Medallions: The Art of Politics and Generosity
By: Dumbarton Oaks

Medallions are among the most exquisiteexamples of Roman art from late antiquitysurviving today. Distributed as gifts at imperialcelebrations, they demonstrated an emperor"sgenerosity at moments of personal, political,and military triumph. Their images andinscriptions acted as propaganda to bolsterthe imperial regime and advertise its strength,success, and virtue. They also show us whatemperors thought people expected of them.For their recipients, medallions were a markof social status and imperial favor. Displayingmedallions received from the emperorasserted one"s loyalty and place in the Romanhierarchy. As expressions of celebration andpolitics, favor and generosity, medallions offerus a glimpse of the intersection of art andempire at the end of the classical world.

Although they are neither medals nor coins,medallions share some features of both those objects.They were given out during great state celebrationsagainst a backdrop of imperial pageantry. Medallionsfunctioned as gifts, signifying imperial generosity,and as art, spreading state propaganda. Generositywas an important imperial trait, and gift giving wasboth a symbol of this quality and a chance to rewardand bind power groups to the emperor and his family.Medallion designs, almost always featuring an imperialportrait on the obverse and a reference to an event,imperial virtue, or other family members on thereverse, were exquisite examples of the engraver"sart designed to capture the majesty of the emperor"sperson and the benefits of his rule.

Under the Counts of the Sacred Largesses, Romanmedallions entered a new phase. Previously, coin andmedallion production had been handled by differentofficials, and medallions were created in a widevariety of sizes and weights. Constantine united theseresponsibilities under the counts, so medallions beganto be struck in regular sizes based on multiples of thecirculating currency and designs on elite medallionsand widely circulating coins began to act as unifiedstate propaganda. Constantine was equally innovativein his experimentation with the style and compositionof the imperial portrait and the reverse designs used toexpress imperial power.

For more information, or to order, see:
Medallions: The Art of Politics and Generosity(https://www.doaks.org/visit/museum/exhibitions/medallions)