Personification of Egypt and Pacification of the provinces

From Hadrian to Napoleon to modern audiences, Egypt has been catching the attention of many for centuries. The reverse of the coin shows exactly this, as we see the personification of the province of Egypt. Not only do we know this from the AEGYPTOS inscription, but the symbols that we can see on the coin itself. The ibis (Figure 1) and the sistrum, a musical instrument (Figure 2), that Egypt holds are intimately connected to Egyptian theology and iconography, particularly the cultic practices of Isis. This is important because the Isis cult had established itself in Rome from early on and would have been one of the main connections or signifiers of the land of Egypt to the people of the empire. The symbols then work to inform the audience, literate or not, that this was Egypt. The importance of the message and its ability to be read by any audience was clearly significant.This is also suggested by the fact that the coins, including all in the series, were minted in all three metals – gold, silver and bronze.

With this in mind, we can ask what message was being sent out by this coin with its depiction of the personification of the province Egypt. What is noticeable is the lack of violence shown on the coin. This is significant because up until this point, depictions of personified provinces were usually employed to reference military victory and subsequent submission of the province. However, this coin was not aimed at depicting the submission or defeat of the province, as can be seen on the Britannia relief of Claudius (Figure 4) or the IVDAEA CAPTA (Judea Captured) coins of Vespasian (Figure 5). So what do we think Hadrian was trying to achieve?

Pacification of the empire seems to be the theme throughout the serene depiction of a reclining Egypt, and there is a general sense of tranquility to this coin. Hadrian can be viewed as expressing a new attitude towards the empire; through this sort of imagery he aimed at incorporating and showing the integration of the empire under his authority.R.Rodgers. ‘Female representations in Roman Art: Feminising the Provincial Other’. Inside: Roman IMperialism and Provincial Art. In: ​​Webster and Scott. Scott, S, and J. Webster. Roman Imperialism and Provincial Art. (New York, 2003) His message of power did not demonstrate his military might nor the sense of suppression but instead highlighted the peace and productivity of the provinces and his empire. This, alongside his extensive travel and actual presence in his empire, presents the picture of an emperor who was trying something “new” and firmly bringing the provinces on board in this project of empire.

Hadrian’s appearance alongside Egypt is suggestive of harmony and her acceptance and blessing of his rule. Hadrian takes this theme even further on another coin series in which we see the personified provinces actually welcoming the emperor (Figure 2 and 3 on step 3). There is no doubt this coin represents a face of power in Hadrian, but perhaps both sides of the coin are showing faces of power, with the happy and pacified face of Egypt herself being a carrier of the imperial message and Hadrian’s power through her benign acceptance of imperial rule.

If the appearance of Egypt on this coin interests you, explore this further by reading our extension below to see how imagery on ancient coins communicated message to illiterate audiences