THE GOLDEN CHARM OF ANCIENT ROME
According to Pliny, the first Roman gold coin was minted around 125 b. C., when Rome, that was fighting Carthage at that time, was about to reach the peak of its political and economic power. The first samples represent double-faced Janus. They are commonly referred to as Saters, according to the Greek tradition, and they were produced only sporadically.
The Aureus will start being coined with Silla in 87 b. C. However, it is thanks to Julius Caesar that such coins will start being produced more regularly: in 49-48 b. C. in fact, by leveraging Gaul’s gold mines, Caesar starts mass producing Aureus coins, placing them at the top of the Roman currency system: the exchange rate is set at 25 Deniers and its weight is brought to 8.2 grams. At first, the coins used to depict the gods. However, starting from 43 b. C., the first portraits begin to appear, a feature that will mark coins production throughout the Roman Empire era, even when the Aureus will be replaced by the Solidus after Constantine Magnus’s reform between 310 and 313 a. C.
In this framework, the winter numismatic auction held on 4 and 5 December offered the chance to observe both the technical and the iconographic evolution of the Roman Aureus, thanks to several examples of exquisite workmanship, whose origins often add to their natural charm. Going back to the Caesarean origins of the coin, the Republican state is a predominant feature in coining as well: Julius Caesar, despite his full powers, decides not to represent himself on the coins, preferring the goddess Vesta and the pontifical symbols.
Only five years later the perspective is radically different. It is 41 b. C., the Empire has not yet risen. On a coin we find two famous triumvirs, Octavian and Marc Anthony, who establish their temporary alliance and their supremacy over Rome. With the establishment of the Empire, propaganda plays an improved role: gold is chosen either to commemorate the most significant events or for the most refined coins. An example of this is the Aureus minted between 18 and 16 b. C., where a triumphal arch surmounted by a quadriga is represented on the reverse of the coin. This was the Emperor’s wish in order to celebrate the salvaged military ensigns stolen by the Parthians from Crassus during the Battle of Carrhae.
Not many coins of this kind were made and, if one considers their prestigious origins (the coin used to be part of the New York Metropolitan Museum of Art’s collection and, before that, it belonged to Sir Edward H. Bunbury), it is easy to acknowledge their value. The Aureus of Antoninus Pius which deserves particular attention comes from the prestigious collection of the Vicomte de Ponton d’Amecourt’s of the Metropolitan. This is a small work of art whose style and quality are exceptional and testify the pinnacle of Imperial Rome. It is not by chance that it has set a world record for a hammer price of e 50,400 in a public auction.
Over one hundred years later, the coin completely changed its technical features. The Empire is now in decline, and Caracalla implements a monetary reform where the weight is reduced to only 6.5 grams. Taken from this period, the auction will present two examples from Aurelian and Probus times: although the value is slightly lower, the craftsmanship is excellent and, despite the reform, their appeal to collectors is unaltered. We would like to mention the Aureus of Probus with the chariot on the reverse that was sold for e 67,200. As previously stated, with Constantine, the Aureus will be replaced by the Solidus, which will rank first among Roman coins. It is as light as 4.5 grams and its wider surface allows for bigger portraits. From one of the most significant collections of the second half of the 20th century, the Garrett collection, we presented a prestigious Soildus: Julian the Apostate sold for e 5,280.
Female representation on Roman Aureus worth one last remark. The first woman to be depicted on a gold coin is Augustus’ younger sister Octavia. This marks the beginning of a tradition that will last throughout the imperial age. Despite not being as common as male representations, they tended to be similar in terms of technique and style. The Aureus of Galeria Valeria, the daughter of Diocletian, well represents the category, being the undisputed queen of the auction. The rare coin, which used to belong to the Metropolitan’s collection and to the famous late 19th century Hyman Montagu’s collection, exceeded the staggering e 100,000. Galeria Valeria concludes this brief overview on ancient Rome, more than five-hundred years of history whose charm is still unspoilt. These coins bring its unique lure back to life, thus proving how collections can highlight our ancestors’ deeds, while passing on the cultural importance of which they are imbued.
By Gabriele Tonello
The Aureus will start being coined with Silla in 87 b. C. However, it is thanks to Julius Caesar that such coins will start being produced more regularly: in 49-48 b. C. in fact, by leveraging Gaul’s gold mines, Caesar starts mass producing Aureus coins, placing them at the top of the Roman currency system: the exchange rate is set at 25 Deniers and its weight is brought to 8.2 grams. At first, the coins used to depict the gods. However, starting from 43 b. C., the first portraits begin to appear, a feature that will mark coins production throughout the Roman Empire era, even when the Aureus will be replaced by the Solidus after Constantine Magnus’s reform between 310 and 313 a. C.
In this framework, the winter numismatic auction held on 4 and 5 December offered the chance to observe both the technical and the iconographic evolution of the Roman Aureus, thanks to several examples of exquisite workmanship, whose origins often add to their natural charm. Going back to the Caesarean origins of the coin, the Republican state is a predominant feature in coining as well: Julius Caesar, despite his full powers, decides not to represent himself on the coins, preferring the goddess Vesta and the pontifical symbols.
Only five years later the perspective is radically different. It is 41 b. C., the Empire has not yet risen. On a coin we find two famous triumvirs, Octavian and Marc Anthony, who establish their temporary alliance and their supremacy over Rome. With the establishment of the Empire, propaganda plays an improved role: gold is chosen either to commemorate the most significant events or for the most refined coins. An example of this is the Aureus minted between 18 and 16 b. C., where a triumphal arch surmounted by a quadriga is represented on the reverse of the coin. This was the Emperor’s wish in order to celebrate the salvaged military ensigns stolen by the Parthians from Crassus during the Battle of Carrhae.
Not many coins of this kind were made and, if one considers their prestigious origins (the coin used to be part of the New York Metropolitan Museum of Art’s collection and, before that, it belonged to Sir Edward H. Bunbury), it is easy to acknowledge their value. The Aureus of Antoninus Pius which deserves particular attention comes from the prestigious collection of the Vicomte de Ponton d’Amecourt’s of the Metropolitan. This is a small work of art whose style and quality are exceptional and testify the pinnacle of Imperial Rome. It is not by chance that it has set a world record for a hammer price of e 50,400 in a public auction.
Over one hundred years later, the coin completely changed its technical features. The Empire is now in decline, and Caracalla implements a monetary reform where the weight is reduced to only 6.5 grams. Taken from this period, the auction will present two examples from Aurelian and Probus times: although the value is slightly lower, the craftsmanship is excellent and, despite the reform, their appeal to collectors is unaltered. We would like to mention the Aureus of Probus with the chariot on the reverse that was sold for e 67,200. As previously stated, with Constantine, the Aureus will be replaced by the Solidus, which will rank first among Roman coins. It is as light as 4.5 grams and its wider surface allows for bigger portraits. From one of the most significant collections of the second half of the 20th century, the Garrett collection, we presented a prestigious Soildus: Julian the Apostate sold for e 5,280.
Female representation on Roman Aureus worth one last remark. The first woman to be depicted on a gold coin is Augustus’ younger sister Octavia. This marks the beginning of a tradition that will last throughout the imperial age. Despite not being as common as male representations, they tended to be similar in terms of technique and style. The Aureus of Galeria Valeria, the daughter of Diocletian, well represents the category, being the undisputed queen of the auction. The rare coin, which used to belong to the Metropolitan’s collection and to the famous late 19th century Hyman Montagu’s collection, exceeded the staggering e 100,000. Galeria Valeria concludes this brief overview on ancient Rome, more than five-hundred years of history whose charm is still unspoilt. These coins bring its unique lure back to life, thus proving how collections can highlight our ancestors’ deeds, while passing on the cultural importance of which they are imbued.
By Gabriele Tonello