Roma Numismatics Ltd
Auction XXVII 22-23 Mar 2023
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Licinius I AV Aureus. Siscia, AD 316. LICINIVS P F AVG, laureate head to right / IOVI CONSERVATORI AVG, Jupiter standing facing, head to left, holding thunderbolt and sceptre; at his feet on left, eagle standing to left, head reverted; X in right field, SIS in exergue. RIC VII 19 & 21; Depeyrot 12/1; Alföldi 226; Calicó 5120. 5.19g, 20mm, 6h.
Good Extremely Fine; rev. lightly brushed. Extremely Rare.
Ex Classical Numismatic Group, Auction 111, 29 May 2019, lot 801.
Ex ArtCoins Roma 8, 4 February 2014, lot 715 (hammer: EUR 20,000).
The portrait and reverse type employed on this aureus are deliberately conventional: Licinius' close cropped hair, sharp beard, stylised face and neck with straight features and stern eyes reflects the unifying portrait style of the tetrarchic system of four emperors instituted by Diocletian in AD 293, whose images are often so similar that they are only attributable by legend.
While clearly displaying Licinius' conformity to tetrarchic ideals, his portraiture was according to R.R.R. Smith also "clearly an oppositional and reactive style" in comparison with his co-emperor Constantine's, who favoured a slender, youthful, clean-shaven portrait which harked back "beyond the aggressive paternal militarism of third-century and tetrarchic portraits" to the classical features and archetypal fringe of the Julio-Claudian mode of imperial representation. (Roman Portrait Statuary from Aphrodisias, 2006, p.186-91). These conflicting methods of representation emphasised the political and religious differences of the two emperors; differences starkly characterised also by their choice of symbolism. Whereas Constantine chose to highlight his monotheistic credentials by using the Chi-Rho symbol on his military standards (a style of standard which became its own distinct category, known as a labarum), Licinius instead reinforced his connection to ancient Roman tradition and continued to use 'pagan' motifs on both his coinage, as in this example, and on his military standards. The depiction of Jupiter standing on this coin is typical of Licinius' earlier issues; this imagery evolved into an enthroned format in later issues; the overall impact, however, remains the same. His consistent use of traditional Roman iconography, particularly that of Jupiter where is coinage is concerned, can be seen to be as much motivated by his desire to create clear distinctions between himself and his opponent, Constantine, as a reflection of his true religious beliefs.
This aureus was struck during a short period of relative peace between the two hostile co-emperors, a peace that was interrupted in 321 when Constantine routed and pursued a band of Sarmatians (against whom Licinius has been pursuing an ongoing campaign since 318) into a region of the empire under Licinius' control, heightening tensions between the two. These tensions reached breaking point when Constantine again pursued enemies into Licinius' territories in 323, resulting in Licinius' declaration that their treaty had been broken. Seizing upon this casus belli, Constantine moved swiftly against his imperial colleague and Licinius was emphatically defeated on both land and sea in a series of decisive battles culminating in Constantine's decisive victory at the Battle of Chrysopolis in 324. Thus did Constantine assume sole control of the empire.
Good Extremely Fine; rev. lightly brushed. Extremely Rare.
Ex Classical Numismatic Group, Auction 111, 29 May 2019, lot 801.
Ex ArtCoins Roma 8, 4 February 2014, lot 715 (hammer: EUR 20,000).
The portrait and reverse type employed on this aureus are deliberately conventional: Licinius' close cropped hair, sharp beard, stylised face and neck with straight features and stern eyes reflects the unifying portrait style of the tetrarchic system of four emperors instituted by Diocletian in AD 293, whose images are often so similar that they are only attributable by legend.
While clearly displaying Licinius' conformity to tetrarchic ideals, his portraiture was according to R.R.R. Smith also "clearly an oppositional and reactive style" in comparison with his co-emperor Constantine's, who favoured a slender, youthful, clean-shaven portrait which harked back "beyond the aggressive paternal militarism of third-century and tetrarchic portraits" to the classical features and archetypal fringe of the Julio-Claudian mode of imperial representation. (Roman Portrait Statuary from Aphrodisias, 2006, p.186-91). These conflicting methods of representation emphasised the political and religious differences of the two emperors; differences starkly characterised also by their choice of symbolism. Whereas Constantine chose to highlight his monotheistic credentials by using the Chi-Rho symbol on his military standards (a style of standard which became its own distinct category, known as a labarum), Licinius instead reinforced his connection to ancient Roman tradition and continued to use 'pagan' motifs on both his coinage, as in this example, and on his military standards. The depiction of Jupiter standing on this coin is typical of Licinius' earlier issues; this imagery evolved into an enthroned format in later issues; the overall impact, however, remains the same. His consistent use of traditional Roman iconography, particularly that of Jupiter where is coinage is concerned, can be seen to be as much motivated by his desire to create clear distinctions between himself and his opponent, Constantine, as a reflection of his true religious beliefs.
This aureus was struck during a short period of relative peace between the two hostile co-emperors, a peace that was interrupted in 321 when Constantine routed and pursued a band of Sarmatians (against whom Licinius has been pursuing an ongoing campaign since 318) into a region of the empire under Licinius' control, heightening tensions between the two. These tensions reached breaking point when Constantine again pursued enemies into Licinius' territories in 323, resulting in Licinius' declaration that their treaty had been broken. Seizing upon this casus belli, Constantine moved swiftly against his imperial colleague and Licinius was emphatically defeated on both land and sea in a series of decisive battles culminating in Constantine's decisive victory at the Battle of Chrysopolis in 324. Thus did Constantine assume sole control of the empire.