inscription, translated in English as “Romanos, Emperor of the Romans,” encircles Romanos. The reverse has four lines of inscription whose English translation reads “Romanos by God Emperor of the Romans.” Romanos seized power in 920 AD from Constantine VII, who had not attained the legal age to rule. Romanos made his son, Christopher, co-emperor in 921 AD. Despite appointing his son, Romanos’ coin features only himself and conveys that he retained the highest status within the Byzantine Empire. The use of imagery in conveying power is detectable in the comparable sixth-century Justinian Mosaic at the Church of San Vitale in Ravenna. Comparing this depiction of Justinian and the tenth-century coin of Romanos, using Erwin Panofsky’s method of iconographic analysis, we can see the ways in which the common elements of costume signified status and connected emperors across time (Panofsky 1955). Justinian and Romanos both wear a chlamys adorned with a tablion, elements of the state costume indicating each emperor’s high rank. Their role in representing Christianity is depicted by Romanos holding the orb and cross while Justinian holds the gold paten, a small plate used during Mass. An iconological interpretation of the emperors’ costume and objects demonstrates the commitment of the Byzantines to represent their rulers as strong and permanent. Similar to the mosaic, the imagery of the coin reflects Romanos’ status, and the use of art to reinforce imperial ideology. Bibliography Galavaris, George P. 1958. “The Symbolism of the Imperial Costume as Displayed on Byzantine Coins,” American Numismatic Society Museum Notes 8: 99–117. Grierson, Philip. 1973. Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, vol. 3, Leo III to Nicephorus III, 717–1081. Washington, DC: Dumbarton Oaks Research Library and Collection. Grierson, Philip. 1999. Byzantine Coinage. Washington, DC: Dumbarton Oaks Research Library and Collection. Munroe, Nazenin Hedayat. 2012. “Dress Styles in the Mosaics of San Vitale.” Metropolitan Museum of Art. Accessed December 1, 2022. https://www.metmuseum.org/exhibitions/listings/2012/byzantium-and-islam/blog/topical-essays/posts/san-vitale Morrisson, Cécile. 2010. “Money, Coins and the Economy.” In The Byzantine World, ed. Paul Stephenson, 34–46. London: Routledge. Caroline Rispoli (’24) for ARHS 110 (Fall 2022)https://digital.kenyon.edu/arthistorystudycollection/2564/thumbnail.jp