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JUSTINIAN_I_Quarter_Siliqua_28120_Nummi29.JPG
JUSTINIAN I, AR 120 Nummi, struck 552 - 565 at Rome or RavennaObverse: D N IVSTINIANVS P P AVG Diademed bust of Justinian I facing right, wearing robe ornamented with a row of pellets.
Reverse: Large P•K enclosed within wreath.
Diameter: 11mm | Weight: 0.67gms | Die Axis: 6
SBCV: 317 (Rome) | DOC: 336.3 (Ravenna) | MIB: 76 (Rome) | Ranieri: 355 (Ravenna)
Very Rare

In 552 the Byzantine general Narses crossed the Apennines with an army of around 25,000 men and marched on Rome only to find himself blocked by a Gothic force, under their king Totila, near Taginae in central Italy. However, Narses deployed his army in the form of a crescent in a narrow mountain valley with his dismounted cavalry mercenaries placed as a phalanx in the centre and his flanks protected by a mixed force of archers he had sent to seize the dominant heights. The Goths opened the battle with a determined cavalry charge but were halted by the enfilading fire from both sides and fell back in disarray on to the Byzantine infantry which had curved round behind them. The Byzantine cataphracts then swept into the confused Gothic mass and more than 6,000 Goths, including their leader Totila, were killed. The remnants of the Gothic army fled and Narses proceeded to Rome, capturing the city after a brief siege. The following year Narses ambushed a combined Gothic force under King Teia and his brother Aligern. The Gothic force was crushed in a hopeless last stand south of Naples, Teia was killed in the fighting and, though Aligern escaped the battle, he surrendered a few months later, so ending the Ostrogothic Kingdom in Italy after 60 years of rule.
3 comments*Alex
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"As de Nîmes" or "crocodile" Ӕ dupondius of Nemausus (9 - 3 BC), honoring Augustus and AgrippaIMP DIVI F , Heads of Agrippa (left) and Augustus (right) back to back, Agrippa wearing rostral crown and Augustus the oak-wreath / COL NEM, crocodile right chained to palm-shoot with short dense fronds and tip right; two short palm offshoots left and right below, above on left a wreath with two long ties streaming right.

Ó”, 24.5 x 3+ mm, 13.23g, die axis 3h; on both sides there are remains of what appears to be gold plating, perhaps it was a votive offering? Rough edges and slight scrapes on flan typical for this kind of coin, due to primitive technology (filing) of flan preparation.

IMPerator DIVI Filius. Mint of COLonia NEMausus (currently Nîmes, France). Known as "As de Nîmes", it is actually a dupontius (lit. "two-pounder") = 2 ases (sometimes cut in halves to get change). Dupondii were often made out of a golden-colored copper alloy (type of brass) "orichalcum" and this appears to be such case.

Key ID points: oak-wreath (microphotography shows that at least one leaf has a complicated shape, although distinguishing oak from laurel is very difficult) – earlier versions have Augustus bareheaded, no PP on obverse as in later versions, no NE ligature, palm with short fronds with tip right (later versions have tip left and sometimes long fronds). Not typical: no clear laurel wreath together with the rostral crown, gold (?) plating (!), both features really baffling.

But still clearly a "middle" kind of the croc dupondius, known as "type III": RIC I 158, RPC I 524, Sear 1730. It is often conservatively dated to 10 BC - 10 AD, but these days it is usually narrowed to 9/8 - 3 BC.

It is a commemorative issue, honoring the victory over Mark Antony and conquest of Egypt in 30 BC. The heads of Augustus and Agrippa were probably positioned to remind familiar obverses of Roman republican coins with two-faced Janus. Palm branch was a common symbol of victory, in this case grown into a tree, like the victories of Augustus and Agrippa grown into the empire. The two offshoots at the bottom may mean two sons of Agrippa, Gaius and Lucius, who were supposed to be Augustus' heirs and were patrons of the colony. Palm may also be a symbol of the local Nemausian deity, which was probably worshiped in a sacred grove. When these coins were minted, the colony was mostly populated by the settled veterans of Augustus' campaigns, hence the reminiscence of the most famous victory, but some of the original Celtic culture probably survived and was assimilated by Romans. The crocodile is not only the symbol of Egypt, like in the famous Octavian's coins AEGYPTO CAPTA. It is also a representation of Mark Antony, powerful and scary both in water and on land, but a bit slow and stupid. The shape of the crocodile with tail up was specifically chosen to remind of the shape of ship on very common "legionary" denarius series, which Mark Antony minted to pay his armies just before Actium. It is probably also related to the popular contemporary caricature of Cleopatra, riding on and simultaneously copulating with a crocodile, holding a palm branch in her hand as if in triumph. There the crocodile also symbolized Mark Antony.

Marcus Vipsanius Agrippa was born c. 64-62 BC somewhere in rural Italy. His family was of humble and plebeian origins, but rich, of equestrian rank. Agrippa was about the same age as Octavian, and the two were educated together and became close friends. He probably first served in Caesar's Spanish campaign of 46–45 BC. Caesar regarded him highly enough to send him with Octavius in 45 BC to train in Illyria. When Octavian returned to Rome after Caesar's assassination, Agrippa became his close lieutenant, performing many tasks. He probably started his political career in 43 BC as a tribune of the people and then a member of the Senate. Then he was one of the leading Octavian's generals, finally becoming THE leading general and admiral in the civil wars of the subsequent years.

In 38 as a governor of Transalpine Gaul Agrippa undertook an expedition to Germania, thus becoming the first Roman general since Julius Caesar to cross the Rhine. During this foray he helped the Germanic tribe of Ubii (who previously allied themselves with Caesar in 55 BC) to resettle on the west bank of the Rhine. A shrine was dedicated there, possibly to Divus Caesar whom Ubii fondly remembered, and the village became known as Ara Ubiorum, "Altar of Ubians". This quickly would become an important Roman settlement. Agrippina the Younger, Agrippa's granddaughter, wife of Emperor Claudius and mother of Emperor Nero, would be born there in 15 AD. In 50 AD she would sponsor this village to be upgraded to a colonia, and it would be renamed Colonia Claudia Ara Agrippinensium (colony of Claudius [at] the Altar of Agrippinians – Ubii renamed themselves as Agrippinians to honor the augusta!), abbreviated as CCAA, later to become the capital of new Roman province, Germania Inferior.

In 37 BC Octavian recalled Agrippa back to Rome and arranged for him to win the consular elections, he desperately needed help in naval warfare with Sextus Pompey, the youngest son of Pompey the Great, who styled himself as the last supporter of the republican cause, but in reality became a pirate king, an irony since his father was the one who virtually exterminated piracy in all the Roman waters. He forced humiliating armistice on the triumvirs in 39 BC and when Octavian renewed the hostilities a year later, defeated him in a decisive naval battle of Messina. New fleet had to be built and trained, and Agrippa was the man for the job. Agrippa's solution was creating a huge secret naval base he called Portus Iulius by connecting together lakes Avernus, Avernus and the natural inner and outer harbors behind Cape Misenum at the northern end of the Gulf of Naples. He also created a larger type of ship and developed a new naval weapon: harpax – a ballista-launched grapnel shot with mechanisms that allowed pulling enemy ships close for easy boarding. It replaced the previous boarding device that Romans used since the First Punic War, corvus – effective, but extremely cumbersome. A later defence against it were scythe blades on long poles for cutting ropes, but since this invention was developed in secret, the enemy had no chance to prepare anything like it. It all has proved extremely effective: in a series of naval engagements Agrippa annihilated the fleet of Sextus, forced him to abandon his bases and run away. For this Agrippa was awarded an unprecedented honour that no Roman before or after him received: a rostral crown, "corona rostrata", a wreath decorated in front by a prow and beak of a ship.

That's why Virgil (Aeneid VIII, 683-684), describing Agrippa at Actium, says: "…belli insigne superbum, tempora navali fulgent rostrata corona." "…the proud military decoration, gleams on his brow the naval rostral crown". Actium, the decisive battle between forces of Octavian and Mark Antony, may appear boring compared to the war with Sextus, but it probably turned out this way due to Agrippa's victories in preliminary naval engagements and taking over all the strategy from Octavian.

In between the wars Agrippa has shown an unusual talent in city planning, not only constructing many new public buildings etc., but also greatly improving Rome's sanitation by doing a complete overhaul of all the aqueducts and sewers. Typically, it was Augustus who later would boast that "he had found the city of brick but left it of marble", forgetting that, just like in his naval successes, it was Agrippa who did most of the work. Agrippa had building programs in other Roman cities as well, a magnificent temple (currently known as Maison Carrée) survives in Nîmes itself, which was probably built by Agrippa.

Later relationship between Augustus and Agrippa seemed colder for a while, Agrippa seemed to even go into "exile", but modern historians agree that it was just a ploy: Augustus wanted others to think that Agrippa was his "rival" while in truth he was keeping a significant army far away from Rome, ready to come to the rescue in case Augustus' political machinations fail. It is confirmed by the fact that later Agrippa was recalled and given authority almost equal to Augustus himself, not to mention that he married Augustus' only biological child. The last years of Agrippa's life were spent governing the eastern provinces, were he won respect even of the Jews. He also restored Crimea to Roman Empire. His last service was starting the conquest of the upper Danube, were later the province of Pannonia would be. He suddenly died of illness in 12 BC, aged ~51.

Agrippa had several children through his three marriages. Through some of his children, Agrippa would become ancestor to many subsequent members of the Julio-Claudian dynasty. He has numerous other legacies.
Yurii P
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501. Constantine I Ostia SolOstia
Although Ostia was probably founded for the sole purpose of military defence — since through the Tiber's mouths armies could eventually reach Rome by water — in time the port became a commercial harbour, and a very important one too. Many of the goods that Rome received from its colonies and provinces passed through Ostia. In this role, Ostia soon replaced Pozzuoli (Puteoli, near Naples).

In 87 BC, the town was razed by Marius, and again in 67 BC it was sacked by pirates. After this second attack, the town was re-built and provided with protective walls by Cicero. The town was then further developed during the 1st century AD, mainly under the influence of Tiberius, who ordered the building of the first Forum. The town was also soon enriched by the construction of a new harbour on the northern mouths of the Tiber (which reaches the sea with a larger mouth in Ostia, Fiumara Grande, and a narrower one near to the current Fiumicino international airport). The new harbour, not surprisingly called Portus, was excavated from the ground at the orders of the emperor Claudius; it has an hexagonal form, in order to reduce the waves strength. The town was provided with all the services a town of the time could require; in particular, a famous lighthouse. Archaeologists also discovered the public latrinas, organised for collective use as a series of seats that lets us imagine today that the function was also a social moment. In addition, Ostia had a large theatre, public baths and a fire fighting service. You can still see the mosaic floors of the baths near today's entrance to the town.

Trajan too, required a widening of the naval areas, and ordered the building of another harbour, again pointing towards the north. It must be remembered that at a relatively short distance, there was also the harbour of Civitavecchia (Centum Cellae), and Rome was starting to have a significant number of harbours, the most important remaining Portus.

Ostia grew to 50,000 inhabitants in the 2nd century AD and in time focused its naval activities on Portus. With the end of the Roman Empire, Ostia fell slowly into decay, and was finally abandoned in the 9th century due to the fall of the Roman empire in combination with repeated invasions and sackings by Arab pirates; the inhabitants moved to Gregoriopolis. In the Middle Ages, bricks from buildings in Ostia were used for several other occasions. The Leaning Tower of Pisa was entirely built of material originally belonging to Ostia. A "local sacking" was carried out by baroque architects, who used the remains as a sort of marble store for the palazzi they were building in Rome. Soon after, foreign explorers came in search of ancient statues and objects. The Papacy started organising its own investigations with Pope Pius VII and the research still continues today. It has been estimated that two thirds of the ancient town have currently been found.

001. Constantine I Ostia

RIC VI Ostia 85 S

ecoli
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706a, Nero, 13 October 54 - 9 June 68 A.D.6, Nero, 13 October 54 - 9 June 68 A.D. AE setertius, Date: 66 AD; RIC I 516, 36.71 mm; 25.5 grams; aVF. Obverse: IMP NERO CAESAR AVG PONT MAX TR POT PP, Laureate bust right; Reverse: S C, ROMA, Roma seated left, exceptional portrait and full obverse legends. Ex Ancient Imports.

NERO (54-68 A.D.)

It is difficult for the modern student of history to realize just how popular Nero actually was, at least at the beginning of his reign. Rome looked upon her new Emperor with hope. He was the student of Seneca, and he had a sensitive nature. He loved art, music, literature, and theatre. He was also devoted to horses and horse racing—a devotion shared by many of his subjects. The plebs loved their new Emperor. As Professor of Classics Judith P. Hallett (University of Maryland, College Park) says, “It is not clear to me that Nero ever changed or that Nero ever grew-up, and that was both his strength and his weakness. Nero was an extraordinarily popular Emperor: he was like Elvis” (The Roman Empire in the First Century, III. Dir. Margaret Koval and Lyn Goldfarb. 2001. DVD. PBS/Warner Bros. 2003).

De Imperatoribus Romanis: An Online Encyclopedia of Roman Rulers and their Families

Herbert W. Benario
Emory University

Introduction and Sources
The five Julio-Claudian emperors are very different one from the other. Augustus dominates in prestige and achievement from the enormous impact he had upon the Roman state and his long service to Rome, during which he attained unrivaled auctoritas. Tiberius was clearly the only possible successor when Augustus died in AD 14, but, upon his death twenty-three years later, the next three were a peculiar mix of viciousness, arrogance, and inexperience. Gaius, better known as Caligula, is generally styled a monster, whose brief tenure did Rome no service. His successor Claudius, his uncle, was a capable man who served Rome well, but was condemned for being subject to his wives and freedmen. The last of the dynasty, Nero, reigned more than three times as long as Gaius, and the damage for which he was responsible to the state was correspondingly greater. An emperor who is well described by statements such as these, "But above all he was carried away by a craze for popularity and he was jealous of all who in any way stirred the feeling of the mob." and "What an artist the world is losing!" and who is above all remembered for crimes against his mother and the Christians was indeed a sad falling-off from the levels of Augustus and Tiberius. Few will argue that Nero does not rank as one of the worst emperors of all.

The prime sources for Nero's life and reign are Tacitus' Annales 12-16, Suetonius' Life of Nero, and Dio Cassius' Roman History 61-63, written in the early third century. Additional valuable material comes from inscriptions, coinage, papyri, and archaeology.


Early Life
He was born on December 15, 37, at Antium, the son of Cnaeus Domitius Ahenobarbusand Agrippina. Domitius was a member of an ancient noble family, consul in 32; Agrippina was the daughter of the popular Germanicus, who had died in 19, and Agrippina, daughter of Agrippa, Augustus' closest associate, and Julia, the emperor's daughter, and thus in direct descent from the first princeps. When the child was born, his uncle Gaius had only recently become emperor. The relationship between mother and uncle was difficult, and Agrippina suffered occasional humiliation. But the family survived the short reign of the "crazy" emperor, and when he was assassinated, it chanced that Agrippina's uncle, Claudius, was the chosen of the praetorian guard, although there may have been a conspiracy to accomplish this.

Ahenobarbus had died in 40, so the son was now the responsibility of Agrippina alone. She lived as a private citizen for much of the decade, until the death of Messalina, the emperor's wife, in 48 made competition among several likely candidates to become the new empress inevitable. Although Roman law forbade marriage between uncle and niece, an eloquent speech in the senate by Lucius Vitellius, Claudius' closest advisor in the senatorial order, persuaded his audience that the public good required their union. The marriage took place in 49, and soon thereafter the philosopher Seneca [[PIR2 A617]] was recalled from exile to become the young Domitius' tutor, a relationship which endured for some dozen years.

His advance was thereafter rapid. He was adopted by Claudius the following year and took the name Tiberius Claudius Nero Caesar or Nero Claudius Caesar Drusus Germanicus, was preferred to Claudius' natural son, Britannicus, who was about three years younger, was betrothed to the emperor's daughter Octavia, and was, in the eyes of the people, the clear successor to the emperor. In 54, Claudius died, having eaten some poisoned mushrooms, responsibility for which was believed to be Agrippina's, and the young Nero, not yet seventeen years old, was hailed on October 13 as emperor by the praetorian guard.


The First Years of Rule
The first five years of Nero's rule are customarily called the quinquennium, a period of good government under the influence, not always coinciding, of three people, his mother, Seneca, and Sextus Afranius Burrus, the praetorian prefect. The latter two were allies in their "education" of the emperor. Seneca continued his philosophical and rhetorical training, Burrus was more involved in advising on the actualities of government. They often combined their influence against Agrippina, who, having made her son emperor, never let him forget the debt he owed his mother, until finally, and fatally, he moved against her.

Nero's betrothal to Octavia was a significant step in his ultimate accession to the throne, as it were, but she was too quiet, too shy, too modest for his taste. He was early attracted to Poppaea Sabina, the wife of Otho, and she continually goaded him to break from Octavia and to show himself an adult by opposing his mother. In his private life, Nero honed the musical and artistic tastes which were his chief interest, but, at this stage, they were kept private, at the instigation of Seneca and Burrus.

As the year 59 began, Nero had just celebrated his twenty-first birthday and now felt the need to employ the powers which he possessed as emperor as he wished, without the limits imposed by others. Poppaea's urgings had their effect, first of all, at the very onset of the year, with Nero's murder of his mother in the Bay of Naples.

Agrippina had tried desperately to retain her influence with her son, going so far as to have intercourse with him. But the break between them proved irrevocable, and Nero undertook various devices to eliminate his mother without the appearance of guilt on his part. The choice was a splendid vessel which would collapse while she was on board. As this happened, she swam ashore and, when her attendant, having cried out that she was Agrippina, was clubbed to death, Agrippina knew what was going on. She sent Nero a message that she was well; his response was to send a detachment of sailors to finish the job. When she was struck across the head, she bared her womb and said, "Strike here, Anicetus, strike here, for this bore Nero," and she was brutally murdered.

Nero was petrified with fear when he learned that the deed had been done, yet his popularity with the plebs of Rome was not impaired. This matricide, however, proved a turning point in his life and principate. It appeared that all shackles were now removed. The influence of Seneca and Burrus began to wane, and when Burrus died in 62, Seneca realized that his powers of persuasion were at an end and soon went into retirement. Britannicus had died as early as 55; now Octavia was to follow, and Nero became free to marry Poppaea. It may be that it had been Burrus rather than Agrippina who had continually urged that Nero's position depended in large part upon his marriage to Octavia. Burrus' successor as commander of the praetorian guard, although now with a colleague, was Ofonius Tigellinus, quite the opposite of Burrus in character and outlook. Tigellinus became Nero's "evil twin," urging and assisting in the performance of crimes and the satisfaction of lusts.


Administrative and Foreign Policy
With Seneca and Burrus in charge of administration at home, the first half-dozen years of Nero's principate ran smoothly. He himself devoted his attention to his artistic, literary, and physical bents, with music, poetry, and chariot racing to the fore. But his advisors were able to keep these performances and displays private, with small, select audiences on hand. Yet there was a gradual trend toward public performance, with the establishment of games. Further, he spent many nights roaming the city in disguise, with numerous companions, who terrorized the streets and attacked individuals. Those who dared to defend themselves often faced death afterward, because they had shown disrespect for the emperor. The die was being cast for the last phases of Nero's reign.


The Great Fire at Rome and The Punishment
of the Christians

The year 64 was the most significant of Nero's principate up to this point. His mother and wife were dead, as was Burrus, and Seneca, unable to maintain his influence over Nero without his colleague's support, had withdrawn into private life. The abysmal Tigellinus was now the foremost advisor of the still young emperor, a man whose origin was from the lowest levels of society and who can accurately be described as criminal in outlook and action. Yet Nero must have considered that he was happier than he had ever been in his life. Those who had constrained his enjoyment of his (seemingly) limitless power were gone, he was married to Poppaea, a woman with all advantages save for a bad character the empire was essentially at peace, and the people of Rome enjoyed a full measure of panem et circenses. But then occurred one of the greatest disasters that the city of Rome, in its long history, had ever endured.

The fire began in the southeastern angle of the Circus Maximus, spreading through the shops which clustered there, and raged for the better part of a week. There was brief success in controlling the blaze, but then it burst forth once more, so that many people claimed that the fires were deliberately set. After about a fortnight, the fire burned itself out, having consumed ten of the fourteen Augustan regions into which the city had been divided.

Nero was in Antium through much of the disaster, but his efforts at relief were substantial. Yet many believed that he had been responsible, so that he could perform his own work comparing the current fate of Rome to the downfall of Troy. All his efforts to assist the stricken city could not remove the suspicion that "the emperor had fiddled while Rome burned." He lost favor even among the plebs who had been enthusiastic supporters, particularly when his plans for the rebuilding of the city revealed that a very large part of the center was to become his new home.

As his popularity waned, Nero and Tigellinus realized that individuals were needed who could be charged with the disaster. It so happened that there was such a group ready at hand, Christians, who had made themselves unpopular because of their refusal to worship the emperor, their way of life, and their secret meetings. Further, at this time two of their most significant "teachers" were in Rome, Peter and Paul. They were ideal scapegoats, individuals whom most Romans loathed, and who had continually sung of the forthcoming end of the world.

Their destruction was planned with the utmost precision and cruelty, for the entertainment of the populace. The venue was Nero's circus near the Mons Vaticanus. Christians were exposed to wild animals and were set ablaze, smeared with pitch, to illuminate the night. The executions were so grisly that even the populace displayed sympathy for the victims. Separately, Peter was crucified upside down on the Vatican hill and Paul was beheaded along the Via Ostiensis. But Nero's attempt, and hope, to shift all suspicion of arson to others failed. His popularity even among the lower classes was irrevocably impaired.

[For a detailed and interesting discussion of Nero’s reign please see http://www.roman-emperors.org/nero.htm]

The End - Nero's Death and its Aftermath
Nero's and Tigellinus' response to the conspiracy was immediate and long-lasting. The senatorial order was decimated, as one leading member after another was put to death or compelled to commit suicide. The year 66 saw the suicides of perhaps the most distinguished victims of the "reign of terror," Caius Petronius and Thrasea Paetus. Petronius, long a favorite of Nero because of his aesthetic taste, had been an able public servant before he turned to a life of ease and indolence. He was recognized as the arbiter elegantiae of Nero's circle, and may be the author of the Satyricon. At his death, he left for Nero a document which itemized many of the latter's crimes. Thrasea, a staunch Stoic who had been for some years an outspoken opponent of Nero's policies, committed suicide in the Socratic manner. This scene is the last episode in the surviving books of Tacitus' Annals.

In the year 68, revolt began in the provinces. . . the end of Nero's reign became inevitable. Galba claimed the throne and began his march from Spain. Nero panicked and was rapidly abandoned by his supporters. He finally committed suicide with assistance, on June 9, 68, and his body was tended and buried by three women who had been close to him in his younger days, chief of whom was Acte. His death scene is marked above all by the statement, "Qualis artifex pereo," (What an artist dies in me.) Even at the end he was more concerned with his private life than with the affairs of state.

The aftermath of Nero's death was cataclysmic. Galba was the first of four emperors who revealed the new secret of empire, that an emperor could be made elsewhere than in Rome. Civil war ensued, which was only ended by the victory of the fourth claimant, Vespasian, who established the brief dynasty of the Flavians. The dynasty of the Julio-Claudians was at an end.

Nero's popularity among the lower classes remained even after his death.

. . . .

It is not excessive to say that he was one of the worst of Rome's emperors in the first two centuries and more of the empire. Whatever talents he had, whatever good he may have done, all is overwhelmed by three events, the murder of his mother, the fire at Rome, and his savage treatment of the Christians.

Precisely these qualities are the reasons that he has remained so well known and has been the subject of many writers and opera composers in modern times. These works of fiction particularly merit mention: Henryk Sienkiewicz's Quo Vadis, one of the finest works of the 1907 Nobel Laureate in Literature, and John Hersey's The Conspiracy. Nero unquestionably will always be with us.

Copyright (C) 2006, Herbert W. Benario.
Published: De Imperatoribus Romanis: An Online Encyclopedia of Roman Rulers and their Families http://www.roman-emperors.org/startup.htm. Used by permission.

Edited by J. P. Fitzgerald, Jr.

1 commentsCleisthenes
alxmecu.jpg
Alexander the GreatPortrait of Alexander the Great done in mosaic that is housed at the Museo Nazionale, Naples, Italy. Dated from the late 2nd century. B.C., copy of a painting dated to c. 300 B.C.

Traditionally this scene reresents the turning-point at Issus when Darius fled the battle; but Philoxenus, the artist from whose painting the mosaic was copied, may have incorporated elements from other battles. Alexander's personal moment of peril seems borrowed from the Granicus, and the confrontation also has echoes of Gaugamela.

This mosaic depicts a battle between Alexander the Great and the Persian king Darius, probably the Battle of the Issus River in November of 333 B.C. It is in opus vermiculatum, with over one and a half million tesserae, none larger than 4 mm., in four colors: white, yellow, red, and black. The minuteness of the tesserae enables incredibly fine detail and painterly effects, including remarkable portraits of Alexander and Darius.

See:http://www.hackneys.com/alex_web/pages/alxphoto.htm
Cleisthenes
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Antoninus Caesar, RIC (Hadrian) 1093, sestertius of AD 138 (Pietas)Æ Sestertius (29.2g, Ø 30mm, 6h), Rome mint, struck under Hadrian between 25 February and 10 July 138 AD.
Obv.: IMP T AELIVS CAESAR ANTONINVS, bare head of Antoninus facing right.
Rev.: TRIB POT COS DES II (around) PIETAS (in ex.) S C (in field), Pietas standing left holding right hand above lighted altar and perfume box in left hand.
RIC (Hadrian) 1093 (scarce); Cohen 612; BMCRE III (Hadrian) 1950; Strack (Hadrian) 907 (4 collections); Banti (I Grandi Bronzi Imperiali II-3) 279 (2 spec.); Sear (Roman Coins and their Values II) 4203 var.
ex G.Henzen (Netherlands, 2010)

Numismatic note: Rare. Strack found this type in 4 collections (of the 30 studied): Berlin, B.M., Paris, and Naples.

Historical note: This was the first issue of Pius in 138, issued under Hadrian between February 25th and July 10th. Pietas is invoked to celebrate the adoption of Antoninus by his newly adoptive father Hadrian.
Charles S
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CAMPANIA, NEAPOLIS AR DidrachmOBVERSE: Head of nymph Parthenope right, wearing headband, pendant earring, and pearl necklace
REVERSE: Man-faced bull walking right, head facing, above Nike flying right to crown him // [NΕΟΠΟΛΙΤΗΣ]
Struck at Neapolis (Naples) 350-325 BC
7.3g, 20mm
SNG ANS 296-298. SNG Lockett 79. HN Italy 565
ex. JAZ Numismatics
1 commentsLegatus
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Campania. Neapolis AR NomosCirca 275-250 BC. AR Nomos (21mm, 7.21 g, 11h). Sambon–; HN Italy 586; BMC 87; SNG France–; SNG ANS–. Obverse: Diademed head of nymph left, wearing triple-pendant earring and necklace; to right, Artemis standing right, holding torch in both hands. Reverse: Man-headed bull walking right; above, Nike flying right, placing wreath on bull's head; IΣ below; [N]EOΠOΛITΩN in exergue. Good VF, toned. Scarce symbol for issue.

Ex Gorny & Mosch 125 (13 October 2003), lot 21
Ex Classical Numismatic Review XXXIX No. 2 Summer 2014, lot 979726

The obverse of early Neapolitan coins represent the siren Parthenope who, according to legend, committed suicide after her failed attempt to seduce Odysseus and his shipmates as they passed the Sorrento peninsula. Her body was washed up on the shore of nearby Megaride, a tiny island in the Bay of Naples. The locals interred her in Mount Echia, now the hill of Pizzofalcone. The Sirens were originally the islands found at the mouth of the river Achelöos in Greece which flowed into the Ionian Sea between Akarnania and Aetolia. The man-headed bull on the reverse of the coins was meant to represent Achelöos, the greatest water god of ancient Greece and father of Parthenope. This coin, however, belongs to a later group known as Class VI (Numismatic Circular, vol. 14, 1906). The latest coins with the obverse head always facing left may well be identified as the head of Dia-Hebe. She is associated with Dionysus Hebon and the Neapolitan bull on the reverse was reinterpreted as the bull with which Dionysus Hebon was always depicted.


3 commentsJason T
1008AACr20COMBO.png
Cr 20/1 Anonymous AR Didrachmc. 269-266 b.c.e. Rome(?) or Neapolis mint (?)

o: Head of Hercules right, hair bound with ribbon with club and lion's skin over shoulder
r: She-wolf right, suckling twins; in exergue, ROMANO

6.89 gm 21.00 mm

This issue was likely the first to be minted in the city of Rome itself, rather than the prior didrachm issues from Naples or another Greek-oriented southern city, despite the Greek-styled "ROMANO" ethnic, soon permanently replaced with "ROMA".

Although a bit worn, this specimen retains all the design elements quite nicely. On ultra-well-preserved specimens, the wolf's dorsal hair is a bit more distinct, and it would have been nicer if the final "O" had stayed on the flan.
1 commentsPMah
116099.jpg
Crawford 13/1, ROMAN REPUBLIC - AR DidrachmRome, The Republic.
Anonymous, 310-300 (c. 295?) BCE.
AR Didrachm (7.13g; 21mm).
Mint in Central Italy (Neapolis?).

Obverse: Head of Mars, bearded, in crested Corinthian helmet, facing left; oak spray behind.

Reverse: Bridled horse head facing right; [ROMANO] on base below; wheat stalk behind.

References: Crawford 13/1; HNI 266; Sydenham 1; BMCRR (Romano-Campanian) 1-4.

Provenance: Ex vAuctions Sale 343 (6 Dec 2019) Lot 155; Pegasi Auction VI (8 April 2002), Lot 316.

This coin is part of the very first series of Didrachms produced in the name of Rome. It was a small issue, with only four obverse dies and fifteen reverse dies currently known. In 1974’s Roman Republican Coinage, Crawford assigned the issue to 280-276, however, subsequent evidence and scholarship caused him to reassign the coins to 310-300 BCE. Later scholars, including Rutter in Historia Numorum Italy (2001) have concurred with this revised dating. In a recent tweet, Professor Liv Yarrow announced that her forthcoming book will propose a more recent date of c. 295 BCE; we’ll have to wait for her book to see the evidence to support this re-dating.

While these didrachms bore the inscription ROMANO, they were not struck in Rome and didn’t really circulate in Rome! They were likely produced in Naples or some other nearby mint for a particular purpose. In Coinage & Money Under the Roman Republic (1985), Crawford proposed that the purpose for the issue was the construction of the Appian Way from Rome to Capua, begun in 312 BCE. If Professor Yarrow's proposed later dating is correct, the purpose would need to be reconsidered. The average weight and purity of these coins is consistent with contemporaneous Neapolitan standards, and the fabric of the coins is also consistent with Neapolitan silver issues.

The ROMANO inscription may have been either an abbreviation of the genitive plural ROMANORVM (“of the Romans”) or dative ROMANO (“by the Romans”) either of which would be similar grammar to Greek coin inscriptions.
5 commentsCarausius
1521986941692724409721.jpg
Crawford 20/1, ROMAN REPUBLIC - AR DidrachmRome, The Republic.
Anonymous, 269-266 BCE.
AR Didrachm (7.28g; 21mm).
Uncertain mint.

Obv: Diademed head of youthful Hercules facing right, with lion skin and club over shoulder.

Rev: She-Wolf suckling the twins, Romulus & Remus; ROMANO in exergue.

References: Crawford 20/1; Sydenham 6; BMCRR (Romano-Campanian) 28-33.

Provenance: Ex Dr. Walter F. Stoeklin Collection [Nomos AG eSale 9 (25 Mar 2018) Lot 2]; Adolph Hess Auction (19 Dec 1933), Lot 3.

The earliest Roman Didrachm coinage commenced in the late fourth century BCE. While earliest didrachms bore the inscription ROMANO, they were not struck in Rome and didn’t really circulate in Rome! The earliest didrachms were likely produced in Naples or some other nearby mint. Kenneth Harl, in "Coinage in the Roman Economy" theorizes that Roman didrachms were likely valued at 10 asses and were possibly called “denarii” in their day.

This coin is from the large, third issue of didrachms produced around the time of the Pyrrhic War, circa 269 BCE. In "Natural History", Pliny wrote that the Romans first struck silver coins “in the 485th year of the city, when Q. Ogulnius and C. Fabius were consuls, five years before the First Punic War [=269 BC].” (NH 33.42-44) Some surmise that Pliny’s now infamous text refers to the above coin type. Pliny’s text confounded for generations the determination by Roman numismatists of the introduction date for the denarius, with many scholars interpreting his statement as evidence for an early introduction; that “literal” theory having been disproven by Thomsen’s analysis in “Early Roman Coinage” and the indisputable evidence of the destruction level finds at Morgantina.

In "Roman Republican Coinage", Michael Crawford assigned this type to the Rome mint, but Crawford turned non-committal regarding the mint in his later book, Coinage and Money Under the Roman Republic. Previous scholars (Babelon, Grueber, Sydenham) had attributed this series to Campania. The reverse bears the first depiction of the she-wolf and suckling twins on a Roman coin, representing the mythical founding of Rome. The emblematic nature of this scene likely influenced the mint assignment by some researchers. Indeed, subsequent coins bearing this scene have similarly been assigned to Rome by some authors, perhaps without justification, based on the “Roman” character of the scene – notably the Eagle/Wolf and Twins AE Sextans (Crawford 39/3) of the semi-libral reduction in 217-215 BCE, which I believe is likely a Campanian product. There would be countless more such depictions of the wolf and twins on Roman coins during the ensuing centuries [Crawford 183; Crawford 235/1; Antoninus Pius; Maxentius; Constantine “commemoratives”, etc.]. According to Pliny, Q. Ogulnius was a consul when this coin was likely first produced, and the reverse may allude to the wolf and twins statue erected in Rome by Ogulnius’ grandfather and great uncle, the brothers Quintus and Gnaeus Ogulnius, in 296 BCE.
2 commentsCarausius
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Crusader States, Normans of Sicily, William II, AD 1166-1189, AE Trifollaro, Spahr 117.Crusader States, Sicily, William II, AD 1166-1189, AE Trifollaro (24-25 mm), 8,82 g.
Obv.: Facing head of lioness within circle of dots.
Re.: Palm tree with five branches and two bunches of dates, within circle of dots.
Biaggi 1231, Spahr 117 ; Grie 210 (Roger II); Thom 2480 .

William II of Sicily (1153-1189), called the Good, was king of Sicily and Naples from 1166 to 1189.
William was only thirteen years old at the death of his father William I, when he was placed under the regency of his mother, Margaret of Navarre.
Until the king came of age in 1171 the government was controlled first by the chancellor Stephen du Perche, cousin of Margaret (1166-1168), and then by Walter Ophamil, archbishop of Palermo, and Matthew of Ajello, the vice-chancellor.
William's character is very indistinct. Lacking in military enterprise, secluded and pleasure-loving, he seldom emerged from his palace life at Palermo. Yet his reign is marked by an ambitious foreign policy and a vigorous diplomacy. Champion of the papacy and in secret league with the Lombard cities he was able to defy the common enemy, Frederick I Barbarossa. In 1174 and 1175 he made treaties with Genoa and Venice and his marriage in February 1177 with Joan, daughter of Henry II of England and Eleanor of Aquitaine, marks his high position in European politics.
In July 1177, he sent a delegation of Archbishop Romuald of Salerno and Count Roger of Andria to sign the Treaty of Venice with the emperor. To secure the peace, he sanctioned the marriage of his aunt Constance, daughter of Roger II, with Frederick's son Henry, afterwards the emperor Henry VI, causing a general oath to be taken to her as his successor in case of his death without heirs. This step, fatal to the Norman kingdom, was possibly taken that William might devote himself to foreign conquests.
Unable to revive the African dominion, William directed his attack on Egypt, from which Saladin threatened the Latin kingdom of Jerusalem. In July 1174, 50,000 men were landed before Alexandria, but Saladin's arrival forced the Sicilians to re-embark in disorder. A better prospect opened in the confusion in Byzantine affairs which followed the death of Manuel Comnenus (1180), and William took up the old design and feud against Constantinople. Durazzo was captured (June 11, 1185). Afterwards while the army marched upon Thessalonica, the fleet sailed towards the same target capturing on their way the Ionian islands of Corfu, Cephalonia,Ithaca and Zakynthos. In August Thessalonica surrendered to the joint attack of the Sicilian fleet and army.
The troops then marched upon the capital, but the troop of the emperor Isaac Angelus overthrew the invaders on the banks of the Strymon (September 7, 1185). Thessalonica was at once abandoned and in 1189 William made peace with Isaac, abandoning all the conquests. He was now planning to induce the crusading armies of the West to pass through his territories, and seemed about to play a leading part in the Third Crusade. His admiral Margarito, a naval genius equal to George of Antioch, with 60 vessels kept the eastern Mediterranean open for the Franks, and forced the all-victorious Saladin to retire from before Tripoli in the spring of 1188.
In November 1189 William died, leaving no children. Though Orderic Vitalis records a (presumably short-lived) son in 1181: Bohemond, Duke of Apulia. His title of "the Good" is due perhaps less to his character than to the cessation of internal troubles in his reign. The "Voyage" of Ibn Jubair, a traveller in Sicily in 1183-1185, shows William surrounded by Muslim women and eunuchs, speaking and reading Arabic and living like "a Moslem king."

From Wikipedia, the free encyclopedia

my ancient coin database
1 commentsArminius
Crusaders,_Achaia,_Karl_II__(1285_-_1289),_Clarentza_mint,_K_R_PRINC_ACh_,_DE_CLARENTIA,_Q-001,_7h,_17,5-18,5mm,_0,97g-s.jpg
Crusaders, Achaia, Charles II. of Anjou (1285–1289 A.D.), AR-denar, Achaia, ͓̽ ✠ ͓̽DЄ͓̽CLΛRЄNTIΛ, Châtel tournois, #1Crusaders, Achaia, Charles II. of Anjou (1285–1289 A.D.), AR-denar, Achaia, ͓̽ ✠ ͓̽DЄ͓̽CLΛRЄNTIΛ, Châtel tournois, #1
avers: ✠•K•R•PRINC'ΛCh•, Cross pattée, the legend flanked by •, and has unbarred Λ's.
reverse: ͓̽ ✠ ͓̽DЄ͓̽CLΛRЄNTIΛ, Châtel tournois.
diameter: 17,5-18,5mm, weight: 0,97g, axis: 7h,
mint: Clarentza, mint mark: ,
date:1285-1289 A.D., ref: Metcalf, Crusades,; Malloy CCS 12,
Q-001
"Charles II, known as "the Lame" (French le Boiteux, Italian lo Zoppo; 1254 – 5 May 1309), was King of Naples and Sicily, titular
King of Jerusalem, and Prince of Salerno.
He was the son of Charles I of Anjou, who had conquered the Kingdom of Naples and Sicily in the 1260s. His mother was Beatrice of Provence."
quadrans
Herakles_Farnese.jpg
Farnese HerculesThe Farnese Hercules is one of the most famous ancient sculptures. It is a colossal copy made after a smaller Lysippos original, and intended to adorn the Baths of Caracalla. The sculpture was discovered and removed from the baths in 1546, entering the famous collection of Alessandro Farnese. It now resides in the museum of Naples.

https://en.wikipedia.org/wiki/Farnese_Hercules
Joe Sermarini
Favjse12-2.jpg
Faustina Junior, RIC unlisted, Sestertius of AD 161 (Emperor's growing family)Æ Sestertius (25.86g, Ø33mm, 12h). Rome mint. Struck AD 161.
Obv.: FAVSTINA AVGVSTA, draped bust of Fautina Junior facing right.
Rev.: FECVND AVGVSTA (around) S C (in field), Fecunditas standing left, holding a child in her arms, two more standing left and right of her raising their right hands.
Strack 1335 (1 coll.: Naples); RIC (Aurelius) unlisted (legend corresponds to RIC 1635 and the representation to RIC 1649); Cohen: (idem with nos. 96 and 136)
ex Aeternitas Coins & Antiquities (via VCoins)

This type refers to the growing family of Marcus Aurelius and Faustina Jr. The three girls represent the three surviving children (of a total of 7 born) around end of 159 to early 160: Annia Galeria Aurelia Faustina (age 14), Lucilla (12) and Fadilla (1).

Additional information from Curtis Clay through the forum discussion group: "This type commemorating the birth of a third survivng daughter usually has the legend IVNONI LVCINAE, whereas the type FECVND AVGVSTAE commemorates the birth of the next daughter about a year or so later and shows Fecunditas/Faustina holding two children in her arms while two more stand at her feet.

Strack 1335 knew a sestertius like yours in only one specimen, in Naples, but unfortunately does not illustrate the coin.

The Naples collection was stolen in 1977. Your coin is of nice quality, and has an old-collection look, lightly cleaned on the reverse. I would not be at all surprised if it is the actual Naples coin! "
Charles S
ferditaly.jpg
Ferdinando I (Don Ferrante). (1458 - 1494 A.D.)ITALY, Napoli (Regno)
AR Coronato
Third Coinage, Class 2. 
O: FRDINANDVS D G R SICI IER V, cross potent; annulet and double annulet stops.
R: CORONATVS QA LEGITIME CERTA, crowned bust right; annulet and double annulet stops. C to left.
Napoli (Naples) mint. Struck 1472-1488
2.59g
25mm
CNI XIX 348/347 (obv./rev.); cf. Pannuti-Riccio 16b (for type); MIR 68/16; cf. MEC 14, 981-2 (same)
2 commentsMat
philipp1.jpg
FILIPPO II OF SPAIN 1556-981/2 carlino, Type I,

obv. crowned bust right
PHILIPP REX ARA VTRI

rev. two crowns with two flames
SICILIAE HIERUSA

Naples, not dated
Ag 1.3 gr. (rare)
1 commentsSergius Silus
FF_Anjou_Charles_of_Valois.jpg
France (feudal): Charles of Valois, as Count of Anjou (1290-1325)Boudeau 167, Poey d'Avant 1537, Plate XXIX No. 5, Duplessy 392, Roberts 4707, Legros 749

AR denier; Anger mint; .89 g., 19.84 mm. max., 90â–«

Obv: + KAROLVS COMES, cross

Rev: + *ANDEGAVENSIS (of Anjou), Clef/Key between vertical lis on the left and horizontal lis on the right.

Charles of Valois was the third son of King Philip III (1270–1285) of France, brother of King Philip IV (1285–1314) of France, and uncle of Kings Louis X (1314–1316), Philip V (1316-1322) and Charles IV (1322-1328) of France. He was also the son-in-law and brother-in-law to kings or queens of Navarre, England and Naples. Charles thus dreamed of more and sought and intrigued all his life for a crown he never obtained. If he had survived three years longer he would have inherited the French throne, which passed to his son, Philip VI (1293-1350), the first Valois king of France. It was said of Charles: "Son of a king, brother of a king, uncle of three kings, father of a king, but never king himself." Still. Charles was the founder of a dynasty of kings.

Through his first marriage, in 1290 to Margaret, Countess of Anjou, (1272–1299) and daughter of King Charles II of Naples, Charles became Count of Anjou and Maine.
Stkp
CampaniaNeapolis~0.jpg
GREEK, Italy, Campania - NeapolisAR Nomus, Neapolis (Naples) mint, c. 300 - 275 B.C.
Obverse: Diademed head of nymph right, wearing triple-pendant earring, grape bunch behind.
Reverse: Man-faced bull standing right, head facing, being crowned by Nike flying right, NEOΠOΛITΩ[N] below.
Weight 7.25 g, Maximum Diameter 21.9 mm, Die Axis 315o.
SNG ANS 317, HN Italy 579, Ex CNG e-auction 92 lot 3;

Neapolis (modern day Naples) was an early Rhodian colony, originally named Parthenope. Its name was changed to Neapolis in ca. 450 BC. The obverse of this issue represents the Siren Parthenope who was the local goddess of Neapolis. The man-headed bull reverse was a type shared by a number of Campanian cities and may have generally been understood as representing Acheloös, the father of Sirens. The name of Acheloös appears in cults throughout the Greek world and in mythology as the archetypal river-god and may have been used in this context in Campania.
AlexB
16355_6_5_1.jpg
Italian States, Kingdom of Naples. Roberto I d'Angiò. AR Gigliato. Circa 1309-1317. + ROBЄRT DЄI GRA IЄRL ЄT SICIL RЄX, Roberto enthroned facing, holding lis-tipped sceptre and globus cruciger / + hOnOR · RЄGIS · IuDICIu · DILIGIT, cross fleurée, lis in each quarter. MIR 28. 3.96g, 27mm, 12h.

Ex Roma Numismatics Ltd., E-Sale 43, 3 February 2018, lot 914.
italianstates1300s.jpg
Italian States. Messina, Sicily. Alfonso V of Aragon (Alfonso I of Naples) AE Denaro (15mm 0.86g) ND. A.D. 1415-1458. Italian States. Messina, Sicily. Alfonso V of Aragon (Alfonso I of Naples) AE Denaro (15mm 0.86g) ND. A.D. 1415-1458. Messina Mint. + ALFONS D GRATIA, Eagle, wings spread, head right / + REX SICILIE, Shield of Aragon.

Biassi 1348.
Italy_-_Naples-Sicily_1028_Dieci29_Tornesi_img.jpg
Italy - Naples-Sicily 10 (Dieci) Tornesi - 1825Obv:- FRANCISCVS I.D.G.REGNI VTR.SIC.ET HIER.REX, Head of Francesco I right
Rev:- Crown above / TORNESI / DIECI / 1825
Reference:- KM#293
39.15 mm. 31.97 gms.

My ref:- ITA 003

Part of a large, mixed world lot I bought on a whim.
maridvnvm
Mommsen_p265~0.jpg
Italy, National Museum Naples, Marble bust of Hannibal from CapuaA marble bust, reputedly of Hannibal, originally found at the ancient city-state of Capua in Italy (some historians are uncertain of the authenticity of the portrait). From Phaidon Verlag (Wien-Leipzig) - "Römische Geschichte", gekürzte Ausgabe (1932). Author died more than 70 years ago - public domain.Joe Sermarini
20150824_115143.jpg
Italy, Sorrento, view of Vesuvius across the Bay of NaplesA view of Mount Vesuvius across the Bay of Naples taken from the Port in Sorrento. A random tall ship sitting in the bay.

From my visit to Sorrento in August 2015
maridvnvm
20150824_190443.jpg
Italy, Sorrento, view of Vesuvius at duskA view of Mount Vesuvius across the Bay of Naples taken from half way up the cliffs above Sorrento taken at dusk.

From my visit to Sorrento in August 2015
1 commentsmaridvnvm
Italy- Napoli Museum- The famous couple Paquio and wife from Pompeii.jpg
Italy- Napoli Museum- The famous couple Paquio and wife from PompeiiPortrait of Paquio and His Wife
Pompeii, Wall Painting, c. A.D. 70

Another relevante contribution to the Naples Museum, and under many aspects a peculiar one, derived from the excavations of the cities buried by the eruption of Vesuvius in 79 A.D. , mainly Herculaneum and Pompeii.

It was a sudden catastrophe which buried the cities under a layer of volcanic material, so that buildings, art works and often also remains of organic material have been miraculously preserved underground much better than on any other archaeological site, where gradual abandonment destruction have deprived us of most documents of its culture.
Peter Wissing
Italy- Pompeii- Brothel.jpg
Italy- Pompeii- BrothelSome of the most fascinating clues about the lives of the ancient peoples who made their lives in Pompeii can be found in the numerous brothels in the city. It is an indication of the prosperity of the city -- people had money to burn. Here is one example of the Pompeian "houses of ill repute". I chose this one because of its unusual architecture and fine frescoes.

Ancient Pompeii was full of erotic or pornographic frescoes, symbols, inscriptions, and even household items. The ancient Roman culture of the time was much more sexually permissive than most present-day cultures.

When the serious excavation of Pompeii began in the 18th century, a clash of the cultures was the result. A fresco on a wall that showed the ancient god of sex and fertility, Priapus with his extremely enlarged penis, was covered with plaster and only rediscovered because of rainfall in 1998.[1] In 1819, when king Francis I of Naples visited the exhibition at the National Museum with his wife and daughter, he was so embarrassed by the erotic artwork that he decided to have it locked away in a secret cabinet, accessible only to "people of mature age and respected morals." Re-opened, closed, re-opened again and then closed again for nearly 100 years, it was made briefly accessible again at the end of the 1960s (the time of the sexual revolution) and has finally been re-opened in the year 2000. Minors are not allowed entry to the once secret cabinet without a guardian or a written permission.As previously mentioned, some of the paintings and frescoes became immediately famous because they represented erotic, sometimes explicit, sexual scenes. One of the most curious buildings recovered was in fact a Lupanare (brothel), which had many erotic paintings and graffiti indicating the services available -- patrons only had to point to what they wanted. The Lupanare had 10 rooms (cubicula, 5 per floor), a balcony, and a latrina. It was one of the larger houses, perhaps the largest, but not the only brothel. The town seems to have been oriented to a warm consideration of sensual matters: on a wall of the Basilica (sort of a civil tribunal, thus frequented by many Roman tourists and travelers), an immortal inscription tells the foreigner, If anyone is looking for some tender love in this town, keep in mind that here all the girls are very friendly (loose translation).

The function of these pictures is not yet clear: some authors say that they indicate that the services of prostitutes were available on the upper floor of the house and could perhaps be a sort of advertising, while others prefer the hypothesis that their only purpose was to decorate the walls with joyful scenes (as these were in Roman culture). The Termae were, however, used in common by males and females, although baths in other areas (even within Pompeii) were often segregated by sex.

Peter Wissing
Italy- Pompeii- Entrance 1.jpg
Italy- Pompeii- Entrance 1AUGUST 23, A.D. 79. The day dawned bright and sunny as usual and seemed full of promise. The citizens of Pompeii went about their daily business, blissfully unaware of what destiny had in store for them. They were totally unprepared when late in the evening their world erupted in a pyroclastic flow - of molten lava, pumice, ash, hot stones and debris, suffocating, singeing, charring and melting everything that lay in its path as a river of fire gushed out in primordial fury down the slopes of Mount Vesuvius. Pompeii and its 20,000 inhabitants were buried alive in an instant.

"Ashes were already falling, hotter and thicker as the ships drew near, followed by bits of pumice and blackened stones, charred and cracked by the flames . . . Meanwhile on Mount Vesuvius broad sheets of fire and leaping flames blazed at several points, their bright glare emphasised by the darkness of night."

This is an excerpt from a live account of the events of that fateful day, recorded for posterity by Pliny the Younger, a Roman historian. At the time of the eruption of Mt. Vesuvius, the Roman fleet under the command of Pliny the Elder was stationed across the Bay of Naples. A foolhardy Pliny the Elder launched ships and sailed toward the erupting volcano for a closer look only to be suffocated to death. Pliny's nephew, known as Pliny the Younger, was with him on that day, but had stayed back at Misenum. He had witnessed the eruption and also received first-hand reports from those who were with his uncle in the latter's last moments.

Peter Wissing
Italy- Pompeii- Entrance to the house of Fauno.jpg
Italy- Pompeii- Entrance to the house of FaunoHOUSE OF THE FAUN (VI,12,2)
With its 3000m² it is the largest house in Pompeii: built over a previous dwelling at the beginning of the 2nd century BC, its current form is the result of subsequent alterations. The entrance on the left leads directly into the public section, the door on the right to the private rooms: an atrium whose roof is supported by four columns, stalls, latrine, baths, kitchen. In the entrance is the Latin message HAVE. The ‘first style’ decoration, the floors of sectile opus, and the mosaic threshold (now at the Naples Museum) highlight the dignity of this house, more similar to the aristocratic Roman domus than local upper class dwellings. In the center of the impluvium is a bronze statue of the ‘faun’ (2nd cent. BC: original in Naples); around it are rooms that held mosaic paintings on the floor and ‘first style’ decorations on the walls. Between the two porticoed gardens is the exedra, the core of the dwelling, with Corinthian columns, stuccoed and painted capitals, a splendid mosaic (now at the N
aples Museum) depicting the victory of Alexander the Great over Darius, King of Persia, which has helped to suggest a connection between the Macedonian ruler and the unknown, educated, and wealthy owner of the
FLOOR PLAN OF THE HOUSE OF THE FAUN Pompeii 2nd Century Courtesy of Professor Barbette Spaeth, Tulane University (Excerpted from Professor Spaeth's accompanying text) This house was among the largest and most elegant of the houses of Pompeii. It took up an entire city block (c. 80 m. long by 35 m. wide or 315 by 115 ft.) and was filled with beautiful works of art, including the famous mosaic depicting Alexander the Great at the Battle of Issus, and wall paintings of the First, Second and Fourth Styles. The decoration of the house is heavily influenced by Hellenistic models. The House of the Faun was originally built in the early second century. In this period, the house was focused around two atria, one a large Tuscan atrium (3), and the other a smaller tetrastyle atrium (10), while the back of the house had a large kitchen garden. The two-atria plan represented an attempt to separate the formal functions of the atrium, i.e., the reception of clients and conduct of business by the patron of the house, from its private functions, i.e., the course of everyday family life. This type of plan is an intermediate step between the simple atrium house, with a single atrium complex, and the atrium and peristyle house. Apparently, the two-atria plan did not prove ultimately satisfactory for the owners of the House of the Faun. In the late second century B.C. they added a peristyle (8) to the north of the original two-atria nucleus, along with a service quarter to the eastern side (12-16), and reception rooms to the north. The rear of the house contained the kitchen garden. To this later period of the house belong its wall decorations in First Style and its famous mosaics. Finally, another peristyle was added around the time of the Early Roman Colony (20), that is, in the early first century B.C. This peristyle included more reception rooms along the south side (17 & 18), and smaller rooms, perhaps for servants, to the north (22) . The center of the new peristyle was occupied by the kitchen garden (19). With these renovations, the house acquired a new focus around the peristyles. The peristyles represented a private retreat for the family, a place where they could relax and entertain special guests. The front part of the house was kept for more formal occasions. The addition of service quarters reflects a further differentiation of function in the house, again separating the daily life of the family from the more public reception areas. The House of the Faun, with its elaborate decoration and extensive plan, represents one of the most important examples of Roman domus architecture of the second to first century B.C.
Peter Wissing
Italy- Pompeii- Exit.jpg
Italy- Pompeii- ExitAUGUST 23, A.D. 79. The day dawned bright and sunny as usual and seemed full of promise. The citizens of Pompeii went about their daily business, blissfully unaware of what destiny had in store for them. They were totally unprepared when late in the evening their world erupted in a pyroclastic flow - of molten lava, pumice, ash, hot stones and debris, suffocating, singeing, charring and melting everything that lay in its path as a river of fire gushed out in primordial fury down the slopes of Mount Vesuvius. Pompeii and its 20,000 inhabitants were buried alive in an instant.

"Ashes were already falling, hotter and thicker as the ships drew near, followed by bits of pumice and blackened stones, charred and cracked by the flames . . . Meanwhile on Mount Vesuvius broad sheets of fire and leaping flames blazed at several points, their bright glare emphasised by the darkness of night."

This is an excerpt from a live account of the events of that fateful day, recorded for posterity by Pliny the Younger, a Roman historian. At the time of the eruption of Mt. Vesuvius, the Roman fleet under the command of Pliny the Elder was stationed across the Bay of Naples. A foolhardy Pliny the Elder launched ships and sailed toward the erupting volcano for a closer look only to be suffocated to death. Pliny's nephew, known as Pliny the Younger, was with him on that day, but had stayed back at Misenum. He had witnessed the eruption and also received first-hand reports from those who were with his uncle in the latter's last moments.

Peter Wissing
Italy- Pompeii- The Temple of Venus and figure of Venus.jpg
Italy- Pompeii- The Temple of Venus and figure of VenusThe temple of Venus

Venus is the patron goddess of Pompeii and her sanctuary, from where one can enjoy a view of the Gulf of Naples, dominates the plain below. The earthquake of 62 A.D. destroyed the edifice and its reconstruction was still in process when the eruption occurred. The area was surrounded by arcades. Still existing in the middle of the temple is its podium (29,15 x 15,5 m.).
Peter Wissing
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John II Half Carlino, MEC14: 889-893Messina Mint, Kingdom of Aragon, Sicily, Sardinia and Naples
Aragon, Sicily, Sardinia, Naples, John II Half Carlino, 1467 - 1476 ,1477 - 1479 Mint Master Matteo Comagna (MC monogram) BI, 15mm max diam. .49g,
MEC14: 889-893
O: IOANNES DG, eagle, head r.
R: MC over Aragon Sheild, REX SICILIA
casata137ec
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Julia DomnaJULIA DOMNA, wife of Septimius Severus, 193-217
Sestertius, late 195-early 196. AE 18.89 g. IVLIA - AVGVSTA Draped bust r., the hair in a large bun on the back of the head. Rev. CE-RES / S - C Ceres, wearing long dress and veil, standing facing, head turned l., holding long torch with her l. hand, ears in her lowered r. hand over burning round altar. RIC 848

CERES is a comparatively common type on sestertii, so must fall before the drastic cutback in the production of sestertii early in 198, and indeed even before the preliminary cutback of sestertius production in mid-196.

Its date is beyond question late 195-early 196, since CERES is the type that appeared on Julia's New Year's issue of large bronze medallions and asses for 1 January 196. In the course of 196, after defeating Albinus on 19 Feb. 196 (not 197 as all the books say), Septimius cancelled the annual New Year's issues of medallions and asses, so that none at all were issued for 1 Jan. 197 or 198.

The misdating of Julia's CERES type to 198 that appears in various resources is due to P.V. Hill, whose work on the Severan coinage is largely mere guesswork and therefore often grossly mistaken. It is a shame that Hill's largely erroneous dates have now been taken over as fact and so given wide currency by David Sear in his new Roman Coins and Their Values!

I was able to establish the true chronology of the coinage of 193-8 in my Oxford thesis of 1972, which Hill couldn't of course consult for his first edition of 1964, and didn't consult for his second edition of 1977, though the Coin Room at the BM has a copy.

This CERES sestertius is no. 1761 in my die catalogue, obv. 453, rev. 661, other specimens in BM 764, Glasgow, Paris, and Naples.

Obv. die 453 is interesting, because it was used first with the CERES rev. die 661, like this coin; then with all five recorded MATRI CASTRORVM dies, this type coming from this obv. die only on sestertii; and finally with an early rev. die of the next normal type, HILARITAS.

HILARITAS of 196 was the last comparatively common sestertius rev. type of Julia's early coinage; then came the preliminary cutback, and the next three types, DIANA LVCIFERA, IVNO REGINA, and VESTAE SANCTAE, were considerably scarcer. Thereafter came the drastic cutback early in 198. (Curtis Clay)
3 comments
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Kyme, AeolisCumae (Cuma, in Italian) is an ancient Greek settlement lying to the northwest of Naples in the Italian region of Campania. The settlement is believed to have been founded in the 8th century BC by Greeks from the city of Cuma and Chalkis in Euboea upon the earlier dwellings of indigenous, Iron-Age peoples whom they supplanted. Eusebius placed Cumae's Greek foundation at 1050 BC. Its name comes from the Greek word kyma (κύμα), meaning wave - perhaps in reference to the big waves that the peninsula of Κyme in Euboea has.

There is also a small, modern Greek Euboean city called Kύμη (Kyme or Cuma or Cyme) as well as the nearby recently excavated ancient Greek city of Cuma [1], the source point for the Cumae alphabet. According to a myth mentioned by Aristotle and Pollux, princess Demodike (or Hermodike) of Kyme, is the inventor of money. (Aristot. fr. 611, 37; Pollux 9, 83,[2])

Cumae was the first Greek colony on the mainland of Italy (Magna Graecia), there having been earlier starts on the islands of Ischia and Sicily by colonists from the Euboean cities of Chalcis (Χαλκίς) and possibly Eretria (Ερέτρια) or Cuma (Kύμη).

Cumae is perhaps most famous as the seat of the Cumaean Sibyl. Her sanctuary is now open to the public. The colony was also the entry point onto the Italian peninsula for the Cumean alphabet, a variant of which was adapted by the Romans.

The colony spread throughout the area over the 6th and centuries BC, gaining sway over Puteoli and Misenum and, thereafter, the founding of Neapolis in 470 BC.

The growing power of the Cumaean Greeks, led many indigenous tribes of the region, notably the Dauni and Aurunci with the leadership of the Capuan Etruscans. This coalition was defeated by the Cumaeans in 524 BC under the direction of Aristodemus. The combined fleets of Cumae and Syracuse defeated the Etruscans at the Battle of Cumae in 474 BC.

Lucius Tarquinius Superbus, the last mythical King of Rome, lived his life in exile at Cumae after the establishment of the Roman Republic.

Cumae was also a place where a widely influential early Christian work The Shepherd of Hermas was said to have been inspired by way of visions.

The colony was built on a large rise, the seaward side of which was used as a bunker and gun emplacement by the Germans during World War II.

In Roman mythology, there is an entrance to the underworld located at Avernus, a crater near Cumae, and was the route Aeneas used to descend to the Underworld


Kyme in Aeolis, c.350-250 BC, Ae 9-16 mm, cf. Sear 4186-7

Obv: Eagle
Rev: One handled vase (or cup, it is upside down in photo)
From Ebay

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ecoli
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Lorraine - Charles III, Duc de Lorraine (1545-1608), France.Teston, argent, 9,02 g.
A/ CARO D G CAL LOTAR B GEL DVX, buste du Duc à droite.
R/ MONETA NOVA NANCEI CVSA, écu couronné écartelé, au 1 mi parti de Hongrie et de Naples, au 2 mi parti de Jérusalem et d'Aragon, au 3 mi parti d'Anjou et de Gueldre, au 4 de Flandre et de Bar, brochant sur le tout un écu de Lorraine.
Réfs : Boudeau 1527
1 commentsGabalor
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Lorraine, duché de Lorraine, Charles IV (1625-1675) France.Teston, argent, 8,50 g.
Monnaie frappée à Nancy
A/ CAROLVS D G DVX LOTH MARCH DVX C B G, buste à droite.
R/ MONETA NOVA NANCEII CVSA 1627, écu écartelé d'Hongrie, Naples, Jérusalem, Aragon, Anjou, Gueldre, Flandre, Bar et Lorraine couronné.
Réfs : Boudeau 1557
Gabalor
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Maximinus II, 309 - 313 ADObv: IMP C GAL VAL MAXIMINVS PF AVG, laureate head of Maximinus II facing right.

Rev: HERCVLI VICTORI, Hercules standing right, leaning on club, holding lion-skin, eight-pointed star and Γ in left field; SMN in exergue.

Note: Hercules is depicted in the same pose as the Farnese Hercules, a massive marble sculpture, which depicts a muscular yet weary Hercules leaning on his club, which has his lion-skin draped over it. He has just performed the last of The Twelve Labors, which is suggested by the apples of the Hesperides he holds behind his back. The Farnese Hercules is probably an enlarged copy made in the early third century A.D., signed by Glykon, from an original by Lysippos that would have been made in the fourth century B.C. The copy was made for the Baths of Caracalla in Rome (dedicated in 216 A.D.), where it was recovered in 1546. Today it is in Naples National Archaeological Museum. The statue was well-liked by the Romans, and copies have been found in many Roman palaces and gymnasiums. It is one of the most famous sculptures of antiquity, and has fixed the image of the mythic hero in the human imagination. ~Credit: Forvm

Billon Follis, Nicomedia mint, 312 AD

3.6 grams, 21 mm, 180°

RIC VI 75b, S14860
1 commentsMatt Inglima
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Moesia inferior, Nikopolis ad Istrum, 36. Gordian III, HrHJ (2018) 8.36.32.04 (plate coin)Gordian III, AD 238-244
AE 26, 11.92g, 25.91mm, 210°
struck under governor Sabinius Modestus
obv. [AVT K M] ANTW - GORDIANOC
Bust, draped and cuirassed, seen from behind, laureate, r.
rev. VP CAB MODECTOV NIKOP
in l. field OLEI / TWN
in ex. PROC ICTR / ON
Youthful(?) river god, nude to hips, leaning l., resting with l. arm on vase from
which water flows l., r. hand extended to prow of a ship
ref. a) AMNG I/1, 2067 (2 ex., Naples, Vaillant)
b) Varbanov (engl.) 4219
c) Hristova/Hoeft/Jekov (2018) No. 8.36.32.4 (plate coin)
scarce (R5), F+/about VF, some roughness

Pick writes: bearded river god!
Jochen
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NAPLES & SICILY - Philip IINAPLES & SICILY (Under Spain) -- 1 Grano, Philip II of Spain (1556-1598). Obv: Crowned Eagle/Rev: VT/COMMO/DIVS. 17x15 mm, 3.88 g. dpaul7
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Naples & Sicily - Philip IIITornese, Phlip III (of Spain - 1598-1621), dated 1616. dpaul7
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Naples & Sicily - Philip IVGrano, dated 1637, Philip IV (of Spain). dpaul7
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Naples & Sicily - Philip IVNaples & Sicily, Tornese of Philip IV (of Spain), 1621-1665. Reverse shows the Order of the Golden Fleece.dpaul7
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Naples & Sicily - Philip IVTornese, dated 1647, Philip IV (of Spain), reverse showing the Order of the Golden Fleece.dpaul7
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NAPLES & SICILYNAPLES & SICILY - Ferdinand II (1830-1859) AR 120 Grana. Portrait facing right/Crowned coat of arms. Reference #: C-153b.dpaul7
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Neapolis, Campania275-250 BC
AR Didrachm (20mm, 6.92g)
O: Diademed head of the nymph Parthenope left, wearing triple earring; poppy head behind.
R: Man-faced bull standing right; Nike flying right above, crowning bull; IΣ below, [N]EAΠOΛITΩ[N] in ex.
Sambon 510; HN Italy 586; SNG ANS 400; Hands Class VI; Sear 309v (eagle head)
ex Numisantique

The Greek colony on what is now known as the Bay of Naples was one of the earliest in Italy, originally established by settlers from Euboea, and possibly named Parthenope after the local Nymph. The city was later re-founded nearby and renamed Neapolis, or ‘New City’. Its proximity to Rome brought Italian customs to the colony, while conversely bringing a heavy Greek influence to the Romans.
It is not surprising then that Neapolis was one of the first Greek colonies to ally itself with Rome near the end of the fourth century BC, and was instrumental in repelling Hannibal a hundred years later.
3 commentsEnodia
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NEAPOLITAN REPUBLIC - Henry de GuiseNEAPOLITAN REPUBLIC - Henry de Guise (1647-1648) AE 3 Tornesi, 1648. Obv.: Crowned shield with letters SPQN. Legend: HEN DE LOR DUX REIP N. Rev.: Bound wheat and olives, legend PAX ET UBERTAS 1648. Reference: KM #55. Ex Ardatirion collection.
These are always poorly struck, usually not this nice. The design quality of this piece is rather crude, and the SPQN is NOT aligned properly... letters are sideways. Usually they are straight. Probably made toward the end of the siege of the Republic by Spain.
From Wikepedia: The Neapolitan Republic was a Republic created in Naples, which lasted from 22 October 1647 to 5 April 1648. It began after the revolt led by Masaniello and Giulio Genoino against the Spanish viceroys.
The leader of the Republic was Henry II of Lorraine, duke of Guise, descendant of the former king of Naples Rene I of Anjou. The Republic had the following official names: Serenissima Repubblica di questo regno di Napoli ("Most Serene Republic of this Kingdom of Naples"), Reale Repubblica ("Royal Republic"), and Serenissima Monarchia repubblicana di Napoli ("Most Serene Republican Monarchy of Naples"). All indicated the double nature of the Republic, both republican and monarchical, and "Serenissima" was a purposeful comparison with the famous Italian maritime republic with the same title, Venice. The coat of arms was a red shield with the motto S.P.Q.N., in imitation of the well-known S.P.Q.R., the initialism of the Latin phrase, Senatus Populusque Romanus ("The Senate and the People of Rome"), Thus, the Neapolitan phrase meant "The Senate and People of Naples." The coat of arms contained the crest of the duke of Guise.
dpaul7
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Papiria 1Papiria 7 (122BC) moneyer Cn. Papirius Carbo cos. 113BC

Denarius
Ob: Helmeted head of Roma with curl on shoulder; behind X, border of dots
Rev: Jupiter in quadriga holding reigns and scepter in left hand and hurling fulmen in right (fulminans); below CARBO in exergue ROMA. Line border

BMCRR II 449

Sydenham 415

Crawford 279

Ex: Colesseum Coin Exchange 2006; toned

Northumberland refers to this incredibly informative letter:

Ad Fam IX 21 to TO PAPIRIUS PAETUS (AT NAPLES) 46BC

Well, but letting that pass, how did it come into your head, my dear Paetus, to say that there never was a Papirius who was not a plebeian? For, in fact, there were patrician Papirii, of the lesser houses, of whom the first was L. Papirius Mugillanus, censor with L. Sempronius Atratinus--having already been his colleague in the consulship--in the 312th year of the city. But in those days they were called Papisii. After him thirteen sat in the curule chair before L. Papirius Crassus, who was the first to drop the form Papisius. This man was named dictator, with L. Papirius Cursor as Master of the Horse, in the 415th year of the city, and four years afterwards was consul with Kaeso Duilius. Cursor came next to him, a man who held a very large number of offices; then comes L. Masso, who rose to the aedileship; then a number of Massones. The busts of these I would have you keep--all patricians. Then follow the Carbones and Turdi. These latter were plebeians, whom I opine that you may disregard. For, except the Gaius Carbo who was assassinated by Damasippus, there has not been one of the Carbones who was a good and useful citizen. We knew Gnaeus Carbo and his brother the wit: were there ever greater scoundrels? About the one who is a friend of mine, the son of Rubrius, I say nothing. There have been those three brothers Carbo-Gaius, Gnaeus, Marcus. Of these, Marcus, a great thief, was condemned for malversation in Sicily on the accusation of Publius Flaccus: Gaius, when accused by Lucius Crassus, is said to have poisoned himself with cantharides; he behaved in a factious manner as tribune, and was also thought to have assassinated Publius Africanus. As to the other, who was put to death by my friend Pompey at Lilybaeum, there was never, in my opinion, a greater scoundrel. Even his father, on being accused by M. Antonius, is thought to have escaped condemnation by a dose of shoemaker's vitriol. Wherefore my opinion is that you should revert to the patrician Papirii: you see what a bad lot the plebeians were. (trans. Evelyn Shuckburgh)
rennrad12020
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Pompeii Dove Floor MosaicFloor mosaics in a home in PompeiiJay GT4
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Provence 1309-1343 Robert d'AnjouSol coronat of Robert d'Anjou, Count of Provence 1309-1343
Mint: Avignon or Saint-Rémy
O: +R:Ih R:ET:SICIL: REX
R: COM ES:P VIn CIE

Robert of Anjou, known as Robert the Wise, was king of Naples in addition to count of Provence

Ex- NYINC
St. George's Collection
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Provincial, Markianopolis, Moesia Inferior, AE28, VΠΚVΝΤΙΛΙΑΝΟV AE28
Roman Provincial: Markianopolis, Moesia Inferior
Julia Domna
Born circa 170 - Died 217AD
Augusta: 193 - 217AD
&
Caracalla
Caesar: 197 - 198AD
Augustus: 198 - 209AD, with Septimius Severus; 209 - 2/4/211, with Septimius Severus and Geta; 2/4/211 - 12/26/211, with Geta; 12/26/211 - 217, sole reign.
Issued: 211 - 217AD
28.0mm 11.91gr 7h
O: ANTΩΝΙΝΟC AVΓΟVCTOC IOVΛΙΑ ΔΟΜΝΑ; Confronted busts of Caracalla, left, facing right, cuirassed and Julia Domna, right, facing left, draped.
R: VΠΚVΝΤΙΛΙΑΝΟV ΜΑΡΚΙΑΝΟΠΟΛΙΤΩΝ; Homonoia, standing left, modius on head, sacrificing over altar, patera in right hand, cornucopia and drapery on left arm.
Exergue: ε, upper left field.
Varbanov 1030; Moushmov 489; Naples 6294; SNG Cop 219; AMNG I 677.
northsidety/Tyler Cazes 223382115718
2/11/19 2/26/19
Nicholas Z
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Provincial, Smyrna, Ionia, AE28, ΠPΩACIAC Γ NεΩKOPΩNAE28
AE
Roman Provincial: Smyrna, Ionia
Julia Domna
B. ca. 170 - D. 217AD
Augusta: 193 - 217AD
Issued: 211- 217AD
28.00mm 10.60gr 6h
O: IOY ΔOMNA CεBACTH; Draped bust, right; beaded border.
R: ΠPΩ ACIA-C (Dot) Γ (Dot) NεΩKOP; Athena seated left, holding small temple in outstretched right hand, spear in left hand, shield behind her.
Exergue: ΩN, right field; CMYP, below.
Smyrna, Ionia Mint
Klose LVIII, 48; Pick Joeai 1904, S3, 2; Berline 1874.548; Hunter 240-1; Naples 8218; Boston 63.1600.
N&N London Auctions/Stefan Asenov Online Auction 40 Green, Lot 575.
11/8/23 11/27/23
Nicholas Z
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Robert of Anjou (1309 - 1343 A.D.)AR Gigliato
O: + ROBЄRTUS DЄI GRA IЄRL ЄT SICIL RЄX. King enthroned holding sceptre in right hand and globus cruciger in left, cross at neck.
R: + ҺOҺOR RЄGIS IUDICIU DILIGIT., cross fleury with lys in each quarter.
3.85g
24.5mm
Naples Mint, Italy
Biaggi 1634 MIR (Varesi) 28
3 commentsMat
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Roman Empire, Faustina Junior, Sestertius of AD 161, RIC (M.Aurelius) unlisted Æ Sestertius (25.86g, Ø33mm, 12h). Rome mint. Struck AD 161.
Obv.: FAVSTINA AVGVSTA, draped bust of Fautina Junior facing right.
Rev.: FECVND AVGVSTA (around) S C (in field), Fecunditas standing left, holding a child in her arms, two more standing left and right of her raising their right hands.
RIC (Aurelius) unlisted, legend corresponds to RIC 1635 and the representation to RIC 1649
ex Aeternitas Coins & Antiquities (via VCoins)

This type refers to the growing family of Marcus Aurelius and Faustina Jr. The three girls represent the three surviving children (of a total of 7 born) around end of 159 to early 160: Annia Galeria Aurelia Faustina (age 14), Lucilla (12) and Fadilla (1).

Additional information provided by Curtis Clay (19 july 2012): "This type commemorating the birth of a third survivng daughter usually has the legend IVNONI LVCINAE, whereas the type FECVND AVGVSTAE commemorates the birth of the next daughter about a year or so later and shows Fecunditas/Faustina holding two children in her arms while two more stand at her feet.

Strack 1335 knew a sestertius like yours in only one specimen, in Naples, but unfortunately does not illustrate the coin.

The Naples collection was stolen in 1977. Your coin is of nice quality, and has an old-collection look, lightly cleaned on the reverse. I would not be at all surprised if it is the actual Naples coin! ..."
Charles S
NERO_Macellus.jpg
Roman Empire, Nero dupondius "MACELLVS", Rome mint, AD 64Æ dupondius, 13.4g, Ø 28mm, 6h
Obv.: NERO CLAVDIVS CAESAR AVG GERM PM TR P IMP P P, radiate head right
Rev.: MACELLVS AVGVST[I] left and right border, S C below, left end right of the steps II in exergue, Frontal view of the Macellum Magnum.
RIC 189 [R2] var (rev. legend); Cohen 130 var (same); BMCRE p.236 * ("variety of rev. legend MACELLVS (!) AVGVST·S·C·, obv. CLAVDIVS···GERM·, radiate, r., in Naples; 'Macellus' (for 'Macellum') does not inspire confidence as an ancient reading."); Sear (Roman Coins and their Values II) 1963 var (same); Foss (Roman Historical Coins) 12b
This is a very rare full legend instead of the usual abbreviation "MAC AVG". In addition, the variant "MACELLVS" is used instead of the usual "MACELLVM". This type (with normal legend) is listed as extremely rare (R2) in RIC. A coin of the same reverse die but in (a)EF condition was auctioned by Numismatica Ars Classica, 2 April 2008, Auction 45, Lot number: 91.
Charles S
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Roman Provincial: Trebionianus Gallus, AE27 Sestertius. Added onto the Wildwinds site in July 2014. Trebionianus Gallus, AE27 Sestertius, Moesia Superior, Viminacium Year 13 = 251-252 A.D. 12.06gr - 27mm.

Obv: IMP CAE C VIB TREB GALLVS AVG - Laureate, draped, cuirassed bust right, seen from the back.

Rev: PMS C-OL VIM / AN XIII - Moesia, standing front, looking left, arms outstretched over a lion and a bull. Date AN XIII below.

Ref: AMNG 163.7; Martin 5'10'3; Naples 8275.
Provenance: Added onto the Wildwinds site in July 2014. Chris Scarlioli Collection.
Christian Scarlioli
Spain- Taragona- Amphitheatre.jpg
Spain- Taragona- AmphitheatreThis conventional seating may be observed at the amphitheatre at Tarragona in northern Spain. Tarraco, its Latin name, was the capital of the province of Hispania Tarraconensis. The seating is essentially the same as that found in Rome’s Colosseum. The amphitheatre’s construction is dated to the second century AD, a time of extensive building of centres of public entertainment throughout the Mediterranean. On the right side, the seating was hewn from the bedrock, while on the left, or seaward side, the seating was built up from blocks, a phenomenon also found at Syracuse in Sicily.

However, in a recent visit to Pompeii some interesting divergence from the norm is easily to be observed, for which no reason appears to have been voiced. The town of Pompeii, destroyed in the eruption of Mt. Vesuvius in AD 79, had a population in excess of 10,000, and was clearly a place of sufficient wealth to

sport not only an amphitheatre seating 20,000, but also a traditional Greek theatre and a smaller building called the Odeon. The "large" theatre, as it is now called, can seat an audience of 5,000, the "small" theatre, which was roofed, had accommodation for 500. Seating was according to rank, it is supposed, two side boxes (rather like the royal boxes of later theatres) for honoured guests, an inner cavea for the decurions or magistrates of the town, the middle rows for the more wealthy members of the community, the upper tiers for the ordinary citizens. If one looks closely it is clearly noticeable that this inner cavea consists of the first four or five rows of benches.

It is clear that, unlike the earlier form of the Greek theatres, the front rows are considerably wider than those higher up in the auditorium. The size of the seating is far beyond the dimensions of even a large and well-endowed personage, extending inwards for a good metre or more. The reasons for the additional size are unclear, because the larger width does not make these benches any more comfortable for the sitter, if anything they provide less support than the more narrow benches above. Presumably, the spectators brought cushions with them for lengthy performances in much the same way as fans for rugby or cricket matches do today. One solution may be that the wider seating allowed the dignatory to relax by reclining as if at dinner though this can hardly have been a posture acceptable for a quasi-religious festival nor one which would have endeared these wealthy members of the community to their less well-endowed fellows higher up, even if conspicuous consumption was the order of the day, particularly during the Roman empire.

In the "large" theatre the first four rows, in the "small" theatre and in the amphitheatre the first five rows stand out from the rest and, in fact, have their special place denoted by a partition. In some of the theatres in Greece, the officials judging the competitions, which were part and parcel of the festivals, and high ranking citizens might occupy a special bench, or the first row of the auditorium, but the broad nature of the bench at Pompeii appears unique. Pompeii began as a Oscan settlement in the 8th century BC and was heavily Hellenised by the 6th century. Thereafter, Pompeii had a fairly chequered history, being conquered and lost by the Etruscans and Samnites, before becoming a Roman colony in 80 BC. The Samnites of the central hills and the more local Oscan speakers, an Italic dialect which survived down to the period of the empire, remained culturally and linguistically influential, and it is possible that the Greek practice of uniformity in seating was altered by these Italic tribes who, at times, controlled Pompeii. On the other hand, there could be direct Roman or even Etruscan influence, though this formalised partitioning of seating is not seen in any of the archeaological sites in Rome or in nearby Campania, for example at Puteoli or at Capua. Finally, as for what purpose the large widths were intended, without clear evidence, and certainly with no ancient mention, means that speculation takes over. It could be that wooden seats rather like thrones were brought in, even sedan chairs for the high and mighty of the town, though it is worth bearing in mind that high-backed chairs easily obscured the views of those scarcely less wealthy immediately behind. The Roman males, it will be remembered, tended to lounge on low couches when they ate, rather than sitting in upright seats, which became popular only in the later Byzantine period. It also seems likely that, given the amount of space, it was not just the men who were seated here but entire families - perhaps picnic baskets as well. Refreshments were provided during performances, but the wealthy possibly brought their own equivalents of the modern cool bags and six-packs. The illustrations of the three places of entertainment at Pompeii do not appear to suggest that these special seating are the product of modern reconstructions, some of which have proved disastrous to ancient sites; and, therefore, there seems to be no alternative to accepting at least the idea that preferential seating was the order of the day in this rather provincial town on the Bay of Naples. Etruscan tombs often show their owners in a reclining position as if at a meal, and other forms of entertainment also feature which, overall, might suggest an influence here from north of the River Tiber.

Having dwelt at length, as it were, with the bottoms and the bottom-most seats of the ancient theatres and amphitheatres I now want to move on to the general ambience of the structure. The Roman amphitheatre or hippodrome were dirty smelly places where, by the end of the day’s proceedings, the stench from the dead and dying must have made an abatoir a sweet-smelling location. It is recorded that sprinkler systems were used in the Colosseum to spray the audience and the arena floor with scented water to alleviate the foulness of the atmosphere. By way of contrast, the Greek theatre must have been a place of peace and serenity, except for sore buttocks and aching backs.

Many commentators of the ancient theatre have sadly noted that the early pristine form, as found today at Epidaurus and Segesta, generally underwent alterations during the Roman period. It is noted that the slightly more than a semi-circular design was largely filled in during later antiquity by the Roman scena; and today many examples of the traditional Greek theatres sport Roman brickwork at the front which reached the same height, in some cases, as the uppermost tier of the cavea or auditorium. This height also allowed for a velabrum or canvass cover to be used to provide shade or shelter from the elements. At Taormina, ancient Tauromenium, for example:

"The brick scenic wall was preceded by a row of nine granite columns crowned by Corinthian capitals, which had both a decorative and bearing function, in that they supported the higher parts of the stage. The niches in the wall contained marble statues. On the sides, there are remains of the ‘parascenia’, square rooms used by actors and for scenic fittings. The actors entered the stage through side openings. A further row of sixteen columns closer to the orchestra framed the decorative front of the stage."

This is quite a departure from the earlier simplicity of the Greek theatre. However, it is certainly arguable that Baroque is not necessarily less pleasing than Romanesque even if blocking out the natural view also took the theatre out of its topographical or geographical context. For the purists among us, more sacrilege occurred, for instance, again at Taormina, where the first nine rows of the seating were removed making the orchestra large enough for gladiatorial combats and beast hunts, while at the same time allowing the audience safety high above the blood sports taking place below them. Of course, the construction of a front wall can easily be accounted for by the changing tastes in the entertainment itself, while the local audience presumably knew the view pretty well, and did not come to the theatre to gaze at Mount Etna. Furthermore, Taormina, high up on a hill overlooking the sea, had no extra space on which to build a new amphitheatre, more regularly the venue for gladiatorial combats. And it is also quite possible that there were simply insufficient funds. Taormina was neither a large nor a wealthy city.

Meanwhile, at Delphi the scena was "low so that the audience could enjoy the wonderful view", says one expert. Nonetheless, while the modern tourist may find the view as gratifying if not more so than the ruined theatre, the ancient audience came too see and hear the performances in honour of the Pythian Apollo. The ancient Greeks did not come for the view, they came for theatrical, religious even mystic experience. It is the modern philistine in us who enjoys the view. That being the case, the construction of the ancient theatre had little to do with searching for a site with a nice aspect, though these obviously exist, even in abundance, but for acoustic perfection and adequate accommodation. Finally, the best seats were closest to the stage and its proceedings, while the worst seats, for looking at the productions, had the best views. Does this mean that the most wealthy, with the largest bottoms, were obliged to watch the entertainment with no chance of letting the mind wander to the natural surroundings? Or does it mean that the women, slaves and poorest citizens, who sat high above the productions, probably could not hear or see what was going on hence took in the nice view instead. Therein lies the morality tale embedded in the title of this paper. If you had the means you were forced to take in the culture. If you were female or poor you could let your mind wander to other matters, including wonderful views of nature.
Peter Wissing
MAXIMINUS_2_FOLLIS_HERC.JPG
Struck A.D.312. MAXIMINUS II as AUGUSTUS. AE Follis of NicomediaObverse: IMP C GAL VAL MAXIMINVS P F AVG. Laureate head of Maximinus facing right.
Reverse: HERCVLI VICTORI. Hercules standing facing right, his right hand on his hip, his left hand holding lionskin and resting on club; in left field, A with star above; in exergue, SMN.
RIC VI : 75. Weight 5.7gms.

On this coin Hercules is depicted in the same pose as the Farnese Hercules, a massive marble sculpture, which depicts a muscular Hercules leaning on his club, which has his lion-skin draped over it. The Farnese Hercules is probably a copy made in the early third century A.D., signed by Glykon, from an original by Lysippos that would have been made in the fourth century B.C. The copy was recovered from the Baths of Caracalla in Rome (dedicated in 216 A.D.) in 1546. It can be seen today in the National Archaeological Museum in Naples. The statue was popular with the Romans, and copies of it have been found at several Roman sites. It is one of the most famous sculptures of Hercules that have come down to us from antiquity.
1 comments*Alex
Vespasian.jpg
VespasianBust of the Emperor Vespasian in the Museo Nazionale NapoliJay GT4
   
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