Numismatica Ars Classica
Spring Sale 2021 10 May 2021
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Roman Empire. Geta augustus, 209 – 211.
Sestertius 210, Æ 22.32 g. IMP CAES P SEPT GETA PIVS AVG Laureate bust r., with drapery on l. shoulder. Rev. PONTIF TR P II COS II Caracalla and Geta, both in military attire, standing l.; beside them soldiers with standard and seated captive. In exergue, S C. C 146. BMC 217. Biaggi, Le preziose patine 490 (this coin illustrated). RIC 157b.
Very rare. A bold portrait and an interesting reverse composition, lovely green
patina with some minor areas of corrosion and a flan crack at five
o'clock on reverse, otherwise good very fine
The last campaign of the emperor Septimius Severus was waged on the northern border of Britain, where the ageing emperor would die at the military headquarters at York in February, 211. Accompanying Severus on the campaign against the Caledonians were his wife Julia Domna and his two quarrelsome sons, Caracalla and Geta. The campaign perhaps had begun in 207, but was in full swing by 208 and continued until 211, perhaps a year after this sestertius was struck at Rome.
The campaign originally was led by Septimius and Caracalla, but when Septimius fell ill Caracalla took supreme command. This could not have pleased Geta, who remained with his mother at the base camp at York. He probably viewed his father's decline and the consequent strengthening of his brother as a threat that only intensified their already bitter rivalry. When Septimius died, Caracalla made peace with the Caledonians on less-than-favourable terms that required the Romans to withdraw to Hadrian's Wall.
Coins referencing this war were struck in the names of all three Severan men, and among these the bronze sestertii are the most impressive. The broad field of the sestertius die allowed the engraver the greatest latitude, and in this case, he produced an excellent work of art showing Caracalla and Geta in their military attire with three standard-bearing soldiers and a seated, bound captive in the background. Importantly, the figures are presented on different planes, providing the illusion of greater depth than what actually exists. To some degree this creates the illusion of movement or agitation and is akin to the multi-layered scenes that appeared on Rome mint medallions of the 2nd and 3rd Centuries A.D.
Sestertius 210, Æ 22.32 g. IMP CAES P SEPT GETA PIVS AVG Laureate bust r., with drapery on l. shoulder. Rev. PONTIF TR P II COS II Caracalla and Geta, both in military attire, standing l.; beside them soldiers with standard and seated captive. In exergue, S C. C 146. BMC 217. Biaggi, Le preziose patine 490 (this coin illustrated). RIC 157b.
Very rare. A bold portrait and an interesting reverse composition, lovely green
patina with some minor areas of corrosion and a flan crack at five
o'clock on reverse, otherwise good very fine
The last campaign of the emperor Septimius Severus was waged on the northern border of Britain, where the ageing emperor would die at the military headquarters at York in February, 211. Accompanying Severus on the campaign against the Caledonians were his wife Julia Domna and his two quarrelsome sons, Caracalla and Geta. The campaign perhaps had begun in 207, but was in full swing by 208 and continued until 211, perhaps a year after this sestertius was struck at Rome.
The campaign originally was led by Septimius and Caracalla, but when Septimius fell ill Caracalla took supreme command. This could not have pleased Geta, who remained with his mother at the base camp at York. He probably viewed his father's decline and the consequent strengthening of his brother as a threat that only intensified their already bitter rivalry. When Septimius died, Caracalla made peace with the Caledonians on less-than-favourable terms that required the Romans to withdraw to Hadrian's Wall.
Coins referencing this war were struck in the names of all three Severan men, and among these the bronze sestertii are the most impressive. The broad field of the sestertius die allowed the engraver the greatest latitude, and in this case, he produced an excellent work of art showing Caracalla and Geta in their military attire with three standard-bearing soldiers and a seated, bound captive in the background. Importantly, the figures are presented on different planes, providing the illusion of greater depth than what actually exists. To some degree this creates the illusion of movement or agitation and is akin to the multi-layered scenes that appeared on Rome mint medallions of the 2nd and 3rd Centuries A.D.