SKU: 3880355709

Roman Constantinian AD 330-340 AE3/4 NUMMUS NGC MS Constantinopolis/Victory (3)

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Roman Constantinian AD 330-340 AE3/4 NUMMUS NGC MS Constantinopolis/Victory (3)Roman Empire REIGN OF THE EMPEROR CONSTANTINIAN AD 330 340 AE3 4 BI NUMMUS (FOLLIS) GRADED NGC MS OBVERSE: helmeted, mantled bust of Roma left. REVERSE: CONSTANTINOPOLIS GOD VICTORY. CONSTANTINOPOLI, Constantinopolis helmeted, laureate bust left, holding scepter over shoulder. Victory (Nike) standing left, stepping on galley prow, cradling scepter and resting hand on shield; This coin was issued by Constantine the Great to commemorate the founding of


Roman Empire



REIGN OF THE EMPEROR CONSTANTINIAN AD 330-340



AE3/4 BI NUMMUS (FOLLIS)


GRADED NGC MS



OBVERSE: helmeted, mantled bust of Roma left.



REVERSE: CONSTANTINOPOLIS / GOD VICTORY.



CONSTANTINOPOLI, Constantinopolis helmeted,

laureate bust left, holding scepter over shoulder.



Victory (Nike) standing left, stepping on galley prow, cradling scepter and

resting hand on shield;

This coin was issued by Constantine the

Great to commemorate the founding of the city of Constantinopolis.

The obverse of the coin features a helmeted

goddess while the reverse features a Guardian Angel

By circa 330 A.D., Constantine the Great

completed his new capital for the Roman empire and called it Constantinople

after himself, originally the ancient Greek city named Byzantium. Constantinople

lay in a strategically important location and could be considered the

continuation of the Roman empire in the east until about 1453 A.D. when it fell

to the Ottoman Turks. For this momentous occasion, he issued two coin types

commemorating this event, with one celebrating Rome and the other

Constantinople. The type that commemorated Rome had the personification of Rome,

Roma with the inscription VRBS ROMA and the founders of Rome, Romulus and Remus

on the reverse suckling the mythical she-wolf. The type that commemorated

Constantinople had the personification of Constantinople on the obverse and

Victory on a galley sailing with a shield. This was a great way for Constantine

the Great to pay homage to both Rome and Constantinople as now the Roman empire

had two official capitals.



Constantinopolis, built on the site of the ancient Byzantium by Constantine the

Great, who called it after his own name and made it the capital of the Roman

empire. It was solemnly consecrated A.D. 330. It was built in imitation of Rome.

Thus it covered 7 hills, was divided into 14 regiones, and was adorned with

various buildings in imitation of the capital of the Western world. Its extreme

length was about 3 Roman miles ; and its walls included eventually a

circumference of 13 or 14 Roman miles. It continued the capital of the Roman

empire in the east until its capture by the Turks in 1453.



Constantine I 'The Great' - Roman Emperor: 307-337 A.D.



Caesar (Recognized): 306-309 A.D. | Filius Augustorum (Recognized): 309-310 A.D.

| Augustus (Self-Proclaimed): 307-310 A.D. | Augustus (Recognized): 310-337 A.D.



| Son of Constantius I 'Chlorus' and Helena | Step-son of Theodora | Husband of

Minervina and Fausta | Father (by Minervina) of Crispus and (by Fausta) of

Constantine II, Constantius II, Constans, Constantina (wife of Hanniballianus &

Constantius Gallus) and Helena the Younger (wife of Julian II) | Son-in-law of

Maximian and Eutropia | Brother-in-law of Maxentius | Half-brother of Constantia

(w. of Licinius I) | Half-uncle of Delmatius, Hanniballianus, Constantius

Gallus, Julian II, Licinius II and Nepotian | Grandfather of Constantia (wife of

Gratian)



Constantine the Great (Latin: Flavius Valerius Aurelius Constantinus Augustus;

27 February c. 272 AD - 22 May 337 AD), also known as Constantine I or Saint

Constantine (in the Orthodox Church as Saint Constantine the Great,

Equal-to-the-Apostles), was a Roman Emperor from 306 to 337 AD. Constantine was

the son of Flavius Valerius Constantius, a Roman army officer, and his consort

Helena. His father became Caesar, the deputy emperor in the west in 293 AD.

Constantine was sent east, where he rose through the ranks to become a military

tribune under the emperors Diocletian and Galerius. In 305, Constantius was

raised to the rank of Augustus, senior western emperor, and Constantine was

recalled west to campaign under his father in Britannia (Britain). Acclaimed as

emperor by the army at Eboracum (modern-day York) after his father's death in

306 AD, Constantine emerged victorious in a series of civil wars against the

emperors Maxentius and Licinius to become sole ruler of both west and east by

324 AD.



As emperor, Constantine enacted many administrative, financial, social, and

military reforms to strengthen the empire. The government was restructured and

civil and military authority separated. A new gold coin, the solidus, was

introduced to combat inflation. It would become the standard for Byzantine and

European currencies for more than a thousand years. The first Roman emperor to

claim conversion to Christianity, Constantine played an influential role in the

proclamation of the Edict of Milan in 313, which decreed tolerance for

Christianity in the empire. He called the First Council of Nicaea in 325, at

which the Nicene Creed was professed by Christians. In military matters, the

Roman army was reorganised to consist of mobile field units and garrison

soldiers capable of countering internal threats and barbarian invasions.

Constantine pursued successful campaigns against the tribes on the Roman

frontiers-the Franks, the Alamanni, the Goths, and the Sarmatians-even

resettling territories abandoned by his predecessors during the Crisis of the

Third Century.



The age of Constantine marked a distinct epoch in the history of the Roman

Empire. He built a new imperial residence at Byzantium and renamed the city

Constantinople after himself (the laudatory epithet of "New Rome" came later,

and was never an official title). It would later become the capital of the

Empire for over one thousand years; for which reason the later Eastern Empire

would come to be known as the Byzantine Empire. His more immediate political

legacy was that, in leaving the empire to his sons, he replaced Diocletian's

tetrarchy with the principle of dynastic succession. His reputation flourished

during the lifetime of his children and centuries after his reign. The medieval

church upheld him as a paragon of virtue while secular rulers invoked him as a

prototype, a point of reference, and the symbol of imperial legitimacy and

identity. Beginning with the Renaissance, there were more critical appraisals of

his reign due to the rediscovery of anti-Constantinian sources. Critics

portrayed him as a tyrant. Trends in modern and recent scholarship attempted to

balance the extremes of previous scholarship.



Constantine is a significant figure in the history of Christianity. The Church

of the Holy Sepulchre, built on his orders at the purported site of Jesus' tomb

in Jerusalem, became the holiest place in Christendom. The Papal claim to

temporal power in the High Middle Ages was based on the supposed Donation of

Constantine. He is venerated as a saint by Eastern Orthodox, Byzantine

Catholics, and Anglicans.

 


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4.5 ★★★★★
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Product Reviews
M
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M. Edwards
Louisville, US
★★★★★ 4
Personal Creativity does not equal Domain Transformation
This was a good if not a great book. Its greatest strength lies in the thesis introduced early on and supported throughout that the kind of creativity that leaves a trace in the cultural matrix rests not in the personal creativity of the individual, but in what Csikszentmihalyi tags the "systems approach " to creativity. To have any effect, a creative idea must be couched in terms that are understandable to others, pass muster with the experts in the field (i.e. the gatekeepers to the domain), and be included within the cultural domain (the set of symbolic rules or procedures) to which it belongs. In this systems view, the definition of a creative person is someone whose thoughts or actions change a domain or establish a new domain (pp. 27-28). This is no easy task, especially since he or she needs to learn the existing domain or domains first, and almost always necessitates being in the right place at the right time (e.g. studying quantum physics at the beginning of the 20th century or women seeking academic opportunities when WWII broke out). Having established this in the first 30 pages, if you didn't read the remaining 350 you wouldn't miss much. But I still enjoyed reading the stories and thoughts of selected individuals whom the author deemed as "creative" according to the definition above (However, I disagreed with the selection of a few of these and would have chosen at least one more person of faith in addition to the Quaker who was briefly highlighted. Also on the issue of faith, I found the author's grouping on page 371 of studying the bible with addictive behaviors such as cruising the internet and betting on horse races to be rather laughable!). Some additional personal nuggets I gleaned from this book include the following: 1. Those who persevere and succeed must be creative not only in their manipulation of symbols but maybe even more in shaping a career and a future for themselves that will enable them to survive while continuing to explore the strange universe in which they live (p. 199). 2. When seeking to allow your mind to make new connections in a beautiful setting, just sitting and watching is fine, but taking a leisurely walk seems to be even better. The shaping of one's personal space is also important. The Greek philosophers settled on the peripatetic method, preferring to discuss ideas walking up and down in the courtyards of the academy. When we participate in this kind of "semiautomatic activity" that uses a certain amount of attention, we allow the rest of it to be free to make connections among ideas, often from different domains, well below the threshold of conscious intentionality. "Devoting full attention to a problem is not the best recipe for having creative thoughts. "(p. 138) 3. Both creativity and innovation on the one hand and conservation and traditionalism on the other are both equally important. "Neither uncritical acceptance nor wholesale dismissal of human creativity will lead us far. " (p. 322) The final section deals with how to enhance personal creativity. Some of these ideas were helpful (e.g. to seek to be surprised and to seek to surprise another person at least once every day, to seek to look at problems from multiple perspectives instead of assuming you see the issue clearly from one perspective, etc.) but others just seem to be taking up space on the page. I'm afraid the phraseology of how to use psychic energy more effectively on page 356 and a few other places lost my interest almost completely.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on November 15, 2010
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pepe
Draper, US
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process. The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual. Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life. HIghly recommended, one of the most interesting learning experiences i have had in a long while!
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Reviewed in the United States on February 5, 2013
C
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Charles H. Hooker Jr.
Belleville, US
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
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Reviewed in the United States on July 4, 2023
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Donald Walker
Fort Morgan, US
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012
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Judith R. Hert
Belleville, US
★★★★★ 5
Wise and Complete
Format: Paperback
I've read a lot of books, too many, on creativity, and this is by far the best, the most complete, the most interesting. The idea that creativity comes out of immersion in a domain or field seems absolutely right and the idea missed by so many other writers. I'm a writer and a painter and I've learned that I'm not going to be any better than the work I've come to know and love, that I have to live in that work. If you want to be a better string player, play with a better ensemble. In many ways a creative person is someone who is in a conversation with what has come before, with work that excites her, teaches her, challenges her. This book makes that plain. But he has other insights as well, especially about the creative personality, the interesting dichotomies. Just read the book.
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Reviewed in the United States on February 22, 2015

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