ABSTRACT:

The article is an attempt at an analysis of the information contained in Ludwig von Baczko’s article, titled Von einigen in Preussen gefundenen römischen Münzen. The text was published in 1780, in the periodical “Das preussische Tempe” in Königsberg. The information from the publication was used only by Sture Bolin in his catalogue of the finds of Roman coins (Bolin 1926). The “Das preussische Tempe” was practically lost and its only copy remained in the National Library in Moscow.

SUMMARY:

In the article Von einigen in Preussen gefundenen römischen Münzen authored by Ludwig Franz Adolf Josef von Baczko, published in the “Das preussische Tempe” in 1780 some information on the finds of antique coins was published. The author mentioned two Roman coins of Augustus and Tiberius for Livia found in the Elbląg area. The information does not allow any conclusion on whether the find was authentic and the Elbląg area was indeed the place of the discovery of two “bronze” Roman coins, one of which had the image of Justitia or Pietas on its obverse. The subsequent finds, mentioned by von Baczko, came from the areas of Klaipėda (German: Memel), Zheleznodorozhny (German: Gerdaunen), Kaliningrad Oblast (Russia), Krylowo (German: Nordenburg), Kaliningrad Oblast (Russia) and Tilsit, today Sovetsk, Kaliningrad Oblast (Russia). He identified Philip the Arab as the issuer. Von Baczko provided some more questionable information concerning 83 silver coins which “had been brought from those areas to Königsberg by a Polish Jew in 1774”. The Polish Jew suggested that the coins could be easily found in Samogitia, not far from the Prussian border, in remains of an old building. Von Baczko decided that the information was incomplete as it pointed only to the existence of the foundations of an old, stone building. All the information about the 83 coins presented above bring to mind the typical accounts of coin traders of the time.

Von Baczko informed also that “he was shown a few more coins” which had been discovered, as he was said “zu Höle bei Danzig”, so in today’s Gdańsk Ujeścisko. They were silver Vespasian’s coins with images of “various Judean sacrificial vessels” on reverses, there was also a coin with the representation of a “veiled woman” and the legend IVDEA CAPTA. The information about the find appeared in all catalogues of the Roman coins found on the Polish territory. The discovery was described as a hoard consisting of an unknown number of pennies from the period between Vespasian and Septimius Severus or Caracalla (the coin struck for Julia Domna). Sture Bolin repeated the information faithfully after von Baczko, so the discovery of the 1780 “Das preussische Tempe” does not contribute much to the matter in question. The only novelty is that von Baczko questioned the find’s authenticity, supporting his opinion with a vague remark about “das zu wenig erhobene Gepräge”, which implied that he considered the coins to be contemporary products.

Further in his article, von Baczko deliberates on how the coins had got to Prussia. He refers to some unspecified writers (“verschiedene Schriftsteller”) who suspected the presence of Romans by the Baltic Sea but emphasises that he does not know any written record by a Roman historian which would confirm the Roman presence so far away from the Empire’s borders. Von Baczko then suggests that the coins may have come as loot. He observed that Old Prussians had had the custom of leaving spoils taken from their enemies in the urns of their heroes. He argued that after the urns were destroyed by time, the coins that remained came to the surface as a result of land cultivation.

Having been long searched for, when eventually found von Baczko’s article turned out not to be particularly useful in interpreting the records concerning the coins. The lack of results is, however, also a result. There are a lot of laconic and arbitrary descriptions of coins which did not help to identify particular specimens. Based on the article, we may assume that he saw the coins and identified and described them himself. The legends he quotes are usually incorrect, but they did appear on Roman coins, so he did not invent them completely. He knew what could be found on Roman coins. It is also evident that he had a considerable knowledge of ancient Rome for his times.

While comparing von Baczko’s article with similar contemporary texts one may arrive at the conclusion that it is a typical product of Prussian scholars of the time, such as A. Grübnau, M. Praetorius, C.B. Lengnich. The coins were described selectively, only those specimens that for some reason attracted the attention of the authors mentioned above. The descriptions are incomplete, what is more, the described obverses do not match the reverses. Based on von Baczko’s article, one may conclude that he wrote about what he could discern on the coin. There is much to make us believe that having read the obverse legend on one coin, he coupled it with the reverse of another coin, while a third one provided the image. Such an approach was certainly adopted in the case of the solidi from the Mrzezin hoard. The author, who signed himself with an “X” described the obverse of Anastasius I’s solidus and the reverse of the Ostrogoth imitation of the same type of coin.

The holdings of the Kórnik Library include a small printed book by Walenty Schreck published by the Königsbergian printing house of Johann Daubmann in 1559. At the beginning of the book, there is a hand-written dedication from the author to Duke Albrecht Frederick, a son of Albrecht of Prussia (von Hohenzollern), and a versed poetic work. Since the volume was a gift to a juvenile duke (and indirectly to his father), it was bound in a masterly manner: in covers with rich, almost entirely gilded ornamentation and with gilded edges. The paper offers an analysis of this book-binding work, taking similar objects from Polish collections and information from relevant literature as a point of reference. This allowed a thesis that the object is a representative creation of the leading 16th century Königsbergian book-binder Kaspar Angler, in which he used several of his characteristic decorating tools (such as a roll with fi gures of cupids and putti, a roll with a cortège of a king and bishop, and 3 medallion plaques with Biblical scenes). Taking into account its high artistry and almost untouched condition, the work seems to be one of the most impressive objects of the 16th century European bookbinding industry in the collection of the Kórnik library. Its high historical value also results from its provenance – it originates from the ducal library in Königsberg.

The collections of the Kórnik Library of the Polish Academy of Sciences include a set of printed textes by Jan Seklucjan with a handwritten dedication to Albrecht Frederick, Duke of Prussia (†1618). Their binding is decorated with plaquettes with portraits of Albrecht von Brandenburg- Ansbach, Duke of Prussia (†1568) and his first wife Dorothea (†1547). The article analyses both compositions, providing the following conclusions: they were made in the Konigsberg circles of the so-called Formschneider between the end of the 1530s and the first half of the 1540s. Between the period in question and 1565, wooden plaquettes (blocks) with these portraits were kept by the Duke’s court bookbinder, Kaspar Angler. After his death they probably belonged to the workshop equipment of his pupil Wolff Artzt, although it is also possible that they were used by a local religious writer, bookseller and possibly also bookbinder – Jan Seklucjan. Both works are examples of adaptation in Konigsberg of a specific formula of Renaissance book binding decoration, being at the same time a bookplate, based on a rectangular portrait plaquette presented in the centre of the cover. Compositions of such works most often depended on the painted portraits – mainly from the workshop of Lucas Cranach the Elder. Both Konigsberg portraits, however, are marked by prolonged proportions, a landscape background, and the display of coats of arms at the bottom. This fact should be explained by the painting models that were probably related to paintings in Albrecht’s Konigsberg residence. It is impossible to decide definitely whether they were made by a painter employed at his court (e.g. Crispin Herrant), or imported. Nevertheless, they are an indirect testimony to the existence of a gallery of portraits in the Konigsberg Castle, which was created on a long-term basis and with passion by the Duke of Prussia.