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Moneta
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In Roman mythology, Moneta (Latin Monēta) was a title given to two separate goddesses: It was the name of the goddess of memory (identified with the Greek goddess Mnemosyne), and it was an epithet of Juno, called Juno Moneta (Latin Iūno Monēta). The latter's name is the source of numerous words in English and the Romance languages, including “money" and "mint".
The cult of the goddess Moneta was established largely under the influence of Greek religion, which featured the cult of Mnemosyne ("Μνημοσύνη"), the goddess of memory and the mother of the Muses. The goddess's name is derived from Latin monēre (which means to remind, warn, or instruct). She is mentioned in a fragment of Livius Andronicus' Latin Odyssey: Nam diva Monetas filia docuit ("since the divine daughter of Moneta has taught...", frg. 21 Büchner), which may be the equivalent of either Od. 8,480-1 or 488.
The epithet Moneta that was given to Juno, in contrast, is more likely to have derived from the Greek word "moneres" ("μονήρης"), meaning "alone”, or “unique".[citation needed] By the time Andronicus was writing, the folk etymology of monēre was widely accepted, and so he could plausibly transmute this epithet into a reference to separate goddess - the literary (though not the religious) counterpart of the Greek Mnemosyne.
Juno Moneta and Hyginus' Moneta
[edit]
Juno Moneta, an epithet of Juno, was the protectress of funds, and, accordingly, money in ancient Rome was coined in her temple. The word "moneta" (from which the words "money" and "monetize" are derived) was used by writers such as Ovid, Martial, Juvenal, and Cicero. In several modern languages, including Russian and Italian, moneta (Spanish moneda) is the word for "coin".
Juno Moneta's name (like the name of the goddess Moneta) is derived either from the Latin monēre (since, as the protectress of funds, she "warned" of economic instability) or, more likely, from the Greek "moneres", meaning "alone” or “unique".[citation needed]
According to the Suda, a Byzantine encyclopedia (which uses the Greek names of the goddess), she was called Moneta (Μονήτα) because when the Romans needed money during the wars against Pyrrhus and Taranto, they prayed to Hera, and she replied to them that, if they would hold out against the enemies with justice, they would not go short of money. After the wars, the Romans honoured Hera Moneta (that is, advisor - invoking the Latin verb moneo, meaning to 'warn' or 'advise'), and, accordingly, decided to stamp the coinage in her temple.[1][2] Hyginus in his Fabulae, writes of Moneta as a Titaness daughter of Aether and Tellus, and as the mother by Jove of the nine Muses. Hyginus doesn't seem to identify Moneta with either Juno or Mnemosyne, as the latter is later called a daughter of Jove and Clymene.
Coinage
[edit]"Moneta" retained the meanings of "money" and "die" well into the Middle Ages and appeared often on minted coins. For example, the phrase moneta nova is regular on coins of the Low Countries and the Rhineland in the fourteenth and fifteenth century, with the "nova", Latin for "new", not necessarily signifying a new type or variety of coin.[3]
In culture
[edit]Moneta is a central figure in John Keats' poem "The Fall of Hyperion: A Dream".
References
[edit]- ^ Suda On Line, mu,1220
- ^ Suda topostext, mu,1220
- ^ B.H.I.H Stewart (1962). "Moneta and Mot on Anglo-Saxon Coins". British Numismatic Journal. 31: 27–30. Retrieved 27 December 2017.
- Simpson, D. P. (1968). Cassell's Latin Dictionary: 5th Edition. New York: Macmillan Publishing Co. ISBN 0-02-522570-7.
- The American Heritage dictionary of the English language: 4th Edition. New York: Houghton Mifflin Co. 2000. ISBN 0-02-522570-7.
- en.museicapitolini.org Archived 2012-01-14 at the Wayback Machine
Moneta
View on Grokipediafrom Grokipedia
Moneta is an epithet of the Roman goddess Juno, denoting "the Warner" or "the Adviser," and referring to her role as a prophetic figure who warned the Romans of impending dangers, such as during the Gallic sack of Rome in 390 BCE. As Juno Moneta, she was revered as the protector of Rome and the patroness of financial matters, with her temple on the Capitoline Hill serving as the site of the Roman mint from around 269 BCE onward.[1] The words "money" and "mint" in English derive from her name via Latin moneta, reflecting her enduring association with coinage and economic stability.[2]
A temple to Juno Moneta was dedicated in 344 BCE, associated with her protective role during the Gallic sack of Rome in 390 BCE, where her sacred geese alerted the Capitol's defenders.[3] This epithet emphasized Juno's advisory and warning attributes, distinct from her primary roles as queen of the gods, wife of Jupiter, and goddess of marriage and childbirth.[4] Her temple not only housed the state mint but also symbolized Rome's financial and defensive security, with coins often bearing her image to invoke prosperity and protection.[1] Her association with coinage influenced Roman monetary practices and iconography on coins, and her legacy persists in modern etymology related to currency.
Etymology
Linguistic Derivation
The name Moneta, as an epithet of the goddess Juno, primarily derives from the Latin verb monēre, meaning "to remind," "warn," or "instruct." This etymology is explicitly supported by Cicero in De Divinatione, where he connects the name to a legendary warning voice emanating from Juno's temple during an earthquake, urging the Romans to perform a sacrifice.[5] The same root appears in early Latin literature, notably in a fragment of Livius Andronicus' Odyssia (late 3rd century BC), where Moneta translates the Greek Mnemosyne (goddess of memory) as the mother of the Muses: Nam diva Monetas filia docuit ("for the divine daughter of Moneta teaches").[6] Here, the name evokes the instructive aspect of memory and divine counsel, aligning with monēre's connotations of admonition and guidance. An alternative derivation proposes influence from Ancient Greek monḗrēs (μονήρης), meaning "solitary," "alone," or "unique," which may reflect Juno's singular advisory role among the gods. This interpretation, though less dominant than the Latin monēre root, is noted in scholarly analyses of Indo-European goddess names and their cross-cultural adaptations.[7] Phonologically, Moneta follows the pattern of monēre (perfect stem monu-) combined with the feminine suffix -īta, yielding a trisyllabic form /moˈneː.ta/ in Classical Latin pronunciation, with stress on the long ē. By the late Republic (c. 100–30 BC), semantic extension led to a shift in usage: from the proper divine name to a common noun monēta denoting the "mint" or place of coin production, influenced by the temple's role as Rome's early mint site from around 273 BC. This evolution is evident in Republican authors like Plautus and Terence, where monēta begins appearing in non-divine contexts for minted currency, marking a metonymic broadening from epithet to industrial term.[8]Associations with Memory and Warning
In Roman religious thought, Moneta served as the counterpart to the Greek Titaness Mnemosyne, the goddess of memory and mother of the Muses, embodying the preservation of knowledge and recollection through admonitory guidance.[9] This association stemmed from the Latin root monēre, meaning "to remind" or "to warn," positioning Moneta as a divine figure who ensured communal remembrance by alerting against peril.[9] Her epithet emphasized the advisory and warning attributes of Juno, linking remembrance to proactive ethical vigilance. Her role extended to prophetic intervention, most famously during the Gallic siege of Rome in 390 BC, when the sacred geese kept in her temple on the Capitoline honked loudly, alerting the defenders to the invaders' nocturnal ascent and enabling Marcus Manlius to repel the attack.[10] Cicero further attested to Moneta's admonitory voice in his De Divinatione, recounting instances where a supernatural utterance from her temple warned of imminent threats, such as the Gallic incursion or an earthquake, framing her as a divine instructor in civic prudence and moral preparedness. These episodes underscored Moneta's function in Roman piety as a guardian of collective memory, compelling the populace to heed warnings for the republic's ethical and defensive integrity.Mythological Identity
Hyginus' Titaness Moneta
In the Fabulae, a mythological compendium attributed to the Roman scholar Gaius Julius Hyginus (c. 64 BCE–17 CE), Moneta is portrayed as a primordial Titaness born to Aether, the personification of the upper sky, and Tellus, the goddess of the earth.[11] This parentage positions her within the early cosmic order of Roman mythology, aligning her with other Titans such as Saturn and Ops listed among the offspring of Aether and Tellus in Hyginus' genealogical preface.[11] Hyginus further describes Moneta as the mother of the nine Muses—goddesses of the arts, inspiration, and knowledge—fathered by Jove (Jupiter).[11] This union emphasizes her association with the preservation of memory through poetic and creative traditions, as the Muses embody the recollection and transmission of human achievement.[9] This depiction in the Fabulae, likely compiled in the late first century BCE or early first century CE, represents a distinctive Roman variant that diverges from the predominant Greek tradition, where the Titaness Mnemosyne (the goddess of memory) serves as the mother of the Muses by Zeus, with parentage traced to Uranus and Gaia rather than Aether and Tellus.[11] Hyginus' account thus integrates Moneta into the Titan generation while adapting her role to underscore themes of admonition and remembrance inherent in her name.[9]Juno Moneta as Epithet
Juno Moneta served as an epithet for the goddess Juno, signifying "the Warner" or "the Advisor," derived from the Latin verb moneō, meaning to warn or advise. This designation emphasized her role as a divine protectress of the Roman state, providing counsel during times of peril. The epithet's connection to warning, rooted in moneō, underscored Juno's function in alerting Romans to threats, as seen in ancient accounts.[12] A prominent tradition attributes this advisory aspect to the Gallic siege of Rome in 390 BCE. According to legend, during the nocturnal assault by the Gauls on the Capitoline Hill, the sacred geese of Juno honked loudly, awakening the defenders led by Marcus Manlius Capitolinus and alerting them to the danger, thus saving the citadel and earning her the epithet Moneta for her warning role.[13] Another key tradition appears in the Suda, a 10th-century Byzantine lexicon, attributing the epithet's origin to the Pyrrhic Wars (280–275 BCE). During the conflict with King Pyrrhus of Epirus and the people of Taras, the Romans consulted the oracle of Hera (equated with Juno) for guidance. She replied that if they withstood the enemy's arms with justice, they would not go short of money, leading to her being honored as Juno Moneta, the advisor, derived from the Greek monên, meaning to advise.[12] In Roman worship, Juno Moneta's attributes included scales representing justice and balance, often paired with a cornucopia symbolizing prosperity, reflecting her oversight of equitable governance and financial matters.[14] These symbols distinguished her advisory and protective duties in state affairs and finances from Juno's other epithets, such as Juno Lucina, who presided over marriage, childbirth, and women's life stages. Juno Moneta formed part of the Capitoline Triad alongside Jupiter and Minerva, embodying the core divine patronage of Rome's sovereignty and defense.[13] Vows to her were common during military crises, as exemplified by the dictator Lucius Furius Camillus, who pledged a temple to Juno Moneta in 345 BCE amid the war against the Aurunci to secure divine counsel and victory.[15]Temple of Juno Moneta
Historical Construction
The Temple of Juno Moneta was vowed in 345 BC by the Roman dictator Lucius Furius Camillus during the war against the Aurunci, a Volscian tribe allied with the Samnites in the early stages of the First Samnite War.[16] Victorious in battle, Camillus resigned his extraordinary office upon returning to Rome, fulfilling the conditions of his vow, after which the senate appointed two special commissioners (duoviri) to oversee the temple's construction on the Arx, the northern summit of the Capitoline Hill.[17] The temple was formally dedicated on June 1, 344 BC, marking a significant act of gratitude to Juno for her perceived advisory role in military affairs.[17] The chosen site held symbolic importance tied to Rome's recent traumatic history, specifically the Gallic sack of 390 BC, when invading Gauls under Brennus overran the city but failed to capture the fortified Arx due to the vigilance of Marcus Manlius Capitolinus, who awoke defenders to repel a nighttime assault.[17] Manlius' house, located on the Arx, was razed in 384 BC following his controversial execution for alleged tyrannical ambitions, clearing the ground for the new temple and underscoring themes of warning and protection associated with Juno Moneta.[17] In the wake of the sack, which destroyed many public records, temples on the Capitoline, including Juno Moneta, contributed to safeguarding important state documents during the Republic. Throughout the Republic, the temple remained a focal point for religious and civic responses to crises, with public vows made to Juno during major conflicts. The structure endured into the imperial period, undergoing restorations as part of broader efforts to maintain Rome's sacred landscape. The temple's site was later built over, and by the 12th century CE, the Basilica of Santa Maria in Aracoeli occupied the area, with no substantial remains of the original structure surviving.[17]Architectural and Religious Features
The Temple of Juno Moneta occupied a prominent position on the Arx, the northern summit of the Capitoline Hill, adjacent to the Temple of Jupiter Optimus Maximus, which enhanced its role in the sacred complex overseeing the Roman Forum below.[18] This location symbolized the goddess's advisory and protective functions within Rome's religious heart, integrating it into the Capitoline triad's domain. Architecturally, the temple exemplified early Republican Roman design, featuring a rectangular cella to shelter the cult image of Juno Moneta and a forward-facing pronaos supported by columns, with the structure elevated on a podium typical of Italic temple traditions.[18] A key sacred element was the adjacent enclosure for geese consecrated to Juno, commemorating their honking alert during the Gallic siege of 390 BCE that saved the Capitol from surprise attack.[19][20] These birds, maintained as living symbols of divine warning, underscored the temple's thematic link to vigilance and prophecy. Religious practices at the temple centered on rituals ensuring state prosperity and divine counsel, including regular sacrifices of livestock and libations offered by priests for Rome's welfare.[21] Annual observances drew from Juno's broader cult, with influences from festivals like the Matronalia on March 1, where matrons honored the goddess through offerings and processions.[22] Dedication rites on June 1 further marked the calendar, involving communal vows and feasts to perpetuate the site's auspicious origins.[23]Role in Coinage
Establishment of the Roman Mint
The establishment of the Roman mint marked a pivotal transition in the Republic's monetary system, evolving from informal bronze-based currencies to standardized struck coinage under state control. Prior to the formal mint, Rome relied on aes rude—irregular lumps of bronze used as a medium of exchange since at least the 5th century BC—followed by aes signatum, rectangular cast bronze bars impressed with official marks, which appeared in the late 4th to early 3rd century BC to facilitate trade and taxation. These early forms were produced without a centralized facility, but by circa 300 BC, the shift toward more uniform cast bronze coins like the aes grave indicated growing need for standardization, setting the stage for struck production.[24][25] The official Roman mint was designated at the Temple of Juno Moneta on the Capitoline Hill, known as ad Monetam, around 269 BC, coinciding with the introduction of the Republic's first silver coinage in the form of didrachms. This location, dedicated in 344 BC, provided a fortified and symbolically protected site for coin production, ensuring divine oversight from the goddess associated with warning and admonition. The mint's establishment during the Pyrrhic War reflected Rome's expanding military and economic demands, as silver didrachms—often featuring a laureate head of Janus on the obverse and a prow on the reverse—were struck to finance campaigns and integrate with Greek-influenced Mediterranean trade. Initial operations focused on these silver pieces alongside continued bronze issues, with production managed under senatorial authority to maintain weight and purity standards.[17][26] A significant reform occurred around 211 BC during the Second Punic War, when the silver denarius was introduced as the principal coin, valued at 10 asses and weighing approximately 4.5 grams. This innovation, minted at ad Monetam, replaced the heavier didrachm system and stabilized finances amid wartime strains, including Hannibal's invasion; the denarius's serrated edges and consistent iconography, such as the helmeted Roma on the obverse, symbolized Rome's resilience and state-protected wealth. The temple's religious context imbued the minting process with priestly sanction, as operations near Juno Moneta's shrine underscored the divine safeguarding of the Republic's treasury and currency integrity.[27][28]Symbolism and Practices
On Roman Republican denarii from the 1st century BCE, Juno Moneta was commonly depicted on the obverse as a draped bust facing right, often wearing a diadem or veiled with her hair tied back by ribbons, symbolizing her role as a protective advisor and patroness of the mint.[29][30] Inscriptions such as "MONETA" appeared behind the head, directly referencing the goddess, while examples like the denarius issued by moneyer L. Plaetorius Cestianus in 74 BCE also included "S·C" (senatus consulto) below the chin to denote senatorial authorization.[29] These portrayals emphasized her vigilant oversight, drawing from her epithet "The Warner" (monere, to advise or warn), which linked her to Rome's financial integrity.[30] Later personifications of Moneta on coins, particularly in the imperial period, expanded these motifs to include standing figures holding scales to represent fair measure and a cornucopia signifying abundance and prosperity, reinforcing the goddess's association with equitable economic practices.[31] Reverses of such issues, including the 46 BCE denarius by T. Carisius, frequently featured minting implements like a hammer, anvil, and tongs, underscoring the technical process under her temple's auspices, or symbolic elements tied to her Capitoline sanctuary, such as protective emblems evoking the sacred geese that legendarily alerted Rome to danger.[30] Many Republican coins bore "ROMA" on the reverse, affirming the mint's location in the city and Juno Moneta's guardianship over its currency.[32] Minting techniques at the Temple of Juno Moneta involved striking silver blanks between engraved dies using a hammer and anvil, a method that ensured uniformity after the introduction of silver coinage around 269 BCE.[33] Temple priests, as overseers, maintained standards of metal purity through rigorous testing, such as the assay methods developed by M. Marius Gratidianus in 86 BCE, which involved marking approved denarii to combat debasement and forgery.[33][32] These practices, conducted under the goddess's divine protection, treated coinage as a sacred extension of her advisory role, warding against financial instability and embodying Rome's economic vigilance.[30][1]Cultural and Linguistic Legacy
Influence on Modern Terminology
The term "moneta," originally an epithet of the Roman goddess Juno associated with her temple where coins were minted, evolved through Late Latin to denote both the place of coin production and the currency itself, influencing medieval European languages.[34] By the Middle Ages, "moneta" commonly referred to a mint or money, as seen in phrases like "moneta nova" inscribed on 14th- and 15th-century coins from regions such as the Low Countries and the Rhineland, marking new issues during recoinage reforms that echoed Roman minting traditions. This linguistic persistence is analyzed in B. H. I. H. Stewart's 1962 study on Anglo-Saxon coin legends, which traces "moneta" from Roman usage through medieval applications, noting its role in denoting official coinage sites and practices that invoked ancient precedents for legitimacy. The word's direct descent shaped modern Romance and Germanic terms for currency: English "money" derives from Old French "monie," ultimately from Latin "moneta"; French "monnaie" retains the medieval sense of coined money; and Italian "moneta" still means both coin and mint.[35] Medieval recoinage practices, such as those under English kings like Edward I in the late 13th century, explicitly referenced "moneta nova" to signal renewed, standardized issues, drawing on the Roman temple's authority to assure quality and trust in the currency. In contemporary usage, this legacy extends to economic terminology like "monetary policy," which governs money supply and financial stability, reflecting the temple's historical role as a secure repository and advisory center under Juno's protective epithet.[36] Central banks, as modern stewards of currency issuance and safeguarding, parallel the ancient temple's function in maintaining economic warning and protection, with the term "monetary" embedding the Roman origin in phrases like "monetary authority" or "monetary union."[37]Depictions in Literature and Art
In ancient Roman literature, Moneta appears in Hyginus' Fabulae as a Titaness, daughter of Aether and Tellus (Earth), who bore the nine Muses to Jove, integrating her into the mythological genealogy of divine inspiration and memory.[38] Ovid references the Temple of Juno Moneta in his Fasti (Book 6), linking it to the goddess's advisory role, as her sacred geese provided a timely warning (monere) against the Gallic invasion of Rome in 390 BCE, thereby earning her epithet as the "Warner."[39] Writers such as Martial and Juvenal employ the term moneta in their epigrams and satires to denote currency, evoking her symbolic oversight of finances without direct personification, though this usage underscores her admonitory presence in Roman economic life. In modern literature, John Keats reimagines Moneta in his unfinished epic poem The Fall of Hyperion: A Dream (1819–1820), portraying her as a sorrowful, prophetic guide—syncretized with the Titaness Mnemosyne—who leads the poet-narrator through a visionary ascent to witness the Titans' downfall, emphasizing themes of suffering, memory, and poetic vocation.[40] Artistic representations of Moneta, often as Juno Moneta, feature prominently on Roman coins from the Republic and Empire, where she is shown as a draped female figure holding scales in one hand and a cornucopia in the other, symbolizing the balanced measurement and abundance of minted wealth; notable examples include denarii issued by moneyers like T. Carisius in 46 BCE.[30][41] A marble relief from Ostia (now in the Ostia Museum, inv. 620) depicts the temple alongside the Capitoline geese, illustrating the legendary warning episode and reinforcing Moneta's protective, admonitory iconography in Roman visual culture..jpg)References
- https://en.wiktionary.org/wiki/moneta