| Image search results - "trophies" |
027 Traianus (98-117 A.D.), Rome, RIC II 0676, AE-Dupondius, SENATVS POPVLVSQVE ROMANVS /S-C, Trajan advancing right between 2 trophie, #1027 Traianus (98-117 A.D.), Rome, RIC II 0676, AE-Dupondius, SENATVS POPVLVSQVE ROMANVS /S-C, Trajan advancing right between 2 trophie, #1
avers: IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P, Radiate draped bust right.
reverse: SENATVS POPVLVSQVE ROMANVS, Trajan advancing right between 2 trophies.
exergue: -/-//S-C, diameter: 23,5-25,5mm, weight: 9,01g, axis: 6h,
mint: Rome, date: 116 A.D.,
ref: RIC II 676, C 356,
Q-001quadrans
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1016 BITHYNIA Koinon of Bithynia Hadrian Octastyle templeReference.
RPC III, 1016/3; Rec 47; BMC 27.
Issue I. 7
Obv. ΑΥΤ ΚΑΙϹ ΤΡΑΙ ΑΔΡΙΑΝΟϹ ϹΕΒ
Radiate head of Hadrian, right
Rev. ΚΟΙ-ΝΟΝ ΒΕΙΘΥΝΙΑϹ
Temple with eight columns on podium of two steps; pellet in pediment; Nikes erecting trophies (?) on raking cornices
12,81gr
28 mm
6hokidoki
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102. TrajanTrajan AE As. Struck 114-117 AD. IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P, laureate & draped bust right / SENATVS POPVLVSQVE ROMANVS, SC in exergue, two trophies. ecoli
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161-180 AD - MARCUS AURELIUS AE dupondius - struck 177 ADobv: M.ANTONINVS.AVG.GERM.SARM.TRP.XXXI (radiate head right)
rev: IMP.VIII.COS.III.PP (trophy of base of wich are seated Marcomann (German) woman on right, and Markomann (German) with hands bound behind him on left), S-C in field, DE GERM in ex.
ref: RIC III 1179 (S), C.157 (6frcs)
mint: Rome
13.00gms, 25mm
Scarce
This dupondius celebrates Roman victory a series of wars on the empire’s northern frontier known as the Bellum Germanicum et Sarmaticum. The reverse of this coin speaks of these campaigns with the inscription DE GERM(ANIS) encompassing a military trophy flanked by two captives. The bound men would have come from the barbarian nations that occupied lands across the Danube, for in recent years the Romans had won wars against the Marcomanns, the Quadi, the Jazyges and the Sarmatians.
Many other types celebrated Roman victories in this theatre, and they became the centrepiece of coin propaganda of the era. Considering these wars were not only a source of great financial strain, but they annually cost the lives of many young men, it was essential for Marcus Aurelius to demonstrate success in the form of attractive coin types showing bound barbarians and trophies.berserker
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1bl Lucius Verus161-169
As
166-167
Laureate head, right, L VERVS AVG ARM PARTH MAX
3 trophies, TR P VII IMP III[I] COS III
RIC 1464
Son of Aelius Caesar and adopted son of Antoninus Pius, Marcus Aurelius elevated his adoptive brother to co-ruler in 161. The Parthians launched an attack against Roman Syria that it had planned before the death of Pius, and Marcus, with the agreement of the Senate, dispatched Lucius to deal with the crisis. According to the Historia Augusta, "Verus, of course, after he arrived in Syria, lived in luxury at Antioch and Daphne, although he was acclaimed imperator while waging the Parthian war through legates." This coin's reverse honors his military victory over the Parthians in 165.
The Historia Augusta describes Verus: He was physically handsome with a genial face. His beard was allowed to grow almost in Barbarian style. He was a tall man, his forehead projected somewhat above his eyebrows, so that he commanded respect. . . In speech almost halting, he was very keen on gambling, and his way of life was always extravagant. Blindado
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1en Julian II "Apostate"360-363
AE3
Pearl-diademed, helmeted, cuirassed bust left, holding shield & spear, D N FL CL IVLIANVS P F AVG
VOT X MVLT XX in four lines within wreath, palm branch-BSIS-palm branch in ex [?].
RIC 415
According to Zosimus: Constantius, having so well succeeded in his design against Vetranio, marched against Magnentius, having first conferred the title of Caesar on Gallus, the son of his uncle, and brother to Julian who was afterwards emperor, and given him in marriage his sister Constantia. . . . CONSTANTIUS, after having acted towards Gallus Caesar in the manner I have related, left Pannonia to proceed into Italy. . . . He scarcely thought himself capable of managing affairs at this critical period. He was unwilling, however, to associate any one with himself in the government, because he so much desired to rule alone, and could esteem no man his friend. Under these circumstances he was at a loss how to act. It happened, however, that when the empire was in the greatest danger, Eusebia, the wife of Constantius, who was a woman of extraordinary learning, and of greater wisdom than her sex is usually endowed with, advised him to confer the government of the nations beyond the Alps on Julianus Caesar, who was brother to Gallus, and grandson to Constantius. As she knew that the emperor was suspicious of all his kindred, she thus circumvented him. She observed to him, that Julian was a young man unacquainted with the intrigues of state, having devoted himself totally to his studies; and that he was wholly inexperienced in worldly business. That on this account he would be more fit for his purpose than any other person. That either he would be fortunate, and his success would be attributed to the emperor's conduct, or that he would fail and perish; and that thus Constantius would have none of the imperial family to succeed to him.
Constantius, having approved her advice, sent for Julian from Athens, where he lived among the philosophers, and excelled all his masters in every kind of learning. Accordingly, Julian returning from Greece into Italy, Constantius declared him Caesar, gave him in marriage his sister Helena, and sent him beyond the Alps. . . .
Constantius, having thus disposed of Julian, marched himself into Pannonia and Moesia, and having there suppressed the Quadi and the Sarmatians, proceeded to the east, and was provoked to war by the inroads of the Persians. Julian by this time had arrived beyond the Alps into the Gallic nations which he was to rule. Perceiving that the Barbarians continued committing the same violence, Eusebia, for the same reasons as before, persuaded Constantius to place the entire management of those countries into the hands of Julian. . . . Julian finding the military affairs of Gallia Celtica in a very ruinous state, and that the Barbarians pased the Rhine without any resistance, even almost as far as the sea-port towns, he took a survey of the remaining parts of the enemy. And understanding that the people of those parts were terrified at the very name of the Barbarians, while those whom Constantius had sent along with him, who were not more than three hundred and sixty, knew nothing more, as he used to say, than how to say their prayers, he enlisted as many more as he could and took in a great number of volunteers. He also provided arms, and finding a quantity of old weapons in some town he fitted them up, and distributed them among the soldiers. The scouts bringing him intelligence, that an immense number of Barbarians had crossed the river near the city of Argentoratum (Strasburg) which stands on the Rhine, he no sooner heard of it, than he led forth his army with the greatest speed, and engaging with the enemy gained such a victory as exceeds all description.
After these events he raised a great army to make war on the whole German nation; He was opposed however by the Barbarians in vast numbers. Caesar therefore would not wait while they came up to him, but crossed the Rhine, preferring that their country should be the seat of war, and not that of the Romans, as by that means the cities would escape being again pillaged by the Barbarians. A most furious battle therefore took place; a great number of the Barbarians being slain on the field of battle, while the rest fled, and were pursued by Caesar into the Hercynian forest, and many of them killed. . . .
But while Julian was at Parisium, a small town in Germany, the soldiers, being ready to march, continued at supper till midnight in a place near the palace, which they so called there. They were as yet ignorant of any design against Caesar [by Constantius], when some tribunes, who began to suspect the contrivance against him, privately distributed a number of anonymous billets among the soldiers, in which they represented to them, that Caesar, by his judicious conduct had so managed affairs, that almost all of them had erected trophies over the Barbarians ; that he had always fought like a private soldier, and was now in extreme danger from the emperor, who would shortly deprive him of his whole army, unless they prevented it. Some of the soldiers having read these billets, and published the intrigue to the whole army, all were highly enraged. They suddenly rose from their seats in great commotion, and with the cups yet in their hands went to the palace. Breaking open the doors without ceremony, they brought out Caesar, and lifting him on a shield declared him emperor and Augustus. They then, without attending to his reluctance, placed a diadem upon his head. . . .
Arriving at Naisus, he consulted the soothsayers what measures to pursue. As the entrails signified that he must stay there for some time, he obeyed, observing likewise the time that was mentioned in his dream. When this, according to the motion of the planets, was arrived, a party of horsemen arrived from Constantinople at Naisus, with intelligence that Constantius was dead, and that the armies desired Julian to be emperor. Upon this he accepted what the gods had bestowed upon him, and proceeded on his journey. On his arrival at. Byzantium, he was received with joyful acclamations. . . .
[After slashing through Persia and crossing the Tigris,] they perceived the Persian army, with which they engaged, and having considerably the advantage, they killed a great number of Persians. Upon the following day, about noon, the Persians drew up in a large body, and once more attacked the rear of the Roman army. The Romans, being at that time out of their ranks, were surprised and alarmed at the suddenness of the attack, yet made a stout and spirited defence. The emperor, according to his custom, went round the army, encouraging them to fight with ardour. When by this means all were engaged, the emperor, who sometimes rode to the commanders and tribunes, and was at other times among the private soldiers, received a wound in the heat of the engagement, and was borne on a shield to his tent. He survived only till midnight. He then expired, after having nearly subverted the Persian empire.
Note: Julian favored the pagan faith over Christianity and was tarred by the church as "the apostate." Blindado
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313. Tetricus ICaius Pius Esuvius Tetricus was emperor of the Gallic Empire from 270/271 to 273, following the murder of Victorinus. Tetricus, who ruled with his son, Tetricus II, was the last of the Gallic Emperors.
Tetricus was born to a noble family and held the administrative rank of praeses provinciae (provincial governor) of Aquitania at the time of Victorinus' death. Victorinus' mother, Victoria, paid the army heavily to declare Tetricus emperor near Burdigalia (Bordeaux, France), which was approved in Gaul and Britain. Following his appointment, Tetricus repelled Germanic tribes that took advantage of the confusion following the death of Victorinus to invade.
Tetricus installed his capital at Augusta Treverorum (present Trier, Germany, near the vital Rhine border, hence later seat of a Tetrarch) and appointed his son, Tetricus II, Caesar, i.e. junior emperor (273). Tetricus made no attempts to expand the Gallic Empire, other than southward, regaining Aquitania (which had rejoined the Roman empire during the reign of Claudius Gothicus).
In 273, Emperor Aurelian set out to reconquer the western Roman empire, following his victories in the east. Tetricus took his army southward from Trier to meet Aurelian, who was advancing into northern Gaul. The decisive battle took place near Châlons-sur-Marne, where Tetricus and his son surrendered to Aurelian.
According to literary sources, after being displayed as trophies at Aurelian's triumph in Rome, the lives of Tetricus and his son were spared by Aurelian and Tetricus was even given the title of corrector Lucaniae et Bruttiorum, that is governor of a region of Italia. Tetricus died at an unknown date living in Italy; he is listed as one of Rome's Thirty Tyrants in the Historia Augusta.ecoli
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421/1. Nonia - denarius (59 BC)AR Denarius (Rome, 59 BC)
O/ Head of Saturn right, head of a harpoon and conical stone behind; S C upwards behind; SVFENAS downwards before.
R/ Roma seated left on a pile of trophies, holding sceptre and sword, crowned by Victory standing behind; PR L V P F around; SEX NONI in exergue.
3.90g; 19mm
Crawford 421/1 (56 obverse dies/62 reverse dies)
- Collection of Walter Friedrich Stoecklin, Amriswil, Switzerland, before 1975. W. F. Stoecklin was the second member of a dynasty of coin collectors based in Switzerland.
- Obolos 9, lot 77.
* Marcus Nonius Sex.f. Sufenas:
Sufenas belonged to the plebeian gens Nonia, a relatively new gens at this time. He was the son of son of Sextus Nonius Sufenas, who had played a crucial part in 86 BC by leading the defection to Sulla among Fimbria's troops during the Civil War. Sulla then rewarded him with a praetorship in 81 BC. In turn, Sextus organised the first Victory games celebrating his patron (the Ludi Victoriae Sullanae), as explained on the reverse (Sextus Nonius praetor ludos Victoriae primus fecit).
Marcus Sufenas' career relied on the patronage of Pompey, whom he devotedly served. In 56 he was Tribune of the Plebs, and with the famous Publius Clodius Pulcher, Gaius Porcius Cato, and Lucius Procilius, they sabotaged the consular elections in order to force the choice of Pompey and Crassus as Consuls for 55 (Cassius Dio, Roman History, xxxix. 27-33). Pompey then used his influence to acquit Sufenas (Cicero, Atticus, iv. 15).
Since he was governor of Macedonia or Cyrenaica in 51 (Cicero, Atticus, vi. 1 & viii. 15), Broughton conjectured that he had been Praetor in 52. He was still in his province by 49, so he probably helped Pompey after his flight from Italy. Plutarch mentions him just before the Battle of Pharsalus (Life of Cicero, 38). As he disappears from ancient sources after this, he might have died during the battle.Joss
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56 BC Faustus Cornelius Sulla Laur. diad. and draped bust of Venus right, sceptre over shoulder SC behind
Three trophies between jub and lituus, monogram FAVSTVS in ex.
RRC 426/3
Sear 386
SOLD!
The three trophies were engraved on the signet ring of Pompey the Great symbolizing his victories on three continents. Faustus was the son of Lucius Cornelius Sulla and son-in-law of Pompey the Great.Jay GT4
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C. Coelius Caldus - AR denariusRome
¹²51 BC
head of Coelius Caldus (moneyer's grandfather) right; standard inscribed HIS (Hispania) behind, standard in the form of a boar (emblem of of Clunia, Hispania) before
C·COEL·CALDVS
COS
statue of god seated left between two trophies of arms, all on a high lectisternium with front inscribed L·CALDVS / VII·(VIR)·EP(VL) (Lucius Caldus Septemvir Epulo)
C/·/C/A/L/D/V/S on left
I/MP/·/(AV)/·/X (Imperator, Augur, Decemvir) on right
C(ALD)VS III VIR below
¹Crawford 437/2a, Sydenham 894, RSC I Coelia 7, BMCRR II 3837, SRCV I 404
²Mark Passehl - Roman moneyer & coin type chronology, 150 – 50 BC
3,9g 17mm
ex Aurea
scarce
Coin commemorates three moneyer's ancestors.
The first, moneyer's grandfather C. Coelius Caldus, was consul in 94 BC. In 107 BC, he was elected tribune of the plebs and passed a lex tabellaria, requiring a secret ballot to determine the verdict in cases of high treason. He was a praetor in 100 or 99 BC, and proconsul of Hispania Citerior the following year. This is represented by standard on the obverse along with emblem of the conquered town Clunia. He was also moneyer in 104 BC.
The second, L. Coelius Caldus, was member of septemviri epulones who prepared lectisternium - propitiatory ceremony, consisting of a meal offered to gods and goddesses (depicted on the reverse). He was responsible for sacrificial feast (epulare sacrificium) during Plebeian games (Ludi Plebeii) in Rome.
The third, C. Coelius Caldus, was augur, member of decemviri sacris faciundis, and governor who gained the title Imperator. The trophies on the reverse commemorates his military campains.
J. B.
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C. Hosidius C. f. Geta - AR denariusRome
²65 BC / ¹68 BC
diademed and draped bust of Diana, bow and quiver over shoulder
III VIR / GETA
attacked boar right, spear in shoulder, hound below
C HOSIDI C F
¹Crawford 407/2; Sydenham 903; Kestner 3317; BMCRR I Rome 3389; RSC I Hosidia 1, SRCV I 346
²Mark Passehl - Roman moneyer & coin type chronology, 150 – 50 BC
3,6g 16mm
ex Marc Walter
"Oineus, king of Kalydon in Aitolia, once had feasted the gods at an harvest festival but forgotten to butcher an animal for Artemis. The goddess was enraged and sent a big boar who wasted the fertile fields of the king. Oineus called for help and from all parts of Greece the heroes came to help him. There were the Curetes from Pleuron, the brothers of Althaia, the wife of Oineus. There were the Dioscurs Kastor and Polydeikes and their Messenian cousins Idas and Lynkeus. Theseus came from Athens, Iphikles, half-brother of Herakles, came from Thebens, Iason, Admetos, Peirithos, Peleus and Eurytion came from Thessalia, Telamon from Salamis, Amphiaraos from Argos, Ankaios and Atalante from Arcadia and much more. Herakles was prevented by his labours. On top of the heroes stood Meleagros, the son of Oineus and Althaia.
The hunt for the Calydonean boar ended very disastrous. Many heroes lost their lifes. Ankaios was the first killed by the boar. Peleus accidentally hit his father-in-law Eurytion with his spear. A second hunter too was killed by the boar.
The big catastrophe happened at the 6th day of the hunt. On this day Atalanta hit the boar with her arrow and Meleagros gave him the deathblow. Then he awarded head and skin of the boar to Atalante. But his uncles, brother of his mother Althaia, didn't tolerate that. They insisted on the rights of their clan. A dispute occured, they snatched the trophies from Atalante and then a fight began in which Meleagros slew his uncles. When Meleagros was born the fates predicted that he will live only as long as the log in the oven. Althaia pulled it out of the fire and hid it in a secret place. When she heard of the death of her brothers she enraged, got the log and threw it in the fire. When it was burnt Meleagros break down dead when he was dissecting the boar." - Jochen's Coins of mythological interestJ. B.
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Claudius (Augustus) Coin: Silver/Bronze Fourree Denarius fourreeTI CLAV CAESAR AVG P M TR P VI IMP XI - Laureate head right.
(NO LEGEND) - Triumphal arch inscribed DE BRITANN, surmounted by statue of horseman riding left, holding spear, between two trophies.
Mint: Rome (46-47 AD)
Wt./Size/Axis: 3.12g / 19mm / 11h
Rarity: R2
References:
RIC I 34v. (legend)
von Kaenel Type 27v. (legend)
RSC 18v. (legend)
C 18v. (legend)
Provenances:
Andre Cichos
Acquisition/Sale: cichosgladiator11 eBay $0.00 11/19
Notes: Nov 28, 19 - The Gary R. Wilson Collection
The "various" in the attribution of this coin comes from the fact that in the obverse inscription the name of Claudius is inscribed as "Clav" and not "Clavd" as on the official coinage.
GRWilson
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Claudius DE BRITANN triumphal archClaudius
Denarius, 19 mm, 3,23 gr. Lugdunum, 46-47 AD
TI CLAVD CAESAR [AVG P M TR P VI] IMP XI, laureate head right
DE BRITANN on architrave of triumphal arch surmounted by equestrian statue left between two trophies.
RIC 34, Sear 1843 (diff o/l), Van Meter 4, Clive Foss 13. See Philip Hill (1989) p. 50-51; L. Richardson (1992), p. 24.
The arch was granted to Claudius by the Senate, in 51/52 AD, to commemorate the conquest of Britain. Limes
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Claudius, RIC 98, Sestertius of AD 42Æ sestertius (27.5g, Ø34mm, 6h), Rome mint, struck AD 42.
Obv.: TI CLAVDIVS CAESAR AVG P M TR P IMP, laureate head of Claudius facing right.
Rev.: NERO CLAVDIVS DRVSVS GERMAN IMP (around) S C (in field), Triumphal arch surmounted by equestrial statue right, between two trophies.
RIC 98 (S); Cohen 48; Sear 2000 (RCV) 1851; Foss (RHC) 63:9
This issue honours Nero Claudius Drusus, the father of ClaudiusCharles S
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Cr 437/2a - C. Coelius Caldus ROMAN REPUBLIC
C. Coelius Caldus
AR denarius. Rome, 3.82g, 51BC
C COEL CALDVS COS, Bare head of Caius Coelius, standard with HIS behind, boar below chin / CALDVS. III. VIR (ALD ligate) in exergue, figure seated left atop lofty lectisternium inscribed L. CALDVS/VII. VIR. EPVL (sic; VIR and EPVL ligate) between two trophies.
Crawford 437/2a. RSC Coelia 7
gVF, areas of light porosity
Ex Heritage
Re-imaged 4/17/13. This was my second-most viewed coin, but I just really wanted to improve the background!
RR0007Sosius
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Crawford 114/2, ROMAN REPUBLIC, Rostrum Tridens Series, AE AsRome, The Republic.
Rostrum Tridens Series, 206-195 BCE.
AE As (30.7g; 34mm).
Rome Mint.
Obverse: Laureate head of Janus; I (mark-of-value) above.
Reverse: Prow facing right; rostrum tridens and I (mark-of-value) above.
References: Crawford 114/2; Sydenham 245; BMCRR (Rome) 451-3.
Provenance: Ex Dr. Hans Neussel (d. 1993) Collection [Peus Auction 420/421 (1 Nov 2017) Lot 73]; purchased from Dr. Kurt Deppert Kunsthandlung, Frankfurt (July 1958).
Shortly after the introduction of the denarius coinage, the Romans began adding symbols and letters to their coins. In many cases both anonymous coins and coins with symbols/letters can be linked by identical styles, suggesting they were near-contemporaneous issues by the same mint. Symbols were frequently re-used on subsequent series; see, for example the three separate Anchor Series of coins produced in the late third century and second century BCE.
This particular bronze As bears the symbol of a rostrum tridens – the bronze ramming prow of a Roman galley. This symbol had been previously used on an earlier issue of denarii (Crawford 62). The rostrum tridens was an important symbol to the Romans, representing both the strength of their navy, which had become a powerful force in the Western Mediterranean from its start in the First Punic War, and the trophies of naval victories. Rostra were often taken from captured vessels. The Romans used six captured rostra to decorate the speaking platform, thereafter referred to as the Rostra, in the Comitium. Even today, a speaking platform is called a rostrum.
Carausius
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Crawford 359/2, ROMAN REPUBLIC, L. Cornelius Sulla, AR DenariusRome, The Republic.
L. Cornelius Sulla, 84-83 BCE.
AR Denarius (3.88g; 21mm).
Military Mint.
Obverse: L·SVLLA; diademed head of Venus facing right; before, Cupid holding palm to left.
Reverse: IMPER – ITERV; two trophies with jug and lituus between them.
References: Crawford 359/2; Sydenham 761a; BMCRR East 3; Cornelia 30.
Provenance: Ex Nomisma 58 (6 Nov 2018) Lot 76.
These coins were struck in the east, just before Sulla’s march on Rome. The fabric and style of these coins are certainly different from other Roman Republican denarii of the era, more eastern than Roman. Perhaps not obvious from my photo, the obverse is struck in very high relief and the reverse has pronounced cupping (from a convex reverse die, which more efficiently drives the metal into the high relief obverse die). The obverse honors Venus, whom Sulla considered his protectress. The jug and lituus on the reverse are suggestive of the office of Augur, but Crawford did not think Sulla was an Augur at the time these coins were produced. The implements may refer to an ancestor of Sulla that was an Augur, or, as Crawford surmises, to Sulla’s imperium. The trophies on the reverse refer to Sulla’s victories in the east against Mithradates. Two trophies were also used by Sulla in an issue of tetradrachms in the Athenian “New Style” form.
Sulla’s seizure of dictatorial power following his march on Rome (leading an army that was loyal to him, rather than to the state) became a paradigm for Roman political struggles thereafter. Julius Caesar would initiate similar consequences when he crossed the Rubicon at the head of his army 30+ years later. Unlike Sulla, Caesar showed no interest in resigning his power. Also unlike Sulla, Caesar would strike coins bearing his own likeness. Sulla’s portrait did not appear on a Roman coin until 25 years after Sulla’s death (See, Crawford 434/1).
Carausius
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Crawford 437/2, ROMAN REPUBLIC, Caldus, AR DenariusRome, The Republic.
Caldus, 51 BCE.
AR Denarius (4.04g; 18mm).
Rome Mint.
Obverse: [C.COEL.CALDVS] COS; Bare head of C. Coelius Caldus facing right; standard with HIS behind; boar-shaped standard before.
Reverse: C.CALDVS - CALDVS.IIIVIR - IMP.A.X; Table inscribed L.CALDVS VIIVR.EPV with figure preparing epulum; flanked by trophies with shields.
References: Crawford 437/2a; Sydenham 894; BMCRR 3837; Coelia 7.
Provenance: Gorny & Mosch 269 (10 Mar 2020), Lot 965; Künker Auction 288 (13 Mar 2017), Lot 296; Sternberg Auction XI (20 Nov 1981) Lot 513; Spink/Galerie des Monnaies Auction (15 Feb 1977) Lot 446; Leopold G. P. Messenger Collection [Glendining (21 Nov 1951) Lot 62]; Clarence S. Bement (d. 1923) Collection [Ars Classica VIII (25-8 June 1924) Lot 125].
In a paper published in the 2016 Numismatic Chronicle, Bernard Woytek convincingly argues that this coin references military victories by the moneyer’s grandfather, C. Coelius Caldus (Consul in 94 BCE), in Spain and Transalpine Gaul. The obverse depicts the 94 BC consul, C. Coelius Caldus, as confirmed by the consular title abbreviation COS. References to Spain and Gaul appear on both sides of the coin. The obverse includes a vexillum inscribed HIS[pania] and a boar-shaped standard that was used by Gallic tribes. The reverse has two trophies: the left comprised of Spanish-style armor (round shield and crested helmet); and the right comprised of Gallic-style armor (oblong shield, carnyx, etc.). The left and right portions of the reverse inscription identifies C. Caldus as an imperator for 10 years. In the reverse center, a person prepares the epulum, a ritual meal. Woytek proposes that this meal was a supplication served in honor of C. Coileius Caldus’ victory against the Salluvii in 90 BCE. Caldus’ son Lucius, the moneyer’s father, was a member of the Septemviri Epulones, the college of priests that organized such feasts. Based on the inscription on the table on the reverse of this coin, it seems possible he was a member of this college of priests when they organized the supplication meal in honor of his father. The bottom portion of the reverse inscription identifies our moneyer, Caldus (IIIVIR means he is one of the three men superintending the coining of money). Ultimately, the coin references three members of the family: moneyer, father and grandfather.
Carausius
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FAUSTUS CORNELIUS SULLAAR denarius. 56 BC. 3.87 gr. Laureate and diademed head of Venus right,sceptre, SC behind. / Three military trophies ,capis left, lituus right. FAVSTVS (in monogram) in exergue. Toned. Craw 426/3. RSC Cornelia 63.
benito
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FAUSTUS CORNELIUS SULLAAR denarius. 56 BC. 3.87 gr. Laureate and diademed head of Venus right,sceptre, SC behind. / Three military trophies ,capis left, lituus right. FAVSTVS (in monogram) in exergue. Toned. Craw 426/3. RSC Cornelia 63.
benito
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Faustus Cornelius Sulla AR Denarius - 3 trophiesAR denarius.
Struck 56 BC.
Grade: F
OBV: Laureate and diademed bust of Venus right; scepter on shoulder, SC behind.
Rx; 3 military trophies between capis & lituus; FAVSTVS, monogrammed, in exergue.
RCV 384 19mm, 3.2g.
Recycled photocliff_marsland
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IMP C CLAVDIVS AVG / MARS VLTOR antoninianus (268-270 A.D.) Obv.: [IM]P C CLAVDIVS AVG, radiate cuirassed bust of Claudius right, both ribbons behind.
Rev.: MARS [VLTO]R, Mars, walking right, naked except for helmet and some flowing drapery left and right, holding spear transverse in right hand and trophy in left hand.
d oval 16-19+mm, 2.41g, die axis 1h (medal alignment), material: bronze/copper-based alloy supposedly with some silver.
Authority and portrait: Claudius II Gothicus (reign 268-270). Mint: Rome.
IMP = Imperator (Commander-in-Chief), C = Caesar, AVG = Augustus. MARS VLTOR = Mars the Avenger or the Punisher. An important aspect of some Roman deities was their ability to avenge for injuries received by Roman people, this applies especially to their main warlike gods, Jupiter and Mars. So in times of troubles, like the crisis of the 3d century, we often see references to Jupiter or Mars Ultor. High-crested Corinthian helmet and a spear are common attributes of Mars. In this case he also carries a trophy (tropaeum). Trophies, equally by the Romans and the Greeks, were esteemed as the rewards and insignia of victories. In the earlier ages they consisted simply of a trunk of a tree or long pole, to which a little below the top another piece of wood was fastened crosswise, and set up on the field of battle immediately after a victory; this was adorned with spoils, or the armor of the vanquished, customarily a cuirass, a helmet, and a buckler.
RIC V-1 Rome 66; Cohen 160; Sear 11350.
ID straightforward. The bust in all examples is cuirassed with both ribbons behind, but catalogues mention usual bust variations. There may be a mintmark in right or, rarely, left field, H/"N"/"II", all probably designating Greek letter eta, i.e. officina 8. The size in many examples is 20mm or more.
A close type, RIC 67 has IMP CL... in the obverse legend instead of IMP C CL..., but here we clearly see IMP C CL...
Yurii P
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Italy- Rome- The Arch of Constantine The GreatArch of Constantine
The Arch of Constantine is a triumphal arch in Rome, situated between the Colosseum and the Palatine Hill. It was erected to commemorate Constantine's victory over Maxentius at the Battle of Milvian Bridge on October 28, 312 AD. Dedicated in 315 AD, it is the latest of the extant triumphal arches in Rome, from which it differs by the extensive re-use of parts of earlier buildings.
General Description
The arch is 21 m high, 25.7 m wide and 7.4 m deep. It has three archways, the central one being 11.5 m high and 6.5 m wide, the lateral archways 7.4 m by 3.4 m each. The lower part of the monument is built of marble blocks, the top (called attic) is brickwork revetted with marble. A staircase formed in the thickness of the arch is entered from a door at some height from the ground, in the end towards the Palatine Hill. The general design with a main part structured by detached columns and an attic with the main inscription above is modelled after the example of the Arch of Septimius Severus on the Forum Romanum. It has been suggested that the lower part of the arch is re-used from an older monument, probably from the times of the emperor Hadrian (Conforto et al., 2001; for a defence of the view that the whole arch was constructed in the 4th century, see Pensabene & Panella). The arch spans the Via Triumphalis, the way taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left and march along the Via Sacra to the Forum Romanum and on to the Capitoline Hill, passing both the Arches of Titus and Septimius Severus. During the Middle Ages, the Arch of Constantine was incorporated into one of the family strongholds of ancient Rome. Works of restoration were first carried out in the 18th century; the last excavations have taken place in the late 1990s, just before the Great Jubilee of 2000.
Decoration
The decoration of the arch heavily uses parts of older monuments, which are given a new meaning in the context of the Constantinian building. As it celebrates the victory of Constantine, the new "historic" friezes illustrating his campaign in Italy convey the central meaning: the praise of the emperor, both in battle and in his civilian duties. The other imagery supports this purpose: decoration taken from the "golden times" of the Empire under Trajan, Hadrian and Marcus Aurelius places Constantine next to these "good emperors", and the content of the pieces evokes images of the victorious and pious ruler. Another explanation given for the re-use is the short time between the start of construction (late 312 at the earliest) and the dedication (summer 315), so the architects used existing artwork to make up for the lack of time to create new one. As yet another possible reason, it has often been suggested that the Romans of the 4th century lacked the artistic skill to produce acceptable artwork and therefore plundered the ancient buildings to adorn their contemporary monuments. This interpretation has become less prominent in more recent times, as the art of Late Antiquity has been appreciated in its own right. It is, of course, possible that a combination of two or all three of those explanations are correct, as they are not mutually exclusive.
Attic
Above the middle archway, the main inscription (see below) takes the most prominent place of the attic. It is identical on both sides of the arch. Flanking the inscription on both sides, there are pairs of relief panels above the minor archways, 8 in total. They were taken from an unknown monument erected in honour of Marcus Aurelius, and show (north side, left to right) the emperor's return to Rome after the campaign (adventus), the emperor leaving the city and saluted by a personification of the Via Flaminia, the emperor distributing money among the people (largitio), the emperor interrogating a German prisoner, (south side, left to right) a captured enemy chieftain led before the emperor, a similar scene with other prisoners, the emperor speaking to the troops (adlocutio), and the emperor sacrificing pig, sheep and bull. Together with three panels now in the Capitoline Museum, the reliefs were probably taken from a triumphal monument commemorating Marcus Aurelius' war against the Sarmatians from 169 - 175, which ended with his triumphant return in 176. On the largitio panel, the figure of Marcus Aurelius' son Commodus has been eradicated after the latter's damnatio memoriae. On top of each of the columns stand marble statues of Dacian prisoners from the times of Trajan, probably taken from the Forum of Trajan. From the same time date the two large (3 m high) panels decorating the attic on the small sides of the arch, showing scenes from the emperor's Dacian Wars. Together with the two reliefs on the inside of the central archway, they came from a large frieze celebrating the Dacian victory. The original place of this frieze was either the Forum of Trajan, as well, or the barracks of the emperor's horse guard on the Caelius.
Main Section
The general layout of the main facade is identical on both sides of the arch. It is divided by four columns of Corinthian order made of Numidian yellow marble (giallo antico), one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column. The columns stand on bases showing victory figures on front, and captured barbarians and Roman soldiers on the sides. The spandrels of the main archway are decorated with reliefs depicting victory figures with trophies, those of the smaller archways show river gods. Column bases and spandrel reliefs are from the times of Constantine. Above each lateral archway are pairs of round reliefs dated to the times of emperor Hadrian. They display scenes of hunting and sacrificing: (north side, left to right) hunt of a boar, sacrifice to Apollo, hunt of a lion, sacrifice to Hercules, (south side, left to right) departure for the hunt, sacrifice to Silvanus, hunt of a bear, sacrifice to Diana. The head of the emperor (originally Hadrian) has been reworked in all medaillons: on the north side, into Constantine in the hunting scenes and into Licinius or Constantius I in the sacrifice scenes; on the south side, vice versa. The reliefs, c. 2 m in diameter, were framed in porphyry; this framing is only extant on the right side of the northern facade. Similar medaillons, this time of Constantinian origin, are placed on the small sides of the arch; on the eastern side, showing the Sun rising, and on the western side, the Moon, both on chariots. The main piece from the time of Constantine is the "historical" relief frieze running around the monument under the round panels, one strip above each lateral archway and at the small sides of the arch. These reliefs depict scenes from the Italian campaign of Constantine against Maxentius which was the reason for the construction of the monument. The frieze starts at the western side with the "Departure from Milan". It continues on the southern, "outward" looking face, with the siege of a city, probably Verona, which was of great importance to the war in Northern Italy; also on that face, the Battle of Milvian Bridge with Constantine's army victorious and the enemy drowning in the river Tiber. On the eastern side, Constantine and his army enter Rome; the artist here has avoided to use the imagery of the triumph, as Constantine probably did not want to be shown triumphant over the Eternal City. On the northern face, looking "towards" the city, two strips with the emperor's actions after taking possession of Rome: Constantine speaking to the citizens on the Forum Romanum, and distributing money to the people.
Inner Sides of the Archways
In the central archway, there is one of the large panels of Trajan's Dacian War on either wall. Inside the lateral archways, eight portraits busts (two on each wall), destroyed to such an extent that it is not possible to identify them any more.
Inscriptions
The main inscription reads:
IMP · CAES · FL · CONSTANTINO · MAXIMO · P · F · AVGUSTO · S · P · Q · R · QVOD · INSTINCTV · DIVINITATIS · MENTIS · MAGNITVDINE · CVM · EXERCITV · SVO · TAM · DE · TYRANNO · QVAM · DE · OMNI · EIVS · FACTIONE · VNO · TEMPORE · IVSTIS · REM-PUBLICAM · VLTVS · EST · ARMIS · ARCVM · TRIVMPHIS · INSIGNEM · DICAVIT
Which means in English:
To the Emperor Caesar Flavius Constantinus, the greatest, pious, and blessed Augustus: because he, inspired by the divine, and by the greatness of his mind, has delivered the state from the tyrant and all of his followers at the same time, with his army and just force of arms, the Senate and People of Rome have dedicated this arch, decorated with triumphs.
The words instinctu divinitatis ("inspired by the divine") have been much commented. They are usually read as sign of Constantine's shifting religious affiliation: The Christian tradition, most notably Lactantius and Eusebius of Caesarea, relate the story of a vision of the Christian god to Constantine during the campaign, and that he was victorious in the sign of the cross at the Milvian Bridge. The official documents (esp. coins) still prominently display the Sun God until 324 AD, while Constantine started to support the Christian church from 312 on. In this situation, the vague wording of the inscription can be seen as the attempt to please all possible readers, being deliberately ambiguous, and acceptable to both pagans and Christians. As was customary, the vanquished enemy is not mentioned by name, but only referred to as "the tyrant", drawing on the notion of the rightful killing of a tyrannical ruler; together with the image of the "just war", it serves as justification of Constantine's civil war against his co-emperor Maxentius.
Two short inscriptions on the inside of the central archway transport a similar message: Constantine came not as conqueror, but freed Rome from occupation:
LIBERATORI VRBIS (liberator of the city) - FUNDATORI QVIETIS (founder of peace)
Over each of the small archways, inscriptions read:
VOTIS X - VOTIS XX SIC X - SIC XX
They give a hint on the date of the arch: "Solemn vows for the 10th anniversary - for the 20th anniversary" and "as for the 10th, so for the 20th anniversary". Both refer to Constantine's decennalia, i.e. the 10th anniversary of his reign (counted from 306), which he celebrated in Rome in the summer of 315 AD. It can be assumed that the arch honouring his victory was inaugurated during his stay in the city.
Peter Wissing
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Italy- Rome- The Arch of TitoThe Arch of Titus (Arcus Titi) is a triumphal arch that commemorates the victory of the emperors Vespasian and Titus in Judea in 70 CE, which lead to the conquest of Jerusalem and the destruction of the Jewish temple there, and the triumphal procession the two held in Rome in 71 CE. It is situated at the E. entrance to the Forum Romanum, on the Via Sacra, south of the Temple of Amor and Roma, close to the Colosseum.
The arch was definitely erected sometimes after after the death of Titus in 81 CE, since Titus is referred to as Divus in the inscription. The deification of an emperor only happened posthumously after decision by the senate. It was most probably erected by emperor Domitian who succeeded his brother Titus in 81 CE, but it has also been suggested that it was built later, by Trajan, because of stylistic similarities with the Arch of Trajan at Benevento.
The Arch of Titus is a single arch, measuring 15.4m in height, 13.5m in width and 4.75m in depth, originally constructed entirely in Pantelic marble, with four semi-columns on each side. The external decorations include figures of Victoria with trophies on the spandrels and images of Roma and the Genius of Rome on the two keystones.
The inscription on the E. side is the original dedication of the arch by the senate. It reads:
Senatus
Populusque Romanus
divo Tito divo Vespasiani f(ilio)
Vespasiano Augusto
The senate
and people of Rome
to the divine Titus, son of the divine Vespasian,
Vespasianus Augustus
The inside the archway the monument is decorated with reliefs in marble. The S. side shows the beginning of the triumphal entry into Rome of the victorious emperor and his troops. The soldiers, walking left to right, are carrying the spoils of war, which include the seven armed candelabrum and the silver trumpets from the temple of Jerusalem. The signs carried by some soldiers displayed the names of the conquered cities and people. To the right the procession is entering the city through the Porta Triumphalis.
The N. side of the arch is decorated with a relief of the emperor in the triumphal procession. The emperor is riding a quadriga, which is lead by the goddess Roma, and he is crowned by Victoria flying above him. The lictors are walking in front of the chariot with their long ceremonial axes. After the emperor follow as a young man, who represents the Roman people, and an older man in toga, representing the senate. In the middle, under the vault a small relief shows the apotheosis of Titus, flying to the heavens on the back of an eagle.
Peter Wissing
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Italy- Rome- The arch of Tito and inside the archesThe Arch of Titus (Arcus Titi) is a triumphal arch that commemorates the victory of the emperors Vespasian and Titus in Judea in 70 CE, which lead to the conquest of Jerusalem and the destruction of the Jewish temple there, and the triumphal procession the two held in Rome in 71 CE. It is situated at the E. entrance to the Forum Romanum, on the Via Sacra, south of the Temple of Amor and Roma, close to the Colosseum.
The arch was definitely erected sometimes after after the death of Titus in 81 CE, since Titus is referred to as Divus in the inscription. The deification of an emperor only happened posthumously after decision by the senate. It was most probably erected by emperor Domitian who succeeded his brother Titus in 81 CE, but it has also been suggested that it was built later, by Trajan, because of stylistic similarities with the Arch of Trajan at Benevento.
The Arch of Titus is a single arch, measuring 15.4m in height, 13.5m in width and 4.75m in depth, originally constructed entirely in Pantelic marble, with four semi-columns on each side. The external decorations include figures of Victoria with trophies on the spandrels and images of Roma and the Genius of Rome on the two keystones.
The inscription on the E. side is the original dedication of the arch by the senate. It reads:
Senatus
Populusque Romanus
divo Tito divo Vespasiani f(ilio)
Vespasiano Augusto
The senate
and people of Rome
to the divine Titus, son of the divine Vespasian,
Vespasianus Augustus
The inside the archway the monument is decorated with reliefs in marble. The S. side shows the beginning of the triumphal entry into Rome of the victorious emperor and his troops. The soldiers, walking left to right, are carrying the spoils of war, which include the seven armed candelabrum and the silver trumpets from the temple of Jerusalem. The signs carried by some soldiers displayed the names of the conquered cities and people. To the right the procession is entering the city through the Porta Triumphalis.
The N. side of the arch is decorated with a relief of the emperor in the triumphal procession. The emperor is riding a quadriga, which is lead by the goddess Roma, and he is crowned by Victoria flying above him. The lictors are walking in front of the chariot with their long ceremonial axes. After the emperor follow as a young man, who represents the Roman people, and an older man in toga, representing the senate. In the middle, under the vault a small relief shows the apotheosis of Titus, flying to the heavens on the back of an eagle.
Peter Wissing
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Italy- Rome- The entrance to Forum and the arch of TitoThe Arch of Titus (Arcus Titi) is a triumphal arch that commemorates the victory of the emperors Vespasian and Titus in Judea in 70 CE, which lead to the conquest of Jerusalem and the destruction of the Jewish temple there, and the triumphal procession the two held in Rome in 71 CE. It is situated at the E. entrance to the Forum Romanum, on the Via Sacra, south of the Temple of Amor and Roma, close to the Colosseum.
The arch was definitely erected sometimes after after the death of Titus in 81 CE, since Titus is referred to as Divus in the inscription. The deification of an emperor only happened posthumously after decision by the senate. It was most probably erected by emperor Domitian who succeeded his brother Titus in 81 CE, but it has also been suggested that it was built later, by Trajan, because of stylistic similarities with the Arch of Trajan at Benevento.
The Arch of Titus is a single arch, measuring 15.4m in height, 13.5m in width and 4.75m in depth, originally constructed entirely in Pantelic marble, with four semi-columns on each side. The external decorations include figures of Victoria with trophies on the spandrels and images of Roma and the Genius of Rome on the two keystones.
The inscription on the E. side is the original dedication of the arch by the senate. It reads:
Senatus
Populusque Romanus
divo Tito divo Vespasiani f(ilio)
Vespasiano Augusto
The senate
and people of Rome
to the divine Titus, son of the divine Vespasian,
Vespasianus Augustus
The inside the archway the monument is decorated with reliefs in marble. The S. side shows the beginning of the triumphal entry into Rome of the victorious emperor and his troops. The soldiers, walking left to right, are carrying the spoils of war, which include the seven armed candelabrum and the silver trumpets from the temple of Jerusalem. The signs carried by some soldiers displayed the names of the conquered cities and people. To the right the procession is entering the city through the Porta Triumphalis.
The N. side of the arch is decorated with a relief of the emperor in the triumphal procession. The emperor is riding a quadriga, which is lead by the goddess Roma, and he is crowned by Victoria flying above him. The lictors are walking in front of the chariot with their long ceremonial axes. After the emperor follow as a young man, who represents the Roman people, and an older man in toga, representing the senate. In the middle, under the vault a small relief shows the apotheosis of Titus, flying to the heavens on the back of an eagle.
Peter Wissing
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L. CORNELIUS SULLAAR denarius. Military mint (Italy). 83 BC. 3,97 grs. Head of Venus right,wearing earring and pearl necklace. On right Cupid standing left holding palm. L.SVLLA below / Two trophies. Between ,praefericulum and lituus. Above IMPER,below ITERVM.
Cr. 359/2 RSC Cornelia 30.
Bremens Beleville 26 Nov 2014 ,lot 251. Ex E.M.collection. Dorotheum ( Viena) June 1956,lot
2718. Ex Apostolo Zeno collection.benito
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L. Cornelius Sulla, DenariusL. Cornelius Sulla, Denarius
RRC 359/2
84-83 bc
4,36 gr.
AV: Diademed head of Venus r.; in r. field, Cupid standing l., holding palm branch; below, L·SVLLA.
Rv: IMPER Jug and lituus between two trophies; below, ITERVM.
Minted during his march on Rome.
Ex Numismatica Ars Classica, Zurich, Auct 98, 12.12.2016, Lot 1001Norbert
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L.CORNELIUS SULLAAR denarius. Military mint (Italy). 83 BC. 3,97 grs. Head of Venus right,wearing earring and pearl necklace. On right Cupid standing left holding palm. L.SVLLA below / Two trophies. Between ,praefericulum and lituus. Above IMPER,below ITERVM.
Cr. 359/2 RSC Cornelia 30.
Bremens Beleville 26 Nov 2014 ,lot 251. Ex E.M.collection. Dorotheum ( Viena) June 1956,lot
2718. Ex Apostolo Zeno collection.benito
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Lucius Verus AE As. 166-167 AD. trophies of captured armsLucius Verus AE As. 166-167 AD. L VERVS AVG ARM PARTH MAX, laureate head right / TR P VII IMP IIII COS III S-C, three trophies of captured (Armenian) arms, S C at sides. Cohen 300. ancientone
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MAFJ6 Brother and EmperorLucius Verus
As
166-167
Laureate head, right, L VERVS AVG ARM PARTH MAX
3 trophies, TR P VII IMP III[I] COS III
RIC 1464
Son of Aelius Caesar and adopted son of Antoninus Pius, Marcus Aurelius elevated his adoptive brother to co-ruler in 161. At that time, according to the Historia Augusta, "To Lucius, legally his brother, he betrothed his daughter Lucilla. In honor of this union, they gave orders that new institutions of boys and girls, named after them, should be added to the state child-welfare scheme."
The Parthians launched an attack against Roman Syria that it had planned before the death of Pius, and Marcus, with the agreement of the Senate, dispatched Lucius to deal with the crisis. According to the Historia Augusta, "Verus, of course, after he arrived in Syria, lived in luxury at Antioch and Daphne, although he was acclaimed imperator while waging the Parthian war through legates." This coin's reverse honors his military victory over the Parthians in 165.
When Lucius returned to Rome, according to the Historia Augusta, "Lucius requested that Marcus should triumph with him. Lucius requested further that the sons [Commodus and M. Annius Verus] of Marcus should be called Caesars. But Marcus had such great moderation that, although he triumphed together with Lucius, yet after Lucius' death he called himself Germanicus only, because he had won that name for himself in his own war. At the triumph, moreover, they let Marcus' children of both sexes ride with them, even the unmarried girls." A family affair!Blindado
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RIC 468 DomitianÆ Sestertius, 22.60g
Rome mint, 86 AD
Obv: IMP CAES DOMIT AVG GERM COS XII CENS PER P P; Head of Domitian, laureate, bearded, r., with aegis
Rev: S C in field; Domitian standing l., with parazonium and spear; to l., river-god (Rhenus) reclining
RIC 468 (C). BMC 377. BNC 399.
Ex eBay, 9 February 2020. Ex Künker, eLive Auction 57, 12 December 2019, lot 97.
In late 82 or early 83 Domitian conducted a census of Gaul as a smoke screen in order to make preparations to invade the Germanic Chatti lands across the Rhine. Not much is known of what the actual war consisted of - perhaps some road building, punitive raids against Chatti strongholds, and minor skirmishing. No large battles, à la Mons Graupius, have come down to us, prompting Tacitus' assertion 'that in recent times, the Germans were more triumphed over than conquered'. Even the date of the conflict is in dispute - although Domitian did rack up four salutations between June 83 and September 84, several of which must be attributed to the Chattan Campaign. Domitian celebrated a triumph over the Chatti in 83, after which he claimed the title 'Germanicus'.
Beginning in 85 Domitian struck a fairly impressive issue of sestertii, M. Grant hyperbolically called it the most 'ambitious' of any one reign or year. The series is the first major aes issue of Domitian's reign and is dominated by panoramic types commemorating his military victory over the Germanic tribe the Chatti. One of the more interesting types carried over into 86 features a triumphant Domitian standing over the reclining river-god Rhenus. It is a more poetic type than those showing captives or war trophies, although, even here Domitian is resting his foot on the river-god's knee symbolising Rome's domination over Germania.
Fine style and good metal.David Atherton
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RIC 681As, 114-117
Obv: IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P
Laur. r., dr.
Rev: SENATVS POPVLVSQVE ROMANVS – S C
Two trophies.
11.13g, 27mmklausklage
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RIC 681 var.As, 114-117
Obv: IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P
Laur. r., dr. and cuirassed
Rev: SENATVS POPVLVSQVE ROMANVS – S C
Two trophies.
9.72g, 27mm
Woytek 587h (7 known)klausklage
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Roman Empire, Nero Claudius Drusus, Father of Claudius.Nero Claudius Drusus, father of Claudius.
AR Denarius, Lugdunum mint, struck under Claudius, AD 41-42.
Obv. NERO CLAVDIVS DRVSVS GERMANICVS IMP, laureate head left.
Rev. DE GERMANIS on architrave of wide single-span triumphal arch, surmounted by equestrian statue left between two trophies.
RIC 72 (I, 125); RSC 4 (II, 2), Hill 77.
3,57g, 18mm.
Provenance: Classical Numismatic Group, Auction 75, lot 985.
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Roman Empire: Trajan, 98 - 117 ADAE dupond., 15,8gr, 28,9mm;
RIC II, 676;
mint: Rome, axis: 18h;
obv.: radiate draped bust, right; beardless face, short hair; legend around rim: IMP CAES NERV TRAIANO (OPTIMO AVG GER DAC PARTHICO PM TR P COS VI PP);
rev.: emperor in soldier’s attire holding 2 trophies; legend around rim: SENATUS POPULUSQUE ROMANUM, and in exergue SC;
dark patina;
ex: Lanz, GER.
Schatz
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ROMAN REPUBLIC, Fourree of Faustus SullaObv: Laureate and diademed head of Venus right, sceptre on shoulder, SC behind;
Rev: Three military trophies between jug and lituus, FAVSTVS monogram in exergue
Denarius subaeratus (2,372 g, 18,5 mm)
Reproducing RRC 426/3, RSC Cornelia 63 of ca. 56. B.C. The coin was struck by the son of the dictator Sulla, but under Pompey: the reverse design may refer to both men, as both used three trophies on their seal (Cassius Dio 42.18.3). Acquired from Forum. Syltorian
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RPC 2708 DomitianÆ Drachm, 21.63g
Alexandria mint, 94-95 AD
Obv: ΑΥΤ ΚΑΙϹ ΘƐΟΥ ΥΙΟϹ ΔΟΜΙΤ ϹƐΒ ΓƐΡΜ; Head of Domitian, laureate, bearded, r.
Rev: Triumphal arch; date LΙΔ
RPC 2708 (6 spec.). Emmett 257.14. Dattari-Savio 542-3.
Ex Harlan J Berk BBS 225, 30 November 2023, lot 505. Ex Shimmer, 1986, lot 118.
'He erected so many and such huge vaulted passage-ways and arches in the various regions of the city, adorned with chariots and triumphal emblems, that on one of them someone wrote in Greek: "enough!" '- Suetonius, Life of Domitian, 13.2.
Thus we begin with a pun. Some nameless wag scrawled ARCI on one of Domitian’s many arches, punning on the similarity between arcus (‘arch’) and the Greek arkei (‘enough’). Suetonius thought it clever enough to pass it along in his Life of Domitian. Domitian was a builder and he did indeed erect many arches throughout the city of Rome and the wider empire. This remarkable drachm struck at Alexandria for Domitian features a grandiose triple-span triumphal arch. The exact location of the structure is unknown. Some scholars have argued it represents a local Alexandrian arch (Price-Trell 1977, Vogt 1924, Handler 1971). F. Kleiner on the other hand convincingly proposes it to be a triumphal arch erected in Rome commemorating Domitian's victory over the Germanic Chatti. That it's a triumphal arch is fairly sound. The rooftop central figure of the emperor driving a triumphal quadriga pulled by six horses, flanked by twin trophies with defeated captives makes it fairly clear the arch was erected with a triumph in mind. The type first appeared on Alexandrian tetradrachms in 86, just a few years after the victory over the Chatti making a connection to that triumph very appealing. How accurate is the depiction? We simply do not know. Quite possibly the Alexandrian engravers based the composition on generic stock triumphal types, perhaps augmented by written descriptions, paintings, or sketches. The arch did not survive antiquity but is replicated on drachms of Trajan and Hadrian, likely repurposed for their own needs (whether it was located in Rome or Alexandria) and seemingly escaped damnatio memoriae destruction. Luckily, the coins survive to give us an idea of what this impressive monument may have looked like.David Atherton
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RPC 2728 DomitianÆ Drachm, 21.82g
Alexandria mint, 95-96 AD
Obv: ΑΥΤ ΚΑΙϹ ΘƐΟΥ ΥΙΟϹ ΔΟΜΙΤ ϹƐΒ ΓƐΡΜ; Head of Domitian, laureate, bearded, r.
Rev: Triumphal arch; date LΙΕ
RPC 2728 (9 spec.). Emmett 257.15. Dattari-Savio 544.
Acquired from Glenn Terry, eBay, October 2020.
This remarkable drachm struck at Alexandria during Domitian's final regnal year features a grandiose triple-span triumphal arch. The exact location of the structure is unknown. Some scholars have argued it represents a local Alexandrian arch (Price-Trell 1977, Vogt 1924, Handler 1971). F. Kleiner on the other hand convincingly proposes it to be a triumphal arch erected in Rome commemorating Domitian's victory over the Germanic Chatti. That it's a triumphal arch is fairly sound. The rooftop central figure of the emperor driving a triumphal quadriga pulled by six horses, flanked by twin trophies with defeated captives makes it fairly clear the arch was erected with a triumph in mind. The type first appeared on Alexandrian tetradrachms in 86, just a few years after the victory over the Chatti making a connection to that triumph very appealing. How accurate is the depiction? We simply do not know. Quite possibly the Alexandrian engravers based the composition on generic stock triumphal types, perhaps augmented by written descriptions, paintings, or sketches. The arch did not survive antiquity but is replicated on drachms of Trajan and Hadrian, likely repurposed for their own needs. The fact the structure was not pulled down and suffered damnatio memoriae, the fate of many Domitianic arches, is surprising. Luckily the coins survive to give us an idea of what this impressive monument may have looked like.
Fine style with fetching mottled olive green patina.David Atherton
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RRC 494/23 (Faustus Sulla) SubaeratusObv: Laureate and diademed head of Venus right, sceptre on shoulder, SC behind;
Rev: Three military trophies between jug and lituus, FAVSTVS monogram in exergue
Denarius subaeratus (2,372 g, 18,5 mm)
Reproducing RRC 426/3, RSC Cornelia 63 of ca. 56. B.C. The coin was struck by the son of the dictator Sulla, but under Pompey: the reverse design may refer to both men, as both used three trophies on their seal (Cassius Dio 42.18.3). Acquired from Forum. Syltorian
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SullaL Cornelius Sulla Imperator
84-83 BC
AR Denarius
18mm, 3.84 g.
Military mint moving with Sulla
Obv: Diademed head of Venus to right; in right field Cupid standing left, holding palm branch. Below, L SVLLA
Rev: IMPER, Jug and lituus between two trophies. Below ITERVM.
Crawford 359/2.lawrence c
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Sulla - Denarius - Crawford 359/2Obv: Head of Venus r., wearing diadem; on r., Cupid holding palm-branch; below, L SVLLA
Rev: Two trophies; between, jug and lituus; above, IMPER; below, ITERV
Size: 19 mm
Weight: 3,47 g
Mint: military mint moving with Sulla in Italy
Date: 84-83 BC
Ref: Crawford 359/2, Sydenham 761, Cornelia 30vs1969
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The Roman Republic. C.Hosidius C.f. Geta AR Serrate DenariusThe Roman Republic. C.Hosidius C.f. Geta AR Serrate Denarius. Rome, 68 or 64 BC. Draped bust of Diana right, with bow and quiver over shoulder; GETA downwards to left, III•VIR downwards to right / Calydonian boar standing right, pierced by spear and attacked by hound to right; C•HOSIDI•C•F in exergue. Crawford 407/1; RSC Hosidia 2; Sydenham 904. 3.89g, 22mm, 6h.
Ex Andrew McCabe collection (CNG Electronic Auction 472, 15th July 2020, Lot 259).
Ex Numismatica Ars Classica 114 (Part II), 7th May 2019, Lot 1326.
Ex Gorny & Mosch 186, 8th March 2010, Lot 1798.
‘He squealed harshly, hot foam streaming over his broad shoulders, and his tusks were as long as an elephant’s. Flames came out of his mouth, and the leaves were burnt up by his breath’ (Metamorphoses 8.284-9).
On the obverse of this handsome denarius is a portrait of Diana, goddess of the hunt, sporting her trademark bow and quiver. The reverse features the giant Calydonian boar of classical Greek myth, wounded by a spear and being attacked by a hound half it’s size. The ferocious boar was sent by Diana as retribution after King Oienus of Calydon forgot to include her in his annual sacrifical offerings to the gods. Oienus called for help from the best hunters in Greece, and many of the famous heroes of the generation before the Trojan war responded, including Oienus’ own son Meleager, some of the Argonauts, the Dioscuri and the huntress (and only woman) Atalanta.
Many of the men refused to hunt alongside a woman, but Meleager, who had taken a shine to the huntress, convinced them. It was Atalanta that drew the first blood, whilst Meleager finished the job off. He presented her with the trophies of the hunt, and this stirred up feelings of discontent that the prize should go to a girl. Meleager’s two uncles got in on the act and stole the spoils, causing Meleager to kill them in a fit of rage. This led to Meleager’s mother Althaea, whose brothers had just been murdered, seeking revenge - even if it meant killing her own son. It had been prophesized at Meleager’s birth that he would live only so long as a log then burning in the family hearth should last. Althaea had removed it from the fire and kept it hidden for years in the hope of preserving her son’s life. Until now. She threw the log back onto the fire, thus ending Meleager’s life as it was consumed. Diana had finally had her revenge against King Oienus.
One of the most famous depictions of the hunt is found on the François Vase, a large krater of Athenian workmanship dated to circa 570 BC.
As for Hosidius, there is little known about the moneyer responsible for this issue. There is no mention of the Hosidii in Rome prior to it’s appearance on these coins, but there is reference to the family name in inscriptions from a town on the coast of Italy called Histonium (present day Vasto). Indeed, there may be links between this town and the myth of the Calydonian boar; via Diomedes, one of the heroes of the Trojan war, and the founder of Histonium according to legend. Therefore Hosidius likely chose to depict a legend that was well known and important to the people of his home town.
This is without a doubt one of my favourites in my collection. It's a particularly well centred example with wonderful toning.
Notes from Andrew McCabe: "I purchased this coin due to the really exceptional speared boar and dog on the reverse and the very large flan, but later found an example from the collection of Benjamin Nightingale, a well-known 19th century antiquarian. My new coin has a less cute boar, but I had to choose between provenance and art."
Paulus J
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Trajan - dupondius RIC 676Trajan. Dupondius, 115-117 AD; 11.54g; obv. IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P, radiate draped bust right; rev. SENATVS POPVLVSQVE ROMANVS S C, Trajan advancing right between 2 trophies. RIC 676. Bartosz A
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Trajan AE Dupondius, Trajan between 2 trophiesTrajan Æ Dupondius. IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P, radiate dr bust right / SENATVS POPVLVSQVE ROMANVS S C, Trajan advancing right between 2 trophies. RIC 676, Cohen 356.mattpat
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Trajan DupondiusIMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO P M TR P COS VI P P
Radiate and draped bust of Trajan right
SENATVS POPVLVSQVE ROMANVS SC
Trajan, in military attire, advancing right, head left, between two trophies
Rome 116 AD
12.83g
RIC 676
Sear 3219
Scarce?
Ex-Arcade Coins
SOLD!Jay GT4
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Trajan, RIC 676, Dupondius of AD 116 (Trajan between trophies)Æ Dupondius (14.3g, Ø27mm, 6h) Rome mint. Struck AD 116.
Obv.: IMP CAES NER TRAIANO OPTIMO AVG GER DAC PARTHICO PM TRP COS VI PP, radiate head of Trajan right.
Rev.: SENATVS POPVLVSQUE ROMANVS (around) S C (in ex.), Trajan standing between two trophies.
RIC 676; Sear (Roman Coins & their Values II) 3219
ex D. Ruskin (Oxford, 1997)Charles S
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