Crawford 039/1, ROMAN REPUBLIC, Collateral Semilibral Struck AE Triens

Rome. The Republic.
Semilibral Reduction, 217-215 BCE
Æ Triens (54 grams; 37 mm).
Uncertain Italian Mint.

Obverse: Head of Juno (?) right, wearing double-crested diadem, her hair tied in three ringlets down neck; scepter or sword over left shoulder (?); ●●●● (mark of value) behind.

Reverse: Hercules, naked but for lion skin, grasping centaur by hair and preparing to strike him with club; ●●●● (mark of value) before; ROMA in exergue.

References: Crawford 39/1; Sydenham 93 (R6); BMCRR (Romano-Campanian) 113-115.

Provenance: Ex Munzen und Medaillen 47 (1972), Lot 74.

Crawford dates his 39 series of collateral, semilibral struck bronzes to the early years of the Second Punic War, 217-215 BC. The economic hardship on Rome imposed by Hannibal’s invasion led to a rapid decline in the weight of Roman bronze coins, resulting in the adoption of a semi-libral bronze standard (AE As of ½ Roman pound) and eventual elimination of cast coins. Crawford deduces that Hannibal’s defeat of Rome at Trasimene in 217 B.C. likely tipped the financial scales to the semilibral reduction. He notes that Capua overstruck Roman coinage of the late semi-libral period when Capua joined with Hannibal in 216-215. Further, in Roman Republican Coin Hoards, Crawford reports that hoard #56, found at Capua in 1909, contained three trientes and four sextantes of the “collateral” series; thus the series must have circulated in Capua for a time before the town switched sides to Hannibal in 216-215. It appears that the standard, prow-type semilibral coins (Crawford 38) came first, because hoards containing the Crawford 39 coins almost always contain semilibral prow types as well.

The obverse of this Triens is particularly enigmatic. Both before, during and after production of this series, the goddess depicted on trientes was typically Minerva. In Roman iconography, Minerva’s attributes are the Corinthian helmet, aegis and spear. The goddess on this triens lacks the Corinthian helmet that was used to depict Minerva in previous Aes Grave series of libral and semilibral weight standard (See Crawford 35 and 38 Aes Grave) and on the subsequent, prow-type, struck trientes (Crawford 41 and 56). Some authors are non-committal as to the goddess’ identity (Crawford, for one, in his catalogue; though elsewhere in his text he refers to “Juno”); others attribute the goddess as Juno who, as Jupiter’s consort, is typically rendered with a diadem crown and scepter; and others believe the goddess is Bellona, a war goddess who is typically rendered with helmet and weapon. Firm identification depends, in part, on proper understanding of the headgear. I think attempts to call the headgear a “helmet” or “partial helmet” are misguided efforts to explain the crest. In my opinion, the headgear is a crested diadem. The odd crest attached to the end of the diadem is possibly a misinterpreted element borrowed from portraits of Tanit on Punic coinage, which always show Tanit with a stylized wheat leaf in this location (Tanit’s depiction was likely borrowed by the Carthaginians from Syracusan tetradrachms). There is also some confusion as to what the goddess holds over her left shoulder. Condition issues and poor strikes on some examples often eliminate this aspect of the design. Fortunately, my example is quite clear and one can see the shadowy image on the left shoulder which extends in straight-line behind the left side of the goddess’ head ending in a visible, rounded point above her head. Crawford may have thought the lower part of this element represented the goddess’ far-side curls (“hair falls in tight rolls onto BOTH shoulders” emphasis added), but this interpretation does not explain the point above her head. The point is not likely to represent the opposite crest, as the crest on the visible side does not extend above head-top level. A more plausible theory, proposed by both Grueber and Sydenham, is that the goddess is holding a scepter over her left shoulder, which is consistent with Juno’s attributes. Other possibilities are that she bears a spear, which is an attribute of Minerva, or a sword, which is an attribute of Bellona.

The Series 39 types and their relationship to contemporaneous Second Punic War events are interesting to ponder. Hercules is an important figure, appearing on two of the 10 available sides of the series. Likely this is a paradigm of Roman heroism during the War. In the myth depicted on this Triens, Hercules kills a centaur for assaulting his wife – is this an allegorical reference to Hannibal’s assault on Italy (and the likely response from Rome)?

Despite its beauty, this type would never again be repeated on a Roman coin. However, related imagery can be found on quincunxes of Capua and quadrantes of Larinum, Apulia, immediately following the defection of those towns to Hannibal’s side of the Second Punic War.