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YOTHR Coins of the Day: 11/13/2023, TWO BOOKS


Prieure de Sion

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Lucius Aurelius Verus under Marcus Aurelius
Denarius of the Roman Imperial Period 162/163 AD; Material: Silver; Diameter: 19mm; Weight: 3.60g; Mint: Rome, Reference: RIC III Marcus Aurelius 491; Provenance: Ex Essex Coins London, Great Britain; Obverse: Head of Lucius Verus, bare, right. The Inscription reads: IMP L VERVS AVG for Imperator Lucius Verus Augustus; Reverse: Providentia, draped, standing left, holding globe on extended right hand and cornucopiae in left hand. The Inscription reads: PROV DEOR TR P III COS II for Providentia Deorum. Tribunicia Potestate Tertia, Consul Secundum (Foresight of the gods. Holder of tribunician power for the third time, consul for the second time).
 
 
 
 
 
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Lucius Aurelius Verus (b. 15 December 130 AD; d. 169 AD in Altinum) was Roman Emperor together with Marcus Aurelius from 161 AD until his death. Verus was the son of Lucius Aelius Caesar, a man close to the Emperor Hadrian, and his wife Avidia. Verus was first called Lucius Ceionius Commodus, like his father, so he came from the family of the Ceionians. When in 136 AD his father was adopted by Hadrian and designated as his successor, Verus was given the name Lucius Aelius Commodus. However, Lucius Aelius Caesar died already in January 138 AD, and the terminally ill Hadrian made Antoninus Pius his successor instead, but on condition that Antoninus in turn adopted Lucius Verus. This happened on 25 February 138 AD. Verus received the gentile name Aurelius and was now called Lucius Aelius Aurelius Commodus. At the same time, Lucius Verus was betrothed to Faustina, the daughter of Antoninus, at Hadrian's behest - according to several scholars, this is a clear indication that Hadrian had chosen him as the future emperor and successor to Antoninus. Marcus Aurelius, Antoninus' nephew by marriage, was also adopted by him. After Hadrian's death on 10 July 138 AD, however, Antoninus preferred Marcus Aurelius to Lucius Verus and immediately broke off the engagement between Lucius Verus and Faustina, who married Marcus Aurelius instead in 145 AD. 
 
Officially, both men had almost equal powers, but in fact it was Marcus Aurelius who, as senior Augustus, clearly claimed the leadership. The existence of two completely equal rulers would also have been incompatible with the nature of the principate. In order to consolidate the alliance with his adoptive brother, Marcus Aurelius gave his daughter Lucilla to Lucius Verus in 163 AD as a wife, with whom the latter had a daughter and possibly further children. At the same time, this marriage once again highlighted the hierarchy between the two emperors: as his son-in-law, Lucius Verus was, in a sense, artificially downgraded by one generation compared to Marcus Aurelius.
 
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The fun-loving Lucius Verus. Later ancient sources report that Lucius Verus led a glamorous life and had a crowd of actors and favourites around him. He even had a tavern built into his house and partied there with his friends until dawn. He is also said to have enjoyed roaming the city and mingling with the people without revealing his identity. Circus games were another passion of his life, especially chariot races. It is said that Marcus Aurelius disapproved of Lucius Veru's lifestyle, but since he performed his official duties efficiently, he offered Marcus Aurelius no point of attack. The veracity of these accounts is disputed, but there are certainly indications of conflict: Philostratus mentions in passing that Marcus Aurelius deeply distrusted his co-emperor, which is why Herodes Atticus, among others, fell out of favour because of his friendship with Verus. And Cassius Dio reports that Verus conspired with others against Marcus Aurelius and was therefore poisoned by him.
 
Antonine plague, smallpox epidemic or the family? After the beginning of the Marcomannic Wars, the emperors Marcus Aurelius and Lucius Verus moved into their headquarters in Aquileia in Upper Italy in the autumn of 168 AD in order to direct the fighting from there. At the beginning of 169 AD, when the "plague" broke out again, both Augusti decided to return to Rome. On the way, Lucius Verus fell ill quite suddenly and died after a few days in the small town of Altinum. According to later sources, some contemporaries doubted that Lucius Verus had died of natural causes. Among others, his mother-in-law Faustina and his wife Lucilla were suspected of having arranged the murder with the knowledge of Marcus Aurelius. There were also rumours that Verus had a sexual relationship with Faustina and was murdered by her after he had revealed himself to Lucilla.
 
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Providentia was the personification of foresighted care or providence and above all of the wise - but in principle nameless - leader of the state. Similar to Concordia or Fides, it became a generally revered divine principle early on because of its importance for the community. Providentia, which is assigned to individual persons, first appeared in Rome with Augustus. After the death of Augustus, the Emperor Tiberius erected an altar to Providentia Augusta in recognition of "the divinity manifested in his father's provisions for the Roman state". The cult title Augusta was also assigned to goddesses such as Pax, Justitia and Concordia during the imperial period. Traditional epithets invoked a deity within a specific functional sphere by declaring its power. The title Augusta thus fixed the power of divinity within the sphere of the emperor as Augustus. In AD 28, after Tiberius arrested and executed Sejanus for conspiracy, the cult of virtue played a role in propaganda that portrayed the restoration of imperial order as a return to constitutional government. Providentia was offered sacrifices along with salus ("security"), libertas ("freedom") and the genius. At this time Providentia was also given a permanent priest (Sacerdos) dedicated to her. Subsequently, Providentia increasingly appeared as the supreme imperial virtue, which was regarded as the basis of the world order. Accordingly, it is frequently found in the emperors' propagandistic rhetoric.
 
Lucius Verus and Providentia? On this denarius we see the personification with the attributes globe and cornucopia. They attest to the co-emperor's (divinely inspired) providence and foresight to ensure care - namely care for the Roman Empire (globe) and care for prosperity and abundance (cornucopia). Perhaps this propaganda was also necessary, given the lascivious lifestyle of Lucius Verus, which was also known to the people of Rome. Perhaps a kind of counter-propaganda - the co-emperor cares (no matter what rumours one may hear) about the well-being of the empire and the prosperity of its citizens.
 
Why Coin of the Day? It's best if you just watch the video, the picture is not so optimal. I think the denarius has an exceptionally undamaged, beautiful, fine and very detailed portrait of Lucius Verus. There is also a beautiful silver tint to it. I hope you enjoyed reading it.
 
 
 
 
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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 3/13/2023, Lucius Verus Providentia Denarius

 

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Marcus Aurelius Probus, as Imperator Caesar Marcus Aurelius Probus Augustus
Antoninianus of the Roman Imperial Period 276/282 AD; Material: Billon; Diameter: 23mm; Weight: 3.87g; Mint: Ticinum; Reference: RIC V Probus 573; Provenance: InAsta Numismatics, San Marino; Obverse: Bust of Probus, radiate, cuirassed, right. The Inscription reads: IMP C PROBVS AVG for Imperator Caesar Probus Augustus; Reverse: Securitas, draped, standing left, legs crossed, leaning on column, raising right hand to head; ΓXXI in exergue. The Inscription reads: SECVRIT PERP for Securitas Perpetua (To perpetual security).
 
 
 

 

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Securitas is the personification of the security of the Roman people in Roman mythology of the imperial era. Literally, she is translated as "freedom from worries". The cult of Securitas took on special significance in times of crisis from the 3rd century onwards. Since then, she has occasionally been depicted on the reverse sides of the bronze coins of Asia Minor cities. There is little evidence of her in literature and inscriptions and she appears mainly on coins, often with the attributes of staff, lance, cornucopia, palm branch and sacrificial bowl. As a seated figure she usually supports her head with her arm, as a standing figure she is usually depicted leaning against a column. Often she also holds the sun or an (earth) sphere in her hand. There are coinages of almost all emperors from Otho and Vitellius to Constans and Constantius which have as reverse this figure of security, and as legend the word SECVRITAS, with the addition of the words AVGVSTI, or AVGVSTORVM (security of the emperor or emperors), ORBIS (security of the world), PVBLICA (public security), PERPETVA (perpetual security), POPVLI ROMANI (security of the Roman people), TEMPORVM (of the times), IMPERII (of the empire), SAECVLI (of the age) or REPVBLICAE (of the republic), etc.

 

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Salvation, care, peace and eternal security of the Emperor Probus (or through the Emperor) are directly related to the military harmony that brings victory and peace. A star in connection with securitas also appears only on the coinage of Probus (with the exception of the coinage of the later Emperor Iulian) and seems to be borrowed from the aeternitas symbolism. Thus, the Securitas reverses with star consequently reveal an intentional connection between the concept of (lasting) security and permanence of rule, which, although logically presupposed, had previously only been communicated in legends and was not tangible in the coin images themselves. 

The same is true of the perpetuitas coinage of the emperor from Ticinum - a series of antoniniani with perpetuitas reverses in the name of Probus showing the personification in the same way, surrounded by the legend PERPETVIT, PERPETVITA or PERPETVITATE AVG. Gottschall describes Perpetuitas as "a new creation of this time, which in a typical Roman additive manner combines the statement of Securitas with the symbol of dominion, the globe, and thus allows an aspect that is actually Securitas' own to become an independent personification. Perpetuitas is to be considered primarily against the background of divinely legitimised rule and the aeternitas symbolism. The emperor receives dominion over the earthly sphere from Iupiter for an unlimited period of time and eventually becomes part of the divine sphere himself - a central point in the development of the ideology of rule and the imperial imago in the 3rd century. Perpetuitas can only be granted by the gods - securitas is guaranteed by the emperor.

 

Why Coin of the Day? I am always in shock infatuation with the precisely detailed front and back renderings of the Probus. The lovingly designed and numerous versions of the Probus busts always make the collector's heart leap for joy.

 

 

 

 

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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 3/20/2023, Marcus Aurelius Probus Securitas Perpetua BI Antoninianus

 

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Gaius Caesar Augustus Germanicus Caligula
Sestertius of the Roman Imperial Period 39/40 AD; Material: AE Bronze; Diameter: 36mm; Weight: 28.39g; Mint: Rome; Reference: RIC I (second edition) Gaius/Caligula 46; Provenance: Ex Stephen Album Rare Coins USA; Obverse: Head of Caligula, laureate, left. The Inscription reads: C CAESAR DIVI AVG PRON AVG P M TR P III P P for Caius Caesar Divi Augusti Pronepos Augustus, Pontifex Maximus, Tribunicia Potestate Tertia, Pater Patriae (Gaius Caesar, great-grandson of the divine Augustus, Augustus, high priest, holder of tribunician power for the third time, father of the nation); Reverse: Legend in four lines in oak-wreath. The Inscription reads: S P Q R P P OB CIVES SERVATOS for Senatus Populusque Romanus Patri Patriae, Ob Cives Servatos (The senate and the Roman people to the father of the nation, the saviour of the citizens).
 
 
 
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Gaius Caesar Augustus Germanicus (born 31 August 12 in Antium as Gaius Iulius Caesar; died 24 January 41 in Rome), posthumously known as Caligula, was Roman Emperor from 37 to 41. Born the son of Germanicus and Agrippina the Elder with the name Gaius Iulius Caesar, Caligula was the great-grandson of Emperor Augustus through his mother and the great-grandson of Augustus' wife Livia through his father (see Julian-Claudian dynasty). The name Caligula (Latin: "little soldier's boot", diminutive of caliga) is derived from the legionaries' nailed soldier's boots, the caligae, which the Rhine legions had made for the travelling son of their commander-in-chief Germanicus, and was uncommon during his lifetime. His full title at the time of his death was Gaius Caesar Augustus Germanicus, Pontifex maximus, Tribunicia potestate IV, Consul IV, Imperator, Pater patriae. Caligula's youth was marked by the intrigues of the ambitious Praetorian prefect Seianus. After a hopeful start to his reign, which was marred by personal strokes of fate, the emperor increasingly exercised his rule as an autocratic monarch and had numerous senators sentenced to death in treason trials in an arbitrary use of his official powers. His tyranny ended with his assassination by the Praetorian Guard and individual measures to destroy the Emperor's memory.

The condemnation of at least the second half of Caligula's reign as cruel tyrannical rule is unanimous in ancient sources, including those from later times. No counterstatement has survived, and there is no reason to assume that Tacitus should have held an alternative view to Caligula in the lost passage. In modern research, comparatively few monographic studies on Caligula were written until the 1980s due to the problematic situation of the tradition. Despite the possibly one-sided tradition, Caligula is regarded as a politically unconceptualised, arbitrary tyrant whose government only remained without negative consequences due to the internal stability of the empire. The last three major biographies of Caligula reflect the range of contemporary doctrine: Arther Ferrill (1991) describes the image of the insane and irrationally cruel tyrant presented in the sources as historical, Anthony A. Barrett (1989) extensively discusses alternatives to the traditional account, and Aloys Winterling (2003) rehabilitates the emperor insofar as he makes his government understandable from the contemporary framework. The latter two works have been widely received in the research community and, because of the exemplary way in which they have been presented, have been largely well received. However, this has not led to a revision of the traditional view of history in the sense that Caligula's reign could be interpreted as successful in any respect or groundbreaking for later developments.

 

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Corona Civica (Saviour of the Citizens). The sestertius issued here for Caligula propagates the award of the so-called corona civica (civic crown). It was one of the highest military awards in the Roman Empire. It consisted of a wreath of oak leaves (quercea) and was awarded to the person who, as a Roman citizen (civis), saved the life of a fellow citizen in battle, killed the enemy, took the enemy's armour and was able to hold the place of the rescued person. It was handed over by the rescued person himself. In early republican times it was made from leaves of the holm oak (Quercus ilex), but in the course of time it was increasingly made from branches of the common oak (Quercus pendunculata). Special privileges were associated with the corona civica. For example, the holder sat with the senators at public games and everyone had to stand up when he entered. Gaius Iulius Caesar was awarded the civic crown, as was Augustus, who was given a civic crown to hang over the entrance to his house in 27 BC as a mark of honour. From this time onwards, the civic crown became an insignia of imperial dignity. To avoid resemblance to the corona Etrusca of Jupiter, the corona civica worn by emperors was probably not made of solid gold. Instead, the oak leaves were apparently merely adorned with golden ornaments and jewels (see also corona triumphalis).

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Augustus (as well as later emperors) also had the honourary distinction immortalised on his coins. Augustus was awarded the corona civica by the Senate on 13 January 27 BC. This honour for his services was only one of many that year, along with the award of the shield of virtue and the honorary name Augustus. Augustus received these honours for his political-legal reorganisation of the state, by "restoring the republic" in the course of the act of state, especially for ending the long period of civil wars and despotism during the 2nd Triumvirate. In 32 BC Octavian had bound Rome, Italy and the western provinces to his person by a military oath of allegiance. Octavian thus obtained the material support and legalisation of his action against the troops of Antony and the Ptolemaic queen. The fact of having saved Rome and Italy from the Egyptian threat made the later Augustus, through the oath of allegiance he had previously obtained, appear as a bringer of peace. This perfect orchestration culminated in the triple triumphal procession through Rome on 13-15 August 29 BC, for the victory at Actium, the victory over the Dalmatians and the conquest of Egypt. Already in January, the temple of Janus had been closed as a sign of peace throughout the empire. By ending the civil wars that had lasted for decades and the arbitrariness of the triumvirate period, for which he himself was partly responsible, Augustus had nevertheless attained the highest auctoritas (prestige, authority) ever bestowed on an individual. Now began the propaganda that portrayed him as the liberator of the empire, symbolised by the award of the corona civica in 27 BC. Caligula always endeavoured, also in his coinage, to express the dynastic connection to Augustus in his propaganda. Thus, this sestertius is also part of the imperial propaganda of the Julio-Claudian dynasty.

 

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The depicted image shows an example of the damnatio memoriae in the dynasty of the Severan imperial house with the erased face of Geta.

Damnatio memoriae (Latin for "condemnation of the memory") means the cursing and demonstrative erasure of the memory of a person by posterity. The term refers primarily to actions in the Roman Empire, but is itself a modern neologism. In antiquity, one spoke of abolitio nominis. The names of particularly despised and hated persons were erased from all annals, all accessible portraits and inscriptions were destroyed, and in the future it was avoided as much as possible to mention the condemned person publicly - although the mention of his name was never punishable. The Roman Senate had the emperors Caligula, Nero, Domitian, Commodus, Geta, Elagabal and Maximinus Thrax punished in this way (Caligula, according to Cassius Dio, only de facto, since Emperor Claudius prevented a real damnatio of his nephew). The wording of a (presumably fictitious) damnation decree has survived in the Vita Commodi of the Historia Augusta (20, 4-5), and traces of the damnatio against Geta have been preserved on a papyrus (BGU 2056). Although no damnatio was officially imposed on Severus Alexander and Gordian III, there are nevertheless inscriptions and portraits that have been edited accordingly. The effigies of the emperors concerned (statues, busts, herms, coins, etc.) were often destroyed or damaged, but sometimes they were also confiscated and reworked into effigies of other personalities. Traces of these alterations can still be found on the statues today. A conspicuous feature of such reworking is, for example, a head that is proportionally too small for the body, with conspicuously large or protruding ears. On the portraits of Emperor Nero, traces of the curls can still be seen on the neck of the reworked portraits, as Nero considered himself a great artist and accordingly had himself depicted with long hair in the costume of the artists. The name of the emperor in question was erased in inscriptions.

Whether a dead princeps fell to the damnatio or, on the contrary, was raised among the gods (apotheosis or divinisation) was in fact the decision of the successor, not of the Senate. Thus not only Claudius prevented the damnatio of Caligula, but apparently also Antoninus Pius that of the unpopular Hadrian. Some of the emperors on whose memory the damnatio had been imposed were also rehabilitated by a so-called restitutio memoriae, e.g. Nero under Otho and Vitellius and especially Commodus under Septimius Severus, who enforced a complete restitutio including apotheosis, since he claimed a fictitious relationship with Commodus. The procedure of damnatio was also used against politically disliked senators in the imperial period. As already mentioned, the aim was probably not to erase the memory - since the names of damned emperors could still be mentioned - but to curse the memory. The damnatio seems never to have been expressly ordered outside Rome: The preserved decision to damnate Gnaeus Calpurnius Piso indicates that the provinces were merely informed of how to proceed in the capital; the decision to imitate this was formally made by the local authorities. In late antiquity, the damnatio was decreed less frequently, but remained common; one example is the usurper Magnus Maximus, who was damnated in 388 AD.

An attempted damnatio memoriae is also indicated on the sestertius of Caligula presented here - or at least seems possible. The C for Caesar and the C for Gaius probably fell victim to the "erasure" and were erased. The (attempted) abrasions on the face can also probably be explained by the "damnatio memoriae".

 

Why Coin of the Day? Cleanly embossed, well centred and a beautiful dark brown patina are one thing. Fascinating is the difference between the propaganda on the reverse as the saviour of the Roman citizens and his actual actions during his reign. An ironic or sarcastic back propaganda. And secondly - the sestertius also shows the consequences of his actions - the damnatio memoriae. This sestertius combines everything.

 

 

 

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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 3/26/2023, Gaius Iulius Caligula Sestertius "Cives Servatos"

 

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Gaius Caesar Augustus Germanicus Caligula - Three Sisters
Paduan medal work of Giovanni da Cavino (1500-1570) XVI century; Imitating a Sestertius of the Roman Imperial Period 37/38 AD; Material: AE Bronze; Diameter: 37mm; Weight: 25.43g; Mint: Rome imitating; Reference: Imitating type RIC I (second edition) Gaius/Caligula 33, Klawans 1 (these dies); Obverse: Head of Caligula, laureate, left. The Inscription reads: C CAESAR AVG GERMANICVS PON M TR POT for Caius Caesar Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate (Gaius Caesar, Augustus, conqueror of the Germans, high priest, holder of tribunician power); Reverse: Three sisters of Caligula in guise of Securitas (Agrippina), Concordia (Drusilla), and Fortuna (Julia), standing side by side to front. The Inscription reads: AGRIPPINA DRVSILLA IVLIA S C for Agrippina Drusilla Iulia. Senatus Consultum (Agrippina Drusilla Iulia. Decree of the senate).
 
 
 
 
 
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Self-portrait (right) with Alessandro Bassiano (left), 1538
 
Paduan coins from the workshop of Giovanni da Cavino
 
Today I would like to present a so-called "Paduan" from the workshop of Giovanni da Cavino, which imitates the famous "Three Sisters" sestertius of Caligula (RIC 33). As the inscriptions inform us, the reverse shows the emperor's three sisters: Agrippina the Younger, Drusilla and Julia Livilla. The three women are depicted with the attributes of goddesses: Agrippina as Securitas leaning on a column, Drusilla as Concordia carrying a shallow sacrificial bowl (patera), and Julia Drusilla as Fortuna leaning on a helm with her right hand. All three women hold cornucopias in their hands as a sign of prosperity. This coin type thus joins the series of coinages on the emperor's family members. The sister Drusilla, depicted in the centre, was particularly important to the emperor, so that her death in AD 38 hit him hard.
 
As already described in the first paragraph, this is not an ancient coinage from the time of Caligula, but a copy of Giovanni da Cavino. He was born in Padua in 1500 and died there in 1570. Together with the scholar Alessandro Bassiano, Cavino invented and created various perfect replicas of ancient coins called Paduan. The biographical data we have on Cavino are scanty. His father Bartolomeo was an engraver and his two sons Giovanni and Battista learned the art from him. Only Giovanni prevailed through his technical skills and inventive wealth. His reputation and fame soon spread beyond the city limits of Padua. His works were requested by city leaders, scholars and nobles. Giovanni himself had three sons - Camillo, Vincenzo and Antonio. The latter was the only one to continue his activity after his father's death.
 
It is important to point out that Gioanni Cavino's coins were created as imitations of antiquity and not as forgeries. The imitation of objects of ancient art was traditional in the sixteenth century in Padua, home to one of the oldest Italian universities. These free interpretations of ancient originals were in keeping with the zeitgeist of the reception of ancient works of art at the time. In this period of burgeoning passion for classical antiquities, Cavino had special contact with Alessandro Bassiano, the author of a biography of the first twelve Caesars. Due to the perfect execution and the great artistic value of these re-creations, Cavino's works were and are found in many prestigious European collections. In part, the works were considered authentic by numerous numismatists of the past (Barthélemy and Mionnet).
 
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Giovanni Cavino's "sesterzi" were born in the fervid cultural climate and thriving environment of antiquarian studies and
passions of 16th-century Padua, where collecting and love of the classical age flourished especially among the wealthier classes
 
In the second half of the sixteenth century, Fulvio Orsini's Imagines virorum illustrium (1570, Rome) was published. For the first time, an illustrated book dealt with the scientific and systematic definition by comparing coins, gems and marble busts. This earned Orsini the title "father of ancient iconography". Within the circle of intellectuals, there were already well-made specimens of imitations, which were shown during discussions and studies. Here, as already mentioned, it was not a question of the pieces themselves, but of their contemporary origin. Cavino had close relations with the intellectuals of his time, who took a lively interest in the ancient things of Rome and especially in the "medals". Cavinos perfected his re-creations and these found enthusiastic buyers.
 
One must distinguish between three types of works by Master Cavino:
1) classical coins with a completely invented typology, but inspired by ancient coinage.
2) significant variants of actually existing coins
3) coins identical to the originals and reproduced in a style very similar to that of the ancient engravers.
 
More than one hundred and twenty original stamps created by the Paduan Master are kept in the Bibliothèque Nationale in Paris. They were bought by a Paduan family in the seventeenth century and described by Claude du Molinet in a study of 1692. However, even then there were stamps that were copied, up to modern stamp imitations. The chronological dating must therefore also be differentiated:
1) coins produced by Cavino himself
2) productions of his workshop, also posthumously
3) productions based on other die copies or modern copies
 
The Paduan presented here from my shop is an original. This example comes from the workshop of Giovanni da Cavino and is from a sixteenth century production.
 
 
 
 
 
For Easter, I would like to mention that a small Easter voucher is available in my shop. From a minimum order value of 75 euros, you can activate a voucher of 15 euros. The promotion is valid from 04.04. until 11.04. The voucher code is: EASTER2023
 
 
 
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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 4/5/2023, Gaius Caligula Paduan Sestertius "Three Sisters"

@YOTHR, in some of your photos I notice what looks like a post-processing "smoothing" effect, which is particularly evident on this photo of the Paduan 3 sisters coin.  (Does anybody else know what I mean? It seems to reduce reflectiveness too. Maybe it's an image compression thing?  I dunno...)  Personally I think the photos would look much better without this effect, which I think makes the surfaces look unnatural.

[I trust that this feedback is desired/well-received ... but if not I can delete this comment.]

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23 minutes ago, Severus Alexander said:

[I trust that this feedback is desired/well-received ... but if not I can delete this comment.]

Nothing is deleted here 😉 ... that is a constructive point that you address here. Therefore all good. 

 

24 minutes ago, Severus Alexander said:

in some of your photos I notice what looks like a post-processing "smoothing" effect, which is particularly evident on this photo of the Paduan 3 sisters coin.  (Does anybody else know what I mean? It seems to reduce reflectiveness too. Maybe it's an image compression thing?  I dunno...)  Personally I think the photos would look much better without this effect, which I think makes the surfaces look unnatural.

Unfortunately, I am completely untalented when it comes to pictures. Both in taking photos and editing them. When I scale the images to my template with logo I have somewhat blurry images. I must then take out the "noise" in the image processing and sharpen something. This creates such images - depending on how blurry the "original" image was / is. 

But that's why I try to provide a video for the corresponding coins - also in the store. An unaltered video is better than any picture. Therefore, you better watch my videos here and in the store. And if there is no current video for a coin, then just send a message - I will gladly create a video for the interested party for any coin that does not yet have a video. This is no problem at all.

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8 minutes ago, YOTHR said:

When I scale the images to my template with logo I have somewhat blurry images. I must then take out the "noise" in the image processing and sharpen something. This creates such images - depending on how blurry the "original" image was / is.

Ah, I see!  Maybe somebody here has a tip for you so this won't be a problem. (Maybe you can make the template higher resolution or something? or just paste on the logo to the original image?)  In the meantime, I agree, the videos are excellent. 👍

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10 hours ago, Severus Alexander said:

Ah, I see!  Maybe somebody here has a tip for you so this won't be a problem. (Maybe you can make the template higher resolution or something? or just paste on the logo to the original image?)  In the meantime, I agree, the videos are excellent. 👍

Don't laugh 😉 but in our country there is a so-called "Volkshochschule" - you could also say evening school - where many courses are offered for little money (languages, computers, etc.). And there I signed up for a macro photography course. Not only because of the coins, it interests me in general. But I hope after the course (which includes macro photography and image editing) I'm a little smarter and better 🙂

 

Ah! Again wrong account logged in - but you know that I am me 🙂

 

Since now the beautiful report has gone down a bit - I am so free and copy the text again as a new post here purely 🙂 ... so that it is not completely lost for interested readers. 

 

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Gaius Caesar Augustus Germanicus Caligula - Three Sisters
Paduan medal work of Giovanni da Cavino (1500-1570) XVI century; Imitating a Sestertius of the Roman Imperial Period 37/38 AD; Material: AE Bronze; Diameter: 37mm; Weight: 25.43g; Mint: Rome imitating; Reference: Imitating type RIC I (second edition) Gaius/Caligula 33, Klawans 1 (these dies); Obverse: Head of Caligula, laureate, left. The Inscription reads: C CAESAR AVG GERMANICVS PON M TR POT for Caius Caesar Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate (Gaius Caesar, Augustus, conqueror of the Germans, high priest, holder of tribunician power); Reverse: Three sisters of Caligula in guise of Securitas (Agrippina), Concordia (Drusilla), and Fortuna (Julia), standing side by side to front. The Inscription reads: AGRIPPINA DRVSILLA IVLIA S C for Agrippina Drusilla Iulia. Senatus Consultum (Agrippina Drusilla Iulia. Decree of the senate).
 
 
 
 
 
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Self-portrait (right) with Alessandro Bassiano (left), 1538
 
Paduan coins from the workshop of Giovanni da Cavino
 
Today I would like to present a so-called "Paduan" from the workshop of Giovanni da Cavino, which imitates the famous "Three Sisters" sestertius of Caligula (RIC 33). As the inscriptions inform us, the reverse shows the emperor's three sisters: Agrippina the Younger, Drusilla and Julia Livilla. The three women are depicted with the attributes of goddesses: Agrippina as Securitas leaning on a column, Drusilla as Concordia carrying a shallow sacrificial bowl (patera), and Julia Drusilla as Fortuna leaning on a helm with her right hand. All three women hold cornucopias in their hands as a sign of prosperity. This coin type thus joins the series of coinages on the emperor's family members. The sister Drusilla, depicted in the centre, was particularly important to the emperor, so that her death in AD 38 hit him hard.
 
As already described in the first paragraph, this is not an ancient coinage from the time of Caligula, but a copy of Giovanni da Cavino. He was born in Padua in 1500 and died there in 1570. Together with the scholar Alessandro Bassiano, Cavino invented and created various perfect replicas of ancient coins called Paduan. The biographical data we have on Cavino are scanty. His father Bartolomeo was an engraver and his two sons Giovanni and Battista learned the art from him. Only Giovanni prevailed through his technical skills and inventive wealth. His reputation and fame soon spread beyond the city limits of Padua. His works were requested by city leaders, scholars and nobles. Giovanni himself had three sons - Camillo, Vincenzo and Antonio. The latter was the only one to continue his activity after his father's death.
 
It is important to point out that Gioanni Cavino's coins were created as imitations of antiquity and not as forgeries. The imitation of objects of ancient art was traditional in the sixteenth century in Padua, home to one of the oldest Italian universities. These free interpretations of ancient originals were in keeping with the zeitgeist of the reception of ancient works of art at the time. In this period of burgeoning passion for classical antiquities, Cavino had special contact with Alessandro Bassiano, the author of a biography of the first twelve Caesars. Due to the perfect execution and the great artistic value of these re-creations, Cavino's works were and are found in many prestigious European collections. In part, the works were considered authentic by numerous numismatists of the past (Barthélemy and Mionnet).
 
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Giovanni Cavino's "sesterzi" were born in the fervid cultural climate and thriving environment of antiquarian studies and
passions of 16th-century Padua, where collecting and love of the classical age flourished especially among the wealthier classes
 
In the second half of the sixteenth century, Fulvio Orsini's Imagines virorum illustrium (1570, Rome) was published. For the first time, an illustrated book dealt with the scientific and systematic definition by comparing coins, gems and marble busts. This earned Orsini the title "father of ancient iconography". Within the circle of intellectuals, there were already well-made specimens of imitations, which were shown during discussions and studies. Here, as already mentioned, it was not a question of the pieces themselves, but of their contemporary origin. Cavino had close relations with the intellectuals of his time, who took a lively interest in the ancient things of Rome and especially in the "medals". Cavinos perfected his re-creations and these found enthusiastic buyers.
 
One must distinguish between three types of works by Master Cavino:
1) classical coins with a completely invented typology, but inspired by ancient coinage.
2) significant variants of actually existing coins
3) coins identical to the originals and reproduced in a style very similar to that of the ancient engravers.
 
More than one hundred and twenty original stamps created by the Paduan Master are kept in the Bibliothèque Nationale in Paris. They were bought by a Paduan family in the seventeenth century and described by Claude du Molinet in a study of 1692. However, even then there were stamps that were copied, up to modern stamp imitations. The chronological dating must therefore also be differentiated:
1) coins produced by Cavino himself
2) productions of his workshop, also posthumously
3) productions based on other die copies or modern copies
 
The Paduan presented here from my shop is an original. This example comes from the workshop of Giovanni da Cavino and is from a sixteenth century production.
 
 
 
 
 
 
 
For Easter, I would like to mention that a small Easter voucher is available in my shop. From a minimum order value of 75 euros, you can activate a voucher of 15 euros. The promotion is valid from 04.04. until 11.04.
The voucher code is: EASTER2023 
 
 
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Basileios I "the Macedonian" with his son Constantine
Solidus of the Byzanz Imperial Period 870/871 AD; Material: Gold; Diameter: 19mm; Weight: 4.30g; Mint: Constantinople; Reference: Sear 1704; Obverse: Crowned facing busts of Basil, with short beard and loros, and Constantine, beardless and wearing chlamys, holding patriarchal cross between them. The Inscription reads: bASILIOS ЄT COҺSTANT AЧGG b; Reverse: Christus Pantokrator enthroned facing. The Inscription reads: + IhS XPS RЄX RЄGNANTIЧM*
 
 
 
 
 
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Basileios I the Macedonian (born c. 812; died 29 August 886) was Byzantine emperor from 867 to 886 AD. Basileios came from an Armenian-Greek family that had settled in the Byzantine subject of Macedonia. He spent part of his childhood in Bulgaria, where his family had lived as prisoners of the Bulgarian prince Krum since 813 AD. He managed to escape and become a stableman in the service of Theophilitz, a relative of Bardas, the uncle of Emperor Michael III. On a visit to the city of Patras, he met the wealthy widow Danielis, who took him into her household and supported him. He also caught the emperor's eye when he won a wrestling match and soon became his companion and bodyguard (Parakoimomenios, see Offices and Titles in the Byzantine Empire). To gain Michael's favour, he divorced his wife Maria, with whom he had, among other things, their son Constantine, and married Eudokia Ingerina, one of Michael's mistresses. It is assumed that Leo VI, Basileios' son and successor, was in fact Michael's son. Basileios - with the emperor's consent - assassinated the emperor Bardas, who had ruled the empire in Michael's name, in April AD 866. On 26 May 866 AD he was crowned co-emperor, while Bardas' son-in-law, Symbatios, who had taken part in the assassination, was left empty-handed. In September 867 AD, Basileios also killed Michael III, eliminated his rival Basiliskianos and ascended the throne himself. The dynasty he founded also marked the beginning of a new era in the Byzantine Empire. It is usually called the Macedonian Dynasty, although it would be more correct to call it the Armeno-Greek Dynasty. This period was one of territorial expansion, during which the Empire was the strongest power in Europe. Basileios reigned for 19 years. His death in August 886 AD was due to a fever he contracted after a serious hunting accident in which his belt became caught in the antlers of a deer and he was dragged from his horse. He was rescued by a servant who cut him loose with a knife. Basileios, however, suspected the latter of trying to murder him and had the servant executed shortly before he himself died.
 
Constantine (b. c. 859 AD; d. 3 September 879 AD) was Byzantine co-emperor from 868 AD until his death. Constantine was the eldest son of the later Emperor Basileios I and his first wife Maria. He had an older sister Anastasia as well as three half-sisters (Anna, Helene, Maria) and three half-brothers (Leo, Alexander and Stephen). When Basileios became sole ruler after the assassination of Michael III on 23 September 867 AD, Constantine advanced to the throne. On 10 February (or as early as 6 January) AD 868, he was crowned co-emperor (Symbasileus) while still a child and appears as such on coins both with his father and with his stepmother Eudokia Ingerina. Constantine was considered his father's favourite son and the first candidate for succession, since his half-brother Leo, also in the rank of co-emperor since AD 870, was suspected of having in fact been fathered by Michael III. When Basileios negotiated an alliance with the Frankish Emperor Louis II against the Saracens in Lower Italy in 869 AD, it was considered that Constantine should marry the latter's daughter Ermengarde, but this did not happen. In 878 AD, Constantine accompanied his father in the conquest of the Paulician city of Tephrike, which was razed to the ground. The young crown prince succumbed to a serious illness on 3 September 879 AD. Shortly after his death, he was canonised by the patriarch Photios I. Alexander succeeded him in the imperial college.
 
The follow Video was created not from me!
 
 
 
 
Pantokrator means universal or world ruler. It is a designation of God by which, since the turn of time, Jesus Christ in particular has been understood. Today, Christ Pantokrator usually refers to a type in iconography. The motif is found above all in the Byzantine art of the Greek and Russian Orthodox churches; from there it found its way into many Western European churches of the Romanesque period in the Middle Ages. In most cases, the icon of Christ is located in the vault of the apse or centrally in the iconostasis; in Romanesque churches, such representations are also found in the tympanum above the portals. Very often the Pantokrator icons are depicted as a bust. In mandorals, however, there are also enthroned or standing full-body representations. Typical is the depiction of the Lord looking straight at the viewer, as well as the nimbus of the cross; furthermore, the posture of the right hand blessing the viewer and a closed or open Gospel book in the left, in which Christ's self-statements ("I am..." words) from the Gospels can often be read. The lower garment (chiton) is often red or gold, the overgarment (himation) usually blue or rarely green. The usual name abbreviations IC XC stand for <<Iesous Christos>>. The Pantokrator type emphasises the divinity of Christ, his world dominion, blessing power and teaching authority. In St Catherine's Monastery there is a very rare 6th century encaustic icon of Christ Pantokrator. Jesus, depicted as ruler, blesses with his right hand while the left holds the New Testament. For a long time, the work, which probably originated in Constantinople, was dated to the 13th century, as it was almost completely painted over. The icon measures 84 × 45.5 centimetres. The artist based the design of the face on the Semitic face type with beard and long hair.
 
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Discount for forum members. 

Up to and including May 1, 2023 there are no shipping costs for the order! I deliver worldwide (including tracking and insurance) free of charge! There is no minimum order value. If you find something in my store, please send a private message via the forum, then I will generate an order for you without shipping costs. Private message please to: @YOTHR or @Prieure de Sion

 
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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 4/24/2023, Basil I, Constantine - a Christ Pantokrator Gold Solidus
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Tiberius Claudius Caesar Augustus Germanicus
Sestertius of the Roman Imperial Period 41/42 AD; Material: AE Bronze; Diameter: 35mm; Weight: 28.94g; Mint: Rome; Reference: RIC I (second edition) Claudius 96; Pedigree: from the famous Lottie and Mark Salton Collection incl. original Collectors Ticket; Obverse: Head of Claudius, laureate, right. The Inscription reads: TI CLAVDIVS CAESAR AVG P M TR P IMP for Tiberius Claudius Caesar Augustus, Pontifex Maximus, Tribunicia Potestate, Imperator (Tiberius Claudius Caesar, Augustus, high priest, holder of tribunician power, Imperator); Reverse: Legend in four lines in oak-wreath. The Inscription reads: EX S C OB CIVES SERVATOS for Ex Senatus Consultum, Ob Cives Servatos (By decree of the senate. For saving the citizens).
 
 
 
 
The corona civica
 
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Emperor Augustus with the corona civica
 
The oak wreath, the corona civica, was awarded for special services to Roman citizens, illustrated here by the legend ob cives servatos ("for saving the citizens"). The Corona civica was one of the highest military awards in the Roman Empire. Gaius Iulius Caesar was awarded the civic crown, as was Augustus, who was given a civic crown to hang over the entrance to his house in 27 BC as a mark of honour. From this time onwards, the civic crown became an insignia of imperial dignity. To avoid resemblance to the corona Etrusca of Jupiter, the corona civica worn by emperors was probably not made of solid gold. Instead, the oak leaves were apparently only adorned with golden ornaments and jewels. In AD 41 Claudius takes over the rule and with it the responsibility for the common good; the senate awards him the oak wreath ob cives servatos for this. David Sear reports that this type of bronze with the title Father of the Fatherland was struck in the first half of January 42 AD as the minting of bronze coinage ceased momentarily afterwards.
 
It seems strange who, as emperor, was allowed to call himself the saviour of the citizens. In the case of Emperor Augustus, this may still be understandable due to the end of the civil war. But emperors like Caligula, Galba, Vespasian - and as here - Claudius, also allowed themselves to be celebrated as saviours. The only question is whether the citizens also wanted to be saved by the respective emperor.
 
 
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The Lotti Salton Collection
 
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The pedigree of the Claudius Sestertius presented here is interesting: the coin comes from the Lotti Salton Collection. Here you can find a very interesting report about it in the "CoinsWeekly":

Please click here

 

 

Many more new interesting sesterces have come into our stock. Nero with the port of Ostia, a Trajanus sestertius with an address to the officers and soldiers, a Titus Judea Capta, a Hippo Sestertius of Otacilia Severa or a probably unique sestertius of Gordianus II Africanus.

Have a look here at our latest products

 

 

And same as every new presentation: if you want buy a coin at my store - please contact me @YOTHR or @Prieure de Sion with Forum PN - and let us see its possible to give you an special offer for the coin you would buy. 

 

Edited by YOTHR
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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 05/03/2023, Claudius Sestertius - owner of the corona civica
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Marcus Cassianius Latinius Postumus
Double Sestertius of the Roman Imperial Period 261 AD; Material: AE Bronze; Diameter: 30mm; Weight: 29.34g; Mint: Treveri (Trier) mint. 3rd emission; Reference: RIC V Postumus 144 var, Mairat 202, Bastien 85, Banti 23; Provenance: Ex Roma E-Sale 89 (28 October 2021), lot 1224; Pedigree: from Edward J. Waddell; Obverse: Bust of Postumus, right, laureate, draped, cuirassed. The Inscription reads: IMP C POSTVMVS P F AVG (Imperator Caesar Postumus Pius Felix Augustus: The emperor caesar Postumus, pious and blessed august); Reverse: Galley sailing to left with four rowers and a steerman placed under the acrostolium on the right; sometimes only three rowers. The Inscription reads: LAETITIA AVG for Laetitia Augusti (The joy of the august).

 

Find the Postumus Double-Sestertius in my VCoins Shop

Find the Postumus Double-Sestertius in my MA Shop

 

This bronze type was issued with a laureate and draped bust as a sestertius. The double sestertius can be recognised by the bust with the radiating crown. The coin presented here, however, is only laureate and draped; but as a double sestertius! This variant is extremely rare. On acsearch I have found only 3 specimens (laureate and draped bust + double sestertius) in the last 20 years!

 

 

Marcus Cassianius Latinius Postumus (died 269 AD in Mogontiacum, Mainz) was a usurper against Emperor Gallienus in the west of the Roman Empire as well as the founder and first emperor of the so-called Gallic Special Empire (Imperium Galliarum). As such, he ruled from 260 to 269 AD. Little is known about Postumus' early years. It is assumed that he originally came from Gaul, was of humble origin, rose to the highest positions in the army and perhaps even became governor of one of the two Germanic provinces. Since the rightful emperor Gallienus was busy with the Sassanids in the east after the capture of his father Emperor Valerian in the battle of Edessa, he left his son Saloninus as sub-emperor with proven commanders as advisors, including Postumus, to protect the constantly threatened Rhine border. After an invasion by Alamanni and Franks, Postumus' units had turned in Frankish looters laden with booty before they could flee across the Rhine to their homeland. This booty was then to be divided among the soldiers. However, this came into conflict with Saloninus and the praetorian prefect Silvanus, who wanted to keep it for the benefit of the state treasury. Postumus then laid siege to Colonia Agrippina (Cologne), the residence of Silvanus and Saloninus. When his troops stormed the city after a short siege, the two were murdered. Postumus was proclaimed Augustus by his soldiers. Later, Postumus also had a triumphal arch built to celebrate this victory.

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Postumus was recognised as the new emperor by almost all the provinces of Gaul, Hispania, Germania and Britain. For a short time his empire also included Raetia; this was proven in 1993 by the discovery of the Augsburg victory altar. Cologne was chosen as the residence and seat of administration (with its own senate, consuls and praetorian guard) of his new empire because of its strategically important location. Decisive for this choice were also the city's mints, newly established by Gallienus. Postumus had himself celebrated on his coins as the saviour of Gaul, a title of honour he had probably adopted after the successful defence of the Rhine Limes against the Germanic tribes. Postumus' coin issues were initially of good quality, but deteriorated rapidly towards the end of his reign due to massive financial problems, so that the late Antoninian coinage consisted only of low-quality billon. The special importance of the Rhine in Postumus' domain is shown on his coins with a galley (as shown on this double sestertius on the reverse side).

In AD 262 and 263, Postumus led successful campaigns against the Alamanni and Franks, among others, who remained quiet for a long time afterwards. He also improved border protection by having a second line of defence built further inland. In 265 AD Gallienus, who had probably already launched a first offensive against his rival in 261 AD, led a second (?) campaign against Postumus, which probably resulted in Raetia or at least its important Alpine passes falling back to Rome. However, after being wounded in battle, he had to abandon the campaign, as he was now more urgently needed on the Danube border. Aureolus, one of Gallienus' generals and commander of the troops in Mediolanum (Milan), then rebelled against him and allegedly also allied himself with Postumus. Nevertheless, the latter refused to support Aureolus when he was soon surrounded and besieged by Gallienus in the city. In 268 AD, both Aureolus and Gallienus were murdered by their own men. Gallienus was succeeded by Claudius Gothicus.

Postumus was finally challenged by a usurper himself in 269 AD: Laelianus, commander of the troops in Mogontiacum (Mainz), the metropolis of the province of Germania superior, was proclaimed emperor by his soldiers. Postumus acted immediately and was soon able to recapture Mogontiacum, where Laelianus met his death. However, since Postumus refused to give his soldiers the usual plunder, they rebelled and killed him. It is also possible that he had sympathisers of Laelianus in his own ranks who made an attempt on his life. The former explanation, however, seems more plausible - forbidding victorious legionaries to plunder was effectively tantamount to suicide at the time. After the death of Postumus, Britain and Hispania fell away from the Imperium Galliarum. His successor Marcus Aurelius Marius controlled only Gaul and the Rhine Limes. The residence and parts of the coinage were later moved to Augusta Treverorum (Trier).

 

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The type of galley depicted on the reverse of the present coin could be a navis lusoria, which was a type of a small military vessel of the late Roman Empire that served as a troop transport. It was smaller and narrower than similar earlier vessels, and ideally suited to the rivers close to the Limes Germanicus; the presence of this type of vessel in the Classis Germanica is shown through the discovery of the Mainz Roman ships in 1981-2, thus proving that they operated on the Rhine and Danube. Navis lusoria (Latin; literally "playful/dancing ship"; plural naves lusoriae) is the name given to a Roman warship type of Late Antiquity. Lusoriae were slender and flat-footed rowing boats propelled by about thirty oarsmen sitting in a single plane. In addition, a mast could be rigged. Naves lusoriae were mainly used for patrolling rivers. With a length of up to 21.7 m, a width of about 2.80 m and a board height of 96 cm, they belonged to the category of small, fast military ships with which shallow and unclear river areas could also be navigated, for example by the Classis Germanica on the Rhine and Danube. Archaeologically, the type, which is mentioned by late antique writers such as Ammianus Marcellinus, is known above all through the finds of the Mainz Roman ships. Since the Lusoriae only have a flat lateral plan with little form stability, sailing is considered extremely demanding.

 

 

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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 05/21/2023, Postumus Double Sestertius - a ship will come...
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Marcus Clodius Pupienus Maximus
Antoninianus of the Roman Imperial Period 238 AD; Material: Silver; Diameter: 22mm; Weight: 4.77g; Mint: Rome; Reference: RIC IV Pupienus 11b; Obverse: Bust of Pupienus, radiate, draped, cuirassed, right. The inscription reads: IMP CAES PVPIEN MAXIMVS AVG for Imperator Caesar Pupienus Maximus Augustus; Reverse: Clasped right hands. The inscription reads: PATRES SENATVS for Patres Senatus (To the father of the senate).

Find the Pupienus Antoninianus in my VCoins Shop

Find the Pupienus Antoninianus in my MA-Shop

 

Coin of the day? Because - from my point of view: excellently centred, great silver and a fantastic detailed raised portrait of Pupienus.

 

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Little is known about the origins of Marcus Clodius Pupienus Maximus, and many details of his career also remain obscure. An important but very problematic (and often absolutely unreliable) source is his vita in the late antique and hotly disputed Historia Augusta. Almost certainly most, if not almost all, of the information about his military career that the Historia Augusta offers was invented. Another source is the work of the contemporary Herodian (Book 8), which is also not always reliable and offers little detail on Pupienus' career before 238 AD.

Today, most historians assume that Pupienus (a very rare name, attested only three times in all of Roman history) was first governor in one of the two Germanic provinces and later perhaps in Asia Minor. In 234 AD he held his second consulship (his first, a suffect consulship, is not tangible, perhaps c. 205 or 217 AD), and from c. 234 AD Pupienus headed the administration of the city of Rome as praefectus urbi. In this honourable position he is said to have been extraordinarily tough, especially in security policy. Finally, it is certain that Pupienus was a member of a committee for the defence of Inner Italy against Maximinus Thrax during the turmoil of the Six Years' War. After the death of the emperors Gordian I and Gordian II, who had risen against Maximinus, he was appointed emperor by the senate together with Balbinus himself. This was a unique procedure, for normally the Senate only confirmed the elevation of a co-emperor by an already incumbent ruler or the acclamation by the army; there was no provision for the Senate to appoint a new Augustus on its own initiative. Probably for this reason, the body could not agree on one candidate and therefore elevated two at once. For the first time, both Augusti were entrusted with the office of Pontifex Maximus. However, it quickly became clear that this was not a solution.

The short reign of the two emperors was marked by mutual distrust and the rejection of the urban Roman population towards them, which can perhaps be explained by the time of Pupienus as a tough city prefect. After their appointment, the two had to leave the Capitol, protected by a quickly improvised bodyguard, to protect themselves from popular anger. The plebs apparently preferred the elevation of Gordian I's young grandson to emperor. Pupienus and Balbinus had to bow to the pressure of the street and elevated him to Caesar.

Pupienus, who in his advanced age is described as grumpy and bad-tempered, subsequently took charge of the struggle against Maximinus Thrax, while Balbinus organised the affairs of state. But before Pupienus could even raise the necessary troops, news reached him that Maximinus had been murdered by his own soldiers. He then immediately rushed to Aquileia, the scene of the event, and ended the civil war by simply disbanding the armies of both sides and sending the soldiers home. In the following triumphal procession of the two Augusti through the capital, Pupienus in particular was cheered frenetically. These ovations were then allegedly the cause of the rift between the two emperors.

Behind the conflict, however, there was a deeper structural problem: the Roman Empire at that time was a monarchy in which a multiple emperorship could only function if (as with Marcus Aurelius and Lucius Verus) it was clear which ruler had the highest rank and the last word. Caracalla and Geta had already failed over this problem a few years earlier. And the rivalry between Pupienus and Balbinus also escalated as soon as their common enemy Maximinus was dead. But for the time being they continued to rule in apparent agreement.

Both emperors seem to have planned to outdo the other in military glory. Pupienus apparently planned a Persian campaign, while Balbinus wanted to go against the Germanic tribes. However, it was his undoing that, since his time as governor in Germania, he always kept a troop of Germanic tribesmen as bodyguards. This angered the Praetorians, who felt sidelined anyway. They obviously benefited from the fact that the two emperors now fundamentally distrusted each other. During a loud argument between the two emperors, the guardsmen entered the imperial palace. Pupienus is said to have refused to summon Balbinus' Germanic bodyguards, believing that his colleague wanted to have him treacherously murdered. Instead, the Praetorians took both emperors into their power and cruelly killed them.

After their deaths, power passed to Gordian III, a nephew of Gordian II and grandson of Gordian I, who had previously been elevated to Caesar by Pupienus and Balbinus, as mentioned. The Praetorians proclaimed him the new sole Augustus. The reign of the two senatorial emperors, which lasted only 99 days, had shown that the Senate could not hold its own against the military in the struggle for power in the Empire and could neither restore the Republic nor appoint a ruler.

 

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The title Patres Senatus was due to both emperors, i.e. Balbinus and Pupienus. Both new emperors owed their appointment to their fellow senators. The fall and death of the two elder Gordians aroused great terror in Rome from the revenge of Maximinus Thrax - and the senate, in order to be protected against him, again elected two new emperors. The session took place in the temple of Concordia. At the request of the princeps senatus (P. Licinius) Valerianus (the later emperor), the scheduled agenda was deviated from and the election of the emperor was set in motion. Vettius Sabinus, who later became city prefect, drew the attention of the senators to the two men Balbinus and Pupienus - who were then actually elected (Balb. 2). So it is not surprising that the designation Patres Senatus (Fathers of the Senate) appears on coins - as on the Antoninianus of Pupienus presented here.

 

 

Edited by YOTHR
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  • Prieure de Sion changed the title to YOTHR Coins of the Day: 06/07/2023, Pupienus - Father of the Senate
28 minutes ago, expat said:

I have 1 question, where on the obverse is CLOD as per your obverse legend description?

Hello Sherlock Holmes 😄 ... you win!

This is what happens when you simply copy the texts out of the faulty online OCRE. The wrong description of the obverse legend is entered under RIC 11b. 

Seriously - thanks for pointing it out! 👍
I have corrected it everywhere. 

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4 minutes ago, Prieure de Sion said:

Hello Sherlock Holmes 😄 ... you win!

This is what happens when you simply copy the texts out of the faulty online OCRE. The wrong description of the obverse legend is entered under RIC 11b. 

Seriously - thanks for pointing it out! 👍
I have corrected it everywhere. 

You are very welcome, Ocre and Wildwinds have a lot of bad descriptions I have noticed.

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There are some beautiful coins in this thread. Here is my Pupienus Sestertius.

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Pupienus, 22nd April # 29th July 238. Sestertius April-June 238, Æ 29mm., 18.91g. Laureate, draped and cuirassed bust r. Rev. Victory standing facing, head l., holding wreath and palm branch. C 38. RIC 23a.

Attractive brown tone, Very Fine. Ex Navilles. Auction 55 Lot 636. 
 

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MINERVA
 

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Minerva is an ancient Italic goddess of probably Etruscan origin. In the more recent Capitoline triad of gods, she was assigned the cella on the right of Iuppiter (Iuno on the left). Her functions were gradually adapted to those of the Greek Athena. She was the patroness of craftsmen, guilds and trades, as well as artists, teachers and doctors. The basic meaning lay in the divine power of the mind, of sensible thinking and inventing. Already in the Etruscan cult, she was regarded as the lightning-slinging goddess of the heights and of all sensual inventions, especially also of sacred flute music. Although Rome also knew the lightning-slinging and warlike Minerva, the Greek Pallas, her peaceful qualities predominated until Minerva finally became quite unilaterally the goddess of all inventions and of all art and science. She also brought the art of weaving, chariot-making, harrows and ploughs to mankind. She was also regarded as the city goddess of Rome. Minerva also seemed to be connected with the sea in particular. This was evident at the first lectisternium (hosting of the gods) of 217 BC, where she appeared together with Neptune. Minerva had not only reached Italy by ship, but had also built the first ship, the Argo. It is therefore hardly surprising that depictions show the goddess in connection with shipbuilding (especially sails).

Varro counts Minerva among the deities that the Romans adopted from the Sabines. An ancient temple of Minerva is said to have been located in the castle courtyard of the Sabine city of Orvinium. However, there is little further evidence of the Sabine origin of the Minerva cult. In general, there are only scanty references to the worship of Minerva in Italy. A Minerva sanctuary in Bruttium, allegedly founded by Odysseus, was of Greek origin and the same is true of the temple at Surrentum in Campania, which is also traced back to Odysseus. The very numerous inscribed proofs of their worship in Latium and Lower Italy all belong to the imperial period and betray Roman influence. There are also references to a Minerva cult in Eturia, where she played a role in the Etruscan doctrine of lightning. The tradition assumes that Minerva originated in Falerii, a city which, due to its location and history, occupied a mediating position between Etruscan and Latin culture. There is also evidence of the veneration of Minerva for Falerii in very early times. Minerva probably found her way into Rome through Faliscan (or southern Etruscan) craftsmen. There is no reason to assume that this view of the goddess had already been formed under the influence of Greek ideas; rather, the similarity of this goddess of craftsmanship will have led to the equation of Minerva with Athena.

Symbols of the goddess were the owl, snake and the olive wreath or olive tree. Since cunning and wisdom were just as important as courage and endurance for a general in war, Minerva was also depicted with a helmet, shield and armour. The owl in particular represented the wisdom of the goddess. She is often depicted with her right arm raised. Seated images of Minerva are rarer, but nevertheless widespread. The best-known image of Minerva stood in an unknown city Roman temple and is made of Lusensian marble and a robe of reddish-yellow alabaster; the hair was made of black basalt. The statue from the early imperial period represented the peaceful part of Minerva, because numerous craftsmen were needed to build the empire. The visual arts never made the Roman Minerva into a type of its own, but rather consistently used representational forms of the Greek Athena, which were transferred to her without any special modifications.

Minerva was only really incorporated into the Roman state cult in the form of the Capitoline Triad. At least, there is no evidence of a separate cult of Minerva in Rome at a later date. On the Capitol, her cella was located to the right of Iuppiter. The fact that she preferably represented the spiritual principle, intelligence and inventiveness on the Capitol can be seen from the use of hammering the yearly nail into the wall between her cella and Iuppiter's cella, because the number was considered to be an invention of Minerva. Details of the ritual of the Minerva's service are not known. According to some accounts, calves were sacrificed to her. Minerva, like Diana, was a virgin goddess (Greek Athena Parthenos) and mercilessly punished all those who came too close to this virginity. In a religion dominated by men, she played an important role for women. Numerous finds suggest female puberty rites. In this sense, she also watched over law and order. The cult of Minerva Medica and her sanctuary on the Esquiline belong to the Republican period. The idea of her as a goddess of healing probably originated purely on Italic-Roman soil and has to do with her function as the patron goddess of doctors, which immediately made her a goddess of healing herself. From the 3rd century BC onwards, Minerva was thoroughly Hellenised. At the great lecisternium of 217 BC, Minerva appears for the first time, as mentioned above, paired with Neptunus-Poseidon in the Greek manner.

Unlike other ancient deities in Rome, Minerva did not originally possess a flamen (she only received this with Augustus). This is because the goddess had nothing to do with the old peasant religion of the native inhabitants of Latium. It is therefore not surprising that Minerva is associated with only one plant: the olive tree. This was only introduced to Rome under the Tarquinians. Numerous olive oil vessels from that time bore the coat of arms of Athens with Pallas Athena (imported Attic quality oil). As with some cult images of Hera or Artemis, her statue was also decorated with appropriate branches on holidays. Pompey consecrated a sanctuary to Minerva, in whose dedicatory inscription he ostentatiously depicted his war fleet, thus almost presenting her as the victory-bringing goddess. Varro calls Minerva the protector of the olive tree. Cicero worshipped Minerva as the protector of the city and after his banishment donated the image of this goddess to the Capitol.

Domitian, who boasted the very special favour of Minerva, celebrated the Quinquatrus annually at his Albanum with a splendid festival at which, apart from venationes and gladiatorial and stage games, there were also competitions of poets and orators. However, it was considered sacrilegious that Domitian also called himself the son of Minerva, a goddess whose youthfulness was always emphasised. Domitian also had numerous altars erected to her. The forum, completed by his successor Nerva, was also dedicated to her. Her popularity also seemed to have spilled over into the population, for more and more images (e.g. on bricks) appeared. In the sanctuary of Vesta on the Roman Forum, the Palladium (i.e. Palladion), a cult image of the lance-bearing Athena supposedly originating from Troy, was kept. The image was supposed to vouch for the security of the Roman state. Unlike most other archaic representations of the gods, the Palladium was not simply a rigid figure, but worked through movement and flowing garments.

The feast of Quinquatrus on 19 March already had the addition of Minerva in the pre-Caesarian calendar. Old calendar notes show that the goddess displaced Mars from this day. The craftsmen celebrated the festival on the fifth day after the Ides of March and added four more days, so that the festivities lasted until 23 March. When this celebration was made a five-day one, gladiatorial games were held on the later (not the actual holiday) days, in addition to other amusements, since Augutus. These were also the few holidays that applied to pupils and teachers. On this day the teachers received their wages. Ovid listed numerous other occupations that celebrated the quinquatrus: Wool and flax spinners, weavers, walkers, washers, dyers, shoemakers, carpenters, physicians, painters, sculptors, toreutes (artists who chased and drove metal) as well as poets and actors. The latter were only allowed to take part in the festivities from 207 BC as thanksgiving for a choral song composed by Livius Andronicus for the successful reconciliation of the gods. Minerva was also especially honoured at guild festivals, such as Quinquatrus minusculae on 13 June.

A preserved altar refers to the establishment of the Minerva cult by Augustus. The statue of Minerva donated by him stood on a column in front of the temple. From the 1st century AD, it became a reference point in military diplomas. Many of these documents were attached to a wall near the statue. The proximity made sense, as many veterans settled there as craftsmen. From Nero onwards, the congiarium (imperial grain donation) was distributed near a minerva statue (with an owl on its right hand). Perhaps this was the same statue. East of Rome, a minerva temple was excavated that had already existed in the 2nd half of the 6th century BC. Numerous terracotta statues up to life-size from the 4th century BC were recovered from this temple. A mineral image from around 400 BC has particularly terrifying features. A three-headed snake coils around its right arm, a reptile counting many heads around its body. Serpents also dominate helmet ornaments and a round shield supported by a tritonic (sea deity) demon. Here, too, Minerva's connection to the sea is evident. As Minerva Medica, doctors also paid homage to her in a temple on the Esquiline. As the city goddess of Rome, she had a temple on the Aventine since Etruscan times; very close to the sanctuary of Diana. The temple was the main sanctuary of the tradesmen organised in collegia. Augustus renewed it, perhaps even by building a new temple. From this time on, the goddess also had her own flamen. A sacellum of Minerva was situated on the lower slope of the Caelius, towards the plain between it and the Carinae, which was probably erected in 241 BC, probably because of the capture of Falerii. The goddess on the Caelius was called Minerva Capta, the meaning of which, however, was doubtful. Minerva's proximity to handicraft and artistic work is the reason for her appearance in numerous Lararia. The bronze and silver statuettes of the imperial period were probably preceded by examples carved from wood (possibly olive tree) in the Republic (source: imperium-romanum).

 

Today there is no "Coin of the day" - today there is a whole series of new Domitianus & Minerva denarii in my shop.

A particular devotee of Minerva was the Emperor Domitian, who often had her depicted on the reverse of his coins (as on the denarius presented here). Hardly any Roman emperor had his favourite patron deity minted on coins as frequently as Domitian: Minerva, the goddess of war and wisdom, perhaps appealed to this ruler particularly because she came third within the Capitoline triad of gods after Jupiter and Juno, just as Domitian was the third emperor of the Flavian dynasty after his father Vespasian and brother Titus. Only a few years after his accession to power, he had four types of representations of the goddess made, which subsequently became the dominant coin motif of his silver coinage. But I am not an expert on Domitian and his preference for Minerva, here @David Atherton can certainly say more about it as an expert.

 

 

DOMITIRIC669.png.334b2b092b4f3ecf4964788ffece3f2b.png

Titus Flavius Domitianus, as Imperator Caesar Domitianus Augustus
Denarius of the Roman Imperial Period 88/89 AD; Material: Silver; Diameter: 19mm; Weight: 3.50g; Mint: Rome; Reference: RIC II, Part 1 (second edition) Domitian 669Obverse: Head of Domitian, laureate, right. The Inscription reads: IMP CAES DOMIT AVG GERM P M TR P VIII for Imperator Caesar Domitianus Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate Octava (Imperator, Caesar, Domitian, Augustus, conqueror of the Germans, high priest, holder of tribunician power for the eighth time); Reverse: Minerva standing left, holding thunderbolt and spear; shield at side. The Inscription reads: IMP XIX COS XIIII CENS P P P for Imperator Undevicesimum, Consul Quartum Decimum, Censor Perpetuus, Pater Patriae (Imperator for the 19th time, consul for the 14th time, censor for life, father of the nation).

Klick here for showing the coin at my VCoins Shop and here at the MA-Shop

 
 
DOMITIRIC670.png.207d1a15565519ae8f510fc1315eaa97.png
Titus Flavius Domitianus, as Imperator Caesar Domitianus Augustus
Denarius of the Roman Imperial Period 88/89 AD; Material: Silver; Diameter: 19mm; Weight: 3.21g; Mint: Rome; Reference: RIC II, Part 1 (second edition) Domitian 670; Obverse: Head of Domitian, laureate, right. The Inscription reads: IMP CAES DOMIT AVG GERM P M TR P VIII for Imperator Caesar Domitianus Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate Octava (Imperator, Caesar, Domitian, Augustus, conqueror of the Germans, high priest, holder of tribunician power for the eighth time); Reverse: Minerva standing left, holding spear. The Inscription reads: IMP XIX COS XIIII CENS P P P for Imperator Undevicesimum, Consul Quartum Decimum, Censor Perpetuus, Pater Patriae (Imperator for the 19th time, consul for the 14th time, censor for life, father of the nation).
 
Klick here for showing the coin at my VCoins Shop and here at the MA-Shop
 
 
 
DOMITIRIC719.png.53e69f7af9394c07682dbead9dffc2d1.png
Titus Flavius Domitianus, as Imperator Caesar Domitianus Augustus
Denarius of the Roman Imperial Period 90/91 AD; Material: Silver; Diameter: 19mm; Weight: 3.51g; Mint: Rome; Reference: RIC II, Part 1 (second edition) Domitian 719; Obverse: Head of Domitian, laureate, right. The Inscription reads: IMP CAES DOMIT AVG GERM P M TR P X for Imperator Caesar Domitianus Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate Decima (Imperator, Caesar, Domitian, Augustus, conqueror of the Germans, high priest, holder of tribunician power for the tenth time); Reverse: Minerva advancing right, holding spear and shield. The Inscription reads: IMP XXI COS XV CENS P P P for Imperator Vicesimum Primum, Consul Quintum Decimum, Censor Perpetuus, Pater Patriae (Imperator for the 21st time, consul for the 15th time, censor for life, father of the nation).
 
Klick here for showing the coin at my VCoins Shop and here at the MA-Shop
 
 
 
DOMITIRIC763.png.3501254c127598586441bf10f1a0c9a0.png
Titus Flavius Domitianus, as Imperator Caesar Domitianus Augustus
Denarius of the Roman Imperial Period 93/94 AD; Material: Silver; Diameter: 19mm; Weight: 3.78g; Mint: Rome; Reference: RIC II, Part 1 (second edition) Domitian 763; Obverse: Head of Domitian, laureate, right. The Inscription reads: IMP CAES DOMIT AVG GERM P M TR P XIII for Imperator Caesar Domitianus Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate Tertia Decima (Imperator, Caesar, Domitian, Augustus, conqueror of the Germans, high priest, holder of tribunician power for the 13th time); Reverse: Minerva standing left, holding thunderbolt and spear; shield at side. The Inscription reads: IMP XXII COS XVI CENS P P P for Imperator Secundum Vicesimum, Consul Sextum Decimum, Censor Perpetuus, Pater Patriae (Imperator for the 22nd time, consul for the 16th time, censor for life, father of the nation).
 
Klick here for showing the coin at my VCoins Shop and here at the MA-Shop
 
 
 
DOMITIRIC787.png.999c77f422372c487bb3bca0f0ef36fa.png
Titus Flavius Domitianus, as Imperator Caesar Domitianus Augustus
Denarius of the Roman Imperial Period 95/96 AD; Material: Silver; Diameter: 19mm; Weight: 3.55g; Mint: Rome; Reference: RIC II, Part 1 (second edition) Domitian 787; Obverse: Head of Domitian, laureate, right. The Inscription reads: IMP CAES DOMIT AVG GERM P M TR P XV for Imperator Caesar Domitianus Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate Quinta Decima (Imperator, Caesar, Domitian, Augustus, conqueror of the Germans, high priest, holder of tribunician power for the 15th time); Reverse: Minerva advancing right, holding spear and shield. The Inscription reads: IMP XXII COS XVII CENS P P P for Imperator Secundum Vicesimum, Consul Septimum Decimum, Censor Perpetuus, Pater Patriae (Imperator for the 22nd time, consul for the 17th time, censor for life, father of the nation).
 
Klick here for showing the coin at my VCoins Shop and here at the MA-Shop
 
 
 
DOMITIRIC790.png.65ca0ee546e526645bb33416e4ef80fd.png
Titus Flavius Domitianus, as Imperator Caesar Domitianus Augustus
Denarius of the Roman Imperial Period 95/96 AD; Material: Silver; Diameter: 19mm; Weight: 3.27g; Mint: Rome; Reference: RIC II, Part 1 (second edition) Domitian 790; Obverse: Head of Domitian, laureate, right. The Inscription reads: IMP CAES DOMIT AVG GERM P M TR P XV for Imperator Caesar Domitianus Augustus Germanicus, Pontifex Maximus, Tribunicia Potestate Quinta Decima (Imperator, Caesar, Domitian, Augustus, conqueror of the Germans, high priest, holder of tribunician power for the 15th time); Reverse: Minerva standing left, holding spear. The Inscription reads: IMP XXII COS XVII CENS P P P for Imperator Secundum Vicesimum, Consul Septimum Decimum, Censor Perpetuus, Pater Patriae (Imperator for the 22nd time, consul for the 17th time, censor for life, father of the nation).
 
Klick here for showing the coin at my VCoins Shop and here at the MA-Shop
 
 
 

 

Edited by YOTHR
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