Roma Numismatics Ltd
Auction XVII 28 Mar 2019
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Septimius Severus AV Aureus. Rome, AD 205. SEVERVS PIVS AVG, laureate head right / P M TR P XIII COS III P P, Jupiter standing left, holding thunderbolt and sceptre, eagle standing to left at his feet. RIC 196; Calicó 2508; Biaggi 1090; BMCRE 469; C. 468; Hill 719. 7.29g, 19mm, 12h.
Near Mint State; highly lustrous surfaces. Rare.
Ex Roma Numismatics VIII, 28 September 2014, lot 1039.
The present aureus represents part of a concerted monetary propaganda campaign designed to reinforce the cult of the emperor and strengthen the association between the imperial family and the numerous deities and demigods depicted on the Roman coinage.
Dynastic imagery depicted on the multiple-portrait issues struck in particular around AD 200/1 presented a strong message of stability from an ostensibly virtuous imperial family, thus creating the potential for a stable succession by being seen to be grooming the next generation for the duty of ruling the empire. On their jugate-portrait issues, the mutual dependence of the sun and the moon is harnessed as a device to portray the strong bond of Septimius Severus and Julia Domna, while emphasising the concept of permanence - in this case, of the principate and the empire it ruled. Septimius' radiate crown denotes him as a representation of Sol, and the bust of Domna is set upon a crescent moon, the attribute of Luna. The legend inscribed on that type, CONCORDIAE AETERNAE (eternal harmony) is intended to refer not only to the imperial family, connoting firm hands on the tiller of the empire, the prospect of a secure succession, while also reflecting Septimius' (largely justifiable) claim to have brought peace and a renewed golden age to Rome. There existed among the general populace a heartfelt belief that a stable imperial family was conducive to having a stable domain, and this reassurance is dovetailed neatly into another key element of the Roman collective psyche - the idea that Rome and its empire were everlasting - a concept that features heavily in literature such as the Aeneid, a work that had had a profound impact on Roman culture.
For Septimius' sons Caracalla and Geta meanwhile, an association was cultivated with the tutelary deities of Septimius Severus' home city of Lepcis Magna (also spelt Leptis). For them, the Phoenician gods Shadaphra and Melqart (who were equated with Liber Pater or Bacchus, and Hercules respectively) were invoked as patron deities for the young princes. Indeed, on the provincial coinage in the name of Caracalla reverse types of Hercules dominate, while on those of Geta, Liber or Bacchus appear with great frequency. Similarly, on a parallel issue of aurei of extreme rarity the reverse type for Caracalla portrays Hercules feasting (Leu 93, 68), whereas Bacchus and Ariadne, thronged by the god's company of maenads and satyrs, were chosen for Geta (Leu 87, 66). That these two gods were important to Severus on a personal level is also evident, as they clearly served as the tutelary deities of his regime, appearing on several other coin issues during his reign, and on the provincial coinage in his sons' names. On an extremely rare series issued in 204, the two gods are specifically referred to as the 'Di Patrii'; A. Peck (University of Warwick, 1 March 2015) cohesively argues that since "in literature also, the phrase di patrii appears to have been used almost exclusively in relation to the gods of Rome, particularly with regards to the penates that were according to legend brought to Italy from Troy by Aeneas", the issue is intended to demonstrate the "equal importance that was placed upon local and imperial identities, proudly displaying the emperor's attachment to his local patria, whilst also honouring the religious elements that were at the heart of Rome's conceptualisation of patria".
Moreover, while the coinage in the sole name of the empress Julia Domna places her alongside such deities as Juno, Diana, Venus and Cybele, Septimius coinage here parallels that of his wife with what could be interpreted as either a hubristic tacit equation of the emperor to Jupiter, king of the Gods, or as an invocation of the supreme Roman deity as patron of the emperor in his role both as the gubernator of the state and pontifex maximus.
Near Mint State; highly lustrous surfaces. Rare.
Ex Roma Numismatics VIII, 28 September 2014, lot 1039.
The present aureus represents part of a concerted monetary propaganda campaign designed to reinforce the cult of the emperor and strengthen the association between the imperial family and the numerous deities and demigods depicted on the Roman coinage.
Dynastic imagery depicted on the multiple-portrait issues struck in particular around AD 200/1 presented a strong message of stability from an ostensibly virtuous imperial family, thus creating the potential for a stable succession by being seen to be grooming the next generation for the duty of ruling the empire. On their jugate-portrait issues, the mutual dependence of the sun and the moon is harnessed as a device to portray the strong bond of Septimius Severus and Julia Domna, while emphasising the concept of permanence - in this case, of the principate and the empire it ruled. Septimius' radiate crown denotes him as a representation of Sol, and the bust of Domna is set upon a crescent moon, the attribute of Luna. The legend inscribed on that type, CONCORDIAE AETERNAE (eternal harmony) is intended to refer not only to the imperial family, connoting firm hands on the tiller of the empire, the prospect of a secure succession, while also reflecting Septimius' (largely justifiable) claim to have brought peace and a renewed golden age to Rome. There existed among the general populace a heartfelt belief that a stable imperial family was conducive to having a stable domain, and this reassurance is dovetailed neatly into another key element of the Roman collective psyche - the idea that Rome and its empire were everlasting - a concept that features heavily in literature such as the Aeneid, a work that had had a profound impact on Roman culture.
For Septimius' sons Caracalla and Geta meanwhile, an association was cultivated with the tutelary deities of Septimius Severus' home city of Lepcis Magna (also spelt Leptis). For them, the Phoenician gods Shadaphra and Melqart (who were equated with Liber Pater or Bacchus, and Hercules respectively) were invoked as patron deities for the young princes. Indeed, on the provincial coinage in the name of Caracalla reverse types of Hercules dominate, while on those of Geta, Liber or Bacchus appear with great frequency. Similarly, on a parallel issue of aurei of extreme rarity the reverse type for Caracalla portrays Hercules feasting (Leu 93, 68), whereas Bacchus and Ariadne, thronged by the god's company of maenads and satyrs, were chosen for Geta (Leu 87, 66). That these two gods were important to Severus on a personal level is also evident, as they clearly served as the tutelary deities of his regime, appearing on several other coin issues during his reign, and on the provincial coinage in his sons' names. On an extremely rare series issued in 204, the two gods are specifically referred to as the 'Di Patrii'; A. Peck (University of Warwick, 1 March 2015) cohesively argues that since "in literature also, the phrase di patrii appears to have been used almost exclusively in relation to the gods of Rome, particularly with regards to the penates that were according to legend brought to Italy from Troy by Aeneas", the issue is intended to demonstrate the "equal importance that was placed upon local and imperial identities, proudly displaying the emperor's attachment to his local patria, whilst also honouring the religious elements that were at the heart of Rome's conceptualisation of patria".
Moreover, while the coinage in the sole name of the empress Julia Domna places her alongside such deities as Juno, Diana, Venus and Cybele, Septimius coinage here parallels that of his wife with what could be interpreted as either a hubristic tacit equation of the emperor to Jupiter, king of the Gods, or as an invocation of the supreme Roman deity as patron of the emperor in his role both as the gubernator of the state and pontifex maximus.