COIN A |
Shown here is a coin issued by Octavian before 31 BC, the
time of the battle of Actium, the naval conflict in which Octavian defeated Antony
and Cleopatra to become master of the Roman world under the new name of
Augustus. The coin was used to pay
Octavian’s troops. But it carried a
powerful message, as we will see, for those troops and for anyone else who saw
the coins. And that’s just the thing:
coins have a way of getting around.
The obverse (to the left) shows the head of Octavian in
profile. Thin neck, hint of an Adam’s apple,
strong cheekbones, large pointed nose: these are the characteristics of the
man. His head is bare and there is no
legend, no long titles of office that one finds around the whole circumference
of so many other coins of the late Republic.
The result a cleaner, simpler, more beautiful coin. And there was more room for the
portrait. No legend meant that Octavian’s
head could be larger. We are invited to
consider his features. His forehead hair
was a conscious imitation of the wavy locks associated with those of Alexander
the Great in his youthful portraits.
The reverse (to the right) shows the standing, half-dressed figure
of the goddess Venus. Leaning her left
elbow against a column, she holds a transverse scepter in her left hand and a
helmet in her right. Behind the column
is a shield bearing a star with eight rays.
Seen in isolation, the coin suggests a connection between Octavian
and Venus—and Venus not only as goddess of love but also as sponsor of warfare. Hence her half-nakedness on the one hand, and
her contemplation of the weapons of Mars on the other.
Now, the gens Iulia, the house of Julius Caesar, claimed descent
from the goddess Venus (as the mother of Aeneas, who in turn was the father of
Iulus, who gave his name to the Julian gens).
So when the eighteen-year-old Gaius Octavius was named heir to the
assassinated Julius Caesar in 44 BC, he became one of the Julii. He even took the name Gaius Julius Caesar,
omitting the cognomen Octavianus, to stress his connection to his adoptive father
(we call him “Octavian” to keep the two men of the same name distinct). After the appearance of a comet in the sky (the
sidus Iulium) during the Ludi Victoriae Caesaris of 44 BC, it was
proclaimed that Caesar had become a god: later, in 42 BC, he became part of the
state religion and the worship of the new god divus Iulius, the deified Julius Caesar, was introduced into all
the cities of Italy. His deification allowed
Octavian to style himself divi filius,
“son of a deified one.” And that is what
we read on the coin we are examining: CAESAR DIVI F. (F = FILIUS): “Caesar, son
of the deified one.” Note, too, the eight-rayed
star on the shield: that is a reference to the sidus Iulium. Octavian had
been using the star for years. So people
knew what it meant.
But there is more to say about the coin. In what follows we will consider the
(controversial) reading of the coin by Paul Zanker (Augustus and the Power of
Images, chapter 2). Our coin (let’s call
it COIN A) was in fact one of three denarii issued in a series, so to understand
it we must look at the other coins.
COIN B |
Another coin (COIN B) also shows Octavian’s portrait on the obverse, but the goddess Pax (Peace) on the reverse. She holds an olive branch in her left hand and a cornucopia in her right.
COIN C |
The third coin (COIN C) in the series shows, again, Octavian’s portrait on the obverse, but the goddess Victoria (Victory) on the reverse. She is standing on a globe and holds a wreath in her right hand, a palm branch in her left.
There is a second series of three denarii corresponding to the
three we have already considered. Here
they are:
COIN D |
COIN D: The obverse shows a portrait of Pax (Peace) wearing a crown, with a cornucopia to the left and an olive branch to the right. The reverse shows Octavian advancing in military dress, his right hand raised in act of adlocutio (a general’s formal address of his troops), his left hand holding spear over his shoulder.
COIN E |
COIN E: The obverse shows a portrait of Venus wearing a crown and a necklace. On the reverse is Octavian in military dress, his cloak flying behind him, advancing to the left, his right arm extended, his left arm holding a transverse spear.
COIN F |
COIN F: The obverse shows a portrait of Pax (Peace) wearing
a crown, her wings spread behind her. On
the reverse, a naked male figure (Neptune?) stands facing to the left, his
right foot on the globe, his right hand holding an aplustre (ornamented
stern-post of a ship), his left hand a vertical scepter.
Now we may put the coins together in their proper sequence
in order to grasp what they meant.
Before the battle of Actium, Octavian delivers an address (adlocutio) to
his army: the goal of his war against Mark Antony is peace (coins A and
D). At Actium, he leads his men into
battle under the protection of his special goddess, Venus Genetrix or Victrix
(coins B and E). After the battle, he
celebrates his victory (coins C and F) as master of the Roman world.
In the first series (A, B, C) the portrait heads are always
of Octavian, and the three goddesses are shown on the reverse. In the second series (D, E, F) it is the other
way around: the portrait heads are of the three goddesses, and the figures on
the reverse are Octavian—or, in the case of COIN F, Octavian in the guise of
Neptune.
To understand a single coin, it is often necessary to view
it in a larger context. The coin spoke
the language of legitimacy: “I am the son of the deified Julius Caesar and the
rightful heir to his legacy.” But it
also offered the fighting men a program of action for the final conflict with
Antony and Cleopatra: “Our goal is an end to war; we have the support of the
goddess of my gens; we will be victorious!”
It is tempting to
imagine these two coin series as analogous to stamps or baseball cards in our
day: the soldiers could collect the coins and puzzle out their proper sequence
in order to grasp the message Octavian intended—and which he no doubt spelled
out when he spoke to his troops.
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