Börner's publication of her doctoral thesis focuses on the coins and medallions struck for Marcus Aurelius by the mint of Rome. Bringing together the data gathered in existing coin catalogues (RIC, BMCRE, Gnecchi, Moneta imperii romani), B. examines the iconography struck for Marcus Aurelius under the rule of Antoninus Pius, and then during his own reign. The book adopts a year by year analysis following Aurelius' tribunician power. For each year, B. examines the precious metal coinage, then the aes issues, followed by a discussion of the relevant medallions, contextualizing each numismatic motif within a broader historical context.
Though the year by year approach does allow readers quickly to find the period they are interested in, B. herself admits (154) that we cannot always know the broader context of each numismatic image, particularly in the poorly documented reign of Antoninus Pius. Consequently, some of B.'s conclusions remain more convincing than others (the suggestion that the prevalence of Minerva on Aurelius' coins while Caesar is linked to his philosophical leanings (153), for example, needs further substantiation). The format of the analysis also means that the largely undated coinage struck for the imperial women in this period does not form a significant focus of discussion.
The book arrives at several conclusions that are of interest to both numismatists and historians of this period. B. links the explosion of numismatic motifs struck for Aurelius in a.d. 149 with the birth of a son. She also suggests that the change in Aurelius' numismatic imagery from a.d. 152 might have been a reaction to an attempted coup the year before: Aurelius is represented as more formidable and militarily skilled as a result. Aurelius' transition from Caesar to Augustus after the death of Pius is accompanied by a complete change in numismatic imagery. During the co-rule with Verus, B. suggests that Aurelius' coinage bore more ‘civil’ motifs, while that of Verus had a more militaristic feel (192), at least until Verus' victory over the Parthians. At this point both Verus and Aurelius receive the title Parthicus, and from this stage onwards Aurelius' coinage carries more military themes. The numismatic image of Marcus Aurelius changes again after the death of Verus, with Aurelius abandoning the military titles of his previous coinage (a comparison with the relevant epigraphic record would be of interest here). Relevant issues of Commodus as Aurelius' Caesar are also discussed. B. sees Commodus' initial numismatic imagery as a reaction to Avidius Cassius; Commodus' coinage following this episode then conforms to the general types that graced Aurelius' coins when he himself was Caesar. B. notes, however, that Commodus' numismatic image was more varied than Aurelius' was as Caesar, which she connects to the turbulent nature of the period under study (338).
From a numismatic perspective, B. demonstrates that coin iconography likely reacted quickly to contemporary events, and suggests that medallions were not only struck at the beginning of each year, but could also be struck at other times. In particular, B. connects the striking of several medallions with Aurelius' triumph in a.d. 176 (303). At times she reinterprets particular numismatic iconography: for example, identifying the Danube, rather than the Tiber, on a medallion of Aurelius from a.d. 180 (334). She identifies a clear prevalence of military motifs on imperial coinage in the period a.d. 169–180. Imperial women are also increasingly given a more militaristic image beginning with Faustina and the title mater castrorum.
B. discusses an exhaustive list of coins and medallions, including issues that were previously unpublished: for example, an adventus motif medallion from a.d. 176 (313). The sparing use of images in a book concerned with iconography is sorely felt. Although B. justifies this by observing that coin images can be found in existing catalogues (13), not all types are illustrated in these volumes, and some (e.g. Gnecchi's I medaglioni romani) remain rare in university libraries, meaning that for many the associated images will be difficult to access. The use of bold capitals throughout the book makes it easy for the reader to skim through and find a relevant topic. Although there is a general index, an index of RIC numbers (or other relevant catalogue numbers) would have been useful for those wanting to consult the work for information about one specific coin type.
Overall, the monograph provides a detailed discussion of the coin iconography of Marcus Aurelius, one that both summarizes existing ideas and, at times, suggests new interpretations. By identifying the stark contrast between Aurelius' numismatic image as Caesar, as co-emperor with Verus, and as sole emperor, B. demonstrates the dynamic nature of coinage as a medium that reacted to contemporary events.
